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Talking Is Hard'
Talking Is HardWALK THE MOON first hit public consciousness at large with the 2012 hit single "Anna Sun," an energetic blast of '80s-inspired pop and new wave. Now the Cincinnati-based band returns with their second studio album, Talking is Hard.1. Different Colors
3. Shut Up and Dance
4. Up 2 U
7. Down In The Dumps
8. Work This Body
9. Spend Your $$$
10. We Are The Kids
11. Come Under The Covers
12. Aquaman$15.99Vinyl LP - Sealed Buy Now
Two Devils Will TalkOur favorite highlanders, The Real McKenzies, will be celebrating 2017 with a brand new album-Two Devils Will Talk- marking their 25th year as a band. There's a saying in Scotland: "Many a mickle makes a muckle." This translates to: "Many a small thing makes a big thing." This is especially true with the unique sound that The Real McKenzies' have cultivated over the years. Two Devils Will Talk is packed with fourteen rousing songs that incorporate classic punk, hard folk, acoustic and electric instruments, all weaving in the Celtic influence for which the band is known. The result of all these combined elements is one of the strongest albums in the band's entire career.1. Due West
3. One Day
5. Northwest Passage
7. One Man Voyage
8. Sail Again
9. The Town
11. Drunkards Lament
12. Fuck the Real McKenzies
13. The Comeback
14. Scots Wha Ha'e$15.99Vinyl LP - Sealed Buy Now
Hard Times Are RelativeOur favorite songs are like one-night stands: passionate or sad, capable of recalling moments with Proustian power. Our favorite artists are lifelong companions: fixtures we turn to for comfort and highs.
Over the last two decades, Jason Boland and the Stragglers have delivered and become both.
"We've always just wanted to entertain ourselves and put out music that would be a part of people's lives, not just something passing to them," says Boland. "We want to be something more monolithic." He pauses and grins as he adds, "We're just a social experiment at this point."
Boland is talking about the deep body of work he's created with his band of jangly honky-tonk aces, the Stragglers--Grant Tracy on bass; drummer and background vocalist Brad Rice; Nick Worley on fiddle, mandolin, and harmonies; and Cody Angel on guitar and pedal steel. Fronted and co-founded by Boland with Tracy and Rice, the band has featured only a handful of other members over the last 20 years, all of whom--whether they're currently Stragglers or not--are like brothers. As they've independently sold more than half a million albums, the outfit has packed iconic dancehalls, theaters, and other big rooms across the country.
With their new record Hard Times are Relative, Boland and the Stragglers stack the smart, road-ready outlaw country longtime fans have come to expect alongside creative risks that flirt with punk and psychedelic sounds. The 10-song collection is a rare blend of instantly gratifying and rewarding of closer listens--a definitively Stragglers accomplishment. "It's an upbeat album--a lot of fast songs, but it doesn't try to be fast," Boland says with characteristic insight. "It just sits in the pocket."
No one has combined Woody Guthrie's conscience with Waylon Jenning's panache quite like Boland and the Stragglers. Since debuting in 1999 with the Lloyd Maines-produced Pearl Snaps, the band has matured without taming their refreshing irreverence. "We always joke that we try to take as much as we can from Lloyd and apply it to producing our own records," Boland says. "We've worked with him so many times. The most obvious thing he taught us is: just be musical. Don't hammer through the songs like a garage band all the time."
That mix of subtle musical sophistication and unruly Oklahoma junkyard pedigree has resulted in some of the best independent honky tonk in recent memory. "You just have to be where you are--keep plugging away and doing the best you can at any moment," Boland says, reflecting on their career thus far. "For a bunch of slackers [like us], that's not too terribly tough."
Co-produced by the Stragglers, David Percefull, and Adam Odor, Hard Times are Relative is the band's ninth studio record. All songs were recorded live to tape and without the use of any computers--now a Stragglers' hallmark. Upbeat steel guitar kicks off album opener "I Don't Deserve You" before Boland's signature baritone thunders in, smooth and stronger than ever. When fellow sly honky-tonk champ Sunny Sweeney joins him in out-front harmonies, the two become the rootsy dream team you never knew you always wanted.
The album's title track is a masterpiece: an epic story song about a young orphaned brother and sister depending on the land and one another. Rich details layered over strings paint a scene that's compelling and lush. The song has become one of Boland's favorites. "Folk music is hard to write. Country music is hard to write," he says, reflecting on the difficulty of spinning a long tale while keeping it simple and engaging. "When you hit your own little tuning fork in your head, that one is a hard sell, even to me. But I enjoy that song."
"Right Where I Began" sounds like vintage Stragglers: clever wordplay and muscly guitars ready for two-steppers. Fiddle and vocal showcase "Searching for You" shows off Rice's and Worley's harmonies that are downright divine. Crunchy guitars drive "Dee Dee OD'd" as Boland offers another round of wry observations. Easy gem "Going Going Gone" makes a solid argument for fiddle in rock-and-roll as Boland deftly turns a baseball metaphor into a classic leaving song.
Gorgeous waltz "Do You Remember When" bemoans some of modern life's emphasis on disposability and the dismissal of heritage. Rollicking "Tattoo of a Bruise" picks up the same idea, and is tongue-in-cheek country doo-wop, fueled by fiddle, steel, and drums. "I'm not judging anybody," Boland clarifies. "Our music has always called it like we see it, right or wrong, smarter or dumber."
Praise for the past but acknowledgement of nostalgia's limitations is a career-long theme for Boland, and one that this record continues to carry. "We don't want to lose the chili recipes and the Schroeder Halls because people are moving on to faster, louder, and newer," he says. "But instead of just hemming and hawing, remembering what's old and gone, we want to have new experiences within those frameworks--make memories with what's left of the good stuff."
With lines like "Empty pockets don't mean you need money / It's just another place to put your hands / And focus on that rock you've been kicking / One day it's going to be a grain of sand," "Predestined" challenges listeners as it soothes. The song is a lyrical victory for Boland, who's long-since become a master of distilling heady ideas into digestible nuggets.
Penned by Oklahoma music godfather Randy Crouch, "Grandfather's Theme" serves as the album's climactic closer. Attacked with psychedelic ferocity by the band, the song picks up the record's recurring concepts of the ground's insistence on shifting, inevitability, and our complex relationship with the past. Stripped down as Boland sings, the song soars off into a trippy, robust jam-band send-off--a serious triumph especially considering it's a defiantly analog recording. "We're fighting the digital world because they can make it so huge," Boland says, discussing the balancing act of filling out songs while letting them breathe. "I'm really proud if what we did."
As he mulls over where the Stragglers have been and where they're headed, Boland comes back to one idea over and over again: he and his band are who they are, and with that genuineness comes grit, beauty, and staying power. "We're fortunate that we're not trying to fool anybody," he says. "That's what it comes down to. We're all loners but somehow a team. Now that I can look at it all, I can see: it's been fun."
Here's to the next 20 years.1. I Don't Deserve You
2. Hard Times Are Relative
3. Right Where I Began
4. Searching For You
5. Do You Remember When
6. Dee Dee OD'd
7. Going Going Gone
8. Tattoo of a Bruise
10. Grandfather's Theme$18.99Vinyl LP - Sealed Buy Now
When to Talk and When to ListenHard-working Canadian rock quartet Current Swell are back with their forthcoming new album When To Talk and When To Listen. Produced by Jacquire King (Kings of Leon, James Bay, Of Monsters And Men, Shania Twain, Norah Jones etc), When To Talk and When To Listen is set for release via Nettwerk.1. Marsha
2. You Got It Easy
3. It Ain't Right
4. When To Talk and When To Listen
5. Woman In White
6. Staying Up All Night
7. Use Me Like You Do
8. Thief of Joy
9. Like I Fight For You
10. Time and The Weight
11. Marsha Reprise$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Deed Is DoneMolly Hatchet, like many of the bands who grew out of the Southern states, preferred to live life walking it like they talked it. Blazing a trail akin to their musical and spiritual forefathers Lynyrd Skynyrd, there was little room for frippery in both life and music, but with a dedication to their chosen craft, an understanding that you lived life hard, be it at home or on the road.1. Satisfied Man
3. She Does She Does
4. Intro Piece
5. Stone in Your Heart
6. Man on the Run
7. Good Smoke and Whiskey
8. Heartbreak Radio
9. I Ain't Got You
10. Straight Shooter
11. Song for the Children$19.99Vinyl LP - Sealed Buy Now
Freetown SoundDev Hynes (Blood Orange) is set to release Freetown Sound, his third proper full-length album, and the
most expansive statement of his career. Written and produced by Hynes, Freetown Sound is a tour de
force, a pastiche of Hynes' past, present, and future that melds his influences with his own established
For well over a decade, DevontÉ Hynes has proven himself a virtuoso of versatility, experimenting with
almost every conceivable musical genre under a variety of monikers. After moving to New York City in
the mid-2000s, Hynes became Blood Orange, plumming the oeuvres of the city's musical legends to
create a singular style of urgent, delicate pop music. Freetown Sound, which follows 2011's Coastal
Grooves and 2013's breakthrough Cupid Deluxe, builds upon everything Hynes has done as an artist,
resulting in the most expansive artistic statement of his career.
Drawing from a deep well of techniques
and references, the album unspools like a piece of theater, evoking unexpected communions of moods,
voices, and eras. Freetown Sound derives its name from the birthplace of Hynes' father, the capital of
Sierra Leone. Thematically, it is profoundly personal and unapologetically political, touching on issues of
race, religion, sex, and sexism over 17 shimmering songs. Each song echoes into another, with leitmotifs
carefully stitched throughout, yielding a sound palette that gently recalls elastic funk, slinky R&B, and
pure pop, but resisting easy categorization.
For Hynes, the process of self-discovery involved in creating Freetown Sound proved as valuable as the
finished product. "This record really tries to say things that I've been wanting to express for many years,"
he says. "It looks into my childhood and examines who I am at this point in my life. There are so many
crazy layers to it that it's actually quite hard to talk about it, but the record is very reflective of how my
brain works. It's been very interesting for me trying to understand and tie all of these things together. It's
been a way of working through it."LP 1
1. By Ourselves
4. Best To You
5. With Him
7. Love Ya
8. But You
1. Hands Up
2. Hadron Collider
3. Squash Squash
4. Juicy 1-4
5. Better Than Me
6. Thank You
7. I Know
8. Better Numb$25.99Vinyl LP - 2 LP Sealed Buy Now
20th Century Women (Music From The Motion Picture)Director Mike Mills first made his mark on the silver screen with the Academy Award-winning film Beginners, but his back catalog is also filled with a number of music videos, including those for songs by Everything But The Girl ("Temperamental"), Moby ("Run On"), Air ("All I Need"), Mansun ("Legacy"), Pulp ("Party Hard"), and Air ("Sexy Boy"). His appreciation of music also extends to the soundtracks of his films, and with 20TH CENTURY WOMEN, his latest cinematic endeavor, he's managed to put together one of the most musically diverse compilations in recent memory.
This is not praise derived from a desire to play up new product. This is simply the reality of the situation. How else to describe a compilation which sandwiches "Basin Street Blues," by Louis Armstrong & His Hot Five between tracks by Talking Heads and The Raincoats? We're talking about a musical landscape which finds Fred Astaire, Benny Goodman, and Rudy Vallee rubbing elbows with Siouxsie and the Banshees, Devo, and the Buzzcocks. It shouldn't work, and yet somehow it does.1. "Don't Worry About The Government" - Talking Heads
2. "Fairytale In The Supermarket" - The Raincoats
3. "Media Blitz" - Germs
4. "Cheree" - Suicide
5. "D.J." - David Bowie
6. "Gut Feeling/(Slap Your Mammy)" - Devo
7. "The Big Country" - Talking Heads
8. "Basin Street Blues" - Louis Armstrong & His Hot Five
9. "This Heart Of Mine" - Fred Astaire
10. "In A Sentimental Mood" - Benny Goodman And His Orchestra
11. "After Hours On Dream Street" - Sandy Williams
12. "As Time Goes By" - Rudy Vallee & His Connecticut Yankees
13. "Why Can't I Touch It?" -The Buzzcocks$21.99Vinyl LP - Sealed Buy Now
The Year of HibernationTwenty-two year old Trevor Powers, whose musical venture is called Youth Lagoon, has had a long year. Not because hes been endlessly touring or pursuing some wild dream, but because of life, the life of a kid going to college, being in love, dealing with heartache, and just living. Youth Lagoon isnt me. says Powers. Its merely a part of me. I was in and out of different bands in high school and always tried to define myself by what music I played. I tried to find a sense of meaning by being in a band. But it wasnt until this last year when I realized I was more than just music, that I was able to create music that means something to me. And that is Youth Lagoon.
Throughout the course of 2010, Powers began to write an album about things he had a hard time talking about. He claims that when he tries to talk about it to people, he doesnt make sense. So he wrote an album about it entitled The Year of Hibernation. For my whole life Ive dealt with extreme anxiety. says Powers. Not anxiety about passing a test or somewhat normal things, but weird, bizarre things. Things that only I know. I sometimes feel like Im literally being eaten up inside. So I started writing these songs. Not just songs about my anxiety, but about my past and my present. Songs about memories, and all those feelings that those bring. I know that if I can be honest about what is inside my mind, there will be others that will be able to relate to it.
Although his music seems somewhat dreamy with the first listen, the lyrics show a different side to the matter. Hidden beneath the melodies is a voice that is eerie yet nostalgic. Powers claims his music is like letting people read his journal. I dont think I could ever write a completely happy album. Its not that Im not a happy person, claims Powers, but I just have too many things in my mind that haunt me.1. Posters
8. The Hunt$17.99Vinyl LP - Sealed Buy Now
Live At The Old Quarter, Houston Texas (Awaiting Repress)Culled from Townes Van Zandt's years of independently released country-folk records, this austere collection of songs here serves, in effect, as a greatest-hits package. Van Zandt's dry, narrative wit was the source of influence for such singer-songwriters as Lyle Lovett, Steve Earle, Emmylou Harris and Willie Nelson, and one would be hard-pressed to find a more simple, prettier love song than If I Needed You (a hit for Emmylou Harris) or a more riveting ballad than Kathleen, both sung with focused precision. Brand New Companion shows off Van Zandt's blues-picking expertise, Talking Thunderbird Blues demonstrates his wit and one of his best creations, For the Sake of the Song shows off his poetic strength. A wonderful place to start your Townes Van Zandt fascination. This version of Live At The Old Quarter, Houston Texas comes courtesy of the Townes Van Zandt reissue series that Fat Posssum is undertaking in conjuction with the Van Zandt estate.1. Announcement
2. Pancho and Lefty
3. Mr. Mudd and Mr. Gold
4. Don't You Take It Too Bad
5. Two Girls
6. Fraternity Blues
7. If I Needed You
8. Brand New Companion
9. White Freight Liner Blues
10. To Live's to Fly
11. She Came and She Touched Me
12. Talking Thunderbird Blues
13. Rex's Blues
14. Nine Pound Hammer
15. For the Sake of the Song
16. Chauffeur's Blues
17. No Place to Fall
20. Why She's Acting This Way
21. Cocaine Blues
22. Who Do You Love
23. Tower Song
24. Waitin' 'Round to Die
25. Tecumseh Valley
27. Only Him or Me$20.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Real HairOn Speedy Ortiz's Real Hair, the band sets a course
between the knotty discord of debut album Major Arcana
and the pop bonades of the preceding Sports EP.
Recorded and mixed by Paul Q. Kolderie (Pixies
Radiohead), the new EP nds them subtly adding new
techniques to their songbook. Guitarists Sadie Dupuis and
Matt Robidoux bring on additional guitar effects to color
the roundabout feel of "Oxygal," while bassist Darl Ferm
and drummer Mike Falcone hit hard to deliver the jump in-the-pit urgency of "American Horror".
From the vocal melodies to the no-nonsense guitar turns,
this is Speedy's catchiest outing yet, drawing inspiration
from contemporary Top 40 and R&B radio in addition to
their regular arsenal of guitar rock. Dupuis' lyrics continue
to address concerns about identity, representation, and
their misalignment, this time from a new angle: "While the
last album was kind of a breakup jam, these songs are a
lot more introspective-myself dealing with and talking to
and making sense of myself," she says.
With Real Hair, Speedy Ortiz once again taps into the
four-part chemistry that brought their prior outings praise.
They're still equal parts noisy and poetic, and now merge
those channels more seamlessly than ever.1. American Horror
3. Everything's Bigger
4. Shine Theory
$9.99Vinyl LP - Sealed Buy Now
CBGB: Original Motion Picture SoundtrackWATCH OUT! PUNK IS COMING!
By the end of 1973, New York City was bankrupt, Watergate had compromised the credibility of the U.S. government, and the Carpenters were the bestselling
young recording act in America. Rock 'n' roll was dead!
Enter Hilly Kristal, who dreamed of running a country & blues bar in the Bowery. Instead, the club he opened, CBGB (Country, Bluegrass, Blues) became
the birthplace of punk and underground music. CBGB was the modern-day salon for the disenfranchised youth of New York City and Kristal gave these
young local bands a stage. Artists such as the Talking Heads, Blondie, Patti Smith, Ramones, Dead Boys and Television all started at this iconic club.
The story of Hilly Kristal and his legendary club will be coming to theaters this October when CBGB hits the big screen. The film has an all-star ensemble cast headed by Alan Rickman (the Harry Potter series, Die Hard) who plays Kristal. Co-starring with Rickman will be Malin Akerman (The Proposal,Suburgatory), Ryan Hurst (Sons Of Anarchy), Ashley Greene (The Twilight series), Johnny Galecki (The Big Bang Theory), Stana Katic (Castle) and
Rupert Grint (the Harry Potter series).
Omnivore Recordings is proud to present CBGB: Original Motion Picture Soundtrack on CD and naturally, double-LP (with first pressing on translucent
pink vinyl). An essential collection of songs that made the punk movement, CBGB presents twenty slices of original American music, many rarely
compiled or unavailable for years. The soundtrack contains music from influential artists that informed the scene (The Velvet Underground, The Stooges
and MC5), to acts that broke through with huge commercial acclaim (Talking Heads, Blondie and The Police). And there's even music from bands whose
legendary status will forever be linked to the club that gave them a voice (Dead Boys, Television. Wayne County, The Dictators and more).
PUNK IS HERE with CBGB: Original Motion Picture Soundtrack1. Life During Wartime - Talking Heads
2. Kick Out The Jams (Uncensored Version) - MC5
3. Chatterbox - New York Dolls
4. Soul Twist - Mink DeVille
5. Careful - Television
6. Blank Generation - Richard Hell & The Voidoids
7. Slow Death - Flamin' Groovies
8. I Can't Stand It - The Velvet Underground
9. Out Of Control - Wayne County & The Electric Chairs
10. Psychotic Reaction - The Count Five
11. All For The Love Of Rock 'N' Roll (Live) - Tuff Darts
12. All By Myself - Johnny Thunders & The Heartbreakers
13. California Sun (Original DEMO) - The Dictators
14. I Got Knocked Down (But I'lL Get Up) - Joey Ramone
15. Get Outa My Way - The Laughing Dogs
16. Sunday Girl (2013 Version) - Blondie
17. I Wanna Be Your Dog - The Stooges
18. Sonic Reducer - Dead Boys
19. Roxanne - The Police
20. Birds And The Bees - Hilly Kristal$29.99Vinyl LP - 2 LPs Sealed Buy Now
Look What The Cat Dragged InThe Poison / Friday Music 180 Gram Audiophile Vinyl Series Begins
Stunning New 180 Gram Audiophile 30th Anniversary Limited Edition Vinyl Release Of Their Multi Gold And Platinum Debut Album!
Featuring Hard Rock Anthems I Want Action Talk Dirty To Me I Won't Forget You & Cry Tough
Mastered Impeccably By Joe Reagoso (Alice Cooper/David Bowie) At Friday Music Studios, Huntington Beach, CA From The Capitol Records Tapes
Stellar Gatefold Cover Artwork With Lyrics And Rare Photos From The Long Out Of Print Vinyl Release
2017 marks the 30th Anniversary of the debut of the multi-platinum smash Look What The Cat Dragged In from Harrisburg Pennsylvania's hard rocker Poison. Fronted by the driving lead vocals of Bret Michaels, the multi-talented Bobby Dahl on bass, the powerful drums of Rikki Rockett and the guitar chops of C.C. DeVille, Look What The Cat Dragged In proved to be worth its weight in gold and platinum sales.
Featuring three mega hits with I Want Action, Talk Dirty To Me and the power ballad I Won't Forget You, this album is known as one of the first hard rock/metal albums to bridge the old school with the new & is still considered one of the strongest hard rock debuts ever.
Friday Music is very proud to announce the Poison 180 Gram Audiophile Vinyl series beginning with their stellar smash debut Look What The Cat Dragged In.
Mastered impeccably from the Enigma Records/Capitol Records tapes by Joe Reagoso at Friday Music Studios in Huntington Beach, CA, this 180 Gram limited edition release also is packaged in an exclusive gatefold collector's cover featuring the original artwork and lyrics.
This will be one of the most anticipated heavy rock revisits to ever grace a turntable this year!
Poison....Look What The Cat Dragged In....A hard rock heavy metal classic...Stunning new 180 Gram Audiophile Vinyl....Stellar gatefold cover artwork.....An exclusive from your friends at Friday Music!1. Cry Tough
2. I Want Action
3. I Won't Forget You
4. Play Dirty
5. Look What The Cat Dragged In
6. Talk Dirty To Me
7. Want Some, Need Some
8. Blame It On You
9. # 1 Bad Boy
10. Let Me Go To The Show$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Stay Hungry is the third album by Hard Rock band Twisted Sister, released in 1984. The album features the band's two biggest hits, We're Not Gonna Take It and I Wanna Rock. It also features the power ballad The Price.
It was the irrefutable menace of tracks like The Beast, S.M.F. and the massive Burn In Hell that connected with their loyal fans and displayed Twisted Sister's true power. Ironically, the album's very mainstream appeal would alienate their core Heavy Metal fan base and spell the band's overexposure-induced fall from grace, but for this brief moment, Twisted Sister were truly the talk of the town.
With Stay Hungry the New York Hard Rock veterans finally hit it out of the park. Having paid their dues on the tough as nails N.Y.C. club scene, Twisted Sister had finally worn down the opposition and truly arrived.1. Stay Hungry
2. We're Not Gonna Take It
3. Burn In Hell
4. Horror-Teria (The Beginning)
5. Captain Howdy
6. Street Justice
7. I Wanna Rock
8. The Price
9. Don't Let Me Down
10. The Beast
11. S.M.F.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
DawningMight the time finally be right for Mouth of the Architect? For a decade, the Ohio band has largely been ghettoized to cult status, familiar to Midwestern kids or those paying more than casual attention to what's clumsily called "post-metal," at least post-Isis. Between 2004 and 2008, Mouth of the Architect released three rather convincing-- if sometimes haphazardly indulgent-- records of unified doom and grace. Dependent upon extreme dynamics and grand composition, with track lengths that ticked into the teens and albums that stretched past the hour mark, Mouth of the Architect seemed like a natural recipient of the same "brainy metal" laurels then distributed by outlets as illustrious as The New York Times.
But the ascendance never came, and since 2008's teetering Quietly, the band instead lingered at the threshold of self-destruction. They released an EP in 2010, but, as a revealing Invisible Oranges look into the band's last half-decade suggests, they mostly tried not to die-- as a group, really, or as people. "Some of us were convinced that the end was coming, either the big picture or individually," drummer Dave Mann told Brad Sanders. "Some of us, me in particular, were in a downward spiral in a lot of ways."
The appropriately titled new album Dawning is their first in five years and their first featuring bassist Evan Danielson. It's also their best work to date, a fully realized resurrection. Dawning showcases a band that now moves with an intricacy and immediacy that indicate just what Mouth of the Architect is: a veteran group comprising members with long rÉsumÉs, who've now gotten a chance to begin again and know what to do with it. A wonder of tension and release, Dawning is designed to throw listeners into tailspins and, then, to lift them above the mess. That drama not only reflects the survival of the band that stuck around long enough to make this album but also of a group that's now pushed past the cloister of post-metal: Despite the hardened visage of tough-guy screams, burly guitar tones, and Mann's aggressive drumming, Dawning is a compulsively likable record, full of anthems meant for memorizing and environments meant for immersion. (Hell, "Sharpen Your Axes" could pass for millennial Incubus.) If you've ever liked Isis there's plenty for you here; on the other hand, if you like, say, Abbey Road-- or any music that tries to outstrip the structure of a single song while not abandoning its magnetism-- Dawning deserves your time, too.
Should the metal prefixes "progressive" or even "post-" suggest long-winded, self-invested excursions nestled within songs that require an almanac, scrap the notion for Dawning. Yes, these songs stretch between seven and 11 minutes each, but even the longest, centerpiece "How This Will End, hinges upon narrative thrust and musical selflessness. If there are any guitar solos here at all, they come toward the start and the finish of "How This Will End, when a neon electric tone arches over a mounting cavalcade of drums and bass. Rather than serve as breaks in the momentum, though, both passages lead tremendous swells that rise to meet the troika of vocalists in another instance of triumph. Not one moment among these 11 minutes seems squandered or lost, as the quintet keeps rising and falling, churning and rebuilding.
Opener "Lullabye" establishes that principle from the jump, or as soon as traipsing acoustic guitar and twinkling piano concede to a heroic riff wrapped within three-part, gang-style harmonies. Mouth of the Architect move constantly between parts; at various points, they leap from near-silence to a quake viscous enough to make plenty of stoner metal sound thin, from guitar leads that suggest Chicago blues moan to math-rock redirection. Behind the kit, Mann serves as the expert rudder, keeping the songs steady even as he navigates the transfers. This constant swivel also depends upon the split vocal duties of Steve Brooks, Kevin Schindel, and Jason Watkins. They trade verses, flip-flopping between pristine radio rock leads and malevolent growls, sometimes only for a line at the time. They often share choruses, delivering them the sort of group-vocal abandon that hints at a darkened Danielson Family. Their singing-- here, more charged and urgent than it's ever been-- gives all of the band's moving pieces a through-line from one side to the other.
Talk of the tide of intelligent or somehow otherwise-elevated heavy music hasn't faded during Mouth of the Architect's temporary absence. Though both Sunn O))) and the late Isis have only released one album since MotA's last one, the acceptance of and debate over nominally black metal acts such as Liturgy, Wolves in the Throne Room, Krallice and Deafheaven has kept that conversation current. Mouth of the Architect only nods to that au courant talking point during Dawning, most notably with the blizzard of tremolo guitars that open "It Swarms" and the clattering way the band emerges from an instrumental break during "Sharpen Your Axes". But at the very least, Dawning deserves mention alongside Deafheaven's Sunbather, a record that's most notable for its holistic approach to drama and romance and the complete cinema of itself. Mouth of the Architect has long written from a vantage of imminent apocalypse, a perspective Dawning does not forego. There's talk of collapsing systems and prevailing darkness, spent luck and idolized disrepair. But at record's end, when Mouth of the Architect's three singers trade and share lines about risking it all even if they come up short, it's hard not to hear a core of redemption and potential hope within the music itself. And after returning from the brink to make one of the year's most rapturous records, metal or post-metal or whatever, there had better be.
- Grayson Currin (Pitchfork)1. Lullabye
2. It Swarms
3. Sharpen Your Eyes
4. How Will This End
6. The Other Son$21.99Vinyl LP - Sealed Buy Now
Suburban MythYou could say that Sick Feeling are a Brooklyn-based band, and you'd be right,
but their story is one that originates in Berkeley, Austin, Philadelphia, and the
suburban New Jersey sprawl - scenes best known for their raw and trenchant
undergrounds, vanguard cities to many.
You could say that Sick Feeling are a new band, and even though Suburban
Myth is their debut album, that's almost true. They've been together for two
years, but their ranks have well-established histories playing in a wide-ranging
list of bands including Ink & Dagger, And You Will Know Us By The Trail of
Dead, and the Mongoloids, among others.
You could also say that Sick Feeling are a hardcore-punk band, and you'd be
right in the most fundamental sense, but what does that even mean when we're
talking about a band that once curated a photo exhibit in New York and then
showed up to play inside of a twelve-foot square box for three nonstop hours? A
CBGB Sunday Matinee it was not, but risks like these speak to hardcore's historic
sense of testing boundaries and appropriating space.
After hearing Suburban Myth, you will be hard-pressed to say that Sick Feeling
haven't somehow transformed their nascent punk paradigms into a viable model
of what it means to be young and fucked up and still turned off by self-defeating
ennui. Which means that the worst possible thing would be to confuse this band
with the past-due punk of pessimism and power chords. Sick Feeling is the sound
of American nostalgia being turned inside out.1. Gave Back (Suburban Myth Part 1)
2. Not No (Sick Feeling)
3. Liberal Arts
4. Natural Ice
5. I'm Chafing
6. The Americans
7. Suburban Myth (Part 2)
11. The Party$16.99Vinyl LP - Sealed Buy Now
The Freewheelin' Bob Dylan (Mono)Ranked 97/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
The Freewheelin' Bob Dylan Marks the Beginning of a Cultural Sea Change: 1963 Set Transformed Songwriting, Folk, and Pop
Numbered Limited Edition 180 Gram Mono 45 RPM Vinyl 2LP
Wider Grooves for The Ultimate Sonic Quality: Strictly Limited to 3,000 Copies, Mobile Fidelity's Mono 45RPM Vinyl Pressing Teems With Directness and Sound Dylan Originally Intended
Records Ambitious Poetry, Melodies, and Moral Conviction Transformed Songwriting, Folk, and Pop
Includes Masters of War, Blowin' in the Wind, and A Hard Rains A-Gonna Fall
Originally experienced by everyone in direct, attention-getting mono sound, The Freewheelin' Bob Dylan is the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. It's the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. It's the sound of change, the feeling of ground shifting beneath one's feet, and the entrance of an entirely new way of thinking. It's the effective beginning of what's arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation.
Mobile Fidelity is humbled to have the privilege of mastering the iconic LP from the original master tapes, presenting it in its original take-notice mono sound, and pressing it on 45RPM LPs at RTI. Strictly limited to 3,000 copies, the end result is the finest, most transparent mono analog edition of The Freewheelin' Bob Dylan ever produced. Never before has the resonance of his nylon guitar strings, fingerpicked notes, shivering harmonica fills, or plainspoken timbre possessed such directness, clarity, openness, body, or realism.
As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. More intimate, focused, and direct than its stereo counterpart, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. With the advantage of wider and deeper grooves, the 45RPM pressing affords the opportunity to detect more information and lavish in extra richness. Whether it's the exaggerated nasal accents employed on Down the Highway or the decay of each strummed line on the entirely acoustic album, previously concealed details, microdynamics, and ambient cues surface - enhancing the listeners' experience and taking them inside Columbia's Studio A.
Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation. Writing and singing with penetrating honesty, observational wit, moral conviction, and scathing emotion, he digs into the madness of war (Masters of War, A Hard Rain's A-Gonna Fall), hypocrisy of segregation (Oxford Town), urgency of civil rights and freedom (Blowin' in the Wind), and multiple angles of unrequited love (Girl From the North Country, Don't Think Twice It's All Right) with a literate astuteness and depth that, nearly 50 years later, still leave audiences slack-jawed. Satire, absurdist humor, and traditional blues also pepper the album, which rests upon graceful melodies and sparse, poignant patterns.
Viewed as protest songs, love songs, folk songs, or talking blues songs, the material on The Freewheelin' Bob Dylan remains amongst the most astonishing and imaginative ever committed to tape. It deserves - as much as you deserve - a fidelity that makes as closely intimate as possible the music's connection with you. You deserve this mono edition.
This title is not eligible for discount.1. Blowin in the Wind
2. Girl From the North Country
3. Masters of War
4. Down the Highway
5. Bob Dylans Blues
6. A Hard Rains A-Gonna Fall
7. Dont Think Twice, Its All Right
8. Bob Dylans Dream
9. Oxford Town
10. Talking World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free$49.99180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
The Freewheelin' Bob DylanRanked 97/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylans 1963 Sophomore Effort Marks the Beginning of a Cultural Sea Change
Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity
Records Ambitious Poetry, Melodies, and Moral Conviction Transformed Songwriting, Folk, and Pop
Includes Masters of War, Blowin in the Wind, and A Hard Rains A-Gonna Fall
Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity
Its the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. Its the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. Its the sound of change, the feeling of ground shifting beneath ones feet, and the entrance of an entirely new way of thinking. Its the effective beginning of whats arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation. Its The Freewheelin Bob Dylan.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of The Freewheelin Bob Dylan ever produced. Never before has the resonance of his nylon guitar strings, fingerpicked notes, shivering harmonica fills, or plainspoken timbre possessed such clarity, openness, body, or realism.
With the advantage of wider and deeper grooves, the 45RPM pressing affords the opportunity to detect more information and lavish in extra richness. Whether its the exaggerated nasal accents employed on Down the Highway or the decay of each strummed line on the entirely acoustic album, previously concealed details, microdynamics, and ambient cues surface enhancing the listeners experience and taking them inside Columbia's Studio A where history was made by leaps and bounds.
Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation. Writing and singing with penetrating honesty, observational wit, moral conviction, and scathing emotion, he digs into the madness of war (Masters of War, A Hard Rains A-Gonna Fall), hypocrisy of segregation (Oxford Town), urgency of civil rights and freedom (Blowin in the Wind), and multiple angles of unrequited love (Girl From the North Country, Dont Think Twice Its All Right) with a literate astuteness and depth that, nearly 50 years later, still leave audiences slack-jawed. Satire, absurdist humor, and traditional blues also pepper the album, which rests upon graceful melodies and sparse, poignant patterns.
Viewed as protest songs, love songs, folk songs, or talking blues songs, the material on The Freewheelin Bob Dylan remains amongst the most astonishing and imaginative ever committed to tape. It deserves as much as you deserve a fidelity that makes as closely intimate as possible the musics connection with you. You deserve this edition.
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for discount.1. Blowin in the Wind
2. Girl From the North Country
3. Masters of War
4. Down the Highway
5. Bob Dylans Blues
6. A Hard Rains A-Gonna Fall
7. Dont Think Twice, Its All Right
8. Bob Dylans Dream
9. Oxford Town
10. Talking World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
The title of Now, Now's first new album in half a decade begs the obvious
question Saved from what? They certainly didn't seem like a band that
needed saving after the release of their 2012 LP Threads. When the world
last heard from Now, Now, they had made their late night TV debut with
Jimmy Fallon, and landed tours and shows with bands including Fun. and
Bob Mould, among others. For better or worse, the usual path for any band
that seems like they're on the cusp of a breakthrough is to strike while the
iron is hot. That is, to hurry back to the studio to work with a proven producer
known for having a hand in a few big records. Bands and artists that find
themselves in this situation are compelled to "go big, or go home," and in
Now, Now's case they did just that, they went home.
It might not have been planned that way, but that's where they ended up--
back in Minneapolis without a clear sense of how to move forward. Despite
any success or acclamation earned up to that point, self-doubt set in, and
a crippling writers block entrenched itself further. Weeks became months,
and months dissolved into years, all while the band's modest but fervent
fanbase were left to speculate on social media as to what was behind the
silence. At a particularly low point relates KC, "I felt like I was pursuing the
wrong dream, that maybe something else would reveal itself to me."
She felt pressure from both herself and those around her so immense that it
froze her. "It felt like everyone was mistaking how much I was obsessing
over the album for not caring about the album, but in reality I was putting too
much pressure on myself to be able to write. So it felt like everyone was angry
with me on top of me feeling like I was ruining my career and disappointing
myself." As a result she reveals, "I had some very difficult conversations with
myself and with people close to me who were worried about my happiness."
"I still carry a little bit of guilt for adding to that stress that KC is talking about,"
reveals Brad. "After a year of people around us asking 'why is the album not
done, your career is about to just be over,' I as well started to question my
career choice, to question my talent, and I started buying into this idea that
KC wasn't working, even though I was right there watching her work. That's
something I'm embarrassed by and wish I could take back. But through that
we got stronger as friends and collaborators, and I learned the hard way that
the only reason we make music is for ourselves."1. SGL
3. Can't Help Myself
6. Holy Water
11. Set It Free
12. Powder$19.99Vinyl LP - Sealed Buy Now
GoetiaMYSTIFIER is an extreme Metal pioneer from Brazil, formed in July of 1989 by the bassist Beelzeebubth. When Beelzeebubth met Meugninousouan (vocalist), Behemoth (guitarist), and Lucifuge Rofocale (drummer), they decided to form one of the most extreme Metal bands from South American lands. After five months of development, they recorded their first Demo-tape entitled "TORMENTING THE HOLY TRINITY", with nine original songs and a cover song "Massacre" from Bathory's third album. The response was so positive that Maniac Records (a small vinyl record store from their hometown) invited the band to record two original songs for a single. Mystifier eagerly agreed. In July of 1990, the single, "THE EVIL ASCENSION RETURNS" was released. They were the first Metal band from their town (Salvador, Bahia) to release material onto a label. Following this release, some Brazilian labels were very interested in working with Mystifier. Then, in July of 1991, they recorded a promo-tape entitled "ALEISTER CROWLEY" with six fresh songs to present to other labels.
In February/1992, the hard work had paid-off and their debut album "WICCA" was released on the label Hellion Records. It is considered one of the most extreme albums to date for many true fans of Extreme Metal Music. After the releasing of their debut album, Beelzeebubth fired Meugninousouan because of his lack of interest. Asmodeus (ex-Hatred) was recruited to be the new vocalist and keyboardist. In that same time, Astaroth (ex-Calvary) joined them on the second lead guitar.
During those years, the band gained enormous worldwide underground notoriety. It drew the attention of the French label Osmose Productions which signed the band for two albums. The first was released in the November of 1993, with worldwide distribution through SPV, entitled "GÖETIA" [several months later, their debut album was also released in Europe on Osmose Productions.] The response was a European tour request from the tour promoter Insolit - and many reviews, articles, interviews, and so forth - in international magazines and radio stations. After that release, Mystifier played in many Brazilian areas to promote the new release.
Behemoth and Astaroth had to quit the band because of personal reasons and weren't interested in maintaining a band. Paulo Lisboa (who had played in Death Metal bands for years) replaced them on the lead-guitar.
Beelzeebubth was very disappointed with the Underground scene, corroded with hypocritical 'satanic christians' who were talking a lot of shit about Satanism, fascism, racism and nazi thoughts. For that reason, he canceled the release of Mystifier's third album. He composed new and powerful music. Later, in August of 1996, their masterpiece third album entitled, "THE WORLD IS SO GOOD THAT WHO MADE IT DOESN'T LIVE HERE" was released with six new tracks. It's their greatest produced and recorded material; it is totally original and different from their previous releases.
With a new lineup, Mystifier released an EP with seven fresh songs and a re-done version of "Beelzeebubth" (from the second album), on a Brazilian label, to celebrate their 10 years. The single was entitled "DEMYSTIFYING THE MYSTIFIED ONES (FOR A DECADE IN THE EARTHLY PARADISE)."
The band released their fourth full-length album entitled "Profanus" in September/2001 with 13 fresh compositions on a Brazilian label called Encore Records.
Now, Mystifier has signed with Greyhaze Records in a deal that initially involves the reissues of Wicca and Goetia.1. Aleister Crowley and Ordo Templi Orientis
2. An Elizabethan Devil Worshipper's Prayer Book
3. The Sight of the Unholy Cross
4. Caerimonia Sanguilentu (Goetia)
6. The Realm of Antichristus
7. The True Story About Doctor Faust's Pact With Mephistopheles
8. Cursed Excruciation / The Sinuous Serpent of Genesis (Levathan)
9. The Baphometic Goat of Knights Templar in the 12th Century
10. The Cult & The Ancient Prediction
11. The Sign Of The Unholy Cross + The Cult Continues$35.99Vinyl LP - 2 LPs Sealed Buy Now
Can't Get EnoughTwo time Rock and Roll Hall of Famer Stephen Stills and five-time Grammy nominated guitarist, songwriter and singer Kenny Wayne Shepherd may be separated by a musical generation, but they are bonded by a mutual love of the blues. When they joined forces with famed Chicago rock/blues keyboardist Barry Goldberg and formed The Rides, their extraordinary collective histories proved to be unparalleled - blazing a 21st Century trail for the historical American art form.
Launching an exciting new chapter in each of their storied careers, the trio's new band is further powered by the explosive rhythm section of bassist Kevin McCormick and Shepherd's longtime drummer Chris Layton (also a veteran of the legendary Stevie Ray Vaughan and Double Trouble).
Their 429 Records debut, Can't Get Enough features the new single Don't Want Lies and showcases a hard hitting mix of Stills-Goldberg-Shepherd penned blues/rock originals as well as some classic blues tunes. Also included are brilliant interpretations of Muddy Waters, Honey Bee, Elmore James & Talk To Me Baby and blistering twists on Stills' favorite Neil Young anthem & Rockin' In The Free World as well as the Iggy Pop & The Stooges early 70s
classic Search and Destroy.1. Roadhouse
2. That's a Pretty Good Love
3. Don't Want Lies
4. Search and Destroy (Iggy and the Stooges cover)
5. Can't Get Enough of Loving You
6. Honey Bee
7. Rockin' the Free World (Neil Young Cover)
8. Talk to Me Baby
9. Only Teardrops Fall
10. Word Game$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
BlessedWilliams' 2011 Studio Set on 2LP Includes Entire Album on CD Plus a Bonus CD of the Kitchen Tapes Demos
Americana Legend's 12th Record Produced by Don Was
Features Guest Appearances by Elvis Costello and Matthew Sweet
Following a two-year break between albums, and the blossoming of a relationship that turned into marriage, one of the great contemporary songwriters and music makers returns with her twelfth studio set. And being that the artist we're talking about is Lucinda Williams, the record is a doozy.
Diverse and captivating, Blessed opens with the gritty kiss-off Buttercup then moves seamlessly into the sultry blues of Born To Be Loved. Williams delves into a heavier subject as she questions the motives for a suicide on the hard-driving Seeing Black, which features blistering guitar from Elvis Costello. The thoughtful title track slowly builds to a melodic climax as it offers an eye-opening look at whats right in front of us, but too often unnoticed. The singer/guitarist's knack for insights and emotive songs run throughout the 12-song set.
Poignant and powerful, Soldiers Song simultaneously tells a tragic story of the soldier overseas and his wife and child back home. On the gorgeous Kiss Like Your Kiss, Williams lays down one of the most beautiful and fragile vocals she has ever recorded. The original version of the song appeared on the True Blood: Music From The HBO Original Series - Volume 2, and was recently nominated for a Grammy Award.
Its nothing new to see Williams tug at the heartstrings and stimulate the mind on her songs, but there is a vibe throughout Blessed that is unique to this album: the sound of wisdom, wherewithal, and experience Williams has gained through her more than 30 years as an uncompromising artist. Combine that pedigree with Grammy Award-winning producer Don Was, and the results are nothing but special. Was co-produced Blessed with Eric Liljestrand and Tom Overby, who co-produced Williams' highly-praised 2008 effort Little Honey.
Lost Highway's 2LP pressing of Blessed also includes the entire album on CD as well as a revealing bonus disc, titled The Kitchen Tapes, which presents the record's songs in demo form as Williams recorded them, often at her kitchen table, as she's prone to do. Complete packaging on new studio records doesn't come any better!LP 1
2. Dont Know How Youre Livin
4. Born To Be Loved
5. Seeing Black
6. Soldier's Song
2. Sweet Love
3. Ugly Truth
4. Convince Me
6. Kiss Like Your Kiss$29.99Vinyl LP - 2 LPs Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
Wall Of Sound (Awaiting Repress)I thought WALL OF SOUND would be the toughest album I would ever make. I was so satisfied with my previous album, INFERNO, more than I have ever been in my whole career. Musically, sonically, and most importantly, I was satisfied with the melodies and soundscapes on a personal level. It was as if I finally found the key to something.
Even as I was still working on INFERNO, I was thinking, how the hell am I ever going to top this next time? I was doomed.
I started WALL OF SOUND with a daunting blank slate and somehow, ideas came out. Refined ideas, complex ideas, small and large scale ideas and plenty of them.
It was as if the exhaustive process of putting INFERNO together strengthened a new creative muscle that I had never zoned in on before, so the first steps of writing WALL OF SOUND felt like a runner who runs a marathon after over-training for a long time. I was well warmed up.
The guitar playing on the album also came quite easy, despite it being without question the most evolved guitar playing of my career. It's a challenge to evolve on one's instrument album after album, especially on your 13th solo album. Luckily this is a challenge that I love. You will find this hard to believe when you hear the density and sheer amount of guitar coming at you from all directions, but in fact, all of the final guitar tracks on WALL OF SOUND were done in 9 days.
This furious and productive pace was made possible by over a year of making demo after demo and spending more time listening and living with the music rather than playing it. I had lived with the songs and edited them so incredibly many times, that by the time I got to the actual recording studio, it was like I had been playing the whole album on tour for a year already. I learned to do this from making INFERNO. This is why a lot of artists` debut albums are so strong - because they have had so much time to reflect on and fix the music, and also, more importantly, attach real life experiences to the songs. I feel like I have a debut album here.
Jinxx from Black Veil Brides and I wanted to do something that would shock his fans and my fans. I arranged a monster of a tune called Sorrow & Madness based on a melody that Jinxx wrote on the violin. I took his sweet melody and added so many twists and turns that it became a mammoth of Martyisms in tandem with a large side of Jinxx that has yet to be heard by his fans. We are both very proud of what happened.
I think Deafheaven is the one heavy band that comes to mind when people ask me to recommend something that`s not Japanese!, I was super excited to work with Shiv from Deafheaven. We wrote Pussy Ghost together and it is one of the most aggressive songs I have ever played, while at the same time evoking grotesquely beautiful moods that I have never felt before. One thing I learned from making INFERNO is that when you have a guest, let them come up with music first. Let it be their baby, so they are personally invested in the song. Then arrange it and do it my way, then add more things together. This gives you a final song that really sounds like both of the people put their heart and souls into the music, as opposed to one guy doing everything and the guest just blasting out a solo somewhere.
Jorgen from Shining also guested on INFERNO and when we finished that song we immediately started talking about what we would do next. For those who don`t know Shining, they are like a steroided out and genius level musicianed out version of Nine Inch Nails for the 21st century, with a charismatic singer/composer (Jorgen) and a wicked sense of melody, that hits me in the gut on every song. (Just Gimme) Something To Fight is the one vocal track on the record and it kills. Even after finishing this song we have started working on more new things for who know what
Having super engineer Paul Fig (Ghost, Alice in Chains, Rush), mixer Jens Bogren (Opeth, Lamb of God) and even the producer responsible for many of Queen's biggest hits and my idol Brian May's guitar sounds, Mack do the mixing on 2 of the songs on the album, is an honor for me for sure.1. Self Pollution
2. Sorrow and Madness
5. For A Friend
6. Pussy Ghost
7. The Blackest Rose
8. Something to Fight
9. The Soldier
11. The Last Lament$23.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Send Them All To HellThe German PANZER, the Teutonic Heavy Metal trio, is comprised of yet three undisputed genre legends: Vocalist & bass-player Schmier, best known as frontman of DESTRUCTION and HEADHUNTER, guitarist Herman Frank (ACCEPT, VICTORY) as well as drummer Stefan Schwarzmann (ACCEPT).
The initial idea was born when drummer Stefan Schwarzmann, who has relocated to Switzerland about seven years ago, had a chat with the owner of renowned Swiss club Z7 in Pratteln. The two tried to figure out a way to fill the empty space within touring and recording, the venue has been facing with its most frequently playing bands. To make a long story short: Nobert Mandel (owner of Z7) had the idea of a trio, with both Stefan and Herman in it. The only vacancy for bass and vocals wouldn't stay open for long, as Stefan had the phone number and mail address of DESTRUCTION's Schmier right at hand - and so "The German Panzer" was born!
Commented vocalist & bass-player Schmier: "When Stefan Schwarzmann, drummer of ACCEPT and an old friend came to me with the idea of putting a band together, I first thought he tried to fool me hahaha! But the idea sounded amazing from the beginning and after the first meeting with Herman Frank, the German guitar legend, that everybody knows from his work with ACCEPT and VICTORY and Stefan, we realized really fast, that this team could really kick some serious ass together. And Instead of talking too long about it, we started writing songs right away and within some weeks had half of the album recorded and it sounded wicked! We don t wanna re-invent the metal-wheel. We play the music we love, easy as that and it's great fun cause we all dig this shit since we are teenagers!
Naming a band after fierce war machinery might seem a bit off for some, but if you take a look at the lyrics, this is picture perfect. The lyrics provoke, criticize and are part of the art. "My lyrics criticize... I don t pray," adds Schmier.
And as difficult as the search for a name was at first, with all members being German die-hards and organizers of the Teutonic scene, The German PANZER seemed to be the name everybody remembers right away.
As for the album title, »Send Them All To Hell« was almost mandatory, as these are the first words to be heard on the record, with Schmier whispering them into the mic. With the exception of one track that feature all three members, all songs are written entirely by Herman Frank and Schmier.
If you like it heavy, more melodic or if you dig Speed Metal, then The German PANZER will hit right on - Or to say it with Herman Frank: "No left - no right! Just straight forward like a Panzer!1. Death knell
2. Hail and kill
3. Temple of doom
6. Mr. Nobrain
8. Virtual collision
9. Roll the dice
10. Bleed for your sins
11. Murder in the skies (Gary Moore Cover)$28.99Vinyl LP - 2 LPs Sealed Buy Now