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The Black Parade'
The Black Parade
2LP w/D-Side Etching
The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three Cheers For Sweet Revenge, is way more dramatic, way more theatrical, completely over the top, borderline psychotic, says Gerard Way. It's the most pure, intense thing we've ever been involved in. Producer by Rob Cavallo (Green Day), the album is a celebration of lvoe and death and darkness. Join The Black Parade.1. The End
3. This Is How I Disappear
4. The Sharpest Lives
5. Welcome To The Black Parade
6. I Don't Love You
7. House Of Wolves
13. Famous Last Words$25.99Vinyl LP - 2 LPs Sealed Buy Now
The Black Parade / Living With Ghosts (10th Anniversary Edition)My Chemical Romance will release The Black Parade / Living With Ghosts (The 10th Anniversary Edition) via Warner Bros. Records.
The set contains a reissue of My Chemical Romance's genre-defining album, The Black Parade, which was originally released by Reprise in October 2006.
The new edition also includes 11 previously unreleased demos and outtakes from the original recording session with producer Rob Cavallo. Among them are 'The Five of Us Are Dying', an early version of 'Welcome To The Black Parade'; demos of the album tracks 'Mama' and 'Disenchanted'; and two versions of 'House of Wolves'. Five tracks - 'Party At The End Of The World', 'My Way Home Is Through You', 'Not That Kind of Girl', 'Emily' and 'All The Angels' - have never been released in any form.LPs 1+2: The Black Parade
1. The End
3. This Is How I Disappear
4. The Sharpest Lives
5. Welcome to the Black Parade
6. I Don't Love You
7. House of Wolves
13. Famous Last Words
LP 3: Living With Ghosts
1. The Five of Us Are Dying (rough mix)
2. Kill All Your Friends (live demo)
3. Party At The End Of The World (live demo)
4. Mama (live demo)
5. My Way Home Is Through You (live demo)
6. Not That Kind Of Girl (live demo)
7. House of Wolves, Version 1 (live demo)
8. House of Wolves, Version 2 (live demo)
9. Emily (rough mix)
10. Disenchanted (live demo)
11. All The Angels (live demo)$31.99Vinyl LP - 3 LPs Sealed Buy Now
Danger Days: The True Lives Of The Fabulous KilljoysDanger Days: The True Lives of the Fabulous Killjoys is the first studio album from My Chemical Romance since 2006's The Black Parade and was produced by new Warner Bros. Records Chairman Rob Cavallo, who produced The Black Parade as well as albums by Dave Matthews Band, Jawbreaker and The Goo Goo Dolls, among many others.1. Look Alive, Sunshine
2. Na Na Na (Na Na Na Na Na Na Na Na Na)
3. Bulletproof Heart
5. Planetary (GO!)
6. The Only Hope For Me Is You
7. Jet-Star And The Kobra Kid/Traffic Report
8. Party Poison
9. Save Yourself, I'll Hold Them Back
13. The Kids From Yesterday
14. Goodnite, Dr. Death
15. Vampire Money$22.99Vinyl LP - Sealed Buy Now
A Lesson In Romantics (Anniversary Edition) (Awaiting Repress)10 Year Anniversary Edition
Pressed On White With A Red Blob / Black Splatter Colored Vinyl
Sleeve Features New Alternative Embossed Artwork
Includes The Original 12 Tracks + 6 Unreleased Demos
Re-mixed, re-mastered, re-issue of Mayday Parade's wildly successful debut album, 'A Lesson In Romantics' to celebrate the 10 year anniversary of its release. This re-issue will be released in all formats. It includes the original 12 tracks plus 6 previously unreleased demos; one of which being an unheard track recorded back in 2007 during the original recording of the album. The vinyl is pressed on white with a red blob and black splatter. Limited pressing of 1,500. The vinyl sleeve features new, alternative artwork that has been embossed.1. Jamie All Over
2. Black Cat
3. When I Get Home You're So Dead
5. If You Wanted A Song Written About You, All You Had To Do Was Ask
6. Miserable At Best
7. Walk On Water Or Drown
8. Ocean And Atlantic
9. I'd Hate To Be You When People Find Out What This Song Is About
10. Take This To Heart
11. Champagne's For Celebrating (I'll Have A Martini)
12. You Be The Anchor That Keeps My Feet On The Ground, I'll Be The Wings That Keep Your Heart In The Clouds
13. Coming Back With Winter (Demo Version)
14. Black Cat (Demo Version)
15. If You Wanted A Song Written About You, All You Had To Do Was Ask (Demo Version)
16. Ocean And Atlantic (Demo Version)
17. Champagne's For Celebrating (I'll Have A Martini) (Demo Version)
18. You Be The Anchor That Keeps My Feet On The Ground, I'll Be The Wings That Keep Your Heart In The Clouds (Demo Version)$19.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
Pressed On Bone Colored Vinyl
SUNNYLAND is the Mayday Parade's 6th studio album and first with Rise Records.
The Tallahassee, Florida-based quintet (rounded out by bassist/vocalist Jeremy Lenzo, guitarist Brooks Betts and drummer/vocalist Jake Bundrick) recorded this follow-up to 2015's Black Lines with longtime producers Zack Odom and Kenneth Mount, and for the first time, also teamed with Grammy-nominated producer John Feldmann (blink-182, Panic! At the Disco) and Howard Benson (Of Mice & Men, My Chemical Romance). The result is an album built on impassioned vocals, sing-along choruses, and deeply heartfelt lyrics.
The album's title comes from an abandoned hospital where the band members hung out as teenagers. "The hospital shut down sometime in the mid-'80s but then it just stayed there for decades," says Sanders. "It was a super-creepy place-it was overgrown with vines, and still had some of the hospital beds and IV stands-but we have all these good memories of hanging out there when we were younger."1. Never Sure
2. It's Hard To Be Religious When Certain People Are Never Incinerated By Bolts Of Lightning
3. Piece Of Your Heart
4. Is Nowhere
5. Take My Breath Away
6. Stay The Same
7. How Do You Like Me Now
8. Where You Are
9. If I Were You
11. Looks Red, Tastes Blue
12. Always Leaving
13. Sunnyland$23.99Colored Vinyl LP - Sealed Buy Now
CrushThe growling, choppy guitar sample that opens the first track here, It's My Life, is a virtual declaration of intent for the first Bon Jovi album in five years, a statement that they're updating the sound without abandoning the traditional virtues that made them one of the biggest bands on the planet. So make way for a hi-tech parade of smooth-but-gutsy rock anthems, almost any one of which will gladden the heart of every AOR radio programmer in the land. Unless the world has changed irredeemably, cuts like the midpaced heartbreak chugger Say It Isn't So are destined to become Bon Jovi standards, while an outbreak of scarf-waving and lighter-flicking is certain to accompany any live performance of the big weepie, Thank You For Loving Me. Arguably, everything on Crush is done by the numbers, but with consummate pros like Jon Bon Jovi and Richie Sambora at the helm, these are the kind of numbers you have to take seriously, because by the second time they kick into the chorus of any song it's damn near impossible not to sing along. --Johnny Black1. It's My Life
2. Say It Isn't So
3. Thank You For Loving Me
4. Two Story Town
5. Next 100 Years
6. Just Older
7. Mystery Train
8. Save The World
9. Captain Crash & The Beauty Queen From Mars
10. She's A Mystery
11. I Got The Girl
12. One Wild Night$34.99Vinyl LP - 2 LPs Sealed Buy Now
Dream A Little DreamAt the time of Dream a Little Dream's release, the von Trapp family was more newsworthy than it had been in a while: The Sound of Music Live!, a television adaptation of Rodgers & Hammerstein's musical, was a ratings success when it aired in December 2013. More poignantly, Maria von Trapp, the last surviving member of the original Trapp Family Singers, passed in February 2014 at age 99.
On this collaboration with Pink Martini, Sofie, Melanie, Amanda, and August von Trapp -- the great-grandchildren of the von Trapps immortalized in The Sound of Music -- continue the family tradition with beautifully harmonized versions of songs ranging from Johannes Brahms' In Stiller Nacht to the national anthem of Rwanda, Rwanda Nziza. Working with Pink Martini was an inspired choice, as they almost always bring out the best in their collaborators -- along with the unexpected, like Kuroneko No Tango, a version of the Italian song Black Cat Tango inspired by Japanese singer Osamu Minagawa's 1969 rendition. The group sounds just as natural backing the von Trapps as they do working with their usual vocalists, and Dream a Little Dream bears the same mix of kitsch and sublime beauty as one of Pink Martini's own albums. Die Dorfmusik sounds like it could have strolled in from The Lawrence Welk Show, while the version of ABBA's Fernando sounds like it came from a Swedish Carnaval parade thanks to the involvement of the Lions of Batucada.
The inevitable Sound of Music inclusions are handled in a similarly playful fashion, with Wayne Newton taking the lead on The Lonely Goatherd and Charmian Carr (who portrayed Liesl in the film of the musical) joining the von Trapps for a sweet version of Edelweiss that recalls Pink Martini's work with Phyllis Diller on their previous album, Get Happy. The von Trapps balance Dream a Little Dream's quaint and quirky moments with more contemporary-sounding tracks, three of which were penned by August. Storm and Friend recall '60s folk in their acoustic earnestness, and the Chieftains give the closing track, Thunder, a pretty, if somewhat out of place, Celtic twist. As is often the case with Pink Martini's albums, the most intimate moments here are among the best.
A softer-than-soft rendition of Chitty Chitty Bang Bang's Hushabye Mountain captures the exquisite poignancy of vintage children's music, while the delicate Le Premier Bonheur du Jour and a starlit version of the album's title track cast a similar spell. Ultimately, Dream a Little Dream is an entertaining blend of both parties' strengths, showcasing Pink Martini's globetrotting pop and introducing the next generation of von Trapp music.1. Storm
2. Kuroneko no tango
3. Dream a Little Dream
5. Hayaldah Hachi yafa bagan
7. Die Dorfmusik
8. In stiller Nacht
9. Le premier Bonheur du jour
10. Rwanda nziza
11. Gongxi Xi
12. Hushabye Mountain
13. Lonely Goatherd
15. Thunder$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Cast The First StonePressed On Camo Green Vinyl
Death metal is more than just music. It transcends such a limited mortal state of mind. Death metal is the aural expression of humanity's darkest side, of devastation, sorrow and the harbingers of mankind's own inhumanity and ultimate destruction. Death metal is not a trend, a fashion parade or a means to an end. It is much more than that. It is a way of life. A life in death.
This is the doctrine Italy's HOUR OF PENANCE, spewn forth with unrelenting musical ferocity through their sickening, mind-obliterating auditory assault on the senses.
Forged in the dark shadows of "The Holy Capital," this most unholy of quartets have steadily been making a name for themselves as one of the most intense, talented and impressive modern death metal bands both in-studio and onstage.
Like clockworks Hour of Penance is ready to release "Cast the First Stone" as the follow-up of his last successful album Regicide. Releasing an album every 2 years, the band has been described by the fans and worldwide press as one of the most "productive" band in the genre, "Cast the First Stone" will mark album number 7 in the band's career .
Singer Paolo Pieri describes the concept of the new album : "Cast the First stone" revolves around the idea that the injustices suffered during the Crusades and Colonialism cannot justify indefinitely a chain of hate that propagandize the destruction of the West. I believe that the political situation in recent years has brought to light again a millennial conflict between West and East, and events like the terrorist attack at the Bataclan, where we only played a few months before the massacre, have influenced the lyrics on this record very much.
It does not matter who has thrown the first stone, but who first evolved his ideology to seek peace and coexistence instead of war to the bitter end. In Europe, people have massacred each other for millennia but in the last 60 years, we were able to overcome differences and secular hatred that divided us, while the blind hatred of Islamic extremism is bringing entire geographic areas back to the darkest middle ages.
We find ourselves once again in front of a war between reason and religion, and unless we take a strong stand in defense of our Western values, we risk falling into chaos because of a weak and coward enemy stubbornly convinced of his senseless laws."
Lead guitarist and songwriter, Giulio Moschini, adds : "Sonically speaking , this is the best sounding album we've ever recorded , we really worked hard on this, listening to the album countless times before finally delivering the masters to Prosthetic Records.. it was definitely worth the wait and we're 100% satisfied by the great work our bass player Marco Mastrobuono has done behind the mixing desk. We've literally spent weeks trying different micing techniques, hardware, preamps- trying to avoid plugins technologies as much as we could. We wanted our album to sound more dynamic and I think that we've achieved that 100%. "
Since releasing 2012's acclaimed "Sedition", which Decibel lauded as a "hyper-blasting, inhuman, machine-like attack," HOUR OF PENANCE has annihilated fans worldwide with its fiery exuberance, playing well over 200 gigs alongside such acts as BEHEMOTH, SKELETONWITCH, CANNIBAL CORPSE, THE BLACK DAHLIA MURDER, DEVILDRIVER, PSYCROPTIC, MISERY INDEX, DEICIDE, BELPHEGOR, NILE and KRISIUN.1. XXI Century Imperial Crusade
2. Cast the First Stone
3. Burning Bright
4. Iron Fist
5. The Chains of Misdeed
6. Horn of Flies
7. Shroud of Ashes
8. Wall of Cohorts
9. Damnatio Memoriae$21.99Colored Vinyl LP - Sealed Buy Now
Terrestrials (Awaiting Repress)
Thick Stock Cardboard Stoughton Style Tip On Jacket
180 Gram Vinyl
Limited To 3,000
Four figures stand atop a summit, staring east out over a vast, frostbitten wasteland, the black sun dwindling in the west, casting their shadows across the plain. They await another clan, legendary for their slow approach. Eyes on the horizon, searching, patiently, for some signal of the arrival, some plume of smoke that would announce that the time had come. At last, at the edge of the plane, they note a black banner, and soon two hooded figures appear in the dusk. A horn sounds, and drumbeats echo through the valley.
It's only the threshold of the distant horizon that limits the scope of Terrestrials, but like much of Earth, its landscape is arid, only disclosing its secrets upon active contemplation of its component dust. From the opening strains, hidden at the foot of a vertiginous crescendo from zero decibels, the album recalls a technique of Andrei Tarkovsky's, later developed in the films of BÉla Tarr. The eight-and-a-half-minute opening shot in Tarr's epic Sátántangó laterally tracks cattle carefully plodding through a dilapidated commune in search of food from muddy pasture. As the audience investigates the frame for clues to Tarr's purpose, he slowly reveals to them a symbolic vision of the film as a whole, inviting contemplation of the rich surfaces of the decayed buildings and the labyrinthine entrapment of the commune's inhabitant kine, some playing at leadership and some dragging their feet, cow and human alike awaiting deliverance by a dark messiah. Terrestrials proceeds in a remarkably similar fashion. As each track unfurls, its glacial pace arrests the listener's search for novelty, forcing attention to the profundities of the mix and the texture that the interlaced sounds create; and yet it also deepens the desire for what each step forward promises, the crisis that the procession patiently unveils.
Terrestrials features more complex instrumentation than most of the works of either party. Sunn O)))'s deep bass and endlessly sustained guitar feature heavily on each track of Terrestrials, but so do Ulver's electronics and a myriad of additions, including trumpets, didgeridoo, and strings. Although the tracks apparently began as a set of improvisations recorded at Ulver's Oslo studio, the vast scope of the release clearly evolved out of the various mixing and arrangement sessions helmed by Ulver's Kristoffer Rygg and Sunn O)))'s Stephen O'Malley between 2008 and 2012. Here they achieved a synthesis that stylistically transcends the mere combination of the two groups and their traditional pathways, with Ulver sealing up the cracks of Sunn O)))'s immense backdrop and heightening the atmosphere with tense strings, sculpted textures, and insistent rhythm. It's this attention to the subtleties that renders Terrestrials monolithic; they ensure that each tick of the clock yields an array of sonic qualities, each progressing slowly in themselves but together moving the whole mass of sound forth at a constant click.
From the trumpets on "Let There Be Light" to the drum-like pound of the bass and didgeridoo in "Western Horn," Terrestrials relentlessly heralds its own arrival, an endless parade slouching towards Bethlehem. By the time Rygg's vocals enter at the middle of "Eternal Return," the crawling pace of the album has ensured their sublimity. Taken on its own, this short section would scarcely justify a song unto itself; it emerges out of the sudden but carefully orchestrated resolution of the murky depths of the track's recesses, manifesting as a piercing clarity and a distillation of the album's theme of annunciation. Its lyrics, rich in spite of their brevity, conceal a messianic yearning in the fallow desert, a hope for deliverance from the stasis of the Egyptian yoke and the confusion of exile, and a dark prophecy of a "liminal animal" with "golden nature" of the sinful calf. Rygg urges us to "listen silent."
Gongs or guitars ring out. This final stage of Terrestrials heralds a return of an immense mystery. What approaches, its lumbering gait constantly pressing onward, can't divulge its nature until it finally arrives. The quintessential figure of doom is an immense behemoth, a force of nature whose sublime shadow conceals it from view even as its thundering steps reveal its impending advent. But here we lie in wait. Terrestrials delivers on its persistent promise by offering another transcendental promise of a future culmination. But the restraint they exert in their advance to the beautiful oasis at the center of "Eternal Return" suggests that, here, Sunn O))) and Ulver are more interested in the process as it happens through time, tracking the march of the sun across the heavens, marking each moment as it slips back into eternity.
- Matthew Philips (Tiny Mix Tapes)1. Let There Be Light
2. Western Horn
3. Eternal Return$16.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
KissKiss was the first single to be released from Prince's eighth album Parade, the third and final album credited to Prince and the Revolution, and was released seven weeks before the album's release.
The single became Prince's third US Billboard Pop Chart number 1 single (following When Doves Cry and Let's Go Crazy). It also reached number 1 on the Billboard Black Chart.1. Kiss
2. Or $$12.9912 Vinyl Single - Sealed Buy Now
Dalmak180g LP Audiophile Pressing Includes Art Poster
Fourth Album From Modern Contemporary / Instrumental Rock Ensemble Led By Percussionist Bruce Cawdron (Godspeed You! Black Emperor) & Cellest Rebecca Food (Silver Mr Zion, Saltland, Set Fire To Flames)
Partly Recorded In Istanbul With Four Turkish Guest Players
Mixed By Jace Lasek (The Besbard Lakes, Wolf Parade, Suuns)
When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician. What wasn't immediately clear was whether this acclaimed record would mark the opening of a new chapter for the band, or stand alone as a singular work of eulogy and homage driven by emotion and circumstance.
Esmerine's new album Dalmak emphatically confirms that the group has indeed continued writing, exploring and collaborating - definitively extending its horizons in this new iteration of the band's trajectory. Bruce Cawdron (marimba) resigned from his seat as drummer for Godspeed You! Black Emperor in 2012, allowing him to focus more fully on Esmerine alongside co-founder and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames); the two
principals also recruited percussionist Jamie Thompson (Unicorns, Islands) and multi-instrumentalist Brian Sanderson as full-time members to solidify the group as a writing and performing quartet.
European tours in 2011-2012 brought Esmerine to Istanbul, where the group's enthusiastic reception led to an invitation for an artist residency in the city. Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where compositions by the band's four Canadian musicians were augmented by a number of Turkish guest players.
Dalmak is a Turkish verb with many connotations: to be absorbed in, to dive into, to bathe in, to contemplate, to plummet. As a title for Esmerine's new album, "dalmak refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged from this immersion: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove. With Dalmak, Esmerine presents some of its most richly minimal and intimate music alongside what is surely its most explosive, energized and ornate. The album is a tour-de-force of cross-cultural music-making, emotive but unsentimental,
deeply textured and detailed but never precious or pedantic, superbly guided throughout by a balance of DIY rock, new folk and modern classical/contemporary sensibilities.
With initial recording by Barkin Engin and Metin Bozkurt in Istanbul, Esmerine laid down the
live bed tracks for the up-tempo rhythmic songs at the album's core: Lost River Blues, Barn Board Fire and Translator's Clos. Marimba, cello, drums, tenor banjo, bass and trumpet are joined by bendir, darbuka, erbane, meh, barama, saz and electric guitar from local players for these centerpiece tracks, where extended melodic themes and short solos are passed around and woven through staccato grooves and polyrhythmic vamps in deeply
satisfying fashion. The sessions continued back in MontrÉal at Breakglass, where Cawdron and Foon tracked the more studied cello and marimba songs Learning To Crawl and White Pine, and where the album's gorgeously saturated warmth, depth and propulsive grit was achieved courtesy of Breakglass head engineer Jace Lasek (The Besnard Lakes,
Wolf Parade, Suuns) and Ian Ilavsky, who mixed the album alongside Rebecca and Bruce.
We're thrilled to present this new album from Esmerine and to document the continued evolution of Bruce Cawdron and Rebecca Foon, two musicians with whom Constellation has enjoyed a decade-long relationship spanning multiple projects. Dalmak is a distinct and exciting highlight in their diverse and adventurous discographies.1. Learning To Crawl
2. Lost River Blues I
3. Lost River Blues II
4. Barn Board Fire
5. Hayale Dalmak
6. Translator's Clos I
7. Translator's Clos II
8. White Pine
9. Yavri Yavri$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Same Thoughts Different Day (Awaiting Repress)Legendary Canadian punk group Subhumans emerged from the 1978 font of creativity that produced DOA and The Pointed Sticks. They have been part of the Alternative Tentacles family since being included on the infamous Let Them Eat Jellybeans compilation and played shows with Dead Kennedys, Minor Threat, Black Flag, and Bad Brains.
Their first album Incorrect Thoughts was released on Vancouver label Friends Records in 1980. They always planned to make their older material available again, but a now defunct San Francisco label had issued an unauthorized version of Incorrect Thoughts in the '80s which substituted some remixes without the band's knowledge, included tracks which hadn't made the cut for the original album, and changed the cover art. It was an unpleasant mystery for the band and three decades later the former owner of that label was asserting ownership over the original album, preventing its re-release without an expensive and contentious legal tussle.
The Subhumans decided to meet the challenge to their ownership of their own material by rerecording all of the songs from the Incorrect Thoughts album, which they proceeded to do at the Hive Studios in Vancouver, assisted by Jesse Gander. Original members Brian Goble (vocals), Gerry Hannah (bass), Mike Graham (guitar), and newly-recruited drummer Jon Card (formerly with Personality Crisis, SNFU, and DOA among others) got together in 2005 to record a new album of original material, New Dark Age Parade, for Alternative Tentacles (Virus366) and the band had reactivated into a live entity. The intent was neither to slavishly recreate the old recordings nor to radically reinterpret the songs, but updating the sounds and the recording techniques while maintaining the original spirit of the album. As a bonus, Subhumans recorded six additional songs from the same period for the second 12 of a two LP set, some of which had never been recorded before!1. Big Picture
2. Dead at Birth
3. Firing Squad
4. Urban Guerrillas
5. The Scheme
6. War in the Head
7. Model of Stupidity
8. Death to the Sickoids
9. New Order
10. Slave to My Dick
12. Greaser Boy
13. Let's Go Down to Hollywood
14. I Gotta Move
15. Out of Place
16. Escalator to Hell
17. Out of Line
18. Behind the Smile
19. Twenty-First Century
20. We're Alive$14.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Band Of Outsiders (Awaiting Repress)
Limited Edition Black And Red Splattered Vinyl
When jazz hits you in the face with a stack of bricks, Mike Dillon is there...twisting chaos into order before turning it back on itself again. -Splinters & Candy
The Mike Dillon Band is a predictably gruesome and sublime elixir of stealthy jazz vibes, street poetry raps and post-punk sonic carnage. -Boulder Weekly
A body in motion tends to stay in motion, at least when The Mike Dillon Band is supplying the dance music. The psychedelic rock group shakes and gyrates with heavy, vibraphone driven grooves, delivering a steady stream of infectious rhythms and hypnotic percussion. -Pittsburgh City Paper
How many artists can claim being praised a punk rock provocateur, jazz vibraphone visionary and percussion virtuoso in the same sentence? There's only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Brave Combo and Ani DiFranco, collaborations such as Garage A Trois, The Dead Kenny Gs and Critters Buggin or bands he's fronted, including Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.
With his latest effort, Band of Outsiders-released via Brooklyn label The Royal Potato Family-Mike Dillon has conjured the perfect storm of all these past endeavors. His manic creative vision found its match in three young musicians he met in New Orleans. Carly Meyers-whom Dillon describes as "a High Priestess of Trombone who channels the energy of Iggy Pop through the chops of JJ Johnson in second-line parade"-provides harmonic counterpoint to his vibes and percussion ("All Walks of Life") as she simultaneously ups the band's art-rock ante ("Carly Hates The Dubstep"). The rhythm section of bassist Patrick McDevitt and drummer Adam Gertner turns on a dime between snarling punk rock assaults ("Homeland Insecurity"), deep funky go-go ("Head"), ska grooves ("Here The Burro") and experimental hip-hop beats ("7AM At The Jazzfest") with all points covered in between.
Dillon recorded Band of Outsiders at Studio Center in Miami with the help of co-producers Gary Vandy and Richard Maloney Jr. Vandy is an old school engineer whose work includes over 200 platinum records predominantly in the disco and dance genres. His love of Zappa is what attracted him to Dillon's work. In the age of pro-tools chicanery, the production is straightforward, capturing Dillon and his band playing live in a room.
"Two tours of Mexico and a steady dose of Brazilian music was the jumping off point for these new songs," explains Dillon. "Add our love for The Melvins, Deerhoof, Bad Brains, Dead Kennedys, Trouble Funk and all things New Orleans and this album surpasses our intention to make the freakiest, most vibrant dance music on the planet."
Lyrically speaking, Mike Dillon draws from his love of Miguel de Cervantes, William Burroughs, Kurt Vonnegut and Robert Anton Wilson to tell stories of New Orleans debauchery mixed with age-old themes of travel, love, self-destruction and greed. Delivered with Dillon's trademark vocal rasp, the record has the intensity of a Tom Waits-meets-Frank Zappa black comedy. Rumor has it that Dillon lived for the past seven years in the same apartment that Waits shared with Rickie Lee Jones. Dillon discounts those rumors: This apartment has housed dudes from Morning 40 Federation, Ani DiFranco, an old Conga player and a bunch of heroin addicts."
Taken in its entirety, Mike Dillon's Band of Outsiders is a snapshot of four musicians hitting full stride. Having relentlessly toured the country in 2013-both headlining and opening for artists like Fishbone, Clutch, Primus and Galactic-its 13 songs bristle with a group mind, spill over the sides with the visions invoked during countless dead-of-night drives crisscrossing the country in a van and hit their target with a sonic assault only possible from a band that's played 400-plus shows over the last two years.
"People are always trying to figure out how to describe our music. Maybe we should call it New Orleans punk jazz Brazilian math rock? It's a gumbo of tribal percussion, The Meters, old school hardcore, Brazil, hard bop and anything else that might move us," concludes Dillon. "But you know, I really don't care what you call it. We kick out the jams harder than anyone, and we also know when to heed the lessons of The Minutemen's Double Nickels On The Dime and keep things straight to the point. There's a reason we called the record what we did. We're the living, breathing definition of a band of outsiders, but together we deliver simple majestic beauty, let's leave it at that."1. Head
2. Hand of God
3. Homeland Insecurity
4. Hero The Burro
5. Carly Hates The Dubstep
6. Great Lakes Tuna
8. All Walks of Life 9. Celebrate the Hate
10. 7AM at the Jazzfest
11. So Long Pal
12. Baby Flint Talk
13. Dauphine & Desire$16.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
So It IsPreservation Hall Jazz Band have announced the release of their new album, So It Is, the septet's second release featuring all-new original music, releasing via Legacy Recordings. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba.
In Cuba, all of a sudden we were face to face with our musical counterparts, says bandleader/composer/bassist Ben Jaffe. There's been a connection between Cuba and New Orleans since day one - we're family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it's part of something much bigger. It was almost like having a religious epiphany.
Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city's famed second-line parades. I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate, he says. I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.
The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city's Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.
Preservation Hall Jazz Band:
BEN JAFFE - Bass (upright), Tuba, Percussion
CHARLIE GABRIEL - Saxophone (tenor), Clarinet
CLINT MAEDGEN - Saxophone (tenor), Percussion
RONELL JOHNSON - Trombone
WALTER HARRIS - Drums, Percussion
KYLE ROUSSEL - Piano, Wurlitzer, Organ
BRANDEN LEWIS - Trumpet1. So It Is
4. La Malanga
6. One Hundred Fires
7. Mad$19.99Vinyl LP - Sealed Buy Now
The Coming Tide (Out of Stock)Listening to Luke Winslow-King's third full-length album is like taking a stroll through the artist's adopted home of New Orleans; his Bloodshot label debut is the sound of community, emotional duality,spiritualism, and lived-on-the-streets-not-stored-in-abottle historical preservation. It is the sound of rickety wooden porches on humid summer days, the grimy streets of New Orleans' neighborhoods beyond the French Quarter, the celebration and solemnity of centuries old churches and gathering places, and the anything-is-possible attitudes of smoky music halls and folk clubs.
Recorded at Piety Street Studios in New Orleans, The Coming Tide brings together Winslow-King's formal music education with a street-busking resilience, a proficiency on bottleneck slide guitar, the featured vocals (and washboard playing) of Esther Rose, and a cast of A-plus local players. The result is a vibrant amalgam of early 20th century jazz, Delta blues, American folksong, and Southern gospel.
Just as the Crescent City's famous parades and joyous second lines are known as "jazz funerals without the body," The Coming Tide asserts that while life's issues
can be dire, there's always a reason to find the silver lining. When Winslow-King and Esther Rose harmonize like tag-team town criers on the title track, it's easy to be transported in time and place. "You better come inside for the coming tide," sung amid a scurrying hi-hat/tomtom shuffle, buoyant upright bass, and languid brass line, settles the nerves and sends the crowd back home to make amends before the shit hits the fan.
Without blatantly narrating each scene in a way that other songwriters might, The Coming Tide naturally gives the listener a cinematic feeling of distinct atmospheres,
moods and the people that come with them. Rose clickclacks the washboard on "Movin On (Towards Better Days)" while an animated trombone-trumpet conversation brings to life the scandalous, noisy cabaret. "Staying in Town," a gently waltzing love story between two once-ramblers, plays like a two-minute diddy between cornmeal ads on Saturday evening AM radio. "You & Me" is a crinkled black & white snapshot of nights dancing cheek-to-cheek at the juke joint.
Later Winslow-King turns up the Texas heat on Blind Willie Johnson's "Keep Your Lamp Trimmed and Burning" and flashes his nearly vocal, rubber band bendy bottleneck slide guitar skill. The album-closer is a pleasantly unexpected, stylistically dark take on Rudy Clark's "I've Got My Mind Set On You" that leaves you wanting more.1. The Coming Tide
2. Moving On (Towards Better Days)
3. Let 'em Talk
4. Staying In Town
5. Keep Your Lamp Trimmed and Burning
6. You Don't Know Better Than Me
7. I've Got the Blues for Rampart Street
8. You & Me
9. I Know She'll Do Right By Me
10. Ella Speed
11. I've Got My Mind Set On You$16.99Vinyl LP - Sealed Temporarily out of stock