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The Search For Everything'
The Search For EverythingOn his 10th album, The Search For Everything, John Mayer meditates on getting older. "Time's been talking to me/Whispering in my ear," he sings on "Changing," a wistful song about embracing life's complexities. While some of the album's songs read like diary entries from a man in reflection, others display a forward momentum. Shrugging off some of that inner torment in the name of fun, The Search For Everything is loose, lively, and delightfully diverse, finding him dabbling in funk, folk, blues, and soul, with support from the John Mayer Trio.
It's taken John Mayer two decades to sound this peaceful, and now, he wants us to go with the flow, too.LP 1
1. Still Feel Like Your Man
2. Emoji Of A Wave
4. Love On The Weekend
5. In The Blood
1. Theme From The Search For Everything
2. Moving On And Getting Over
3. Never On The Day You Leave
5. Roll It On Home
6. You're Gonna Live Forever In Me$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Sound Of EverythingBorn out of late-night graveyard experimentation, Seattle's Thousands is comprised of guitarists/vocalists Kristian Garrard and Luke Bergman. The Sound of Everything, the duo's stark and original spin on modern folk music is one of the most gentle and serene recordings you're likely to ever hear. The band's debut album is solely voices, guitars, and an array of environmental sounds such as birds, leaves, wind, intentionally recorded along with the songs and untouched.
Each recorded live in one take, the songs on the album provide a musical snapshot of a moment in time, a picture postcard of the world as it was where and when Garrard and Bergman recorded each of these 11 songs. The two drove tirelessly across the Pacific Northwest searching for recording locations, settling on an abandoned silo, a barn and a riverbank as the perfect natural studios. Originally brought to the attention of Bella Union by Fleet Foxes' Sky Skjelset, Thousands have managed to fit the sound of everything cozily in between two headphones.1. MTSES III
2. Big Black Road
3. Red Seagulls
4. At The Edges
5. Everything Turned Upside Down
6. The Sound Of Everything
7. Sun Cuz
8. To Save The Truth
9. Love Wont Come
10. Must Be Born Again
11. We Dont Tell
12. On And On$17.99Vinyl LP - Sealed Buy Now
What For?Opening to the scream of F1's speeding around a racetrack,
and maintaining that intensity with booming guitar riffs and
psychedelic effects throughout, the forthcoming album from
Toro Y Moi is definitely making a statement. Or maybe a few
statements. But Chaz Bundick, the frontman and songwriter,
is leaving it up to you to figure out what they are. While it is
obvious that each song is crafted around a personally meaningful
experience, Chaz seems to purposefully leave the lyrics
just vague enough to let each listener mold it into something
unique. Chaz presents you with a few themes: love, beauty,
nature; and gently lets go of your hand so you can wander off
on your own.
A feeling of searching for something threads its way through
every song on the album, which is aptly named What For? It
feels contradictory in a very human way, like Chaz is swinging
between waiting for something and not being able to wait
anymore. But the swinging isn't panicked or frustrated, it's just
a situation that he's reflecting on. The songs are heavy with
nostalgia, too, for simpler times, better music, more fulfilling
relationships. Chaz references Weezer to warn you that "there
is no one to destroy your sweater" and, in another song, recalls
Big Star to declare that "rock and roll is here to stay." It feels
like he misses everything (even things he wasn't around for
yet), but is somehow excited for what comes next.
What For? is a glimpse into the life of a guy trying to figure out
what it all means. The music is influenced by bands like Big
Star, Talking Heads, Tim Maia, Todd Rundgren, but it doesn't
quite sound like any of them in particular. And it isn't trying to.
It has that special something that Chaz imbues in every Toro Y
Moi album, his personal filter on the world he experiences. So
whatever message you take from the album, don't forget that
it's good. As Chaz himself so candidly believes, "Good is good.
Good finds its own audience."1. What You Want
3. The Flight
4. Empty Nesters
7. Spell It Out
8. Half Dome
9. Run Baby Run
10. Yeah Right$14.99Vinyl LP - Sealed Buy Now
Time Capsules IITime Capsules II is the debut album from Brad Oberhofer, recorded in Brooklyn in late 2011 with legendary producer Steve Lillywhite (U2, The Rolling Stones, Morrissey, Talking Heads). Drawing on influences ranging from Brian Wilson to Descartes, the 21 year old is fixated on the idea of making philosophically minded, energetic melodies.
Emotion is what drives the psychedelic, catchy pop-rock tunes crafted by the effervescent Brad Oberhofer. After moving to Brooklyn from his hometown of Tacoma, WA to attend New York University, Brad quickly immersed himself in the indie rock community forming the four-piece which is now, quite simply, Oberhofer.
Catching the attention of Glassnote Records, the band officially joined the labels' roster over the summer of 2011. Armed with a belief that you spend your entire life searching for the socially aware version of the five year old "you," he tries to inject each song with the innocence felt by that same kid, sitting on the couch of his parents house playing the broken guitar he spent months teaching himself how to play.
Referring to his songwriting as a time capsule of exactly how I'm feeling at a particular moment, each song on his forthcoming debut, Time Capsules II, is a clear, unrestrained look inside the head of Brad Oberhofer. Gold is a reflection on two magical weeks spent with a first love that inadvertently initiated his musical endeavors. Away Frm U" is a nostalgic yet upbeat ode to saying goodbye to that love. Like most of the brilliant debut, the stand-out I Could Go shows that above all, his heart is on his sleeve in both his words and everything he creates, a trademark that suits his search for sincerity well.1. Heart
3. Away Frm U
4. I Could Go
5. Yr Face
7. Cruisin' FDR
10. Homebro$19.99Vinyl LP - Sealed Buy Now
Half A Native
Produced By Thom
Monahan (Peter, Bjorn & John,
Devendra Banhart And Vetiver)
Won 2014 Houston Press Music
Awards For Best Folk/Americana
And Best Male Vocals
Some places you feel like you only sort of fit in and it is this
theme that permeates Houston based folk rock band Buxton's new aptly
titled album Half A Native. One of the leading lights of an emerging music
scene from a city with a burgeoning youth culture, Buxton have won 2
Houston Press Music Awards as Best Houston Folk/Americana Band as
well as Best Male Vocals (Sergio Trevino).
Their new album ventures into vast sonic territories, sometimes
pairing atmospheric piano with off-kilter electric guitar, blanketed by
Trevino's heart-clenched voice and melancholic but optimistic lyrics.
"We take from a lot of different genres and present it in a way that i think
is most honest for us," Trevino says. "You'll hear rock, folk, country,
ambience, and distortion, all interpreted through us."
Recorded in Los Angeles with Thom Monahan (Peter, Bjorn & John,
Devendra Banhart and Vetiver), the 11 new tracks broadcast a wandering
sound, from the dusty tones of guitar-slinging anthems to lonesome
acoustic affairs that look outward and within. Their latest effort is
music for the search for home; the long journey to find somewhere,
something, or someone that makes everything fall into place.1. What I'd Do
2. Good As Gone
3. Old Haunt
4. Half A Native
5. High Tones
6. Miss Catalina 1992
7. A Little Bit More
8. Be Somebody Else
9. The Heart Won't Bend
11. Pool Hall$18.99Vinyl LP - Sealed Buy Now
ADAD-DEA-3811xA Place To Bury Strangers
PinnedA couple of years ago, A Place to Bury Strangers were in search of a new
drummer. Lia Simone Braswell, an L.A. native, had recently moved to
New York, and was playing drums in shows around Brooklyn "just to keep
her chops up." As it turned out, APTBS bassist Dion Lunadon caught one
of those shows and, after seeing her play, was moved to ask her if she'd
want to come to a band practice sometime.
For well over a decade now, A Place to Bury Strangers-Lunadon, founding
guitarist/singer Oliver Ackermann, and, officially, Lia Braswell-have
become well known for their unwavering commitment to unpredictable,
often bewildering live shows, and total, some might say dangerous
This April marks the release of Pinned, their fifth full-length and an album
that finds them converting difficult moments into some of their most
urgent work to date. It's their first since the 2016 election, and their first
since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space
where Ackermann lived, worked, and created with complete freedom.
There are searing meditations on truth and government-led conspiracies
("Execution"), as well as haunting, harmonized responses to the tensions
of our current political climate ("There's Only One of Us"). It all opens
with "Never Coming Back," a frightening crescendo of group vocals,
vertiginous guitar work, and Lunadon's unrelenting bass. It's a clear and
honest statement of intent, not just for everything that follows, but for
this band as a whole.1. Never Coming Back
3. There's Only One Of Us
4. Situations Changes
5. Too Tough To Kill
6. Frustrated Operator
7. Look Me In The Eye
8. Was It Electric
9. I Know I've Done Bad Things
10. Act Your Age
11. Attitude$19.99Vinyl LP - Sealed Buy Now
The Last WaltzMastered By Chris Bellman At Bernie Grundman Studios From The Original Analog Tapes And Pressed At RTI
On Thanksgiving Day 1976, The Band took the stage for the very last time at the Winterland Theatre in San Francisco for THE LAST WALTZ, which has gone on to become one of the most heralded performances of all time. Joining The Band on stage throughout the evening was an unprecedented group of pioneers in music including Eric Clapton, Neil Diamond, Bob Dylan, Dr. John, Joni Mitchell, Van Morrison, Muddy Waters, and Neil Young, among others.
The Band, more than any other group, put rock and roll back in touch with its roots. With their ageless songs and solid grasp of musical idioms, the Band reached across the decades, making connections for a generation that was, as an era of violent cultural schisms wound down, in desperate search of them. They projected a sense of community in the turbulent late Sixties and early Seventies - a time when the fabric of community in the United States was fraying.
Guitarist Robbie Robertson drew from history in his evocative, cinematic story-songs, and the vocal triumvirate of bassist Rick Danko, drummer Levon Helm and keyboardist Richard Manuel joined in rustic harmony and traded lines in rich, conversational exchanges. Multi-instrumentalist Garth Hudson provided musical coloration in period styles that evoked everything from rural carnivals of the early 20th century to rock and roll revues of the Fifties. (via RockHall.com)LP1
1. Theme From The Last Waltz
2. Up On Cripple Creek
3. Who Do You Love
7. Dry Your Eyes
8. It Makes No Difference
9. Such A Night
1. The Night They Drove Old Dixie Down
2. Mystery Train
3. Mannish Boy
4. Further On Up The Road
5. Shape I'm In
6. Down South In New Orleans
8. Tura Tura Lural (That's An Irish Lullaby)
1. Life Is A Carnival
2. Baby Let Me Follow You Down
3. I Don't Believe You (She Acts Like We Never Have Met)
4. Forever Young
5. Baby Let Me Follow You Down (Reprise)
6. I Shall Be Released
The Last Waltz Suite:
7. The Well
9. Out Of The Blue
10. The Weight
11. The Last Waltz Refrain
12. Theme From The Last Waltz (with Orchestra)$36.99Vinyl LP - 3 LPs Sealed Buy Now
Captain Lockheed And The StarfightersImport
180-Gram Audiophile Vinyl
Former Singer Of Hawkwind
Includes A 4 Booklet With Extensive Liner Notes
Captain Lockheed and the Starfighters is the solo debut by Robert Calvert, the former singer of the space-rock band Hawkwind. It's a satirical concept album with both songs and spoken interludes based on the story of the poor quality of the Lockheed F-104 Starfighter planes. The sputtering and sprawling planes starts up the album, which portrays the West German minister of defense as a psychopath who's furious about the Luftwaffe. It's the effective combination of rock and Monty Python skits where the true power of the album lies. Psych and space rock, but also folk music makes up the different sides of the album. Some artists who appears on the album are Brian Eno, Lemmy and Arthur Brown. The album as a whole can be seen as a serious and sophisticated effort to search for interaction between music and conversations. It's the first and most perfect release by Calvert.
The English musician, writer and poet Robert Calvert co-wrote Hawkwind's hit single Silver Machine and wrote different Science Fiction books. He's an artist who gave everything for the art, but died way to soon at the age of 43.
The vinyl release of Captain Lockheed and the Starfighters includes a 4 booklet with extensive liner notes.1. Franz Joseph Strauss, Defence Minister, Reviews The Luftwaffe In 1958. Finding It Somewhat Lacking In Image Potential
2. The Aerospaceage Inferno
3. Aircraft Salesman (A Door In The Foot)
4. The Widow Maker
5. Two Test Pilots Discuss The Starfighter's Performance
6. The Right Stuff
7. Board Meeting (Seen Through A Contract Lense)
8. The Song Of The Gremlin (Part One)
9. Ground Crew (Last Minute Reassembly Before Take Off)
10. Hero With A Wing
11. Ground Control To Pilot
14. I Resign
15. The Song Of The Gremlin (Part Two)
16. Bier Garten
17. Catch A Falling Starfighter$38.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
RatworldBack in the good old of days of 1990, Color Dream games released Menace Beach for the then popular NES games console from Nintendo. Imagine skateboarding through a side-scrolling 8-bit world filled with balloons, clowns and disgruntled dockworkers in search of your cute pixilated girlfriend Bunny. It's from this slightly surreal, esoteric world that this Leeds indie rock revolving cast of local luminaries, headed by Ryan Needham and Liza Violet, draw their name. It's reference acts as the perfect backdrop to their 90s American underground and pre-Brit Pop indie; colourful, energetic, pop and always surprising. After the success of their EP 'Lowtalker' in early 2014, British indie label favourites Memphis Industries snapped MB up again, but this time with the band's debut album in mind. It comes in the shape of 'Ratworld', a thirteen song assault and journey through a psyche tinged wonderland, documenting moving away and waving goodbye to the fractured rubble of an unhappy lifestyle. On the title, Ryan says "We''ve created our own grubby little Ratworld to inhabit. Everything is better when it's a bit grubby and broken". It''s that dreamy sensation of taking comfort in chaos, looking around at the perfect mess you've created and feeling deeply content as it''s yours and no one else's.1. Come On Give Up
3. Drop Outs
5. Blue Eye
6. Dig It Up
7. Tennis Court
9. Tastes Like Medicine
10. Pick Out The Pieces
11. Infinite Donut
12. Fortune Teller$17.99Vinyl LP - Sealed Buy Now
22, A Million22 stands for Justin Vernon. The number's recurrence in his life has become a meaningful pattern through encounter and recognition. A mile marker, a jersey number, a bill total. The reflection of '2' is his identity bound up in duality: the relationship he has with himself and the relationship he has with the rest of the world. A Million is the rest of that world: the millions of people who we will never know, the infinite and the endless, everything outside one's self that makes you who you are. The other side of Justin's duality is the thing that completes him and what he searches for.
22, A Million is thus part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. When Justin sings, "I'm still standing in the need of prayer" he begs the question of what's worth worshipping, or rather, what is possible to worship. If music is a sacred form of discovering, knowing and being, then Bon Iver's albums are totems to that faith. The poly-fi record formed at the congruence of a bold yet delicate sonic palette. These sounds were the way out from the suffocating enclosure and captivity of anxiety.
The ten songs of 22, A Million are a collection of sacred moments, love's torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard coincidence. If 2011's Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.1. 22 (OVER SN)
2. 10 d E A T h b R E a s T
3. 715 - CRKS
4. 33 "GOD"
5. 29 #Strafford APTS
7. 21 MN WATER
8. 8 (circle)
10. 00000 Million$25.99Vinyl LP - Sealed Buy Now
Sun MarqueeSpiritual odysseys are often the subject of the stories we share with one
another. The romantic idea of the soul's high adventure has been the
consistently compelling backbone of everything from ancient myths to
modern fiction. It's so deeply ingrained in cultures throughout the world
that it's become part of our collective cultural baggage. Austin-based
musician Abram Shook has done his share of wandering the world,
searching for a spiritual and a literal home. From road trips through
South America to surfing excursions in Indonesia, he's been fortunate to
have the opportunity to absorb more of the world's cultures first-hand
than many of us ever will.
After leaving Santa Cruz, California where he grew up and studied jazz,
Shook spent several years in Portland and Boston playing in numerous
bands, and wrestling with an unsettled spirit. Turning to traveling as a
means to quell his existential dread, eventually landed him in Austin, TX,
where he's been part of the city's rich creative community for over 8
years. Though the music community in Austin is no substitute for the
briny air and patient West Coast beaches he still longs for, its vitality and
creativity still manage to nourish the soul.
Abram Shook's solo debut, Sun Marquee breathes with the lungs of a man
that finally found a new place to call home, while also reflecting upon the
circuitous path that led him here. Propelled by Shook's impeccable bass
groove, and inspired by artists like Shuggie Otis, Serge Gainsbourge, and
Tom ZÉ, Sun Marquee distills lessons learned and questions unanswered
into an accessible collection of pop songs.1. Recovery
2. In Mind
9. Black Submarine$17.99Vinyl LP - Sealed Buy Now
SolipsismSimple sounds to express complex emotions. Music stripped to its bare essence. Amsterdam-based composer and pianist Joep Beving has stripped music back to its essence in his debut album Solipsism. The independently produced album has been streamed an incredible five million times since its release five months ago. Solipsism represents a quest for essence and beauty, expressed in a neo-classical vocabulary. Joep Beving has been one with the piano from an early age. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story. Joep Beving's debut album Solipsism refers to the philosophical idea that reality only exists in one's mind. Everything outside of it, the external world and the minds of others, cannot truly be known and hence does not exist. Beving's music is an experiment in existential communication, a belief in an absolute aesthetic, to prove that a universal and metaphysical reality does exist. In the past year, Beving composed and recorded his solo album at home in the still of night. The album is filled with introspective and often filmic piano compositions. Beving's sound could be described as the opposite to over-produced and complexly layered music styles. His ambition for Solipsism is to keep the music stripped back to its essence: simple sounds to express complex emotions.1. Midwayer
3. For Steven
5. Saturday Morning
6. Day Dream
7. Sleeping Lotus
9. The Light She Brings
10. Reflection #2
11. Autumn$25.99Vinyl LP - Sealed Buy Now
ChiaroscuroI BREAK HORSES is the musical project led by Maria LindÉn. From her
Stockholm base, the Swedish artist delivered an extraordinary debut album
in the shape of Hearts, released by Bella Union in August 2011. Forward
two years, and the arrival of an eagerly awaited follow-up, entitled Chiaroscuro, is upon us. The latest chapter in I Break Horses' much celebrated
songbook is everything fans could wish for and more. In the words of
LindÉn: My only aim when starting to write this album was to ignore any
possible second album expectations. The result is a more confident and
evolved sound with a more dramatic expression.
The title of Chiaroscuro - meaning light-dark - serves as the perfect
embodiment of LindÉn's sonic creations, where an atmosphere and mood is
created that evokes innermost feelings and thoughts residing beyond the
surface reality of the material world. Affecting ballads such as 'Heart To
Know' and 'You Burn' are wrapped in fragile beauty. 'Denial' and 'Medicine
Brush' are sublime synth-pop odysseys whose pulses guide you to new
horizons. 'Faith' is a dance anthem complete with hypnotic beats, swirling
synths and the mesmerising looped vocals of LindÉn. I let myself write
both the happiest songs but also the saddest, and then I put them
together, states LindÉn. This arrangement of light and dark forms the
essence of Chiaroscuro.
'Ascension' is rooted in a gorgeous 80s synth-pop sound, where LindÉn's
vocals melt into the lush sonic tapestry. The song deals with love and
forgiveness. An irresistible groove lies at the heart of 'Disclosure' where a
divine purity is distilled in the intricate array of instrumentation. 'You Burn' is
perhaps the album's centrepiece, as well as being the opening track, where
a brooding darkness envelops the surrounding human space. The delicate
piano chords drift magnificently amidst Linden's searching lyrics. I Break
Horses are one of those rare bands capable of conjuring up raw emotion
through a sound that is ultimately something life-affirming.1. You Burn
6. Medicine Brush
8. Weigh True Words
9. Heart To Know$22.99Vinyl LP - Sealed Buy Now
WildnessSnow Patrol is set to return with Wildness, their first album in seven years, which finds the band searching for clarity, connection, and meaning, while staying true to the melodic songwriting prowess that brought them to prominence. Wildness taps into something raw and primitive, and lead-singer and songwriter Gary Lightbody says of the album: "There are many types of wildness, but I think it can be distilled into two: the wildness of the modern age, all it's confusion, illogic and alienation and a more ancient wildness. Something primal, alive and beautiful that speaks to our true connectivity, our passion, our love, our communion with nature and each other. This is the kind of wildness the album is centered around. The loss of it. Trying to reconnect with it. To remember it."
Since their 1998 debut, Songs for Polarbears, Snow Patrol have racked up an impressive number of critical and commercial accolades, including 15 million global album sales, 1+ billion global track streams, 5 UK Platinum Albums, and are Grammy and Mercury Music Prize nominated. After their Fallen Empires tour ended in 2012, band members -which also include multi-instrumentalist Johnny McDaid, guitarist Nathan Connolly, bassist Paul Wilson, and drummer Jonny Quinn - decided to take a step back from the band, and focus on their own projects. Gary Lightbody continued his work with his Tired Pony side project with members of Belle and Sebastian, R.E.M, Reindeer Section and Fresh Young Fellows and moved to Los Angeles to begin writing songs for movies (including "This Is How You Walk On" for 2017's Gifted), and doing a number of high-profile co-writes with Ed Sheeran, Taylor Swift and One Direction. Taking this extended break from Snow Patrol proved to be a source of inspiration, and writing songs that were not pulled directly from his own psyche helped heal what Lightbody considered to be not so much writer's block as life block.
It's in this search for clarity and connection that these songs were written and refined. "I think it's the first record I've ever written that I haven't just asked a bunch of questions. I actually tried to figure out why I was unhappy, why I feel out of place, why I'm afraid," says Lightbody. "There's nothing really to protect myself for-- it's all in the album. I want to remember." This impulse was partially inspired by Lightbody's father, who is suffering from dementia. "I think the album is defined by memory in a lot of ways," says Lightbody, "including my father's loss of memory."
The songs are surefooted, displaying a newfound sense of self and purpose, and the rest of the band members rose magnificently to the occasion. The album is produced once more by the great Jacknife Lee, Snow Patrol's longtime producer and collaborator. "Life on Earth" opens the album with its mission statement, "this is something else, this is something else." "Heal Me" feels like an ancient hymn: "Finally, after way too many years of smashing my body to bits with booze, I met someone who helped me find my way back to health and clarity, says Lightbody. "This song is about her, that journey and is dedicated to her." "Empress," written for Lightbody's goddaughters, is fierce and heartfelt, with runaway drums and keen words of wisdom. "What If This Is All The Love You Ever Get?" is a heartstring-puller, posing the question nobody wants to ask. The last track, "Life and Death," is a rumination, and a human story of love and forgiveness- mostly self-forgiveness for Lightbody, demonstrating that perhaps everyone ought to take this long between albums to reflect long and hard before they write.
"Seamus Heaney, my favorite poet of all time, said at 71 that he was only discovering what some of his poetry means, and this is coming from a Nobel Prize-winning poet. It's a great testament to inspiration," says Lightbody. "Sometimes it takes you five years to write the thing. Like now. And you know for sure when you finish an album like that, where you've poured over every detail and put every atom of yourself into it, everything makes sense and I bet you I'm never not proud of this record."1. Life On Earth
2. Don't Give In
3. Heal Me
5. A Dark Switch
6. What If This Is All The Love You Ever Get?
7. A Youth Written In Fire
9. Wild Horses
10. Life And Death$29.99Vinyl LP - Sealed Buy Now
Coma EclipticGrandiose, dynamic, heavy, melodic, technically challenging: these are all words that fall equally short when trying to describe Between the Buried and Me's sonic offerings. When tasked with explaining the band's previous effort, The Parallax II: Future Sequence, Decibel Magazine claimed that the album offers more substance than most bands put forth in entire careers and Metal Hammer simply stated that it was utterly captivating. Where does a burgeoning progressive act go from there? The answer is found in their seventh full-length album, Coma Ecliptic. Spanning just over an hour, the album stands as a significant step in the evolution for the group as a whole, as well as the individual musicians: vocalist / keyboardist Tommy Rogers, guitarists Paul Waggoner and Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson.
Tommy Rogers posits: Coma Ecliptic is a new life for BTBAM. Throughout the process we worked harder than we ever have and really pushed the BTBAM sound to a new identity. In a world of repetition, I'm very proud to be a part of something that is extremely rewarding, as well as frightening. When you don't push yourself you will never know what the outcome is. The outcome is Coma Ecliptic.
What is Coma Ecliptic? It can be interpreted as a modern rock opera, and another ambitious concept album from a band that has completely mastered that format. Dan Briggs comments: Spending the last year immersed in a world of Quadrophenia, Operation Mindcrime, The Wall- as well as Sondheim and Lloyd Webber musicals, Stravinsky and Mussorgsky symphonic suites; writing an over the top, dramatic and forward thinking rock opera was the most natural thing to do. The story follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more perfect. The man does find his ideal life, but then is offered the ultimate choice of life or death. He chooses life and wakes up to his own actual reality. It's at that moment he realizes that he had been in a coma - everything that happened had been dreams and false memories. After awakening, we find the man outside finally experiencing reality, and he sees what he has been missing: the world is beautiful, the air is fresh, and the people appear to be happy, and then he falls over dead. The take away from this is to make the best of your life. People are constantly searching for something better without taking the time to appreciate the things they have. What we need may already be here, and is hopefully real. We may all be in a coma in another life.
Musically, Coma Ecliptic boasts a series of emotive peaks and valleys that drive the narrative along with the lyrics. Tracks such as Memory Palace, while sounding wholly unique, clearly have a distinct BTBAM flavor to which fans have grown so attached. The Coma Machine brings to mind prog in the most classic sense; think YES and King Crimson passages with the added layer of modern metal heaviness. Dim Ignition highlights Rogers' continuing development as a keyboardist, but don't fret, there's still plenty of speed, technically challenging guitar, bass, and drum runs, and quirkiness throughout. What makes these parts work is the interplay of the heavy and technical with the simpler, almost cinematic, soft passages; that is the power of Coma Ecliptic. The listening experience is a journey, and when Life in Velvet brings the album to a sudden, triumphant end, fans will surely be reaching for the replay button. But what does the band think? Rogers adds: If you asked me what this record sounds like, I would tell you BTBAM. With every listen I still find new exciting moments that each member has put into these songs. After all these years we still push each other to try new things and push our individual skills to the next level. It is an absolute thrill to write with such an inspiring group of people. Briggs continues: Writing with a focus on storytelling and just crushing melodic themes set the tone early on before we were even in the rehearsal room together. Put your velvet capes on and get ready for a journey!1. Node
2. The Coma Machine
3. Dim Ignition
4. Famine Wolf
5. King Redeem / Queen Serene
6. Turn on the Darkness
7. The Ectopic Stroll
8. Rapid Calm
9. Memory Palace
10. Option Oblivion
11. Life in Velvet$33.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-GLA-2695xLittle Green Cars
Absolute ZeroAbsolute Zero is the debut album by Irish quintet, Little Green Cars. Absolute Zero's 48 minutes, crafted in unabashed earnestness with the aid of seasoned epic-producer Markus Dravs (Mumford and Sons' Sigh No More and Babel, Arcade Fire's Neon Bible and The Suburbs, Coldplay's Mylo Xyloto), acts as a soul-bearing report, as guileless as the young five-piece themselves, on the act of simply growing up; a process that requires, at once, so little and so much effort it could explode you from the inside at any moment.
"This record constantly jumps between two contrasting perspectives: the beauty of a reckless youth and the fear and confusion caused by our ever-pending adulthood," Appleby explains. "It's a hopeful and naïve look at love and life in general, which gives the album its bright days - but also deals with isolation, unrequited love and madness. We wanted to express both a feeling of strength and vulnerability, so the work had to encompass both the light and dark."
"These are all feelings we've had, as a group or as individuals. We hope this is something people can relate to. That's always been why music has been written; it's a voice for people who don't have a voice. Hopefully someone can find some sort of comfort or solace in this. "
The band -a group of 20-year-old friends with a habit of waxing deadly serious about their ever-expanding ambitions - convened in 2008 in a bungalow in Stevie Appleby's parents' backyard for as ordinary a reason as any: as the frontman admits sheepishly, they wanted to win a battle of the bands competition. With guitarist Adam O'Regan and bassist Donagh O'Leary friends since primary school, and the rest having met in secondary, the five rehearsed for the gig, at which they promptly lost out to another local band.
The defeat, however, was surprisingly fuel enough. It inspired them to work harder, to work through their remaining two years of school, during which they produced a massive catalog of demo recordings, blending acoustic and electronic, classical and punk, djembe drums and synth strings. Then, in 2010, not long before graduation, then-rising manager Daniel Ryan found them at one of their sparse live gigs. With just one client already under his wing, he approached the young band with a terrifying, yet exhilarating ultimatum: Do you want to go to university, or do you want to really be in a band?
"That was the first time we considered looking that far ahead," says guitarist/vocalist/primary songwriter Faye O'Rourke. "We were trying to avoid thinking about the future because of the prospect of college, but " The choice became obvious. And like that, they dove in. For two years they redoubled their efforts, crafting a wide-eyed musical narrative that mirrored their evolution as an ensemble until, inevitably, label suitors began to knock. Since 2011 they've been quietly boiling down those demos into an album - the first they've ever recorded.
"The main thing I want to hear out of an artist I admire is the truth," says Appleby. "How they really felt. If I'm going to say something, it may as well be the truth." The lengths to which Appleby, O'Rourke and the rest of the band will go to tell that truth have yet to reveal their depth, but a full-steam-ahead debut record is a good place to start. Finally, five years' worth of backyard Garage Band tracks have a name: Absolute Zero.
The songs of Absolute Zero have only begun to see the light of day, because, as Appleby puts it, "we've always been more interested in recording and writing and experimenting with everything than in touring. [The past five years] was time spent finding our sound, finding ourselves. We've gone through everything, from acoustic guitars to electronic music. We needed the time to grow up as people and as musicians."
In other words, this is a debut that is a sum total of its creators' ascent to this moment. It is a desperate, under-pillow diary; a painstakingly lettered love note dropped in a locker; a collective, yet very personal, dissertation. On the record's debut single The John Wayne, a fierce paean to the ones who so easily break our hearts, the lot of them proclaim, "It's easy to fall in love with you/It's easy to be alone/It's easy to hate yourself when all your love is inside someone else." On "My Love Took Me Down To The River To Silence Me," O'Rourke is torn between the heartbreak and the healing that comes from being heartbroken, "But my heart burned out til it was no more/still I wait on the ground, I don't know what for/There is a heart in you/where is the heart in me?/This love's killing me, but I want it to." And by its early-morning close, when Appleby asks, "And who will write and who will fight for this man/I know I am?/And if you're running out of space/Please don't erase your time with me," it becomes clear that it's not just love Little Green Cars are grasping at: even amidst an ex-lover's plea for acknowledgement, the search has grown far beyond that.1. Harper Lee
2. Angel Owl
3. My Love Took Me Down to The River to Silence Me
4. The Consequences of Not Sleeping
5. Big Red Dragon
6. Red and Blue
7. The Kitchen Floor
8. The John Wayne
11. Goodbye Blue Monday$19.99Vinyl LP - Sealed Buy Now
The Satanist (Awaiting Repress)
Exclusive Bonus Track
Double Gatefold Jacket
24-Page LP Sized Book
"The Satanist is magic. It's dangerous. It's adventurous, and it's organic," states Nergal, the driving force behind Behemoth since their inception in 1991, and brief exposure to the band's tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing, densely layered, brutally violent and sinister record, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention, offering ever greater sonic and emotional depths with every listen. "You may hear the title and think it's very primitive and one-dimensional, and yes it is, but when you look beyond that it's as primitive as it is complex and multidimensional, and that applies to everything about the record."
It has been a rocky road leading to the realization of the album. Having dropped 2009s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world, and playing some of the best shows of their lives the band seemed truly unstoppable. But, in August 2010 Nergal was diagnosed with leukemia, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation. "I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can't control. The sooner you realize which is which it's going to make your life so much easier, and since then I started to focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference."
Rather than immediately getting down to working on a new album, the band - also comprised of drummer Inferno, bassist Orion, and guitarist Seth - set out to complete the abandoned touring cycle for Evangelion, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal's mind. "I was a fucking wreck, and I almost didn't make it to the end of the set. The venue was really smoky, and that was stuffing my nose and my lungs, and physically I felt that I couldn't pull it off. I did, but I was close to passing out on stage. I was literally shocked by this, I remember thinking while we were playing shit, what if I can't do this anymore? I'm just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident, and aware of the fact that yes, we will do this."
Having returned to full force the band were ready to once more move forward, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful - and successful - as Evangelion Nergal faced no such doubts. "I don't race myself, and I don't need to prove anything to anyone. Evangelion was a very important record to us, and yes, it was very successful too, but in making The Satanist it wasn't a point of beating that. The point was to do what was organic, and make a natural and honest and sincere album, and that's it. Now the record is finished I like to think of it as an album that is just so different that you can't really compare it to our previous works, which is the best outcome I could hope for." One thing is inarguable, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density, but there is intricacy to this, and nothing is forced or contrived. "I don't have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them, but there's never a one hundred percent guarantee he's going to become a lawyer and not a serial killer. It's the same story with the records - we supply the elements but we just don't know how these elements mixed together are going to come out, and I think it's fortunate that we don't have one hundred percent control over it! It makes for something special."
The title of the record itself is undeniable in its power, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. "To me it's not pretentious at all. It's very straight up, very sincere, and a devastating, conquering statement. There's no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it's a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you're going to hear a hundred different opinions, which they can then discuss and fight over." Likewise, Nergal views the lyrical content of the record as similarly open to interpretation, encouraging this. "There's a lot of symbolism and reflections and impressions in there, and it's using millions of metaphors to express a certain very sinister and very captivating atmosphere, but there are no answers. People always like to have a deeper insight into what we do, but that's not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire, but what we're doing is just giving you the matches, giving you the spark, what you want to do with it is up to you. Personally, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts, it's a never ending process, and that's exciting to me."
Twenty-three years and ten albums into their career, that Behemoth is still in the ascendant is a statement to their commitment, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song, but don't expect them to disappear any time soon. "I remember before we we had a record deal I was having a conversation with Baal, the band's original drummer, and we said okay, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more, and there was something about that that had an appeal, but y'know what, it doesn't work like that for individuals like myself. Hunger has always driven me through life, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now, over two decades later it's the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art - but then again, I remember that conversation with Baal, and I know it doesn't work like that, so I know there will probably be other incarnations of our artistic identity, one way or another. All I know is I love being here and now, and I just want to underline that I couldn't be more proud and happy with my own music. It really drives me through the day, and now I just want to sit back and hear any and all opinions of it."1. Blow Your Trumpets Gabriel
2. Furor Divinus
3. Messe Noire
4. Ora Pro Nobis Lucifer
6. The Satanist
7. Ben Sahar
8. In the Absence ov Light
9. O Father O Satan O Sun!$44.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
The Unquiet SkySince the early 80's when bands like Cathedral and Saint Vitus pioneered the doom genre of metal, the style has continuously evolved and spread, despite being far less recognized and appreciated than most other forms of more traditional heavy metal. Bands like Eyehategod and Crowbar melded elements of doom into sludge and stoner metal, gaining modest success in the more mainstream metal community, but doom is beginning to enjoy a new wave of popularity, thanks largely to the more progressive experimental work of artists like Stephen O'Malley (Sunn0))), Burning Witch). Indian is a Chicago-based trio whose brand of doom is more akin to that of Eyehategod than the earliest or latest incarnations of the genre, and their distinctively black metal vocals immediately set them apart from the pack.
First things first: The Unquiet Sky is everything a doom record should be. The bass tone is so perfect and intense that it could shake your body through a pair of headphones. The guitars bring Black Sabbath-esque fuzz down enough notches to kill a horse. The percussion is sparse when it needs to be (Ration) and energetic when it's allowed (Tied and Gagged). Dylan O'Toole's vocals give Indian the extra edge over many of the other bands who have perfected this formula by complementing the melancholy created by the music with a demonic voice of evil. There is even an extended track of terrifyingly psychedelic feedback, perfectly placed to scare the crap out of you when you're high. In fact, the only thing that fails to be suitably doom-y and evil about this record is the cover illustration of a Christ-like baboon which, despite being evil enough in spirit, looks a bit too much like it was drawn in a junior high art class.
This record is an easy recommend for fans of the doom genre, but what about anyone unacquainted with the genre I personally don't consider myself a huge aficionado of the style, but loved this record. The only things required to enjoy The Unquiet Sky are an attention span and a love of all things metal. This record generally moves slowly, as does most doom, but it is far less droning and repetitive than many recent examples of the genre. As the name of the style suggests, doom is, by its very nature, dark, oppressive music. As such, Indian is definitely better suited to being digested over an extended period of time at high volumes, rather than short bursts in your car or through headphones.
Bottom Line: If you're searching for the latest, greatest doom record to add to your collection, look no further than Indian's The Unquiet Sky. Fans of Neurosis, Eyehategod and Godflesh should also definitely pick this up. It's a solid record from beginning to end from an up-and-coming trio of doom virtuosos.
- Cory (Lambgoat)1. No Able Fires
3. Dead Weight
4. Los Nietos
6. Tied and Gagged
7. God of Panic, Lord of Decay
8. Loophole Noose
10. We Can Build You
11. Worshiper of Sores$24.99Vinyl LP - Sealed Buy Now
Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.
Fantastic 4 Star review from American Songwriter!
There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.
So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.
Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.
The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.
While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.
Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.
There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.
Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.1. Babel
2. Whispers In The Dark
3. I Will Wait
4. Holland Road
5. Ghosts That We Knew
6. Lover Of The Light
7. Lovers' Eyes
9. Hopeless Wanderer
10. Broken Crown
11. Below My Feet
12. Not With Haste$16.99Vinyl LP - Sealed Buy Now
Little Niles (Pure Pleasure)Randy Weston, one of the world's foremost pianists and composers, a true innovator and visionary. Starting with the gospel of bop according to Thelonious Monk, Weston gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance, marked by a stabbing quality reminiscent of, but not totally indebted to Monk.
Combining the Ellingtonish arrangements of Melba Liston with the rhythmically intriguing explorations of Randy Weston this album represented a high point in his career at the time. All the tunes, written by Randy Weston, were inspired by his children Niles and Pamela. The innocence, excitement, anticipation and tension of childhood are all displayed here in these warm vinyl grooves.
- Randy Weston (piano)
- Johnny Griffin (tenor saxophone)
- Ray Copeland, Idrees Sulieman (trumpet)
- Melba Liston (arranger, trombone)
- George Joyner (bass)
- Charlie Persip ( drums)
Recording: October 1958 at RCA Studios, NYC
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. Earth Birth
2. Little Susan
3. Nice Ice
4. Little Niles
5. Pams Waltz
6. Babes Blues
7. Lets Climb a Hill$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
180-Gram Audiophile Vinyl
Alanis Morissette released some of her bestselling albums during the mid-90's, before writing some of her more complex songs in the zero's. Her sixth studio album So-Called Chaos deals with subjects like cynicism, bitterness and jealousy, but she acts in a happier way. The records reaches out to a more serious approach, but the catchy refrains stays intact. Romanced by her relationship with actor Ryan Reynolds she reaches out to unconditional love on her single Everything. The opening track Eight Easy Steps is layered in the ideas of self-destruction, while the new-age sounds of the synthesizers creates the imagination of Out is Through. Allover it's an satisfying record in which she searches for answers in a more hopeful way.
Four years after her debut album Alanis Morissette released her million seller Jagged Little Pill, which includes her singles You Oughta Know, Ironic and Hand in My Pocket. She released eight studio albums and sol over 75 million records worldwide.1. Eight Easy Steps
2. Out Is Through
4. Doth I Protest Too Much
5. Knees Of My Bees
6. So-called Chaos
7. Not All Me
8. This Grudge
10. Everything$36.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now