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Phantom Of The Opera SoundtrackImport
Gatefold Sleeve / 6-Page Insert
PVC Protective Sleeve
The Phantom of the Opera is the soundtrack to the 2004 Andrew Lloyd Webber film-adaptation of the musical, The Phantom of the Opera.
In 2006, The Phantom of the Opera won the Japan Gold Disc Award for Best Soundtrack Album of the Year. Chart-wise, the album performed fairly well, reaching the top position of Billboard's soundtracks chart as well as the sixteenth position on the Top 200 chart. It was also certified Platinum in the US and Gold in the UK and Greece.LP 1
2. Think Of Me
3. Angel Of Music
4. The Mirror (Angel Of Music)
5. The Phantom Of The Opera
6. The Music Of The Night
7. Prima Donna
8. All I Ask Of You
9. All I Ask Of You (Reprise)
2. Wishing You Were Somehow Here Again
3. The Point Of No Return
4. Down Once More / Track Down This Murderer
5. Learn To Be Lonely$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
"Madi Diaz Writes The Most Danceable Break Up Record Ever" - LA Weekly
"We have to say, this change does her good" - Refinery29
"With infectious structure and an addicting nature, Phantom should quickly find
its way into an already powerfully, lady-driven indie pop movement, ready to kick
down the doors of every local scene" - High Voltage
Indie-pop siren, Madi Diaz's new album Phantom is an open-faced and undeniably honest chronicle of falling
down, getting back up, and heading to the horizon.
Phantom was recorded in Madi's newly adopted home of Los Angeles, produced by Nick Ruth (Mikky Ekko,
Active Child) and mixed by John O'Mahony (Coldplay, Metric, Oh Land) at NYC's famed Electric Lady Studios.
The album's 11 tracks expand upon Madi's brand of sophisticated indie pop songs, providing a soundtrack
for adventurous escapades on sweaty dance floors with old friends or late night introspective drives under a
canopy of stars. Underneath the effervescent pop, her lyrics reveal an emotional through line.1. Tomorrow
2. Stay Together
4. Dancing In The Dark
5. The First Time
6. Ghost Rider
7. The Other Side
10. White Lightning
11. Ashes$22.99Vinyl LP - Sealed Buy Now
Phantom AnthemAugust Burns Red is back with the announcement of a new album, Phantom Anthem, the follow-up to 2015's Found In Far Away Places that took the band to new heights and earned them a Grammy nomination. Phantom Anthem will be released via Fearless Records.1. King of Sorrow
2. Hero of the Half Truth
3. The Frost
5. Invisible Enemy
11. Carbon Copy$25.99Vinyl LP - 2 LPs Sealed Buy Now
ADAD-VAG-3619xMark Lanegan Band
Phantom RadioMark Lanegan returns with a full-length album in which he takes a slightly different direction, incorporating drum machines and electronics. Produced and co-written by Alain Johannes (Queens of the Stone Age). British guitarist Duke Garwood assisted with I Am The Wolf, violinist Sietse van Gorkom co-wrote The Killing Season, and Lanegan's girlfriend. Shelley Brien added vocals to the set's Floor of the Ocean.1. Harvest Home
2. Judgement Time
3. Floor Of The Ocean
4. The Killing Season
5. Seventh Day
6. I Am The Wolf
7. Torn Red Heart
8. Waltzing In Blue
9. The Wild People
10. Death Trip To Tulsa$19.99Vinyl LP - Sealed Buy Now
How To Live With A PhantomHow to Live with a Phantom is a bold stylistic departure, even for an artist whose career has been defined by them. It is a single-minded exploration of the sounds of 1970s radio pop from around the globe, combining American folk-rock and the evocative Japanese pop music that was influenced by it, but simultaneously referencing everything from French pop to Afro-funk, tropicalia, Krautrock and the lighter side of psychedelia. Most of the songs are built around Sakamoto's hypnotic electric-bass grooves (he learned to play for these recordings), a crisp drum set and bubbling percussion, layered with dreamy guitars and vintage synthesizers, and topped by meticulously arranged female vocal harmonies, horns, and Sakamoto's own languid yet deeply expressive lead vocals. It's a set that's both sun-drenched and full of melancholy, and while the musical references and inspirations may be clear, How to Live with a Phantom is a wholly original album that will connect to a broad spectrum of listeners - from folk and pop aficionados to world music fans, psych-heads and many more.
We could not be more excited about How to Live with a Phantom as Other Music Recording Co.'s debut full-length, and we know you will be as moved by this record as we are!1. In A Phantom Mood
2. You Just Decided
3. My Memories Fade
4. Mask On Mask
5. A Stick And Slacks
6. A Gleam Of Hope
7. Dancing With Pain
8. Something's Different
9. How To Live With A Phantom
10. Small But Enough$16.99Vinyl LP - Sealed Buy Now
Phantom Thread (Original Motion Picture Soundtrack) (Pre-Order)Jonny Greenwood's score to Paul Thomas Anderson's new feature film, Phantom Thread, is releasing via Nonesuch Records.
Phantom Thread is set in the glamour of 1950s post-war London, where renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants, and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock's life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love.
With Phantom Thread, Oscar-nominated filmmaker Paul Thomas Anderson paints an illuminating portrait both of an artist on a creative journey and the women who keep his world running. Phantom Thread is Anderson's eighth movie, and his second collaboration with Daniel Day-Lewis. The film's soundtrack includes eighteen compositions by Greenwood. It was recorded in London with a sixty-member string orchestra conducted by Robert Ziegler and is featured more prominently in the film than any of Greenwood's scores have been before. The Phantom Thread score was nominated for Golden Globe and BAFTA awards and has received the Best Score prizes from film critics' associations in Boston, Chicago, Los Angeles, Phoenix, San Francisco, Seattle, and St. Louis.
The composer spoke to Variety about the process of creating a score that reflected the film's romance and glamour: We talked a lot about '50s music, what was popularly heard then as well as what was being written and recorded. Nelson Riddle and Glenn Gould's Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections; Ben Webster made some good ones. Greenwood continues, The smaller groups, and solo players, work like close-ups [and] not necessarily to accompany [a] visual, but rather, to focus your attention on and make you feel directly engaged with the characters. The bigger orchestral things often worked best for drawing you back to see the bigger situation.
Anderson and Greenwood's previous collaborations include the soundtrack for Academy Award-winning There Will Be Blood (2007), The Master (2012), and Inherent Vice (2014), all released by Nonesuch. Indiewire says of their collaboration: Paul Thomas Anderson fans are well accustomed to how instrumental Jonny Greenwood's music is to the auteur's body of work. Whether it's the foreboding strings in There Will Be Blood or the discordant percussion in The Master, Greenwood's original scores expertly capture Anderson's tones. This fact is especially true in Phantom Thread, which marks the fourth collaboration between Anderson and Greenwood.
Widely known as the guitarist for Radiohead, Jonny Greenwood is also a highly respected composer. In addition to the Anderson film soundtracks, Nonesuch also released his score for Norwegian Wood, his collaboration with Polish composer Krzysztof Penderecki, and his performance of Steve Reich's Electric Counterpoint. Most recently, the label released Junun-a collaboration between Greenwood, composer/musician Shye Ben Tzur, and a group of Indian musicians called the Rajasthan Express that was recorded in the fifteenth-century Mehrangarh Fort in Jodhpur, India. Paul Thomas Anderson came along to document the sessions. The resulting impressionistic film, also entitled Junun, debuted at the New York Film Festival, before screening at several other international festivals.1. Phantom Thread I
2. The Hem
3. Sandalwood I
4. The Tailor of Fitzrovia
6. Boletus Felleus
7. Phantom Thread II
8. Catch Hold
9. Never Cursed
10. That's As May Be
11. Phantom Thread III
12. I'll Follow Tomorrow
13. House of Woodcock
14. Sandalwood II
15. Barbara Rose
16. Endless Superstition
17. Phantom Thread IV
18. For the Hungry Boy$32.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Displacement (Awaiting Repress)Cascading keyboards, unnerving guitars, off-kilter rhythms, and the grotesque lyricism of THE PHANTOM LIMBS forge a grandiose monument on the verge of collapse like a gothic cathedral built on quicksand.
Their unsettling ilk of carny death rock & punk draws comparisons to The Screamers and Christian Death or contemporaries like the Subtonix, but don't expect today's glut of punks-with-keyboards playing 80s redux! THE PHANTOM LIMBS have carved out a lonesome place for themselves, finding inspiration in Kurt Weill rather than Duran Duran & Culture Club.
Produced by Dan Rathbun of Sleepytime Gorilla Museum.1. Active Verbs
2. Castanets Cookie
3. Wrenches And Spoons
5. From A Distance
7. Ear To The Ground
8. Turtle Doves$7.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
REDD-CHE-7613xThe Phantom Band
Strange Friend (Awaiting Repress)The Phantom Band are back with their third long player 'Strange Friend', due for release in 2014 and the long-awaited follow-up to 2010s "The Wants'. It's great to finally have all the strange and exotic sounds that have been emanating from their rehearsal room these past gazillion months transform themselves into this 9 track aural extravaganza.1. The Wind That Cried The World
3. Doom Patrol
5. (Invisible) Friends
7. No Shoes Blues
8. Women Of Ghent
9. Galápagos$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Where Are We FromThere is protectiveness in the fist that holds a bag of wolf teeth. These incisors are each of the songs held inside Tender Forever's fourth EP. To spend time with this magic while the first of the fall leaves suicide bomb your bare feet, and the cicadas are strangely silent, is like feeling the phantom sting of your own baby wolf fangs where they once bit into your most vulnerable parts.1. Where Are We From
2. The Road Was Unkind
5. You Get Into My Face
7. You Have the Woods$18.99Vinyl LP - Sealed Buy Now
UNIM-TOM-2370xShawn David McMillen
Dead FriendsAustin, TX's Shawn David McMillen has appeared under his own name via Catfish (Tompkins Square), End Of The City (dnt,abandon ship) and now, Dead Friends (Tompkins Square). Past involvements have included Friday Group, Ash Castles, Max Ochs, Jandek, warmer milks, Tom Carter, Christina Carter, Peter Walker, Ralph White, Starving Weirdos, Steve Gunn, Marc Orleans and more recently Gel Jail with Mikey T and Greg Bachus. Dead Friends is Shawns new slow burning record rendered in amber fidelity. From Phantom Rivers to Sick on Navasota its all here.1. Walking Home (At The End of the Night)
2. For Carrie Brown
3. The Moth
4. No Time Left In This Place
5. Night Train
6. A Morning With Dead Friends
7. Frankensteins Kiss
8. Our Weather
9. Beladona Along The Brazos
10. Every Eye$15.99Vinyl LP - Sealed Buy Now
Water LiarsJoined by GR Robinson on bass, and fresh off the success of sophomore album Wyoming and the reissue of debut LP Phantom Limb - both released earlier this year - Justin Kinkel-Schuster (vocals, guitar) and Andrew Bryant (drums, vocals) strut into this effort with their feathers out, driven by a need to create. Forget taking years to release a new album; Water Liars don't know how to stop working. These are songs about leaving and staying, about lost fathers and new loves, about distance and memory.1. Cannibal
2. War Paint
3. I Want Blood
5. Let It Breathe
6. Tolling Bells (For Molina)
7. Ray Charles Dream
10. Last Escape
11. Turn Me On$15.99Vinyl LP - Sealed Buy Now
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
DreamsDreams is a reissue of Chris Forsyth's second solo album. In 2009 Forsyth pressed up 100 LPs for a European tour and created quite an uproar of approval by the heads who managed to score a copy. Now available again, Dreams rightfully shows Forsyth at the creme of American guitarists who blend masterful skill of country/blues with sometimes violent aggression or mind-bending arrangements.
Dreams was recorded and mixed between 2007 and 2009 and catches Forsyth in the studio layering acoustic and electric guitars and organ with contributions from his guests, creating four pieces which are full of the raw power and intuitive delicacy that characterizes his live shows still. Dreams crosses free-wheeling minimalist rock balladry and anarcho- improv surrealism with a fearless approach to beauty in a deeply psychedelic landscape. It features contributions from his Peeesseye bandmates Jaime Fennelly (synth on one track) and Fritz Welch (drums and vocals on another) as well as the soaring trumpet work of Nate Wooley and organ, saxophone, and snare drum overdubs by another longtime collaborator of Forsyth's in Phantom Limb & Bison, Shawn Edward Hansen. This is Forsyth's second solo record, preceding Paranoid Cat, which was released by Family Vineyard earlier in 2011.1. Soft History Master
2. String Haters
3. Longer Warm Afternoon
4. Dream No.1$16.99Vinyl LP - Sealed Buy Now
Negative ScannerNegative Scanner have been destroying rooms in Chicago's vibrant DIY since 2012, earning well-deserved accolades as one of the cities best live bands. Their electrifying debut album finds the band taking on all comers; guitarist/vocalist Rebecca Valeriano-Flores' gutteral howl & lyrics have gained confidence over the course of the band's previous two singles in 2014 (their debut on Trouble In Mind & it 's follow-up on Tall Pat Records). The band (guitarist Matt Revers, bassist Nathan Beaudoin & drummer Tom Cassling) have evolved into a lurching, post-punk tornado furiously spinning into near-chaos but never leaving the band's capable control. The album's opener "Ivy League Asshole" sets the tone - feral & ragged guitars chug over the rhythm section & Flores' manic yelp spits out lyrics borne out of confusion, agression, domination & submission to life, living, lovers & beyond. The album's eleven tracks in 28 minutes fly by the lsitener, threatening whiplash but begging to be replayed. Negative Scanner 's s/t debut was recorded by the band themselves in their practice space, mixed by Mike Lust 's Phantom Mobile Unit & mastered by Australian legend Mikey Young (Total Control/Eddy Current Suppression Ring).1. Ivy League Asshole
4. Gone Wild
6. Would You Rather?
7. Planet of Slums
8. Saturday Night & Sunday Morning
9. Fane vs. Wild
10. Forget It
11. Pity$18.99Vinyl LP - Sealed Buy Now
The Thread That Keeps UsOver the past two decades, a strong sense of place
has shaped the music of CALEXICO, infusing their
albums with a stylistic unpredictability and richness
of texture. While 2015's Edge of the Sun brought
the Tucson-bred band to the Mexico City borough
of Coyoacán, their new full-length The Thread That
Keeps Us mostly came to life in a house studio near
the Northern California coast nicknamed "The Phantom
Ship" by CALEXICO vocalist/guitarist Joey
Burns and drummer John Convertino.
Like "End of the World with You," much of The Thread
That Keeps Us captures the anxieties and unease of
living in tumultuous times. While the album draws
a kinetic energy from all that uncertainty, its lyrics
unfold with a literary nuance and sense of setting
and character. "Instead of writing straight-up protest
songs, I want to tell stories," Burns says. Largely
inspired by his wanderings around Northern California
during the album's production, the narratives
embedded in The Thread That Keeps Us reflect on
displacement, transitory existence, and-in Burns's
words-"returning to your home after being gone for
some time and seeing how things have changed, and
maybe not in the best way."1. End of the World With You
2. Voices in the Field
3. Bridge to Nowhere
5. Under the Wheels
6. The Town & Miss Lorraine
7. Flores y Tamales
8. Another Space
9. Unconditional Waltz
10. Girl in the Forest
11. Eyes Wide Awake
12. Dead in the Water
14. Thrown to the Wild
15. Music Box$19.99Vinyl LP - Sealed Buy Now
Venus On Earth (Awaiting Repress)Three albums in the novelty has worn off, but Dengue Fever has smartly chosen to keep evolving. While that means their unquestionably unique offering no longer startles, it's no less riveting -- Venus on Earth is at once the band's most accessible and most varied release.
A recap: when first heard from in 2003 on their self-titled debut, Dengue Fever was like no other band, a bunch of L.A. hipsters fronted by a Cambodian-born woman, Chhom Nimol, who paid homage to that Asian nation's pre-Pol Pot cheesy psychedelic-cum-lounge-surf-garage pop sound of the '60s/early '70s, music obscure enough that only a tiny handful of Americans could honestly claim to have known the first thing about it -- certainly, the source material spun outside of the orbit of the so-called core world music audience.
By the second album, 2005's Escape from Dragon House, Dengue Fever had tossed in a few more disparate elements, and with Nimol's high-range vocals riding atop this internationalist admixture and a basic alt-rock sensibility as a guiding force (minus the faux alt-rock attitude), Dengue Fever attracted an audience and garnered critical praise. For Venus on Earth, the mainstream beckons, or comes as close to beckoning as it's ever going to for a band as non-mainstream as Dengue Fever.
Nimol's vocals are as beguiling as ever, Ethan Holtzman's Farfisa organ still swirls, Zac Holtzman's guitars still chime and chunk, and Paul Dreux Smith's drums clang happily along. With horns provided by David Ralicke and bass from Senon Gaius Williams, Dengue Fever has softened some of the rougher edges, injected some serious soul, and added more swing to their thing. Oceans of Venus could be an outtake from the first B-52's album, Clipped Wings a lost Blondie tune, and Woman in the Shoes is just one of the most cuddly pop songs in ages. The groovelicious Nimol-Zac Holtzman duet Tiger Phone Card, a tale of a long distance Phnom Penh-NYC romance, is the pop smash Yoko Ono might have had in an alternate universe.
Drenched in reverb, soaked in sweat, marinated in some phantom historical moment yet tethered to the now, Dengue Fever is more innovative and resourceful than 99-percent of the bands that receive 99 times the publicity.
- Jeff Tamarkin (All Music Guide)1. Seeing Hands
2. Clipped Wings
3. Tiger Phone Card
4. Woman in the Shoes
5. Sober Driver
6. Monsoon of Perfume
8. Oceans of Venus
9. Laugh Track
10. Tooth and Nail
11. Mr. Orange$15.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Mass & VolumeRecorded during the final hours of the sessions for the 'Phantom Limb' lp (Decibel Magazine's #1 record of 2007) 'Mass & Volume' finds Pig Destroyer's typically break neck speed virtually come to a grinding halt. 2 epic songs of crushing doom prove that Pig Destroyer cannot only dominate all other wickedly fast grind bands, but that when Pig Destroyer does slow, they do slow better than anyone else out there. If Pig Destroyer were to completely change gears and become a full time doom band, they would be the best doom band in the world. Until then we all have 'Mass & Volume' to hold us over.1. Mass & Volume
2. Red Tar$19.99Vinyl EP - Sealed Buy Now
Royal Albert HallIn May 2014 EELS embarked on an ambitious fifty-three show world tour. Starting in Phoenix, Arizona and crossing The United States and Canada before rolling through mainland Europe and Great Britain, the band performed spine-tingling shows at New York's Apollo, Chicago's Vic Theater, Los Angeles' Orpheum Theater, The Montreux Jazz Festival and The Amsterdam Concert Hall among many others. On the night of June 30th EELS returned to London's legendary Royal Albert Hall for the first time in nine years to play a stunning show that was filmed and recorded.
In sharp contrast to the previous EELS tour that found the band in track suits playing high octane electric rock & roll, this EELS show was a gentlemen's EELS concert, as EELS leader Mark Oliver Everett, aka E, puts it. Filmed by nine cameras in the gorgeously-lit Royal Albert Hall, the new film and album find the EELS dapperly dressed in suits and ties, and all five band members stretching their musical capabilities past new boundaries, playing songs from 2014's critically-acclaimed THE CAUTIONARY TALES OF MARK OLIVER EVERETT for the first time along with songs spanning the EELS' 19 year career. When they played Royal Albert Hall in 2005 they were accompanied by a string section. This time there are only the five core members of the band on stage throughout the concert, splitting their time between guitar, piano, pedal steel guitar, trumpet, upright and bowed bass, melodica, vibraphone, timpani, drums, concert chimes and glockenspiel. And the results are stunning.
The film features the band backstage preparing for the big night and captures the entire show from start to finish, as it happened, including Everett kissing the spot where John Lennon once stood on the stage, making his way to hug fans all the way around Albert Hall's massive floor, returning for several encores, as well as a surprise phantom encore where Everett's dream of playing the massive Albert Hall pipe organ for some spooky EELS classics finally comes true.
Perhaps as a result of this fantastic show, EELS were quickly invited back for a second 2014 London show and Everett, once heavily-bearded and mistakenly suspected by London police to be a terrorist (while taking a break from press interviews in Hyde Park), was made an honorary citizen of London in a ceremony granting him Freedom of the City.1. Where I'm At
2. When You Wish Upon a Star
3. The Morning
5. Addressing the Royal Audience
6. Mansions of Los Feliz
7. My Timing Is Off
8. A Line in the Dirt
9. Where I'm From
10. It's a Motherf**ker
11. Lockdown Hurricane
12. A Daisy Through Concrete
13. Introducing the Band
14. Grace Kelly Blues
15. Fresh Feeling
16. I Like Birds
17. My Beloved Monster
18. Gentlemen's Choice
19. Mistakes of My Youth/Wonderful, Glorious
20. Where I'm Going
21. I Like the Way This Is Going
22. Blinking Lights (For Me)
23. Last Stop: This Town
24. The Beginning
25. Can't Help Falling in Love
26. Turn On Your Radio
28. The Sound of Fear$37.99Vinyl LP + DVD Box Set - 3 LPs Sealed Buy Now
Quazarz: Born on a Gangster Starspeaking of air and darkness, Born on a Gangster Star cameinto the world in a big damn hurry, like nightfall on an island.You can see it happening, but then again it's so gradual that thenext thing you know-it's dark.
Imbued with the energy and ideas from all the creative embersfloating in the atmosphere like fireflies, Shabazz Palacesrecorded this entire album over the course of two weeks withBlood in Seattle. New gear and new equipment disintegratedcomfort zones into dust and a new path appeared in the rubble.
Herein the Palaceer continues the tale of Quazar, a sentientbeing from somewhere else, an observer sent here to Amurdercato chronicle and explore as a musical emissary. What he finds inour world is a cutthroat place, a landscape where someone likehim could never quite feel comfortable amidst all the brutalityand alternative facts and death masquerading as connectivity.
Inspired by days on end spent in the waves-water and light,both-of Southern California, the work came to the Palaceer in aflash, like being picked up by something and carried. Alwaysdribbling with his head up, he can see what's going on aroundhim and react to it, rather than starting in a certain direction andhoping to achieve something upon arrival.
What's good?-the kids ask. What does it even mean, and whatdoes it even matter? Who is behind these choices? We are all ofus sitting under a waterfall of all. this. shit. But it's the excessthat is casting us into ruts.
The Palaceer stays away from the fleeting and the superficialnonessential. Stay away from your device-your phantomlimb-and stay away from your image-your phantom self; thatis his decree. Considering the motions behind the things you liketo consume artistically, rather than just the way something looksor sounds, and thinking in layers, and trying to be more considerateand not so self-oriented-this is his medicine for combat.
Born on a Gangster Star flirts with a pop sensibility, but throughthe prism of Shabazz Palaces's fire and fury. For the Palaceer,that sense is all about how the groove is moving, and thesupernatural telepathy that occurs amongst his cohort. Appearinghere, in body or in spirit, are Julian Casablancas, Thundercat,Darrius Willrich, Gamble and Huff, Loud Eyes Lou, Thaddillac,Ahmir, Jon Kirby, Sunny Levine, and Blood. The storybelongs to Quazarz, but the air and darkness belong to us.
And so we shine a light on the fake.1. Since C.A.Y.A
2. When Cats Claw
3. Shine a Light (feat. Thaddillac)
4. Dèesse Du Sang
5. Eel Dreams (feat. Loud Eyes Lou)
6. Parallax (feat. The Palaceer Lazaro)
7. Fine Ass Hairdresser
8. The Neurochem Mixalogue
9. That's How City Life Goes
10. Moon Whip QuÄz (feat. Darrius)
11. Federalist Papers$19.99Vinyl LP - Sealed Buy Now
Undivided Heart & SoulUndivided Heart & Soul, produced by Dan Molad (Lucius) and
McPherson, and developed largely in the studio (that studio being the historic
RCA Studio B in Nashville), carries a sense of immediacy and irreverence.
"In writing this record, I threw several handfuls of caution to the wind.
Lyrically, I was allowing myself to be exposed in a way I never have before.
Concurrently, maybe as some sort of a self-defense mechanism, the guitars
got fuzzier and louder. The first day at RCA was like being in church...
by the second day, it was a high school band's rehearsal space."
Putting the hands of Dan Molad on the wheel of the record ensured that
the music didn't take too many expected turns. "Having toured with
Lucius and befriended Dan, I knew he was the guy to push my buttons
and challenge me to try new things. He's a tireless worker. He's constantly
tinkering away on something... and music just falls out of him."
The vintage recording equipment and instruments still housed
in RCA Studio B greatly informed the direction of the record. "Each night,
at the end of tracking, someone would invariably say, 'You wanna put vibes
on this?', speaking of the old RCA Vibraphone. I mean, you can hear THAT
vibraphone on Roy Orbison's 'Crying'... we couldn't keep our hands off of it.
It guided some of the songs into some strange and wonderful places.
'Lucky Penny' took such a cool turn once Ray (Jacildo, keys) added some to it.
We wrote several songs on the piano that Floyd Cramer played 'Last
Date' on. We were soaking up so much of the phantom energy in
that room, it led to some incredible sonic territory."
"Most folks know us for our take on vintage R&B and early Rock N' Roll.
The past year, I've been digging so much into the heavier, brasher sounds of
early Rock N' Roll... from bands like The Sonics, Link Wray, and into some
early British Rock such as The Creation... these influences feature heavily in
these songs. The tunes that showed up weren't exactly always in familiar
territory, and... we greeted them as welcome strangers. They have a lot
of heart... and that's what Rock N' Roll should always have."1. Desperate Love
2. Crying's Just A Thing You Do
3. Lucky Penny
4. Hunting For Sugar
5. On The Lips
6. Undivided Heart & Soul
7. Bloodhound Rock
8. Style (Is A Losing Game)
10. Under The Spell Of City Lights
11. Let's Get Out Of Here While We're Young$19.99Vinyl LP - Sealed Buy Now
Lost In The DreamLost In The Dream is the third album by Philadelphia band The War on Drugs,but in many ways,it feels
like the first. Around the release of the 2011 breakthrough Slave Ambient,Adam Granduciel spent the
bulk of two years on the road, touring through progressively larger rock clubs, festival stages and late night television slots. As these dozen songs shifted and grew beyond what they'd been in the studio, The War on Drugs became a bona fide rock 'n'roll band.
That essence drives Lost In The Dream, a 10-song set produced by Granduciel and longtime engineer Jeff
Zeigler. In the past, Granduciel built the core of songs largely by himself. But these tunes were played
and recorded by the group that had solidified so much on the road: Dave Hartley, (his favorite bassist
in the world), who had played a bit on The War on Drugs' 2008 debut Wagonwheel Blues, and pianist
Robbie Bennett, a multi-instrumentalist who contributed to Slave Ambient. This unit spent eight
months bouncing between a half-dozen different studios that stretched from the mountains of North
Carolina to the boroughs of New York City. Only then did Granduciel-the proudly self-professed
gearhead, and unrepentant perfectionist-add and subtract, invite guests and retrofit pieces. He
sculpted these songs into a musical rescue mission, through and then beyond personal despair and
anxiety. Lost In The Dream represents the trials of the trip and the triumphs of its destination.
"I wanted there to be a singular voice, but I wanted it to be a project of great friends. Everyone in the
band cares about it so much,"he says."That is the crux of it-growing up,dealing with life,having close
friends, helping each other get by. That is what the record's all about.
As such, these tunes reveal a careful and thrilling reinvention of the sound that's become The War on
Drugs' trademark. The signature meld of long tones and scatter shot layers still stands, with phantom
drum machines and organ lines dotting the musical middle distance all across Lost In The Dream.Note
the way the keys whisper against the guitar's growl as the tempestuous"An Ocean in Between the Waves"
approaches pentecostal heat. Hear how,when a sharp and hard riff cuts into the inescapable chorus of
"Red Eyes," synthetic strings and baritone saxophone shape a soft, infinite bed beneath it. But there's a
new found directness to these tunes, too. Granduciel's voice steps out from behind its typical web of
effects-louder now, with more experiences to share and more steel from having survived them. He
sounds less like a prismatic reflection of a rock bandleader, more like the emboldened actualization of
that idea. With its crisp, unencumbered delivery, "Eyes to the Wind" becomes the album's centerpiece
and the group's new anthem.This is Granduciel's to-date triumph and the exact moment where Lost In
The Dream moves from a tale of confusion to one of resolve. Throughout most of the record, grips
loosen and senses fail, memories are mourned and expectations are abandoned. But after the Rolling
Thunder lift of "Eyes to the Wind," Granduciel finds new contentment and direction. Anguish
sublimates into deliverance. Backed by his bros, Granduciel becomes a preacher in a new pulpit.1. Under The Pressure
2. Red Eyes
4. An Ocean In Between The Waves
6. Eyes To The Wind
7. The Haunting Idle
9. Lost In The Dream
10. In Reverse$21.99Vinyl LP - 2 LPs Sealed Buy Now
Calico ReviewIf you drive past the 200 block of South La Brea, there is a lamp shop, a pet shop, and a little glass door that says "Casting Agency" above it. Inside you'll find one of LA's most stereotypical rituals, where men & women from all walks of life vie for the attention and popularity of the Hollywood producer. It's a dream factory for some of them. It's also a place where Los Angeles outsiders learn what the city is really like, beyond the sun and surf and celebrities, where every brightly-lit surface eventually faces a cloud.
Indeed, the lessons learned by the Allah-Las - guitarists Miles Michaud and Pedrum Siadatian, bassist Spencer Dunham, drummer Matthew Correia - since their auspicious formation in 2008 have been tempered with experience. Now, with their third album Calico Review (their first for Mexican Summer), their experience transforms once more, this time into wisdom. The band's trajectory, formed around mutual appreciation for the same kinds of music and a host of shared experiences, focuses on both the outer trappings of their home and surroundings, and the through line of darkness that suffuses life in LA county.
Where the Allah-Las display their insight, and what really shines across the 12 songs that comprise Calico Review, is the way that the group has pivoted from specific influences and nods to the music they love, to crafting the feelings of freedom, grit, and melancholy in their music. That feeling - the peerless capture of music long in the tradition and mood of California pop, the sound that's captured the essence of the LA experience - aligns with their stylistic technique and their experience in the studio environment to create their strongest album to date, one which showcases their developments in songwriting and arrangements.
The process began with their self-titled debut, which captured the Allah-Las' live set circa 2012 and continued onward with 2014's Worship the Sun, where they began to experiment with overdubs and writing songs individually instead of as a band. Now, Calico Review showcases a band that's grown confident in its own style to reflect the perspectives of each member, to craft an album that changes up the approach from song-to-song, while retaining their abilities as a cohesive unit.
Audiences familiar with the band will recognize the levels of nuance and steadiness the Allah-Las have grown into throughout Calico Review. It's immediate, the first thing you recognize about the band in the opening moves of "Strange Heat," in the amount of control and character burning off of the band's knack for restraint. Songs like "Famous Phone Figure" cradle character sketches over delicate strains of violin, organ, and Mellotron, Correia's drumming carefully underlining a three-note theme that casts a phantom sadness over the proceedings, the group exerting a touch both light and steady enough to bring your mood to theirs. "
Could Be You" works off a steady percussive gallop, guitarist Miles Michaud waxing reflexively on second chances while the band focuses on forward motion. "Roadside Memorial" applies the Bo Diddley beat to the open road, Pedrum Siadatian stepping up on vocals, and finding new ways to match his talents to propulsive musical ends. Elsewhere, "High & Dry," featuring drummer Matthew Correia on lead vocals, focuses on the Allah-Las most quintessential and peerless quality: writing emotionally resonant pop, at once direct and detached, casual and knowing, and instantly memorable. The dream factory itself gets called out in the fun, surf-stung number "200 South La Brea," its carnival-like atmosphere reflecting the excitement and anxiety of those who await their judgment.
In between releases, the Allah-Las have toured around the world, and will continue that journey in support of Calico Review. The experience of traveling and idle time on tour inspired the group in different ways, and provided the pathways by which the band transports its listeners to a different place, be that wherever they are, and where the band has been.
What the Allah-Las present is not necessarily crossing the L.A. River, coin in mouth, on the Riverboat Styx. It's not Raymond Chandler and it's not Raymond Carver. But the band's four members are aware of the pitfalls that stack against the idyllic notion of southern California life that forms from outside of the city. It's a siren call to the hopeful, and it's a successful town for tempering dreams into wakeful reality. Even with over 8,000 people per square mile, there is room for everyone, and then some, to be completely alone, by choice or otherwise.
Calico Review bears the mark of four students becoming the teachers, sharing the sentiments of the town they call home. Join them. There's a lot to learn.1. Strange Heat
3. Could Be You
4. High & Dry
6. Roadside Memorial
7. Autumn Dawn
8. Famous Phone Figure PLAY
9. 200 South La Brea
10. Warmed Kippers
11. Terra Ignota
12. Place In The Sun$21.99Vinyl LP - Sealed Buy Now
ChromaticsWhen songwriter and producer Sam Genders last donned his Diagrams hat, captive listeners found themselves truly stunned by the Streatham Hill artist's imaginative and inventive arrangements that made up 2012s debut album Black Light. Having now upped sticks from his London lodgings and settled in Sheffield with a new lease of life and wife, fresh pastures and friendships are what form the heart of Diagrams' brand new album Chromatics.
"Relationships are a constant thread. In all their frustrating, exciting, mundane, beautiful, wonderful, sexy, scary glory," reveals Genders of the album's themes. "And there's lots of hope in the songs. They shouldn't be taken too literally mind you in my head Chromatics is life in Technicolor; with all its ups and downs."
Equally drawing inspiration from the writing on relationships by David Schnarch, Ester Perel and the book Division Street by Sheffield poet Helen Mort, whilst spending time in his own home studio for the first time, it's without doubt that the Steel city provided the ideal backdrop for Genders to write whenever the inspiration came and, essentially, whittle down the fifty or so tracks he had recorded as part of the album's creation. "There are woods over the road and a little garden out the back with a greenhouse, shed, and flower beds. Being in a new place has brought something special to the process. Sheffield is a very open and direct place and I'd say the songs are more that way too."
Whilst Black Light fizzed with electronic effects, synth-bass, programmed beats and low-key funk grooves that brought about comparisons to the leftfield pop of Arthur Russell, Metronomy, Steve Mason and Hot Chip, it's without doubt that Genders' next offering falls closer to home comforts and marks the next step in Genders' renaissance. Take lead track 'Phantom Power'; it's the track which truly sums up what it's like to find yourself forever reassessing. "It's about feeling like you're losing a grip on your sanity at one moment, then feeling inspired and up for anything the next. Or frustration with yourself yet believing that it's possible to sort yourself out," explains Genders. Elsewhere 'You Can Talk To Me's delicate rolling melody and 'Serpent' once again showcase the playful, eclectic slant to Genders' songwriting prowess alongside an innate sense of crisp production and programming techniques.
Never one to shirk away from those around him, Genders would be the first to call Diagrams, and particularly Chromatics, a collaborative process. Once again featuring a rolling cast of inspirational musicians the album includes vocals from, amongst friends and family members, The Smoke Fairies whilst the skilled brass and string arrangements come courtesy of Danyal Dhondy and Sam Ewens. 'London's greatest' drummers Karl Penney, and Cacophony drummer Fletcher Adams provide the beats whilst live band members Emma Black and Ben Malitskie lend their expertise of Baritone Saxophone and Viola. 'Brain' meanwhile, was co-written with long-time friend and collaborator Matt McKenzie and features an in utero recording of his son James' heartbeat.
Yet it's the partnership with producer Leo Abrahams (Wild Beasts, David Byrne, Brian Eno, Jon Hopkins, Ed Harcourt, Marianne Faithful et al) that has truly brought Diagrams to life. After a long search, Abrahams was picked to piece all parts together and as a result Genders found himself writing songs that worked across a variety of production styles. "Leo's incredibly good at what he does and virtually all the impressive production and soundscaping is down to him. He's also an amazing guitarist and played some of my favourite guitar moments on the album."
Who knows exactly what kind of relationships will inspire Genders next? Currently finding himself midst China's south central city of Changsha in Hunan as a Musician in Residence on behalf of the British Council and PRS foundation, life for Genders right now is all about new experiences, meeting new faces and learning from new friendships. "It feels like anything could happen from one day to the next. I'd like to record a Chinese version of 'Phantom Power' so that once I'm back in the UK I can reconnect with the music lovers I've met. I've heard lots of very poppy pop songs that incorporate both Chinese and English lyrics so I'd like to try my own twist on that."1. Phantom Power
2. Gentle Morning Song
5. You Can Talk To Me
7. Dirty Broken Bliss
9. The Light & The Noise
11. Just A Hair's Breadth$18.99Vinyl LP - 2 LPs Sealed Buy Now
GargoyleEarly in 2016, Mark was at home in LA, working on some ideas for what might turn into his next album when he got an email from a friend, an English musician named Rob Marshall, thanking Mark for contributing to a new project he was putting together, Humanist. The pair first met in 2008, when Marshall's former band Exit Calm supported Soulsavers, who Mark was singing with at the time. Now Rob was offering to write Mark some music to return the favour: "I was like, Hey man, I'm getting ready to make a record if you've got anything?'" Mark recalls. "Three days later he sent me *10 things !"
In the meantime, Mark had written 'Blue Blue Sea', a rippling mood piece that he thought might be a more fruitful direction for his new record. "It's almost always how my records start," he explains. "I let the first couple of songs tell me what the next couple should sound like, and it's really the same process when I'm writing words. Whatever my first couple of lines are, tell me what the next couple should be. I've always built things like that, sort of like making a sculpture I guess."
Within an hour, Mark had written words and vocal lines for two of the pieces Rob had cooked up at Mount Sion Studios in Kent and pinged through the virtual clouds to California. Rob's music fitted perfectly with the direction Mark had been pondering: in essence, a more expansive progression from the moody Krautrock-influenced electronica textures of his two previous albums, 'Blues Funeral' and 'Phantom Radio'. Eventually, Rob Marshall would co-write six of the songs on the new Mark Lanegan Band album. "I was very thankful to become reacquainted with him," Mark deadpans.
The remainder of the album was written, recorded and produced by Lanegan's longtime musical amanuensis Alain Johannes at his 11 AD base in West Hollywood. Everything was done and dusted within a month, unusually fast by Lanegan's recent standards. "I definitely feel like I'm a better songwriting than I was 15 years ago," he says. "I don't know if I'm just kidding myself or what, but it's definitely easier now to make something that is satisfying to me. Maybe I'm just easier on myself these days, but it's definitely not as painful a process, and therefore I feel I'm better at it now. But part of the way that I stay interested in making music is by collaborating with other people. When I see things through somebody else's perspective it's more exciting than if I'm left to my own devices."
While sharing roots with its two predecessors, on Gargoyle there's a significant up-shift in the swaggering power load of such keynote songs as Nocturne and Beehive, while the lyrics' tonal palette is more varied. The album title comes from a lyric in Blue Blue Sea - "Gargoyle perched on gothic spire" - and was chosen for its hint of self-deprecation. "I'm most proud of the songs that are atypical to stuff that I've done in the past," says Mark. "So I really like Old Swan, because it's an expression of positivity, which is completely anti-anything I've done before!" He laughs. "Y'know, I haven't played this record for too many people yet. I played it for Greg Dulli, who played on some of it, and he was like, 'Wow, I had to listen to it twice - it sounds like he's having a good time '
It's been a long journey traveled, not always easy, but in 2017, at the age of 52, Lanegan's got the look of permanence about him. Like that gargoyle on the gothic spire .1. Deaths Head Tattoo
3. Blue Blue Sea
7. Goodbye To Beauty
8. Drunk On Destruction
9. First Day Of Winter
10. Old Swan$23.99Vinyl LP - Sealed Buy Now