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Piece Of Mind'
Piece Of MindBMG and INgrooves Music Group will follow the 2012/13 IRON MAIDEN vinyl picture disc reissues of the first eight Iron Maiden albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl in the United States.
The albums will be cut from the original UK analogue master tapes and packaged in identical artwork to the initial 1980's releases.
The release of these high quality, black vinyl records offers optimum choice to fans who would like to own a piece of Maiden's authentic 1980's vinyl sound, or for those simply wanting to rediscover this much loved, iconic format. Coupled with the end of the Maiden England World Tour which began in North America in 2012 and finished last month at Knebworth Park's Sonisphere Festival in the UK, this now completes Maiden's 1980's touring and catalogue reissues cycle, so the band are free to focus on their dynamic future plans.1. Where Eagles Dare
3. Flight of Icarus
4. Die With Your Boots On
5. The Trooper
6. Still Life
7. Quest for Fire
8. Sun and Steel
9. To Tame a Land$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I Am a Problem: Mind in PiecesHaving eschewed the "noise" moniker to describe their sound in favor of the self-proclaimed "Trip Metal", Wolf Eyes are at the forefront of a wide-ranging, experimental, impossible-to-categorize world. With over 500 releases since their inception in 1997, the group has been lauded by Thurston Moore, Henry Rollins and countless other stoned basement malcontents.
With previous full-lengths on labels like Sub Pop and Troubleman, I Am a Problem: Mind in Pieces is their debut release for Third Man Records and signals an ever-so-slight shift with the appearance of guitar and even drums. I Am a Problem is as much a classic Wolf Eyes record as no one would've ever predicted such a pulverizing left-turn at this juncture of their career. This is social audio dissent.1. Catching the Rich Train
2. Twister Nightfall
4. Asbestos Youth
5. Enemy Ladder
6. Cynthia Vortex aka Trip Memory Illness$17.99Vinyl LP - Sealed Buy Now
Library Catalog Music Series: Music For Mysteries Of Mind SpaceLimited Edition
Comic Wow are sonic illustrators, alchemists, designers, dilettantes', poets, teachers, Socialists, and outdoorsmen whose advocacy of affordable colored cod pieces helped influence the look of thirty-third century America. Incidentally, they've also released music as Feathers. All pieces composed, performed, mixed and recorded by Eddie Alonso, Eric Rasco, John McEntire, Chris O'Malley, Ken Champion, Roy Silverstein, Paul Mertens, Tim Iseler, Jeremy Lemos and Matt Crum.1. Salad Days
2. Bad Ballet
3. Jazz Computer
4. Nice Chaps
5. Miami Song Tennis
6. Miami Song Tennis 2
7. Encore Electronics Flute Fax
8. Chimp on a Pew
9. Minor Hexagons
10. Water Music Treadmill
11. Meet the Vampeatles (Or, What if the Beatles were Vampires?)$14.99Vinyl LP - Sealed Buy Now
Every Country's SunEvery Country's Sun takes two decades of Mogwai's signature, contrasting sounds - towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume - and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it's a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There's percussive, dream-state electronics (Coolverine), church organs as chariots of existential fire (Brain Sweeties), tremulous, foreboding bleeping - possibly from a dying android (aka 47).
Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, Party In The Dark, a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's directionless and innocent, searching for another piece of mind. This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you'd much rather live. The last three songs ascend into explosive exorcism, closing with the colossal Every Country's Sun, its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.LP 1
2. Party In The Dark
3. Brain Sweeties
4. Crossing The Road Material
5. aka 47
6. 20 Size
1. 1000 Foot Face
2. Don't Believe The Fife
3. Battered At The Scramble
4. Old Poisons
5. Every Country's Sun$27.99Vinyl LP - 2 LPs Sealed Buy Now
Hyphenated-ManHyphenated-man is the name of my third opera, Contemplating The Engine Room (1997) being the first one and The Secondman's Middle Stand (2004) being the second. Whereas Engine Room dealt with my pop's life in the navy as a metaphor for the story of the minutemen and Middle Stand was a parallel to Dante's comedia dealing with an illness that almost killed me in 2000, this third opera is quite different in that it has no standard narrative (libretto!) meaning no regular beginning-middle-end and is as it were simultaneous in the way a mirror from just inside my head, right in this middle-age moment of mine, was then shattered into thirty pieces and then each piece stuffed in the head to show a piece of my state of mind (or out-of-mind) as of now. Thirty tunes? Yes, they're little ones, actually they're thirty parts of one big tune.
It was kind of trippy how this piece was actually made. I wrote all thirty parts on one of D. Boon's telecasters, the black one he got in Kent, Ohio in 1984. Now I'm not a very good guitarist but Tom Watson was quite the righteous man in his patience and determination to take the palsy demos I gave him and bring them to the piece. - Mike Watt1. Arrow-Pierced-Egg-Man
30. Wheel-Bound-Man$19.99Vinyl LP - Sealed Buy Now
Big Sky CountryFrom the opening strums of Big Sky Country, the newest album - 6th, overall - from Sweden's Sofia Talvik, you know you're in for an aural pleasure experience. Her sweet, rich and enveloping voice immediately draws you in and the fullness of the songs captures your attention, enhanced by the just-right production. Acoustic-based, melody-built - a fine, fine work. Even though this young lady is from Sweden, I'd place her at the forefront of the American vanguard. One listen will tell you why and how.
"Aha Aha" opens the album and straps you in for the ride down this dusty, sun-setting musical highway; "Big Sky Country" is a melodic and melancholic, near Irish-folk-feel singalong while "Dusty Heart, Empty Hand" is pure Nashville with its pedal steel runs and banjo. "Lullaby" is a sweet, gentle piano based track with interestingly contradictory lyrics (" everything's beautiful - still you wish you were dead "); "A Matter Of The Hearts" is a vocal showcase - you can hear the natural skill in her singing and the feeling she conveys; "Bonfire" is a uptempo acoustic piece (without percussion) that builds with dramatic (yet not overboard) flair. "Fairground" is an acoustic shuffle with beautiful background harmonies and one of the album's standouts; "So" closes out the album in a subdued yet emotional manner.
- Rob Ross (Pop Dose)$19.99Vinyl LP - Sealed Buy Now
Burnt Black CarsSaskatoon's Slow Down Molasses is a five-piece indie-rock collective described as "the Broken Social Scene of the
prairies" by Exclaim! Magazine. Taking cues from the wide-open spaces of their home, they craft expansive, texture heavy pop songs that break into storm squalls of drone, delay and feedback. For new record 'Burnt Black Cars', they have turned to producer Jace Lasek (SUUNS, Besnard Lakes).1. Sovereigns
2. Burnt Black Cars
3. Summer Sun
4. Stay Still
5. Resurrection Blues
6. City Sublet
7. Don't Forget The Youth
9. Underneath The Cobblestones$15.99Vinyl LP - Sealed Buy Now
If I've Only One Time Askin'Not quite country, Americana, folk, singer-songwriter or pop, Daniel Romano's exquisite and expansive new album, If I've Only One Time Askin', due July 31 on New West Records, is pieces of each, but ultimately the work of a singular mind. Already hailed by Rolling Stone, the 11 new self-produced and largely self-performed songs "lead their baritone-voiced creator down a path filled with countrypolitan crooning, honky-tonk heartache and mid-century melodrama." When no label could encapsulate his myriad creative threads and styles, Romano created his own: Mosey. In the two years since his critically acclaimed third full-length, Come Cry With Me, Romano has toured North America and Europe extensively, supporting and collaborating with a wide spectrum of artists from Old Crow Medicine Show, Wanda Jackson, Hurray For The Riff Raff, and Caitlin Rose. In 2015, Romano again hits the road, touring globally, carrying the low, lonesome sound of Mosey with him.1. I'm Gonna Teach You
2. Old Fires Die
3. Strange Faces
4. All The Way Under The Hill
5. If I've Only One Time Askin'
6. The One That Got Away (Came Back Today)
7. There's A Hardship
8. Learning To Do Without Me
9. Two Word Joe
10. If You Go Your Way (I'll Go Blind)
11. Let Me Sleep (At The End Of A Dream)$19.99Vinyl LP - Sealed Buy Now
The Long OKnown best for his work in Tasmanian freak-rock outfit The Native Cats, long-time Australian poet and sometimes stand up comedian Peter Escott has recently put to tape a magnificent solo opus, The Long O. Featuring no other performers and limited to the only instruments Escott knows how to play - piano, synth, melodica, and a solitary, awkwardly self-taught guitar chord - The Long O is as haunting as it is direct, with Escott's voice lending a reserved gravity to the often soaring arrangements.
The minimal instrumentation allows Escott's long-confirmed songwriting strengths to come to the fore. He avoids arpeggiating and endless layering in favour of weighty chords and open spaces, whether in the mournful stride of piano-driven lead single "My Heaven, My Rules" or the blissful dream-pop of "Mealymouth". A thread of rough-hewn experimentation runs through the album too: "The Bell" closes the album with a melodica solo played in front of a washing machine, both heavily distorted to devastating effect.
Escott's lyrics, already so vital to the appeal of the Native Cats, are even more focused and prominent here, as he trades his usual bold declarations and paranoid power games for a far more reflective and revealing lyrical mode. In "O", a three-part home recording inspired by the paralysing indecision of trying to complete and arrange the album, he wonders if all art can simply be reduced to "a list of decisions", explores the notion of artistic immortality via the history of drum sampling, and accepts the impossibility of writing to please anybody but oneself. It's The Long O in a nutshell: pieces of an ordinary life, and a wandering mind, and a well-honed instinct for deceptively small sounds.1. A16 (Sure Thing)
2. My Heaven, My Rules
3. Every Afternoon Is Holy
4. No One
7. Ship Of Theseus
8. My Arm Is True
9. I Believe In Devil World
11. Kid 88 Moves On
12. Desmond's Songs
13. The Bell$32.99Vinyl LP - Sealed Buy Now
Maps Of Non-Existent PlacesClaudio Sanchez has officially launched his record label Evil Ink Records and his first signing is New Jersey's young experimental progressive rock septet
Thank You Scientist. The newly formed label, distributed by INgrooves, will be releasing a fully remixed and remastered version of the band's 2012 debut
full-length record, Maps of Non-Existent Places, in time for their run with Coheed and Cambria's "Neverender:IKSSE3 Tour."
Claudio Sanchez knows a little bit about progressive music. His career has spanned 12 years and 7 albums, likely encompassing the longest concept
album arc in the history of rock and roll. Now, in effort to further support and promote his beloved complex genre, he has launched a label dedicated to
sharing a wealth of future talent with the first signing being the extremely talented seven-piece band Thank You Scientist.
For the uninitiated, Thank You Scientist was forged from the music program at Montclair State University in New Jersey when guitarist Tom Monda met
saxophonist Ellis Jasenovic and trumpeter Andrew Digrius. The three bonded over their love for Frank Zappa, Mahavishnu Orchestra, The Beatles and
Harry Nilsson. Those influences would become the seeds for what Thank You Scientist would evolve into today.
With the addition of vocalist Salvatore Marrano, bassist Greg Colacino, drummer Odin Alvarez and violinist Ben Karas, Thank You Scientist's lineup of
virtuoso musicians was complete. The band would go on to self-release an EP, The Perils of Time Travel, in 2011 followed by their debut full-length, Maps
of Non-Existent Places, in 2012, which caught the ear of Sanchez, a fellow purveyor of progressive stylings, and led to his signing of the band.
To pinpoint Thank You Scientist's sound would be inconceivable. On Maps of Non-Existent Places they hold a virtual master class on musicianship,
fusing elements of progressive rock with jazz fusion, classical, metal, psychedelic and pop for a head spinning, mind-blowing listening experience. The
seven-piece band, who collectively play some 20 instruments, boasts a hyper-composed sound which is indebted to their experience and formal training
in both classical and jazz idioms.
A Frank Zappa for the indie generation? Incubus jamming with the Mahavishnu Orchestra? Mr. Bungle and Steely Dan joining forces to fight Godzilla?
King Crimson and the Brecker Brothers serenading you at your bedside? It all seems so strange on paper, yet it's sure to satisfy your ears in the best of
2. A Salesman's Guide to Non-Existence
3. Feed the Horses
4. Blood On the Radio
6. Suspicious Waveforms
8. Concrete Swan Dive
9. In the Company of Worms
10. My Famed Disappearing Act$24.99Vinyl LP - 2 LPs Sealed Buy Now
Double ExposureWhile many rocking bands in San Francisco and beyond claim to be 'garage' bands' - Kelley Stoltz has actually recorded his new LP Double Exposure in the garage behind his house. And while the car oil stained floors are covered by oriental rugs and there are no snow shovels laying around - there is a collection of vintage synths, 17 guitars, tape echos, mellotrons, a 50's jukebox, a Teardrop Explodes poster, a tape machine used by The Residents, an amp used by Stooge James Williamson, and a myriad other noise making devices which rear their heads on his new record. All told the place is called Electric Duck Studio and it's become a muse capturing zone for Stoltz, as well as Sonny & the Sunsets, The Mantles, Tim Cohen, Life Stinks, The Sandwitches and many other tuneweavers big and small.
Double Exposure is Kelley's first album in a while - near on 3 years since his last one, To Dreamers came out on Sub Pop. What the heck has he been doing since, you ask? Well, renovating the garage for one, and using said garage studio to engineer, produce or encourage the above named bands You see time flies when you're having fun. Add in some love, a little heartbreak, turning 40, deciding to jog everyday, staring at the wall, singing hundreds of songs into the phone, sleeping, recording an album of cover songs with his family, making a couple 45 singles, catching white wine buzzes, getting dropped by Sub Pop, playing keyboards on tour with Rodriguez, and signing on with old supporters at Third Man Records really it's as good old Sandy Denny sang, who knows where the time goes.
Anyway, if you stir up all that stuff and a few other things we won't mention here, you have the makings of a fantastic and heartfelt record, Double Exposure has 10 new jams that Thee Oh Sees main man, John Dwyer, describes thusly, A piece of gold in your ear, A lovely thought in your mind, A breeze in the sun, This record is perfect
Nicely put there Johnny! And you too will thrill to the sound of delay pedals twisting the keys on Inside My Head, crane your neck to the backwards guitars of Are You My Love, ramble and gamble to the clanging cymbals on the title track, question the sanity of a song called Kim Chee Taco Man, and finally, fall down and weep at the sweet fluted sentiments of It's Summertime Again.
For all of you Aussie rules fans, the album was mixed and mastered by Mikey Young of Eddy Current Suppression Ring/Total Control and features Stoltz playing most of the instruments himself and overdubbing parts through his trusty 8 track tape machine.1. Storms
2. Are You My Love
3. Your Face
4. Double Exposure
5. Inside My Head
6. Still Feel
8. Kim Chee Taco Man
9. Down By the Sea
10. It's Summertime Again$17.99Vinyl LP - Sealed Buy Now
Henderson - Prokofiev: Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner) Quick ViewSPCO-SPE-2218$34.99Buy Now
Henderson - Prokofiev: Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner)
For those who enjoy a pun, Saint-Saëns's Carnival of the Animals and Prokofiev's symphonic tale for children Peter and the Wolf might well be described as "beastly". And this recording makes no exception for it is, indeed, quite spectacular! Both works are introduced by the roaring and screaming of the inhabitants of London Zoo. The individual orchestral instruments are introduced during the course of the music and are commented upon by a human voice in a narrative.
The characters and animals are each given a characteristic theme which is presented by a particular instrument or register. While Prokofiev wrote his composition with a pedagogic purpose in mind, Saint-Saëns's main aim was to create a piece of musical fun. The mischievous work not only offers a lively depiction of various animals and even hollow-sounding fossils (by means of the xylophone), but also contains numerous tongue-in-cheek references to works by great composers.
These two musical masterpieces combine humour with education in a thoroughly fascinating and enchanting manner and are equally loved by children and adults alike. The interpretation and sound of this DECCA LP certainly earns first prize for being "beastly"!
- Beatrice Lillie
- Animals of the London Zoo
- London Symphony Orchestra
- Skitch Henderson (conductor)
Recording: February 1960 at Kingsway Hall, London by Kenneth E. Wilkinson
Production: John Culshaw
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
This title is not eligible for discount.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Axis: Bold As Love (Music On Vinyl) (Mono) (Awaiting Repress)Ranked 82/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Axis: Bold as Love, the second Experience album, was released merely six months after their debut LP Are You Experienced, at the end of 1967. Many of the album's songs were composed with complex studio recording techniques in mind and as a result were rarely performed live. Only Spanish Castle Magic and every-guitar-player's-ultimate-study-material Little Wing became staples during concerts.
The album shows an incredible growth in Hendrix' songwriting and sonical versatility. Radio friendly rockers like Wait Until Tomorrow and You Got Me Floatin' are mixed with ballads such as Castles Made Of Sand - the album's variety makes it a delightful listen.
The original mono pressing was intended to cater to those listeners with outdated hifi equipment, and therefore this is a rare piece of Hendrix' legacy. The Music On Vinyl reissue of the mono mix makes this evergreen available for contemporary ears again.1. Exp
2. Up From The Skies
3. Spanish Castle Magic
4. Wait Until Tomorrow
5. Ain't No Telling
6. Little Wing
7. If 6 Was 9
8. You Got Me Floatin'
9. Castles Made Of Sand
10. She's So Fine
11. One Rainy Wish
12. Little Miss Lover
13. Bold As Love$38.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
West Meets EastThe Rga chosen by Ravi Shankar for his piece Prabhti for solo violin and tabla (drums) is nearly identical with the national Japanese scale. Others are equivalent to our major and harmonic minor scales, to Greek modes, to those used in Gypsy and Flamenco music and there are hundreds more, each expressing a different world of feeling and thought, of which we in the West have never even heard. I have chosen as the Western contribution to this recording the remarkable and haunting Sonata in the Popular Romanian Style by George Enescu. Although it is a Western composition in the purest sonata form, the piece exudes the rhapsodic and improvisatory atmosphere characteristic of the Rumanian Gypsy violinist and it is thus a rare and authentic example of improvised folk music giving birth to a composition in an evolved Western form. The Sonata on this record could only have come from the mind and heart of one born and bred of a union between the intuitive world of the East and the crystallized and consolidated world of the West.
-Yehudi Menuhin1. Prabhti (Based On The Raga Gunkali)
2. Rga: Puriy Kalyan
3. Swara-Kkali (Based On The Raga Tilang)
4. Sonata No. 3 In A Minor, Op.25 (In The Popular Roumanian Style) - 1st Movement: Moderato Malinconico
5. Sonata No. 3 In A Minor, Op.25 (In The Popular Roumanian Style) - 2nd Movement: Andante Sostenuto E Misterioso
6. Sonata No. 3 In A Minor, Op.25 (In The Popular Roumanian Style) - 3rd Movement: Allegro Con Brio, Ma Non Troppo Mosso$23.99Vinyl LP - Sealed Buy Now
Then It All Came DownThen It All Came Down is J.R. Robinson s second long-form composition as Wrekmeister Harmonies. Employing an enormous ensemble of some of Chicago s best talents in the metal and experimental communities, including Wrest (Leviathan), Ryley Walker, and members of Indian, Corrections House, Twilight, Yakuza, Anatomy of Habit, Come, Mind Over Mirrors, and Bloodiest, Robinson has created a work that is equally gorgeous and menacing. The CD edition also includes 2013 s You ve Always Meant So Much To Me (on CD for the first time), bringing the total running time to over 73 minutes. Few artists have perfected the nuances of beauty as well as annihilation, and Robinson s mastery of both sides of the spectrum makes his a unique voice in the field of doom. J.R. Robinson perceives life as a long, gradual process of decay. Lightness fades into darkness, while innocence succumbs to the evils of modern society. His music reflects not only this worldview but his emotional response to it. Then It All Came Down is an exploration of that existential deterioration and an attempt at attaining a deeper understanding of its process. Then It All Came Down opens with a low, soft drone, creeping in almost imperceptibly. Bells chime as more tonal voices emerge from the ether, Walker s acoustic guitar echoing in the abyssal soundscape. Several women sing as sirens: Beautiful Sun. The piece is inspired by and takes its name from an essay written by Truman Capote following his interview with Manson-associate Bobby Beausoleil (which translates as beautiful sun ), whose dangerous spirit and embodiment of occult ideals offer an extreme example of the light into dark transition the piece explores. As the soft drones and angelic voices are replaced with threatening rumbles of distortion and low cackles courtesy of Wrest, an overwhelming sense of unease permeates the piece s atmosphere, only a harbinger of what is to come. When the piece does explode into crushing howls and heavy doom, all semblance of tranquility and stillness, the light, the peace, is exterminated. Then It All Came Down was debuted at the Bohemian National Cemetery in Chicago under a full moon in July of 2013, the first in a continuing yearly series called Beyond The Gate. The series continued in 2014 with a debut of another new Wrekmeister composition which will be released in early 2015. Wrekmeister Harmonies will continue to bring large-scale productions involving a rotating cast of guest musicians to unconventional performance spaces throughout 2014-15, and has a future collaboration planned with The Body. An essay by Robinson about Beausoleil s influence on Charles Manson and his ideological lineage from Alastair Crowley is available for deeper insights into Robinson s fascination with the controversial cult figure.1. Then It All Came Down$18.99Vinyl LP - Sealed Buy Now
LensesSoft Metals' Lenses is a continuation of their
ethos aiming directly at your body and subconscious mind with an intimacy that only lovers can bring.
The song "Lenses" describes the experience of shifted consciousness with the lyrics "breaking through my perception of you, breaking through my concept of life". It celebrates the feeling of escape from a mind imprisoned with lack of presence and stuck in habit all set to an earnest beat and lush enigmatic melodies that entwine and seduce. "Tell Me", "No Turning Back", When I Look Into Your Eyes" expresses that nervous, vulnerable feeling of falling for someone, but questioning the reality of the situation asking "Is this love true? Or are we just lost in lust?", "when you said you loved me, I laid my whole life down", "When I look into your eyes, I wonder if we'll meld". "In the Air", perhaps the most movement inspiring track of the album, is a dense, pulsating piece about the power of nature, the effects of seasonal changes on all living things that rule over sexuality, productivity, and inspiration- the basis of man's various forms of mysticism.1. Lenses
2. Tell Me
3. When I Lo ok Into Your Eyes
4. No Turning Back
6. On A Cloud
7. In The Air
8. Interobserver$17.99Vinyl LP - Sealed Buy Now
Moussorgsky/Ravel: Pictures At An Exhibition (45 RPM)RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!
Remastered From The Original Master Tape - Now Available Cut At 45 RPM! By Ryan Smith At Sterling Sound
Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!
Another sonic and musical blockbuster from the unbeatable combo of Reiner and RCA (and Mohr & Layton). Recorded in 1957 at Chicago's Orchestra Hall; the original analog session tapes were used in mastering for LPs and SACDS. Mussorgsky's inspiration for Pictures was the death of his dear friend, the architect and visual artist Victor Hartman. Having died at age 39, Hartman had not yet had the opportunity to realize any of his architectural visions, and Mussorgsky was angered that his friend would have no legacy. The Architects' Society arranged an exhibition of some of Hartman's sketches - some of architecture, others of characters or scenes from everyday life. The tribute was enough to give Mussorgsky ideas for his composition, but not enough to give Hartman any lasting place in history. Today, of all of the sketches that were captured in music, only six can be positively identified.
The piece is known today primarily through the orchestral version created by Maurice Ravel in 1922. In fact, the work had already been orchestrated multiple times, by a variety of lesser names. Some conductors today find that Ravel's version, in spite of its color, sacrifices some of the coarse nature inherent in Mussorgsky's piano original. Furthermore, Ravel worked from Rimsky-Korsakov's edited version of the piano part - the only one available at the time - which changed some notes and rhythms.
None of the orchestrations, however, change the fundamental spirit of the piece. Mussorgsky imagines himself making his way down the hallway that showcased his late friend's work, with his stately procession represented by the Promenade that opens the piece and returns several times. Upon stopping at each image, he reflects on what he sees. Between the early movements, the promenade returns regularly, as Mussorgsky is conscious of moving from one scene to the next. As the work progresses, however, he becomes less aware of the interval between pictures, and more immersed in the continuous psychological experience of moving from one state of mind to the next. By the end, the composer sees himself transformed by the connection with Hartman through his visual expressions of Russian pride and humanity.
Chicago Symphony Orchestra
Fritz Reiner, conductor
This title is not eligible for discount.LP 1
3. Il Vecchio Castella
8. Ballet Of The Chicks In Their Shells
9. Samuel Goldenburg and Schmuyle
1. The Market Place At Limoges
2. Catacombae, Sepulchrum Romanum
3. Con Mortuis In Lingue Mortua
4. The Hut On Fowl's Legs
5. The Great Gate Of Kiev$54.99200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Turkish LeatherDetroit three piece Ritual Howls new album tells stories fit for Poe
or Lovecraft. On their debut full length for felte, titled Turkish
Leather, they incorporate a variety of styles into an ominously
self-assured statement of intent, Ben Saginaw and Chris
Samuels' sounds providing an imposing form for Paul Bancell's
darkly alive lyrics to inhabit. Their influences range from English
post-punk to Nick Cave to the industrial sounds of Skinny Puppy,
and the band melds them expertly. Combining field recordings
with electronics, this music is sound design turned pop.
Many tracks here feel cinematic - whether it's the industrial
clanging of "A Taste of You," which brings to mind a Lynchian bar
scene, or the gothy synths of "Take Me Up," a slow burning track
that escalates into full on melodrama. It's easy to imagine these
twangy guitar lines gracing a scene in a Jarmusch film: their
aesthetic owes as much to Tom Waits as it does Ennio
Ritual Howls manages to take all these influences and come out
sounding uniquely morbid, raw and unyielding - never derivative.
It's a record that holds nothing back: the band announcing
themselves to the world with all of the confidence of long time
professionals. Their future audience will greet them with
2. The Taste of You
3. Take Me Up
4. My Friends
5. Final Service
7. No Witnesses
8. Turkish Leather$19.99Vinyl LP - Sealed Buy Now
Something ElseAfter 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)
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)
12. So Dope (They Wanna) (feat. Wrekonize, Snow That Product & Twisted Insane)
13. See Me (feat. Wiz Khalifa & B.o.B.)
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)
19. R.I.P. Ray (skit)
20. Strange 2013 (feat. The Doors)
21. SMB$24.99Vinyl LP - 2 LPs Sealed Buy Now
ConversationsWoman's Hour are not your average band. The first clue comes in the name of the London-based swoon-pop four-piece, taken from a beloved female-focussed news and culture show on BBC Radio 4. The second is in their graphic, striking monochrome visuals, meticulously curated in collaboration with TATE and MOMA certified fine artists Oliver Chanarin and Adam Broomberg. These play with shape and texture, much like their powerful, iridescent music. On their excellent debut album 'Conversations', this has the intricate construction and intimacy of The xx and the iridescent shimmer of summer-defining indie pop. Pay attention now, or regret it later.
In a sense, we feel like the odd ones out, explains frontwoman Fiona Burgess of their nose-to-tail approach to their visuals, performance and songcraft. It's quite empowering that we're doing it as four people but we're not part of a bigger collective. Indeed, their 360º approach is closer to the art/music crossover of acts such as Throbbing Gristle, Yoko Ono or Factory Floor than most of this year's indie hopes. Their music - as poignantly personal as pop gets - has a rare singularity and purpose.
Take single Her Ghost, which layers a breezy guitar hook with Fiona's beautiful, sighing lyric of inner turmoil. I'm interested in the idea of memory and how powerful memories can be, and how powerful some things can be to let go of, she says. A lot of my writing is me trying to understand an emotion or situation. The track's melody and a message lingers in the recesses of the mind like a box of treasured letters.
Woman's Hour started to come together one summer, when Fiona started collaborating with her brother, guitarist William Burgess. I had been to a couple of rehearsals with other bands and it wasn't very much fun, says William. I mentioned to Fiona that I'd like her to sing and we decided to have a go. I went round to her place one day and it turned our that she had a pretty nice voice! The two recruited bassist Nicolas Graves, who was William's friend from back home (the pair had played in a couple of local guitar bands back in Kendal) and the three began creating their music. Nicolas explains: We just messed around in each other's houses for a bit and tried to get a few songs together.
We played our first gig in 2011, Nicolas continues. It was at Fiona's house in Camden. It was a hat-themed party. I remember wearing a beret. Fiona was wearing a trilby, and Will had a sombrero on. It was incredibly nerve-racking for the trio despite the jolly occasion (I almost froze with fear at one point laughs Nicolas), but the gig was a runaway success, and it was there that they all met keyboardist Josh Hunnisett, who was already a friend of Fiona's and happened to be doing the sound at the event. Even in the shambolic situation, the band were meticulous perfectionists.
The quartet had their first rehearsal in an old vicarage in Dalston. It just felt really honest, says Josh. There was no 'you can't do this, you can't do that, don't try that - the style of music felt pure and everyone was expressing themselves in the way they wanted. We've tried to think about this as a collaboration between four different creative people. Each band member brings a wholly distinct set of influences to the band - from German cold wave to pop rarities and uncompromising singer/songwriters. Their website even has a section dedicated to recommended reading.
But it was their favourite radio show that was to be have most prominent effect on the band. When we were first doing demos we named them all after BBC Radio 4 programmes, explains Nick. The World at One, Afternoon Play, that kind of thing. I think Woman's Hour might have been one of them, and when it came to play our first gig (at The Queen's Head in London) one of our friends suggested using it and it stuck. Indeed, their jangle-pop first single Jenni, which is quite different to their current material, was named after Radio 4 stalwart Jenni Murray. The band's first 7, Jenni/ Human, was released through London label Dirty Bingo after the label head tracked them down on online and interviewed them for beloved London zine Loud And Quiet.
Although the single made a splash, things were moving too fast for the band. Suddenly we thought, 'should we have had something to back this up?, says William. 'We didn't have any more songs, so we took a year and a half off to write and develop the sound. That's also when we met Tom Morris, our producer. The band hibernated, starting from the bottom up. Let's get everything fucking slick, how we want it, let's do everything exactly how we want it ourselves - don't compromise.
It was worth the wait. When the band put their gorgeously lilting comeback single Our Love Has No Rhythm online in 2013, the blogs exploded, in part due to the glossy monochrome video depicting Fiona's face in close-up, and also the stunning single artwork - an uneasy found image of a suited gentleman falling over. We've been using images that are taken from manuals, explains Fiona. Lots of different 'How To' manuals from How to Train a Chihuahua to How to Fall Over Without Hurting Yourself. We like the idea of how to look after yourself physically paired with the music, which is a lot less direct.
Perhaps Woman's Hour's music does not hammer its message home, but there's a nuance and craft that's scarcely found in today's industry. They followed Our Love Has No Rhythm, with the cooing, Beach House-esque Darkest Place in which Fiona implores I don't understand why you're not around over swooning keyboards, with a cooing ooooh-ooooh hook. For the track's striking video, she'd is depicted in close crop with her eyes closed as an unknown figure attempts to prise them open. I was finishing a degree in performance studies at the time, and I came across this particular piece by Vito Acconci, she says of the inspiration for the video. The original piece is about 20 minutes long, and it's absolutely gruelling, there's no soundtrack to it and it's a piece where you can hear the sound in the room of two people in a physical struggle. You can hear the heavy breathing, the feet, the occasional sounds of resistance. She endured a restaging of the piece, which she found very intense and intimate.
Woman's Hour have an uncompromising commitment to the unconventional. For them, music does not exist as merely a hummable soundtrack but as a wider and more artistic proposition. As Fiona continues: A lot of music videos are not very challenging, and I like the idea of them being quite confronting. Our album artwork is inspired by a picture of a woman surrounded by pyramids that was part of a magazine article called The Start of an Era. It was a 1970s performance piece that was performed at the Whitney Museum in New York, and we've also designed nine of these pyramids with Oliver Chanarin that we'll incorporate into our live show when possible. The Start of an Era? We couldn't have said it better ourselves.1. Unbroken Sequence
3. To The End
4. Darkest Place
5. In Stillness We Remain
6. Our Love Has No Rhythm
7. Her Ghost
8. Two Sides of You
11. The Day That Needs Defending$18.99Vinyl LP - Sealed Buy Now
Light GrenadesAvailable for the first time on vinyl! Double gatefold sets presented on 180-gram audiophile vinyl.
On their fourth album, A Crow Left of the Murder, Incubus got heavier, both musically and lyrically, which might have developed their music but it shrank their audience. It's hard not to see their 2006 follow-up, Light Grenades, as a reaction to this situation -- not that they shrink away from the progression of Crow, but they polish and streamline their innovations from that album, resulting in a record that's sharper, cleaner, and more immediate in every respect. This naturally means that Incubus doesn't sound as heavy as they did earlier in their career, but they're still pretty somber here; even when the rhythms crash and the guitars wail, this is serious music, but they have a lighter touch here than they did on Crow. They also have a greater mastery of mood, as well as a greater musical variety than they displayed on the outset of their career. Often, they use trippy, vaguely psychedelic soundscapes to set a tone that they later blast apart with tightly focused blasts of fury, such as the skittering Anna Molly or the intense two-minute ballast of the title track -- or even how the acoustic introspection of Earth to Bella is ripped apart by shards of noise, not unlike Radiohead's Creep. Radiohead comes to mind a few times on Light Grenades, largely in how Incubus uses echoed guitars on their expansive mood pieces, but more often they sound like a leaner, hungrier latter-day Pearl Jam in their sense of purpose and dedication to serious rock. Perhaps that's why Diamonds and Coal stands out so strongly in the latter half of the record: it's a tightly constructed pop song, their catchiest ever, that's unlike anything else on the record in its hookiness, which makes it all the more impressive. And instead of suggesting that the rest of the record is lacking in hooks, it actually points out how Incubus has grown: that they not only feel comfortable releasing a piece of alt-pop as catchy as this, but they don't emphasize it, they merely present it as another dimension to their sound, just like how the delicate acoustic-driven Paper Shoes also sounds unlike the rest of the album yet still fits comfortably into the record's tapestry. These moments of lightness illustrate the confidence Incubus now has and their increasing musical dexterity too. On Light Grenades, they are a tightly focused, purposeful band, shifting moods and textures at the drop of a dime, proving that they have become a rare thing: a modern heavy rock band that actually grows and improves with each album.
2. A Kiss to Send Us Off
4. Anna Molly
5. Love Hurts
6. Light Grenades
1. Earth to Bella (Part I)
2. Oil and Water
3. Diamonds and Coal
5. Paper Shoes
6. Pendulous Threads
7. Earth to Bella (Part II)$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Tactile GalacticsDelivered from its celestial womb to the human world for inevitable elevation, Tactile
Galactics is the new album by Secret Circuit and first full length release from Beats In Space
Secret circuit is the guise of Eddie Ruscha Jr., a sometimes sage known and beloved
throughout the Los Angeles creative community. Amongst his earliest musical endeavors,
ruscha co-founded Medicine, an overlooked four piece whose sinister, snarling take on
shoegaze landed them as the first American signing to Creation Records.
After leaving Medicine without a bad taste in his mouth, ruscha's focus shifted from his
shoes to the endless array of LA music stores housing analog synthesizers, drum machines
and effect units forsaken at the advent of digital technology. While establishing his Secret
circuit identity through various self-releases, ruscha was a wingman in notable projects with
Thomas Bullock (Rub 'N' Tug) as Laughing Light of Plenty and with DJ Harvey as Food For Gods.
ruscha likens his studio obsession to "striving for alien sound or rhythm that feels natural."
Between 2011 and 2012, ruscha released no less than four albums, a 12" for Prins Thomas'
Internasjonal Spesial label, a handful of blazing mixes on the Cosmic Papers cassette tape
series, and his debut for Beats in Space records, the Nebula Sphynx / Parascopic Rope 12".
Ever the unsettled settler, ruscha consciously crafted the bulk of Tactile Galactics' tracks at
120 beats per minute. ruscha played with the equalizing value of this boilerplate dance
music BPM in much the same way a DJ might - to set a clear course for transcendence.
Tactile Galactics is derived from a dance lineage promoting feel over form; rhythmically
explored without abandon - or audience - in mind by the krautrock fringe, put to the
slow motion disco test at Daniele Baldelli's cosmic club, jacked into a House format via the
chicago imprint TRAX and honored today via peer psychonauts like Hieroglyphic Being and
Tactile Galactics unleashes the lysergic choir of voices in ruscha's head against a dance
grid, but makes sure it stays in soulful step. For the first time on a Secret circuit recording,
these voices are quite literally present via ruscha's own vocals, added when "the song
called for them." it's by this same regard of the powerful unknown that makes Tactile
Galactics Secret circuit's most incomprehensibly detailed and stunning release to date.1. Higher Heights
3. Nebula Sphynx
5. Deep Stations
6. Sync Or Swim
7. Words In Transit
8. Parascopic Rope
10. Rogue Unit
12. Milk$21.99Vinyl LP - 2 LPs Sealed Buy Now
The Power Out
Back In Print Due To Popular Demand!
Electrelane's second album, The Power Out, is also their debut for the esteemed, arty British label Too Pure, the perfect home for a band that resembles so many of the imprint's other acts. The similarities appear early on, with the Stereolab-eqsue motorik and French vocals that drive Gone Under Sea, the wobbly-yet-charming singing on Birds that recalls Pram's Rosie Cuckston, and the intricate interplay of guitars and keyboards on every track that bring to mind th' Faith Healers (and their later incarnation, Quickspace). But these similarities are far from derivative; instead, on The Power Out, Electrelane feel like they're in the tradition of these other messy, angular, decidedly British art-punk bands, so much so that it's hard to imagine the band on any other label (with all due respect to Mr. Lady, who released Electrelane's debut, Rock It to the Moon). But even though the group perfectly defines the way that so many British art-school bands have sounded since the late '70s, in Electrelane's hands it still seems fresh.
The Power Out also seems fresher than Rock It to the Moon, perhaps because, paradoxically, it's more focused than their debut. That's a relative term, though; the noodly, jam-based feel that dominated Rock It to the Moon is still here, particularly on The Power Out's more rock-based songs such as Take the Bit Between Your Teeth and the closing instrumentals, Only One Thing Is Needed and You Make Me Weak at the Knees. But overall, the songs are more concise here, giving songs like On Parade and the lovely Enter Laughing an immediate, if not exactly poppy, feel.
The band finds different ways to channel the ambitions it so boldly displayed on Rock It to the Moon: Oh Sombra! is an eerie, passionate song fashioned from a sonnet from Spanish poet Juan Boscan, and This Deed borrows a line from Nietzsche to fit its appropriately dramatic air. Most striking of all is The Valleys, a choral rock piece that features Chicago A Cappella and Verity Sussman's arresting vocals, and attains a ceremonial, spiritual grandeur that hasn't been seen in many rock records save the Microphones' Mount Eerie. The Power Out manages to be unique without being a radical departure, and it augurs more good things for Electrelane's stint with Too Pure.
- Heather Phares (All Music Guide)1. Gone Under Sea
2. On Parade
3. The Valleys
5. Take the Bit Between Your Teeth
6. Oh Samba!
7. Enter Laughing
8. This Deed
9. Love Builds Up
10. Only One Thing Is Needed
11. You Make Me Weak at the Knees$18.99Vinyl LP - Sealed Buy Now
Nobody KnowsThe last time I came across the Len Price 3 was in 2010 and this album give me about as much pleasure as that last one did - lots.
If you were to define a 'London' sound of the sixties then this is it. There are echoes of The Kinks and The Who as well as later London bands like Madness but they are a quintessentially original outfit and there is nothing here that sniffs of copying.
Their spare beat laden pop is wonderfully edgy, especially on the Farfisa laden 'Swing Like A Monkey' but the best of them is on tracks that echo the songs and the bands of the sixties, telling stories of grandparents and odd acquaintances. 'My Grandad Jim' - rocky garage punk telling a story of an old soldier seen through the eyes of a teenager. The gonzoid guitar break is worth the price of the album on its own. Or then there is 'Vultures' with its stomping Beatle-esque stomp and a very Kinks meets Small Faces sound: the horn break is magic.
They can do the sad stuff too on tracks like 'Lonely': wistful and with harmonies that they heard on the West Coast it would make a great single.
'Preying Mantis' is a stunning piece of garage punk, spare and harsh, the sound is pure beat era but the theme is as modern as tomorrow or as old as last week.
'Medway Sun' is a real gem. Bucolic and wistful, definitely should be the pick for a single and definitely a theme for a forgotten part of the country.
Final track 'The London Institute' has just about everything - redolent of youth and reminiscence and with a Who-like sound that sticks in the mind and takes you back to listen again and again.
Every track has an identity and seems to reference a different element of the sixties sound but every track is also a tiny gem of music that can be held up to the light and marvelled at in its own right.
The Len Price 3 are a truly fine band and deserve a greater audience - check them out and enjoy!
- Andy Snipper (Music-News)1. Nobody Knows
2. Swing Like A Monkey
3. My Grandad Jim
5. Preying Mantis
7. Words Won't Come
8. Wigmore Sisters
9. Billy Manson
10. Couldn't Get Much Worse
11. Medway Sun
12. Nobody Knows (reprise)
13. The London Institute$15.99Vinyl LP - Sealed Buy Now