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Talking BookRanked 90/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Talking Book is the fifteenth album by Stevie Wonder. You Are the Sunshine of My Life, hit #1 on Billboard's Hot
100 and earned Stevie his first Grammy Award. The album's first single, Superstition, also hit #1 on Billboard's Hot
100 and Hot Soul Singles charts. This reissue is newly remastered from original analog. The package features
Braille inscriptions originally available only on the album's rare first pressing.1. You Are The Sunshine Of My Life
2. Maybe Your Baby
3. You And I (We Can Conquer The World)
4. Tuesday Heartbreak
5. You've Got It Bad Girl
7. Big Brother
8. Blame It On The Sun
9. Lookin' For Another Pure Love
10. I Believe (When I Fall In Love It Will Be Forever)$19.99Vinyl LP - Sealed Buy Now
(What's The Story) Morning Glory? Box Set
Deluxe Box Set Of The Classic Sophomore Record From Oasis
20th Anniversary Of This Title, Which Has Sold 4 Million Copies In The Us Alone!
Features The Mega-hits Wonderwall, Don't Look Back In Anger, Champagne Supernova, Roll With It And More
What's The Story) Morning Glory?, the follow-up to debut album Definitely Maybe, is Oasis's biggest-selling album with 22 million copies sold worldwide. It was recorded between May and June 1995 in Rockfield Studios, Monmouthshire, with Owen Morris and Noel Gallagher producing. Released on October 2nd 1995 it spent 10 weeks at No.1, is the 5th biggest-selling album in UK chart history and became the band's breakthrough album in the US where it sold 4 million copies. The new edition has been remastered from the original tapes by Ian Cooper at London's Metropolis Studios, supervised by the album's producer Owen Morris. A small army of contributors including original members of the inner circle who were involved in studio and live recordings came together to hunt down unheard demos and live material. The team also unearthed a wealth of never-seen-before photos and vintage memorabilia which will be included in the new artwork.
Collectors Coffee Table Book - This beautiful 56 page hardback book contains rare and unseen photographs documenting the (What's The Story) Morning Glory? period by Stefan Batselier, Brian Cannon, Kevin Cummings, Grant Fleming, Jill Furmanovsky, Owen Morris, Tom Sheehan - plus private photos taken by the inner circle. Original artwork designer Brian Cannon explains the story behind each single cover art and sleeve notes are written by Neil McCormick.
7 Inch Vinyl - This 7 inch vinyl includes demos of Hello and She's Electric, both of which were recorded in Definitely Maybe producer Mark Coyle's studio. The Hello (Demo) track is exclusive to the box set.
12 Inch Vinyl - This 12 inch vinyl is a replica of the original promotional 12 inch, sent to industry contacts as a promotional item in 1995. Tracklisting features A side Cum on Feel The Noize and B side Champagne Supernova (Lynch Mob Beats Remix), which has never been commercially available
Cassette - Exact replica of the original promotional copy of (What's The Story) Morning Glory? This rare cassette, only sent out to industry contacts, has never been commercially available. It includes Step Out which was removed from the album prior to its release
Roll With It Cigarette Papers- These rolling papers were an original 1996 promotional item. They have been replicated solely for the box set and feature the lyrics for Roll With It printed on the back.
180 Gram Double 12 Inch Vinyl In Gatefold Sleeve - Heavyweight vinyl of (What's The Story) Morning Glory? album, meticulously remastered from the original 1995 half inch tapes. Includes download code for B sides, plus unreleased and rare tracks including demos and live recordings.
Deluxe 3 x CD Album - (What's The Story) Morning Glory? deluxe CD, meticulously remastered with B sides, plus unreleased and rare tracks including demos and live recordings.
Postcards & Art Card Set - 3 photograph postcards and a 12 x 12 inch art card
Highlights Of The Bonus Content Include:
• Previously unheard demos of She's Electric and Rockin' Chair recorded at Mark Coyle's Manchester studio. Demos of Some Might Say, Hey Now, and Bonehead's Bank Holiday recorded by Mark Coyle for the first time at the band's soundcheck, Club Quattro in Tokyo in September 1994.
• Live recordings from legendary gigs such as Knebworth House, Maine Road Stadium, Earls Court, and Bath Pavilion.
• All of the Morning Glory singles and acclaimed B-sides including Talk Tonight, Acquiesce, The Masterplan, and Underneath The Sky.LP 1
1. Hello (Remastered)
2. Roll With It (Remastered)
3. Wonderwall (Remastered)
4. Don't Look Back In Anger (Remastered)
5. Hey Now! (Remastered)
6. [Untitled] (Remastered)
7. Bonehead's Bank Holiday (Remastered)
1. Some Might Say (Remastered)
2. Cast No Shadow (Remastered)
3. She's Electric (Remastered)
4. Morning Glory (Remastered)
5. [Untitled] (Remastered)
6. Champagne Supernova (Remastered)
1. Hello (Remastered)
2. Roll With It (Remastered)
3. Wonderwall (Remastered)
4. Don't Look Back In Anger (Remastered)
5. Hey Now! (Remastered)
6. [Untitled] (Remastered)
7. Some Might Say (Remastered)
8. Cast No Shadow (Remastered)
9. She's Electric (Remastered)
10. Morning Glory (Remastered)
11. [Untitled] (Remastered)
12. Champagne Supernova (Remastered)
1. Talk Tonight (Remastered)
2. Acquiesce (Remastered)
3. Headshrinker (Remastered)
4. It's Better People (Remastered)
5. Rockin' Chair (Remastered)
6. Step Out (Remastered)
7. Underneath The Sky (Remastered)
8. Cum On Feel The Noize (Remastered)
9. Round Are Way (Remastered)
10. The Swamp Song (Remastered)
11. The Masterplan (Remastered)
12. Bonehead's Bank Holiday (Remastered)
13. Champagne Supernova (Brendan Lynch Mix) (Remastered)
14. You've Got To Hide Your Love Away (Remastered)
1. Acquiesce (Live At Earls Court)
2. Some Might Say (Demo)
3. Some Might Say (Live at Roskilde)
4. She's Electric (Demo)
5. Talk Tonight (Live At Bath Pavilion)
6. Rockin' Chair (Demo)
7. Hello (Live At Roskilde)
8. Roll With It (Live At Roskilde)
9. Morning Glory (Live At Roskilde)
10. Hey Now (Demo)
11. Bonehead's Bank Holiday (Demo)
12. Round Are Way (MTV Unplugged)
13. Cast No Shadow (Live At Maine Road)
14. The Masterplan (Live At Knebworth Park)
A1. Cum on Feel The Noize
B1. Champagne Supernova (Lynch Mob Beats Remix)
A1. Hello (demo)
B1. She's Electric (demo)
2. Roll With It
4. Don't Look Back In Anger
5. Hey Now!
7. Some Might Say
8. Step Out
9. Cast No Shadow
10. She's Electric
11. Morning Glory
13. Champagne Supernova$179.99180 Gram Audiophile Virgin Vinyl LP + 3 CD + Cassette + 7 + 12 Box Set - 2 LPs Sealed Buy Now
ManhattanWhen it came time to record their Warner Bros. debut, the band looked directly to its hometown for inspiration. MANHATTAN is more than an album -it's a statement of purpose and a portrait of life in New York City. We were all bartenders, so the songs are tales of experiences we had or saw, and other people who were characters in our life during the first year we were in this band, Cummings says. (And for the record, SKATERS chose their band name because it captures their young and fearless attitude.
The album kicks off with subway noises, Because that's the sound of our lives, Cummings says. The disc was even recorded by John Hill (Santigold, Wavves) in the API room at Greenwich Village's iconic Electric Lady Studios, named after its one-of-a-kind board.
MANHATTAN features other little pieces of the city, too, in the form of sounds and conversations Hubbard nabbed on an old-school handheld tape recorder. There's a cab ride in there, there's kids yelling in Brooklyn, girls talking in a cafÉ, Rubin says. It's like a book of short stories, Cummings adds, deadpanning, It's Salinger's Nine Stories but it's Eleven Stories by SKATERS. And the writing is much better.1. One Of Us
2. Miss Teen Massachusetts
5. To Be Young In NYC
8. Fear Of The Knife
9. I Wanna Dance (But I Don't Know How)
10. Nice Hat
11. This Much I Care$17.99Vinyl LP - Sealed Buy Now
Brahms: 10 Intermezzi For Piano (Speakers Corner)Johannes Brahms: Intermezzi op. 76 no. 6 in A major, no. 7 in A minor; op. 116 No. 4 in E major; op. 117 no. 1 in B-flat major, no. 2 in B-flat minor, no. 3 in C-sharp minor; op. 118 no. 1 in A minor, no. 2 in A major, no. 6 in E-flat minor; op. 119 no. 1 in B minor
If you mainly connect the name Brahms with opulent symphonies, passionate concertos and weighty piano music, you will be in for a big surprise when you listen to the Intermezzi op. 117. The music critic Eduard Hanslick talks of a more restrained, detached style and clearly means the calm, simple and immensely expressive flowing melodies, which characterize the late piano music of this Romantic composer. Just how sensitively the performer must tackle these precious miniatures is described by Clara Schumann with the words » the intellectual technique in them demands a fine comprehension and one must be very familiar with Brahms to play them as Brahms had imagined them«.
When it comes to Brahms, Glenn Gould - famous for his analytically strict and emphatic interpretation of Bach's keyboard works - proves himself to be a true poet and thinker at the keyboard. Driven by the melancholy force, his thoughts find their way, sometimes hesitantly, then moving on with a deep breath, as it were, to the next deceleration.
In op. 118 no. 1 the Canadian pianist begins with a passion that wrests expansive cascades of sound from the keyboard, then finds his way back to introvert mellifluous tones (op. 118 no. 2) and increases the drama in the will-o'-the-wispish and futile attempts to come to a redemptory final cadence (op. 118 no. 6). It would be hard to find a more closely-knit and intense rendering than on the present recording.
- Glenn Gould (piano)
Recording: September and November 1960 at Columbia's 30th Street Studio, New York
Production: J. Scianni
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
This title is not eligible for discount.1. Intermezzo In E-Flat Major, Op. 117, No. 1
2. Intermezzo In B-Flat Minor, Op. 117, No. 2
3. Intermezzo In C-Sharp Minor, Op. 117, No. 3
4. Intermezzo In E-Flat Minor, Op. 118, No. 6
5. Intermezzo In E Major, Op. 116, No. 4
6. Intermezzo In A Minor, Op. 76, No. 7
7. Intermezzo In A Major, Op. 76, No. 6
8. Intermezzo In B Minor, Op. 119, No. 1
9. Intermezzo In A Minor, Op. 118, No. 1
10. Intermezzo In A Major, Op. 118, No. 2$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
- Glenn Gould (piano)
Studio Album Vinyl BoxBox Set Includes All 8 Of Rhianna's Studio Albums Across 15 LPs
Elegant Black, High-Gloss Slipcase With Foil Stamped Signature
186-Page Hardback Book
Turntable Slipmat w/ Rihanna's Signature
Rihanna will release all eight studio albums in her catalog in a deluxe 15 LP vinyl box set on December 16, including five titles never previously available on vinyl, including Music Of The Sun (2005), Rated R (2009), Loud (2010), Talk That Talk (2011) and Unapologetic (2012). Seven of the individual titles will come as 2 LP vinyl sets, while Talk That Talk will be a single disc. The package - encased in an elegant black, high-gloss slipcase with Rihanna's signature foil stamped on front -- also includes a 186-page hardback book comprised of every image from every studio album and reproductions of all the original CD booklets. The set also boasts an all-black turntable slipmat adorned with Rihanna's autograph.This Box Set Includes:
Music of the Sun (2005) [2xLP]
A Girl like Me (2006) [2xLP]
Good Girl Gone Bad (2007) [2xLP]
Rated R (2009) [2xLP]
Loud (2010) [2xLP]
Talk That Talk (2011) [1 LP]
Unapologetic (2012) [2xLP]
Anti (2016) [2xLP]$349.99Vinyl LP Box Set - 15 LPs Sealed Buy Now
Our Home Is A DeathbedOur Home Is A Deathbed is the debut full-length album from the Louisville, KY hardcore band Xerxes. Produced by Kevin Ratterman (Coliseum, My Morning Jacket), the album features eleven blistering tracks that channel the energy and passion of mid-90's originators You and I and Saetia, while adding the more upbeat and brutal thrash mentality of contemporaries such as Trash Talk and Ampere, making for a sound that runs the gamut of blast-beat aggression and emotional rumination.1. Wake
3. Tide/This Place As A Prison
4. Suburban Asphalt
5. Fever Dream
6. Summer Storms/Winter Leaves
8. Our City As A Floodplain
9. Funeral Home
10. Sleepwalking With You
11. Our Home Is a Deathbed$17.99Vinyl LP - Sealed Buy Now
Apocalypse, girlThink big, girl, like a king, think kingsize. Jenny Hval's new record opens with a
quote from the Danish poet Mette Moestrup, and continues towards the abyss.
Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction
and reality, a post-op fever dream, a colorful timelapse of death and rebirth,
close-ups of impossible bodies - all told through the language of transgressive
When Norwegian noise legend Lasse Marhaug interviewed Jenny Hval for his
fanzine in early 2014, they started talking about movies, and the conversation
was so interesting that she asked him to produce her next record. It turned out
that talking about film was a great jumping off point for album production.
Hval's songs slowly expanded from solo computer loops and vocal edits to contributions
from bandmates Håvard Volden and Kyrre Laastad, before finally
exploding into collaborations with Øystein Moen (Jaga Jazzist/Puma), Thor
Harris (Swans), improv cellist Okkyung Lee and harpist Rhodri Davis. All of
these musicians have two things in common: they are fierce players with a great
ear for intimacy, and they hear music in the closing of a suitcase as much as in a
And so Apocalypse, girl is a very intimate, very visual beast. It dreams of an old
science fiction movie where gospel choir girls are punks and run the world with
auto-erotic impulses. It's a gentle hum from a doomsday cult, a soft desire for
collective devotion, an ode to the close-up and magnified, unruly desires.
Jenny Hval has developed her own take on intimate sound since the release of
her debut album in 2006. Her work, which includes 2013's critically celebrated
Innocence Is Kinky (Rune Grammofon), has gradually incorporated books, sound
installations and collaborations with poets and visual artists. For Hval, language
is central, always torn between the vulnerable, the explosive and total humiliation.1. Kingsize
2. Take Care of Yourself
3. That Battle Is Over
4. White Underground
6. Why This?
7. Some Days
9. Angels and Anaemia
10. Holy Land$19.99Vinyl LP - Sealed Buy Now
ZabaCreated in Epworth's own studio it is undoubtedly among this year's most striking debuts. The title, lifted from Dave's favorite childhood story, comes from
William Steig's The Zabajaba Jungle. Steig's evocation of childhood adventure, exoticism and discovery is brilliantly fresh. ZABA is one complete beast
and a journey you will get most from if you immerse yourself fully and listen from start to finish. The sound of the record, Dave says, is like a backdrop
of man-made wilderness...
Influenced by the exploratory, New World scenarios of Apocalypse Now, The Island of Dr Moreau, Heart of Darkness, The African Queen and Mosquito
Coast, ZABA's songs tackle the humanization of nature and human interference with nature. Even now a lot of my favorite books are those books that I
grew up with, he says. Things like Zabajaba, like Roald Dahl, like Wind in the Willows. I suppose all I've been doing is using those little creatures and
animals to cover up what I really meant, to disguise who and what I was really talking about.
Inspired by Kanye West and Charles Darwin, Nina Simone and the Velvet Underground, ZABA is a rich and textured work, a very special record indeed.
With Dave producing and Epworth as A&R and mentor, the studio became their home and the band were free to record, improvise and write at their own
speed, making their sound a bigger, brighter, heavier and more intense experience than ever before.
The first single, Gooey is wobbly and child-like, a hymn to naivety. There's a confidence in the way children act, Dave says. I was trying to push that
confidence into the beat. Walla-Walla goes back to Dave's love of Timbaland and Dr Dre, while Intruxx, initially the introduction to the entire record,
summarizes this entire new world you're entering.1. Flip
2. Black Mambo
5. Walla Walla
10. Cocao Hooves
11. JDNT$22.99Vinyl LP - Sealed Buy Now
I'm Only DreamingTyler, TX-based indie pop outfit Eisley has announced I'm Only Dreaming, the band's fifth full-length, which was produced by Will Yip (Circa Survive, Balance & Composure, Lauryn Hill) and will be released via Equal Vision Records.
Vocalist/guitarist Sherri DuPree-Bemis opened up about "You Are Mine" revealing, "This song is about loving someone deeply and the beauty and challenges that come with being in a long-term, committed relationship. You're going to argue, you're going to rub each other wrong and disagree and drive each other absolutely crazy sometimes but at the end of the day you just want to be together. ('You're my everything, my sun and moon, you make me swoon; Wake me up, talk too much, piss me off, but you are mine')."
I'm Only Dreaming stays true to form of the band's signature dreamy sound, with DuPree-Bemis elaborating, "Musically, you could say it's classic Eisley, in the sense that it's melodic, moody pop and is written from the heart. Lyrically, it's very whimsical; it has a vibe that will take you into its own world and let you escape your normal life for a few minutes. I like to cloak things in a little mystery and romance; I think it's part of what makes all of Eisley's songs sound like they're from the same world. Every record is like opening and reading a book in a series."1. Always Wrong
3. A Song for the Birds
5. My Best Friend
6. Rabbit Hole
7. Louder Than a Lion
8. You Are Mine
9. When You Fall
11. Brightest Fire$19.99Vinyl LP - Sealed Buy Now
Love Is HereLove Is Here is the debut studio album by indie rock band Starsailor.
Starsailor was already a critic's darling in the band's native England during mid-2001, and the group's painfully melodic debut, Love Is Here, poised the band to rise in the shadows of Doves, Coldplay, and Travis. Starsailor, however, isn't as polished as its counterparts, but that's not to say Love Is Here isn't a beautiful piece of work. It's less lilting than Coldplay's Parachutes, and frontman James Walsh's aching vocals shape his angularity as a singer/songwriter.
Starsailor is a young band, and Love Is Here illustrates the group's sharp intellect inside basic acoustics. Singles such as the passionately violent Alcoholic and melancholic dark hues of Fever touch upon Starsailor's own pop stylings. The band isn't typically jaunty, for the members of Starsailor are a bit cynical. Lyrics reflect battles with self-discovery, independence, and being lovelorn; however, they're matches of a survivor.
Talk Her Down, one of the album's most gnarling tracks, bounces with light psychedelic patterns, and Good Souls is probably Starsailor's closest rock & roll moment. The live soundscape found on Love Is Here sets up the simplistic beauty of this new band. They didn't go for a grand bombast of crashing guitars and angst-ridden stories similar to Oasis and Manic Street Preachers. They go for something more positive as well -- each song soars with intricate musicianship and melodic lushness. Wigan native Richard Ashcroft would be pleased.1. Tie Up My Hands
2. Poor Misguided Fool
5. Way To Fall
7. She Just Wept
8. Talk Her Down
9. Love Is Here
10. Good Souls
11. Coming Down$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
OVSE-MOV-631xAlan Parsons Project
GaudiGaudi was the tenth and final Alan Parsons Project studio album released in 1987. Inspired as he was by the Catalan architect Antonio Gaudi, Alan Parsons built a truly passionate concept album. Money Talks and Closer To Heaven, which were used in episodes of Miami Vice are, without a doubt, the tracks that sonically define this record. But then there's Paseo de Gracia, a fully orchestrated track in the typical vein of Alan Parsons Project, which can be counted as an exquisite instrumental masterpiece. The masterfully cut Gaudi album simply is yummy for the ears. We are extremely proud to extend the ever expanding catalogue by releasing number eight of the Project's discography!1. La Sagrada Familia
2. Too Late
3. Closer To Heaven
4. Standing On Higher Ground
5. Money Talks
6. Inside Looking Out
7. Paseo De Gracia (Instrumental)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ChromaticsWhen songwriter and producer Sam Genders last donned his Diagrams hat, captive listeners found themselves truly stunned by the Streatham Hill artist's imaginative and inventive arrangements that made up 2012s debut album Black Light. Having now upped sticks from his London lodgings and settled in Sheffield with a new lease of life and wife, fresh pastures and friendships are what form the heart of Diagrams' brand new album Chromatics.
"Relationships are a constant thread. In all their frustrating, exciting, mundane, beautiful, wonderful, sexy, scary glory," reveals Genders of the album's themes. "And there's lots of hope in the songs. They shouldn't be taken too literally mind you in my head Chromatics is life in Technicolor; with all its ups and downs."
Equally drawing inspiration from the writing on relationships by David Schnarch, Ester Perel and the book Division Street by Sheffield poet Helen Mort, whilst spending time in his own home studio for the first time, it's without doubt that the Steel city provided the ideal backdrop for Genders to write whenever the inspiration came and, essentially, whittle down the fifty or so tracks he had recorded as part of the album's creation. "There are woods over the road and a little garden out the back with a greenhouse, shed, and flower beds. Being in a new place has brought something special to the process. Sheffield is a very open and direct place and I'd say the songs are more that way too."
Whilst Black Light fizzed with electronic effects, synth-bass, programmed beats and low-key funk grooves that brought about comparisons to the leftfield pop of Arthur Russell, Metronomy, Steve Mason and Hot Chip, it's without doubt that Genders' next offering falls closer to home comforts and marks the next step in Genders' renaissance. Take lead track 'Phantom Power'; it's the track which truly sums up what it's like to find yourself forever reassessing. "It's about feeling like you're losing a grip on your sanity at one moment, then feeling inspired and up for anything the next. Or frustration with yourself yet believing that it's possible to sort yourself out," explains Genders. Elsewhere 'You Can Talk To Me's delicate rolling melody and 'Serpent' once again showcase the playful, eclectic slant to Genders' songwriting prowess alongside an innate sense of crisp production and programming techniques.
Never one to shirk away from those around him, Genders would be the first to call Diagrams, and particularly Chromatics, a collaborative process. Once again featuring a rolling cast of inspirational musicians the album includes vocals from, amongst friends and family members, The Smoke Fairies whilst the skilled brass and string arrangements come courtesy of Danyal Dhondy and Sam Ewens. 'London's greatest' drummers Karl Penney, and Cacophony drummer Fletcher Adams provide the beats whilst live band members Emma Black and Ben Malitskie lend their expertise of Baritone Saxophone and Viola. 'Brain' meanwhile, was co-written with long-time friend and collaborator Matt McKenzie and features an in utero recording of his son James' heartbeat.
Yet it's the partnership with producer Leo Abrahams (Wild Beasts, David Byrne, Brian Eno, Jon Hopkins, Ed Harcourt, Marianne Faithful et al) that has truly brought Diagrams to life. After a long search, Abrahams was picked to piece all parts together and as a result Genders found himself writing songs that worked across a variety of production styles. "Leo's incredibly good at what he does and virtually all the impressive production and soundscaping is down to him. He's also an amazing guitarist and played some of my favourite guitar moments on the album."
Who knows exactly what kind of relationships will inspire Genders next? Currently finding himself midst China's south central city of Changsha in Hunan as a Musician in Residence on behalf of the British Council and PRS foundation, life for Genders right now is all about new experiences, meeting new faces and learning from new friendships. "It feels like anything could happen from one day to the next. I'd like to record a Chinese version of 'Phantom Power' so that once I'm back in the UK I can reconnect with the music lovers I've met. I've heard lots of very poppy pop songs that incorporate both Chinese and English lyrics so I'd like to try my own twist on that."1. Phantom Power
2. Gentle Morning Song
5. You Can Talk To Me
7. Dirty Broken Bliss
9. The Light & The Noise
11. Just A Hair's Breadth$18.99Vinyl LP - 2 LPs Sealed Buy Now
Lotta Sea LiceKURT VILE: We ran into each other on the road
in various continents and talked about the
recordings. I guess it wasn't till I had another
tour booked for the following summer in
Australia that we thought we should record as
much as we can, no major goal to make it a full
length but it came together that way because
the vibe was so strong. I love working with
Courtney, the collaboration was laid back with
COURTNEY BARNETT: Now we finished the
album, we dreamt up an amazing band which
we've called THE SEA LICE (inspired by a Stella
Mozgawa beach-side-story) and me n Kurt will
be standing there out front with our guitars
singing songs together. Songs from this album
we did, a handful of our own songs from
previous albums, maybe some old folk songs n
what not. Harmonies and guitarmonies galore.
Lotta Sea Lice is the result of 8 days in the
studio spread over almost 15 months when
Courtney and Kurt's respective touring
schedules allowed for them to be in the same
place at the same time.1. Over Everything
2. Let It Go
3. Fear Is Like A Forest
4. Outta The Woodwork
5. Continental Breakfast
6. On Script
7. Blue Cheese
8. Peepin Tomboy
9. Untogether$22.99Vinyl LP - Sealed Buy Now
UNIM-FAN-2428xRed Wanting Blue
From The Vanishing PointLed by singer-songwriter Scott Terry, Red Wanting Blue has built an exceedingly loyal fanbase throughout the heartland with a live show that knocks 'em dead but leaves 'em talking. With only the aid of word of mouth, Red Wanting Blue has established a following that regularly draw up to 1000 fans to its hometown gigs and has enable this band of underdogs to sell nearly 300,00 tracks from its self-release catalog of albums.
The passionate and poetic songs, driven by the unshakable backbeat of real rock-n-roll and anchored by Terry's powerful and unforgettable dbaritone, could only be written by a man who lives his life on the road. The band's latest album From the Vanishing Poin marks an official move to the national stage for a band that will always remember where it's from.1. Stay On the Bright Side
3. White Snow
5. Love Remains
7. Walking Shoes
9. Running of the Bulls
10. Ballad of Nobodies
11. Hope On a Rope
12. Pour It Out$21.99Vinyl LP - 2 LPs Sealed Buy Now
Blue Colored Vinyl
The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as three chords and the truth. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair. In January of 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.
Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong. But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock, Sink Or Swim (2007), The '59 Sound (2008) and American Slang (2010), Fallon needed a change of pace, a change of scenery.
And so, in January of 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energized, renewed and ready to make a full-tilt rock 'n' roll record again.
After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up, he says with a laugh. The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single 45, which received it's world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60's soul, '70's stadium rock, '80s hardcore and '90's grunge into eleven white-knuckle, blue-collar everyman anthems. Fallon likens its incandescent electrical storms to Tom Petty songs (being) played by Pearl Jam. Put more simply, it's a supercharged American rock 'n' roll classic.
We've taken everything we do and gone to 10 with it, explains Fallon. This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again. I think these songs are the closest thing to what we should have always sounded like, adds guitarist Alex Rosamilia. We just hadn't figured out yet how to play it right.
Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible. Brendan taught us a ton about songwriting and recording as a band, Fallon notes. The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good.
The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana, all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticized vignettes of star-struck lovers disappearing into the great wide open, Handwritten is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. Now I am no angel but I got nothing to hide, the singer rasps on the brooding grunge-noir of Too Much Blood. Can you say the same thing for yourself tonight?
It's supposed to be a letter to whoever is listening, says Fallon. Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it. We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident.
And it's no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready. I've always been ready for arenas, Fallon smiles. I've just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it.1. 45
3. Here Comes My Man
4. Mulholland Drive
6. Too Much Blood
8. Biloxi Parish
11. National Anthem$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Southern AvenueSouthern Avenue is a Memphis street that runs from the easternmost part of the city limits all the way to Soulsville, the original home of Stax Records. Southern Avenue is also the name of a fiery young Memphis quintet that embodies its home city's soul, blues and gospel traditions, while adding a youthful spirit and dynamic energy all their own. "If Memphis is a genre, this is it!" proclaims American Blues Scene and Rock 103FM calls Southern Avenue "The most talked about band in Memphis."
Their self-titled debut album is a breath of fresh air with its own unique blend of gospel- tinged R&B vocals, roots/blues-based guitar work and soul-inspired songwriting. And Southern Avenue's upcoming release on the fabled Stax label is a testament to the young combo's talent and vision.
Southern Avenue features five young but seasoned musicians who came from diverse musical and personal backgrounds to create music that spans their wide-ranging musical interests, while showcasing the powerful chemistry that the group has honed through stage and studio experience.
Southern Avenue encompasses Memphis-born, church-bred sisters Tierinii and Tikyra Jackson, respectively a soulful, charismatic singer and a subtle powerful drummer; guitarist Ori Naftaly, an Israeli-born blues disciple who first came to America as an acclaimed solo artist; versatile jazz-inspired bassist Daniel McKee; and the band's newest addition, keyboardist Jeremy Powell, an early alumnus of Stax's legendary music academy.
The band members' diverse skills come together organically on Southern Avenue, scheduled for release on February 24, 2017 via Stax Records, a division of Concord Music Group. Produced by Kevin Houston (North Mississippi Allstars, Lucero, Patty Griffin), the 10-song album features guest appearances from Luther Dickinson of the North Mississippi Allstars and trumpeter Marc Franklin of the Bo-Keys. But it's Southern Avenue's own potent musical chemistry that drives such sublimely soulful originals as Don't Give Up, What Did I Do, It's Gonna Be Alright, Love Me Right and Wildflower. The band also pays tribute to its roots with an incandescent reading of Ann Peebles' Memphis soul classic Slipped, Tripped and Fell in Love.
The seeds for Southern Avenue's birth were planted when Ori Naftaly, who'd grown up in Israel with a deep-rooted passion for American blues and funk, came to Memphis in 2013 to compete in the prestigious International Blues Challenge. That experience led to Naftaly moving permanently to Memphis and successfully touring the United States with his own band. Although his talents were embraced by American audiences, Naftaly felt constrained in his own band, feeling the need to include a more expansive, collaborative musical vision. That opportunity arrived when he met Memphis native Tierinii Jackson, who'd gotten her start singing in church, before performing in a series of cover bands and theatrical projects.
According to Ori, When I saw Tierinii perform, I thought, 'This is why I came to America.' I met her and we clicked. At our first rehearsal, she told me that her sister was a drummer, and she thought it would be great to have her in the band. We had such a good vibe, and suddenly I didn't care so much about my solo thing.
I initially clicked with Ori really well, but it was his project, Tierinii remembers. Then he came to me and said 'I want this band to be a collaboration, I want this to be our vision and our music.' So we started writing together, and that's when I realized that we were really the same musically.
We started over, Naftaly continues. We threw out most of the songs I'd been playing in my solo band, and Tierinii and I wrote a whole new set, and we became Southern Avenue. The more we played together, the closer we got, and the more we became a family. We started getting a different kind of crowd, and from there things escalated quickly.
Ori said, 'My band is done, this is y'all's band,' Tierinii recalls. We all quit our other gigs and started focusing on this, working and writing and living together in a way that you don't experience when you're playing somebody else's music. Now we're playing songs that we wrote ourselves and we're playing them from our hearts. That is when I realized that we had something special. Despite not having a record deal, Southern Avenue quickly found success touring in America and Europe. They won additional attention playing some prestigious festivals and competing in the International Blues Challenge, in which they represented Memphis. Less than a year after the band's formation, they were signed to the resurgent Stax label.
I feel like being on Stax is a responsibility, says Tierinii. I grew up in Memphis, seeing the name Stax everywhere. It was a constant presence, and now it's up to us to live up that. I feel like this band can be a platform to do a lot of positive things for the city of Memphis. I want to change the world, but Memphis is home. Tierinii views Southern Avenue as a perfect soundtrack to our first year together. We wrote these songs in our first nine months of being a band. We'd all done so many things and come from so many different places, but the music represents all of us. It's been a real crash course, she continues. We've haven't been a band for very long, but what we have feels very special, and it's made us a strong unit. I think that we represent something that people need to see right now.
This band has already made our dreams come true, Ori concludes. I've waited all my life to be in a band like this, and it's amazing to me that I get to play with these people every night. Our goal is to keep doing this for a long time and leave our mark. We're trying to build a legacy.1. Don't Give Up
2. What Did I Do
3. It's Gonna Be Alright
4. Slipped, Tripped And Fell In Love
5. Love Me Right
6. 80 Miles From Memphis
8. No Time To Lose
10. Peace Will Come$21.99Vinyl LP - Sealed Buy Now
Cover Me (Remixes)Dave Gahan wrote the song together with Peter Gordeno and Christian Eigner. Depeche Mode have said in interviews (like during the 2016 press conference) that producer James Ford taught himself to play Martin's pedal steel guitar within one day while in the studio, and thus this guitar was used in some songs including 'Cover Me'.
Dave talked about this song extensively to Phil Marriott:
I wanted ['Cover Me'] to be very cinematic, and I had this sort of idea of us finally destroying this beautiful planet that we live on. Hence the northern lights: it's just one in many millions of beautiful things... the oceans, just things that we take for granted. And the Northern lights was just a metaphor that I wanted to use, because I did once experience actually being there while that was happening, way up north in Scandinavia. Yeah [it's quite an emotional experience], and it's also out of the world somehow, quite spiritual, and moving, moving to the point of tears, the beauty of something happening in our universe. And so I had this idea at that time, a little lyrical idea, not really a melody. But anyway, I came back to that, and that became that song. And I also saw the song in two halves, where the second half was where we are finally leaving or something. This person or whoever it is, who I live vicariously through, leaves the planet, only to find another planet that is exactly the same as ours, and he has this horrible feeling of like, Oh wow, it's not the planet, it's me, I am doing this. I'm destroying this beautiful world that I live in. And that can be just an emotional relationship that you have with another person, or trying to be having a relationship with another person that you can't quite get to because you just can't. And that, for me, is quite often where I find myself with music and songs: I am quite often this other person. Of course it's me, but I can live vicariously through this performer, this guy that I've created, which is me, but a character. And throughout songs and films and books and stuff like that, that's where I get lost. [...] With 'Cover Me', the song that was coming to mind a lot, the feeling of the song that I wanted to get on this, and it's a totally different kind of song, but the feeling that I wanted to get was like Bowie's song 'Life On Mars', where the second half of the song seems to go to another place, or 'Space Odyssey', that kind of feeling. It opens up for you, the listener, to just be able to go off in their own dreams and ideas.LP 1
1. Cover Me (Ellen Allien Remix)
2. Cover Me (I Hate Models Cold Lights Remix)
3. Cover Me (Nicole Moudaber Remix)
4. So Much Love (Kalli Remix)
1. Cover Me (Erol Alkan V1.2)
2. Cover Me (Texas Gentlemen Remix)
3. Cover Me (Warpaint Steez Remix)
4. Cover Me (Josh T. Pearson Choose Hellth Remix)$20.9912 Vinyl Single - 2 LPs Sealed Buy Now
Broken PeopleAmerican music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.1. Broken People
2. Brother, What Happened?
3. Got It Goin' On
4. Why Don't You Stay
5. Take Me Home
6. Shine On!
7. It Ain't Easy
8. I Need A Man
9. Devil's Teeth
11. Leave It To The Sky (feat. John Legend)$18.99Vinyl LP - Sealed Buy Now
Return Of SaturnJust like the heavenly occasion which inspires its name, Return of Saturn, the latest album from Southern California rock band No Doubt, is best experienced with both feet firmly on the ground, and with eyes and ears held wide open.
The album's title refers to the notion that in the first 29 years of someone's life (the same time it takes the planet Saturn to orbit the Sun), a person is only beginning to understand himself or herself, which, singer and songwriter Gwen Stefani explains, helped her to discern her own place in life as she turned 30 years old. I wrote the song 'Artificial Sweetener', Gwen says, which has the line, 'the Return of Saturn, assessing my life, second guessing.' From the time you're born till the time Saturn returns to that point is a time of reassessment and a growing period, where you second-guess everything, and you clear out things that are going to be in the way of moving on in your life. I really did feel like I was going through a transitional phase in my life as I made this album. I think the name Return of Saturn is relevant in the sense that it shows how we've grown as a band, and as songwriters.
The culmination of two years of creative blood, sweat and tears for the quartet, Return of Saturn is a bold and exciting coming-of-age saga. An intimate view of the world as seen by a group of musicians and friends who watched their humble worlds turned literally upside-down by the unexpected (though well-deserved) success of No Doubt's third album, Tragic Kingdom. While that youthful recording reflects the concerns and observations of a band at the edge of possibility, Return of Saturn represents that same group looking collectively inward. What they saw and what they created those two years, will surprise and fascinate you. Who am I, and how did I get to this point in my life, when I thought I was going to be something completely different? -- that pretty much sums up the subject of this album, says Gwen.
Return of Saturn was recorded in two Los Angeles studios during 1998 and 1999. Twelve of the album's 13 songs were produced by Glen Ballard, (Alanis Morissette, Aerosmith), whose contribution was a key ingredient in the album's creation. In our band, everyone has such strong opinions that if you put the four of us in the room together you could have some troubles, says bassist Tony Kanal. But if you get somebody as experienced as Glen, not only as a producer but as a songwriter, you can bounce ideas off him and get some really cool objective answers, and it helps level the creative playing field.
One song on the album, New (also heard on the GO soundtrack) was produced by the band with Jerry Harrison (Talking Heads, Live). It was fun to start with a clean slate and create something brand new, says guitarist Tom Dumont, who also wrote much of the album's music. We hadn't really done much writing on the road, so when it came time, we had to come up with the entire record. Every time we wrote a song it was like having a baby. It's such a good feeling to sit down with an acoustic guitar and a tape recorder, and later to have created something really cool.
In light of the international success of Tragic Kingdom (more than 15 million copies sold worldwide, including over 11 million in the U.S.), the four band members were bound to be subject to any number of outside influences and pressures when it came time to make their follow-up.
But as it turned out, the band was able to turn any outside distraction to their ultimate benefit, beginning with pre-production and writing sessions at a rented Hollywood Hills house. I remember being in a very open, optimistic mood, says Tony, getting the house up in the hills, and just feeling like we had time to do it right. There was no deadline to deliver a record, so I remember not feeling pressure. It just felt like a good place to be, creatively.
Drummer Adrian Young agrees: We were just more conscious of the fact that we're following a huge record, and we need good songs, but I don't know what kind of album we wanted, or expected to make. It was very experimental most of the time. In fact, we didn't have any predisposition about it. That's always a good way for us to approach the music. We've always been across the board, stylistically, and I'm glad we didn't lose that part of the band, he says.
Songs on Return of Saturn like Marry Me, Simple Kind of Life and the album's first single Ex Girlfriend show vocalist Gwen Stefani in a reflective and unashamedly romantic mood, traits which she says are often overlooked in her hectic life. I think I am a romantic at heart, but my life in a lot of ways these days doesn't reflect that, she remarks. So I have this inner conflict about it, and this guilt about it. I'm very hopeful that someday those things will happen in my life, because it's all I've ever dreamed of. But right now it seems like my life doesn't have any room for it, and I won't make any room for it because I'm so passionate about what No Doubt is doing right now.
The music on each of No Doubt's three previous albums (1992's No Doubt, 1995's Beacon Street Incident, Tragic Kingdom) runs the stylistic gamut, mixing in as many influences as the band members can think of, and this collection is no different. Tom says the band has few rules when it comes to songwriting. We discovered a way to write on songs like Just a Girl and Spiderwebs and some of the older ones, which we incorporated when we started this album, and that was that there were no preconceived ideas at all. We would sit down in a room with a tape recorder and acoustic guitars and start improvising things. All the songs were written very spontaneously, starting from a blank slate every time.
The truth is, I feel like I've been turned inside-out after writing this album, adds Gwen. It's everything that I have been in the last two years, which have been really hard years for me. I just feet this sense of accomplishment, and this lightness has come over me since the album has been finished. It's so rewarding to be done and feel so proud of it, I can't wait for people to hear it.LP1
2. Simple Kind of Life
4. Six Feet Under
5. Magic's in the Makeup
6. Artificial Sweetener
7. Marry Me
2. Too Late
3. Comforting Lie
4. Suspension Without Suspense
5. Staring Problem
6. Home Now
7. Dark Blue$24.99Vinyl LP - 2 LPs Sealed Buy Now
MTV Unplugged - Summer SolsticeIn the land of the midnight sun, the clocks tick slightly different than they do elsewhere. This is especially true during the summer solstice, when the sun hardly sets at all, bathing the small Norwegian island of Giske - where a-ha played their first ever two acoustic concerts - in an eerie twilight.
Giske is a tiny island in close proximity to the city of Ålesund on the shore of the North Atlantic Ocean - a popular city much frequented by day trippers arriving on huge cruise ships during Norway's short yet intense summer season. But a-ha's audience didn't get to Giske on such boats. Coming from destinations all over the world, for them getting to Giske meant embarking on a plane to Oslo and from there to Ålesund. And from there you finally have to drive through a series of seemingly endless and frighteningly deep undersea tunnels to reach Giske, an island so beautiful and, well, remote, that one immediately wonders why a-ha handpicked this specific location to play their long awaited first MTV Unplugged shows on the night of the 2017 summer solstice, right where the world seems to end.
Pål Waaktaar-Savoy: "Choosing Giske is like most of the things we do: It's been 50% chance and 50% planned. We were discussing many different places to play these special shows - among them Manaus in the Amazon jungle, Berlin, London and New York. At the end of the day it was the Ocean Sound Recordings studio in Giske that made the difference. We knew that we could rehearse undisturbed in an extremely good sounding facility."
a-ha booked the Ocean Sound Recordings studio, which looks out onto the ocean, to revisit their own back catalogue for two weeks together with producer Lars Horntveth, who had already been working on the acoustic arrangements for more than half a year. The nearby Øygardshallen (Giske Harbour Hall) turned out to be the perfect venue to stage their two first ever acoustic shows: They simply had to lay cables from A to B and then were able to use the studio at Ocean Sound Recordings to capture the shows perfectly. a-ha performed in front of an audience of just 250 people - the Øygardshallen's glass front allowed the audience to gaze out into the pale night and onto a number of LED video steles that had been set up behind the band, serving as a minimalist backdrop to the concert. Suffice to say, the concerts were sold-out within minutes, as a-ha were to play "concerts so close to our audience like never before". As Magne Furuholmen puts it: "These were by far the most intimate concerts we've ever given."
Yet the beauty of the North Atlantic Ocean, the light of the midnight sun and the exclusivity of the concerts are only one half of the story. The other half is that the idea of a-ha playing their vast catalogue of world hits stripped down to their very essence is indeed a promising endeavor.
Pål: "We've talked about this idea for so many years. And in many of our concerts we've also played some acoustic songs. But if you consider that we don't use much technology at all when we write the songs, the idea an entirely acoustic show makes total sense. Playing all these songs now in their acoustic versions is like returning to their origins."
Magne expands the thought in a more universal direction: "Most of our songs draw inspiration from a childhood directly exposed to Norwegian culture, even the folk music tradition, perhaps more so than we thought. We were constantly faced with questions from journalists implying how our 'Norwgian-ness' was a unique part of our sound, even though we lived and worked in London.
As a creative person it is almost easier to tap into this nordic mindest from a distance. History is full of good examples of how iconic Norwegians in the past did their best work away from home; The writer Henrik Ibsen wrote on universal topics with a strong Norwegian tone while living in Italy, Edvard Munch's melancholic force defined expressionism while living in Berlin - yet he simply couldn't be from anywhere but this country. And of course there is Edvard Grieg, who took a lot of inspiration directly from folk music. His music always felt particularly resonant in our ears growing up. With such strong figures and influences defining what it is to be a Norwegian, it becomes part of what you are. Our darker, melancholic streak definitely harks back to these early influences. We feel connected to all that, which is why we thought returning home for this project was a very natural step.
Morten Harket stresses the fact how crucial it was to have arranger/producer Lars Horntveth on board as a catalyst and fearlessly driving force behind the scenes: "He confronted our music by presenting completely new arrangements, also taking out 'untouchable' parts, which easily came across as being disrespectful. I say this as a compliment, by the way... And of course we hated it! But we also needed it! This was exactly what we had asked of him. We needed someone who would boldly question everything that we stood for as a band - someone who could stand up to us. Of course it led to shouting matches. It's part of the creative process. Lars deserves the credit for bringing the band closer together than we have been for a very long time."
For the MTV Unplugged shows, a-ha played 17 songs in completely new arrangements as well as two new songs and two cover versions on vintage acoustic instruments, accompanied by a backing band featuring Karl Oluf Wennerberg on drums, Even Ormestad on acoustic bass, Morten Qvenild on piano and various acoustic keyboards, Lars Horntveth on multiple instruments and Madeleine Ossum on violin and vocals, Tove Margrethe Erikstad on cello and Emilie Heldal Lidsheim on viola and backing vocals. Furthermore, a total of four guest stars served as duet partners for Morten Harket. Most notably, Echo & The Bunnymen's Ian McCulloch had been invited by Magne Furuholmen to sing "Scoundrel Days" and Ian's very own "The Killing Moon" on the first of the two shows. On the second night, a-ha were joined by Alison Moyet of Yazoo fame to duet with Morten on "Summer Moved On". Highasakite's Ingrid Helene Håvik guested on "The Sun Always Shines on TV" on both nights, while, last but not least, American singer Lissie did the same on "I've Been Losing You".
"In the cacophonic world of popular music, with its high-impact effects and productions, the music is often somewhat lost as it ends up being premeditated." Morten Harket addresses the subject of subtlety: "The world of pop is a world where everything always has to be more than anything else."
Attending the concerts and the last full day of the rehearsals, you could tell that the whole group and especially Morten did indeed try to reveal the soul of each and every song performed. During the last run-through on the day before the first night the band took things extremely seriously. Songs were started, stopped and deconstructed. Discussions between Morten and the group as well as with the recording engineers dealt with the tiniest details of sound, cohesiveness and attitude. As a result, the two shows benefited profoundly, both in terms of microstructure (the new arrangements reveal so much of the songs' essences), as well as in that the overall dramaturgic arc of the concerts, which steadily built towards a climax that would astound even the most dedicated follower of the group. During the encore, a-ha would play - "as usual" - their first and biggest hit to date, "Take On Me". But an unexpected chord change in the chorus and the skeletal arrangement not only allowed a new perspective on the song's lyrics, it also left the audience with tears in their eyes.
Magne: "When you rearrange songs for an acoustic rendition it is also an opportunity to do more than to just simplify them. I especially like what happened when we took a fresh look at Take on me, which went from being an uptempo syntheziser-driven popsong to a much more melancholic, yearning ballad in this slowed down arrangement, it shows with much more clarity how the song at its core is not some standalone upbeat track, but belongs squarely inside our catalogue alongside more thoughtful, darker songs like scoundrel days etc.
There are only a few bands in the world who can look back on similarly close ties with the music channel MTV as a-ha. Alongside the likes of Duran Duran and Yello, in 1985 a-ha were worldwide pioneers who immediately understood the power of the music video as both a narrative and commercial tool. Steve Barron's classic "Take On Me" clip is still a milestone of music video and in 2003 was voted by the MTV audience as one of the top ten best videos ever made. There have long been efforts by a-ha and MTV to organize an Unplugged concert.
The fact that the two MTV Unplugged concerts in June 2017 actually took place on Giske also left a deep impression on a-ha themselves. Like every other band that has been successful on a worldwide scale for over three decades, a-ha have had their share of problems, split-ups and re-unifications. A thoughtful Magne reflects: "After such a long time, a-ha have now become a band that simply continues from project to project. This turned out to be a very healthy approach for the three of us, because going acoustic also had the taste of a new project."
Pål: "When we recorded our last few albums, we were sometimes working pretty isolated from each other. We should do this again - sitting and recording in the same room together for a couple of weeks or months and see what comes out as a result. We may argue about a lot of things, but we are also a band that has very close ties."
After the closing applause that seemed would never end, the band left the stage and walked out of Øygardshallen into the living daylights. Having performed two triumphant concerts together, the three band mates climbed into three separate vehicles and headed off into the sunlit night. But everybody in the audience had a feeling that a-ha had now just opened a brand new chapter in their unparalleled career. To quote a line from one of the highlights of these unplugged shows: "Cause I've been told / Stay on these roads / We shall meet, I know."
-Max DaxLP 1
1. This Is Our Home (Live from MTV Unplugged, Giske / 2017)
2. Lifelines (Live from MTV Unplugged, Giske / 2017)
3. I've Been Losing You (Live from MTV Unplugged, Giske / 2017)
4. Analogue (All I Want) (Live from MTV Unplugged, Giske / 2017 / LP Edit)
5. The Sun Always Shines on TV (Live from MTV Unplugged, Giske / 2017 / LP Edit)
6. A Break in the Clouds (Live from MTV Unplugged, Giske / 2017)
7. Foot of the Mountain (Live from MTV Unplugged, Giske / 2017 / LP Edit)
1. Stay on These Roads (Live from MTV Unplugged, Giske / 2017 / LP Edit)
2. This Alone Is Love (Live from MTV Unplugged, Giske / 2017)
3. Over the Treetops (Live from MTV Unplugged, Giske / 2017)
4. Forever Not Yours (Live from MTV Unplugged, Giske / 2017 / LP Edit)
5. Sox of the Fox (Live from MTV Unplugged, Giske / 2017 / LP Edit)
6. Scoundrel Days (Live from MTV Unplugged, Giske / 2017)
7. The Killing Moon (Live from MTV Unplugged, Giske / 2017 / LP Edit)
1. Summer Moved on (Live from MTV Unplugged, Giske / 2017 / LP Edit)
2. Memorial Beach (Live from MTV Unplugged, Giske / 2017 / LP Edit)
3. Living a Boy's Adventure Tale (Live from MTV Unplugged, Giske / 2017)
4. Manhattan Skyline (Live from MTV Unplugged, Giske / 2017 / LP Edit)
5. The Living Daylights (Live from MTV Unplugged, Giske / 2017 / LP Edit)
6. Hunting High and Low (Live from MTV Unplugged, Giske / 2017)
7. Ake on Me (Live from MTV Unplugged, Giske / 2017)$45.99Vinyl LP - 3 LPs Sealed Buy Now
OfferingsIf a Fellini film, a Bosch painting, and a Rorschach drawing had a collective sound, it would be Typhoon's new release. The 14-track record Offeringsis a musical and lyrical excursion into surreal imagery, eerie soundscapes, and an emotionally jarring narrative.
The 70-minute album for Roll Call Records, which is the Portland, Oregon indie rock band's fourth studio album, centers on a fictional man who is losing his memory, and in turn, his sense of self. "I've always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don't know where they came from? What is the essential quality of the person if you strip away all memory?" explains singer/songwriter Kyle Morton.
Motivated in part by his own preoccupation with "losing it," Morton also found a treasure trove of inspiration through various books, art, and film he was immersed in during the writing of this record. "I was watching a lot of David Lynch, and thought a lot about the Christopher Nolan movie, Memento, and Fellini's 8 ½.And there were a lot of books on my nightstand that played into this. It made it's a much darker album for sure," he says.
Offerings is divided into four movements (Floodplains, Flood, Reckoning, and Afterparty) to represent the mental phases the main character goes through where he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to his dreadful fate.
"I wanted this record to be a journey, like Dante's Inferno. It kicks off with 'Wake,' where the character wakes up and he's shitting the bedand doesn't know what's going on. I was going for a specific feel that Samuel Beckett does so well," says Morton, who was reading Beckett's Three Novels, specifically Malloy, while writing the song's lyrics. "Beckett would call it a literature of impoverishment where he'd strip away as much as he could so he could get a feeling of essence and scarcity; that's what I tried to do musically and lyrically here."
Mission accomplished. Morton also masterfully makes a parallel with the character's journey to the state of the world today starting with the second track, "Rorschach," which looks at the age of information and collapse of meaning.
"But, by the third song, 'Empiricist,' there's a regression to the womb where the character is back in his bed at home,talking about his range of motion shrinking. This first movement ends with 'Algernon' [taken from one of Morton's favorite short stories, Flowers for Algernon, by Daniel Keyes], where he's constantly awakening and in an interrogation with a woman-who the listener should know is his wife, but he doesn't."
Musically, there is a sense of impending doom and chaos throughout the record that mirrors the character's fear and anxiety. "The claustrophobic feeling of only having the present moment and this sense of repetition is musically mirrored with this looping that runs though the record with a through line of choral parts that give it a darker, creepier feel," says Morton.
To set the right tone for the story, Morton went for a less horns, more guitar approach. "We have a little bit of trumpet on this record and a lot of string arrangements. But we really strayed away from the horn arrangements. I wanted it to be a darker, more intense rock record, so it's very guitar-based. It's going back to my rock roots before Typhoon," says Morton.
The concept of what the main character in the album is going through is also meant as a way of explaining cultural memory loss. "I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven't learned the lessons of our past, historically, we can't recognize when elements come back to haunt us, which is what's happening right now," he adds.
One choral part ("Down in the floodplains waiting on a cure/ Blessed be the water/ May the water make us pure") was especially inspired by current politics. "I had Steve Bannon in mind quite a bit when I was writing these choral parts because I'm taking on this world view that I don't agree with, which is that the world needs a bloody struggle to reset -bring on the demolishing of order," he says.
The character's downward spiral continues through the album's second movement, Flood, while in the third, Reckoning, comes the absolute-zero moment where the character is ready and willing to let go of life. Reckoning kicks off with "Coverings," which is the first song Morton ever co-wrote with a band member -Shannon Steele, who also sings on it. (Steele lends her vocals to the end of "Bergeron," as well.)
"'Coverings' takes the story into the devil's mansion where all the rooms are the same representing this repeated infinite present with no reference. For me, this is Hell. And, at this point, our character has lost his marbles," he explains.
"At the same time, on the worldly scale," continues Morton, "this is the point where we don't have any public trust and there's no cultural memory, there's just chaos. People are becoming identical in this collapse of meaning and you have no reference. If there is any point to this record it's that -Without reference, you have an interesting concept of infinity, which can be really bad."
As the album comes to a close with the acoustic "Sleep," the character decides that instead of taking part of the chaos, he'd rather sacrifice himself. But there is light at the end of this dark, emotional journey. "The secret track, 'Afterparty,' is where he finds peace and freedom. It's his homecoming. He's on the other side of it now and has found his version of Heaven," says Morton.
It's this level of intricacy in Typhoon's storytelling and musicianship that has helped Typhoon become one of indie rock's most revered bands. Their previous album, White Lighter, hit No. 2 on Billboard's Heatseekers Album Chart and got Best of The Year nods from NPR and Paste.Typhoon has brought their, at times, 11-piece live show on the road alongside indie rock peers The Decemberists, Portugal the Man and Grouplove, and sold out major clubs and venues across America.
Adds Morton of Offerings, "I kind of wanted to make a dystopian record. If it's nothing else, it's that. If I could write my own one-line review, I'd think I'd want people to say, 'It's disturbing and unfortunately correct."1. Wake
14. Sleep$29.99Vinyl LP - 2 LPs Sealed Buy Now
Punch The ClockPunch the Clock on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
Costello & the Attractions Return to Mainstream Pop on Slick-Sounding 1983 Album
Half-Speed Mastered from the Original Tapes: Mobile Fidelity LP Digs Into Smooth Tones, Brassy Effects, Limber Bass Lines, Multiple Layers of Production
Includes Sparkling Top 40 Hit "Everyday I Write the Book" As Well as Timeless Political Songs "Shipbuilding" and "Pills and Soap"
Razor-Sharp Wit, Concise Melodies on Display Throughout; Jazz Legend Chet Baker Guests
Punch the Clock is Elvis Costello & the Attractions' most British record, a return to mainstream pop craft loaded with clever barbs and insightful social commentary that nearly landed the headliner in serious trouble with government representatives. Produced by the English hit-making team of Clive Langer and Alan Winstanley, the jumpy and horn-accompanied 1983 effort includes Costello's first-ever American Top 40 hit ("Everyday I Write the Book") and a smooth sheen that reinforces the material's commercial intent and catchy appeal.
Half-speed mastered from the original master tapes, Mobile Fidelity's numbered limited edition 1980g LP presents the hyper-literate fidelity and refined melodies in astonishing sonics, navigating the multiple layers of information, brassy effects, and background vocals to present a unified whole replete with stellar front-to-back depth. Akin to the reissue label's previous acclaimed Costello reissues, Punch the Clock is vastly improved, the opened-up perspective, pronounced instrumental separation, and textural clarity enhancing all the details within the grooves.
Fresh from making a country tribute album and a large-scale set flush with complex arrangements, Costello and Co. return to straight-ahead pop given a decidedly British accent and soulful backing vocals. Conscious of the Merseybeat sound and success of Dexy's Midnight Runners, Costello tints songs with new-wave characteristics, splashy horns, and spontaneous vocal-response support courtesy of female duo Afrodiziak, one member of which later attained fame with Soul II Soul. Steve Nieve's bounding piano lines dance throughout the arrangements, adding witty pizzazz and delicate allure to already-tuneful fare like "The Element Within Her" and "Mouth Almighty."
The more direct, hook-ready approach also manifests on numbers such as "Let Them All Talk" and "Charm School," tunes that also illustrate the contrasts in romantic theme. While remaining deeply cynical, as was his longtime hallmark, Costello unfurls two compositions on which love and marriage are viewed in a positive light. Yet he spares no one, nothing, and minces no words with "Shipbuilding" and "Pills and Soap," fare that remains revered in his native country as well as abroad.
For "Shipbuilding," a brilliantly disguised 88s-clinking protest against war influenced by the Falkan Conflict, Costello enlists jazz legend Chet Baker to deliver a masterfully poignant, bluesy trumpet solo that echoes throughout the coda. On the hip-hop-inspired "Pills and Soap," a thinly veiled metaphor addressing Britain's abusive sociopolitical state and royal officials, the bespectacled bandleader invents a thoroughly unique quasi-rap draped over a drum-machine beat and Nieve's bold piano chords. Bracing.
This title is not eligible for discount.1. Let Them All Talk
2. Everyday I Write the Book
3. The Greatest Thing
4. The Element Within Her
5. Love Went Mad
7. The World and His Wife
8. TKO (Boxing Day)
9. Charm School
10. The Invisible Man
11. Mouth Almighty
12. King of Thieves
13. Pills and Soap$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
REDI-THR-6817xThe Soft Pink Truth
Why Do The Heathen Rage?Not final cover art
The Soft Pink Truth is the solo alter ego of Drew Daniel, one half of celebrated Baltimore-based electronic duo Matmos. After a decade of silence in which Daniel concentrated on Matmos and becoming a Shakespeare professor, The Soft Pink Truth is set to release Why Do the Heathen Rage? whose subtitle "Electronic Profanations of Black Metal Classics" reveals its bizarre agenda as an unrequited love letter to a justly divisive genre. A gleeful queer travesty of black metal's undying obsession with kvlt authenticity, Why Do the Heathen Rage? is also a formally precise homage executed with a scholar's obsession. With the guitar chord transcription assistance of Owen Gardner (Teeth Mountain, Horse Lords) and a coven of guest vocalists, including Antony Hegarty and members of Locrian and Wye Oak, Daniel meticulously transposes the riffs, structures and patterns of black metal chestnuts and deep cuts by Darkthrone, Venom, Mayhem, Sarcofago and more into oddly hybrid new forms. Cruising camp absurdity by forcing a sticky tryst between the two mutually incongruous early 90s subcultures of rave and black metal, the results are bracingly strange on first listen, but curiously addictive as the album sinks in.
Imitating the countless black metal albums that begin with ominous intros, the album commences with "Invocation for Strength", a spoken word track in which a Radical Faery poem used by gay activist Arthur Evans in his classic Witchcraft and the Gay Counterculture is read by Drew Daniel and Antony (Antony and the Johnsons). After this queer hymn, the rhythmic assault begins with an industrial gabber take on Venom's genre-founding song "Black Metal", featuring vocals by Baltimore artist Bryan Collins and screams from Daniel. Stark trap beats and rave synths meet two-step house bounce on "Sadomatic Rites," originally by Beherit, whose electronic opus H418ov21.c was an inspiration to Drew as he was making this album. Adding a witchy twist to an underground metal classic, Jenn Wasner (Wye Oak, Dungeonesse) lends her smoky, soulful voice to an orgasmic house deconstruction of Sarcofago's redlight anthem "Ready to Fuck." After a surprisingly sensitive guitar led intro, "Satanic Black Devotion" erupts with full on screaming vocals from Terence Hannum (Locrian), paired with IDM beats, synthetic banjo, and a rather glaring plunderphonic re-working of a recognizable dancefloor classic. Side Two kicks off with a stark, vogue-ball inspired rethinking of Darkthrone's "Beholding the Throne of Might", with whispered vocals from London based free improviser/composer Jennifer Walshe and a spoken interlude from David Serrotte of the vogue ball crew House of Revlon. The goth factor spikes on "Buried by Time and Dust", in which Daniel's Matmos partner M.C. Schmidt croaks the lyrics to the vampiric Mayhem original on top of MIDI harpsichord while a moldy 808 drops the "Planet Rock" beat. In an Ouroboric final gesture, the album concludes with a paroxysmic take on "Grim and Frostbitten Gay Bar" by Impaled Northern Moonforest, the parodic fake black metal project of Anal Cunt's Seth Putnam. A blizzard of snippets of pop, house, crust and metal are shredded and smothered in lo-fi screaming and arctic field recordings, ending the album on suitably contradictory notes of mockery and celebration. The album's controversial artwork, which will remain redacted for the time being due to the extreme content it portrays, fits those themes as well, depicting a volatile, extremist scene undergoing a long overdue queerification, coming out rich and strange, shiny and pink.
The Soft Pink Truth was started in 2001 when legendary UK house producer Matthew Herbert challenged Drew to "make a house record," resulting in the project's slyly funky debut album Do You Party?, which Herbert released on his own Soundslike Records. Daniel has also produced floor-burning remixes for Bjork, Herbert, Grizzly Bear, Dat Politics and many more under The Soft Pink Truth moniker. "Why Do The Heathen Rage?" follows his 2004 release "Do You Want New Wave or Do You Want The Soft Pink Truth?," a collection of electronic interpretations of UK punk and American hardcore songs. As a member of Matmos, Daniel continues to break down established norms of experimental and pop music practice by filtering genres through unique and brilliant conceptual lenses, and has established himself as one of the most individualistic electronic musicians of the past several decades.
Disclaimer: Aesthetics and Politics are neither equivalent nor separable. Black metal fandom all too often entails a tacit endorsement or strategic looking-the-other-way with regards to the racist, anti-Semitic, sexist and homophobic bullshit politics that (still) pervade the scene, on behalf of either escapist fantasy talk, shaky invocations of art as a crypto-religious path to transcendence, or--the oldest cop out in the book--the quietist declaration that "I just like how it sounds." Just as blasphemy both affirms and assaults the sacred powers it invokes and inverts, so too this record celebrates black metal and offers queer critique / mockery / profanation of its ideological morass in equal measure. Mixed emotions about a murky, diverse and self-differential scene are all very well, but, as Barack Obama is so fond of saying at press conferences just before legitimizing drone warfare, let's be clear: No apologies, no excuses, and no escape clauses are hereby offered. Murderers are murderers. No safe space for fascist garbage. The Soft Pink Truth hereby abjures black metal homophobes, racists, and Nazis categorically and absolutely: MAY THIS CURSE BIND! Remember Magne Andreassen!"1. Invocation for Strength
2. Black Metal
3. Sadomatic Rites
4. Ready to Fuck
5. Satanic Black Devotion
6. Beholding the Throne of Might
7. Let There Be Ebola Frost
8. Buried by Time and Dust
10. Grim and Frostbitten Gay Bar$18.99Vinyl LP - Sealed Buy Now
Black Death & Beyond (Out of Stock)White, Black And Transparent Colored Vinyl
'Black Death and Beyond' is a special collector's boxset featuring an in-depth book containing extensive accounts of the band's history and philosophy from both Gylve 'Fenriz' Nagell & Ted 'Nocturno Culto' Skjellum, as well as additional recollections from bass player Dag Nilsen. Numerous other artists and friends along the way give their thoughts on the legends too, plus the book contains a large amount of personal photos from the band archive.
Also included are 3 vinyls featuring Darkthrone's own choice cuts from their illustrious collection of death/black/ & metal/punk classics, presented on white, black, and transparent vinyl.
Fenriz explains the concept behind the track selections: "I never quit my day job; one of the reasons being that I can listen to music on headphones there all the time. To the extent that I rarely listen to music at home anymore, and if I do it's like I can't hear it PROPERLY. At work with headphones is where the details reveal themselves and also which songs I can and can't use in compilations or dj'ing appear quite clearly.
Every time I get/buy a cassette or vinyl I have to transfer them to wav files via a computer programme, then I write a little note to accompany the final burnt disc. But the note first swings by my workplace where I can rate the various songs with a clever underlining-system called THE FENRIZOLATOR. And so passes the days.
Then came the idea to do a Darkthrone book and with it a vast box set. There was talk about 3 compilation discs, one with Death, one with Black and one with our other styles. So be it. But this time I took it upon myself do it PROPERLY. And to do that....well, I had to face my own rating system. Because I also use the F-OLATOR on regular CD's, it took 3 whole days to rate all of our 16 full length albums. Certain discoveries
were made, like the song I think is worst by Darkthrone is HANS SISTE VINTER (Scoring only 12 out of 60 points) and also that The Cult Is Alive is probably our best album - at least it's the one with the highest grades consistently. But I digress. AGGRESSIVE DIGRESSOR!!! Lists were made, and I truly tried to be as honest and fair as possible, Ted was initially going to do this but I think he suddenly saw how monumental
a task it would be, and ended up with - well, what you hold in your hands right now. My "BEST OF" trying to follow both my biased ratings, crystal logic and also personal favours and my fave Ted songs".
This edition of 'Black Death and Beyond' is to be limited to a single vinyl pressing.Black:
1. In the Shadow of the Horns
2. Inn I De Dype Skogers Favn
3. Under a Funeral Moon
4. I en Hall Med Flesk og Mjod
5. The Hordes of Nebulah
6. The Claws of Time
7. Fucked Up & Ready to Die
8. Hate is the Law
9. The Cult of Goliath
2. Sunrise over Locus Mortis
3. Soulside Journey
4. Neptune Towers
5. Nor the Silent Whispers
6. Iconoclasm Sweeps Cappadocia (NRK version)
7. Sadomasochistic Rites
8. In his Lovely Kingdom
9. Black Daimon
10. Paragon Belial
1. Graveyard Slut
2. Forebyggende Krig
3. These Shores are Damned
4. Pervertor of the 7 Gates
5. Wisdom of the Dead
6. The Winds they called the Dungeon Shaker
7. Grizzly Trade
8. Those Treasures Will Never Befall You
9. Stylized Corpse
10. The Ones You Left Behind$84.99Colored Vinyl LP Box Set + Book - 3 LPs Sealed Temporarily out of stock