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The Sea And The Bells'
The Sea And The BellsOriginally released in 1996 and recorded between July of 1995 and April of 1996 in Chicago, New York City and Louisville, Rachels third full-length album features 17 musicians performing original compositions by Christian Frederickson, Jason Noble and Rachel Grimes. From the cathartic release of Rhine & Courtesan to the cacophony of The Sirens, from the understated beauty of The Blue-Skinned Waltz to the eerie drone of Night At Sea, Rachels continued to push the boundaries of their sound even further on this experimental album.1. Rhine & Courtesan
2. The Voyage of Camille
3. Tea Merchants
4. Lloyd's Register
5. With More Air Than Words
6. All Is Calm
7. Cypress Branches
8. The Sirens
9. Night at Sea
10. Letters Home
11. To Rest Near You
12. The Blue-Skinned Waltz
13. His Eyes$26.99Vinyl LP - 2 LPs Sealed Buy Now
Coil SeaCoil Sea is a collaborative and mostly improvised recording project featuring David Heumann (Arbouretum, Human Bell), Matthew Pierce (Arbouretum) and Michael Lowry (both of Lake Trout and Big in Japan) and Walker David Teret (ex-Arbouretum, Anomoanon).
The project began when Lowry and Pierce invited Heumann to sit in with their long-running instrumental project Big in Japan for one performance of a month-long residency at Baltimores Windup Space. Heumann and Arbouretum had recently finished a European tour, and the show with Big in Japan enlivened his idea to record improvised performances with a loose group of familiar but unaffiliated musicians.
Heumanns goal was to record with few set ideas and little editorial input, allowing the music to develop naturally as the group coalesced. Heumanns performance with Big in Japan had also included percussionist Michael Kuhl (Red Headed Temper, Jenny Boyle and the Drivers), so Heumann invited Kuhl, childhood friend Jimmy Wallace (guitar), and his former Arbouretum and Anomoanon bandmate Walker Teret (bass) to join the session.
The first session was recorded by Chris and Mickey Freeland on a Saturday in September. Only one song (Abyssinia) had a pre-written melody; the rest of the performances were composed and improvised on the spot, with the only verbal directions being references to tempo and key. A portion of the recording from that session was edited and mixed with Freeland, and later with Rob Girardi at Lord Baltimore Recordings, for the album tracks Abyssinia, Revert to Dirt and Waking the Naga. Much care was taken to preserve the spirit and feel of the original takes, even as effects were added to the original tracks, instruments were brought in and out of the mix and performances were cut and spliced.
A second session was arranged, this time recording at Lord Baltimore, based around a melody Heumann had come up with in a Lydian mode, which appears on the record as Dolphins in the Coil Sea. The track was envisioned as an homage to jazz/noise legend Sonny Sharrock, and is unique to the album in that its almost untouched from the original recording.1. Abyssinia
2. Dolphins in the Coil Sea
3. Revert to Dirt
4. Waking the Naga$16.99Vinyl LP - Sealed Buy Now
As Seen Through WindowsMontreal's Bell Orchestre's sophomore full-length, As Seen Through Windows is filled with stunning, lush instrumentation and builds off where their acclaimed, Juno nominated, 2005 debut left off. Recorded with John McEntire (Tortoise/Sea & Cake), As Seen Through Windows continues the sextet's exploration of various classical styles and non-traditional musical forms to create a panoramic soundtrack, expansive and enveloping, both challenging and pleasurable to the listener.1. Stripes
5. Bucephalus Bouncing Ball
6. As Seen Through Windows
7. The Gaze
8. Dark Lights
9. Air Lines/Land Lines$22.99Vinyl LP - Sealed Buy Now
Trust NowTrust Now is the keystone album of Brooklyns Prince Rama. The album takes the kaleidoscopic mysticism of ancient devotional music and focuses it through the fierce urgency and archetypal language of pop, forming an environment that is both accessible and impenetrable.
Deep synths rise from a sparkling sea of gamelans and prayer bells as tribal drums pound the earth with the hypnotic power to heal or destroy. Voices carry captivating and haunting melodies that shine like the diamond jewels of old Bollywood soundtracks spilling over dark wave dance floors.
First conceived as a ritual to be performed live, the songs were fittingly recorded inside a 19th century church in Seattle by Scott Colburn (Sun City Girls, Animal Collective, Arcade Fire). As their 5th full-length album, and first as a duo, Trust Now is perhaps Prince Ramas most focused, cohesive and powerful album to date.1. Rest in Peace
2. Summer of Love
6. Golden Silence$15.99Vinyl LP - Sealed Buy Now
Old World RomanceSea Wolf's founder and leading man, Alex Brown Church (writer/guitar/vocals), shares "After the last record, which was written and recorded far from home and was more of a group experience, I really wanted to stay close to home, be in my own space and give myself room to explore and write and record on my own schedule," Church continues, "I just felt I needed to bring Sea Wolf back to me, to my world," Church produced and recorded Old World Romance in the comfort of his home studio, with mixing by Kennie Takahashi (Broken Bells, The Black Keys, Jessica Lea Mayfield).1. Old Friend
2. In Nothing
5. Blue Stockings
6. Saint Catherine St.
7. Changing Seasons
8. Dear Fellow Traveller
9. Miracle Cure
10. Whirlpool$17.99Vinyl LP - Sealed Buy Now
The Spinners Spinners On Numbered Limited Edition 180g LP From Mobile Fidelity
Spinners' Silky Smooth 1972 Self-titled Record Birthed The Philadelphia Soul Sound: Includes Top 5 Hits I'll Be Around And Could It Be I'm Falling In Love
Mastered From The Original Master Tapes: Mobile Fidelity 180g LP Presents Groundbreaking Soul Album With Pristine Detail, Soothing Warmth, And Involving Emotionalism
Sweeping Strings, Funk Rhythms, Brassy Rejoinders, Immaculate Harmonies, And Satiny Lead Singing Fill Thom Bell's Melodic Arrangements: Few Albums Sound Creamier Than This Watershed Effort
The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic - a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.
Mastered from the original tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of Spinners presents the quintet's magnum opus with pristine detail, soothing warmth, and involving emotionalism. Free of previously constraining ceilings, highs soar to their intended heights. Each singer's voice can be distinctly heard amidst the expert mix. Superb dynamics, soundstaging, and imaging highlight Bell's gorgeous orchestrations as well as the Spinners' pillow-soft mellifluousness. Backing instrumentation, ranging from rolling bass lines and punctual horns to swaying strings and crisp high-hat beats, unfolds with reference-caliber purity and transparency. Not many 1970s albums of any genre sound silkier, creamier, or more tonally rich than this LP.
While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic - prompted by a suggestion by Aretha Franklin - and refashion their approach with Bell signaled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.
Anchored by Top 5 smashes like Could It Be I'm Falling In Love, Spinners signaled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.
Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as One of a Kind (Love Affair). Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling I'll Be Around. Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance (Just You and Me Baby), regret (How Could I Let You Get Away), and social ills (Ghetto Child) with consummate passion.
This title is not eligible for discount.1. Just Can't Get You Out of My Mind
2. Just You and Me Baby
3. Don't Let the Green Grass Fool You
4. I Could Never (Repay Your Love)
5. I'll Be Around
6. One of a Kind (Love Affair)
7. We Belong Together
8. Ghetto Child
9. How Could I Let You Get Away
10. Could It Be I'm Falling In Love$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
180-Gram Electric Blue Vinyl
"'Adult Diversion' is a whimsical dream jam and brings "feel-good" to
a staggering high." - Consequence of Sound
"...a complete collision of everything we already love: singalong
lyrics, a guitar-driven backbone, and a sun-drenched vibe..."
"Alvvays make wistful, jangly, Brit-tinged indiepop."
"...somewhere between the sun-drenched shores of California and
the preppy Scottish countryside."
Alvvays are two women, three men, a crate of C-86 tapes and a
love of jingle-jangle. Molly Rankin and Kerri MacLellan grew up
as next-door neighbours in Cape Breton, lifting fiddles and folk-songs. Heartbreaks of different shades soon entered their lives, as
did the music of Teenage Fanclub and Belle & Sebastian. Similar
noisy melancholy drifted over to Prince Edward Island, finding
Alec O'Hanley, Brian Murphy and Philip MacIsaac.
Convening in Toronto, the group have been making music since
since dusk or maybe dawn, when stars were appearing or fading
off. As a result, their debut self-titled album is both sun-splashed
and twilit -- nine songs concealing drunkenness, defeat and death
in tungsten-tinted pop that glitters like sea glass.
With needlepoint melody and verse, Rankin and O'Hanley's songs
were recorded at Chad VanGaalen's Yoko Eno studio and mixed
by Graham Walsh (Holy Fuck) and John Agnello (Sonic Youth,
Dinosaur Jr., kurt Vile). The resultant album is loud and clear and
sure. Flood your ears.1. Adult Diversion
2. Archie, Marry Me
3. Ones Who Love You
4. Next of Kin
5. Party Police
6. The Agency Group
8. Atop a Cake
9. Red Planet$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Herein WildFormer Dum Dum Girls member Frankie Rose releases the follow-up to her dream-pop-driven 2012 debut Interstellar. Titled Herein Wild, the artist's sophomore set drops via her new label home, Fat Possum.
As a founding member, songwriter, instrumentalist and vocalist in Vivian Girls and drummer and occasional vocalist in Crystal Stilts, Frankie Rose has been an integral part of two of the most highly acclaimed and influential groups to come out of Brooklyn's still-vital music scene in the past several years. Her solo project not only reflects the aesthetic earmarks of both those groups, but it also reveals her as a fully-formed artist in her own right.
Ms. Rose's music is haunted by the ghosts of 60s girl group, Brill Building, and 80s and 90s noise pop in equal measure. It's a spooky, lovely sound - Frankie's ethereal yet affectation-free voice swirling in a sea of church-like harmonies over a bed of tambourines, bells, and propulsive drumming. Recalling in spirit such groups as The Aislers Set and Black Tambourine, Frankie's music is both timeless and immediate, both deeply personal and completely universal.1. You For Me
3. Into Blue
4. The Depths
5. Cliffs As High
6. Minor Times
7. Question Reason
9. Street Of Dreams
10. Requiem$16.99Vinyl LP - Sealed Buy Now
Never Were The Way She Was
180g LP In Gatefold Jacket Includes Art Print Poster
"Stetson demolishes clichÉsto unleash fresh, unexpected energies...at once
exhilarating and frightening." - Pitchfork
"Calmly ravishing and emotionally centered...Ms. Neufeld has a warmly
expressive sound palette,." - The New York Times
Two of Constellation's acclaimed solo instrumental artists join forces on this
tremendous new album of original compositions for horn and violin.
Colin Stetson has developed a unique and renowned voice as a performer and
composer, chiefly on bass and tenor saxophones, where he rallies an array of
technical strengths and innovations (circular breathing, contact micing of his own
body and the body of his instrument, vocalizations through the reed) to make some
of the most captivatingly organic, darkly soulful and otherworldly solo instrumental
work of recent years. His brilliant trilogy of New History Warfare records (2007-
2013) has been resoundingly celebrated by critics, fans and fellow musicians
across many genres: avant/jazz, modern classical/Miminalism, electronic/noise,
industrial/dark ambient, black metal and indie rock.
The solo violin work of Sarah Neufeld has emerged more recently, and especially
through 2011-2014, in the period between her primary band Arcade Fire's last two
albums. While no stranger to modern/minimalist composition with her Bell Orchestre
ensemble dating back to the early 2000s, Neufeld has lately forged a newly distinctive,
deliberate and evocative solo violin practice combining rock, folk, ambient and
modernist sensibilities, culminating with her debut solo album Hero Brother in 2013.
Stetson and Neufeld first began playing in duo formation while on tour together as
soloists in 2012, joining each other on stage for one or two of their respective
pieces. Stetson had also collaborated in the past with Bell Orchestre and Arcade
Fire, and with Neufeld and Shahzad Ismaily in an improv trio dating back to 2010
(including the Blue Caprice soundtrack). Duo compositions for their debut album
emerged throughout 2014, and were road-tested that spring with performances at
the Festival de Musique Actuelle de Victoriaville (Canada) and Moers Festival
(Germany). The album was recorded without overdubbing, looping, sampling,
cutting or pasting at their farmhouse attic studio in rural Vermont by Hans Bernhard
and mixed in Montreal by Mark Lawson (Arcade Fire).
Never were the way she was is guided by the metaphorical narrative of the life of
a girl who ages slow as mountains; excited, exalted, and ultimately exiled in her
search for a world that resembles her experience. The album's expansive sonic
trajectory and multiplicity of structures and voicings belies the fundamental
economy of two acoustic instruments combining in real time. The result is a musical
chronicle that powerfully establishes its own spatial and temporal horizon, a
soundtrack that requires no images but profoundly compels the imaginative. From
the filigreed ostinato polyrhythms of "The sun roars into view" and "In the vespers"
to the stately long tones of "And they still move", the dark drone-inflected sea-saw
waltz of "With the dark hug of time" to the growling, pulsing thrust of the album's
epic centerpiece "The rest of us", Stetson and Neufeld offer up an incredible (and
impressively diverse) integration of composition, performance, timbre and texture
while holding their respective instruments in sparkling juxtaposition. Never were
the way she was is a sum quite definitively and thrillingly greater than its parts.1. The sun roars into view
2. Won't be a thing to become
3. In the vespers
4. And still they move
5. With the dark hug of time
6. The rest of us
7. Never were the way she was
8. Flight$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Beyond The BloodhoundsAdia Victoria spent the last few years writing, recording, touring and performing, while entrenched in the infamous artist R&R world - restaurants and retail work. Day jobs at a laundry list of Nashville it and not so it spots gave the musician lots of people watching time as well as the mental and emotional space to marinate in her art.
Adia blows the social hush-hush lid off the mental and emotional state of a young black woman growing up under the poverty line in the Deep South and all the implications of such. No pretense. No jive. But also, like the writing of Eudora Welty and Tennessee Williams, there is plenty of Southern Gothic styled, marrow deep joy.
In a recent feature story, Fader encouraged us to, Meet Adia Victoria, A Poet Making Country Music a Little Creepier. She is found in album cuts like Sea of Sand and Stuck in the South, revealing some of her place-based aha moments. In the latter, she notes, I don't know nothin' about Southern belles/ But I can tell you something about Southern hell. As songs like Head Rot, and first single Dead Eyes show us, Adia says, it's an album of falling in love, dealing with loss, confusion, anger, love, and loving myself.
Produced by Roger Moutenot (Yo La Tengo, Sleater Kinney) and the artist herself, recorded at Nashville, Tennessee's Haptown Studios, Beyond the Bloodhounds features the indelible lyrics, voice, and guitar solos of Adia Victoria along with a band of talented musicians including Tiffany Minton (Drums), Alex Caress (keys), Mason Hickman (guitar), and Jason Harris (bass). She recalls, the studio is a Music City treasure. It used to be a car repair shop. You walk in and there are no windows. It's dark and moody. It feels like walking into the mind.
The result of a lifetime of introspection and a younger self marked by silent observation, Adia Victoria's Beyond the Bloodhounds was three active, recording years in the making. The title pays homage to a line in Harriet Jacobs' Narrative in the Life of a Slave Girl.
Ultimately, Victoria's debut album is more both/and, than either/or. The complexity of her Southern, barrel-aged roots and world traveling, bookworm woman ways will lure you out of the status quo.
Publications like American Songwriter, Rookie, and NPR are taking notice.
Now on the brink of her 30s, fluent in the language of her own self, Adia Victoria stands poised to take her place in a line of true artists. Her mother warned that she feels too much and would be torn up by the world. Adia will tell you that proved to be true. I've felt shredded, but I'm now blessed to embrace the intense feelings as part of my job. That's what I do. It's my bread and butter. My art depends on me feeling and experiencing. I show up, live, and come back and say, oooooh Honey, it was like this...1. I'm With You
2. Borderlines And Aliens
4. Ways To Go
5. Shark Attack
6. Sit Still
7. Hippy Hill
8. What I Know
9. Didn't Have To Go
10. Bitin' The Bullet
11. News To Me
13. Save The Party For Me$19.99Vinyl LP - Sealed Buy Now
Love MeTomas Barfod released his debut solo album back in 2012, a sophisticated mesh of electronics
called Salton Sea. Lauded by the likes of Pitchfork, Dazed & Confused and Gorilla vs Bear, the
acclaim took Barfod slightly by surprise but its success has paved the way for the follow-up, Love
Me, an album that takes Barfod's spirit of adventurousness and raises the stakes. Utilising a
supporting cast that includes a string and brass section, and musicians like Here We Go Magic's
Luke Temple and long-term collaborator Nina K. on vocal duties, it's a multi-layered album that
effortlessly pushes and pulls dance and electronic music into a myriad different shapes.
Barfod was first exposed to the indefinable lure of the electronic music scene not by clubbing (that
came later), or by specific acts, but by a long-forgotten film featuring a section set in a club. "I
think it was after I watched a bad movie about raves in the 1980s" he laughs. Early musical
influences ranged from the likes of Goldie, Massive Attack and Portishead, to Goa trance and
techno, before drifting into house and disco. These influences subsequently manifested
themselves in the acid disco-inspired club-bangers Tomas released as Tomboy via Gomma records
and the ambient techno he unleashed on Kompakt.
He had about ten years of musical experience before he started making his own music, part of
which came in the shape of his band, WhoMadeWho, who he formed in 2004 alongside two
fellow Danes, guitarist Jeppe Kjellberg and singer and bassist Tomas Høffding (Barfod plays
drums and produces).
These new songs are precise, more defined and ultimately crafted into more fully-formed songs.
While still keeping his debut's intimate delicacy and beautiful sense of fragility, this follow-up is
also more audacious, as showcased on the sweeping strings of the lovely "Aftermath". This
coalescing of the real and the analog is also highlighted by the guest vocalists, who range from
long-term collaborator Nina Kinert on the lovely electro-squelch of "Pulsing" and the bouncing
electro-pop of "Busy Baby", and American singer-songwriter Luke Temple on the poignant "Bell
House". From the start Barfod was acutely aware that in order for these songs to come to life they
needed to have vocals, even if piecing it all together was like finishing a puzzle. Love Me is many-textured, endlessly rewarding, an organic-sounding electronic album utilizing real heart and soul.1. Bell House (feat. Luke Temple)
2. Pulsing (feat. Nina K.)
3. Destiny's Child
4. Busy Baby (feat. Nina K.)
5. Honey (feat. Sleep Party People)
6. Aftermath (feat. Nina K.)
7. Blue Matter (feat. Jeppe Kjellberg)
8. Waiting For Us (feat. Nina K.)
10. Sell You (feat. Night Beds)
11. Lost (feat. Pell)$19.99Vinyl LP - 2 LPs Sealed Buy Now