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Stray From The Path'
Only Death Is RealPressed On Black & Ivory Vinyl
Life often resembles a game of chess - players outside our control make moves that affect our everyday existence. However, recognition remains the first step to revolution. Once you know the game, you can make a difference in the outcome. On their sixth full-length - Only Death Is Real, STRAY FROM THE PATH survey the playing field and provide a book of bloody battle notes etched in hardcore energy, metal fire, and hip-hop poetry.1. The Opening Move
2. Loudest In The Room
3. Goodnight Alt-Right
4. Let's Make A Deal
5. They Always Take The Guru
6. Plead The Fifth
7. Strange Fiction (feat. Keith Buckley)
8. All Day & A Night (feat. Bryan Garris)
9. The House Always Wins (feat. Vinnie Paz)
10. Only Death Is Real$22.99Colored Vinyl LP - Sealed Buy Now
08:18THE DEVIL WEARS PRADA release 8:18 via Roadrunner Records. The album was recorded with producer/engineer Matt Goldman. KILLSWITCH ENGAGE guitarist Adam Dutkiewicz, who handled production duties on THE DEVIL WEARS PRADA's Dead Throne LP, served as executive producer on the upcoming effort. Songtitles set to appear on the disc include Gloom and Martyrs, both of which the band has been performing live at recent shows.
Asked how the new effort compares to 2011's Dead Throne, Hranica told Music Feeds: I think it's kind of a totally new animal. It definitely is a very cohesive record. A lot of the times, I feel like we'll write songs and a lot of them are really cool songs and they'll all have kind of a theme, but sometimes they stray from that path of the theme that we originally intended. And I think that this album as a whole, it all sounds like the album, it all is a cohesive idea. Which, don't get me wrong - I don't mean to say that all the songs sound the same, because they definitely, each has their own unique personality. But as far as 'Dead Throne', our progression from 'Dead Throne', I definitely do think that this album is just a more mature record and has a lot more thought put into it. As always - we're always gonna put a little bit more effort and thought into the new record than our previous effort.
Hranica told Loudwire about the songwriting process for the new album: For me, I definitely feel a little bit of a carry-over from 'Dead Throne', particularly because it was a very cool record for me learning, for me learning to write better and that was working with a new [producer] working with Adam for the first time and having [A DAY TO REMEMBER's] Jeremy McKinnon working on some of the songs with us, and I feel I took a lot from that. On 'Dead Throne', there were better vocal parts and everything was more cohesive and understandable and made for better song structure and everything and that had had a big impact on me creatively and so it's definitely carried over into this.
He added: Conceptually, the concepts of 'Dead Throne' didn't carry over. I feel like that would be repetitive and monotonous to keep going at the same subject matter, but obviously, it all comes from the same place and I can say that nothing got more happy or uplifting, really. So I think it's very much THE DEVIL WEARS PRADA, but also it's got a bit of freshness and originality to it and I think that even musically we started approaching the songs differently. Like, this song could be more like this and working off of a base we never really worked off of before.
- Blabbermouth1. Gloom
3. First Sight
6. Sailor's Prayer
7. Care More
9. Black & Blue
11. Number Eleven
12. Home for Grave
13. In Heart$19.99Vinyl LP - Sealed Buy Now
The Chase Is On (Pure Pleasure)The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie 'Lockjaw' Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. They also seem to do a hard bop jam, then a ballad, and back to hard swinging.
The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set This Can't Be Love apart from the original and The Things I Love displays the two tenors at their conversational best, while the lone original, Knittin', is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of When The Blues Come On and the good-old basic vintage swinger You're Cheating Yourself. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy -- and now legendary -- session.
- Charlie Rouse, Paul Quinichette (tenor saxophone)
- Wynton Kelly, Hank Jones (piano)
- Freddie Green (guitar)
- Wendell Marshall (bass)
- Ed Thigpen (drums)
Recording :August and September 1957 in New York
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.1. The Chase Is On
2. When The Blues Come On
3. This Can't Be Love
4. Last Time For Love
5. You're Cheating Yourself
7. Tender Trap
8. The Things I Love$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Rega Aria Phono Stage
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.
Housed within our latest half width custom designed case are two entirely separate high performance phono stages. One fully adjustable dedicated moving coil and one moving magnet. Each stage is designed and engineered to maximise the potential of your vinyl system whilst remaining easy to use and set up.
The Aria is an all analogue amplifier with no digital control circuitry. The fully aluminium case screens the internal circuit from any stray RFI signals. Our designers have avoided including any superfluous gadgets as they obstruct the signal path and degrade the sound quality. The Aria incorporates many innovative design ideas including a self-adjusting servo control to keep the MC input circuit at its optimum, compensating for any variations in ambient or operating temperature. Both stages have their own separate input sockets and input pre-amplifier circuitry. This enabled us to design bespoke input circuitry for each cartridge type without compromise. Signal switching is performed at high level and low impedance (via relays) ensuring there is no degradation of the signal.
MC stage design & features
The MC input uses parallel connected low noise FET's (Field Effect Transistor's) configured as a compound pair. The use of FET transistors ensures there is no bias current flowing in the cartridge coil so as not to upset the delicate magnetic geometry of the cartridge. The MC input has the provision for selecting resistive input loading of 70W to 400W and capacitive loading of 1000pF to 4200pF. The input sensitivity can be changed by 6dB, via the back panel.
MM Stage design & features
The MM input uses low noise bipolar input transistors also configured as a compound pair. There are two separate power supplies for each channel and further sub power supplies for each of the low noise input circuits. Nichicon FG electrolytic capacitors have been used in critical positions throughout the power supplies. Polypropylene capacitors have been used in the signal path and equalization networks. Discrete circuitry is used throughout the signal path ensuring full control of the circuit design.$1,499.00MM and MC Phono Stage Buy Now
Old BoysBishop Morocco is the musical vision of James Sayce and Jake Fairly. The Toronto-based duo recorded its 2008 self-titled debut at a homemade studio inside their shared in Groningen, Netherlands, earning international attention from the likes of Parisian tastemaker Collette and helping develop a strong following at home in Canada. That followed six years of Fairly (aka Fairmont) living in Berlin turning out techno hits on labels like Border Community and Kompakt and Sayce playing in bands like Tangiers and the Deadly Snakes.
Two years later, Bishop Morocco arrives on Arts & Crafts with Old Boys, a six-track EP on which the band strays from its original new wave influences towards a thicker, more contemplative sound, aided by the addition of Ian Worang on guitar and Jon McCann on drums. A savvy delivery loaded with smart electronic instrumentation and richly textured melodies, Old Boys was recorded at another homemade studio, this time inside Fairly's mom's guest bedroom in West Toronto.
It's at once proof of Bishop Morocco's collective progression as it is an expression of constant shifts in hometown imagery and the ongoing personal evolution of its principal members. The release marks Bishop Morocco's arrival as a fully realized project, relying less on paths forged by members favorite bands, and instead endeavoring to blaze a stark trail all its own.1. Bleeds
2. Old Boys
3. Colonial Man
4. Melt My Mind
5. City Island
6. A Fine Line$16.99Vinyl LP - Sealed Buy Now
Marantz PM8006 Integrated Amplifier
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.
Integrated Amplifier With Power Amp Direct Input
Combining fully discrete current feedback circuitry and our exclusive HDAM technology, the Marantz PM8006 integrated stereo amplifier delivers audiophile grade sound quality along with system operational flexibility. Rated at 70 watts per channel into 8 ohms, the PM8006 features a robust power supply along with high current capability to deliver 100 watts per channel into 4 ohms, for compatibility and operational stability with the widest range of loudspeakers.
The versatile pre-amp section features 6 line level inputs including a phono (MM) input, and the PM8006 also includes pre-amp outputs along with a power amp direct input, which lets you use the unit as a standalone power amplifier for integration into a multi-channel home theater system. For precise sound tailoring, the PM8006 features our triple tone control system, with separate controls for the bass, midrange and treble segments. The elegant remote control features an ergonomic layout for easy operation, and includes the ability to control our companion SA8005 disc player and one of our network players.
Marantz HDAM Technology
The PM8006 features our exclusive HDAM (Hyper Dynamic Amplifier Module) technology, which consists of precision discrete selected circuit elements on a compact sub-board, instead of conventional op-amp integrated circuits. Multiple HDAM units are employed, including HDAM-SA3 and HDAM-SA2 versions that provide gain and buffering functions, to deliver dynamic and detailed sound quality. The PM8006 features current feedback technology for ultra low distortion and wideband response, along with superb musicality.
High Current Power Supply
The robust power supply features a high current toroidal main power transformer that is rated at 625VA, to easily provide extra power to the amplifier stage in order to handle demanding short term peaks. High current Shottky barrier diodes in the rectification stage are rated at 20 amps, with the ability to handle up to 180 amps peak current, providing sufficient power reserve to handle virtually any loudspeaker load.
Fully Discrete High Current Output Stages
The PM8006 is equipped with multiple high speed, high current power output devices that are each rated at 14 amps of current output capability, providing a very high amount of dynamic headroom, along with compatibility with lower impedance loudspeakers. For optimum heat dissipation, the PM8006 is equipped with solid aluminum power amplifier heat sinks, with a combined total radiating area of 326 square inches, eliminating the need for fans. The PM8006 is conservatively rated at 70 watts per channel into 8 ohms, and 100 watts per channel into 4 ohms, for compatibility with the widest range of loudspeakers.
Solid Chassis Construction
For the utmost stability and protection from induced vibrations, the PM8006 features a rugged chassis design, which includes a triple layer bottom plate. To eliminate distortion from stray magnetic fields, the high current toroidal main power transformer features double shielding.
Versatile Pre-Amplifier Functions
There are 6 line level inputs, to handle a wide range of sources, including a dedicated phono input (MM) that features discrete topology to deliver the utmost fidelity from your favorite vinyl recordings, and all inputs and outputs are gold-plated for optimum signal transfer. The Source Direct function bypasses unnecessary circuit blocks for the straightest path from input to the speaker terminals. Pre-amp outputs let you connect a separate stereo power amplifier for a bi-amp loudspeaker system, or for playback in a separate room. The power amp direct input lets you connect the PM8006 to another component, such as a surround sound processor, for integration within a multi-channel home theater system.
For precision tonal balancing, we've equipped the PM8006 with our Tri-Tone control system, with separate tone controls for the bass, midrange and treble bands, which lets you fine tune the spectral balance to your preference, and is especially useful with older recordings that suffer from tonal imbalance.
Audiophile Grade Loudspeaker Terminals
Equipped with premium audiophile grade loudspeaker terminals that are designed to accept a wide range of speaker cable termination types, the PM8006 also features A/B speaker switching for increased system configuration flexibility.
System Remote Control
The elegant, ergonomically designed remote control is equipped with additional functionality, which lets you control a companion Marantz disc player (such as our SA8005) and a Marantz network audio player. Remote control input and output jacks let you directly connect the PM8006 to other Marantz components for easy system control.
The Marantz PM8006 integrated amplifier is backed by a limited three-year warranty.$1,199.00Marantz PM8006 Integrated Amp Buy Now