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  • Dear Youth Dear Youth Quick View

    $19.99
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    Dear Youth

    Los Angeles hardcore band The Ghost Inside will release their fourth album Dear Youth on Epitaph Records. The album was co-produced by Jeremy McKinnon and Andrew Wade.


    Front man Jonathan Vigil explains the album concept in a letter written to his younger self:


    Dear Youth,


    I'm writing to you now because it seems I've lost my way. I can't pinpoint exactly when it started, but I know that it's not like it was before. I've realized the more time that passes, the more we lose touch. It's starting to feel like all I ever do now is lose touch with things. But not you, I never wanted to lose you.


    I wish I had something to blame it all on, but I don't. One day I was there and the next I was here. As if I was dreaming and suddenly woken up. These days I'm always wondering if what I've done is enough. It's getting harder and harder for me to shake this feeling of stagnance.


    So old friend I'm writing to ask you what it feels like to have the whole world in your hand? Where we could set out and do anything that we imagined. Endless possibilities way before complacence set in. To be honest with you, I've forgotten what that all feels like. There was a wonder about us that has long since faded. That sense of excitement, I miss it.


    Dear youth, will you show me again? I need to be reminded of those times, back before this began...


    - xx

    1. Avalanche
    2. Move Me
    3. Out Of Control
    4. With The Wolves
    5. Mercy
    6. Phoenix Flame
    7. Dear Youth (Day 52)
    8. Wide Eyed
    9. My Endnote
    10. The Other Half
    11. Blank Pages
    The Ghost Inside
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • Insides Insides Quick View

    $22.99
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    Insides

    Like many others, Ghostly became enamored with Fort Romeau's idea of slow
    listening, the concept of enriching relationships with music through careful
    attention and focus. His understated take on deep, groove-friendly house started
    pushing this practice three years ago, when the producer's debut LP, Kingdoms,
    appeared via 100% Silk. The native Londoner, born Mike Greene, has evolved
    considerably since then, finessing his sound over the course of three breezy 12s,
    one EP, and lengthy DJ sets at some of the best clubs in Europe-not the least of
    which were Berlin's famed Panorama Bar, London hotspot Plastic People, and
    Robert Johnson in Frankfurt. Those years Greene spent immersed in his craft and
    new inspirations have generously informed the eight stunning productions which
    comprise Insides, Fort Romeau's long-awaited sophomore album.


    Playing in those clubs definitely had an affect on how I approach composition and
    pacing, Greene shares. I want to allow things to breathe and develop gradually
    over longer track lengths, rather than cram everything into four or five minutes. His
    patient methods are a central component to the billowy house music on Insides,
    though this isn't an indulgent album of gratuitous buildups and tiresome
    breakdowns. Each production is pointed and purposeful, as the artist crafts every
    second of analog electronics with rich detail, nuance, and refinement.


    Throughout Insides, Fort Romeau guides us down misty corridors lined with supple
    synth pads, quietly thumping kicks, and elastic low-end sequences reinforced by an
    emotive confidence. Thick dancefloor cuts like All I Want and Folle are built on
    such satisfying elements-sounds so full-bodied, you'd swear they're knocking
    against your bones. This, too, is by design. I wanted to make sure all the songs
    have a tangible quality, says Greene of his LP's physicality, to make texture and
    grain become as important a part of the vocabulary as timbre and pitch. This was
    accomplished with an arsenal of machines, including his Moog Voyager, Yamaha
    DX7, Roland Juno-6, and Korg 770, a vintage synth he describes as having so much
    presence and vitality, it almost feels like it's alive. Equally important to the weighty
    presence of his music is meticulous post-production. The record was mixed on an
    analog desk and mastered to tape, Fort Romeau elaborates. These processes are
    as much a part of the sound as the synths and sample sources themselves.


    There is also a deep stylistic eclecticism to Insides, and coming from Greene, this
    was galvanized by deep cuts he discovered while digging to find music for his
    extensive DJ sets. Old kosmiche, disco, and early electronic records are among the
    strongest influences, and Fort Romeau used them as an impetus for creation. It's
    those strange and wonderful tracks that you find on the b-side of an old record that
    sparked my desire to make something new, he shares, but it's very important for
    me never to feel like I'm making a pastiche. Indeed, the sleek expanse of Lately
    and the title track's jacking grooves take cues from buoyantly cosmic dance music.
    And yet it's the personality of a young artist coming into his own that makes Insides
    such a graceful collection of house music, one that only further enriches the soul
    over time.

    1. New Wave
    2. Folle
    3. All I Want
    4. Insides
    5. Not A Word
    6. IKB
    7. Lately
    8. Cloche
    Fort Romeau
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Reach Beyond The Sun Reach Beyond The Sun Quick View

    $20.99
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    Reach Beyond The Sun

    Reach Beyond the Sun marks the fourth entry in Shai Hulud's storied catalog. The album was produced by current New Found Glory guitarist, Chad Gilbert, and notably, vocalist on Hulud's debut LP Hearts Once Nourished With Hope And Compassion. In addition to producing, Gilbert also returned to sing on the album - his first offering of recorded vocals with the band in over a decade. Not unlike Shai Hulud's previous releases, Reach Beyond the Sun was born of several years of toiling before ever entering a studio. The band's previous effort, Misanthropy Pure, a polished, metallic and frenzied piece of masterwork, is contrasted by the much more visceral, instinctively compositional songs found on Reach Beyond the Sun, an embracement of the raw hardcore/punk elements that sit at the cornerstone of the band's influences. Longtime bass player Mad Matt Fletcher asserts, "Anyone who really knows the band will agree this album is our definitive sound, encompassing all of our different influences and styles." He conclusively reiterates, "Yep, this sounds like Shai Hulud."


    In recording Reach Beyond the Sun, Shai Hulud welcomed the vocal talents of accomplished friends from throughout the hardcore community. Fans will note guest vocals from: Jay Pepito (Reign Supreme, Blacklisted) on "A Human Failing, John Vigil (The Ghost Inside) on "If A Mountain be My Obstacle," Louis Hernandez (Alpha & Omega) on "Man Into Demon," all officially recorded former Hulud vocalists Matt Mazalli, Damien Moyal, and Geert van der Velde on "Medicine to the Dead," as well as additional vocals throughout the album from the likes of Justin Krauss (With Life In Mind), Martin Stewart (Donnybrook, Terror), David Wood (Down To Nothing, Terror), among others.

    1. The Mean Spirits, Breathing
    2. I, Saturnine
    3. Reach Beyond the Sun
    4. A Human Failing
    5. Man Into Demon: And Their Faces Are Twisted With the Pain of Living
    6. Medicine to the Dead
    7. To Suffer Fools
    8. Think the Adder Benign
    9. Monumental Graves
    10. If a Mountain Be My Obstacle
    11. At Least a Plausible Case for Pessimism
    Shai Hulud
    $20.99
    Vinyl LP - Sealed Buy Now
  • Idle Hands Idle Hands Quick View

    $15.99
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    Idle Hands


    Mixed & Mastered By Peter Rutcho At Damage Studios (THE GHOST INSIDE, BURY YOUR DEAD, VANNA)


    "Energy-fueled epic-core with lots of aggression, a healthy blend of raw shouts and low end growls and foot stomping hooks." - Kerrang!


    VICTORY RECORDS is proud to release Idle Hands, the debut album from dynamic South Wales, UK metal/hardcore outfit, CONTINENTS. Formed in 2010, CONTINENTS quickly established themselves within the ever-growing UK music scene through their intense music and stage presence. They are five self-proclaimed "lads with a party attitude who love getting groups of people into a room who share their passion for music." Live, this UK bunch throws a blistering barrage of energy at the crowd which is evident in their first music video, "Trials"; which received over 10,000 views on YouTube, in just the first few days. Thanks to "Trials", in November 2011 the band was voted as a favorite YouTube UK Metal Act and was featured on the YouTube home page.


    "We've always tried to put our own passion for our music before external influence, the most important thing for us is that we enjoy the music we play, and if other people enjoy it too then that's awesome," said vocalist, Phil Cross. "We like to mix elements of our favorite styles and influences, and then put our own perspective on things to see where it takes us." CONTINENTS has created their heaviest music to date on Idle Hands all while incorporating a fresh take on modern hardcore. Expect 2013 to start off with a bang as CONTINENTS becomes a serious force to be reckoned with.

    1. 224
    2. Idle Hands
    3. Pegasus, Pegasus
    4. Inhale
    5. Land Of The Free
    6. Sheep In Wolves' Clothing
    7. Regrets

    8. Loathe
    9. Trials
    10. Exhale
    11. Truth And Lies

    12. Lion's Den
    Continents
    $15.99
    Vinyl LP - Sealed Buy Now
  • A Quiet Darkness A Quiet Darkness Quick View

    $19.99
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    A Quiet Darkness

    The album, due for release through Downtown Records on 16 April marks a huge departure for the group sonically. Founder and songwriter Dexter Tortoriello told us last year that it's very much a record that tells a story: "I had this idea to do a concept album about this guy walking across the country to find his wife after a nuclear disaster occurs. The idea is that everyone in the western part of the country has been exposed to a great deal of radiation and is dying off, some more slowly than others. The man is trying to find his wife, not so they can survive together, but so they can die together."


    Although built up of many samples, most of which were recorded "inside abandoned houses and along the deserted highways and ghost towns of the Mojave Desert", fans can expect a more explorative and fully formed 'band' sound than previous material.

    1 Beginnings
    2 Beauty Surrounds
    3 Big Light

    4 Tired Moon

    5 Peasants

    6 Carrion
    7 What We Lost

    8 Smoke Signals

    9 Tenderly

    10 Bloom
    11 Quiet Darkness
    Houses
    $19.99
    Vinyl LP - Sealed Buy Now
  • Vicious / In Trouble With The Lord Vicious / In Trouble With The Lord Quick View

    $6.99
    Buy Now
    x

    Vicious / In Trouble With The Lord

    Previously released with no cover sleeve on limited edition clear vinyl with pressed rose petals inside for Record Store Day 2011. This is the proper Third Man Records black wax 7 with a artwork by David Swanson. Features a cover of the Lou Reed classic, Viscious backed with an unbelievably visceral outtake of In Trouble With The Lord from Karen Elson's The Ghost Who Walks LP.
    Side One

    1. Vicious

     

    Side Two

    1. In Trouble With The Lord
    Karen Elson
    $6.99
    7 Vinyl LP - Sealed Buy Now
  • Topiary (Colored Vinyl) Topiary (Colored Vinyl) Quick View

    $19.99
    Buy Now
    x

    Topiary (Colored Vinyl)

    Half-Moon Vinyl (Half Black, Half Transparent)


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Topiary Topiary Quick View

    $18.99
    Buy Now
    x

    Topiary

    Recorded At Tom Tom Club/Talking Heads' Clubhouse Studio On All Analogue Gear


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Way We Separate (Awaiting Repress) The Way We Separate (Awaiting Repress) Quick View

    $18.99
    Buy Now
    x

    The Way We Separate (Awaiting Repress)

    Thomas Mullarney and Jacob Gossett, aka Brooklyn duo Beacon,
    introduced themselvesto the world with theNo Body and ForNow EPs,
    both released last year on Ghostly International. The EPs were united
    by minimalist, R&B-inuenced instrumentation, and also by a lyrical
    theme, with both serving as meditations on the darkness that
    underpins the most intense of human emotions: love.


    The duo's debut album The Ways We Separate both consolidates and
    developsthese ideas. The album focuses, asthe title suggests, on the
    idea of separation - both within the context of relationships and in a
    more intimate, psychological sense. As Mullarney explains, The
    narrative contained inside The Ways We Separate deals with two kinds
    ofseparation: one where two entities grow apart, and the other where
    we grow apart from ourselves. Over the course of a relationship, the
    two sometimes happen together, one being the result of the other.
    Desires, passions and regrets are central to the songs on The Ways We
    Separate, which take a variety of perspectives to construct a nuanced
    reection on the album's central theme. 'Between the Waves' draws a
    clever analogy between relationships and soundwaves falling out of
    phase: I know all the ways we separate/ Where we start to fade at
    di erent frequencies. 'Overseer' catalogues a parting of the ways with
    discom ting clarity: Isn't it ne?/ Taking it slow?/ Watching you watch
    me walk out your door. And album closer 'Split in Two' explores how th
    extremes of love and loss can take you far away from being the person
    you thought you were, making explicit the connection between the two
    ideas of separation: What I'd do for you?, sings Thomas Mullarney,
    Split myself in half/ Divided into two.


    Musically, The Ways We Separate nds Beacon working with a richer
    sonic palette than ever before -as Gossett says, The production on
    this album is much more expansive than anything thing we've done
    thusfar. We spent a lot of time exploring new gear and experimenting
    with how to pull a wide range of sound out of various instruments.
    Some ofthe key sonicsthatshaped this LP are analogue synthesis, lots
    of heavily processed guitar work, and vocal layering/processing. While
    the abiding mood remains that of late-night introspection, the
    production draws from elements of hip hop and a wide gamut of
    electronic music, marrying intricate beats and subtle textures to
    honeyed pop melodiesthat belie the album's conceptual depth. Rarely
    has bleakness sounded so pretty - this is a record that's deceptively,
    compellingly beautiful, an exploration of a place both discom ting and
    darkly seductive.

    1. Bring You Back
    2. Feeling's Gone
    3. Between The Waves
    4. Drive
    5. Overseer
    6. Late November
    7. Studio Audience
    8. Headlights
    9. Anthem
    10. Split in Two
    Beacon
    $18.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • In The Wilderness In The Wilderness Quick View

    $22.99
    Buy Now
    x

    In The Wilderness

    Stranger Cat is the new project from Cat Martino, Sufjan Stevens' right hand woman for
    the Age of Adz tour and record, as well as All Delighted People. Cat was also a recording
    and touring member of Sharon Van Etten's band circa Epic. She appeared with The Shins
    on SNL and Williamsburg Park, played in Passion Pit at Governor's Ball, and sings on the
    Son Lux record Lanterns. She has had the pleasure to support Indians, Night Beds, Rufus
    Wainwright, Marissa Nadler, Black Rebel Motorcycle Club, and Patrick Watson.


    Cat retreated from Brooklyn, NY to winter in the Sierra Foothills to write and record
    songs emerging from loops using her voice, synths, and percussion. With her pedal chain
    and gear in a small cottage she explored the gamut from ethereal to turbulence. Simple
    melodies or beats became powerful walls of sound melting through snowstorms, howling
    winds and stark silence nestled inside gargantuan oaks and the infinite starry dome.
    Joined by Sven Britt for a week, each of them traded making beats, or melodic parts on
    casios, synths, guitars, branches and spoons, while the other recorded. Often a cat would
    come to the door to listen, meowing to be let in. When it appeared daily they called it
    Stranger Cat, and observed its alien supernatural powers, as she'd heard tell of the
    Foothills' long history of UFO sightings and ghost haunts. One day they let Stranger Cat
    in. The plump feline ate all the kitty food and left.


    Out of this adventure was born In The Wilderness, the duo's debut full-length out on Joyful Noise Recordings

    1. Empty Little Word
    2. Sirens
    3. I Lost It
    4. Fig Tree
    5. In The Wilderness
    6. Remember Me
    7. Unzip Your Skin
    8. Ecstatic Energy
    9. R.E.D.
    10. I Promise
    Stranger Cat
    $22.99
    Vinyl LP - Sealed Buy Now
  • Rivals Rivals Quick View

    $37.99
    Buy Now
    x

    Rivals

    Import


    Red Colored Vinyl


    Includes CD


    Rivals is the new album of Dutch Indie Rock band Kensington. This band from Utrecht, Holland scored hits with Home Again and Ghosts, performed on the biggest festivals, sold out tours and shows all over the world. They received an MTV Award and multiple radio Awards in the Netherlands.


    All these positive experiences were taken into the studio, which resulted in the next step up for these rockers. Rivals is a search for the enemy inside every human being, and represents two faces of the band: one of light Pop songs and one of dark, epic Rock songs.


    Kensington's first single Streets is already becoming a hit and the anthem of this year's festival season. The song All For Nothing is the title track of the upcoming Dutch thriller movie Bloedlink, which opens the Dutch Film Festival in September 2014, and is already a hit on popular Dutch Radio.


    The first vinyl pressing will be released on red wax. This brand new Kensington album also includes a free CD copy!

    1. Streets
    2. All For Nothing
    3. Done With It
    4. System
    5. Riddles
    6. War
    7. Don't Walk Away
    8. Little Light
    9. Words You Don't Know
    10. Rivals
    Kensington
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Basement Tapes The Basement Tapes Quick View

    $49.99
    Buy Now
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    The Basement Tapes

    Ranked 291/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Recorded in Basement of Big Pink with The Band: Modern Americana Starts Here


    Audiophile Sound at Last: Sonic Subtleties, Loose Interplay, Organic Spirit, Warm Textures Presented Like Never Before on Definitive Mobile Fidelity Reissue


    Dylan at His Most Humorous, Unguarded, Loose: Folk Tales, Weird Narratives, Rock Ballads, Inside Jokes, Allusions Pepper Alchemic Material


    Includes This Wheels on Fire, You Aint Goin Nowhere, Tears of Rage, Million Dollar Bash, Yazoo Street Scandal


    The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and Blood on the Tracks Also Available from Mobile Fidelity


    Basements have long been associated with raw, off-the-cuff rock n roll, the damp and dark spaces serving as the woodshedding venues for countless bands. Yet no basement is more famous, and none yielded music as familiarly weird, wholesomely American, joyously loose, and identifiably humorous as that in the upstate New York house dubbed Big Pink the location where, during the summer and early fall of 1967, Bob Dylan and The Band played a vivid tapestry of covers, originals, and traditionals that signaled the advent of Americana. Once again, the Bard changed the world.


    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 dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of The Basement Tapes ever produced and the first-ever analog reissue. Inimitable, the particulars of The Basement Tapes especially, the gather-round-in-a-huddle assembly of the instrumentalists, home-made character, domestic vibe, and low-volume nature of the recordings come to fore here in a manner that takes the listener down the stairs at 2188 Stoll Road and brings the images of Dylan, Rick Danko, Robbie Robertson, and Co. to life.


    Fresh off experiencing a motorcycle accident and the wrath of audiences hostile to his embrace of amplified music, Dylan elected to retreat to the comforts of rural and family life. He soon began collaborating with members of the Band in his house, ultimately moving the sessions to Big Pink. Informal, peaceful, relaxed, open-minded: The collaborations blanket country stomps, roots hootenannies, forgotten spirituals, earthy originals, chaotic marches, dreamscapes, dance tunes, folk laments, catch-as-you-can improvisations. On The Basement Tapes, mythical ghosts and dead legends reappear, reveling in the absurdity, comedy, mystery, aura, and alchemy.


    In Invisible Republic, his scintillating book about the sessions, cultural critic Greil Marcus states: At a time when the country was tearing itself apart in a war at home over a war abroad, the music was funny and comforting; it was also strange, and somehow incomplete. Out of some odd displacement of art and time, the music seemed both transparent and inexplicable when it was first heard, and it still does. Indeed, The Basement Tapes appear to emanate from an indefinable chasm between modern and ancient, self-evident and mysterious, shapeless and fully formed, abstract and concrete, histories unwritten and chronicled. But every note chimes with freenessa liberating fun, humble simplicity, and bond-creating camaraderie felt in every hoot, holler, laugh, and false start.


    The Basement Tapes capacity to remain so gloriously honest and timeless performances that genuinely could've been made today, ten years from now, or back in the 1930's helps account for their emotional resonance and unsurpassed reputation as a snapshot of how unencumbered American music, and art with deep historical roots and connective cultural tissues, is supposed to sound.


    Mobile Fidelity's reissue squares away the late-night bleariness, jovial atmosphere, low-ceiling dimensions, and ensemble-based perspective of the sessions, allowing the listener to become Hamlet, the dog who slept nearby Dylan, Robertson, and Co. as it all went down. This is not to be missed.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. Odds and Ends
    2. Orange Juice Blues (Blues for Breakfast)
    3. Million Dollar Bash
    4. Yazoo Street Scandal
    5. Goin to Acapulco
    6. Katies Been Gone
    7. Lo and Behold
    8. Bessie Smith
    9. Clothes Line Saga
    10. Apple Suckling Tree
    11. Please Mrs. Henry
    12. Tears of Rage
    13. Too Much of Nothing
    14. Yea! Heavy and a Bottle of Bread
    15. Aint No More Cane
    16. Crash on the Levee (Down in the Flood)
    17. Ruben Remus
    18. Tiny Montgomery
    19. You Aint Goin Nowhere
    20. Dont Ya Tell Henry
    21. Nothing Was Delivered
    22. Open the Door, Homer
    23. Long Distance Operator
    24. This Wheels on Fire
    Bob Dylan and the Band
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • A Lovely Sight A Lovely Sight Quick View

    $25.99
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    A Lovely Sight

    By the late '60s, radio-delivered psychedelia had saturated even the heartland. A Lovely Sight, Pisces' only attempt at an LP, never made wax; but the fuzz guitar phrases and tambourine shuffle of Dear One instantly illustrate the band's woozy realm. Deeper inside, bass scales borrowed from Sgt. Pepper give way to Who moves wrecked by bad fidelity and harsh intrusions of found audio. Jefferson Airplane's swirled, lysergic Haight Street utopia melds with the urban narcosis of the Velvet Underground's East Village. But Pisces hailed from another ghost town altogether: Rockford, Illinois, where rusted, endless plains bear close resemblance to a bummer acid trip or a junkie's rock bottom. In 1969, the industrial Midwest was hurting for the hard stuff, but what it got was plenty of the White Album, enough to have Jim Krein, Paul DiVenti, and Linda Bruner recording through a glass onion all their own. The unsettling balance of their unissued LP combines homespun psychedelic vision and secondhand studio trickery with naive readings of the rock sound of the day, resulting in a diverse, haunted rock headspace few coastal bands ever flew through, let alone over.

    1. Dear One
    2. Children Kiss Your Mother Goodnight
    3. Motley Mary Ann
    4. Say Goodbye To John
    5. Mary
    6. Genesis II
    7. Sam
    8. The Music Box
    9. Like a Hole In the Wall Where the Rat Lives
    10. Are You Changing In Your Time
    11. In the Dreams of Paula
    12. Elephant Eyes
    13. Circle of Time
    14. A Flower For All Seasons
    15. In the Summer the Grape Grows
    Pisces
    $25.99
    Vinyl LP + Limited 45 - Sealed Buy Now
  • NOW That's What I Call Halloween NOW That's What I Call Halloween Quick View

    $24.99
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    NOW That's What I Call Halloween

    Pressed On 2x 180-Gram Orange & Purple Vinyl


    NOW That's What I Call Music!, the world's best-selling multi-artist album series, is pleased to announce the upcoming release of NOW Halloween!, the NOW brand's spooktacular first foray into the tricks and treats of Halloween-themed rock and pop music, ranging from TV (True Blood) and movie themes (Halloween, The Exorcist, Beetlejuice) to novelty smashes (Monster Mash, Werewolves of London) to radio perennials (Season of the Witch, Don't Fear the Reaper, I Put a Spell on You).


    NOW Halloween! showcases 18 Halloween-themed classic hits from a variety of artists including director John Carpenter's Theme from Halloween, Rob Zombie's Dragula, Saint Louis Symphony Orchestra & Chorus' O Fortuna, Mike Oldfield's Tubular Bells/Theme from The Exorcist, Blue Oyster Cult's (Don't Fear) The Reaper, INXS's Devil Inside, Jace Everett's Bad Things/Theme from True Blood, Warren Zevon's Werewolves of London, The Specials' Ghost Town, Oingo Boingo's Dead Man's Party, Bobby Boris Pickett and the Crypt-Keepers' Monster Mash, The Citizens of Halloween's This is Halloween, Donovan's Season of the Witch, Nina Simone's I Put A Spell On You, Danny Elfman's Beetlejuice: Main Title/End Title, Run-D.M.C.'s Ghostbusters, DJ Jazzy Jeff & The Fresh Prince's A Nightmare On My Street and Rockwell's Somebody's Watching Me.


    The premium content--by the original artists--selected for NOW Halloween! has never been available on one collection until the release of this special anthology.


    NOW That's What I Call Music! debuted in the U.S. in 1998, following 15 years of multi-platinum international success. The series has generated sales exceeding 250 million albums worldwide, including more than 96 million in the U.S. alone. All 55 previous releases in NOW's numeric U.S. series have reached Billboard's Top 10, and 19 volumes have reached No. 1.

    LP 1
    1. John Carpenter - Halloween Theme
    2. Rob Zombie - Dragula
    3. Saint Louis Symphony Orchestra & Chorus - O Fortuna
    4. Mike Oldfield - Tubular Bells (Theme From The Exorcist)
    5. Blue Oyster Cult - (Don't Fear) The Reaper
    6. INXS - Devil Inside
    7. Jace Everett - Bad Things (Theme from True Blood)
    8. Warren Zevon - Werewolves of London
    9. The Specials - Ghost Town
    10. Oingo Boingo - Dead Man's Party


    LP 2
    1. Bobby Boris Pickett and the Crypt-Kickers - Monster Mash
    2. The Citizens of Halloween - This is Halloween
    3. Donovan - Season Of The Witch
    4. Nina Simone - I Put A Spell On You
    5. Danny Elfman - Beetlejuice: Main Title/End Title
    6. RUN-D.M.C. - Ghostbusters
    7. DJ Jazzy Jeff & The Fresh Prince - A Nightmare On My Street
    8. Rockwell - Somebody's Watching Me

    Various Artists
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • What's Going On (Pure Pleasure) What's Going On (Pure Pleasure) Quick View

    $34.99
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    What's Going On (Pure Pleasure)

    In 2006, exactly a year after Katrina, in the aftermath of a vicious natural disaster that displayed the incompetence of the Crescent City's infrastructure, the Army Corps of Engineers, and the Federal Government, they addressed the tragedy in the only way they know how, by re-creating the same kind of bewilderment and anger that Marvin Gaye felt and witnessed in 1971 by issuing their own take on Gaye's classic album What's Goin' On. This is a question that is proved all the more poignant given the efforts of an entire region trying not only to rebuild homes and businesses, but trying to preserve a culture as this recording was released. The Dirty Dozen recruit a number of vocalists to help out on the hinge tunes. The samples of New Orleans Mayor Ray Nagin's voice in the aftermath of the hurricane usher in the brass slip-sliding along the dark funky overtones of Gaye's signature tune. Guitarists Doug Bossi and Ben Keeler dig into the groove, as does drummer Terence Higgins and keyboardist/producer Anthony Marinelli, as Chuck D raps the refrain in the context of modern history, the disaster, and the ineptitude and even hostility of a government who wages war and ignores domestic problems. It's a news report from the front lines as the horns cut the melody, the harmony, and the deep, steamy funk groove. What's Happening Brother, closes the funk from the inside, turning the groove back in on itself not only playing the rage, but echoing it in the grain of Bettye LaVette's vocal, which dares to spit out the truth with questions and observations in the pain of a first person narrative. The airy arrangement of Flyin' High (In the Friendly Sky) is nearly mournful, nostalgic for a more innocent time, but is all the more poignant for that longing. The deep tribal drums Mardi Gras Indian-style, with the skronky saxophones, tight guitar groove, and screaming narrative in Save The Children give way to the smoothness of Gaye's melody. It's a bewildered tune, sad with undercurrents of rage. Ivan Neville's arrangement for God Is Love is a stunner, full of deeply imaginative hues and colors and gospel grooves. G. Love helps out on Mercy Mercy Me (The Ecology), where the musicality in Gaye's vocal disappears but is supercharged in the horn charts, and Love's vocal sounds confused, displaced, out of time against the instruments. Right On is both militant and celebratory. It's got the funk, but it's also got gospel, rock, and deep soul blaring from the trombones and the repetitive riff in the rest of the brass section. Guru from Gang Starr cuts out from the moody, spectral introduction of Inner City Blues, when Higgins drums play counter to Kirk Joseph's deep blues sousaphone on the bassline. Frustration is everywhere and the horns point fingers to this truth which Guru lays out: that today is the same and perhaps even more so than it was in Gaye's time. The desolation in Gaye's lyric isn't lost but it is fleshed out over the chart so that they are merely the ghosts from the past preaching and exhorting in this new generation. Never has party music sounded so poignant, so utterly damning and hopeful and unbowed. This is the next step in the Homecoming that was a funeral for a friend; this is the aftermath, the sound of angry resurrection coming out with the sun, one where the revolution may be televised but bursts out of the edges in the screen and makes itself known by the medium understood by the people who have to live its realization. With killer grooves that take no prisoners, What's Goin' On is the most fitting tribute yet to Gaye, because not only does it prove the timelessness of the music itself, it echoes that what is indeed goin' on (Gaye's dedication to Detroit as its decline became a reality with no onlookers interested in doing anything) is even more true today than it was in 1971.



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    1. What's Going On feat. Chuck D
    2. What's Happening Brother feat. Bettye Lavette
    3. Flying High (In the Friendly Skies)
    4. Save the Children
    5. God is Love feat. Ivan Neville
    6. Mercy Mercy Me (The Ecology)
    7. Right On
    8. Wholy Holy
    9. Inner City Blues (Make Me Wanna Holler)
    The Dirty Dozen Brass Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Oblivion Oblivion Quick View

    $19.99
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    Oblivion


    Gold Colored Vinyl


    Like all great rock bands, Crematory have based their success on the creativity of a well-rehearsed songwriting team. With Germany's leading gothic metal act, it's drummer Markus JÜllich in collaboration with the producer of each individual album that's kept the group's compositions on course for more than 25 years. At the same time, Markus JÜllich has enough experience to know that the band's evolvement depends on fresh ideas and new influences. So, by enlisting guitarists Tosse Basler and Rolf Munkes and, soon after, bassist Jason Mathias he has ensured that the band has remained contemporary and diverse ever since their 2016 release Monument, reaping the fruits his efforts on the new album Oblivion. "In particular, the sound and the selection of songs reflect the impact our three new band members have had," comments Markus JÜllich. "Tosse is a fantastic rhythm guitarist who adds even more diversity to the material with his clean vocals, and our lead guitarist Rolf enhances the record with his solos. Jason has added lots of drive to the deep frequencies, which is why we've consciously opted for a loud mix of the bass parts." Along with his wife Katrin (keyboards & samples) and vocalist Felix Stass, the three new additions are important factors that ensure that Crematory find themselves in a contemporary and forward-looking position in 2018.


    In fact, the band went one step further on Oblivion: while Markus JÜllich and producer Kristian Bonifer were busy working on the basics of their new recording at the Kohlekellerstudio, Stefan Glass, Dirk Riegner and Walter Stobbe were asked to contribute additional input to the creative process. "Dirk comes from the indie genre and helped to add an important new nuance to the characteristic Crematory approach," Markus JÜllich explains. "Stefan Glass is a specialist for orchestral arrangements and Walter Stobbe is a real riff virtuoso on the guitar." The result is thoroughly compelling as well as ingenious. Crematory's unmistakable style manifests itself on programmatic numbers such as ´Ghost Of The Past` and ´Revenge Is Mine`, but also on the anthemnic ´Wrong Side` and the melancholy title track. The Stefan Glass-inspired orchestral arrangements can be heard on the dark opener ´Salvation` as well as on ´Until The Dawn`, ´Blessed` and ´For All Of Us`. Walter Stobbe's penchant for heavy metal features on ´Cemetary Stillness` and on the album's impressive finale ´Demon Inside`.


    Crematory have rarely sounded as multi-faceted and timeless as on Oblivion. The group's classic trademarks, such as Felix Stass's deep growls, are still present, at the same time new influences emphasise their great commercial potential. Markus JÜllich: "So far we've had a special motto to set the direction of each of our albums, but Oblivion simply combines all our strengths and experience. Over the years we've learned to blend different styles into the typical Crematory sound without ever losing sight of the importance of playing in a way that benefits our music. The motto "less is more" applies to our compositions 100 per cent. Crematory songs never lose themselves in exaggerated effects but always go the whole hog. That's partly due to the fact that we've remained very much down-to-earth."

    1. Expectation
    2. Salvation
    3. Ghost Of The Past
    4. Until The Dawn
    5. Revenge Is Mine
    6. Wrong Side
    7. Stay With Me
    8. For All Of Us
    9. Immortal
    10. Oblivion
    11. Cemetary Stillness
    12. Blessed
    13. Demon Inside
    Crematory
    $19.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Images 13 (Out of Stock) Images 13 (Out of Stock) Quick View

    $16.99
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    Images 13 (Out of Stock)


    "Dex Romweber was and is a huge influence on my music. I owned all of his records as a teenager, and was thrilled at the fact that we were able to play together recently on tour. [He is] is one of the best kept secrets of the rock n roll underground." -Jack White, White Stripes


    For a quarter century, Dex Romweber has trolled the dark corners and back shelves of the haunted thrift store of Americana ephemera and honed an extraordinarily idiomatic sound, a particular and readily identifiable DEXness for those in the know. It's a creepy doll collection of surf, proto-rockabilly, garage, dark and vengeful blues, and nobody, but nobody, plays it like Dex. First with the legendary Flat Duo Jets and now with his Duo, Dex distilled the punk ethos of less-is-more to the essential guitar/drums template. Left in the wake of his lecherous and slithery Silvertone were early acolytes like Jack White, Neko Case, and the Reigning Sound as well as a current crop of the indie pack like Ty Segall, No Age, Japandroids, and The Black Keys. All owe an unclaimed pawn ticket of debt to his sublime and spine-tingling sound. He is a live wire back to the murky, sometimes dangerous and always unpredictable headwaters of real rock and roll.


    Dex, with his whip-wristed sister Sara Romweber on drums, take Images 13 through neon-lit alleys, full of pulp fiction juvey rock, sci-fi theme songs and greasy denim hipster jive. Effortlessly versatile and raucously dismissive of genre constraints, exciting and darkly romantic, Images 13 would make everyone from Duane Eddy to Stan Kenton to Lenny Bruce crack a smile, a joke or the seal on a fifth of rye and head for the Naugahyde ice bucket.


    Recorded at Rick Miller's (Southern Culture on the Skids) Kudzu Ranch studio in North Carolina, the album bristles with a sense of drama, of tension, of release, of mystery. "Roll On" and "Long Battle Coming" display the cinematic sleaze nestled between The Cramps and West Side Story. Eerie ballads "Baby I Know What It's Like to be Alone" and "I Don't Want to Listen" reveal the crooning, bruised romantic, the harsh morning light of a strange hotel room, a Raymond Chandler novel on the bedside table. "Beyond the Moonlight" is part sea shanty longing and part campfire revival. Then, just as easily, the instrumentals take center stage. "Blackout!" updates Henry Mancini's Peter Gunn theme with a dynamic tension and sly cool, and Dex and Sara attack the big waves off Maui with a chaotic rush on "Blue Surf" - his guitar guiding you into the sweet spot of the pipeline and her drums pounding you into the sand. Hey Tarantino, wake up!


    Digging into the skeleton-filled rock 'n' roll closet, Dex Romweber Duo comes up with some obscure and wonderful gems. The early Who track "So Sad About Us," featuring Mary Huff (SCOTS) on vocals, hits an uncharacteristically sunny power pop vibe. The hopeful "We'll Be Together Again" written by Eddie Cochran's girlfriend Sharon Sheeley about his death in a car accident (that she and Gene Vincent survived). The song was never released formally but recorded by Jackie DeShannon in the early '60s. Finishing up the album is the music of Harry Lubin, who did theme music for shows like The Outer Limits and One Step Beyond. "Weird (Aurora Borealis)" is the music from the latter when ghosts, UFO's, or odd paranormal experiences begin to rear their strange heads, complete with tribal drums and Melissa Swingle (Trailer Bride, The Moaners) on the saw.


    Flat Duo Jets - so often emulated, so rarely duplicated - released the first of nine albums in 1990 to rave reviews worldwide. They starred, alongside R.E.M. and The B-52s, in the 1987 cult classic film Athens, GA: Inside/Out. Their first national tour in 1990 was as opening act for The Cramps and they made a stunning impression on Late Night with David Letterman. Dex Romweber Duo's first record Ruins of Berlin featured guest appearances by Neko Case, Cat Power, and Exene Cervenka. Dex was name-checked by Jack White in the guitar superstar documentary It Might Get Loud, and the Duo recorded a single and live album with White for his label Third Man Records in 2009. Subsequently, the Duo has shared the stage with dozens of rock icons including Wanda Jackson, Cat Power, Neko Case, and The White Stripes. In 2012, the documentary about Dex's sometimes harrowing career Two Headed Cow was released.

    1. Roll On
    2. Long Battle Coming
    3. Baby I Know What It's Like To Be Alone
    4. So Sad About Us
    5. Prelude in G Minor
    6. Blackout!
    7. I Don't Want To Listen
    8. Beyond The Moonlight
    9. We'll Be Together Again
    10. Blue Surf
    11. One Sided Love Affair
    12. Weird (Aurora Borealis)
    Dex Romweber Duo
    $16.99
    Vinyl LP - Sealed Temporarily out of stock
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