- Lowest Price
- Highest Price
Space Is The Place'
Lazer Guided MelodiesThe Jason Pierce-led space-rock group, Spiritualized, will take you on a voyage into the unknown with this aptly-titled 1992 debut. All the sounds on Lazer Guided Melodies are perfectly placed in space making it a masterpiece of economy and expression. It is authentically emotional as silence and simplicity are as crucial as the more complex instrumentation. An album to be heard with a set of headphones in a dark room and, above all, in its entirety. A pinnacle of the dream pop genre.1. You Know It's True/If I Were with Her Now/I Want You
2. Run/Smiles/Step into the Breeze/Symphony Space
3. Take Your Time/Shine a Light
4. Angel Sigh/Sway/200 Bars$26.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Takes Place In Your Work SpaceWhite Colored Vinyl
When a band's first album is unpredictable enough to invoke comparisons with artists as wildly diverse as hardcore innovators the Minutemen and professorial idiosyncrasy of Randy Newman, then you can reasonably assume its been made by people who care about music. Lots of it. Jazz, punk, funk, country, acid rock, even piano ballads all these labels have been used, accurately, to describe White Denim.1. Cat City
2. No Real Reason
4. Company$5.99Colored Vinyl LP - Sealed Buy Now
ADAD-DEA-7916xSelf Defense Family
Heaven Is EarthSelf Defense Family are one of the most prolific Punk bands out there today. Through countless releases and as many musical contributors (they have had more than ten active members at any given time), the collective has grown in both sound and vision.
"Heaven Is Earth" was recorded at four classic indie/punk studios by a diverse group of engineers: Will Killingsworth at Dead Air Studios (Mind Eraser, etc), Kurt Ballou at God City Studios (Converge, etc), Mark Millar at Sone Lab (Dinosaur Jr, etc), and Jon Low at Miner Street Recordings (Kurt Vile, etc). Each engineer leaving their own distinct audio fingerprint on the collection of songs.
Opener "In My Defense Self Me Defend" percussively wanders as warped guitars weave a pillow for Patrick Kindlon's introspective prose."Talia" introduces both piano and harmonica to the formula, all of it swirling and dancing around a throbbing bass line. "Ditko" exists in a similar sonic place as well, but utilizes textural guitars and subtle effects to set the pensive mood. It's not all sad clown music though. "Prison Ring" picks things up in the middle of the album with a Mekons like urgency. While "Everybody Wants a Prize for Feeling" welcomes a whimsical stomp akin to The Fall. These reluctantly upbeat songs lead to the title track "Heaven Is Earth". A song that descends with a delicate airiness while dealing out some of the heaviest moments of lyrical personal reflection. "Basic Skills" fills a similar space as well. A beautiful construct of a song, rich in melancholia but built on some of the most memorable melody ever from the band. Never leaving quietly, Self Defense Family then offer the closer "Dave Sim". Kicking the door open for one last high volume, pessimistic hurrah.1. In My Defense Self Me Defend
3. Prison Ring
5. Everybody Wants A Prize For Feeling
6. Heaven Is Earth
7. Basic Skills
8. Dave Sim$15.99Vinyl LP - Sealed Buy Now
Music Is Painting In The Air 1974-1977Music Is Painting In the Air is a collection of new mixes and unheard music from Sensations' Fix's prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, Music Is Painting In the Air offers guide posts to those familiar with Sensations' Fix's amorphous catalog and an approachable primer to those just journeying on the sensational trip.
The story of Sensations' Fix begins - and never quite ends - with Franco Falsini. Born in Florence, Italy in 1948, Falsini became a teenage rock 'n' roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister's footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.
Falsini became smitten by Vinnie Sherman, an American woman working as a waitress at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.
Falsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations' Fix.
The reach for space from a personal place is nowhere more apparent than on Fragments of Light, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations' Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini's emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.
Relocating back to Italy on the heels of Fragments' release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations' Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Without marketing or tour support to expose Sensations' Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations' Fix released Vision's Fugitive on an independent label and fulfilled their major label obligation shortly after with Boxes Paradise.
Falsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Meanwhile, the legend of Sensations' Fix grew. On his 2002 album, The Private Press, DJ Shadow sampled from two Sensations' Fix songs. More recently, Sonic Youth curated a career retrospective titled Sensational Fix at Life Gallery in Saint-Nazaire France.
For Music is Painting in the Air, Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations' Fix analog tapes. Honoring Falsini's tradition of autonomy, this collection, as with the majority of the Sensations' Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes' origins and immerse in the body of music as its own universe.
Once this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations' Fix's music is still finding the universal audience for which its intended. Falsini's disregard for time and insistence on reinvention provides an infinite reach for his music. The end-goal was seemingly unmarketable by the industry then, but perfectly harmonious with a culture constantly evolving now.LP1
1. Barnhause Effect
2. Cold Nose Part 3, 4th Movement
3. Leave My Chemistry
5. Grow On You
6. Scraping Delay
7. Warped Notions Of A Practical Joke (Instrumental)
8. Dark Side of Religion
9. Cosmic Saudade
10. Cold Nose Part 3, Movement 2
11. Fragments of Light
12. Into The Memory
1. Cold Nose Part 3, Movement 5
2. C'e Nessuno
4. Moving Particles
5. Cold Nose Part 3, Movement 3
6. Music Is Painting
7. Left Side Of Green
8. Chelsea Hotel (Room 625)
9. Fix A Water Fountain (Instrumental)
10. Leave My Chemistry
11. Overflowing Ashtrays
13. Cold Nose Story
14. Slow Motion Movie
15. Fortune Teller
16. Fortune Teller Coda$34.99Vinyl LP - 2 LPs Sealed Buy Now
Exploding HeadExploding Head is A Place To Bury Strangers' sophomore album and first for Mute. The band had one simple goal during the recording process: The original idea, says vocalist/guitarist Oliver Ackermann, was to create the craziest, most f'ed-up recording ever.
In late 2008, shortly following a support slot on MGMT's U.K. tour, APTBS began tracking new songs at Death By Audio, the rehearsal/recording/living space that Ackermann helped build in 2005. The DIY-or-die building is also an independent venue and the headquarters of Ackermann's Death By Audio company, a customized guitar pedal manufacturer that counts U2, TV on the Radio and My Bloody Valentine among its many happy customers.
During the Exploding Head recording process engineer Andy Smith (Paul Simon, David Bowie) took the band to a whole other level says Ackermann. I love the interplay and contrasts between something that's pretty and something that's scary, he explains. Taking listeners to different places, even in one song, is so important, whether it makes them cry or pissed off. If you listen closely, some of the riffs on this record are actually like Ramones songs or '60s bubblegum pop.1. It Is Nothing
2. In Your Heart
3. Lost Feeling
5. Keep Slipping Away
6. Ego Death
7. Smile When You Smile
8. Everything Always Goes Wrong
9. Exploding Head
10. I Live My Life to Stand in the Shadow of Your Heart$20.99Vinyl LP - Sealed Buy Now
Casino NanaimoThis 12-inch comes on the heels of The Besnard Lakes Are The Dark Horse. Casino Nanaimo is a place where repetitive sound and lights engulf addicted gamblers all vying for space on the eternal wheel of fortune. Devastation (alternate version), is the unedited and original straight-to-two-track nine-minute version, recorded live off the floor at Breakglass Studios.1.Casino Nanaimo
2.Devastation - (alternate take)$11.9912'' Vinyl LP - Sealed Buy Now
GraceOn Grace, lauded American singer Lizz Wright summons her Southern heritage and the spirit of the earth to usher us into a nurturing space that pulses and hums with the unspoken suggestion that grace is a cornerstone of our original state of being. Produced by acclaimed singer and songwriter Joe Henry, Grace is a stark reflection of Wright's sense of place and belonging that's deeply woven into the cultural fabric of America. Lizz offers one original, written for this record, plus inspiring interpretations of songs from Ray Charles, Allen Toussaint, k.d. lang, Bob Dylan, Nina Simone, Sister Rosetta Tharp & more.1. Barley
2. Seems I'm Never Tired Lovin' You
3. Singing In My Soul
4. Southern Nights
5. What Would I Do
7. Stars Fell On Alabama
8. Every Grain Of Sand
9. Wash Me Clean
10. All The Way Here$21.99Vinyl LP - Sealed Buy Now
Country SleepWelcome to the sound of Winston Yellen and Night Beds, who in one stunning ten-track debut album Country Sleep, have shown that there is plenty of life left in the world of American music if you have the voice, the songs and the gift to touch hearts and souls. Think of a space between Mark Kozelek (Red House Painters/Sun Kil Moon), Gram Parsons and the dreamier side of My Morning Jacket; a heavenly place of pure country soul, touched by an endearing innocence and honesty that can only come from someone still in their early twenties.1. Faithful Heights
3. Even If We Try
5. Borrowed Time
6. Cherry Blossoms
7. Wanted You In August
8. Lost Springs
9. Was I For You?
10. Tenn$17.99Vinyl LP - Sealed Buy Now
TroubleThe first thing you might notice about Hospitality's sophomore album
Trouble is what you don't hear. The process of completing Trouble
was, for the band, one of learning to accept silence, to let that empty
space exist no matter what it might awaken or evoke. You could catch
glimpses of these dark and unexplored places in the margins of
Hospitality's 2012 self-titled debut, but they are at the very heart of
Trouble. If you listen closely, you can hear a band pushing against their
own boundaries and limitations until they find the very air around
them subtly but perceptibly changed.
In its lyrics and its musical construction, Trouble is an album that
wonders about the mysteries that lurk just beyond our field of vision.
Slyly and sympathetically, Papini ponders a Saturday afternoon fishing
trip as a wrenching interplay of life and death, the perfect blue sky at
an air show as a setting for a soured romance. Papini elaborates: "Most
of the songs are about everyday environments that arouse anxiety or
unease. The ocean isn't meant for people; we aren't supposed to be
there, and some of the animals that live there are much bigger and
faster than we are in the water. I think a lot of the songs deal with this
'out of place' kind of theme, feelings of unease and the questions of
what is under you or what surrounds you."
The album unfolds like a walk on the beach or a journey to a place
you didn't know you were going. Perhaps a darker sound overall, but
Trouble begins with the trademark Hospitality pop then unfurls to
reward the listener with the more expansive stripped-down
instrumentation of side B. And here, again, is that distinctively present
silence, creating a space where an undulating synthesizer feels as alive
and mysterious as a single voice in a room.1. Nightingale
2. Going Out
3. I Miss Your Bones
5. Rockets and Jets
7. It's Not Serious
8. Last Words
10. Call Me After$19.99Vinyl LP - Sealed Buy Now
Over the past few years, Berkeley-based songwriter/producer Dan Casey (better known as Yalls) has issued everything from sun-kissed synth-pop to quirky hip-hop instrumentals, glitched excursions of post-aughts soul, to tropical-tinged, vocal-led boom-bap. He has regularly delivered immersive one-offs, inventive remixes, and guitar based works under his own name, Casey has built a reputation as a producer who may be hard to pin down in exact terms, but is always reliable for delivering delicious hooks and poignant melodies. Unite, the first proper full-length album by Yalls, is a cohesive amalgamation of the sound Casey has been exploring. It combines elements of mid-60's funk, modern experimental beatmaking, and pop music - firmly placing the listener in a unique space somewhere between defunct dance halls and outer space.1. Safe Soundsz
2. Leak On
3. High Society
5. Fresh Part
11. Like A Fool
12. Finalized$15.99Clear Vinyl LP - Sealed Buy Now
Where some artists write from the head and others from the heart, Whigs' songwriter/frontman Greg Dulli writes from the groin. His lyrics are filled with dark images of romantic obsession. Perhaps no other band can play with such restraint, letting musical tension build until it can do nothing other than explode. Dulli in his finest voice can move from desperate screams to a quiet sinister crooning at the turn of a chord. The band split up in 2001. Greg Dulli continued recording and performing as part of the Gutter Twins (with Mark Lanegan) and The Twilight Singers.
1965 is the name of their sixth and final album originally released in 1998. Its cover photograph shows astronaut Ed White on the first American space walk as part of the Gemini 4 flight which took place in, you guessed it, 1965.
Includes 7 bonus tracks and an 8 page bookletSide A:
1 Somethin' Hot
3. Uptown Again
4. Sweet Son Of A Bitch
6. Citi Soleil
1. John The Baptist
2. The Slide Song
5. The Vampire Lanois (Instrumental)
1. Somethin' Hot (12" Version) *
2. Miss World *
3. Papa Was A Rascal *
1. 66 (Radio Version #1) +
2. The Singer +
3. Somethin' Hot (Live Version) +
4. 66 (Live Version) +$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Transit BluesColored Vinyl
Ohio based metalcore unit The Devil Wears Prada have just confirmed the upcoming release of what will be their sixth full-length studio album, titled 'Transit Blues'. The record is set for release via Rise Records, and follows up last year's 'Space' EP.
Speaking of the meaning behind the record and its title, frontman Mike Hranica explained, "It's like zooming out on a commute. It's the notion of getting from one place to another. Most people go from their homes to work, while we go from date to date on tour. Either way, it's the inevitable process of growth and change. There are moments of anger, but the pervading theme is separation. Drawing the full circle, it is separation that is inherent in moving from one place to another."
(deadpress.co.uk)1. Praise Poison
4. Lock & Load
5. Flyover States
6. Detroit Tapes
7. The Condition
8. To The Key Of Evergreen
10. Home For Grave, Pt. II
11. Transit Blues$18.99Colored Vinyl LP - Sealed Buy Now
An Evolutionary Music (Original Recordings: 1972 - 1979)An Evolutionary Music (Original Recordings: 1972 - 1979) compiles
unreleased recordings from the archives of multiversal artist Ariel Kalma.
Concerned as much with musicality as spiritual facility, Kalma's work
vibrates aside fellow travelers along the great rainbow in curved air of
the 1970s avant-garde.
Ariel Kalma's boundary-blurring electronic music is heard here in
radiant detail across a selection of work spanning his early free-jazz
and spoken word trips to his infinite modular synthesizer and primitive
drum machine meditations. Kalma's story is one of world travel, musical
discovery and ego-abandonment. Yet for an artist who often discarded
public recognition in favor of the ascetic truths in music making, An
Evolutionary Music offers the imprint of an outright auteur.
Born in France, but rarely in one place for long, Ariel Kalma's 1970s
migrations took flight through the decade's furthest spaces of musical
and spiritual invention. As a hired horn for well-known French groups,
the young musician toured as far as India, a place where Kalma would
learn circular breathing techniques enabling him to sustain notes without
pause against tape-looping harmonies configured through his homemade
Those effects evolved from Kalma's loyalty to a beloved dual ReVox
set-up- two tape machines "chained" together to form a primitive delay
unit. Over looped saxophone melodies, Kalma would mix in all shades of
polyphonic color, synthesizing fragments of poetry with ambient space or
setting modal flute melodies to rippling drum machine patterns and starlit
In France during the mid-1970s, Kalma was staffed as a technician at
Pierre Henry's legendary Institut National Audiovisuel, Groupe de Recherches
Musicales (INA GRM) studios - the same music concrÉte laboratory that
spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard
Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma's
relationship to sound was both formal and non-hierarchical. To Kalma, all
music existed as related universal patterns, in perfect harmony with the
people, places and environments it was created.
Kalma's recorded output of the 1970s culminated in the now scarcely-available Les Temps des Moissons (trans. The Time of Harvest) in 1975,
and a masterpiece of birdsong exploration with Osmose in 1978. Osmose
is double album featuring sculptor Richard Tinti, who had supplied Kalma
with hours of field recordings from the rainforests of Borneo.
An Evolutionary Music harvests uncatalogued music made between
Kalma's private press records and onward through the many small-batch
cassette releases Kalma would tender. With this collection of musical
hybridity and distinct genre-corrosion, Ariel Kalma's righteous bucking of
both popular music trends and the academic tenets of the avant-garde
falls squarely in the spirit of other renegades of sacred new-music such as
Terry Riley, La Monte Young, and Charlemagne Palestine.1. Almora Sunrise
2. Ecstasy Musical Mind Yoga
4. Sunset Inside
5. Chase Me Now
6. Enuej Elleiv
7. Sister Echo
8. Les Mots de Tous Les Jours (Rêves Etranges)
9. Rainy Day
10. What Would You Say
11. Les Etoiles Sont AllumÉes
12. Voltage Controlled Wave
13. Montparnasse Morocco
14. Head Noises
15. Asalam Yamarek
16. Love and Dream
17. Yogini Breath$30.99Vinyl LP - 2 LPs Sealed Buy Now
Quazarz vs. The Jealous MachinesQuazarz vs. the Jealous Machines is one of two new albums by interstellar hip-hop enigma Shabazz Palaces, aka Ishmael Butler (who, in another galaxy, performs in Digable Planets) and Tendai Maraire. Quazarz vs. the Jealous Machines, and its companion, Quazarz: Born On a Gangster Star, were both produced by Knife Knights (i.b e.b.) and mixed by Blood.
Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow, through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his prism that we hear the story.
The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K. Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.
On Quazarz when they look at this place they see the inhabitants, the humans, but they don't assess as we do. And so Quazarz was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about.
Coming from a simpler, more essential, innocent place, the hero could not make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly vibrations were on very small squares and it became his belief that this world was very disposable and the spans short. His opinion was not of anything good nor bad but simply the truth. The machines-he noted-though at the behest of their master's voice, are scorned, and jealous as all hell.
And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy base angled for takeoff on a new trajectory. There is new blood and space and room to be different and have different assets and different art and different ways to talk and also open up some space inside to do something new. There are pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph. There are scales and there is melody and there are Sunny days and there is Darkness, but that-it should be noted-to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism and joy, a bright darkness and a full, hopeful one as well.1. Welcome to Quazarz
2. Gorgeous Sleeper Cell
3. Self-Made Follownaire
6. Julian's Dream (ode to a bad)
7. 30 Clip Extension
8. Love in the time of Kanye
9. Sabonim in the Saab on 'em
10. The SS Quintessence
11. Late night phone calls
12. Quazarz on 23rd$19.99Vinyl LP - Sealed Buy Now
PS Audio BHK Signature Series Preamplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Introducing one of the most remarkable musical instruments in the world, the BHK Signature Preamplifier. This exceptionally built vacuum tube preamplifier opens up the music and reveals nuances, life and space not previously heard on your system. It is the perfect interface between your sources and power amplifier. Designed by Bascom H. King, the BHK Signature distills Bascom's 50 plus years of high-end audio design experience into a single masterpiece of audio amplification. "This is the best sounding preamplifier I have ever designed or heard," and that's saying a lot for a man of Bascom's experience. Preamplifiers play a critical role in any separates audio system, strategically positioned between sources of music: CD players, phono preamps, DACs, tape recorders and tuners - and your power amplifier - the preamp serves essential roles of control and isolation. Control is simple in concept, but extraordinarily difficult to design in an acoustically transparent manner. Control duties such as input switching, volume, balance, and amplification can place unwanted acoustic thumbprints on the music if not designed with extraordinary care. The challenge in any design is to do as little damage to music's purity as possible. Details on how each section of the BHK Signature executes control with minimal sonic impact can be found in the More Info section on this page.$5,999.00Preamplifier - Black or Silver Buy Now
The Perlman SoundNo one could deny that Itzhak Perlman holds a special place in the world of music - and no one could define it more eloquently than his old friend and colleague, the pianist and conductor Daniel Barenboim: It is quite impossible to imagine today's violin heritage without the absolute musical genius of Perlman. The most obvious manifestation of that genius is the famous Perlman Sound - lustrous, warm and generous, its impact compounded by often astounding virtuosity; and yet Perlman makes it all look so easy. In fact, he communicates a positive joy in his playing.
Perlman Sound is released as a primer for the deluxe 59-album boxed set Itzhak Perlman: the Complete Warner Recordings, and may be a good option for fans who don't have enough shelf space for this expansive edition. This collection explores his artistry from the finest concerto highlights (Mendelssohn, Brahms, Beethoven, Tchaikovsky, Korngold, Sibelius, The Four Seasons), to virtuoso solo and chamber repertoire (Paganini Caprice No.24, Bach Partita No.3, the MÉditation from Thaïs, Flight of the Bumblebee, Zapateado) and klezmer and jazz selections. The duo partners and conductors are some of the 20th century's biggest classical stars, many of whom count among Perlman's dearest friends and collaborators.1. Thais: Meditation
2. Vocalise, Op. 34, No. 14
3. Zigeunerweisen, Op. 20
4. Meditation, Op. 32
5. Russian Fantasy (arr. Kreisler)
6. Souvenir d'un lieu cher, Op. 42: No. 2 Scherzo in C Minor (Arr. Glazunov)
7. Legende, Op 17
8. The Old Refrain (arr. Kreisler)
9. Schon Rosmarin$23.99Vinyl LP - Sealed Buy Now
Infinite WorldsWithin the songs of Laetitia Tamko there are infinite worlds: emotional spaces that grow wider with time, songs within songs that reveal themselves on each listen. Tamko is a multi-instrumentalist and a producer, recording since 2014 as Vagabon. On her forthcoming debut, Infinite Worlds, she hones her singular voice and vision with an unprecedented clarity.
"I feel so small / my feet can barely touch the floor / on the bus where everybody is tall," she sings softly and with caution, as she begin the album with "The Embers." Driving punk drums pry her song open, exploding it into an anthem that pushes back at entitled people who make others feel tiny. "I'm just a small fish / and you're a shark that hates everything," she sings, repeating that line and over and over with strength and power. "I've been hiding in the smallest space / I am dying to go / this is not my home," Tamko starts carefully on "Fear & Force," before her finger-picked guitar playing gives way to slow-building synth claps and ethereal harmonies. "Mal a L'aise" is one of the album's focal points, a five-minute meditation of ambient dream pop, featuring Tamko's usage of samples; some are samples from a Steve Sobs song on which Tamko was featured, enticing the one writing collaboration of the album. "Mal a L'aise" means "discomfort" in French, Tamko's first language, and throughout the song she works through different meanings of that word: social, cultural, physical.
Infinite Worlds builds upon Tamko's stripped-down demos that have been circulating online and throughout the independent music community for the past two years. Her Persian Garden cassette, released in 2014 via Miscreant Records, was a lo-fi collection where she embraced a first-thought best-thought approach, making songs that began with just her voice and guitar. But here, Tamko is a main performer of synths, keyboard, guitars, and drums, at times enlisting the work of session studio musicians. This had Tamko channeling the thoughtfulness of her lyricism into her arrangement and production as well. The result is a wide-ranging eight-song collection that's pleasantly unclassifiable: hypnotic electronic collages, acoustic ballads, and bursts of bright punk sit side-by-side cohesively, all tied together by Tamko's soaring voice.
"I write a lot about places, archiving my memories in spaces that I used to be in, spaces I am currently in, or spaces I will eventually be in" she says. "Archiving different moments that I've been thinking about, have gone through. It's not always autobiographical though. It could be about different situations I've seen people I love in. Or people I don't know in. I think that comes a lot from being in different environments. Like growing up in Cameroon. There, we are happy with very little. Then moving here and seeing how the culture differs from where I'm from."
Tamko's songs are embedded with her own story and personal history: growing up in Cameroon, her family's move to New York and adjusting to culture shock. Her family left Cameroon just in time for her to begin high school in the states. She grew up around music and loved it, but finishing engineering school was a priority before music could start to feel like a real possibility. "When I was in Cameroon, my mom would have these 'reunions' which was just her friends coming over on Sundays," she says. "There was a lot of music around me. Traditional West-African songs sung as group chants, hand drums and percussive instruments being played, etc." To date, Tamko mostly listens to East and West African music nostalgic of her childhood, styles of music that influence her own in subtle ways.
Infinite Worlds was recorded at Salvation Recording Co. in New Paltz, NY with engineer and co-producer Chris Daly. Tamko and Daly worked closely and tirelessly in his upstate NY studio through the winter into the spring of 2016. The album's title references a book of poetry by Dana Ward called The Crisis of Infinite Worlds, a book Tamko found particularly inspiring during her recording process, but also very challenging to read: "I had to think critically while reading Dana Ward, it was exciting to be challenged in that way. While I was writing the album, it was a lot of me thinking critically about how to actualize my ideas, and the challenge of reaching proficiency in new instruments. It sort of mirrored my experience reading Dana Ward's book. I found myself combing his writing over and over and over until I grabbed something from it."
And as she sat with her songs, she found more and more. "A lot of it is about finding a space for myself, whether it is physical, emotional, social" Tamko says. "It's about finding that place where I feel most comfortable. And also finding that the confidence within myself can continue to grow. And finding what it takes for me to feel whole through making music."1. The Embers
2. Fear & Force
4. Mal à L'aise
5. 100 Years
6. Cleaning House
7. Cold Apartment
8. Alive and A Well$15.99Vinyl LP - Sealed Buy Now
If AnythingIf Anything, the rst full-length by Greys, is the young quartet's
own warped update of vintage post-punk; frenetic guitars
running against walls of noise, held together by sharp strands of
melody. Emerging from the vibrant Toronto punk scene, Greys
are economical in their swift punches of noise, anchoring short
bursts of mania with huge choruses. Each song exists in its own
space and represents different aspects of the things we like
about noisy, dissonant music," says singer/guitarist Shehzaad
Jiwani. "But instead of being built solely around riffs, they were
built with hooks in mind, too.
The 35-minute LP pulses with a manic urgency, as drummer
Braeden Craig and bassist Colin Gillespie's syncopated rhythms
punctuate guitarist Cam Graham's smothering dissonance.
Through exasperated shouts, Jiwani lets loose the fury that splits
open his songwriting. The lyrics went from outward frustration to
inward, he says. A lot of it takes place from within my own
head. Swinging between hard-driving punk and '90s indie
rifng, the respites on If Anything only underscore Greys' brute
force and anthemic inclinations.
Written over the summer of 2013 and recorded in ten days at
Toronto's Candle Recording studio, If Anything is a fullling
aftershock of noise rock, immediately arresting and bursting with
condence.1. Guy Picciotto
2. Use Your Delusion
3. Flip Yr Lid
5. Pretty Grim
6. Chick Singer
7. Girl In Landscape
8. Brain Dead
9. Cold Soak
10. Brief Lives
11. Lull$14.99Vinyl LP - Sealed Buy Now
Science & Magic: A Soundtrack to the UniverseLil Bub has had her paws in the music world for quite some time now. She's tight with Steve Albini, produced a single for Kelley Deal, worked closely with David Yow, collaborated with Andrew W.K., spearheaded 50 Bands and a Cat (she's the cat), been held by Jonathan Richman, has a song written for her by Kimya Dawson, was rapped about by Aesop Rock, enjoyed Thanksgiving dinner with Murder by Death, appeared in The Foo Fighters' HBO Documentary, Sonic Highways, was the July, 2014 cover story for SPIN Magazine, and famously appears on Run the Jewels' highly anticipated Meow the Jewels record made up entirely of cat sounds.
And now she's finally ready to blow minds with the very first full length concept album written by a magical space cat, and it's darn good. This is music made by a magical space cat. The songs on this album are the soundtrack to BUB's universal adventure, and a soundtrack to the universe itself. You'll feel transported by the music's stimulating spirit, and taken to places beyond your imagination's limits, all the while experiencing the sonic aura of BUB's loving and compassionate presence.1. Hello Earth
2. New Gravity
4. A Friend
5. GOOD JOB
6. Another Voyage
7. Science and Magic
8. Space Sister
9. Earth Sister
10. Rebirth$22.99Vinyl LP - Sealed Buy Now
Distant HorizonsGray Colored Vinyl
Distant Horizons is the twenty-first studio album by the English space rock group Hawkwind, released in 1997. This album has Hawkwind firing on all cylinders. A powerful album with a refreshing style and up-tempo beat. There are distinct style changes in this album with a leaning towards 'fringe' dance scene in places. Overall though, this is still a 'spacerock' album in the best traditions of Hawkwind. This is Hawkwind in their latest incarnation and every bit as vibrant as they were 30 something years ago. Buy it and make your day!1. Distant Horizons
2. Phetamine Street
3. Waimea Canyon Drive
5. Clouded Vision
6. Reptoid Vision
7. Population Overload
10. Taxi for Max
11. Love in Space
12. Archaic(bonus track)
13. Kauai (Alternate Take) (bonus track)
14. Morpheus (bonus track)$37.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
180 Gram Audiophile Vinyl
Includes 4-Page Booklet
Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.
Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.
The songs in the band's setlist were as followed: Directions, Miles Runs the Voodoo Down, Willie Nelson, I Fall In Love Too Easily, Sanctuary, It's About That Time, Bitches Brew, Masqualero, Spanish Key, and The Theme. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.
The original Japanese booklet is included in this vinyl package.LP 1
1. Black Beauty Part I
2. Black Beauty Part II
1. Black Beauty Part III
2. Black Beauty Part IV$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Bigfoot (Awaiting Repress)Cayucas: Pronounced "ky-yook-us", is the monikered homage to a sleepy little seaside town in San Luis Obispo County,California. That town, Cayucos, has hardly changed in the last 50 years, a far cry from the gentrified tourist traps parading showily down the nearby coastline. In the early 1960s,the surfing craze hit. There was one bar around which local kids congregated back then,the site of helpless crushes and fights and games of pool, a place whose jukebox soundtracked innumerable teenage years as breezy summers rolled into mild winters and back around again.The bar has since disappeared, but as Zach Yudin, the man behind the name, will tell you, the place still holds on tight to its propensity for dreamy, lazy, bonfire-lit nights worth getting moony-eyed about.
Cayucas' debut album bears little resemblance to the sound of modern California that's been so omnipresent over the past few years. Instead, Bigfoot posesses flirty rhythmic sensibilities both snappy and sparkling, a rosy, near-tropical warmth, and a loose and conversational feel that position you right in the line of Yudin's wry gaze.
Having moved to Japan for a yearto teach,he became inspired by the country'slove of electronic music. He started writing Daft Punk-style material while he was out there, and experimenting with the vinyl sampling that would form a crucial component of Cayucas' early sound-old rock albums by bands like the Beach Boys,theTornadoes, and the Animals. Although he has since set aside the synthesizer, this braiding together of proto-pop group classicsfed directly into the album.
Bigfoot was recorded up in the chilly Pacific Northwest-in Oregon, with Secretly's Richard Swift in charge of production. It's the result of Swift and Yudin's symbiotic working relationship, and positivity one of its brightest qualities, even when recalling missed opportunities-there's no space for downcast vibes here. "High School Lover" is perhaps Bigfoot most quintessential song; centered around a chiming rhythm ripe for shimmying, and a tale that sums up Yudin'staste for his own personal nostalgia.
After working at a local independent jazz label for a couple of years, he's now making music full-time, rehearsing with his new band for Cayucas' first live shows, running along theVenice Beach boardwalk, and hitting a certain bar each night to play pool, hang out, and listen to the Beach Boys. Some places don't change.1. Cayucos
2. High School Lover
3. Will The Thrill
4. A Summer Thing
5. East Coast Girl
6. Deep Sea
7. Ayawa 'kya
8. Bigfoot$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Under Color Of Official Right
There's a humanness and empathy to this material that's increasingly rare in rock songs.- Pitchfork
Their road is straight; their gospel is truth...If nothing else, the hooks alone should be enough
to keep you coming back." - Nashville's Dead
Protomartyr's sound is distinct, but hard to pin down with human language. ... It'd be much easier to describe
using a series of buzzing tones and propulsive beats, but then you'd be listening to Protomartyr.- KEXP
In a city full of brilliant people with dead-end jobs and dampened by bitter-cold winters,
playing music offers a cheap outlet. Protomartyr's taut, austere rock was incubated in a
freezing Detroit warehouse littered with beer cans and cigarette butts and warmed, feebly,
by space heaters. Short songs made for short practices, and the band learned quickly not
to waste time. Despite the cold, Protomartyr emerged with a sound that is idiosyncratic but
relatable, hooky but off-kilter.
Protomartyr's economical rock elicits comparisons to possible antecedents like Pere Ubu
or The Fall as well as local contemporaries like Frustrations or Tyvek (whose frontman Kevin
Boyer played bass in an early iteration of Protomartyr). Singer Joe Casey's dry declarative
snarl serves as a reliable anchor, granting his bandmates - guitarist Greg Ahee, drummer
Alex Leonard and bassist Scott Davidson - the opportunity to explore textures and
reinforce the rhythm section. This is never more apparent than on the band's sophomore
LP and Hardly Art debut, Under Color of Official Right. Where 2012's No Passion All
Technique favored comparatively straightforward punk structures, Under Color takes a
more exploratory approach. "Tarpeian Rock" places punk vitriol against a minimalist
backing and "Scum, Rise!" casts shadows with guitars that alternately chime and clang.
The cheap outlet, crafted by cold hands in a poorly insulated practice space has, perhaps
unwittingly, become a model of Motor City efficiency. And, more than that, it's produced a
stunner of a sophomore album.1. Maidenhead
2. Ain't So Simple
3. Want Remover
4. Trust Me Billy
6. What the Wall Said
7. Tarpeian Rock
8. Bad Advice
9. Son of Dis
10. Scum, Rise!
11. I Stare at Floors
12. Come & See
14. I'll Take That Applause$15.99Vinyl LP - Sealed Buy Now
TrampThe shimmering sound of Tramp both defies and illuminates the unsteadiness of a life in flux. During the 14 months of scattered recording sessions, Sharon Van Etten was without a home, crashing with friends and spreading out her possessions between various locations. The only constant during this time was when Van Etten returned to the garage studio of The Nationals Aaron Dessner.
How much more incredible then that Tramp sounds so profoundly effortless and singular-minded. Given the space to experiment, Van Etten pushed herself deeper than ever before, testing different approaches and rejecting many. Van Ettens records have been subtle and powerful, at once heartbreaking, luminous, intricate and beautiful. Now lush and triumphant, this is a fresh vision, and Van Etten has realized it with the same grace that made her first two releases so enduring.
Van Ettens debut, Because I Was In Love, was a sparse set of solo songs, all anchored by her instantly unmistakable voice. The intricate, understated record covered so much emotional ground within its 33 minutes, you couldn't possibly absorb it all at once, nor stay too long in one place along its journey. The following year, Van Etten added a full band to her music. Fans quickly picked favorites, then found their choices changing, often more than once.
An early fan of Van Etten, Dessner performed epic closer Love More with Justin Vernon of Bon Iver. When Van Etten found out, she contacted him, and almost immediately collaborative plans were made. Dessner had just completed work on his studio, and offered up his new space, as well as his insight as a savvy producer. But with both artists near-nonstop touring schedule, recording days had to be spread out, a few days here, a couple weeks there, and a lot of floating and flying in between.
The resulting album is an assured and strident one, and Tramp showcases an artist in control of her powers, incorporating vivid arrangements and instrumentation into the songwriting. It is a startling collection, filled with as much defiant rock (the precise venom of Serpents), as pious, minimal beauty (the breathtaking Kevins and Joke or a Lie). There are declarative hymns (in the earnest solemnity of All I Can), and remarkably sultry numbers (as in Magic Chords). Tramp features many stupendous guests, as well, including Wye Oaks Jenn Wasner, Julianna Barwick, Beiruts Zach Condon, and Dessner himself.1. Warsaw
2. Give Out
6. In Line
7. All I Can
8. We Are Fine
9. Magic Chords
11. I'm Wrong
12. Joke or a Lie$18.99Vinyl LP - Sealed Buy Now