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  • Friends Friends Quick View

    $21.99
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    Friends

    With Friends White Lies haven't so much abandoned their trademark synth-rock sound as given it a spring clean by exploring new sounds. Recorded in Bryan Ferry's private studio in London's Olympia, the album was self-produced by the band. White Lies enlisted the help of an expert team including Grammy Award-Winning engineer James Brown (Foo Fighters, Arctic Monkeys), David Wrench (Caribou, FKA Twigs) on mixing duties and long-term collaborator Ed Buller, who contributed additional production.
    1. Take It Out on Me
    2. Morning in LA
    3. Hold Back Your Love
    4. Don't Want to Feel It All
    5. Is My Love Enough?
    6. Summer Didn't Change a Thing
    7. Swing
    8. Come On
    9. Right Place
    10. Don't Fall
    White Lies
    $21.99
    Vinyl LP - Sealed Buy Now
  • La Petite Mort (Awaiting Repress) La Petite Mort (Awaiting Repress) Quick View

    $24.99
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    La Petite Mort (Awaiting Repress)

    Manchester's finest make a welcome return with 'La Petite Mort', the first new full length James album in six years. Produced by Max Dingel (Killers. Muse, White Lies) and written as ever, by the band, with Tim Booth lyrics, this new disc ranks among their finest in their 30 year career.


    Highlights include the mighty first single 'Moving On', the anthemic 'Curse Curse' and 'Frozen Britain.'


    Max Dingel is the latest in a long line of first class producers the band have worked with including Brian Eno, Gil Norton and Youth.


    From first signing with the infamous Factory Records, to an illustrious career of albums released through Rough Trade, Sire Records and Mercury, James have now agreed an exciting new joint venture label partnership with BMG Chrysalis and Cooking Vinyl.


    'La Petite Mort' was recorded in the wake of Tim Booth losing his mother and best friend in quick succession and understandably many of the songs deal with mortality, hence the album title. However, 'La Petite Mort', is an incredibly uplifting record.


    Since forming in 1982, James are, without doubt, one of Britain's most influential indie bands, enjoying a prestigious career that spans over 30 years. Their classic hits include 'Sit Down', 'She's A Star', 'Laid' and 'Getting Away With It (All Messed Up)' amongst their 20 top 40 UK singles. They have released 12 studio albums and have sold over 12 million albums worldwide.


    James are: Tim Booth (vocals), Jim Glennie (bass), Larry Gott (guitars), Saul Davies (guitar, violin), Mark Hunter (keyboards), David Baynton-Power (drums) and Andy Diagram (trumpet).

    1. Walk Like You
    2. Curse Curse
    3. Moving On
    4. Gone Baby Gone
    5. Frozen Britain
    6. Interrogation
    7. Bitter Virtue
    8. All In My Mind
    9. Quicken the Dead
    10. All I'm Saying
    James
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • White Light White Light Quick View

    $24.99
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    White Light

    After playing in various teenage groups, Gene Clark was offered a place in the sprawling New Christy Minstrels in late 1963. He stayed long enough to contribute to two albums, Merry Christmas and Land Of Giants, before returning to Los Angeles, where he teamed up with Jim (Roger) McGuinn and David Crosby in the Jet Set. This fledgling trio evolved into the Byrds. At that point Clark was the leading songwriter in the group and contributed significantly to their first two albums.


    As founding member of folk-rock pioneers the Byrds, Gene Clark had emerged as a uniquely gifted singer/songwriter and master of the minor key melancholy ballad. His departure from the group in 1966 was met with critical anticipation and commercial indifference. Tiring of the Hollywood fast lane by 1969, Gene and new wife Carlie moved up to Mendocino on the Northern California coast where the tranquility, pastoral beauty and laid back lifestyle of the coastal community appealed to his country boy roots. It inspired a body of songs unlike anything Gene had composed before. Their stark simplicity and stripped down arrangements, acoustic guitar, harmonica and voice, evidence a deeper insight into life and an overall optimism rarely found in his previous body of work.


    The resulting album, White Light, produced by renown guitarist Jesse Ed Davis, remains one of Gene's most accessible and much-loved recordings among fans and critics, topping several domestic Best Album of the Year lists and being voted Album of the Year by rock critics in the Netherlands. Songs like For A Spanish Guitar, With Tomorrow and Where My Love Lies Asleep are delicately evocative while the title song draws on Gene's appreciation for country music. One In A Hundred harkens back to his finest Byrds compositions.


    Buoyed by his new surroundings, friendships, marriage, a feeling of contentment in his rural retreat and the imminent birth of his first child, White Light reveals singer/songwriter Gene Clark at the top of his game. Rolling Stone declared the folk-based album a fresh and innovative look at what came before in a new framework. One of the most interesting and exciting records of 1971. Relive that excitement on this Sundazed edition! Mastered directly from the original A&M analog session tapes on high-definition vinyl.

    1. The Virgin
    2. With Tomorrow
    3. White Light
    4. Because of You
    5. One In A Hundred
    6. Spanish Guitar
    7. Where My Love Lies Asleep
    8. Tears of Rage
    9. 1975
    Gene Clark
    $24.99
    Vinyl LP - Sealed Buy Now
  • White Is Relic / Irrealis Mood White Is Relic / Irrealis Mood Quick View

    $20.99
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    White Is Relic / Irrealis Mood


    Colored Vinyl



    Two important events occurred during the making of White Is Relic/Irrealis Mood. I became Simulated Reality paranoid and I fell in LOVE. Well a lot more happened during the process of writing and recording, but those are the two big ones. I also reached a healthy point of self-forgiveness for my failed marriage and became deeply educated in the lies of America the Great. Musically, I was very inspired by the extended dance mixes that people used to make for pop singles back in the '80s. It's so cool how a lot of the 80's hits had these really intricate and interesting longer versions that wouldn't get played on the radio and could only be heard in the clubs. I used that template with these tracks, I wanted them all to feel like the extended club edit of album tracks. I'm always searching for new identities so this concept of the death of Whiteness appeals to me greatly. Might be the only way to save the world. -Kevin Barnes, January 2018

    1. Soft Music/Juno Portraits Of The Jovian Sky
    2. Paranoiac Intervals/Body Dysmorphia
    3. Writing The Circles/Orgone Tropics
    4. Plateau Phase/No Careerism No Corruption
    5. Sophie Calle Private Game/Every Person Is A Pussy, Every Pussy Is A Star!
    6. If You Talk To Symbol/Hostility Voyeur
    Of Montreal
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Two Vines Two Vines Quick View

    $22.99
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    Two Vines

    Alt-electro pioneers Empire Of The Sun return with their third studio album, Two Vines, set for release via Astralwerks. With Two Vines, the Australian band invites listeners to enter the jungle paradise that marks the third remarkable age of the Empire Of The Sun. Through a waterfall of dreams, beyond the white light of an ice curtain lies a lush, green world where childlike innocence and ancient wisdom are one. The album's first single, "High & Low," offers a glimpse of this dreamlike kingdom.


    "We always saw Empire as a movie," says Nicholas Littlemore, the co-pilot with Luke Steele of this fantastic vessel of electro-futurist sound and vision. "The whole concept was based around childhood fantasies; being in bed and staring at the posters on your wall, whether they were monster movies or outlandish rock stars or pieces of art. We always wanted to be one of those posters on a child's wall that had so much imagination locked into it, a kind of invitation that pushes you over the edge into dream world. With this record, it's time to take that next step."


    Recorded in Hawaii and Los Angeles, Two Vines is co-produced by Empire Of The Sun and Peter Mayes (Sia, The Killers, Mika), alongside long-term collaborator, Donnie Sloan (Midnight To Monaco). It also sees the creative circle expanding with esteemed pianist/arranger Henry Hey and bassist Tim Lefebvre, from David Bowie's Blackstar band, featured heavily on the album. Factor in Wendy Melvoin from Prince's Revolution, as well as Fleetwood Mac's genius guitarist/vocalist Lindsey Buckingham, and the Empire's rainbow has never been so vast and colorful.


    "Going to Hawaii to record was the best idea," says Luke Steele of sessions at Honolulu's Avex Studios - where Kanye West recorded 2010's My Beautiful Dark Twisted Fantasy. "That was the catalyst for me. I'd spend the morning surfing, then roll in and make music into the night."

    1. Before
    2. High and Low
    3. Two Vines
    4. Friends
    5. There's No Need
    6. Way to Go
    7. Ride
    8. Digital Life
    9. First Crush
    10. ZZZ
    11. To Her Door
    12. Keystone
    13. Lend Me Some Light
    14. Welcome to My Life
    15. Walking on a Dream
    Empire Of The Sun
    $22.99
    Vinyl LP - Sealed Buy Now
  • Magnolia Electric Co Magnolia Electric Co Quick View

    $24.99
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    Magnolia Electric Co


    10th Anniversay Deluxe Edition


    Expanded Reissue Of Songs: Ohia's Classic Record Gathering Together One Unreleased Song, Demos And Full-band Song Only
    Previously Available In Japan.


    Includes Rare Photos From The Era In Which It Was Recorded


    The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the
    sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the
    moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now- here at the end of that
    decade - with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of
    Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan
    favorite Whip Poor Will is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s
    final album Josephine (2009). Also included is the studio version of The Big Game Is Every Night. Previously only available
    on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th
    Century, through art and sporting culture - ultimately questioning what it means to be an American in the autumn of the
    American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each
    begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate,
    it's hard to look them right in the eyes. But you should.


    With the wailing lap steel of the album opener Farewell Transmission, Jason Molina & Company usher in a new day,
    playing the sort of rock that your cool uncle rolled to back in the '70s. Landing somewhere on the radar sonically between
    Bob Dylan's Desire and Bob Seger's Beautiful Loser, though thematically in-line with Lynyrd Skynyrd's Simple Man, The
    Magnolia Electric Co lies at the crossroads of working class rock, white soul, swamp rock and outlaw country


    While Songs: Ohia's last record Didn't It Rain was a meditation on roots and stability, Magnolia Electric Co. finds itself
    toiling with the wages of change, which is well illustrated in I've Been Riding with the Ghost, a real rig rocker that could
    have easily fit on Time Fades Away, on which Molina sings: See I ain't getting better, I am only getting behind. Standing on
    the crossroad trying to make up my mind. Trying to remember how it got so late. Why every night pain comes from a
    different place. Now something's got to change.


    This thematic preoccupation with change also manifests itself in the rotating cast of lead vocalists. While the entire album
    boasts a doo wop-like line-up with five vocalists on the floor, six of the eight songs have Molina in the tall stool with the
    ever-enchanting Jennie Benford (of Jim & Jennie & the Pinetops, who was also a key player on Didn't It Rain) as primary
    back-up vocalist. But on two songs, new Songs: Ohia players step up to take on lead vocal duties, singing Molina-penned
    songs. Lawrence Peters takes the lead on The Old Black Hen with his fantastic Merle Haggard-esque country croon, while
    Miss Scout Niblett appears from the nether world of the Ohia wardrobe with feathers in her hair and casts her spell on the
    Ohia rig barreling through Peoria Lunch Box Blues.


    Recorded live, in its entirety, at the hands of Steve Albini at his Electrical Audio Studio in Chicago, Illinois, with the same
    core back-up band that played on the Mi Sei Apparaso Come Un Fantasma Italian live album, this is the record where the
    Songs: Ohia fan demographics make a radical shift from the dominant bedroom universe of the world's lonely, sensitive,
    overqualified young white dudes, and finds refuge in the masses by being embraced by the world's truck drivers, sorority
    chicks, and hockey players, alike. Indeed, this is the first Songs: Ohia record with more than one song that could be played
    at a strip joint or monster truck show. Amid the mid-tempo slow jams, there lie some of the most upbeat material that
    Songs: Ohia has recorded to date.

    LP 1
    1. Farewell Transmission
    2. I've Been Riding With The Ghost
    3. Just Be Simple
    4. Almost Was Good Enough
    5. The Old Black Hen
    6. Peoria Lunch Box Blues
    7. John Henry Split My Heart
    8. Hold On Magnolia
    9. The Big Game Is Every Night (Bonus Track)
    10. Whip Poor Will (Bonus Track)


    LP 2
    1. Farewell Transmission (Demo)
    2. I've Been Riding With The Ghost (Demo)
    3. Just Be Simple (Demo)
    4. The Old Black Hen (Demo)
    5. Peoria Lunch Box Blues (Demo)
    6. John Henry Split My Heart (Demo)
    7. Hold On Magnolia (Demo)
    8. The Big Game Is Every Night (Demo)
    9. Whip Poor Will (Demo)

    Songs: Ohia
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dan Dyer Dan Dyer Quick View

    $19.99
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    Dan Dyer

    It may be generalizing. Hopefully it isn't offensive. But let's face it: Dan Dyer has one hell of a soulful voice for a white guy. It's a soulful voice for anybody. But for a white guy?! Close your eyes and you're likely to picture something more along the lines of Al Green or Stevie Wonder or Sly Stone than some east Texan around 40 years old. But this is Dan Dyer's gift - a voice oozing soul along with deeply introspective, serious songwriting.


    Dyer was born and raised in the small east Texas town of Tool. He was given a guitar at age 5 but didn't learn to play until he was 18 and had moved to Austin, Texas. It was there that he began to study music seriously, attacking the guitar, and exploring his until-then untapped singing and songwriting powers.


    While attending Texas State in San Marcos, Texas, Dyer formed a band, Breedlove, with guitarist Tyrone Vaughan (son of Jimmie Vaughan), drummer Jason White, keyboardist Ezra Reynolds and bassist Josh Dawkins. The group developed a dedicated following and released Reach Out in 1996 before disbanding in 1998.


    From there, Dyer moved to New York City and began writing commercial music jingles, having songs placed in marketing campaigns for Budweiser, Chevrolet, Dr. Pepper and Campbell's Soup. While there, Lenny Kravitz, who had just begun a Warner Bros. imprint called Roxie Records, signed Dyer and produced his What Lies Beneath record in 2004, the first release on the label. Kravitz co-wrote four of the songs with Dyer and also played guitar on the record.


    After touring for a year behind What Lies Beneath, Dyer moved to St. Louis and started a family. In 2007, he returned to Austin where he'd reunited with friend David Boyle, who recorded and produced Dyer in his converted-church studio for the self-titled Dan Dyer. The record was released in 2008 on Fat Caddy Records. From the chain gang-inspired sound of Love Chain to the gospel-tinged I Walk On Gilded Splinters and Stewart Copeland-esque syncopations of Play On Little Children, Dyer and Boyle weave a diverse fabric that extends beyond conventional musical boundaries.


    This title is not eligible for discount.

    1. Prisoner Of Fear
    2. Howling Wind
    3. Come Home
    4. Come Home Pt. 2
    5. Reach Out
    Dan Dyer
    $19.99
    180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
  • Boomiverse Boomiverse Quick View

    $24.99
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    Boomiverse

    Pressed On Limited Blue & White Swirl Vinyl


    Includes A 12" x 24" 4/4 Insert


    One of history's tightest and most clever rhyme mavericks, Big Boi's indelible influence courses throughout two generations of rap music. As one-half of OutKast, he achieved seven GRAMMY® Awards, sold 25 million records, and created a string of music's most influential work, including Aquemini, Stankonia, Southernplayalisticadillacmuzik, and Speakerboxxx/The Love Below which went RIAA Diamond making OutKast the first and only hip-hop artist in history to win the GRAMMY® for 'Album of the Year.'


    Big Boi's first solo release in 2010, Sir Lucious Left Foot: The Son of Chico Dusty, received unanimous critical acclaim with Pitchfork proclaiming it one of the 100 Best Albums of the Decade 'So Far' and topped multiple year-end best of lists.


    The 2012 follow-up, Vicious Lies and Dangerous Rumors, enamored tastemakers and fans alike and in 2015 he collaborated with Phantogram to create supergroup Big Grams.


    For his third solo release, Big Boi presents a wide range of musical styles and has some phenomenal collaborations including lead tracks Mic Jack featuring Adam Levine and Kill Jill featuring Killer Mike and Jeezy. BOOMIVERSE will no doubt please true music fans across the board.

    LP 1
    1. Da Next Day (feat. Big Rube)
    2. Kill Jill (Killer Mike & Jeezy)
    3. Mic Jack (feat. Adam Levine, Scar & Sleepy Brown)
    4. In the South (feat. Gucci Mane & Pimp C)
    5. Order of Operations
    6. All Night (feat. LunchMoney Lewis)


    LP 2
    1. Get Wit It (feat. Snoop Dogg)
    2. Overthunk (feat. Eric Bellinger)
    3. Chocolate (feat. Troze)
    4. Made Man (feat. Killer Mike & Kurupt)
    5. Freakanomics
    6. Follow Deez (Curren$y & Killer Mike)

    Big Boi
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Can't Touch Us Now Can't Touch Us Now Quick View

    $24.99
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    Can't Touch Us Now

    Four years on from the release of their Top 10 US album, Oui Oui Si Si Ja Ja Da Da, Madness return with Can't Touch Us Now. The Album's release sees the Nutty Boys in full flow with a collection of songs that stands alongside the best of their unique takes on modern life.


    A typically eclectic collection (the group has long mastered the art of making disparate influences work under their knack for writing catchy pop hooks), Can't Touch Us Now was recorded at London's iconic Toe Rag Studio - a fitting venue for one of the English capital's most iconic bands. Co-produced by Grammy-winning producer Liam Watson (The White Stripes' Elephant) and the band's long-time boards-man, Clive Langer, Can't Touch Us Now was recorded in just three weeks and boasts characteristically wry observations on life, with songs the likes of 'Mr. Apples', 'Blackbird', 'Mumbo Jumbo' and the title track.


    Part of Madness' brilliance lies in their ability to take situations specific to their environment and make them universally relatable: 'It Must Be Love', 'Embarrassment' and 'Tomorrow's Just Another Day' all resonate with a worldliness that fans from all over the globe have related to - and that's no surprise, given that the band themselves have looked beyond England, to Jamaica, for a large part of their musical inspiration. With the songs on Can't Touch Us Now road-hardened during a string of summer festival appearances, it seems that the album is set to, once again, remind fans that the self-proclaimed Nutty Boys are one of the finest, most erudite pop outfits that the world has seen.

    1. Can't Touch Us Now
    2. Good Times

    3. Mr. Apples

    4. I Believe

    5. Grandslam

    6. Blackbird

    7. You Are My Everything

    8. Another Version of Me
    9. Mumbo Jumbo

    10. Herbert

    11. Don't Leave the Past Behind You
    12. (Don't Let Them) Catch You Crying
    13. Pam the Hawk

    14. Given the Opportunity

    15. Soul Denying

    16. Whistle in the Dark
    Madness
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set Quick View

    $469.99
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    The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set


    * 800 Newly-Remastered Digital Tracks, Representing 172 Artists


    * 200+ Fully-Restored Original 1920s Ads And Images


    * 6x 180g Vinyl LPs Pressed On Burled Chestnut Colored Vinyl W/ Hand-Engraved, Blind-embossed Gold-Leaf Labels, Housed In A Laser-Etched White Birch LP Folio


    * 250 Page Deluxe Large-Format Clothbound Hardcover Art Book


    * 360 Page Encyclopedia-Style Softcover Field Guide Containing Artist Portraits And Full Paramount Discography


    * Handcrafted Quarter-Sawn Oak Cabinet With Lush Sage Velvet Upholstery And Custom-forged Metal Hardware


    * First-Of-Its-Kind Music And Image Player App, Allowing User Mgmt Of All Tracks And Ads, Housed On Custom-Designed USB Drive


    How did a Wisconsin chair company, producing records on the cheap and run by men with little knowledge of their audience or the music business, build one of the greatest musical rosters ever assembled under one roof? The answer lies in 'The Rise and Fall of Paramount Records 1917-1932,' an epic, two-volume omnibus of art, words and music housed in a limited-edition, hand-sculpted cabinet-of-wonder, to be jointly released by Jack White's Third Man Records and John Fahey's Revenant Records.


    'Volume One,' which covers the label's improbable rise from 1917-1927, will be released exclusively through Third Man on October 29, and worldwide on November 19. The project is co-produced by leading Paramount authority Alex van der Tuuk, and 'Volume 2' will be released in November 2014.


    Paramount Records was founded on a modest proposition: produce records as cheaply as possible, recording whatever talent was available. Over its lifetime, the label would become a "race records" powerhouse, its sound and fortunes directly linked to the Great Migration.


    By the time Paramount ceased operations in 1932, it had compiled a dizzying array of performers still unrivaled to this day, spanning early jazz titans (Louis Armstrong, King Oliver, Jelly Roll Morton, Fats Waller), blues masters (Charley Patton, Blind Lemon Jefferson, Son House, Skip James), American divas (Ma Rainey, Alberta Hunter, Ethel Waters), gospel (Norfolk Jubilee Quartette), vaudeville (Papa Charlie Jackson), and the indefinable "other" (Geeshie Wiley, Elvie Thomas). Paramount would also directly influence the style of Robert Crumb and countless other 20th century artists and illustrators, through a series of hand-drawn ads promoting its releases in the pages of the Chicago Defender.


    The 'Rise and Fall' wonder-cabinet gives equal status to page-turning narrative and new scholarship; original and newly created graphic art; industrial design; and compelling analog and digital music experiences.

    6 LPs feature 87 tracks from the collection.


    USB Drive contains 800 digital tracks by 172 artists across the Paramount family of labels, including the earliest recordings of:
    King Oliver, Jelly Roll Morton, Blind Blake, Fats Waller, Ma Rainey, Blind Lemon Jefferson, Duke Ellington, Louis Armstrong, Fletcher Henderson, Alberta Hunter, Papa Charlie Jackson, Ethel Waters, Coleman Hawkins, Johnny and Baby Dodds, Bo Weavil Jackson, Jimmy O'Bryant, Buddy Boy Hawkins, Tiny Parham, Jimmy Blythe, and Jaybird Coleman.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed Buy Now
  • Twerp Verse Twerp Verse Quick View

    $16.99
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    Twerp Verse

    Necessary brattiness is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse. The follow-up to 2015's Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being outrageous and practical in order to be heard at all.


    You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world, says Dupuis. I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth."


    Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze's Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych-pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums - and together they accelerate the band's idiosyncrasy through the wilderness of Dupuis' heady reflections on sex, lies and audiotape.


    Dupuis, who both earned an MFA in poetry and taught at UMass Amherst, propels the band's brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz, Aline Crumb's biting memoirs, and the acute humor of AstroPoet Dorothea Lasky, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme Lucky 88, and casts a side-eye towards suitors-turned-monsters in the cold-blooded single Villain. Closing track You Hate The Title is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. You hate the title, but you're digging the song, Dupuis sings wryly, You like it in theory, but it's rubbing you wrong. Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

    1. Buck Me Off
    2. Lean In When I Suffer
    3. Lucky 88
    4. Can I Kiss You?
    5. Backslidin'
    6. Villain
    7. I'm Blessed
    8. Sport Death
    9. Alone with Girls
    10. Moving In
    11. You Hate The Title
    Speedy Ortiz
    $16.99
    Vinyl LP - Sealed Buy Now
  • Kind Of Blue (Box Set) (Awaiting Repress) Kind Of Blue (Box Set) (Awaiting Repress) Quick View

    $59.99
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    Kind Of Blue (Box Set) (Awaiting Repress)

    Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes


    Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations


    If There's a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions


    Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History


    How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.


    Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If there's a stairway to heaven, this is the soundtrack.


    In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.


    While no one has ever completely identified the magic behind the records allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.


    An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.



    This title is not eligible for discount.

    1. So What
    2. Freddie Freeloader
    3. Blue in Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $59.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Master Of My Make Believe Master Of My Make Believe Quick View

    $21.99
    Buy Now
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    Master Of My Make Believe

    Santigold is Santi White: an artist whose perseverance relies on invention, a champion who survives off her own skill and faith. She is a major muse watched by the inspired world, an in categorical performer who collapses time and genre with one hand guided by tradition, while the other hand carves out a shining future. Santigold is neither calm nor mayhem, but from her lungs burst every color in between.


    After four years of hide and seek in which blogs blew up at the sudden release of any track with her name attached to it, Santigold returns in a moment of global aggression and vulnerability. Honing in on the hyper-media cult of personality, in her unmistakable voice she asks the listener: Into what fantasy do you hurl yourself as you gaze into the glow of your machine? The answer to this question is central to what drives Master of My Make-Believe, her latest work to be released this spring on Atlantic Records.


    As an antidote against self-celebratory status updates in a climate where the focus on fame outweighs a days emotions, Master of My Make-Believe summons pop culture zombies back to life. This is sound proof of an artist on a diligent journey, measuring the power of individual mood against social clamor. Sifting through a wondrous wreckage of airplay, upload, and anguish, Santigolds talent lies in filtering reality through freakdom, to find in desire a timeless spark of raw magic.


    Anyone caught referring to Master of My Make-Believe as a sophomore effort is only half right. Though relatively fresh as Santigold, Santi Whites history of writing, production, and performance stretch beyond the centurys flip. Her collaboration with the industrys most recognized and respected talent is something continuous and wide reaching, making her musical lineage all the much richer. Declared Best Breakthrough Artist by NME in 2008 and Pop Music Vanguard by ASCAP in 2009, the voice that defines Santigold is as complex as the faces that pack a subway car, as intimate and honest as conversation on a weathered stoop.


    Through chopped pianos, the clink of glass bottles, and the peaking blast of motorcycle engines, Master of My Make-Believe accounts for 21st century details of life from the hearts center to the minds periphery. In her pen and in her voice, the breadth of substance presented in Santigolds newest songs is immediate and complex. There are valleys here wherein the drudge of daily living is met with caution and confronted by mortality, but underneath it all there is the celebration of each persons power and vision to fight toward what they believe. Consider this your invitation.

    1. GO!
    2. Disparate Youth
    3. God From The Machine
    4. Fame
    5. Freak Like Me
    6. This Isn't Our Parade
    7. The Riot's Gone
    8. Pirate In The Water
    9. The Keepers
    10. Look At These Hoes
    11. Big Mouth
    Santigold
    $21.99
    Vinyl LP - Sealed Buy Now
  • Deodato 2 (Speakers Corner) Deodato 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Deodato 2 (Speakers Corner)

    In his early years, Deodato, 'the gift of God', cultivated a highly original art of give and take in his music. His score for Stanley Kubrick's science fiction film A Space Odyssey 2001 - a funky, jazzed-up adaptation of Richard Strauss's bombastic orchestral work Also sprach Zarathustra - opened the ears of innumerable cinema-goers to classical music. On the present album Deodato again rocks and grooves with works from past eras: Gershwin's Rhapsody In Blue is reworked rhythmically and enriched, while Ravel's Pavane unfolds hesitatingly over a velvety carpet of sound. And why not win new fans for major musical works? Deodato, the master, and his complex musical apparatus impart a true Latin feeling to these covered works.


    The 'new' classic Nights In White Satin too, one of the most congenial gigantic hits from the 60s, is staged by Deodato as a miniature slow rock drama just as perfectly as he cultivates his own very pure funky style (Super Strut). In Deodato's arrangements, the powerful instrumental forces open out almost effortlessly and evolve into a gentle flow of sheer pleasure. Everything appears to be simple, although nothing is simple! And therein lies the uniqueness of 'the gift of God'.



    Musicians:



    • Eumir Deodato (keyboards)

    • Jon Faddis (trumpet, fluegel horn)

    • Wayne Andre (trombone)

    • Joe Temperley (bassoon)

    • Hubert Laws (flute)

    • John Tropea (guitar)

    • Stanley Clarke (bass)

    • Billy Cobham (drums)





    Recording: April and May 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor





    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.


    1. Nights In White Satin
    2. Pavane For A Dead Princess
    3. Skyscrapers
    4. Super Strut
    5. Rhapsody In Blue

    Deodato
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • J.J. Inc. (Speakers Corner) J.J. Inc. (Speakers Corner) Quick View

    $34.99
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    J.J. Inc. (Speakers Corner)

    He was a shining example for many European modern-jazz trombonists: J. J. Johnson, the man from Indianapolis, and the swinging half of the pair Jay and Kai. (Kai Winding was the white guy with the "cool" sound.) On this Columbia LP, recorded in August 1960, we can experience J. J. in three ways - as a soloist, composer, and arranger. To this is added a superbly well-rehearsed combo consisting of Freddie Hubbard, Clifford Jordan and one of the very best rhythm groups of late hard bop: Cedar Walton, Arthur Harper, and Albert Heath on the drums.



    Thanks to having performed the works over the previous eight months in concerts before the recording, all the works sound wonderfully homogeneous, and the improvisations never once become stereotyped. The theme tune of In Walked Horace well illustrates Jay Jay's musical background, which lies somewhere between Thelonious Monk, Bud Powell and Horace Silver.
    On the reverse side of the LP cover, J. J. Johnson describes his feelings during the recording session: »Wow! What a pleasure!« And the listener will certainly go along with that for the whole length of the LP!



    Musicians:



    • J.J. Johnson (trombone)

    • Clifford Jordan (tenor saxophone)

    • Freddy Hubbard (trumpet)

    • Cedar Walton (piano)

    • Arthur Harper (bass)

    • Albert Heath (drums)




    Recording: August 1960 in New York

    Production: Teo Macero




    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.

    1. Mohawk
    2. Minor Mist
    3. In Walked Horace
    4. Fatback
    5. Aquarius
    6. Shutter-Bug
    The J.J. Johnson Sextet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Creek Audio Evolution 50A V2 2 COLORS AVAILABLE Creek Audio Evolution 50A V2 Quick View

    $1,195.00
    Buy Now
    x

    Creek Audio Evolution 50A V2





    Creek Audio has a long history of making fine sounding Phono pre-amplifiers.


    This new amplifier forms part of the next generation EVOLUTION 50 range of products. Housed in a slim case with engraved front panel and solid
    control knobs, it's finished in either black or silver brushed aluminium. An ingenious new push button design has been developed for it, offering excellent tactile feel and backlit optical indication of usable functions for optimum user-friendliness.


    The 50 series is the first Creek product to feature an OLED (Organic Light Emitting Diode) display. This white on black display provides higher clarity and resolution than a normal display and offers a wide range of customised graphic symbols. Display brightness levels can be changed or turn off when not required via the menu system.


    At the heart of any good amplifier lies a good power supply; The EVOLUTION 50A uses a massive 200 Watt toroidal mains transformer with separate windings for high and low current analogue and digital circuitry. This produces a good power to weight ratio and low magnetic interference. Creek's policy of paralleling several low impedance capacitors together, to create an ultra-high specification capacitor, to smooth the DC also helps to produce a very powerful and accurate sound from such a relatively small amplifier.


    Creek's Senior Engineer - David Gamble - who has much experience in the audio industry developed a completely new bi-polar transistor power amplifier circuit especially for the EVOLUTION 50A with very high open-loop gain and low distortion. Featuring a pair of Sanken 15 Amp power transistors, with built-in thermal compensation for rapid bias tracking performance, the Power Amplifier circuit has very low output impedance and can produce high output current. This combination will provide exceptional speed and control with most loudspeakers.


    David also developed a completely new analogue Pre-amp circuit, providing high levels of flexibility and control, via unbalanced or balanced inputs. It has multiple input options, switched electronically or via gold contact relays, plus electronic Volume, Balance and Tone controls. For Vinyl fans, a Sequel 2 Phono pre-amp can be plugged-in, substituting Line Input 1 for Phono. In addition, Line input 5 is located on a Smart- Slot removable panel. Should the user want to fit a Tuner or DAC module, Line 5 input can be removed and replaced by either the AMBIT tuner or RUBY module.


    Creek Audio no longer makes a separate EVOLUTION Tuner, but die-hard analogue tuner fans can continue to listen using the top quality AMBIT plug-in tuner module, which augments the EVOLUTION 50A's capabilities. The AMBIT and Ruby modules can be mounted to the back panel 'Smart-Slot', replacing Line Input 5. When the AMBIT is fitted, it automatically turns the amp into a Receiver, suitable for use in every region of the world. The OLED shows tuner functions and buttons and knobs have dual functions.


    The EVOLUTION 50A can also be configured for Vinyl Disc input, in place of Line input 1. The SEQUEL 2 module plugs into dedicated connectors on the pre-amp PCB and can run simultaneously with the AMBIT or RUBY. It comes in three versions - 40dB - 48dB and 54dB MM and MC.


    To simplify the many options a stylish new system remote handset has been developed to control all the functions of the EVOLUTION 50 range. The EVOLUTION 50 range also features an optional IR extender to enable the products to be hidden away, but still operable via remote control.


    This product is not eligible for discount.


    Creek Audio
    $1,195.00
    Integrated Amplifier
    Buy Now
  • Miles Davis - A Tribute To Jack Johnson (Awaiting Repress) Miles Davis - A Tribute To Jack Johnson (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Miles Davis - A Tribute To Jack Johnson (Awaiting Repress)

    Audiophile Reference Sonics: Mobile Fidelity LP Presents Lean, Stripped-Back, and Open Sound With Startling Immediacy and Realism


    Soundtrack Merges Electric Fusion, Slashing Rock, and Aggressive Funk Via Astounding Lineup: Guitarist John McLaughlin and Trumpeter Davis Turn In Blistering Performances


    Powerhouse 1971 Album the Greatest Jazz-Rock Record Ever Made


    The album cover to Trust speaks volumes: Elvis Costello, bathed in shadows, his eyes nervously peering out from behind his sunglasses, his face conveying a combination of edgy noir purpose and guilt-ridden anxiety. Indeed, the tension-rich songs within largely convey the opposite meanings of the record's title, with the British icon musing on what lies beyond arrogant youth and immediate success with a jaundiced, scarred perspective informed by his country's political climate and his own experiences.


    Miles Davis' A Tribune to Jack Johnson is the best jazz-record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. Mobile Fidelity's sterling reissue brings it all to fore with unsurpassed realism.


    Mastered from the original master tapes and pressed at RTI, this collectable audiophile vinyl version of A Tribute to Jack Johnson joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. The most prominent difference longtime fans will notice is how much more aggressive and immediate the music sounds, aspects central to the composer's desires. Amazing degrees of instrumental separation and imaging allow you to focus on singular musicians and the roles they play.


    Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimension bass lines emerge amidst an ink-black background.


    This title is not eligible for discount.

    1. Right Off
    2. Yesternow
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Killer Road Killer Road Quick View

    $29.99
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    Killer Road


    Double LP With Gatefold Sleeve And 16-Page Booklet


    LP 1 Is Black Vinyl, LP 2 Is White Colored Vinyl


    A shimmering ambient tone, an electronic underlay to the lulling chatter of
    crickets, makes way for the unmistakable voice of Patti Smith, quietly intoning,
    ominously, "The killer road is waiting for you / like a finger, pointing in the night."


    Behind the music and concept of Killer Road is international trio Soundwalk
    Collective - Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi - who,
    alongside Patti Smith's daughter, Jesse Paris, conceived an immersive exploration
    of the tragic death of Christa PÄffgen. Better known as Nico, the Velvet
    Underground chanteuse and solo pioneer, PÄffgen died while riding her bike on
    the island of Ibiza in the summer of 1988. Ironically, she'd recently got her health
    back, after fifteen years of heroin addiction. It was Nico's body's reaction to its
    new sobriety, and the fact she was cycling at the hottest time of the day, on the
    hottest day of the year, that was to prove her undoing.


    In the years before she died, Nico had not neglected her creative muse, writing
    poetry that would never be published, or heard, until now, in the form of the
    opening title track, "Killer Road." The tracks that follow are eight interpretations
    of Nico lyrics, predominantly taken from classic albums such as Desertshore and
    Drama of Exile, arranged by fellow poet and kindred spirit Patti Smith.


    The roots of Killer Road lie in a fortuitous meeting on an airplane bound for New
    York. One passenger was Smith; the other was Soundwalk Collective founder
    Crasneanscki. Soundwalk had previously been a collaborative series of walking
    guides to cities that created an idiosyncratic and evocative understanding for the
    listener, before evolving into musical frameworks for field recordings and sight
    specific sound installations and performances using a variety of texts and themes.


    Killer Road was initially a live audio-visual experience, at the French Institute
    Alliance Francaise in New York as part of 2014's Crossing the Line festival. Finally,
    we now have the recorded version, a poignant, profound, imaginative exploration
    and tribute nearly 30 years after that fateful summer's day.

    1. Killer Road
    2. My Heart Is Empty
    3. Evening of Light
    4. Saeta
    5. Secret Side
    6. Fearfully in Danger
    7. I Will Be Seven
    8. The Sphinx
    9. My Only Child
    Soundwalk Collective and Jesse Paris Smith feat. Patti Smith
    $29.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Eonian (Bone & Black Swirl Vinyl) (Pre-Order) Eonian (Bone & Black Swirl Vinyl) (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Eonian (Bone & Black Swirl Vinyl) (Pre-Order)

    Release Date: June 22, 2018*

    Eerie shadows are lurking in the dark corners of spring 2018; the spirit that denies, a force able to distort our conception of space and time. Over seven years, deathlike silence has filled the halls of the world's biggest black metal forge, DIMMU BORGIR, whilst powers have been gathering to resurrect the band right in time for their 25th anniversary. Now they finally mark their return with a vicious work of art that can be defined as timeless in the truest sense of the word: »Eonian«.


    Conceived in the heart of the Norwegian black metal scene in 1993, DIMMU BORGIR quickly broke free from the boundaries of the genre, daring to combine a traditional raven black sound with opulent symphonic orchestration. Soon they turned into pioneers of their field, forging groundbreaking albums such as »Enthrone Darkness Triumphant« (1997), »Spiritual Black Dimensions« (1999), or »Death Cult Armageddon« (2003), invading the entire world with headline tours and eventually turning into the most influential act of their genre after nine full-length studio releases. Seven years have passed since their latest manifesto »Abrahadabra«, they are now returning to rip apart the space-time continuum with »Eonian«.


    From a musical point of view, the band explores their boundaries in every direction with this new record, with the black metal parts even rougher and darker than before, and the epic, orchestral moments pushed to their ultimate limits. This time DIMMU BORGIR were aiming for a more organic sound for their devilish offerings, and reached out to Jens Bogren, who engineered the 10 new tracks inside his Fascination Street studios. The cover artwork was designed in fascinating detail by Zbigniew M. Bielak.


    The songwriting core of DIMMU BORGIR furthermore consists of charismatic vocalist Shagrath, as well as the string wizards Silenoz and Galder, but other familiar faces also emerge from the darkness: Drummer Daray and keyboarder Gerlioz are still part of the team, and Gaute Storaas helped with the choral arrangements for the majestic voices of the Schola Cantrum Choir.


    The lyrical theme of the Norwegians' tenth studio work follows a philosophical concept, dealing with the illusion of time and Luciferian codes:


    "Time, when not approaching it from the construct we're used to can't be defined and thus it is illusory", explains axemaster Silenoz. "There's only an 'eternal now', which the album title is already hinting at. When we travel between the worlds seen and unseen, the perception of time ceases to exist, it has no function. Our energy is our torch and our compass when we make rifts and pierce through our the veil - when we go beyond." Silenoz refuses to grant more information than that, hence why DIMMU BORGIR's albums have always been open for interpretation and felt somewhat like a dark room in which every listener believes to see something different in front of their light seeking eyes.


    "»Eonian« represents the illusion of time, everything that is and always has been. For us, it also marks the 25th anniversary of DIMMU BORGIR and the album itself is a tribute to our own history and the Norwegian black metal history", adds Shagrath.


    Since their debut album »For All Tid« from 1994, DIMMU BORGIR have always released their epic new works in regular intervals, but this time around, the Norwegians couldn't tame the beast of their creativity that quickly, and therefore they took the time it needed to slowly weave their collective ideas into these nine new tracks:


    "Some of the songs on this album were written in 2012. All of us have our own pre-production studios and just write separately, without too much communication at first. Over a time period of one or two years we collect our ideas and then get together and try to get the best out of the material", says Shagrath. "Sometimes this can be quite challenging, because we have different tastes and opinions - but that makes it also more interesting for the listener, since we want to create music that makes you feel as if you don't know what's behind the next corner."


    Silenoz agrees: "The main challenge is to hold back the beast. You're so into what you're doing that sometimes it's easy to forget that you have to approach the beast without waking it up right away, because you know you won't be able to control it. It's actually pointless to trick yourself to believe you can ever control art... It's like going into a lion's den with a rope tied around your waist in case you need to be pulled out real quick. Being our own producers also mean we have to step out of our own egos and look at our material from an 'outside' perspective. This is another challenging part of the songwriting process because you put so much of yourself into it - and then to start shaving off things, trim things down instead of adding - is a tough process. Letting go can sometimes be really hard but when we step out of ourselves and look into the mouth of the beast, only then we're able to distinguish what to feed it next."


    Thus, both classic black metal invasions such as 'Lightbringer', but also highly symphonic charged anthems like 'Interdimensional Summit' gather on »Eonian«, with one of the band's personal favourites being the experimental, folkloristic 'Council of Wolves And Snakes'. Risking a look far beyond the horizon, this song proves that the band follows 'no formula, no absolute', as Silenoz vows, and shows that the path sometimes guides them to places they would have never expected to end up when they started their journey.


    On the previous album, »Abrahadabra«, the Norwegians irritated some militant black metal elitists by appearing in opulent white / gray costumes. And although they chose a different appearance for »Eonian«, DIMMU BORGIR always keep new surprises in store:


    "We're definitely a band that does not follow any set of 'rules', if any; we're out to break them - for sure. Not that it's a goal per se, it's just who we are. We knew the white/grey look would raise a few eyebrows but whatever we do, or not do, we'll end up raising eyebrows", Silenoz states and Shagrath adds: "The album feels like a rebirth, but also like a logical continuation. Our music comes naturally. We're not sitting down in a circle, thinking about what we could do next - it has to come with a flow and with whatever is in your mind at that time, it needs to be spontaneous and is exactly what we could do at that time. Each one of our releases was linked to a certain time period of our life."


    After having released the live DVD »Forces Of The Northern Night« in spring 2017 which provided a monumental overview of the shows that DIMMU BORGIR had performed with a big orchestra and choir, the time is over in which fans needed to watch the band members on screen - hence now they are ready to storm the stages of the world again. The first headline slots at Europe's major festivals, such as Wacken and Hellfest, have already been confirmed, and further live plans are currently being forged for the second half of this year. The Lightbringers are back - and they've come to split apart the heavens:


    "We obviously rely on our fans, if a band says they don't care - they're lying. We're definitely ready to work hard to convince the 'doubters', the 'dwellers ready to strike', that what we have to offer is still very much valid. A new generation of fans and listeners who come from a different 'time' than we do are out there now, not shy to let artists hear it! And we're not shy to let them hear what we've been up to!"

    *Please note that release dates are subject to change.

    1. The Unveiling
    2. Interdimensional Summit
    3. Ætheric
    4. Council of Wolves and Snakes
    5. The Empyrean Phoenix
    6. Lightbringer
    7. I Am Sovereign
    8. Archaic Correspondence
    9. Alpha Aeon Omega
    10. Rite of Passage
    Dimmu Borgir
    $34.99
    Colored Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Broken People Broken People Quick View

    $18.99
    Buy Now
    x

    Broken People

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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

    $25.99
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    Eparistera Daimones (Out Of Stock)

    Limited Edition US Reissue Of 700 Copies


    Gatefold Double LP


    Pressed On White Vinyl


    Includes Poster


    Created to further develop the darkness invoked by its immediate precursors, seminal black/extreme metal pioneers Hellhammer and Celtic Frost, Triptykon evolved from a Celtic Frost side project initiated by Tom Gabriel Fischer (a.k.a. Tom Gabriel Warrior), the group's singer, guitarist, and main songwriter.


    Both music and lyrics reveal a group immersed in themes such as history, occultism, human disintegration, religious fanaticism, and nihilism. Songs such as "Abyss Within My Soul", "A Thousand Lies", and, particularly, "The Prolonging" bear witness to wastelands of eternal night. The transcending and mergence of seemingly distinct forms of imagination, a hallmark long prominent in Celtic Frost's efforts, is naturally also abundant within Triptykon's sphere of inspiration.

    LP 1
    1. Goetia
    2. Abyss Within My Soul

    3. In Shrouds Decayed

    4. Shrine

    5. A Thousand Lies


    LP 2
    1. Descendant

    2. Myopic Empire

    3. My Pain

    4. The Prolonging

    Triptykon
    $25.99
    Colored Vinyl LP - 2 LPs Sealed Temporarily out of stock
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