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Point Of Entry'
Point Of EntryPoint of Entry is the seventh album from the British heavy metal band Judas Priest. It was originally released on 26 February 1981.
In 1980 Judas Priest garnered some airplay with Breaking the Law and Living After Midnight from their album British Steel. As a result, the band pursued a more radio-friendly direction on Point of Entry.
Following the conclusion of the British Steel World Tour, the band began work on their next project. By this time, they had sufficient funds to fly all their equipment to the huge, state-of-the-art Ibiza Studios in Spain. This gave Point Of Entry a louder, stronger, more live sound than previous Judas Priest albums.1. Heading Out to the Highway
2. Don't Go
3. Hot Rockin'
4. Turning Circles
5. Desert Plains
6. Solar Angels
7. You Say Yes
8. All the Way
10. On the Run$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Best Imitation Of Myself: A RetrospectiveBen Fold's The Best Imitation Of Myself: A Retrospective is the long-awaited career-spanning anthology chronicling the musical adventures of pop's quintessential post-modern singer/songwriter/pianist.
The most comprehensive and definitive Ben Folds collection ever assembled, and first-ever domestic overview of Fold's music, The Best Imitation of Myself: A Retrospective is remastered from the original master tapes, bringing together his biggest hits, deep catalog fan favorites, hidden treasures, and collectible rarities while premiering the first newly recorded Ben Folds Five tracks in 11 years.
A perfect point of entry for newcomers as well as a treasure trove for the initiated, the carefully curated 18-track set covers two decades of Ben Folds music, from the break-out hits Underground and Brick with Ben Folds Five through solo work and unexpected collaborations ranging from You Don't Know Me with Regina Spektor to From Above (with lyrics by Nick Hornby, author of High Fidelity). The collection closes with House, one of three new Ben Folds Five songs recorded especially for the retrospective.LP1
1. Brick (Radio Mix)
2. Annie Waits (Album version)
5. Landed (Strings version)
6. One Angry Dwarf And 200 Solemn Faces (Album version)
7. Don't Change Your Plans (Album version)
8. The Luckiest (Album version)
2. Rockin' The Suburbs (Album version)
3. Kate (Album version)
4. Gracie (Album version)
5. Still Fighting It (Previously unreleased)
6. You Don't Know Me (feat. Regina Spektor) (Seeds Album version)
7. There's Always Someone Cooler Than You (Album version)
8. Still (Soundtrack Album version)
9. From Above
10. House (Previously unreleased new recording)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Past Is PrologueTycho's Past Is Prologue has a storied history. The tracks
began as Sunrise Projector, Tycho's 2004 full-length debut on
Gammaphone records; the record was then expanded and
reissued in 2006 as Past Is Prologue on Merck records; and
now, Ghostly International is reissuing Tycho's original
masterwork, re-introducing graphic designer / producer Scott
Hansen's musical universe: a lush, expansive imaginary
landscape of sepia-toned keyboards, warm downtempo beats,
and mile after mile of sun-dappled beauty.
Scott Hansen's alter-ego is as graphic designer ISO50, and his
visual work and musical creations share a similar aesthetic:
saturated, faintly nostalgic tones, artfully arranged
compositions, with a complex internal rhythm and color-outside-the-lines joy that's both easy on the eyes/ears and
tremendously addictive. Past Is Prologue is an ideal point of
entry into Tycho's world: "Dictaphone's Lament" is an anthemic
rush of melody and rhythm with cross-panned, dueling
basslines and a gauzy, late-afternoon feel; "Send and Receive"
sounds like a music box designed by Brian Eno, a ne mesh of
melodic plips and plops and brisk, skittering hi-hats. The title
track is a low-level stunner, splitting the dierence between
Rhodes-heavy ambient and drum 'n bass-both laid-back and
frantic. Past Is Prologue also includes remixes from Chachi
Jones, and Nautilis, as well as two extra tracks not on the
original release of the album.
As its title implies, Past Is Prologue is only the beginning. In
the years since its initial release, Scott Hansen has been
rening his approach, woodshedding new material and bufng
it until it shines like polished brass. For Tycho, the past is
prologue to a limitless future.1. Home
2. Sunrise Projector
3. Dictaphone's Lament
5. Send And Receive
7. A Circular Reeducation
8. Past Is Prologue
9. Cloud Generator
10. The Disconnect
13. Send And Receive (Chachi Jones Remix)
14. Sunrise Projector (Nautilis Remix)$27.99Vinyl LP - 2 LPs Sealed Buy Now
IncunabulaIncunabula, the debut full-length offering from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. Having first emerged onto a post-acid house 1993, Incunabula was released as part 7 of the now legendary Artificial Intelligence series of albums and compilations from Warp. A series that gave us early records from artists who went on to sculpt the electronic landscape both in and out of the club. Being lined up against such contemporaries as Black Dog Productions (Balil and Plaid) Aphex under his Polygon Window guise, Richie Hawtin's FUSE project, Speedy J, B12 & on the series' closing compilation, artists as diverse as Seefeel, Richard H Kirk & The Higher Intelligence Agency. Incunabula set the tone for the following landmark albums from Ae, huge caustic dissections of sound that almost resemble vast mathematical equations more than they do club fodder (though tracks like the breakbeat whip crack of Doctrine and the acidic euphoria of Maetl, which when deployed by the right DJ will go off). For those just arriving at the edge of Ae's world and are looking for an entry point into the sprawling discography of the group, or those of you looking to delve into the pre-MaxMSP archives, this is the record for you. There is not much we can say that has not been said before, but this truly is a landmark album of UK electronica, a legendary recording that still even after twenty-six years still sounds like a future we are yet to arrive at.1. Kalpol Introl
4. Bronchus 2
11. 444$24.99Vinyl LP - Sealed Buy Now
304"Raver 5 pulses and glides with nocturnal
energy and calm beauty."
- Sam Hockley, Fact Mag
"[Lie EP] is full of nostalgic chords and ambiance
but also driven with a defiant force that sinks
heavy to the heart. D Tiberio is someone you
definitely want to keep a watchful eye on."
- April Lanier, Okay Future
304 is D Tiberio's ode to his mother's home.
The address is both personal and anonymous,
Providing an entry point into the bleak emotional
spectrum of daily existence and its anomalies.
Partial to concepts of imperfection, many tracks
include lo-fi audio clips sampled from YouTube,
television and other non-musical sounds that may
normally go unnoticed in our surroundings.
The textures are burnt and the rhythms disrupted,
yet each track is constructed to achieve an
"Raver 5" has caught the attention of both critics
and fans for its mature, multi-genre production.
"Let Her" and "Gone," featuring Natasha Agrama,
pair sultry female vocals with heavy, atmospheric
The sonic creation of an introspective observer,
304 carries with it a shift in perspective of what
may contribute to an essential sensory escape.1. Pinecone
2. Raver 5
3. Let Her
5. Purple Hi-Chew
8. Make It All Everything
10. Cathi's Song
11. Rubbers$18.99Vinyl LP - 2 LPs Sealed Buy Now
Santana (Out Of Stock)Numbered, Limited Edition
Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version
Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended
Ranked #149 on Rolling Stone's List of the Greatest Albums of All Time
Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.
Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.
Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.
For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.
Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before-as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.
Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.
This title is not eligible for discount.1. Waiting
2. Evil Ways
3. Shades Of Time
8. You Just Don't Care
9. Soul Sacrifice$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
The Pink OpaqueBack in 1986, The Pink Opaque brought together the best of the Cocteau Twins' early works to become their first official release in the US. Already a cult band on college radio, some classics like "Pearly-Dewdrops' Drops" and "Aikea-Guinea" were given new mixes for this release, while it also featured "Millimillenary," the first run out for incoming band member Simon Raymonde. To this day, it remains a great entry point to a wonderful band.1. The Spangle Maker
3. Wax And Wane (Remixed)
5. Pearly-Dewdrops (7 Version)
6. From The Flagstones
10. Musette And Drums$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Visions Of Us On The Land"Damien Jurado is every character in every Damien Jurado song. He is the gun, the purple anteater, the
paper wings, the avalanche, the air show disaster, Ohio, the ghost of his best friend's wife."
- Father John Misty
Providing the ideal entry point for neophytes and an intoxicating aural high for the faithful, Damien
Jurado's new opus extends the hot streak ignited by 2012's Maraqopa and its 2014 follow-up Brothers and
Sisters of the Eternal Son. Cut once again with label-mate and super producer Richard Swift at the latter's
National Freedom recording facility in rural Oregon, Visions of Us On The Land completes the tale of an
individual who has had to disappear from society in order to discover some universal truths.1. Amateur Night
4. Texas To Ohio
6. I Can't Get Over You
7. Intoxicated Hands
10. Bad Dreams
11. Abilene (demo)
12. I Can't Get Over You (demo)
13. The Killer (demo)
14. Amateur Night (demo)
15. Omaha (demo)
16. Smith 1972 (Just In Time For Something EP)
17. Motion Sickness (Just In Time For
18. Night Out For The Downer (Just In
Time For Something EP)
19. Prices (Just In Time For Something
20. Engine Fire (Just In Time For
Something EP)$22.99Vinyl LP - 2 LPs Sealed Buy Now
A Skeletal DomainLucky number thirteen? Lucky or not, it's a quantity of releases (not even counting VHS/DVD releases and EPs) and a wealth of material beyond which most bands could even imagine. Cannibal Corpse approaches each recording session with a honed and precise vision of a band in their third decade of existence. With this new entry to their extensive catalog, they have switched gears, opting to work with producer Mark Lewis at Audio Hammer Studios, after having tracked their previous three (Kill, Evisceration Plague, Torture) with Erik Rutan. Mark Lewis is a name metal fans have surely heard at this point; he has produced recent albums from The Black Dahlia Murder, DevilDriver, and many more. Sonically speaking, the result this time around is a massive, belligerent, and deliberate aural attack.1. High Velocity Impact Spatter
2. Sadistic Embodiment
3. Kill or Become
4. A Skeletal Domain
5. Headlong into Carnage
6. The Murderer's Pact
7. Funeral Cremation
8. Icepick Lobotomy
9. Vector of Cruelty
10. Bloodstained Cement
11. Asphyxiate to Resuscitate
12. Hollowed Bodies$23.99Picture Disc Vinyl LP - Sealed Buy Now
AmpsandSound Mogwai Headphone Amplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
AmpsandSound Products Are Handmade In Small Batches and Go Through Extensive Quality Control
Like many AmpsandSound products, the Mogwai evolved from their earlier designs, borrowing from the Bigger Ben and Classic Wonder, while embracing the form factor of the Kenzie. The Mogwai offers more than an entry point for tube amps, but a hybrid product, meant for both headphone and loudspeaker use.
Their circuit offers the ability to roll a wide variety of tubes inexpensively and bring increased power to headphones without any sacrifice of design choices that conflict with our values.
The Mogwai combines the features of a full-sized two-channel power amplifier and headphone amplifier in a chassis that is suitable for a desktop use.
The Mogwai utilizes single-ended Class A operation with zero feedback to provide the essence of our Classic Wonder sound; strictly old school SET sound, without having to spend hundreds if not thousands of dollars on tubes.
The performance of the Mogwai is made possible with custom wound ultra-high quality output transformers from Transcendar, which provide excellent frequency extension and a flat response.
The Mogwai does not use a voltage divider network, but depends on transformers instead. They chose a 32 ohm tap for headphones to offer a dedicated selection for the widest range of headphones, and an 8-ohm loudspeaker tap to connect the Mogwai to moderately efficient loudspeakers.
The Mogwai displays its transformers prominently on the chassis to frame in the tube compliment, which can vary from a 6L6GC to a KT88.
Volume control is handled by the ALPS volume pot to allow attenuation and simplify the signal path. Zero feedback on the outputs negates the need for a pre-amplifier; an iPhone can drive the Mogwai without issue.
The Mogwai differs from the Kenzie as it aims to provide powerful output while remaining true to classic tube design. As with all ampsandsound products, they strive for a neutral, non-fatiguing sound, and demand that all our products be ultra-quiet in operation. Quiet operation is not just a goal but a guiding principle that shapes all design and implementation choices.
The Mogwai is handmade with pride in Southern California with US-sourced parts, including our precision transformers.$1,850.00Headphone Amplifier Buy Now
The Other IBella Union are thrilled to announce the release of The Other I, the new album from 2:54.
Even before Colette and Hannah Thurlow wrote their new album, the London-based sisters' atmospheric, imaginative and thrilling vein of rock music under the name 2:54 was already a force to be reckoned with. But the events that tested their commitment and resilience have upped the ante, to produce the magnificent drama and beauty of The Other I. From the expansive, tempo-shifting opener 'Orion', and the pining roots of 'The Monaco' to the ambient haunts of 'Tender Shoots' and the shape-shifting tour de force of 'Raptor', the album significantly widens the net beyond the achievements of 2:54's self-titled debut. The Other I is all the stronger for Hannah and Colette's hands-on approach to production while Colette's lead vocals show a striking versatility. The album's emotional terrain has been carved from circumstances out of their control but equally their sisterly bond.
As Colette explains, the album's title was inspired by a favourite poet, Percy Shelley, "a rousing romantic, politically charged, a proto-punk of sorts. He called his friend and muse Elizabeth Hitchener the 'sister of my soul, my second self.' These lines kept returning to me last year and from there I arrived at 'The Other I'. The Other I is an enquiry into the duality of the human experience - the division between the self that pounds on like a juggernaut in your head, and the self you present to the world. The idea extends to Hannah and I, to our sisterhood. We know intrinsically what the other thinks and feels, music is just another language we use to communicate."
Written in Paris and London, the album was recorded at Bella Union's East London studio before the Thurlows and Alex Robins decamped to North London's Fish Factory to complete it alongside co-producer and mixer James Rutledge, who's worked with the likes of Radiohead and Fever Ray. 'In The Mirror' and 'Sleepwalker' are cited as key entry points to the album's core values, while lyrically 'Orion' sets the scene for the album's adventures. 'Raptor' is the album's brilliant finale, with its simmering intro, hypnotic flow, thrilling coda and rallying mantra: "Calling, I'm calling, I'm calling, I can hear it / You don't know us / One more turn and then I'll go / The end, the end, the end is close."1. Orion
3. In The Mirror
4. No Better Prize
6. Tender Shoots
7. The Monaco
11. Glory Days
12. Raptor$22.99Vinyl LP - Sealed Buy Now
BirdsSeth Glier's new album Birds is steeped in conflict and contradictions. There's grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.
Glier (pronounced Gleer) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. I felt a tremendous amount of comfort talking to the Birds, he says I'd check in with them regularly to see how they thought things were going so far.
Birds is Glier's fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.
The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with Water on Fire, a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. Hasn't Hit Me Yet has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier's autistic brother.
Together, those songs represent the opposite poles of Birds. I was really trying to explore connections on this record, Glier says. Among those connections is the one between race and the criminal justice system on Justice for All, a raw chain-gang stomp that sounds almost like an old field recording. Like I Do takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.
The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while Too Much Water pairs Glier's voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early '70s. People Like Us is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on Just Because I Can sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.
Even the cover tune, a reimagined version of Buffalo Springfield's For What It's Worth, evokes urgency. Although it was written 50 years ago, it's still about what's happening right now, Glier says.
Birds began taking shape after Glier lost his brother, Jamie, who died in October 2015, and inspired a TED Talk performance that Glier gave in 2016. My brother passing away was a huge component of where I was and what I was looking for, Glier says. In particular, I was looking for meanings, wanting his life to mean more than just being over.
For a long time afterward, Glier passed the time by writing songs and inspecting each melody with the feathered fellows by his windowsill. Instead of recording the album in a Los Angeles studio, as he did on his 2015 album If I Could Change One Thing, he decided to make Birds at home.
I thought that I should just stay close to the windows here, Glier says. I think this sort of happened by accident, but by the time I started recording the record, it was fall in New England, which is a profoundly beautiful death. The air is full of honesty, the sky is full of geese, and there is bright gorgeousness woven into the dying of things. It all seeped into the textures of this record.1. Sunshine
2. Water On Fire
4. Just Because I Can
5. People Like Us
6. Like I Do
7. For What It's Worth
8. Too Much Water
9. Justice For All
10. Hasn't Hit Me Yet
11. I'm Still Looking$19.99Vinyl LP - Sealed Buy Now
Daddy Plays The Horn (Pure Pleasure)During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).
While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.
- Dexter Gordon (tenor saxophone)
- Kenny Drew (piano)
- Leroy Vinnegar (bass)
- Larry Marable (drums)
Recording: September 1955 in Hollywood, CA.
About Pure Pleasure
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, Pure Pleasure 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 existent tools from the 80s and 90s for manufacturing.
We should like to emphasize that Pure Pleasure 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.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
This title is not eligible for discount.1. Number Four
2. Autumn In New York
3. You Can Depend On Me
4. Daddy Plays The Horn
6. Darn That Dream$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Soma Records Story: Vol. 3 - A Man's Gotta Be A Man!The record world was a completely different place in 1965.
Kids wanting to take home a piece of the rock 'n' roll action they frugged to at the Armory dance last weekend or a wild tune they heard the local bossjocks spin on the way home from school, inevitably had to deal with seven-inchers made by independent record labels. The single was the thing in the mid-60's, not the album. In even the hippest big city record emporiums, you could thumb through the entire recorded canon of British Invasion-influenced LPs - no more than a hundred or so - in about five minutes. But, ahhh, those singles. And nobody did them better than the shoebox companies sprouting up like bread mold all over the country, labels who could tap into the best local talent and get their show-stopping songs into the local record shops.
Just about every sector of the US had its own scene, red hot local chart entries that kids three hundred miles away were destined to never hear. And that's why the legendary indie labels - from International Artists in Houston or Autumn in San Francisco to Dunwich in Chicago or Etiquette in Tacoma - and hundreds more just as groovy, are revered today more than ever.
The Soma Record Company of Minneapolis caught the national spotlight by releasing hits from the likes of the Castaways and the Gestures. But Liar Liar and Run, Run, Run are just the tip ofthe iceberg. If you've always suspected that thousands of great singles from the '60s that you've yet to hear are lurking in the bushes, guess what? You're right. Step into the dusty Soma vaults with us - brush aside those cobwebs, if you would - point your flashlight towards the strobelight flickering at the far end of the tunnel and keep walking. When the cool Fender 'n Farfisa sounds finally grab you by the shirt collar, just keep telling yourself: This isn't a dream. It's what I was born to do.1. The Chancellors / I Can Tell*
2. The Castaways / A Man's Gotta Be A Man
3. The High Spirits / (Turn On Your) Love Light
4. The Gestures / Don't Mess Around
5. The Del Counts / Let The Good Times Roll
6. The Titans / Reveille Rock
7. The Messengers / My Baby
8. The Gamins / Freeway
9. The Gestures / Run, Run, Run
10. The Chancellors / Surf Beat*
11. The Torres / I've Had It
12. The Shades / Please Please Please
13. The Fabulous Rumbles / I'll Be Gone
14. The Titans / Tchaikovsky Rides Again
15. The Castaways / Should Happen To Me
16. The Sounds Like Us / The Other Side Of A Record$24.99Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Liszt: Piano Concertos Nos. 1 & 2 (Speakers Corner)
Liszt's Piano Concertos occupy a special position in the genre for several reasons. Firstly they mirror the amazing keyboard virtuosity of the composer, and secondly they point the way to modern music through their daring harmonies and free treatment of traditional compositional forms. Any pianist who tackles the mighty E flat major Concerto, which was premiered by Liszt himself under the baton of Berlioz in 1855, soon realises that he has taken on a mammoth task. Instead of an over-dimensional, weighty performance, Byron Janis and the Moscow Philharmonic present a compact reading of this tightly-knit composition. Janis, a pupil of Horowitz, displays his bravura in the appropriate places, but also knows how to use his technical prowess - perfected in his early years - to produce finely-chiselled keyboard poetry, freeing the work from its often-cited bulkiness. This is particularly effective in the intoxicating Finale, where the pianist's brilliance amalgamates with triumphal orchestral playing.
In the Second Concerto, too, it is clear that great care has been taken with the score. Beginning with the elegiac entry, via the pulsating Agitato up to the expressive melodic playing, Byron Janis and Gennadi Rozhdestvensky fill this visionary symphonic poem with wonderful timbral colouring which is brought to a climax in the sparkling Finale. When music from the New German School sounds like it does here by means of Russian hands, then it certainly deserves a place in our Russian Edition.
Recording: June 1962 in Bolshoi Hall of the Tchaikovsky Conservatory, Moscow, Russia,
by C.R. Fine and Robert Eberenz / Production: Wilma Cozart
About Speakers Corner
This title is not eligible for discount.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Essence MC Cartridge
The MC Concept combines high-quality moving coil technology with a minimalist design.
Take the best and make it better sometimes the Clearaudio motto proves to be quite a challenge. Especially when it calls for a brand new cartridge design that will improve upon our entry-level Concept MC cartridge but without breaking a key price point!
How did we do it? By taking the 'essence' of the Concept MC design and applying even tighter controls to every element of its construction. The boron cantilever, the micro-line stylus and of course the Clearaudio-patented moving coil generator have been subjected to the most stringent scrutiny, thus ensuring superb dynamics, fine resolution and channel matching of better than 0.5dB.
The electrical parameters are such that the Essence MC will match with almost any MC phonostage, guaranteeing superb results: natural tonality, three-dimensional sound-staging, vivid dynamics and captivating musicality. That's the Essence of our new MC!$1,500.00Moving Coil Cartridge Buy Now
Pro-Ject Elemental Turntable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Entry-level audiophile belt-driven turntable with pre-adjusted 8.6 aluminum tonearm and mass-loaded plinth
Pro-Ject has decided to go after the cheap plastic turntable market with an high quality alternative that comes complete with an Ortofon cartridge. The new Elemental table is a real plug'n'play all the way. No adjustment of counterweight and anti-skating is needed, because both are pre-adjusted. This new straight ultra low mass tonearm is optimized for Ortofon OM cartridge series. All the buyer needs to do is remove it from the box, remove bearing guard, locate the belt around the platter, remove stylus guard and plug it in.
The only plastic here is the stylus guard!
The hidden secret to the new table's sonic success, is a central gravity mass point, made from artificial stone and placed directly underneath the platter bearing. It is capable to fully absorb unwanted rumble and motor vibration. This turntable appears to be pure simplicity itself, while maintaining high quality audio standards.$229.00Elemental Turntable - 3 Colors Available Buy Now
Pro-Ject Elemental Phono USB Turntable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Entry-level audiophile belt-driven turntable with pre-adjusted 8.6 aluminum tonearm, mass-loaded plinth, and USB output
Pro-Ject has decided to go after the cheap plastic turntable market with an high quality alternative that comes complete with an Ortofon cartridge. The new Elemental Phono USB table is a real plug'n'play all the way. No adjustment of counterweight and antiskating is needed, because both are pre-adjusted. This new straight tonearm is optimised for Ortofon OM cartridge series. All the buyer needs to do is remove it from the box, remove bearing guard, locate the belt around the platter, remove stylus guard and plug it into hifi system and computer.
The only plastic here is the stylus guard!
The hidden secret to the new table's sonic success, is a central gravity mass point, made from artificial stone and placed directly underneath the platter bearing. It is capable to fully absorb unwanted rumble and motor vibration. This turntable appears to be pure simplicity itself, while maintaining high quality audio standards and vinyl recording capability.$279.00Elemental Phono USB Turntable - 3 Colors Available Buy Now
Neon Art (Out Of Stock)
Red Colored Vinyl!
Previously Unreleased Performances from January 28, 1981 at Parnell's Seattle, WA!
Cut at Capitol Records by Ron McMaster!
Just in time for what would have been jazz great Art Pepper's 87th birthday (September 1st) and in cooperation with Art's widow, Laurie Pepper and her label, Widow's Taste Music, Omnivore Recordings is pleased to release the first volume in a series of previously unissued live recordings by Art Pepper called Neon Art.
From his early recordings with Stan Kenton's and Shorty Rogers' bands and sessions with Chet Baker, Henry Mancini or Quincy Jones, to his own recordings like classics made for Contemporary and Galaxy Records (The Art Pepper Quartet and Art Pepper Meets the Rhythm Section) Art Pepper built a legacy of recordings that can only be described as legendary. Thankfully, he also left us a narrative, tracing the history of his life and the roadmap with details of his great recordings in the shape of the book, Straight Life, which Art and Laurie authored together.
The first volume of Neon Art features two tunes drawn from the unissued performances at Parnell's in Seattle, WA on January 28, 1981. Side one features a workout on Art's composition, "Red Car," while side two features "Blues For Blanche," also a Pepper-composed track. Cut at Capitol Records by Ron McMaster and pressed on red vinyl in a see-through jacket, this first volume is aimed at both the longtime Art Pepper aficionado and collector, and to those just coming to know Art's work. It's an entry point into the multifaceted colorful world of Art Pepper. Download card included.1. Red Car
2. Blues For Blanche$18.99180 Gram Audiophile Virgin Vinyl LP -Sealed Temporarily out of stock
Over The Edge (Out Of Stock)Remastered From Original Tapes By Greg Sage
Deluxe, Tip-On Sleeve
The bleak, hard-driven third LP by the Wipers (originally released in 1983) offers Greg Sage at his most chased and breathless, lashing out with sharp staccato notes as if melody were his only defense. While their debut LP provided the blueprint for grunge, and their second album recast the band as one of Americas premier postpunk bands, its Over The Edge that best exemplifies the Wipers sound. The jagged, effortless guitar lines, the paranoid lyrics and raw-throated vocals and the taut, unified rhythms that define their sound bleed together most clearly on this LP, and it stands
as both the best entry point for new fans and the most prevalent favorite of diehards.
Since Jackpot Records began our Wipers vinyl reissues in 2006, weve been inundated with requests for a reissue of Over The Edge. After two years of labor, including an immaculate remaster from the original tapes by Greg Sage, we are proudto present Over the Edge, pressed on audiophile grade vinyl and packaged in a deluxe, tip-on sleeve.Side 1:
1. Over The Edge
2. Doom Town
3. So Young
1. Now Is The Time
2. What Is?
3. No One Wants An Alien
4. The Lonely One
5. No Generation Gap
6. This Time$19.99Vinyl LP - Sealed Temporarily out of stock
Selected Ambient Works Vol. 2 (Out Of Stock)Aphex Twins 1994 masterpiece Selected Ambient Works Volume II includes barely anything resembling a beat or any sign of typical song structure, yet the album continues to garner adulation generally reserved for holy music. Fans have been testifying on its behalf for nearly two decades, as if it were capable of curing ills or healing the soul. Its synthetic construction belies the intuitive, human, melancholic and uplifting nature of the music.
Some have speculated the album was intended by Aphex Twins Richard D. James as a farce, as if its Über-minimalism was a joke played on an electronic community that relied so heavily on the beat; an expectation-defying statement from ambient-houses young hero. The album induces varied responses and often from the same person. A listener may go from being incredulous to drenched in tears within the span of a single track. Music critic Frank Owen described the music as veering between an eerie beauty and an almost nightmarish desolation. James himself described it as like standing in a power station on acid.
The albums raw emotional power is built upon the influences of Brian Eno, Erik Satie, Steve Reich, Terry Riley and The Orb. Each of its tracks has an elegiac and desolate feel far removed from the tooth-rattling, drill-n-bass or abstract electronica for which James was originally known. The soft, nimble flow leaves one in a tranquilized state. Throughout the album, James resists the temptation to layer the sound with beats or samples. Instead, he relies on swathes of sound and harmonics and almost-implied pulses. When the music does incorporate subtle industrial sounds, rhythmic drums or muted samples, it is only to affect a menacing feel in the textures.
Remarkably, for an album that is often perceived as difficult, Selected Ambient Works Volume II is quite accessible. Featured in films, commercials and video games, the music continues to offer an entry point for listeners new to the ambient genre while remaining a classic touted by connoisseurs.No tracklist available$33.99Vinyl LP - 3 LPs Sealed Temporarily out of stock
London Zoo (Out Of Stock)In Gibson's Neuromancer, when Case and Molly meet the two surviving founders of Zion, there is talk of hearing a mighty dub in the Babel of tongues signaling the final days. If indeed we're living in these end times, as many predict, then there can be no more of an appropriate soundtrack for the coming apocalypse than The Bug's London Zoo.
The Bug is the main project for Kevin Martin, a producer who has headed a diverse range of projects. He is part of Techno Animal, Ice, and God (all with Justin Broadrick of Godflesh and Jesu), King Midas Sound, Razor X Productions (with The Rootsman), Pressure, and Ladybug; runs his Pathological Records label; and has collaborated with noise jazz outfit 16-17, Pete Sonic Boom Kemper's E.A.R. project, John Zorn, Kevin Shields, El-P, and the Antipop Consortium. He has recorded for Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal, and now Ninja Tune. He has been personally asked to remix Thom Yorke, Grace Jones, Einsturzende Neubauten, and Primal Scream, and compiled jazz and dub compilations for Virgin Records. London Zoo is the fruition of all these activities.
The album was born of three key moments: an introduction to the thriving dubstep scene (of which The Bug is very much a pioneer from before it carried a name) and its key producers (via Kode 9 and Loefah) where Martin realized there were others on the same sonic trajectory as himself; an introduction to Warrior Queen via his work with Wayne Lonesome on the Razor X Productions project; and a Mary Anne Hobbs Breezeblock session which introduced him to Flowdan (Roll Deep) and Ricky Ranking. All three of these figure heavily in the end result and live presentation.
The obvious entry point to the album is the dubstep tag, particularly after the success of the three lead-up singles, but London Zoo clearly reaches past, brings together, and celebrates reference points from dancehall, grime, hip-hop, and noise-- it could have only come out of London sound-system culture, while its appeal spans cities and scenes.
From the opening strains of Angry (featuring reggae legend Tippa Irie) it's clear that the world has been served notice from the heart of the UK capital. The message is further strengthened as Ranking (best known for his work with Roots Manuva), Flowdan, Warrior Queen, Spaceape, Roger Robinson, Killa P, and Aya step up to lay waste to the boombastic rhythms put before them, eventually culminating in Judgement where Ranking leaves us with a prophecy: So much people are losing their minds, because we're living in a serious time. I guess it come in like a judgment sign, the people have killing on their mind. Living in end times, indeed. Best start building the Marcus Garvey tug now.Angry ft Tippa Irie
Murder We ft Ricky Ranking
Skeng ft Killa P & Flowdan
Too Much Pain ft Ricky Ranking & Aya
Insane ft Warrior Queen
Jah War ft Flowdan
Fuckaz ft Spaceape
You & Me ft Roger Robinson
Warning ft Flowdan
Poison Dart ft Warrior Queen
Judgement Ricky Ranking$45.99Vinyl LP - 3 LPs Sealed Temporarily out of stock
The Evil Divide (Out Of Stock)Three decades into their celebrated career, Death Angel remain as hungry as ever.
As a result, uncompromising urgency and unpredictability define the Bay Area thrash quintet's eighth full-length album, The Evil Divide [Nuclear Blast]. The group-Mark Osegueda [vocals], Rob Cavestany [lead guitar], Ted Aguilar [guitar], Will Carroll [drums], and Damien Sisson [bass]-satiate the appetite for buzzsaw speed riffs, double bass mayhem, and scorching vocals over the course of ten new anthems.
"I want every record of ours to always sound fucking hungry and desperate," declares Mark. "An injured animal is a dangerous fucking animal. We feel that. We're always striving for more and put everything into it until our bodies give out."
"We know who we are," adds Rob. "We're dedicated to this sound for both the fans and ourselves."
In order to siphon that energy, the group re-teamed with producer Jason Suecof [Trivium, Deicide] for the third album in a row. They traded Northern California for Suecof's Florida stronghold, Audio Hammer Studios, during two months in the fall of 2015. Following three consecutive records together, this lineup gelled more than ever while recording.
"You could feel it," continues Rob. "Everything was so much smoother in all regards. We progressed as a unit, and we all got on the same page pretty quickly. It makes recording and playing even more fun."
"We're collectively focused," says Mark. "Rob and I have grown a lot as songwriters, and the entire band is tighter than ever. We knew what to expect sonically with Jason, but we wanted to push things in a different direction. The production and drum, bass, and guitar tones are more organic. He's got such a great ear and nailed it. It's like we confidently hit our stride."
The first single "Lost" intersects a hypnotically haunting refrain with a chugging percussive groove, dropping the melody like a guillotine between fret-burning leads.
"Everybody feels lost at some point in their lives," explains Mark. "It's that sense of self-awareness or lack thereof that comes through in the lyrics. No one's immune to it. That time can be a fleeting week or a matter of years where you don't know what's going on. Music is a way to get it out and a vessel to vent. It's a universal thing." Opener "The Moth" whips from a galloping guitar death march into a battle-cry. Boasting a lyrical contribution from Rob, it name checks the album title in the chorus.
"Mark really breathes life into what I wrote," says Rob. "We have a great time collaborating and bouncing ideas off each other."
"The world is in such an odd state," sighs Mark. "There's always division, but these days it's wild. People are attacking each other for no reason. That's why I love metal. It's an amazing community, and people get into it for no other reason but the passion for music. It's the one thing we can retreat to."
"Cause for Alarm" volleys between a crossfire of six-string prowess, while "Father of Lies" closes on a haunting acoustic outro, illuminating the music's expanse and declaring another creative victory for the group.
The Evil Divide stands out as the culmination of thirty-plus years of music for Death Angel. It kicked off with legendary debut, The Ultra-Violence, in 1987. The classic Frolic Through The Park began to cement their legacy and even earned the distinction of landing on Loudwire's list of the "Top Ten Thrash Albums NOT Released by The Big 4." The group broke up following 1990's Act III only to reunite in 2004 on Art of Dying for the next generation. A powerful trifecta followed. In 2010, Relentless Retribution boasted a cameo from virtuosos Rodrigo y Gabriela, while 2013's The Dream Calls For Blood bowed at #72 on the Billboard Top 200, selling 5,400 copies first-week and earning the group's first-ever entry onto that respective chart. Beyond continued public praise from the likes of James Hetfield of Metallica and Robb Flynn of Machine Head, the band's music has popped up everywhere from Carl's Jr. commercials to Leatherface: The Texas Chainsaw Massacre III. Their fire burns brighter than ever in 2016.
"If you're a casual fan, I hope you really get it on this album," Mark leaves off. "If you've been with us since the beginning, I want you to see we aren't messing around. We're still Death Angel."1. The Moth
2. Cause For Alarm
4. Father Of Lies
5. Hell To Pay
6. It Can't Be This
7. Hatred United, United Hate
9. The Electric Cell
10. Let The Pieces Fall
11. Wasteland$25.99Vinyl LP -2 LPs Sealed Temporarily out of stock