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These Things Happen'
When It's Dark OutWhen It's Dark Out comes fresh off the heels of G-Eazy's Billboard chart topping debut album, These Things Happen, which was released last year to critical acclaim. With cinematic, personal storytelling and immersive, hard-hitting and sweeping productions, When It's Dark Out is easily the most impressive and accomplished work to date for the rising artist.LP 1
3. Me, Myself & I
4. One Of Them
6. Of All Things
7. Order More
8. Calm Down
9. Don't Let Me Go
1. You Got Me
2. What If
3. Sad Boy
4. Some Kind of Drug
5. Think About You
6. Everything Will Be Ok
7. For This
8. Nothing To Me$24.99Vinyl LP - 2 LPs Sealed Buy Now
These Things Happen (Awaiting Repress)The James Dean of hip-hop, more commonly known as G-Eazy, has been steadily building a tidal wave of momentum...from touring with Lil Wayne to having been selected as Spotify's Spotlight Artist and recently for the iTunes Single of the Week. Now, with a deafening buzz following the wake of his sold out North American headline tour, G-Eazy is set to make a statement with the release of his latest album: These Things Happen.1. These Things Happen
2. Far Alone ft. E-40 & Jay Ant
3. I Mean It ft. Remo
5. Opportunity Cost
6. Almost Famous
7. Lotta That ft. A$AP Ferg & Danny Seth
8. Factory Girl (Skit)
9. Downtown Love ft. John Michael Rouchell
11. Let's Get Lost ft. Devon Baldwin
12. Shoot Me Down ft. Anthony Stewart
13. Been On
14. Remember You ft. Blackbear
15. Tumblr Girls
16. Just Believe$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Like It Never HappenedSince their debut album Taller Children dropped in 2009, Elizabeth & The Catapult have casually nestled themselves into our eardrums with captivating, floaty singles like You and Me. And years later, they've remained firmly planted there ever since.
Whether or not you're familiar with the New York band itself, chances are you've already heard them in commercials for brands like Google and Amazon. However, despite this mainstream success, it's a testament to front woman Elizabeth Ziman and the rest of the crew that they're able to stay decidedly on the indie side of the equation. They're DIY at its absolute finest. Ziman has always been one to do things on their own, whether it's self-producing her music or busking in the New York subways in order to teach herself how to play the guitar, and we love that about her.
Now all of these skills are coming into play on the band's third album, Like It Never Happened. [Like It Never Happened is] an irresistible pop gem, but don't be fooled but what's just on the surface. Ziman will woo you with her crystal-clear vocals, but with lyrics like don't go remembering love, the message is coming across loud and clear. She might want to forget the love affair, but one thing's for sure...a song this good won't be leaving our headphones anytime soon.
Liza Darwin (Nylon Magazine)1. Happy Pop
2. Like it Never Happened
3. Salt of the Earth
5. Someday Soon
6. More than Enough
7. Please Yourself
8. Wish I DIdn't
9. True Love Will Find You in The End
10. Sugared Poison
11. Last Opus$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The River & The ThreadI went back to where I was born, and these songs started arriving in me, says Rosanne Cash. All these things happened that made me feel a deeper connection to the South than I ever had. We started finding these great stories, and the melodies that went with those experiences.
With The River and the Thread, Cash has added the next chapter to a remarkable period of creativity. Her last two albums, Black Cadillac (2006) and The List (2009), were both nominated for Grammy Awards; The List-an exploration of essential songs as selected and given to Rosanne by her father, Johnny Cash-was also named Album of the Year by the Americana Music Association. In addition, her best-selling 2010 memoir, Composed, was described by the Chicago Tribune as one of the best accounts of an American life you will likely ever read.
Cash, who has charted 21 Top 40 country singles, including 11 Number Ones, wrote all of the new album's songs with her longtime collaborator (and husband) John Leventhal, who also served as producer, arranger, and guitarist. Featuring a long list of guests-from young guns like John Paul White (The Civil Wars) and Derek Trucks to such legends as John Prine and Tony Joe White-The River and the Thread is a kaleidoscopic examination of the geographic, emotional, and historic landscape of the American South. The album's unique sound, which draws from country, blues, gospel, and rock, reflects the soulful mix of music that traces its history to the region.
Rosanne Cash acknowledges that, even with fifteen albums and four books behind her, it was difficult to start writing songs again after spending several years immersed in the masterful compositions featured on The List. You cannot keep that in your mind, except as an inspiration, a standard to aspire to, she says. To say, 'I'm going to write a song as great as Take These Chains'-you're not! So the only way to not get dismantled by that is to stay connected to your own muse, and immerse yourself completely in what you're doing so it can be as rich and authentic as it can possibly be. That's all you can hope for.
With The River and the Thread, she has risen to that challenge-and emerged with a beautiful and haunting album, one of the finest works in an extraordinary career.1. A Feather's Not A Bird
2. The Sunken Lands
3. Etta's Tune
4. Modern Blue
5. Tell Heaven
6. The Long Way Home
7. World Of Strange Design
8. Night School
9. 50,000 Watts
10. When The Master Calls The Roll
11. Money Road$19.99Vinyl LP - Sealed Buy Now
A luscious, elegant, electronic work - Los Angeles Times
Hip-hop instrumentals and electronic sketches;
pristine and prim - FACT
Gorgeously haunted - Pitchfork
We seek the new because of the numbness. If you listen to enough
music, you're familiar with the feeling. Sounds get recycled so often
that they can seem like geometric configurations organized via Wav
files. Trends get time-stamped faster than a triplicate trap hi-hat.
The most rare records emerge outside of any clearly delineated orbit.
They're solitary visions that supply their own rhythm and arsenal.
Music that reverberates through heart, brain, and spine. This is Nosaj
Thing's third album, Fated.
"I just tried to escape really, and escape even what's going on in the
music world," says Nosaj Thing, the LA producer born Jason Chung. "It
just felt so suffocating in a way. I just wanted to do my own thing."
It's been six years since Nosaj Thing emerged among the vanguard of
Low End Theory-affiliated producers. His debut Drift created 31st
century tones and chromatic textures so sleek that they inspired
innumerable Soundcloud imitators.
None could match its moody iridescence, faded sadness and funky
swing. Bach collided with Boards of Canada. Spaceships came
equipped with rear view mirrors and a booming system bumping
G-Funk and warped soul. Pitchfork called it "gorgeously haunted."
Resident Advisor said it "exists in its own dimension and feeds off its
own exhaust: full of alien choirs, conquered computers, and refracting
Fated exists in this same alternate dimension, but further out. If
comparisons previously existed with other artists within the LA beat
scene, Nosaj has rendered them baseless. His second album on
Innovative Leisure (after 2013's Home) seeks celestial escape through
"The last record took out so much of me. I just wanted to go back to
simplifying and overthinking so much. It was a battle," Nosaj says.
"The soul of a song, the essence of a song-whatever you want to call
it-should be simple."
By stripping away all but what's really necessary, the sounds harness
an unusual directness. Guest appearances are rare, save for vocals
from Whoarei on "Don't Mind Me," and Chicago rap phenomenon,
Chance the Rapper. The latter gravely spits on "Cold Stares," invoking
terminal fevers, empty beds, devil's whispers, and insomniac fears.
If comparisons crop up, Fated has most in common with records like
Burial's Untrue or Dilla's Donuts. Requiems that canvass the shadowy
hinterlands between life and death, darkness and light, loneliness and
love. Eternal themes re-imagined in ingenious fashion.
"The album name came from all these coincidences that just kept on
happening to me," Nosaj says. "Specific interaction with specific
people in unexpected places. A perpetual feeling of dÉjà vu."
It's foundation rests on that intangible thing that some call fate or
primordial feeling. Numbness receding, old emotions flooding back,
un-tampered visions. Fated is what you can't explain, so it's best to
just listen.1. Sci
2. Don't Mind Me [ft. Whoarei]
5. Cold Stares [ft. Chance the Rapper]
8. Let You
13. Phase IV
14. Light #5
15. 2K$19.99Vinyl LP - Sealed Buy Now
Lehmann Silver Cube
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
The Silver Cube offers with its performance the most impressive musically gain we every experienced from a phono preamplifier.
- Hifi Design Jahrbuch
The Silver Cube plays in the league of the world's consummate phono stages. Dressed in a noble guise and with finest components, it delivers an excellent sound and thus clearly belongs to the best things that can happen to your records. Look forward to a priceless musical experience, let yourself get carried away by the masterful acoustic performance of our attractive top model.
The listening delight provided by your records is a very unique experience for you which can only be compared to the magic of a live concert? Besides concentrated energy you also expect matchless transparency, a captivating wealth of detail and a spectacular three-dimensional reproduction of space when enjoying your favourite LPs? Then the Silver Cube offers you everything you ever dared to dream of.
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To make the Silver Cube perfect, we have put our decades of experience and all our audiophile passion in the balance. Like always we use the best components from first-class makers. With love for detail we have optimised circuits and raised the mechanical system to a downright masterful level.
The Silver Cube can display its excellence in combination with almost any MM and MC systems available on the market. For this purpose the adjustable gain between 36 dB and 66 dB gives you the necessary flexibility. Finest ingredients such as high-grade Mundorf tin foil capacitors in the filtering network, mica capacitors in the input section, WBT Nextgen sockets for the signal connection and vibration-damping feet from SSC: these are important, yet nowhere near all reasons for the top performance one can experience with the Silver Cube. In any case, one thing soon becomes clear: the Silver Cube is not suitable for fault compensating chains.
The adaptations described provide breathtaking dynamics, excellent specifications as well as an impressively holographic imaging. The sheer elegance of this phono stage once again shows in its high-class aluminium design. It does not only serve as a heatsink for the discrete class-A output stage with no overall negative feedback, but also makes the Silver Cube the visual the star of your high-end system.$4,500.00Phono Stage Buy Now
Never Give InNever Give In is the ninth studio album from Will Hoge.
"I'm so excited about this new album. I can't wait to get out on the road and play these new songs for folks," shares Will Hoge. "There's gonna be a lot of different things happening live on this tour and I'm thrilled for everyone to get to see it. Couple all these incredible cities with such great support acts as Red Wanting Blue and Sunny Sweeney, it is going to be one fun tour!"
NEVER GIVE IN is a life motto for the Nashville native who catapulted into the national spotlight in 2012. Spending the early part of the year supporting Dierks Bentley's arena headlining tour, Hoge was introduced to his first dose of mainstream country. The release of the Eli Young Band Platinum smash "Even If It Breaks Your Heart," which he co-wrote with Eric Paslay, garnered an enormous amount of buzz at Country radio, earning Hoge nominations for the 2013 GRAMMY Country Song of the Year, 2013 ACM Song of the Year and 2012 CMA Song of the Year. While raising Hoge's profile as a hit songwriter, the song also introduced his music and records to the Country music audience; a decade removed from major label release on Atlantic Records, CAROUSEL. Currently, his song "Strong" is featured as the musical backdrop for General Motor's 2014 Chevy Silverado nationwide ad campaign.1. Different Man
2. Goodbye Ain't Always Gone
3. Never Give In
4. This Time Around
5. Still Got You on My Mind
6. Home Is Where The Heart Breaks
7. Daddy Was A Gamblin' Man
8. Pale September
9. Bad Ol' Days
10. Damn Spotlight Julia's Song$16.99Vinyl LP - Sealed Buy Now
ADAD-JOY-7959xMike Adams At His Honest Weight
Best Of The Boiler Room ClassicsIt's been over three years since Oscillate Wisely, the debut album from Mike Adams At His
Honest Weight. A lot has happened to all of us since then, but it was a particularly action-packed time for ol' Mike. His newborn son requiring emergency heart surgeries immediately
after birth (doing ne now!), his former rock band of nearly 10 years calling it quits, and plenty
of other heavy things have helped shape the follow-up, Best of Boiler Room Classics, into one
of the most believably moving albums to come around in a long time.
But forget about all that stu for a minute because we need to talk about how great these
SONGS are! And these are real songs, daddy! Verses, choruses, hooks, bridges, you know,
well-written timeless songs that at least some of us will be listening to 50 years from now. The
same mixing/mastering team of Adam Jessup & Eric Day have returned and have really taken
their time to make this album sound like exactly one million bucks. The thoughtful, hard work
that went into this record has resulted in something truly special, like a Midwestern Tusk made
by fun, lovable people who actually get along really well.
Best of Boiler Room Classics has the subtle, earnest warmth of an album like the Clientele's
Strange Geometry but with the arena-ready grandeur of ELO's Out Of The Blue. While there is
an unforgettable instant catchiness to these songs, there is a depth, both lyrically and musically,
that makes repeated listens a delight.
While this is not a country album by any means, songs like "Count On It" and "Don't Want It,
Don't Get It" nd Mike's comforting words gripping your heart like an old Roger Miller ballad.
Speaking of "Count On It", just wait until those actual strings kick in at 2:27! It'll do something
What if the GBV albums on TVT had been produced by Cowboy Jack Clement?
What if The Wonders songs in That Thing You Do were actually performed by The Pernice
Brothers? What if Dee Dee Ramone wrote "Late For The Sky" instead of Jackson Browne?
What if Todd Rundgren engineered a Cass McCombs record?1. If
2. Be Free, Live Well
3. I'm Worried
4. Findings of Feeling, Findings of Fact
5. A Woman Is The New Man
6. Count On It
8. The Bright Line
9. Don't Want It, Don't Get It
10. The Fingers You Know
11. That's Itt, Cuz
12. Good Thing Going$17.99Vinyl LP - Sealed Buy Now
Basses LoadedIt's 2016 and the Melvins have an album called Basses Loaded coming out that features six different bass players. That's right SIX different bass players. NEW Melvins bass players for this go around are Steve McDonald from the legendary Los Angeles glam punk band Redd Kross and their old friend Krist Novoselic from Nirvana! Making return appearances are former and probably future bass players Jeff Pinkus (Butthole Surfers), Trevor Dunn (Mr. Bungle/Fantomas), Jared Warren (Big Business) and Dale Crover.
Six bass players? Is this a joke? What IS the deal with these ceaseless idiots? Can't they just settle in and be happy with ONE line up?
I suppose it figures considering how many goddam bass players they've had up until this point.
Nonetheless Basses Loaded actually works!
According to King Buzzo, "More is more! As hard as it might be to believe, all of these bass players contribute something of their own to Basses Loaded which gives the whole album a good kick right in it's big fat ass."
Recording with Krist Novoselic is something that should have happened a long time ago but rumor has it that he's been busy doing things like playing bass with Paul McCartney and getting his ass inducted into the Rock and Roll Hall of Fame. It's hard to believe he even bothered with this! Ha!
Butthole Surfer and Honky member Jeff Pinkus played on the Melvins' album Hold it In and has done shit load of touring with the boys in the last few years.
Trevor Dunn recorded the Freak Puke album with these guys as well as played bass on the Melvins' record setting US tour where they played all 50 states plus DC in 51 days. This was also released as a tour DVD last year entitled Across the USA in 51 Days, the Movie!
Jared Warren is a Melvins' veteran having recorded the Senile Animal, Nude with Boots and The Bride Screamed Murder albums as well as the Bulls and the Bees EP. Dale Crover is usually the Melvins drummer but slid over to bass when they brought back original drummer Mike Dillard for the Tres Cabrones album (this line-up was called Melvins 1983).
Steve McDonald has been in Redd Kross since he was 11 and he's a founding member of Los Angeles hardcore band OFF! plus he's got REALLY good stories about the "rock scene" in Los Angeles! The Melvins have a shit load of touring planned with Steven this year so this whole thing is a really big deal.1. The Decay of Lying (Steve McDonald)
2. Choco Plumbing (Jared Warren)
3. Beer Hippie (Dale Crover)
4. I Want To Tell You (Steve McDonald)
5. Captain Come Down (Jeff Pinkus)
6. Hideous Women (Steve McDonald)
7. Shaving Cream (Dale Crover)
8. Planet Distructo (Trevor Dunn)
9. War Pussy (Steve McDonald)
10. Maybe I Am Amused (Krist Novoselic)
11. Phyllis Dillard (Dale Crover)
12. Take Me Out to the Ballgame (Dale Crover)$16.99Vinyl LP - Sealed Buy Now
Crooked TeethPapa Roach has never taken the easy way out and they aren't going to start now. Over the past two decades the group have established themselves as true trendsetters in heavy music: They've been nominated for two Grammys, toured the globe with everyone from Eminem to Marilyn Manson and crafted the nÜ metal anthem "Last Resort," which is still in heavy rotation on rock radio seventeen years after its release. However, the group's tenth full-length Crooked Teeth sees the band returning to their humble-and hungry-roots. The album was recorded in a cramped West Hollywood studio with up-and-coming producers Nicholas "RAS" Furlong and Colin Brittain, who grew up listening to Papa Roach and inspired them to revisit some of the traits that personally endeared the band to them, most notably frontman Jacoby Shaddix's remarkable rapping technique.
"We've always kind of considered ourselves to be the bastard cousins of everything we've every been involved with so we wanted to be true to that and switch things up this time around," Shaddix says. "The first time we met up with RAS and Colin, they said that [2000's] Infest was on constant rotation when they were growing up and they wanted to bring back some of that fire." The connection between the artists and producers was immediate and the first song Papa Roach-which also features guitarist Jerry Horton, bassist Tobin Esperance, and drummer Tony Palermo-came up with for Crooked Teeth was "My Medication," an instantly catchy banger that sees Shaddix spitting verses in between massive choruses and ambient accents. "I really felt like we had a personal connection and the music was just there waiting to be written and once we nailed that song things really clicked and we knew exactly what we had to do" Furlong explains. "We really followed our instincts and tried something unproven with this record and because of that we ended up with a bold, courageous and more adventurous version of Papa Roach." It was in this studio that "old school" Papa Roach ways, morphed to create this "new school" Papa Roach sound.
From the instantly infectious nature of the title track to the atmospheric sheen of the ballad "Periscope" (which features Skylar Grey) and the hip-hop rock mashup "Sunrise Trailer Park" (which features an impassioned verse from Machine Gun Kelly). Crooked Teeth displays the various sides of Papa Roach and illustrates why they've managed to remain relevant while musical trends ebb and flow. "We didn't go into this album with the intention of trying to write radio singles," Horton explains. "The collection of songs was really about bookending everything that we've done prior to this album and reintroducing Papa Roach to people who didn't realize the depth that we have," says Palermo. "The whole idea was to take the classic elements of Papa Roach that everyone loved and revamp them into a modern version of the sound through the creative process," adds Furlong. "We just wanted to flip everything on its head and see what would happen and it turned out more amazing than any of us could have expected."
"The people who have wanted to hear me rap for years are gonna love some of the viscousness on this record," Shaddix explains adding that while he had his own initial reservations about some of the album's more unorthodox moments - such as the 808 bass drop into a metal breakdown on the album title track, "Crooked Teeth" - ultimately those adventurous decisions are what make the album such a refreshing change of pace in a rock climate that's grown increasingly sterile. "I'd like to personally thank all of the guys in the band for making this happen because all it takes is one person to give you a shot and this was definitely mine," Furlong adds. "I want to be one of the best producers in modern day music so I wanted to work as hard for these guys as they would for themselves because as a producer it was my job to push them to get the kind of quality work everyone has been expecting."
Just as Papa Roach felt like they still had something to prove with this record, so did the production team who attempted to bring in elements of music from different genres and parts of the world while still staying true to Papa Roach's sound. "One of the big elements in my production is finding those pockets of rhythm that people associate more with rap or reggae," Furlong explains, a fact that came in especially handy when Shaddix was fine-tuning his freestyle skills. "I know rap rhythms because I grew up listening to hip-hop, so I was able to make sure that the delivery was on point and the beat was in the pocket so it didn't suffer from a lot of the stylistic pitfalls that can happen when you merge rock and rap."
Crooked Teeth also sees Shaddix pulling no punches lyrically, as evidenced on intensely personal tracks like "Born For Greatness," produced by Jason Evigan (Jason Derulo, Demi Lovato, Kehlani, Madonna), which sees Shaddix getting sentimental about his three children, or "American Dream" where the lifelong pacifist begs the listener to ask, "have you ever thought war was a sickness?" "My father is a Vietnam veteran and a lot of those soldiers came back to a country where people weren't accepting them back into society or aware of the effects that war has on your psyche," Shaddix says of the song." "Post-traumatic stress disorder and the disintegration of the American family are things I've dealt with personally and I knew other people could relate to. I think that's what makes this record bold. Nothing was off limits when it came to what was on my mind."
Never one to shy away from difficult topics, Papa Roach dug deep with Crooked Teeth and refused to censor themselves when it came to their opinion of the current political landscape and organized religion. For example, on "None Of The Above," every ounce of musical intensity on the album is mirrored by Shaddix's words whether he's screaming, singing or rhyming. "It took me a long time, but eventually I realized that in life we're all human and we all make mistakes whether you're the president or the preacher, you know?" Shaddix explains when asked about the latter song. "It's an example of how I can get lost in a storyline and explore so many different issues in one track and that's what I love about this record. Just the spark of an idea would instantly ignite and the next thing we knew we had another song that we all loved."
In many ways making Crooked Teeth reminded Shaddix of the band's early days, well before they sold millions of albums and became a household name. "When we were in the rehearsal space I wasn't thinking about who I needed to impress, I was thinking about how much I love making music with the guys in this band," Shaddix admits. "It feels honest and it feels pure," adds Esperance. Fittingly, throughout the process, Shaddix gained inspiration from bands like Led Zeppelin and Faith No More, acts who constantly redefined themselves and were never content to rest on the merits of a hit single." This band encompasses some of my greatest victories, but it's also brought out some of my darkest character flaws," Shaddix summarizes, "so I have kind of a love-hate relationship with this music, but I can't stop because I've got too much of my life invested in it at this point. We are a purpose-driven band and I've got a responsibility to myself and our fans to continue to create."1. Break The Fall
2. Crooked Teeth
3. My Medication
4. Born For Greatness
5. American Dreams
8. Sunrise Trailer Park
10. None Of The Above$19.99Vinyl LP - Sealed Buy Now
MonoRaul Malo, whose signature tenor fronts The Mavericks, penned each of the standard 11 tracks on "MONO" in addition to teaming up with Niko Bolas once again for producing duties. With a palpable connection, founding members Paul Deakin (Drums, Percussion and Marimba), Eddie Perez (Electric and Acoustic Guitars) and Jerry Dale McFadden (Piano, Organ, Celeste) add magic to each song. The project features The Fantastic Four, longtime backing musicians: Michael Guerra (Accordion and Percussion), Max Abrams (Saxophones), Paul Armstrong (Trumpets) and Jay Weaver (Upright Bass and Tuba), who bring even more gusto to The Mavericks' already indescribable musical trance.
"With MONO we started with less purpose and more passion, hoping to do what music is supposed to do, evoke a vibe that naturally takes each listener somewhere different," said Malo. "That's what happened to each of us as we went in the studio and listened to old vinyl before recording. There was just a beauty to the sound that inspired how we developed these songs and even why we chose to record in mono. One of the things we found interesting as we listened to playback in 'mono' - usually at the end of each day - was how 'finished' the songs sounded. In turn the album has but a few overdubs and that works in our favor because each part played counts for a lot. Our hope is to present this album almost exactly as it was recorded."1. All Night Long
2. Summertime (When I'm With You)
3. Pardon Me
4. What Am I Supposed To Do
5. Stories We Could Tell
6. What You Do To Me
7. Let It Rain (On Me)
8. The Only Question Is
9. Out The Door
10. (Waiting For) The World To End
11. Fascinate Me$17.99Vinyl LP - Sealed Buy Now
The Secret History, Vol. 1The strangest thing about Pavement? Not that there were ever many non-strange things about Pavement? Even though they made their era's finest rock albums, the albums only told half their story. Pavement also made some of the Nineties' best albums that *never* happened. Until now.
Pavement made five proper album-as-albums: Slanted and Enchanted (1992), Crooked Rain, Crooked Rain (1994), Wowee Zowee (1995), Brighten The Corners (1997) and Terror Twilight (1999). Each has its own sound. Each has its own legend. But each of their official albums has a shadow album-and it's usually as strong as the album that actually *did* come out. It's time for the world to hear the albums Pavement could have made, if they'd been a little less ambitious about music and a little more ambitious about the music business. If they'd been the kind of band to sweat the legacy. But if they were that kind of band, would they have written so many great songs? Much less *these* great songs? No.
Matador is finally releasing a series of these shadow albums. The first, naturally, is *The Secret History Vol. 1*, collecting the songs that got away during the era of Slanted and Enchanted, which Stephen Malkmus, Scott Kannberg and Gary Young recorded on the cheaper-than-cheap in January 1991. *Secret Slanted History* collects gems from Peel Sessions ("Kentucky Cocktail," "Circa 1762") and seven-inches ("Baptist Blacktick") as well as live slop from the first European tours, with Mark Ibold and Bob Nastanovich in the fold. Some are outtakes from *Slanted*-imagine leaving these tunes off your first album, when as far as you know or imagine, it's your *only* album. These tracks (some of which had never been rumored among Pavement freaks) came out on the 2002 *Slanted and Enchanted* reissue. But they've never been separately available as an album in their own right, and many of them have never been on vinyl before.
The rarities collected here could have been-or maybe even should have been-cobbled together into a quickie stopgap album, a Slantedsequel.LP1
1. Sue Me Jack
2. So Stark (You're A Skyscraper)
3. Summer Babe (7 Version)
4. Mercy Snack: The Laundromat
5. Baptiss Blacktick
6. My First Mine
7. Nothing Ever Happens
8. Here (Alternative Mix)
10. Circa 1762 (Peel Session 1)
11. Kentucky Cocktail (Peel Session 1)
12. Secret Knowledge Of Backroads (Peel Session 1)
13. Here (Peel Session 1)
14. Rain Ammunition (Peel Session 2)
15. Drunks With Guns (Peel Session 2)
1. Ed Ames (Peel Session 2)
2. The List Of Dorms (Peel Session 2)
3. Conduit For Sale [Live Brixton 1992]
4. Fame Throwa [Live Brixton 1992]
5. Home [Live Brixton 1992]
6. Perfume-V [Live Brixton 1992]
7. Summer Babe [Live Brixton 1992]
8. Frontwards [Live Brixton 1992]
9. Angel Carver Blues/Mellow Jazz Docent [Live Brixton 1992]
10. Two States [Live Brixton 1992]
11. No Life Singed Her [Live Brixton 1992]
12. So Stark (You're A Skyscraper) [Live Brixton 1992]
13. Box Elder [Live Brixton 1992]
14. Baby Yeah [Live Brixton 1992]
15. In The Mouth A Desert [Live Brixton 1992]$24.99Vinyl LP - 2 LPs Sealed Buy Now
RideFor his fiftieth birthday, Anthrax guitarist Scott Ian wanted one present more than any other - the reunion of one of his favorite unsung heroes, Mother Superior - only he wanted to be a part of the lineup. They're a great, classic band that hit me in the same spot as all my favorite '70s bands, whether it's UFO, Ted Nugent, Cheap Trick or KISS, Ian explains. I knew getting to play with them would be like joining KISS.
Thanks to Scott's wife Pearl Aday, who has been working with Mother Superior front man Jim Wilson for years, all it took was a quick phone call and the stage was literally set for Scott's dream gig.
The band, which quickly gained the interests of Joey Vera (Armored Saint/Fates Warning) and John Tempesta (White Zombie, The Cult) called itself Motor Sister after the Mother Superior song Little Motor Sister and got together the day before the party to rehearse in Ian's jam room. The energy in the room was amazing, Ian says. It felt awesome. It was just something we did for fun and to celebrate my birthday.
The minute I started to play with Scott, Joey and John the chemistry was amazing, Wilson says. We sounded like a band that had been together forever. Enthralled at the idea of making a record of his favorite Mother Superior songs, Ian contacted producer Jay Ruston (Anthrax, Steel Panther, Stone Sour) and asked if he thought it was possible to recapture the same spontaneous energy generated at their makeshift gig. He said, 'Yeah, we can make the record in two days and we can make it sound really good.' So that's what we did, Ian says. A week and a half later, we made the record in LA over a two day period. We recorded the whole thing live in the studio.
While everyone in Motor Sister is busy with their day jobs, they are all interested in playing live as much as possible. We are a great live band Ian says. We proved it to ourselves in my jam room. It was our ability to play live together that made this happen and I can see us getting onstage and playing this shit back-to-back, Ramones-style, and just blowing people's minds with the power of these songs. And the door is always open to write more material because Pearl and Jim are always working together and I'm always with them. So we'll see what happens in the future.LP 1
1. A Hole
2. This Song Reminds Me of You
3. Beg Borrow Steal
4. Fool Around
5. Get That Girl
6. Head Hanging Low
1. Fork in the Road
2. Little Motor Sister
3. Pretty in the Morning
6. Devil Wind$30.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-CAP-0814xLittle Big Town
The BreakerLittle Big Town will release their brand-new record, The Breaker via Capitol Nashville. The collection, which features their now No. 1 single "Better Man," was written and recorded during one of their busiest and most successful years to-date, so they weren't able to write as many songs for it as they have for previous albums.
"We had an incredibly like creative year last year. I mean, we went from starting this record to making the Pharrell record, which was unexpected but such a joy and so creative in a different way than the records that we make with Jay [Joyce]," says LBT's Karen Fairchild. "And so, we were writing, and then we were writing with Pharrell and then that ended up being a record. And then we were planning the tour and we went out on the road with Luke for 70 shows, and it just never stopped. And it was like all year long output, output, output of creative. And so yeah, the writing scenarios on the record might not look like they have on past records, but it was just the way it was going to happen. I mean, when you're that busy it's like the success also makes it difficult to like write all the time, because writing on the road is not the easiest thing in the world. You have a million distractions, and so there's all kinds of things like getting focused. But we had also the blessing of having all of these incredible songs sent to us and they seemed to be piecing themselves together."1. Happy People
2. Night On Our Side
3. Lost In California
5. Drivin' Around
6. We Went To The Beach
7. Better Man
9. Don't Die Young, Don't Get Old
10. Beat Up Bible
11. When Someone Stops Loving You
12. The Breaker$19.99Vinyl LP - Sealed Buy Now
Dormant Heart'Dormant' is not a word that you can associate with Reading's metallers SYLOSIS - the band who have in the past few years alone toured with LAMB OF GOD, KILLSWITCH ENGAGE, DEVIL DRIVER and TRIVIUM. As well as playing huge festivals across the globe such as Sonisphere, Wacken, Graspop and Pukkelpop.
Dormant Heart is not a peaceful album, it's a powerful force, unleashing anger against every day injustice and a sleeping society that lets these things wash over them. Frontman Josh Middleton explains: "The title refers to people going through life on autopilot and being one of the herd. How a lot of people simply accept the way things are just because it's 'tradition' as opposed to taking a good look at the world around you and thinking for yourself. Sometimes there are catalysts that happen and change our perspective or consciousness "
One might take this catalyst as being representative of the driving accident that SYLOSIS had on a US tour with TRIVIUM and DEVIL DRIVER in September 2013. Luckily the band escaped the RV accident without major injuries but had to withdraw from the rest of the American shows. It was a big influence on the writing of their fourth album. This isn't a band that lets the tough gruelling schedule of touring wear them down though and once they'd been patched up and recovered they were back on the road in the UK. The incident did however provide food for thought as to how the band has to some extent a constant element of danger and personal sacrifice.
SYLOSIS began tracking the album back in March 2014 working away secretly alongside touring commitments. Josh Middleton took a step up on this album producing it himself with the help of engineer Scott Atkins. The album was mastered by TESSERACT guitarist Acle Kahney. Josh says of the recording process "It was great doing some of the recording with Scott again. We've got a good working relationship and he's really dedicated to what he does. We like to strive for a very earthy and organic sound. It adds to the human element and brings out the intensity and vibe in the music."
Guitars and vocals were recorded at Wizard Sound Studios in the band's hometown Reading. Drums were recorded in May at Monkey Puzzle Studios by original drummer Rob Callard who parted ways with SYLOSIS in September 2014 due to time restraints. BLEED FROM WITHINs Ali Richardson is now drumming for the band permanently after filling in for some live shows on the bands spring 2014 tour.
Dormant Heart retains the distinctive SYLOSIS sound; a mixture of intense heavy guitar riffs, breakdowns, thudding rhythm and Middleton's growl. It's difficult to tie-down the band into a specific type of metal genre. Stomping opener 'Where The Wolves Come To Die' unleashes an aggressive start whilst 'Leech' provides those breakdowns and epic choruses. 'Mercy' demonstrates the mix of galloping rhythm and melodic guitar riffs whilst Josh fiercely declares 'there's no redemption'. Aptly named closer track 'Quiescent' provides over 9 minutes of solemn prog showing a less forceful side of the band it's ballad like in nature, with lyrics questioning Maybe the flames are all they have?' It's softer in dynamic but the sense of impending doom remains 'Fail to rescue// I can see// Now the line is drawn at our feet'.
Josh summarises the record as their best work to date. "It's the most pissed off, aggressive and intense album we've done, yet it still retains the epic, progressive and melodic side we're also known for. It's a very gloomy and atmospheric album. We've been through a lot as a band and individuals and we've made our darkest album to date."1. Where The Wolves Come To Die
2. Victims And Pawns
3. Dormant Heart
4. To Build A Bomb
11. Callous Souls
13. Pillars Erode
14. Zero (Smashing Pumpkins cover)$28.99Vinyl LP - 2 LPs Sealed Buy Now
TweenThe word "tween" implies a certain, very specific kind of awkwardness, and
those implications are rarely positive. But think about it like this: Something
"tween" is in the process of becoming something else, and there's a very
specific kind of beauty in that becoming. There's something rewarding in
recognizing and celebrating it-in meeting it halfway.
Tween is a collection of eight songs born, raised, and almost abandoned for
various reasons during the years between 2011's breakthrough Civilian and
2014's reinvention-of-sorts, Shriek.
Jenn Wasner and Andy Stack described these songs as "not emblematic of
a step forward, but a step sideways in time." In other words, they just didn't
make sense for album number five-which will happen at some point in the
future. But just because they didn't belong there doesn't mean they don't
belong anywhere. To wedge them onto Shriek would've been dishonest; to
orphan them would've been somewhere on the line between criminal and just
Now that your expectations are lowered, let's build them back up, because
Tween is full of gorgeous Wye Oak songs whose only crime was timing and
context, made by two people at the height of their game. At first these songs
sounded too disparate to me to be called an album, but the more Tween sank
in, the more it made sense: One minute Jenn and Andy are embracing their
floatiest Cocteau Twins instinct ("If You Should See"), the next they're back
in Civilian territory a bit ("No Dreaming"), and later they're slinky and
electronic and gorgeously '80s ("On Luxury").
The common thread: These are no castaways or cutouts. In fact, pound for
pound, Tween might actually be more directly accessible than Shriek. It should
join the pantheon of amazing not-albums of history whose names try to
downplay how good they actually are, like R.E.M.'s Dead Letter Office, The
Who's Odds and Sods, maybe even Dinosaur Jr.'s Whatever's Cool With Me.
Who knows what an album is at this point, anyway? Here's what Jenn and
Andy had to say: "We rejoice in being free to make what we like and release it
in a way that feels true, and you are free to enjoy it or dismiss it as it suits you.
We hope, of course, for the former. But-all gimmicks aside-we created this
thing with love and are so happy to share it with you, whoever you are."
-Josh Modell1. Out of Nowhere
2. If You Should See
3. No Dreaming
4. Too Right
5. Better (For Esther)
6. On Luxury
7. Trigger Finger
8. Watching the Waiting$17.99Vinyl LP - Sealed Buy Now
Nothing Is RealCrystal antlers aren't really about making some shit we've heard before, but they do take notice of some important touchstones: powerful organ runs, ragged vocals and an ability to turn even relatively short songs into something that sounds beyond epic."
- The Fader
Merging psych, garage, lo-fi, prog, and countless other influences, the group easily maintains consistency despite a complete inability to be pinned to any specific movement or trend."
Art-garage whiplash at its finest."
- AV Club
It's hard not to admire these out-there dudes"
They're at the point where comparisons do little justice. They're just crystal antlers now."
- LA Times
Currently slated for a fall 2013 release is the newest Crystal Antlers full-length Nothing Is Real, featuring cover art by famed surf/skate/graffiti legend C.R. Stecyk III and recorded as the band returns to its most fundamental roots as an agile power trio - Jonny Bell, drummer Kevin Stuart and guitarist Andrew King.
Nothing Is Real is Crystal Antlers going beyond the beyond, with songs that rattle and ricochet from desolation to delirium. Opener "Pray" sounds like what would have happened if Black Flag's Greg Ginn had produced the first Psychedelic Furs single; "Persephone" and "Anywhere But Here" match the desperate, relentless rhythm of the Wipers with the inside-out guitar melodies of the Pixies. "Licorice Pizza" recalls lost cult-punk heroes like the Flesh Eaters or the Embarrassment. On Nothing Is Real, you'll feel as much as hear echoes of bands like Wire, Sonic Youth and Dinosaur Jr.
As Bell puts it, "With each album, we've tried to figure out ways to include more of our whole selves in the recordings, while still keeping things cohesive. And from growing up in punk bands, there always needs to be that little element of something that might piss someone off. We might be using a drum machine-but we're gonna use it completely the wrong way."1. Rattlesnake
2. Licorice Pizza
3. We All Gotta Die
4. Paper Thin
6. Anywhere But Here
7. Don't Think Of The Stone
8. Wrong Side
9. Better Things
10. Prisoner Song$18.99Vinyl LP - Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl 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
GetawayIncludes Bonus CD compiling 2001's Slush Fund EP & 2003's Syd's Pink Wiring System Album
2001's Getaway may be the best illustration of whatever mercurial, inexplicable musical power animates The Clean. After the band's initial rush of activity between 1978 and 1982, the trio lay dormant until the end of the '80s, when a string of reunion shows inspired the Kilgours and Scott to start recording again. After three well-received albums in the first half of the nineties-1990's Vehicle, 1994's Modern Rock, and 1996's Unknown Country-The Clean disappeared again until the end of the decade, when another tour inspired another record.
While playing gigs across New Zealand in celebration of their original label Flying Nun, David says they brought along a TEAC 4-track quarter-inch tape machine. "As usual, we started jamming and recording, and before you know, we thought we may be onto an LP." Speed and spontaneity ended up defining Getaway. Robert says, "I remember writing 'Silence or Something Else' while the others went for a long walk. It was done by the time they got back. I probably would have gone for a straighter version, but I still like it." David remembers, "Hamish wrote the instrumental 'Jala' in about five minutes in a motel outside of Turangi." At one point in the process, Yo La Tengo's Ira Kaplan and Georgia Hubley were visiting from America, and they ended up on the record too. Getaway came out in August of 2001, with cover art by Hamish who says that his original artwork was the actual size of a compact disc case. After that, The Clean set out on another tour-including in New York City, where they happened to be during the terrorist attacks on 9/11. They coped with the tragedy by playing gigs with their American friends, and staying in the same creative space they'd been in since before they started working on the album. "I remember we did some great gigs on the New Zealand tour, debuting some of the new material," Hamish says. "'Stars' was a favorite for the big 12-string sound."
A live version of the pulsing, soaring "Stars"-along with a couple of other Getaway songs and Clean classics like "Fish," "Side On," "Quickstep," and "Point That Thing Somewhere Else"-appear on the rare 2003 album Syd's Pink Wiring System. That record is included with the Getaway reissue, along with the more experimental, piano-driven EP Slush Fund, from the same era. These bonus tracks reinforce the idea of the Getaway-era Clean as especially plugged in, generating inspired and beautiful music almost on instinct. Indeed, they've done justice to a key album in The Clean discography-a record that honors the band's origins as garage-rock-loving New Zealand kids, excited just by the hum of a good, cheap amplifier. Songs like the twangy, easygoing "Crazy," the jaunty acoustic snippet "Cell Block No. 5," and the trance-inducing "Circle Canyon" are more fine examples of Scott and the Kilgours' interest in immediacy and a strong vibe, applied to catchy melodies. "Each album is a completely different beast," Robert says. "We all change in different ways between each one, bringing different things to the table, and sometimes bringing nothing much at all." But if Getaway proves anything, so long as all three members of The Clean are in the same space at the same time, anything can happen.LP 1
4. Golden Crown
5. Cell Block No. 5
6. E Motel
7. Twighlight Agency
8. Poor Boy
9. Silence or Something Else
1. Alpine Madness
2. Circle Canyon
4. Holdin' On
5. Reprise 1*2*3* & 4*
Slush Fish (2001)
2. Slush Fund
3. Filling A Hole
5. Point That Thing Somewhere Else
6. Wipe Me I'm Lucky
Syd's Pink Wiring System (2003)
10. I Wait Around
11. Hold On To The Rail
12. At The Bottom
13. Do Your Thing
16. Side On
18. Jala$27.99Vinyl LP + CD - 2 LPs Sealed Buy Now
WARB-ATL-0825xPortugal The Man
Woodstock (Awaiting Repress)Well, we're two full months into 2017 and the world continues to burn like an avalanche of flaming biohazard material sliding down a mountain of used needles into a canyon full of rat feces. But hey, it's not all bad: Portugal. The Man has a new album coming out called Woodstock.
PTM's last album came out over three years ago-a long gap for a band who've dropped roughly an album a year since 2006. And in true, prolific band fashion, they've spent almost every minute since 2013 working on an album called Gloomin + Doomin. They created a shit-ton of individual songs, but as a whole, none of them hung together in a way that felt right. Then John Gourley, PTM's lead singer, made a trip home to Wasilla, Alaska, (Home of Portugal. The Man's biggest fan, Sarah Palin) and two things happened that completely changed the album's trajectory.
First, John got some parental tough love from his old man, who called John on the proverbial carpet or dogsled or whatever you put people on when you want to yell at them in Alaska. What's taking so long to finish the album? John's dad said. Isn't that what bands do? Write songs and then put them out? Like fathers and unlicensed therapists tend to do, John's dad cut him deep. The whole thing started John thinking about why the band seemed to be stuck on a musical elliptical machine from hell and, more importantly, about how to get off of it.
Second, fate stuck its wiener in John's ear again when he found his dad's ticket stub from the original 1969 Woodstock music festival. It seems like a small thing, but talking to his dad about Woodstock '69 knocked something loose in John's head. He realized that, in the same tradition of bands from that era, Portugal. The Man needed to speak out about the world crumbling around them. With these two ideas converging, the band made a seemingly bat-shit-crazy decision: they took all of the work they had done for the three years prior and they threw it out.
It wasn't easy and there was the constant threat that the band's record label might have them killed, but the totally insane decision paid off. With new, full-on, musical boners, the band went back to the studio-working with John Hill (In The Mountain In The Cloud), Danger Mouse (Evil Friends), Mike D (Everything Cool), and longtime collaborator Casey Bates (The one consistent producer since the first record). In this new-found creative territory, the album that became Woodstock rolled out naturally from there
Remember that mountain of burning needles we were talking about? Good. Because Woodstock is an album (Including the new single Feel It Still) that-with optimism and heart-points at the giant pile and says, Hey, this pile is fucked up! And if you think that pile is fucked up too, you owe it to yourself-hell, to all of us-to get out there and do something about it.1. Number One
2. Easy Tiger
3. Live In The Moment
4. Feel It Still
5. Rich Friends
6. Keep On
7. So Young (feat. Fat Lip)
8. Mr. Lonely
9. Tidal Wave
10. Noise Pollution (feat. Mary Elizabeth Winstead & Zoe Mannville)$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
GenerationJoyrides atop a walloping disco beat and furious percussive guitars, headed somewhere between the Rapture, Chic, and Talking Heads, but with a cartoonish giddiness that takes me back to the heyday of Junior Senior and Scissor Sisters. - Stereogum
Rising stars - DJ Mag
On their full-length 2014 debut Voyage, L.A duo De Lux learned how to
take their influences and create a sound all their own-a beyond-their-years
synthesis of post-punk, disco, funk and of course synthesizer wizardry,
drawing inspiration from the same combination of agitation and exhilaration
that helped LCD Soundsystem and Talking Heads deliver some of the most
danceable social commentary ever. And now that they've found their sound,
De Lux are creating a story to go with it on their new album Generation: "All
of these things that they put us through," sings co-founder and multi-instrumentalist
Sean Guerin, "I'm writing it down / I'm writing it down."
They first started writing Generation in the kind of uncommitted
instances that happen so rarely once a new band puts out its first album. Once
Voyage was released, De Lux found themselves playing and interviewing and
touring and remixing-"All fun!" says Sean-but they had to fight to find time
to write. A random Instagram of work-in-progress song "It's A Combination"
was the tipping point, when Sean and co-founder Isaac Franco realized they'd
been rough-drafting for a year: "Let's finish it now," they decided, and that's
the exact moment when Generation officially started.
They returned to the L.A. practice space where they wrote and recorded
Voyage, this time with new instruments-like the little-known but sought-after
synthesizer guitar beloved of King Crimson's Adrian Belew-and new inspirations,
chief among them punk peformance artist Karen Finley, whose 1987
debut album Sean discovered at a Seattle record store simply because it
looked promising. Her infamously uncensored lyrics made him realize there
was more he could sing about, too: "You admire the ambition behind her
saying whatever she wants," he says.
So if Generation is a darker album than Voyage-and it's inherited plenty
of the modern urban anxiety of David Byrne-that's because it's a fearlessly
honest and candid album, too. In fact, call it a millennial documentary. In
Generation's eleven songs, De Lux chart the distance between childhood and
adulthood, nostalgia and aspiration and dream and reality, all with unflinching
autobiographical detail. (And with a secret nod to the Pokemon theme, too.)
Says Sean: "When I write lyrics, I try and be as specific as possible. We think
about if someone listens to us in 30 years: 'Oh, that's what was going on at
The result is a sort of Less Than Zero for the post-Social Network era.
Think of it as a nighttime freeway drive that starts with the propulsive "L.A.
Threshold" and rides the borderline between feel-good rhythm and artfully
sophisticated sentiment. "There's dark moments, but it's still fun," explains
Sean. "The first album was just more innocent." There's new space in De Lux's
sense of rhythm and groove, says Isaac, for Sean to say what he needs to say:
"The song gives him the freedom to be himself."
And so Generation is an album about high highs, low lows and the vast
space in between. "Center of L.U.B" is a roller-skate jam that starts with a
Can-style guitar riff before spinning into an examination of one utility company
employee's ennui-you knew this wasn't going to be a love song,
right?-while "It's A Combination" is a brooding Italo disco track and
unexpected piano piece "Conditions" is like Harry Nilsson or John Lennon
suddenly transplanted to Rough Trade Records. Then there's the alternately
hilarious and harrowing "Oh Man The Future"-a satirical reading on the shape
of things to come, propelled by a bass-and-drum rhythm right off one of ESG's
first EPs-to the desolate-yet-funky "When Your Life Feels Like A Loss," where
De Lux dissect just what happens when "you think you're special/no, you're
not special/you're just an average guy."
In other words, Generation isn't a departure. This is De Lux going
deeper, not farther away, and the result is surely the most anthropologically
daring dancefloor album of the year. That might seem difficult to pull off, but
that's why they did it, explains Sean: "At some point we realized creativity is
just limitless," he says. "You can do anything. There might be certain people
who think, 'Oh, you can't do that.' That's when you say, 'Well-I'm doing it!'"1. LA Threshold
3. Living In An Open Place
4. Center of L.U.B.
5. Simba Simba Simba
6. No One Really Cares Who You Are
7. Oh Man The Future
9. When Your Life Feels Like A Loss
10. It's A Combination
11. Someday Now$20.99Vinyl LP - 2 LPs Sealed Buy Now
Life Is GoodThe social and political awareness that drives Flogging Molly's music is never more prominent than in their upcoming new release LIFE IS GOOD - a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today's most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.
For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging "Reptiles (We Woke Up") that points toward the album's central theme. "We woke up," sings King, "And we won't fall back asleep."
"The thing is, there are things changing," says King. "That's why I wrote that line, 'Like reptiles, we'll all soon be dust someday.' It's quite scary, especially for somebody who has children these days--bringing up family in this environment of who's welcome and who's not welcome. I'm talking about the cultures in America and the UK--especially American immigration.
Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had a serious impact on them. And, significantly, it also serves as notice that the time for action is now.
And people are indeed taking action, adds King, which is a crucial point.
"I think especially with things like government--I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It's a great thing that we're now taking to the streets again. And it's a positive thing."
Imagery abounds on Life Is Good, and one of the most memorable images might be found in "Adamstown," the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed--and left little more than a ghost town in its place.
"It had a huge negative connotation to it," King says of the eerie, unfinished settlement. "But now it's starting to turn again, people are starting to move there, businesses are starting to open, and there is hope."
Thematically, hope and inspiration are a major part of "The Hand of John L. Sullivan," a rollicking track about the legendary "Boston Strong Boy" who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.
"He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them," says King. "We live in an environment right now where that doesn't seem to be what should be allowed to happen, you know?
Recorded in Ireland and produced by multiple Grammy Award-winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.
"It's been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We've always had fun getting together and coming up with the new songs, and it's still that way.
Here we see what's uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.
"We're known for our live shows," says Dave King. Writing albums has always been a vehicle for us -- it's been a means to get people onto the dance floor. And that's kind of the way we've always approached it, no matter what."
"The one thing we are is a positive band," adds Dave King. "When people come and see our shows, it's a celebration--of life, of the good and of the bad. And we have to take the good and the bad for it to be a life."1. There's Nothing Left Pt. 1
2. The Hand Of John L. Sullivan
3. Welcome To Adamstown
4. Reptiles (We Woke Up)
5. The Days We've Yet To Meet
6. Life Is Good
7. The Last Serenade (Sailors And Fishermen)
8. The Guns Of Jericho
9. Crushed (Hostile Nations)
11. The Bride Wore Black
12. Until We Meet Again$21.99Vinyl LP - Sealed Buy Now
Quazarz: Born on a Gangster Starspeaking of air and darkness, Born on a Gangster Star cameinto the world in a big damn hurry, like nightfall on an island.You can see it happening, but then again it's so gradual that thenext thing you know-it's dark.
Imbued with the energy and ideas from all the creative embersfloating in the atmosphere like fireflies, Shabazz Palacesrecorded this entire album over the course of two weeks withBlood in Seattle. New gear and new equipment disintegratedcomfort zones into dust and a new path appeared in the rubble.
Herein the Palaceer continues the tale of Quazar, a sentientbeing from somewhere else, an observer sent here to Amurdercato chronicle and explore as a musical emissary. What he finds inour world is a cutthroat place, a landscape where someone likehim could never quite feel comfortable amidst all the brutalityand alternative facts and death masquerading as connectivity.
Inspired by days on end spent in the waves-water and light,both-of Southern California, the work came to the Palaceer in aflash, like being picked up by something and carried. Alwaysdribbling with his head up, he can see what's going on aroundhim and react to it, rather than starting in a certain direction andhoping to achieve something upon arrival.
What's good?-the kids ask. What does it even mean, and whatdoes it even matter? Who is behind these choices? We are all ofus sitting under a waterfall of all. this. shit. But it's the excessthat is casting us into ruts.
The Palaceer stays away from the fleeting and the superficialnonessential. Stay away from your device-your phantomlimb-and stay away from your image-your phantom self; thatis his decree. Considering the motions behind the things you liketo consume artistically, rather than just the way something looksor sounds, and thinking in layers, and trying to be more considerateand not so self-oriented-this is his medicine for combat.
Born on a Gangster Star flirts with a pop sensibility, but throughthe prism of Shabazz Palaces's fire and fury. For the Palaceer,that sense is all about how the groove is moving, and thesupernatural telepathy that occurs amongst his cohort. Appearinghere, in body or in spirit, are Julian Casablancas, Thundercat,Darrius Willrich, Gamble and Huff, Loud Eyes Lou, Thaddillac,Ahmir, Jon Kirby, Sunny Levine, and Blood. The storybelongs to Quazarz, but the air and darkness belong to us.
And so we shine a light on the fake.1. Since C.A.Y.A
2. When Cats Claw
3. Shine a Light (feat. Thaddillac)
4. Dèesse Du Sang
5. Eel Dreams (feat. Loud Eyes Lou)
6. Parallax (feat. The Palaceer Lazaro)
7. Fine Ass Hairdresser
8. The Neurochem Mixalogue
9. That's How City Life Goes
10. Moon Whip QuÄz (feat. Darrius)
11. Federalist Papers$19.99Vinyl LP - Sealed Buy Now