- Lowest Price
- Highest Price
Paint It Black'
Through The Past, Darkly (Big Hits Vol 2)
180 Gram Clear Vinyl
This album was spawned by three coinciding events -- the need to acknowledge the death of band co-founder Brian Jones (whose epitaph graces the inside cover) in July of 1969; the need to get Honky Tonk Women, then a huge hit single, onto an LP; and to fill the ten-month gap since the release of Beggars Banquet and get an album with built-in appeal into stores ahead of the Stones' first American tour in three years. The fact that the Stones had amassed a sufficient number of hits since their last greatest-hits compilation in early 1966 (Big Hits: High Tide and Green Grass) made this a no-brainer, and its song lineup was as potent at the time as any compilation of hit singles by any artist. From the group's excursions into fey psychedelia (Paint It, Black, Ruby Tuesday, She's a Rainbow, Dandelion), space rock (2000 Light Years From Home), punk decadence (Mother's Little Helper), and back to straight-ahead rock & roll (Jumpin' Jack Flash), some of it with a topical edge (Street Fighting Man), it's all incredibly potent, though also redundant to the extent that Ruby Tuesday and Let's Spend the Night Together had previously appeared on two U.S. albums. The presence of Honky Tonk Women propelled it to gold record status upon release on both sides of the Atlantic, although the simultaneously released British version (long out of print, except as a bootleg CD) is different and more confusing, but also more diverse and rewarding musically than the American version. Both this album and Big Hits: High Tide and Green Grass have been supplanted by Hot Rocks and More Hot Rocks, but are still handy in their tight respective focuses.
- Bruce Eder (All Music Guide)1. Paint It, Black
2. Ruby Tuesday
3. She's a Rainbow
4. Jumpin' Jack Flash
5. Mother's Little Helper
6. Let's Spend the Night Together
7. Honky Tonk Women
9. 2000 Light Years from Home
10. Have You Seen Your Mother, Baby Standing in the Shadow?
11. Street Fighting Man$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
LION-ABK-960438xThe Rolling Stones
Ranked 108/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
It's difficult for American listeners to remember this, but like the recordings of the Beatles and nearly all other British groups of the '60s, the Rolling Stones' first several albums did not make it across the Atlantic in one piece. Prior to ABKCO's comprehensive 2002 reissue program, the US versions of the Stones' early albums were the de facto standards, but particularly in the case of 1966's AFTERMATH, the UK album was very different.
The track lineup is shuffled and expanded to create a much different mood. Paint It Black is gone, replaced as the opening track by the snotty social commentary of Mother's Little Helper, which--when followed by Stupid Girl, Lady Jane, Under My Thumb, and Dontcha Bother Me--is like a pentathlon of punky misogyny capped by the grinding blues jam Goin' Home. Side Two is more emotionally varied but just as musically far-reaching, adding the poppy Take It Or Leave It and What To Do to an already strong set of tunes centered on the stunning full-length version of Out of Time that for some reason had never been released in the United States before this belated reissue.1. Mother's Little Helper
2. Stupid Girl
3. Lady Jane
4. Under My Thumb
5. Doncha Bother Me
6. Goin' Home
7. Flight 505
8. High and Dry
9. Out of Time
10. It's Not Easy
11. I Am Waiting
12. Take It or Leave It
14. What to Do$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Back To The FrontExplaining the relevance and influence of ENTOMBED is probably as superfluous as pointing out why Slayer rule, Lemmy is bigger than God and Dio the greatest loss in metal history. A legend is a legend. Fullstop. F**k off!
If you still require a proper explanation that is less shot from the hip, well let us start with this: The Swedish Death Metal forefathers and genre innovators have inspired tons of bands all around the globe with their invincible trademark sound. However, as the band's last album "Serpent Saints - The Ten Amendments" dates back to 2007, there is definitely more than a good reason for a bit of catch-up and ask why it took so long to finish the band's superb 10th opus, programmatically titled "Back To the Front", vocalist extraordinaire L-G Petrov states:
""Serpents " was a fairly good album but a little weak compared to previous works and the distribution wasn't that great yet we continued playing shows throughout the past years but never really got going with new songs. At some point we decided that it was time for a new album, so we sat down and played riffs that we had from before as well as many new riffs and started putting them together which really sparked our motivation. That really gave us a push! We feel that this is the best album so far in many years and I think you can hear it on the album!"
Thematically, the will and determination to back up such words with fantastic songs is reflected in the powerful album title and part of the concept of the record as guitarist Nico Elgstrand describes:
"A lot of the album is about being at war in different ways and struggles/shortcomings of mankind, so we felt that "Back To The Front" fitted really well. It has a military reference obviously and we also feel like a platoon (ha ha, a small platoon) that has been behind the frontlines for a long time anxious to get back into battle. Not mean and lean but rather fat and bored and really keen on getting back to what we do best, which of course is to kill! Metaphorically speaking needless to say, ha ha. Also it is a very direct way of saying we've been away for way too long, we know and that we will now aim to stay at the front until the friggin' battle is won! The cavalry has finally arrived if you will (without horses though, ha ha)!"
Well spoken, Sir, yet expectations will be incredibly high on this one as ENTOMBED's roots and legacy goes way back into the year 1987 when they formed under the name NIHILIST. In 1989 the formation changed its name to ENTOMBED and together with Morbid (for whom singer LG played drums), Treblinka/Tiamat, Grave and Dismember, ENTOMBED/NIHILIST established themselves among the earliest bands to forge the immortal Swedish death metal sound that became really popular and unique due to its punkish roots and especially that chainsaw guitar sound, today inseparably linked to terms like "Skogsberg", "Sunlight Studio" or just "Stockholm sound". Inspired by such diverse acts as Autopsy, Motörhead, Discharge or Kiss, over the years ENTOMBED did not shy away from thinking outside of the coffin resulting in a style some fans called Death'n'Roll but in the end it was, is and will be just a band with a style and impact entirely their own.
So, what awaits the listener on "Back To The Front"? Produced by Roberto Laghi (In Flames, Hardcore Superstar) at Studio Bohus (Abba, Europe) in KunÄlv, it's 666% true to the ENTOMBED everybody loves. While not falling for total regression back to the early classics "Left Hand Path" or "Clandestine", it is a total bone-crushing opus that will have fans of all periods cry tears of joy and even the most stubborn fan of the early days join in shame. "The goal was to have riffs that felt fresh and exciting, to make an album that felt old school as well as fresh and up to date, showing who ENTOMBED are today," L-G puts it quite simply and Nico continues: "I thoroughly enjoy the fact that I find it super hard to pick 2 or 3 songs as the best of it, because i really like 'em all. I think that they all have something new and fresh yet it feels very old school in some way. "Kill To Live" with its surprising ENTOMBED-intro turned out very cool and the track also has an almost cinematic yet classic metal feel to it, dunno why, but it just invigorates me. "Second To None" kinda makes me wanna drive a tank while listening, and that to me is how proper metal should sound! It makes you wanna do mighty things so to speak!"
From the morbid, pissed-off lyrics over detuned, massive riffs to the inimitable brick-heavy groove and LG Petrov's titanic roar, "Back To The Front" not only musically but also visually with its stunning painting by Necropolitus Cracoviensis Zbgniew Bielak II (Watain, Ghost, Vader) seems to send a respectful nod to the old school as L-G confirms: "The skull will always be a part of ENTOMBED. I totally agree, we have taken away some of the rock parts and gone with more metal, and I think fans new and old will appreciate that."
With European touring under way in December with label mates and black metal genre leaders WATAIN - vocalist Erik actually penned lyrics for the song "Carnage" (from "When In Sodom" EP, 2006) - and former band member Nicke Andersson contributed parts to the new song "Vulture And The Traitor", the Swedish metal platoon ENTOMBED anno 2013 has all its weapons polished and reloaded and is ready to shatter the entire music scene with an uncompromising full frontal assault. So, let us all enjoy "Back To The Front" and celebrate the fact that the legend called ENTOMBED has finally returned. Goddamn!1. Kill To Live
2. Bedlam Strike
3. The Underminer
4. Second To None
6. Waiting For Death
7. Eternal Woe
8. Digitus Medius
9. Vulture And The Traitor
10. Pandemic Rage
11. Soldier Of No Fortune$19.99Vinyl LP - Sealed Buy Now
Covered In Black
And they are glorious, beautiful. Sounding a bit like She &
Him might were they produced by Sufjan Stevens - to create a
sort of She & She & She & She, they are four alt-pop Brontës
who beam right into your stereo like a comforting aural torch
you never need to buy batteries for. - Drowned In Sound
"Best referenced midway between the Bangles and Go-Gos in
terms of a girl group approach, there's a kind of slacker
sensibility at work here, one that never muffles the drive or
conviction. I was meant for something more, Cottingham
sings on the final track, aptly entitled Anything and indeed a
lyric has never sounded so true." - Blurt
Precociousness always catches its observer off guard; we are
witness to a stubborn incongruity, a disproportionate relationship
between limited years and elevated levels of skill, insight, or
vision. It confounds common experience, and we wonder. When
Ortolan's debut album Time On A String was released in 2010,
three quarters of the family foursome were yet under drinking
age. Along with copious kudos given to the quality of the music
and the maturity of the songwriting, every single review made
mention of their age. Wonder indeed.
What may be the greater marvel though, is when a nascent talent
starts to grow into itself; when prodigious promise begins to
deliver something beyond spectacle, when it begins to nourish
those who are witness to it. Such is the case with Ortolan's latest,
Covered In Black.
The pulse at the heart of Ortolan's music has always been
Stephanie Cottingham's voice, a curious combination of
innocence, wisdom, and wit (all rare commodities in the greater
landscape of popular music today). These beguiling qualities
remain, but here her voice is imbued with a greater richness. The
bandwidth of color, hue, and shade has widened; the reds are
redder and the blues are bluer. Even more significant though, is
Cottingham's development as an interpreter of her own songs.
Her voice remains a thing to behold, but in the tradition of Kitty
Wells, Etta James, or Emmylou Harris, she is becoming a
storyteller. Each note is now is its own scene in a greater drama.
Each vocal push and lilt tells of loss and love, fear and
As much as Ortolan is about Stephanie Cottingham's voice and
songwriting, it is about family, and the picture is incomplete
without the powerful presence of Jill (keys), Briana (bass), and
Lara (drums). Floor toms drum and drive, strumming guitars
strum and strum faster, basses rock and keyboards swirl and
swoop. Their commitment to one another is palpable, and is as
important to the music as the notes and rhythms they're playing.
That their voices also join Stephanie's throughout the record is
not insignificant. There is an excess of animosity in the world: so
much time is spent competing, resisting, debating, conflicting,
arguing. There is something so vital and humane in joining voices
for once, in unison. One of the simplest and most powerful
activities of human beings is singing together, and this is a
central ingredient to Ortolan's music and life. Nothing is
pretended-it's what they do: voices are raised and raised
together -- to cry, to question, to pray, to laugh, to celebrate.
The color black is achieved through the mixing of different
paints and opposing pigments; as such, black represents the
presence of color, not the absence of it, and Ortolan's latest is
covered in it.1. Bottle's Broken
2. Holding This Fire
3. Votes Are In
4. Covered In Black
7. Green Were The Days
8. You Don't Know
9. Above The Mountain
10. Miles$18.99Vinyl LP - Sealed Buy Now
Master & Dynamic MH30 Headphones - Black
Have a question about this product? Please email our
style=color: rgb(0, 0, 255); >audio advisor or call 1-877-929-8729 with any questions or concerns regarding your
Our MH30 On Ear Headphones are designed to be a more mobile thinking cap - they go where you go. Our MH30s are foldable and part of the everyday creative toolkit for those whose surroundings are ever-changing.>
Heavy Grain Premium Leather
Heavy grain premium cowhide on headband exterior surface, soft lambskin on headband interior.
Stainless Steel Components
Stainless steel components in all high strain areas including the foldable hinges.
Custom Neodymium Drivers
40mm Neodymium High-Performance Drivers.
Forged Aluminum Body
Built for decades of use.
Heavy Duty Woven Cables
Oxygen-free copper to ensure pure sound and reduced noise.
Durable Anodized Finish
We don't use paint: all metals are anodized or PVD (physical vapor deposition) coated for superior durability.
Genuine Lambskin Ear Pads
Memory foam, wrapped in lambskin, providing superior comfort and breathability, removable for cleaning or replacement.
This item is not eligible for discount.$329.00Master & Dynamic MH30 Headphones - Black Buy Now
Throwing Copper (Black Vinyl)When Live's Throwing Copper was released in 1994, it lingered in the bottom of the album charts for a few months before the alternative music lovers finally caught on. And then they played a massive game of catch-up: Throwing Copper yielded worldwide radio hits like "I Alone", "All Over You" and "Selling The Drama" which eventually partially defined the sound of the nineties. Ed Kowalczyk's spiritual lyrics and passionate delivery resonated with millions of fans, positioning this band as one of the sincerest and most sophisticated bands from the era. Listening to Throwing Copper throws a lot of us back to the days of baggy pants, painted dreadlocks and pogoing like there's no tomorrow.1. The Dam At Otter Creek
2. Selling The Drama
3. I Alone
5. Lightning Crashes
7. All Over You
8. Shit Towne
12. Pillar Of Davidson
13. White, Discussion
14. Horse$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
REDD-SUN-8719xEric Burdon & The Animals
Winds Of ChangeReeling from poor management decisions and inter-band strife, The Animals fell apart toward the end of 1966. Seeking a rebirth, lead vocalist Eric Burdon relocated from London to California. There, Burdon assembled a new Animals lineup, retaining only drummer Barry Jenkins from the previous incarnation. Now known as Eric Burdon and The Animals, the group immersed themselves in the psychedelic culture of San Francisco and their sound followed suit. Informed by his inaugural acid trip, Burdon led his bandmates through a fresh, decidedly lysergic interpretation of American blues. While the original group had largely performed songs written by others, The New Animals began composing as a group.
The prophetically titled Winds of Change, released in September 1967, offered ten stellar examples of this new songwriting approach, along with a heavy cover of The Rolling Stones' "Paint It Black." Lead single "San Franciscan Nights" encapsulated the Summer of Love in what became a top ten hit for the new band (and helped get them on the bill for the seminal Monterey Pop Festival).1. Winds Of Change
2. Poem By The Sea
3. Paint It Black
4. The Black Plague
5. Yes I Am Experienced
6. San Franciscan Nights
8. Hotel Hell
9. Good Times
11. It's All Meat$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
MUSD-MFSL-0069xSisters Of Mercy
First And Last And AlwaysNumbered Limited Edition
Paint It Black: 1985 Debut Is Penultimate Goth-Rock Album
Andrew Eldritch's Ghostly Vocals, Static Beats, Melodic Guitar Jangle Create Hauntingly Atmospheric Soundscapes
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP
The template for all goth-rock records that followed, Sisters of Mercy's First And Last And Always stands as one of the-if not the most-influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.
Ever since it's release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.
Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking Possession, dramatic Some Kind of Stranger, and desperate Marian remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.
It's unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.
This title is not eligible for discount.1. Black Planet
2. Walk Away
3. No Time to Cry
4. A Rock and a Hard Place
5. Marian (version)
6. First and Last and Always
8. Nine While Nine
9. Amphetamine Logic
10. Some Kind of Stranger$24.99Vinyl LP - Sealed Buy Now
Charlie Watts Meets The Danish Radio Big BandBefore Charlie Watts became the best-known drummer on the planet with The Greatest rock 'n' Roll Band in the World he lived for a few months in Denmark. According to English trumpeter and flugelhorn player, Gerard Presencer, who is also a member of the Danish Radio Big Band, it was something he only found out about by chance when he and Charlie talked on the telephone in 2009
"I landed a job with Danish Radio Big Band in 2009. A week or two after arriving in Copenhagen I got a call from Charlie. Later the idea dawned upon me for a return to his Jazz days over here after nearly 50 years. I spoke with my boss at the Danish Radio Big Band and went about putting this live project together. We agreed upon a week in Copenhagen in October 2010."
They rehearsed for 4 days, then played a concert on the fifth day at the newly opened Danish Radio Concert Hall in Copenhagen. This concert was recorded for broadcast by Danish National Radio. Charlie and his long-time bassist Dave Green went to record shops and strolled around the city, with no need for security guards. Charlie made it clear that he did not want to be placed on a big riser above the band, as he found that this did not help the musicians to bond.
In choosing the material, it was important to focus on the groove. According to Prescencer, "Having Dave Green on bass as special guest was an essential ingredient, as these two boyhood friends (next door neighbours growing up in Wembley, North London) have unspoken psychic connections that bassists and drummers, so there are times on this recording where their abundant empathy makes the rest of the band comfortable enough to really play out and take chances."
The album includes seven tracks, including two Mick and Keith compositions, 'Paint it Black' and 'You Can't Always Get What You Want', both arranged by Prescencer and another one, 'Faction' that is based on another Stones' classic. There are also two by Charlie himself, both written with fellow drummer Jim Keltner.
A day or two after the broadcast Prescencer began to think that the concert was so good it deserved to be heard more widely. "The Danish Radio needed very little convincing to hand over the recordings to me to work on, as well as Søren Frost our regular drummer and rhythm section consultant from the big band and the brilliant recording engineer, Lars C. Bruun. So, after several years work on this, we have produced this collection of music from our gig."
Charlie Watts meets the Danish Radio Big Band is the kind of album that many jazz fans had probably given up hope of hearing. In the glory days of big band jazz and arrangers like Oliver Nelson coming up with brilliant music, albums like this were, if not commonplace, at least more readily available. The truth is there is nothing commonplace about this album, it is a sheer delight.
Anyone who knows Charlie, knows how much he loves jazz. A few years ago when he and I were looking at a photo of the Stones playing in the 1960s he pointed at a particular cymbal and said, "I've still got that cymbal, but I don't use it on Stones' gigs, it's too good for them. I just use it on my jazz gigs." There's no doubt, that's the cymbal you hear on the first part of the 'Elvin Suite'.
Charlie Watts is one of the great ambassadors for jazz and every jazz lover will relish this record, and the fact that Charlie is involved may bring jazz to the attention of some that are not sure if they like jazz. Listen to this and you know you do.1. Elvin Suite - Part 1
2. Elvin Suite - Part 2
3. Faction (AKA Satisfaction)
4. I Should Care
5. You Can't Always Get What You Want
6. Paint It Black
7. Molasses$25.99Vinyl LP - 2 LPs Sealed Buy Now
Limits Of DesireLimits of Desire is SmallBlack's most accomplished album yet. It's a crystalline realization of a sound they've
been building toward since their self-titled EP in 2009. Now a full-time four piece, Josh Hayden Kolenik
(keys, vocals), Ryan Heyner (guitar, keys, vocals), Juan Pieczanski (bass, guitar) and Jeff Curtin (drums,
percussion), the band have moved way beyond the hazy home recorded sound of their previous releases
toward a full-fledged, but still self-produced, clear approach. Where 2010's New Chain was a lesson in
maximalist pop, Limits of Desirefindsthe band trimming theirsound to the essentials, yet hitting new and
unexpected heightswith the addition of live drums, electric guitar and trumpet to the existing Small Black
Tonally the songs sweep and glide over lush keys, bolstered by lyrics that illustrate the semi-abstract
moments of lost opportunities and misread signs, hinted at by the coverimage.The title trackwhirlssoftly,
and channels luminaries Tears for Fears and The Blue Nile, anchored by Pieczanski's punchy bass as
Kolenik sings: "Otherlives droned/ farfrom the grasswhere Ilay/ each eye stared out the oppositeway."As
much as the record is about looking for deeper connections, it's also about avoiding real life, if only for a
moment-getting out of your own head just long enough to calm down and find perspective.
"Free At Dawn" and "No Stranger" do what fans have come to love Small Black for, only better. They're
smart pop bangerstingedwith a specific brand of melancholy thatslowly build to night-affirming climaxes.
While Breathless" ups the tempo, over synth stabs, with lyrics that tackle apathy and uncertainty with
catchy grace: "I'm standing in tomorrow'sway/ future'sfine/least itseems okay." It paints a concise portrait
of a generation strugglingwith unlimited freedom and malaise.
The band builds on a rich history of synth pop by making a thoroughly modern album, on both the front
and back end. One that seeks out cohesion, connection and calm in a world that won't sit still. Limits of
Desire doesn't attempt to provide any solutions, but coming to terms with not finding the answers feels
infinitely more fruitful.Free At Dawn
Only A Shadow
Limits Of Desire
Outskirts$17.99Vinyl LP - Sealed Buy Now
All Or Nothin'For her hotly anticipated sophomore album Nashville
songstress Nikki Lane teamed up with Dan Auerbach
of the Black Keys for a record that turns the vulnerable
singer-songwriter stereotype on its ears. With songs
that crucify ex-boyfriends, celebrate one-night stands
(as long as she can bolt town right after) and proclaim
it's "always the right time to do the wrong thing," Lane
comes across like a modern-era Wanda Jackson, albeit
with more oats to sow. "My songs always paint a pretty
clear picture of what's been going on in my life, so this
is one moody record," she says. "There's lots of talk of
misbehaving and moving on."1. Right Time
2. Good Man
3. I Don't Care
4. You Can't Talk To Me Like That
5. Seein' Double
6. Love's On Fire
7. All Or Nothin'
8. Sleep With A Stranger
9. Man Up
10. Out Of My Mind
11. Wild One
12. Want My Heart Back$19.99Vinyl LP - Sealed Buy Now
Loving Vincent (Original Soundtrack Album)Pressed On 180-Gram Yellow Vinyl
Housed In Packaging Designed By Director Dorota Kobiela
"Loving Vincent" is the upcoming biographical animated film from newcomer directors Dorota Kobiela and Hugh Welchman. The movie follows Armand Roulin (Douglas Booth), the son of an acquaintance of Vincent van Gogh, as he attempts to deliver a letter from the painter following van Gogh's death. Armand soon finds himself retracing the steps taken by Vincent in his final days in an attempt to unravel the mysterious circumstances surrounding his death. A film unlike any other, "Loving Vincent" is entirely hand painted - each of the movie's 65,000 frames is an oil painting on a canvas created using the same techniques as Vincent van Gogh.
In addition to being a wonder for the eyes, "Loving Vincent" is a treat for the ears. Scoring duties fell to English composer Clint Mansell (Requiem For A Dream, Black Swan), who has crafted a masterpiece. Somber yet driven, Mansell's compositions are filled the swell of mournful strings pocked with delicate, deliberate notes in countermelodies. A perfect companion to the story of dreadful loss and resigned understanding, "Loving Vincent" demands to be heard. A beautiful rendition of "Starry Starry Night" performed by Lianne La Havas that serves as the film's credit song is also included.1. The Night Cafe
2. The Yellow House
3. At Eternity's Gate
4. Portrait Of Armand Roulin
5. Marguerite Gachet At The Piano
6. Still Life With Glass Of Absinthe & A Carafe
7. The Painter On His Way To Work On The Road To Tarascon
8. Five Sunflowers in A Vase
9. Wheatfield With Crows
10. Thatched Roofs In Chaponval
11. Blossoming Chestnut Trees
12. The Sower With Setting Sun
13. Starry Night Over The Rhone$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
White Light / Love Of (Deluxe Box)
White Light 2xLP Set
Love Of Life LP
CD Of Outtakes And Contemporaneous Live Material
The two albums are presented with the original restored artwork, which includes paintings by Deryk Thomas. The 2500 micron black lined box - with original logo in silver foil block in black paper - will also include 2 rare posters, a CD of outtakes and contemporaneous live recordings.
White Light from the Mouth of Infinity: Swans' seventh studio album originally released in 1991, is considered the starting point for the second section of Swans' inimitable history. Described as " the glistening, glimmering sounds of the pensive countryside" by Stereogum, this will be the first time White Light from the Mouth of Infinity has been available on vinyl since its original release on Young God Records in 1991. The vinyl issue will include the track 'Blind', not included in the original release.
Love of Life: the band's eighth studio album, followed soon after in 1992. According to Allmusic's Ned Ragget, "Love of Life continues the astounding creative roll Swans found themselves on yet another Swans masterpiece. The vinyl version of this album has also been unavailable since its original release.White Light from the Mouth of Infinity
1. Better Than You
2. Power and Sacrifice
3. You Know Nothing
4. Song for Dead Time
5. Will We Survive
6. Love Will Save You
2. Song for the Sun
3. Miracle of Love
5. When She Breathes
6. Why Are We Alive
7. The Most Unfortunate Lie
Love of Life
1. (---) Pt. 1
2. Love of Life
3. The Golden Boy That Was Swallowed by the Sea
4. (---) Pt. 2
5. (---) Pt. 3
6. The Other Side of the World
8. The Sound of Freedom
9. (---) Pt. 4
12. (---) Pt. 5
13. In the Eyes of Nature
14. She Cries (For Spider)
15. God Loves America
16. (---) Pt. 6
17. No Cure for the Lonely
1. Amnesia (Long)
2. Song for Dead Time (MG Version)
3. You Know Everything
4. Mother's Milk
5. The Child's Right
6. Love of Life (Short)
7. Unfortunate Lie (Inst. Version)
8. No Cruel Angel
9. Black Eyed Dog
10. Love of Life (Long)
11. Picture of Maryanne
12. Amnesia (Live)
13. Dream Dream
14. Please Remember Me
15. Drink to Me Only With Thine Eyes
16. The Unknown
17. Blood on Your Hands
18. A Young Girl Needs$59.99Vinyl LP Box Set + CD - 3 LPs Sealed Buy Now
Profan (Yellow Vinyl)Yellow Colored Vinyl
Kampfar presents the fiercest and most intense recording of their career. Since its first conception in 1994 with folk and classical music influences, via the colder winds on Kvass, the band has kept on renewing, and elevated into the black metal authority that reaches its peak on "Profan". Songs like "Pole In The Ground" and "Profanum" hearken back to the vibes of the early 90s black metal while keeping the edge of 2015 Kampfar, while slow burners like "Daimon" and epic album closer "Tornekratt" shows that Kampfar can go deep down and still deliver such intensity that few in the world of metal can match.
Visually the band has chosen to go back and acquire several paintings by Polish master Zdzisaw Beksiski. "What Kampfar captures with sound is an essence that we have only seen mirrored in Beksiski's work, and thus it is only natural to use his art to front our music." - Ask Ty (Drummer). "Profan" is a fitting end to a long journey through nature's magic, the power of perseverance in the face of gargantuan forces, and finally acceptance that there is no such thing as resolution.
To paraphrase from the words spewed in "Skavank", there will be: 'no prayers, no prophecies, no hymns, no rituals, no life'.' But there will be fire.1. Gloria Ablaze
6. Pole In The Ground
7. Tornekratt$32.99Colored Vinyl LP - Sealed Buy Now
The Hunt Begins2007: The cover art of the first record Sacred Bones ever released depicted an
androgynous wild banshee wearing warpaint, clad all in leather and animal
bones, holding a sacrificial knife pointed at the sky. This debut single was The
Hunt's lone statement. The songs were a visceral pulsation, etched in echo.
The band appeared veiled in black scarves, painted faces bringing in devotees of
the waves of old: post punk, darkwave, deathrock and the like. The sick fiends
that followed, followed to the end; as bright as their flame shone, as dark was
their demise. London, structure fires, and mental institutions all played a part in
the downfall of the originators of 21st century redskin darkwave.
2009: After multiple tumultuous attempts at recording a full length The Hunt
decamped to their collective hometown, Boston, to record the ultimate
document of their time on earth. Buses begat buses, couches begat couches, and
slowly the songs began to come together as they should have all these passing
years. On the edge of perfection their time was cut short and this document sat
for years, untouched by human hands.
2013: The Hunt lives on. In honor of both the first and one hundredth release,
we will finally see and hear the toils of New York's most enigmatic post
punk band of recent. Ian Danger, percussive wunderkind; Mike O'Brien, whose
four strings drew blood nightly; Christian Kount, master of negative space;
and Jasper McGandy, the man who's hopes for a darker future led them towards
a reality we only now have the honor of witnessing. After all these years the
time has come. The Hunt Begins.1. Mountains
2. Fifteen Minutes
3. Summer of Hate
4. Set the Rising Sun
5. Black and White
8. When The Sky Turns Black
9. One Thousand Nights$18.99Vinyl LP - Sealed Buy Now
Rarely is so much meaning conveyed in the space of six letters. And with regard to Xiu Xiu, its applications are infinite: always relevant, always provocative, always surprising, always evolving, always glittering.
It's fitting, then, that as the band (now comprised of Jamie Stewart, Angela Seo, Bettina Escauriza, Marc Riordan, and returning member Devin Hoff) marks a decade in existence, such a powerful sentiment would serve as the title of its latest album.
At its core, Always symbolizes the mutual camaraderie with and deep dedication to each person who has internalized Xiu Xius work, tattooed its name on their skin or soul, and throughout the past ten years made the band a part of their lives. The origin of these intense, everlasting bonds is Stewart. His fearless lyrics have given voice to life's most untouchable and taboo subjects, while his distinctively committed but hushed vocals crystallize and medicate their unsettling impact.
Those familiar with the band's work will take particular note of the times Stewart re-visits profoundly personal accounts from his own life -- most prominently on Beauty Towne (a not-so-uplifting postscript to the muddle of those depicted in Clowne Towne from 2004's Fabulous Muscles) and Black Drum Machine (which finishes the narrative of incest and molestation begun on Black Keyboard from 2008's Women as Lovers).
Elsewhere, Stewart's willingness to broach any subject finds him confronting both the topical and the intimate in equally meaningful ways: Gul Mudin seeks to bring comfort to an Afghani teenage boy murdered for sport by American soldiers; Joey's Song strives to do the same for Stewart's brother in the aftermath of a family tragedy.
Factory Girls chronicles the sexual objectification and desperate existence of Chinese female, migrant workers. I Luv Abortion, featuring perhaps Stewart's most unhinged vocal ever, careens through the resolute heartache of a friend too young to be pregnant and seeks to personalize this most political issue.
But while such writing is worthy of reverence, Always' most arresting moments lie in its sonic innovation -- transforming avant pop elements from an undertone into a bright black focal point while adding new influences such as choral music, kraut rock and animal field recordings.
Produced by Deerhoof's Greg Saunier (who also contributes drums and vocals to the album) and mixed by John Congleton (Antony and the Johnsons, Marylin Manson, the Roots) the album is positively vibrant.
During recording, Stewart saw a Bible verse spray painted on the wall of his gym. He interpreted the verse to mean, Horror and beauty are the same; love and hate are the same, the tireless dread of our own lives and of living can be embraced with the same fervency as what we find beautiful.
Composed of this essence, the album proves that perhaps the only six letters to carry the same weight as always are these: Xiu Xiu.1. Hi
2. Joey's Song
3. Beauty Towne
5. I Luv Abortion
6. The Oldness
7. Chimney's Afire (Mickensian Suicide)
8. Gul Mudin
9. Born to Suffer
10. Factory Girl
11. Smear the Queen
12. Black Drum Machine$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
GrooveWasher Record Cleaning KitHave a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
I have been using this cleaner since it was released...the results are amazing! This is a must for any record collector and would recommend this to anyone looking for the best way to clean their vinyl records! GrooveWasher...or nothing for me! Christopher Burns
Hands down, the best record cleaner on the market. Levi E.
The GrooveWasher Record Cleaning Kit includes:
- Hand painted poplar wood handle in Red Hot Red or South Beach Green -OR- Solid Milled American Black Walnut handle* with hand rubbed oil polyurethane finish
- One All Purpose Cleaning Pad (Red Base)--with velcro on the base to secure the pad to the handle and allow easy removal for cleaning or replacement.
- One 2 oz bottle of G2 Fluid with mist spray applicator.
- Record label protector mask
- GrooveWasher Record Cleaning Booklet
*The GrooveWasher Starter Kit handle is milled from a single piece of American poplar wood, hand painted with oil enamel. We designed the handle shape to be easy to grip while cleaning your records. Hand crafted in our plant in North Kansas City, MO, USA.
The GrooveWasher G2 Fluid is the result of years of research and testing. The selection of ingredients was guided by the formulations of the D series fluids of the 1970s. G2 Fluid is designed for maximum cleaning effectiveness of the delicate vinyl surface and microgroove. Anti-static action on contact. Honest cleaning to release the honest sound of the recording.
G2 does not fix scratches or scuffs. Once the analog signal in the microgroove is lost, nothing will recover it.
A two ounce spray bottle has more than 300 fine mist sprays. Enough to clean both sides of 50 records! (YMMV). 2 oz-4 oz Combo Fluid Packs and 8 ounce refill bottles are available for separate purchase.
Some vinyl record cleaning fluids on the market today are plain distilled water. Or worse, have a high level of alcohol which is an ineffective cleaner and can harm vinyl records. Some can leave a layer in the microgroove that reduces sound fidelity.
G2 Fluid Contains:
- Surfactants: State of the art surfactants, designed to dissolve the oils from fingerprints and effectively clean the vinyl record's delicate surface.
- Super wetting agents:A specialty chemical combined with a blending agent that reduces the fluid's viscosity so it can penetrate to the bottom of the microgroove and spread the G2 Fluid across the record evenly.
- Emulsifiers: Holds the oils, dirt, mildew and microdust particles in suspension until the microfiber fabric cleaning pad absorbs and pulls the contaminants from the record surface. The emulsifiers restore the record's natural shiny surface.
- Purified, deionized water: Deionized water is the best carrier for the active cleaning ingredients and eliminates static electric charges on the record's surface on contact.
Cleaning Pad Design & Science
The GrooveWasher cleaning pads feature the highest quality split microfiber and other absorbent fabrics. These fabrics are effective in removing the contaminants borne in the G2 Fluid from the record's microgroove. The velcro backed pad design allows the pad to be washed or replaced. The cleaning pads are hand made in our plant in North Kansas City, MO, USA.
Record Cleaning Instruction Booklet
Each GrooveWasher Starter Kit includes an Instruction Booklet with helpful information on record cleaning and using the GrooveWasher System.
GrooveWasher is the best manual record cleaner on Earth. And likely Mars and Jupiter too. Nate Goyer, The Vinyl Guide Podcast
Designed and hand crafted by GrooveWasher in North Kansas City, MO, USA$32.99Record Cleaning Kit - 3 Colors Available Buy Now
- Hand painted poplar wood handle in Red Hot Red or South Beach Green -OR- Solid Milled American Black Walnut handle* with hand rubbed oil polyurethane finish
Let's Dance Raw
Japanese Singer-Songwriter, Multi-instrumentalist's
Follow-up To 2012's How To Live With A Phantom
Japanese singer, songwriter and multi-instrumentalist Shintaro
Sakamoto returns with a new full-length, Let's Dance Raw, which
Other Music Recording Co. (distributed by Fat Possum) releases on
September 16. The album is the follow-up to Sakamoto's solo debut,
the otherworldly folk-pop masterpiece How to Live with a Phantom
(2012, Other Music).
While How to Live with a Phantom was the first many around the
globe knew of Sakamoto, he has long been an icon in his homeland,
having long fronted the psychedelic phenomenon Yura Yura Teikoku,
a Tokyo-based band that emerged from Koenji's legendary UFO
Club scene and, across their 20-year trajectory, achieved mainstream
success throughout the country. Following the group's break-up in
2010, Sakamoto began working on How to Live with a Phantom, a bold
stylistic departure that eschewed Yura Yura Teikokou's psychedelic
freak-outs for a much quieter and harder-to-define sound.
From first glimpse of the cover of Let's Dance Raw, it's clear that
once again, we are entering uncharted territory. The record's sleeve,
painted by Sakamoto, features the artist sitting upon a black throne,
a steel guitar resting on his knee like a child being protected from
the ominous mushroom cloud of smoke billowing behind him.
A grinning skull has replaced Sakamoto's face. This dichotomy of
bright, innocent beauty and subtle perversity is the essence of Let's
Dance Raw, with Sakamoto moving even further from the tough
underground power-trio psychedelic rock of his former band.
He hinted at the new sound throughout his solo debut, and here
the music is blown wide open, with the steel guitar as the unifying
force throughout. Sakamoto purchased and learned how to play the
instrument just prior to writing and recording Let's Dance Raw, and
it enriches the post-apocalyptic exotica on these ten songs, fusing
together the bright and breezy shimmer of Hawaiian slack-key hula
melodies, the dusty shuffle of southwestern desert blues, and the
space-age bachelor-pad music of postwar suburban dreamers. The
result is an album that revisits the soundtracks of musical escapism
made popular in postwar American and Japanese cultures-and
deftly updates them.
It's all anchored by deep, jazzy grooves straight out of a 1970s
AM radio broadcast, and peppered with flourishes of Brazilian and
Latin percussion throughout. Atop the music, Sakamoto sings of the
human race's downfall, the weight of the lyrics made contrastingly
perverse via duets with robotic vocoder voices and helium-voiced
cartoon chipmunks cooing in an unsettling fashion alongside him.
While Sakamoto once again handles the bulk of the instrumental
duties, faithful drummer and percussionist Yuta Suganuma also
returns for this set, as well as bassist AYA, on loan from fellow Japanese
psychedelic explorers OOIOO.1. Future Lullaby
2. Birth Of The Super cult
3. Extremely Bad Man
4. Let's Dance Raw
5. Like An Obligation
6. Gently Disappear
7. You Can Be A Robot, Too
8. Why Can't I Stop?
9. Never Liked You, But Still Nostalgic
10. This World Should Be More Wonderful$17.99Vinyl LP - Sealed Buy Now
Time Out (Out Of Stock)Virtually all serious and even casual music lovers ought to be familiar with, or at least are likely to have heard The Dave Brubeck Quartet, even without realizing it - for the quartet's best-known hit "Take Five" has graced the soundtracks of multiple films, including "Mighty Aphrodite," "Pleasantville" and "Constantine."
The piece is famous for its distinctive, catchy saxophone melody, as well as its use of unusual 5/4 time - so distinctive, it's a rare jazz track that became a pop hit.
Including the monster hit "Take Five," the Brubeck Quartet's Time Out is a jazz and audiophile classic. Every album collection needs a copy. And now, cut at 45 RPM on 200-gram premium vinyl, pressed at Quality Record Pressings, Analogue Productions brings you the definitive copy.
Why definitive? The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. But it's more than just the vinyl that makes this release so special. For the first time in its history, Time Out is presented here packaged in a deluxe gatefold jacket. Inside are eight fantastic black and white images shot during the recording session at Columbia's famous 30th Street Studios.
The jacket is also special - very heavy-duty. It's produced for us by Stoughton Printing featuring a printed wrap mounted to a heavyweight chipboard shell, producing an authentic "old school" look and feel. This jacket is a beauty! Never has Time Out's colorful iconic cover art looked so vibrant.
The record label's sales executives didn't want a painting on the cover when Time Out debuted in 1959 on Columbia Records, Brubeck told an interviewer. An entire album of originals? That wouldn't work either, he was told. Some standards and some show tunes were needed in the mix. Fortunately, Brubeck ignored the conventional wisdom and Time Out became the original classic we know it as today. Brubeck became proof that creative jazz and popular success can go together.
The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State-sponsored tour of Eurasia. In Turkey, he observed a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music.
Paul Desmond, who was Brubeck's alto saxophonist, wrote "Take Five," at Brubeck's urging to try and write a song in quintuple (5/4) time.
"I told Paul to put a melody over (drummer) Joe Morello's beat," Brubeck explained. As a jazz pianist, Brubeck became a household name in jazz in part due to Time Out's success. Demond's cool-toned alto and quick wit fit in well with Brubeck's often heavy chording and experimental playing. Morello and bassist Gene Wright completed the group. The Quartet traveled and performed constantly around the world until breaking up in 1967 to pursue other musical ventures.
Time Out peaked at No. 2 on the Billboard pop albums chart and was certified platinum by the Recording Industry Association of America. "Take Five" became a mainstream hit, reaching No. 25 on the Billboard Hot 100, and No. 5 on Billboard's Easy Listening survey, the precursor to today's Adult Contemporary charts. The song was included in countless movies and television soundtracks and still receives significant radio play.
- 45rpm 200g Vinyl
- Double LP
- Pressed at Quality Record Pressings
- First time Gatefold jacket
- Rare black & white photos from Columbia Studios recording sessions
- Heavy-duty chipboard shell stock by Stoughton Printing
- Cut by Bernie Grundman
- Dave Brubeck, piano
- Paul Desmond, alto saxophone
- Joe Morello, drums
- Gene Wright, bass
This title is not eligible for discount.1. Blue Rondo A La Turk
2. Strange Meadow Lark
3. Take Five
4. Three To Get Ready
5. Kathy's Waltz
6. Everybody's Jumpin'
7. Pick Up Sticks$54.99200 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
I Know What Love Isn'tTracey Thorn wrote a song that reached Jens Lekman in the early stages of his new album, I Know What Love Isn't. In her song she sang Oh Jens, oh Jens/your songs seem to look through a different lens/you're still so young, love ends just as easy as it's begun. A touching moment for the Swedish songwriter, having been a fan since his teens. But it came to him in a time when he found himself very confused and in doubt. He was changing and, subsequently, so were his songs. They weren't looking through that lens anymore.
I Know What Love Isn't came out of a break up, something Jens didn't see as worth writing about at first. The songs began more fleeting than the last go around, on his 2007 album Night Falls Over Kortedala. The songs began building from images and memories and soon began to take their own route, one that Lekman wasn't privy to their destination.
In The World Moves On he paints a picture of a sweltering summer in the city of Melbourne where he lived while writing and recording the album. The hot days that led up to the Black Saturday bushfires, but also more mundane images of feeding possums in a park or getting in trouble with some guy on a scooter. It seems to lead nowhere at first but the aimlessness in itself reaches heartbreaking conclusions later on, summed up by the soaring chorus and you don't get over a broken heart, you just learn to carry it gracefully. Like Joan Didion once said that she writes entirely to find out what she's thinking, Jens wrote until he caught up with his thoughts. And of course they led him right back to the break up.
Musically, I Know What Love Isn't chooses an economic route. From the vast palette he created for Kortedala, he's only chosen a few somber colors this time around. There are strings but not a string section, an upright piano and not a grand, a single saxophone and gracenotes from a flute. The songs are lighter, almost aerodynamic, Jens explains, I wanted the songs to take off almost unnoticeably, where the chorus is separated from the verse only through a small detail like a tambourine or a harmony. Like when you're in an airplane taking off and you look out the window and realize you're already in the air.
A dry country piano makes Become Someone Else's lift high. Vocals from Melbourne singer Sophie Brous makes the chorus in Erica America soar. Strings pick up the title track and send it up to the sky without much effort or force. In the latter, Lekman once again points the way to distill essential truths from every day life vignettes while singing about a sham marriage. I thought of the Friday nights when I'd be cruising up and down the street with my best friend in her old crappy Holden, talking about getting married to get me into the country.
The idea was so appealing, that we would build this constructed relationship around a purpose rather than some vague feeling that could change at anytime. But in the end, the sham marriage is much too great a story to be kept secret. At least when you make a living from telling stories. And that's what I Know What Love Isn't is. A collection of songs that grew to a story that had to be told. A story that is not new, but essentially human. The story of the grey areas of love that you have to excavate and explore, using the method of exclusion, to find out what love is.1. Every Little Hair Knows Your Name
2. Erica America
3. Become Someone Else's
4. She Just Don't Want To Be With You Anymore
5. Some Dandruff On Your Shoulder
6. I Want A Pair Of Cowboy Boots
7. The World Moves On
8. The End Of The World Is Bigger Than Love
9. I Know What Love Isn't
10. Every Little Hair Knows Your Name$17.99Vinyl LP - Sealed Buy Now
Hollow BonesHollow Bones, the most anticipated blues rock album of the year from Long Beach, California's Rival Sons will finally be upon us! Having supported some of the biggest and best names in rock history, including being hand-picked to support Black Sabbath on their final world tour, following sold out tour after sold out tour, and just recently being added to the main stages at Europe's premier festivals such as Download, Hellfest and Rock Am Ring, the Rival Sons hype train continues to gain momentum, and Hollow Bones will surely propel them to their rightful place at the pinnacle of today's rock scene!
Arguably the most soulful voice in rock music today, Jay Buchanan's vocal performance on the album is as fiery and passionate as ever. Infused perfectly with Scott Holiday's fuzzy guitars, a powerful bassline courtesy of Dave Beste, and held together by the precise drumming of Mike Miley, and the two-times Grammy award winning talent of producer Dave Cobb, the lead single, Hollow Bones, Pt. 1 and the electrifying anthem Pretty Face encapsulate the harmonious blend that we've all come to know and love, now further refined and perfected to create a unique, timeless sound that sets the band apart.
Of course, no Rival Sons album would be complete without a heartfelt tune or two, provided here by the raw, dark Fade Out, which showcases the band's immense songwriting capabilities with haunting melodies and a touch of wistful melancholy. The final track, All That I Want, is an incredibly tender, touching finale, with the guitars this time taking a backseat allowing Jay Buchanan to deliver a breathtaking performance that'll tug at your heartstrings in a way that only he can. The man himself offers his own views on their latest work:
Each record we've made has been part of a distillation toward revealing the band's essence. This record, finally is the release of the unapologetic, wild beast that has long lived within the ribs of Rival Sons howling to be freed.
In keeping with a theme the band have touched upon several times, the stunning album artwork comes courtesy of renowned Brooklyn-based artist Martin Wittfooth, who's exhibited extensively in galleries and museums throughout North America and Europe. This particular piece, entitled Rainsong, is an oil-based painting featured in his latest solo exhibition, Offering, which was displayed at the famous Jonathan LeVine Gallery, New York in late 2015.
Through his work, Martin Wittfooth has presented a dystopian world, devoid of human life and filled with strong symbolic implications that the root cause is our own disrespect for the natural world. In contrast to some of his earlier work, which have often featured creatures removed from their own natural environments and instead surrounded by trash and decay, Offering explores the ancient art of shamanism, demonstrating a more optimistic view that perhaps its current revitalisation can peel away the materialistic obsessions through which we are collectively destroying our planet. In Martin Wittfooth's own words, the reemergence of shamanism appears to be having a great impact on consciousness around the globe by severing individual attachments to the ego-driven, ideology-based monotheistic modality that has shaped so much of the human enterprise over the past millennia.1. Hollow Bones, Pt. 1
2. Tied Up
3. Thundering Voices
4. Baby Boy
5. Pretty Face
6. Fade Out
7. Black Coffee
8. Hollow Bones, Pt. 2
9. All That I Want$17.99Vinyl LP - Sealed Buy Now
Another Side Of Bob Dylan (Mono) (Pre-Order)Dylan's Second 1964 Album Expands Songwriting Themes and Adds Levity
Mono 2LP Mastered from the Original Master Tapes: Strictly Limited to 3,000 Copies, Vinyl Delivers Whimsical Feel, Surrealist Lyrics, On-the-Fly Fluidness in Sound Dylan Intended
Includes I Shall Be Free No. 10, It Ain't Me Babe, My Back Pages, Chimes of Freedom
The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Experienced in mono, Another Side of Bob Dylan is all that and more.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's 180g 45RPM 2LP set illuminates Dylan's emotional condition - he laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if he's stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfection - with microscopic accuracy and unparalleled directness. The preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, this mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album - making the mono mix all the more historically valuable and truthful.
The uninhibited joie de vive is discernible in the rattling piano lines on Black Crow Blues, seemingly subconscious ramble of the hysterical folk rhyming of Motorpsycho Nightmare, bluesy dream sequencing throughout I Don't Believe You, and intentionally out-of-tune yodeling during All I Really Want to Do. On a majority of the prized set, Dylan lets his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.
And so the apparently autobiographical and self-aware My Back Pages, one of the earliest examples of Dylan's immersion into symbolist prose and abstract metaphor, remains controversial for its on-the-surface denouncement of his earlier condemnations of social institutions and injustices. Peeled back, the tune is a brilliant release - an essential escape hatch for Dylan to both relieve himself of unneeded pressures and distance himself from pundits. As an indelible piece of art, it succeeds in masquerading obvious meaning while simultaneously forcing listeners to question their own actions.
As is the trifecta of relationship-themed compositions that closes the record, as well as the eternal Chimes of Freedom, the standard that journalist Paul Williams dubbed Dylan's Sermon on the Mount. Its inseparable conjunction of apocalyptic imagery, personal emotion, allusive lyricism, balladic alliteration, and inclusive sympathy signaled that, having already eviscerated the rules associated with pop and folk music, Dylan had just begun his assault on our consciousness, making Another Side of Bob Dylan that much more mysterious, unequivocal, and requisite.
This title is not eligible for discount.1. All I Really Want to Do
2. Black Crow Blues
3. Spanish Harlem Incident
4. Chimes of Freedom
5. I Shall Be Free, No. 10
6. To Ramona
7. Motorpsycho Nightmare
8. My Back Pages
9. I Dont Believe You
10. Ballad in Plain D
11. It Aint Me Babe$49.99180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
The Noise Made By PeopleBroadcast will have their long out of print albums made available again through Warp Records on LP. This seminal catalogue encompasses the albums Work And Non Work, The Noise Made By People, Haha Sound, Tender Buttons, The Future Crayon and ...Investigate Witch Cults of the Radio Age.
After being mired in the studio for nearly three years, Broadcast returned with their first proper full-length album, The Noise Made by People, a collection of more shimmering, weightless pop that is nostalgic for yesterday's visions of the future but remains on the cutting edge of contemporary music. Where their early singles (collected on 1997's Work and Non-Work) painted small, quaint portraits of their retro-futurism, The Noise Made by People delivers their sound in widescreen, filmic grandeur. Richly layered yet airy pieces like the album bookends, Long Was the Year and Dead the Long Year, seamlessly blend symphonic, electronic, and pop elements into smoky, evocative epics, while synth-based interludes such as Minus One and The Tower of Our Tuning present Broadcast's more detached, scientific side. Likewise, Trish Keenan's air-conditioned vocals sometime suggest a robotized Sandie Shaw or Cilla Black, but her humanity peeks out on Come on Let's Go and Papercuts. Echo's Answer and Until Then are two of the other highlights from the album, which despite all of its chilly unearthliness, is a noise made by (very talented) people.1. Long Was The Year
2. Unchanging Window
3. Minus One
4. Come On Let's Go
5. Echo's Answer
6. Tower Of Our Tuning
8. You Can Fall
9. Look Outside
10. Until Then
11. City In Progress
12. Dead The Long Year$24.99Vinyl LP - Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now