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  • Odd Blood Odd Blood Quick View

    $19.99
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    Odd Blood

    Since the release of their critically acclaimed 2007 debut All Hour Cymbals, Yeasayer has been around the world and back again. While their first record was conceived in total artistic isolation, constant touring forced Yeasayer to finally engage with their contemporaries. Inspired by musicians hell-bent on sonic experimentation as well as those more comfortable in a pop context, Yeasayer find their domain spanning across the musical spectrum. Studied, road worn, and eager to begin phase two, Yeasayer retreated to upstate New York to begin work on their new album titled ODD BLOOD.


    If All Hour Cymbals was Yeasayer's attempt at global and ambient cultural mash-up then ODD BLOOD takes place in an off-world colony sometime after the Singularity. Glimmering reverb haze is eschewed and replaced by a cavalcade of disorienting pitch effects and flickering ectoplasmic wisps. Instead of layered vocal harmonies the processed vocals congeal into blots and blobs of otherworldly chatter. Many organic elements are left behind and replaced by sounds and rhythms that inspire the body as much as the mind. At times Yeasayer sound as if they would be at home playing live in scene from Blade Runner or inside one of Oscar Neimeyer's concrete modernist temples from the 1960s.


    ODD BLOOD is an album divided into two halves; the first being top heavy with pop songs, while the latter full of the playful and strange.


    Side One. The album begins with The Children, a twisted chopped and screwed stomp, full of sub bass and spooky keyboards. Distorted vocals create hidden hooks and it's immediately clear: this isn't the same Yeasayer. After the rubble clears the album leaps into Yeasayer's version of the pop anthem with Ambling Alp, Madder Red, I Remember, and O.N.E. Yeasayer have plunged into the craft of pop music, and the exercise has paid off.


    Side Two. The second half of ODD BLOOD is slightly more experimental in nature. Sci-fi musical jams (Mondegreen), maniacal rants (Grizelda), and paranoia (Love Me Girl) show the band exploring more paranoid motifs, yet never deprive the listener of hooks and ear candy.


    ODD BLOOD plays out at a blistering pace, yet it never sacrifices depth or content. It is immediately evident the band has advanced in songwriting as well as sonic craft. Lyrically, it is a more mature and honest album than the first, as the band demonstrates a confidence to explore more personal themes alongside vividly depicted tales. One thing is certain: Yeasayer are accomplished audiologists who are willing to pilfer decades of pop sensibilities and cultural history to create something that is uniquely their own.

    Side A


    1. The Children
    2. Ambling Alp
    3. Madder Red
    4. I Remember
    5. O.N.E.


    Side B


    1. Love Me Girl
    2. Rome
    3. Strange Reunions
    4. Mondegreen
    5. Grizelda

    Yeasayer
    $19.99
    Vinyl LP - Sealed Buy Now
  • Heartland Heartland Quick View

    $19.99
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    Heartland

    The third Final Fantasy full-length and the first for Domino, Heartland is the product of nine months work in four separate countries. The release is a fully orchestral record, designed to exist simultaneously as an album, a 45-minute piece of orchestral music and a set of songs for looped violin and voice. Work began in earnest in November of 2008, when Owen Pallett and Arcade Fire drummer Jeremy Gara flew to Reykjavik to work at The Greenhouse, Valgeir Siggurdsson's studio (Bjork's Medulla, Bonnie Prince Billy's The Letting Go) with engineer Mio ??rrison at the board. The orchestra was recorded in January of 2009, in Prague, with the Czech Symphony. Other guests include Matt Smith (Nifty), Reg Vermue (Gentleman Reg) and Nico Muhly. Rusty Santos, who produced Animal Collective's Sung Tongs and mixed Panda Bear's Person Pitch, was taken on as mixer.
    1. Midnight Directives
    2. Keep The Dog Quiet
    3. Mount Alpentine
    4. Red Sun No. 5
    5. Lewis Takes Action
    6. The Great Elsewhere
    7. Oh Heartland, Up Yours!
    8. Lewis Takes Off His Shirt
    9. Flare Gun
    10. E Is For Estranged
    11. Tryst With Mephistopheles
    12. What Do You Think Will Happen Now?
    Owen Pallett
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Merriweather Post Pavilion Merriweather Post Pavilion Quick View

    $24.99
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    Merriweather Post Pavilion

    Merriweather Post Pavilion is the ninth full length album from Animal Collective, recorded with Ben Allen in Oxford, Mississippi. Animal Collective have made a universal record that makes the same beautiful sense on headphones by day, or soundtracking the small hours of the morning, or stretched out in a field on your back. Whether a state of mind, or a rest stop somewhere along the way, Merriweather Post Pavilion magnificently redefines your sense of direction.


    Located in different continents, Avey Tare, Panda Bear and Geologist, having operated in their unique way since their inception, have now arrived at a point where their innerlogic makes perfect sense on the whole. Listening to Merriweather Post Pavilion you'll hear echoes of everything they've recorded to date, especially the mesmeric and melodic repetition of Panda Bear's last solo opus Person Pitch. The whoops and hollers that have previously held together the sublime, chaotic urgency of their earlier work, now signal the calm sense of euphoria and wonder that ripples through this wide eyed record.


    Throughout Merriweather Post Pavilion, Panda Bear and Avey Tare sing in a newfound clarity, enraptured by the possibilities of the sound they're making. This record feels like a defining moment for Animal Collective; linear, wild and beautiful, it's the sound of a band waiting, with arms open wide, to tell you about what they've found. And it's something pretty special.

    1. In The Flowers
    2. My Girls
    3. Also Frightened
    4. Summertime Clothes
    5. Daily Routine
    6. Bluish
    7. Guys Eyes
    8. Taste
    9. Lion In A Coma
    10. No More Runnin
    11. Brother Sport
    Animal Collective
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Panda Bear Meets The Grim Reaper Panda Bear Meets The Grim Reaper Quick View

    $22.99
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    Panda Bear Meets The Grim Reaper

    Domino is pleased to announce the release of Panda Bear Meets The Grim Reaper, the
    fifth studio album from Animal Collective founding member and critically acclaimed solo artist Noah
    Lennox.


    Noah Lennox, a.k.a. Panda Bear, has had a far-from-quiet few years with the release of his fourth solo
    record, 2011's Tomboy. Since the breakout success of 2007's universally-adored Person Pitch, each new
    Panda Bear release is a highly anticipated event, and a high-profile Daft Punk collaboration later ("Doin'
    It Right," from 2013's Random Access Memories), that's more the case than ever.


    Panda Bear Meets The Grim Reaper finds our hero leaving the airy minimalism of Tomboy and unpacking
    his sonic toolbox again, rearranging the multitude of his disparate influences into the ever-morphing
    concoction he refers to as "the soup." Old school hip-hop textures and production techniques meld with
    the intuitive, cyclical melodies he has become known for a sound that is at once dense and playful.
    The album signifies a pivotal point for an artist who has proven he can continue to evolve while
    remaining at the top of his game. As Noah says, "It's sort of marking change - not necessarily an
    absolute death, but the ending of something, and hopefully the beginning of something else."

    1. Sequential Circuits
    2. Mr Noah
    3. Davy Jones' Locker
    4. Crosswords
    5. Butcher Baker Candlestick Maker
    6. Boys Latin
    7. Come To Your Senses
    8. Tropic Of Cancer
    9. Shadow Of The Colossus
    10. Lonely Wanderer
    11. Principe Real
    12. Selfish Gene
    13. Acid Wash
    Panda Bear
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Young Prayer Young Prayer Quick View

    $24.99
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    Young Prayer

    Noah Lennox, a.k.a. Panda Bear, a.k.a. one-fourth of the founding members of Animal Collective, has had a far-from-quiet few years since the release of his fourth solo record, 2011's Tomboy. Since the breakout success of 2007's universally-adored Person Pitch, each new Panda Bear release is a highly anticipated event, and with a high-profile Daft Punk collaboration later, that's more the case than ever. But if the title of his fifth solo album as Panda Bear seems to portend certain doom, think again. Taking his inspiration from '70s dub duo albums like King Tubbys Meets Rockers Uptown and Augustus Pablo Meets Lee Perry & the Wailers Band, Panda Bear prefers to frame his latest work as less of a battle and more a collaboration. "I see it [as] more comicbooky, a little more lighthearted," he says. "Like Alien Vs. Predator." Young Prayer is the second full-length solo album by Panda Bear. It was recorded in Panda Bear's childhood home in 2002 by Deakin and further produced by the mysterious Animal Collective brothers known as Come Winter. It was originally released in 2004 on Paw Tracks as PAW2.
    1. Untitled 1
    2. Untitled 2
    3. Untitled 3
    4. Untitled 4
    5. Untitled 5
    6. Untitled 6
    7. Untitled 7
    8. Untitled 8
    9. Untitled 9
    Panda Bear
    $24.99
    Vinyl LP - Sealed Buy Now
  • In And Out Of Youth And Lightness In And Out Of Youth And Lightness Quick View

    $22.99
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    In And Out Of Youth And Lightness

    Formed in 2006, Young Widows originally drew favorable comparisons to the '90s heyday of cacophonous noise-rock. Five years and three albums later, In and Out of Youth and Lightness finds the band digging much deeper and further back for inspiration. With their sprawling post-punk blasts shining cracks of lights through pitch black neo-noir fever dreams, Young Widows have clearly become a more sinister and thought-provoking beast.


    In And Out Of Youth and Lightness was produced by the band and Kevin Ratterman (My Morning Jacket) at The Funeral Home in their hometown of Louisville, KY. The musical palette remains fundamentally the same; singer/guitarist Evan Patterson's cavernous, warped blues riffs weighted by Nick Thieneman's earth-shaking bass and drummer Jeremy McMonigle's sturdy, shifting rhythms, but the augmented instrumentation and choral vocals lifts them to incredible new heights. With lyrical themes of emotional despair and domestic dissolution leading to inevitable catharsis, In And Out Of Youth and Lightness finds Patterson rising from his personal hell with a level of wisdom and maturity that most aggressive bands will never know.


    With a depth and ambition well beyond their years, Young Widows have stepped out of the shadows of their influences to become one of America's more interesting and spirited underground rock bands.

    1. Young Rivers

    2. Future Heart
    3. In and Out of Lightness
    4. Lean on the Ghost
    5. The Muted Man
    6. Right in the End
    7. Miss Tambourine Wrist
    8. White Golden Rings
    9. In and Out of Youth

    Young Widows
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Tigerlily Tigerlily Quick View

    $49.99
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    Tigerlily


    Natalie Merchant Tigerlily On Numbered Limited-Edition 180g 45RPM 2LP


    Half-Speed Mastered From The Original Master Tapes For Astounding Sonics And Detail


    Five-Times Platinum! 1995 Gem A Vocal Tour-De-Force


    The 10,000 Maniacs were at their peak when group founder and scintillating vocalist Natalie Merchant announced that she was leaving the band to pursue a solo career. It took her four months to record Tigerlily, a gorgeously detailed folk-pop debut that became a permanent fixture on the album charts for a year after its 1995 release.


    The five-times platinum set spawned three giant hits-"Wonder," "Carnival," and the haunting "Jealousy"-that simultaneously crossed over to the pop, adult-contemporary, and mainstream singles charts. It's easy to understand why. On Tigerlily, Merchant turns in a vocal performance for the ages, spinning majestic webs of mellow atmosphere woven with rhythmic textures and low-key movements. This is a mood masterpiece.


    Remastered from the original analog tapes, Mobile Fidelity's collectable version of Tigerlily mines every last nuance and delicate tone from this intimate gem. Merchant's beautiful voice-her precious coos, soulful inflections, and whisper-soft purrs harken back to the Jazz Era-is presented with an up-close clarity and full-bodied richness that enhance the album's deeply emotional feel. She uses volume and pitch as a painter utilizes shades on a canvas. Subtle and tender, her phrasing and crescendos underscore the personal nature of the lyrics. Merchant sings about mature topics most songwriters lack the courage to explore, probing the painful loss of a longtime partner on "Beloved Wife," actor River Phoenix's tragic death on "River," and life-altering myths on "San Andreas Fault."


    The vocalist's bracing conviction is matched by small-scale acoustic frameworks that don't let a note go to waste. And Mobile Fidelity's engineers worked to make sure you hear all of them. Aligned on a wide soundstage, the discerning mix of Hammond organs, pianos, chamber percussion, and bluesy guitars come across with their understated intentions intact. Balances are superb, dynamics are grand. There is no better way to experience and enjoy the rich sonic fabrics on this album. The results will leave you hypnotized.


    This title is not eligible for discount.

    LP 1
    1. San Andreas Fault
    2. Wonder
    3. Beloved Wife
    4. River
    5. Carnival


    LP 2
    1. I May Know The Word
    2. The Letter
    3. Cowboy Romance
    4. Jealousy
    5. Where I Go
    6. Seven Years

    Natalie Merchant
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM -2 LPs Sealed Buy Now
  • Bringing It All Back Home (Awaiting Repress) Bringing It All Back Home (Awaiting Repress) Quick View

    $49.99
    Buy Now
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    Bringing It All Back Home (Awaiting Repress)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Numbered, Limited Edition


    Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albums you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbias Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?


    More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant whos privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk musics imprisoning rules and bounding restrictivenessand a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggies Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylans attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums dont come more vetted. You deserve to experience it in the finest-possible quality.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Womanchild Womanchild Quick View

    $35.99
    Buy Now
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    Womanchild

    When CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.


    "She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."


    Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
    There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.


    In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."


    On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.


    The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.


    McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.


    However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.


    In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.


    "I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."


    On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.

    1. St. Louis Gal
    2. I Didn't Know What Time It Was
    3. Nobody
    4. WomanChild
    5. Prelude/There's A Lull In My Life
    6. You Bring Out The Savage In Me
    7. Baby Have Pity On Me
    8. John Henry
    9. Jitterbug Waltz
    10. What A Little Moonlight Can Do
    11. Deep Dark Blue
    Cecile McLorin Salvant
    $35.99
    Vinyl LP - Sealed Buy Now
  • It's Like This It's Like This Quick View

    $54.99
    Buy Now
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    It's Like This

    This lovely set of intimately arranged and meticulously recorded covers, originally issued in 2000, is precisely the kind of semi-obscure album in need of a quality all-analog reissueThe superbly natural sound produced by this record is what spending big bucks on an audio system is all about. Set the volume appropriately and Ms. Jones'll draw you into the studio for a personal song recitalThis is one to savor. Music = 9/11; Sound = 10/11 Michael Fremer, www.musicangle.com


    this effort from 2000 shows Jones conjuring such magic with the material that she deserves as much attention for reworking standards as do Carly Simon or Linda Ronstadt. Kicking off with Steely Dan's 'Show Biz Kids,' and with appearances by Joe Jackson and Ben Folds, among the highpoints is the Beatles' 'For No One' that ranks as among the finest Beatles cover ever. And considering that they number in the tens of thousands, that's about as high as praise gets. Recording = 5/5; Performances = 5/5 Album of the Month Ken Kessler, Hi-Fi News, April 2008


    The Rickie Lee Jones 45rpm is AWESOME UNREAL AMAZING!!! I have to get a backup copy. I'll play this one to death. Danny Kaey, Positive-Feedback Online


    Not since Billie Holiday has there been a vocalist who so completely transforms a song into her own. On It's Like This, eclectic folkie Rickie Lee Jones envelops standards, showtunes, '70s soul, and even slick jazz-rock, interpreting them with her familiar childlike, breathy shouts. In a very similar vein as 1991's Pop Pop, Jones pulls together a collection of diverse songs from throughout the 20th century and gives them a sparse, fragile spin, kind of like Diana Krall and Bjork sharing coffee at an all-night diner. Produced by Bruce Brody (who has also worked with Maria McKee and Bette Midler), this album is really a showcase for the dynamic vocalist - her voice pitching and yawing like a sloop far out at sea. Several notable artists scatter themselves unobtrusively throughout the album like Joe Jackson, Ben Folds, John Pizzarelli, and Taj Mahal; each lend a subtle bass line or harmony vocal, cautiously not stepping on any of Jones' delicate lines.


    This title is not eligible for discount.

    1. Show Biz Kids

    2. Trouble Man

    3. For No One

    4. Smile

    5. Low Spark of High Heeled Boys

    6. On The Street Where You Live

    7. I Can't Get Started

    8. Up A Lazy River

    9. Someone To Watch Over Me

    10. Cycles

    11. One Hand, One Heart
    Rickie Lee Jones
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Bringing It All Back Home (Mono) (Awaiting Repress) Bringing It All Back Home (Mono) (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    Bringing It All Back Home (Mono) (Awaiting Repress)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound, Original Mono Mix, Meticulously Mastered


    Strictly Limited to 3,000 Copies


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Bring it all back home - in mono. Originally designed by the artist for mono listening, Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. It's a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is humbled to have the privilege of mastering the iconic album on its world-renowned mastering system and pressing it on 45RPM LPs at RTI in its original mono format. Strictly limited to just 3,000 copies, the end result is the very finest, most transparent analog mono edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the album's you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    Since Bringing It All Back Home features the most instrumentation Dylan implemented in arrangements at that stage of his career, the set is undoubtedly vivid in stereo - particularly the electric half. Yet the Minnesota native paid particular attention to the mono mix, which here presents Dylan with unparalleled directness. The record's second half sounds especially genuine, lifelike, and intimate in mono. It paints listeners an incredibly accurate portrait of the attention-getting mass of acoustic-based sound - and features no artificial panning or echo chamber of its stereo counterpart. Instead, you are immersed right into the music.


    Indeed, the sonics on this Mobile Fidelity reissue are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbia's Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fans into a tizzy.


    More than 50 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who's privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music's imprisoning rules and bounding restrictiveness - and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever made. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggie's Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan's attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Ranked 31 on Rolling Stone's list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums don't come more vetted. You deserve to experience the mono edition in the finest-possible quality, just as Dylan intended.


    This title is not eligible for discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Betty Davis (Awaiting Repress) Betty Davis (Awaiting Repress) Quick View

    $20.99
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    Betty Davis (Awaiting Repress)

    One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.


    There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their "Lady Marmalade" for another year while Millie Jackson wasn't "Feelin' Bitchy" until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.


    Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song "Uptown" for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew.'


    But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.


    In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

    1. If I'm In Luck I Might Get Picked Up
    2. Walkin Up The Road
    3. Anti Love Song
    4. Your Man My Man
    5. Ooh Yeah
    6. Steppin In Her I. Miller Shoes
    7. Game Is My Middle Name
    8. In The Meantime
    Betty Davis
    $20.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Columbia Years 1968-1969 The Columbia Years 1968-1969 Quick View

    $25.99
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    The Columbia Years 1968-1969

    All Tracks Previously Unreleased (Except Track B5/8)


    Production By Miles Davis & Teo Macero


    Featuring Performances From Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John Mclaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band Of Gypsys), Larry Young, And Members Of The Jazz Crusaders


    Remastered From The Original Analog Master Tapes


    New Interviews, Rare Photos, And Unseen Historical Documents From The Teo Macero Archive


    One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song ''Uptown'' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix-personally inspiring the classic album, Bitches Brew.


    Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions-never heard, never bootlegged-predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.


    The vibe is intrinsically unique, fresh, and futuristic-jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.


    Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders-including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.


    This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela-the entire project overseen with Betty's full blessing.

    1. Hangin' Out
    2. Politician Man

    3. Down Home Girl

    4. Born On The Bayou

    5. I'm Ready, Willing & Able (Take 1)

    6. I'm Ready, Willing & Able (Take 9)

    7. It's My Life (Alternate Take)

    8. Live, Love, Learn

    9. My Soul Is Tired
    Betty Davis
    $25.99
    Vinyl LP - Sealed Buy Now
  • Something Else (Awaiting Repress) Something Else (Awaiting Repress) Quick View

    $24.99
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    Something Else (Awaiting Repress)

    After achieving his highest-charting release with 2011's All 6's And 7's (#4 Billboard), Strange Music general Tech N9ne tackles the most ambitious album of his career with Something Else. The Kansas City emcee kept fans busy in 2012 with the release of three consecutive Top 3 rap EP releases - KLUSTERFUK, E.B.A.H., and Boiling Point.


    With demand at a fever pitch, Tech N9ne aims to give listeners an untouched piece of his life while cementing his place among rap's elite.


    The beats sound nothing like anything you've ever heard me on, say Tech. The features that I'm going for are something you would never imagine. All I can say about it now is that it's a very human album. What I mean by that is that it's contradictory. On one song I say, 'The saint is ours', like we're in the saint's corner and then I have another song called 'I'm Not A Saint'. It's so beautiful because the King, the Clown, and the G are still present on this album.


    There are no apologies in what I'm saying. I don't mind that it contradicts itself because that's what people do. The album is everywhere. It feels like it's Hell, Purgatory and Heaven all over again. I'm telling stories that I've never told - that I was afraid to tell on some songs. It's super personal and I've got a big chip on my shoulder again. It's always been there, but it's getting bigger having to prove to fans and critics that we ain't going nowhere.


    Album Features: Kendrick Lamar, The Doors, B.O.B., Wiz Kalifah, Cee Lo Green, Serge (System Of The Down), Game, Danny Brown, Big K.R.I.T., Krizz Kaliko, Mayday and others.

    1. News with Mark Alford (skit)
    FIRE
    2. Straight Out the Gate (feat. Serj Tankian & Krizz Kaliko)
    3. B.I.T.C.H. (feat. T-Pain)
    4. With the BS (feat. Red Cafe, Trae Tha Truth & Big Scoob)
    5. Love 2 Dislike Me (feat. Tyler Lyon & Liz Suwandi)
    6. Fortune Force Field
    7. I'm Not A Sain
    8. Fragile (feat. Kendrick Lamar, ¡Mayday! & Kendall Morgan)
    9. Priorities (feat. Game & Angel Davenport)
    10. News with Mark Alford (skit)
    WATER
    11. Dwamm
    12. So Dope (They Wanna) (feat. Wrekonize, Snow That Product & Twisted Insane)
    13. See Me (feat. Wiz Khalifa & B.o.B.)
    EARTH
    14. My Haiku-Burn The World (feat. Krizz Kalifo)
    15. That's My Kid (feat. CeeLo Green, Big K.R.I.T. & Kutt Calhoun)
    16. Meant To Happen (feat. Scoop Deville)
    17. News with Mark Alford 3 (skit)
    18. Believe
    19. R.I.P. Ray (skit)
    20. Strange 2013 (feat. The Doors)
    21. SMB
    Tech N9ne
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Melbourne Melbourne Quick View

    $16.99
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    Melbourne

    It's the original rock n' roll fantasy: to be genius, aloof, deserving. To be instantaneously swept from the wings of obscurity into the arms of acclaim. Well, that's what I've heard at least.


    But who does this really happen to? Most successful musicians will tell you it's not enough to make brilliant music. You've got to work it constantly, clawing and hustling to get people to the next show, to finance the next record. How pedestrian. How droll. Why can't it just happen?


    No, it would seem there are no rock n' roll fairytales anymore. Or are there?


    Ladies and gentlemen, meet Jackson Scott, indie's newest prince charming. At the tender age of 20, Scott is already receiving more attention for his forthcoming debut, Melbourne than many musicians get in a lifetime.


    When an artist blows up this quickly it's hard to hear their music from an unbiased position. Questions unfailingly arise: What's the deal? Is he really that f-in' good? Did Daddy pay the promo man (remember The Strokes)? Is this guy for real?


    So, before we go on, let me just say, this record is good. Like, really good. Like, "I'm kinda freaked out that a kid who's been making music for a year did this by himself on a 4-track" good.


    So, let's ignore the hype for a while.


    First, the strength of Scott's songwriting is undeniable. Yea, there are some instrumentals here... but overall these songs stick with you. They have power, and with most of them clocking in at around the two minute mark, you won't get bored. Lyrically, Scott both flirts with and repudiates the kind of adolescent moodiness associated with the mopey 90's. Conversely, his musings also betray a connection to the well-fed and perpetually distracted iPhone generation.


    Melbourne also offers plenty of rewards in its production. Scott has the hissy, tape, psych-pop thing down. He's experimental where he needs to be and hooky where it counts. These homespun recordings sound like early Ty Segall as produced by The Elephant 6 Recording Co. While Scott acknowledges Segall as an influence, he claims ignorance of the famed recording collective. That said, his misanthropic use of sped-up vocals suggests otherwise.


    Melbourne opens with "Only Eternal", a wash of ambient guitar. This brooding intro slyly transitions into "Evie", with its sludgy, driving rhythm, Twilight Zone guitar hooks, and wavering harmonies. Peppy and short, "Sandy" is a druggy acoustic-pop highlight.


    "That Awful Sound" is the song that gained Scott so much attention in the first place. Nothing if not a solid single, its strummed acoustics, booming rhythm, and pseudo-Chipmunk vocals are impossible to hear without thinking of Elephant 6. It's not surprising that the crew at Pitchfork (no doubt approaching middle age and feeling a little nostalgic) picked this track to be "the song". This kind of thing ruled all hell in 1998. If not the best track on the record, it is at least the most classifiable, and by extension the most marketable.


    "Any Way"... is the high-water mark for Scott's pitch-shifted vocals. It's the kind of song Jackson Scott really sells. It's quick, melody driven, and vaguely flippant. With its toy marimba solo, it also exposes the childlike undercurrent running throughout this record.


    "Together Forever" is one of my favorite songs on Melbourne. If you listen closely you can hear the famous background vocals from "Where is My Mind?" at the beginning. To me this is Jackson Scott playing it straight. His voice sounds like a real person and his noisy guitar swells are just as mind-bending as anything coming out of the current psych-revival.


    "In The Sun" is reminiscent of the late Scott Miller's more stripped-down moments with Game Theory. The song's chorus reminds us of how much an inspiration Kurt Cobain is to Scott.


    Notwithstanding the strength, charisma, and raw talent exhibited on Melbourne, it feels like Jackson Scott has skipped a few levels. Although Cinderella sometimes does well in sports and American Idol, Jackson Scott is going for something much weightier, much deeper. Dare we call it, legitimacy?


    -Jacob Sides

    1. Only Eternal

    2. Evie

    3. Never Ever

    4. Sandy

    5. That Awful Sound

    6. Tomorrow

    7. Wish Upon

    8. Any Way

    9. Together Forever

    10. In the Sun

    11. Doctor Mad

    12. Sweet Nothing
    Scott Jackson
    $16.99
    Vinyl LP - Sealed Buy Now
  • Interiors Interiors Quick View

    $18.99
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    Interiors

    Interiors, Cameron Mesirow's second full-length release as
    Glasser, is a more considered, confident, and much more
    sharply personal album than its predecessor. It's central
    themes are love and anxiety and the spatial constraints
    of both in the landscape of one's life. In the three years
    since Cameron released her breakout debut "Ring", she
    toured around the world (with Jónsi of Sigur Rós, The XX,
    Delorean, among others) and left her California home for
    New York. Along the way, she discovered a new partner
    in producer Van Rivers (Fever Ray, Blonde Redhead)
    whose background in techno production added expansive
    spatial elements to her music that reflect both the looming,
    condensed architecture of Glasser's new adopted home
    as well as the intricate internal worlds she conjures in on
    her own.


    The tension between interior and exterior space fills the
    album. In architect Rem Koolhaas' book Delirious New
    York, which Mesirow credits as an inspiration, the author
    suggests that New York's massive, stoic-faced buildings
    are monuments rife with secrets. Interiors is Cameron's
    attempt to exorcise and address some of those metropolitan
    secrets. "I thought a lot about the physical impositions in
    my life, and about the fluid emotional boundaries in my
    relationships," Mesirow says. "There's no limit to what can
    be said about these structures. I can't help but live and
    work in them, exploring their many folds."


    The instrumentation of the album is a mixture of synthetic
    and organic sounds, real strings, reeds and drums
    combined with programmed ones, a purposeful coupling
    of natural enemies. "I like music where you're not thinking
    about what a specific instrument is," she says. "An
    instrument-less quality. It doesn't come from a band, but
    from a whisper in the wind." As on Ring there are sounds
    used for unlikely purposes; vocals used as percussive
    accents, or melodic themes assembled from environmental
    sounds. The song "Design" illustrates this with Cameron's
    own pitched-down vocals serving as a writhing bass line
    in the frantic depiction of lust. The Glasser we find on
    Interiors is smoother and smokier, more confident and
    defined against an increasingly stoic electronic music
    backdrop. The effect is a paragon of sonic architecture--a
    soundspace that's packed tight but never feels crowded.

    1. Shape
    2. Design
    3. Landscape
    4. Forge
    5. Window I
    6. Keam Theme
    7. Exposure
    8. Dissect

    9. Window III
    10. Window II
    11. New Year
    12. Divide
    Glasser
    $18.99
    Vinyl LP - Sealed Buy Now
  • Are We There Are We There Quick View

    $19.99
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    Are We There

    For all the attention that was paid to her 2012 break-through Tramp, Sharon Van Etten is an
    artist with a hunger to turn another corner and to delve deeper,writing from a place of honesty
    and vulnerability to create a bond with the listener that few contemporary musicians can match.
    Compelled by a restless spirit, Van Etten is continuously challenging herself. Now, the result is
    Are We There, a self-produced album of exceptional intimacy,sublime generosity, and immense
    breadth.


    Most musicians are quite happy to leave the production end of things to someone else. It's
    enough to live your music without taking on the role of producer as well. Yet Van Etten knew it
    was time to make a record entirely on her terms. The saying goes "fortune favors the bold" and
    yet this boldness had to be tempered. For this,Van Etten found a kindred spirit in veteran music
    producer Stewart Lerman. Originally working together on Boardwalk Empire,they gently moved
    into new roles,rallying around the idea of making a record together in Lerman's studio in New
    Jersey. Lerman's studio expertise gave Van Etten the freedom to make Are We There the way she
    imagined.Van Etten also enlisted the individual talents of her band, consisting of Heather Woods
    Broderick, Doug Keith and Zeke Hutchins, and brought in friends Dave Hartley and Adam
    Granduciel from The War on Drugs, Jonathan Meiberg (Shearwater),Jana Hunter(Lower Dens),
    Peter Broderick, Mackenzie Scott(Torres), Stuart Bogie, Jacob C. Morris and Mickey Freeze.


    It is clear from the opening chords in the first song, Afraid of Nothing, that we are witnessing a
    new awareness, a sign of Van Etten in full stride, writing,producing and performing from a place
    that seems almost mythical, were it not so touchable and real. Always direct, and never shying
    away even from the most personally painful narratives, Van Etten's songwriting continues to
    evolve. Many of the songs deal with seemingly impossible decisions, anticipation, and then
    resolution. She sings of the nature of desire, memory, of being lost, emptiness, of promises and
    loyalty, fear and change, of healing and the true self, violence and sanctuary,waiting, of silence.
    The artist who speaks in such a voice is urging us to do something,to take hold and to go deeper.
    Living in this way,the questions of life remain alive, as close and steady as breathing. Many of the
    ballads of old are as dark as pitch, and people for whom the issues of life and death were as vivid
    as flame wrote them.You could turn off the electricity,remove all the instruments and Sharon's
    voice and words would remain.They connect her to the mystic stratum which flows just beneath
    the everyday, which is rarely acknowledged as the forces of distraction sweep our attention away.

    1. Afraid of Nothing
    2. Taking Chances
    3. Your Love is Killing Me
    4. Our Love
    5. Tarifa
    6. I Love You But I'm Lost
    7. You Know Me Well
    8. Break Me
    9. Nothing Will Change
    10. I Know
    11. Every Time the Sun Comes Up
    Sharon Van Etten
    $19.99
    Vinyl LP - Sealed Buy Now
  • Insides Insides Quick View

    $22.99
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    Insides

    Like many others, Ghostly became enamored with Fort Romeau's idea of slow
    listening, the concept of enriching relationships with music through careful
    attention and focus. His understated take on deep, groove-friendly house started
    pushing this practice three years ago, when the producer's debut LP, Kingdoms,
    appeared via 100% Silk. The native Londoner, born Mike Greene, has evolved
    considerably since then, finessing his sound over the course of three breezy 12s,
    one EP, and lengthy DJ sets at some of the best clubs in Europe-not the least of
    which were Berlin's famed Panorama Bar, London hotspot Plastic People, and
    Robert Johnson in Frankfurt. Those years Greene spent immersed in his craft and
    new inspirations have generously informed the eight stunning productions which
    comprise Insides, Fort Romeau's long-awaited sophomore album.


    Playing in those clubs definitely had an affect on how I approach composition and
    pacing, Greene shares. I want to allow things to breathe and develop gradually
    over longer track lengths, rather than cram everything into four or five minutes. His
    patient methods are a central component to the billowy house music on Insides,
    though this isn't an indulgent album of gratuitous buildups and tiresome
    breakdowns. Each production is pointed and purposeful, as the artist crafts every
    second of analog electronics with rich detail, nuance, and refinement.


    Throughout Insides, Fort Romeau guides us down misty corridors lined with supple
    synth pads, quietly thumping kicks, and elastic low-end sequences reinforced by an
    emotive confidence. Thick dancefloor cuts like All I Want and Folle are built on
    such satisfying elements-sounds so full-bodied, you'd swear they're knocking
    against your bones. This, too, is by design. I wanted to make sure all the songs
    have a tangible quality, says Greene of his LP's physicality, to make texture and
    grain become as important a part of the vocabulary as timbre and pitch. This was
    accomplished with an arsenal of machines, including his Moog Voyager, Yamaha
    DX7, Roland Juno-6, and Korg 770, a vintage synth he describes as having so much
    presence and vitality, it almost feels like it's alive. Equally important to the weighty
    presence of his music is meticulous post-production. The record was mixed on an
    analog desk and mastered to tape, Fort Romeau elaborates. These processes are
    as much a part of the sound as the synths and sample sources themselves.


    There is also a deep stylistic eclecticism to Insides, and coming from Greene, this
    was galvanized by deep cuts he discovered while digging to find music for his
    extensive DJ sets. Old kosmiche, disco, and early electronic records are among the
    strongest influences, and Fort Romeau used them as an impetus for creation. It's
    those strange and wonderful tracks that you find on the b-side of an old record that
    sparked my desire to make something new, he shares, but it's very important for
    me never to feel like I'm making a pastiche. Indeed, the sleek expanse of Lately
    and the title track's jacking grooves take cues from buoyantly cosmic dance music.
    And yet it's the personality of a young artist coming into his own that makes Insides
    such a graceful collection of house music, one that only further enriches the soul
    over time.

    1. New Wave
    2. Folle
    3. All I Want
    4. Insides
    5. Not A Word
    6. IKB
    7. Lately
    8. Cloche
    Fort Romeau
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • True Romance True Romance Quick View

    $21.99
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    True Romance

    Over the past few years, Charli has released a series of singles and mixtapes, toured the globe supporting the likes of Coldplay, Santigold, Sleigh Bells and Justice and garnered champions from practically every tastemaker blog and magazine on both sides of the Atlantic. She's had 2.5 million views on YouTube, 470k views of new video for 'You (Ha Ha Ha)' (in one month) and over 630k total plays on Soundcloud. It's hard to believe someone so young could achieve so much. Through it all her main focus has always been on making the best possible album she could. This was made possible by working with some fantastic collaborators who helped hone her vision for a dark, emotional pop record including Ariel Rechtshaid (Usher, Major Lazer, Solange), Patrik Berger (Lana del Rey, Robyn) as well as hotly tipped blog favourites Blood Diamonds and J£zus Millions.


    As well as being an artist in her own right, Charli has written and featured on one of the biggest global breakthrough hits of 2012 for Icona Pop. I Love It created an absolute frenzy stateside, having blown up all over the world.


    True Romance shares its title with an unbelievably well-cast 1993 movie written by Quentin Tarantino, who was reassembling cultural detritus way before mash-ups and microblogging. Charli XCX's approach to pop is similarly postmodern (how 90s does that sound?), pulling from moody 80s synth-pop, sassy turn-of-the-millennium girl groups, and state-of-the-art contemporary producers to create something distinctive and immediately memorable. She clearly understands the internet, having shared two original mixtapes and two influences mixtapes before her official full-length, but this carefully pruned set is no data dump. And there you'll see a glimmer of True Romance's most throwback aspect: its evident pop ambition, an overriding sense of an imagined mass audience for music that's radio-ready yet outsider-friendly. It's almost like Napster-- and the filler-crammed album sales model that preceded it-- never happened.


    In fact, by the time Charli XCX was a teenage electro-house devotee, illegal file-sharing's early free-for-all had already given way to iTunes and other legal download services. Robyn had already released her self-titled comeback album. So it might be only natural that Charli XCX would keep the pre-bubble faith that people will pay for emotionally direct, bubblegum-catchy, yet stubbornly left-of-center songs about falling in and out of love. But the generous hooks on the previously released singles here, such as the gospel-kissed prechorus of the yearning Stay Away or the Santigold-savvy lilt of love-and-the-bomb brooder Nuclear Seasons, are extraordinarily welcome just the same. Even better are newer singles such as the gorgeously bitter You (Ha Ha Ha), which inhabits its cloud-rappy Gold Panda sample like they were made for each other, and the almost-as-gorgeously blissful What I Like, which recounts a still-young relationship with the cheeky frankness of Lily Allen or the Streets, and the sing-songy near-rapping of the Spice Girls.


    The several songs on True Romance that hadn't previously surfaced in videos or other releases aren't quite as strong, but they're effective enough to suggest Charli XCX's best work might still be ahead of her. The Todd Rundgren-sampling So Far Away, with the sun-dappled lushness of the Avalanches, is a clear highlight; Charli XCX's vocals are usually plain-spoken, but the anguished break-up plea Set Me Free proves she can reach for Jessie Ware-like dramatics when appropriate. The pitch-shifting no one is forever intro added at the start of opener Nuclear Seasons probably should've been given its own track-- and later on the album it is, when the same backing vocal forms the base of the cloudy, broken-hearted Grins. Elsewhere, the haunted confession How Can I, while solid enough, is a reminder that Charli XCX's lyrics so far tend to fall relatively flat; when, on swooning finale Lock You Up, she sings, It hits me like a ton of bricks, she leaves the clichÉ untweaked.


    And then there's Cloud Aura, a lovelorn, engagingly laid-back bit of groove that lets Grimes' Genesis video co-star Brooke Candy rap horribly about Chris Brown. Candy's guest verse previously appeared on 2012's uneven Super Ultra mixtape, and it was near-universally panned. It isn't any better now. But in an era when too many up-and-comers are all too eager to please, this stubborn refusal to back down displays another quality in short supply: genuine irreverence. The songwriting and production credits on True Romance include Usher's Climax co-conspirator Ariel Rechtshaid and I Love It collaborator Patrick Berger, among others, who also share some credit (and blame). But like 90s pop stars turned 10s pop sophisticates Justin Timberlake and BeyoncÉ, Charli XCX stamps her personality across the entire project, and True Romance suggests she'll be worth following for a while.
    - Marc Hogan, Pitchfork

    1. Nuclear Seasons
    2. You (Ha Ha Ha)
    3. Take My Hand
    4. Stay Away
    5. Set Me Free (Feel My Pain)
    6. Grins
    7. So Far Away
    8. Cloud Aura
    9. What I Like
    10. Black Roses
    11. You're the One
    12. How Can I
    13. Lock You Up
    Charli XCX
    $21.99
    Vinyl LP - Sealed Buy Now
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