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Manifest Decimation (Awaiting Repress)Dallas band Power Trip play frantic crossover thrash that makes for amazing live shows. (They've toured, and are pals with, Trash Talk, and more than hold their own.) At any given time, whirling dervish Frontman Riley Gale can sound like Lemmy fronting Cro-Mags, Discharge, Exodus, or Nuclear Assault; other times, he locates a grizzlier tone that evokes guys wearing corpsepaint.
On the quintet's huge-sounding eight-song debut LP Manifest Decimation on Southern Lord, they match the live intensity: The collection, which follows demos, 7's, and compilation appearances, finds the band easily filling 35 minutes with great riffs, catchy shout-along choruses, legit mosh parts, and brief ambient excurisions that don't take away from the overall intensity. The cover art, by Italian artist Paolo Madman Girardi, gives you an idea of that atmosphere, which includes samples about both death and Texas.1. Manifest Decimation
2. Heretic's Fork
3. Conditioned To Death
4. Murderer's Row
7. Power Trip
8. The Hammer Of Doubt$13.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Nightmare Logic (Awaiting Repress)The second crushing, soul-mangling, neck bustin' album from Texas hardcore thrashers: Power Trip. Quite possibly the best thrash album you will have heard in the last decade. IMMENSE, MAMMOTH, MASSIVE. Recorded by Arthur Rizik (Inquisition), mastered by Joel Grind (Poison Idea, Toxic Holocaust) and features cover art by Paolo Girard. POWER TRIP is a real band like no other. Their raw energy, musical proficiency, perfect song structure, rich tones, fierce riffs, persecution, and collective attitude have seeded them as one of the most prolific underground staples in the US metal, punk, and hardcore scenes.1. Soul Sacrifice
2. Executioner's Tax (Swing of the Axe)
3. Firing Squad
4. Nightmare Logic
5. Waiting Around to Die
7. If Not Us Then Who
8. Crucifixation$13.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Deep TripDestruction Unit are an American band formed in the Sonoran desert of Arizona. Dug up from the sonic landfills of the cosmos, these radical desert dwellers have built a reputation for both mesmerizing and terrorizing crowds with their sheer
power and intensity.
Formed by Ryan Rousseau, D. Unit was initially a synthheavy three piece whose other members were Jay Reatard and Alicja Trout (Lost Sounds); likewise Rousseau was also in the Reatards before Jay went solo. Born out of the nucleus of the Memphis Goner Records scene and transplanted into Tempe, AZ, Rousseau has grown the band in the last few years into a full sonic assault, which now includes three guitar players (himself, Nick Nappa & Jesco Aurelius), his brother Rusty Rousseau on bass, and a 19 year-old classically trained drummer, Andrew Flores. This line-up has released several cassettes on their own label Ascetic House, a small run lP, Void on Jolly Dream and most recently a limited edition 7 on Suicide Squeeze.
Deep Trip is their first proper studio album, produced by Ben Greenberg of The Men, Hubble, and Pygmy Shrews at Vacation Island in NY. It's the first long player which truly captures their burning spirits. Morphine boogie for the 21st century noise addict. A spiritual odyssey of sadomasochistic self-loathing with songs about love and freedom. Selling drugs to make music to sell drugs to; aggressive psychedelic sprawl at its finest. The future of Rock and Roll burning through three twin reverbs and a pound of grass.1. The World On Drugs
2. Slow Death Sounds
3. Bumpy Road
4. God Trip
5. Final Flight
6. The Holy Ghost
7. Control The Light
8. Night Loner$18.99Vinyl LP - Sealed Buy Now
Half Hour Of Power
First Time On Vinyl!
Limited 180 Gram Transparent Orange With Transparent Red Smoke Colored Vinyl
Gatefold Jacket With 11 X 22 Insert
Remastered For Vinyl By Kevin Gray At Cohearent Audio
Half Hour of Power is an EP by Canadian rock band Sum 41. It was originally released on June 27, 2000 on Big Rig Records, a subsidiary of Island Records (United States), and Aquarius Records (Canada). Some consider the album to be the band's first studio album. However the band claims that their next release, All Killer No Filler, is their first debut album.
The first track, Grab the Devil by the Horns and Fuck Him up the Ass, is a time warp. For a minute and a half the group relives the new wave of British metal and cranks out an Iron Maiden style tune. After a brief trip down memory lane the album quickly morphs into pop punk. The songs are well crafted and the hooks are catchy on Make No Difference and Summer. But in some respects that is problematic, there was a time in the pre-Green Day/Blink 182 years where punk defined itself by not being radio friendly. A good album, but essentially proof that turn of the millennium punk is just as much a corporate rock entity as adult contemporary. - Curtis Zimmermann, All Music1. Grab The Devil By The Horns And Fuck Him Up The Ass
2. Machine Gun
3. What I Believe
5. Makes No Difference
7. 32 Ways To Die
8. Second Chance For Max Headroom
9. Dave's Possessed Hair/It's What We're All About
10. Ride The Chariot To The Devil
11. Another Time Around$24.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Love Power PeaceFirst Release Of 3 LP Set As Envisioned By James Brown
Includes Deluxe Jacket With Rare Photos And Liner Notes By Alan Leeds
Mastered From Brown's 1971 Mixdown Reels, Unused Until Now
James Brown's magnum opus! Love Power Peace is the sound of the Godfather and his youngblood J.B.'s (including Bootsy and Catfish Collins) electrifying a crazed Parisian audience on March 8, 1971. Sequenced and mixed by Brown himself for a planned triple album, the set was shelved when key band members departed before it could be issued. Here, for the first time, are the sides as intended, exactly as delivered by James Brown Productions to his label in 1971-a 3-LP set with each disc mastered from the original mixdown reels, and each with a unique name, Love, Power and Peace! Brown and band rip through recent singles like "Sex Machine," "Super Bad," "Give It Up or Turnit a Loose" and "Get Up, Get Into It, Get Involved" with a metronomic precision laid down by bassist Bootsy Collins and drummer Jabo Starks. "Ain't It Funky Now" - formerly a slow, simmering groove - is transformed into a fast, funky tour de force in which newbie Catfish Collins unleashes one of the most badass guitar solos ever, while a medley of three other Brown standards ("Papa's Got a Brand New Bag"/"I Got You (I Feel Good)"/"I Got the Feelin' ") blazes by faster than the Godfather of Soul's personal Learjet. Interspersed with just the right amount of slow numbers like "Georgia on My Mind," and including tracks from the show's supporting acts that were not included on the 1992 CD (which was a remixed, incomplete show), this document of the funk revolution features rare photos and liner notes by tour director Alan Leeds. The way to jump on board for a trip through James' world at the height of his career!LP1
2. Brother Rapp
3. Ain't It Funky Now
4. Georgia On My Mind - Part 1
5. Georgia On My Mind - Part 2
7. Intro: Bobby Byrd
8. Signed, Sealed, Delivered I'm Yours
9. I Need Help (I Can't Do It Alone)
1. Introduction: Vicki Anderson
2. Don't Play That Song (You Lied)
4. Break & Intro Announcement
5. Dance & It's A New Day
6. Bewildered - Part 1
7. Bewildered - Part 2
8. There Was A Time
9. Sex Machine
10. Try Me - Part 1
1. Try Me - Part 2
2. Papa's Got A Brand New Bag/I Got You/I Got The Feelin'
3. Give It Up Or Turnit A Loose
4. It's A Man's Man's Man's World
5. Who Am I
6. Please Please Please
7. Sex Machine (Reprise)
8. Super Bad
9. Get Up, Get Into It, Get Involved
10. Soul Power
11. Get Up, Get Into It, Get Involved (Reprise)
12. Finale$47.99Vinyl LP - 3 LPs Sealed Buy Now
Half Hour Of Power (Red/Blue Haze Vinyl) (Pre-Order)Pressed On Limited Red / Blue Haze Colored Vinyl
Gatefold Jacket With 11 X 22 Insert
Remastered For Vinyl By Kevin Gray At Cohearent Audio
Half Hour of Power is an EP by Canadian rock band Sum 41. It was originally released on June 27, 2000, on Big Rig Records, a subsidiary of Island Records (United States), and Aquarius Records (Canada). Some consider the album to be the band's first studio album. However, the band claims that their next release, All Killer No Filler, is their first debut album.
The first track, Grab The Devil By the Horns and Fuck Him Up the Ass, is a time warp. For a minute and a half, the group relives the new wave of British metal and cranks out an Iron Maiden style tune. After a brief trip down memory lane, the album quickly morphs into pop punk. The songs are well crafted and the hooks are catchy on Make No Difference and Summer. But in some respects that is problematic, there was a time in the pre-Green Day/Blink 182 years where punk defined itself by not being radio friendly. A good album, but essentially proof that turn of the millennium punk is just as much a corporate rock entity as adult contemporary. - Curtis Zimmermann, All Music1. Grab The Devil By The Horns And Fuck Him Up The Ass
2. Machine Gun
3. What I Believe
5. Makes No Difference
7. 32 Ways To Die
8. Second Chance For Max Headroom
9. Dave's Possessed Hair/It's What We're All About
10. Ride The Chariot To The Devil
11. Another Time Around$24.99180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
Head FirstCD & Poster
Head First is Goldfrapp's most powerful trip to date, a speedy rush of synth optimism, euphoria, fantasy and romance. With life affirming lyrics and stellar production it lifts off at full tilt and takes us on a journey to the heart of 2010.
The diversity, ambition and direction of the new album highlights Goldfrapp as true agenda-setters and modern British musical icons. Head First follows the critically acclaimed Seventh Tree, and is the latest in a brilliantly consistent body of work from the captivating electronic balladry of Mercury nominated debut Felt Mountain and it's distorted-dancefloor follow-up, Black Cherry to the glitterball glamour of Supernature which came out in summer 2005 and went on to sell over a million copies worldwide.
The vinyl format of Head First is presented in a gatefold sleeve and contains an exclusive poster and a copy of the full album on CD.1. Rocket
5. Head First
7. Shiny And Warm
8. I Wanna Life
9. Voicething$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Stick TogetherA work years in the making, Stick Together's debut full-length proves to be well worth the wait. The Wilkes-Barre band pummels through twelve furious anthems recalling the intensity of hardcore classics like Youth of Today's Break Down The Walls and Straight Ahead's Breakaway with a modern attitude. The production by Arthur Rizk (Power Trip, Inquisition) brings out the best parts of Stick Together on every song, whether it be the raw and unhinged chaos of "Society's Rule" or the groovy, bass driven "Nothing To Me."1. The Take Back
2. Done With You
3. Seeking My Approval
4. Once I Tried
5. Society's Rule
6. Only Flesh
7. Nothing To Me
8. The Great Escape
9. Just As Strong
10. Strange Scene
11. Your End
12. Won't Turn Our Backs$15.99Vinyl 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
Boy KingWild Beasts have announced their new album Boy King, their most direct and vital collection to date.
Where 2014's Present Tense album found Wild Beasts in reflective mood, absorbing a fascination with
online culture and electronic music, Boy King has them, as Tom Fleming puts it, "back to being pissed
off". The quartet's ever-present knack for sensual melody via Hayden Thorpe and Fleming's dueting
vocals, Ben Little's sinuous guitar groove and Chris Talbot's potent rhythm section carries in Boy King an
aggressive, snarling and priapic beast that delves into the darker side of masculinity and Thorpe's own
psyche. As Hayden himself says, "After five records there had to be an element of 'what the fuck?'".
A newfound creative friction between Thorpe and Fleming proved key to unleashing the unique pop
sensibility of Boy King - Fleming's more visceral experimentation unlocking new dimensions in Thorpe's
own writing. After spending a whole year finessing this new found impetus in East London, the band
emerged with a collection of songs ready to take to Dallas, TX and producer John Congleton (St.
Vincent, Swans, The War on Drugs). Both Thorpe and Fleming credit that trip to Dallas with teasing out
the raw power of Boy King.
The raw pop of Boy King's songs are the perfect foil to Thorpe's libidinous lyricism: "it became apparent
that that guitar almost became the character within the songs, that phallic character, the all-conquering
male," he says. "I'm letting my inner Byron fully out, I thought I'd tucked him away, but he came
screaming back like the Incredible Hulk." Here lies Boy King's greatest success. Between the slide of
prowling aggression and interior darkness, there are glorious, gorgeous moments. It's yet another
incomparable Wild Beasts record; a visceral, sensual and jolting body of work that acts as a remarkable
soundtrack to the early 21st century male malaise.1. Big Cat
2. Tough Guy
3. Alpha Female
4. Get My Bang
5. Celestial Creatures
7. He The Colossus
9. Eat Your Heart Out Adonis
10. Dreamliner$19.99Vinyl LP - Sealed Buy Now
White Hot MoonAnn Arbor's Pity Sex built the world of White Hot Moon, their second album, inch-by-inch. The band is using the foundation of 2013's celebrated Feast of Love as the framework for something bigger, stronger, and altogether more monumental. Coming off of tours with Ceremony, Eskimeaux, and Colleen Green-including a run in Australia-the band dove into the studio with Feast of Love producer Will Yip to harness that momentum into an album to showcase Pity Sex's growth. And if White Hot Moon wears its ambition on its sleeve, that's by design: the band looked to wide-screen albums by Yo La Tengo and Sonic Youth for inspiration in finding a bigger sound. That shows: Drake and Greaves spin huge webs of sound, anchored in shoegaze but branching off in a dozen directions, from fuzzed-out power-pop ("Bonhomie") to shimmering balladry ("Dandelion") and back again, while St. Charles and Pierce lock into step subtly counterintuitive rhythms and floor-shaking low-end. The result of this playful but dedicated approach to their craft: wherever you visit White Hot Moon, you'll come away refreshed, revitalized, and ready for Pity Sex to guide you along the rest of the trip.1. A Satisfactory World For Reasonable People
2. Burden You
5. What Might Soothe You
7. Nothing Rips Through Me
8. Orange And Red
10. White Hot Moon
11. Pin A Star
12. Wappen Beggars$19.99Vinyl LP - Sealed Buy Now
Straight From The Heart (Awaiting Repress)Ann Peebles' climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song I Can't Stand The Rain.
Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs. Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart (Slipped, Tripped And Fell In Love). The beat is powerful, throbbing, young and fresh (What You Laid On Me) or surging and groovy (How Strong Is A Woman?). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven (Somebody's On Your Case), while a fusion of soft swing and snappy acerbity (I Pity The Fool) rounds off this album which is filled with pure emotion, heart and soul.1. Slipped, Tripped And Fell In Love
2. Trouble, Heartaches & Sadness
3. What You Laid On Me
4. How Strong Is A Woman
5. Somebody's On Your Case
6. I Feel Like Breaking Up Somebody's Home Tonight
7. I've Been There Before
8. I Pity The Fool
9. 99 Pounds
10. I Take What I Want$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
ImmunityJon Hopkins is to release Immunity, his fourth solo album, and second on Domino on June 4 following
up on 2009's Insides.
A powerful, multi-faceted beast, packed with the most aggressively dancefloor-focused music
Hopkins has ever made, Immunity is about achieving euphoric states through music. Inspired by
the arc of an epic night out, the album peaks with Collider, a huge, apocalyptic, techno monster and
dissolves with the quiet, heartbreakingly beautiful closer, Immunity. The track featuring vocals from
King Creosote, which could sit comfortably alongside the gems of their 2011 Mercury-nominated
collaboration, Diamond Mine.
Immunity is a confident, dramatic record defined by an acute sense of physicality and place. It feels
like the hypnotic accompaniment to a journey of creativity, a trip inside Hopkins' mind, using analog
synthesis alongside manipulations of physical, real-world sounds to make dance music that feels as
natural and unforced as possible.
Immunity is the most human electronic album you'll hear this year.1. We Disappear
2. Open Eye Signal
3. Breathe This Air
5. Abandon Window
6. Form By Firelight
7. Sun Harmonics
8. Immunity$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Zebop!Impeccably Mastered By Joe Reagoso
First Time Audiophile Vinyl & Gatefold Cover Presentation
Anniversary Limited Edition
1981 was a Winning year for Santana. With the release of their multi-format hit album Zebop!, Carlos Santana and The Santana Band catapulted onto the top ten, the first time in several years, and truly changed the course of their musical history for the next several decades. Thanks in part to the Russ Balard (Argent) penned smash hit single Winning, the band not only maintained their solid following, but also brought in a whole new fan base, which has pledged loyalty to this legendary band since.
Following a similar formula as on their previous gold album Marathon, Zebop! featured smash hit tracks like their powerful rendition of Cat Stevens' Changes and J.J. Cale's The Sensitive Kind. The 12 track powerhouse also featured some of their most revered tunes like Searchin', Brightest Star and a trip back to the Abraxas sound with É Papa RÉ. With the effervescent lead vocals of Alex Ligertwood, the power drumming of Graham Lear, the percussive beat of Armando Pereza, together with the skillful instrumentation of the core band, all fronted by the legendary Carlos Santana, this album truly illustrated a powerful band that hit its stride.
Friday Music is no stranger to the legendary music of Santana, so now it is with much honor to announce the first time 180 Gram Audiophile Vinyl release of their mega classic Zebop!. As a further installment in our Santana/Friday Music 180 Gram Audiophile Vinyl Series, this limited edition classic rock masterpiece is now enhanced for the first time with impeccable mastering by Joe Reagoso (Santana/Grateful Dead) and also features a first time stunning gatefold LP cover with the original LP cover elements not seen in decades.
So, it is now time to celebrate with us the first time 180 Gram Audiophile masterwork release of Zebop! by Santana. This masterpiece is now impeccably mastered on audiophile vinyl, with first time gatefold cover art and of course all of the great songs and superlative magic and memories that can only be that of Carlos Santana and The Santana Band.1. Changes
2. É Papa RÉ
3. Primera Invasion
5. Over and Over
7. Tales of Kilimanjaro
8. The Sensitive Kind
9. American Gypsy
10. I Love You Much Too Much
11. Brightest Star
12. Hannibal$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Come My FanaticsImport
What a difference two years can make ... Between their self-titled debut and this follow-up, Electric Wizard beefed up and distorted their sound and polished their song-writing and the result has taken them light years beyond what the first album achieved. For this reason alone, anyone interested in the band's history and how a young group can progress in leaps and bounds, these two albums are worth seeking out and hearing. The most obvious improvement in the band's style is the overall sound: thick and grimy textures in slower-than-slow guitar chords and riffs, accompanied by basic drum rhythms and a washed-out wailing vocal singing lyrics of despair at the present world and conjuring avenues of escape from the social and political oppression in our society.
We dive straight into the deep end with Return Trip, a crusty doom sludge song if ever there was one, with black grime peeling off riffs to expose a raw layer that quickly changes to hard and dark and bleeds off in turn. The song sticks to the straight and narrow: even an extended instrumental passage doesn't attract a wiggly guitar solo, and it's only towards the end the song acquires layers of melody and riffing to suggest the vocalist's increasing mental derangement. Jus Oborn's singing isn't great - it's more like chanting or shouting sometimes - but his voice has a rough, anguished edge suited to the lyrical content. Real life is cold, hard, tyrannical, unjust and abusive and for many people the only way to stay sane is to escape into one's own world through the portal of hallucinogenic drugs. Wizard in Black and Doom-Mantia take up where Return Trip leaves off: these are epic tracks that extend the sludge / stoner doom trip out further into the realms of psychedelia, the latter track featuring treated vocals and multi-tracked voices (or so they sound).
Ivixor B / Phase Inducer is a wonderfully trippy mindfuck of a piece featuring a seemingly endless loop of female chanting with bubbly guitar effects and lazy bass rhythm followed by an abstract spacey tone piece that probably fell from an old pre-Autobahn Kraftwerk album and needed a home, so why not here. The atmosphere is spooky without appearing sinister. The two separate passages of the track are combined in a way that suggests a breakdown in a spaceship's communications with Earth while the astronauts are overcome by strange cosmic forces that can't be understood by rational people. Very original and quite ingenious!
The remaining tracks on the album suffer for being footnotes to the instrumental track and the strong first half of the album. Son of Nothing is hardcore melodic rock with metal trimmings in style and its post-apocalyptic / sci-fi lyrics embody both hope and fear as the remnants of humanity flee a scorched Earth to find a new home. Solarian 13 brings up the rear with a mix of gently buoyant and seesawing grime-thickened guitar rhythms around which trippy ambient effects swirl and tease.
The album draws its strength from a more streamlined musical approach in which music serves to enhance each song and its subject rather than fill out empty spaces with frills or show off individual musicians' dexterity and master of their instruments; and also from powerful lyrical themes of alienation, global destruction and flight to new worlds whether internally in one's head as a form of escape or externally for survival. Fantasy, the apocalypse and its aftermath, and science fiction elements of space travel through drugs and spaceships, and human migration to new worlds combine with doom, stoner and sludge metal to generate an original piece of work in Come My Fanatics .... It's on this album that EW find their calling.
- NausikaDalazBlindaz (The Metal Archives)1. Return Trip
2. Wizard in Black
4. Ivixor B / Phase Inducer
5. Son of Nothing
6. Solarian 13
7. Demon Lung
10. Return to the Son of Nothingness$37.99Vinyl LP - 2 LPs Sealed Buy Now
Spawn The Album (Original Soundtrack)Import
20th Anniversary Edition - First Time On Vinyl
Includes A 4-Page Booklet & Exclusive Poster
Al Simmons, once the U.S. government's greatest soldier and most effective assassin, was mercilessly executed by his own men. Resurrected from the ashes of his own grave in a flawed agreement with the powers of darkness, Simmons is reborn as a creature from the depths of Hell. A Hellspawn. Now Spawn must choose between his life on Earth and his place on a throne in Hell.
The 1997 film Spawn is based on the comic book character of the longest-running and most-respected independent comics of all time, written by Todd McFarlane and published by Image Comics.
Spawn The Album was originally released in 1997 and brought popular rock and metal bands like Metallica, Korn, Marilyn Manson and Silverchair together with well-known DJs and producers such as The Crystal Method, Roni Size, and Atari Teenage Riot. The album debuted at #7 on the U.S. Billboard 200 and stayed in the chart for 25 weeks.
The album includes the singles (Can't You) Trip Like I Do by Filter & The Crystal Method and Long Hard Road Out Of Hell by Marilyn Manson & Sneaker Pimps.LP 1
1. Filter & The Crystal Method - (Can't You) Trip Like I Do
2. Marilyn Manson & Sneaker Pimps - Long Hard Road Out Of Hell
3. Orbital & Kirk Hammett - Satan
4. Korn & The Dust Brothers - Kick The P.A.
5. Butthole Surfers & Moby - Tiny Rubberband
6. Metallica & DJ Spooky - For Whom The Bell Tolls (The Irony Of It All)
7. Stabbing Westward & Wink - Torn Apart
1. Mansun & 808 State - Skin Up Pin Up
2. Prodigy & Tom Morello - One Man Army
3. Silverchair & Vitro - Spawn
4. Henry Rollins & Goldie - T-4 Strain
5. Incubus & D.J. Greyboy - Familiar
6. Slayer & Atari Teenage Riot - No Remorse (I Wanna Die)
7. Soul Coughing & Roni Size - A Plane Scraped Its Belly On A Sooty Yellow Moon$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Straight From The Heart (Speakers Corner)
Ann Peebles' climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song I Can't Stand The Rain.
Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.
Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart (Slipped, Tripped And Fell In Love). The beat is powerful, throbbing, young and fresh (What You Laid On Me) or surging and groovy (How Strong Is A Woman?). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven (Somebody's On Your Case), while a fusion of soft swing and snappy acerbity (I Pity The Fool) rounds off this album which is filled with pure emotion, heart and soul.
- Ann Peebles (vocal)
- James Mitchell (bassoon)
- Jack Hale (trombone)
- Andrew Love, Ed Logan (tenor saxophone, vocals)
- Charles Hodges (organ, piano)
- Wayne Jackson (trumpet)
- Teenie Hodges (guitar)
- Leroy Hodges (bass)
- Howard Grimes (drums)
Recording: August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell
Production: Willie Mitchell
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Slipped, Tripped and Fell In Love
2. Trouble, Heartaches & Sadness
3. What You Laid On Me
4. How Strong Is A Woman
5. Somebody's On Your Case
6. I Feel Like Breaking Up Somebody's Home Tonight
7. I've Been There Before
8. I Pity The Fool
9. 99 Pounds
10. I Take What I Want$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Dolls of HighlandKyle Craft grew up in a tiny Louisiana town on the
banks of the Mississippi, where he spent most of his
time catching alligators and rattlesnakes instead of
playing football or picking up the guitar. He's not the
product of a musical family, and bands never came
through town. It was only a chance trip to K-Mart that
gave him his first album, a David Bowie hits compilation
that helped inspire him eventually to channel his
innate feral energy into songwriting and rock and roll.
That self-made talent drives every note of Dolls of
Highland, Craft's exhilarating, fearless solo debut.
"This album is the dark corner of a bar," he says. "It's
that feeling at the end of the night when you're
confronted with 'now what?'"
Craft knows the feeling well--Dolls began to take shape
when everything he took for granted was suddenly over,
including an eight-year relationship. "All of a sudden I
was left with just me for the first time in my adult
life," he says. He ventured far away from the ghosts of
his home in Shreveport, Louisiana to make a new life
for himself in Portland, Oregon, living under a friend's
pool table while he demoed new songs and tried to
determine what came next.
The album was tracked at a home studio in Shreveport,
where Craft briefly returned for an intensely-productive
reckoning with his past. "I dedicated the album to
Shreveport and called it Dolls of Highland for all the
girls and ghosts in town who influenced it so strongly."
Craft then returned to Portland, where Brandon
Summers and Benjamin Weikel of The Helio Sequence
helped move the album from its DIY beginnings to a
more fully realized work. Craft played most of the
instruments on the album, and the record captures the
power of his live performance.
And then there's Craft's unforgettable voice - "I'm
fully aware that I have a very abrasive, very loud voice,
but Bob Dylan is the one that taught me to embrace
that," says Craft. Craft's talent and singular creativity
move the conversation into new and unpredictable
places. And this album is very much about moving
forward. "After everything fell apart, it didn't take very
long for me to learn who I was and what I should be
doing," says Craft, who is walking out on the other side
with Dolls of Highland.1. Eye of a Hurricane
4. Lady of the Ark
5. Gloom Girl
6. Trinidad Beach (Before I Ride)
7. Future Midcity Massacre
8. Black Mary
10. Dolls of Highland
11. Jane Beat the Reaper
12. Three Candles$18.99Vinyl LP - 2 LPs Sealed Buy Now
Graceland: 25th Anniversary (Awaiting Repress)Ranked 81/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The universal appeal of the music of Graceland proved more powerful and enduring than the political hotbed attending its creation. In 1986, the album sold 14 million copies worldwide, and received universal praise from critics around the globe. Paul Simon and the members of Ladysmith Black Mambazo performed on Saturday Night Live and appeared on the cover of Rolling Stone.
By January of 1987, You Can Call Me Al was everywhere and Graceland won 'Album of the Year' at the Grammy Awards in 1987. Then, in an unprecedented carryover, the album garnered the Grammy for 'Song of the Year' with its title track in 1988. The album generated three hit singles and kept Simon and the Graceland tour on the road for five years. Graceland and songs like The Boy in the Bubble, Diamonds on the Soles of Her Shoes, You Can Call Me Al and the title track are beacons of cultural unity and remain a pivotal listening experience over 25 years later!
Paul Simons Graceland played a greatly significant role in removing the standoffish dread Western culture harbored toward South Africa during its internal struggle against apartheid, humanizing both a countrys soul-searching hunger for liberation and its simultaneous outpouring of cathartic creative expression. Timothy White/Billboard
In many ways, Graceland was the most extraordinary experience in my entire career, notes Simon. The insight into rhythm was the great gift that I received from making the trip to South Africa, and collaborating with African musicians.1. The Boy in the Bubble
3. I Know What I Know
5. Diamonds on the Soles of Her Shoes
6. You Can Call Me Al
7. Under African Skies
9. Crazy Love, Vol. II
10. That Was Your Mother
11. All Around the World or the Myth of Fingerprints$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Dreams And Daggers (Awaiting Repress)"You get a singer like this once in a generation or two." - Wynton Marsalis
"Salvant has a supple, well-trained voice with spot-on pitch. (No vibrato-teases; no meandering warbles passing as melisma.) Her low notes go from husky to full-bodied; her high notes float purely and cleanly. When she scats, it's not an ego trip but a musical game, where notes and syllables get to shape-shift." - The New York Times Magazine
"She had emotional range, too, inhabiting different personas in the course of a song, sometimes even a phrase-delivering the lyrics in a faithful spirit while also commenting on them, mining them for unexpected drama and wit." - The New Yorker
GRAMMY® Award-winning vocalist Cecile McLorin Salvant has had a remarkable rise to stardom in her professional career, and she's taking another big leap forward with Dreams and Daggers, her third album for Mack Avenue Records.
The songs on this album are of dreams and daggers. The daggers have been used at times to attack, at times to defend. For power, no doubt, to take it, to keep it. The dreams are the ones I caught looking out a window, or from the light sleep before the deep. I don't always know what they mean, but they are the ones I was able to keep. And yet dreams can be desires too. I wrote them down to make them true. That we may bring our wildness into view. That we may be unruled and unruly.LP 1
1. And Yet
2. Devil May Care
3. Mad About The Boy
4. Sam Jones' Blues
6. Never Will I Marry
7. Somehow I Could Never Believe
8. If A Girl Isn't Pretty
9. Red Instead
10. Runnin' Wild
1. The Best Thing For You (Would Be Me)
2. I Didn't Know What Time It Was
3. You're My Thrill
4. Tell Me what they're Saying Can't Be true
5. Nothing Like You
6. You've Got To Give Me Some
7. The Worm
1. My Man's Gone Now
2. Let's Face The Music And Dance
3. Si J'etais Blanche
5. Wild Women Don't Have The Blues
6. You're Getting To Be A Habit With Me$44.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
U-MenThis 3xLP Box Set Collects The Entire Studio-Recorded Output Of The U-Men
Plus 5 Unreleased Songs
With 16 Pages Of Photos, Liner Notes & Interviews With The Band
Executive Produced By Jack Endino
The U-Men are one of the best bands I've ever seen. They were
hypnotic, frenetic, powerful and compelling. It was impossible to
resist getting sucked into their weird, darkly absurd world. They
effortlessly blended The Sonics, Link Wray, Pere Ubu, and
Captain Beefheart. Their shows were loose-limbed, drunken
dance parties and no two shows were alike. The U-Men were
avant-garage explorers and, most importantly, they fucking
rocked. I was lucky enough to live in their hometown and I saw
them every chance I could.
From 1983 to 1987, the U-Men were the undisputed kings of
the Seattle Underground. No one else came close. They ruled a
bleak backwater landscape populated by maybe 200 people.
They were the only band that could unify the disparate
sub-subcultures and get all 200 of those people to fill a room.
Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate
punks who shit in bathtubs at parties; Mod vigilantes who
tormented the homeless with pellet guns; college kids who
thought college kids were lame; Industrial Artistes; some random
guy with a moustache; and eccentrics who insisted that they
couldn't be pigeonholed: all coalesced around the U-Men.
Sub Pop co-founder, Bruce Pavitt released the first record by the
U-Men, a 4-song 12" EP on Bombshelter Records. By the time
they had recorded songs for another record, Bruce was too broke
to release it on his proto-Sub Pop label, so he hooked them up
with Gerard Cosloy at Homestead Records. This was a big deal.
Homestead had a heavy rep at the time with recent releases by
Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that
the release of their second 12", Stop Spinning, would propel the
U-Men into the ranks of those Homestead acts and the
worldwide underground would get hip to Seattle's finest.
Following the departure of bassist Jim Tillman (replaced by Tom
Hazelmyer of Amphetamine Reptile Records, and then Tony
Ransome), the band recorded two fantastic singles, and recorded
their one full-length album, Step on a Bug, for Black Label,
which was run out of Fallout Records. They became increasingly
disenchanted with the direction the Seattle underground was
heading and called it quits in 1989.
The U-Men had nothing to do with Grunge. They were their own
unique thing. I loved them and I still miss them. I remember
thinking at the time that most of their recordings were a little
soft and didn't capture the power of the band live. Now, thirty
years later, their records sound great to me and we are lucky that
they exist. I'm stoked that Sub Pop complied these long
out-of-print records and scrounged up some unreleased songs so
that everyone has a chance to take a trip back to old weird
- Mark Arm, Seattle, August 2017LP 1
2. The Fumes
3. Flowers DGIH
4. Shoot 'em Down
6. Trouble Under Water
7. Mystery Pain
8. Last Lunch
2. Cow Rock
3. Green Trumpet
4. A Year and a Day
5. Ten After One
7. U-Men Stomp
8. Solid Action
9. Dig It a Hole
1. Whistlin' Pete
2. 2 x 4
3. A Three Year Old Could Do That
4. Juice Party
5. Flea Circus
6. Too Good to Be Food
7. Willie Dong Hurts Dogs
8. Papa Doesn't Love His Children Anymore
9. Pay the Bubba
11. That's Wild About Jack
12. Bad Little Woman
13. Selfish$44.99Vinyl LP Box Set - 3 LPs Sealed Buy Now
The Way We Are (Discontinued)Following their abstract masterpiece, The World I See, The Present returns with an album that delves ever deeper into the human psyche. Like an audio equivalent of Apocalypse Now, The Way We Are is by turns terrifying, enchanting, hallucinatory, and sharply focused. A psychedelic power-trio from a mythical dimension, The Present creates a strangely familiar music, as if they had already seen your dreams and your nightmares.
In order to define the music, it might help to list some of the things it is not: it is not a pop album, neither is it a classical or jazz album. It's not an ambient album or a rock album either, but there are elements of all of these within its dense musical structure. Touchstones include the music of La Monte Young, Dmitri Shostakovich, Wolfgang Voigt, Cluster, Black Dice, Claude Debussy, Aphex Twin, Can, Arthur Russell, Boredoms, and Brian Eno-- and yet it sounds like none of these.
What it is: a kaleidoscopic trip influenced by New York City, the ocean, mountains, the sun and the trees, Andy Warhol, Yukio Mishima, David Lynch, Friedrich Nietzsche, Buddhist mantra, mass transit, cats, birds and life. Life in all its myriad complexity and confusions, in all its transcendent beauty and its horrendous brutality.
Their live show has been described as more of a sensory experience than a mere matter of listening and it's the title track-- a 35-minute epic the likes of which has not been heard since the glory days of Popul Vuh-- that best captures the band's extraordinary intensity.
Once again this work is a collaboration with the artist Andrew Kuo, whose unique vision formed the cover of The World I See and whose work provides the visual counterpoint to The Present's sonic creation. Together, they make a totality that reflects so intensely and so clearly The Way We Are.Medman
The Way We Are$22.99Vinyl LP - 2 LPs Sealed Buy Now
The MountainThe Heartless Bastards' story starts in Dayton, Ohio, where Erika Wennerstrom found the name on a multiple choice video trivia game at a bar. As a songwriting teenager during a time when GBV and Brainiac were packing local bars and three of the Breeders were still in town, Wennerstrom used to sneak into clubs to check out the scene. I would just see those people, my music heroes, hanging out at the bar like everyone else, she remembers. I could see myself in them. It gave me inspiration to do my own thing. After doing the usual business of playing local shows, the trio set out the following year on a regional tour. One of the first gigs of the trip took them to a bar in Akron, where Black Keys' drummer Patrick Carney just happened to be one of only a handful of people in the audience. This chance encounter led Wennerstrom and the Heartless Bastards to Fat Possum Records, with whom they released their debut, Stairs and Elevators, in early 2005.
The band moved on with critical praise in their back pocket, including a four-and-a-half star review from Rolling Stone, which took note that, when Wennerstrom opens her throat on Stairs and Elevators she sounds like shes wailing on the shoulders of giants; her sad and angry vocals channeling all the swagger and spit of a young Robert Plant. All This Time, was released during the summer of 2006, it received even more widespread critical acclaim than Stairs and Elevators. The Bastards played hundreds of shows to support the record. They played huge festivals and toured with Wilco and Lucinda Williams. Wennerstroms songs appeared often on TV shows and in films, this would be measured by most as a huge success. Though in Wennerstroms mind her sound and band were still evolving, and she knew it was time for a change.
In true ascetic discipline, she moved to Austin, Texas in 2007 for a change of inspirational scenery and a new recording project. With the help of producer Mike McCarthy (Spoon, Trail of Dead), she assembled a group of musicians with whom she gave the songs life and uncovered yet another layer of herself and the Heartless Bastards. The two new Bastards arent Texas ringers, but fellow Dayton brethren Dave Colvin on drums, and Jesse Ebaugh on bass, who actually played on the original demo that hooked Fat Possum. The album, entitled The Mountain, delivers the powerful howl that fans expect from the Heartless Bastards, but also weaves in adventure with mandolins, banjos, strings and Erikas transcendent voice.1. The Mountain
2. Be So Happy
3. Early in the Morning
4. Hold Your Head High
5. Out At Sea
6. Nothing Seems the Same
7. Wide Awake
8. So Quiet
9. Had To Go
10. Witchy Poo
11. Sway$16.99180 Gram Audiophile Virgin Vinyl LP + 7 - Sealed Buy Now
Dagger BeachDagger Beachwas Recorded at Tiny Telephone on 2 Analog Tape Without the Use of Computers.
The Vinyl Release Will be Issued as a QRP 200 Gram Audiophile Limited Pressing.
While it's true I did endure a terrible break-up at the beginning of writing this record, this is not a break
up record. Dagger Beach is a put-me-the-fuck-back-together record.
The break up came in late 2011, after endless months of White Wilderness touring. I returned home to an
empty house, and, as that's pretty unbearable when you're not quite right in the head, I decided to set out
walking. I hiked the Lost Coast (36 miles of off-the-grid splendor in Southern Humboldt County), I hiked
the entire 150-mile trail system of Pt. Reyes, I hiked for days, deep, deep in the woods, usually alone.
As I walked and walked, listening to records on repeat, I started obsessing about music again. Three
records found their way into my psyche and inspired much of this new record: Joanna Newsom's Have
One On Me, Silver Jews' The Natural Bridge, and Radiohead's King Of Limbs. I don't think you'll find
traces of these records in Dagger Beach, but their spirit and fearlessness deeply affected me. (Hence the
shout-out on the record to one of my lifelong heroes, David Berman.)
The first two reminded me how crucial great lyrics can be, how your experience of a record can evolve
and change as you slowly decode complex and thoughtful writing. King Of Limbsshowed me how
powerful linear songwriting can be, when subtle changes in form and repeating motifs slowly shift into
something else entirely (just try to follow Morning Mr. Magpie on headphones). There are many songs
on Dagger Beach that take this approach: Damage Control and Gaslight were both written to drum
patterns played by Jason Slota, my long-time partner. Jason played drums alone, without music, and I
adapted to his structures and rhythms. Doing this keeps me from relying on my usual tricks and
structures and forces me into brand new territory.
This strange experience, the endless hiking and backcountry camping off the grid, it completely changed
the songwriting process for me. I edited lyrics while walking, I worked out songs in my head. It didn't
come easy: the first time I camped alone (I was deep inside the million-acre Mendocino National Forest) I
freaked out, ended my trip early, and wrote Raw Wood the next day. By the end of 2012, I could stay out
for a week on my own.
As the experience changed me, it changed the record. Dagger Beach is looser, weirder, and more free
because of itRaw Wood
Song for Dana Lok
How the West Was Won
Song for David Berman
Song for the Landlords of Tiny
Sleep it Off
North Coast Rep
Interlude #2$21.99Vinyl LP - Sealed Buy Now