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Turn On The Bright Lights'
Turn On The Bright LightsInterpol's classic debut album now available on low cost vinyl.
Interpol: Carlos D., Daniel Kessler, Paul Banks, Samuel Fogarino. To make music marked distinctly of a specific period that's somehow so compelling as to be timeless is no mean feat. Interpol initially sounds as if they must have been roaming about Manchester as the 1970s screamed to a close, yet they emerged across the ocean in New York City some two decades-plus later. Combining the insistent drone of Joy Division with the dreamy melodies of the Chameleons, the fire of Mission of Burma, and an occasional jagged edge a la The Fall, the foursome inconceivably manage to defy anachronism on their debut full-length TURN ON THE BRIGHT LIGHTS. Just how they do it is indefinable, perhaps it's just a trick of the light, or the life that breathes gloomily, radiantly throughout, but it's undeniable. Vocals which fall somewhere between Ian Curtis's plaintive, edge-of-oblivion wail and the winking, laconic drawl of James's Tim Booth, ripping uncompromisingly through unpredictable, unforgettable lamentations from the reflective (NYC) to the imploring (PDA). When the darkly etched, implosive, mournful lyrics poke out as they do on the unrelenting Obstacle 1 (she puts the weights into my little heart and she gets in my room and she tears it apart), the hook is set for an important debut by a band that portends to be around a while.1. Untitled
2. Obstacle 1
5. Say Hello To The Angels
6. Hands Away
7. Obstacle 2
8. Stella Was A Diver And She Was Always Down
10. The New
11. Leif Erikson$22.99Vinyl LP - Sealed Buy Now
AnticsThe title of Interpol's second album, ANTICS, may conjure up images of carefree adventure, but anyone familiar with the New York City band's brooding post-punk sound knows that there's nothing lighthearted about their music. Although it's not a radical departure, ANTICS does reveal a broadening of the group's sonic palette. The opening track, Next Exit, is a slowly building, piano-laden anthem, marked by singer Paul Banks's remarkably widened vocal range and strangely hopeful lyrics. Clearly the group is eager to move beyond the endless Joy Division comparisons they previously garnered, and this bid works to wonderful effect. Of course, many of the elements that made their debut, TURN ON THE BRIGHT LIGHTS, so entrancing--soaring guitar riffs, tight bass lines, frenetic drumming--are still present, particularly on Narc and Slow Hands, but even these tracks aren't merely content to repeat past glories. A solid album that improves upon its predecessor, ANTICS sees Interpol shaking off the mixed blessing of being the Next Big Thing, and hitting a new creative stride.1. Next Exit
4. Take You On A Cruise
5. Slow Hands
6. Not Even Jail
7. Public Pervert
9. Length Of Love
10. A Time To Be So Small$22.99Vinyl LP - Sealed Buy Now
All Things Bright And BeautifulOwl City's self-produced new album, All Things Bright and Beautiful, finds Adam Young expanding his sonic palette as he takes his listeners into a verdant musical dreamland on such tracks as first single Alligator Sky, The Real World and Dreams Don't Turn To Dust.
Throughout the album, Young retains his trademark optimism, letting the listener know that no matter how tough times get, there's always light at the end of the tunnel. I would feel weird if I were to communicate anything other than optimism, because it's just who I am, Young says. It's always been in me to make Owl City a vehicle that sends a hopeful message. As a listener, I'm drawn to things that are really uplifting. When a certain melody grabs my ear, it makes me feel like I could be a better person.1. The Real World
2. Deer In The Headlights
4. Dreams Don't Turn To Dust
5. Honey And The Bee
7. January 28, 1986
9. Hospital Flowers
10. Alligator Sky
11. The Yacht Club
12. Plant Life$24.99Vinyl LP - Sealed Buy Now
UndeadA Premium RTI Pressing, From The Original U.K. Mono Masters
Immortalized on the silver screen, Ten Years After's landmark performance of "I'm Going Home" at Woodstock galvanized their reputation as road warriors capable of rousing large crowds - such as the 400,000 festival-goers mesmerized by Alvin Lee's white lightning on his bright red Gibson ES-335."I'm Going Home" could also light up a room as small as Klooks Kleek in London, as heard on their second album, 1968's Undead. But while it was the first recording of the song (with wires running from Decca Studios next door to capture it), it hardly came from nowhere. Alvin Lee and bassist Leo Lyons learned the value of extended jamming as far back as 1962 while playing Hamburg in the Jaybirds, and not long after they began covering Gene Vincent's "I'm Going Home (To See My Baby)" in Ten Years After - it was reworked into something entirely original. Or more specifically: stripped down, repainted, rebuilt and retooled into a drag racer that would scorch crowds for years to come. Undead was the first recorded evidence of that live legacy. Condensed to the best five of the May 14, 1968, set, the album sees the band do further long bluesy jamming with "I May Be Wrong, But I Won't Be Wrong Always," "Spider in My Web," and pound Gershwin into submission (courtesy drummer Ric Lee) on "Summertime/Shantung Cabbage." And on a killer cover of "(At the) Woodchopper's Ball," the band's jazzy blues is hot enough to turn Woody Herman's classic into sawdust - replete with Alvin Lee and organist Chick Churchill trading solos. Rightly regarded as one of the best live albums of its era, Undead is reissued here in its rare mono mix, which has been out of print everywhere for nearly 50 years.It's very much alive on this vinyl edition, which features primo sound and the beautiful negative-image original cover.
Now Sundazed proudly presents the searing guitar of Alvin Lee & Chick Churchill's haunting organ textures as they were meant to be heard, from the original U.K. MONO masters and pressed on premium RTI vinyl!1. I May Be Wrong, But I Won't Be Wrong Always
2. Woodchopper's Ball
3. Spider In My Web
4. Summertime/Shantung Cabbage
5. I'm Going Home$24.99Vinyl LP Mono - Sealed Buy Now
Wake The Dead (Awaiting Repress)It's a beautiful thing when a good band turns to great; when they put out an album that ends all skepticism concerning the band and turns everyone's head. Such is the case with Comeback Kid's spectacular sophomore effort, Wake The Dead.
The band's passion-filled debut, Turn It Around, put this band near the forefront of the straight edge hardcore movement, with its breakneck speeds and heart-stomping breakdowns. Still, people argued that it was a bit too generic for comfort, and that the album's songs blended into one another after five songs, making for a rather boring listen after ten minutes. Now, I don't know if the band took those comments to heart, but Wake The Dead has remedied any problems the band has had in the past and has turned out to be a flawless effort from a band who will no doubt be name-dropped as one of the most elite bands in hardcore after this release.
Where Turn It Around failed, Wake The Deaad excels; each song is rather distinct, not in the fact that there are a lot of "departures" to be found, but that each song has its own identity and its own parts that are unique to the song. Also, the length of the album has been cut short by four tracks, from fifteen to eleven, making for a more concise (but no less intense) listen. Lastly, the production is as in-your-face as a hardcore album could sound, making the move to Victory Records (I know, we all groaned when we heard it) a seemingly helpful move. Simply put, Wake The Dead sounds as amazing as the music is. The vocals are cleaner, the drums are more effective, and the gang vocals sound fuller. Check the end of the title track for proof; it's the best sing-along since Bane's "Can We Start Again."
Comeback Kid's music has also taken a turn towards the more punk rock-influenced hardcore spectrum, exchanging breakdowns for sheer speed and surprisingly more melodic (but no less hard-hitting) riffs. In fact, there's almost nary a breakdown to be found here; you've got your typical slower-paced rhythms to get the kids stomping, but nothing as earth-shattering as the end of, say, "All In A Year," the opener from the band's debut. The most amazing part is that you will not even notice; the songs are that good. Besides, you can still get all of the breakdown mayhem found on their debut if you see them live, which I highly consider, for they're currently on the straight edge hardcore tour of a lifetime, opening for Bane and With Honor.
There's also nothing like listening to an album for the first time and being ripped in half by an amazing album opener; "False Idols Fall" is the quintessential hardcore anthem. It's got speed, power, gang vocals, and a powerful closing, and all you can do after the song is over is smile because it was just so absolutely perfect. I can't remember the last hardcore song that made me smile. From the opening, to the insane gang vocals of "Wake The Dead," to the anthemic and soon-to-be crowd favorite "Partners In Crime," to the technicality of "Bright Lights Keep Shining," you're left in awe at how good this band sounds. Scott Wade's vocals are top-notch and unbelievably charismatic, and the guitar work is spectacular, not for its technicality and hard-to-play parts, but just for making some of the best hardcore riffs I've ever heard. Every song is excellent, and, as stated before, each has its own identity, something that is hard to come by in recent years with hardcore music.
This is a hands down ten out of ten. I've heard very few albums that have knocked me on my ass past a month's worth of listening, but Wake The Dead has done it. This is one hell of musical accomplishment, and is 100% deserving of a perfect rating. Pick this up TODAY.
- Dan Perrone (Punk News)1. False Idols Fall
2. My Other Side
3. Wake the Dead
4. The Trouble I Love
5. Talk is Cheap
6. Partners in Crime
7. Our Distance
8. Bright Lights Keep Shining
9. Falling Apart
10. Losing Patience
11. Final Goodbye$15.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Creek Audio Evolution 50A V2
Creek Audio has a long history of making fine sounding Phono pre-amplifiers.
This new amplifier forms part of the next generation EVOLUTION 50 range of products. Housed in a slim case with engraved front panel and solid
control knobs, it's finished in either black or silver brushed aluminium. An ingenious new push button design has been developed for it, offering excellent tactile feel and backlit optical indication of usable functions for optimum user-friendliness.
The 50 series is the first Creek product to feature an OLED (Organic Light Emitting Diode) display. This white on black display provides higher clarity and resolution than a normal display and offers a wide range of customised graphic symbols. Display brightness levels can be changed or turn off when not required via the menu system.
At the heart of any good amplifier lies a good power supply; The EVOLUTION 50A uses a massive 200 Watt toroidal mains transformer with separate windings for high and low current analogue and digital circuitry. This produces a good power to weight ratio and low magnetic interference. Creek's policy of paralleling several low impedance capacitors together, to create an ultra-high specification capacitor, to smooth the DC also helps to produce a very powerful and accurate sound from such a relatively small amplifier.
Creek's Senior Engineer - David Gamble - who has much experience in the audio industry developed a completely new bi-polar transistor power amplifier circuit especially for the EVOLUTION 50A with very high open-loop gain and low distortion. Featuring a pair of Sanken 15 Amp power transistors, with built-in thermal compensation for rapid bias tracking performance, the Power Amplifier circuit has very low output impedance and can produce high output current. This combination will provide exceptional speed and control with most loudspeakers.
David also developed a completely new analogue Pre-amp circuit, providing high levels of flexibility and control, via unbalanced or balanced inputs. It has multiple input options, switched electronically or via gold contact relays, plus electronic Volume, Balance and Tone controls. For Vinyl fans, a Sequel 2 Phono pre-amp can be plugged-in, substituting Line Input 1 for Phono. In addition, Line input 5 is located on a Smart- Slot removable panel. Should the user want to fit a Tuner or DAC module, Line 5 input can be removed and replaced by either the AMBIT tuner or RUBY module.
Creek Audio no longer makes a separate EVOLUTION Tuner, but die-hard analogue tuner fans can continue to listen using the top quality AMBIT plug-in tuner module, which augments the EVOLUTION 50A's capabilities. The AMBIT and Ruby modules can be mounted to the back panel 'Smart-Slot', replacing Line Input 5. When the AMBIT is fitted, it automatically turns the amp into a Receiver, suitable for use in every region of the world. The OLED shows tuner functions and buttons and knobs have dual functions.
The EVOLUTION 50A can also be configured for Vinyl Disc input, in place of Line input 1. The SEQUEL 2 module plugs into dedicated connectors on the pre-amp PCB and can run simultaneously with the AMBIT or RUBY. It comes in three versions - 40dB - 48dB and 54dB MM and MC.
To simplify the many options a stylish new system remote handset has been developed to control all the functions of the EVOLUTION 50 range. The EVOLUTION 50 range also features an optional IR extender to enable the products to be hidden away, but still operable via remote control.
This product is not eligible for discount.$1,195.00Integrated Amplifier Buy Now
Verdugo HillsFive years ago, Caroline Lufkin made ripples across the Japanese pop music scene when she famously walked away from a lucrative major label contract that virtually guaranteed the same kind of bright-light super-stardom that made her sister Olivia a household name in Tokyo. Instead, Caroline took the long way; a slow, creatively fulfilling path where she writes, performs and records her own songs and owns her every success or failure, while taking pride in both.
Verdugo Hills builds upon the same minimalist, angelic pop that made her debut album, Murmurs, so striking. Having spent the past several years as a full-time member of the small musical army that is Mice Parade, Caroline has mastered the art of mingling a dozen or more distinct sounds to form miniature symphonies for the soul that can turn from an icy chill to a warm glow in the span of a few breaths. Her lyrical delivery and subject matter have matured enormously, exposing new depths to her emotional range to accompany the deceptively subdued mix of acoustic and electronic instrumentation.
Ultimately Verdugo Hills succeeds emphatically in giving electronic music a comforting heartbeat and a contemplative soul, feats Caroline were unlikely to accomplish had she taken the straight road to overnight fame and fortune. She has become an intriguing and understated figure in the world of electronic pop music, accelerating the genre with startling, unexpected beauty while leaving lasting impressions on all of us who are along for the ride.1. Balloon
5. Words Flutter
6. Pink Gloom
10. Gone$16.99Vinyl LP - Sealed Buy Now
Creek Audio Evolution 100A
To maintain a family resemblance with the lower powered amplifier, the EVOLUTION 100A is housed in a similar slim case with engraved front panel and solid metal control knobs as the EVOLUTION 50A. It is available with either a Black or Silver brushed aluminium front panel and uses the same ingenious soft push button design as the EVOLUTION 50 series, offering excellent tactile feel and backlit optical indication of functions, for optimum user-friendliness.
The front panel features a large OLED (Organic Light Emitting Diode) display. The white on black display provides higher clarity and resolution than a normal display and has a wide range of customised graphic symbols. Display brightness levels can be changed or turned-off, if not required, via the menu system.
In addition to greatly increased performance, thanks to ingenious new circuit design, the EVOLUTION 100A has been equipped with 2 sets of high quality loudspeaker binding posts, with local and remote switching for A & B outputs. Optional extras include the ability to plug the Sequel mk2 Phono pre-amp inside and add the AMBIT FM/AM radio or RUBY DAC/Bluetooth/FM radio module to the expansion slot on the rear panel.
At the heart of any high-end amplifier there must be a good power supply; The EVOLUTION 100A uses a massive 360 Watt, low profile, toroidal mains transformer, with multiple windings for high and low voltages and current, to separate the power amp, pre-amp and digital circuitry. Creek's long-standing design policy of paralleling several small capacitors in the power supply creates an ultra-high specification capacitor, with low inductance and ultra low impedance. This significantly improves filtering and helps produce a very powerful and accurate sound from such a relatively small amplifier.
After testing several methods of building a high performance and high efficiency power amplifier, suitable for this new model, David Gamble - Creek Audio's Senior Engineer - created a unique Class G circuit especially for the EVOLUTION 100A. David chose to use four Sanken STD03 complimentary power Darlington transistors per channel, as used in the EVOLUTION 50A, which feature built-in thermal compensation. Compared to the EVOLUTION 50A, he improved the performance of the voltage gain circuitry, which, in combination with the output stage, now achieves extremely high open-loop gain and exceptionally low distortion, without sacrificing stability. The result is an exceptional power amplifier circuit with very low output impedance and high output current capability. This combination provides exceptional speed and control suitable for driving most loudspeakers.
To increase the power output of the smaller EVOLUTION 50A, yet still retain the same case size, David Gamble developed a cunning Class G circuit which runs normally at a lower voltage for power levels up to 25 Watts into 8 Ohms. When required to produce more than 25 Watts, the amp automatically swings to a higher secondary voltage, to increase the output power capability to over 100 Watts into 8 Ohms.
Statistically, average audio signals are mostly below half the maximum voltage swing available, which incidentally is only one quarter of the power. As the dissipation of lossy 'idle current' in a Class A/B amp (in the form of heat) is much lower for a 25 Watt amp than the potential 100 Watts in the EVOLUTION 100A, this solution dramatically improves the amplifier's thermal efficiency and helps to keep it slim and attractive.
The Pre-amp circuit provides high levels of flexibility and control, via unbalanced or balanced inputs. It has multiple input options, switched either electronically or by gold contact relays. It also has a State-of-the-Art electronic Volume, Balance and Tone controls. Volume control and op-amp circuit outputs are all buffered with constant current sources, to provide improved load tolerance and stable distortion characteristics.
Correct grounding is difficult, if not impossible, in an un-balanced amplifier, so Creek has provided the consumer with a balanced line input for both the pre-amp and power amp input. In addition, the optional RUBY DAC module also benefits from having a dedicated balanced audio connection to the EVOLUTION 100A's pre-amp, via its flat foil cable, to avoid potential ground loops inside the amplifier.
It is a modern listening trend for headphones to now be fed from low voltage sources, such as smart-phones and portable music storage devices. This required the development of low impedance headphones, to draw the required current to make them loud enough to satisfy the consumer. This trend has also necessitated a re-think of circuitry used in modern Hi-Fi amplifiers, to drive such low impedance headphones, together with the traditional medium to high impedance versions also.
Creek Audio has taken the unusual step of driving the headphone output socket of their EVOLUTION amplifiers from a dedicated low impedance source. Instead of the headphone output being sourced from the power amplifier, the headphone output is derived from a dedicated amplifier, with only a few Ohms in series for protection against short circuits. This dedicated HP amp is now located on the pre-amplifier circuit board.
Creek Audio no longer makes a separate FM Tuner, but die-hard analogue tuner fans can continue to enjoy this valuable format by using the top-quality AMBIT plug-in tuner module, which augments the EVOLUTION 50A and 100A's capabilities. The AMBIT or RUBY modules are mounted on the back panel 'Smart-Slot', replacing Line Input 5. When the AMBIT is fitted, it automatically turns the amp into a Receiver, configurable for use in any region of the world. The OLED display shows all the tuner's functions and it's controlled by the left hand buttons and control knobs, as well as remote control.
For vinyl fans, the EVOLUTION 100A can also be configured for Vinyl Disc input, using Line input 1. A SEQUEL 2 (40, 48 or 54) module can be plugged into a dedicated connector on the pre-amp PCB. It doesn't restrict the use of either the AMBIT or RUBY modules. Sequel 2 comes in three versions - 40dB MM, 48dB MC and 54dB MC.
To simplify the many options a stylish system remote handset controls all the functions of the EVOLUTION 50 and 100 series. An optional IR extender to enable the products to be hidden away, but still operable via remote control.
The EVOLUTION 100A is the most sophisticated and reasonably priced amplifier Creek has ever made. It provides stunning audio performance and is capable of out-performing other makes of amplifiers costing many times the price.
This product is not eligible for discount.$2,195.00Integrated Amplifier Buy Now