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  • Simple Dreams Simple Dreams Quick View

    $54.99
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    Simple Dreams


    Mastered By Doug Sax And Robert Hadley


    Plated And Pressed At Quality Record Pressings


    Tip-On Gatefold Jacket By Stoughton Printing


    One of the most successful albums of Linda Ronstadt's career, Simple Dreams spent five successive weeks at No. 1 on the Billboard album chart in late 1977, displacing Fleetwood Mac's Rumours at No. 1 after 29 record-breaking weeks in the pole position. It also knocked Elvis Presley out of No. 1 on Billboard's Country Albums chart after The King held the gridlock for 15 consecutive weeks after his death in August. It won the Grammy Award for Best Recording Package (in addition to several other high profile Grammy nominations).


    Simple Dreams was Ronstadt's fifth consecutive million-selling platinum album and sold more than 3½ million copies in less than a year in the United States alone - a record for a female artist. Simply put, Ronstadt just couldn't lose. Simple Dreams continued a creative streak that found the singer turning out album after album of incredible material at an astonishing one-per-year rate until she finally began to come back down to earth in the early 1980s.


    Now hear Simple Dreams as never before. Remastered by the late, great Doug Sax at the Mastering Lab, together with Robert Hadley, and pressed on 45 RPM super-silent 200-gram vinyl by Quality Record Pressings, this revered recording truly is a sonic treasure. And it comes in a Stoughton Printing tip-on gatefold jacket with meticulously reproduced original artwork. Stunning.


    Featuring an expanded palette of styles and cutting-edge narratives, Simple Dreams may go down in history as Ronstadt's greatest work. Considering the achievements: Grammy nominations for Record of the Year and Best Pop Vocal Performance, Female; Five consecutive weeks as the No. 1 record on the Billboard Album Chart, Two Top 10 singles.


    This title is not eligible for discount.

    1. It's So Easy
    2. Carmelita
    3. Simple Man, Simple Dream
    4. Sorrow Lives Here
    5. I Never Will Marry
    6. Blue Bayou
    7. Poor Poor Pitiful Me
    8. Maybe I'm Right
    9. Tumbling Dice
    10. Old Paint
    Linda Ronstadt
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Simple Dreams (40th Anniversary Edition) Simple Dreams (40th Anniversary Edition) Quick View

    $24.99
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    Simple Dreams (40th Anniversary Edition)

    Celebrating the 40th anniversary of Linda Ronstadt's 8th studio album. Simple Dreams. A newly remastered Simple Dreams on LP containing three live recordings from a 1980 HBO concert special which have never been released as stand-alone audio.
    LP 1
    1. It's So Easy (Remastered)
    2. Carmelita (Remastered)
    3. Simple Man, Simple Dream (Remastered)
    4. Sorrow Lives Here (Remastered)
    5. I Never Will Marry (Remastered)
    6. Blue Bayou (Remastered)
    7. Poor Poor Pitiful Me (Remastered)
    8. Maybe I'm Right (Remastered)
    9. Tumbling Dice (Remastered)
    10. Old Paint (Remastered)


    LP 2
    1. It's So Easy (Live)
    2. Blue Bayou (Live)
    3. Poor Poor Pitiful Me (Live

    Linda Ronstadt
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Simple Dreams (Awaiting Repress) Simple Dreams (Awaiting Repress) Quick View

    $34.99
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    Simple Dreams (Awaiting Repress)

    Linda Ronstadt just couldn't lose. Another of her interpretive masterworks, 1977's stunning Simple Dreams continued a creative streak that found the singer turning out album after album of incredible material at an astonishing one-per-year rate until she finally began to come back down to earth in the early 1980s. Featuring an expanded palette of styles and cutting-edge narratives, Simple Dreams may go down in history as Ronstadt's greatest work.


    This title is not eligible for discount.

    1. It's So Easy

    2. Carmelita

    3. Simple Man, Simple Dream

    4. Sorrow Lives Here

    5. I Never Will Marry

    6. Blue Bayou

    7. Poor Poor Pitiful Me

    8. Maybe I'm Right

    9. Tumbling Dice

    10. Old Paint

    Linda Ronstadt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Taking One For The Team Taking One For The Team Quick View

    $20.99
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    Taking One For The Team

    Taking One for the Team, Simple Plan's fifth full-length and most ambitious album so far, offering hard-hitting punk-fueled tracks alongside songs that delve into everything from reggae to delicate acoustic balladry. Longtime fans can rest assured that Taking One for the Team is packed with plenty of quintessential Simple Plan tracks, including Boom, whose companion music video features cameos by members of All-Time Low, Pierce The Veil, PVRIS, MxPx, and many more Warped Tour all-stars. The album starts out full-throttle with the brutal guitar and furious drumming of Opinion Overload. It's a song about following your heart and dreams no matter what people say or think, explains Bouvier.


    We're adults in our mid-thirties now, and we still have to deal with that. Sometimes you gotta remind yourself that it doesn't mean anything, that it's ok to stand up for yourself and be who you are and that's what's gonna set you apart. That same defiant spirit is present on I Refuse, where Simple Plan mine inspiration from punk/hardcore acts like Rise Against and Good Riddance, ultimately delivering the only punk anthem in recent memory to feature an elegant piano interlude. We grew up on that kind of music; it's in our DNA- we'll always need that energy and those super-fast, in-your-face songs that people love about this band, says bass player David Desrosiers of tracks like I Refuse or Nostalgic. I can already imagine us playing those songs live and seeing the crowd go crazy, singing along to every word.

    1. Opinion Overload
    2. Boom!
    3. Kiss Me Like Nobody's Watching
    4. Farewell (feat. Jordan Pundik)
    5. Singing In The Rain (feat. R. City)
    6. Everything Sucks
    7. I Refuse
    8. I Don't Wanna Go To Bed (feat. Nelly)
    9. Nostalgic
    10. Perfectly Perfect
    11. I Don't Wanna Be Sad
    12. P.S. I Hate You
    13. Problem Child
    14. I Dream About You (feat. Juliet Simms)
    Simple Plan
    $20.99
    Vinyl LP - Sealed Buy Now
  • The Vinyl Collection 1979-1984 The Vinyl Collection 1979-1984 Quick View

    $124.99
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    The Vinyl Collection 1979-1984

    Remastered At Abbey Road


    The Vinyl Collection 1979-1984 contains the first six albums from the influential first chapter of Simple Minds' career. Box Set includes Life In A Day (1979), Real To Real Cacophony (1979), Empires and Dance (1980), Sons and Fascination / Sister Feelings Call (1981), New Gold Dream (81-82-83-84) (1982) and Sparkle In The Rain (1984) and are all together in one deluxe hard-cased box.

    LP1 - Life In A Day
    1. Someone
    2. Life In A Day
    3. Sad Affair
    4. All For You
    5. Pleasantly Disturbed
    6. No Cure
    7. Chelsea Girl
    8. Wasteland
    9. Destiny
    10. Murder Story


    LP2 - Real To Real Cacophony
    1. Real To Real
    2. Naked Eye
    3. Citizen (Dance Of Youth)
    4. Carnival (Shelter In A Suitcase)
    5. Factory
    6. Cacophony
    7. Veldt
    8. Premonition
    9. Changeling
    10. Film Theme
    11. Calling Your Name
    12. Scar


    LP3 - Empires And Dance
    1. I Travel
    2. Today I Died Again
    3. Celebrate
    4. This Fear Of Gods
    5. Capital City
    6. Constantinople Line
    7. Twist / Run / Repulsion
    8. Thirty Frames A Second
    9. Kant-Kino
    10. Room


    LP4 - Sons And Fascination
    1. In Trance As Mission
    2. Sweat In Bullet
    3. 70 Cities As Love Brings The Fall
    4. Boys From Brazil
    5. Love Song
    6. This Earth That You Walk Upon
    7. Sons And Fascination
    8. Seeing Out The Angel


    LP5 - Sister Feelings Call
    1. Theme For Great Cities
    2. The American
    3. 20th Century Promised Land
    4. Wonderful In Young Life
    5. League Of Nations
    6. Careful In Career
    7. Sound In 70 Cities


    LP6 - New Gold Dream (81-82-83-84)
    1. Someone Somewhere In Summertime
    2. Colours Fly And Catherine Wheel
    3. Promised You A Miracle
    4. Big Sleep
    5. Somebody Up There Likes You
    6. New Gold Dream (81-82-83-84)
    7. Glittering Prize
    8. Hunter And The Hunted
    9. King Is White And In The Crowd


    LP7 - Sparkle In The Rain
    1. Up On The Catwalk
    2. Book Of Brilliant Things
    3. Speed Your Love To Me
    4. Waterfront
    5. East At Easter
    6. Street Hassle
    7. White Hot Day
    8. C Moon Cry Like A Baby
    9. The Kick Inside Of Me
    10. Shake Off The Ghosts

    Simple Minds
    $124.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 7 LPs Sealed Buy Now
  • Music For Dogs Music For Dogs Quick View

    $18.99
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    Music For Dogs

    There's a quote tucked into the recent documentary film about the iconic design duo Charles and Ray Eames, commenting on the symbiotic nature of Charles and Ray's marriage, their work life in Venice Beach, their home life not too far away, and their creative life: Work is art is life is work is art... It's a concept so simple a small child could dream it, yet it's one we tend to lose in the strange, abstract grind of modern life and modern ambition. For Gardens & Villa songwriters Chris Lynch and Adam Rasmussen, a return to this very harmonious relationship of art/work/life and a rediscovery of the DIY ethos that once defined the pair's formative creative years mark the defining thread of their head-turning new album, Music For Dogs. The revelation that we hear play out so inspiringly across Music For Dogs is one that came at a make-or-break moment for the band last year. Pushed to fall in line as an indie-pop act while their artistic interests lie as much in the avant-garde. Pushed deeper into debt just to keep their band alive. Pushed from within to leave the comfort zone of their longtime home base in Santa Barbara and set up a new HQ in Los Angeles. Lynch and Rasmussen responded by bucking the idea of art as a career and making art their very way of life. With a top-to-bottom renovation of a warehouse space in LA's Frogtown neighborhood lovingly dubbed The Space Program and shared with visual artists, designers, and creatives, the pair began to live and write music on their own terms, just as they'd done before their music was placed on the marketplace. Music For Dogs is a deeply personal album that pokes, prods, and even strangely celebrates the zeitgeist of music commerce, pleasure culture, technological advances and the new home they've found in Los Angeles. The New Age and Eastern Religion sentiments that rippled across their first two albums (2011's Gardens & Villa and 2014's Dunes) have been swapped out with a new sort of zen pop-Nihilsm. What's Nihilism anyway but Buddhism with a fuck-it attitude? They've found a way to live on the firing line, a way to actually harvest creative energy from our sad Internet tendencies, the uncertain future. My whole life fixation/See if we can make it underneath the radar, goes Lynch and Rasmussen's respective call-and-response on Fixations, a song about the beauty in bottoming out and then finding the false bottom. Lynch could mean living as a creative in the underground or living outside peripheral view of the NSA. Under the stewardship of visionary producer Jacob Portrait and with irreplaceable rhythm section Dusty Ineman (drums) and Shane McKillop (bass), Fixations - and a great deal of Music For Dogs - is really just Gardens & Villa doing what it has always done best. G&V creates Byzantine melodies and richly interwoven arrangements for synths, guitars and vocals that work incredibly well on a cerebral level, but wouldn't upset a 3 a.m. pool party either. The jaunty, jarring piano and bass that begin Everybody perfectly frame the song's anxiety-riddled themes of 21st Century voyeurism, surveillance and the turnstile of avatars intended to represent our true selves. Everybody wants the new you/No one cares who you are, Lynch sings in a repeating chorus before the band collapses into a lovely out of time mall piano breakdown, which itself drops effortlessly back into the jaunty verse section. And the speedball ripper Maximize Results that begins the record is perhaps G&V's most ecstatic, vulnerable moment laid to record to date. It alone is worth the price of admission.
    1. Intro
    2. Maximize Results
    3. Fixations
    4. Everybody
    5. Paradise
    6. Alone in the City
    7. General Research
    8. Express
    9. Happy Times
    10. Jubilee
    11. I Already Do
    Gardens & Villa
    $18.99
    Vinyl LP - Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

    $34.99
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    It's Monk's Time (Speakers Corner)

    With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.


    Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    Production: Teo Macero



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Lulu's Back In Town
    2. Memories Of You
    3. Stuffy Turkey
    4. Brake's Sake
    5. Nice Work If You Can Get It
    6. Shuffle Soil
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Daddy Plays The Horn (Pure Pleasure) Daddy Plays The Horn (Pure Pleasure) Quick View

    $34.99
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    Daddy Plays The Horn (Pure Pleasure)

    During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).


    While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.

    Musicians:



    • Dexter Gordon (tenor saxophone)

    • Kenny Drew (piano)

    • Leroy Vinnegar (bass)

    • Larry Marable (drums)



    Recording: September 1955 in Hollywood, CA.



    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. Number Four
    2. Autumn In New York
    3. You Can Depend On Me
    4. Daddy Plays The Horn
    5. Confirmation
    6. Darn That Dream
    Dexter Gordon
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Reanimation (Awaiting Repress) Reanimation (Awaiting Repress) Quick View

    $24.99
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    Reanimation (Awaiting Repress)

    One word: Epic. That's the most succinct way to describe the stunning instrumental debut by cinematic post-rock powerhouse LIGHTS & MOTION. The band's braintrust, 24 year old self-taught multi-instrumentalist, songwriter, producer, engineer, mixer and all around musical savant Christoffer Franzen, created and composed every song in real-time during late night insomnia sessions through pure accident, improvisation and inspiration. And the result? More than you could have ever hoped for. Reanimation is pure, sweeping, musically-animated emotion: modern yet classic, bold yet restrained, grandiose yet humble, storming yet tranquil, swerving yet linear...and you are completely surrounded in the sincerity, the ecstasy, the illumination of it all. Every song is so deeply intimate yet so massively majestic, culminating in a timeless album that is seemingly created from the same stuff dreams are made of. Reanimation will be acknowledged as one of the most important post-rock albums ever to be made...and if this was the last album we ever released on Deep Elm Records, I would consider our 18 year mission an overwhelming success says label founder John Szuch.


    Melodies and harmonies, movies and images, loneliness and melancholy are my influences says Franzen. There is just this urge, this need to create and it takes on different shapes. Sometimes it's rough and loud and sometimes it's very quiet. I consider myself to be more and more of a painter of sound. It always starts out with something easy and timid, like a simple brush stroke. Depending on the mood, I change the color and intensity of my next stroke and suddenly the whole impression of what that piece was drastically changes. I compose with layers and depth, and it's often the slightest thing that makes the whole song turn into a new direction, often one I didn't see coming myself. That is part of the journey, at least for the way I write music. I never know what I wiIl end up with, and it's often very different from what I started out with. Sometimes I tell people that this album consists of my dreams...only I wasn't sleeping with they came to me, I just did my best to get them down on tape.


    Franzen continues, At the beginning, I really had nothing except for a vision of something vast, heartbreaking and beautiful at the same time. I didn't think in terms of music, but in terms of other things that inspired me, things that painted a picture in my head that I could see so clearly. This was in the Fall of 2011. Without any education in sound engineering or music production, I spent countless nights learning how to get the sounds that I could hear in my head to come out through the speakers. I did this by trial and error, reading endless forums about music production, watching tutorials and experimenting. By doing this I learned the capabilities and limitations of the studio and the gear that I could use, as well as my own as a producer. In order to achieve the sound that I had in mind, I had to pick up all these different instruments and learn how to play them. If somebody had told me one year ago that I would record an entire album by myself, I wouldn't have believed them. I am very proud of it and I can't believe it's done. This album was about gathering the courage to launch an endeavor that was purely my own. It was a reawakening, a rebirth, a resurrection of sorts, and a passageway into a dreamlike world that I created myself...a world to get lost in...a world that gives us hope.


    An album for which my immediate feeling is astonishment. I am in awe. Thank you Christoffer. - Troublezine


    Amazingly beautiful, intimate, relaxed melodies and soundscapes. Very impressive...a success. - 520 Music


    Cinematic soundtrack-mash-ups that bring a fresh breeze into a otherwise linear and narrow genre. - Melodic

    1. Requiem
    2. Home
    3. Aerials
    4. Drift
    5. The March
    6. Victory Rose
    7. Epilogue
    8 . Fractured
    9. Texas
    10. Faded Fluorescence
    11. Departure
    12. Reanimation
    13. Dream Away
    Lights And Motion
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blood On The Tracks (Awaiting Repress) Blood On The Tracks (Awaiting Repress) Quick View

    $34.99
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    Blood On The Tracks (Awaiting Repress)

    Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain


    Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear



    Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond


    Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain


    The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity


    Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.


    A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.


    For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.


    Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.


    Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. Tangled Up in Blue
    2. Simple Twist of Fate
    3. Youre A Big Girl Now
    4. Idiot Wind
    5. Youre Gonna Make Me Lonesome When You Go
    6. Meet Me in the Morning
    7. Lily, Rosemary and the Jack of Hearts
    8. If You See Her, Say Hello
    9. Shelter From the Storm
    10. Buckets of Rain
    Bob Dylan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Hard Feelings Hard Feelings Quick View

    $18.99
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    Hard Feelings

    Formed in the suburbs of South Jersey in 2009, Major League got their start the old-fashioned way, through hard work, relentless touring and simple word of mouth. The quintet, made up of Nick Trask (vocals), Brian Joyce (guitar/vocals), Matt Chila (guitar/vocals), Kyle Bell (bass) and Luke Smartnick (drums), released a string of EPs over the last several years and found themselves on worldwide tours with bands like The Swellers, Living With Lions and DayTrader before entering the studio to record their follow-up release, Hard Feelings.


    This record means more to us than just an album comprised of our most recent material, says Major League guitarist Brian Joyce. It's a therapeutic release. Lyrically, we've poured ourselves into Hard Feelings with everything from childhood anxiety, to early twenties angst and everything in between. Instrumentally, this album is a product of what we dreamed of writing back in our bedrooms in 1999 learning Blink and NoFx songs.

    1. Hard Feelings
    2. Walk Away
    3. Twenty Seven
    4. Nightmares
    5. Arrows Crossed
    6. Landslide
    7. Because Heaven Knows
    8. Pull Me Out
    9. Home Wrecker
    10. Final Thoughts
    Major League
    $18.99
    Vinyl LP - Sealed Buy Now
  • No Deal (Awaiting Repress) No Deal (Awaiting Repress) Quick View

    $22.99
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    No Deal (Awaiting Repress)

    Melanie De Biasio is a graduate of the Conservatoire Royal de Bruxelles and already an acclaimed artist in her home country of Belgium and in the neighbouring Francophone nation to the south. Initially heralded as a new voice in jazz, albeit jazz d'autres univers, other-worldly, so to speak, her first album A Stomach Is Burning was closer to the smoky, smouldering sound you dream of stumbling upon in a jazz cellar. Preferably in Paris or New York in, let's say, 1959.


    No Deal, her sophomore album, appears almost monochromatically minimalist at first, A simple cover shot. Melanie has cut her hair. Miles Davis A Kind Of Blue typography. Seven songs, through which her own voice drifts gracefully, at times disappearing altogether. Like a tintype photograph, this record needs time to develop, for the details to become clear, as if by magic.


    No Deal comes in at 33 and a third minutes, which could be mistaken for a nod to the golden age of the jazz LP. And yet its brevity (or succinctness) is genuinely hard to believe. It reverberates, echoes an resonates. Throw a stone into the lake and the concentric ripples seem to go on for ever.

    1. I Feel You
    2. The Flow
    3. No Deal
    4. With Love
    5. Sweet Darling Pain
    6. I'm Gonna Leave You
    7. With All My Love
    Melanie De Biasio
    $22.99
    Vinyl LP + CD - Sealed AWAITING REPRESS Buy Now
  • Go With Me Go With Me Quick View

    $13.99
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    Go With Me

    The music of Seapony is refreshing in its simplicity. Most songs on Go With Me use no more than three chords, with an average running time around two-and-a-half minutes. In lieu of a human drummer, the Seattle trio entrusts time-keeping to a vintage gizmo the size of a desktop calculator. The lyrics to Dreaming, the track that catapulted them into the spotlight, are just six lines long.


    Seapony is songwriter Danny Rowland, singer Jen Weidl and bass player Ian Brewer. Danny and Ian grew up and made music together in Oklahoma. In 2001, they moved to Olympia, WA. In 2004, Danny visited Cincinnati, missed his flight home, and ended up staying in Ohio for four years; he met Jen during his Buckeye State sojourn. After a period of work and study in Lawrence, KS, the happy couple came west in 2010 and were reunited with Ian in Seattle. Seapony was born.


    Although Danny has composed many originals over the years, Dreaming was the only finished Seapony tune when he and Jen arrived in the Emerald City; the rest of the songs featured on Go With Me were written afterward. The vision for Seapony became focused around fuzz-drenched simple guitar chord progressions, topped with concise melodic hooks and Jen's breathy vocals.

    1. Dreaming

    2. I Never Would
    3. Blue Star
    4. Into the Sea
    5. I Really Do
    6. Go Away
    7. Always
    8. So Low
    9. What You See
    10. Nobody Knows
    11. Where We Go
    12. With You

    Seapony
    $13.99
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  • Bloom Bloom Quick View

    $20.99
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    Bloom

    Bloom is the fourth full-length album by Beach House. Like their previous releases, Beach House (2006), Devotion (2008) and Teen Dream (2010), it further develops their distinctive sound yet stands apart as a new piece of work. The landscape of Bloom was largely designed on the road, between the countless sound checks and myriad experiences during two years of touring. Throughout this period, melodies, chords, rhythms, words and textures surfaced in moments of their own choosing. These spontaneous ideas were later gathered and developed in Baltimore, MD where the band members Alex Scally and Victoria Legrand live and work.


    Bloom was then recorded in late 2011 over a period of seven weeks at Sonic Ranch Studios in Tornillo, TX and mixed for another two at Electric Lady in NC. The band co-produced the record with Chris Coady. Bloom is meant to be experienced as an album. A singular, unified vision of the world. Many songs were omitted or dropped because they lacked a place within our vision for this album, notes Scally. Though not stripped down, the many layers of Bloom are uncomplicated and meticulously constructed to ensure that there is no waste. Each chord and melody performs its role to form a whole.


    The songs have depth and reveal themselves in new ways through repeated listenings. As a complete work, Bloom transcends the banality of simple emotions and arrives at a realm of honesty and complexity. It soberly reveals how frightening and temporary, yet beautiful, our existence is. It creates an honest reflection of death, as it must to relate to life. To this Legrand adds, Bloom is a journey. For me, it is about the irreplaceable power of imagination as it relates to the intense experience of living. A bloom is only temporary, a fleeting vision of life in all of its intensity and color, beautiful even if only for a moment. 2LP pressing with expanded outer sleeve in glow in the dark in, four inner sleeves and MP3 coupon.

    1. Myth
    2. Wild
    3. Lazuli
    4. Other People
    5. The Hours
    6. Troublemaker
    7. New Year
    8. Wishes
    9. On The Sea
    10. Irene
    Beach House
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Ride Out Ride Out Quick View

    $19.99
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    Ride Out

    Bob Seger has emerged from the studio equipped with a new album, Ride Out, set to be released on Capitol Records. The first single, "Detroit
    Made," pays homage to America's love affair with the automobile. The uptempo song hit radio airwaves August 15, serving as the perfect backdrop to the
    20th annual Woodward Dream Cruise, the world's largest one day celebration of classic car culture.


    "I feel really good about this record," says Seger. "This album touches on how I think a lot of us feel about finding our place in a more complicated world - from how we appreciate things as simple and pure as love, to navigating through the corruption and violence that permeates the news. It sums up a lot of
    feelings I have about a variety of subjects."


    Produced by Seger, the new collection stays true to his legendary sound as he effortlessly marries rock, blues and country, yielding an album with all the
    hallmarks of the rocker's deep catalog of hits. Seger began teasing tracks from the album during his 2013 tour, including "Detroit Made," "All of The
    Roads" and "California Stars." Ride Out is Seger's first studio album since his 2006 platinum-certified Face The Promise and follows his 2011 platinum-certified release, Ultimate Hits: Rock and Roll Never Forgets.


    Bob Seger has sold more than 51 million albums and has racked up 13 platinum and 7 multi-platinum RIAA-certified album sales awards in the U.S.
    alone. He is both a Rock & Roll Hall of Fame and Songwriters Hall of Fame inductee, and his Greatest Hits, Against The Wind, Night Moves, Stranger In
    Town, Nine Tonight, and Live Bullet have been RIAA-certified for more than five million U.S. album sales each. The 1994 Greatest Hits collection was the
    #1 best-selling catalog album in the U.S. during the past decade (2001-2009), as reported by Billboard/SoundScan.

    1. Detroit Made
    2. Hey Gypsy
    3. The Devil's Right Hand
    4. Ride Out
    5. Adam and Eve
    6. California Stars
    7. It's Your World
    8. All Of the Roads
    9. You Take Me In
    10. Gates of Eden
    Bob Seger
    $19.99
    Vinyl LP - Sealed Buy Now
  • Smith Westerns Smith Westerns Quick View

    $16.99
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    Smith Westerns

    Rummaging through 1970s glam, Phil Spector teen-pop, and Nuggets garage-punk with the youthful abandon of kids finding new toys in the attic, the Smith Westerns' self-titled debut exudes an earnestness almost as pure as its recording levels are deafening. Their simple, sweet choruses about boys and girls in love could spike the punch at a 1970s TV show school dance.


    When singing guitarist Cullen Omori, his bassist brother Cameron, second guitarist Max Kakacek, and a drummer known as Hal have the tunes to make themselves heard over their vintage aesthetic, The Smith Westerns' teenage kicks are hard to beat. Take string-swept glam ballad Be My Girl. which softly punctuates one of the year's most wrenchingly innocent hooks with somewhat risque pick-up lines. There's less lyrical subtext, but no less raunchy production, on the glam-rock boogie of Girl in Love, a come-on cursorily addressing the fleetingness of youth. It's only fitting that the Smith Westerns both look and sound like the Black Lips' good-bad not-evil twins.


    These guys are sort of literally true to their school, garage-rocker Miss Alex White is a fellow Northside College Prep magnet-school alum, and their time on the road with the likes of Jay Reatard and Nobunny is evident on fine 60s-style frat-rocker Gimme Some Time. With fuzzed-out xylophone, frenetic opener Dreams suggests the group's most recent tour with Girls and Los Campesinos! might serve them better for a follow-up. Diamond Boys almost earns its piano on the strength of its adolescent grandiosity, but We Stay Out lets lo-fi become the end rather than the means, with a guitar line that sounds like a bee buzzing underwater.

    1. Dreams
    2. Boys Are Fine
    3. Gimme Some Time
    4. Girl In Love
    5. We Stay Out
    6. Tonight
    7. Be My Girl
    8. The Glam Goddess
    9. Diamond Boys
    10. My Heart
    Smith Westerns
    $16.99
    Vinyl LP - Sealed Buy Now
  • Forget The Mantra Forget The Mantra Quick View

    $16.99
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    Forget The Mantra

    Nightlands is the recording project of Philadelphia-based multi-instrumentalist Dave Hartley. The music he creates in his bedroom is itself a bed of delicate, chiming strings and bubbling synths beneath a blanket of choral vocal arrangements. Its dreamy in the literal sense, the seeds for the album were sown when Hartley began archiving musical ideas that occurred in his sleep with a simple bedside tape recorder. As a result his debut album Forget the Mantra is, in essence, a field recording of Hartleys dreams, a travel journal through pop music and a collection of psych-hymns from the first human lunar colony. The songs sound both huge and intimate, breathy and cavernous like massive echoes of a faraway concert. Its the big, shadow music from just across the lake.



    The album deals with themes of anxiety, fear and the limits of concentration. Therein, it mines Hartleys personal history as often as it does influences The Beach Boys, The Traveling Wilburys and Hawkwind. Side A pulses with layers of tom tom drums on wide-open standout slow jam 300 Clouds and nimbly-picked acoustic melodies on Suzerain (A Letter to the Judge), like Crosby, Stills & Nash gone comsic-kraut. The songs roll and gallop then stop to breathe, always exhaling with what sounds like a thousand voices. Through its experimental back half, reminiscent of Bowies Low or Kate Bushs The Ninth Wave from Hounds of Love, full of vocal samples from Hartleys real life, the more pop-leaning front end is given greater context, like a close study of a plants blossom before traveling down through its root architecture.



    Hartley, who for years has been a prolific sideman in many Philadelphia ensembles (most notably The War on Drugs), laid these songs to tape on a Tascam 388 iover several months, inviting friends along for feedback and ultimately, some additional tracking.

    1. Forget the Mantra
    2. 300 Clouds
    3. Suzerain (A Letter to the Judge)
    4. God What Have I
    5. 'Til I Die
    6. Glass Vacuum
    7. A Walk in Cheong, 1969
    8. WFMS, 1993
    9. Longways Homebound, 2010
    10. Slowtrain
    11. Fly, Neanderthal
    Nightlands
    $16.99
    Vinyl LP - Sealed Buy Now
  • Come To Life Come To Life Quick View

    $15.99
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    Come To Life

    Cities Aviv first garnered attention in 2011 with his debut release Digital Lows, in which he created a lush soundscape by casting an array of musical influences, along with the rich heritage of Memphis rap, into the alchemical cauldron and set it to boil. Digital Lows attempted to shine light into the murky depths of interconnected living in the material plane, and explore the detritus of a technological life, while also lyrically conveying the growing pains of the new self. 2012's Black Pleasure, sonically challenged listeners, as the rich tones of Digital Lows began to deconstruct into a blown-out and gritty resonance, transporting listeners to a separate reality where the lines of pleasure and pain are entangled and debauch is the natural order. Amid this chaos, Aviv pummeled listeners with an appeal to assess their own realities, habits, and processes, and asserts that "Life is Real," a seemingly simple statement, yet a fact that is often taken for granted. His third album Come to Life sees Aviv come full circle- finding a balance amid the turbulence of burgeoning adulthood in the URL and IRL, and arising from the transformative flames as a harbinger of the new paradigm. Aviv's street gospel stylings affix themselves in union with the eternal essence, and exist outside of the confines of trend, genre, or time-signature, flowing organically within the digital corridor. While his work will forever remain personal, Come to Life is also universal, and petitions listeners to reclaim their individualities, their dreams, and their true desires. Cities Aviv is Wilbert Gavin. Life is real. Come to Life.
    1. Intro
    2. Fool
    3. Head
    4. URL IRL
    5. Dissolve
    6. CTL1 (feat. Abdu Ali)
    7. Perpetuate The Real
    8. Realms
    9. (Self 100) Know Who You Are
    10. Interlude
    11. (View 180) Picture Me Gone
    12. Still (feat. Bizzarh)
    13. Worlds Of Pressure
    14. Don't Ever Look Back
    Cities Aviv
    $15.99
    Vinyl LP - Sealed Buy Now
  • Congrats Congrats Quick View

    $21.99
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    Congrats

    A cyborg dance party for a broken future that's closer
    than you think - Pitchfork


    Off Your Face Euphoria - The Line of Best Fit


    hypnotic, electronic climax-rock - SPIN


    scuzzy, funk-fuelled energy - FACT Mag


    Holy Fuck took the world by surprise around 2005 because there was
    just nothing like them-a hardcore thrift-store found-object punk
    band with a relentless commitment to rhythm and a sense for
    atmosphere better matched to a close encounter of the third kind
    than a simple rock concert. Think EinstÜrzende Neubauten re-inspired
    by Fela Kuti with Brian Eno working as keyboard tech and every
    channel on the mixer set to max power. It was the best ride out there
    while it lasted, up to and including their 2010 full-length Latin,
    recorded largely in too-brief breaks while on the road. That album
    cemented Holy Fuck's sound and reputation for unapologetic
    instrumental noise but at the end of yet another insane touring cycle,
    it was time to take a break which turned into a hiatus which turned
    into a chance to explore other projects and production work. (Like the
    bands Lids, Dusted and Etiquette, or production for Metz, Alvvays and
    Viet Cong.)


    They'd been moving faster than they'd ever expected, especially after
    a 2007 sophomore release that came close to securing Canada's
    prestigious Juno and Polaris Music Prize. (Not to mention festival slots
    at All Tomorrow's Parties, Glastonbury, Coachella and more-plus Lou
    Reed said they were the best band he'd seen at SXSW.) The strategy
    was just to stay busy, says founder and noisemaster Brian Borcherdt,
    but soon they started to feel like Indiana Jones running from that
    boulder: "He had to step aside and let things settle!"


    But there's nothing Indiana Jones does better than the shock reveal, is
    there? And so in 2016 Holy Fuck suddenly announced the release of
    Congrats, a surprise full-length two years in the making that is by any
    scientific measure their holiest fuckiest release ever: "When you're
    sitting still in a van and staring out the windows, you start to dream
    about all the other things you want to do," says Borcherdt. "This album
    is exactly what we couldn't do then."


    Checking into a "proper" studio, rather than the barn in rural Ontario
    where most of Holy Fuck's records were made, Congrats was
    recorded by the same lineup that recorded Latin: Borcherdt, Graham
    Walsh, Matt "Punchy" McQuaid, and Matt Schulz. As they worked, they
    discovered that Congrats was a process of refining things, Walsh
    says-both physically and philosophically. Their ad hoc arsenal of
    low-budget hi-tech toys has been streamlined down to what he calls
    the nervous system of the band: "What gets run through our system is
    the seed of the idea for our music, and the system is what we play. This
    record is almost a beginning-the first stage of a new way for us."


    So consider those previous albums prelude to Holy Fuck's true
    breakthrough, and recognize Congrats as the moment when Holy
    Fuck take the chaos and craziness (and charm) that have always been
    at the heart of their band and not so much control it as concentrate it.
    Now they're heavier, wilder, leaner, sharper, more daring and more
    unpredictable than ever before, on fire with the power of inspired
    outsiders like Suicide, Silver Apples, Can, Mission of Burma or the
    Monks or even Sun Ra, says Borcherdt, whose pursuit of his own kind
    of musical purity is exactly what Holy Fuck are after. Yes, it took them
    a few years, which in 2016 is supposed to be the career suicide, but
    they took that time to take chances. "We were told we did everything
    wrong," Borcherdt says now, laughing-but really Congrats is the
    sound of a band doing absolutely everything right.

    1. Chimes Broken
    2. Tom Tom
    3. Shivering
    4. Xed Eyes
    5. Neon Dad
    6. House Of Glass
    7. Sabbatics
    8. Shimmering
    9. Acidic
    10. Crapture
    Holy Fuck
    $21.99
    Vinyl LP - Sealed Buy Now
  • I Dreamt I Was A Cowboy I Dreamt I Was A Cowboy Quick View

    $16.99
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    I Dreamt I Was A Cowboy

    Miniature Tigers mastermind Charlie Brand has been in a relationship with actress Mae Whitman for a while now, and things seem to be going great. How do I know this? Well, there are interviews from both Brand and Whitman out there that say so, but for the purposes of this review, Exhibit A is the new Miniature Tigers record. I Dreamt I Was a Cowboy is a loose concept album about being in love, complete with sappy ballads, angst that it's all going to fall apart, and even the concept album staple-a dream sequence.


    Two things are striking about this album from the get-go. There's a warmth and intimacy to opener "My Girl Forever" that sticks around for the length of the album. Brand, it turns out, is pretty good at producing indie-pop that sounds honestly romantic. That warmth makes a cheesy sentiment like, "You will be my friend forever / You will be my girlfriend" sound lovely. The other thing is the song's opening electric guitar riff, which sounds slightly out of tune. That riff runs through the entire song and eventually normalizes even though it never ends up being quite in tune. It's a weird element and a portent that Brand is going to re-embrace the off-kilter sounds that dominated Miniature Tigers' early records.


    "Dreaming" is a relaxed, slightly Caribbean-styled song dominated by a bassline played on a bass marimba and a repeating high register xylophone-esque note run. Both are cool effects that give the song a nice groove. This leads right into "I Dreamt I Was a Cowboy", where Whitman takes the lead vocals. Her breathy, quiet singing fits in snugly with the song's languid vibe. "I Dreamt I Was a Cowboy" also works as a transition point on the album. Afterward, the songs are more idiosyncratic and often more interesting.


    "Wish It Was Now" is a '60s-style folk song that hits all the right buttons. A pile of acoustic guitars is accompanied by a jangling tambourine while Brand sings possibly the best melody on the album. The multi-layered vocals on the chorus, a simple recitation of "wish it was now", are beautiful, and it all meshes together into a sublime moment. "Wheat" features a prominent pedal steel guitar and some nicely placed percussion rattles, giving the song a light Texas country feel.


    Then there's "Nobody Else", which features an out-of-nowhere sample of obscure '60s singer Millie Small with her lovely high-pitched squeak of a voice. The song opens with Small singing "What am I living for / If not for you, baby!", then uses that "baby!" as the song's anchor and hype man, punctuating many of Brand's lines. The song itself is a catchy, piano-based ballad with a warm '70s soft rock bridge, but the sample sells it. It's so effective that once you've heard the song a few times, you want to hear her "baby!" at the end of every line, not just occasionally.


    The record ends with two quiet songs, either of which would make a solid closer, but they represent two different moods. "I Never Want Our Love to End" is sparsely arranged with great harmonies, but the overwhelming feeling is melancholy as Brand sings about his insecurities. "I'm Awake Now" uses both chirpy and lush synths to provide a sunny, relaxed, early morning feel. Lyrically, though, the song starts out depressed as Brand contemplates the fact that he's so damn happy in bed with his new girl but that they're both going to have to leave, and it will be over. But the song ends with him deciding that he's going to do whatever it takes to make what's apparently a one-night stand into a relationship.


    This kind of unabashed romanticism shouldn't really work. And in the past, Miniature Tigers' attempts at straight-up love songs haven't always been successful. But Brand's honesty goes a long way here, and his willingness to use unusual sounds cuts through the cheese to make the album just a bit weird. I Dreamt I Was a Cowboy ends up effectively splitting the difference between the band's early days of twee sounds with strange lyrics and their middle period of big hooks but not very distinctive sounds.


    - Chris Conaton (popmatters.com)

    1. My Girl Forever
    2. Crying In The Sunshine
    3. Pictures Of You
    4. Dreaming
    5. I Dreamt I Was A Cowboy
    6. Wish It Was Now
    7. Wheat
    8. Nobody Else
    9. Before You
    10. I Never Want Our Love To End
    11. I'm Awake Now
    Miniature Tigers
    $16.99
    Vinyl LP - Sealed Buy Now
  • Grow Slow Grow Slow Quick View

    $25.99
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    Grow Slow

    There was once a young African princess who embarked on a huge journey in pursuit of her dreams.She arrived at a mystical island covered in clouds where she met a cunning wizard...Sounds like the beginning of some Disney fantasy but the truth is not so different. The Princess is Sena who came from Accra, Ghana to a festival in the centre of Budapest, Hungary and met a musical wizard by the name of DJ Vadim... that was in 2005. What happened that night was the meeting not only of like minded souls, but the beginning of a future journey into sound and space. First came recordings for Vadim for the Soundcatcher album Talk To Me (2007 BBE) which was much lauded by Gilles Peterson at the time... Which led to a long process of creating an album. Much happened in between. Each had many of their own adventures.Grammy Award shows, sell out arena shows for Sena's band in Hungary - Irie Mafia - plus the birth of her beautiful daughter Kekeli and the release of her second solo album Lots Of Trees on French Soulbeats Records; world wide shenanagins for DJ Vadim with his groups, One Self, The Electric and many solo projects...Perhaps a good analogy would be the perfect pasta. One needs both to cook it exactly, not too hard or too soft and also a complimentary sauce. It takes time, love, effort and good ingredients. What's the result, simple but delicious and what a perfect combination Sena & Vadim make also.Perhaps add some chile pepper to bring out the African funk mixed with London tricknology from the grimey east London hoods and that's what it sounds like. It's not just soul but has a peppery kick, a proud African roar with somewhat a Caribbean touch.Then again, that's the Dubcatcher Vadim bringing his bass and skank to the mix. This isn't rose tinted squeaky clean US R&B, this is a diamond in the ruff worldly spoken words, raps and emotions...Think Erykah Badu meets Damian Marley over the new upsetter hot steppa DJ Vadim...
    1. There's A Moment
    2. Day By Day
    3. Work Hard
    4. Living In The New
    5. Stems N Seeds
    6. Grow Slow
    7. Boneshaker
    8. Run Along
    9. Morning Light
    10. Give More Pt 2 feat. Syross the Virus
    DJ Vadim
    $25.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Dreamland Dreamland Quick View

    $19.99
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    Dreamland

    Natalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.


    Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.


    I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'


    The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.


    Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.


    The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.


    Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.


    They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.


    Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.

    1. Mississippi River
    2. Losing You
    3. Dreamland
    4. Coyotes
    5. Cannonball
    6. Giving Up On You
    7. It Was You
    8. Throw Down Your Guns
    9. The One That Got Away
    10. Our Love Will Survive
    11. Rock & Roll Angel
    Wild Belle
    $19.99
    Vinyl LP - Sealed Buy Now
  • Strange Weekend (Awaiting Repress) Strange Weekend (Awaiting Repress) Quick View

    $16.99
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    Strange Weekend (Awaiting Repress)

    Strange Weekend is Porcelain Rafts debut record, yet in many ways its his 156th. Somewhere in New York, Rome, or maybe London, there is a suitcase full of tapes, minidiscs and CDs, days and days worth of music, all of it the result of Mauro Remiddis 27 years of travels across Europe, from his native Italy to London; of caravaning with the Berlin Youth Circus playing traditional gypsy Klezmer music; of reinterpreting traditional music in North Korea; and of a stint playing piano for an Off Broadway tap dance show.


    Amazingly, Strange Weekend, with deep roots in so many times and places, is an album that beautifully captures the fleeting right now. Remiddis interest in movement, about capturing a momentary now en route to the next, is apparent; postcards and polaroids of buildings and faces from the street flicker past. The projects genesis lies in this visual imagery. Over the past year, Remiddi has compiled a catalogue of images, gathered from the various nooks and crannies of the internet, that have served as notes, inspiration, context and a map for Porcelain Rafts music.


    Remiddis androgynous vapor of a voice weaves like a ghost between Nick Gilder and The Alessi Brothers, Julee Cruise and Judee Sill. In more contemporary terms, Porcelain Raft stands confidently on a high hill between the sounds of M83 and Beach House. Lead track Drifting In and Out is loping and anthemic; gauzy and chiming. Shapeless and Gone follows with a heavy strum reminiscent of Cosmic Dancer, full of mood and style without all the wearying excesses and feathered boas. Porcelain Rafts thesis statement hits when side-B kicks off with Unless You Speak From Your Heart. Remiddis enigmatic vocals carrying a hook so simple that you might think you sang it first; keys and bass that might make the needle jump off of your turntable; and a sense of raw sincerity that has come to trademark Remiddis songs is what ultimately resonates.


    And here, the myriad travels crystallize into something visceral; you may not be able to see the visuals Remiddi holds so dear, but you can feel them throughout Strange Weekend, and they stay with you as you travel on. Strange Weekend might have been made in a small place (a Brooklyn basement, in fact), but it is huge dream-pop, with melodies and synths billowing out in all directions.

    1. Drifting In And Out
    2. Shapeless & Gone
    3. Is It Too Deep For You?
    4. Put Me To Sleep
    5. Backwords
    6. Unless You Speak From Your
    7. Heart
    8. The End Of Silence
    9. If You Have A Wish
    10. Picture
    11. The Way In
    Porcelain Raft
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Future Crayon Future Crayon Quick View

    $24.99
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    Future Crayon

    Broadcast will have their long out of print albums made available again through Warp Records on LP. This seminal catalogue encompasses the albums Work And Non Work, The Noise Made By People, Haha Sound, Tender Buttons, The Future Crayon and ...Investigate Witch Cults of the Radio Age.


    Collecting most of Broadcast's EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the band's output is. Indeed, the band's other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups' full-length albums. Future Crayon isn't quite that cohesive, but it does chart how Broadcast's sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Two's Illumination is particularly gorgeous, opening with an insistent bassline and Trish Keenan's coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, Still Feels Like Tears from the Pendulum EP takes the title track's stripped-down psych-rock in a lighter, sweeter direction, while Extended Play's Where Youth and Laughter Go begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the band's music, which usually only appears as brief interludes on their albums. 1998's Hammer Without a Master, which originally appeared on the Warp comp We Are Reasonable People and is one of this collection's rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with Daves Dream, it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named Chord Simple is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of Unchanging Window. While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesn't always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music.

    - Heather Phares (All Music)

    LP1
    1. Illumination
    2. Still Feels Like Tears
    3. Small Song IV
    4. Where Youth and Laughter Go
    5. One Hour Empire
    6. Distant Call
    7. Poem of a Dead Song
    8. Hammer Without a Master
    9. Locusts
    10. Chord Simple


    LP2
    1. Dave's Dream
    2. DDL
    3. Test Area
    4. Unchanging Window / Chord Simple
    5. A Man for Atlantis
    6. Minus Two
    7. Violent Playground
    8. Belly Dance

    Broadcast
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
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