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Yes Talk Vinyl'
4 Page Insert
Including Bonus Track: The Calling (Special Version)
It was during the 1990s that Yes underwent one of its not infrequent periods of revolutionary change. Although it might appear unusual to the outside world, the idea of constantly re-moulding the Yes concept ensures the band remains a dynamic force. One result of such upheaval was the creation of Talk, the 1994 album regarded by many critics as their most powerful and intriguing pieces of work. It certainly represents 'a journey into the unknown' - as the album's producer, the multi-talented Trevor Rabin, describes it.
After the Union tour it was decided that Yes would carry on with Trevor Rabin, Jon Anderson, Tony Kaye and Alan White. Their plan was to record a new album produced by Trevor, which evolved into Talk. Trevor and Jon wrote all the music and lyrics. The aim was to tackle the challenges of the computer age. However, as can be heard on this welcome LP reissue, many of the traditional Yes qualities remain, including the use of acoustic guitar, vocal harmonies and a touch of the traditional Hammond organ sound.
In the aftermath of Talk, Yes was reborn with Jon, Chris, Steve Howe and Alan White back together. A succession of splendid new albums followed, including Open Your Eyes (1997) and The Ladder (1999). During 2001 the band embarked on a Yes Symphonic tour.LP1
1. The Calling
2. I Am Waiting
3. Real Love
4. State Of Play
1. Where Will You Be
2. Endless Dream
A) Silent Spring (Instrumental)
C) Endless Dream
3. The Calling (Special Version)*
*Bonus Track$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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
6. Little Fury Bugs
7. Company Calls
8. Company Calls Epilogue
9. No Joy in Mudville
10. Scientist Studies$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Konitz Meets Mulligan (Pure Pleasure)O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?
But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.
And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.
Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
Mono - so what? This is a treasure from the vaults of Pacific Jazz.
- Lee Konitz (alto saxophone)
- Gerry Mulligan (bassoon)
- Chet Baker (trumpet)
- Carson Smith (bass)
- Joe Mandragon (bass)
- Larry Bunker (drums)
Recording: January 1953 at The Haig, Los Angeles, by Richard Bock
Production: Richard Bock
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.Side One
1. I Can't Believe That You're In Love With Me
3. Almost Like Being In Love
5. Oh, Lady Be Good
6. Bernie's Tune
7. Oh, Lady Be Good (alternative version)
1. Too Marvelous For Words
2. Lover Man
3. I'll Remember April
4. These Foolish Things
5. All The Things You Are$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Prog CollectiveThe biggest super group of Progressive Rock players
ever assembled and one of the most talked about releases of 2012 finally arrives on vinyl!
Features performances by John Wetton (Asia), Tony
Levin (King Crimson), Jerry Goodman (Mahavishnu Orchestra), Richard Page (Mr. Mister), Geoff Downes (Yes/Asia), Alan Parsons (Alan Parsons Project), Chris Squire (Yes), Rick Wakeman (Yes), Gary Green (Gentle Giant), Annie Haslam (Renaissance), Steve Hillage (Gong), John Wesley (Porcupine Tree), Tony Kaye (Yes), Colin Moulding (xTC) and more!LP1
1. The Laws of Nature
2. Over Again
3. The Technical Divide
4. Social Circles
5. Buried Beneath
6. Follow the Signs
1. Check Point Karma
2. The Laws of Nature (Instrumental)
3. The Technical Divide (Instrumental)
4. Social Circles (Instrumental)
5. Check Point Karma (Instrumental)
6. Over Again (Single Edit)
7. BONUS TRACK: Let the World Revolve$26.99Vinyl LP - 2 LPs Sealed Buy Now
DawningMight the time finally be right for Mouth of the Architect? For a decade, the Ohio band has largely been ghettoized to cult status, familiar to Midwestern kids or those paying more than casual attention to what's clumsily called "post-metal," at least post-Isis. Between 2004 and 2008, Mouth of the Architect released three rather convincing-- if sometimes haphazardly indulgent-- records of unified doom and grace. Dependent upon extreme dynamics and grand composition, with track lengths that ticked into the teens and albums that stretched past the hour mark, Mouth of the Architect seemed like a natural recipient of the same "brainy metal" laurels then distributed by outlets as illustrious as The New York Times.
But the ascendance never came, and since 2008's teetering Quietly, the band instead lingered at the threshold of self-destruction. They released an EP in 2010, but, as a revealing Invisible Oranges look into the band's last half-decade suggests, they mostly tried not to die-- as a group, really, or as people. "Some of us were convinced that the end was coming, either the big picture or individually," drummer Dave Mann told Brad Sanders. "Some of us, me in particular, were in a downward spiral in a lot of ways."
The appropriately titled new album Dawning is their first in five years and their first featuring bassist Evan Danielson. It's also their best work to date, a fully realized resurrection. Dawning showcases a band that now moves with an intricacy and immediacy that indicate just what Mouth of the Architect is: a veteran group comprising members with long rÉsumÉs, who've now gotten a chance to begin again and know what to do with it. A wonder of tension and release, Dawning is designed to throw listeners into tailspins and, then, to lift them above the mess. That drama not only reflects the survival of the band that stuck around long enough to make this album but also of a group that's now pushed past the cloister of post-metal: Despite the hardened visage of tough-guy screams, burly guitar tones, and Mann's aggressive drumming, Dawning is a compulsively likable record, full of anthems meant for memorizing and environments meant for immersion. (Hell, "Sharpen Your Axes" could pass for millennial Incubus.) If you've ever liked Isis there's plenty for you here; on the other hand, if you like, say, Abbey Road-- or any music that tries to outstrip the structure of a single song while not abandoning its magnetism-- Dawning deserves your time, too.
Should the metal prefixes "progressive" or even "post-" suggest long-winded, self-invested excursions nestled within songs that require an almanac, scrap the notion for Dawning. Yes, these songs stretch between seven and 11 minutes each, but even the longest, centerpiece "How This Will End, hinges upon narrative thrust and musical selflessness. If there are any guitar solos here at all, they come toward the start and the finish of "How This Will End, when a neon electric tone arches over a mounting cavalcade of drums and bass. Rather than serve as breaks in the momentum, though, both passages lead tremendous swells that rise to meet the troika of vocalists in another instance of triumph. Not one moment among these 11 minutes seems squandered or lost, as the quintet keeps rising and falling, churning and rebuilding.
Opener "Lullabye" establishes that principle from the jump, or as soon as traipsing acoustic guitar and twinkling piano concede to a heroic riff wrapped within three-part, gang-style harmonies. Mouth of the Architect move constantly between parts; at various points, they leap from near-silence to a quake viscous enough to make plenty of stoner metal sound thin, from guitar leads that suggest Chicago blues moan to math-rock redirection. Behind the kit, Mann serves as the expert rudder, keeping the songs steady even as he navigates the transfers. This constant swivel also depends upon the split vocal duties of Steve Brooks, Kevin Schindel, and Jason Watkins. They trade verses, flip-flopping between pristine radio rock leads and malevolent growls, sometimes only for a line at the time. They often share choruses, delivering them the sort of group-vocal abandon that hints at a darkened Danielson Family. Their singing-- here, more charged and urgent than it's ever been-- gives all of the band's moving pieces a through-line from one side to the other.
Talk of the tide of intelligent or somehow otherwise-elevated heavy music hasn't faded during Mouth of the Architect's temporary absence. Though both Sunn O))) and the late Isis have only released one album since MotA's last one, the acceptance of and debate over nominally black metal acts such as Liturgy, Wolves in the Throne Room, Krallice and Deafheaven has kept that conversation current. Mouth of the Architect only nods to that au courant talking point during Dawning, most notably with the blizzard of tremolo guitars that open "It Swarms" and the clattering way the band emerges from an instrumental break during "Sharpen Your Axes". But at the very least, Dawning deserves mention alongside Deafheaven's Sunbather, a record that's most notable for its holistic approach to drama and romance and the complete cinema of itself. Mouth of the Architect has long written from a vantage of imminent apocalypse, a perspective Dawning does not forego. There's talk of collapsing systems and prevailing darkness, spent luck and idolized disrepair. But at record's end, when Mouth of the Architect's three singers trade and share lines about risking it all even if they come up short, it's hard not to hear a core of redemption and potential hope within the music itself. And after returning from the brink to make one of the year's most rapturous records, metal or post-metal or whatever, there had better be.
- Grayson Currin (Pitchfork)1. Lullabye
2. It Swarms
3. Sharpen Your Eyes
4. How Will This End
6. The Other Son$21.99Vinyl LP - Sealed Buy Now
Galactic Melt (Awaiting Repress)When talking about the music of COM TRUISE (one of the many pseudonyms of New Jersey designer/musician SETH HALEY), the nostalgia bit inevitably comes up, so let's get that out of the way. Yes, his songs tap classic sci-fi and proto-electro in a way that is distinctly early eighties in scope. But they're also remarkably weirdstutter-step proggy and intoxicatingly psychedelic, like those classic touchstones got drunk on lava lamp juice inside a pinball machine. After his well-received Cyanide Sisters EP, a grip of remixes for artists like Twin Shadow, Neon Indian, and, uh, Daft Punk, and a few floating MP3s, Truise's first LP, Galactic Melt, will finally enter brainspaces this summer. And what an appropriate title it bears. For a brief moment, opener Terminal subsumes you in warm, starry-eyed synth arpeggios, and then down the rabbit hole you gofrom the keyed up, skyscraping machine love of VHS Sex and Cathode Girls to opuses like Air Cal and Ether Drift that sound like Doogie Howser's idea of the perfect prom songmathy, forlorn, funky, and mighty in technical ambition. That they're all noticeably cinematic is, of course, by designHaley envisioned Galactic Melt as a sort of film scorefrom the mind, chronicling the lift and death of Com Truise, the world's first synthetic/robotic astronaut, from his creation and life on earth to his subsequent mission to a newly discovered galaxy called Wave 1. Eventually, Truise becomes one with his newfound cosmos, like Pinocchio becoming a real boy, but in the nether regions of imaginary space.1. Terminal
2. VHS Sex
3. Cathode Girls
4. Air Cal
9. Ether Drift
11. Galactic Melt$21.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Apocalypse FetishPressed On Clear Vinyl
Apocalypse Fetish is a 5 song extended play release from me, Lou Barlow. The cover features a newborn child peering warily over the edge of her mother's sling into 2016, the year that conspiracy theorists became experts and anger went (even more) mainstream. The song Apocalypse Fetish proposes that, perhaps, many of us have been disappointed that the end of the world has taken too long to come after we've spent most of our lives predicting it. And, perhaps, we've decided to take matters in our own hands and bring it on because, if it doesn't come soon, then didn't we all seem foolish talking about it all. the. time.
There are 4 other songs on the EP, none of which are political in nature but are similarly fired up. The melodic inspirations for the record came from my day in the back stairways and basement of the enormous Eagles Ballroom in Milwaukee, Wisconsin (Dinosaur Jr. were there opening for Primus in August 2015). I was alone and playing my ukulele in the cavernous spaces and tiled showers there. The unique reverberations brought the beginnings of these songs. The hall is reputed to be haunted and I'm not so sure it isn't.
I wasn't able to fully draw the songs out until I recorded, once again, with Justin Pizzoferrato at Sonelab in Easthampton Massachusetts (May 2016). I recorded my last full-length record (Brace the Wave) there in 2015. I'm happy to consider this EP a follow-up to that album, though, this time, every song is played on ukulele (strung with heavy strings and tuned much lower than a standard uke). Actually, it sounds nothing like a ukulele. For all intents and purposes, it is a 4-string acoustic guitar utilizing the strumming styles and lower toned soundscapes I've been pursuing since my first released ukulele recording: Poledo (on Dinosaur Jr.'s 2nd LP You're Living All Over Me). Yes, I've been doing this for a long time. I'd be proud to have Apocalypse Fetish be my final record. Check it out.1. The Breeze
2. Apocalypse Fetish
3. Anniversary Song
4. Pour Reward
5. Try 2 B$16.99Colored 10 Vinyl EP - Sealed Buy Now
"I really felt like I was witnessing history... in a couple of years we'll be talking about,
'Man, I saw him at this intimate little show." - NPR
"Grand and transcendent... the layers of beautiful sound, homage to Japanese culture,
and use of violin make 151a a dreamy, pocket-sized symphony, perfect for anyone
needing a lift." - BUST
"Sumptuous orchestral brilliance... It's a stunningly good record, not merely chirpy,
zany, and whimsical-but also packed full of harmonious, heart-stopping beauty. If you
can imagine ELO's very best moments combined with Andrew Bird and a bit of weird
Bjork introspection-well, even that doesn't really do it justice. Apart from Pet Sounds,
perhaps, I can't think of a record that's as singly captivating in its sonic beauty." - THE PORTLAND MERCURY
"Kishi Bashi's music sounds surprisingly basic and natural. He's got such a great way
of thinking about production and melody that I've yet to hear a bad song from him." -
YOU AIN'T NO PICASO
"The music is off-kilter, particularly the opening chants and swirl of guitar and drums.
The middle section, though, takes a more even-keeled approach to pop, balancing the
looped whistles with peaceful, yet evocative vocals."
- CONSEQUENCE OF SOUND
"A weightless, cartwheeling, electro-pop romp that's all zz and no fuss" - SPIN
Violinist, singer, and composer Kishi Bashi is slated to release his new album on
April 29, 2014. The album entitled "Lighght" (pronounced "Light") continues and
expands the sound of his critically acclaimed debut, "151a" - which earned Kishi Bashi
the *title* of "Best New Artist" by NPR. Since the profoundly successful release of
"151a" two years ago, Kishi Bashi has toured relentlessly, captivating audiences across
the globe with his loop-based live show, and fostering a groundswell of devotees.
"151a" was crafted over a four-year period while Kishi Bashi was touring and recording with Regina Spektor, Sondre Lerche, and of Montreal (where he was a full-time
member and co-producer). In late 2012, after the success of "151a", Kishi Bashi
decided to focus solely on his own music and began composing the new material
which has become "Lighght".
"Lighght" takes its title from the one-word poem by minimalist poet Aram Saroyan.
As Kishi Bashi explains, "The poem's blatant assault on literary convention and
classical form was attractive to me." It is apparent that such an approach informed
the new album, which has both broadened and redened his classical foundations.
"Though I have studied classical composition, I prefer to take an unconventional path when it comes to creating and thinking about music," says Kishi Bashi.
Though violin remains his primary instrument and songwriting muse, Kishi Bashi has
expanded his palette to include more diverse and nuanced instrumentation. Bright
and soaring avant-pop songs are prevalent, as are Eastern-tinged arrangements,
gentle ballads, Philip Glass inspired improvisations, and more than a few moments
that irt with 70s prog (in the tradition of ELO or Yes).
If this sounds jarringly kaleidoscopic, that's because it is. But it works. Listen and see.1. DÉbut - Impromptu
2. Philosophize In It! Chemicalize With It!
3. The Ballad of Mr. Steak
4. Carry on Phenomenon
5. Bittersweet Genesis for Him AND Her
6. Impromptu no 1
8. Once Upon a Lucid Dream (In Afrikaans)
9. Hahaha Pt. 1
10. Hahaha Pt. 2
11. In Fantasia$22.99Vinyl LP - Sealed Buy Now