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  • We Have The Facts And We're Voting Yes We Have The Facts And We're Voting Yes Quick View

    $19.99
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    We Have The Facts And We're Voting Yes


    Newly Reissued 180 Gram Version


    Like the also-great Idaho or Wheat, to file Death Cab for Cutie under the mellow-pop umbrella that shelters tranquil chamber outfits such as Red House Painters, Low, or (post-dance-pop) Talk Talk would do them a gross, miscalculated service. While they're no strangers to the tickling knelling of guitars searching out the extra space found in laggard tempos, that predilection only encompasses a fourth of Death Cab for Cutie's output (like on Title Track and Little Fury Bugs). Heck, they're not even remotely quiet for half of We Have the Facts and We're Voting Yes -- the best and brightest LP of their three fine albums to date. Ben Gibbard has turned into a sublime composer, using melodies sparingly but with splendid tunefulness, as all four players marinate his writing with delicately plucked, picked, and pulled arpeggios, ringing chords, and non-obvious atmosphere building. Verily, the slow, broody stuff is but a change of pace; it's when the volume doubles (if only occasionally crashes), when the band shows potency, that We Have the Facts starts flying, soaring with exigency beyond even the threatening storm clouds from the last flight plan, 1998's Something About Airplanes. Lowell, MA and Company Calls are perfect examples: drummer Nathan Good actually gets to punish his snare and toms, the other three dig in with him, and the words indie pop suddenly sounds fresh and alive, with real aggressive, post-dream pop guitar popscapes. Loud and soft, or most of all both, and plenty of points in between, DCFC write and record finished songs that emote, that do more than merely fill a slot in a form in a preconceived genre. In short, they're superb. And getting greater.

    - Jack Rabid (All Music)

    1. Title Track
    2. The Employment Pages
    3. For What Reason
    4. Lowell, MA
    5. 405

    6. Little Fury Bugs
    7. Company Calls
    8. Company Calls Epilogue
    9. No Joy in Mudville
    10. Scientist Studies
    Death Cab For Cutie
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • We Move We Move Quick View

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    We Move

    Written in constant transition - and recorded between Toronto, Dublin and London - 'We Move' is James Vincent McMorrow's most expansive, generous and ambitious record to date. There is, on the other hand, something more stripped-back - vulnerable, even - surfacing for the first time: far from the dense, protective imagery at the heart of 'Post Tropical', 'We Move' is ultimately a record open in its portrait of anxiety and social unease. For McMorrow, it's about celebrating mental fragility - and how we move forward in life - rather than "people listening to my songs and believing that I'm out in the forest all day long, thinking about trees. Because I'm actually at home, trying to convince myself to go out and get milk."


    The first steps to 'We Move' took place in 2014, when James - having been asked to write for different artists' projects - started sketching out ideas for others on tour (and subsequently stopped over-analysing his own work). Intent on doing the opposite of everything he'd done thus far, McMorrow then came off the road, but kept exploring: first through Barcelona, then Canada, and stopping in Los Angeles for six particularly fish-out-of-water months, where the songs for the album crystallised. He returned to Dublin determined not to just produce another album himself, but to work with people who could articulate the unique world he heard in his head ("I grew up wanting to write songs like Neil Young but produce them like The Neptunes"). And so James reached out to a few key co-producers he'd met whilst travelling, who formed the backbone of 'We Move': namely, Nineteen85 (Drake, DVSN), Two Inch Punch (Sam Smith, Years & Years), and Frank Dukes (Kanye West, Rihanna). Mixing took place largely in Miami with one of McMorrow's all-time heroes, Jimmy Douglass - known for his work from Donny Hathaway through to Timbaland - who finessed the record's warm, vintage yet forward-thinking feel.


    The result is an album about movement - geographically, mentally, emotionally - which remains focused on finding your place in that future. First track 'Rising Water' is starkly-produced and skyscraper-sized in its sense of catharsis ("I never once was sad for what I've done"): 'Evil', meanwhile, questions whether you might in fact be a bad person, because you don't see life the way other people do (its tone is celebratory rather than ominous, however). Heavier still is 'I Lie Awake Every Night', which sees James address for the first time the eating disorder he has battled since he was a child ("it's about lying in hospital when I was a kid, thinking I shouldn't be there, and trying to reconcile those two things"). 'We Move' reacts against McMorrow's instincts to obscure ideas such as this, and ultimately embraces a shared, collective awkwardness, and the idea that maybe we're all putting on a brave face in some way.


    Beginning with Rising Water, 'We Move' continues a remarkable journey for the Dublin-born singer and songwriter, whose early work offered little clue as to the sounds and situations that would follow. It's a remarkably assured collection, informed by this idea that you might not have to listen to others when they tell you how they think life is supposed to go; and that as you grow up, you lose things along the way. Rather, 'We Move' suggests it's possible to keep what you want to keep, and lose what you want to lose.

    1. Rising Water
    2. I Lie Awake Every Night
    3. Last Story
    4. One Thousand Times
    5. Evil
    6. Get Low
    7. Killer Whales
    8. Seek Another
    9. Surreal
    10. Lost Angles
    James Vincent McMorrow
    $19.99
    Vinyl LP - Sealed Buy Now
  • Three Loves Have I (Pure Pleasure) Three Loves Have I (Pure Pleasure) Quick View

    $34.99
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    Three Loves Have I (Pure Pleasure)

    A native of San Juan, Puerto Rico, Tito Rodriguez came to New York City in 1939 to sing with his brother's band. He learned to play a variety of instruments before succeeding as a vocalist with Enric Madriguera, Xavier Cugat, Noro Morales, and JosÉ Curbelo. In 1947 he started his first band with RenÉ Hernández, Cachao Lopez, and Victor Paz.


    Several of the great Latin-American singers went on to form their own aggregations, but Rodriguez was the most successful. One reason is the music, which has the hip drive of Tito Puente (whom he copied during the Palladium battles of the 'two Titos') and the Palmieri brothers. Eddie Palmieri and company perform on some of his best albums. In fact, he and Puente, 'the two Titos' headlining at New York City's famous Palladium, were rivals for the title of Mambo King until Perez Prado took it.


    While Tito Rodriguez played mambo on a par with the others, it was his voice that set him apart. Whether it's mambo, Latin twist, or sentimental ballads, Rodriguez rarely strayed far from authentic or progressive Latin. Indeed, no other performer epitomizes the Latin showman as well as he: top vocal stylist, versatile musician, sophisticated arranger-composer, handsome bandleader, leader of the New York Latin scene. Tito Rodriguez' music is quintessential.


    Given the popularity of all three rhythms listed in the title, it's no surprise that Tito would think of them as his 'loves' - especially since they'd all helped spur on new energy in Latin music! But over and above the rhythms, the album itself is one of Tito's greatest from the 50s - spare, lean, and with a style that's both lively and jazzy - never dipping into some of the too-heavy modes that Tito succumbed to in later years. Tracks are all short, with lots of horn work on top of the percussion.



    Musicians:



    • Tito Rodriguez (vocals, percussion) & band



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Sweetness Of You
    2. Yambere
    3. Asi ....Asi

    4. My Tobi's Blues

    5. A Llegado El Guaguanco
    6. This Is Mambo
    7. Violets And Violins
    8. Barito
    9. Baranga
    10. Cha-Cha-Cha Para Ti
    11. Sabroso Mambo
    12. Guaguanco Bonito
    Tito Rodriguez
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • All We Love We Leave Behind All We Love We Leave Behind Quick View

    $26.99
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    All We Love We Leave Behind

    All We Love We Leave Behind is the latest album from Converge. Once again recorded and mixed by guitarist Kurt Ballou at his renowned Godcity Studios in Salem, Massachusetts, All We Love We Leave Behind is a no-frills Converge album that sees the band-which also features vocalist Jacob Bannon, bassist Nate Newton and drummer Ben Koller-eschewing fancy production techniques in order to create seventeen songs that work as a cohesive whole yet can also stand on their own. There's no artificial distortion, triggers, or Auto-Tune on this album, Ballou explains, it's all organic, it's real sounds that capture the way the band performs live.


    From the classic rock-inflected, guitar tapping madness of Sadness Comes Home to the technical acrobatics of Aimless Arrow and relentless assault of Shame In The Way, this is an extremely varied album that has enough sonic shifts to captivate each listener's attention. It's always been important for us to have a lot of dynamics in our music because no one wants to listen to a million miles an hour all the time, Bannon responds when asked about the melodic mid-tempo groove of a song like Coral Blue. I really enjoy that song, it has a lot of twists musically that aggressive songs don't usually have and that's something we take pride in.


    Lyrically Bannon approached All We Love We Leave Behind by once again writing about his own personal experiences, however there's no question that this time around his vocals are more direct and decipherable than they've been in the past. This is a personal record and all of the songs tell their own stories, Bannon explains. Every song is rooted in real life, documenting what I have experienced over the past few years. Correspondingly the title of the album is an apology letter to everything he has had to leave behind in order to pursue his path in art and music. Bannon explains that he feels like it's important to acknowledge these sacrifices in order to be a self aware individual.


    All of our albums are emotional but I feel this is our most potent album to date, Bannon continues. For me a songs like 'Predatory Glow' and 'Empty on the Inside' have a tone and resonance that communicates in a new way for our band, he adds, chalking up this ability to the fact that the group have become better songwriters by spending so much time on the road and in the studio perfecting their craft. Success to me is creating something that's moving and fulfilling and I truly feel both of those things when I experience this album from start to finish.


    Converge have always been the type of band that never fit into one subculture and the band credit that to the fact that since their 2001 landmark album Jane Doe they haven't had any member changes. I think because it's been the same four people for the past five records we've been able to really get comfortable with each other and develop our own personality, Ballou explains. I don't listen to much music outside of what we've recorded so I think we're more influenced by our own history of playing together than what's currently happening in any scene.


    In other words when Ballou explains that Converge is the kind of band who have always existed between worlds, it's not just lip service. We don't have one typical type of listener but they tend to be intelligent people who can make up their own minds about things. That works to our advantage because they're willing to go on this journey with us and follow along with whatever twists and turns we take them on, he summarizes. Ultimately All We Love We Leave Behind may not be the most straightforward musical journey you'll embark on but it's one that you'll revisit over and over again to relive prior experiences and simultaneously create new ones. It all begins now.

    1. Aimless Arrow
    2. Trespasses
    3. Tender Abuse
    4. Sadness Comes Home
    5. Empty on the Inside
    6. Sparrow's Fall
    7. Glacial Pace
    8. No Light Escapes
    9. Vicious Muse
    10. Veins and Veils
    11. Coral Blue
    12. Shame in the Way
    13. On My Shield
    14. Precipice
    15. All We Love We Leave Behind
    16. Runaway
    17. Predatory Glow
    Converge
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • We The People We The People Quick View

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    We The People

    Hard rock icons Adrenaline Mob have had their fair share of challenges in the past but have risen to each & every one continuing to march forward yet again & again! Formed by guitarist Mike Orlando & vocalist Russell Allen they joined forces with drummer Mike Portnoy & bassist John Moyer to launch the band's debut. The band eventually parted ways with drummer Mike Portnoy due to scheduling conflicts & brought drum legend AJ Pero into the fold. Only two years after the debut was released, the group was involved in a major vehicle accident while on the road with Avenged Sevenfold and Hellyeah. Then, in 2015, Adrenaline Mob lost drummer and long-time friend drum legend A.J. Pero to a heart attack while on tour with Drowning Pool. In 2017, Adrenaline Mob have now replenished the ranks with newcomers David Zablidowsky on bass and Jordan Cannata on drums for work on their latest effort, 'We The People'.


    Recorded once again at Sonic Stomp Studios over a year-plus period, We the People sounds huge. Each riff is massive, every drum hit a chest-thumping pound, and each line Russell vocalizes exudes unbelievable power and heart. Life-changing events may've halted Adrenaline Mob, but the group's third full-length is proof positive they're stronger now than they've ever been. Tracks like the raging 'Blind Leading the Blind', the big-hitting 'King of the Ring', the rhythmically wicked 'What Do You Really Want', and the rock radio-tailored title track evince purpose and authority. In every way, We the People puts the hard in hard rock. And the metal in heavy. Orlando was responsible for composing the music, engineering, recording, co-producing, mixing, and mastering and that all says one thing: the dude's a beast. Along with the incredible talents & amazing voice of his co-producing partner Allen who is by far one of rocks greatest voices, the two seem unstoppable on We The People.


    As the title, We the People, indicates there's a political side to Adrenaline Mob. Throughout their years as a musicians and songwriters, they hadn't stayed silent on matters significant. Whether they were masked in metaphor or flatly conspicuous, they've always poured their feelings into song. It was, as Orlando puts it, a form of catharsis. So, as they were watching the presidential campaigns, feeling the negativity-the constant bickering and finger pointing-they knew Adrenaline Mob's next venture would be impacted. In fact, the first song Orlando began writing for We the People was the politically-charged rocker 'Blind Leading the Blind'. "The title track is very much inspired by the past election year," confirms Allen. "It touches on our society, here in America. The album title is a reflection of our times. The songs have certain particular stories that stand on their own. Many of them are also driven by the climate we live in today & some are about having a good time, being free & loving rock n roll. All the tracks have a personality and character to them."


    Undoubtedly, the re-energized Adrenaline Mob will face adversity with We the People. But the strong always rise. Adrenaline Mob have proven they have the fortitude and music to prevail over anything. We the People, folks. It's time to rise up with Adrenaline Mob!

    LP 1
    1. King Of The Ring
    2. We The People
    3. The Killer's Inside
    4. Bleeding Hands
    5. Chasing Dragons
    6. Til The Head Explodes
    7. What You're Made Of
    8. Raise Em Up


    LP 2
    1. Ignorance & Greed
    2. Blind Leading The Blind
    3. Violent State Of Mind
    4. Lords Of Thunder
    5. Rebel Yell
    6. Devil Went Down To Georgia
    7. Snortin' Whiskey
    8. Tie Your Mother Down

    Adrenaline Mob
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Photo Album The Photo Album Quick View

    $19.99
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    The Photo Album


    Newly Reissued 180 Gram Version


    Released in 2000, We Have the Facts and We're Voting Yes delivered on the promise of You Can Play These Songs with Chords and Something About Airplanes. For once, a band's popularity grew commensurate with its maturation. Despite the heightened attention, singer/songwriter/guitarist Ben Gibbard next let loose Death Cab for Cutie's finest moment, Photobooth, the lead track on the sparkling Forbidden Love EP. New fans worldwide swooned under its beguiling romantic rise 'n' fall and its lingering, bittersweet, wallet-sized artifact. And though it wouldn't have killed them to include Photobooth here -- for its spotless greatness and thematic likeness -- The Photo Album's ten tracks are of the EP's heightened caliber. Gibbard's words screen intriguing mini-films of the mind, stoked by corresponding daydreamy music. An exquisite liaison of the British penchant for ringing, knelling, subconscious guitars and direct/grittier American drive, the band is tight, evocative, and inventive. Bassist Nick Harmer and drummer Michael Schorr lock in creative rhythmic bases, while Gibbard and Chris Walla's guitar work gives the band climactic, cinematic coloring shades. And, in the end, it's Gibbard's remarkable abilities as a writer and singer that are on display most. Each word draws you in via his sweet, thoughtful guy voice. The solo 1:47 opener, Steadier Footing, is merely a starter course, but it feels like an entrÉe: And this is the chance I never got/To make a move, but we just talk is only one measure of the chances/plans/dreams/connections and relationships that have eluded him or fizzled. Reeled in, one is left to look back over one's own smoldering wreckage, of opportunities or attachments lost -- much as A Movie Script Ending's abrupt turn Passing through unconscious states/When I awoke I was on the highway somehow segues into the couplet With your hands on my shoulders/A meaningless movement, a movie script ending. Like Photobooth, it's a typically sobering, adverse assessment of how unromantic the romanticized can become. That it's a great pop song, arresting in its jerky wobble, is just another point in its, and this LP's, favor. The world needs more superb pop with brains and heart and emotional complexity.

    - Jack Rabid (All Music)

    1. Steadier Footing
    2. A Movie Script Ending
    3. We Laugh Indoors
    4. Information Travels Faster
    5. Why You'd Want To Live Here
    6. Blacking Out The Friction
    7. I Was A Kaleidoscope
    8. Styrofoam Plates
    9. Coney Island
    10. Debate Exposes Doubt
    Death Cab For Cutie
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Red Red Quick View

    $21.99
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    Red


    Includes LP Insert With Unreleased Photos And Interviews With Puddy Lion And Linval Thompson


    Although his lack of touring kept him from being established as a major figure in
    overground reggae circles, Linval Thompson's work as a singer, songwriter and
    producer is essential to Jamaican music. Between 1977 and 1979, he released
    five solo albums and produced countless artists on the side. Thompson acted as
    a mentor to many up-and-comers, including Junjo Lawes, Scientist, and Eek-AMouse.


    As dancehall became more prominent in the late 1970s, Thompson began to
    offer up his rhythms to sound system deejays. The mysterious deejay LP, Bunny
    Lion Red was originally released on London's Starlight records in 1979. Little was
    written about the album at the time; however, we have uncovered that Bunny
    Lion is in fact the legendary Puddy Roots of Killamanjaro Soundsystem fame.


    Red features ten grooving Thompson Sound rhythms voiced by Puddy. This is
    the earliest documented work of the criminally under-recorded Puddy Roots. It's
    also the perfect gateway record for anyone curious about dub, roots reggae, or
    dancehall.

    1. Natty Rise and Shine
    2. Jubilation
    3. Bunny Lion at the Control
    4. Go Rockers
    5. Blackman Kingdom
    6. Mont Zion
    7. Rat Trap
    8. Bubbling Dub
    9. Ilie
    10. Heart and Soul
    Bunny Lion
    $21.99
    Vinyl LP - Sealed Buy Now
  • One Of Us One Of Us Quick View

    $19.99
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    One Of Us

    One Of Us was written by the musician as the soundtrack to a story that follows the relationship of two underground, lowlife residents in a dystopian world as they fight to escape shadowy forces exerting control over society. It's a commentary on the fact that we as a world have allowed there to be a camera on the front and a camera on the back, and a mic here and a mic there and everywhere, Mystery Skulls explains. Even when you see a picture of a CEO of an important company, they've got the camera on their laptop covered up with a little sticker. You realize this is an actual thing. It's dystopian, but the album is more a comment on our current reality.
    1. Live Forever
    2. Losing My Mind
    3. Follow You
    4. Erase Me
    5. On Fire
    6. One of Us
    7. Told Ya
    8. Endlessly
    9. Find a Way
    10. Music
    Mystery Skulls
    $19.99
    Vinyl LP - Sealed Buy Now
  • Holographic Violence Holographic Violence Quick View

    $14.99
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    Holographic Violence

    In the five years since Grave Babies' debut album Deathface was released, founder Danny Wahlfeldt has been handling all songwriting and recording duties for the Seattle-based band, with invaluable help from friends in performing their material live. For their newest album entitled Holographic Violence, Wahlfeldt chose a different path, causing a significant change in the band's overall sound.


    Holographic Violence is Grave Babies' second Hardly Art full-length after Crusher (2013), and further explores the themes of nihilism, the pending doom of mankind, and shaming humanity, which the band has been building their gloomy reputation on since the beginning. This time however, instead of recording everything in his basement, Wahlfeldt enlisted the help of Bryce Brown (Crypts) on bass and Mark Gajadhar (Blood Brothers, Past Lives) on drums in the early stages of recording. The songs on Holographic Violence fell into place in Mark's studio on Orcas Island, Washington. Mixing was handled by Matt Bayles (Alice in Chains, Mastodon), with final mastering by Chris Common (Chelsea Wolfe, Mars Volta). As a final touch, Claire Haranda was added to the lineup on keyboards and synth to round out the band's live sets. By leaving the edgy, lo-fi haze of earlier output in the past, these songs have clarified what the music of Grave Babies has to offer the future.


    That is, if humanity has a future?


    "I wanted it to be a last cry for sanity going into our dystopian future," Wahlfeldt says about Holographic Violence. Grave Babies has long held a crush on morbidity, death, and corruption, building a romantic relationship around the juxtaposition of the dark contextual matter with hook-heavy songs rife with pretty melodies and harmonies. The 11 new songs on Holographic Violence present this powerful combination from a science fiction perspective, begging the question: has our imagination outpaced the confines of our reality as we keep going down the same path, believing there's hope? Playing anthemic pop songs with a strange male choir-esque sound to the vocals adds a distinctly cultish feel to the abrasive exercise of figuring out if it is possible to circumvent destructive human predispositions.


    Thus, Holographic Violence is a lesson in authenticity as we must look deeper into the subject matter for the finer details, instead of skimming the surface and believing we have things right at a mere glance. Maybe we just have to come to terms with the fact that the things that we're constantly running away from are inherent in ourselves and inescapable? Grave Babies mission is not to find the answers to these questions, but to challenge the listener and on Holographic Violence, their uncompromising aesthetic makes the suffering a little prettier.

    1. Eternal (On & On)
    2. Beautiful Lie
    3. Try 2 Try
    4. Something Awful
    5. Punishment (Only A Victim)
    6. Metal Me
    7. Pain Iz Pleasure
    8. Positive Aggression
    9. N2 Ether
    10. Concrete Cell
    11. War
    Grave Babies
    $14.99
    Vinyl LP - Sealed Buy Now
  • Vision Crimes / Monomania Vision Crimes / Monomania Quick View

    $22.99
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    Vision Crimes / Monomania

    This album collects Child Bite's recent two sibling EP's into one brutal package. For years, we have watched Child Bite change, contort, and rearrange itself in to the gnarly powerhouse that exists in its current period. Their sound has become more abrasive over time then their spastic avant-pop beginnings.


    Within the rst few moments of Worship, you will nd yourself encouraged to "worship the father / slaughter the son" as well as "snip off the tip of the blasphemer's tongue." However you choose to interpret singer Shawn Knight's vocals, which are easily his most hostile to date, you wont escape the mood of this piece. And, the mood is that of 4 perplexed soldiers foraging for rushes of adrenaline to keep themselves alive while condemned to ght an unjust, unwinnable war.


    Wrong Flesh is a gritty battle march, which conjures memories of the Deadites storming the castle in search of the Necronomicon. From here, they take us down paths that are exponentially dark - with, No pussy shit as their credo. This is, in fact, the darkest and most mature effort we have seen from Child Bite. The shrilling, and impulsively head-bobbing verses of Scum Gene (Trash Vibrato) - are only rivaled in turpitude by Shawn Knight's lyrics; like those of Smear Where the Face Was that read: Drag behind or standing still - Impulse is fear, and fear you will. The lyrics, as a whole, paint a fuzzy picture of fear, paranoia, and despair.


    Bass player Sean Clancy expands on his unique style with brutal tones and syncopated rhythms that match the band's progression further into the macabre. Brandon Sczomak has made the switch from drums to guitar (who knew?). He has awlessly adapted to the precedent set by his predecessors, and he is taking it to fantastic new place. If you are a drummer and you are unfamiliar with Moshe Rozenberg (ex-DD/MM/YYYY), just buy this record right away. I would still listen to this record if it were only drums. The beats were also partly written and arranged during pre-production by Detroit drummers: Brandon Moss (Bars of Gold), Matt Rickle (Javelins/Fawn), Brandon Sczomak (current Child Bite guitarist), and Dave Vaughn (Detroit Cobras). The album was recorded with Chris Koltay of High Bias Recordings (Akron/Family) riding the faders. It was mastered by the infamous Weasel Walter (XBXRX, Flying Luttenbachers).

    1. Abysmal Splatter
    2. The Nerves
    3. Mutilation Revival
    4. Life As A Parasite
    5. Puke For The Youth
    6. Worship
    7. Save Your Scream
    8. Wrong Flesh
    9. The Nab Munch is On
    10. Smear Where the Face Was
    11. Vapor in the Orphan Loop
    12. Begin The Hiss
    13. Scum Gene (Trash Vibrato)
    Child Bite
    $22.99
    Vinyl LP - Sealed Buy Now
  • Return Of Saturn Return Of Saturn Quick View

    $24.99
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    Return Of Saturn

    Just like the heavenly occasion which inspires its name, Return of Saturn, the latest album from Southern California rock band No Doubt, is best experienced with both feet firmly on the ground, and with eyes and ears held wide open.


    The album's title refers to the notion that in the first 29 years of someone's life (the same time it takes the planet Saturn to orbit the Sun), a person is only beginning to understand himself or herself, which, singer and songwriter Gwen Stefani explains, helped her to discern her own place in life as she turned 30 years old. I wrote the song 'Artificial Sweetener', Gwen says, which has the line, 'the Return of Saturn, assessing my life, second guessing.' From the time you're born till the time Saturn returns to that point is a time of reassessment and a growing period, where you second-guess everything, and you clear out things that are going to be in the way of moving on in your life. I really did feel like I was going through a transitional phase in my life as I made this album. I think the name Return of Saturn is relevant in the sense that it shows how we've grown as a band, and as songwriters.


    The culmination of two years of creative blood, sweat and tears for the quartet, Return of Saturn is a bold and exciting coming-of-age saga. An intimate view of the world as seen by a group of musicians and friends who watched their humble worlds turned literally upside-down by the unexpected (though well-deserved) success of No Doubt's third album, Tragic Kingdom. While that youthful recording reflects the concerns and observations of a band at the edge of possibility, Return of Saturn represents that same group looking collectively inward. What they saw and what they created those two years, will surprise and fascinate you. Who am I, and how did I get to this point in my life, when I thought I was going to be something completely different? -- that pretty much sums up the subject of this album, says Gwen.


    Return of Saturn was recorded in two Los Angeles studios during 1998 and 1999. Twelve of the album's 13 songs were produced by Glen Ballard, (Alanis Morissette, Aerosmith), whose contribution was a key ingredient in the album's creation. In our band, everyone has such strong opinions that if you put the four of us in the room together you could have some troubles, says bassist Tony Kanal. But if you get somebody as experienced as Glen, not only as a producer but as a songwriter, you can bounce ideas off him and get some really cool objective answers, and it helps level the creative playing field.


    One song on the album, New (also heard on the GO soundtrack) was produced by the band with Jerry Harrison (Talking Heads, Live). It was fun to start with a clean slate and create something brand new, says guitarist Tom Dumont, who also wrote much of the album's music. We hadn't really done much writing on the road, so when it came time, we had to come up with the entire record. Every time we wrote a song it was like having a baby. It's such a good feeling to sit down with an acoustic guitar and a tape recorder, and later to have created something really cool.


    In light of the international success of Tragic Kingdom (more than 15 million copies sold worldwide, including over 11 million in the U.S.), the four band members were bound to be subject to any number of outside influences and pressures when it came time to make their follow-up.


    But as it turned out, the band was able to turn any outside distraction to their ultimate benefit, beginning with pre-production and writing sessions at a rented Hollywood Hills house. I remember being in a very open, optimistic mood, says Tony, getting the house up in the hills, and just feeling like we had time to do it right. There was no deadline to deliver a record, so I remember not feeling pressure. It just felt like a good place to be, creatively.


    Drummer Adrian Young agrees: We were just more conscious of the fact that we're following a huge record, and we need good songs, but I don't know what kind of album we wanted, or expected to make. It was very experimental most of the time. In fact, we didn't have any predisposition about it. That's always a good way for us to approach the music. We've always been across the board, stylistically, and I'm glad we didn't lose that part of the band, he says.


    Songs on Return of Saturn like Marry Me, Simple Kind of Life and the album's first single Ex Girlfriend show vocalist Gwen Stefani in a reflective and unashamedly romantic mood, traits which she says are often overlooked in her hectic life. I think I am a romantic at heart, but my life in a lot of ways these days doesn't reflect that, she remarks. So I have this inner conflict about it, and this guilt about it. I'm very hopeful that someday those things will happen in my life, because it's all I've ever dreamed of. But right now it seems like my life doesn't have any room for it, and I won't make any room for it because I'm so passionate about what No Doubt is doing right now.


    The music on each of No Doubt's three previous albums (1992's No Doubt, 1995's Beacon Street Incident, Tragic Kingdom) runs the stylistic gamut, mixing in as many influences as the band members can think of, and this collection is no different. Tom says the band has few rules when it comes to songwriting. We discovered a way to write on songs like Just a Girl and Spiderwebs and some of the older ones, which we incorporated when we started this album, and that was that there were no preconceived ideas at all. We would sit down in a room with a tape recorder and acoustic guitars and start improvising things. All the songs were written very spontaneously, starting from a blank slate every time.


    The truth is, I feel like I've been turned inside-out after writing this album, adds Gwen. It's everything that I have been in the last two years, which have been really hard years for me. I just feet this sense of accomplishment, and this lightness has come over me since the album has been finished. It's so rewarding to be done and feel so proud of it, I can't wait for people to hear it.

    LP1
    1. Ex-Girlfriend
    2. Simple Kind of Life
    3. Bathwater
    4. Six Feet Under
    5. Magic's in the Makeup
    6. Artificial Sweetener
    7. Marry Me


    LP2
    1. New
    2. Too Late
    3. Comforting Lie
    4. Suspension Without Suspense
    5. Staring Problem
    6. Home Now
    7. Dark Blue

    No Doubt
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Satanist (Awaiting Repress) The Satanist (Awaiting Repress) Quick View

    $44.99
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    The Satanist (Awaiting Repress)


    Exclusive Bonus Track


    Double Gatefold Jacket


    24-Page LP Sized Book


    "The Satanist is magic. It's dangerous. It's adventurous, and it's organic," states Nergal, the driving force behind Behemoth since their inception in 1991, and brief exposure to the band's tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing, densely layered, brutally violent and sinister record, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention, offering ever greater sonic and emotional depths with every listen. "You may hear the title and think it's very primitive and one-dimensional, and yes it is, but when you look beyond that it's as primitive as it is complex and multidimensional, and that applies to everything about the record."


    It has been a rocky road leading to the realization of the album. Having dropped 2009s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world, and playing some of the best shows of their lives the band seemed truly unstoppable. But, in August 2010 Nergal was diagnosed with leukemia, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation. "I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can't control. The sooner you realize which is which it's going to make your life so much easier, and since then I started to focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference."


    Rather than immediately getting down to working on a new album, the band - also comprised of drummer Inferno, bassist Orion, and guitarist Seth - set out to complete the abandoned touring cycle for Evangelion, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal's mind. "I was a fucking wreck, and I almost didn't make it to the end of the set. The venue was really smoky, and that was stuffing my nose and my lungs, and physically I felt that I couldn't pull it off. I did, but I was close to passing out on stage. I was literally shocked by this, I remember thinking while we were playing shit, what if I can't do this anymore? I'm just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident, and aware of the fact that yes, we will do this."


    Having returned to full force the band were ready to once more move forward, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful - and successful - as Evangelion Nergal faced no such doubts. "I don't race myself, and I don't need to prove anything to anyone. Evangelion was a very important record to us, and yes, it was very successful too, but in making The Satanist it wasn't a point of beating that. The point was to do what was organic, and make a natural and honest and sincere album, and that's it. Now the record is finished I like to think of it as an album that is just so different that you can't really compare it to our previous works, which is the best outcome I could hope for." One thing is inarguable, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density, but there is intricacy to this, and nothing is forced or contrived. "I don't have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them, but there's never a one hundred percent guarantee he's going to become a lawyer and not a serial killer. It's the same story with the records - we supply the elements but we just don't know how these elements mixed together are going to come out, and I think it's fortunate that we don't have one hundred percent control over it! It makes for something special."


    The title of the record itself is undeniable in its power, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. "To me it's not pretentious at all. It's very straight up, very sincere, and a devastating, conquering statement. There's no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it's a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you're going to hear a hundred different opinions, which they can then discuss and fight over." Likewise, Nergal views the lyrical content of the record as similarly open to interpretation, encouraging this. "There's a lot of symbolism and reflections and impressions in there, and it's using millions of metaphors to express a certain very sinister and very captivating atmosphere, but there are no answers. People always like to have a deeper insight into what we do, but that's not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire, but what we're doing is just giving you the matches, giving you the spark, what you want to do with it is up to you. Personally, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts, it's a never ending process, and that's exciting to me."


    Twenty-three years and ten albums into their career, that Behemoth is still in the ascendant is a statement to their commitment, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song, but don't expect them to disappear any time soon. "I remember before we we had a record deal I was having a conversation with Baal, the band's original drummer, and we said okay, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more, and there was something about that that had an appeal, but y'know what, it doesn't work like that for individuals like myself. Hunger has always driven me through life, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now, over two decades later it's the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art - but then again, I remember that conversation with Baal, and I know it doesn't work like that, so I know there will probably be other incarnations of our artistic identity, one way or another. All I know is I love being here and now, and I just want to underline that I couldn't be more proud and happy with my own music. It really drives me through the day, and now I just want to sit back and hear any and all opinions of it."

    1. Blow Your Trumpets Gabriel
    2. Furor Divinus
    3. Messe Noire
    4. Ora Pro Nobis Lucifer
    5. Amen
    6. The Satanist
    7. Ben Sahar
    8. In the Absence ov Light
    9. O Father O Satan O Sun!
    Behemoth
    $44.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS 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
  • Manley Neo-Classic SE / PP 300B Amplifier Manley Neo-Classic SE / PP 300B Amplifier Quick View

    $9,700.00
    Buy Now
    x

    Manley Neo-Classic SE / PP 300B Amplifier

    Enjoy


    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.


    Handcrafted in the USA


    The wonderfully simple 300B directly heated triode is virtually Lee De Forest's very first evolutionary 3-element piece, comprising only filament, input grid and anode output. Brought to reliable perfection by Western Electric USA and later by Standard Telephones UK as the 4300B, the 300B was very much intended and widely used for telephony amplification. But audio enthusiasts of older times knew a good thing when they saw (heard!) it and the great love affair between the 300B and music began... and dwindled many years later as the American Western Electric 300B was taken out of production in the late 1980's making the genuine ones extremely valuable and, accordingly, very highly prized as collectors' pieces. With the Asian-driven passion and resultant revival of SINGLE ENDED topology the call for the 300B to be put back into production was too overwhelming for the Chinese factories to resist. The Russian and the re-start of USA manufacture of the genuine Western Electric original have further expanded the selection. Basic thermionic simplicity... directly-heated triodes... it is a drug for some, a religion for others...


    With its decidedly (and studiedly) 'retro' physical proportions- very deep front-to-back dimensions with a narrow side-to-side width, this layout closely follows concepts of a bygone era, where the well-conceived intention was to keep the power supply as far as possible from the hum and noise susceptible octal input tubes. The output tubes themselves require careful distancing from the mains transformer and, of course, require pure DC on their filaments. Again, reverence to past times begs the use of vacuum tube rectification with its very gentle voltage rise-time. But to bring the performance up to modern demands, we use two rectifiers to enable the use of very substantial filter / reservoir capacitors... over 1300 microfarads in the B+ rail- much improved from the 4 or 8 microfarads utilized in the 1930's.


    When several other manufacturers started selling single-ended amps with 5 to 9 watts of power, we understood subjectively and objectively the good part of the story: the superb mid range, the delicate detail, the inherent simplicity. The bad news was that there were almost no speakers efficient enough to help form a dynamically viable system. The worst news was that either these single-ended amps cost more than the condo and or they had specs that could only be read as a joke. As the triode fans increased, more efficient speakers became available and several fanatics began to dismiss push-pull as a bad thing to be avoided at all costs. We objected to such blanket generalities and stressed that the push-pull done right with truly phase-balanced transformers, quality parts throughout and well designed circuitry has proven to be a superb technique. We also enjoy single-ended topology but only when it is done right, mostly because we expect flat frequency response and low distortion out of an amplifier. We knew that we could achieve this in a properly conceived single-ended design. We chose to rise to the challenge of designing special circuitry that could be switched on the fly From 12 watts in parallel SINGLE-ENDED to 25 watts in PUSH-PULL which, we believe is unique in the industry.


    The Output transformer (hand-wound in our own factory) is of complex design employing inordinately high primary inductance to compensate for the mandatory magnetic gap required for the uni-direction current and voltage flow of the single-ended output stage. Another factor in the single ended triode saga (currently enjoying a wide spread popularity) is demand for little (or sometimes zero) negative feedback. We at Manley Labs believe in the judicious or sensible amount of feedback to refine and maximize performance. Our Neo-Classic SE/PP300B gives you the choice in precision switched 1 dB steps to go from ZERO dB's to 10 dB's of negative feedback. Even with zero negative feedback, this amp is cleaner and flatter than any single-ended amp we know of.


    One interesting aspect of negative feedback is it gives a higher damping factor. Conventional wisdom would have us think that the higher the damping factor, the better. Our experience is that the optimum damping factor is not infinity and that it depends on the speaker, the room. and the taste of the listener. In other words, the optimum is variability, and this we provide. This amp satisfies us as long time amplifier builders, amazes the critics in several well known magazines and is bound to satisfy you with the ability to fit into your system and your expectations. BUT REMEMBER PLEASE the overall facts of power ratings versus loudspeaker sensitivity and room size when electing to venture into lower power amplifiers (less than 50 watts) and especially when contemplating single-ended topology.


    Manley Labs
    $9,700.00
    Manley Neo-Classic SE/PP 300B Amplifier Buy Now
  • Five Five Quick View

    $21.99
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    Five

    The number five holds a deep significance. We have five senses. Five points adorn a star. Five represents man in theology. For the five members of Hollywood Undead-Johnny 3 Tears, J-Dog, Charlie Scene, Funny Man, and Danny-the digit perfectly encapsulates their fifth full-length offering- V (FIVE).

    The band recently announced the album's first single, California Dreaming. Powered by neck-snapping guitars and fast and furious bars, the song cycles between guttural rapping and quick quips. Everything culminates on the choral chant We never sleep, in California we're dreaming.

    It dissects both sides of California, J-Dog reveals. You've got the glitz, glamour, sun, and surf. Then, you've got the super fucked side of people not being able to afford rent, celebrities being assholes, and that fake façade. We wanted to do a heavy song with a Red Hot Chili Peppers-esque chorus. It's an old school vibe explored in a new way.

    We're five brothers, and this is our fifth record, affirms Johnny 3 Tears. Nothing gets to the essence of the music like this number does. Numerology has a lot of power. When we said Five, it just made sense. The fact that we could all agree on one word codifies who we are. It also nods back to 'No. 5' from our first album, because it was our fifth song. Moreover, it hints at this secret society of fans supporting us for the past decade. The number is significant, and this is a significant moment for us.

    1. California Dreaming
    2. Whatever It Takes
    3. Bad Moon
    4. Ghost Beach
    5. Broken Record
    6. Nobody's Watching
    7. Renegade
    8. Black Cadillac (ft. B-Real)
    9. Pray (put em in the dirt)
    10. Cashed Out
    11. Riot
    12. We Own The Night
    13. Bang Bang
    14. Your Life
    Hollywood Undead
    $21.99
    Vinyl LP - Sealed Buy Now
  • III: Tabula Rasa Or Death And The Seven Pillars III: Tabula Rasa Or Death And The Seven Pillars Quick View

    $29.99
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    III: Tabula Rasa Or Death And The Seven Pillars

    THE DEVIL'S BLOOD announced at the beginning of 2013 that they have returned to nothingness. At the same time, they announced that plans had already been put into motion to release new material.


    SL comments on the release: Prior to our disbanding on the 22nd of January 2013, we had been active with the pre-production of what was to be our third album. Seven songs, the complete outline of the album, had been, in humble form, recorded in my home recording studio and these demos were supposed to be the template for our studio recordings. Obviously, we would never make it that far and the initial shock of that fact saddened us greatly. After but a few days we listened to this material again and decided that even though the audio quality might not be what people have come to expect from a THE DEVIL'S BLOOD release, the song material was and is the best we have ever done. We came to the conclusion that these songs deserve to become a part of The Canon and that we would release them as is.


    I spent a few days gathering all the demo material together, made a very simple mix and gave the material to our friend and mentor Pieter G. Kloos to master in his studio. Here we present you with the titles of the material and the artwork which was done by Manuel Tinnemans.


    The song we have chosen to release now is 'White Storm Of Teeth'. More so than the other material, this song speaks to the completion and transubstantiation that always follows an Occult path. Not the end of a journey but the start of a completely new one. Built around thirteen stanzas in the first part and thirteen stanzas in the second part the process of inner enlightenment through confusion and entropy and the initiation through the Death of the lower self is illustrated. This theme is rampant throughout the record and its lyrics but here it culminates and completely devours itself. After this work no words are needed and, on the album, none are offered.


    THE DEVIL'S BLOOD has always been an entity that defied any fealty or thankfulness towards any earthly influence. But we as people need not hold to this paradigm any longer. We therefore wish to express our sincere thankfulness to all those who have supported this weird quest and have made the earthly woes to not work against us. You most definitely know who you are.

    1. I Was Promised A Hunt
    2. The Lullaby Of The Burning Boy
    3. If Not A Vessel
    4. In The Loving Arms Of Lunacy's Secret Demons
    5. Dance Of The Elements
    6. White Storm Of Teeth
    7. Tabula Rasa
    The Devil's Blood
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pale Folklore (Awaiting Repress) Pale Folklore (Awaiting Repress) Quick View

    $29.99
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    Pale Folklore (Awaiting Repress)

    Seminal progressive black metal band Agalloch has announced the re-issue of their first three albums Pale Folklore, The Mantle, and Ashes Against The Grain. All three albums feature new layouts and album photographs, plus The Mantle and Ashes Against The Grain have been re-mastered for vinyl by Colin Marston. Says lead guitarist Don Anderson, We cannot underestimate the importance of these three albums in the development of our sound and our history. In hindsight I am most proud of the fact that neither of these albums pigeonholed us. It is the radical difference of each album that allows us to continue to experiment with our music and lyrical themes today. These three albums constitute a significant chapter in our history and I am excited to finally see a proper and official vinyl release of each one of them.
    LP 1
    1. She Painted Fire Across The Skyline (Part 1)
    2. She Painted Fire Across The Skyline (Part 2)
    3. She Painted Fire Across The Skyline (Part 3)
    4. The Misshapen Steed


    LP 2
    1. Hallways Of Enchanted Ebony
    2. Dead Winter Days
    3. As Embers Dress The Sky
    4. The Melancholy Spirit

    Agalloch
    $29.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Trust No One Trust No One Quick View

    $19.99
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    Trust No One

    Gatefold LP Includes Bonus Tracks


    Dark clouds over California - and everywhere else: DevilDriver teamed up once again
    with producer Mark Lewis and the Audio Hammer Studios for their seventh opus that
    is nothing short of sensational! Three years after the lush Winter kills, we bear witness
    to the birth of a sleek new version of the band in the shape of TRUST NO ONE. An
    unapologetic title that strengthens the fact that Dez Fafara and co have compressed
    their energies: the opener 'Testimony Of Truth' isn`t simply a catchy masterpiece
    comfortably nestled in between soaring guitars and massive groove, it also catches
    up with the band`s classic moments! Insidious hooks refine eerie tunes such as 'My
    Night Sky', but there is always room for hauntingly beautiful epic parts in all this
    mayhem. These wolves need no sheep's clothing!


    1. Testimony Of Truth
    2. Bad Deeds
    3. My Night Sky
    4. This Deception
    5. Above It All
    6. Daybreak
    7. Trust No One
    8. Feeling Ungodly
    9. Retribution
    10. For What It's Worth
    11. House Divided*
    12. Evil On Swift Wings*


    *bonus track

    DevilDriver
    $19.99
    Vinyl LP - Sealed Buy Now
  • Beyond Beyond Quick View

    $22.99
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    Beyond

    Beyond was recorded by the current line-up featuring Chris Bay, Lars Rettkowitz (guitar), Ilker Ersin (bass) and Ramy Ali (drums). "The fact that Ilker
    is back on bass marks not only the return of one of the band's founder members, but also that of a good friend. We are happy that he's come back on a
    permanent basis, and our fans have also reacted with great enthusiasm. Ramy has replaced Klaus Sperling, who unfortunately wasn't available due to
    previous engagements. I've known Ramy for many years and know that he's not only an awesome drummer but also a great person who fits perfectly
    into the band and shares our philosophy. I dare say these two new additions have probably made the current line-up the strongest of all time. And we're
    set to prove that Freedom Call are 'The happiest Metal band of the world'." The album was produced by Chris Bay and Stephan Ernst at the Separate
    Sound Studios in Nuremberg and at Freedom Call's own studio.


    The impressive cover artwork courtesy of Jens Reinhold (Running Wild, Virgin Steele, among others) suits the haunting theme to a T

    LP1
    1. Union of the Strong
    2. Knights of Taragon
    3. Heart of a Warrior
    4. Edge of the Ocean
    5. Dance off the Devil
    6. Beyond
    7. Among the Shadows
    8. Journey into Wonderland
    9. Paladin


    LP2
    1. Come on Home
    2. Rhythm of Light
    3. Follow your Heart
    4. Colours of Freedom
    5. Beyond Eternity
    6. Back into land of light -live *
    7. Hero on video -live *
    8. Freedom Call - unplugged *
    9. Power & Glory - Unplugged *


    *Bonus Tracks

    Freedom Call
    $22.99
    Colored Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Kids Raising Kids Kids Raising Kids Quick View

    $19.99
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    Kids Raising Kids

    Nashville based indie rock sextet Kopecky Family Band's highly anticipated full length debut Kids Raising Kids is an adventurous, self-released project. It's the culmination of five years progress for the band, both creatively and in terms of the chemistry that makes these six individuals a family. "It's a time capsule of all the experiences we've had since we started playing together" says co-founder Kelsey Kopecky (vocals/keys). Gabe Simon (vocals/guitar), whom Kelsey founded the band with adds that this is the record where Kopecky Family Band has "finally found its voice". The band feel that this record will allow fans to "take home the live experience" they are so widely revered for.


    Thee band's first single, "Heartbeat", with its ethereal instrumentation, hand claps and percussive piano exemplifies the laid back, yet progressive nature of Kids Raising Kids. It showcases the lack of fear the band has trying different routes in their pursuit to find the best way to finish a song, taking advantage of their technical prowess while embracing simpler options when the song calls for it.


    If pressed to classify the band's sound, Gabe will describe it as a "modern, more aggressive Fleetwood Mac. The thoughtfulness and originality that comes with such an answer can be found throughout Kids Raising Kids. The record works in much the same way as a book, with each song a unique chapter. The tracks all have their own personality and voice, but there is without a doubt still something inherently 'Kopecky Family Band' about each one. Kelsey will tell you the album is about "Discovering Life" and the fact that while we are born basically the same, our paths through life and the people we meet along the way are what make us the individuals we are. This concept is evident on the album, not just lyrically, but in the way each track explores new musical territory.

    1. Wandering Eyes
    2. Heartbeat
    3. My Way
    4. Are You Listening
    5. The Glow
    6. Change Hope
    7. She Is The One
    8. Waves Angry Eyes
    9. Ella
    Kopecky Family Band
    $19.99
    Vinyl LP - Sealed Buy Now
  • Past Time Past Time Quick View

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    Past Time

    Bassist/vocalist, Hannah Lew, drummer/vocalist, Lillian Maring and guitarist/vocalist,
    Raven Mahon chose the name for their San Francisco-based three-piece as a way to
    represent the approach they take to writing music. The phrase is rooted in 17th century
    literature; commonly referring to a woman whose husband is away at sea, but the visual
    associations of each word also provides an opportunity to interpret meaning on multiple
    levels. We write lyrics about very personal and often dark subjects, but present the
    ideas in a way that disguises the content within metaphor and upbeat instrumentation.
    Influenced by similarly all-female punk and post-punk acts like The Neo Boys and
    Kleenex, they also note Roy Wood's The Move and The Kinks as a major source of
    inspiration, which can be heard in their three-part harmonies, complex arrangements
    and odd chord progressions. Grass Widow is also influenced by a legacy of women
    who have paved the way through their music and politics. Their collaborative
    songwriting process, the fact that they don't have a front person and that they all equally
    contribute to the work of the band speaks to this philosophy. In addition, they take the
    opportunity as an all female band to bring attention to the roles of spectacle and
    spectator in their scene and make a conscious effort to play shows where women are
    involved.
    In a statement from the band: We want to thrive in our scene as musicians, with a
    focus on our musicianship first, not our gender. Our goal is to normalize the role of
    gender in our craft and have an avenue to express our intelligence and our love of
    music. We acknowledge that movements of the past created by or affecting women in
    the art and music worlds are hugely influential, but there is potential for the original
    sentiments to lose potency if the meaning is misinterpreted or not redesigned for a
    modern context. Even the riot grrl movement is kind of antiquated. You never really
    hear people talk about that 'new riot grrl' band. We owe a great deal to that lineage but
    it's time for something new. We want to be portrayed as the responsible, thoughtful
    people that we are.
    1. Uncertain Memory
    2. Shadow
    3. 11 of Diamonds
    4. Give Me Shapes
    5. Old Disguise
    6. Fried Egg
    7. Landscape
    8. Submarine
    9. Strangers Come
    10. Tuesday
    Grass Widow
    $14.99
    Vinyl LP - Sealed Buy Now
  • Picture of Heath (Pure Pleasure) (Awaiting Repress) Picture of Heath (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    Picture of Heath (Pure Pleasure) (Awaiting Repress)

    First released under the title "Playboys" in 1956 it was then re-released under the title "Picture Of Heath" in 1961 perhaps owing to the fact it carried the same name as a popular men's magazine.



    This was the third session together of the dynamic duo of Chet Baker and Art Pepper the previous two having been unequivocal successes. Baker and Pepper have an instinctual rapport that yields outstanding interplay.



    These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.



    Musicians:



    • Chet Baker (trumpet)

    • Art Pepper (alto saxophone)

    • Phil Urso (tenor saxophone)

    • Carl Perkins (piano)

    • Curtis Counce (bass)

    • Lawrence Marable (drums)



    Recording: October 1956




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    1. Picture Of Heath
    2. For Miles And Miles

    3. C.T.A.
    4. For Minors Only
    5. Minor Yours
    6. Resonant Emotions

    7. Tynan Time
    Chet Baker & Art Pepper
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Goodmorning Restrained Goodmorning Restrained Quick View

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    Goodmorning Restrained

    Originally released digitally in 2009 on Sounds Of Zilence, Magna Carta Cartel's [MCC] debut album Goodmorning Restrained has become a classic amongst music lovers who have found their way to this album and band. The album is an 8 track experience of what the band refers to as soundtracks for movies yet unmade or Radio-edited movie themes, for daily life and death. Magna Carta Cartel's music has impressed people all across the world and from all walks of life, and the demand for physical copies of this album have been increasing over the years. Lövely Records now offers the first ever physical formats of this legendary album. The release come with original artwork done by designer/graphic artist and director Claudio Marino.


    What Magna Carta Cartel are up to today few or no one knows. What we do know though, is the fact that they once made this strange, different and beautiful album, and that it's now about time it is being materialised into this world. Magna Carta Cartel is a five piece Swedish rock band, often rumoured to be mysteriously connected to the highly secretive band Ghost. The band themselves describe their music like this: It reminds of Vangelis meeting Tom Petty, trying to reach U2, willing to be Joy Division, feeling like ABBA, longing to be Brian Eno, remembering Jean Michel Jarre, looking at Metallica, sleeping with Mike Oldfield, dancing to Koto, hunting the Beatles, killing Morricone in a duel, snorting to Moroder etc.

    1. That It Is Already Too Late To Leave
    2. This Time
    3. Attending Midnight Screen
    4. Metropolis Flow
    5. Deriving A Distance
    6. Borderline Bordello
    7. So Long
    8. Hotellus Eviction
    Magna Carta Cartel
    $19.99
    Vinyl LP - Sealed Buy Now
  • Will To Power Will To Power Quick View

    $24.99
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    Will To Power

    Gatefold LP Includes 12-Page LP-Booklet


    Time passes, the world changes, but some things remain constant and unassailable. Heavy metal has endured for more than four decades because its spirit is eternal, and few bands embody the intensity, integrity and lofty artistic ambitions of the genre with more dazzling aplomb than Arch Enemy. Formed in Sweden in the mid-90s by former Carcass/Carnage guitarist Michael Amott, this most explosive and proficient of modern metal bands have spent the last 20 years propagating an unerring creed of technical excellence, songwriting genius and thunderous, irresistible live performance, accruing a huge global fan base along the way. And now, in 2017, Arch Enemy are ready to rise again and climb ever further up the ladder toward pure metal supremacy.


    Always focused but impervious to other's rules and expectations, Arch Enemy evolved once more in 2015 following the departure of Angela Gossow (now the band's manager). Replacing one of the most iconic vocalists of the modern age was never going to be easy, but in the shape of former The Agonist frontwoman Alissa White-Gluz, Arch Enemy found the perfect candidate. Unveiled on the ferocious, anthem-laden triumph of 2014's War Eternal, Alissa's powerful identity and extraordinary vocal talents proved a natural and instantly welcomed fit. Further extensive touring cemented the new line-up's thrilling efficacy, before one final line-up change - the arrival of legendary guitarist Jeff Loomis, formerly of Nevermore - completed the musical puzzle that Amott had been tinkering with for the best part of 20 years.


    Recorded in 2017, the tenth Arch Enemy album will be unleashed later in 2017 and promises to be the ultimate statement of heavy metal supremacy from a band that are still growing in stature as the years fall away. Will To Power will be the first album the band have recorded with their current line-up and as Michael Amott explains, diehard fans will be both thrilled to hear their favourite band on top form and somewhat surprised by their latest creative explorations.


    "The goal is always to raise the bar yet again and create an epic masterpiece!" he laughs. "I think the album has a great balance between traditional Arch Enemy and some new influences that come through here and there. The most surprising thing on this album is that we've written our first ever ballad. It's still a very metal song, but there's no way around the fact that it is a ballad and that might be quite controversial for a band like us, I guess. I'm excited to hear what our fans will think of that one, but I do feel that we can afford to spread our wings a bit on our tenth studio album!"


    Once Will To Power hits the streets, Arch Enemy will do what they do best, hitting the road and taking their latest batch of heroic metal anthems to the people. Achieving longevity is the toughest challenge that faces any band, but Arch Enemy have long since established themselves as a permanent fixture on the global metal scene and as standard bearers for upholding and celebrating of the heavy metal code. Right now, in 2017, no other band embodies the spirit of the genre with such flair and euphoric zeal. Long may their steel spirit prevail.


    "It's always been about creating the best songs we can make and whatever success we've had is a direct result of the music speaking to people and our relentless worldwide touring," Michael grins. "We are happy with the fact that the band has had growth spurt these last couple of years and it's exciting to put on a bigger and more complete live show for our fans. We obviously hope our fans will enjoy Will To Power and we're looking forward to getting back out there and performing live again, with a whole bunch of killer new tunes up our sleeve!"

    1. Set Flame To The Night
    2. The Race
    3. Blood In The Water
    4. The World Is Yours
    5. The Eagle Flies Alone
    6. Reason To Believe
    7. Murder Scene
    8. First Day In Hell
    9. Dreams Of Retribution
    10. My Shadow And I
    11. A Fight I Must Win
    Arch Enemy
    $24.99
    Vinyl LP - Sealed Buy Now
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