- Lowest Price
- Highest Price
Garden State SoundtrackThe soundtrack to Zach Braff's Garden State is nearly as much of a piece with the film as the similarly sweet, quirky combinations of sound and vision in Wes Anderson's films and soundtracks. Garden State, however, is more modern in its outlook and more emotionally direct, with a mixtape earnestness belied by using not one but two songs from the Shins' Oh, Inverted World. New Slang is an obvious choice, as the song just seems to grow in stature as time passes, but Caring Is Creepy, Oh, Inverted World's vulnerable, ever-so-slightly unhinged opening track, is not, and adds to the personal, diary-like feel of the album. The bright poignancy of the Shins' tracks stands out even more among the low-key melancholy of songs like Coldplay's Don't Panic, Remy Zero's Fair, and Colin Hay's I Just Don't Think I'll Ever Get Over You. The inclusion of Hay's track, Bonnie Somerville's Winding Road, and the Cary Brothers' Blue Eyes shows that Garden State doesn't go for the hipster, too-cool-for-school poses that one might expect from the soundtrack of a hot indie movie, even with the inclusion of Iron & Wine's cover of the Postal Service's Such Great Heights. Still, there's something of a collegiate feel to the soundtrack, especially with the re-rediscovery of Nick Drake (One of These Things First) and Simon & Garfunkel (The Only Living Boy in New York) as well as the tentative forays into electronica and trip-hop like Zero 7's In the Waiting Line, Frou Frou's Let Go, and Thievery Corporation's Lebanese Blonde. Perhaps this collegiate feel comes from the fact that those years are often the time when many people are the most ready and willing to explore music that is new to them (but not necessarily new), but, as the success of Garden State's soundtrack shows, any time can be the right time.
- Heather Phares (All Music Guide)LP 1
1. Don't Panic (Album Version) - Coldplay
2. Caring Is Creepy (Album Version) - The Shins
3. In the Waiting Line - Zero 7
4. New Slang (Album Version) - The Shins
5. I Just Don't Think I'll Ever Get Over You (Album Version) - Colin Hay
6. Blue Eyes (Album Version) - Cary Brothers
7. Fair (Album Version) - Remy Zero
1. One Of These Things First (Album Version) - Nick Drake
2. Lebanese Blonde (Album Version) - Thievery Corporation
3. The Only Living Boy in New York - Simon & Garfunkel
4. Such Great Heights (Album Version) - Iron And Wine
5. Let Go (Album Version) - Frou Frou
6. Winding Road (Album Version) - Bonnie Somerville$34.99Vinyl LP - 2 LPs Sealed Buy Now
VoicesPhantogram is an American electronic rock duo from Saratoga Springs, New York. Formed in 2007, Phantogram is Josh Carter (vocals, guitars) and
Sarah Barthel (vocals, keyboards). The band name was partially inspired by an optical illusion called a phantogram, in which two-dimensional images
appear to be three-dimensional.
They described their sound as street beat, psych pop. According to Josh, their music has lots of rhythms, swirling guitars, spacey keyboards, echoes
and airy vocals.
The band released their first studio album, Eyelid Movies (2009), to critical acclaim.
The band has played and toured with bands including: The xx, Ra Ra Riot, M83, Metric, Beach House, Zero 7, Yeasayer and countless more.
In 2014, the band will release their major-label debut and sophomore release Voices.1. Nothing But Trouble
2. Black Out Days
3. Fall in Love
4. Never Going Home
5. The Day You Died
6. Howling at the Moon
7. Bad Dreams
8. Bill Murray
9. I Don't Blame You
10. Celebrating Nothing
11. My Only Friend$23.99Vinyl LP - 2 LPs Sealed Buy Now
The Black Sabbath CoversWhen Jason Molina took on another artist's song, he willed his own universe into it, his own
personal and artistic mythology. Be it Conway Twitty or Townes Van Zandt, their blues were
infused with Molina's own entrancing blues. This pair of newly discovered, home-recorded
Black Sabbath covers is no different. Molina, a through-and-through fan of metal (seek out his
high school metal band the Spineriders' album if you haven't yet) peels back the sinister and
stoned elements of Sabbath, zeroing in on the loneliness and brooding.
He takes "Solitude,"
from 1971's unfuckwithable Master of Reality - and one of Sabbath's more mystical, near-proggy
songs - and doubles down on the title. Molina extracts Ozzy Osbourne's gorgeously
cooed vocal performance and transforms it into a high and lonesome sound, a desert campfire
howler. And on his cover of "Snowblind, from 1972's Vol. 4, it becomes obvious what a guitar
hero Sabbath's Tony Iommi was for Molina. Molina seemed to pull from Iommi's odd, simple
fingerings and tunings throughout his catalogue: from his first album (known informally as "the
black album") to Magnolia Electric Co.'s Josephine. Molina's brief acoustic cover dials back the
bombast, but you can surely connect "Snowblind"'s chord progressions with Molina's own on
the black album and Axxess & Ace.
Recorded in the midwest in the late '90s, during Molina's
multi-season run of batting 1.000, these two intimate songs are a bittersweet artifact of one of
the Rust Belt's titan songwriters.
Note: Do not attempt to play Side B of this 7" release. Side B is a gorgeous etching of a
black ram by artist Will Schaff. If you do attempt to play the etching on Side B it will sound
absolutely awful.1. Solitude
2. Snowblind$9.997 Vinyl Single - Sealed Buy Now
REDD-HOU-4007xPhilip H. Anselmo
Walk Through Exits OnlyWalk Through Exits Only is the career-first solo album from Philip Anselmo, legendary frontman of Pantera and Down.
Produced by Philip Anselmo and Michael Thompson, and recorded over the past couple of years at his New Orleans studio, Nodferatu's Lair, with his band The Illegals - Marzi Montazeri/guitar, and drummer Jose Manuel Blue Gonzales, Walk Through Exits Only is abrasive, aggressive, anthemic and 100% Anselmo. The album's eight songs are as unstrained as it gets, from Battalion of Zero to Usurper's Bastard Rant, to the album's title track that goes against the grain and right through the exits. Brash, brutal guitars cut through punishing percussion as Anselmo screams with uncompromising ferocity and uncontainable fire.
It wasn't about doing a paint-by-numbers thrash or heavy metal record, Anselmo explained about the project. It's an angry album that only I could do. I don't see anybody else out there screaming about the same shit I'm screaming about. On this album, there isn't any wordplay, there isn't any hidden message, it's all right there in front of you.
On Walk Through Exits Only and over his entire career, Anselmo hasn't just paved his own path, he's bulldozed it with his bare hands.1. Music Media Is My Whore
2. Battalion Of Zero
4. Usurper Bastard's Rant
5. Walk Through Exits Only
6. Bedroom Destroyer
8. Irrelevant Walls And Computer Screens$16.99Vinyl LP - Sealed Buy Now
Ultraista RemixesLIMITED EDITION OF 2,000 COPIES
Ultraísta Remixes compiles a year's worth of remixes from friends and collaborators within the ever-expanding Ultraísta orbit. Though some of these tracks have become social media sensations in their own right - collectively clocking more than two million plays on the band's Soundcloud and YouTube channels - Ultraísta Remixes has been perfectly sequenced to succeed as a stand-alone album (an alarmingly strong one, no less). Rarely do remix
albums have this level of quality control and seemingly infinite replay value.
Whereas Ultraísta's debut album commits to its palette with uncanny precision and devotion, Remixes explodes its individual parts and reveals the group to be equally compelling as techno powerhouse (Four Tet, FaltyDL, DC Sux), dark electro-pop (Zero 7, Zammuto, ERAAS, Canon Blue), experimental dance (Prefuse 73, Matthew Herbert), and even driving industrial rock (David Lynch in an inspired
NIN-meets-YYYs turn). The combination of all of these seemingly disparate parts makes for a surprisingly cohesive whole, and a remarkable companion to the original album.1. You're Out (Prefuse 73 Remix)
2. Smalltalk (Four Tet Remix)
3. Gold Dayzz (FaltyDL Remix)
4. Wash It Over (ERAAS Remix)
5. Party Line (Canon Blue Remix)
6. Easier (Zammuto Remix)
7. Static Light (Matthew Herbert Remix)
8. Bad Insect (DC Sux Remix)
9. Our Song (Zero 7 Remix)
10. Strange Formula (David Lynch Remix)$22.99Vinyl LP - 2 LPs Sealed Buy Now
The DietDiets? Who needs 'em? Well, if you're like Buddy Hackett, or us you do. A few years ago, I came across a 45-second monologue about trying to lose weight, performed by the comedian Buddy Hackett. It was on a 78 RPM record on the Coral Records imprint. It occurred to me that it could make an interesting dance recording given the right situation and circumstance. Equally inspirational was the book Love Saves the Day: A History of American Dance Music Culture 1970-1979 by Tim Lawrence. In reading it, I saw parallels between the dance culture of that era and the indie-rock/punk/experimental music culture. It unlocked in my mind a genre of music long dormant in memory yet an influence so prevailing in a variety of current musical genres. Woe be it unto the man whose tastes are frozen forever, for given time, space, and understanding, such things become reborn and reimagined as we search for a creative kernel of truth. I went about the realization of this idea with fellow Lambchops and electronic-minded musicians Ryan Norris (Coupler) and Scott Martin (Hobbledeions). Together we became HeCTA.
Using the idea of combining the notion of "song" and elements from stand-up comedy, and electronic music and a shared love of the electronic form and its many permutations, we respectfully, playfully explored and experimented. It was to be an equal sharing of ideas, influences, and missteps. We were looking for a new way of making songs incorporating these things, to make something concise on beat. The form is not such a surprise when you consider other electronic collaborations I've been involved with: Zero 7's remix of Lambchop's "Up With People" and co-writing X-Press2's "Give It." The results became The Diet, and those songs are with us now. As HeCTA, we take our approach seriously and are respectfully aware of the great electronic music created throughout its history continuing into the present-so much so that when it came time to mix these recordings, we reached out to some of the central figures of the genre. Such greats as Morgan Geist, John McEntire, and Q all had a hand in shaping the refined sound we present to you. With invaluable creativity and engineering by Jeremy Ferguson at Battle Tapes in Nashville, we together created what we consider to be a collection of songs that move and move through you, from the dashboard to the dance floor, from Decatur to Dornburg, from Dorchester to Detroit. Suck it up, hippies. This music is our attempt to extend the boundaries of our expression and have some fun. It's not Americana, house, techno, trap, juke, or blaze. Why would it be? And like any good diet, it will be reviled then ultimately loved by all who give it a chance to work its way into their lives. We love you for trying, and we're trying to love you back. -kurtx1. Till Someone Gets Hurt
2. Sympathy for the Auto Industry
4. Like You're Worth It
5. The Concept
6. Change Is In Our Pocket
7. We Are Glistening
8. Give Us Your Names
9. We Bitched We Bovvered and We Buildered$18.99Vinyl LP - Sealed Buy Now
London-based singer, songwriter, and multi-instrumentalist Olivia Chaney follows her 2015 Nonesuch debut, The Longest River, with Shelter, also set for release via Nonesuch Records. The album was produced by Thomas Bartlett (David Byrne, Nico Muhly, The Magnetic Fields, Sufjan Stevens, The National, St. Vincent, Father John Misty, et al.) and features eight original songs, along with Chaney's interpretations of Purcell's O Solitude and Frank Harford and Tex Ritter's Long Time Gone, first recorded by the Everly Brothers.
Chaney describes her time writing songs for Shelter: I had been on the road a lot and was struggling with the grit and loneliness of urban life. I think I'd been questioning what home, belonging, a sense of purpose, and my own culture even meant. I'd been craving wilderness and a return to essentials for a long time. Then, while touring in the US, I realized the place I needed was already in my life. It was ancient, barely habitable, and remote.
Thus a crumbling eighteenth-century cottage in the austere but magical hills of the North Yorkshire Moors-a family retreat since my teens, with no electricity or plumbing, where the only water comes from a spring-became the home for my work on Shelter, she continues. We brought out an Arts and Crafts Bechstein piano and an old wood burner to the house; and as summer's end turned to autumn's shorter, colder days, the room with the upright and stove fueled my stay.
Chaney says of working with Thomas Bartlett, His close affiliation with such a varied and acclaimed group of artists was of enormous importance. His taste and sphere of understanding were as diverse as mine. He prioritized my compositions' meaning and lyricism, rather than jumping on the bandwagon of noisy popularity. I wanted a recording as intimate as the songs and their form. The only other musicians are Thomas and Jordan Hunt, my longtime collaborator who adds strings on select songs. It's just the three of us playing every sound you hear, using our instrumental and compositional craft, and Thomas' musician-producer's ear extraordinaire.
Born in Florence, Italy, Chaney grew up in Oxford, England, in a household whose intellectual and artistic engagement was complemented by an expansive musical soundscape. This included Billie Holiday, Mozart operas, Sandy Denny, Prince, Tracy Chapman, Bert Jansch, Michael Jackson, and Joni Mitchell. She studied at London's Royal Academy of Music, where she took in everything the conservatory had to offer. Her curiosity led her further afield, from Ligeti to West African pop, Edith Piaf to Laurie Anderson, Mary Margaret O'Hara to Lorraine Hunt Lieberson, Sonic Youth to Sappho, Kate Bush to old-time country music-all while finding her own voice.
The range of artists she's shared a stage with includes Robert Plant, Zero 7, the Labeque Sisters, Martin and Eliza Carthy, and Kronos Quartet, with whom she also recorded two songs for the 2017 Nonesuch album Folk Songs. Most recently she fronted a Grammy-nominated album, The Queen of Hearts, forming a new outfit, Offa Rex, with The Decemberists. The Guardian's review of that album said that Chaney has a magical voice, full of heft, soul and sunlight, and fRoots said, Chaney has never sounded better, while the Arts Desk said it was her voice, with its clarity, power and emotional weight, that carries Offa Rex to the heights. The Financial Times added that Chaney's singing makes 'Willie O' Winsbury' one of the best versions ever.1. Shelter
5. A Tree Grows in Brooklyn
6. Colin and Clem
7. O Solitude
8. Long Time Gone
9. Roman Holiday
10. House on a Hill$19.99Vinyl LP - Sealed Buy Now
Live In No Particular Order: 2009 - 2014First physical release of the sprawling live album celebrating 7 years of live shows. Features more than two hours of music from performances around the world, including favorites such as Home and 40 Day Dream. First release since self-titled 2013 album, which has scanned 59k RTD. LP package is triple gatefold with 3 150g black vinyl records.1. Better Days
2. 40 Day Dream
3. If I Were Free
5. Up From Below
11. They Were Wrong
12. This Life
13. Black Water
14. I Don't Wanna Pray
16. If I Were Free
17. Fog On The Tyne
18. Bad Bad Love
19. Life Is Hard
20. All Wash Out
21. All Together$29.99Vinyl LP - Sealed Buy Now
All Is Lost OSTAll Is Lost Original Motion Picture Soundtrack features ten original, compelling, poignant compositions and one new song written, composed and produced by Edward Sharpe and the Magnetic Zeros' Alexander Ebert. This new body of work is the first solo work since Ebert released his heralded solo album Alexander in March 2011 which sold over 37,000 albums and 66,000 downloads.1. Excelsior
2. All Is Lost
3. Virginia's Dream
4. The Infinite Bleed
5. The Invisible Man
6. Pulse of the Weight
7. Dance of the Lilies
8. The Instincts of Boredom
9. Somewhere in the Midnight of Summer
10. Excelsior and the All Day Man
11. Amen$21.99Vinyl LP - Sealed Buy Now
Back For A Taste Of Your LoveA rollicking vocalist and gifted harmonica player, Syl Johnson has forged a career in both blues and soul. The brother of bassist Mac Thompson and guitarist/vocalist Jimmy Johnson, Syl Johnson sang and played with blues artists Magic Sam, Billy Boy Arnold, and Junior Wells in the '50s before recording with Jimmy Reed for Vee-Jay in 1959. He made his solo debut that same year with Federal. Johnson toured with Howlin' Wolf from late 1959 until 1962, when Willie Mitchell signed him to Hi Records.
Johnson recorded for both Twilight and Hi in the late '60s and early '70s, clicking with the dance/novelty cut Come on Sock It to Me and crackling message track Is It Because I'm Black? He had his biggest hit with Take Me to the River in 1975, reaching number seven on the R&B charts. Johnson later recorded for Shama and Boardwalk. He reappeared on a collaboration with his brother Jimmy in the summer of 2002, humorously titled Two Johnsons Are Better Than One.
[Back For A Taste Of Your Love] ...moves his hard Chicago soul groove over to Willie Mitchell's production style, which has a bit more of a mellow tip to it. Syl wrote a number of the tracks, and the titles include I'm Yours, Feelin' Frisky, I Hate I Walked Away, and The Love You Left Behind.
- Zero G Sound1. I'm Yours
2. I Let a Good Girl Go
3. Anyway the Wind Blows
4. You Don't Know Me
5. Feelin' Frisky
6. We Did It
7. Wind, Blow Her Back My Way
8. I Hate I Walked Away
9. The Love You Left Behind$16.99Vinyl LP - Sealed Buy Now
You By Me: Volume 2Back for another volume! this time toh kay has enlisted another tour buddy (legendary word-smith sycamore smith) to engage in mutual song coverage for the second installment of the you by me series. toh kay (also know as tomas kalnoky, front-man of streetlight manifesto) and sycamore smith (of upper peninsula fame) each reinterpret 3 of one another's tunes. The songs have been turned upside down, inside out, recorded and pressed onto cds, vinyl and zeroes and ones. This album will return peace to the middle east.1. Shantantitty Town
2. The Man With The Skeleton Arms
3. Hokum All Ye Faithful
4. The Hands That Thieve
5. Would You Be Impressed?
6. A Better Place, A Better Time$11.9912 Vinyl LP - Sealed Buy Now
PS Audio Stellar M700 Mono Amplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Enjoy an unheard of level of control and command from your loudspeakers with the Stellar M700, one of the most extraordinary under $5,000 power amplifier pair ever crafted. The M700 combines the slam, linearity, control and pacing of a Class D output stage with the warmth, grace, and rich inner detail of Stellar's Class A Analog Cell. The results are nothing short of breathtaking. Liberate all the toe-tapping energy trapped in your media library. Plumb music's subterranean depths as your system gives you more bottom end than you thought possible. Revel in rich layers of fine, full detail. Marvel at the deep, extraordinary, wall-to-wall soundstage. Control your loudspeakers as never before. Effortless. Lush. Stellar.
The problems faced when crafting a new power amplifier are many-delivering sufficient power, control, frequency extension, and dynamics while maintaining a perfectly layered soundstage under the most complex musical passages.
All amplifiers sound different. What determines sound quality are the components and topologies of the amp's input voltage stage and output current stage. Each section should complement the other. Between them, the amp develops its sound.
Stellar's design imperatives-affordable pricing, uncompromised sonics-were major challenges solved by the invention of a unique new circuit christened the Analog Cell.
Stellar engineer Darren Myers had planned from the outset to take advantage of Class D's high current, low distortion, ruler flat linearity for the output stage-knowing full well it is the input stage that determines sonic character. This critical interface between preamplifier and power amplifier is where Stellar's magic would be unveiled; where Myers could lavish upon the music the sweet, tube-like quality of Class A biased MOSFETs. His challenge was to synergistically marry both input and output topologies, for which he invented Stellar's Analog Cell.
The Analog Cell is the heart of the M700's musicality, where richly overlayed layers of music's inner details are preserved even in the most complex orchestral crescendos. The Analog Cell is a proprietary, fully differential, zero feedback, discrete, Class A MOSFET circuit, hand-tuned to capture the smallest micro dynamics without sacrificing the loudest macro dynamics music has to offer.$2,998.00Power Amplifier (Pair) - Black or Silver Buy Now
Hold FastLondon-born Christian Letts returned to his native countryside to record his first LP, Hold Fast, with his friend and collaborator Marcus Mumford who produced the record. Hold Fast will be released on Community Music/Vagrant Records. Other friends from their respective bands (Edward Sharpe and the Magnetic Zeros and Mumford and Sons) joined them at the farm, where, over the course of two consecutive Januaries, they crafted the ten tracks that comprise Hold Fast. The release will coincide with a series of art exhibits of Letts' paintings and watercolors throughout the United States and Europe.
His first offering from Hold Fast, "Charles de Gaulle" is a love story about beginnings in unexpected places. A chance encounter in the Paris airport, where two lives "became a swirl." Listen to the track at the link below.
Letts is a songwriter, singer, painter and sculptor. Across all mediums there is a common theme of overcoming darkness. The sea, the sky, the countryside, the people within and their strengths, weaknesses, successes and failures. Spirits and guardian angels, recurring dreams, the unseen forces that silently sway. He explores himself alongside and within these elements on Hold Fast.1. The Keeper
2. Charles de Gaulle
3. The Oath
4. Boxing Day
5. Copper Bells
6. La Mer
8. Skipping Stones
9. Twenty Seven Arrows
10. Matches$18.99Vinyl LP - Sealed Buy Now
GenerationJoyrides atop a walloping disco beat and furious percussive guitars, headed somewhere between the Rapture, Chic, and Talking Heads, but with a cartoonish giddiness that takes me back to the heyday of Junior Senior and Scissor Sisters. - Stereogum
Rising stars - DJ Mag
On their full-length 2014 debut Voyage, L.A duo De Lux learned how to
take their influences and create a sound all their own-a beyond-their-years
synthesis of post-punk, disco, funk and of course synthesizer wizardry,
drawing inspiration from the same combination of agitation and exhilaration
that helped LCD Soundsystem and Talking Heads deliver some of the most
danceable social commentary ever. And now that they've found their sound,
De Lux are creating a story to go with it on their new album Generation: "All
of these things that they put us through," sings co-founder and multi-instrumentalist
Sean Guerin, "I'm writing it down / I'm writing it down."
They first started writing Generation in the kind of uncommitted
instances that happen so rarely once a new band puts out its first album. Once
Voyage was released, De Lux found themselves playing and interviewing and
touring and remixing-"All fun!" says Sean-but they had to fight to find time
to write. A random Instagram of work-in-progress song "It's A Combination"
was the tipping point, when Sean and co-founder Isaac Franco realized they'd
been rough-drafting for a year: "Let's finish it now," they decided, and that's
the exact moment when Generation officially started.
They returned to the L.A. practice space where they wrote and recorded
Voyage, this time with new instruments-like the little-known but sought-after
synthesizer guitar beloved of King Crimson's Adrian Belew-and new inspirations,
chief among them punk peformance artist Karen Finley, whose 1987
debut album Sean discovered at a Seattle record store simply because it
looked promising. Her infamously uncensored lyrics made him realize there
was more he could sing about, too: "You admire the ambition behind her
saying whatever she wants," he says.
So if Generation is a darker album than Voyage-and it's inherited plenty
of the modern urban anxiety of David Byrne-that's because it's a fearlessly
honest and candid album, too. In fact, call it a millennial documentary. In
Generation's eleven songs, De Lux chart the distance between childhood and
adulthood, nostalgia and aspiration and dream and reality, all with unflinching
autobiographical detail. (And with a secret nod to the Pokemon theme, too.)
Says Sean: "When I write lyrics, I try and be as specific as possible. We think
about if someone listens to us in 30 years: 'Oh, that's what was going on at
The result is a sort of Less Than Zero for the post-Social Network era.
Think of it as a nighttime freeway drive that starts with the propulsive "L.A.
Threshold" and rides the borderline between feel-good rhythm and artfully
sophisticated sentiment. "There's dark moments, but it's still fun," explains
Sean. "The first album was just more innocent." There's new space in De Lux's
sense of rhythm and groove, says Isaac, for Sean to say what he needs to say:
"The song gives him the freedom to be himself."
And so Generation is an album about high highs, low lows and the vast
space in between. "Center of L.U.B" is a roller-skate jam that starts with a
Can-style guitar riff before spinning into an examination of one utility company
employee's ennui-you knew this wasn't going to be a love song,
right?-while "It's A Combination" is a brooding Italo disco track and
unexpected piano piece "Conditions" is like Harry Nilsson or John Lennon
suddenly transplanted to Rough Trade Records. Then there's the alternately
hilarious and harrowing "Oh Man The Future"-a satirical reading on the shape
of things to come, propelled by a bass-and-drum rhythm right off one of ESG's
first EPs-to the desolate-yet-funky "When Your Life Feels Like A Loss," where
De Lux dissect just what happens when "you think you're special/no, you're
not special/you're just an average guy."
In other words, Generation isn't a departure. This is De Lux going
deeper, not farther away, and the result is surely the most anthropologically
daring dancefloor album of the year. That might seem difficult to pull off, but
that's why they did it, explains Sean: "At some point we realized creativity is
just limitless," he says. "You can do anything. There might be certain people
who think, 'Oh, you can't do that.' That's when you say, 'Well-I'm doing it!'"1. LA Threshold
3. Living In An Open Place
4. Center of L.U.B.
5. Simba Simba Simba
6. No One Really Cares Who You Are
7. Oh Man The Future
9. When Your Life Feels Like A Loss
10. It's A Combination
11. Someday Now$20.99Vinyl LP - 2 LPs Sealed Buy Now
Round About Midnight (Awaiting Repress)Hipness Personified: Davis Columbia Records Debut Highlights His Diverse Palette and Famed Quintet
Lifelike Sonics: Mobile Fidelity Presents This Standard with a Dynamic Sound That Allows You to Picture Davis Mouth as He Blows Harmon-Muted Trumpet
Blowing Cool and Hot Jazz: Quintet Plays Reflective Ballads, Pop Standards, and Fervent Bop on One of Eras Only Complete Start-to-Finish Full-Length LPs
Sketches of Spain, Milestones, Kind of Blue, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis first album for Columbia, Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the eras only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmarka summation of the styles that came before its creation, an immersion into the periods cutting-edge strains, and a hint of the rivoluse modalism that would follow.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Round About Midnight now resonates with a physical palpability and emotional heft never before experienced. Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition traces the individual paths each musician takes in contributing to the whole, whether its pianist Red Garlands left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.
Historically, few jazz records claim the significance boasted by Round About Midnight. The albums creationand the assembly of Davis quintet, which also includes Paul Chambers and Philly Joe Jonesstems from the headliners rousing rendition of the title-inspired track, Round Midnight, a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasnt the composers only surprise.
'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during Ah-Leu-Cha and its Dixieland shades. Soak up the progressive drama and swinging tempos on All of You and Bye Bye Blackbird. Delight in the mÉlange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers.
Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and light a cigarette. This is Miles and Co. at their best. Hipness personified.
This title is not eligible for discount.1. Round Midnight
3. All of You
4. Bye Bye Blackbird
5. Tadds Delight
6. Dear Old Stockholm$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
A Most Violent YearAlex Ebert, pairs with writer/director JC Chandor to score his A Most Violent Year, the follow up to Chandor's All Is Lost, which earned Ebert the Golden Globe Award for Best Original Score. A MOST VIOLENT YEAR is a searing crime drama set in New York City during the winter of 1981, statistically the most dangerous year in the city's history. From acclaimed writer/director J.C. Chandor, and starring Oscar Isaac (INSIDE LLEWYN DAVIS) and Jessica Chastain (ZERO DARK THIRTY), this gripping story plays out within a maze of rampant political and industry corruption plaguing the streets of a city in decay.1. Excelsior
2. All Is Lost
3. Virginia's Dream
4. The Infinite Bleed
5. The Invisible Man
6. Pulse of the Weight
7. Dance of the Lilies
8. The Instincts of Boredom
9. Somewhere in the Midnight of Summer
10. Excelsior and the All Day Man
11. Amen$19.99Vinyl LP - Sealed Buy Now
REDD-RIS-2117xAdmiral Sir Cloudesley Shovell
Check 'Em Before You Wreck 'EmThe Admiral Sir Cloudesley Shovell are the last of a dying breed of Grease Rock Bastard musicians who somehow, despite and in spite of the last 3 decades trying their best to kill off balls out, non-bullshit rock'n'roll music, somehow, against all the fucking odds, still exist, surviving on a steady diet of God sent gigs, hire vans, broken down amps, split drum skins, greasy spoon fry ups, patched up jeans, roll-ups, cheap leather jackets, booze, weed and bathtub speed.
Spare them your sympathy - no-one made the silly bastards do it. They just NEED to!! Right??
Facts to face - the Shovell are named after a 17th century English naval commander; Bill Darlington plays drums, Louis Comfort-Wiggett plays bass and Johnny Gorilla plays guitar and sings, they have been together as a band since 2008.
Their debut 2011 Rise Above 7, Return To Zero'/'Day After Day, sold out instantly and now commands £100 plus a copy; their 2012 debut long-player DON'T HEAR IT FEAR IT received unilateral rave reviews and was described pretty accurately by one scribe as 'the aural equivalent of stumbling into an 18 year-old male's bedsit in 1973 - the kind of greasy hard-rock thrills rarely heard in this climate of blind nostalgia and misjudged authenticity. It's hard 'n' heavy, without the marshmallow; it's old-fashioned yet so NOW that it hurts!''
They've toured and played with the likes of Orange Goblin, Uncle Acid and the Deadbeats, Incredible Hog, Gentlemans Pistols, Graveyard, Gonga and countless more, toured Europe and had chief Groundhog Tony McPhee playing on their first LP!
On their new LP CHECK 'EM BEFORE YOU WRECK 'EM the Shovell somehow carry on the lineage of the truly golden age of British heavy rock whose dog shit stained road was paved by the likes of Budgie, Sabbath, early Motorhead, Quo, Lizzy, The Groundhogs, Stray etc. Chuck in a healthy chunk of U.S. and Aussie proto metallurgists Sir Lord Baltimore, Dust, Bang, The Litter and Buffalo, as well as a healthy Vertigo 'Swirl' of dew picked mushrooms bad trip psych.
The Shovell thinks the world could do with another slice of no-nonsense re-gressive proto-rock 'n'metal - one that you don't need a Degree in doom-rock or a Masters in metal to appreciate - just a love of when music was F U N !!!!
Remember kids - CHECK 'EM BEFORE YOU WRECK 'EM!!!1. Do It Now
2. 2 Tonne F*ckboot
3. Captain Merryweather
4. Running From Home
5. Happiness Begins
6. Shaker Your Head
7. Don't Hear It ... Fear It!
9. The Thicker The Better
10. Late Night Mornings$16.99Vinyl LP - Sealed Buy Now
Muddy Mississippi Waters Live
The Muddy Waters/Friday Music 180 Gram Audiophile Series Continues!
Muddy Waters - 1979 Grammy Award Winner!
First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover
Manufactured At R.T.I.
Featured Musicians: Johnny Winter, James Cotton, Pinetop Perkins, Willie Smith & Bob Margolin
Muddy Waters (McKinley Morganfield) will always be known as one of the founding fathers of
modern day blues. His legendary style of playing guitar, his unique vocal prowess and of course
his stellar list of classic Chicago and Mississippi Delta blues tunes have all gone on to influence
generations upon generations of rock and blues performers worldwide.
With almost six decades in the music business, this Mississippi native began working in the late
seventies with one of his biggest fans Johnny Winter, cutting his final four albums for Blue Sky
Records, earning both the artist and producer both Grammy Awards for several of them including
the live masterpiece Muddy "Mississippi" Waters Live. Recorded at the Newport Jazz Festival,
Muddy drove the crowd into a frenzy with his famous guitar licks and his Delta growl, truly a
thrilling presence on the stage.
Featuring an all-star band with the likes of the legendary late great Johnny Winter on guitar,
James Cotton on harp and the masterful Pinetop Perkins on piano, Muddy "Mississippi" Waters
Live would go on to become one of the most revered live albums in modern day Chicago blues
Kicking things off with one of his finest smash hits Mannish Boy, Muddy continues to rock the
crowd through a treasure trove of 6 more blues champions which made this one of the most
important live recordings of all time. The album features classic gems like his classics She's
Nineteen Years Old, Baby Please Don't Go, and Nine Below Zero. Noted for introducing his
Chicago laden blues style to a whole new generation of guitar players, Muddy "Mississippi"
Waters Live is just another example of how important this late blues master's music was and still
is to millions of fans across the globe.
Friday Music is no stranger to the music of the legendary arsenal of fine recordings of Muddy
Waters. That is why we are so very proud to announce another installment in The Muddy
Waters/Friday Music 180 Gram Audiophile Vinyl Series with his legendary masterpiece Muddy
"Mississippi" Waters Live.
Mastered impeccably by Joe Reagoso (Muddy Waters, Johnny Winter, John Lee Hooker) for the
first time on audiophile vinyl, Muddy "Mississippi" Waters Live will truly become one of the most
important and historical 180 Gram Audiophile Vinyl titles to be released in quite some time.
To further celebrate this first time audiophile vinyl LP, we enhance this limited edition masterwork
with a stunning gatefold cover featuring the original artwork elements as well as rare inner
sleeve live photos, which now are a permanent part of the inside gatefold art, which show the
man who helped fuse blues and rock music for millions of music lovers across the globe.
Muddy Waters .Muddy "Mississippi" Waters Live .Impeccable blues and rock from your
friends at Friday Music!
I'm A MAN1. Mannish Boy
2. She's Nineteen Years Old
3. Nine Below Zero
4. Streamline Woman
5. Howlin' Wolf
6. Baby Please Don't Go
7. Deep Down In Florida$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Screen MemoriesJohn Maus is a truly enigmatic musician. Broadly cut from the synth pop cloth, he's fashioned the
frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor
over the course of three defining albums since 2006. His music is a highly mutable affair, whilst
often described as retro-futurist on behalf of the 80's drum machines and synth sounds employed,
John's music is more personal than the nostalgic re-tread implied. There's a cinematic quality to
his songs, with pathos conjured through propelling bass-lines, trailing arpeggios and of course his
deeply resonant vocal. Moroder helped map out the territory but Maus is more interested in seeking
cadence through his love of Renaissance polyphony and the experimentation behind post punk. It's
an amalgamation of musical ideas as radical as its intent.
Maus is a "man out of time" trying to make sense of the inhumanity of our world through his
mobilisation of the language of punk rock. His aim is true as he reaches for the seemingly impossible.
It's a want to emerge as part of greater multiplicity, to appear, to become, to connect that powers his
songs and the man himself.
It's now been six years since the widely lauded 2011's 'We Must Become The Pitiless Censors Of
Ourselves' appeared like a thunderbolt of maniacal energy and turned everyone's heads. Now
regarded an experimental pop classic, Pitiless Censors was a huge breakthrough for Maus as a
recognised artist and led to a vast reappraisal of his past work. Debut album 2006's Songs and the
masterful follow up 2008's Love Is Real sounded better than ever the second time round for this
groundswell of new followers. After touring Pitiless Censors around the world and pulling together
a collection of rarities and unreleased tracks, Maus then returned to academic pursuits. In 2014, he
was awarded a doctorate in Political Philosophy for his dissertation on communication and control.
Shortly thereafter, he began building his own modular synthesizer, etching the printed circuit boards,
soldering components, and assembling panels, until he had an instrument that matched his vision.
With this prodigious task completed Maus turned his hand back to song writing and began work on
what is now his fourth album proper Screen Memories.
'Screen Memories' was written, recorded, and engineered by Maus over the last few years in his
home in Minnesota, known genially as the Funny Farm. It's a solitary place situated in the corn plains
of rural American Midwest. The landscape is as majestic as it is austere and inevitably some of the
sub-zero winter temperatures creep into the songs as do the buzzing wasps of summer.
Through the whole album Maus has an undeniable talent in grasping the mettle of each song,
reaching within and building up a sincere core, before teasing out the edges in acknowledgement to
the very ridiculousness of its existence. Rather than creating these songs through an enjoyment of the
process Maus considers himself more in the role of someone discovering them buried just beneath
the surface. Perhaps the songs presented here are the ones that mask his real intentions, Freud
pressing record and turning the TV channel to snow. All we can be certain of now though is that John
Maus is back and he sounds gloriously alive. The triumph of the human is upon us and all the false
gods and bad jokes will be the first to fall.1. The Combine
2. Teenage Witch
4. Walls of Silence
5. Find Out
6. Decide Decide
7. Edge of Forever
8. The People Are Missing
10. Sensitive Recollections
11. Over Phantom
12. Bombs Away$21.99Vinyl LP - Sealed Buy Now