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  • Pro-Ject Primary Turntable 2 COLORS AVAILABLE Pro-Ject Primary Turntable Quick View

    $249.00
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    Pro-Ject Primary 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.


    Audiophile "Plug & Play" turntable with easiest possible set-up and class-leading sound!


    It comes with an included dustcover and is pre-mounted with the capable Ortofon OM 5E moving magnet cartridge. The silicone drive belt along with a low-vibration synchronous motor is powered by an onboard DC to AC generator to ensure silent motor operation. The 8.6 aluminum tonearm with sapphire bearings is terminated with a gold-plated RCA cable for accurate and precise audio signal transmission. The low resonance platter features a stainless steel spindle and a brass bushing with a low-friction Teflon layer to virtually eliminate any bearing noise. Pro-Ject's Primary turntable take your vinyl playback to the next level without cleaning out your wallet. Available in matte Black or White.


    Pro-Ject
    $249.00
    Primary Turntable - 2 Colors Available
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  • Pro-Ject Primary Phono USB Turntable 2 COLORS AVAILABLE Pro-Ject Primary Phono USB Turntable Quick View

    $299.00
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    Pro-Ject Primary 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.


    Pro-Ject's belt-driven Primary turntable is your answer to achieving affordable high fidelity vinyl playback and digitization with minimal setup.


    If you thought that a turntable set-up is complicated like rocket-science, Primary proves the contrary. This good sounding belt-drive deck offers the fastest possible installation process because it comes pre-adjusted out of the box. No further set-up is needed. Tracking force and anti-skating are carefully set. An acrylic dust cover is included. The turntable is available in matt black or matt white colour. Because Primary Phono USB comes with pre-mounted cartridge and built-in phono preamplifier with USB output, connection to both line-level input of your hifi system and PC/Mac easily can be used simultaneously! Open-Source recording software Audacity® is not based on a specific platform, is available for free and the perfect solution for recording and processing of your audio data.


    Pro-Ject
    $299.00
    Primary Phono USB Turntable - 2 Colors Available
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  • Projections Projections Quick View

    $27.99
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    Projections

    Great dance music albums - albums that sound as good on headphones and home speakers as they do on club soundsystems - aren't easily made. In a form whose primary aims have been to move dancefloors and to move on, full lengths that thrill the head, heart and the feet with equal power are few and far between. We believe Romare has made one.


    With the gripping shock of the new that announces the best records of the genre - from Entroducing through Blue Lines to Ambient Classics - Romare has both a singular style, and great deal to say with it. Projections comes off like Voodoo Ray reworked by DJ Shadow; its drumming littered with infectious swing, its samples illuminating and attention gripping, its atmosphere pronounced and consistent, and its riffs and hooks heavy - and unabashedly joyous.


    The album is a heady mix of homage and fresh approach, a statement from a young artist unafraid to revel in his influences, and confident in his own originality. The songs on Projections are homages to elements of American/African culture in the USA - which Romare studied academically. Taking his name from Romare Bearden, the well-known cut'n'paste artist / collagist, and applying similar techniques to music.


    Rainbow is a homage to gay rights via disco in the 70's, and Work Song to the great American work song tradition. Opener "Nina's Charm" sets out the stall for the album. A tiny, near spoken snippet of Nina Simone's voice is set against a hypnotic synth riff and a dislocated gospel-choir chant. The result is something utterly fresh; a tone setter that worms through the ear and floods the brain in soothing catharsis. "Motherless Child" opens with a shuffling jazz swing, allowing its sample of the African-American spiritual from which it takes its title to shine in full. When a simple, riff-like melody arrives, the song transforms into a sultry, glorious slow-dance workout. "Lover Man's" striking, cut-up synth riff is set up against chiming stabs and slurred chords, a snatched, swing vocal enticing us in to the wonkiest of grooves.


    Romare reimagines the profound cultural impact of the collage technique for a new generation of music listeners. With his signing to Ninja Tune, coming hot on the heels of his excellent 12"s on underground institution Black Acre, and compilation inclusions by Tiga, Bonobo and Brownswood, the stage is set for his debut album. Projections, like the best albums from the dance music world, is informed by scenes and genres but not entirely of them. It's a self-contained universe that rewards much exploration. Most of all, it's excited about the possibilities within music, and vastly exciting itself.

    1. Nina's Charm
    2. Work Song
    3. Motherless Child
    4. Ray's Foot
    5. Roots
    6. Jimmy's Lament
    7. Lover Man
    8. Rainbow
    9. Prison Blues
    10. The Drifter
    11. La Petite Mort
    Romare
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Some Offcell Voices Some Offcell Voices Quick View

    $22.99
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    Some Offcell Voices

    Two Legendary PINBACK EPs Compiled, Remastered, And Released On Vinyl For The First Time


    Remastered For Vinyl From Original Recordings


    In the early days of Pinback, they were known mostly as two lauded musicians who spent their spare time away from their primary projects (Three Mile Pilot, Thingy, Heavy Vegetable) to hone their home recording skills while experimenting with ideas, tones, and instrumentation that didn't quite fit into those primary projects. Pinback hadn't yet become their day job; it hadn't yet become a well-oiled 5-piece touring machine, and it had no idea where it was going to go. In retrospect, that earnest curiosity is what makes those early Pinback recordings so resonant and so unique, and what separated them from every indie rock band of this century.


    Every bit as powerful and expressive as their first two albums, the 1999 EP, Some Voices, and the 2003 EP, Offcell, famously bucked the perception of EPs as outtakes and toss-offs. What were ostensibly minor stopgaps between albums became massive fan favorites and staples of Pinback's live show. Having never been released on vinyl, it's only fitting that we revisit these poignant recordings - and take the opportunity to painstakingly remaster and repackage them into the full-length album that never was, the aptly named Some Offcell Voices.

    1. Some Voices
    2. Trainer
    3. Manchuria
    4. June
    5. Microtonic Wave
    6. Victorious D
    7. Offcell
    8. B
    9. Grey Machine
    Pinback
    $22.99
    Vinyl LP - Sealed Buy Now
  • Pro-Ject Speed Box S2 2 COLORS AVAILABLE Pro-Ject Speed Box S2 Quick View

    $179.00
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    Pro-Ject Speed Box S2


    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.


    The new Pro-Ject Speed Box S2 speed controller replaces the old and famous Speed Box S. It nevertheless has the same functions and performances. It is made for entry level turntables and midrange turntables that have a 16V AC synchronous motor.


    It comes in a non magnetic anodized aluminium casing. The front panel is also in aluminium. It has a pulse switch which enables you to choose the speed (33 RPM or 45 RPM) as well as two LEDs which correspond to the speed selection.


    Its primary function is to enable (by change in frequency) to change the speed of the motor and, in consequence, go from 33 RPM to 45 RPM without having to manually change the belt from one pulley to another (when you do not need to raise the platter!). This is very practical for those who have a collection of singles! However, the Pro-Ject Speed Box S2 speed controller has another function. It has a quartz and microprocessor control that ensure a formidable stability of the rotation of the motor. Its precision of 0,001% translates to a speed stability multiplied by 5. It is important to take into account that it is possible to obtain a rotation at 78 RPM by adapting a specific pulley and by selecting 45 RPM.


    It is powered by an external power supply in direct current (DC) of 18 V. We connected it to a Pro-Ject 1-Xpression III turntable and a 2nd generation Pro-Ject 2-Xperience turntable. The results were very convincing. The gain in musicality obtained is undebatable and its user-friendliness make it necessary!


    It is advised to use the Pro-Ject Speed Box S2 speed controller with Pro-Ject turntables (Debut 3, Essential 1, Genie 1.3, XPression 1, II and III, RPM 4 et RPM 5, Xperience) and Music Hall turntables (Music Hall 2.2, Music Hall 5.1, Music Hall 7.1 ).


    CAUTION: the speed box 1,2, and S are not compatible with DC motors: Debut Carbon, Debut Carbon Esprit, Debut Carbon USB, 1Xpression carbon, RPM1 Carbon, RPM3 Carbon, 2Xperience DC, 6Perspex Acryl DC, etc.


    Pro-Ject
    $179.00
    Speed Box S2
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  • Eight And A Half Eight And A Half Quick View

    $17.99
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    Eight And A Half

    Justin Peroff of Broken Social Scene plus Dave Hamelin and Liam O'Neil of The Stills equals Eight and a Half. When Broken Social Scene first emerged out of Toronto 10 years ago, a great deal of the band's success was attributed to the fact that most of its individual members had ties to other bands, or boasted established solo careers. Peroff, the band's drummer since 2000, was not without extracurricular pursuits of his own (acting, DJing, party promotion), but had never released music outside of the BSS banner. By 2009, the urge to explore something new was proving ever more impossible to suppress.


    Hamelin and O'Neil were old friends of Peroff's, Broken Social Scene and The Stills had shared stages as far back as 2003, but they weren't necessarily the most logical choice of collaborators: after all, Peroff was splitting his time between his temporary home in Los Angeles and recording sessions in Chicago for Broken Social Scene's Forgiveness Rock Record, while Hamelin and O'Neil were in the thick of touring for The Stills' 2008 album, Oceans Will Rise, and living in their native Montreal when off the road.


    However, over the course of several phone calls and emails, the trio realized they all shared a desire to create music that was distinctively different than the big-tent anthems their primary bands were known for, so much so that Peroff was willing to spend much of 2009 hopping back and forth between L.A., Chicago and Montreal to get this new, more electronically focused project off the ground, if only in fits and starts.


    What a difference a year makes, fast forward to the end of 2010 and Peroff was calling Toronto home once again, after Broken Social Scene completed its marathon Forgiveness Rock Record tour. And fortuitously enough, O'Neil and Hamelin had also become fellow residents, albeit for markedly different reasons: the former was hired to engineer Metric's follow-up to Fantasies at the band's Toronto-based Giant Studios, while the latter relocated after his girlfriend scored a new job in the city. O'Neil and Hamelin also suddenly found themselves with a lot of spare time on their hands: following a fall 2010 tour with Kings of Leon, The Stills had unceremoniously disbanded.


    And so the conditions were in place to elevate Eight and a Half from sideline recording project to a primary concern for those involved. And each member seized the opportunity to reinvent himself: where Peroff's steady back beat has always provided the solid foundation atop which Broken Social Scene could freely experiment, with Eight and a Half his drumming is thoroughly deconstructed, as reliant on electronic programming and looped breaks as live performance.


    O'Neil, traditionally a piano and horn player, focused on coaxing strange sounds and eerie ambience out of synthesizers and samplers. And Hamelin, who attempted a more rootsy, conversational style of singing as The Stills' secondary vocalist, pushed himself to croon in a higher register, and adopt a more confessional, emotionally naked mode of songwriting to better complement the minimal, mechanized productions.


    Though Eight and a Half's formation precedes The Stills' dissolution, it's tempting to interpret these songs from the melancholic desolation of "Scissors," to where-did-it-all-go-wrong self-examination of "Go Ego," to the turn-a-new-leaf pledge "The Turn Around," as a direct response to their demise. But the vulnerability, doubt and resignation embedded in Hamelin's voice and words are easily transferrable to anyone who's invested years of their life into something special only to watch it vanish in an instant.


    And Hamelin's recovery process, as well as Eight and a Half's own evolution from piecemeal recording project into proper flesh-and-blood band, is mirrored in the album's sequential shift from darkness to light: what begins as a chilly, claustrophobic and insular experience gradually opens up into a widescreen, kaleidoscopic splendor, spanning the mountainous surge of "Took A Train to India," the exuberant digital psychedelia of "Two Points" and the climactic/ecstatic curtain closer "Oh, My Head."

    1. When I Was Twenty Nine
    2. Scissors
    3. Go Ego
    4. The Turn Around
    5. Took A Train To India
    6. Wait Up
    7. Two Points
    8. Walked Into Diazepene
    9. Oh, My Head
    10. My Forevers
    Eight And A Half
    $17.99
    Vinyl LP - Sealed Buy Now
  • Moody Coup Moody Coup Quick View

    $13.99
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    Moody Coup

    Co La is the primary project of musician and producer Matt Papich, whose
    explorations of sample-based electronic music have culminated in Moody
    Coup.


    The emotional palette of Moody Coup, Papich's second album and rst for
    Software Recording Co., is more complex than its exuberant predecessor
    Daydream Repeater (NNA Tapes 2011). Where that record's relentlessly
    bucolic tone drew from the saccharine core of reggae, exotica, and 60s girl
    groups, the bedrock of Moody Coup is elusive and abstract.
    The various genre coinages that have been tagged to Co La's music before
    - new exotica, Avant-luxury, furniture music, etc. - fail to accommodate the
    brainier obsessions behind Moody Coup's genesis. A new brand of alchemy
    occurs in the album, where cryptic sources are enhanced and embellished
    to a point of transcendence. This departure is the brilliant process o of Co
    La's unpredictable electronic music.


    Highlights of Moody Coup include Remarkable Features, which
    consolidates the prior seismic scope of Daydream Repeater into a dance
    oor standout. Deaf Christian transforms a Neil Sedaka doo-wopper into
    a mesmerizingly dark House cut, complete with synth chasms and haunting
    voice chants (supplied here and throughout the record by Angel
    Deradoorian). The meticulously crafted Suspicious ventures into more
    calming pastures -- an extra dimensional, dubbed-out take on the Psychic
    TV gem by the same name.


    At the outset of Moody Coup, Sukiyaki (To Die For) melodically alludes
    to the Kyu Sakamoto song Sukiyaki." The original was penned as a
    mournful assessment of post-war Japan's relationship to the US, albeit
    dressed by Sakamoto as a love song. Ironically, Sukiyaki became a hit
    oversees in the US and was later covered by A Taste of Honey. Rather than
    translating the lyrics, A Taste of Honey set new words to the original
    melody. (Stranger still, the word Sukiyaki itself refers to a Japanese hot
    dish.)


    It's important to note that the wide range of reference sources does not
    serve Moody Coup as a supercial demonstration of Papich's eclectic taste.
    Instead, all of the micro pieces function mosaically, creating an impression
    at a macro level that is extremely potent as music as well as concept. Co
    La's intellectual obsessions are rooted in questions about how music is
    dilated by the cultures who created it and the power structures that shape
    those cultures (see Sukiyaki), while his musical obsessions are always
    rooted in the sensual, the beautiful and the immediate.


    Papich describes the working Co La method on Moody Coup as
    "employing the hegemony of delete." He likes to be interrupted, and is
    fond of working in places where domestic concerns are on equal terms with
    studio practice. Much of Moody Coup was made in the kitchen of Papich's
    Baltimore home -- a place where he describes having the "best
    interruptions." Assistant to Papich's production was friend Joe Williams,
    who programmed and performed all synths. Tracks were additionally
    consolidated from eld recordings, samples and composed in Ableton Live
    and mixed in Brooklyn at Gary's Electric Studio, located at the Software HQ.

    1. Sukiyaki To Die For
    2. Melter's Delight
    3. Remarkable Features
    4. Deaf Christian
    5. Un
    6. Suspicious (Sandman Fix)
    7. Baby's Breath
    8. Head in Hole in Space
    9. Sympathy Flinch
    10. Make it Slay (Barbershop Solo)
    Co La
    $13.99
    Vinyl LP - Sealed Buy Now
  • Lament (Pre-Order) Lament (Pre-Order) Quick View

    $24.99
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    Lament (Pre-Order)

    Ultravox are a British new band who emerged as one of the primary influences on the British electro-pop movement of the early '80s. Following frontman John Foxx's departure, Midge Ure took over as lead singer, guitarist and frontman in 1980 after he and keyboardist Billy Currie worked in the studio project Visage. Ure steered it to commercial chart success including seven Top Ten albums and seventeen Top 40 singles in the UK.
    1. White China
    2. One Small Day
    3. Dancing With Tears In My Eyes
    4. Lament
    5. White China (Special Mix)
    6. One Small Day (Extended Mix)
    7. Man Of Two Worlds
    8. Heart Of The Country
    9. When The Time Comes (I'll Cry...)
    10. A Friend I Call Desire
    11. Lament (Extended Mix)
    Ultravox
    $24.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • The Dark Side Of The Moon The Dark Side Of The Moon Quick View

    $24.99
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    The Dark Side Of The Moon

    The world's most predictably unpredictable band, The Flaming Lips, have teamed up with their Oklahoma City brethren, Stardeath and White Dwarfs to record their own unique take of Pink Floyd's 1973 classic album The Dark Side Of The Moon, under the title of The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches.


    The collaborative project was recorded after several weeks of both bands touring the world together and mutually citing Pink Floyd as one of their favorite bands of all time and The Dark Side Of the Moon as one of their primary influences.

    1. Speak to Me/Breathe (featuring Henry Rollins and Peaches)
    2. On the Run (featuring Henry Rollins)
    3. Time/Breathe (Reprise)
    4. The Great Gig in the Sky (featuring Henry Rollins and Peaches)
    5. Money (featuring Henry Rollins)
    6. Us and Them (featuring Henry Rollins)
    7. Any Colour You Like
    8. Brain Damage (featuring Henry Rollins)
    9. Eclipse (featuring Henry Rollins)
    The Flaming Lips with Stardeath and White Dwarfs
    $24.99
    Vinyl LP - Sealed Buy Now
  • Return To Eden (Live) (Pre-Order) Return To Eden (Live) (Pre-Order) Quick View

    $24.99
    Buy Now
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    Return To Eden (Live) (Pre-Order)

    Ultravox are a British new band who emerged as one of the primary influences on the British electro-pop movement of the early
    '80s. Following frontman John Foxx's departure, Midge Ure took over as lead singer, guitarist and frontman in 1980 after he and
    keyboardist Billy Currie worked in the studio project Visage. Ure steered it to commercial chart success including seven Top Ten
    albums and seventeen Top 40 singles in the UK.


    Return to Eden - Live at the Roundhouse is Ultravox's fourth live album, made on April 30th, 2009 at the London venue The
    Roundhouse as part of the Return to Eden concert series.

    1. Astradyne
    2. Passing Strangers
    3. We Stand Alone
    4. Mr X
    5. Visions In Blue
    6. The Thin Wall
    7. I Remember (Death In The Afternoon)
    8. Rage In Eden
    9. Lament
    10. One Small Day
    11. All Stood Still
    12. Your Name (Has Slipped My Mind)
    13. Vienna
    14. Reap The Wild Wind
    15. Dancing With Tears In My Eyes
    16. Hymn
    17. Sleepwalk
    18. The Voice
    19. End Credits
    Ultravox
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Save Yourself, Start Again Save Yourself, Start Again Quick View

    $18.99
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    Save Yourself, Start Again

    What began as an acoustic side project between the Transit vocalist Joe Boynton and guitarist Vinny Comeau in 2010 between touring has lead to a full-time band over the course of the last year. The duo signed with No Sleep Records in late 2012 and entered the studio with co-producer Gary Cioffi, Jr. (Transit, Misser) in early 2013 to record their first full-length with drummer Aviv Marotz, guitarist Mat Morin and Bassist Mike Moschetto in tow.


    Once in the studio Comeau departed the band, leaving the rest of the guys primary reign over the songwriting and direction of the new material, resulting in a bright and airy collection of ten beautiful indie-pop tunes that exhibit a range of styles and moods, from upbeat power-pop to solemn folk, which any fans of bands like Death Cab For Cutie, Circa Survive, Maps & Atlases and Rilo Kiley will undoubtedly adore.

    1. Not Worth It
    2. Look Back and Wave
    3. Old News
    4. Drive with Me
    5. Save Yourself, Start Again
    6. Wild Hearts
    7. Want
    8. This Love Will Grow
    9. You Can Always Come Home
    10. Clean Slate
    Long Lost
    $18.99
    Vinyl LP - Sealed Buy Now
  • Giving Up The Ghost Giving Up The Ghost Quick View

    $14.99
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    Giving Up The Ghost

    Windsor for the Derby are a study in dualities. It is made of two primary band members preserving not only a musical identity but a friendship over many years and many miles. Creating music that is equal parts dance and folk, a truly disparate combination of styles that come out sounding completely organic. While listening to Giving Up The Ghost, you hear not only the beautiful stylistic tension of two styles at play, but also the room and atmosphere itself. Windsor's music has always been a play on modern pop, infused with giant amounts of space, a space that both reflected the physical distance between its members as well as providing an artistic counterpoint to the massive inundation of noise and data that our society is bombarded with daily.


    The past eleven years have seen Windsor For The Derby reach across the country and make the long distance relationship somehow work. With founding members Jason McNeely in Austin, TX and Dan Matz in various locales along the east coast, WFTD always seemed more a project than a band. Last summer both found themselves living in the same city as they both relocated to Philadelphia. In the past WFTD had to rely on their semi-annual meetings to conduct their business, but now they are regularly playing live shows and prolifically recording in their home studio.

    Dirge For A Pack of Lies
    Empathy For People Unknown
    Praise
    Shadows
    The Front
    Giving Up
    The Light Is On
    Gathering
    Science
    Every Word You Ever Said
    Windsor For The Derby
    $14.99
    Vinyl LP - Sealed Buy Now
  • Solid Gold Heart Solid Gold Heart Quick View

    $20.99
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    Solid Gold Heart

    The words and primary voice are those of Jad Fair, that
    enduringly idiosyncratic artist revered in discerning pockets of
    the global indie rock underground for decades. Danielson's
    Daniel Smith has long admired Fair, drawing inspiration from
    Half Japanese (the band Fair formed with his brother in the '70s)
    on through to his prolific career today. Their discussions of
    collaborating finally came to fruition when Joyful Noise
    Recordings designated Fair its "Artist In Residence" for 2014
    and Danielson was tapped as one of 4 artists (including R. Stevie
    Moore; Teenage Fanclub's Norman Blake; and Strobe Talbot) to
    record separate respective albums with him for a boxed-set
    limited release. "Flattered and honored" is how Smith sums up
    his feelings about the project -- and grateful to get a game-plan
    for what always seemed a complementary pairing.


    Sounds Familyre will be doing their own non-limited release of
    Solid Gold Heart in June, on CD, digital and gold vinyl. The 11
    tracks of sweet collaboration collected under said title sound like
    what you might expect, given the respective artists: gleaming
    tunes of sincere sing-speak, resplendent with sparkling back-up
    vocals and warmly melodic, inventive instrumentation; a
    sunshine-bright outlook of positive encouragement to keep
    "rockin' on the side of gooood" -- because, after all, "We
    deserve chocolate cake/ We deserve apple pie/ Enjoy your life
    ..."


    The collaborative process commenced with Fair sending Smith
    his unique vocal demos of recited lyrics with articulated mouth-sound musical qualities (some bits remain in the final mixes).
    Smith then wrote music for each chosen track, eventually getting
    Fair and drummer Gilles Rieder into his Clarksboro, NJ studio
    to record their parts during a few hours break from touring.
    Aside from Smith's own guitar-playing and singing throughout
    the album, there were contributions made by his brothers David
    and Andrew on percussion, and sisters Rachel and Megan along
    with wife Elin on vocals. Spicing things up at Fair's behest were
    members of Texas art-polka band Brave Combo: Carl Finch on
    accordion and keys; Jeffrey Barnes on sax and woodwinds; and
    Danny O'Brien on trumpet. Bringing things full-circle was
    Kramer (Shockabilly, Bongwater, B.A.L.L. et al.) on bass, who
    also co-mixed and mastered the album.


    The result is a beguiling blend that builds off each participant's
    strengths, truly a fresh sum that is greater than its parts. "The
    goal was to make 3-minute pop songs, as accessible and fun and
    immediate as possible," notes Smith. And that's what you'll
    hear, each track an uplifting, mutually enhanced concoction.


    Anyone who ever had a Solid Gold Heart -- wouldn't they want
    to turn around and share it? Of course they would. Jad Fair and
    Danielson are happy to offer up theirs.

    1. Go Ahead
    2. Rockin On The Good Side
    3. Ready Steady
    4. Here We Stand
    5. Solid Gold Heart
    6. With The Knowledge
    7. Apple Apple
    8. Not No
    9. On And On
    10. You Got Me In A Spin
    11.Here's Our Time
    Jad Fair & Danielson
    $20.99
    Vinyl LP - Sealed Buy Now
  • Coming Apart Coming Apart Quick View

    $22.99
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    Coming Apart

    Body/Head are an electric guitar duo comprised of Kim Gordon (CKM, Sonic Youth, Free Kitten, etc.) and Bill Nace (X.O.4, Vampire Belt, Ceylon Mange, etc.) The pair began working together in various loose formats a few years ago, but the Body/Head concept evolved more specifically in early 2012.


    Initially their approach was almost entirely instrumental - lattices of interwoven feedback rainbows, with bits recalling everyone from Heldon to Keiji Haino. They usually performed against a backdrop of slow-motion film projection, creating a dream narrative of undeniable power and visionary reach. Kim's voice began creeping into the mix soon after, and the vocals now have become an intrinsic part of their musical architecture. They have even started writing and playing "songs" now, compositionally distinct from their purely aleatory origins, but still featuring lots of built-in improvisational space.


    Body/Head have also worked with guest artists since their inception. An early session with Michael Morley of The Dead C resulted in the Body/Gate/Head LP 'Glare Luring Yo', and live collaborations with Ikue Mori. Ikue has been focusing on electronics as her primary instrument in the decades since the end of her groundbreaking trio DNA, but Kim was able to talk her into trying drums again, and the results have been astounding. Ikue's percussion grounds the spirals of guitar and vocals with its strong central pulse, allowing everybody to achieve greater heights of musical/visual disorientation.


    Body/Head have thus far recorded a single for Dennis Tyfuss' Ultra Eczama Editions, a tour EP for Nace's own Open Mouth Productions, and released their collaboration with Morley through Feeding Tube Records.


    'Coming Apart' is released as a double LP by Matador Records.

    LP 1
    1. Abstract
    2. Murderess
    3. Last Mistress
    4. Actress
    5. Everything Left
    6. Can't Help You


    LP 2
    1. Aint
    2. Black
    3. Frontal

    Body/Head
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Still Run Still Run Quick View

    $20.99
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    Still Run

    Still Run is the new album from Brooklyn, NY based alternative band Wet, and is the follow up to the band's critically acclaimed debut album Don't You from 2016. Still Run shows Wet with a more upbeat and pop-driven sound than their debut. The band's new sound and outlook is informed by lead singer and songwriter Kelly Zutrau taking more creative control of the project. Much of Wet's shift stems from Zutrau's more forceful vocals, which allow her direct yet poetic lyrics to resonate more deeply - leaping out of the sunnier production.


    Producers like Rostam (Haim, Solange), Andrew Sarlo (Big Thief), and John Hill (Santigold, M.I.A.) assisted primary producer and Wet band member Joe Valle, who brings a new comfort level to his production style, presenting dark lyrics in a brighter way that highlights their innate intensity and lets Zutrau's songwriting shine. There are a million ways to make a good song sound good, she says. But what matters to me most in the end are the vocal, and the songwriting, and whatever serves those best.


    Wet is recognized for their deeply-hued emotional pop, well documented by the New York Times, Spin, and NPR among many others. Rolling Stone noted that Wet set themselves apart with music that combines the elegant ache of Nineties R&B with the raw honesty of indie pop.... Still Run is a testament to taking that control and pursuing one's artistic vision and it also shows how any hiccups that might crop up along the way can make the vision's eventual realization more satisfying.

    1. Still Run (feat. Starchild & The New Romantic)
    2. There's a Reason
    3. You're Not Wrong
    4. Lately
    5. Softens
    6. 11 Hours
    7. This Woman Loves You
    8. Out of Tune
    9. Visitor
    10. Love is Not Enough
    Wet
    $20.99
    Vinyl LP - Sealed Buy Now
  • Room 29 Room 29 Quick View

    $24.99
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    Room 29

    Compelling new Deutsche Grammophon album Room 29, a unique collaboration between Jarvis Cocker and Chilly Gonzales, asks what the ghosts of Hollywood's golden age can tell us about how we came to be where we are today.


    Standing at the west end of Hollywood's Sunset Boulevard, the Chateau Marmont hotel has seen many a famous and infamous guest pass through its doors since it opened in 1929. A 2012 stay in one of its second-floor rooms inspired British lyricist and singer Jarvis Cocker to look into its history and led to this collaborative project with multi-faceted Canadian pianist and composer Chilly Gonzales. Room 29, a 21st-century song cycle, is set for release on Deutsche Grammophon Gonzales' score and Cocker's lyrics conjure up the lives of some of Room 29's previous occupants, as well as shining a light on the glittering fantasy and often bleak reality of Hollywood.


    "If you must get in trouble, do it at the Chateau Marmont," noted Harry Cohn, founder of Columbia Pictures, in 1939. Jarvis Cocker was intrigued by the hotel's links to the history of the film industry. He found the key to creativity in the fact that Room 29 contained a baby-grand piano. What if it could "sing" of the life stories and events it had witnessed? The idea also ignited Chilly Gonzales's imagination, and both artists embarked on a three-year journey of artistic discovery, unearthing details about guests such as Jean Harlow, Mark Twain's daughter Clara, and Los Angeles mobster Meyer Cohen, alias "Mickey the Haberdasher". As well as dramatizing some of those stories, their songs capture both the essential loneliness of the hotel room and the ways in which moving images have "moved" people in ways they don't quite understand. Gonzales and Cocker have drawn on the 19th-century model of the song cycle for a structure capable of containing the broad sweep of emotions and states of mind elicited by the real and imaginary dramas of one unusual hotel suite. Room 29 emerges as the metaphor for a place within each of us, home to our deepest desires and fantasies.


    Since moving to Germany in the late 1990s, Chilly Gonzales has pursued a breathtaking range of musical projects, spanning everything from rap and experimental rock to hip hop and Satie-inspired minimalism. The classically trained pianist collaborated with the Kaiser Quartett on his last solo album, Chambers, attracting critical acclaim to its neo-Romantic reflections on chamber music in the age of pop. The Hamburg-based string quartet plays a prominent part in Room 29, providing a sonorous tonal complement to Gonzales' piano writing and accompanying Jarvis Cocker's vocals. Lead singer and primary lyricist of Pulp for over 30 years, on and off, Cocker has also released two solo albums, and developed a successful broadcasting career, presenting both Jarvis Cocker's Sunday Service on BBC Radio 6 Music and BBC Radio 4's Wireless Nights.

    1. Room 29
    2. Marmont Overture
    3. Tearjerker
    4. Interlude 1 - Hotel Stationery
    5. Clara
    6. Bombshell
    7. Belle Boy
    8. Howard Hughes Under the Microscope
    9. SalomÉ
    10. Interlude 2 - 5 Hours a Day
    11. Daddy, You're Not Watching Me
    12. The Other Side
    13. The Tearjerker Returns
    14. A Trick of the Light
    15. Room 29 (Reprise)
    16. Ice Cream As Main Course
    Jarvis Cocker & Chilly Gonzales
    $24.99
    Vinyl LP - Sealed Buy Now
  • Mono Masters Mono Masters Quick View

    $69.99
    Buy Now
    x

    Mono Masters

    The Beatles' Original Mono Studio Albums Remastered At Abbey Road Directly From The Analogue Masters For Vinyl Release By Sean Magee and Steve Berkowitz


    Lacquers Cut Using Neumann VMS-80 Lathe


    Manufactured For The World At Optimal Media In Germany, The Beatles' Albums Are Presented In Their Original Glory, Both Sonically And In Their Packaging.


    The Beatles in mono: This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. MONO MASTERS is released in mono on three 180-gram vinyl LPs with faithfully replicated artwork, newly mastered from the analogue master tapes.


    In an audiophile-minded undertaking, The Beatles' acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While THE BEATLES IN MONO CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers.


    Working in the same room at Abbey Road where most of The Beatles' albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.


    Via Michael Fremer (Analog Planet) on the mastering process:


    The EQ applied was based upon the original cutting engineers' notes as well as careful listening to original first lacquer, first mother, first stamper EMI pressings (-1, 1, G matrix). The cartridge used was Ortofon's 2M Black.


    It's important to remember that the tapes have aged-some as much as fifty years-and the monitoring, playback and mastering equipment have changed as well, even though the work was done in the very same room in which the originals were mastered. Solid state has replaced tubes in the cutting chain.


    Lacquers were cut using Abbey Road Studios' Neumann VMS-80 lathe, equipped with a Neumann SX-74 cutter head. The originals were cut on a Scully lathe, perhaps with a Westrex cutter head.

    LP 1
    1. Love Me Do (Original Single Version)
    2. From Me To You
    3. Thank You Girl
    4. She Loves You
    5. I'll Get You
    6. I Want To Hold Your Hand
    7. This Boy
    8. Komm Gib Mir Deine Hand
    9. Sie Liebt Dich
    10. Long Tall Sally
    11. I Call Your Name
    12. Slow Down
    13. Matchbox
    14. I Feel Fine
    15. She's A Woman


    LP 2
    1. Bad Boy
    2. Yes It Is
    3. I'm Down
    4. Day Tripper
    5. We Can Work It Out
    6. Paperback Writer
    7. Rain
    8. Lady Madonna
    9. The Inner Light
    10. Hey Jude
    11. Revolution


    LP 3
    1. Only A Northern Song
    2. All Together Now
    3. Hey Bulldog
    4. It's All Too Much
    5. Get Back
    6. Don't Let Me Down
    7. Across The Universe
    8. You Know My Name (Look Up The Number)

    The Beatles
    $69.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 3 LPs Sealed Buy Now
  • The White Album (Mono) The White Album (Mono) Quick View

    $38.99
    Buy Now
    x

    The White Album (Mono)

    The Beatles' Original Mono Studio Album Remastered At Abbey Road Directly From The Analogue Masters For Vinyl Release By Sean Magee and Steve Berkowitz


    Lacquers Cut Using Neumann VMS-80 Lathe


    Ranked 10/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Manufactured For The World At Optimal Media In Germany, The Beatles' Albums Are Presented In Their Original Glory, Both Sonically And In Their Packaging.


    The Beatles in mono: This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. THE BEATLES is released in mono on two 180-gram vinyl LPs with faithfully replicated artwork, newly mastered from the analogue master tapes.


    In an audiophile-minded undertaking, The Beatles' acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While THE BEATLES IN MONO CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers.


    Working in the same room at Abbey Road where most of The Beatles' albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.


    Via Michael Fremer (Analog Planet) on the mastering process:


    The EQ applied was based upon the original cutting engineers' notes as well as careful listening to original first lacquer, first mother, first stamper EMI pressings (-1, 1, G matrix). The cartridge used was Ortofon's 2M Black.


    It's important to remember that the tapes have aged-some as much as fifty years-and the monitoring, playback and mastering equipment have changed as well, even though the work was done in the very same room in which the originals were mastered. Solid state has replaced tubes in the cutting chain.


    Lacquers were cut using Abbey Road Studios' Neumann VMS-80 lathe, equipped with a Neumann SX-74 cutter head. The originals were cut on a Scully lathe, perhaps with a Westrex cutter head.


    LP 1
    1. Back in the U.S.S.R.
    2. Dear Prudence
    3. Glass Onion
    4. Ob-La-Di, Ob-La-Da
    5. Wild Honey Pie
    6. The Continuing Story Of Bungalow Bill
    7. While My Guitar Gently Weeps
    8. Happiness Is A Warm Gun
    9. Martha My Dear
    10. I'm So Tired
    11. Blackbird
    12. Piggies
    13. Rocky Raccoon
    14. Don't Pass Me By
    15. Why Don't We Do It In The Road?
    16. I Will
    17. Julia


    LP 2
    1. Birthday
    2. Yer Blues
    3. Mother Nature's Son
    4. Everybody's Got Something To Hide Except Me And My Monkey
    5. Sexy Sadie
    6. Helter Skelter
    7. Long, Long, Long
    8. Revolution 1
    9. Honey Pie
    10. Savoy Truffle
    11. Cry Baby Cry
    12. Revolution 9
    13. Good Night

    The Beatles
    $38.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 2 LPs Sealed Buy Now
  • Rubber Soul (Mono) Rubber Soul (Mono) Quick View

    $22.99
    Buy Now
    x

    Rubber Soul (Mono)

    Ranked 5/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The Beatles' Original Mono Studio Album Remastered At Abbey Road Directly From The Analogue Masters For Vinyl Release By Sean Magee and Steve Berkowitz


    Lacquers Cut Using Neumann VMS-80 Lathe


    Manufactured For The World At Optimal Media In Germany, The Beatles' Albums Are Presented In Their Original Glory, Both Sonically And In Their Packaging.


    The Beatles in mono: This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. The Beatles' nine U.K. albums, the American-compiled Magical Mystery Tour, and the Mono Masters collection of non-album tracks will be released in mono on 180-gram vinyl LPs with faithfully replicated artwork. Newly mastered from the analogue master tapes, each album will be available both individually and within a lavish, limited 14-LP boxed edition, The Beatles In Mono, which also includes a 108-page hardbound book.


    In an audiophile-minded undertaking, The Beatles' acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While The Beatles In Mono CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers. Working in the same room at Abbey Road where most of The Beatles' albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.


    Via Michael Fremer (Analog Planet) on the mastering process:


    The EQ applied was based upon the original cutting engineers' notes as well as careful listening to original first lacquer, first mother, first stamper EMI pressings (-1, 1, G matrix). The cartridge used was Ortofon's 2M Black.


    It's important to remember that the tapes have aged-some as much as fifty years-and the monitoring, playback and mastering equipment have changed as well, even though the work was done in the very same room in which the originals were mastered. Solid state has replaced tubes in the cutting chain.


    Lacquers were cut using Abbey Road Studios' Neumann VMS-80 lathe, equipped with a Neumann SX-74 cutter head. The originals were cut on a Scully lathe, perhaps with a Westrex cutter head.


    1. Drive My Car
    2. Norwegian Wood (This Bird Has Flown)
    3. You Won' See Me
    4. Nowhere Man
    5. Think For Yourself
    6. The Word
    7. Michelle
    8. What Goes On
    9. Girl
    10. I'm Looking Through You
    11. In My Life
    12. Wait
    13. If I Needed Someone
    14. Run For Your Life
    The Beatles
    $22.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Revolver (Mono) Revolver (Mono) Quick View

    $22.99
    Buy Now
    x

    Revolver (Mono)

    Ranked 3/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time!


    The Beatles' Original Mono Studio Album Remastered At Abbey Road Directly From The Analogue Masters For Vinyl Release By Sean Magee and Steve Berkowitz


    Lacquers Cut Using Neumann VMS-80 Lathe


    Manufactured For The World At Optimal Media In Germany, The Beatles' Albums Are Presented In Their Original Glory, Both Sonically And In Their Packaging.


    The Beatles in mono: This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. The Beatles' nine U.K. albums, the American-compiled Magical Mystery Tour, and the Mono Masters collection of non-album tracks will be released in mono on 180-gram vinyl LPs with faithfully replicated artwork. Newly mastered from the analogue master tapes, each album will be available both individually and within a lavish, limited 14-LP boxed edition, The Beatles In Mono, which also includes a 108-page hardbound book.


    In an audiophile-minded undertaking, The Beatles' acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While The Beatles In Mono CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers. Working in the same room at Abbey Road where most of The Beatles' albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.


    Via Michael Fremer (Analog Planet) on the mastering process:


    The EQ applied was based upon the original cutting engineers' notes as well as careful listening to original first lacquer, first mother, first stamper EMI pressings (-1, 1, G matrix). The cartridge used was Ortofon's 2M Black.


    It's important to remember that the tapes have aged-some as much as fifty years-and the monitoring, playback and mastering equipment have changed as well, even though the work was done in the very same room in which the originals were mastered. Solid state has replaced tubes in the cutting chain.


    Lacquers were cut using Abbey Road Studios' Neumann VMS-80 lathe, equipped with a Neumann SX-74 cutter head. The originals were cut on a Scully lathe, perhaps with a Westrex cutter head.


    1. Taxman
    2. Eleanor Rigby

    3. I'm Only Sleeping
    4. Love You To
    5. Here, There And Everywhere
    6. Yellow Submarine
    7. She Said She Said
    8. Good Day Sunshine
    9. And Your Bird Can Sing
    10. For No One
    11. Doctor Robert
    12. I Want To Tell You
    13. Got To Get You Into My Life
    14. Tomorrow Never Knows
    The Beatles
    $22.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
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