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  • Ready To Die Ready To Die Quick View

    $29.99
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    Ready To Die


    Ranked 133/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Ready to Die is the debut album of American rapper The Notorious B.I.G., released September 13, 1994 on Bad Boy Records. The first release on the label, it features production by record producer and Bad Boy founder Sean Puffy Combs, Easy Mo Bee, Chucky Thompson, DJ Premier, and Lord Finesse, among others. Recording sessions for the album took place during 1993 to 1994 at The Hit Factory and D&D Studios in New York City. The partly autobiographical album tells the story of The Notorious B.I.G.'s experiences as a young criminal, referring to himself as the black Frank White. Ready to Die is his only studio album released during his lifetime; B.I.G. was murdered days prior to the release of his second album Life After Death (1997).

    1. Intro
    2. Things Done Changed
    3. Gimme the Loot
    4. Machine Gun Funk
    5. Warning
    6. Ready to Die
    7. One More Chance
    8. Fuck Me (interlude)
    9. The What
    10. Juicy
    11. Everyday Struggle
    12. Me & My Bitch
    13. Big Poppa
    14. Respect
    15. Friend of Mine
    16. Unbelievable
    17. Suicidal Thoughts
    Notorious B.I.G
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Best of 2005-2013 The Best of 2005-2013 Quick View

    $32.99
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    The Best of 2005-2013

    Warner Bros. will release a best-of compilation package of Avenged Sevenfold's biggest Warner Bros. hits to date. Thethree LP set, titled The Best Of 2005-2013, features 18 songs from Avenged Sevenfold's best-selling Warner Bros. albums released between 2005 and 2013 including City Of Evil, Avenged Sevenfold, Nightmare and Hail To The King. The package also features a cover of Black Sabbath's "Paranoid", originally on the Warner Bros. tribute album Covered, A Revolution in Sound as well as two original songs that Avenged Sevenfold wrote for video games: "Carry On" (Call Of Duty II) and "Not Ready To Die" (Call Of The Dead).
    LP 1
    1. Bat Country
    2. Beast and the Harlot
    3. Seize the Day
    4. Critical Acclaim
    5. Almost Easy
    6. Afterlife
    7. Dear God


    LP 2
    1. A Little Piece of Heaven
    2. Nightmare
    3. Welcome to the Family
    4. So Far Away
    5. Hail to the King
    6. Shepherd of Fire
    7. Walk (Studio Version)


    LP 3
    1. Flash of the Blade
    2. Paranoid
    3. Carry On
    4. Not Ready to Die (from Call of the Dead)

    Avenged Sevenfold
    $32.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Broke Til Midnight Broke Til Midnight Quick View

    $19.99
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    Broke Til Midnight

    East coast-to-LA transplants Roll The Tanks have signed to Epitaph and will release release their hook-laden debut album Broke Til Midnight in 2014.


    Broke Til Midnight hits right in the gut upon first listen. A record that leaves no room for uncertainty in 13-tracks that beg listeners to hit repeat and enjoy the ride. It helps that band members Danny Carney (vocals/guitar), Aaron Stuart (guitar/ vocals), Mike Wakeman (bass/vocals), and Joe Sirois (drums) are fans of enduring songsmiths Tom Petty & The Heartbreakers, The Pixies, and The Clash from where they draw inspiration to carry on the torch. "We're going to make records because that's what we want to do - make records," says Carney. "No clunkers, no fillers. Records where you almost die making them." Though the band didn't die while making the album, they did have to wait until 12 AM for when their paychecks cleared at the bank in order to pay their bar tabs; hence the album title Broke Til Midnight.


    Epitaph Label CEO and Bad Religion guitarist/songwriter Brett Gurewitz shares his thoughts on the signing:


    "Roll The Tanks write the kind of songs that make you want to be a songwriter. The kind of inspiring rock n roll songwriting that made me want to devote myself to this crazy life in the first place. They bring to mind Strummer, Pixies, Petty, The Kinks but not because that's what they sound like, rather because they're cut from the same cloth. These guys are a great band, I can't wait for people to hear them."


    An unpretentious, classic rock inspired "band's band," Roll The Tanks are primed and ready to carry the torch for energetic, solid rock music. They know the value of a dollar from grinding their days away waiting tables, driving trucks, and working as carpenters to pay the bills so they can dedicate their evenings (and as much time as they can put into the stage and the road) to honing their already formidable songwriting chops. Music is their passion. And as their name implies, they are prepared to flatten all obstacles.

    1. 24th & Buckets
    2. Broke Til Midnight
    3. Toeing The Line
    4. Waiting on a Storm
    5. Goddnight Jimmy Lee
    6. Computer Money
    7. Record Players
    8. Hornet
    9. Lock Your Daughters Up
    10. Assumption Army
    11. Insufficient Funds
    12. My Soapbox
    13. Pistolero
    Roll The Tanks
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Metropole Metropole Quick View

    $19.99
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    Metropole


    LP Contains CD Of Full Album


    Chicago's own The Lawrence Arms will release Metropole, their first 
    album in eight years, in 2014 via Epitaph.  A beloved 
    band in the punk scene from their inception in 1999, members 
    Brendan Kelly (vocals/bassist), Chris McCaughan (vocals/guitar), and 
    Neil Hennessey (drummer) have released five studio albums to date. 
    Their sixth album and first with Epitaph, Metropole captures "that 
    aloneinacrowd, strangerinastrangeland kind of shit" according 
    to Kelly. Metropole was recorded at Chicago's Atlas Studios with co
    producer Matt Allison, who has also worked with Chicagopunk
    scene veterans Alkaline Trio. 


    The followup to their 2009 Fat Wreck 
    Chords EP Buttsweat and Tears, the new venture takes apart the 
    band's gritty punk rock and fiery spirit, to reveal a new passion for 
    storytellingthroughsongwriting. Take the bravely personal lyrics of 
    You Are Here where McCaughan ironically sings Days just keep 
    rolling on / They won't miss me when I'm gone / I'm the chorus to 
    that lonely street / Just footsteps fading to a dying beat."  After a long 
    hiatus, dedicated fans have missed The Lawrence Arms and are 
    ready for the band's most dynamic album to date. 

    1. Chilean District  
    2. You Are Here  
    3. Hickey Avenue  
    4. Seventeener (17th and 37th)  
    5. Beautiful Things  
    6. Acheron River  
    7. Metropole  
    8. Drunk Tweets  
    9. The YMCA Down The Street From The Clinic  
    10. Never Fade Away  
    11. Paradise Shitty  
    12. October Blood  
    Lawrence Arms
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • CLPPNG CLPPNG Quick View

    $23.99
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    CLPPNG


    "clipping. makes party music for the club you wish you hadn't gone to, the
    car you don't remember getting in, and the streets you don't feel safe on"
    - Press release for clipping.'s debut, Midcity, September 2012


    Since the above was written, things have changed for clipping. The band
    found that listeners were more ready for them than they'd first imagined.
    Before 2013's Midcity, the trio of rapper Daveed Diggs and producers Jonathan
    Snipes and William Hutson did not expect to find an audience for their
    abrasive brand of rap music. The project was initially a remix project, an
    aside to the members' main occupations - Diggs is a stage actor, while Snipes
    composes music for film, and Hutson is an established noise music artist
    (Snipes and Hutson collaborated on the score to 2013s IFC documentary
    Room 237). But, since the formation of clipping., the field of commercial
    music enlarged ever so slightly, making room again for noisier, more adventurous
    elements in electronic production (though clipping. insist they simply make
    rap music).


    CLPPNG is a much more ambitious project than Midcity. The album features
    guest verses from some of the band's strongest influences, including Gangsta
    Boo (formerly of Three 6 Mafia, and currently of Da Mafia 6ix), Guce (longtime
    Bay Area mainstay, member of Bullys Wit Fullys), King T (all-around West
    Coast gangster rap legend, founder of the Likwit Crew, and mentor to Xzibit
    and Tha Alkaholiks). For the first single from the album, "Work Work",
    clipping. joined up with Cocc Pistol Cree, a newcomer from Compton best
    known for her appearance on DJ Mustard's mixtape Ketchup, and her song
    'Lady Killa.'


    CLPPNG stretches the band's experimental sounds to fit a wider emotional
    range. Midcity had anger and aggression figured out, but CLPPNG fits the
    group's harsh electronics to club tracks, a slow jams, songs to strip to, and
    more. Relying heavily on musique-concrète techniques, the trio built many
    of the tracks out of field recordings and acoustic sounds. The beat for "Tonight
    (featuring Gangsta Boo)" evokes a nasty, late night encounter with its fleshy
    slaps and squishy, biological noises, while "Dream" utilizes natural ambiences
    to create a bleary, hypnagogic mis-en-scène. But the band hasn't gone soft;
    the album's intro is likely the most uncompromisingly brutal piece of music
    they've yet recorded, and "Or Die (featuring Guce)" is as mean as anything
    on Midcity. CLPPNG is an album that demonstrates the variety of sounds
    available when the 'rules' of a genre are willfully questioned.

    1. Body & Blood
    2. Work Work (Feat. Cocc Pistol Cree)
    3. Summertime (Feat. King T)
    4. Taking Off
    5. Tonight (Feat. Gangsta Boo)
    6. Dream
    7. Get Up (Feat. Mariel Jacoda)
    8. Or Die (Feat. Guce)
    9. Inside Out
    10. Story 2
    11. Dominoes
    12. Williams Mix (Feat. Tom Erbe)
    13. Run Out
    clipping.
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Sony PS-HX500 Digital USB Turntable Sony PS-HX500 Digital USB Turntable Quick View

    $599.00
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    Sony PS-HX500 Digital 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.


    Digitally captures analog in its purest form


    Turntable for playing vinyl and recording in High-Resolution

    Breathe new life into analog masterpieces with DSD. Just hook up the PS-HX500 turntable to your PC via USB, play a record, and capture every aspect of the vinyl with DSD 5.6 MHz native conversion. Convert your precious vinyl collection into High-Resolution Audio, take it out for a walk with your Walkman®, or just sit back and enjoy playing your vinyl originals.


    Vinyl goes portable in High-Resolution Audio


    Convert your records to high quality digital music files

    The PS-HX500 is equipped with a high-quality A/D converter. So just connect it to your PC with a USB cable and record your vinyl as High-Resolution Audio tracks. This is a great way to backup your precious vinyl collection, or even take tracks outdoors with you on your portable music device.


    Get your records ready to go


    The goodness of vinyl, without the bulk

    The authentic sound of vinyl, with all its warmth and smoothness, can be enjoyed anytime and anywhere with digital convenience-at home, outdoors, and in your car.


    Advanced features do the heavy lifting

    Simply connect the PS-HX500 to a PC's USB port and convert your vinyl tracks into high quality digital ones. The supplied PC application lets you rip, edit and store tracks from your vinyl records.


    High-Resolution Audio file formats

    In addition to DSD-recorded DSF files, recording and playback of PCM-recorded WAV files is also supported.


    Relive the master performances right away


    Integrate it into your high-quality audio system

    Connecting the PS-HX500 with a high-quality audio component system enables you to enjoy all your vinyl with all the raw realism they can offer.


    Sound technologies for analog enjoyment

    Enjoy all the smooth and warm sound expressions your vinyl is capable of; the PS-HX500 is equipped with the high-quality audio technology to make it possible.


    Newly designed integrated shell type straight tonearm

    The integrated shell improves durability and stabilizes the cartridge for superior focusing and dimensionality of sound, while its lightweight structure improves traceability.


    Turntable-stability in motion

    The turntable uses the latest techniques to deliver extremely stable rotation for optimal and natural delivery of your music.


    • Highly stable belt drive system - The optimized spindle-bearing construction stabilizes the belt drive to achieve natural sound reproduction.
    • High quality 0.20-inch rubber mat - Excellent adherence to the record's surface minimizes unnecessary resonance for clean sound.
    • Aluminum die cast platter - The high-inertia aluminum die cast platter offers superb balance between strength and mass.


    What's in the cabinet


    Sony's excellent speaker technology has been incorporated in the MDF cabinet to deliver high acoustic quality.


    • Acoustic-grade MDF cabinet - The 1.18-inch thick MDF cabinet has excellent sonic characteristics for accurate soundstage reproduction.
    • >Insulated structure - Thoroughly insulated including rubber dampers to eliminate vibration from racks and other peripherals.
    • Glass epoxy circuit board - Using glass epoxy resin for the circuit board helps to provide better sound quality and stability.


    Just connect it to a PC via USB and convert analog records into DSD 5.6 MHz native files. DSD captures the fine nuances of old masterpieces including the smoothness of vinyl. Archive files to a music server, take them out on your Walkman® or enjoy them in your car. An internal Phono EQ amp lets you enjoy analog through a high quality audio system.


    Turntables
    $599.00
    Digital USB Turntable With High-Resolution Recording Buy Now
  • Wire Wire Quick View

    $28.99
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    Wire

    Their 13th studio album - simply titled Wire, - comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melo-dies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain me-lodic inflections, guitar and bass motifs, and drum rhythms from Wire's idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally. From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. "With Matt there was a really new dynamic that had appeared in the group's sound and that was something we wanted to capture, utilise and be creative with," says Lewis. Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group's particular chemistry starts working he is now very much part of the process.
    1. Blogging
    2. Shifting
    3. Burning Bridges
    4. In Manchester
    5. High
    6. Sleep-walking
    7. Joust & Jostle
    8. Swallow
    9. Split Your Ends
    10. Octopus
    11. Harpooned
    Wire
    $28.99
    Vinyl LP - Sealed Buy Now
  • June Gloom June Gloom Quick View

    $20.99
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    June Gloom

    Big Deal might have become synonymous with the structurally sparse yet emotionally stinging guitar pop as showcased on their critically acclaimed debut "Lights Out", but get ready for a dramatic expansion of sound with their latest album "June Gloom". The London based duo of Kacey Underwood and Alice Costelloe, aka Big Deal, are set to release the new album on Mute in Summer 2013.


    Last year's thunderous teaser 'teradactol' track, with its monstrous riffs and galloping drums was no red herring: on "June Gloom" Underwood and Costelloe flesh out their delicate, nocturnal tones with the help of a full band. Drums and bass take their sound to deeper, darker and more intoxicating heights, courtesy of producer Rory Attwell (Veronica Falls, PAWS, Male Bonding).


    As a result, the 11 other tracks here are an exploration of the newfound confidence of 'teradactol', with a refinement and bold directness in singing and songwriting. Here, you'll find a re-imagination of the golden age of alternative-rock; crunching grunge pop anthems sitting neatly alongside shimmering love songs aching with weariness and longing. If Big Deal's earlier tracks felt emotionally lacerating, this new body of work is noisy, boisterous, with a more than assured melodic hook.


    This evolution is made defiantly clear in the opener 'golden light', which deliberately wrongfoots the listener by opening with some sweetly strummed chords and interlocking vocals before building to a rousing climax. Similarly, 'dream machines' crests on a jagged undertow of pounding drums, and the sinister 'pillow' gradually opens up to become something vast, scorched and desolate. The pair infuse the volume with their own inimitable, off-kilter take on angst-ridden emotional terrain; on the aptly titled 'pristine', they sing, "darkness wash over me, I let it in, it let me be", while on the otherwise upbeat 'call and i'll come' Costelloe plaintively asks, "What if no one else compares/ what if no one else cares?".


    It all reaches a beautiful crescendo with the finale 'close your eyes', which explodes from an almost unbearably intimate confessional ("I won't ask why/ if it was love/ we let it die") into a coruscating maelstrom that is as indelibly affecting as it is thrilling. With "June Gloom", Big Deal have expanded their sonic palette for sure, but they have certainly lost none of their potency.

    1 golden light
    2 swapping spit
    3 in your car
    4 dream machines
    5 call and i'll come
    6 teradactol
    7 pristine
    8 pillow
    9 catch up
    10 little dipper
    11 pg
    12 close your eyes
    Big Deal
    $20.99
    Vinyl LP - Sealed Buy Now
  • Adrian Younge Presents: The Delfonics Adrian Younge Presents: The Delfonics Quick View

    $19.99
    Buy Now
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    Adrian Younge Presents: The Delfonics

    The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
    vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
    producer/arranger Thom Bell-and with William's signature falsetto-the Delfonics set the tone for all other sweet-soul groups that would follow.


    Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit Didn't I (Blow Your Mind This Time). Out of
    their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like La-La Means I Love You, He Don't Really
    Love You, and Ready or Not Here I Come (Can't Hide From Love).After five albums, the Delfonics would break up for good in 1975. Brothers William and
    Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer
    and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation.


    Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
    Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
    and Saudia Mills-as well as Om'Mas Keith on the single Stop and Look (And You Have Found Love)-to work alongside William. Adrian Younge is a
    self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international
    recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of
    Mischief's "There Is Only Now" and Ghostface Killah's "Twelve Reasons to Die" concept albums.


    Younge brings a unique perspective on modern rhythm and blues. I was studying Delfonics stuff for years, Younge reveals. I studied Delfonics to do the
    Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind.
    From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
    distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. I
    want people to expect something classic but not expect to hear the same thing rehashed, Younge says. I want to push it forward. William and I strived to
    push this forward.


    Younge now makes this breath-taking musical outing available once again on his own Linear Labs imprint.

    1. Stop And Look (And You Have Found Love)
    2. Lost Without You
    3. True Love
    4. Silently
    5. Enemies
    6. To Be Your One
    7. Stand Up
    8. Just Love
    9. So In Love With You
    10. I Can't Cry No More
    11. Lover's Melody
    12. Party's Over
    13. Life Never Ends
    The Delfonics
    $19.99
    Vinyl LP - Sealed Buy Now
  • Adrian Younge Presents: The Delfonics: Instrumentals Adrian Younge Presents: The Delfonics: Instrumentals Quick View

    $19.99
    Buy Now
    x

    Adrian Younge Presents: The Delfonics: Instrumentals

    Linear Labs Now Brings You Adrian Younge Presents: The Delfonics In A Never Before Issued Instrumental Edition


    The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
    vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
    producer/arranger Thom Bell-and with William's signature falsetto-the Delfonics set the tone for all other sweet-soul groups that would follow.


    Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit Didn't I (Blow Your Mind This Time). Out of
    their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like La-La Means I Love You, He Don't Really
    Love You, and Ready or Not Here I Come (Can't Hide From Love).After five albums, the Delfonics would break up for good in 1975. Brothers William and
    Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer
    and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation.


    Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
    Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
    and Saudia Mills-as well as Om'Mas Keith on the single Stop and Look (And You Have Found Love)-to work alongside William. Adrian Younge is a
    self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international
    recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of
    Mischief's "There Is Only Now" and Ghostface Killah's "Twelve Reasons to Die" concept albums.


    Younge brings a unique perspective on modern rhythm and blues. I was studying Delfonics stuff for years, Younge reveals. I studied Delfonics to do the
    Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind.
    From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
    distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. I
    want people to expect something classic but not expect to hear the same thing rehashed, Younge says. I want to push it forward. William and I strived to
    push this forward.


    Younge now makes this breath-taking musical outing available once again on his own Linear Labs imprint.

    1. Stop And Look (And You Have Found Love) [Instrumental]
    2. Lost Without You (Instrumental)
    3. True Love (Instrumental)
    4. Silently (Instrumental)
    5. Enemies (Instrumental)
    6. To Be Your One (Instrumental)
    7. Stand Up (Instrumental)
    8. Just Love (Instrumental)
    9. So In Love With You (Instrumental)
    10. I Can't Cry No More (Instrumental)
    11. Lover's Melody (Instrumental)
    12. Party's Over (Instrumental)
    13. Life Never Ends (Instrumental)
    The Delfonics
    $19.99
    Vinyl LP - Sealed Buy Now
  • Beast Beast Quick View

    $19.99
    Buy Now
    x

    Beast

    Imagine a creature laying dormant beneath the earth, in an inhuman slumber since a time long forgotten. This creature reawakens, cracks up through the ground and finds a world it barely recognizes. Chaos, disorder, brutality, bloodthirst and terror are all around. Seeking to restore some sense of order to its surroundings, the creature adopts the destructive nature it witnesses in man and begins a vengeful quest for power.


    Mythology, fable and metaphor collide with "Beast", a blistering new album marking the return of DESPISED ICON. The genre-defining band is fully reawakened, poised to recapture the crown with the monstrous and merciless might of their potent expression. Featuring the men responsible for most of the band's now classic death metal catalog, "Beast" is a vicious commentary on the state of the world and the state of music itself.


    This is old school DESPISED ICON reminiscent of "The Healing Process" (2005) and "The Ills Of Modern Man" (2007), but cast through an ultra-modern lens, carrying with it the experience and driven purpose of a band secure in their identity and their legacy. Without sacrificing the creative leaps of what many feared would be their final album, "Day Of Mourning" (2009), DESPISED ICON renew their focus on the collision of dual vocals, technical wizardry, precision dexterity and massive bottom end they helped to pioneer.


    'The Aftermath' kicks off the album with brutal immediacy, encompassing the full scope of what's ahead with unrelenting attack and classic death metal flair. 'Inner Demons' will have guitar teachers and drum instructors pulling their hair out in frustrated angst, while songs like 'Bad Vibes' put the impossible sounding shred workouts on the backburner in favor of brute force. Throughout the album, deep grooves reminiscent of the best of OBITUARY, DYING FETUS, INTERNAL BLEEDING, or even BIOHAZARD pulse within the fierce aggression. There's melody to be found in songs like the French-language 'Drapeau Noir.' The dual vocal style DESPISED ICON fans love is as unrestrained as ever.


    For many extreme music fans, it may be hard to remember a time before DESPISED ICON, given the massive influence they've subsequently had on the genre. But when the group formed back in 2002 and released "Consumed By Your Poison" the same year, there was little intersection between the sounds of classic death metal and the brute force of hardcore. The "metalcore" genre had been in full swing for some time and plenty of those bands had experimented with elements of death metal. But DESPISED ICON were among the first to fully embrace the signatures of the traditional death metal formula combined with a relentless embrace of breakdowns, part of an emerging new sound.


    DESPISED ICON steadily built a following through hard touring with CRYPTOPSY, SUFFOCATION, IMMOLATION, DEICIDE, MORBID ANGEL, BEHEMOTH, HATEBREED and NAPALM DEATH. The diversity of sounds demonstrated by that list of bands is evidence of DESPISED ICON's broad appeal. Before too long, a new subgenre bubbled up from the underground, built around bands like DESPISED ICON, SUICIDE SILENCE, ALL SHALL PERISH, CARNIFEX and JOB FOR A COWBOY. Like many genre tags, "deathcore" became something of a controversial and uncomfortable albatross for many of the associated bands at various times. But the impact of what is unquestionably an exciting variation of extreme music is undeniable.


    DESPISED ICON now boldly reclaims their legacy without reservation or apology. Since the time of the band's dissolution - the result of professional burnout, the shifting priorities and responsibilities that come with adulthood and the need for a creative recharge - the group's members were able to explore different textures with groups like OBEY THE BRAVE and HEAVEN'S CRY. The time apart has only strengthened their resolve when it comes to the purity of what DESPISED ICON means to them as well as to their worldwide fans.


    From the savagely unhinged vocals to the inexhaustible pound of the blast beats, DESPISED ICON's new album is a swift reminder that this band is one of the originators of a powerful movement in extreme metal. The "Beast" is reawakened and ready to rumble. DESPISED ICON is back, ladies and gents, with no frills, no bullshit, and just total power.

    1. The Aftermath
    2. Inner Demons
    3. Drapeau Noir
    4. Bad Vibes
    5. Dedicated to Extinction
    6. Grind Forever
    7. Time Bomb
    8. One Last Martini
    9. Doomed
    10. Beast
    Despised Icon
    $19.99
    Vinyl LP - Sealed Buy Now
  • Visuals Visuals Quick View

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    Visuals

    Mew frontman Jonas Bjerre has worked on the projections for the band's live shows since their early days. Usually, the Danish trio finish an album and Bjerre gets to work on the visuals. For their seventh record, though, the singer decided to turn things upside down, working on the visuals first and seeing if they informed the music. The resultant record feels like a culmination for one of rock's most ambitious and inventive groups: Visuals is where Bjerre and his bandmates, bassist Johan Wohlert and drummer Silas Utke Graae Jørgensen, join the dots of a career that has spanned over two decades. "We do everything on this album ourselves," says Bjerre. "We produced it ourselves, I did the artwork, I'm doing the visuals. Visuals felt like a fitting title. I like the idea that each song has a visual aspect to it somehow."


    Mew have a tradition of, as Bjerre puts it, hiding away in a cave for three or four years between albums. The tour that accompanied 2015's +- album found the band reaching a creative peak that they felt was too exhilarating to be dampened by a period of extended cave-dwelling. They arrived home with demos that had been written on the road and the spark was lit. They wanted to break the cycle and make an album quickly. "We just felt like, "if we do it the normal way, it's gonna be another three or four years before we get to do it again'," says Bjerre. "If you keep doing it like that, ultimately you make a handful of albums and then you're ready for retirement." The trio wanted to make an album spontaneously, keeping the energy they'd generated on the road going.


    They set to work in Copenhagen and started knocking the demos they'd written on tourbuses and in hotel rooms into shape. At the same time, new songs were emerging in reaction to what was going on around them. Mew aren't a political band but couldn't help but be affected by rolling news and the death of an icon. "It was pretty dark last year, so some of the darkness in the lyrics comes from that. You definitely get the feeling that things don't last forever when someone like David Bowie dies." Visuals was completed in just under a year - what Bjerre describes as an "incredible" feat for a band used to periods of prolonged tinkering. "Spending less time on it, you can still maintain the feeling you had when you first wrote it," says Bjerre.


    Bjerre doesn't know where Mew songs come from. He finds it hard to pin down his lyrics, his melodies, himself. It's what makes his band so special, that thrill that songs could go anywhere, that understated verses could suddenly rocket skyward, anthemic choruses could implode into beautiful soundscapes or sophisticated grooves could be crushed like a tincan. "I don't consciously know why the songs come out the way they do," says Bjerre. "It's a lot of trial and error for us. Even though a song is on an album, it keeps growing because we get to go out and perform it for an audience. I like the thought it can keep growing. It's never really finished."


    Visuals is Mew at their most compact, their chemistry at its most potent. With only one song over five minutes, it's their most concise album. Bjerre says there was no need for a grand, overarching concept. Each song on Visuals represents its own little chapter and story: nothing needed to be overly long. "Each album is like a collection of thoughts and ideas that fit the time we're in," he says. "They're like little diary entries, except they're a little bit more veiled perhaps. To me, albums are memories of times in my life."


    The song that led the way was the slow-building euphoria of Nothingness And No Regrets. Bjerre says that Mew lyrics often have two or three different meanings, and the opener is a reflection on life and death at the same time as "imagining this team of people trying to accomplish something and ultimately failing." The expansive 80s-style pop of The Wake Of Your Life is about legacy and what's left after you've gone. "These are things you think about more and more the older you get." It started out as a synth-pop track with lots of programming before taking on a different shape when the band added guitars over the top. "We try to change the method of how we reach the destination all the time cos if you do things the same way all the time, the results will often be very similar," says Bjerre.


    The discordant stomp of Candy Pieces All Smeared Out came about after Bjerre went back over some demos he'd made as a youngster on an Omega 500. "Some of them were interesting sonically so I kept some of the programming. We built the song on top of this really weird 8-bit computer track." The song sums up the emotional to and fro and ca

    ptivating contrariness at the heart of Visuals: it's an album that's both nostalgic and contemporary, that looks back whilst marching forward.

    The blissful glide of In A Better Place is a prime example of the impulsive environment that the songs were written in, a drumbeat by Jorgensen inspiring Bjerre to write a song immediately, whilst the atmospheric rock of Ay Ay Ay was based around a choir part that Bjerre had come up with a few years ago. All of the vocal parts were recorded in the booth that Bjerre had constructed in his apartment in Copenhagen. "I like waking up in the middle of the night and feeling inspired by something and being able to go in my booth and just sing it," he says.


    Bjerre says that the celebratory groove of Learn Our Crystals "is one of our weirdest songs." Poppy and fantastical, it had a familiar feeling to the singer as soon as he wrote it. The soulful sway of Shoulders has an R'n'B feel to it, whilst Bjerre had earmarked the mesmerising intricacy Carry Me To Safety as the album's closer as soon as it'd been written. "I just like how it twists and turns," he says. "It's a reflection on life and being in a band, what it means to be in a band, dedicating so many years of your life to this thing."


    Twenty years into their career, Mew have the irrepressible ebullience of a band on their debut album. Visuals feels like the beginning of a new chapter. "Mew is what I always come back to, it's a companion to my life. It's always been there, as long as I can remember. It's a big part of the footprint that we'll leave behind," says Bjerre. Mew march on: this is the sound of a band seizing the moment.

    1. Nothingness and No Regrets
    2. The Wake of Your Life
    3. Candy Pieces All Smeared Out
    4. In a Better Place
    5. Ay Ay Ay
    6. Learn Our Crystals
    7. Twist Quest
    8. Shoulders
    9. Videos
    10. Zanzibar
    11. Carry Me to Safety
    Mew
    $23.99
    Vinyl LP - Sealed Buy Now
  • Sorceress (Black Vinyl) Sorceress (Black Vinyl) Quick View

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    Sorceress (Black Vinyl)

    Pressed On Black Vinyl


    There are few bands that can or will match Sweden's Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, become one of the best bands on the planet; on album or on stage. Ask any Opeth fan. Enquire with any band that's shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They'll all tell you the same thing: Opeth are peerless. And they're only getting better.


    Opeth's new album, Sorceress, their first for Nuclear Blast via the band's imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album's opener "Persephone" to "The Wilde Flowers" and "Strange Brew" to the album's counterpart title tracks "Sorceress" and "Sorceress II", Opeth's twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colours mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt's impressive record collection-his one true vice-but, as always, there's more invention than appropriation at play.


    "This time around I didn't think about what I wanted to do," Åkerfeldt reveals. "I was forced to write. But once I started, it was easy. This record, like the last record, didn't take long to write. Like five or six months. The thoughts behind this record developed as I was writing. The only thing I was thinking about with this record was to write that songs didn't musically connect. I made sure if I had a song that was new sounding for this record, I'd make the next song completely different. I think the songs are very different from one another. It's very diverse."


    Certainly, every Opeth record has had diversity. In 1995, Orchid reset the rules of death metal. Six years later, Blackwater Park hit the high note for musicality in a genre generally devoid of it. Damnation, in 2003, was the work of a band determined to upend the norm. Five years after that, Watershed closed Opeth's chapter on death metal by visiting its darkest corners and holding its native brutality aloft. And in 2014, Pale Communion officially bridged the progressive music gap by twisting the intrepid sounds of '60s, '70s, and '80s into contemporary brilliance. So, really, what's so different about Sorceress?


    "My music taste got a little wider," grins Åkerfeldt. "I started listening to jazz. I bought a lot of Coltrane records. I never really thought Coltrane would be for me because I like 'dinner jazz.' I like comfortable, soft, nice, and lovely jazz. Like Miles Davis' '50s stuff. Porgy and Bess, for example. I guess Dave Brubeck fits in there, too. So, that's the only new influx of musical inspiration for me. Other than that, I've been buying the same type of records I always have. Prog, symphonic rock, singer/songwriter, metal, hard rock But there wasn't anything that set me off like The Zombies or Scott Walker. Nothing got me going this time."


    Actually, that's not entirely true. Åkerfeldt's always mining for progressive gold. Good, rare music is particularly good at getting his motor running. He found double-gold in one-off Italian outfit Il Paese dei Balocchi and Bobak, Jons, Malone's ultra-obscure Motherlight album. To wit, get Åkerfeldt talking about either and he's all too pleased to discuss the finer points of Il Paese dei Balocchi's string-based darkness or how he fan-boyed Malone via email to get the famed British orchestrator and one-time Iron Maiden producer to contribute to Sorceress.


    "I absolutely love Il Paese dei Balocchi," Åkerfeldt professes. "They did one album. It's insanely good. It has everything I love about progressive rock in it. This album is so orchestrated and epic. It's got lots of string sections. It's very moody, dark, and sad. It's a mystery they didn't do any more. As for Will Malone, he did the strings and stuff for the Sabbath records-Sabotage and Never Say Die! But now he does strings for pop artists like Joss Stone, The Verve, Depeche Mode. I looked him up, mostly because he was the house engineer for Morgan Studios in the '60s. He was also in a few bands. Like Orange Bicycle and played on the Motherlight album. He also had a solo record, which is also amazing and superbly rare. It's orchestral. The bulk of it is strings. It's kind of like Nick Drake."


    Åkerfeldt's quick to point out, however, his newfound progressive music loves didn't directly inspire him to write Sorceress. The majority of the album was penned in Opeth's rehearsal space, where, nestled comfortably in a corner, a computer, a keyboard, and a microphone sit ready for the next Opeth epic. It isn't plush, but it's exactly the type of environment the frontman needs to focus his creative self into song.


    "When I'm in a writing mode, I have tunnel vision," says Åkerfeldt. "I have a really good work ethic. I go down to the studio everyday early in the morning and I work. I absolutely love it. It's so much fun. It's much easier now, too. I write complete demos. I sequence the songs in the order I want them to be on the record. I do mixing. I do overdubs. Once I'm done, I give copies to the guys so they can listen to the album. They practice to it on their own. When it's time to go into the studio, everybody does their own thing. It obviously works."


    For Sorceress, Opeth returned to Rockfield Studios in Wales, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The experience was so positive and historical-the countryside studio was also home to pivotal Budgie, Queen, Rush, Judas Priest, and Mike Oldfield recordings-there really was no other option for Opeth and crew. Rockfield Studios or bust! The studio, with Dalgety yet again in tow, provided the necessary isolation, the right bucolic atmosphere, the best gear, and three square meals a day for Sorceress to come out the other end spitting fire. All in 12 bittersweet days, too.


    "There was a time when I came out of our recordings a wreck," Åkerfeldt bemoans. "But now I come out with a wish. I wish it wouldn't have gone so quickly. There's emptiness after I leave the studio. I love writing and recording in the studio. It's lovely at Rockfield. It's in the sticks. It's got horses and cows. There's lots of sheep in Wales. But the studio is just a studio. It's so beautiful there. So quiet. It's a residential studio as well, so we live there while we're recording. We have chefs for us, too. So, we can just be there, playing, recording, and hanging out."


    If life is like a Peter Max poster, the lyrics to Sorceress aren't. There's color, but they've been treated, corrupted, and befouled. That is to say, they're much darker. Some of bleak lyrical tones stem from Åkerfeldt's personal life-and are thusly contorted beyond recognition-while others touch grimly on topics like love and what happens to people on the other side of it. In fact, some of the lyrical ideas are similar to what was happening on Blackwater Park.


    "I made sure to write good lyrics," Åkerfeldt laughs. "This sounds very old-fashioned black metal to say, but the lyrics are misanthropic. It's not a concept record, so there's no theme running through the record. Most of the record deals with love. The negative aspects of love. The jealously, the bitterness, the paranoia, and the mind games of love. So, it's a love record. Love songs. Love can be like a disease or a spell."


    Luckily, for Åkerfeldt and crew-bassist Martín MÉndez, drummer Martin Axenrot, guitarist Fredrik Åkesson, and keyboardist Joakim Svalberg-the lineup doesn't have to deal with Sorceress' main theme. They've been together since Heritage was completed, and according to Åkerfeldt he's not been in a better band situation before. Not since Orchid. Not since Still Life. Not since Ghost Reveries.


    "It's the best band situation I've ever had. Fans will look at our eras and have their favorite lineup, but this is the best. Even the happiest days of the first and second lineups aren't comparable to what I have now. We never fight. It's like a good work team. We know each other professionally and personally. As much as we're a band, we're also friends. We hang out when we're not doing Opeth."


    A core team is a good thing, when Opeth's credibility is in full view of fans and critics. Åkerfeldt's very aware of what the masses have had to say about Opeth since Watershed. While some disliked the musical shift on Heritage, most have applauded it. They've come to expect something new from Opeth. True to form, Sorceress will give long-time fans and weary critics reason to re-think Opeth and what it takes to be musically fearless.


    "I hope they'll like the record," posits Åkerfeldt. "I can only talk from my perspective and taste here, but we offer diversity that's not really present in the scene today. Whatever genre. We've always been a special band. We've gotten a lot of shit for being different. We still do. Our time will come, I think. It comes down to perseverance. It comes down to not giving up or giving in to public opinion. Music is about doing your own thing or going your own way."

    1. Persephone
    2. Sorceress
    3. The Wilde Flowers
    4. Will O The Wisp
    5. Chrysalis
    6. Sorceress 2
    7. The Seventh Sojourn
    8. Strange Brew
    9. A Fleeting Glance
    10. Era
    11. Persephone (Slight Return)
    12. The Ward
    13. Spring MCMLXXIV
    Opeth
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Savages Savages Quick View

    $24.99
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    Savages

    Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.


    Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.


    "All of the things that make SOULFLY killer are combined in Savages," Max declares.


    »Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.


    "I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."


    A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.


    SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.


    In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).


    Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"


    Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."


    Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."


    Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."


    Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."


    Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."


    Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."


    Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."


    Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.


    Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"


    Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Fresh Blood For Tired Vampyres Fresh Blood For Tired Vampyres Quick View

    $23.99
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    Fresh Blood For Tired Vampyres

    Eternal life can seem like an eternity. Ask any vampire. The continuous march of sun ups, sun downs, transformations of form, seductions, cape fittings & exsanguinations. Eventually it all just becomes an endless, tired routine. It all seems so exciting & so sexy to those of us who operate knowing we have limited time. But ask any vampire about the downside of eternal life, & you won't be surprised to hear tales of binge eating garlic bread just to feel the hurt, or of the occasional dangling of a wooden stake just over the center of the rib cage.


    Electric Six knows all about eternal life. Electric Six has been around forever & it can never die. That's lovely, but it's also very tiring. Fresh Blood For Tired Vampyres is the new release by Electric Six on Metropolis Records. One listen & you will immediately understand that the sexiest vampires are urban vampires. Where E6 has dabbled in dance, hip-hop & R&B in the past, Fresh Blood is the whole enchilada. It's thirteen songs designed to make the listener interested in smooth & nasty fuckin', the way they do it in the city. From the Grandmaster Flash-inspired Number Of The Beast to the super smooth tour of the NYC outer boroughs Mood Is Improving, the listener finds himself immediately deposited into an urban drop zone with hustlas & dickblockas coming from behind every corner.


    The radio-ready pop hits I'll Be In Touch & Dance With Dark Forces are the tracks that get the listener off the street & into the club. & it would not be an Electric Six album without an epic closer, that being the beautiful & haunting Spacewalkin', the ballad that assures the listener that the vampire has now fed & will live a thousand more years, albeit in outer space. Electric Six changes more frequently than change itself, but ultimately this just means they're never gonna put out the same album twice. Fresh Blood for Tired Vampires is poppy & smooth, nasty & raw...& oh so life affirming, especially if you are undead.

    1. Acid Reducer
    2. The Number of The...
    3. Mood Is Improving
    4. I'll Be In Touch
    5. Lottery Reptiles
    6. Dance With Dark...
    7. (Be My) Skin Caboose
    8. My Dreams
    9. I Got The Box
    10. Lee Did This To Me
    11. Greener Pastures
    12. The Lover's Pie
    13. Space Walkin'
    Electric Six
    $23.99
    Vinyl LP - Sealed Buy Now
  • Ready To Die (Out Of Stock) Ready To Die (Out Of Stock) Quick View

    $16.99
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    Ready To Die (Out Of Stock)

    'Ready To Die' is the band's first studio collection since 2007's 'The Weirdness' and the first album of all-new material featuring Iggy Pop, guitarist James Williamson and drummer Scott Asheton since 1973's classic 'Raw Power'. Mike Watt fills in for the late Ron Asheton on bass.


    Explaining his decision to make another Iggy And The Stooges album in 2013, Iggy Pop said recently: My motivation in making any record with the group at this point is no longer personal. It's just a pig-headed fucking thing I have that a real fucking group when they're an older group, they also make fucking records. They don't just go and twiddle around on stage to make a bunch of fucking money...


    Tracks confirmed to appear include 'Burn', 'Job', 'Sex & Money' and the title track 'Ready To Die'. The album was produced by guitarist Williamson at Fantasy Studios in San Francisco, though Iggy Pop recorded his vocals in Miami.


    The album was mixed by Ed Cherney, who revealed last month (January): It's old-time Stooges. It's raw. They're great songs, but not necessarily big choruses. They're the Antichrist of anthems.

    1. Burn
    2. Sex And Money
    3. Job
    4. Gun
    5. Unfriendly World
    6. Ready To Die
    7. DD's
    8. Dirty Deal
    9. Beat That Guy
    10. The Departed
    Iggy and The Stooges
    $16.99
    Vinyl LP - Sealed Temporarily out of stock
  • Everything Is Debatable (Out Of Stock) Everything Is Debatable (Out Of Stock) Quick View

    $17.99
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    Everything Is Debatable (Out Of Stock)

    Hellogoodbye: Everything is Debatable - Is everybody ready for an inspired cacophony of joyful sound contrasted with dark yet mature lyrics? If so, take a listen to Everything Is Debatable. This album is the sonic personification of live for today because you might not get tomorrow. The album deals extensively with death, but instead of descending into depression, the album explodes with energy. It's as if Hellogoodbye sees death coming and there's a lot on their bucket list, the culmination of which is a great album.


    The concept of death leads off the album with the opening line to 'And Everything Becomes a Blur'. "All the friends we made along the way, everyone single one will pass away". Later in the album the concept is explored further with 'Die Young, Die Dumb; Not Soon' and with the album's closer, 'A Near Death Experience'. The final track vacillates between slow build, soaring self-exploration and almost jazz-inspired interludes. 'Die Young, Die Dumb; Not Soon' uses the concept of death as more of a joke. The plan of the title is to pass away before cynicism infiltrates your psyche: die before you're no longer open-minded, but hopefully "not soon".


    The album is quite adept at dance tracks as well. '(Everything is) Debatable' is an inspired, danceable song. It is rich and full and it never leaves the listener bored. Every moment is complete with a new sound to hear, a new instrument being shown off. 'Just Don't Let Go Just Don't' is another really great dance track. This entire album is a clinic in how dance tracks can be exciting without being vapid. The electronic base line mixed with the real guitars and drums is brilliant. Hellogoodbye mixes the real with the synthetic like a brilliant designer.That blend is really what completes the album. A track is never fully synthetic or completely grounded with real instruments. The blend is always present and well thought out.


    Probably my favorite song on the album is also its darkest. 'Summer of the Lily Pond' explores the details of disagreements and discovers that the author is in fact the one that "was wrong". The concept is explored with fantastic horns that capture the brassy feeling of regret. It is perhaps the least synthetic song on the album and its contrasting presence highlights the brilliance of the album.

    - Jay Abbondanza (Violent Success)

    1. And Everything Becomes A Blur
    2. (Everything Is) Debatable
    3. The Magic Hour Is Now
    4. Swear You're In Love
    5. Summer Of The Lily Pond
    6. Just Don't Let Go Just Don't
    7. I Don't Worry (as Much As I Should)
    8. How Wrong I Can Be
    9. An External Force
    10. Die Young, Die Dumb; Not Soon
    11. A Near Death Experience
    Hellogoodbye
    $17.99
    Vinyl LP - Sealed Temporarily out of stock
  • AAA (Out of Stock) AAA (Out of Stock) Quick View

    $19.99
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    AAA (Out of Stock)

    Born back in the early '80s behind the iron curtain, no-one could imagine the possibility that the young brothers and troublemakers Beverly and Rik and their two friends Ändru und TV Mörk would get together to form a punk rock band. The four piece moved to Berlin as soon as they turned 18 to start their punk rock mission. To be honest, the start was not that glorious. The temptations of the big city lights, beers, booze and drugs blurred the bands vision at first. During those early years (2002-2005) the band only managed to get 20 gigs under their belts.


    Just as the punk pioneers of the previous generation, the band decided to moderate their lifestyle and after a while of nearly well-ordered life in the bands rehearsal room, the first 7 single Out of Tune was released by themselves. Loads of live shows were played, several 7's were released and the Radio Dead Ones became one of Berlins best kept punk rock secrets. Three years later the first self titled full length album hits the streets. Packed with raw, tough sounding songs it was very well received by the media and the fans. The band played countless shows all over Europe, shared stages with bands like The Backyard Babies, Dropkick Murphys, US Bombs, Mad Sin, Die Toten Hosen, Agnostic Front and could build up a massive live following with their energetic live shows. 2010 the Berlin City EP was released.


    The limited 10 vinyl, containing a Swingin Utters Cover, rock n roll inspired instrumentals and a hymn for Berlin was completely sold out within a couple of month. Later that year they supported the Beatsteaks during their Euro Club-Tour 2010. In the meantime the band played their 300th live show, a number to be proud of and a perfect indicator that shows what the band is all about. True passion
    for what they do and always ready to give themselves and their audience a time to remember.


    With their new album AAA the band shows that they are ready to make the next step forward. Packed with punk rock tunes that have the capability for future classics, the record will take the hearts of the fans by storm.

    1. Mighty Mass Hysteria
    2. Sensual Seduction
    3. Emerging Market
    4. Too Selective
    5. Cigars + Rum
    6. Angelina
    7. Dirty Love Hotel
    8. Into The Sun
    9. Fuck Em All
    10. Mary Me Or Bury Me
    11. Not Here
    12. RDO 2 (BRÄMF)
    13. Smoking
    14. You Dont Make Me Feel Anything
    15. God Speed You
    Radio Dead Ones
    $19.99
    Vinyl LP - Sealed Temporarily out of stock
  • Party Of One (Out Of Stock) Party Of One (Out Of Stock) Quick View

    $21.99
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    Party Of One (Out Of Stock)

    Rounder Records announces the first-ever solo album release from legendary guitarist/vocalist George Thorogood, titled PARTY OF ONE. The album will feature 14 cuts of traditional blues, classics, and modern blues songs, from John Lee Hooker's One Bourbon, One Scotch, One Beer to Hank Williams' Pictures From Life's Other Side, and The Rolling Stones' No Expectations.

    PARTY OF ONE was produced by Grammy-winner Jim Gaines (John Lee Hooker, Luther Allison, and Stevie Ray Vaughan), who reunites with Thorogood on the debut solo project, having produced several of Thorogood's biggest albums to date (RIDE 'TIL I DIE, THE HARD STUFF, THE DIRTY DOZEN). The album's primarily acoustic instrumentation - including slide, Dobro, and harmonica - is performed entirely by Thorogood, raw and stripped down, with an intimate one-on-one feel.

    Says Thorogood: I think this is a project that's long overdue. Maybe it should have been the very first album I ever made. After playing with the band for all these years, I had to kind of reverse my hands and my head in order to do this thing justice. Thorogood continues, But I think Destroyers fans - and hardcore blues fans, too - are ready for the unexpected. My whole career, I've always said, 'Just give them what you are, and they're either going to dig it or not.' This record is what I was, what I am, and what I always will be.

    PARTY OF ONE is Thorogood's return to Rounder Records, the roots label with which he first signed in 1976 to record the three hit albums that launched his recording career, beginning with his debut, GEORGE THOROGOOD AND THE DESTROYERS. Says Rounder co-founder Ken Irwin: George's coming back is a nice completing of the circle. This record shows his talent as a storyteller in a very different setting, with all the emotion in his guitar and vocals. It's a really intimate record, but it's unmistakably a George Thorogood record, too.

    Co-founder Marian Levy adds, You'd think it would be almost impossible to recapture, but there's immediacy to this record that harks back to the radicalism of the early Destroyers. In many ways, I think this record is a summation of George's career.

    Rounder Records Vice President of A&R Scott Billington, also the album's executive producer, says: This wasn't an easy record for George to make. He had to viscerally reconnect with a time in his life when he was discovering who he was. But as you listen to these songs, you realize that he is, and always has been, an authentic blues player. This album is George Thorogood claiming his legacy.

    Over the course of the last four decades, George Thorogood, with his longtime legendary band, The Destroyers, has sold more than 15 million albums, released 16 studio albums - including six gold and two platinum discs - and performed more than 8,000 live shows. George Thorogood and the Destroyers' catalog of hits include: Who Do You Love?, I Drink Alone, One Bourbon, One Scotch, One Beer, Move It On Over, Get A Haircut, and the anthemic Bad To The Bone.

    1. I'm A Steady Rollin' Man (Robert Johnson)
    2. Soft Spot (Gary Nicholson and Allen Shamblin)
    3. Tallahassee Women (John Hammond Jr.)
    4. Wang Dang Doodle (Willie Dixon)
    5. Boogie Chillen (John Lee Hooker)
    6. No Expectations (The Rolling Stones)
    7. Bad News (Johnny Cash)
    8. Down The Highway (Bob Dylan)
    9. Got To Move (Elmore James)
    10. Born With The Blues (Brownie McGhee)
    11. The Sky Is Crying (Elmore James)
    12. The Hookers (If You Miss 'Im I got 'Im) (John Lee Hooker)
    13. Pictures From Life's Other Side (Hank Williams)
    14. One Bourbon, One Scotch, One Beer (John Lee Hooker)
    George Thorogood
    $21.99
    Vinyl LP - Sealed Temporarily out of stock
  • We Are The Romans (Out Of Stock) We Are The Romans (Out Of Stock) Quick View

    $25.99
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    We Are The Romans (Out Of Stock)

    The year was 1999. Prince told us to party like it is 1999. The world had us thinking there would be computer mayhem after the year 1999. The same year that George W. Bush told us that he would be a republican candidate for the upcoming election. It was the same year that the Euro was introduced as a major form of currency. Yet after all of events, three blunders and one economic uprising (give you a hint, the economic uprising did not have anything to do with George W. Bush), there was one record in 1999 that changed a genre of music as we know it or perhaps even created one. In 1999 in Tacoma, Washington the four members of Botch created an album that is considered one of the best within its genre entitled, We Are The Romans. A title that is a statement about the United States thought of immortality, but a realization that we are not. The album cover shows what appears to be New York City with a huge blot of black ink covering the city. Within the blot is a red target, signifying that the United States is indeed a target. The even more disturbing aspect of the art is the fact that when you first open the contents, there is a picture of destroyed buildings. That picture, perhaps, tells the story of what will happen in the near future to the United States or maybe Botch themselves. Now then, let us get to the album that Norma Jean tried to base an entire album off.


    Botch had only produced two full-length albums during their brief career as a band. We Are The Romans was the second of the two and a major advancement from their earlier release, American Nervoso. While American Nervoso was an amazing record in its own regard, it was not produced well and not as groundbreaking, musically, as We Are The Romans. During this release they came up with catchy and yet menacing guitar riffs, thick distorted sludgy bass riffs, extremely technical drumming.


    As an opener, "To Our Friends in the Great White North," kicks you directly, square in the nuts. With an initial shout, the guitar, bass, drums immediately follow. A consistent downward scale is played on the guitar that soon slyly transitions in a chug-to-high chord section. It then begins to break down as the pace begins to slow down. On and off head banger riffs follow at a slow dissipated pace that leads into a clean vocal section chanting


    it's your fault (it's your fault)

    ***ing up the kids (***ing up the kids)


    The chant is repeated for a few solitary moments and then it becomes tacit with just a high-hat keeping tempo that quickly turns until another heavy part with intense guitar work. The initial reactions after this song that it was simply mind blowing. The album maintains its ride of almighty power into the next song "Mondrian Was A Liar" with math metal elements incorporated. "Transitions from Persona to Object" continues the theme of memorable guitar riffs with a hook that is repeated and altered throughout the duration of the entire song. While the noises protruding may not be the most pleasant to the ear, they certainly add to the effect of destruction. While some may say that the repetitive nature of the song continues for far too long (clocking in at just over six minutes), the overall feeling was that it could not be abruptly stopped after any given point. It eventually comes to a halt when the drums are the only remaining instrument left. "C. Thomas Howell as the Soul Man"" provides a sloppy and gritty performance with classic tapping guitar riffs. Also contained is a three note distorted bass riff that evolves into a clean break within the song that builds up into chaos that then tapers off.


    More than half way through the album, We Are The Romans needed a shot of pure adrenaline. In what is the climax of the album, "Saint Matthew Returns to the Womb" has an unspeakable feeling about it. The song practically defines metalcore (in an album that is the start of metalcore, as we know it, perhaps). A song that combines classic elements of brutal metal and what can be considered "fun" hardcore. It is a true staple strong in the short lifespan of Botch. Finally, in what maybe be considered the song that may have predicted Botch's downfall, "Man The Ramparts." Surely, one can look at the album in the eyes of America's downfall, but ironically, Botch may have fell first. Think about it this way, it was their last full length without conflicts of the direction the band was going. It is a song about preparing for what is ahead, because it will soon be a collapse, but not without a last stand.


    We'll man the ramparts

    With arrows ready

    With our flags up

    We are the Romans


    The song can almost be related to a battle. It starts as it were trudging along to the beat of a war drum with off time guitar and bass. It then starts the battle with a brutal scream and fiery fierceness to it. As it continues, it slowly disassembles and then regains composure into the previous intensity. The song dies down, with every beat and it begins to fade into a choir hymn saying We are the Romans as almost collecting forces to join for one last hurrah. Eight minutes and thirty now elapse, the quintessential loudest section of the entire song ERUPTS. Precise drumming and abrasive chords carry on until the final hits of the instruments and the last screech and it everything stops.


    It is over. The piercing screaming, the rhythmically brilliant drumming, the coarse sound of the bass, and the memorable guitar riffs are no longer. While "I Wanna Be A Sex Symbol On My Own Terms" is the only track that I feel was a grave disappointment, they produced an unbelievably solid record. We are the Romans was a completely original album in its own regard and left a legacy behind. They made the music that was out there more interesting and complex. Botch created a fusion that was perfected with this release. I am glad one thing will never change, no matter what year it is next; I can still listen to this album.


    - Ryan Flatley (Sputnik Music)

    1. To Our Friends In the Great White North
    2. Mondrian Was A Liar
    3. Transitions From Persona To Object
    4. Swimming The Channel Vs. Driving The Channel
    5. C. Thomas Howell As The Soul Man
    6. Saint Matthew Returns To The Womb
    7. Frequency Ass Bandit
    8. I Wanna Be A Sex Symbol On My Own Terms
    9. Man The Ramparts
    10. Untitled
    Botch
    $25.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
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