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Sing The Sorrow

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  • Answer That And Stay Fashionable Answer That And Stay Fashionable Quick View

    $21.99
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    Answer That And Stay Fashionable

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    LP1
    1. Two Of A Kind
    2. Half-Empty Bottle

    3. YÜrf Rendenmein
    4. I Wanna Get A Mohawk (But Mom Won't Let Me Get One)

    5. Brownie Bottom Sundae

    6. The Checkered Demon

    7. Cereal Wars


    LP2
    1. The Mother In Me

    2. Rizzo In The Box

    3. Kung-Fu Devil

    4. Your Name Here

    5. Ny-Quil
    6. Don't Make Me Ill

    7. Highschool Football Hero

    8. Self-Pity

    9. Key Lime Pie

    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Art Of Drowning The Art Of Drowning Quick View

    $21.99
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    The Art Of Drowning

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. Initiation
    2. The Lost Souls
    3. The Nephilim
    4. Ever And A Day
    5. Sacrifice Theory
    6. Of Greetings And Goodbyes
    7. Smile
    8. A Story At Three
    9. Days Of The Phoenix
    10. Catch A Hot One
    11. Wester
    12. 6 To 8
    13. The Despair Factor
    14. Morninstar
    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • Black Sails In The Sunset Black Sails In The Sunset Quick View

    $21.99
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    Black Sails In The Sunset

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. Strength Through Wounding
    2. Porphyria
    3. Exsanguination
    4. Malleus Maleficarum
    5. Narrative Of Soul Against Soul
    6. Clove Smoke Catharsis
    7. The Prayer Position
    8. No Poetic Device
    9. The Last Kiss
    10. Weathered Tome
    11. At A Glance
    12. God Called In Sick Today
    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • Shut Your Mouth And Open Your Eyes Shut Your Mouth And Open Your Eyes Quick View

    $21.99
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    Shut Your Mouth And Open Your Eyes

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. Keeping Out Of Direct Sunlight
    2. Three Reasons
    3. A Single Second
    4. PH Low
    5. Let It Be Broke
    6. Third Season
    7. Lower Your Head And Take It In The Body
    8. Coin Return
    9. The New Patron Saints And Angels
    10. Three Seconds Notice
    11. Salt For Your Wounds
    12. Today's Lesson
    13. The Devil Loves You
    14. Triple Zero
    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • Very Proud Of Ya Very Proud Of Ya Quick View

    $21.99
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    Very Proud Of Ya

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. He Who Laughs Last...
    2. File 13
    3. Wake-Up call
    4. Cult Status
    5. Perfect Fit
    6. Advances In Modern Technology
    7. Theory of Revolution
    8. This Secret ninja
    9. Soap Box Derby
    10. Asprin Free
    11. Fishbowl
    12. Charles Atlas
    13. Crop Tub
    14. Consult My Lover
    15. Take the Test
    16. Two Of A Kind
    17. Shatty Fatmas
    18. Yurf Rendenmenin
    19. Cruise Control
    20. Modern Epic
    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • IV: One With The Storm IV: One With The Storm Quick View

    $24.99
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    IV: One With The Storm

    Finland's GHOST BRIGADE haunts the spaces between worlds. Their heavy, mournful music is the sound of dusk; mining the distinctive Finnish sound of sorrow and the vast, heavy drone of the post-metal cosmos. Plaintive vocals sing songs of loss, and cloak both a sonic and emotional weight that resonates deeply. 'IV: One with the Storm' is a dark, emotional, and truly moving album of the heaviest modern metal.
    1. Wretched Blues
    2. Departures
    3. Aurora
    4. Disembodied Voices
    5. Electra Complex
    6. Stones And Pillars
    7. Anchored
    8. The Knife
    9. Long Way To The Graves
    10. ElÄmÄ On Tulta
    Ghost Brigade
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Never Trust A Happy Song Never Trust A Happy Song Quick View

    $20.99
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    Never Trust A Happy Song

    Never Trust A Happy Song is the debut album from LA indie-rockers Grouplove. The release is a brawny, ecstatic album filled with ambitious, varied, expansive, tunes underscored by crisp percussion and killer harmonies. The variety in the musical taste and writing styles of each member really makes each of our songs unique, drummer/producer Ryan Rabin explains. The honest, open-minded process we go through in rehearsal and in the studio brings the songs home and gives them the 'Grouplove' sound.


    Under the Grouplove banner, Colours, became a delicate but powerful slow/fast jam. Itchin On A Photograph is a soaring epic propelled by spacey guitar licks and vigorous handclaps. And Tongue Tied, is an electronic infused dance anthem that showcases the bands obsession with careening harmonies.


    Hannah Hooper (keyboards), Andrew Wessen (guitar) and Sean Gadd (bass) all share vocal duties and take their turn fronting the band, though Christian Zucconi (guitar) sings lead on most songs, Ryan produces all of their material, and all five bandmembers receive songwriting credit on every tune: Grouplove is a true collaboration.


    The albums title initially seems ironic: on the surface the bands vibe comes off as happy, the songs soar with a kind of shimmering, youthful exuberance. But just beneath that sunny sheen, there is a reservoir of longing and melancholy. The Grouplove signature is blending those two pillars of life: sorrow and joy. Hannah explains, As individuals we are heavier, darker, but when we are together we bring the love.

    1. Itchin on a Photograph
    2. Tongue Tied
    3. Lovely Cup
    4. Colours
    5. Slow
    6. Naked Kids
    7. Spun
    8. Bettys a Bombshell
    9. Chloe
    10. Love Will Save Your Soul
    11. Cruel and Beautiful World
    12. Close Your Eyes and Count to Ten
    Grouplove
    $20.99
    Vinyl LP - Sealed Buy Now
  • Feeling The Space Feeling The Space Quick View

    $23.99
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    Feeling The Space

    If you've listened to Feeling the Space, Yoko Ono's personal-is-political 1973 album, it should come as no surprise that the once-reviled artist is inspiring a new generation of activists in 2017.On such songs as the righteous chant "Woman Power," the empathetic ballad "Angry Young Woman," the hilarious proto-grrrl "Potbelly Rocker," and the satirical "Men Men Men," Yoko sings in surprisingly straightforward fashion about the burdens carried by women and the mandate for feminism. Supported by such skilled studio vets as guitarist David Spinozza, sax player Michael Brecker, and drummer Jim Keltner, this is perhaps Yoko's most accessible album,and her most intimate.

    Feeling the Space was recorded during the time when the avant-garde visionary artist became estranged from her rock-star husband John Lennon. He plays only briefly on the album (billed as Johnny O'cean); she produced and wrote all the songs. The result is a definitive soundtrack/document of the era of consciousness raising and of radical critique of the family structure. Yoko and company deliver this hard message soft rock style, or as soft as Yoko could get. Yoko was on the front lines of the women's liberation movement. Dedicated "to the sisters who died in pain and sorrow and those who are now in prisons and in mental hospitals for being unable to survive in the male society," it's an emotional exploration of the psychological toll of oppression.

    1. Growing Pain
    2. Yellow Girl (Stand By For Life)
    3. Coffin Car
    4. Woman Of Salem
    5. Run, Run, Run
    6. If Only
    7. A Thousand Times Yes
    8. Straight Talk
    9. Angry Young Woman
    10. She Hits Back
    11. Woman Power
    12. Men, Men, Men
    Yoko Ono
    $23.99
    Vinyl LP - 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
  • No More Shall We Part No More Shall We Part Quick View

    $22.99
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    No More Shall We Part

    No More Shall We Part ends a four-year silence from Nick Cave & the Bad Seeds. A best-of was issued in 2000, but no new material has appeared since 1997's landmark album, The Boatman's Call. With that record Cave had finally delivered what everyone knew he was capable of: an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution. It appears that The Boatman's Call has altered the manner in which Cave writes songs, and the Bad Seeds illustrate them. Two musical directors -- the ubiquitous Mick Harvey and Dirty Three violinist Warren Ellis -- craft a sonic atmosphere whose textures deepen and widen Cave's most profound and beautiful lyrics to date. The ballads have the wide, spacious, sobering ambience one has come to expect from the Bad Seeds. There is an ethereal change in sound in the up-tempo numbers, which are, for lack of better terminology, musical novellas. They plumb the depths of blues, yet contain glissando and crescendos from the orchestral music of composers such as Fartein Valen and Olivier Messiaen. There are places, such as in Oh My Lord, where rock & roll is evoked as a device, but this isn't rock music. A listen to As I Sat Sadly By Her Side, Hallelujah, and the aforementioned track (the most rock song here) will attest that it is merely one color on a musical palette that is more expansive now than at any time in the band's history. Also in the band's musical treasure trove is the addition of the McGarrigle sisters on backing vocals - nowhere is their contribution more poignant than on the tenderly daunting, haunted house that is Love Letter. Lyrically, and as a vocalist, Cave has undergone a startling, profound metamorphosis. Gone is the angry, humorous cynic whose venom and bile touched even his lighter moments. His deep taunting ambivalence about Jesus Christ and Christianity in general is gone, vanished into a maturity that ponders spiritual things contemplatively. Humor that pokes fun churchianity remains, but not as a source of its inspiration. Over these 12 tracks, Cave has taken the broken heart--so openly exhibited on The Boatman's Call--and elevated it to the place where he has learned to live with, and speak from it as both an artist and a human being. Leonard Cohen stated in the song Anthem, that, there is a crack in everything/that's where the light gets in.No More Shall We Part is a mosaic of those cracks. If this album is about anything, it is about love's ability to survive in the world. It is examined concretely and abstractly; to the point where it meditates on this theme even cinematically. His methodology for the listener is, even though these are intimate conversations, the effect is illustrated in widescreen. In this way, Cave touches the heart in the same way Andrei Tarkovsky's films Stalker and The Sacrifice and Wim Wenders' Wings of Desire do. There is powerful emotion here, spiritual, psychological and romantic, without a hint of the sentimentality that would make it false. As both a singer and a songwriter, his work has been transformed into something so full of depth, color, and dimension, that there is simply no one except his mentors working on this level in popular music. In the opening moments of As I Sat Sadly By Her Side, a tenderly, softly sung vocal delivers: Then she drew the curtains down/And said when will you ever learn/That what happens there beyond the glass/Is simply none of your concern/God has given you but one heart/You are not a home but the hearts of your brothers/God don't care for your benevolence anymore/But he cares for the lack of it in others/Nor does he care for you to sit at/Windows in judgement of the world he created/While sorrows pile up around you/Ugly, useless and over-inflated/At which she turned her head away/Great tears leapin' from her eyes/I could not wipe a smile from my face/As I sat sadly by her side. The title track is a ballad that could have been lifted from The Boatman's Call, except it lacks the reaching tragedy. And Cave sings in a tenor no one thought him capable of -- And all the birds will sing to your beautiful heart/Up on the bell/And no more shall we part. The chaos of earlier Bad Seeds outings does kick up on The Sorrowful Wife, where violins and Blixa Bargeld's guitars duel with Jim Sclavunos's drums for domination of the sonic torrent. The record closes with two of Cave's most beautiful songs, a near country gospel waltz called Gates to the Garden with the McGarrigles sweetening an already lovely tome to redemptive love. Finally, Darker With the Day, illustrated by Harvey's striking pianistic ballad framework touched by Bill Evans' technique, is as strikingly autobiographical as Cave has ever been, highlighting the extremes of good and evils that inform and torment the protagonist's inner emotional life within in a single day. There is loss and the seeking of deliverance and, in a statement not so much of recognition that this is simply fate, he also acknowledges hope: All these streets are frozen now/I come and go/Full of a longing for something I do not know. As he calls to a lover gone seemingly forever, he comes to the conclusion that for him, redemption is in love itself, whether divine or profane; the only hope is that love, between two people or between an individual and her or his creator, depends on one's openness to receiving it. Who can argue with him? No More Shall We Part leaves listeners in awe, full of complex emotions, and pondering the notion that they've been in the presence of great redemptive art--which Henry James calls, the thing that can never be repeated.

    - Thom Jurek (All Music)
    1. As I Sat Sadly by Her Side
    2. And No More Shall We Part
    3. Hallelujah
    4. Love Letter
    5. Fifteen Feet of Pure White Snow
    6. God Is in the House
    7. Oh My Lord
    8. Sweetheart Come
    9. The Sorrowful Wife
    10. We Came Along This Road
    11. Gates to the Garden
    12. Darker with the Day
    Nick Cave And The Bad Seeds
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fool's Gold Fool's Gold Quick View

    $16.99
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    Fool's Gold

    Translucent Gold Vinyl


    My greatest hope is that it ends up becoming the soundtrack to some perfect romance, or at the very least a great cocktail party," says Jill Barber of her new album, 'Fool's Gold. Jill - aka "Canada's sweetheart" - is a two-time Juno Award nominee and Montreal Jazz Fest headliner whose last album hit #1 on the iTunes Jazz charts, and landed her a national segment with NPR. She has collaborated with Josh Ritter, Ron Sexsmith, and Kris Kristofferson has called her a "damn good songwriter." She also published a children's book, entitled 'Music is for Everyone,' this May. 'Fool's Gold' explores every nook of Jill's musical history: sultry torch songs, Hank Williams-inspired ballads, an homage to the golden era of the Brill Building, Motown and beyond. Lead single "Broken For Good" ventures into the early days of Motown with its strong backbeat, horns, a driving bass line and immediate pop appeal. She channels Patsy Cline on "The Careless One," a bittersweet Western, full of resignation and sorrow. As Jill puts it, "It hurts me to sing it, just a little. But that's how I know it is a keeper." The record was produced in Toronto by longtime collaborators and bandmates Les Cooper and Drew Jurecka.

    1. Broken For Good
    2. The Least That She Deserves
    3. Let's Call It Love
    4. The Careless One
    5. If Only In My Mind
    6. To The Last
    7. Lucky In Love
    8. Darlin' It Was You
    9. Only You
    10. If You're Going To Break My Heart
    Jill Barber
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • Let Yourself Go (Pure Pleasure) Let Yourself Go (Pure Pleasure) Quick View

    $49.99
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    Let Yourself Go (Pure Pleasure)

    Let Yourself Go is an exceptional collection of 13 tunes written by the cream of popular song writers -- Berlin, Gershwin Brothers, and others -- honoring Fred Astaire's contributions to the vocal art. With his low key, narrow ranged voice, Astaire probably introduced and/or made popular more songs that were destined to become standard entries in the Great American Songbook than any other artist. Kent delivers this selective play list with one of three musical combinations, just piano, with piano plus rhythm, and with a larger aggregation which includes sax and guitar. Irrespective of the instrumental context, all of the tunes are delivered with Stacey's pleasant nasal twang to help her create the impression that the lyrics she's singing are part of an intimate one on one conversation with each listener. There's nothing over dramatic on this album. No gimmicks, just a voice as engaging as any on the scene conveying the meaning of a melody in the tradition of the person she is honoring, the inestimable Astaire.


    Kent's pianist, David Newton, is one of the premiere accompanists in the U.K., having worked with such top flight singers as Tina May. He and Kent display their musical attraction to each other on a relaxed, suave rendition of Isn't This a Lovely Day and They Can't Take That Away From Me, where Kent and Newton gently joust as they deliver an elegant rendition of this tune. 'Relaxed' is as good a word as any to describe the atmosphere for this session. There's nothing frenetic here. S'Wonderful, usually performed at a fast pace, gets a languid, medium tempo treatment with Newton's piano, an effortlessly lilting Colin Oxley guitar and Jim Tomlinson's tenor sharing the mike with Kent. A Fine Romance is about as upbeat as it gets, with Oxley's cleaned line guitar setting the pace. Newton engages in a bit of Erroll Garner-like humming during his solo on this tune. Tomlinson's romantic tenor is featured on Let Yourself Go and They All Laughed. On One for My Baby, he brings out his clarinet, using the middle register to help create the proper melancholy mood for this definitive 'drowning my sorrows in booze' tune.


    This is another excellent album by American born, U.K.-based singer Stacey Kent, and is happily recommended.

    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (tenor saxophone, alto saxophone, clarinet)

    • Colin Oxley (guitar)

    • David Newton (piano, keyboards)

    • Simon Thorpe (bass)

    • Steve Brown (drums)




    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.


    This title is not eligible for discount.

    LP 1
    1. Let Yourself Go
    2. They Can't Take That Away From Me
    3. I Won't Dance
    4. Isn't This A Lovely Day?
    5. They All Laughed
    6. He Loves And She Loves


    LP 2
    1. Shall We Dance?
    2. One For My Baby (And One More For The Road)
    3. S' Wonderful
    4. A Fine Romance
    5. I Guess I'll Have To Change My Plan
    6. I'm Putting All My Eggs In One Basket
    7. By Myself

    Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Burn Your Fire For No Witness Burn Your Fire For No Witness Quick View

    $17.99
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    Burn Your Fire For No Witness

    Many of the superlatives describing Angel Olsen refer to how seemingly little it takes for her to
    leave an audience speechless, even spellbound. But Olsen has never been as timid as those
    descriptors imply, and the noisy, fiery hints in her earlier work find a fuller expression on her
    newest LP, Burn Your Fire for No Witness. Here, Olsen sings with full-throated exultation,
    admonition, and bold, expressive melody.Also,with the help of producer John Congleton, her
    music now crackles with a churning,rumbling low end and a brighter energy.


    Angel Olsen began singing as a young girl in St. Louis, where she explored the remarkable
    range of her voice and the places it could take her songwriting. Her self-released debut EP,
    Strange Cacti, belied both that early period of discovery and her Midwestern roots. Cautious
    and homespun on the one hand,the EP transported us to a mystical, unrecognizable world on
    the other, and it garnered extensive praise for its enigmatic beauty.Olsen then went further on
    Half Way Home, her first full-length album (released on Bathetic Records), which mined
    essential themes while showcasing a more developed voice. Olsen dared to be more personal.


    After extensive touring, Olsen eventually settled for a time in Chicago's Logan Square
    neighborhood, where she created a collection of songs grown in a year of heartbreak, travel,
    and transformation. The new songs go on to tell us to leave, or to high-five a lover who is
    lacking, or to dance our way up and out of sorrow. Many of them also remain essentially
    unchanged from their bare beginnings.In leaving them so intact, a more self-assured Olsen is
    opening up to us, allowing us to be in the room with her at the very genesis of these songs,
    when the thread of creation is most vulnerable and least filtered. Our reward for entering this
    room are many head-turning moments and the powerful, unsettling recognition of ourselves
    in the weave of her songs.


    This act of meaning-making recurs as a theme throughout the album, as the sublimating
    response to the power of negativity.In the song,Stars,for example,Olsen wishes to"have the
    voice of everything" and in a moment of hatefulness and hurt realizes that the strength of fury
    results in the power she had been seeking all along. Thankfully for us, Olsen has decided to
    channel a lot of this new found power into the ethereal, hypnotic performances of her new and
    revealing songs,sharing with us the full grace and beauty of her transformative moments.


    -Matthew Didier

    1. Unfucktheworld
    2. Forgiven/Forgotten
    3. Hi-Five
    4. White Fire
    5. High & Wild
    6. Lights Out
    7. Stars
    8. Iota
    9. Dance Slow Decades
    10. Enemy
    11. Windows
    Angel Olsen
    $17.99
    Vinyl LP - Sealed Buy Now
  • Blood On The Tracks Blood On The Tracks Quick View

    $34.99
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    Blood On The Tracks

    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 Buy Now
  • Bob Dylan Bob Dylan Quick View

    $49.99
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    Bob Dylan

    Bob Dylan on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Transparent to the Source: Hyper-Detailed 45RPM Pressing Brings the Simple Sounds of Dylan's Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective


    Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 180 gram 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and dimensions-the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background noise. Wider grooves mean more information reaches your ears.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.


    This title is not eligible for discount.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Bob Dylan (Mono) (Pre-Order) Bob Dylan (Mono) (Pre-Order) Quick View

    $49.99
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    Bob Dylan (Mono) (Pre-Order)

    Bob Dylan On Numbered Limited Edition 180 Gram Mono 45RPM 2LP From Mobile Fidelity


    Understated 1962 Debut Launched Immeasurably Influential Career


    Album Stands as Clearest Connection to Dylan's Purist Folk Roots


    Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers


    Mastered From The Original Master Tapes And Strictly Limited To 3,000 Copies


    Mobile Fidelity Mono 45RPM 2LP Features Unparalleled Directness And Sound Dylan, Producers Originally Intended


    Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness-the husk and bark to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.


    As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album-making the mono mix all the more historically valuable and truthful.


    Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.


    By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's See That My Grave Is Kept Clean, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.


    As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin. It all starts here.


    This title is not eligible for discount.

    1. You're No Good
    2. Talkin' New York
    3. In My Time of Dyin'
    4. Man of Constant Sorrow
    5. Fixin' to Die
    6. Pretty Peggy-O
    7. Highway 51
    8. Gospel Plow
    9. Baby, Let Me Follow You Down
    10. House of the Risin' Sun
    11. Freight Train Blues
    12. Song to Woody
    13. See That My Grave Is Kept Clean
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Precious Remedies Against Satan's Devices Precious Remedies Against Satan's Devices Quick View

    $22.99
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    Precious Remedies Against Satan's Devices

    Precious Remedies Against Satan's Devices, The Welcome Wagon's second full-length, is an apt sequel to their critically acclaimed 2008 debut, Welcome to the Welcome Wagon. Here, Vito and Monique Auito simply throw those welcoming arms open wider, inviting the listener to join them for 51 minutes of church.


    Those who enjoyed the Welcome Wagon's debut album will notice their distinct sound again here: loose, jangly, comfortable, a gathering of friends making music together. It's at times jaunty and toe-tapping, at others quietly contemplative, an alt-folk gem that sounds very much like it comes out of the Asthmatic Kitty camp.


    But while the first album was recorded over the course of eight years in various venues, this one was done in five days at the library of an old rectory in Brooklyn. And while recording artist and AK co-owner Sufjan Stevens produced Welcome Wagon's first album, he's less noticeable on this collection, sticking to some banjo, piano, and choir singing. Alexander Foote, who also plays guitars, organ, autoharp, percussion, and some piano, produced the record. And Welcome Wagon friends and internet sensations The Gregory Brothers fill in the choir.


    Vito says his songwriting is informed by his work as senior pastor at Resurrection Presbyterian Church in Brooklyn's Williamsburg neighborhood. "A pastor is supposed to care for people, to help them to love God, to engage with their lives and their joys and their sorrows," he says. "I'm only interested in writing music that will speak to that. I'm writing as a pastor, wanting these songs to speak God's truth into those situations." Double gatefold vinyl LP includes bonus EP on side 4: Purity of Heart is to Will One Thing.

    1. I'm Not Fine
    2. My God, My God, Parts 1 & 2
    3. I Know That My Redeemer Lives
    4. Rice and Beans (But No Beans)
    5. High
    6. Remedy
    7. Would You Come And See Me In New York
    8. My Best Days, Parts 1 & 2
    9. Lo He Comes With Clouds Descending
    10. Draw Nigh
    11. The Strife Is O'er
    12. God Be With You Til We Meet Again
    13. Nature's Goodnight
    The Welcome Wagon
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Gasoline Alley Gasoline Alley Quick View

    $24.99
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    Gasoline Alley

    Numbered Limited Edition LP


    Rod the Mods 1970 Landmark Set Tone for All Folk-Rock Albums That Followed


    Evocative, Low-Key, and Rustic: Gasoline Alley Finds Stewart At His Peak


    Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: LP Has Never Sounded More Organic, Warm, or Transparent


    Backed By Fellow Faces Ron Wood, Ronnie Lane, Ian MacLagan, Kenny Jones


    Stewarts Equally Iconic Every Picture Tells A Story Also Available on LP from Silver Label


    No matter what era or phase of Rod Stewart you prefer, nearly everyone is unanimous in choosing the artists early 1970s output as his very finest. Proof comes courtesy of Gasoline Alley. A 1970 record that literally set the template for all folk-rock efforts that followed, the critically acclaimed album has been cited as one of the 1001 Albums You Must Hear Before You Die and remains a blueprint for evocative vocals, low-key presentation, and incredible interpretation.


    Barely removed from his debut, Stewart comes into his own on Gasoline Alley, essentially a largely unplugged record on which the singer surrounds himself with a transcendent blend of acoustic guitars, mandolin, fiddle, piano, and understated percussion and channels the music with a gritty, rock n roll attitude. The results? Tough, organic, warm, swaggering, and unfettered songs that bow to country, rockabilly, blues, and folk influences all the while managing to belong to their own genre. Its just one of the reasons why Gasoline Alley remains a study in distinctive excellence.


    Another is due to Stewarts passionate singing. Sensitive, understated, wistful, and raggedly worn, he inhabits the role of a journeyman that inhabits the narratives on standard-bearing covers of Bob Dylans Only a Hobo, Elton Johns Country Comforts, and the R&B shuffle Cut Across Shorty. He conveys a bevy of complex emotionssadness, regret, optimism, sorrow, loss, humor, yearningwith a poignancy that suggests every song here is disarmingly personal. Of course, having a band sympathetic to his desires and directions, and one that claims the talent of players such as guitarist Ronnie Wood and organist Ian MacLagan, doesnt hurt matters.


    Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP allows Gasoline Alley to come across with unrivaled warmth, organic tones, and transparent presence. The signature acoustic-electric blend of rock, blues, soul, and country crackles with energy; midrange and highs are vastly improved, affording listeners a clearer image of the Faces dynamic contributions and chemistry. And Stewarts vocals take place right in your room. Wait until you hear the inflections and contrasts.


    Dont hesitate on this all-time rock and folk classic.


    This title is not eligible for discount.

    1. Gasoline Alley
    2. It's All Over Now
    3. Only A Hobo
    4. My Way Of Giving
    5. Country Comforts
    6. Cut Across Shorty
    7. Lady Day
    8. Jo's Lament
    9. You're My Girl (I Don't Want To Discuss It)
    Rod Stewart
    $24.99
    Vinyl LP - Sealed Buy Now
  • Range Of Light Range Of Light Quick View

    $17.99
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    Range Of Light

    S. Carey's chosen musical expression is a hugely beatific,restorative panorama of beauty - perfect given how
    landscape and the wonder of nature inspire much of Carey's imagery. His new album Range of Light - the
    follow-up to his 2010 debut All We Grow-takes its title from the name that 19th century naturalist John Muir
    - Carey's hero - gave to California's Sierra Nevada, and follows suit with a dazzling array of musical light and
    shade, drawn from Carey's love of jazz, modern classical and Americana. Like a weathered mountain range
    changing shadow form and color, or the ebb and flow of a river's current, his music is simultaneously restful
    and rhythmic, complex and simple, and always evolving.


    "My music has specific connections to nature and place, my surroundings, and my experiences," says Carey. I
    travelled the Sierra Nevada area many times as a boy,fishing small mountain streams, hiking to the top of'half
    dome', exploring the Redwood groves at Wawona, in awe of the Yosemite Valley. The term,'Range of Light',to
    me, denotes the spectrum of light and dark a person can have in their life - peaks and valleys of happiness,
    sorrow, challenges and growth - for me most recently and more specifically: marriage, having a baby, and
    maintaining a spiritual connection to nature, place, friends and family as an adult."


    While he studied classical percussion and piano at the University of Wisconsin in Eau Claire, Carey imbibed
    rhythmic minimalists such as Steve Reich and Philip Glass. Immediately after graduating in 2007, he caught
    wind that Eau Claire resident Justin Vernon was forming a band to take his For Emma, Forever Ago opus on
    the road. Carey learnt the drum and vocal parts for the album,rehearsed with Vernon, and has been a mainstay
    of the Bon Iver live band ever since.


    While on tour with Bon Iver, Carey developed his own song writing ambitions, and after many less than
    frequent recording sessions between tours, released All We Grow in 2010. Those nine songs sat between a
    folk/modern classical hybrid and rarefied jazz climes. Carey's warm melodic nuances, reflected in the lush
    folds of his singing, added to the mutable percussive syncopations of his instrumentation.


    Range of Light incorporates elements of his previous work, but also amplifies Carey's percussive proclivities,
    and is altogether more developed than its predecessors, with more input on the performance and even
    composition side from the band of musicians and best friends he assembled originally to bring All We Grow
    to life in the live setting. "Therewere times during recording sessions when there were three percussionists, all
    with different styles and fortes, playing at once, adding different textures."


    From the flurry of violins over a circular rhythm in 'Crown The Pines' and the beautiful cries of 'Alpenglow',
    to the pensive depths of songs like 'Fire-scene' and 'The Dome', Range of Light is a still life of an artist in this
    particular stage of his life; a stage that has been met with the highest of peaks and the lowest of depths all
    within the range each of us treads through.

    1. Glass/Film
    2. Creaking
    3. Crown The Pines
    4. Fire-scene
    5. Radiant
    6. Alpenglow
    7. Fleeting Light
    8. The Dome
    9. Neverending Fountain
    S. Carey
    $17.99
    Vinyl LP - Sealed Buy Now
  • Bad Self Portraits (Out Of Stock) Bad Self Portraits (Out Of Stock) Quick View

    $17.99
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    Bad Self Portraits (Out Of Stock)

    Bad Self Portraits, taking its cues from the social media "selfie" phenomena, is a startling record, one that shows the group tightening up its songwriting chops and presenting a much more unified statement, front to back. Lead singer Rachael Price sounds as disaffected a woman scorned as ever, and, though she throws some of the vocal leads to her male counterparts, particularly on the song "Seventeen", she's still as commanding (and, as someone else in Review Land has noted, LOUD) a presence as ever. But Bad Self Portraits is notable for dialing down some of the jazziness of their previous full length - you have to get a few tracks in before you hear the group's distinctive horns and Bridget Kearney's thick thunk-a-thunka stand-up bass lines don't really get a chance to shine until third track "Better Than". Bad Self Portraits, then, is a much more streamlined and rockist affair. Even though it doesn't reach the same heights, in terms of bowling you off your feet and knocking you over with infectiousness, as Lake Street Dive did, it is still an excellent record, and one that sees the group emerging as much more mature and self-confident. Bad Self Portraits shucks the adage that anything released in the depths of winter is dross.


    What makes Bad Self Portraits particularly astonishing is that it naturally follows from previous releases in a logical progression. While the Fun Machine EP seemed at the time to be merely a stop-gap release meant to tide fans over to this slightly more than three year wait between proper albums (Lake Street Dive was released at the end of 2010), it now makes a great deal more sense in terms of providing a direction for the group. When the band covered Hall & Oates' "Rich Girl" on that affair, it was merely a means of setting up the grandiose statement of the infectious piano led "Rabid Animal", which is probably my favourite thing on the record although it is, alas, the briefest at two minutes and change. Still, that shouldn't sell the rest of the album short. The gorgeous rock number "Stop Your Crying" (no, not a cover of the Pretenders' "Stop Your Sobbing" or a certain Bob Mould song from Black Sheets of Rain) is insanely propulsive and invites you to clap along. The countrified "You Go Down Smooth", the song the band performed on Colbert, rambles and careens in equal measure. It is, to quote the lyrics sheet, a "special treat". "Better Than", with its seeming time signature shifts in certain measures, shows the band's willingness to experiment with off-kilter sounds. And when Price sings "I have lived a privileged life, but I have seen my share of strife", on "What About Me", you feel it; right in the gut.


    What makes Lake Street Dive so special is that, even though the band members are talented individuals in their own right, they are able to interplay and lock together to form a solid backbone to their music. Price, in particular, isn't even 30 years old yet and has the razor sharp wit and wisdom of a woman a decade ahead of her. It's impressive that the band can sound as tight as they do, as Kearney moonlights in other outfits (Joy Kills Sorrow, Cuddle Magic). If anything, Bad Self Portraits is another outstanding release from a really crucial and important group who is on the cusp of shedding its relative anonymity for bigger and better stages. While I doubt Lake Street Dive is ever going to headline stadium tours, their years of playing scuzzy bars (which impacted their selection of name) is clearly well, well behind them. Bad Self Portraits is an awesome addition to the band's catalogue, and I cannot be effusive enough in my love for this group, self-deprecation be damned, that can make you feel so wonderful to be alive and breathing. Lake Street Dive has that kind of effect on listeners, and it's blistering.


    - Zachary Houle (Pop Matters)

    1. Bad Self Portraits
    2. Stop Your Crying
    3. Better Than
    4. Rabid Animal
    5. You Go Down Smooth
    6. Use Me Up
    7. Bobby Tanqueray
    8. Just Ask
    9. Seventeen
    10. What About Me
    11. Rental Love

    Lake Street Dive
    $17.99
    Vinyl LP - Sealed Temporarily out of stock
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