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Up From Below'
ADAD-VAG-0482xEdward Sharpe & The Magnetic Zeros
Up From Below (Awaiting Repress)Up from Below is the first full-length album from Edward Sharpe and the Magnetic Zeros.1. 40 Day Dream
3. Up From Below
4. Carries On
7. Desert Song
8. Black Water
9. Come In Please
10. Simplest Love
11. Kisses Over Babylon
13. Om Nashi Me$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
ADAD-VAG-9712xEdward Sharpe & The Magnetic Zeros
Edward Sharpe And The Magnetic ZerosThe third studio album from Edward Sharpe & The Magnetic Zeros, the record seems to mark a milestone for the collective, who have gone on to earn widespread success since their 2009 debut album, Up From Below.
"These songs mean everything to me," said frontman Alex Ebert in a press release. "It's the rawest, most liberated, most rambunctious stuff we've done."1. Better Days
2. Let's Get High
5. Life is Hard
6. If I Were Free
7. In The Lion
8. Country Calling
9. They Were Wrong
10. In The Summer
11. Remember To Remember
12. This Life$24.99Vinyl LP - 2 LPs Sealed Buy Now
Find A Way To CareFor over 50 years, John Mayall has served as a pioneer of blues music, rightly earning him the title, "The Godfather of British Blues." In 2013, John signed with producer Eric Corne's label, Forty Below Records, and has since been experiencing a true artistic and career renaissance.
This revival continues with the release of a brilliant new studio album titled "Find a Way to Care," produced by John and Eric at famed House of Blues Studios in Encino, California. About the new album, Corne says, I really wanted to feature John's keyboard playing on this record. He's truly one of the most lyrical, economical and underrated keyboardists around. We also wanted to change things up a bit after the success of A
Special Life and the addition of a horn section on several tracks was a really fun way to do that. As good as the last album was, I think this one is even better.
On the new album, John adds harmonica on two songs, as well as a classic guitar track reminiscent of Hubert Sumlin or Muddy Waters on the latter's legendary Long Distance Call. He is joined by his killer touring band: Rocky Athas (guitar), Greg Rzab (bass) and Jay Davenport (drums).
The release of "Find a Way to Care" comes on the heels of Mayall's internationally acclaimed, A Special Life" in 2014. I'd easily put this one among Mayall's best efforts - and that includes 'Bluesbreakers with Eric Clapton,' 'A Hard Road' and 'Blues from Laurel Canyon!'"Mother in Law Blues
The River's Invitation
Ain't No Guarantees
I Feel So Bad
Find a Way to Care
Long Distance Call
I Want All My Money Back
Ropes and Chains
Long Summer Days
Drifting Blues$18.99Vinyl LP - Sealed Buy Now
ADAD-VAG-3715xEdward Sharpe & The Magnetic Zeros
HereHere is the highly anticipated sophomore full-length from Edward Sharpe And The Magnetic Zeros led by Ima Robot frontman Alex Ebert, a band hailed by Spin Magazine as a "perfect example of rock's new order." Following-up their 2009 debut Up From Below, the sessions for the self-produced 9-song set began in Bogalusa, LA and commenced in the group's studio in Ojai, CA.
The Community Music/Vagrant Records release is highlighted by songs like the sunny, vocal heavy cut Mayla and the unwavering Man On Fire. The artwork for the album features a photograph shot by Ebert in Mozambique.
The making of this album has spanned a time of immense perseverance and, thankfully, co-creation," explains Ebert. "Making this album has been a test of our faith in ourselves and in the universe, and brought us closer together and in greater harmony with one another. A deluge of music has been written and recorded, and we are intensely excited to share it with anyone who wants to feel it.1. Man On Fire
2. That's What's Up
3. I Don't Wanna Pray
5. Dear Believer
7. One Love To Another
8. Fiya Wata
9. All Wash Out$24.99Vinyl LP - Sealed Buy Now
A Light That Never DiesOn his second album A Light That Never Dies which will be released in North America via Forty Below Records, KaiL Baxley has returned with a hard hitting, lush and beautifully haunting collection of songs. Co-produced with Producer/Engineer Eric Corne whose recording credits include Lucinda Williams, Glen Campbell, Kim Deal and John Mayall, the album was recorded over the last year in three different cities.
"We used a lot of really old gear on this one to capture that warm analog sound and preserve its truth," says KaiL about the album. "I'm proud of what Eric and I got out of the studio and I'm eager to get out on the road and share it with people."
Hailing from the small backwater town of Willison-Elko - a town so small that most people in South Carolina don't even know where it is, much less the rest of the world. It's only claim to fame is soul legend James Brown, with whom Baxley shared an unlikely friendship as a child. Perhaps this was one of the leading influences in Baxley's soul-drenched music or perhaps it was the similar circumstances in which they were raised that fuels such deep emotion in an individual.
Abandoned by both his mother and father as a small child Baxley was raised by his grandfather Woody until age 12. When he passed away, KaiL bounced from one living situation to another, rarely living in one place for more than a year at a time. It was in this constant migration that he found escape in a pair of old RCA headphones.
"It wasn't all bad really," he recalls. "I got to know quite a bit of music from all different genres during that time period. I'd stay with my uncle for a while and pick up some Van Morrison; my auntie gave me the Stones;friends parents turned me on to gospel. Then I discovered hiphop and it was all over. I was hooked."
This is the very apparent source of inspiration in KaiL Baxley's genre-bending music that also blends blues, indie rock, soul, gospel, and syncopated hiphop-style beats into a most exquisite and easily drinkable cocktail of sound - a sound that he has dubbed "Soul Swagger".
KaiL's debut effort, Heatstroke/The Wind and the War, was presented as a double EP which displayed the yin and yang of his musical range. A surprise nominee for NPR's Album Of The Year, it received critical acclaim, including a debut at SXSW, where Baxley was tapped as, "One of NPR's top new artists" by All Songs Considered.
"His voice falls somewhere between Joe Cocker and Bill Withers with a husky authority. The guy is a whiz-bang folkie-turned-soul-rocker and has a voice which can make you dance or which melts butter, depending upon the tune."
- Frank Gutch Jr. / Segarini1. Light That Never Dies
2. Mr. Downtown
3. Tell the Falling Sun
4. The Ballad of Johnny Steel
5. Morning Light
6. Better FeelN' Better Days
8. Still Wonder (Interlude)
9. Troubled Souls
10. Chasing James Dean
11. Mirrors of Paradise$18.99Vinyl LP - Sealed Buy Now
First Pressing Of 750 Individually Numbered Copies On 180 Gram Gold Vinyl, Black Vinyl Thereafter
Includes 4 Page Booklet With Text Written By Ian Peel
Expanded Edition Includes Azura, Bond, Joyrider Plus 6 Bonus Tracks A.o: Goa, Lopez (Brian Eno Mix), Baton Rouge (Cajun Mix)
In the late '80s, Eight-O-Eight State was at the forefront of England's still developing electronic music scene. Don Solaris, the group's first widely available album in more than four years, is something of a return for the group.
The music on this album is diverse, exploring many formats and styles. This album may upon first listen sound too much like a techno-rock crossover. But it is far from that - this music is foremost moody, deep, and full of risks.
An ambient piece begins the album, and runs into the industrial and heavy sounds of Bond. Vocals are featured on this track, as well as a string bass and harmonica, bell sounds and chimes.
Bird and Azura throw the listener into a more bass heavy and danceable space. Vocal samples and somewhat eerie sounds give Bird a very moody feel, while jamming drums assault the mind. Steel drums from the Caribbean soothe the ears, when drum and bass rhythms break in through the serenity, accompanied by the tense and beautiful vocals of Louise Rhodes from Lamb. A bass line ricochets between the steel drums and kick-drum punches, bouncing off the walls and the trees of this far-out hot jungle. 808 State continue their journey into pop dynamics, dance, jazz and electronic breathing with Black Dartangnon and Joyrider.
Balboa brings in tons of bass, perfect for those who love to feel it coming up from below, or like a wall of sound from speakers. If you love music, you'll enjoy Don Solaris. It was experimental in the right ways and well ahead of its time.LP 1
5. Black Dartangnon
5. Lopez (Brian Eno Mix)
6. Joyrider (A Natural Mix)
7. Baton Rouge (Cajun Mix)
8. Bonded$41.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Calypso Is Like So...Import
In 1956, at the height of the short-lived calypso craze that saw Harry Belafonte top the charts worldwide, Robert Mitchum filmed two movies in the British West Indies, Fire Down Below and Heaven Knows, Mr. Allison. Calypso originated in Trinidad, and Mitchum filmed Mr. Allison in Trinidad's sister island, Tobago. As his co-star, Deborah Kerr, remembered, He possessed enormous musical knowledge and sense of rhythm. He'd mastered the West Indian songs with their complicated rhythms before a week was up in Tobago. By the time they'd finished filming Fire Down Below, Mitchum was singing calypsos at local clubs, and he continued to do so after he returned to the United States. Someone from Capitol Records heard him sing at the Polo Lounge in Beverly Hills, and signed him up. Over the course of several nights in the Spring of 1957, Mitchum recorded his classic calypso LP, Calypso Is Like So... Using his droll sense of humor, he made up new calypsos from older numbers he'd heard in the islands. The result, a lounge classic.1. Jean And Dinah
2. From A Logical Point Of View
3. Not Me
4. What Is This Generation Coming To
5. Tic, Tic, Tic
6. Beauty Is Only Skin Deep
7. I Learn A Merengue, Mama
8. Take Me Down To Lover's Row
9. Mama Looka Boo Boo
10. Coconut Water
11. Matilda, Matilda
12. They Dance All Night$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
KAB Super Record Grip - Push On Record Clamp (On Sale)The newly redesigned KAB super record grip was designed to replace and improve upon the PIG clamp originally supplied with the Revolver brand turntables. This new design features a 2 piece precision molded frame, spring rubber insert and UHMW polyethylene non marring contact surface. This is especially useful on Rega brand turntables and others where there is very little spindle to grab on to.
The KAB Super Record Grip reduces resonance and acoustic vibration of the record itself, freeing the stylus to do its intended job of tracing the groove. The result is better focus and detail to the soundstage.
The Super record grip attaches quickly; by turning with slight pressure, it walks down the spindle and meets the record surface.
Note: For easier use, the center hole can be lubricated with a diluted solution of 5% Armor All® and alcohol, swabbed with Qtip®.
The built-in bubble level shows turntable level at a glance to within 1 degree of accuracy.
Spring reinforced rubber insert holds onto the turntable spindle firmly.
The built in bubble level allows a quick check of turntable level. A level turntable balances the forces of the needle in the groove.
When the needle is resting in the record groove, the entire record surface behaves as a microphone picking up vibrations from the air and the turntable below. Damping the record surface reduces the affect of these added vibrations to the needle's already difficult job of reading the groove.
The really great features to take note of with the KAB super record grip is the ease of use and cost effectiveness.
The super record grip represents great value. Yet it is quite good at what it does and even has the added benefit of showing level at a glance, each time you use it. Keeping with the KAB philosophy that more is better, but it needn't cost more!
One issue to be sensitive to is turntables with light floating spring suspensions. You will have to push down some while applying the super record grip. It does not rely on weight. (It only weighs 2 Oz) Be sure your turntable can Bottom Out safely. If this is a concern, consult your turntable maker first.
[In our opinion, if you can bottom out safely, the super grip is a better solution still over clamps that rely on weight, since they will change the operating height of your platter.]$38.00Record Clamp Buy Now
ValtariYou can forgive Sigur Rós for being hazy on the details of the recording of their sixth album Valtari. It's either the album they always wanted to make, or the album they almost didn't make, depending on how you look at it.
In 2011, the band started the painstaking forensic task of piecing together a cohesive and magical work from disparate constituent parts. If this sounds unromantic, the results are anything but. Something alchemical occurs when the four members of Sigur Rós are in the room together, and even if Valtari is more a "studio based" album than any of its predecessors (which usually start life as rehearsal room jams), the long hours of experimentation and unsentimental editing have yielded incredibly persuasive results.
In English Valtari translates as "steamroller" and there is something right about the title in terms of the process of its creation. The last three tracks of Valtari are like one long slow gorgeous fade out, as the listener, having been softened up by the slightly more "songy" start to the album, is left with the subtly shifting, deep introspective beauty of the last 24 minutes.
After that, penultimate track, Valtari is like the far heart of the album; eight minutes that feel like being alone in row boat on a chill day, small irregular waves lapping the wooden hull as a dense fog bank rolls in and ice slowly encases every surface. Below the fathomless green, deep endures. Gatefold 2LP with MP3 coupon.1. Ég anda
2. Ekki múkk
8. Fjögur píanó$26.99Vinyl LP - 2 LPs Sealed Buy Now
VolcanoJames Bagshaw (vocals, guitar), Tom Warmsley (bass, backing vocals), Sam Toms (drums) and Adam Smith (keys) - are set to release their new album, Volcano, via Fat Possum.
All the elements people loved with Temples' debut, Sun Structures, remain intact, but this time, there is a noticeable evolution presented from the outset. It's clear Volcano is the sound of Temples squaring up to their potential, immediately evident with "Certainty." Its beefed-up beats reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. "If there's a sense of scale," says frontman James Bagshaw, "It was really just a result of implementing a load of things that we didn't know about the first time around. We didn't even have a subwoofer to listen back to things that we did on Sun Structures, so there was nothing below 50Hz on that record. We didn't even know those frequencies were there!"
Entirely self-produced and written by all four members of the band, Temples' melodies seem to come effortlessly. There are sun-dazed numbers and lysergic dream-pop songs and those where synth and mellotron interweave to beguiling effect. One thing is certain; it's harder to spot the influences this time around. Mystical language has been supplanted by something more direct. They've been broken down and blended together - fossilized into a single source of creative fuel, resulting in a sound that is undoubtedly Temples. As described by co-founding member Warmsley, "we discovered a lot as we went along, and the excitement at having done so radiates outwards."1. Certainty
2. All Join In
3. I Wanna Be Your Mirror
4. Oh The Saviour
5. Born Into The Sunset
6. How Would You Like To Go?
7. Open Air
8. In My Pocket
10. Mystery Of Pop
11. Roman Godlike Man
12. Strange Or Be Forgotten$20.99Vinyl LP - Sealed Buy Now
All Our Gods Have Abandoned UsARCHITECTS UK are a band who've never shied away from challenging the world around
them. Long lauded as some of modern metal's most progressive-thinking minds, for the
past decade, the quintet have pushed boundaries, redefined genres, and never feared
having to question themselves in order for their art to leave its mark on this Earth. ARCHITECTS
UK, are a band like few others; The quintet all practice a vegan lifestyle, tour
with a consciousness about their footprint on the world, and devote time and energies to
Their 7th studio album, All Out Gods Have Abandoned Us is the heaviest and darkest
work to which the band have ever put their name, both on and below its surface. "To me,
All Our Gods is about getting to the root of the dysfunctions and disillusionment that
cause all of this mess, be it personal or political or environmental," says ARCHITECTS
UK guitarist and principle songwriter, Tom Searle. ARCHITECTS UK lineup also includes
Tom's twin brother Dan on drums, Sam Carter on lead vocals, guitarist Adam Christianson
and Ali Dean on bass.
For the follow-up to their 2014 album Lost Forever/Lost Together, ARCHITECTS UK returned
to Gothenburg's Studio Fredman and the production team of Fredrik Nordström
and Henrik Udd and it was they who would once again be entrusted to help translate the
tracks penned by Tom Searle into a reality.1. Nihilist
3. Phantom Fear
5. Gone With The Wind
6. The Empty Hourglass
7. A Match Made In Heaven
9. All Love is Lost
10. From The Wilderness
11. Memento Mori$19.99Vinyl LP - Sealed Buy Now
Blood On IceBathory's famed lost album, Blood on Ice, was originally recorded in the late '80s, smack-dab in the middle of the Swedish group's revolutionary transition from its barbaric black metal beginnings to the ambitiously orchestrated Viking metal of its golden era. At the time, the work was deemed far too big a departure by band mastermind Quorthon, who, among other things, shockingly substituted his raspy croak for actual singing throughout -- but, as with any abandoned project, retrospective evidence also suggests that Quorthon was also less than secure about whether his songwriting and musicianship were yet developed enough to fulfill his vision. Shrouded in mystery for the ensuing half-decade, Blood on Ice was finally resurrected and completed (replete with story-advancing sound effects) to Bathory's satisfaction in 1996, at which time it was released to widely deserved critical and fan acclaim, despite a few but distinct shortcomings that placed its overall achievement slightly below that of acknowledged triumphs like Blood Fire Death and Hammerheart. Sliding into gear rather slowly with tentative offerings like the title track, One Eyed Old Man, and The Sword (which sounds way too similar to Manowar's Blood of My Enemies), the album eventually reaches cruising speed with outstanding moments like The Stallion, The Woodwoman, and the colossal Gods of Thunder of Wind and of Rain, whereupon Quorthon's vocals (sometimes given to off-pitch variations) sound better than ever before. The gentle acoustic bridge The Ravens sets up the epic, nine-minute masterstroke of The Revenge of the Blood on Ice, which may single-handedly convince even the most cynical of listeners that this long-forgotten work deservingly belongs within Bathory's hallowed canon. Also worth mentioning, the album's lengthy (meaning biblically sized) explanatory liner notes read like a veritable Rosetta Stone for longtime Bathory supporters, shedding unprecedented historical light and perspective upon the group's mysterious history.
- Eduardo Rivadavia (All Music Guide)1. Intro
2. Blood on Ice
3. Man of Iron
4. One Eyed Old Man
5. The Sword
6. The Stallion
7. The Woodwoman
8. The Lake
9. Gods of Thunder, of Wind and of Rain
10. The Ravens
11. The Revenge of the Blood on Ice$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Ultimate Analogue Test LP
Analogue Productions set out to produce the ultimate test record.
We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.
Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.
This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.
General Reference Level
This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)
Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
Adjust preamp channel balance for equal output.
Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.
Track 2 1kHz reference level Left channel only
Measure Right channel output.
Track 3 1kHz reference level Right channel only
Measure Left channel output.
The object is to sit the stylus exactly perpendicular in the groove.
Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.
High Frequency Adjustment
Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.
Track 4 1 kHz tone at -20 below reference level, Lateral
Reference for High Frequency test.
Track 5 10 kHz reference tone at -20dbu, Lateral
Adjust the high frequency until the output level equals that of Track 4.
Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)
The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.
Low Frequency Adjustment
Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.
Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)
Play Track 7 and measure the output with your AC millivolt meter.
Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.
Track 8 100 Hz reference tone at 0 vu (Lateral)
Adjust LF Eq to reference (which is your reading from Track 1).
Track 9 VTA adjust
This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.
Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.
Track 10 Standard Wow & Flutter test signal; 3150Hz
The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.
Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.
Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)
Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.
It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.
Track 2 Pink noise lateral
Track 3 Pink noise vertical
Used for cartridge "demagnetizing"
You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.
Track 4 1kHz @ reference level, vertical
This out-of-phase signal should cancel to nothing when summed to mono.
Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.
Track 5 1kHz to 10Hz sweep @ -20 below
reference level, vertical
Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.
Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.
Track 6 Silent groove for bearing rumble and table isolation
During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.
This title is not eligible for discount.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Permeable LifeSinger-songwriter Carrie Newcomer is releasing her twelfth
studio recording this spring, A Permeable Life, produced and
engineered by Paul Mahern (John Mellencamp, Over the
Rhine, Willy Nelson, Lily & Madeleine). Newcomer is simultaneously
releasing a companion book, A Permeable Life: Poems and
Essays. Newcomer has attracted a devoted following with
her warm voice, exquisite melodies, and an irreverent yet
spiritual view of the world. As in the work of poets Mary
Oliver and Wendell Berry, Newcomer's songs are based in
the ordinary, and infused with images from the natural world.
"A Permeable Life is about what presses out from the heart,
what comes in at a slant and what shimmers below the
surface of things," Newcomer says. "To live permeably is to
be open-hearted and audacious, to risk showing up as our
truest self, and embracing a willingness to be astonished."
On this album, Newcomer's signature deep voice-which the Austin American-Statesman called "as rich
as Godiva chocolate"-takes on a quiet conversational tone, close and intimate. Open and elegant arrangements
showcase lyrics that balance introspection and interior monologue with love and fascination for the shared
human story. The concept of this album was creating a musical framework as intimate and elegant as the songs
themselves. Each individual part have clarity and beauty, tting perfectly together like the gears of a ne clock,
and yet uid and never ridged or contained but remaining open and seemingly effortless. Newcomer states, "We
wanted this album to be very intimate. We wanted the listener to feel very close as if in conversation with me.
The vocals on this album were sung as if I were sitting at the kitchen table with the listener."
In "Every Little Bit of It," Newcomer delights in the small experiences that give our life meaning, and the
importance of embracing these moments while we can "drain the glass drink it down, every moment of this,
every little bit of it." In "A Light in the Window," she reects on the feeling of seeing a light in the window at a
distance. We don't know what the next threshold will bring, and yet there is always a whisper, a light in the
distance giving us hope and encouragement. In "Writing You a Letter," Newcomer describes the process of
traveling with an open heart, and how it will inevitably change us: "Every place I go leaves it's own tattoo." But
she also knows that we make impressions when we leave: "That's how it is laying stone on stone, building little
altars by the side of the road." "The Ten O'clock Line" and "Abide" (co-written with author Parker J. Palmer),
explore themes of loss and new thresholds, musing on the possibility that what may look like a hole in one's
life, may be only a space. In "Visitation," Newcomer describes the experience of how memories do not arrive in
a linear fashion, but wash over us throughout the day. In the haunting "Thank You Good Night" she describes
the evolution of a prayer of gratitude. "A Room at the Table" is an anthem for a new diverse world where she
writes "This is how it all begins, let us sing the new world in," calling us to allow this troubled world to
transform us and move us to action. In "An Empty Chair" she explores one woman's story in the wake of
unexpected gun violence. And "Forever Ray" and "Don't Put Me On Hold" reect Newcomer's mischievous
humor.1. Every Little Bit of It
2. The Ten O'clock Line Featuring Lily & Madeleine
3. Writing You a Letter
4. A Light in the Window
5. The Work of Our Hands
7. Room at the Table
8. Thank You Good Night
9. Forever Ray
10. An Empty Chair
12. Please Don't Put Me on Hold$18.99Vinyl LP - Sealed Buy Now
iFi Audio Retro Stereo 50 Amplifier
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.
From Vinyl All The Way To Smart Phones - Your Music, Your Way
Class A Bewitching Tonality And Realism
Octa-DSD512 And Pcm/768KHz. Ultimate Audio And Fully Future-Proofed
Starting with the Stereo 50, the iFi Retro is a completely new range that has one objective: to include everyone who loves music regardless of age, gender or technology.
The Retro Stereo 50 is an all-in-one tube stereo system: from Bluetooth aptx (phone/pad) to High-res digital (computer) to vinyl (turntable). Everyone can bring their music and be able to connect to the Stereo 50 and produce music that simply astounds. There really is nothing like the Retro Stereo 50.
Music is in the air
Smart devices capable of Bluetooth, aptX (best mode of wireless transmission) and NFC (extreme ease) can be "wirelessly paired" to the Stereo 50. From there, it is a simple case of opening your music app, be it your music collection on your music player, Spotify or Tidal and hit play!
The aptX option offers CD-like-quality wireless audio beyond normal Bluetooth. This means the Stereo 50 is future-proofed for Smart devices for many years to come.
USB & SPDIF for streaming/computer audio
Nowadays, nearly every home is streaming, be it from the set top box, smart device or computer via SPDIF coaxial or the USB 3.0 port. Irrespective of your preferred listening method - from Spotify to J. River; connect to the Stereo 50 and enjoy your favourite tunes at a whole new level!
High-resolution audio (DSD512, PCM768kHz, 2xDXD) via USB, Coaxial and Optical are all catered for. Just connect, sit back and enjoy your music your way.
Space-age digital and classic valve technology
AMR and iFi are renowned for combining classic valve technology with state-of-the-art digital technology such as in the prestigious AMR DP-777 Digital Processor. The Stereo 50 is the latest from a long line of outstanding products. It features 4xEL84X and 2xECF82 tubes with a stunningly advanced ground-up circuit that has DNA from the best of classic amplifiers such as Telefunken, Marantz and Leak.
Running primarily in Class A, its 25W+25W is and sounds astonishingly realistic. This all means a sonic performance that reflects the superb design and implementation.
Burr-Brown brightest chipset + AMR unorthodox technology
At iFi, 'the best format' is not the focus. Rather, we care for replaying each format at the pinnacle.
The Burr-Brown DAC chip used was developed by BB Japan (as opposed to BB/TI) though the product introduction was after the merger. Being Burr-Brown's swan song chipset, it featured their ultimate converter technology and even to this day, is held in the highest esteem.
Having a chipset able to play all formats would count for little if this was not all executed natively, which means no conversion from one format to another. Using trickle-down technology from AMR (who wrote the chipset's unorthodox control software) to drive this Burr-Brown chipset means preservation of the original music format which is essential for reaching the zenith in high-end audio reproduction.
High-Resolution on PCM768/DSD512/2xDXD
Computer-audio playback is advancing at breakneck speed. The Stereo 50 on the outside exudes classic retro styling, but on the inside, is at the cutting-edge.
It is able to play all formats to the highest level:
- PCM, from 16/44kHz all the way up to 32/768kHz
- DSD up to Octa-DSD512 (22.6/24.6MHz)
- DXD, 2x to 768kHz
Not only the hyper-advanced formats/sampling rates, but the filters employed also ensure the most analogue and life-like reproduction. The Minimum Phase filter for PCM and Bit-Perfect filter for DXD/DSD ensure maximum enjoyment. These filters ensure the typical "metallic edginess" to standard digital playback is not present, leaving a smooth and organic tonality.
In-Ear & Headphone lovers in for a treat
Got headphones? The Stereo 50 with separate 3.5mm and 6.3mm inputs is just for you. Each headphone input has its own dedicated gain and sensitivity to perfectly match high-sensitivity In-Ear-Monitors and low-sensitivity Over-the-Ear headphones respectively. The 6.3mm output pumps out a "turbo-charged" 7,000mW. So even the most demanding of headphones such as the HiFi Man HE-6 has met its match.
The Stereo 50 features iFi's widely-regarded 3D Holographic for Headphones® and XBass® technologies. They have garnered a following with their mesmerizing ability to perfectly match each and every type of recording and headphone. The 3D Holographic for Headphones® technology uses pure analogue signal processing which delivers a wide open and spatially correct sound stage for headphones that places the sound field "back outside of the head" to enhance the listening experience. The XBass® technology creates the finest bass and dynamically corrects the bass response to perfectly suit the way we hear.
Vinyl oozes verve
iFi's iPhono has already become a modern classic and the Stereo 50's phono stage is set to emulate this feat. It has adjustable ultra-wide gain MM/MC from 38-62dB and its tone control system harks back to classic equalisation technology. With 6 different EQ curves (via the precision tone control), every stereophonic record is catered for. From the default RIAA through to EMI and Decca, as the legion of iPhono users can attest, once dialed-in, each and every record has "a kind of vinyl magic".
The astonishing EQ feature would count for little if the actual sonic ability of the phono stage was not executed with finesse. Well, just like the iPhono, the Stereo 50 is one of only a handful of phono stages whose noise floor is below (as opposed to above) that of the record. With its superb dynamics and resolution, the Stereo 50 comfortably plays in the big league of vinyl.
Analogue Tone, Volume and Remote Controls
Digital volume controls truncate the delicate audio signal so iFi avoids this at all costs. The Tone Controls, Volume Control (with remote control) are all of extreme high-quality. The critical analogue volume control is by Alps (Japan) motorised potentiometer (< 3dB tracking error).
Audio equipment up to four times the price do not possess a volume control as high-quality as the Stereo 50's. It is this fastidious attention to detail and highest-quality composition that sets iFi apart: in our sonic mission, we leave no stone unturned.$1,599.00Tube Amplifier Buy Now
Stand For Something Or Die For Nothing (Pre-Order)Release Date: June 22, 2018*
Boston. Titletown. The Cradle of Liberty. Beantown. From popular neighborhoods like Jamaica Plain and Davis Square to the more hardscrabble quarters like Mattapan and Roxbury, Boston is a complex fabric of people, cultures, and viewpoints. None more Boston are punk rock outfit, Street Dogs. From the air they breathe and the food they eat to the communities they serve-frontman Mike McColgan is a Boston Fire Department 911 Dispatcher and drummer Pete Sosa is an honorary member of the City of Boston-and the values they uphold, Street Dogs exemplify their city and what it has to offer the world. Across the group's storied 16-year career, they've hit hard, spoke the truth, and walked the walk. New album, Stand for Something or Die for Nothing, is proof the Bostonians continue to live and be empowered by their punk rock, tell-it-like-it-is ethos.
"Anyone who has ever listened to our group knows we are Bostonians to the bone," says bassist Johnny Rioux. "We all love the city. It's our home. I think our fans abroad get a window into our city and what it is like to grow up here and live here through a multitude of different life experiences [from our music]."
Indeed, Sicut Patribus Sit Street Dogs Nobis. But the primary motivator to pick up where 2010's lauded self-titled left off wasn't to continue waving the sky blue at the Boston Common, but to sound the alarm that our leadership and the affluent are taking advantage of society. The wedge is being driven between classes, deeper and deeper, where the rich get richer and the poor are afforded fewer choices in life, like education, opportunity, and the pursuit of a good life, respected liberties, and unquestionable happiness. This gift, as it were, has given the Street Dogs have plenty to write about eight years after their Hellcat Records' swansong.
"The dumbing down of America is a reason to write songs in 2018," Rioux asserts. "People need to wake the fuck up and realize the rich won't drain the swamp or look after the working man and woman. [So] we hit on familiar turf and we go outside our zone as well on Stand for Something or Die for Nothing. It's tough to contain my excitement for this record and our fans are going to love it. Everyone stepped way up."
If there's one thing that sets the self-titled apart from Stand for Something or Die for Nothing it's the songwriting. Tracks like "Other Ones," "Angels Calling," "Working Class Heroes," and "Never Above You, Never Below You" show Street Dogs at their finest: loud, abrasive, confrontational, and unifying. In fact, there's not one track on the group's sixth full-length that doesn't convey brotherhood, common values, and the ability to stand together against anyone with aims to disfigure or disband their raised fist.
"On Stand for Something or Die for Nothing, we took our time making sure everything was worked out as well as it possibly could be with multiple re-writes of songs and painstaking takes," says Rioux. "The band wrote this record together as a unit. This is the most full-band record we have ever made with everyone contributing. It's our best record. I really believe that and all the hard-painstaking work we put in people will hear and feel. With respects to the self-titled record we were moving at very quick and prolific pace back then. That record came together fast and is special."
Recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studios with Rioux in the producer's chair, mix master Sean Cahalin at the desk, and mastering ace Jeff Lipton navigating, Stand for Something or Die for Nothing is a punk rock album for the new era. Rioux was careful to balance the DIY tenets of punk with the professional requirements of recording an album. The result was hard won, but Stand for Something or Die for Nothing is a punk rock triumph, with tracks like "The Comeback Zone," "Lest We Forget," and the title track delivering modern-day anthems that kick ass and take names.
"Other than Sean being a total professional and super-proficient, there aren't really any specific stories to Stand for Something or Die. I've always has had a hand in the production of our records and I can be demanding in the studio! That all said, I think we have our best sounding record to date. It has all the energy of our live shows in it. Fans will immediately tell it's us when they hear it."
While the definition of punk rock has its divisions, Street Dogs are, no doubt, part of the genre's proud history. Stand for Something or Die is undoubtedly punk rock. Using Rioux's definition (or not): "What's punk to me is people living how they want to not how they are told to."
*Please note that release dates are subject to change.1. Stand For Something Or Die For Nothing
2. Other Ones
3. The Comeback Zone
4. Angels Calling (feat. Slaine)
5. These Ain't The Old Days
6. Working Class Heroes
7. Lest We Forget
8. The Round Up
9. Mary On Believer Street
10. Never Above You, Never Below You
11. Torn And Frayed$20.99Vinyl LP - Sealed PRE-ORDER Buy Now
Binary"My last record was very inward-looking," says Ani DiFranco. "I was pregnant and then raising a screaming infant. But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me."
With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.
She describes a moment during the writing of "Play God," an unblinking pro-choice battle cry, as a particular breakthrough. (A live version of the song was included in the anti-Trump "30 Days, 30 Songs" campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.)
"When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' " she says. "It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!'"
"When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on. So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!"
On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with "Pacifist's Lament" and the need for empathy in "Terrifying Sight." Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil.
"I'm not surprised," says DiFranco. "Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness. I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!"
She notes that Binary's title track is key to her intention on this project. "I always title a record from the song that seems to be at its core," she says. "An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story."
Though this concept is closely tied up in our present-day obsession with technology ("Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging," she says), DiFranco also reveals a growing connection to nature and the physical world.
"Every year on Goddess' Green Earth, I understand my relationship to it more," she says. "My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me."
The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests. "I knew I wanted to involve some of my brilliant friends this time out," she says. "We made some calls and got a party going. That was the idea, to reach out and have some other spirits enter."
Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; "they are so captivating and they elevate my shit whenever they come near it," says DiFranco. Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. "Their souls are of this place," she says. "The feel they bring is something they got in utero."
For the better part of 2016, DiFranco beat the drum for voter turnout on her "Vote Dammit!" tour, focusing on registering and inspiring people to vote. In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney.
Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business.
"While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind," she says. "The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic."
"I'm trying to figure it out daily," says Ani DiFranco. "Just like always."1. Binary
2. Pacifist's Lament
4. Play God
7. Even More
10. Terrifying Sight
11. Deferred Gratification$24.99Vinyl LP - 2 LPs 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
Body ComplexFor Jakub Alexander, the languages of music and visual art are permanently intertwined. And he's always been this way - from his birthplace in communist Poland, to growing up outside of Detroit, to his current home in Greenpoint, Brooklyn. When music like Gas, early Dial Records, and Mille Plateaux releases in the 2000s popped up in my headphones, Alexander begins, it was completely visual for me. Something clicked from collecting pages out of old Architectural Digest magazines and being completely overwhelmed with inspiration for my own visions of interior architecture. The concept carries on still, now as an integral part of Body Complex, his second album as Heathered Pearls, which also features contributions from fellow Ghostly artists The Sight Below, Shigeto, and Outerbridge (mem. Beacon). Body Complex represents a new form of Alexander's visually inspired sound creation, but just as it points to changes in direction for the ambient-inclined producer, it also revisits the past experiences that make his music possible1. Cast in Lemon & Sand
2. Sunken Living Area
3. Interior Architecture Software
4. Personal Kiosk (ft. The Sight Below)
5. Holographic Lodge
6. Abandoned Mall Utopia (ft. Shigeto)
7. Perfume Catalogue
8. Artificial Foliage
9. Warm Air Estate (ft. Outerbridge)
10. Thought Palace$18.99Vinyl LP - Sealed Buy Now
In The Orbit Of Ra (Awaiting Repress)Sun Ra is one of the most respected, and perhaps most misunderstood creative minds in jazz music. To commemorate what would have been Ra's 100th birthday, we've teamed up with Art Yard for a very special release. In The Orbit Of Ra is a new collection presented by the longest serving member of the Arkestra and current bandleader, Marshall Allen. Bringing together Sun Ra highights from over 25 years of music, the album is the first internationally released compilation to provide an introduction to the music of Sun Ra, all mastered from the original tapes.
Hear the pristine masters for one of our favorite Sun Ra tracks, "Plutonian Nights," below, and an instant download of the track is available with pre-orders of the full album. Physical formats feature full interview with Marshall Allen along with rare and previously unpublished photos by Val Wilmer.LP1
1. Sun Ra And His Myth Science Arkestra - Somewhere In Space
2. Sun Ra & His Solar-myth Arkestra - The Lady With The Golden Stockings
3. Sun Ra And His Afro Infinity Arkestra - Somebody Else's World
4. Sun Ra & His Solar-myth Arkestra - Plutonian Nights
5. The Sun Ra Arkestra - Angels And Demons At Play
6. Sun Ra - Island In The Sun (extended Version - Previously Unreleased)
7. Sun Ra - Rocket Number Nine Take Off For Planet Venus
1. Sun Ra And His Arkestra - Astro Black
2. Sun Ra And His Intergalactic Infinity Arkestra - Have You Heard The Latest News From Neptune
3. Sun Ra And His Myth Science Arkestra - We Travel The Spaceways
4. Sun Ra And His Solar Arkestra - Reflects Motion (part 1 - Previously Unreleased)
5. Sun Ra And His Solar Arkestra - Reflects Motion (part 2)
6. Sun Ra - Ancient Aiethiopia$24.99Vinyl LP + 2 CDs - 2 LPs Sealed AWAITING REPRESS Buy Now
ADAD-NEW-2119xBuddy Miller & Friends
Cayamo Sessions At SeaBetween busy touring schedules and time spent
creating and recording songs, artists rarely get the
opportunity to spend time with other musicians they
admire and respect. Occasionally, they bump into
each other in hotel lobbies, backstage dressing rooms,
or airport terminals; usually no more than a hurried
conversation passes, perhaps a quick meal together,
a wave and a nod then everyone is off to the next gig.
Ships that pass in the night.
For one week each year, this changes. Musicians and
music fans board a cruise ship together, escape the
winter cold, and sail away for a musical adventure
called Cayamo. Once-in-a-lifetime collaborations begin
the minute the ship leaves port. From bow to stern,
port to starboard, on top deck and down below, around
every corner and in every venue you'll find musicians
who might never otherwise have a chance to meet
teaming up to play old favorite tunes or even create
In 2012, Cayamo veteran Buddy Miller decided to try
to capture a few of these special moments. He brought
along some recording gear and set up a studio in the
ship's library where he and co-host Jim Lauderdale
recorded episodes for their SiriusXM Outlaw Country
Buddy & Jim Radio Show. Their debut episode with
Lucinda Williams was recorded there.
Buddy thought the radio show recordings sounded
really good so, in 2014, he brought more gear, an
engineer and some great musicians. Sixthman let him
take over the Bliss Lounge where he set up a temporary
recording studio between the lanes of the bowling
alley. For two days and nights, guest artists came to
record and fans came to watch. It was so much fun,
they did it all again in 2015.
For those fortunate enough to have experienced
Cayamo, these tracks might bring back fond memories.
For those yet to sail, consider these recordings a vacation
postcard from Buddy Miller and his talented friends and
a musical snapshot of their journey through song.
Kathi Whitley, Nashville, TN 20151. After The Fire Is Gone - with Lee Ann Womack
2. Love's Gonna Live Here - with Kacey Musgraves
3. Sunday Morning Coming Down - Kris Kristofferson
4. Just Someone I Used To Know - with Nikki Lane
5. Hickory Wind - with Lucinda Williams
6. Wedding Bells - with Richard Thompson
7. If Teardrops Were Pennies - with Elizabeth Cook
8. Wild Horses - with Shawn Colvin
9. Come Early Mornin' - with Jill Andrews
10. Take The Hand Of Jesus - with Doug Seegers
11. Angel From Montgomery - with Brandi Carlile and The Lone Bellow$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
More Lost Legends of Surf GuitarIt's hard to think of a musical style that's more quintessentially American than surf music. Springing up along the California coast in the early 1960s, the surf sound-characterized by wet-sounding guitar reverb that echoed the sound of the sea and pummeling rhythms that emulated the ocean's currents-was originally inspired and nurtured by the culture that surrounded the sport. Despite its provincial origins, the surf genre captured the imagination of teenagers around the world, and spawned a remarkably large body of highly original music, with an emphasis on innovative guitar instrumentals that would influence rock axemen for decades to come.
Much of that vintage surf music was originally released on small regional labels, and many of the acts that created some of the greatest surf music never released more than a handful of singles. Those factors resulted in many original surf classics remaining difficult to obtain in recent years. Sundazed Music, a longstanding champion of vintage surf music, went a long way towards remedying that situation with the release of its CD series Lost Legends of Surf Guitar. The series has been widely recognized for rescuing numerous rare, obscure and/or lesser-known gems from surf music's golden age. Now, the landmark series moves into second gear, progressing into the vinyl format with a pair of double-LP collections, each of which features 28 below-the-radar vintage surf killers.
More Lost Legends of Surf Guitar ups the ante with 28 more vintage surf winners, with additional performances by the Challengers, Jerry Cole & His Spacemen, the Surfaris, the Tornadoes and the Trashmen, plus terrific tunes by surf innovators the Belairs, session guitar great Al Casey and regional legend Thom Starr & the Galaxies.
This essential collection, meticulously mastered from rare vintage tapes and pressed on high-quality vinyl, is the perfect collection for gremmie and ho-dad alike, so grab this wave and jump head-first into the surf!!!1. TIME BOMB: The Avengers VI
2. SURFBUSTER: Jan Davis
3. MIDNIGHT SURFER: Jerry Cole & His Spacemen
4. THE GREMMIE PT. 1: The Tornadoes
5. STICK SHIFT: The Trashmen
6. YEP: The Surfaris
7. VOLCANIC ACTION: The Belairs
8. WALK, DON'T RUN '64: The Teemates
9. THE HEARSE: Al Casey
10. SATAN'S THEME: The Challengers
11. HOT CINDERS: The Progressives
12. SCORPION: The Vibrants
13. HEARTBEAT: The Avengers VI
14. (THEY CALL THE WIND) MARIA: P.J. & Artie
15. SURFBEAT: The Surfriders
16. FALL OUT: The Stage-Men
17. ISTAMBUL: The Gladiators
18. FINK: P.J. & Artie
19. RUM RUNNER: The Surfriders
20. MOON RACE: The Citations
21. WILDFIRE: The Vibrants
22. STRANGE FEVER: Thom Starr & the Galaxies
23. SCALPING PARTY: The Tornados
24. SPIN OUT: The Teensmen
25. MOON SHOT: Kenny & the Fiends
26. SPANISH MOON: The Travelers
27. THE TRUANT: The Truants
28. RAW-HIDE: The Pastels$36.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Pro-Ject Speed Box S
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.
Upgrade to best possible turntable performance with convenient speed changeover through keypress!
A very useful accessory for many Pro-Ject turntables, that do not offer a built-in electronic speed change. The Speed Box S performs this change by the push of a button between 33 and 45 rpm! The quartz regulation and filter circuit gives a far better speed stability for smooth and undisturbed motor operation. Speed Box S is compatible with a lot of Pro-Ject turntables (see list below).
• Quartz-generated high precision electronic speed regulation with microprocessor control
• Sound improvement through motor running smoothness
• Clean power decoupled from mains interference
• Allows electronic speed change 33 & 45 rpm
• 78 rpm possible with optional accessory pulley
• Suitable for all turntables with 16 volt AC motor, up to 3 watt max. power consumption
• Metal case shields electronics from vibration and electromagnetic interference
• Small size allows installation close to record player
• DC power supply (< 1 watt standby power)
• Available in silver or black finish
These turntables with 16 volt AC motor are compatible with Speed Box S:
33/45 (78 with optional pulley):
Pro-Ject Debut III, Debut Carbon (only US version with 16 volt motor), 1-Anniversary, Art-1, 1-Xpression III & Classic, RPM-5.1
33/45 (no 78 available, because pulley can not be exchanged):
Essential, 2-Xperience Acryl & Classic, 6-perspeX, RPM-1.3, RPM-9.1X, RPM-9.2, RPM-10.1$129.00Speed Box S Buy Now
Angels & DevilsIt's after the end of the world, don't you know that yet...
With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin's sonic predictions of dystopian London that were set out on 2008's London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there's no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.
The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.
The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can's Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.
With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is Void. Followed by contributions from ex Hype Wiliams half copeland (Fall), the blissed out patois of touring partner Miss Red (Mi Lost), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on Save Me. It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...
Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with The One. Roll Deep's Manga steps up next with the instant Bug classic Function, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with Fuck A Bitch. Flowdan & Justin Broadrick come back for the cinematic death crawl of Fat Mac. Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for Fuck You, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts dirty, fuck that murky....
The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.
Utopian/dystopian, black/white, complexity/singularity, negative/positive... Angels/Devils.1. Void (Featuring Liz Harris)
2. Fall (Featuring copeland)
4. Mi Lost (Featuring Miss Red)
6. Save Me (Featuring Gonjasufi)
7. The One (Featuring Flowdan)
8. Function (Featuring Manga)
9. Fuck a Bitch (Featuring Death Grips)
10. Fat Mac (Featuring Flowdan)
11. Fuck You (Featuring Warrior Queen)
12. Dirty (Featuring Flowdan)$29.99Vinyl LP - 2 LPs Sealed Buy Now