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  • Star Wars: The Force Awakens Soundtrack (3D Holographic Version) Star Wars: The Force Awakens Soundtrack (3D Holographic Version) Quick View

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    Star Wars: The Force Awakens Soundtrack (3D Holographic Version)

    Immerse yourself in a one-of-a-kind 3D holographic experience featuring the Millennium Falcon on LP 1 and Tie Fighter on LP 2!


    Lucasfilm and visionary director J.J. Abrams join forces to take you back again to a galaxy far, far away as Star Wars returns to the big screen with Star Wars: The Force Awakens. Make sure to experience the soundtrack by legendary, five-time Academy Award winning composer, John Williams.

    LP 1
    1. Main Title and The Attack on the Jakku Village
    2. The Scavenger
    3. I Can Fly Anything
    4. Rey Meets BB-8

    5. Follow Me

    6. Rey's Theme
    7. The Falcon
    8. That Girl with the Staff

    9. The Rathtars!
    10. Finn's Confession

    11. Maz's Counsel

    12. The Starkiller

    13. Kylo Ren Arrives at the Battle

    14. The Abduction


    LP 2
    1. Han and Leia

    2. March of the Resistance

    3. Snoke

    4. On the Inside

    5. Torn Apart

    6. The Ways of the Force

    John Williams
    $49.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Star Wars: The Force Awakens Soundtrack (Picture Disc) Star Wars: The Force Awakens Soundtrack (Picture Disc) Quick View

    $34.99
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    Star Wars: The Force Awakens Soundtrack (Picture Disc)

    The soundtrack to the blockbuster hit Star Wars: The Force Awakens features a score by five-time Academy Award winning composer, John Williams. Collectible picture disc vinyl release features 2-discs that include score from the film and key character images including Kylo-Ren, Han Solo, Finn and Rey. Limited 20k quantity.
    LP 1
    1. Main Title and The Attack on the Jakku Village
    2. The Scavenger
    3. I Can Fly Anything
    4. Rey Meets BB-8

    5. Follow Me

    6. Rey's Theme
    7. The Falcon
    8. That Girl with the Staff

    9. The Rathtars!
    10. Finn's Confession

    11. Maz's Counsel

    12. The Starkiller

    13. Kylo Ren Arrives at the Battle

    14. The Abduction


    LP 2
    1. Han and Leia

    2. March of the Resistance

    3. Snoke

    4. On the Inside

    5. Torn Apart

    6. The Ways of the Force

    John Williams
    $34.99
    Vinyl LP Picture Disc - 2 LPs Sealed Buy Now
  • Star Wars: The Last Jedi  (Original Motion Picture Soundtrack) (Pre-Order) Star Wars: The Last Jedi (Original Motion Picture Soundtrack) (Pre-Order) Quick View

    $24.99
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    Star Wars: The Last Jedi (Original Motion Picture Soundtrack) (Pre-Order)

    In Lucasfilm's Star Wars: The Last Jedi, the Skywalker saga continues as the heroes of The Force Awakens join the galactic legends in an epic adventure that unlocks age-old mysteries of the Force and shocking revelations of the past.
    1. Main Title and Escape
    2. Ahch-To Island
    3. Revisiting Snoke
    4. The Supremacy
    5. Fun With Finn and Rose
    6. Old Friends
    7. The Rebellion Is Reborn
    8. Lesson One
    9. Canto Bight
    10. Who Are You?
    11. The Fathiers
    12. The Cave
    13. The Sacred Jedi Texts
    14. A New Alliance
    15. "Chrome Dome"
    16. The Battle of Crait
    17. The Spark
    18. The Last Jedi
    19. Peace and Purpose
    20. Finale
    John Williams
    $24.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Grond Grond Quick View

    $27.99
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    Grond

    Limited To 600


    GRØND, chapter two in a trilogy, is an album wholly developed through a process of withering abstraction. The instrumentation renders a forceful merging of massive celestial bodies, each a whirling cacophony of inter-dimensional conjuring. After digesting the lyrics in accordance, what used to sound like the swinging of a pendulum, rather depicts a birth of an unknowable origin... a spectral and magnetic void. Nihill, an outfit firmly entrenched in the European underground, travels freely from one metal sub-genre to the next, effectively dispensing with the notion of a genre specific work all together. The reflexive nature with which Nihill makes these connections puts them beyond the boundaries of simple categorization. GRØND is at once: black metal, drone, doom, noise, and even hints at martial industrialism; arriving at something resembling mechanistic dark ambient as much as traditional black metal. If this unique work need suffer comparison for the sake of cognition, Nihill's nearest contemporaries are the likes of Blut Aus Nord, Deathspell Omega and the more obtuse of America's own Leviathan. Moreover, rather than confining the moods and ideas therein to the nullifying constructs of a conventional metal record, GRØND offers the listener the opportunity to perceive things beyond physicality, an experience closer to metaphysical awakening than base entertainment. Into the void indeed....

    1. Aard
    2. Antimoon
    3. Vacuum
    4. Pulsus
    Nihill
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
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    Broken People

    American music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.


    The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.


    With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.


    North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.


    "To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.


    Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.


    She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.


    "I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.


    "The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.


    "The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.


    "We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."


    "We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.


    As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.


    Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.


    "Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."


    "It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."


    "Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."


    "We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.


    And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.

    1. Broken People
    2. Brother, What Happened?
    3. Got It Goin' On
    4. Why Don't You Stay
    5. Take Me Home
    6. Shine On!
    7. It Ain't Easy
    8. I Need A Man
    9. Devil's Teeth
    10. Train
    11. Leave It To The Sky (feat. John Legend)
    Muddy Magnolias
    $18.99
    Vinyl LP - Sealed Buy Now
  • Arisen New Era (Out Of Stock) Arisen New Era (Out Of Stock) Quick View

    $19.99
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    Arisen New Era (Out Of Stock)

    Blue And White Colored Vinyl


    Unique Leader Records confirms that French death metal legion, KRONOS, will drop their Arisen New Era long player upon the masses. Recorded, mixed and mastered by David Potvin at Dome Studios (Lyzanxia, Arcania, Under The Abyss etc.) in Angers, France, the band's latest slab of audio menace features nine scalding tracks of unrelenting barbarity adorned in the distinctive cover art of Pierre Alain (Withering Soul, Silentlie, Cyrax etc.).


    A name derived from the Greek god of time, Kronos (or Cronus), father of Zeus, KRONOSwas forged over fifteen years ago and quickly established a name for themselves based solely on their musical unity of harmony and violence. Featuring a continuous textual reference to the gods of ancient civilizations, KRONOS punctures ears with a heightened level of dynamics accomplished by only by a select number of bands. It all began in a small town in the Northeastern province of Alsace-Lorraine. Following various lineup shifts and musical experimentation, the pandemonium squad recorded their first demo in 2000. One year later, KRONOS would unleash their Titan's Awakening debut. Produced entirely by the band, the lethal creation lead to a union with French imprint Warpath Records. By the end of 2001, Titan's Awakening was expelled once again into the world, this time with a brand new cover designed by Deather (Gurkkhas, Vital Remains, Angel Corpse) as well as a visually disquieting booklet.


    KRONOS later joined forces with Spanish label Xtreem Music run by Avulsed's Dave Rotten, for the unleashing of their next two full-lengths. Second offering, Colossal Titan Strife was discharged in 2004 to the applause of underground critics in the proverbial know. Metal Crypt commended the band's "diversified guitar work intricate drum patterns wicked guitar solos and.. good number of catchy yet non-compromising hooks," further insisting, "This French outfit is definitely worth checking out," while Sputnik Music championed, "an impressive album that shows off the capabilities of death metal done right. KRONOSmanaged to pack a metric ton of creativity into each song and you will barely hear the same riff twice." Added Last Rites simply, "worth your time if you need some solid, well-produced death metal." Third offspring, The Hellenic Terror, emerged in April 2007 and served as an attestation of the band's enormous capacity for skilled execution and originality. Said Metal Crypt in a near perfect review of the release, "The Hellenic Terrorcontains more melodic sections than Colossal Titan Strife, but still possesses almost as much brutality . KRONOS is one of the few death metal bands that manage to be melodic, brutal and still remain catchy as hell in their riffs and solos. This is definitely a must-have for fans of death metal."


    Now that this Gallic Titan has blossomed into a powerful entity, they're ready to vanquish and destroy the world with musical bloodlust and the diabolic wares of Arisen New Era.

    1. Infernal Abyss Sovereignty
    2. Zeus Dethroned
    3. Soul-Voracious Vultures
    4. Rapture In Misery
    5. Klymenos Underwrath
    6. Aeons Titan Crown
    7. Brotherlords
    8. Purity Slaughtered
    9. Hellysium
    Kronos
    $19.99
    Colored Vinyl LP - Sealed Temporarily out of stock
  • Nightbringers (Out Of Stock) Nightbringers (Out Of Stock) Quick View

    $25.99
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    Nightbringers (Out Of Stock)

    Any band that has earned an army of devout followers through dropping seven killer full-lengths - and touring their collective ass off for sixteen years - could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that's just not The Black Dahlia Murder's style, and Nightbringers is testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015's Abysmal, the Michigan quintet have once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. "I always feel a responsibility to the people who support this band when we start making a new record," asserts vocalist Trevor Strnad. "The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it's so exciting that those people love you so much for just doing what you do. It makes you want to honor what you've done in the past, but also excite them with where you go next, and that definitely drove us on Nightbringers. When we started writing I honestly didn't know we had this album in us, and I feel really proud of it. It's a great moment for us."


    Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach - who co-founded the band with Strnad in 2001 - and new recruit Brandon Ellis (Cannabis Corpse/ex-Arsis) Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band's ranks has helped usher in an exciting new era. "He's very professional for his age, I think he's skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon's pushed that even further," states Strnad. "Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it's definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we're putting across." Strnad's statements are vividly borne out by every moment of Nightbringers. For fans attending 2017's Summer Slaughter tour, the first taste of of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a "circusy, evil and playful" air. By contrast, "Catacomb Hecatomb" is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to "As Good As Dead", which has some swagger to it that Strnad likens to Megadeth, or "Matriarch", described by Eschbach as a "wild, neoclassical romp" and stands as one of the most cutthroat and all out aggressive tracks in the quintet's arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. "I felt inspired to write very violent lyrics to it. It's told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach." While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album's title, which embraces a tenet that has been central to The Black Dahlia Murder's output since the very beginning. "A lot of archaic ideas that are still upheld - such as marriage and monogamy - came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It's 'being-the-villain music', because we're the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it's for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and "Kings Of The Nightworld" are about leading a legion of awakened minds into battle." Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. "I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn't feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things, and definitely trying in different ways to take down tradition."


    Rather than decamp to a single studio, the members split off when it came time to start laying down the songs - all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars in the band's practice space in Warren, Michigan [was bass tracked there too?]. Ellis then recorded his many blistering solos in his home studio, while Strnad headed to Full Force Studios on Long Island, with Joe Cincotta (Suffocation, Internal Bleeding) overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wåhlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM's 2007 release, Nocturnal. "I think he's the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of Nocturnal felt right. By now people probably wouldn't have expected us to go back to him, so it's kind of a surprise, but at the same time it's a very classic cover too." With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. "When I think back to when we started the band I feel very proud of everything we've done, and I also see a lot of improvement over the years," says Strnad. "In the early songs I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in I still feel young as a band. I feel like we have a shit ton left to do, and I think we're sitting pretty with the best lineup we've ever had. I also think Nightbringers could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people's ears, and I want them to check out everything we've got on this record. There's so much variety and so many great ideas, and I think that this could take us to another place."

    1. Widowmaker
    2. Of God and Serpent, of Spectre and Snake
    3. Matriarch
    4. Nightbringers
    5. Jars
    6. Kings of the Nightworld
    7. Catacomb Hecatomb
    8. As Good as Dead
    9. The Lonely Deceased
    The Black Dahlia Murder
    $25.99
    Vinyl LP - Sealed Temporarily out of stock
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