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  • By Default By Default Quick View

    $21.99
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    By Default

    The blues-rock trio sketches out their future on By Default. Their first three albums formed an impressive trifecta, concluding with the soaring Nick Launay-produced Himalayan. By Default sounds like a band gleefully breaking from the past and moving forward. They motor down the highway on "Back of Beyond" and "In Love By Default" and vocalists Russell Marsden and Emma Richardson whoop it up on "Killer" and "Black Magic"-all songs bursting with a palpable sense of freedom.
    1. Black Magic
    2. Back Of Beyond
    3. Killer
    4. Bodies
    5. Tropical Disease
    6. So Good
    7. This Is My Fix
    8. Little Mamma
    9. Embers
    10. In Love By Default
    11. Erounds
    12. Something
    Band Of Skulls
    $21.99
    Vinyl LP - Sealed Buy Now
  • Skull Worship Skull Worship Quick View

    $27.99
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    Skull Worship

    The Warlocks release their first new album in 5 years, Skull Worship through Zap Banana (Cargo ). Recorded over a 2 year period, Skull Worship is the Los Angeles-based band's eighth album.
    1. Dead Generation
    2. Chameleon
    3. Endless Drops
    4. Silver & Plastic
    5. He Looks Good In Space
    6. You've Changed
    7. It's a Hard Fall
    8. Eyes Jam
    Warlocks
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hush Or Howl Hush Or Howl Quick View

    $16.99
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    Hush Or Howl


    Red Translucent Vinyl


    Black Pistol Fire is a Canadian Rock and Roll duo that splits time between Toronto, Ontario and Austin, Texas. Their wild and energetic rock-and-roll sound has been described as a mix of classic southern rock and garage punk, garnering comparisons to early Kings of Leon, Creedence Clearwater Revival, The White Stripes, and Clutch. The band features Kevin McKeown on Guitar/Lead Vocals and Eric Owen on Drums. The two have been friends since kindergarten and began playing music together when they discovered a shared passion for rock and roll music in high school.


    While playing a local Austin hotspot, Producer Jim Diamond (The White Stripes, The Von Bondies, Jon Spencer Blues Explosion) approached the band about recording their 2011 record. They have supported the likes of Weezer, BRMC, Band of Skulls, State Radio, Shonen Knife, and Lucinda Williams. The band recorded their 2nd LP in the early 2012 with producer Michael Rocha in Toronto. This album, Big Beat 59, was released in August 2012, with songs with the album being put into rotation on major taste-making radio stations KEXP, KCRW, KUTX, and KDHX.


    The band gained further momentum during SXSW 2013 where The Huffington Post called the band 'the next big thing' and 'the most energetic and musically versatile of all the bands playing the festival'.


    Hush or Howl was again recorded with Michael Rocha, this time in Austin, TX.

    1. Alabama Coldcock
    2. Dimestore Heartthrob
    3. Baby Ruthless
    4. Your Turn to Cry
    5. Hipster Shakes
    6. Run Rabbit Run
    7. Honeydripper
    8. Blue Eye Commotion
    9. Hush
    10. Show Pony
    11. Grease My Wheel
    Black Pistol Fire
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • Mister Asylum Mister Asylum Quick View

    $17.99
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    Mister Asylum

    Hot Pink Colored Vinyl


    Debut album Mister Asylum produced and mixed by Joe Hamilton (Black Keys, Elvis Costello, Tom Waits). Band drawing comparisons to Queens of the Stone Age, Royal Blood, Band of Skulls and early Kings of Leon.


    1. Mister Asylum
    2. Lost
    3. Lydia
    4. Bath Salts
    5. 23 (feat. Sasha Dobson)
    6. Mom
    7. Bloodfeather
    8. F**k Me Up
    9. Vanity
    10. Claudeland
    Highly Suspect
    $17.99
    Colored Vinyl LP + CD - Sealed Buy Now
  • Head Carrier Head Carrier Quick View

    $22.99
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    Head Carrier

    Black Vinyl


    The Pixies are back with their sixth studio album, Head Carrier. This is their first album to feature new bass player, Paz Lenchantin. The album, their second since reuniting, was produced by Tom Dalgety, known for his work with Royal Blood, Opeth, and Band Of Skulls.

    1. Head Carrier
    2. Classic Masher
    3. Baal's Back
    4. Might As Well Be Gone
    5. Oona
    6. Talent
    7. Tenement Song
    8. Bel Esprit
    9. All I Think About Now
    10. Um Chagga Lagga
    11. Plaster Of Paris
    12. All The Saints
    Pixies
    $22.99
    Vinyl LP - Sealed Buy Now
  • Head Carrier (Box Set) (On Sale) Head Carrier (Box Set) (On Sale) On Sale Quick View

    $69.99 $48.99 Save $21.00 (30%)

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    Head Carrier (Box Set) (On Sale)

    Limited Edition Box Set Includes Heavyweight 180-Gram 12" Vinyl, CD, Lyrics & Artwork Book


    The Pixies are back with their sixth studio album, Head Carrier. This is their first album to feature new bass player, Paz Lenchantin. The album, their second since reuniting, was produced by Tom Dalgety, known for his work with Royal Blood, Opeth, and Band Of Skulls.

    1. Head Carrier
    2. Classic Masher
    3. Baal's Back
    4. Might As Well Be Gone
    5. Oona
    6. Talent
    7. Tenement Song
    8. Bel Esprit
    9. All I Think About Now
    10. Um Chagga Lagga
    11. Plaster Of Paris
    12. All The Saints
    Pixies
    $69.99 $48.99 Save $21.00 (30%)
    180 Gram Audiophile Virgin Vinyl LP Box Set + CD - Sealed Buy Now
  • Miss You Already Soundtrack (Colored Vinyl) Miss You Already Soundtrack (Colored Vinyl) Quick View

    $30.99
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    Miss You Already Soundtrack (Colored Vinyl)

    First Pressing Of 500 Numbered Copies On White & Green Vinyl


    180 Gram Audiophile Vinyl, 4-page Booklet and PVC Protective Sleeve


    Miss You Already (starring Drew Barrimore and Toni Collette) is the emotional story of the friendship between two life-long girlfriends being put to the test when one starts a family and the other falls ill.


    Cutting-edge artists Paloma Faith and Labrinth recorded their songs especially for the movie -written by none other than multiple Grammy winner Dianne Warren. The soundtrack also features Toni Collette (actress) and Tyson Ritter (lead singer of All American Rejects).


    Other stellar musicians also contributed songs to the soundtrack of Miss You Already - Michael Stipe and REM, Moby, Broken Bells, Sarah Jackson-Holman, Band of Skulls, Hentai Superstar, and Opus Orange - adding emotional depth to the film. Joan Jett wrote the title song''Miss You Already'' which just flat-out rocks the house!

    1. Miss You Already - Joan Jett And The Blackhearts
    2. The Crazy Ones - Paloma Faith
    3. What We Leave Behind - Labrinth
    4. Losing My Religion - R.E.M.
    5. Leave It Alone - Broken Bells
    6. I Know What I Am - Band Of Skulls
    7. Almost Home - Moby With Damien Jurado
    8. There's A Place - Tyson Ritter
    9. Almost There - Opus Orange Featuring Lauren Hillman
    10. Hello Halo (Cooper Todd Remix) - David Galafassi, Toni Collette, Nathan Cooper & Benjamin Todd
    11. When You Dream - Sara Jackson-Holman
    12. Better Together - Hentai Superstarv
    13. Goodbye (Original Score) - Harry Gregson-Williams
    Various Artists
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Here Be Monsters Here Be Monsters Quick View

    $20.99
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    Here Be Monsters


    "When they didn't know quite what was there, they put Here Be Monsters. When I think of where my career has gone over the last 35 years, it's usually in that area - off the map." --Jon Langford


    Here Be Monsters finds acclaimed musician/visual artist Jon Langford and his band Skull Orchard scanning the outskirts of popular culture, its title born of medieval cartographers' term for the dragons, sea serpents, and other mythical beasties that reside beyond the boundaries of the known universe. This new album will feature a unique piece of artwork specific to each track printed on individual inserts included with copies of the CD. Best known for his work in the The Mekons and the Waco Brothers, Langford has been a leading pioneer in the assimilation of folk/country music into punk rock since the genre's first evolution over 30 years ago.


    The album sees the Welsh-born, Chicago-based singer/songwriter, bandleader, producer, painter, and poet plotting a clear-eyed, sharp-elbowed course through such far-flung subjects as alternative hierarchies and astronomy, perpetual war for perpetual profit, the culture of detachment, middle age, fatherhood, fame, and the fleetingness of love. The subtext of the album is maybe the things our civilization thinks of as fixed and immovable might actually be redundant/obsolete/discredited and it's up to us to question and find new rocks to be washed up on , says Langford, who called in Mekons/Waco Brothers veteran Mike Hagler (My Morning Jacket, Wilco, Neko Case, Billy Bragg) to record this album at Chicago's Kingsize Sound Labs. Skull Orchard used to be a fairly solitary activity - songs that didn't fit anywhere else - stuff that was too Welsh or personal to bother the Mekons or Wacos with, says Langford, but something happened with the band I formed to tour with the previous record. It turned into a real group, so this is much more of a band project than any of the solo things I've done before.


    Also known for being a prolific visual artist, Langford designed all the artwork for Here Be Monsters himself, including individual designs for each track that will be showcased on separate inserts in the CD and in a collage on the LP jacket. This album really brings the art and the songs together - a chicken/egg which came first situation. The songs are very visual and in some cases came directly from the paintings, continued Langford. Star maps, strange creatures, sympathetic monsters, monsters we have created - the little poem at the top of the album is all about that.

    1. Summer Stars
    2. Weightless
    3. Gone Without Trace
    4. Mars
    5. Sugar On Your Tongue
    6. Drone Operator
    7. Don't Believe
    8. If You Hear Rumours
    9. What Did You Do In The War?
    10. Lil' Ray O' Light
    Jon Langford And Skull Orchard
    $20.99
    Vinyl LP - Sealed Buy Now
  • Bringing The War Home EP (Discontinued) (On Sale) Bringing The War Home EP (Discontinued) (On Sale) On Sale Quick View

    $9.99 $6.99 Save $3.00 (30%)

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    Bringing The War Home EP (Discontinued) (On Sale)

    Beyond their unique amalgam of musical stylings, there is also the highly charged message behind the Cobra Skulls music, both of which are on full display on their Fat Wreck Chords debut Bringing the War Home. Their disdain for the modern human condition far surpasses the typical targets of most punk bands; transcending class, creed and dogma, nothing is safe from their scope. All five songs that comprise Bringing the War Home exemplify this, delivered on the crest of Devin's soulful vocals, and driven by Cobra Skulls' contagious invigorating music.
    1. Doomsday Parade
    2. ICE In The Night
    3. Hot Sand
    4. Give You Nothing
    5. Life In Vain
    Cobra Skull
    $9.99 $6.99 Save $3.00 (30%)
    12 Vinyl LP - Sealed Buy Now
  • 2013-3012 (On Sale) 2013-3012 (On Sale) On Sale Quick View

    $15.99 $11.19 Save $4.80 (30%)

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    2013-3012 (On Sale)

    In April of 2011, The Skull Defekts toured the US to celebrate the release of the Peer Amid album on Thrill Jockey Records, a record where the Swedish core of the band was completed by the presence of Daniel Higgs on vocals. The band decided to invite Higgs' old Lungfish companion Asa Osborne and his Zomes project to open for them on tour.


    When the crew found themselves with a canceled show midway through the tour, they luckily were at Machines With Magnets where they had played a show the night before, a great studio in Pawtucket, RI (previously used by bands like Battles and The Psychic Paramount). The studio had just ended a recording session and the band entered for an explosive and extremely creative one day session. Two new songs were written and recorded, and another one that had been played on the tour was put to tape.


    The A-side consists of the three songs recorded during the session. The B-side is meant to be played from the inner-most groove out and plays the same tracks backward.

    1. Children of the Skull Defekts
    2. Beyond Within
    3. Embryo
    4. Oyrbme
    5. Nihtiw Dnoyeb
    6. Stkefed Lluks eht fo Nerdlihc
    The Skull Defekts
    $15.99 $11.19 Save $4.80 (30%)
    Vinyl LP - Sealed Buy Now
  • Dances in Dreams of the Known Unknown Dances in Dreams of the Known Unknown Quick View

    $18.99
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    Dances in Dreams of the Known Unknown

    When The Skull Defekts entered the studio in the Spring of 2013 with nothing more than a collection of loosely organized riffs, they set out to record their most extreme, challenging rock record. Much to the band's surprise, what emerged were their most incessantly listenable, approachable songs to date. The Defekts merge the coarse vitality of punk with the ritualism of folk dances to create music that is addictive, wondrously discordant, and rooted in a belief in the overwhelming power of pure sound. Dances in Dreams of the Known Unknown is the Swedish group's third release as a quintet, with the legendary Daniel Higgs joining Joachim Nordwall and Daniel Fagerstroem on vocal duties and acting as the group's spiritual ringleader. The Defekts have long acted as the backbone of the Swedish experimental underground, but since their 2011 breakthrough Peer Amid, the group has emerged at the vanguard of a new wave of radical Scandinavian rock music alongside Iceage and the Posh Isolation label.
    1. Pattern of Thoughts
    2. It Started with the Light
    3. The Fable
    4. King of Misinformation
    5. Awaking Dream
    6. The Known Unknown
    7. Venom
    8. Little Treasure
    9. Cyborganization
    The Skull Defekts
    $18.99
    Vinyl LP - Sealed Buy Now
  • Damnesia Damnesia Quick View

    $21.99
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    Damnesia

    Its been 13 years since the Alkaline Trio released their first full-length album, Goddamnit. In that time, theyve toured the world, sold over a million records, and expanded their sound radically beyond their original straight-ahead punk style, incorporating production slick enough to earn them mass exposure on multiple outlets.


    Now comes an amazing retrospective of those 13 years, Damnesia, as ALK3 takes to the studio to record acoustic versions of 13 fan favorites and 2 new songs. These are not throwaway versions, but powerful reimaginings that drive as hard as the originals while bringing out the melodic greatness of these classics.


    A radio hit like This Could Be Love now features moody piano, a Matt Skiba vocal take to die for, and will connect immediately with every fan who ever loved the song. With the band on their Damnesia tour in the summer of 2011 promoting the new versions, Damnesia will quickly become a fan must-have release.

    1. Calling All Skeletons (Agony & Irony)

    2. Nose Over Tail (Goddamnit)
    3. This Could Be Love (Good Mourning)
    4. Every Thug Needs A Lady (Good Mourning)
    5. Clavicle (Goddamnit)
    6. Mercy Me (Crimson)
    7. The American Scream (This Addiction)
    8. We've Had Enough (Good Mourning)
    9. Olde English 800 (New Song)
    10. I Held Her In My Arms (Violent Femmes cover)
    11. Blue In The Face (Good Mourning)
    12. I Remember A Rooftop (New Song)
    13. Private Eye (From Here To Infirmary)
    14. You've Got So Far To Go (Maybe I'll Catch Fire)
    15. Radio (Maybe I'll Catch Fire)
    Alkaline Trio
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • ...And Star Power ...And Star Power Quick View

    $20.99
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    ...And Star Power

    Foxygen have joined Star Power.

    It is a punk band, and you can be in it, too.

    Star Power is the radio station that you can hear only if you believe.

    We're all stars of the scene.


    FOXYGEN AND STAR POWER is the new DOUBLE ALBUM from Foxygen, a CINEMATIC
    AUDITORY ADVENTURE for the speedy freaks, skull krunchers, abductees, and misfits...Made by
    Foxygen at Dream Star Studios in their Secret Haunted House with the UFOs flying around in the sky.


    A gaggle of guest stars. Roman-numeraled musical suites.Vocals recorded on a shoddy tape machine at The
    Beverly Hills Hotel and Chateau Marmont. A svelte 82-minute run time of psych-ward folk, cartoon
    fantasia, songs that morph into each other, weaving in and out of the head like UFO radio transmission
    skullkrush music. ADHD star power underground revolution. Soft-rock indulgences, D&D doomrock and
    paranoid bathroom rompers. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile
    one. Rock and roll for the skull...*


    *From Patti Smith's 1973 CREEM review of Todd Rundgren's A Wizard, A True Star. The section concludes
    Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation.

    1. Star Power Airlines
    2. How Can You Really
    3. Coulda Been My Love
    4. Cosmic Vibrations
    5. You & I
    6. Star Power I: Overture
    7. Star Power II: Star Power Nite
    8. Star Power III: What Are We Good For
    9. Star Power IV: Ooh Ooh
    10. I Don't Have Anything/The Gate
    11. Mattress Warehouse
    12. 666
    13. Flowers
    14. Wally's Farm
    15. Cannibal Holocaust
    16. Hot Summer
    17. Cold Winter/Freedom
    18. Can't Contextualize My Mind
    19. Brooklyn Police Station
    20. The Game
    21. Freedom II
    22. Talk
    23. Everyone Needs Love
    24. Hang
    Foxygen
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Europe '72 Europe '72 Quick View

    $59.99
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    Europe '72

    Nearly 40 years ago, the Grateful Dead released Europe '72, a triple live album documenting its historic trek across Europe that became not only one of the band's best-selling releases, but also set the gold standard for live Dead.


    The Grateful Deads first tour outside of North America took them to all sorts of historic and unusual venues in England, Denmark, West Germany, France, Holland and even Luxembourg. Many members of the Dead family came along on what was really an extended working vacation that was designed to both expose the Dead to new audiences and also reward the band for their unlikely conquest of America during the preceding two years. As a hedge against the costs of the nearly two-month trip, the Deads label, Warner Bros., paid for the band to lug around a 16-track recorder to capture the entire tour.


    This was a band at the top of its game, still ascending in the wake of three straight hit albums: Workingmans Dead, American Beauty and the live Grateful Dead (Skull & Roses). It had been a year since the lineup had gone to its single-drummer configuration, six months since Keith Godchaux had been broken in as the groups exceptional pianist, and this marked the first tour to feature Donna Godchaux as a member of the touring band. This would also be Pigpen's final tour with the band.


    There was a ton of new, unreleased material that came into the repertoire in the fall of 71 (after Skull & Roses was out) and during the spring of 72, including Tennessee Jed, Jack Straw, Hes Gone, Ramble on Rose, One More Saturday Night and Mr. Charlie. All those future classics were interspersed with songs from the aforementioned hit albums such as Cumberland Blues and Sugar Magnolia, as well as spectacular versions of Truckin and I Know You Rider.

    LP1
    1. Cumberland Blues (Live in England 1972 Version)
    2. He's Gone (Live in Amsterdam 1972 Version)
    3. One More Saturday Night (Live in England 1972 Version)
    4, Jack Straw (Live in Paris 1972 Version)
    5. You Win Again (Live in England 1972 Version)
    6. China Cat Sunflower (Live in Paris 1972 Version)
    7. I Know You Rider (Live in Paris 1972 Version)


    LP2
    1. Brown-Eyed Woman (Live in Denmark 1972 Version)
    2. Hurts Me Too (Live in London 1972 Version)
    3. Ramble On Rose (Live in England 1972 Version)
    4. Sugar Magnolia (Live in Paris 1972 Version)
    5. Mr. Charlie (Live in England 1972 Version)
    6. Tennessee Jed (Live in Paris 1972 Version)


    LP3
    1. Truckin' (Live in London 1972 Version)
    2. Epilogue (Live in England 1972 Version)
    3. Prelude (Live in England 1972 Version)
    4. Morning Dew (Live in England 1972 Version)

    Grateful Dead
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Eaten Back To Life (Awaiting Repress) Eaten Back To Life (Awaiting Repress) Quick View

    $20.99
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    Eaten Back To Life (Awaiting Repress)

    Originally Released in 1990 this 25th Anniversary Edition Picture Disc Features the Original Uncensored Art!


    Eaten Back to Life is the debut album by American death metal band Cannibal Corpse. It was released on 17 August 1990 through Metal Blade Records. The album was banned in Germany (censored versions were not available, but the ban was revoked in June 2006) and other countries because of the violent cover and the extreme nature of the lyrics.[citation needed] Glen Benton of Deicide and Francis H. Howard of Opprobrium (then known as Incubus) perform back-up vocals on Mangled and A Skull Full of Maggots.


    The following statement can be found in the inlay of this album: This album is dedicated to the memory of Alfred Packer, the first American cannibal (R.I.P.)


    This album has stronger influences of thrash metal than their future releases, as well as a slightly varied vocal style.

    1. Shredded Humans
    2. Edible Autopsy
    3. Put the to Death
    4. Mangled
    5. Scattered Remains Splattered Brains
    6. Born in a Casket
    7. Rotting Head
    8. The Undead Will Feast
    9. Bloody Chunks
    10. A Skull Full of Maggots
    11. Buried in the Backyard
    Cannibal Corpse
    $20.99
    Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
  • The Paradigm Shift: Super Deluxe The Paradigm Shift: Super Deluxe Quick View

    $259.99
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    The Paradigm Shift: Super Deluxe


    - Deluxe CD (11 Tracks + 2 Bonus Tracks)


    - "Reconciliation" Documentary DVD


    - 2 LP Vinyl


    - Exclusive 48 Page Photobook Featuring Live And Studio Photos During The Making Of The Album


    - Custom Skull USB Stick With Audio And Video


    - Exclusive Signed Lithos


    - All Housed In Custom Gatefold Box


    On 'Paradigm Shift', Korn chose not to repeat the dub step/rock fusion of their previous album The Path of Totality, but remained intent on keeping the sounds fresh and new. On the new album, they promise to mesh the classic dual guitar attack of James 'Munky' Shaffer and Brian 'Head' Welch (returning for the first time since the band's 2003 album Take A Look In The Mirror), with an all new approach to the integration of electronics.

    1. Prey For Me
    2. Love & Meth
    3. What We Do
    4. Spike In My Veins
    5. Mass Hysteria
    6. Paranoid And Aroused
    7. Never Never
    8. Punishment Time
    9. Lullaby For A Sadist
    10. Victimized
    11. It's All Wrong
    12. Wish I Wasn't Born Today
    13. Tell Me What You Want
    Korn
    $259.99
    Vinyl LP + CD + DVD - 2 LPs Sealed Buy Now
  • Zombie Zombie Quick View

    $19.99
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    Zombie

    On the title track of 1976's Zombie, Fela and the backup singers ridicule the mindset of men in uniform over an urgent, quick-march accompaniment from Afrika 70. "Attention! Quick march! Slow march! Salute!" sings Fela, "Fall in! Fall out! Fall down! Go and kill! Go and die! Go and quench!" Each phrase is followed by the women singers' taunting response, "Zombie!" Just a few months later on 18 February, 1977, around 1,000 soldiers, most of them armed, swooped on the Kalakuta Republic. Fela was badly beaten, sustaining a fractured skull and several
    broken bones. His mother, then aged 77, was thrown out of a window, fracturing a leg and suffering deep trauma. The army then set fire to the compound and prevented the fire brigade reaching the area. The blaze gutted the premises, destroying six Afrika 70 vehicles, all Fela's master tapes and band equipment, a four-track recording studio, all the residents' belongings and, for good measure, the free medical clinic run by Fela's brother, Dr Beko Ransome Kuti (who was also severely beaten in the attack). The first journalists to arrive on the scene were assaulted by soldiers. Inquisitive passers-by were similarly set upon. The army didn't want any witnesses.
    1. Zombie
    2. Mister Follow Follow
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
  • Stick And Poke Stick And Poke Quick View

    $19.99
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    Stick And Poke

    Before you ask - the answer is yes. a. Tom Collins is the great-great-grandson of Tom Collins, creator of the eponymous gin cocktail. Other notable relations, near and distant, include British monarch Anne Boleyn, second-man-on-the-moon Buzz Aldrin, fictional detective Hercule Poirot, and saxophonist Clarence Clemons. But here we are, in the present moment, the only time that actually exists - according to Zen Buddhism (and The Stooges) - and a. Tom Collins walks among us; taking note of the wilderness of horrors and occasional blips of joy that are this waking Life - and turning them into boozy, moody, stomp-and-wrangle-worthy anthems of the Now Times. With inexhaustible insight and a smoky voice, Collins slithers, smooths and seduces his notes into your skull and soul; lilting and tilting the moments between awareness and suffering; the hot potato game of tragic flaws; leaning on and propping up love, alternately. When not hammering at a piano and caterwauling the damnable Truth with his amazing band, a. Tom Collins enjoys raising rare and endangered cacti (and select other succulents) in his sprawling conservatory, non-competitive baton-fighting, and sitting alone in a darkened room smoking bidis and watching 16mm loops of WWI newsreels.
    1. Mambo
    2. Baby Doll
    3. Hospital
    4. Don't Wait Up
    5. Us
    6. Dragon
    7. Jesus
    8. Love & A Flame
    9. Little Boy
    10. There Goes the Sun
    A. Tom Collins
    $19.99
    Vinyl LP - Sealed Buy Now
  • Primitive And Deadly Primitive And Deadly Quick View

    $25.99
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    Primitive And Deadly


    Contains Vinyl Only Exclusive Track: Badgers Bane


    This deluxe vinyl version of the new Earth studio opus comes in a thick Stoughton old style tip-on jacket with a soft-touch UV varnish.


    Primitive And Deadly, is EARTH's tenth studio collection. Dylan Carlson and long term cohort, drummer Adrienne Davies, manage to pull off the trick of completing an Ouroborean creative cycle, twenty-five years in the making, whilst exploring new directions in their music. For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson's guitar has always been the focal point of EARTH's music, it's been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.


    On Rooks Across the Gates, a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. From the Zodiacal Light, meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion's Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.


    This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert high lands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each tracks central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lions Skull and Hibernaculum sessions).


    Thick, dense and overdriven, melodically rich and enveloping, Primitive And Deadly is EARTH reaffirming their position as a singular point in the history of rock.


    produced by earth

    recorded at rancho de la luna, joshua tree, ca by mathias schneeberger, assisted by dave catching

    additional recording and production at crackle & pop and avast, seattle, wa by randall dunn

    mixed at avast, seattle, wa by randall dunn

    mastered at chicago mastering services by jason ward


    dylan carlson - guitars

    adrienne davies - drums and percussion

    bill herzog - bass

    brett netson - additional guitars

    jodie cox - additional guitars

    mark lanegan - vocals

    rabia shabeen qazi - vocals

    randall dunn - moog synthesizer

    LP 1
    1. Torn By The Fox Of The Crescent Moon
    2. There Is A Serpent Coming
    3. From The Zodiacal Light


    LP 2
    1. Even Hell Has Its Heroes
    2. Rooks Across The Gate
    3. Badgers Bane (exclusive vinyl only bonus track!)

    Earth
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Let's Dance Raw Let's Dance Raw Quick View

    $17.99
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    Let's Dance Raw


    Japanese Singer-Songwriter, Multi-instrumentalist's
    Follow-up To 2012's How To Live With A Phantom


    Japanese singer, songwriter and multi-instrumentalist Shintaro
    Sakamoto returns with a new full-length, Let's Dance Raw, which
    Other Music Recording Co. (distributed by Fat Possum) releases on
    September 16. The album is the follow-up to Sakamoto's solo debut,
    the otherworldly folk-pop masterpiece How to Live with a Phantom
    (2012, Other Music).


    While How to Live with a Phantom was the first many around the
    globe knew of Sakamoto, he has long been an icon in his homeland,
    having long fronted the psychedelic phenomenon Yura Yura Teikoku,
    a Tokyo-based band that emerged from Koenji's legendary UFO
    Club scene and, across their 20-year trajectory, achieved mainstream
    success throughout the country. Following the group's break-up in
    2010, Sakamoto began working on How to Live with a Phantom, a bold
    stylistic departure that eschewed Yura Yura Teikokou's psychedelic
    freak-outs for a much quieter and harder-to-define sound.


    From first glimpse of the cover of Let's Dance Raw, it's clear that
    once again, we are entering uncharted territory. The record's sleeve,
    painted by Sakamoto, features the artist sitting upon a black throne,
    a steel guitar resting on his knee like a child being protected from
    the ominous mushroom cloud of smoke billowing behind him.
    A grinning skull has replaced Sakamoto's face. This dichotomy of
    bright, innocent beauty and subtle perversity is the essence of Let's
    Dance Raw, with Sakamoto moving even further from the tough
    underground power-trio psychedelic rock of his former band.


    He hinted at the new sound throughout his solo debut, and here
    the music is blown wide open, with the steel guitar as the unifying
    force throughout. Sakamoto purchased and learned how to play the
    instrument just prior to writing and recording Let's Dance Raw, and
    it enriches the post-apocalyptic exotica on these ten songs, fusing
    together the bright and breezy shimmer of Hawaiian slack-key hula
    melodies, the dusty shuffle of southwestern desert blues, and the
    space-age bachelor-pad music of postwar suburban dreamers. The
    result is an album that revisits the soundtracks of musical escapism
    made popular in postwar American and Japanese cultures-and
    deftly updates them.


    It's all anchored by deep, jazzy grooves straight out of a 1970s
    AM radio broadcast, and peppered with flourishes of Brazilian and
    Latin percussion throughout. Atop the music, Sakamoto sings of the
    human race's downfall, the weight of the lyrics made contrastingly
    perverse via duets with robotic vocoder voices and helium-voiced
    cartoon chipmunks cooing in an unsettling fashion alongside him.
    While Sakamoto once again handles the bulk of the instrumental
    duties, faithful drummer and percussionist Yuta Suganuma also
    returns for this set, as well as bassist AYA, on loan from fellow Japanese
    psychedelic explorers OOIOO.

    1. Future Lullaby
    2. Birth Of The Super cult
    3. Extremely Bad Man
    4. Let's Dance Raw
    5. Like An Obligation
    6. Gently Disappear
    7. You Can Be A Robot, Too
    8. Why Can't I Stop?
    9. Never Liked You, But Still Nostalgic
    10. This World Should Be More Wonderful
    Shintaro Sakamoto
    $17.99
    Vinyl LP - Sealed Buy Now
  • Back To The Front Back To The Front Quick View

    $19.99
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    Back To The Front

    Explaining the relevance and influence of ENTOMBED is probably as superfluous as pointing out why Slayer rule, Lemmy is bigger than God and Dio the greatest loss in metal history. A legend is a legend. Fullstop. F**k off!


    If you still require a proper explanation that is less shot from the hip, well let us start with this: The Swedish Death Metal forefathers and genre innovators have inspired tons of bands all around the globe with their invincible trademark sound. However, as the band's last album "Serpent Saints - The Ten Amendments" dates back to 2007, there is definitely more than a good reason for a bit of catch-up and ask why it took so long to finish the band's superb 10th opus, programmatically titled "Back To the Front", vocalist extraordinaire L-G Petrov states:


    ""Serpents " was a fairly good album but a little weak compared to previous works and the distribution wasn't that great yet we continued playing shows throughout the past years but never really got going with new songs. At some point we decided that it was time for a new album, so we sat down and played riffs that we had from before as well as many new riffs and started putting them together which really sparked our motivation. That really gave us a push! We feel that this is the best album so far in many years and I think you can hear it on the album!"


    Thematically, the will and determination to back up such words with fantastic songs is reflected in the powerful album title and part of the concept of the record as guitarist Nico Elgstrand describes:


    "A lot of the album is about being at war in different ways and struggles/shortcomings of mankind, so we felt that "Back To The Front" fitted really well. It has a military reference obviously and we also feel like a platoon (ha ha, a small platoon) that has been behind the frontlines for a long time anxious to get back into battle. Not mean and lean but rather fat and bored and really keen on getting back to what we do best, which of course is to kill! Metaphorically speaking needless to say, ha ha. Also it is a very direct way of saying we've been away for way too long, we know and that we will now aim to stay at the front until the friggin' battle is won! The cavalry has finally arrived if you will (without horses though, ha ha)!"


    Well spoken, Sir, yet expectations will be incredibly high on this one as ENTOMBED's roots and legacy goes way back into the year 1987 when they formed under the name NIHILIST. In 1989 the formation changed its name to ENTOMBED and together with Morbid (for whom singer LG played drums), Treblinka/Tiamat, Grave and Dismember, ENTOMBED/NIHILIST established themselves among the earliest bands to forge the immortal Swedish death metal sound that became really popular and unique due to its punkish roots and especially that chainsaw guitar sound, today inseparably linked to terms like "Skogsberg", "Sunlight Studio" or just "Stockholm sound". Inspired by such diverse acts as Autopsy, Motörhead, Discharge or Kiss, over the years ENTOMBED did not shy away from thinking outside of the coffin resulting in a style some fans called Death'n'Roll but in the end it was, is and will be just a band with a style and impact entirely their own.


    So, what awaits the listener on "Back To The Front"? Produced by Roberto Laghi (In Flames, Hardcore Superstar) at Studio Bohus (Abba, Europe) in KunÄlv, it's 666% true to the ENTOMBED everybody loves. While not falling for total regression back to the early classics "Left Hand Path" or "Clandestine", it is a total bone-crushing opus that will have fans of all periods cry tears of joy and even the most stubborn fan of the early days join in shame. "The goal was to have riffs that felt fresh and exciting, to make an album that felt old school as well as fresh and up to date, showing who ENTOMBED are today," L-G puts it quite simply and Nico continues: "I thoroughly enjoy the fact that I find it super hard to pick 2 or 3 songs as the best of it, because i really like 'em all. I think that they all have something new and fresh yet it feels very old school in some way. "Kill To Live" with its surprising ENTOMBED-intro turned out very cool and the track also has an almost cinematic yet classic metal feel to it, dunno why, but it just invigorates me. "Second To None" kinda makes me wanna drive a tank while listening, and that to me is how proper metal should sound! It makes you wanna do mighty things so to speak!"


    From the morbid, pissed-off lyrics over detuned, massive riffs to the inimitable brick-heavy groove and LG Petrov's titanic roar, "Back To The Front" not only musically but also visually with its stunning painting by Necropolitus Cracoviensis Zbgniew Bielak II (Watain, Ghost, Vader) seems to send a respectful nod to the old school as L-G confirms: "The skull will always be a part of ENTOMBED. I totally agree, we have taken away some of the rock parts and gone with more metal, and I think fans new and old will appreciate that."


    With European touring under way in December with label mates and black metal genre leaders WATAIN - vocalist Erik actually penned lyrics for the song "Carnage" (from "When In Sodom" EP, 2006) - and former band member Nicke Andersson contributed parts to the new song "Vulture And The Traitor", the Swedish metal platoon ENTOMBED anno 2013 has all its weapons polished and reloaded and is ready to shatter the entire music scene with an uncompromising full frontal assault. So, let us all enjoy "Back To The Front" and celebrate the fact that the legend called ENTOMBED has finally returned. Goddamn!

    1. Kill To Live
    2. Bedlam Strike
    3. The Underminer
    4. Second To None
    5. Allegiance
    6. Waiting For Death
    7. Eternal Woe
    8. Digitus Medius
    9. Vulture And The Traitor
    10. Pandemic Rage
    11. Soldier Of No Fortune
    Entombed A.D.
    $19.99
    Vinyl LP - Sealed Buy Now
  • Systematic Chaos Systematic Chaos Quick View

    $29.99
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    Systematic Chaos

    180 Gram double vinyl for the band's ninth studio album! Their first with Roadrunner features a 25 minute epic and includes the musicianship, the skull-crushing riffs, the big progressive epics and the heart-wrenching melodies that the band is known for.
    1.In the Presence Of Enemies-Part I
    2.Forsaken
    3.Constant Motion
    4.The Dark Eternal Night
    5.Repentance

    6.Prophets Of War
    7.The Ministy Of Lost Souls

    8.In the Presence Of Enemies-Part II
    Dream Theater
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Grinding Wheel (Awaiting Repress) The Grinding Wheel (Awaiting Repress) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Awaiting Repress)

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    This title is not eligible for further discount.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
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