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Through The Eyes Of The Dead

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  • Option Paralysis (Red Vinyl) (Awaiting Repress) Option Paralysis (Red Vinyl) (Awaiting Repress) Quick View

    $21.99
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    Option Paralysis (Red Vinyl) (Awaiting Repress)

    Pressed On Red Vinyl


    Limited Edition of 500 Copies


    Printed Dust Sleeve & Vinyl-Only Bonus Track


    At first glance, "Option Paralysis" seems like a highly inappropriate title to describe the constantly evolving output of THE DILLINGER ESCAPE PLAN. But once you're faced with the cumulative power and vision of guitarist Ben Weinman, vocalist Greg Puciato, bassist Liam Wilson, guitarist Jeff Tuttle and new drummer Billy Rymer, you'll wonder-right after you pick yourself up off the floor-why more bands don't achieve similar force-of-nature status.


    "The title 'Option Paralysis' represents being in a situation where you have so many choices you can't decide, and end up being frozen," says founding member Weinman about the mindset permeating the band's fourth full-length album. "Back in the early days when I started to discover music, go to shows and find out about new bands, there were 'filters' from various circumstances - geography, economic status, etc - which deeply affected how a band sounded and what they stood for. Now, everyone is going through the same filter-namely computers and the internet-and everyone has the same circumstances: Everybody's seeing the same thing for the first time at the very same time, simultaneously all over the world. That very system is negatively affecting art and has created a situation where everything is influencing itself and art is not based on struggle, personal scarcity or unique and personal inspiration. This cultural revolutions is a big part of what determines our mission. We're not listening to any of the bands around us for some kind of input as to what we should sound like. At this point, we're using our own accomplishments as a measurement of what we need to do next."


    From their early days in the late-'90s as short-haired Rutgers, New Jersey, college students delivering hyper-complex thrash to audiences of boorish long-haired surly metalheads, to performing with NINE INCH NAILS on the pioneering electronic band's farewell shows, the DILLINGER ESCAPE PLAN have merely one prerogative: to go forward in ALL directions simultaneously. Their groundbreaking 1999 debut full-length, "Calculating Infinity", is inarguably the essential technical-metal talisman for the 21st century, melding hardcore's blinding rage with a musical vision that made most progressive-rock bands sound positively lazy by comparison. "Irony Is A Dead Scene", the band's 2002 collaboration with Mike Patton, maintained their patented extremity while exploring electronic textures. The 2004 follow-up, "Miss Machine", (the first record to showcase frontman, Puciato) was a distillation of the band's work thus far, while including jaw-dropping flirtations with mainstream metal ("Unretrofied") that further enforced DILLINGER's desire-and ability-to take their music wherever the hell they wanted. 2007's "Ire Works" had the band finding inspiration from underground glitch and breakcore electronica, as well as indigenous music genres, in a world seemingly overrun with metalcore bores and screamo trend-hoppers. THE DILLINGER ESCAPE PLAN's unerring sweat equity has consistently found resonance with listeners on both sides of the stages the band trod upon.


    "Option Paralysis" marks the beginning of another trajectory in the DEP mythology. After aligning themselves with the renowned Relapse label for most of their career, the band entered into a deal with the French label SEASON OF MIST to put out "Option Paralysis", tagging their new PARTY SMASHER INC label. "We signed a pretty traditional record deal with them for one record," explains Weinman. "What's exciting is that Michael [Berberian, SOM label founder] is a really big music fan and has a great understanding of how we operate. He was totally aware of the possibilities and limitations of working with a band like us-he's not expecting pop hits-and he's been extremely enthusiastic to dive right in and make it work for everyone."


    Produced by Steve Evetts, Dillinger's new music is positively abundant with possibilities. Drummer Billy Rymer, whom Weinman describes as "young and hungry," now occupies the engine room that powers the band. Frontman, Puciato has always had a knack with a bellow that could make reciting a grocery list seem like an exhortation to open the mouth of Hell. But feeling some of the lyrics on "Option Paralysis", you can't positively determine if the singer is handing down indictments ("Farewell, Mona Lisa") or feeling emotionally wounded. "This record is concept driven but there is still a very emotional and personal aspect to his lyrics," says Weinman soberly. "He's going through transitional stages in his life right now." Nothing so eloquently supports that statement than the six and-a-half-minute "Widower", where the band are joined by veteran David Bowie keyboardist Mike Garson for an aural excursion that incorporates piano-trio jazz, tender balladry and anthemic power. While there's no shortage of DEP plasma-balls on "Option Paralysis" ("Room Full Of Eyes", "Good Neighbor"), the band keep things fresh with the math-rock/free-jazz convergence of "I Wouldn't If You Didn't," the electro-tweaked "Chinese Whispers" and the closing "Parasitic Twins". The latter track sports lead vocals courtesy of guitarist Tuttle, as well as Beach Boys-styled harmonies and a major-key Weinman solo that's more Clapton (ca. Derek And The Dominos) than calculus crush. Clearly, this is not your older brother's DILLINGER ESCAPE PLAN. "We're just trying to make music we can be stimulated by," says Weinman about the assorted directions and sonic vistas on "Option Paralysis". "We consider ourselves songwriters, which is kind of odd when you consider the kind of band most would consider us."


    As passionate about their craft as ever, DEP are looking to ramp up things even more in 2010, with a planet-beating touring campaign that includes basement shows, a stint on the main stage at this summer's Vans Warped Tour, a performance at the legendary Cochella festival, and various points in between. But after 12 years of deliberately challenging themselves, as well as the preconceived notions of critics and the strict genre-specific zealots of the world's underground music scenes, the big question remains: What is the mission of the DILLINGER ESCAPE PLAN? It's a question Weinman addresses with equal parts melancholy, unwavering determination and humor. "I've been trying for a while to have someone explain that to me," he says, laughing. "Seriously, 'Option Paralysis' represents why we're here and why we're still making music. We started at a time when there wasn't all this access to the larger world. Our only goal was to make a small dent in the scene that we were in. The fact we've made it this far and that we're still relevant is really special to me. I feel that it is extremely important for bands like us to continue to represent the ethic and attitude that was present during a time that doesn't exist anymore."


    "That," he says, pausing to smile. "And I have to pay my mortgage somehow "

    1. Farewell, Mona Lisa
    2. Good Neighbor
    3. Gold Teeth on a Bum
    4. Crystal Morning
    5. Endless Endings
    6. Widower
    7. Room Full of Eyes
    8. Chinese Whispers
    9. I Wouldn't If You Didn't
    10. Parasitic Twins
    11. Chuck McChip (vinyl only bonus track)
    Dillinger Escape Plan
    $21.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Welcome Back To Milk Welcome Back To Milk Quick View

    $20.99
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    Welcome Back To Milk

    It's time for a revolution. Beth Jeans Houghton is dead. Du Blonde is born.
    Welcome Back To Milk is the Newcastle-born singer-songwriter's second
    album, but her debut as Du Blonde, and it's a complete reinvention: new name,
    new look, new band, new attitude - and attitude is a key word.


    Du Blonde is not a persona or a character, it's Beth Jeans Houghton ripping
    it up and starting again. Gone is the baroque chamber pop of 2012's Yours
    Truly, Cellophane Nose. Gone is the band she recorded that album with,
    The Hooves Of Destiny. In place of all that are heavy riffs, loud drums, vocal
    aggression and the sound of somebody finding their voice, whether screaming
    the chorus of Chips To Go, singing soul-bearing ballad Four In The Morning
    or cooing through wistful torch song After The Show.


    Aside from a track made with Youth, Welcome Back To Milk is produced by
    Jim Sclavunos, who knows plenty about capturing dark sounds as a member
    of Nick Cave's Bad Seeds. An unmistakable presence on the album is that of
    Future Islands frontman Samuel T Herring, whose soaring vocals appear on
    Mind Is On My Mind.


    Where Yours Truly, Cellophane Nose threw everything at a song, Du Blonde
    strips everything down to the bare essentials. Black Flag, which opens the
    album, is bass, guitar, drums and a dose of rage. "I got really into hard rock
    and American hardcore while I was living in LA after we finished touring," she
    says. "I couldn't work out why I was having such trouble expressing myself with
    the music I was writing, but after a while I realised the instrumentation didn't
    lend itself to the anger I was feeling. I needed to release all of this pent up
    aggression and I was trying to do it over layers of vocal harmonies and nicely
    played instruments. It was never going to work."


    "I was hiding behind my guitar for so long, it was easy to feel safe there. I
    wanted to put myself in a position I wasn't comfortable with in order to grow
    as a performer. I want no choice but to look people dead in the eyes and give
    them all I have."

    1. Black Flag
    2. Chips to Go
    3. Raw Honey
    4. After the Show
    5. If You're Legal
    6. Hunter
    7. Hard to Please
    8. What Is It Like
    9. Mr. Hyde
    10. Four in the Morning
    11. Mind is on My Mind
    12. Isn't It Wild?
    Du Blonde
    $20.99
    Vinyl LP - Sealed Buy Now
  • Keep Away The Dead Keep Away The Dead Quick View

    $25.99
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    Keep Away The Dead

    Even as Siskiyou's first record was delivered to Constellation in early 2010 and getting prepped for release that fall, Colin Huebert remained holed up in Mara, BC (pop. 350) through the winter, writing more songs and eventually being joined by his Siskiyou co-conspirator Erik Arnesen for a few weeks of intensive recording. Unlike the material on their eponymous debut, which was largely recorded in nomadic fashion while Colin and Erik toured as members of Great Lake Swimmers, the Mara, BC sessions found the pair settled, rooted and with keys in hand to the century-old Mara Community Hall.


    Most of the tunes on Keep Away The Dead were born at Mara Hall, where bed tracks were laid down in the crisp air during depth of winter. The arctic atmosphere of that empty, cavernous, hardwood structure was the perfect complement to Huebert's sensibility: a tense and acute restraint; a shivering, biting, sometimes bitter rending of barebones, folk-inflected rock music. (Neil Young remains a clear touchstone, overtly so with the album's cover of Revolution Blues as do the pointed, starkly controlled arrangements and textures of contemporaries like Angels Of Light.)


    Huebert left Mara in spring 2010 and moved to Vancouver, where Siskiyou began to take shape as a full band with the addition of Shaunn Watt and Peter Carruthers. Coming off a season of extensive touring in Euope and Canada in fall 2010, Siskiyou had coalesced into an incisive quartet and hit Vancouver's JC/DC Studio in early 2011 with engineer David Carswell (Destroyer, New Pornographers), adding to the previous year's Mara sessions and cutting two more tunes for which Carswell ran the mix: Twigs And Stones and Revolution Blues. Huebert recorded and mixed the remainder of Keep Away The Dead (as he did on the previous record).


    Where Siskiyou's debut was a stunning little scrapbook of short, sharp tunes, Keep Away The Dead ramps things up with subtle care and clarity, yielding something closer to a rural gothic novella in spirit and scope. The album is a strikingly cold-eyed, tender-hearted song cycle, marked by quiet defiance and desperation. Huebert's acoustic guitar and gently acetic voice, Arnesen's gorgeous banjo and treated guitar lines, and the judicious rhythm section of Watt and Carruthers deliver a superbly compelling album on the knife's edge of darkness, where each tune feels like another precious log thrown on a lone campfire burning in the cold night.

    1. Keep Away The Dead
    2. Where Does That Leave Me
    3. Twigs And Stones
    4. So Cold
    5. Revolution Blues
    6. Dear Old Friend
    7. Not The Kind
    8. Fiery Death
    9. Sing Me To Sleep
    10. Dead Right Now
    Siskiyou
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dead Human Collection: 25 Years of Death Metal Boxset (Awaiting Repress) Dead Human Collection: 25 Years of Death Metal Boxset (Awaiting Repress) Quick View

    $129.99
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    Dead Human Collection: 25 Years of Death Metal Boxset (Awaiting Repress)

    BOX SET INCLUDES:


    12 Full-Length Studio Albums with New Artwork in a 12-CD Foldout Case!


    CD 1: Eaten Back to Life (1990)

    CD 2: Butchered At Birth (1991)

    CD 3: Tomb of the Mutilated (1992)

    CD 4: The Bleeding (1994)

    CD 5: Vile (1996)

    CD 6: Gallery of Suicide (1998)

    CD 7: Bloodthirst (1999)

    CD 8: Gore Obsessed (2002)

    CD 9: The Wretched Spawn (2004)

    CD 10: Kill (2006)

    CD 11: Evisceration Plague (2009)

    CD 12: Torture (2012)


    12 x 12 Artist Prints of all 13 Original Cannibal Corpse Album Covers

    Eaten Back to Life
    Butchered At Birth
    Tomb of the Mutilated
    The Bleeding
    Vile
    Gallery of Suicide
    Bloodthirst
    Gore Obsessed
    The Wretched Spawn
    Kill
    Evisceration Plague
    Torture
    Torturing and Eviscerating Live


    2013 CANNIBAL CORPSE Calendar


    Torturing and Eviscerating Live Concert CD and LP (Picture Disc) Recorded in Tampa 2010 & Milwaukee 2012


    1. A Skull Full of Maggots

    2. Gutted

    3. I Cum Blood

    4. Staring Through the Eyes of the Dead

    5. Devoured by Vermin

    6. I Will Kill You

    7. Pounded into Dust

    8. Pit of Zombies

    9. The Wretched Spawn

    10. Make Them Suffer

    11. Evisceration Plague

    12. Scourge of Iron

    12 Full-Length Studio Albums
    CD 1: Eaten Back to Life (1990)
    CD 2: Butchered At Birth (1991)
    CD 3: Tomb of the Mutilated (1992)
    CD 4: The Bleeding (1994)
    CD 5: Vile (1996)
    CD 6: Gallery of Suicide (1998)
    CD 7: Bloodthirst (1999)
    CD 8: Gore Obsessed (2002)
    CD 9: The Wretched Spawn (2004)
    CD 10: Kill (2006)
    CD 11: Evisceration Plague (2009)
    CD 12: Torture (2012)


    Torturing and Eviscerating Live Concert CD and LP (Picture Disc) Recorded in Tampa 2010 & Milwaukee 2012
    1. A Skull Full of Maggots
    2. Gutted
    3. I Cum Blood
    4. Staring Through the Eyes of the Dead
    5. Devoured by Vermin
    6. I Will Kill You
    7. Pounded into Dust
    8. Pit of Zombies
    9. The Wretched Spawn
    10. Make Them Suffer
    11. Evisceration Plague
    12. Scourge of Iron

    Cannibal Corpse
    $129.99
    Vinyl LP Picture Disc + 12 CDs - Sealed AWAITING REPRESS Buy Now
  • Live & Deadly Live & Deadly Quick View

    $25.99
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    Live & Deadly

    Colored Vinyl


    Limited edition vinyl version of this live album from the queen of Hollywood glam metal, Miss Lita Ford - pressed on both pink and blue vinyl! Recorded live at "one of Lita's favorite watering holes" in 2000, this album explodes with astonishing energy as Ford rips through her finest cuts including the blockbuster single "Close My Eyes Forever" plus the smash hits "Kiss Me Deadly," "Hungry," "Shot Of Poison" and more!

    1. Larger Than Life
    2. What Do You Know About Love
    3. Black Widow
    4. Falling In And Out Of Love
    5. Bad Love
    6. Close My Eyes Forever
    7. Shot Of Poison
    8. Hungry
    9. Kiss Me Deadly
    10. Rock Candy
    Lita Ford
    $25.99
    Colored Vinyl LP - Sealed Buy Now
  • Clairvoyant Clairvoyant Quick View

    $26.99
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    Clairvoyant

    The Contortionist represents fearlessness in musical expression, designed to please artist as much as audience. This band makes progressive metal music, anchored in the heavy sounds that first drew the individual players to the stage, yet unmoored by convention or expectation.

    Clairvoyant, which reunited the band with producer Jamie King (Between The Buried And Me, Through The Eyes Of The Dead), takes the best elements of The Contortionist's past and reshapes them as the band follows their individual creative muses toward the future.On Clairvoyant, the band's distinctive fingerprints remain, even as their atmospheric flourishes broaden to encompass ever-richer textures and mine the beauty of simplicity.

    1. Monochrome (Passive)
    2. Godspeed
    3. Reimagined
    4. Clairvoyant
    5. The Center
    6. Absolve
    7. Relapse
    8. Return To Earth
    9. Monochrome (Pensive)
    The Contortionist
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Future In Whose Eyes? The Future In Whose Eyes? Quick View

    $24.99
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    The Future In Whose Eyes?

    British Metal Forefathers SikTh Return With Their First Full-Length Album In 11 Years


    SikTh pushed me in to the progressive genre. Death of a Dead Day is my jam - Spencer Sotelo (Periphery)


    A keystone in the progressive metal genre, SikTh's legacy gave the inspiration for bands like Protest The Hero, Periphery, TesseracT and Animals As Leaders following their hiatus in 2007. Now in 2017 the intense and enigmatic frontman Mikee Goodman is joined by Alias' vocalist Joe Rosser for a unique double-vocal attack. The band also welcomed guest singer Spencer Sotelo from Periphery as SikTh's first ever guest performer on an album, cementing the relationship formed between the bands on their US tour in 2016.


    Following their reformation at the UK's legendary Download Festival in 2014, SikTh have been teasing the metal scene with the release of mini-album Opacities in 2015, a support tour in the UK for Slipknot, their first ever US tour as the main support for Periphery, and a 6-week tour at the beginning of 2017 as the main support for Trivium in Europe and the UK. The band also released a deluxe edition of their most popular album Death of a Dead Day on its 10th anniversary through Peaceville in 2016.


    Kicking off The Future In Whose Eyes? album campaign in February, the single No Wishbones became an instant favourite with streaming platforms; Spotify placed the track on their popular curated playlists New Metal Tracks, Top Tracks in Metal and Got Djent?; iTunes selected the single for their Hot Tracks in Metal promotions in both the UK and the US; and Deezer chose the track for their Metal New Releases playlist.


    Mikee commented on the new album: Personally I feel this is our best album yet. The band has made incredible music, brutal, technically warped and also some psychedelic moments... we've done something special here. The SikTh frontman explained the artwork, created by Meats Meier, whose credits include the film Hellboy and TOOL: Meats Meier is an absolute genius, a visionary and a pioneer. We wanted something really special and we got it; the inspiration was the title itself, the constant evolution of humanity and the self-destructive nature of man."

    1. Vivid
    2. Century Of The Narcissist?
    3. The Aura
    4. This Ship Has Sailed
    5. Weavers Of Woe
    6. Cracks Of Light
    7. Golden Cufflinks
    8. The Moon's Been Gone For Hours
    9. Riddles Of Humanilty
    10. No Wishbones
    11. Ride The Illusion
    12. When It Rains
    Sikth
    $24.99
    Vinyl LP - Sealed Buy Now
  • Reach Reach Quick View

    $19.99
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    Reach

    Eyes Set To Kill has been one of the premiere bands of the scream/metal genre since their inception. Their debut album "Reach" is now considered to be one of the classic albums that spearheaded the movement for screamo bands everywhere.


    Formed in 2005 by sisters Alexia and Anissa Rodriguez, Eyes Set to Kill has evolved from their humble beginnings touring the country playing shows they booked through MySpace to becoming one of the most popular artists at Hot Topic and online retailer Smartpunk.com, Eyes Set To Kill has made a powerful lasting impact on their fans.


    After signing with California based BreakSilence recordings in 2007, the group released their debut full-length "Reach", and Eyes Set To Kill quickly surpassed their peers on the music industry totem pole and never looked back. The group's album debuted at #29 on Billboard's Heatseekers Charts and #77 on Billboard's Independent Music charts, while the band wasted no time taking to the road with everyone from Drop Dead Gorgeous to BrokeNCYDE, Gwen Stacey and Before Their Eyes.

    1. Intro
    2. Sketch In Black & White
    3. Reach
    4. Darling
    5. Violent Kiss
    6. Young Blood Spills Tonight
    7. Where We Started
    8. Into The Night
    9. Give You My All
    10. Liar In The Glass
    11. Only Holding On
    12. Behind These Eyes
    Eyes Set To Kill
    $19.99
    Vinyl LP - Sealed Buy Now
  • Kigali Y' Izahabu Kigali Y' Izahabu Quick View

    $16.99
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    Kigali Y' Izahabu

    The Good Ones is a trio of Rwandan genocide survivors who play joyous, acoustic love songs written in the ancient local, Kinyarwanda street dialect of their nations capital, Kigali. Adrien Kazigira, Stany Hitimana and Jeanvier Havugimana recorded the songs collected on Kigali Y' Izahabu over the course of one summer evening on the back porch of a friends home. The primary obstacle to recording the group was that the musicians showed up with only one guitar for two players, and that guitar was missing two strings. Hitimana played bass on the 4-string, and a beat-up acoustic was located for the second guitarist, the sullen, primary songwriter, Kazigira, who interweaves intricate harmonies with co-singer Havugimana. In a style often referred to as worker songs from the streets, these simple, direct and plaintive love songs speak more to the healing power of peace than a thousand academic treatises or preachy goodwill ambassadors ever could.



    Toiling at hard labor and subsisting on less than 50 cents a day in one of the ten poorest countries in the world, the hard-won spirit of these aging war-veterans shines through in The Good Ones yearning voices. Kazigira, 47, wrote 8 of the 12 songs found on the album and both plays and sings. He cites Bob Marley and reggae as his major influences. Hitimana, 47, on lead guitar and bass, sometimes teaches music in Kigali and finds inspiration in the music of Santana. And harmony singer Jeanvier, 38, who also plays guitar and sings lead on his own compositions, is most influenced by the Caribbean dance music called Zouk. The trio is punk embodied: barefoot, bandaged and jaundiced; armed with broken, mismatchedstringed, borrowed guitars; but singing angelically from amidst a landlocked country that the world abandoned.



    Kigali Y' Izahabu is essentially an intimate field recording that even captures the howling and barking of dogs in the background, and it was recorded by two-time Grammy-nominated producer Ian Brennan, who has worked with artists such as Ramblin Jack Elliott, Flea, TV on the Radios Kyp Malone, Richard Thompson and many others.



    Brennan traveled throughout Rwanda, hoping to document some of the countrys contemporary music, but up until his mission-affirming encounter with The Good Ones, he had been left wanting. As Brennan reports: They were standing in the dark, their eyes downcast and restless, and holding only one guitar between them. From 100-feet away, I knew instantly that there was something special about them, a feeling one is lucky to experience even once in a lifetime. By that point, Id already visited literally every recording-studio in the capital (Kigali) and surrounding areas over two weeks and listened to hundreds of artists, but to no avail. This meeting had been set up through a mutual friend and the instant the band opened their mouths to sing, it was as if the universe reached down to tap me on the shoulder and say, 'What these guys do is precious and rare. Don't fuck it up.'

    1. Sara
    2. Belthilde
    3. Umuntu N inkundi
    4. Amagorwa Y' Abagabo
    5. Kacyiry
    6. G ahind Umpora Iki
    7. Bakame N i' Ingwe
    8. Umahanano
    9. Iby' Iyisini Ubusa
    10. Invura Yaranka G eyi
    11. Egidia
    12. Eudia
    Good Ones, The
    $16.99
    Vinyl LP - Sealed Buy Now
  • King Tuff King Tuff Quick View

    $17.99
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    King Tuff

    King Tuff is the new record from King Tuff, his first for Sub Pop and his second album overall. Was Dead, King Tuff's 2008 debut, captured the attention of the rock underground and quickly blew through its limited pressing (it now resides on ebay, being snatched up for hearty sums). His gem of a new album was produced by Bobby Harlow, of The Go and Conspiracy of Owls, and recorded during a furious two-week run in Detroit, MI.


    And Bobby has the following, among a great many other things, to say about it: "After investigating Was Dead I realized that, with his latest offering, King Tuff's songwriting was stretching far beyond the thrill of the immediate dance-floor reflex and now revealed a songwriter with a keen eye inside everyone. That was the stuff that I was interested in.


    Tip-on single LP sleeve with 24" x 12" insert.

    1. Anthem
    2. Alone & Stoned
    3. Keep On Movin'
    4. Unusual World
    5. Bad Thing
    6. Loser's Wall
    7. Stranger
    8. Baby Just Break
    9. Stupid Superstar
    10. Evergreen
    11. Swamp Of Love
    12. Hit & Run
    King Tuff
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Darkening Plain The Darkening Plain Quick View

    $24.99
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    The Darkening Plain

    Transmaniacon take the blueprint and soundworld laid down by Bloodrock, Mountain, Steppen-wolf, Blue Oyster Cult and Alice Cooper, and add a hefty slab of dark doom, hard riffs, punk atti-tude and stoner metal to ramp it up for the 21st century. The vibe is steeped in 70's rock, but the sound is definitely 'NOW' From the Sabbathian sludge of 'City Of Chaos' to the Dead Kennedy-esque 'An Eye For An Eye' and the stoner moves of 'Chasing The Insane' the album is shot through with twists and chock full of riffs. This is hard rock at its hardest and heaviest set against an expansive post apocalyptic backdrop. Nothing encapsulates the cinematic darkness more than the album opener, which grafts a progressive approach to hard rock and doom. 'Quintessence of Dust' is a 24 minute monolithic mindfuck of epic proportions, the now completed score to the still-born science fiction horror story possibly. An intense listen that features the spoken word talents of punk poet Lydia Lunch. 'Quintessence Of Dust' is a grim eco warning, a tale of alien invasion and payback time for a future Earth's corpulent consumer-ism, rampant waste and self centred greed. A hideous flesh and metal robot army, hybrid humans inadvertently created by man himself, invade, take over and consume the Earth Sleeve is by one of the real legends of horror, sci-fi and fantasy illustration, Ian Miller.
    1. Quintessence of Dust
    2. City Of Chaos
    3. Eye for An Eye
    4. Chasing The Insane
    Transmaniacon
    $24.99
    Vinyl LP - Sealed Buy Now
  • Never Say Die! Never Say Die! Quick View

    $17.99
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    Never Say Die!

    Never Say Die! is the eighth studio album by British heavy metal band Black Sabbath, released in September 1978. It was the final Black Sabbath studio album to feature vocalist Ozzy Osbourne prior to his departure from the band in 1979.


    At the time of the recording of Never Say Die! the members of Black Sabbath were all heavily involved in drug and alcohol abuse. Prior to the recording of the album, vocalist Osbourne quit the band and was briefly replaced by former Savoy Brown and Fleetwood Mac vocalist Dave Walker. Some songs were written with Walker, and the new group even performed an early version of Junior's Eyes with different lyrics on the BBC programme, Look Hear. Osbourne eventually rejoined the band, refusing to sing any of the songs written with Walker. These particular songs were rewritten, including Junior's Eyes, rewritten to be about the then-recent death of Osbourne's father.


    We had a few internal problems, Osbourne admitted to Sounds. My father was dying, so that put us out for over three months with the funeral and everything. I left the band for three months before we got back together to record it.
    The album was recorded at Sounds Interchange Studios in Toronto. We went to Toronto to record it, and that's when the problems started said Tony Iommi. Why Toronto? Because of the tax, really. The studio was booked through brochures because people thought it might be a good one. We got there and it had a dead sound - totally wrong. We couldn't get a real live sound. So what we had to do was rip the carpet up and try to make it as live as we could. They were okay about it, but it took time to get it exactly right. There were no other studios available. Closing track Swinging The Chain features lead vocals from drummer Bill Ward, necessitated by Osbourne's frequent absences from the studio and inability to perform due to substance abuse.


    It's a combination of what we've all been through in the last ten years, said Osbourne. It's a very varied album. Like, we started out playing in blues clubs, because British blues - like John Mayall and early Fleetwood Mac - was the thing at the time. We were into a twelve-bar trip and early Ten Years After-style stuff. So it's part of that sort of trip. Then there's the heavy thing and the rock thing. It's not just steamhammer headbanging stuff all the way through We got rid of all our inner frustrations: what each of us individually wanted to put down over the years but couldn't because of the pressures of work. So we put a lot of painstaking hours into developing this album.

    1. Never Say Die
    2. Johnny Blade
    3. Junior's Eyes
    4. A Hard Road
    5. Shock Wave
    6. Air Dance
    7. Over To You
    8. Breakout
    9. Swinging The Chain
    Black Sabbath
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Gasoline Age The Gasoline Age Quick View

    $19.99
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    The Gasoline Age


    First Time Available On Vinyl


    Includes 9 Previously Unreleased Bonus Tracks From Various Years


    Merge celebrates our long relationship with East River Pipe by releasing their critically
    acclaimed fourth album The Gasoline Age on vinyl.


    Saluted by ROLLING STONE as "the most gifted of the new loners," F.M. Cornog,
    aka East River Pipe, originally released The Gasoline Age in 1999. Named Album of
    the Year by both THE NEW YORK TIMES and England's THE INDEPENDENT,
    The Gasoline Age was inspired in large part by nighttime drives on New Jersey's seedy
    Route 22. Automobile imagery appears throughout the album: cybercars, stolen cars,
    pimpmobiles. The cars all seem to carry with them a romanticism that emphasizes
    even further Cornog's gift of creating a lyrical mood without tying his flights of fancy
    down to specifics.


    The Gasoline Age explores the suburban landscape and turnpike stretches outside
    Cornog's door and calmly runs down bleak facts over the gentle pulse and chorused
    strums Cornog has been perfecting since his early singles. Some of the songs are built
    on merely six concise lines of clear-eyed warning, though sometimes ("Hell Is an
    Open Door") he sounds like he might actually be looking forward to the
    darkness on the horizon. On other tracks, like the ironically titled "Party Drive," it
    sounds as though Cornog is barely going to make it to the curb. But for the character
    in the song, going on that drive is the only thing that makes it seem like "we're gonna
    be OK."


    The disconnect between the unsettling dead ends Cornog sings about and the peaceful
    swells of the keyboards and the glimmering guitars is what brings emotional weight to
    the entire album. One doesn't get the sense that a whole lot has changed in the last 15
    years for the characters inhabiting this world.


    Merge came to know East River Pipe through his string of memorable and
    mysterious singles on Hell Gate and Sarah Records. Merge co-founder Mac
    McCaughan writes, "We had friends who were early fans of those records, including
    Jim Wilbur of Superchunk, and it seemed that no one took East River Pipe fandom
    lightly-once you were in on the secret, you were all in. After Ajax Records compiled
    the sparkling early sides, we started working with Fred and his wife and partner
    Barbara Powers and have been looking forward to the next batch of periodic broadcasts from his bedroom studio ever since."

    1. Shiny, Shiny Pimpmobile
    2. Hell Is an Open Door
    3. Cybercar
    4. Wholesale Lies
    5. My Little Rainbow
    6. Party Drive
    7. King of Nothing Never
    8. 14th Street Boys Stolen Car Club
    9. All You Little Suckers
    10. Astrofarm
    11. Down 42nd Street to the Light
    12. Atlantic City (Gonna Make a Million Tonight)
    13. Don't Hurry
    East River Pipe
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Love Over Gold (45 RPM) (Pre-Order) Love Over Gold (45 RPM) (Pre-Order) Quick View

    $49.99
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    Love Over Gold (45 RPM) (Pre-Order)


    Dire Straits Stretch Out With Extended, Ambitious Arrangements And Moody Atmospherics: Love Over Gold Mesmerizes With Tension, Contrast, Interplay, And Craftsmanship


    Mobile Fidelity 45RPM 2LP Set Of Love Over Gold Touts Unsurpassed Spaciousness, Imaging, And Transparency: Mastered From The Original Tapes, Music Emerges With New Details And Tones


    Love Over Gold Includes The Epic Telegraph Road And Aching Private Investigations: Heartfelt Narrative Songs Steeped In Patience, Drama, Sadness, And Romance


    Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman - his first appearance in what would be a long string of collaborations with Mark Knopfler - ensures stunning sonic properties that now come to life like never before.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments - marimbas, acoustic and electric guitars, vibes, synthesizers - further enhance the ambitiousness of the 1982 album.


    On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.


    It doesn't take long to realize Love Over Gold is like no other Dire Straits album - and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening Telegraph Road is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.


    Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions color the sweeping Telegraph Road and barren Private Investigations, which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed wracking schizophrenia between the heart and the heartless, the loving and the pain.


    Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labeling and avoids aging.


    This title is not eligible for discount.

    1. Telegraph Road
    2. Private Investigations
    3. Industrial Disease
    4. Love Over Gold
    5. It Never Rains
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Nonagon Infinity (Awaiting Repress) Nonagon Infinity (Awaiting Repress) Quick View

    $19.99
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    Nonagon Infinity (Awaiting Repress)

    Pressed On Splattered Vinyl (Dark Vinyl With Light Splatters)


    "Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It's exactly the kind of ambitious vision that prompted Rolling Stone to dub the band "one of the most compelling collectives of art-rock experimentalists in recent years." But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.


    The roots of 'Nonagon Infinity' stretch back to 2014, when King Gizzard recorded their critically acclaimed album "I'm In Your Mind Fuzz," which was hailed by Pitchfork as "dense, intricately crafted, and most importantly, powerful."


    "We actually wanted to do this with 'Mind Fuzz,' but it just didn't work," explains Mackenzie. "We ended up writing songs that needed to be on that record but didn't connect to the others, so we had to abandon the idea, but the seeds were sown."


    To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed 'Mind Fuzz' with two more records in 2015, 'Quarters'-described by The Guardian as "the neon intersection of DIY psych and 1960s beach pop"-and the stripped-down 'Paper Mache Dream Balloon,' which earned praise from NPR to Stereogum. The truth, though, was that King Gizzard was honing in on the 'Nonagon Infinity' material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic.


    "We really wanted to focus on things that felt good live," says Mackenzie. "We'd grab a little riff here or a little groove there, and we'd jam on them and form songs out of them, which was the opposite of 'Paper Mache,' where we were making songs in an acoustic, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn't just a song, it was part of a loop, part of this whole experience where it feels like it doesn't end and doesn't need to end."


    Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path.


    "I wanted it to feel like a horror or sci-fi movie," explains Mackenzie of the album's dark overtones. "The lyrics came as a stream of consciousness, all of these elements just falling out of my head as it was happening."


    "Big Fig Wasp" references a particularly macabre insect that must kill itself in order to perpetuate the species, while "Gamma Knife," with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and "People-Vultures" plays like a sinister film soundtrack. Album opener "Robot Stop" pulls more directly from the band's recent experiences, inspired in part by their relentless work ethic and tour schedule, which has included festival performances at Bonnaroo, Glastonbury, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA, UK, Europe and Australia.


    "That song's about feeling overworked, like a bit of a robot that's just going to crash and die or something," he says with a laugh. "But you get yourself up and do it again and you robot on and you're alright. It was one of the early ones we wrote for the record, and I think when that song came together, everybody started to feel like were going to actually be able to pull off this never-ending album idea."


    To say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album's final track.


    "In the Australian desert, in the outback, there are what's called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long," he explains. "They drive on the road really, really fast, and they're deadly, with these bars in the front to kill kangaroos and anything else in their path."


    'Nonagon Infinity' has opened the door for King Gizzard & The Lizard Wizard, and they're barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.

    1. Robot Stop
    2. Big Fig Wasp
    3. Gamma Knife
    4. People-Vulture
    5. Mr. Beat
    6. Evil Death Roll
    7. Invisible Face
    8. Wah Wah
    9. Road Train
    King Gizzard & The Lizard Wizard
    $19.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Absolute Zero Absolute Zero Quick View

    $19.99
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    Absolute Zero

    Absolute 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
    9. Please
    10. Them
    11. Goodbye Blue Monday
    Little Green Cars
    $19.99
    Vinyl LP - Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
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    Broken People

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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