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Goldfinger (Awaiting Repress)
First Time On Vinyl
Mastered For Vinyl And Lacquers Created By Stan Ricker
Pressed On Limited Edition 180 Gram Colored Vinyl
Gatefold Jacket And 11 X 22 Insert
SRCvinyl is proud to bring you Goldfinger's self-titled album on vinyl for the first time ever! Goldfinger is the first album by ska punk band Goldfinger, originally released in February 1996.
''The year 1996 was a breakthrough year for a new sound: the fusion of ska and punk. The Suicide Machines debuted, Less Than Jake made their major-label debut, but no one had more success with this new sound than Goldfinger on their self-titled debut. That could be because the band went even farther with their genre-bending, throwing metal and a touch of reggae into the mix. Or it could be because songs like the hit ''Here in Your Bedroom'' and ''Mabel'' are irresistibly catchy, creative, and, with such self-effacing lyrics as the maybe-size-does-matter line in ''Mabel,'' hopelessly endearing. The album is an emotional roller coaster, from the self-affirming ''Bedroom'' (''You have changed/Cuz I still feel the same'') to the confusion of ''Mind's Eye'' (''Every time that I see you/I act like a different man'') to the oh-well-I-give-up humor of ''My Girlfriend's Shower Sucks'' (''It's like the shower's going pee''). And there's plenty of anger and aggression left over for songs like ''Answers.'' The album went gold in 1998.'' -- Allmusic.com1. Mind's Eye
3. Here In Your Bedroom
4. Only A Day
5. King For A Day
10. The City With Two Faces
11. My Girlfriend's Shower Sucks
12. Miles Away
13. Nothing To Prove
15. Telephone Conversation
16. Fuck You And Your Cat$25.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
Under AttackUnder Attack, the brash, brutal album from New York punk rock veterans The Casualties is a must own punk rock album. The Casualties previous effort On The Front Line , released in February of 2004 went on to sell over 62K copies in the US on the back of a very solid touring schedule. The Casualties took a short break from their relentless touring schedule and returned to the studio with Bill Stevenson (Black Flag, Rise Against, The Suicide Machines.) The result is Under Attack, thirteen tracks of blistering punk rock.1. Under Attack
2. Without Warning
3. System Failed Us... Again
4. Social Outcast
6. No Solution - No Control
7. Down & Out
8. In It For Life
9. On City's Streets
10. Fallens Heros
11. Great American Progress
12. Stand And Fight$13.99Vinyl LP - Sealed Buy Now
Reissue Of This Classic Record, Available For The First Time On Vinyl
Bigwig is a hardcore punk band from New Jersey, formed in 1995. They were originally composed of Josh Farrell (guitar), John Castaldo (bass), Tom
Petta (guitar/vocals), and Dan Rominski (drums).
Since their inception, they have been steadily gaining popularity, having played / toured with such bands as Pennywise, Less Than Jake, Blink-182, The
Ataris, The Vandals, New Found Glory, No Use for a Name, NOFX, The Suicide Machines, Agnostic Front, Lagwagon, and Reel Big Fish. Following the
release of their 2001 album Invitation To Tragedy' Both Josh Farrell and Tom Petta have received producers credits on several well known albums. Tom
Petta has most recently produced the new record entitled For Heaven's Sake by Canadian punk rock band Only Way Back.1. Still
4. Flavor Ice
6. Falling Down
12. Stand Up
14. 1-800-Whipped$19.99Vinyl LP - Sealed Buy Now
The TerrorThe nine grim, harrowing songs that comprise the Flaming Lips thirteenth studio album The Terror are as much a paradigm shift in the Lips' sound as Zaireeka and The Soft Bulletin before it. Recorded on and off last year at Tarbox Road Studios with longtime co-producer Dave Fridmann in the wee hours between Heady Fwends collaborations, the album finds the Lips favoring heavy-lidded loops and drum machine mesmerism. Traces of Silver Apples, Suicide, Can, Beak>, and Broadcast abound, riding motorik grooves that push everything all deep into Wayne Coyne's heart of darkness. Or, as he put it from his compound in Oklahoma City, these were songs to be sung from this despondent futuristic dystopian church.
-Andy Beta1. Look The Sun Is Rising
2. Be Free, A Way
3. Try To Explain
4. You Lust
5. The Terror
6. You Are Alone
7. Butterfly, How Long It Takes To Die
8. Turning Violent
9. Always There In Our Hearts$24.99Vinyl LP - 2 LPs Sealed Buy Now
Bright: The AlbumFrom the director of SUICIDE SQUAD and END OF WATCH, David Ayer, comes a new action-packed film starring Will Smith, Joel Edgerton, Noomi Rapace, Edgar Ramirez and Lucy Fry. The Netflix Film was produced by Ayer, Eric Newman and Bryan Unkeless.
Set in an alternate present-day, this action-thriller directed by David Ayer (SUICIDE SQUAD, END OF WATCH, writer of TRAINING DAY) follows two cops from very different backgrounds. Ward, a human (Will Smith), and Jakoby, an orc (Joel Edgerton), embark on a routine night patrol that will alter the future of their world as they know it. Battling both their own personal differences as well as an onslaught of enemies, they must work together to protect a deadly, thought-to-be-forgotten relic, which in the wrong hands could destroy everything.
Bright: The Album, the film's soundtrack accompaniment, features a mind-blowing track listing of original music from a genre-defying collection of massive artists: A$AP Rocky, alt-J, Bastille, Bebe Rexha, Camila Cabello, DRAM, Future, Grey, Kiiara, Lil Uzi Vert, Logic, Machine Gun Kelly, Marshmello, Meek Mill, Migos, Neil Young, Portugal. The Man, Rag'n'Bone Man, Sam Hunt, Snoop Dogg, Steve Aoki, Tom Morello, Ty Dolla $ign, X Ambassadors and YG.1. Logic & Rag'n'Bone Man - Broken People
2. Bastille - World Gone Mad
3. Machine Gun Kelly, X Ambassadors & Bebe Rexha - Home
4. Camila Cabello & Grey - Crown
5. Ty Dolla $ign & Future (feat. Kiiara) - Darkside
6. Migos & Marshmello - Danger
7. Meek Mill, YG & Snoop Dogg - That's My N****
8. Steve Aoki & Lil Uzi Vert - Smoke My Dope
9. A$AP Rocky & Tom Morello - FTW (F**k The World)
10. Portugal. The Man - Cheer Up
11. alt-J - Hares On The Mountain
12. DRAM & Neil Young - Campfire
13. Sam Hunt - This Land Is Your Land$29.99Vinyl LP - 2 LPs Sealed Buy Now
ApocalipstickSociety would deem that a prodigious girl can't be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem Creevy, a 19-year-old teen Queen dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path.
Back in 2014, much-loved Cali imprint Burger Records released their intoxicating debut Haxel Princess and Suicide Squeeze released the Had Ten Dollaz 7-inch.
On Apocalipstick, the band worked with "rock'n'roll wizard" Joe Chicarelli [White Stripes, The Shins, The Strokes] and Carlos de la Garza [Bleached, M83, Tegan and Sara]. With their help and the band's newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.1. Told You I'd Be With The Guys
2. Trash People
3. Moon Dust
4. Humble Pro
5. Nuclear Bomb
6. Only Kid On The Block
7. Lucid Dreams
8. Sip O' Poison
9. Nurse Ratched
11. Apocalipstick$19.99Vinyl LP - Sealed Buy Now
FantasyLightning Dust - the duo comprised of Amber Webber and Josh Wells - tends to thrive in the spirit of
change.2007'sself-titled debutwas a hushed,intricate folk affair,while 2009'sInfinite Lightfound a middle
ground between Suicide and Fleetwood Mac era pop. So when they geared up to make the music that
would become Fantasy, the pair waslooking for a new sonic stamp.
Lightning Dust'sthird properfull length findsitsinspiration in skeletalsynth pop,modernR&B beats,the
films of John Carpenter and - in accordance with Lightning Dust's only longstanding rule - absolute
The core of Fantasy lies as much in the songwriting as in its sonics, and begins with tools
familiar to Webber and Wells: her acoustic guitar and his Wurlitzer piano. They worked to distill the
arrangementsto justthe fewkey elementsthatwere necessary to make the feelright, and through countless
hours of labor in The Balloon Factory - their Vancouver studio - the songs found their way to a sonic
palette more squarely electronic than either expected.
The first product of this experimentwasNeverAgainwhichwas previously featured on a 7in 2011 and
now closes the new album. It is a menacing, almost gothic electro-pop churner, marching from an
oscillating beat to an anthemic thunderstorm of synth textures. Like many of its cohorts, the song came
together slowly: beginning with a barebones acoustic demo and honed through their new sonic prism,
NeverAgain became not only a bouncing synth opus but a thesisstatement of sortsfor Fantasy.
Knowing now where they were going, the path began to take shape. The duo was keen to use a purely
synthetic palette for Fantasy, but instead of toiling away in front of a computer,Wells armed himself with
an MPC 2000 - a cumbersome, outdated machine, but one that proved to be the perfect tool to keep the
spirit of absolute minimalism alive in their new musical terrain.
The time-honored producer's weapon of
choice became Wells' entrance to the world of programming, one that empowered him to work by feel
alone. Webber, meanwhile, mined the freedom she felt singing along to records as a child, and strove to
write vocal melodies and singwith a more extroverted pop sensibility.The hooks are apparent, andWebber
sings with a self-assurance that beliesthe extent to which Fantasy marks a new, uncharted sonic space for
By beginning at the end, Lightning Dust has delivered an album that informs their sound in remarkable
new ways. Fantasy is a hypnotic, exciting record,recklessly new without sacrificing the rich atmosphere
that makes Lightning Dust who they are. Loaded Gun is a robotic riot grrrl anthem, while Agatha
standstall as an ominouslullaby.Fire, Flesh and Bonerecallsthe best cinematic newwave ballads,while
acoustic heartbreaker Moon makes the rest of the world disappear. And so while Lightning Dust's
destination was never an exact place, Fantasy is as vivid a place as you've everimagined.1 Diamond
2 Reckless And Wild
5 Fire Me Up
6 Loaded Gun
7 In The City Tonight
8 Fire, Flesh And Bone
10 Never Again$17.99Vinyl LP - Sealed Buy Now
In The Hollows
there's a thrilling feeling of freedom to it all.
Nat Baldwin is a musical maverick one of the
best leftfield pop albums of the year.
-DROWNED IN SOUND
terrifically earnest, terrifyingly intimate, and
-THE BOSTON PHOENIX
In The Hollows is Nat Baldwin's followup to 2008's People Changes. Despite his busy scheule recording and touring as the bass player for Dirty Projectors, Nat found time to write
and record his most soulful and ambitious collection of songs to date. After recording the
initial tracks at Machines With Magnets in Pawtucket, RI, Nat recruited Otto Hauser for
drums and percussion, and Rob Moose and Clarice Jensen to write string arrangements.
Discussing the album's production, Nat says I wanted to achieve a consistency throughout
that my past albums have lacked. I wanted the strings to add to the mournful quality of the
songs, weaving their way through the sonic terrain, providing emotional emphasis, but also
leaving necessary amounts of space. Albums by Nick Drake, Judee Sill, Joanna Newsom,
Antony & the Johnsons, and Bill Callahan, to name a few, provided inspiration in balancing
that intimacy with minimal, but powerful, adornments.
Much of the album was written while Nat was training for a marathon at his home in Maine.
According to Nat, I had a pretty rigorous and consistent routine of running/working out
early in the morning, and working on music all afternoon/evening. I also started reading
obsessively during this time, as I wasn't moving around much after the morning marathon
training. Some of the songs were inspired by books I was reading, and some were inspired
by my lifestyle. Blending autobiographical details with fiction, the songs cover a wide
range of topics including boxing, drowning, bodybuilding, target practice, will power, Steve
Prefontaine, competition, separation, isolation, devastation, manipulation, conflagration,
intoxication, and suicide.
Immersive, athletic, and often profound, In the Hollows represents his clearest and most
consistent album-length statement, melodically, structurally, and lyrically. Nat explains
that I hope it is as unsettling as it is beautiful. I want it to make people feel things they
can't describe.1. Wasted
3. Half My Life
4. In The Hollows
5. The End Of The Night
6. Cosmos Pose
8. Bored To Death
9. A Good Day To Die$16.99Vinyl LP - Sealed Buy Now
Savages (Discontinued)Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.
Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.
"All of the things that make SOULFLY killer are combined in Savages," Max declares.
»Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.
"I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."
A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.
SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.
In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).
Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"
Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."
Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."
Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."
Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."
Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."
Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."
Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."
Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.
Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"
Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.LP 1
2. Cannibal Holocaust
4. Ayatollah Of Rock 'N' Rolla
5. Master Of Savagery
1. This Is Violence
3. El Comegente
5. Fuck Reality (Bonus Track)
6. Soulfly IX (Bonus Track)$24.99Vinyl LP - 2 LPs Sealed Buy Now
The Black Market"There's a lot of raw emotion on this record," begins Rise Against singer and guitarist Tim McIlrath as he describes the Chicago punks' highly anticipated
and searing new album, The Black Market on Interscope Records. "It's a raw nerve," he clarifies, "it's going to be a hard thing to ignore."
These words should not be taken lightly. After 15 years, and six incendiary albums, Rise Against have become one of the most successful, challenging
and revered punk rock bands on the planet. While selling four million albums globally across their last four releases - with 2011's Endgame debuting at
number one in Germany and Canada, and number two on the U.S. Billboard charts - they've also always adhered to the idea of music as a vehicle for
change. In doing so, they've appeared alongside superstars like Adele and Sting on Amnesty International's Chimes Of Freedom - The Songs Of Bob
Dylan compilation in 2012, toured with Rage Against The Machine's iconic guitarist Tom Morello, campaigned against gun violence with the Demand A
Plan organization and advocated the Make It Stop campaign's attempt to raise awareness of LBGT teen suicides and bullying, working closely with "It
Gets Better." It's important to keep this rich heritage of protest in mind when discussing The Black Market.
On the one hand, The Black Market was forged like other Rise Against records. Tim McIlrath, bassist Joe Principe, guitarist Zach Blair and drummer
Brandon Barnes recorded it between January and March, 2014, at the Blasting Room Studios, with long-time producers Bill Stevenson and Jason
Livermore. But something was different this time around.
The Black Market focuses on the cost of self-awareness. "Rise Against has always been a political band, but also a personal band," says Tim. "We've
always had songs that have a foot in both worlds. This album is a lot more introspective to me." The intensely melodic strains of "I Don't Want To Be Here
Anymore" is a case in point - riding a huge chorus and speaking of universal themes of entrapment and escape.
The Black Market also marks the maturation of Rise Against's sound. The melodic breadth, the impassioned screaming, scissoring guitars, bubbling
basslines and whipping drums still exist, but other moments have no reference point in their discography.
The Black Market casts Rise Against's relationship with their own music and social struggle in a stark new light. It may be a raw nerve to behold, but's it's
also a magnificent one that will surely be felt across the world. It deserves to be.1. The Great Die-Off
2. I Don't Want to Be Here Anymore
3. Tragedy + Time
4. The Black Market
5. The Eco-Terrorist In Me
6. Sudden Life
7. A Beautiful Indifference
9. Zero Visibility
10. Awake Too Long
11. People Live Here
12. Bridges$22.99Vinyl LP - Sealed Buy Now
All Harm Ends HereThe Early Day Miners Good Time Band is back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here Early Day Miners have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, EDM take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place. While the album is filled with death and ghosts of all sorts, its unifying theme is the individual's ability to escape the death and ghosts. Even the making of the album (which was done just outside of the band's hometown of Bloomington, Indiana, on the outskirts of Hoosier National Forest) was plagued by ghosts and phantoms. Recorded at the Old Mt. Gilead Church - recently revamped into a recording studio and still immediately surrounded on three sides by a dozen acres of 150-year old cemetery - principal tracking for All Harm Ends Here was halted for days at a time on multiple occasions when inexplicable flutter infected the reels of tape, almost requiring EDM to relocate its principal tracking altogether. Mixing and overdubbing was done at Burton's own Grotto Home Studio in an effort to evade those ghosts in the machine which possessed Old Mt. Gilead. While the Early Day Miners don't make flashy music, their layered music rewards the repeat listener. If you listen closely enough, in fact, you can hear ghosts in the distance.Errance
The Union Trade
We Know in Part
The Way We Live Now
The Purest Red$14.99Vinyl LP - Sealed Buy Now
Angel Guts: Red ClassroomAngel Guts: Red Classroom is the beginning of Xiu Xiu's descent from grayness into the deepest blackness endurable. It is the sound of Xiu Xiu's death.
This is a bold proposition, even for a band that has never so much pushed the envelope as pulled it (forcefully) away from the line other musicians are willing to toe. And now, in what is unquestionably their darkest hour, Xiu Xiu have lit the envelope on fire and are using it as a torch to light the path ahead.
Having spent the previous four years living in North Carolina, primary songwriter Jamie Stewart relocated to Los Angeles, moving blindly into a neighborhood whose notoriously dangerous reputation was unknown to him.
A park divided among four gangs, a lake routinely dragged for bodies, a building wherein two infant skeletons were recently uncovered -- the aura of his new home bleeds into every pore of the album, each lyric and note bearing traces of its essence: the terrible beauty, the despair, the violence, the ultra humanity, the uncertainty.
I know to a degree I must have romanticized it, Stewart admits, But when it's not safe to go out at night, what else can one?
Romanticized is hardly the word anyone other than Stewart would use. Like its namesake, a Japanese erotic noir film, Angel Guts: Red Classroom is as radical as it is inventive. The subject matter -- racialized sex, double suicide, double penetration, criminality, fear of physical harm -- is unsuitable for the faint of heart. But when the heart has stopped beating, only the soul remains to carry on. And here, Stewart transcribes his without boundaries.
Your face is down alone / On your desk / At the end of the city / You were squashed into / There is no one you love. So begins the album's first verse.
In the wrong hands, such topics could be rendered as far-fetched fantasies. But Stewart's evocative vocals lend his provocative lyrics the balance they need, grounding them in a stark realism that forces us to acknowledge their existence, even confront them (as discomforting as that is).
Unsettling, too, is the music. Working with only analog synths, drum set, and 1970's analog drum machines, Xiu Xiu has never before sounded so focused, so captivating, so intent on delivering a kick to the throat.
Though influences can be cited (Suicide, Kraftwerk, Nico, EinstÜrzende Neubauten), they are ultimately far less relevant than the mark this album will leave on other musicians and music fans from this point forward.
Take Stupid in the Dark -- its tone ominous and pulsing, its harmonies simple and direct, its grip unrelenting. Or Botanica de Los Angeles, a sparse, yet undeniably anthemic merging of bruising drums and bone-rattling bass synths.
Unbearably dark, yet incredibly illuminating, on the John Congleton-produced Angel Guts: Red Classroom Xiu Xiu continues to forge (and at times risk) its reputation as avant-garde pioneers. It is the work of a band unraveling to its core and exposing the boldness within.
Xiu Xiu may be dead, but its will is more alive than ever.1. Angel Guts
2. Archie's Fades
3. Stupid in the Dark
4. Lawrence Liquors
5. Black Dick
6. New Life Immigration
7. EL Naco
8. Adult Friends
9. The Silver Platter
10. Bitter Melon
11. A Knife in the Sun
12. Cinthya's Unisex
13. Botanica de Los Angeles
14. Red Classroom$19.99Vinyl LP - Sealed Buy Now
Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Awaiting Repress)
Includes Detailed Artwork And Two Essays By Leon
Craig Leon's seminal synthesizer albums Nommos and Visiting are finally re-editioned in
definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.'s archival
Issued respectively by John Fahey's Takoma record label in 1980 and Leon's Arbitor
private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard
Craig Leon. Leon's production was pivotal in realizing the debut recordings by Ramones,
Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound,
Leon's own debut album was arguably, if not literally, more alien.
In 1973 , the Brooklyn Museum hosted a comprehensive collection of sculptures by the
Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections
of a visit from an extraterrestrial species they named Nommos. Years after experiencing the
exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their
home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was
presented and a challenge in place: what would music sound like if handed down from an
ancient alien species? And how best to imagine it?
Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to
employ the latest and greatest synthesizer technology available. An avant empathist and
eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint.
After a secluded week in an Austin, Texas studio with his partner, wife and collaborator
Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the
Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms
programmed on a prototype of Roger Linn's nascent drum-machine, the LM-1.
Issued by Fahey with zero expectation of the same radio airplay Leon accomplished
with his pop productions, Nommos now stands as an innovative example of cosmic-synth
composition that wasn't made for its time or any other. For this edition, Leon has in fact
re-animated Nommos by re-recording the exact audio signals as preserved in the album's
original studio notes. Every patch, tape-delay speed and outboard setting was transcribed
as first scored, materializing the best possible audio from an album whose masters were lost
in major label merger milieu years ago.
Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title
suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The
album is in equal measure more improvisatory and constructed than its predecessor. Both
albums were intended to be listened to as a set in the first volume of Leon's Anthology of
Interplanetary Folk Music (the title was an homage to Harry Smith's influential collection of
folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and
compositional additions to both albums to enhance the connectivity and encourage infinite
While reissues and bootlegs have appeared to relieve the demand for these records,
this collection will stand as the first ever version authorized by Craig Leon himself. The
vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by
Leon. The first tells the complete story of the stargazing Dogon people and their prescient
understanding of cosmology. The second details Leon's adventure in creating the Anthology
of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one
seamless synth classic.1. Ring With Three Concentric Discs
2. Donkeys Bearing Cups
4. Four Eyes To See The Afterlife
5. She Wears A Hemispherical Skullcap
6. One Hundred Steps
7. Region of Fleeing Civilians
8. Three Small Coins
10. Details Suggest Fidelity To Fact
11. The Customs of the Age Disturbed$29.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now