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Ortofon MC Quintet Black S
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The Quintet Black S is the best example of Quintet's overall excellence
The Quintet Black S is graced with a Nude Shibata diamond, considered one of the best stylus profiles available, mounted on a high-performance Sapphire cantilever.
The Shibata's slim, highly polished profile allows an exceedingly wide contact area to the walls of the groove and ensures detailed and pure reproduction thoughout the spectrum, including even the most high frequency groove information.
Top-mounting of the Quintet cartridges is easy and secure using the screws supplied. The aluminuim frame has threaded mounting holes and is fitted easily with the 5mm or 7mm screws depending on the thickness of the headshell.
The Quintet series' right angles, straight lines, stylus visibility and ample distance between the record surface and the cartridge's bottom will make it easy to mount and align the cartridge and tonearm correctly. The Quintet Series gives excellent results with most common tonearms.$999.00Cartridge Buy Now
Black Codes (From The Underground)Limited Edition - Only 2000 Copies Pressed
Cut at 33 1/3rpm and Pressed on 180g Audiophile-Grade Vinyl at Pallas in Germany!
Mastered From the Original Master Tapes by Bernie Grundman
With his brother Branford (who doubles here on tenor and soprano) often closely emulating Wayne Shorter, and the rhythm section (pianist Kenny Kirkland, bassist Charnett Moffett, and drummer Jeff Watts) sounding a bit like the famous Herbie Hancock-Ron Carter-Tony Williams trio, Wynton is heard at the head of what was essentially an updated version of the mid- to late-'60s Miles Davis Quintet. The music is brilliantly played and displays what the "Young Lions" movement was really about: young musicians choosing to explore acoustic jazz and to extend the innovations of the pre-fusion modern mainstream style.
Limited Edition - Only 2000 Copies Pressed
180g Audiophile-Grade Vinyl
Mastered from original master tapes
Mastered by Bernie Grundman
Pressed at Pallas in Germany
Wynton Marsalis, trumpet
Branford Marsalis, saxophone
Charnett Moffett, bass
Jeff Tain Watts, drums
Ron Carter, bass
Kenny Kirkland, keyboards1. Black Codes
2. For Wee Folks
3. Delfeayo's Dilemma
4. Phryzzinian Man
5. Aural Oasis
6. Chambers of Tain
7. Blues$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Feast Of The Hunters' MoonSugar Hill Records is proud to announce the upcoming release of Feast of the Hunters' Moon, the debut album from Portland, Oregon-based Black Prairie. Featuring three-fifths of The Decemberists and two of the city's finest folk stylists, the heavily acoustic debut was produced by Tucker Martine (The Decemberists, Death Cab for Cutie) and embodies the rich sonic landscape of the Portland music scene while integrating the diverse backgrounds of its members. As described by dobroist Chris Funk, the band's sound bridges the music of Clarence White and Ennio Morricone in a way that defies genre characterization.
Decemberists guitarist Funk and bassist Nate Query hatched the plan to start a primarily instrumental string band while on the road. Funk began to spend time playing the square-necked Dobro guitar, and the pair recruited fellow Decemberist Jenny Conlee to play accordion. Portland musicians Annalisa Tornfelt and Jon Neufeld then filled out the ranks on violin and guitar, respectively.
Black Prairie's songs consist mostly of instrumentals; their arrangements draw from bluegrass and old-time string band traditions, while Conlee's accordion and Tornfelt's violin instill klezmer and gypsy elements to the band's unique and vibrant sound. The quintet sometimes takes an almost-classical approach to composition, with songs containing multiple movements that ebb and flow in a way that differs greatly from traditional pop or bluegrass structure. The band decided it would be a shame not to make use of Tornfelt's vocal ability, so she sings on a handful of tracks as well. The thirteen album tracks include mostly original compositions by the five band members, with a smattering of traditional material intertwined throughout.1. Across the Black Prairie
2. Red Rocking Chair
3. Back Alley
4. Ostinato Del Caminito
5. A Prairie Musette
6. Crooked Little Heart
7. Annie McGuire
8. Atrocity at Celilo Falls
9. Tango Oscuro
10. Single Mistake
11. Full Moon in June
12. Home Made Lemonade
13. The Blackest Crow$24.99Vinyl LP - Sealed Buy Now
NightbringersAny band that has earned an army of devout followers through dropping seven killer full-lengths - and touring their collective ass off for sixteen years - could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that's just not The Black Dahlia Murder's style, and Nightbringers is testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015's Abysmal, the Michigan quintet have once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. "I always feel a responsibility to the people who support this band when we start making a new record," asserts vocalist Trevor Strnad. "The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it's so exciting that those people love you so much for just doing what you do. It makes you want to honor what you've done in the past, but also excite them with where you go next, and that definitely drove us on Nightbringers. When we started writing I honestly didn't know we had this album in us, and I feel really proud of it. It's a great moment for us."
Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach - who co-founded the band with Strnad in 2001 - and new recruit Brandon Ellis (Cannabis Corpse/ex-Arsis) Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band's ranks has helped usher in an exciting new era. "He's very professional for his age, I think he's skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon's pushed that even further," states Strnad. "Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it's definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we're putting across." Strnad's statements are vividly borne out by every moment of Nightbringers. For fans attending 2017's Summer Slaughter tour, the first taste of of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a "circusy, evil and playful" air. By contrast, "Catacomb Hecatomb" is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to "As Good As Dead", which has some swagger to it that Strnad likens to Megadeth, or "Matriarch", described by Eschbach as a "wild, neoclassical romp" and stands as one of the most cutthroat and all out aggressive tracks in the quintet's arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. "I felt inspired to write very violent lyrics to it. It's told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach." While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album's title, which embraces a tenet that has been central to The Black Dahlia Murder's output since the very beginning. "A lot of archaic ideas that are still upheld - such as marriage and monogamy - came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It's 'being-the-villain music', because we're the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it's for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and "Kings Of The Nightworld" are about leading a legion of awakened minds into battle." Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. "I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn't feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things, and definitely trying in different ways to take down tradition."
Rather than decamp to a single studio, the members split off when it came time to start laying down the songs - all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars in the band's practice space in Warren, Michigan [was bass tracked there too?]. Ellis then recorded his many blistering solos in his home studio, while Strnad headed to Full Force Studios on Long Island, with Joe Cincotta (Suffocation, Internal Bleeding) overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wåhlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM's 2007 release, Nocturnal. "I think he's the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of Nocturnal felt right. By now people probably wouldn't have expected us to go back to him, so it's kind of a surprise, but at the same time it's a very classic cover too." With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. "When I think back to when we started the band I feel very proud of everything we've done, and I also see a lot of improvement over the years," says Strnad. "In the early songs I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in I still feel young as a band. I feel like we have a shit ton left to do, and I think we're sitting pretty with the best lineup we've ever had. I also think Nightbringers could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people's ears, and I want them to check out everything we've got on this record. There's so much variety and so many great ideas, and I think that this could take us to another place."1. Widowmaker
2. Of God and Serpent, of Spectre and Snake
6. Kings of the Nightworld
7. Catacomb Hecatomb
8. As Good as Dead
9. The Lonely Deceased$25.99Vinyl LP - Sealed Buy Now
UNIM-BLU-3065xWayne Shorter, Lee Morgan, Reginald Workman
Night Dreamer (Awaiting Repress)Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Tenor-saxophonist Wayne Shorter's Blue Note debut found him well prepared to enter the big time. With an impressive quintet that includes trumpeter Lee Morgan, pianist McCoy Tyner, bassist Reggie Workman and drummer Elvin Jones, Shorter performed a well-rounded program consisting of five of his originals, plus an adaptation of an Oriental Folk Song. Whether it be the brooding title cut, the Coltranish ballad Virgo or the jams on Black Nile and Charcoal Blues this is a memorable set of high-quality and still fresh music.Night Dreamer
Oriental Folk Song
Armageddon$19.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
Snake ChurchLegendary Cleveland quintet RINGWORM discharge their 8th full-length album Snake Church, a 12-track, 30+ minute testament of vicious aggression.
After having converted metalheads and hardcore fans alike with their intense, no-holds-barred live shows and consistently punishing albums over the course of the last 25+ years, RINGWORM once again prove that they are in a league of their own when it comes to face-breaking sonic fury.
Recorded and produced by Ben Schigel (Chimaira, ZAO) at Spider Studios and mastered by Brad Boatright at Audiosiege (Nails, Xibalba, Black Breath), Snake Church obliterates the listener and never relents, leaving nothing but bile and bone in its wake.1. Snake Church
2. Brotherhood of the Midnight Sun
3. Fear the Silence
4. The Black Light of a Living Ghost
5. Destroy or Create
6. Shades of Blue
7. Innocent Blood
8. The Apparition
10. The Razor and The Knife
11. Angel of War
12. Temple of the Wolves$19.99Vinyl LP - Sealed Buy Now
Pressed On Bone Colored Vinyl
SUNNYLAND is the Mayday Parade's 6th studio album and first with Rise Records.
The Tallahassee, Florida-based quintet (rounded out by bassist/vocalist Jeremy Lenzo, guitarist Brooks Betts and drummer/vocalist Jake Bundrick) recorded this follow-up to 2015's Black Lines with longtime producers Zack Odom and Kenneth Mount, and for the first time, also teamed with Grammy-nominated producer John Feldmann (blink-182, Panic! At the Disco) and Howard Benson (Of Mice & Men, My Chemical Romance). The result is an album built on impassioned vocals, sing-along choruses, and deeply heartfelt lyrics.
The album's title comes from an abandoned hospital where the band members hung out as teenagers. "The hospital shut down sometime in the mid-'80s but then it just stayed there for decades," says Sanders. "It was a super-creepy place-it was overgrown with vines, and still had some of the hospital beds and IV stands-but we have all these good memories of hanging out there when we were younger."1. Never Sure
2. It's Hard To Be Religious When Certain People Are Never Incinerated By Bolts Of Lightning
3. Piece Of Your Heart
4. Is Nowhere
5. Take My Breath Away
6. Stay The Same
7. How Do You Like Me Now
8. Where You Are
9. If I Were You
11. Looks Red, Tastes Blue
12. Always Leaving
13. Sunnyland$23.99Colored Vinyl LP - Sealed Buy Now
Trigger HippyTrigger Hippy is a rock band with jam & R&B elements formed by Black Crowes drummer and co-founder Steve Gorman. Multi-platinum recording artist
Joan Osborne - of the Tope 5 single "One Of Us." Also spent time singing for The Dead. Singer-guitarist-keyboardist Jackie Greene who joined The Black
Crowes in later years and also spent time with Phil Lesh & Friends, Gov't Mule, Los Lobos, Taj Mahal, Susan Tedeschi as well as a host of others. Award-winning session players Tom Bukovac (Guitarist) and Nick Govrik (Bassist.)
You can see this as a 'player's band', explains co-founder Steve Gorman, who also co-founded The Black Crowes, but it really is a band, in the true
sense of that word. Vocals are shared by multi-platinum singer Joan Osborne and veteran recording artist Jackie Greene. Rounding out the band are
lead guitarist Tom Bukovac and bassist Nick Govrik, who wrote many of the band's songs.
The Nashville-based quintet's debut album on Rounder Records draws on the strengths of all five, both individually and collectively, and showcases
influences and inspiration from Memphis soul to rock, country and blues. One can sense The Band here, and Little Feat, some Led Zeppelin, and a tent
revival; a full palette. Gorman rightly calls it a rock band that can jam.1. Turpentine
2. Rise Up Singing
3. Cave Hill Cemetery
4. Pretty Mess
6. Tennessee Mud
7. Heartache On The Line
8. Dry County
9. Nothing New
10. Ain't Persuaded Yet
11. Adelaide$24.99Vinyl LP - 2 LPs Sealed Buy Now
Exultation!Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.
All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom
Deep groove label pressings, tip-on jackets on thick cardboard stock
Intensity marked everything that Booker Ervin played. In his harmonic concept, slashing attack, and broad Texas sound, Ervin demanded attention and constantly built improvisations of searing drama and epic sweep. His primary legacy is a series of albums recorded for Prestige in the 1960s, of which this was his first, a riveting quintet recital where the alto saxophone of Frank Strozier supplies an urgent complement and the rhythm section is piloted by Horace Parlan, Ervin's longtime compatriot from their days together in the Charles Mingus Jazz Workshop and in a cooperative quartet that worked at Minton's Playhouse. In addition to four inspiring originals by Ervin and drummer Walter Perkins, the session features an eloquent reading of Fats Waller's immortal Black and Blue and an exploration of the show tune Just in Time. Both the latter and No Land's Man are included in two versions, the shorter of which were cut for release as a 45 single.
This title is not eligible for discount.1. Mooche Mooche
2. Black and Blue
3. Tune In$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Beyond The Permafrost (Picture Disc) (Awaiting Repress)Picture Disc
2007's Beyond The Permafrost is the second overall album and debut release for Prosthetic Records from the acclaimed Ohio metal quintet Skeletonwitch. The Witchs mighty, sonic fortress is an amalgamation of classic Bay Area thrash, Scandinavian death/black metal and NWOBHM. The band brings together the old and sacred elements of true heavy metal here, melts them down, and forges them into a brand new monolith of riffage.
The Cory Smoot (Municipal Waste, GWAR) produced 12-song set received numerous accolades in the U.S. and overseas upon its original release and landed on many year-end 'Best Of' lists including Revolver, Decibel and Pitchfork. Tracks like opener Upon Wings of Black, the title cut and Fire from the Sky are pumping with sinister themes, shredding guitars and blood curdling screams.1. Upon Wings of Black
2. Beyond the Permafrost
3. Baptized in Flames
4. Sacrifice for the Slaughtergod
5. Vengeance Will be Mine
6. Limb from Limb
7. Fast Into the Open Sea
8. Fire from the Sky
9. Soul Trashing Black Sorcery
10. Remains of the Defeated
11. Feast Upon Flesh
12. Within My Blood$19.99Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
Miles In The SkyNumbered, Limited Edition
1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic
Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy
Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future
Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.
The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.
Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.
Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.
Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.
This title is not eligible for discount.1. Stuff
3. Black Comedy
4. Country Son$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Killing MachineKilling Machine on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Smoking-Hot 1978 Set Released as Hell Bent For Leather in the United States
Produced by Pink Floyd The Wall Engineer James Guthrie: Uncompromising Album and Exacting Performances Remain Hard Rock and Metal Bedrocks
Marries Streetwise Aggression to Commercial Accessibility, Overflows With Confidence, Boldness, and Diversity
Includes Metal Standards Hell Bent for Leather, Evening Star, and Delivering the Goods
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
Released the same year as the equally pivotal Stained Class, Killing Machine cemented Judas Priest's standing and reputation as the world's foremost metal band of the late 1970s. Further diversifying its music and sporting increased confidence, boldness, and full-bodied songwriting, the album managed a then-unprecedented task of appealing to mainstream tastes via its impeccably solid production, creative prowess, and staggering melodies. Known in the United States as Hell Bent for Leather, Killing Machine remains a titanic release no matter the name.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP broadens the scope of the original production, helmed by none other than Pink Floyd The Wall producer James Guthrie. Besting those on all previous editions, the low-end thrust, high-frequency dynamics, and all-important midrange now come alive with unsurpassed detail and accuracy. Soundstaging and imaging positively explode before your eyes and ears, and instrumental separation allows insight into band's tight-fisted interplay.
Recognizing the era's potential and pushing to expand metal's horizons, Priest created music that at the time hadn't any peer. With proto-metal luminaries Black Sabbath, Deep Purple, and Led Zeppelin experiencing career low points, and campy hard rockers following a softer path, the English quintet married street-bruising intensity to commercial accessibility without compromising any aggression, volatility, rawness, or ruggedness. Part of the success owes to Guthrie's expert hand. A majority, however, lies with the group's unrelenting ambition and variety-not to mention masterful performances.
Exemplified in the breakthrough "Hell Bent for Leather," as tough-as-nails resilient as any metal song and delivered by vocalist Rob Halford with a pronounced ruffian attitude as guitars blaze behind him, Killing Machine sparks with high-powered muscle and concise, exact rhythmic structures. Halford comes into his own throughout, sending his falsetto into another universe on the wide-open highway-driving anthem "Evening Star," evoking deep loss on the ballad "Before the Dawn," and attacking "Delivering the Goods" as if he's a mercenary. There's not a wasted note or moment of doubt on the album.
To author and metal expert Martin Popoff, music doesn't get any better. "To my mind, Killing Machine was the apex, the hallowed halls of heavy metal which Priest summarily occupied alone at this particular juncture in time," writes Popoff in his The Top 500 Heavy Metal Albums of All Time. "The songs on this record sweat the corners and creases of all of metal's characteristics, Priest firing on and off all speeds, from quick and note-dense to positively glacial."
This title is not eligible for discount.1. Delivering the Goods
2. Rock Forever
3. Evening Star
4. Hell Bent for Leather
5. Take on the World
6. Burnin' Up
7. Killing Machine
8. Running Wild
9. Before the Dawn
10. Evil Fantasies$24.99Vinyl LP - Sealed Buy Now
DawningMight the time finally be right for Mouth of the Architect? For a decade, the Ohio band has largely been ghettoized to cult status, familiar to Midwestern kids or those paying more than casual attention to what's clumsily called "post-metal," at least post-Isis. Between 2004 and 2008, Mouth of the Architect released three rather convincing-- if sometimes haphazardly indulgent-- records of unified doom and grace. Dependent upon extreme dynamics and grand composition, with track lengths that ticked into the teens and albums that stretched past the hour mark, Mouth of the Architect seemed like a natural recipient of the same "brainy metal" laurels then distributed by outlets as illustrious as The New York Times.
But the ascendance never came, and since 2008's teetering Quietly, the band instead lingered at the threshold of self-destruction. They released an EP in 2010, but, as a revealing Invisible Oranges look into the band's last half-decade suggests, they mostly tried not to die-- as a group, really, or as people. "Some of us were convinced that the end was coming, either the big picture or individually," drummer Dave Mann told Brad Sanders. "Some of us, me in particular, were in a downward spiral in a lot of ways."
The appropriately titled new album Dawning is their first in five years and their first featuring bassist Evan Danielson. It's also their best work to date, a fully realized resurrection. Dawning showcases a band that now moves with an intricacy and immediacy that indicate just what Mouth of the Architect is: a veteran group comprising members with long rÉsumÉs, who've now gotten a chance to begin again and know what to do with it. A wonder of tension and release, Dawning is designed to throw listeners into tailspins and, then, to lift them above the mess. That drama not only reflects the survival of the band that stuck around long enough to make this album but also of a group that's now pushed past the cloister of post-metal: Despite the hardened visage of tough-guy screams, burly guitar tones, and Mann's aggressive drumming, Dawning is a compulsively likable record, full of anthems meant for memorizing and environments meant for immersion. (Hell, "Sharpen Your Axes" could pass for millennial Incubus.) If you've ever liked Isis there's plenty for you here; on the other hand, if you like, say, Abbey Road-- or any music that tries to outstrip the structure of a single song while not abandoning its magnetism-- Dawning deserves your time, too.
Should the metal prefixes "progressive" or even "post-" suggest long-winded, self-invested excursions nestled within songs that require an almanac, scrap the notion for Dawning. Yes, these songs stretch between seven and 11 minutes each, but even the longest, centerpiece "How This Will End, hinges upon narrative thrust and musical selflessness. If there are any guitar solos here at all, they come toward the start and the finish of "How This Will End, when a neon electric tone arches over a mounting cavalcade of drums and bass. Rather than serve as breaks in the momentum, though, both passages lead tremendous swells that rise to meet the troika of vocalists in another instance of triumph. Not one moment among these 11 minutes seems squandered or lost, as the quintet keeps rising and falling, churning and rebuilding.
Opener "Lullabye" establishes that principle from the jump, or as soon as traipsing acoustic guitar and twinkling piano concede to a heroic riff wrapped within three-part, gang-style harmonies. Mouth of the Architect move constantly between parts; at various points, they leap from near-silence to a quake viscous enough to make plenty of stoner metal sound thin, from guitar leads that suggest Chicago blues moan to math-rock redirection. Behind the kit, Mann serves as the expert rudder, keeping the songs steady even as he navigates the transfers. This constant swivel also depends upon the split vocal duties of Steve Brooks, Kevin Schindel, and Jason Watkins. They trade verses, flip-flopping between pristine radio rock leads and malevolent growls, sometimes only for a line at the time. They often share choruses, delivering them the sort of group-vocal abandon that hints at a darkened Danielson Family. Their singing-- here, more charged and urgent than it's ever been-- gives all of the band's moving pieces a through-line from one side to the other.
Talk of the tide of intelligent or somehow otherwise-elevated heavy music hasn't faded during Mouth of the Architect's temporary absence. Though both Sunn O))) and the late Isis have only released one album since MotA's last one, the acceptance of and debate over nominally black metal acts such as Liturgy, Wolves in the Throne Room, Krallice and Deafheaven has kept that conversation current. Mouth of the Architect only nods to that au courant talking point during Dawning, most notably with the blizzard of tremolo guitars that open "It Swarms" and the clattering way the band emerges from an instrumental break during "Sharpen Your Axes". But at the very least, Dawning deserves mention alongside Deafheaven's Sunbather, a record that's most notable for its holistic approach to drama and romance and the complete cinema of itself. Mouth of the Architect has long written from a vantage of imminent apocalypse, a perspective Dawning does not forego. There's talk of collapsing systems and prevailing darkness, spent luck and idolized disrepair. But at record's end, when Mouth of the Architect's three singers trade and share lines about risking it all even if they come up short, it's hard not to hear a core of redemption and potential hope within the music itself. And after returning from the brink to make one of the year's most rapturous records, metal or post-metal or whatever, there had better be.
- Grayson Currin (Pitchfork)1. Lullabye
2. It Swarms
3. Sharpen Your Eyes
4. How Will This End
6. The Other Son$21.99Vinyl LP - Sealed Buy Now
Shades Of BlueImport
First Pressing Of 1,000 Numbered Copies On Blue And White Mixed Vinyl, Black Vinyl Thereafter
Interpretations And Remixes Of Blue Note Classics The Look Of Slim, Distant Land, Stormy, Live Performance Of Peace/dolphin Dance And Many More Tracks
Shades Of Blue is a unique project that turns over the legacy of the esteemed Blue Note jazz label to one of hip-hop's most unique artists, Madlib. He is considered to be one of hip-hop's most inventive visionaries and connects it's productions through smart lyrics and poetics.
The album opens with the declaration that We are now having a little cooking session for Blue Note right here on the scene... Madlib was afforded the opportunity to mine the crates of Blue Note. On Shades of Blue, he delivers remixes and brand spanking new interpretations of Blue Note classics.
Whether funking out Ronnie Foster's original Mystic Brew and transforming it into the Mystic Bounce, or giving Wayne Shorter's Footprints a go with Yesterday's New Quintet, rest assured that Madlib's innovative sonic vocabulary will fill the ears.
Other artists receiving a Madlib reimagination include Donald Byrd, Bobbi Humphrey, Bobby Hutcherson, Horace Silver, The Three Sounds and many more.
Pitchfork album reviewer Scott Hreha rates the album 8.6 Listening to Madlib's music, I'm reminded of the Black radical maestros responsible for some of the outermost-limits music-making of the past half-century: Sun Ra, George Clinton, Lee 'Scratch' Perry.
In 2014, it ranked at number 11 on Paste's 12 Classic Hip-Hop Albums That Deserve More Attention list.LP 1
2. Slim's Return
3. Distant Land
4. Mystic Bounce
6. Blue Note Interlude
7. Please Set Me At Ease
8. Funky Blue Note
9. Alfred Lion Interlude
1. Sleeping Into Tomorrow
2. Andrew Hill Break
4. Song For My Father
6. Peace / Dolphin Dance
7. Outro$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Filles De KilimanjaroNumbered, Limited Edition
Davis' Self-Proclaimed "Directions in Music" March Begins Here
Mastered from the Original Master Tapes: Abundant Jazz, Funk, and Rock Textures Rotate Around a Luscious Tonal Center
Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion: Exotic Suite-Like Album Beautiful, Intense, Adventurous
Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45RPM 2LP set.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth.
Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.
The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun." Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.
Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.
More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music." With the jazz world still trying to wrap its collective mind around its genius, it still does.
This title is not eligible for discount.1. Frelon Brun
2. Tout de Suite
3. Petits Machins
4. Filles de Kilimanjaro
5. Mademoiselle Mary$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Forever Changes (45 RPM) (Awaiting Repress)Ranked 40/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Mastered from the Original Master Tapes for Unsurpassed Analog Sound: Mobile Fidelity's 180g 45RPM 2LP Set Opens Up Scale of Lush Orchestral Architecture and Elegant Baroque Textures
Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.
Mastered from the original master tapes, Mobile Fidelity's numbered limited-edition 180g 45RPM 2LP set affords the masterpiece the white-gloves treatment and golden-hued analog sonics it has always deserved. Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. The music appears to float on clouds, with the woody tones emanated by the acoustic guitars and brassy signatures of horns emerging with lifelike detail. Turn it up as loud as you want; the sole limitation will be your system's potential.
Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.
The seemingly opposing combination - ominous, dark reflections situated amidst lush, light melodic beds - affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.
Alternatively sad and beautiful, the album-opening and flamenco-inspired Alone Again Or establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.
No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.
This title is not eligible for discount.1. Alone Again Or
2. A House Is Not A Motel
4. The Daily Planet
5. Old Man
6. The Red Telephone
7. Maybe The People Would Be The Times Or Between Clark And Hilldale
8. Live And Let Live
9. The Good Humor Man He Sees Everything Like This
10. Bummer In The Summer
11. You Set The Scene$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
Fuck Off Get Free We Pour Light On Everything (Awaiting Repress)
Marks The 15th Anniversary Of The Band, Founded And Led By Efrim Menuck Of Godspeed You! Black Emperor
First New SMZ Full Length Since GYBE's Return To Action In 2011
Recorded In Quebec By Greg Norman (electrical Audio)
Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of
genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with
Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly
instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed
You! Black Emperor, in which group all three founding SMZ members also played (and
continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and
shifted towards an increasing use of lead and group vocals, with Menuck penning politically charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified
guitars against a 4-piece string section of violins,cello and contrabass.
Most recently, SMZ has pared back to five players, with Menuck's massive spectrum spanning electric guitar sound emerging as the spine around which two violins, bass (now
more often electric than acoustic) and drums are deployed. SMZ have managed a handful
of short tours in the past couple of years (in the gaps between GYBE commitments) and
as anyone who has seen the band in its recent incarnation can attest, their current sound
is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage
and dark metal influences that have nothing to do with anything so quaint as "post-rock"
(a tag the group has always and rightly rejected).
Fuck Off Get Free We Pour Light On Everything is the first definitive document of
the band's newfound sound and style as a quintet. It's also their first single LP-length
work since the band's debut record as a trio almost 15 years ago, and features road tested pummeling rock-outs "Fuck Off Get Free (For The Island Of MontrÉal)", "Take
Away These Early Grave Blues" and "What We Loved Was Not Enough" alongside the
previously unheard lullabyes/minuets "Little Ones Run" and "Rains Thru The Roof At Thee
Grande Ballroom (For Capital Steeze)" and the album centerpiece "Austerity Blues" with
its closing lyric "Lord let my son live long enough to see that mountain torn down"
sung in varying incarnations throughout the second half of this 14-minute epic.
This lyric in many ways encapsulates Menuck's unflinching take on a world replete with
shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance
and defiance. There are few other musicians who deliver social critique with the courage
and honesty of lines like "All our cities gonna burn / All our bridges gonna snap / All our
pennies gonna rot / Lightning roll across our tracks / All our children gonna die". Feel-good
music this is not; but neither can it reductively be tagged apocalyptic or world-weary.
Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly
unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working
today, that there is much to fight for and against, and plenty more fight songs to sing.1. Fuck Off Get Free (for The Island Of Montreal)
2. Austerity Blues
3. Take Away These Early Grave Blues
4. Little Ones Run
5. What We Loved Was Not Enough
6. Rains Thru The Roof At The Grande Ballroom (for Capital Steez)$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Swim (Out of Stock)Blue Colored Vinyl
Blue Cranes are a key player in the Portland, Oregon creative music/DIY scene and are a microcosm of what "post-jazz" has become at the regional level as a result of bands like The Bad Plus, The Claudia Quintet, Happy Apple, Dave Douglas and others.
Swim, produced by The Decemberists' bassist Nate Query, highlights the band's song-centered esthetic.
This is the band's fourth full length release, and first to come out on vinyl. The vinyl pressing includes a digital download card and is on blue vinyl.
This record will receive full service to all jazz, college and freeform radio stations and key regional and national press in the US by Cuneiform, Groov Marketing & Fully Altered Media. The individual members of the band bring a unique array of experiences to the group, including work with The Decemberists, Laura Veirs, AU, Rebecca Gates, Laura Gibson, Ethan Rose, Black Prairie, and Spoon.
Guest performances by violist Eyvind kang (Bill Frisell, Laura Veirs) and members of tUnE-yArDs, Los Lobos, the Devil Makes three, Portland Cello Project, Radiation City, and Au. Blue Cranes have toured regularly up and down the West Coast since 2007 and in 2011 they embarked on acrowd-sourced 30-day national tour by Amtrak train. More touring will commence with the release of this long awaited album!
Blue Cranes are: reed Wallsmith (alto saxophone),
Joe Cunningham (tenor saxophone), rebecca
Sanborn(keyboards), keith Brush (bass), and Ji Tanzer (drums) and this the band's fourth full length release.1. Beautiful Winners
2. Everything Is Going To Be Okay
3. Cass Corridor
5. Great Dane Small Horse
7. For Chris
8. Painted Birds
9. Goldfinches$23.99Vinyl LP - Sealed Temporarily out of stock