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Chart-Topping 1974 Record Reunites Dylan With the Band: Interplay Alone Worth Experiencing Set in Highest-Possible Fidelity
Mastered from the Original Master Tapes: Mobile Fidelity Version Brings Underrated Gem to Fullest Light With Warm, Revealing Sound
Edgy Personal Album Captures Legendary Artist Straddling Line Between Romance and Suspicion: Includes Beloved Favorites "Forever Young" and "You Angel You"
Bob Dylan's Planet Waves became an event even before the album was released and revealed itself as an understated masterwork. His first studio recording in nearly four years, the homespun 1974 effort finds him reuniting with the Band, by then firmly established as virtuosos. The chemistry is obvious on every song. And the modest and spare production only magnifies the honesty and purity of the collaboration. Mobile Fidelity's 180g LP deepens the music's emotional connection and rustic warmth to the fullest possible extent.
Mastered from the original master tapes, this collectable audiophile edition brings to the surface the communal interplay and warm, relaxed vibe established by Dylan and the Band. Listeners will finally sense the sensitive tones made possible by the ensemble's laidback nature and watertight playing. The deep body of Richard Manuel's piano, pinpoint decay of Garth Hudson's organ, and clarity of Dylan's vocals emerge with new perspective. As a result, Planet Waves leaps from the background of Dylan's catalog into the fore, the revelatory sonics helping earn the record serious consideration as one of the Bard's finest.
Recorded in just three days time, Planet Waves is at its core an exhibition of the inimitable folk-rock honed by Dylan and the Band. Recalling the Americana spirit of The Basement Tapes while adding a domesticated edginess and subtracting a degree of wildness, the set personifies simple charm and scraggly sweetness. Couched in the context of Dylan grappling with the chasm between family life and the road, Planet Waves fittingly encompasses myriad moods and contradictions, with tunes ranging from unquestionably devotional to overtly dark. In between, the singer attempts to navigate peace, catharsis, and resolve.
Per Dylan's hallmark, many tunes on Planet Waves involve twists and subterfuge. Not, however, the best-known offerings-the often-covered wish "Forever Young," celebratory roll-and-tumble "On a Night Like This," devotional "You Angel You," which spark with love, romance, and prayer-like tenderness. Yet the seeds that blossomed into 1975's traumatic break-up album Blood on the Tracks are also planted here. Complex feelings and deep-seated personal confusion surface on "Wedding Song," the hardscrabble "Tough Mama," piano-centered "Dirge," and knocking-on-heaven's-door darkness of "Going, Going, Gone."
Throughout, Dylan's voice supplies subtle hints about his mindset and intent as the Band shadows him step for step, adding to the thematic ambivalence and contributing to a debate over meaning that continues today. Indeed, such relevance confirms the significance of Planet Waves 40 years after its original release. Mobile Fidelity's analog version digs beneath the surface and helps expose the record's buried strains.
This title is not eligible for discount.1. On a Night Like This
2. Going, Going, Gone
3. Tough Mama
5. Something There Is About You
6. Forever Young
7. Forever Young (Continued)
9. You Angel You
10. Never Say Goodbye
11. Wedding Song$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Fantastic PlanetAqua Colored Vinyl
Sarah Lipstate creates miniature musical worlds, places that you feel like you'll never leave as long as the record is playing. - Pitchfork
The soaring, evocative new album from Noveller, the solo instrumental venture of composer and filmmaker Sarah Lipstate. Fantastic Planet is a journey through eclectic sonic terrain, blending rich waves of synth with soaring cinematic guitar lines, guiding the listener through Noveller''s most diverse and compelling release to date.1. Into the Dunes
2. No Unholy Mountain
5. Concrete Dreams
6. Pulse Point
7. In February
9. The Ascent$26.99Colored Vinyl LP - Sealed Buy Now
Wild PlanetNumbered Limited Edition
Party Out of Bounds! Eclectic Groups Sophomore Album The Equal of Its Smash Debut
Boffo Encore: Surf, Pop, Dance, Kitsch, Cabaret, and Psychedelia Unite With Giddy Vocals and Ricky Wilsons Still-Underrated Guitar Playing
Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: 1980 Smash Now Possesses Jump-Out-of-Your-Seat Sonics
Party out of bounds! Not only is this sentiment one of the B-52s directives on their ceaselessly fun sophomore album, its one of the records hit songs, and perfectly summarizes the spirit and intent behind this new-wave classic. Completely up to task in following up their kitschy debut, the B-52s step everything up a notch: Songwriting, humor, exaggeration, melodies, hooks, and group interplay. Wild Planet also finds the band embracing stronger psychedelic accents that seamlessly mesh with its lava-lamp colors and textures. What an album.
Rollicking, rousing, and riotous, Wild Planet soars on vocal efforts put forth by the delightfully campy chanteuses Cindy Wilson and Kate Pierson, whose innocent girly tonalities wonderfully match up with Fred Schneiders effeminate deliveries and manic presentations. While the sheer exuberance and giddy nature of the music tends to make them an afterthought, the trios harmonies are utterly amazing. Add in Ricky Wilsons propulsive beach-bound guitar riffs, random squealing synthesizers, and a surfeit of danceable rhythms, and you have nothing less than a 1980s masterpiece that, due to its optimistic vibes and buoyant grooves, only gets better with time.
As for clever humor and quirky character? Everywhere. Mentions of an icebox, fruit punch, and surprise greetings kick off the defining Party Out of Bounds. Private Idaho is an instant mix-tape essential, sent up with declamatory refrains and insouciant beats. Not to be outdone, the B-52s tackle the subject of devilish possession on the witty Devil In My Car and get hysterical on Strobe Light, surely the finest tune ever written about making love in the shadow of a pulsating illumination device. Schneider is on fire, embracing his sexuality while pushing his mates to new limits. Theres no serious matter here; Wild Planet is all about celebrating, and few records do a better job of capturing such a mood.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, Silver Series numbered limited edition LP presents the B-52s 1980 classic in a rousing fidelity that will have you wanting to jump off your furniture, lampshade on head. The all-important bass lines, divergent vocal timbres, and usually unnoticed guitar lines attain an unprecedented level of balance and realism. And, few bands took advantage of the large-format LP cover art like the B-52s. The cover portrait of these fashionistas is reason enough to get these extraordinary reissue, which takes great pride in reproducing the original art right down to the last smear of eyeliner of Piersons face.
This title is not eligible for discount.1. Party Out of Bounds
2. Dirty Back Road
3. Runnin' Around
4. Give Me Back My Man
5. Private Idaho
6. Devil in My Car
7. Quiche Lorraine
8. Strobe Light
9. 53 Miles West of Venus$24.99Numbered Limited Edition Vinyl LP - Sealed Buy Now
Wave Of Mutilation: Best Of The PixiesOne of the most revered college-radio bands of the late 1980s and early '90s, the Pixies combined smart yet surreal pop with jagged, punk-influenced rock and, oddly enough, broke up just as the alternative music scene went mainstream. Fueled by Black Francis's oft-maniacal vocals and bizarrely catchy songs, the Boston-based quartet, rounded out by bassist/vocalist Kim Deal, guitarist Joey Santiago and drummer David Lovering, consistently crafted fascinating albums during their brief but headstrong run. This 23-track collection, released in tandem with their highly anticipated 2004 reunion tour, captures many of their finest moments.
Proceeding semi-chronologically, Wave Of Mutilation begins with the rambunctious ditty Bone Machine. Other early gems include the strange anthem Holiday Song, the anthropomorphic ode Caribou and Deal's signature song, Gigantic. The band's beloved 1989 album, Doolittle, is amply represented by seven songs, including the pleading Hey, the mischievous Monkey Gone to Heaven, the fierce Debaser and the pop-perfect Here Comes Your Man. Latter-day tunes include rockers such as Dig for Fire, Alec Eiffel and Planet of Sound, along with two B-sides, Into the White and an excellent cover of Neil Young's Winterlong. If you're looking for the Pixies motherlode, this is it.1. Bone Machine
2. Nimrod's Son
3. The Holiday Song
5. Broken Face
9. Monkey Gone To Heaven
12.Wave Of Mutilation
13.Here Comes Your Man
15.Where Is My Mind
16.Into The White
19.Dig For Fire
22.Planet Of Sound
23.Winterlong$27.99Vinyl LP - Sealed Buy Now
IterationRepetition is a form of change, reads one of Brian Eno's Oblique
Strategies. Seth Haley knows the concept well, and his style of
technicolour synth-wave takes the mantra as a challenge. Six
years after Galactic Melt introduced the cosmic story of Com
Truise, Iteration now concludes his sprawling saga. True to its
name, the album is built on Com Truise hallmarks: neon-streaked
melodies, big drums, robotic grooves, bleary nostalgia. But
Iteration is also the most elegant and streamlined that Haley's
singular music has ever sounded.
At the album's heart is an elaborate narrative, one full of longing,
hope, anxiety, and triumph. Iteration illustrates the last moments
Com Truise spends on the perilous planet Wave 1, before he and
his alien love escape its clutches to live in peace. ...Of Your Fake
Dimension launches the interstellar drama with its anthemic
swells and widescreen sound design, before lovesick songs like
Dryswch and Propagation outline scenes wrought with
cybernetic pathos. Later, the frantic rhythms of Syrthio conjure
images of panicked flight as Haley's gorgeous synth melodies gild
the action in quiet heartbreak. Then comes the resounding When
Will You Find The Limit , when Iteration's pain and sadness finds
liberation in the vast unknown. The closing title track ends it all in
a gush of majestic revelry.
So goes the winding story that Iteration tells, and yet there's more
behind its telling. I try hard not to write from my personal life, but
it's inevitably going to seep into the music, Haley explains. It's
basically like I'm scoring this film in my head, but that film I'm
scoring is also somehow my life. There are glimpses of the
difficult time the East Coast native spent adjusting to a new life in
Los Angeles, fighting homesickness and burnout while also
touring the world. It was a time full of uncertainty, transition, and
self-realization. After a year and a half of living in California,
Hayley finally recaptured his creativity by finding new excitement
in his work. I put more air, more breathing room in the
music-that was the big change, he says. And once that clicked,
the album just poured out of him. It was like an information
dump. I feel like I finished the record in two weeks.
Such a clear refinement of the Com Truise sound took time to
develop, but Iteration is well worth the patience and persever- ance it cost. Some of Haley's smartest, catchiest work is here,
from the weightless pop of Isostasy to Ternary's lush
synth-funk. A song like Vacuume somehow balances massive
bass drops and smashing drums with angelic gasps, and
Usurper gracefully pairs subtle poignancy and uplifting dance
beats. For me, it feels like change, Hayley says of his second
album, and yes, this is Com Truise like never before. By embracing
the music's inherent nature and peerless qualities, Iteration finds
new avenues of expression in its vivid, familiar surroundings.1. ... Of Your Fake Dimension
11. When Will You Find The Limit...
12. Iteration$22.99Vinyl LP - 2 LPs Sealed Buy Now
Phosphorescent HarvestThe CHRIS ROBINSON BROTHERHOOD unveil their third studio album PHOSPHORESCENT HARVEST via Silver Arrow Records. The band--Chris Robinson (lead vocals, guitar), Neal Casal (guitar, vocals), Adam MacDougall (keys, vocals), George Sluppick (drums) and Mark Dutton (bass, vocals)--will also hit the road in conjunction with the album's release.
PHOSPHORESCENT HARVEST is a treasure trove of 10 songs--including several the band road-tested over the last few years--that advances the band's kaleidoscopic sound, which is deeply soulful, rootsy and spacey all at once. There's strong songcraft here, with a free-flowing delivery; it is music that is in no hurry to reach its destination but firmly knows where it is going. From the beginning, the CRB set out to do something different from what they had done before, creating their own scene with a musical prowess, cohesive songwriting and a unified commitment to experimentation, both in the studio and on the road (they've performed over 230 shows since forming in 2011).
The best perspective I have on what's going on in my life--good and bad--is what comes out in the songs, says Chris Robinson. As you move on in time, you get older, you have relationships. Some of them are good, some fail. Friends. Drugs. Life. Death. People come, people go. Songwriting is a completely different emotional response to your life and to what it means, to in some poetic nature, put it out there.
PHOSPHORESCENT HARVEST follows the release of the companion albums Big Moon Ritual (June 2012) and The Magic Door (September 2012) plus last year's live quadruple vinyl Betty's S.F. Blends, Vol 1. The group continues to record with producer Thom Monahan, and Robinson wrote all of the songs with Casal, save for two that are Robinson solo compositions (Tornado, Jump The Turnstiles).
We're really going by the electricity and the vibrations that we can sort of tune in to, Robinson recently told Relix magazine (Jan/Feb '14). There's a psychedelic component to it. That's part of the greasing the wheels of the great cosmic engine, with psychedelic thought and philosophy and action. If you get my drift. He went on to talk about the more rock and roll feel on PHOSPHORESCENT HARVEST, and his overall vision for the Brotherhood: I'm not going to have hit records. I don't write pop songs. But then again, I find a deep need to express myself and how I'm feeling and where I am and where I've been and where I'm going by writing songs. Why change something to make it easier for anyone else, when I think if we stay sincere and keep our energies in a real creative place, then people will wander into our small community, and it maybe would get more popular to tend that garden is a great responsibility. But I want it to grow. Check out the whole Relix feature here.
Rolling Stone editor David Fricke picked the CHRIS ROBINSON BROTHERHOOD as one of his favorites of 2012, and praised their live performance in New York City, saying the singer's acid-country Brotherhood, with ex-Ryan Adams guitarist Neal Casal, were a sublime time onstage and across these two albums, recorded at the same sessions and issued six months apart. The Irving Plaza show was a characteristic live high. In the second set, Robinson steered out of a rattling 'Tough Mama,' from Bob Dylan's Planet Waves, into the long reverie 'Girl on the Mountain,' a song from an earlier side trip, New Earth Mud, given fresh air and a new coat of DayGlo paint (1/30/13).1. Shore Power
2. About a Stranger
3. Meanwhile In The Gods....
4. Badlands Here We Come
5. Clear Blue Sky & The Good Doctor
6. Beggar's Moon
7. Wanderer's Lament
9. Jump The Turnstiles
10. Burn Slow$21.99Vinyl LP - 2 LPs Sealed Buy Now
EndgameAfter emerging in 2011 via a rapid-fire series of groundbreaking EPs, Brooklyn-based producer Ital (Daniel Martin-McCormick) surprised followers by releasing his debut album "Hive Mind" on Planet Mu in February 2012. The record immediately struck a chord with both critics and fans for its fascinating use of house rhythms to bolster fractured, alien landscapes with a surprisingly tender emotional power. Seemingly unconcerned with dance music orthodoxy and informed by years in the noise-punk underground, his compositions came out of left field, constructed on primitive software with bizarre, culture jamming samples. Dance music in New York was re-emerging after a period of stagnation, and Ital was among the first of a younger wave of producers to invigorate it with a dose of visceral vitality.
Since then, he's remained at the forefront with a remarkable EP for esteemed label Workshop, a collaboration with Hieroglyphic Being and a pair of excellent EPs on his own Lovers Rock imprint. Now Ital has returned to Planet Mu for "Endgame", his most singular and hypnotic work to date.Vertigo-inducing, nuanced and highly evocative, "Endgame" is a delirious pleasure to dive into. The album's textures often explore inviting spaces, only to bring the listener "somewhere uncomfortable, perceiving constant chaos and collapse in the periphery of your vision," as Daniel describes. This is especially evident on the haunting title track, its dizzying reverb lingering while the bottom drops out, leaving the listener suddenly on the edge of a cliff they weren't even aware of, and the glacial shift in "Beacon" from warm, bubbling chords to disconcerting stillness. Meanwhile, throttling techno tracks like Whispers In The Dark & White II burst with undeniably seductive dancefloor energy, each jagged edge and oozing melody uniquely formed. One of his goals from the start was "to keep things liquid. The music had to come from that natural, unforced space." Inspired by recent excursions into psychedelics, "apocalyptic" strains of minimalist composition, and his sense of "eerily ubiquitous post-globalization culture-leveling," "Endgame" is a techno album that teems with ideas. Recorded with a select arsenal of hardware, mixed with M Geddes Gengras at his LA studio and mastered by acclaimed engineer Rashad Becker, the final result is a shimmering blend of his swirling, effects-laden live sets with a deeper, more penetrating emotional and melodic clarity. "Endgame" sees Ital unlocking his own sound and pushing himself to new depths sonically and technically, a figurehead for a strong international community as well as a truly visionary artist in his own right.LP1
3. Whispers In The Dark
2. White II
3. Black Dust
4. Oche$21.99Vinyl LP - 2 LPs Sealed Buy Now
Hive MindIf youve heard Daniel Martin-McCormicks name recently, it would have been either in association with his disco / punk / echo band Mi Ami, or as Sex Worker on the Not Not Fun label, or as Ital on NNFs sister label 100% Silk. Raised in Washington, DC, Martin-McCormick has a history in the citys hardcore scenehe was in Dischord Records band Black Eyes in the early 2000sbut was also making dance-inspired tracks during the same period, coming from a very different angle than the average guy with a copy of Logic Pro and a working knowledge of dance musics history.
Martin-McCormicks music is a stranger thing. Hive Mind, his debut full-length under the Ital moniker, uses houses easygoing 4/4 structure as a kind of camouflage for more out-there sonic explorations, subverting expectations, seeking the links between dubs space- and sound-bending, industrials unsettling sonics and the effects and black holes of minimal at its weirdest. The album has a sculptured feel: sounds twist in space while melodies pitch-shift in an unsettling way, voices fade in and out, nothing is ever allowed to settle comfortably, everything vibrates.
Opener Doesnt Matter (If You Love Him) sounds a bit like Tackhead if they had made house music, using a flickering and confidently repeated phrase over a lumbering drum and bass line, introducing swirling and bombing synths into the mix once the secret comes out. The strange marriage of treated voices and swelling, pitch-bent chords and effects on Floridian Void draws the listener into its strange atmosphere; its an ambient house track of sorts, but the ambience here is a swirling, confusing, watery vortex rather than fuzzy, new age pap. Privacy Settings builds creepy wolf howls over a slow bass line and cold, far-away drums, estranged from their usual disco setting, while Israel picks things up again, with weird, pitch-shifting bells over dubby toms and cold chords. Final Wave restores the album to something resembling normality, with a disco-like swing that recalls Moodymanns beat-down productions slid through brutal dub-like effects that bring out a shade of strangeness in an otherwise happy groove.1. Doesn't Matter (If You Love Him)
2. Floridian Void
3. Privacy Settings
5. First Wave$18.99Vinyl LP - 2 LPs Sealed Buy Now
Black Masses (Awaiting Repress)For those who crave Sabbath-like dirges, Electric Wizard has few peers. - The Chicago Tribune
World-class British doom metal band Electric Wizard are back with their long-awaited new album Black Masses to be released courtesy of Metal Blade Records/Rise Above Records. The legendary group's seventh studio album was recorded with Grammy Award-winning British recording engineer Liam Watson (The White Stripes) in London's Toe Rag Studios. Long hailed as the true heirs to Black Sabbath, Electric Wizard have achieved near iconic status in the metal underground and the band prepares to annihilate the planet with Black Masses, their dark prayer to Luciferian heavy metal via crackling, vintage valve amplifiers set to full overdrive.
Propelled by gigantic riffs and dripping with dark, bluesy undertones, Black Masses is an ugly, sleazy and dirty album steeped in unruly themes of '70s exploitation cinema, occultism, substance abuse and narco-satanism. Taken as a whole, the record creates a twisted amalgam of late '60s dark acid psychedelia and early '80s satanic metal, all draped in both vile, misanthropic imagery and lyrics.
This ritual incantation of heavy metal sorcery will break down your psyche as wave upon crushing wave of lead weight acid-laced Doom leaves you numb and broken before our unholy altar, declared Electric Wizard cult leader Jus Oborn. Violent, bleak and ritualistic, we bow to the black altar of the riff. We do not rock, we kill!1. Black Mass
2. Venus in Furs
3. Night Child
4. Patterns of Evil
5. Satyr IX
6. Turn Off Your Mind
7. Scorpio Curse
8. Crypt of Drugula$29.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Even in the weird, quirky world of new wave and post-punk in the late '70s, the B-52's' eponymous debut stood out as an original. Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens quintet celebrated all the silliest aspects of pre-Beatles pop culture -- bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds -- to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk. On paper, it sounds like a cerebral exercise, but it played like a party.
The jerky, angular funk was irresistibly danceable, winning over listeners dubious of Kate Pierson and Cindy Wilson's high-pitched, shrill close harmonies and Fred Schneider's campy, flamboyant vocalizing, pitched halfway between singing and speaking. It's all great fun, but it wouldn't have resonated throughout the years if the group hadn't written such incredibly infectious, memorable tunes as Planet Claire, Dance This Mess Around, and, of course, their signature tune, Rock Lobster. These songs illustrated that the B-52's' adoration of camp culture wasn't simply affectation -- it was a world view capable of turning out brilliant pop singles and, in turn, influencing mainstream pop culture. It's difficult to imagine the endless kitschy retro fads of the '80s and '90s without the B-52's pointing the way, but The B-52's isn't simply an historic artifact -- it's a hell of a good time.1. Planet Claire
2. 52 Girls
3. Dance This Mess Around
4. Rock Lobster
6. There's a Moon in the Sky (Called the Moon)
7. Hero Worship
9. Downtown$37.99Vinyl LP - Sealed Buy Now
AutomatonGossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
urban-spelunking field recorder whose full-length debut Automaton dissolves
the genre-breaking electronica of Autechre and Boards of Canada into a
bottomless sea of found sound and ambient atmosphere. It's less an album than
an environment all its own, or a journey into the unexplored. And whether it's
inspiring a trip deep into the discography of Steve Reich or into California's
beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
exploration that brought Automaton to life.
Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
stories about seeing Black Flag and the Germs play and with a set of cousins
who'd get him started listening to hip-hop. (Especially instrumentals by
iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
as well as listening intently to Slayer and Cannibal Corpse on the way to
ferocious hardcore shows on the fringes of Los Angeles.
By the time he graduated high school, he was a hardcore kid with a heavy
grounding in hip-hop who'd developed so tremendously as a guitarist that he
was practicing notoriously formidable Django Reinhardt songs for fun. The
connection might not seem obvious, but it was there nonetheless-these were
three distinct musical forms equally dedicated to passion, individual technique
and total commitment to expression.
He won admission to the prestigious Berklee School of Music in Boston, where
his first semesters in the fall of 2009 were everything he'd hoped. But the more
he studied, the clearer it became that he'd need to strike out on his own: "So
many professors would tell their students what the right thing to do was in a
creative setting," he says now. "There is no right way."
He'd once used his computer just to help with his composition homework, but
now he was restless. So he began to focus on the potential of electronic music:
"I realized it was like having every component of a band at your fingertips," he
says. "It felt free and genuine with no distractions." He'd begun to make his own
field recordings, too, capturing the sounds of Boston at sunrise and stirring
them into his beat experiments. Intense study of movie sound and foley artistry,
like pouring sand across drum cymbals or using spent shells from a gun range
for percussion, gave him a whole new vocabulary, and he found further
inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
Derbyshire-people who blew open the boundaries of their own disciplines.
Then in July 2013, he began to make what would become his first full-length
album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
During a month in Japan, he recorded "terrifying trains" and cicadas and the
squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
level in California's Ansel Adams Wilderness Area. Then he'd come
home-whether "home" at that particular moment was his own studio, a capsule
hotel in Japan, a friend's place in Boston or a temporary space in New York-and
"make accidents happen," he says, with recorders and samplers and guitar and
(this time) a stable of analog synthesizers.
The result was Gossamer's Automaton, a precise and gentle dreamscape of
experimental electronica, where the ambient atmosphere of Gas drifts across
the fractured beats of Autechre or Boards of Canada. It starts with its own
sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
of synthesizer, and then shifts into the haunting "Print," which transplants the
sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
is like a Tortoise song that never touches solid ground, while tracks like  and
 recall the Brian Eno of Fourth World, somehow ancient and futuristic at
once. When the crickets start chirping on closer "-;- ", it's a signal that the
day-and the journey-are both coming to an end. It's might be his first album,
but it's also a first step towards something new.
"Automaton is me," Reiner explains. "It's my process. It's a symbol of having
accepted that there is a difference between being alone and being lonely. It's a
coping mechanism for the struggle to realize and balance what I am and am not
in control of in my life. It reminds me of playing Bioshock and watching Blade
Runner at the same time while naked in the jungle on another planet. It makes
me think of watching an old home video of myself and seeing Neptune right
outside my window. The list goes on and on-I could go forever."1. Thoughtform
3. 3d Relief
5. J - Cruise
6. Off World
8. For Sleep$17.99Vinyl LP - Sealed Buy Now
Geocidaltetema is a new duo project from Mike Patton (FNM, Bungle, Fantomas, principle Zorn interpreter) and Australian composer/pianist Anthony Pateras (Thymolphthalein, Pivixki, Pateras/Baxter/Brown, Beta Erko). geocidal is audio caffiene injected direct into your eyeballs. Recorded across half the
continents on the planet, this record investigates the murder of place. Do borders even matter any more? Should we even leave the house? Is there any specificity left in this generalised cesspool of culture? Or has the tidal wave of digitally-fuelled apathy swamped any sense of tangible individuality? tetema
demand another universe to this one, and have built one especially for you.
Boasting a 12-piece all-star cast of incredible musicians and featuring special guest drummer Will Guthrie (absolutely slaying), tetema hand picked a devastating team of instrumental virtuosi to assist their quest to make indispensable music in the age of permanent refuse. As a result, geocidal brings the
most glorious noise, interrogating the deepest cosmogonies and malformations of man. It's true! Antique synths? Check. Outlandish orchestration? Definitely. Face-frying vocals wrapped in velvet? You know it.
If we could name some references for you to file this under, we would, but some application is eventually going to tell you what it sounds like anyways, so we won't. To us, it sounds like two maniacs in their respective studios having the time of their lives, rebirthing some of the most insane songcraft this side
of the godforsaken Miley-Cyrus worshipping millennium. So stop like-ing cat jpegs, stop drooling into your phone and listen to this freaking record - it will literally re-wire your existing perception of sonic possibility, although that's probably underselling it. Featuring absolutely gorgeous drawings from Sydney
artist Nik Kamvissis, this album brutally articulates the hell of now!1. Invocation Of the Swarm
2. Pure War
4. The Hell Of Now
5. Ten Years Tricked
6. 3-2-1 Civilisation
9. Kid Has Got The Bomb
10. Emptiness Of Ecstasy
11. Death In Tangiers$15.99Vinyl LP - Sealed Buy Now
$179.99$159.99Save $20.00 (11%)
Career Vinyl Box (On Sale)
Box Set Features 7x Albums Across 10x 180-Gram Vinyl
Includes The First Vinyl Pressing Of Live From The Royal Albert Hall, Recorded Live At The Historic Venue In July Of 2009 As A Box Set Exclusive
Includes A Slip Mat Featuring The "K" From The Band's Logo And Inspired By The Vintage Lights Of The Las Vegas Strip
No other band has soundtracked the 2000s more than Vegas rockers The Killers and now their nearly 15 years-long discography will be celebrated in one place with a seven-volume Killers Career Vinyl Box through Island/UMe.
The career-spanning collection will be available on 180-gram black vinyl and include a slip mat featuring the "K" from the band's logo and inspired by the vintage lights of the Las Vegas Strip
This career retrospective vinyl box marks the first time that all seven of the band's albums have been collected in one complete box set including: Hot Fuss, Sam's Town, Sawdust, Day & Age, Battle Born, Wonderful Wonderful and for the first time on vinyl, Live From The Royal Albert Hall.
Originally released in November 2009 as a live DVD, this double live album captures the kinetic energy of their historic lives shows at the Royal Hall in 2009 and is now available as a double LP and is exclusive to the Career Vinyl Box. It also includes their mid-career compilation album, Sawdust, which contains B-sides, covers and remixes, as well as an outtake from Sam's Town, and 'Tranquilize', featuring a guest appearance by Lou Reed.
As arguably the biggest indie-pop stars on the planet, their indie days are well behind them, selling out stadiums and playing tributes at the Rock and Roll Hall of Fame. And yet it seems just like yesterday that every 20-something in skinny jeans was blaring the indie disco staple 'Mr Brightside' from The Killers' three-times-platinum 2004 debut album, Hot Fuss. Even 14 years later, the band's most enduring single remains firmly in the charts, having just its 200th week in the Billboard top 100.
After Hot Fuss ushered in their signature post-New Wave sound with massive hooks, they continued on their course of amassing hit after hit of transcendent anthems from 'All These Things That I've Done' and to the Springsteen-eque singalong 'When You Were Young' off their sophomore album Sam's Town.
With his stylish swagger and crooning tenor, frontman Brandon Flowers could turn his sardonic streak on songs like "Smile Like You Mean It," and 'Somebody Told Me' into chart gold. With each album, the group flexed their versatility, from the garage rock-pop of Hot Fuss to electro-clash energy of Day & Age to the stadium rocker of Battle Born and most recently 2017's funk-infused Wonderful Wonderful, which snagged the No. 1 spot on the Billboard 200.
This title is not eligible for further discount.Hot Fuss
1. Jenny Was A Friend Of Mine
2. Mr. Brightside
3. Smile Like You Mean It
4. Somebody Told Me
5. All These Things That I've Done
6. Andy, You're A Star
7. On Top
8. Change Your Mind
9. Believe Me Natalie
10. Midnight Show
11. Everything Will Be Alright
1. Sam's Town
3. When You Were Young
4. Bling (Confession Of A King)
5. For Reasons Unknown
6. Read My Mind
7. Uncle Jonny
9. My List
10. This River Is Wild
11. Why Do I Keep Counting?
LP 3: Sawdust
1. Tranquilize (feat. Lou Reed)
3. All The Pretty Faces
4. Leave The Bourbon On The Shelf
5. Sweet Talk
6. Under The Gun
7. Where The White Boys Dance
8. Show You How
9. Move Away
1. Glamorous Indie Rock And Roll
2. Who Let You Go?
3. The Ballad of Michael Valentine
4. Ruby, Don't Take Your Love To Town
5. Daddy's Eyes
6. Sam's Town (Live From Abbey Road / 2006)
7. Romeo And Juliet
8. Mr. Brightside (Jacques Lu Cont's Thin White Duke Remix)
Day & Age
1. Losing Touch
4. Joy Ride
5. A Dustland Fairytale
6. This Is Your Life
7. I Can't Stay
8. Neon Tiger
9. The World We Live In
10. Goodnight, Travel Well
Live From The Royal Albert Hall
2. This Is Your Life
3. Somebody Told Me
4. The World We Live In
5. I Can't Stay
6. Bling (Confession Of A King)
8. Smile Like You Mean It
9. Losing Touch
2. A Dustland Fairytale
3. Sam's Town
4. Read My Mind
5. Mr. Brightside
6. All These Things That I've Done
7. Jenny Was A Friend Of Mine
8. When You Were Young
1. Flesh And Bone
3. The Way It Was
4. Here With Me
5. A Matter Of Time
6. Deadlines And Commitments
1. Miss Atomic Bomb
2. The Rising Tide
3. Heart Of A Girl
4. From Here On Out
5. Be Still
6. Battle Born
1. Wonderful Wonderful
2. The Man
4. Life To Come
5. Run For Cover
6. Tyson Vs. Douglas
7. Some Kind Of Love
8. Out Of My Mind
9. The Calling
10. Have All The Songs Been Written?$179.99 $159.99 Save $20.00 (11%)180 Gram Audiophile Virgin Vinyl LP Box Set - 10 LPs Sealed Buy Now
Why Do The Heathen Rage?Not final cover art
The Soft Pink Truth is the solo alter ego of Drew Daniel, one half of celebrated Baltimore-based electronic duo Matmos. After a decade of silence in which Daniel concentrated on Matmos and becoming a Shakespeare professor, The Soft Pink Truth is set to release Why Do the Heathen Rage? whose subtitle "Electronic Profanations of Black Metal Classics" reveals its bizarre agenda as an unrequited love letter to a justly divisive genre. A gleeful queer travesty of black metal's undying obsession with kvlt authenticity, Why Do the Heathen Rage? is also a formally precise homage executed with a scholar's obsession. With the guitar chord transcription assistance of Owen Gardner (Teeth Mountain, Horse Lords) and a coven of guest vocalists, including Antony Hegarty and members of Locrian and Wye Oak, Daniel meticulously transposes the riffs, structures and patterns of black metal chestnuts and deep cuts by Darkthrone, Venom, Mayhem, Sarcofago and more into oddly hybrid new forms. Cruising camp absurdity by forcing a sticky tryst between the two mutually incongruous early 90s subcultures of rave and black metal, the results are bracingly strange on first listen, but curiously addictive as the album sinks in.
Imitating the countless black metal albums that begin with ominous intros, the album commences with "Invocation for Strength", a spoken word track in which a Radical Faery poem used by gay activist Arthur Evans in his classic Witchcraft and the Gay Counterculture is read by Drew Daniel and Antony (Antony and the Johnsons). After this queer hymn, the rhythmic assault begins with an industrial gabber take on Venom's genre-founding song "Black Metal", featuring vocals by Baltimore artist Bryan Collins and screams from Daniel. Stark trap beats and rave synths meet two-step house bounce on "Sadomatic Rites," originally by Beherit, whose electronic opus H418ov21.c was an inspiration to Drew as he was making this album. Adding a witchy twist to an underground metal classic, Jenn Wasner (Wye Oak, Dungeonesse) lends her smoky, soulful voice to an orgasmic house deconstruction of Sarcofago's redlight anthem "Ready to Fuck." After a surprisingly sensitive guitar led intro, "Satanic Black Devotion" erupts with full on screaming vocals from Terence Hannum (Locrian), paired with IDM beats, synthetic banjo, and a rather glaring plunderphonic re-working of a recognizable dancefloor classic. Side Two kicks off with a stark, vogue-ball inspired rethinking of Darkthrone's "Beholding the Throne of Might", with whispered vocals from London based free improviser/composer Jennifer Walshe and a spoken interlude from David Serrotte of the vogue ball crew House of Revlon. The goth factor spikes on "Buried by Time and Dust", in which Daniel's Matmos partner M.C. Schmidt croaks the lyrics to the vampiric Mayhem original on top of MIDI harpsichord while a moldy 808 drops the "Planet Rock" beat. In an Ouroboric final gesture, the album concludes with a paroxysmic take on "Grim and Frostbitten Gay Bar" by Impaled Northern Moonforest, the parodic fake black metal project of Anal Cunt's Seth Putnam. A blizzard of snippets of pop, house, crust and metal are shredded and smothered in lo-fi screaming and arctic field recordings, ending the album on suitably contradictory notes of mockery and celebration. The album's controversial artwork, which will remain redacted for the time being due to the extreme content it portrays, fits those themes as well, depicting a volatile, extremist scene undergoing a long overdue queerification, coming out rich and strange, shiny and pink.
The Soft Pink Truth was started in 2001 when legendary UK house producer Matthew Herbert challenged Drew to "make a house record," resulting in the project's slyly funky debut album Do You Party?, which Herbert released on his own Soundslike Records. Daniel has also produced floor-burning remixes for Bjork, Herbert, Grizzly Bear, Dat Politics and many more under The Soft Pink Truth moniker. "Why Do The Heathen Rage?" follows his 2004 release "Do You Want New Wave or Do You Want The Soft Pink Truth?," a collection of electronic interpretations of UK punk and American hardcore songs. As a member of Matmos, Daniel continues to break down established norms of experimental and pop music practice by filtering genres through unique and brilliant conceptual lenses, and has established himself as one of the most individualistic electronic musicians of the past several decades.
Disclaimer: Aesthetics and Politics are neither equivalent nor separable. Black metal fandom all too often entails a tacit endorsement or strategic looking-the-other-way with regards to the racist, anti-Semitic, sexist and homophobic bullshit politics that (still) pervade the scene, on behalf of either escapist fantasy talk, shaky invocations of art as a crypto-religious path to transcendence, or--the oldest cop out in the book--the quietist declaration that "I just like how it sounds." Just as blasphemy both affirms and assaults the sacred powers it invokes and inverts, so too this record celebrates black metal and offers queer critique / mockery / profanation of its ideological morass in equal measure. Mixed emotions about a murky, diverse and self-differential scene are all very well, but, as Barack Obama is so fond of saying at press conferences just before legitimizing drone warfare, let's be clear: No apologies, no excuses, and no escape clauses are hereby offered. Murderers are murderers. No safe space for fascist garbage. The Soft Pink Truth hereby abjures black metal homophobes, racists, and Nazis categorically and absolutely: MAY THIS CURSE BIND! Remember Magne Andreassen!"1. Invocation for Strength
2. Black Metal
3. Sadomatic Rites
4. Ready to Fuck
5. Satanic Black Devotion
6. Beholding the Throne of Might
7. Let There Be Ebola Frost
8. Buried by Time and Dust
10. Grim and Frostbitten Gay Bar$18.99Vinyl LP - Sealed Buy Now
The Sky As Well As SpaceWe last heard from the boys in Memory Map with the release of their 2011 debut LP
"Holiday Band". We couldn't be more excited to see them return with the release of
their sophomore album "The Sky As Well As Space."
With "The Sky as Well as Space", Memory Map continue to esh out their uniquely
guitar-driven blend of indie pop. Few bands straddle song-craft and technical prowess
as eortlessly as Memory Map. Using three guitars (one which cheats its way into
acting as a bass), a three-piece drum kit, and vocals from all four members, Memory
Map organically fuse cascading guitar lines, complex rhythms, and layered vocal
harmonies into shamelessly accessible guitar pop.
In the three years since their debut, Memory Map have gained depth both in
composition and production. The album simultaneously showcases the band at their
most catchy ("Magnetic Center"), menacing ("Dark Freshman"), and emotional
("Order In the Waves", "Antelope Earth").
Why the three-year gap between albums you ask? Well, the delay is largely due to the
popularity of a certain cat. Band member Mike Bridavsky owns and takes care of the
most famous cat on the planet, Lil BUB. And because Memory Map have been so
exible in working around Lil BUB's schedule, the band is ofcially BUB approved.1. The Celebrated Summer
2. Dark Freshman
3. Words as Water
4. Magnetic Center
5. Freeze My Jump
6. Antelope Glue
7. Super Human Child
8. Isolation Is Ours
9. Order in The Waves
10. Hunger Poem
11. Bless This Boat
12. Antelope Earth$22.99Vinyl LP - Sealed Buy Now
CrushThe growling, choppy guitar sample that opens the first track here, It's My Life, is a virtual declaration of intent for the first Bon Jovi album in five years, a statement that they're updating the sound without abandoning the traditional virtues that made them one of the biggest bands on the planet. So make way for a hi-tech parade of smooth-but-gutsy rock anthems, almost any one of which will gladden the heart of every AOR radio programmer in the land. Unless the world has changed irredeemably, cuts like the midpaced heartbreak chugger Say It Isn't So are destined to become Bon Jovi standards, while an outbreak of scarf-waving and lighter-flicking is certain to accompany any live performance of the big weepie, Thank You For Loving Me. Arguably, everything on Crush is done by the numbers, but with consummate pros like Jon Bon Jovi and Richie Sambora at the helm, these are the kind of numbers you have to take seriously, because by the second time they kick into the chorus of any song it's damn near impossible not to sing along. --Johnny Black1. It's My Life
2. Say It Isn't So
3. Thank You For Loving Me
4. Two Story Town
5. Next 100 Years
6. Just Older
7. Mystery Train
8. Save The World
9. Captain Crash & The Beauty Queen From Mars
10. She's A Mystery
11. I Got The Girl
12. One Wild Night$34.99Vinyl LP - 2 LPs Sealed Buy Now