- Lowest Price
- Highest Price
Rising GraceWolfgang Muthspiel - whom The New Yorker has called "a shining light" among today's jazz guitarists - made his ECM leader debut in 2014 with the trio disc Driftwood, featuring him alongside two longtime colleagues, bassist Larry Grenadier and drummer Brian Blade. For his follow-up - Rising Grace - the Austrian guitarist has convened a very special quintet, adding jazz luminary Brad Mehldau on piano and the outstanding young trumpeter Ambrose Akinmusire to the subtly virtuosic Grenadier/Blade rhythm section.
Muthspiel moves between electric guitar and classically tinged acoustic six-string, his playing by turns grooving ("Boogaloo") and enchanting ("Rising Grace"). The lyrical flights of Akinmusire's trumpet and the probing improvisations of Mehldau run through Muthspiel's rich set of compositions like golden threads, the tracks including a warm tribute to a late, great ECM artist, Kenny Wheeler ("Den Wheeler, Den Kenny"). Rising Grace also includes a deeply melodious piece that Mehldau composed especially for the album, "Wolfgang's Waltz."
Wolfgang Muthspiel - Guitar
Ambrose Akinmusire - Trumpet
Brad Mehldau - Piano
Larry Grenadier - Double Bass
Brian Blade - Drums1. Rising Grace
2. Intensive Care
3. Triad Song
4. Father And Sun
5. Wolfgang's Waltz
8. Den Wheeler, Den Kenny
9. Ending Music
10. Oak$35.99Vinyl LP - 2 LPs Sealed Buy Now
RiseSince Skillet last hit the studio for 2006's breakthrough project Comatose, the group's toured with the likes of Breaking Benjamin, Three Days Grace, Seether and Flyleaf, followed by a solo headlining ranking within Pollstar's Concert Pulse Top 50 Tours for 2008. Aside from the commercial accolades, the Grammy-nominated modern rockers are rapidly approaching gold sales status, backed by both public adoration and critical praise, making the brand new Awake the band's most anticipated album to date. The foursome's overwhelmingly satisfied with the entire sonic and thematic palette throughout Awake, which is loaded with plenty of anthems in the making destined to be smash singles and concert sing-a-longs. Skillet's massive fan base (who affectionately refer to themselves as Panheads) are sure to agree, though they'll likely be even more impressed with the lyrical outpouring, which remains a top priority for the players.1. Rise
2. Sick Of It
3. Good To Be Alive
4. Not Gonna Die
5. Circus For A Psycho
6. American Noise
7. Madness In Me
9. Fire And Fury
10. My Religion
11. Hard To Find
12. What I Believe$17.99Vinyl LP - Sealed Buy Now
First Rays of the New Rising Sun (Awaiting Repress)Cut from the Analog Masters by Legendary Engineer George Marino at Sterling Sound and Pressed on 180-gram Vinyl at RTI!
First-Ever Audiophile Edition of this Seminal Collection, Hendrix's Final Studio Album!
The Hendrix Family is Committed to Bringing you the Best Sound Quality Possible: Do Not Miss This Collection!
Set Joins Exquisitely Remastered Versions of Are You Experienced?, Axis: Bold As Love, Electric Ladyland, and the previously unreleased Valleys of Neptune!
Hendrix Has NEVER Sounded Better on Any Format or Pressing!
First Rays Of The New Rising Sun, the last graceful gesture by pioneering guitarist Jimi Hendrix, is the first album prepared under the supervision of his family. It compiles 17 songs whose creation span from March of 1968 to the last sessions at Electric Lady Studios in August of 1970, and which Hendrix inteded for release on this album, which was being made at the time of his tragic death. The material finds Hendrix expanding upon the parameters of his voice, concentrating on his singing while also embracing soul music more than he had on his other recordings. Hence, listeners hear funkier, bluesier, and R&B-slanted elements on this staggering set, which in no way comes off as a cheaply thrown-together posthumous release. Rather, given the level of experimental psychedelic exploration and dreamlike tones throughout, First Rays of the New Rising Sun rightly takes its place as Hendrix's final studio album. And it's never sounded so amazing.
Mastered from the original analog tapes, cut by legendary engineer George Marino on upgraded equipment at Sterling Sound, and pressed on 180-gram virgin vinyl at RTI, this LP is a sonic knockout on par with the very best audiophile recordings. It's no wonder that this release helps spearhead Legacy Recordings' unprecented 2010 Jimi Hendrix Catalog Project of reissues and new releases from the greatest guitar player in history. Albums don't get more essential than this.
Originally released in 1997, First Rays Of The New Rising Sun boasts many of Hendrixs most creative musical achievements, including Night Bird Flying, Angel, Dolly Dagger, Hey Baby (New Rising Sun), and In From The Storm. Finally, here is the link that connects Hendrix's involvement with the Isley Brothers with his own groundbreaking solo fare, now on a truly glorious-sounding pressing. An absolute must for any music fan.1. Freedom
3. Night Bird Flying
5. Room Full Of Mirrors
6. Dolly Dagger
7. Ezy Ryder
10. Stepping Stone
11. My Friend
12. Straight Ahead
13. Hey Baby (New Rising Sun)
14. Earth Blues
15. Astro Man
16. In From The Storm
17. Belly Button Window$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
The Resistance: Rise Of The Runaways (Awaiting Repress)Since bursting onto the scene in 2012 with their debut full-length, "The Fallout", Crown The Empire have shown
no signs of slowing down on their undeniable course toward world domination. The band have sold over 60,000
copies of their groundbreaking debut album, and have been busy touring the world repeatedly, and gracing
magazine covers frequently.
Crown The Empire haven't slowed their momentum, supporting tours for Pierce the Veil, Asking Alexandria, and
The Used. After being the breakout band on the 2013 Vans Warped Tour, the band was asked to return again this
year as a Main Stage act.
The band has also been on the cover of Alternative Press over three times in the past year, a feat that has never
been accomplished by a new band. They appeared first as the cover artist for Alternative Press' "Bands You Need
to Know" issue, then again for their "Stars of Warped Tour" issue, and the band is on the cover of their current
issue, to help build early support for their new release, "The Resistance: Rise of the Runaway".
Crown The Empire's new album, "The Resistance: Rise of the Runaway", has the band exceeding all preconceived
expectations. It's heavier and more melodic than everything fans and critics grew to love on "The Fallout" but it
doesn't feel contrived or forced in any way. When you break it down, Crown The Empire are storytellers for a new
generation; nothing is a mistake. Every detail, element, structure, chorus, and breakdown is planned, and the
album flows like the plot of a theatrical film. There's a reason why magazines have been putting Crown The Empire
on their covers and there's a reason the bands gets o ered multiple tours each quarter; it's because fans truly
believe in the band and care about what they're doing. Their fan base is a cult-like army, who truly believes and
supports them. It's what separates Crown The Empire from everyone else, and it's why "The Resistance: Rise of
the Runaway" is sure to be an instant classic, and a must-have album for years1. Call To Arms (Act I)
5. The Wolves Of Paris (Act II)
7. Second Thoughts
8. Maniacal Me
10. Rise Of The Runaways
12. The Phoenix Reborn$16.99Colored Vinyl LP + CD - Sealed AWAITING REPRESS Buy Now
Unbreakable / Back To Me (7 Single)Limited To 1000
Half White / Half Grey With Black Splatter
Of Mice & Men are one of the largest bands on the Rise Records roster. They've spent the past couple of years growing into a well-respected rock act, earning praise from critics, their peers, and even their icons. They've sold over 830,000 albums in the US alone, they've had atop 5 debut on the Billboard Top 200, and they have been busy touring arenas and amphitheaters with the likes of Linkin Park, Slipknot,Marilyn Manson, Rise Against, A Day To Remember and Bring Me The Horizon. They've graced the covers of multiple publications(Revolver, Alternative Press, Kerrang!, Rock Sound, Metal Hammer, Blunt), and have constantly been able to nurture and develop a rabid following that feels more like a family than a fan base.
The band took a recent break from touring and recorded two brand new singles, Unbreakable and Back To Me. Both songs were produced by Howard Benson (My Chemical Romance, Daughtry, All American Rejects), and the result is 2 very powerful tracks that have quickly become fan favorites. Both songs have had great success on all of the streaming services (Unbreakable has over 5,042,374 streams& Back To Me has over 2,075,738 streams).1. Unbreakable
2. Back To Me$7.99Colored 7 Vinyl Single - Sealed Buy Now
Future BrownOften dubbed a "supergroup", each member of Future Brown is a seasoned artist across genres. Fatima Al Qadiri, a Kuwaiti musician and visual artist, last year debuted her LP Asiatisch to critical acclaim via the infamous Hyperdub. LA-based Daniel Pineda and AsmaMaroof have been producing and DJing as Nguzunguzu for the Fade To Mind crew and worked with rappers Le1f, M.I.A and R&B singer Kelela. J-Cush, runs Lit City Trax from NYC, a label providing an outlet for urban music from every corner of the globe including the late Chicago footwork legend DJ Rashad. Presenting vocal collaborators with strains of sonic ideas they would never encounter otherwise, Future Brown manage to catalyze a cosmopolitan, experimental approach to contemporary urban sounds. Future Brown caught early attention with their breakaway track featuring Chicago's rising star Tink. The first producers outside of her city to champion the young vocalist (who is now working on her debut album with Timbaland and AndrÉ 3000), the epic 'Wanna Party' now bookends the album with another Tink collab, "Room 302". Other vocalists include grime's Ruff Sqwad members Rapid and Dirty Danger, Kelela, Yung Chop's 8TMG MCs and Stargete'sproteges Sicko Mobb. Timberlee (reggaton star and Major Lazer collaborator) even graces the album, as well as rapper Shawnna. Performatively Future Brown have backed up their sound with full concept installations at MoMA's PS1 Gallery alongside DIS Magazine as well as Miami's Art Basel this winter. On radio they have gained fans regionally as varied as BBC Radio1 and DJ Pharris at Power 92 Chicago.1. Room 302 [ft. Tink]
2. Talkin Bandz [ft. Shawnna and DJ Victoriouz]
3. Big Homie [ft. Sicko Mobb]
4. No Apology [ft. Timberlee]
5. Vernáculo [ft. Maluca]
6. Dangerzone [ft. Kelela and Ian Isiah]
7. Speng [ft. Riko Dan]
8. Killing Time [ft. Johnny May Cash, YB and King Rell]
9. MVP [ft. 3D Na'Tee and Tim Vocals]
10. Asbestos [ft. Roachee, Prince Rapid and Dirty Danger]
11. Wanna Party [ft. Tink]$22.99Vinyl LP - Sealed Buy Now
Die ScreamingSomething sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.
Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.
With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.
This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.
Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.1. Thumper's Theme
2. Instruments of Hellfire
3. Curse of the Corpse
4. Black Souls
5. Show Me Your Skull
6. One By One
7. Lucifer Lives
8. Die Screaming$34.99Vinyl LP - Sealed Buy Now
StonedhengeA Premium RTI Pressing, From The Original U.K. Mono Masters
Ten Years After's eponymous debut hit the door with a loud thud. Undead cracked it. And with 1969's Stonedhenge, they knocked it down with authority, stormed the palace and showed the world that they were indeed a major act. Stonedhenge was where Ten Years After really came into their own with originals. "Hear Me Calling" is brilliant modern blues on par with the best of early Fleetwood Mac, rising from a restrained beginning to all-out rocking before repeating the cycle one last time. "Going to Try" explores similar territory, even venturing into a Middle-Eastern inspired section underscored by randomized percussion overdubs and Chick Churchill's psychedelic organ. "Woman Trouble" is stirring jazzy blues, and on "No Title," the band really cuts loose - kicking off with a standard blues lament before unleashing a series of solos that are almost songs unto themselves: Alvin Lee's power-chord solo making way for Churchill's spooky organ making way for a badass jam between drummer Ric Lee and bassist Leo Lyons. The band was running like a freight train - and in fact, train noises grace the beginning of album finale "Speed Kills," a bluesy boogie that pushes the meter straight into the red before the thrill-ride literally comes to a screeching halt. But not before the album fully displays the band's world-class musicianship and songwriting, which made Stonedhenge a hit in the UK and gave Ten Years After their first-ever Billboard Top 100 entry, at a respectable #61 in April 1969. In turn, it paved the way for the band's acclaimed performance at Woodstock, which ensured regular placement on the album charts for years to come.
For now, dig the first vinyl reissue of the ultra-rare mono mix of Stonedhenge, housed in its original gatefold cover artwork and meticulously mastered for the most discerning listener.
Now Sundazed proudly presents the searing guitar of Alvin Lee & Chick Churchill's haunting organ textures as they were meant to be heard, from the original U.K. MONO masters and pressed on premium RTI vinyl!1. Going To Try
2. I Can't Live Without Lydia
3. Woman Trouble
5. Hear Me Calling
6. A Sad Song
7. Three Blind Mice
8. No Title
10. Speed Kills$24.99Vinyl LP Mono - Sealed Buy Now
ParamountPressed On Colored Vinyl
At the apex of Fury's short and startling rise, from a providential birth in late 2013 through era-defining performances at America's Hardcore fest in 2014 and 2015, the Orange County five-piece has delivered Paramount, a debut full-length album of grace, erudition, and effortless virtuosity that guarantees Fury's induction into the tiny fraternity of epochal hardcore bands - e.g., Embrace, Unbroken, Mental - in whose sonic singularity and aesthetic intelligence the best minds of successive generations have seen themselves reflected.
Paramount is impossible to characterize in the usual terms of A-meets-B direct influence: maybe you hear Burn, maybe you hear Outburst or Beyond or Supertouch, but no combination of such references conveys the subtlety of the songwriting, the precision of the musicianship, or the ferocity of Jeremy Stith's vocal performance, by way of which one encounters the best written and most cleverly phrased hardcore lyrics in recent memory. Paramount is, as they say in the groves of academe, sui generis.
And yet to apprehend the lyric sheet's overt intertextuality (no less than Shakespeare, Don Delillo and Praise's Andy Norton, among others, are given co-writing credit), to hear the multiplicity of guest vocalists, to spend the 12 minutes required to read the voluminous thanks list - all this is to know, as the band itself surely does, that Paramount belongs no more to the individuals who recorded it than to the entire roiling, loving, terrifying, inspiring, hateful, romantic, literate, ignorant, fantastically dynamic culture that gave rise to it.1. Danse
2. Thin Line
4. Damage Is Done
5. In Extremis
6. The Fury
7. Death Yellows Life & Reason
9. Duality of Man
10. The Feeling$17.99Colored Vinyl 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
Changes (Pure Pleasure)Contemporary jazz vocalists, caught in the current trend to accelerate their careers, are often indistinguishable from the pack, the essence of their music lost in haste. With her release of "Changes", veteran singer Carmen Lundy proves that this premise does not apply to her, rising to that proverbial summit to enjoy the rarefied air of the chosen few.
Graced and gifted with a smooth, effortless voice, Lundy has been highly heralded since her landmark 2005 record, Live at the Madrid (Afrasia). Though she has done other records since, she is back with a supple encore of original compositions and novel directions. She states that she approached these songs with the guitar in mind and, accordingly, brought in premier guitarist Oscar Castro-Neves for his expertise in dealing with subtle, nuanced rhythms. Though he lays back on much of the recording, on Sleeping Alone he begins with his soft guitar sketching a distant samba. Lundy delivers the swaying tempo as only she can. They combine for another guitar/vocal duet on Where Love Surrounds Us, where the acoustic arrangement is sublime.
There is a definite retro feel to this production, which hails back to a period of authentic recording methods when musicians took their time in composing, arranging and rehearsing. Pianist Anthony Wonsey plays a vintage Fender Rhodes on So Beautiful and Too Late For Love, which features trumpet man Nolan Shaheed playing off of the vocals. The band is fully in tune under Lundy's spell and the result is stupendous.
Lundy attests that she is taking chances and making changes in her approach to songwriting and performing, and there is an underlying percussive element drifting throughout the selections. With a caressing style that blends intention with improvisation, Changes is that personal record she had within her. She has let it out for the world to hear.
- Carmen Lundy (vocal, harp)
- Nolan Shaheed (fluegel horn, trumpet)
- Antony Wonsey (piano, electric piano)
- George Bohanon (trombone)
- Oscar Castro-neves(guitar)
- Kenny Davis (bass)
- Jamison Ross (drums, percussion)
Recording: June 2011 at Castle Oaks Recording Studios, Calabasas (CA), by Don Murray
Production: Elisabeth Oei
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. The Night Is Young
2. So Beautiful
3. Love Thy Neighbor
4. A Nightingale Sang In Berkeley Square
5. Sleeping Alone
6. Too Late For Love
7. Dance The Dance
8. To Be Loved By You
9. Where Love Surrounds Us$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Point Of No ReturnPoint of No Return on Numbered Limited Edition 180 Gram Stereo LP from Mobile Fidelity
Memories of You: Sinatra Waves Farewell to Capitol on Elegantly Dressed Standards Set from 1961
Mastered from the Original Master Tapes: Mobile Fidelity 180 Gram LP Captures Gracefulness of Ornate Orchestrations
Sinatra Reunited With Arranger Axel Stordahl, Collaborator That Spearheaded the Voice's Rise in the 1940s
Thematic Songs Address Goodbyes With Profound Sense of Sadness, Longing
Nobody says goodbye like Frank Sinatra. For his final album with Capitol, Ol' Blue Eyes elected to croon an unforgettable selection of farewell songs marked with longing, sadness, and poignancy. To make the occasion even more special, he teamed with arranger Axel Stordahl, the virtuoso that helped launch Sinatra's star at Columbia during the 1940s. The results amount to one of the finest send-off statements in history.
Mastered from the original master tapes, Mobile Fidelity's numbered limited edition 180 gram stereo LP presents the songs as they should be experienced: In rich, lush, front-to-back sound in which the strings soar and literally inhale and exhale. Sinatra's singing, as good as it's ever been during his career, comes across with unfettered transparency and tonal purity. Such is the fidelity, the music turns into aural poetry, rendering completely fluid and tube-amp warm the rushes of strings, words, and structures.
Sinatra fans continually debate which of the artist's albums rank as his best, but there's no doubting the status attached to Point of No Return. Unquestionably the most overlooked effort in the Chairman's Capitol catalog, it defies common expectation that it was made haphazardly to simply fulfill a contractual obligation. Sinatra's presence alone guarantees that isn't the case, yet Stordahl's involvement ensures this 1961 set is something very special indeed.
The chemistry between the old collaborators is immediately evident. Sinatra inhabits every phrase, feeling, and expression conveyed on the dozen standards, achieving an intimate connection with Stordahl's instrumental accents. Akin to the downbeat moods he casts on the immortal In the Wee Small Hours and Only the Lonely, the vocalist keeps calm and cool, yearning and reflecting as if he's strolling a barren downtown after midnight, a man left alone with his thoughts and memories. Somber, wistful, meditative, teary-eyed sentimental-Sinatra paints each song with the emotions they need, nothing more and nothing less.
From regal ("These Foolish Things (Remind Me of You)") to nostalgic ("I'll Be Seeing You"), relaxed ("September Song") to dramatic ("When the World Was Young"), Stordahl's treatments blush with natural ease and instinct, setting up Sinatra for countless moments of sublime beauty. Vocal pop aficionados, you don't want to miss this classic.
This title is not eligible for discount.1. (Ah, the Apple Trees) When the World Was Young
2. I'll Remember April
3. September Song
4. A Million Years Ago
5. I'll See You Again
6. There Will Never Be Another You
7. Somewhere Along the Way
8. It's a Blue World
9. These Foolish Things (Remind Me of You)
10. As Time Goes By
11. I'll Be Seeing You
12. Memories of You$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
New Wave (Colored Vinyl) (Awaiting Repress)Limited to 1,000 Yellow and Black Split Colored Vinyl
Reissue of the 2007 major label debut of one of the most controversial modern day rock acts. Features the singles ''Stop'' and ''Thrash Unreal''.
For Against Me! frontman Tom Gabel (now Laura Jane Grace), sometimes you have to get the hell out just to find your way back in. Since 1997 we have seen Gabel rise from acoustic folk-punk gunslinger in the dives of Gainesville, Florida to releasing Against Me!'s searing, blood-smeared slices of scrappy punk. The 2007 release, New Wave, was their major label debut, one that Spin magazine anointed as their Album Of The Year. And while Gainesville was home, Gabel felt the walls closing in when touring for New Wave came to an end. So he split. With his then-wife, he left behind the ''didja-hear-about-so-and-so'' insular Gainesville world for the sleepy beach town of St. Augustine, wandering the streets and driving dusty back roads: searching, pining, hoping for inspiration.
Produced by Butch Vig (Nirvana's Nevermind, The Smashing Pumpkins' Gish and Siamese Dream, Garbage).1. New Wave
2. Up The Cuts
3. Thrash Unreal
4. White People For Peace
6. Borne On The FM Waves Of The Heart
7. Piss And Vinegar
8. Americans Abroad
10. The Ocean$24.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Learning To CrawlWhat is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.
Half-speed mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles (Middle of the Road, Back on the Chain Gang) and incredible deep cuts sound.
The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II, the latter available on hybrid SACD from Mobile Fidelity), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders?
Hynde answers this question with a resounding yes on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. Back on the Chain Gang, the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed 2000 Miles holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.
New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious Middle of the Road and socially conscious My City Was Gone testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory--akin to the space referred to on the superb cover of Thin Line Between Love and Hate--that registers in the pits of the human soul.
Whether you've grown up with this album, heard it in college, or are just learning about it now, Mobile Fidelity's expertly mastered 180g LP version is the only analog edition worth owning. Hear Hynde and Co.'s cathartic, transcendent effort in all its full splendor, and, like the Pretenders, refuse to settle for less.
This title is not eligible for discount.1. Middle of the Road
2. Back on the Chain Gang
3. Time the Avenger
4. Watching the Clothes
5. Show Me
7. My City Was Gone
8. Thin Line Between Love and Hate
9. I Hurt You
10. 2000 Miles$34.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Get The Knack
One of the Most Instantly Successful and Highest-Selling Debut Albums in History: The Knack's Attitudinal Get the Knack Loaded With Power Pop, Catchy Hooks, Keen Melodies, and My Sharona
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity 180g LP of Get the Knack Teems with Abundant Energy
Most everyone knows The Knack's Get the Knack because of the ubiquitous smash My Sharona, a contagious hit that still plays countless times everyday on radio stations nationwide. But the appeal and significance of the Los Angeles quartet's 1979 debut extend far beyond the career-making single. Loaded with tight power pop, hummable hooks, blunt lyrics, and precision playing, the controversy-igniting Get the Knack resonates with an ageless freshness that's influenced everyone from Kurt Cobain to modern indie artists such as the Mountain Goats.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Get the Knack brings the record's urgent harmonies, keen melodies, bell-clear tones, and snapping percussion out of the shadows and into the limelight. Graced with large-scale frequency extension and ample separation, the Knack's feisty music now teems with added energy, body, and immediacy. Absent the dynamic compression that squelched previous reissues, this numbered limited-edition audiophile analog version blossoms with detail, openness, and brashness. A guilty pleasure to some and new-wave classic to many others, Get the Knack is so attitudinal it spawned one of the industry's most famous backlashes.
Released by Capitol Records after the Knack courted a dozen other offers, the 12-track set remains one of the most instantaneously successful debuts ever made. Aided by tongue-in-cheek marketing, a sly cover-art reference to the Beatles' Meet the Beatles, and Mack Truck-sized refrains that stick in your head for hours, Get the Knack went gold in days and, to date, has sold more than five million copies. The meteoric rise didn't sit well with detractors committed to ripping apart the band for its perceived arrogance (members refused to sit for interviews) and alleged misogynist stance. Needless to say, the boycotting campaigns fell on deaf ears.
Holding down the top of the singles chart for six weeks, and the eventual number-one single on the year-end 1979 chart, My Sharona alone cemented the Knack's position in history. Written by lead singer and guitarist Doug Fieger about his lust for the then-underage 17-year-old Sharona Alperin, who ultimately became his fiancÉe, the anthem's suggestive themes carry throughout the record. Straightforward in its sleaziness and sexuality, Get the Knack pulls no punches about teenage frustrations, boy-girl one-upsmanship, sticky sweet romance, and unrequited passions for the opposite sex.
Teasing, mischievous tracks such as (She's So) Selfish connect with Bo Diddley-inspired riffs and crude, hormonally charged lines that split the difference between manipulation, nastiness, and arousal. The Top 15 hit Good Girls Don't similarly confronts the pent-up carnal desires and libidinous emotions shared by youth of all generations, while That's What the Little Girls Do functions as a sly response. Your Number or Your Name dabbles in related subject matter, with sensitivity and hopefulness added for good measure. It's a perfect mix of agony and ecstasy, fear and confidence.
Shot-through with yearning, every song bursts forth with undeniable catchiness, firecracker release, and sassy style - an approach Rolling Stone rightly says finds the band [winding] itself tighter than a hot pair of disco jeans, then [doing] its best to hold to that energy until its time to explode.
This title is not eligible for discount.1. Let Me Out
2. Your Number or Your Name
3. Oh Tara
4. (She's So) Selfish
5. Maybe Tonight
6. Good Girls Don't
7. My Sharona
9. Siamese Twins (The Monkey and Me)
11. That's What the Little Girls Do
12. Frustrated$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-SID-6317xThe Smith Street Band
Throw Me In The RiverThrow Me in the River, the soon to be released third LP from
Melbourne, Australia's The Smith Street Band is multidimensional. Full
of their trademark earnest storytelling, the album is a virtual passport
to their global rise, with songs written while on tour in Winnipeg, Salt
Lake City, Calgary, London, New York, and North Melbourne. Less
than a year earlier, the band released a career defying 5-track EP
entitled Don't Fuck With Our Dreams. The single was added to radio
and launched with a 10-date Australian headline tour supported by
US acts Joyce Manor and Cheap Girls. The band graced magazine
covers, sold-out venues across Australia, signed international recording
deals and toured the UK, Europe, and the USA, including a
40-date tour with Frank Turner.1. Something I Can Hold In My Hands
3. Surrey Dive
4. Calgary Girls
5. East London Summer
6. The Arrogance of the Drunk Pedestrian
7. Get High, See No One
8. I Don't Wanna Die Anymore
9. It's Alright, I Understand
10. Throw Me in the River
11. I Love Life$17.99Colored Vinyl LP - Sealed Buy Now
AugustinesAugustines self titled sophomore album.
With its open-armed energy and elegiac grace, "AUGUSTINES" marks a colossal leap forward for Votiv/Oxcart recording group Augustines - no mean
feat considering the extraordinary power of their breakthrough 2011 debut, "RISE YE SUNKEN SHIPS."
"AUGUSTINES" marks a milestone on Augustines' amazing journey, the work of a gifted band ascending to new heights while simultaneously grappling
with their place in the universe. With their recent tour with Frightened Rabbit, Augustines brought their brilliant new album to a worldwide audience keen
for their return. Eric Sanderson (bass, keyboards, vocals) describes the Augustines' live shows, saying "The audience is singing, the audience is dancing,
they're all making music together. That's what we've been trying to do our whole lives as musicians, but only recently have we been able to embrace.1. Intro (I Touch Imaginary hands)
2. Cruel City
3. Nothing To Lose But Your Head
4. Weary Eyes
5. Don't You Look Back
7. Kid You're On Your Own
8. This Ain't Me
9. Now You Are Free
10. The Avenue
11. Highway 1 Interlude
12. Hold Onto Anything$16.99Vinyl LP - Sealed Buy Now