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The Reworks (Pre-Order)Release Date: June 29, 2018*
After a seven-year hiatus, Pendulum is back with The Reworks - a remix album described by the band as "unlike any other released by the band before."
*Please note that release dates are subject to change.LP 1
1. Hold Your Colour (Noisia Remix)
2. Blood Sugar (Knife Party Remix)
3. 9,000 Miles (Eelke Kleijn Remix)
4. The Island, Pt. 1 (Dawn) [Skrillex Remix]
5. Propane Nightmares (Grabbitz Remix)
6. Crush (Devin Townsend Remix)
1. Tarantula (Icarus Remix)
2. Witchcraft (Pegboard Nerds Remix)
3. Watercolour (Matrix & Futurebound Remix)
4. The Island, Pt. 1 (Dawn) [AN21 Remix]
5. Still Grey (DJ Seinfeld Remix)
6. Vault (Moby Remix)
7. Streamline (ATTLAS Remix)$26.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Soldier On (Pre-Order)Release Date: June 22, 2018*
Nashville's MONA have announced the release of their new full-length album 'Soldier On', their first new album following an extended hiatus that will be released via Bright Antenna Records.
'Soldier On' is a real statement of intent for the band who have survived through the pendulum of being a hype band in 2011, to now, seven years later, beating expectations to create a brilliant record that is both emotionally astute and personal, and has an underlying message of empowerment and positivity. Solider On ... no matter if it all works out the way you like or it all falls apart, all that's left to do is Soldier On says the band's frontman Nick Brown. After doing all things to stand. Simply stand.
*Please note that release dates are subject to change.1. Out Of Place
2. Thought Provoked
3. All I've Known
4. Kiss Like A Woman
5. Losing Time
6. Is It All Enough
7. Don't Let Go
8. Not Alone
9. Some Kind Of Rage
10. Soldier On$18.99Vinyl LP - Sealed PRE-ORDER Buy Now
Future CrayonBroadcast 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.
Collecting most of Broadcast's EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the band's output is. Indeed, the band's other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups' full-length albums. Future Crayon isn't quite that cohesive, but it does chart how Broadcast's sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Two's Illumination is particularly gorgeous, opening with an insistent bassline and Trish Keenan's coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, Still Feels Like Tears from the Pendulum EP takes the title track's stripped-down psych-rock in a lighter, sweeter direction, while Extended Play's Where Youth and Laughter Go begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the band's music, which usually only appears as brief interludes on their albums. 1998's Hammer Without a Master, which originally appeared on the Warp comp We Are Reasonable People and is one of this collection's rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with Daves Dream, it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named Chord Simple is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of Unchanging Window. While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesn't always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music.
- Heather Phares (All Music)LP1
2. Still Feels Like Tears
3. Small Song IV
4. Where Youth and Laughter Go
5. One Hour Empire
6. Distant Call
7. Poem of a Dead Song
8. Hammer Without a Master
10. Chord Simple
1. Dave's Dream
3. Test Area
4. Unchanging Window / Chord Simple
5. A Man for Atlantis
6. Minus Two
7. Violent Playground
8. Belly Dance$24.99Vinyl LP - 2 LPs Sealed Buy Now
OlogyThe push-and-pull that drives Gallant's music is like a pendulum swinging back and forth between genres and influences. His combination of muscular vocal acrobatics and sonic unpredictability has attracted universal tastemaker praise and a growing fan base. Complex championed the Los Angeles-based singer and songwriter as The R&B game changer, LA Times claimed, Precise writing of Frank Ocean, big vocal runs of Sam Smith, and NME predicted, the voice that will redefine R&B, while Entertainment Weekly, The Fader, Billboard, and more have shown support. Sir Elton John summed it up best saying, Gallant is gonna be huge.
Gallant has been on this pursuit since junior high. Growing up in Columbia, MD, he began tinkering on his computer and making songs after school inspired by everything from nineties R&B to classic jazz and blues. Rather than write in a journal, the music collated his feelings and emotions. He'd rarely share it with friends though. While attending NYU, he enrolled in summer school, so he could graduate early. Post-graduation and countless hours of meticulous practice later, he was finally ready to share his songs to the world at large.
His first online release If It Hurts would establish him in the blogosphere, while 2014's Zebra EP landed him on Spotify's viral charts and at the top of HypeM. Signing to Mind of a Genius in 2015 and relocating to L.A., he dove into creating what would become Ology with co-producers such as Stint. The first single Weight In Gold enjoyed its world premiere on Zane Lowe's Beats 1 Radio show as the introductory entry in the coveted World's First segment. In less than six months, it accumulated over 6.5 million Spotify streams.
As Gallant continues on his search, he leaves a message on the path. If people can hear I'm not doing this to feed any ego or serve someone else, that's all I want, he leaves off. I'm trying to create a photo album I can look back on to see where I've overcome challenges. I'm using music as a means of self-discovery. If my songs help somebody do the same thing or realize art can help us improve ourselves, I'd be honored.LP 1
2. Talking to Myself
5. Bone + Tissue
6. Oh, Universe
7. Weight in Gold
2. Open Up
3. Skipping Stones (feat. JhenÉ Aiko)
6. Weight in Gold (Brasstracks Remix)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Bartok: Concerto for Piano and Orchestra No. 1 (Speakers Corner)
Between Bartók's Rhapsody for Piano and his First Piano Concerto lie 22 years of development, a struggle to find subject matter, form and his own musical language. While the Rhapsody from 1904 is dominated by a late-Romantic tone, which delights in a free, craggy and capricious feast of affable harmonies, the Piano Concerto reflects contemplation and a delving into the formal strictness of the classical three-movement concerto form. Rather less concerto-like and unconventional is, however, the use of the piano as a percussion instrument, which after just a few bars on the winds, hammers out an unrelenting staccato against the harsh and dissonant orchestra. In the slow movement too the piano is predominantly employed as a percussion instrument that, like the pendulum of a clock, rhythmically bulldozes on against the cheerless, bleak winds. Wild emotion predominates in the Finale. Stormy, insistent figures in the piano are answered by the orchestra with animated blows, but the quick flashes of melodies cannot establish themselves and are slashed to pieces as if caught in a storm.
This uncompromising severity presents an enormous challenge that is mastered with aplomb by GÉza Anda and the RSO Berlin under Ferenc Fricsay.
- GÉza Anda and the Radio Symphonie Orchester Berlin
- Ferenc Fricsay (conductor)
Recording: October 1960 at Jesus-Christus-Kirche, Berlin, by GÜnter Hermanns
Production: Otto Gerdes
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Allegro Moderato - Allegro
3. Allegro Molto$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Whiskey For The Holy GhostWhiskey for the Holy Ghost is the second solo album from Lanegan, and it was released January 18th, 1994. It builds upon the roots-music foundation Lanegan established with his debut The Winding Sheet. Released during the grunge explosion of the early 1990s, Whiskey for the Holy Ghost showcases Lanegan's growing maturity as a songwriter and vocalist. Lyrically, Lanegan continues to delve into the darker side of the human experience on songs like "Borracho" and the biblical "Pendulum." "House a Home" was released as a single with an accompanying video. Dan Peters of Mudhoney guests on the album, playing drums on the songs "Borracho" and "House a Home."1. The River Rise
3. House a Home
4. Kingdoms of Rain
6. Riding the Nightingale
7. El Sol
8. Dead on You
9. Shooting Gallery
12. Judas Touch
13. Beggar's Blues$23.99Vinyl LP - 2 LPs Sealed Buy Now
Love SwingsNumbered Limited Edition
1961 Album of Standards Established Darin As A Sophisticated Singer
Concept Effort Divided Into Halves That Explore the Emotional Gamut of Romance: One Side Upbeat, the Other Heartbreaking
Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): Darins Voice, Torrie Zitos Orchestral Arrangements Set Up Shop In Your Listening Room
Bobby Darin didnt want to be simply known as the singer that scored the novelty hit Splish Splash. Determined to be recognized as a top-tier vocalist on par with the likes of Frank Sinatra and Tony Bennett, the Bronx native set out to put an authoritative stamp on pop standards. And did just that with Love Swings. Divided into two conceptual halves, the 1961 masterpiece is the singers defining statement, a splendidly effective and smartly performed record that addresses the wild emotional fluctuations associated with romance and finds Darin nailing every note.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents Darins buoyant album with all the brassiness, boldness, and lushness any fan of vocal pop music would ever want. His voice is transparent and immediate, the diversified instrumental arrangements are placed in sharp relief, the songs replete with airiness, warmth, and the sough-after breath of life. The sound is so good that this somewhat-forgotten LP should now finally gain the recognition its long deserved.
Yes, love swings, but like a pendulum: back and forth, state the records liner notes, explaining the concept behind a set that is split into two thematically connected halves. On the first side, Darin delves into the giddy feelings and incredible happiness associated with romances first bloom. Infatuation, devotion, and gaiety take hold, Darin conveying every ounce of joy and pleasure tied to gliding, uptempo staples such as Rodgers and Harts I Didnt Know What Time It Was and the lounge-bound sway of Long Ago (And Far Away). Darins voice, and his ebullient support band (conducted by Torrie Zito), epitomize glee, delight, and bliss.
On the flip side, Darin, ever the realist and proving himself capable of sophisticated material, probes loves disillusions and heartache with incredible panache. The pace slows, the mood darkens, and the lights dim. Zitos orchestrations embrace denser, more poignant tones, and Darin delivers sad, aching tunes like In Love In Vain and Something to Remember You By with stunning realism and haunting impact. Its as cohesive of a vocal performance as youll hear from the era, a journey that takes you from the highs to the lows, and everything in between.
Yes, the human voice is the most difficult element to accurately reproduce on record. Yet Mobile Fidelitys Silver Label LP does wonders with this Darin classic, opening up the highs, clearing out a previously foggy midrange, and, as importantly, restoring to print in analog a vocal tour de force. Unavailable on vinyl for eons, Love Swings demands to be heard on this sumptuously remastered LP, which runs circles around its digital brethren.
About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!
This title is not eligible for discount.1. Long Ago and Far Away
2. I Didn't Know What Time It Was
3. How About You
4. The More I See You
5. It Had To Be You
6. No Greater Love
7. In Love Vain
8. Just Friends
9. Something To Remember You By
11. Spring Is Here
12. I Guess I'll Have To Change My Plan$24.99Vinyl LP - Sealed Buy Now
Moon TidesIt's a rare and beautiful thing when a band emerges fully formed, but it makes perfect sense in the case of guitarist Daniel Hindman and keyboardist Sarah Versprille's Pure Bathing Culture. Having backed folk rock revisionist Andy Cabic in Vetiver, the New Yorkers partnered up and moved West in 2011, settling in Portland, Oregon. Building off their past experiences as musical collaborators, in a short time the duo have created a sound that is undeniably their own: soaring synths, chiming keyboards, and shimmering electric guitars move in lockstep with bouncing drum machines. Sarah's crystalline voice floats on top of it all with divine purpose. It's a sound that looks back momentarily for inspiration -- Talk Talk, Prefab Sprout, Cocteau Twins -- but then fixes its gaze firmly on the present.
Further developing the sound of their acclaimed four song, self-titled 2012 EP, at the start of 2013 they set out to record Moon Tides, their first full length album. Again, they chose to work with producer Richard Swift at his National Freedom studio in rural Cottage Grove, Oregon. Throughout 2012 Swift had called on the duo to help him with other studio projects (Versprille sings on Foxygen's latest LP and Hindman adds his sprawling guitar work to Damien Jurado's excellent Marqopa) which only helped to cement the threesome's musical partnership. For Moon Tides they continued where the previous EP left off, bolstered by Swift's belief in the duo's artistic vision and their unique sound, "From very early on, Richard was the person telling us that what we were hearing and wanting to do musically (which at times could feel a little strange or embarrassing to us) was ok and valid and that we should pursue it."
Like the earlier sessions for the EP, they worked quickly in the studio and improvised parts around the basic song structures that they'd carefully composed up in Portland. Dan explains, "Pretty much all tracks (vocals and instruments) are all first or very early takes. Richard is kind of a stickler about this and I actually don't go in with a clean, pristine idea of what I'm going to play on guitar or any other instrument for that matter, so there's actually a lot of improvisation as far as performances in the studio go." The results, like the earlier EP, are astounding: the arrangements feel fresh and imaginative, the melodies are unforgettable and the finished songs, most importantly, feel intensely human and deeply spiritual.
It's this compassion and warmth in Pure Bathing Culture that set them apart. The music is uplifting. It invites self-reflection. It never feels alienating. This, confirms the band, is no accident: "Concepts of spirituality, self actualization, mysticism, new age symbolism and pretty much anything that has to do with humans making sense of why we're all here are all deep, deep muses for us." To that point, even the album title Moon Tides alludes to self-discovery: "We are deeply inspired by the relationship between the moon and the tides. Particularly in the sense that the tides and the ocean are comprised of water and the element water is often associated with human emotion." While these heady themes can be difficult to explore in a pop song, Pure Bathing Culture makes it feel effortless. "Pendulum" is a perfect mid-tempo album opener that pulses and shines. Other standout tracks from the album -- "Dream The Dare", "Twins", "Scotty" and "Golden Girl" -- are slices of reverb-drenched, soulful, danceable electro-pop, that musically and lyrically tap into an introspective worship of the natural and psychic mysteries that surround us. Pure Bathing Culture's debut album Moon Tides is optimistic modern music for souls who seek to explore the infinite.1. Pendulum
2. Dream The Dare
3. Ever Greener
5. Only Lonely Lovers
7. Seven to One
8. Golden Girl
9. Temples Of The Moon$15.99Vinyl LP - Sealed Buy Now