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  • Songs From The Garage (Pink Vinyl) Songs From The Garage (Pink Vinyl) Quick View

    $25.99
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    Songs From The Garage (Pink Vinyl)

    Pink Colored Vinyl


    Features AC/DC Lead Vocalist Brian Johnson


    Guitars And Production Duties Handled By Rob Caggiano (Anthrax, Volbeat, Bleeding Through, Cradle Of Filth And More)



    Whether it's Spinal Tap gloriously losing the plot, the escapades of Tenacious D getting them into trouble, or the phenomenon that is Dethklok tearing up the album charts, comedy and heavy music have long made for great bedfellows. Jim Breuer is a man who understands this, and with Songs From The Garage, his first full-length with longtime backing band The Regulators, he delivers both in his inimitable style. "I basically want the crowd to have a blast, and I write what I feel that I would love if I was in the crowd. So, going into the record the music had to be killer and have great hooks, that was most important, and I wanted to balance that with something that's funny," he enthuses. "I wanted to bring the smile back to hard rock that has a nice punch to it - and in doing so hopefully bridge the gap so my generation and their kids will come see this live together!"


    In realizing this, Breuer has delivered a record that is pure, unadulterated fun, and yes, it rocks. From crunchy opening romp "Thrash" through the swaggering "Who Better Than Us?" to the gloriously deranged excitement suffusing "Sugar Rush", his exuberance is infectious, and he challenges you to keep your ass from shaking and the corners of your mouth twitching while it thunders from the speakers. Throughout, his influences bleed through, comfortably blurring the line between hard rock and metal while every anthemic chorus lodges irrevocably in the hippocampus. While a great many 'comedy rock' records are ultimately pretty throwaway and last as long as the joke stays funny, this is not the case with Songs From The Garage. True to his game plan, Breuer has made great songs, ones that persistently draw a smile and will fit comfortably when shuffled among the likes of Megadeth, AC/DC, Judas Priest and more contemporary bands, such as Avenged Sevenfold and Halestorm.


    Having finally made the album that has been burning to get out of him since his teens, Breuer couldn't be happier with the result. Though he has fulfilled one rock and roll dream with its completion, it certainly does not mean he's about to kick back and leave it at that. "I plan on making great, funny videos for every song and have videos up during the concerts. I want pure entertainment when you come see this live, and now my rock and roll dream is to play this not only here in America, but anywhere else in the world that will accept it! I'm taking it one day at a time, living the dream."

    1. Thrash
    2. Raising Teenage Girls
    3. Old School
    4. Be a Dick 2nite
    5. My Rock n Roll Dream
    6. Mr. Rock n Roll
    7. Who's Better Than Us?!
    8. Family Warrior
    9. Sugar Rush
    10. Wannabe
    11. The Unexplained
    Jim Breuer And The Loud & Rowdy
    $25.99
    Colored Vinyl LP - Sealed Buy Now
  • The Bleeding (Picture Disc) (Awaiting Repress) The Bleeding (Picture Disc) (Awaiting Repress) Quick View

    $20.99
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    The Bleeding (Picture Disc) (Awaiting Repress)

    This 25th Anniversary Edition Picture Disc Features the Original Uncensored Art


    The Bleeding is the fourth studio album by American death metal band Cannibal Corpse, released in 1994 through Metal Blade Records. It is the last album featuring singer and founding member Chris Barnes and is the first album featuring guitarist Rob Barrett. According to Soundscan numbers, The Bleeding is the fifth top-selling death metal LP in the United States, amassing over 98,300 copies sold. The Bleeding is also Cannibal Corpse's most successful album to date, and their first entry on the Billboard charts.

    1. Staring Through the Eyes of the Dead
    2. Fucked with a Knife
    3. Stripped, Raped and Strangled
    4. Pulverized
    5. Return to Flesh
    6. The Pick-Axe Murders
    7. She Was Asking for It
    8. The Bleeding
    9. Force Fed Broken Glass
    10. An Experiment in Homicide
    11. The Exorcist
    Cannibal Corpse
    $20.99
    Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
  • This Is Where It Ends This Is Where It Ends Quick View

    $19.99
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    This Is Where It Ends

    Formed with the intent of not being labeled with the restricting monikers of death metal, hardcore or metalcore, All Shall Perish blasted onto the Bay Area scene in 02, playing every kind of show imaginable. Nuclear Blast soon released Hate.Malice.Revenge., which brought them on tour with the likes of As I Lay Dying, Bleeding Through, Brujeria, Dying Fetus and more. Since then, ASP have been redefining the death and grind genres with vibrant ideas and unrelenting delivery and reaching new heights with 2008s Awaken The Dreamers, the bands first release to make the Billboard Top 200 charts.


    This Is Where It Ends conveys more of the raw energy, groove and technicality that put them on the map. Add even stronger hooks and melodies than before and you have All Shall Perishs best work to date. This Is Where It Ends is a truly an experience for the senses. Without a doubt, the future of metal has arrived and if you arent paying attention, you might get left by the wayside with your car on bricks.

    1. Divine Illusion
    2. There is Nothing Left
    3. Procession of Ashes
    4. A Pure Evil
    5. Embrace the Curse
    6. Spineless
    7. The Past Will Haunt Us Both
    8. Royalty into Exile
    9. My Retaliation
    10. Rebirth
    11. The Death Plague
    12. In This Life of Pain
    All Shall Perish
    $19.99
    Vinyl LP - Sealed Buy Now
  • Great Is Our Sin Great Is Our Sin Quick View

    $22.99
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    Great Is Our Sin

    Having delivered five killer albums boasting some of the most potent, technical and abrasive metal unleashed over the last decade, it would be easy for Revocation to sit back and rest upon their laurels. However, with their constant drive to push their sound ever forward and refusal to compromise their integrity, this could never be the case - and Great Is Our Sin is their most dynamic, boundary-pushing and weighty release to date.


    Reuniting with producer Zeuss (Hatebreed, Bleeding Through), who also helmed Deathless and 2012's Teratogenesis EP, the record packs the requisite punch, yet retains the organic feel with which it was conceived. Known for their technical prowess, the band remained dedicated to upping the ante without ever losing sight of the importance of good songwriting.


    Opener "Arbiters Of The Apocalypse" makes this abundantly clear, blending together breakneck thrash, crunching death metal flavors, plenty of visceral fret abuse as well as compelling yet unforced melodies. While the songs come together to make for a cohesive record that is engaging from front to back, they are further united by the lyrical concept. To this end, REVOCATION tackles issues such as political corruption and the buying and selling of lawmakers on "Only The Spineless Survive", while on "Theatre Of Horror" reflects on the place of public execution in Medieval times, and the manner in which it was supposed to shock and entertain the populace.


    Regardless of the state of the world, nothing is going to slow Revocation down any time soon. Whilst the lineup has changed over the ten years the band has been in existence, Davidson's passion has never waned, and they are arguably sounding better than ever as they look toward the future.


    "We can't wait to bring these songs out on the road and perform them for different audiences all over the world. 'Great Is Our Sin' is a new chapter for the band, and collectively we feel that it is our defining record to date."

    1. Arbiters of the Apocalypse
    2. Theatre of Horror
    3. Monolithic Ignorance
    4. Crumbling Imperium
    5. Communion
    6. The Exaltation
    7. Profanum Vulgus
    8. Copernican Heresy
    9. Only the Spineless Survive
    10. Cleaving Giants of Ice
    11. Altar of Sacrifice
    Revocation
    $22.99
    Vinyl LP - Sealed Buy Now
  • Dead Human Collection: 25 Years of Death Metal Boxset (Awaiting Repress) Dead Human Collection: 25 Years of Death Metal Boxset (Awaiting Repress) Quick View

    $129.99
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    Dead Human Collection: 25 Years of Death Metal Boxset (Awaiting Repress)

    BOX SET INCLUDES:


    12 Full-Length Studio Albums with New Artwork in a 12-CD Foldout Case!


    CD 1: Eaten Back to Life (1990)

    CD 2: Butchered At Birth (1991)

    CD 3: Tomb of the Mutilated (1992)

    CD 4: The Bleeding (1994)

    CD 5: Vile (1996)

    CD 6: Gallery of Suicide (1998)

    CD 7: Bloodthirst (1999)

    CD 8: Gore Obsessed (2002)

    CD 9: The Wretched Spawn (2004)

    CD 10: Kill (2006)

    CD 11: Evisceration Plague (2009)

    CD 12: Torture (2012)


    12 x 12 Artist Prints of all 13 Original Cannibal Corpse Album Covers

    Eaten Back to Life
    Butchered At Birth
    Tomb of the Mutilated
    The Bleeding
    Vile
    Gallery of Suicide
    Bloodthirst
    Gore Obsessed
    The Wretched Spawn
    Kill
    Evisceration Plague
    Torture
    Torturing and Eviscerating Live


    2013 CANNIBAL CORPSE Calendar


    Torturing and Eviscerating Live Concert CD and LP (Picture Disc) Recorded in Tampa 2010 & Milwaukee 2012


    1. A Skull Full of Maggots

    2. Gutted

    3. I Cum Blood

    4. Staring Through the Eyes of the Dead

    5. Devoured by Vermin

    6. I Will Kill You

    7. Pounded into Dust

    8. Pit of Zombies

    9. The Wretched Spawn

    10. Make Them Suffer

    11. Evisceration Plague

    12. Scourge of Iron

    12 Full-Length Studio Albums
    CD 1: Eaten Back to Life (1990)
    CD 2: Butchered At Birth (1991)
    CD 3: Tomb of the Mutilated (1992)
    CD 4: The Bleeding (1994)
    CD 5: Vile (1996)
    CD 6: Gallery of Suicide (1998)
    CD 7: Bloodthirst (1999)
    CD 8: Gore Obsessed (2002)
    CD 9: The Wretched Spawn (2004)
    CD 10: Kill (2006)
    CD 11: Evisceration Plague (2009)
    CD 12: Torture (2012)


    Torturing and Eviscerating Live Concert CD and LP (Picture Disc) Recorded in Tampa 2010 & Milwaukee 2012
    1. A Skull Full of Maggots
    2. Gutted
    3. I Cum Blood
    4. Staring Through the Eyes of the Dead
    5. Devoured by Vermin
    6. I Will Kill You
    7. Pounded into Dust
    8. Pit of Zombies
    9. The Wretched Spawn
    10. Make Them Suffer
    11. Evisceration Plague
    12. Scourge of Iron

    Cannibal Corpse
    $129.99
    Vinyl LP Picture Disc + 12 CDs - Sealed AWAITING REPRESS Buy Now
  • Rollerchain Rollerchain Quick View

    $19.99
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    Rollerchain

    Rollerchain is the fourth full-length album from Belleruche, out on Tru Thoughts Records, and it showcases a stunning new progression in sound for the acclaimed London trio. Belleruche have created a darker, more bass heavy and evocative sound here, whilst still retaining the melodic soulful touch that sets them apart and has gained them a worldwide fanbase.


    Stormbird is a sub bass driven pop song with clipped drums, tempo shifts and swells of looped feedback, unlike Belleruche's previous work but drawing from the same cabinet of sonic references. As the album opener, this gorgeous little distorted oddity of a track gets your attention and runs away with it through the shadows into a new sonic underworld.


    Combining a very modern aesthetic with classic song writing ability, the album is a collision of haunting vocals, tough analogue sounds and bleeding edge electronic production. Stranger rhythms and basslines inhabit this record; both in the studio and onstage. Belleruche have picked up new instruments and ideas to create a complexity and an attack that incorporate the band's core elements: vocals (Kathrin deBoer), guitar (Ricky Fabulous) and turntables (DJ Modest), to an entire new level! 2LP pressing with CD insert.

    1. Stormbird
    2. Wasted Time
    3. Get More
    4. 16 Minutes
    5. Reach for the Bottle
    6. Passenger Side
    7. Afan
    8. Cloverleaf
    9. Underfire
    10. Henbane
    11. Limelight
    12. Song for Bill
    13. Longer Days, Longer Nights
    Belleruche
    $19.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Ty Segall Ty Segall Quick View

    $21.99
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    Ty Segall

    The new self-titled record-the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now distant year of 2008-is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It's got some of the most lobe-blasting neckwork since the Ty Segall Band's Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty's new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation. All he wants is some truth!


    The construction and destruction of his chosen realities have, until now, been a luxury Ty has rightfully reserved for himself, stripping overdubs together to form the sound-but for this new album, he entered a studio backed by a full band-Emmett Kelly, Mikal Cronin, Charles Moothart and Ben Boye-to get a read on this so-called clarity. This leads to a new departure in group sound, as well as some of the most visceral and penetrating vocal passages yet heard from Ty Segall.


    "Freedom/Warm Hands" puts the "sweet" back into suite; "Orange Color Queen" is a supreme moment of tenderness; "Talkin'," a roots-infused truth-attack. "Papers," looks behind the doors of Ty's process; "Break A Guitar" is a brutal fun-fest pitched to the back of the house. Ty Segall keeps you guessing, bracing your skin with a welcome astringency, seeking to stem the bleeding with chunks and splashes of guitar, tight beats, audio-veritÉ toilet smashes, a Wurlitzer electric piano in a jam, blazing harmonies, and LOTS of songs to sing. There's no concept beyond that; finding the right places to be is a momentary thing. Ty Segall is the sum of his songs-and about getting the free. The free to be!

    1. Break A Guitar
    2. Freedom
    3. Warm Hands (Freedom Returned)
    4. Talkin'
    5. The Only One
    6. Thank You Mr. K
    7. Orange Color Queen
    8. Papers
    9. Take Care (To Comb Your Hair)
    10. Untitled
    Ty Segall
    $21.99
    Vinyl LP - Sealed Buy Now
  • Valleys Of Neptune Valleys Of Neptune Quick View

    $34.99
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    Valleys Of Neptune

    Jimi Hendrix Valleys Of Neptune on Audiophile-Quality 180g 2LP Set!


    12 Previously Unreleased, Fully Realized Jimi Hendrix Studio Recordings Available for the First Time Ever!


    Cut from the Analog Masters by Legendary Engineer George Marino at Sterling Sound and Pressed on 180-gram Vinyl at RTI!


    The Hendrix Family is Committed to Bringing you the Best Sound Quality Possible: Do Not Miss This Collection!


    Set Joins Exquisitely Remastered Versions of Are You Experienced?, Axis: Bold As Love, Electric Ladyland, and First Rays of the New Rising Sun!


    The already insurmountable legacy of the greatest, most advanced rock guitarist to ever play a note just got better. Valleys Of Neptune, a newly curated album of 12 fully realized Jimi Hendrix studio recordings, contains more than 60 minutes of music never commercially available on any Hendrix album. Centered around tracks recorded during a pivotal and turbulent four-month period in 1969, Valleys Of Neptune unveils the original Jimi Hendrix Experience's final studio recordings for the very first time. Just as importantly, no expense has been spared in making sure this monumental release sounds as good as humanly possible. Mastered from the original analog tapes, cut by legendary engineer George Marino on upgraded equipment at Sterling Sound, and pressed on 180-gram virgin vinyl at RTI, this 2LP set is a sonic knockout on par with the very best audiophile recordings. It's no wonder that this release spearheads Legacy Recordings' unprecented 2010 Jimi Hendrix Catalog Project of reissues and new releases from the greatest guitar player in history. Albums don't get more essential than this.


    Valleys Of Neptune provides a fundamental, compelling, and largely unseen view of what Jimi Hendrix was doing in the critical period between the release of Electric Ladyland in October of 1968 and the 1970 opening of his own Electric Lady Studios in Greenwich Village. The state-of-the-art facility is also where he would begin his final project, the ambitious double album First Rays of the New Rising Sun.


    Here, the group lays down the foundation for its follow-up to Electric Ladyland, alongside the guitar superhero's first sessions with bassist Billy Cox, an army buddy Hendrix had recruited into his new ensemble. As such, Valleys Of Neptune offers more than an hour of previously unreleased Jimi Hendrix music, newly mixed for this historic release by Hendrix's longtime engineer Eddie Kramer, who first worked with the guitarist on 1967's Are You Experienced? Valleys Of Neptune is produced by Janie Hendrix, John McDermott (who contributes detailed liner notes), and Kramer. The Valleys Of Neptune single has long been one of the most sought-after of Hendrix's recordings. But it's not the only reason to grab this set.


    Other highlights encompass blazing studio covers of Elmore James' Bleeding Heart and Cream's Sunshine of Your Love, as well as premier performances of original Hendrix compositions like Ships Passing Through The Night, Lullaby For The Summer, and the original recording of the Jimi Hendrix Experience rendition of Hear My Train A Comin'. Also included is Mr. Bad Luck, a Jimi Hendrix Experience track, produced by Chas Chandler during the 1967 Axis: Bold as Love sessions.
    Specific personnel and recording dates of the tracks are as follows:


    Stone Free

    Recorded: Record Plant, New York, April 7, 9, 14, May 17,1969

    Producer: Jimi Hendrix

    Vocal, Guitar: Jimi Hendrix

    Bass: Billy Cox

    Drums: Mitch Mitchell

    Backing Vocals: Roger Chapman, Andy Fairweather Low


    Valleys Of Neptune

    Recorded: Record Plant, New York, September 23, 1969, May 15, 1970

    Producer: Jimi Hendrix

    Vocal, Guitar: Jimi Hendrix

    Drums: Mitch Mitchell

    Bass: Billy Cox

    Percussion: Juma Sultan


    Bleeding Heart

    Recorded: Record Plant, New York, April 24, 1969

    Producer: Jimi Hendrix

    Vocal, Guitar: Jimi Hendrix

    Bass: Billy Cox

    Drums: Rocky Isaac

    Tambourine: Chris Grimes

    Maracas: Al Marks


    Hear My Train A Comin'

    Recorded: Record Plant, New York, April 7, 1969

    Producer: Jimi Hendrix

    Vocal, Guitar: Jimi Hendrix

    Bass: Noel Redding

    Drums: Mitch Mitchell


    Mr. Bad Luck

    Recorded: Olympic Studios, London, May 5, 1967

    Producer: Chas Chandler

    Additional bass and drum recording, Air Studios, London, June 5, 1987

    Vocal, Guitar: Jimi Hendrix

    Bass: Noel Redding

    Drums: Mitch Mitchell


    Sunshine Of Your Love

    Recorded: Olympic Studios, London, February 16, 1969

    Producer: Jimi Hendrix

    Guitar: Jimi Hendrix

    Bass: Noel Redding

    Drums: Mitch Mitchell

    Percussion: Rocki Dzidzornu


    Lover Man

    Recorded: Olympic Studios, London, February 16, 1969

    Producer: Jimi Hendrix

    Vocal, Guitar: Jimi Hendrix

    Bass: Noel Redding

    Drums: Mitch Mitchell


    Ships Passing Through The Night

    Recorded: Record Plant, New York, April 14, 1969

    Producer: Jimi Hendrix

    Guitar, Vocals: Jimi Hendrix

    Bass: Noel Redding

    Drums: Mitch Mitchell


    Fire

    Recorded: Olympic Studios, London, February 17, 1969

    Producer: Jimi Hendrix

    Vocal, Guitar: Jimi Hendrix

    Bass, Backing Vocal: Noel Redding

    Drums: Mitch Mitchell


    Red House

    Recorded: Olympic Studios, London, February 17, 1969

    Producer: Jimi Hendrix

    Vocal, Guitar: Jimi Hendrix

    Bass: Noel Redding

    Drums: Mitch Mitchell


    Lullaby For The Summer

    Recorded: Record Plant, New York, April 7, 1969

    Producer: Jimi Hendrix

    Mixed By Eddie Kramer

    Guitar: Jimi Hendrix

    Bass: Noel Redding

    Drums: Mitch Mitchell


    Crying Blue Rain

    Recorded: Olympic Studios, London, February 16, 1969

    Producer: Jimi Hendrix

    Additional bass and drum recording, Air Studios, London, June 5, 1987

    Vocal, Guitar: Jimi Hendrix

    Percussion: Rocki Dzidzornu

    Bass: Noel Redding

    Drums: Mitch Mitchell


    1. Stone Free
    2. Valleys Of Neptune
    3. Bleeding Heart
    4. Hear My Train A Comin'
    5. Mr. Bad Luck
    6. Sunshine Of Your Love

    7. Lover Man
    8. Ships Passing In The Night
    9. Fire
    10. Red House
    11. Lullaby For The Summer
    12. Crying Blue Rain
    Jimi Hendrix
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Blood Speaks Blood Speaks Quick View

    $16.99
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    Blood Speaks

    Smoke Fairies' second proper album, Blood Speaks, finally finds its domestic release here in the United States. Head, the venerated producer, returns for the new album, and their live band was also drafted in adding their intuitive version of the duo's evolving sound. Praised by everyone from Jack White to new wave pioneer Gary Numan, the Fairies have been gaining stateside attention for their early singles and EPs, and their debut Through Low Light And Trees in 2011.


    The duo of Jessica Davies and Katherine Blamire have been on an epic journey, both physically and spiritually, touring Britain, Europe and America; in tour buses, ramshackle vans, and driving themselves 3000 miles across the US, all the while drawing increasingly devoted audiences with their exquisitely original and mesmerizing music. All these experiences bleed from every pore of Blood Speaks, undeniable proof of a tougher and more fearless Smoke Fairies.


    "We've got more confident in what we're doing, and so we've pushed things more," says Katherine. "We've gotten bolder with the dynamics, and our influences have broadened."


    "Blamire and Davies' dueling guitars, once nimble and clean, now shrouded in a mist, muggy and ancient, like some unholy union of Fairport convention and colour Haze" - Pitchfork


    "The duo's voices and instruments harmonize in haunting ways that evoke the ethereal spirit." - PopMatters

    1. Summer Fades
    2. Devil In My Mind
    3. Hotel Room
    4. Dragon
    5. Erie Lackawanna
    6. Strange Moon Rising
    7. Morning Blues
    8. Storm Song
    9. Blue Skies Fall
    10. Feeling Is Turning Blue
    11. After The Rain
    Smoke Fairies
    $16.99
    Vinyl LP - Sealed Buy Now
  • Prom King Prom King Quick View

    $14.99
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    Prom King

    When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With 'Prom King,' DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes. Working with Carpark Records "gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to," DeRobertis says. "A few songs on 'Prom King' are about specific events in my life-a party where I got too messed up, watching a friend's life spiral out of control and trying to help-but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality."

    While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, 'Prom King' is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. "I slowed some music down and called myself an artist," DeRobertis sings on lead single "Can't You See," acknowledging in his lyrics what is already apparent in the music's tone-he can maintain fidelity to his vision while working in more uptempo, disco-based song structures. "Ridiculous!" and "Bounce Is Back" are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals-what feels like a synthesis of two approaches-and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like "Fall Harder" and "Affairs" add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing. 'Prom King' is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

    1. Intro
    2. Can't You See

    3. Prom King

    4. I Can't Be Your Superman

    5. Ridiculous!

    6. Fall Harder

    7. Bounce is Back

    8. Affairs

    9. All I Want

    10. Cash Wednesday

    11. Fiona Coyne
    Skylar Spence
    $14.99
    Vinyl LP - Sealed Buy Now
  • Dormant Heart Dormant Heart Quick View

    $28.99
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    Dormant Heart

    'Dormant' is not a word that you can associate with Reading's metallers SYLOSIS - the band who have in the past few years alone toured with LAMB OF GOD, KILLSWITCH ENGAGE, DEVIL DRIVER and TRIVIUM. As well as playing huge festivals across the globe such as Sonisphere, Wacken, Graspop and Pukkelpop.


    Dormant Heart is not a peaceful album, it's a powerful force, unleashing anger against every day injustice and a sleeping society that lets these things wash over them. Frontman Josh Middleton explains: "The title refers to people going through life on autopilot and being one of the herd. How a lot of people simply accept the way things are just because it's 'tradition' as opposed to taking a good look at the world around you and thinking for yourself. Sometimes there are catalysts that happen and change our perspective or consciousness "


    One might take this catalyst as being representative of the driving accident that SYLOSIS had on a US tour with TRIVIUM and DEVIL DRIVER in September 2013. Luckily the band escaped the RV accident without major injuries but had to withdraw from the rest of the American shows. It was a big influence on the writing of their fourth album. This isn't a band that lets the tough gruelling schedule of touring wear them down though and once they'd been patched up and recovered they were back on the road in the UK. The incident did however provide food for thought as to how the band has to some extent a constant element of danger and personal sacrifice.


    SYLOSIS began tracking the album back in March 2014 working away secretly alongside touring commitments. Josh Middleton took a step up on this album producing it himself with the help of engineer Scott Atkins. The album was mastered by TESSERACT guitarist Acle Kahney. Josh says of the recording process "It was great doing some of the recording with Scott again. We've got a good working relationship and he's really dedicated to what he does. We like to strive for a very earthy and organic sound. It adds to the human element and brings out the intensity and vibe in the music."


    Guitars and vocals were recorded at Wizard Sound Studios in the band's hometown Reading. Drums were recorded in May at Monkey Puzzle Studios by original drummer Rob Callard who parted ways with SYLOSIS in September 2014 due to time restraints. BLEED FROM WITHINs Ali Richardson is now drumming for the band permanently after filling in for some live shows on the bands spring 2014 tour.


    Dormant Heart retains the distinctive SYLOSIS sound; a mixture of intense heavy guitar riffs, breakdowns, thudding rhythm and Middleton's growl. It's difficult to tie-down the band into a specific type of metal genre. Stomping opener 'Where The Wolves Come To Die' unleashes an aggressive start whilst 'Leech' provides those breakdowns and epic choruses. 'Mercy' demonstrates the mix of galloping rhythm and melodic guitar riffs whilst Josh fiercely declares 'there's no redemption'. Aptly named closer track 'Quiescent' provides over 9 minutes of solemn prog showing a less forceful side of the band it's ballad like in nature, with lyrics questioning Maybe the flames are all they have?' It's softer in dynamic but the sense of impending doom remains 'Fail to rescue// I can see// Now the line is drawn at our feet'.


    Josh summarises the record as their best work to date. "It's the most pissed off, aggressive and intense album we've done, yet it still retains the epic, progressive and melodic side we're also known for. It's a very gloomy and atmospheric album. We've been through a lot as a band and individuals and we've made our darkest album to date."

    1. Where The Wolves Come To Die
    2. Victims And Pawns
    3. Dormant Heart
    4. To Build A Bomb
    5. Overthrown
    6. Leech
    7. Servitude
    8. Indoctrinated
    9. Harm
    10. Mercy
    11. Callous Souls
    12. Quiescent
    13. Pillars Erode
    14. Zero (Smashing Pumpkins cover)
    Sylosis
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Innerworld Innerworld Quick View

    $18.99
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    Innerworld

    In a click-bait driven music scene, it's rare to find an album that stands the test of time, but Toronto-based synth duo Electric Youth may have managed that rare feat with their spectral, stunning debut
    album Innerworld. "We wanted to make something that had the sense of being timeless," says Austin
    Garrick, the band's instrumentalist alongside vocalist Bronwyn Griffin. "Our ultimate goal is to make a
    record that will be the favourite album of people that aren't born yet.


    With their swooning collaboration with College, "A Real Hero", featured in Nicolas Winding Refn's
    universally acclaimed neo-noir 'Drive', a place in the history books is arguably already theirs. After
    cracking the Top 10 of the iTunes dance charts in 15 countries, the band stepped back from the limelight
    to take their time to work on a full-length. "We get asked a lot 'how have guys not already put out an
    album - that would have been a good time to do it'", admits Austin. "But at the end of the day, more
    important for us than capitalising on timing is really making sure that we would have the record that we
    wanna have.


    Recording took place between the duo's Toronto studio and their home studio in LA. Each space served
    its different purpose - in Toronto Austin was able to make use of his extensive vintage synth collection,
    making up what he estimates is 80% of analogue sounds on the album. In LA meanwhile, the pair
    recorded Bronwyn's vocals, of which they share writing duties for -- in their space -- which includes a film
    projection room. Fritz Lang's boundary-breaking twenties classic 'Metropolis' was a favourite. It's easy to
    see how the vast scope of Lang's movie inspired the wide-eyed vistas of Innerworld, where soundscapes
    bleed into vocals and songs take you on journeys into roads unexplored.


    The artwork for Innerworld is similarly starry-eyed, with British artist Paul Roberts painting Austin and
    Bronwyn as intrepid children for the cover. "He was in a group called Sniff 'n' the Tears who had a big hit
    in the 70's with their song "Drivers Seat", which we came to know through its use in 'Boogie Nights'. We
    loved his album covers which he would paint and from there we discovered he went on to incredible work
    as an artist" says Austin. "The initial intention was for it to be more about the landscape, but we liked it
    and it did make sense to us, going back to the concept of Innerworld Bronwyn and I have known each
    other since we were 10 years old and a lot of the time we're still the same kids in our mind, in our inner
    world. And so for us you could say, in our inner world that's what we look like - those two kids." With
    their music's unquenchable sense of wonder, perhaps they're not too far from those kids today. "David
    Lynch never wants to define the meanings of his films," says Austin. "Similarly, we don't like to get too
    specific about the meaning of our music." When it sounds this good, who needs to put their music into
    a box? Let their inner world wash over you.

    1. Before Life
    2. Runaway
    3. WeAreTheYouth
    4. Innocence
    5. Without You
    6. If All She Has Is You
    7. The Best Thing
    8. Tomorrow
    9. Another Story
    10. She's Sleeping Interlude
    11. A Real Hero
    12. Outro
    Electric Youth
    $18.99
    Vinyl LP - Sealed Buy Now
  • I Love You. I Love You. Quick View

    $23.99
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    I Love You.

    The Neighbourhood is a Los Angeles quintet specializing in crossbreeding musical genres. Its debut album swirls anthemic indie rock with smooth R&B and some icy electro-pop, all shot through a sun-soaked West Coast filter. At the core of this aural amalgam is Jesse Rutherford's androgynous voice. Here, the opening "How" plays like an urbanized Portishead, as Rutherford bends high vocal notes over dusty hip-hop beats and hauntingly beautiful background ambience that bleeds right into the following "Afraid." The tempo picks up ever so slightly, but the lyrics are noticeably more pointed as Rutherford verbally abuses his anti-muse and exorcises some inner demons via danceable catharsis. Themes of paranoia surface in "Everybody's Watching Me (Uh Oh)," where his inflections recall '80s-era Michael Jackson over skittering beats and a sweeping symphony of keyboards. "Sweater Weather" is an obvious single that stands out above the rest, resonating like a younger sibling to Maroon 5. The song's soundpool is flecked with funky beats and airbrushed soundscapes of luxurious synthesizer tones.
    1. How
    2. Afraid
    3. Everybody's Watching Me (Uh Oh)
    4. Sweater Weather
    5. Let It Go
    6. Alleyways
    7. W.D.Y.W.F.M?
    8. Flawless
    9. Female Robbery
    10. Staying Up
    11. Float
    The Neighbourhood
    $23.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Band Perry The Band Perry Quick View

    $19.99
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    The Band Perry

    Daddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest. - Kimberly Perry


    Inheriting a cross-pollinated love of country and rock & roll from their parents, The Band Perry - siblings Kimberly, Reid, and Neil Perry - say that they bleed the bright red blood of American music. The three have always felt the drive to perform and create music, sweating out the summers in Mobile, Alabama playing in any dusty roadhouse or church that would have them. Kimberly strapped on her first Gibson - and fronted her first high school band - at age 15, employing Reid, then 10, and Neil, only 8, as her roadies. Changing guitar strings and polishing cymbals for their big sister lost its charm after awhile, so the brothers formed their own band, opening for Kimberly's band.


    My bass and I've been attached at the hip since I was 10 years old, says Reid. While most of my friends were playing little league, I was sitting in my room learning Rolling Stones' and Beatles' bass lines. It's really all I've ever known. Even as the three worked in different bands, the siblings would spend nights at home playing together: I remember sitting out on our front porch singing old Hank Williams and Bobbie Gentry songs in three-part harmony, hoping to channel the spirits of old country through musical sÉance while fighting off the southern Alabama mosquitoes, says Kimberly. We always knew we'd take the stage together - all we were waiting on was the right moment. That moment came in July of 2005, when - after years of writing together - the siblings decided to join forces as one band. The Band Perry was then invited by the Coca-Cola Bottling Company to open all of the dates on their New Faces Of Country Tour that year.


    In the summer of 2008, after spending a few years on the road honing their sound, TBP met longtime Garth Brooks manager Bob Doyle. Partnering with Bob and Josh Pegram, The Band Perry spent the fall and winter of 2008 writing in Nashville and collecting songs for their first country recording session.


    The three of us bring different strengths into the writing room, Neil points out. Kimberly carries in a bag of melodies and lyrics, Reid always has some really great musical ideas in his back pocket, and I bring in a sense of humor and some thread that ties it all together.


    The new recordings caught the ears of Scott Borchetta and Jimmy Harnen, the CEO and President of Republic Nashville, signing to the new label in the summer of 2009.


    When talking about The Band Perry, each member of the trio stresses how much family figures into the mix: Reid, Neil and I share genes and a musical pedigree, Kimberly explains. We read the same classics and cook from the same recipes. With all of our likenesses though, I believe it's our distinctions that stir up the magic when we create. When the three of us sit down to write songs together, we pull from all of our individual perspectives and happenstances to create the most interesting song concoctions.


    There's a tightness between the three of us that goes way beyond even best friends, Neil adds. Family vocal harmonies can't be fabricated. And, besides - the three of us know that through the thick and thin of life and the music business, we're watching after each other.


    Blood runs thick. The music business can be hard, but the three of us are committed not only to our lives in music, but to living them together, Reid says. I think the security of knowing that about each other allows us to be uninhibited when we create. It's a democracy. It's a safe haven.


    We've walked a long way to find your ears, Kimberly Perry finishes with a grin. So play us long and play us loud. The Band Perry is here, and we just have so darn much to say.

    1. You Lie
    2. Hip To My Heart
    3. If I Die Young
    4. All Your Life
    5. Miss You Being Gone
    6. Double Heart
    7. Postcard From Paris
    8. Walk Me Down The Middle
    9. Independence
    10. Quittin' You
    11. Lasso
    The Band Perry
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pronounced Leh-nerd Skin-nerd (45 RPM) Pronounced Leh-nerd Skin-nerd (45 RPM) Quick View

    $54.99
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    Pronounced Leh-nerd Skin-nerd (45 RPM)


    45 RPM 200-Gram Gatefold Double LP Reissue


    Remastered By Ryan Smith At Sterling Sound From The Original Analog Tapes


    Plated And Pressed At Quality Record Pressings!


    Tip-On Gatefold Jacket By Stoughton Printing


    What would American southern rock be without the scorching sounds of Lynyrd Skynyrd? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites - the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd.


    Remastered from the original analog tapes by Ryan Smith at Sterling Sound, our Analogue Productions reissue of Pronounced Leh-nerd Skin-nerd is the ultimate in luxurious reproduction and unbeatable sound. 200-gram plating and pressing by Quality Record Pressings, and a tip-on Stoughton Printing jacket round out the package.


    The undeniable youthful hunger of Pronounced Leh-nerd Skin-nerd pumps through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.


    Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.


    It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches - twinkling piano notes, soaring mellotrons, a one-off harmonica - provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.


    This title is not eligible for discount.

    1. I Ain't The One
    2. Tuesday's Gone
    3. Gimme Three Steps
    4. Simple Man
    5. Things Goin' On
    6. Mississippi Kid
    7. Poison Whiskey
    8. Free Bird
    Lynyrd Skynyrd
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Black Crown (Awaiting Repress) The Black Crown (Awaiting Repress) Quick View

    $18.99
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    The Black Crown (Awaiting Repress)

    With the 2009 summer release of the monstrous No Time To Bleed, Suicide Silence took things to the next level in every aspect, from production and songwriting, through to packaging and presentation as a whole. Now they are prepared to unleash the destructive force that is The Black Crown. The Black Crown was produced by Steve Evetts (The Dillinger Escape Plan) and mixed by Zeuss (Hatebreed). Also features guest appearance from Jonathan Davis (Korn) and Frank Mullen (Suffocation).

    1. Slaves to Substance

    2. O.C.D.
    3. Human Violence
    4. You Only Live Once
    5. Fuck Everything
    6. March to the Black Crown
    7. Witness the Addiction
    8. Cross-eyed Catastrophe
    9. Smashed
    10. The Only Thing That Sets Us Apart
    11. Cancerous Skies
    Suicide Silence
    $18.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Come My Fanatics Come My Fanatics Quick View

    $37.99
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    Come My Fanatics

    Import


    What a difference two years can make ... Between their self-titled debut and this follow-up, Electric Wizard beefed up and distorted their sound and polished their song-writing and the result has taken them light years beyond what the first album achieved. For this reason alone, anyone interested in the band's history and how a young group can progress in leaps and bounds, these two albums are worth seeking out and hearing. The most obvious improvement in the band's style is the overall sound: thick and grimy textures in slower-than-slow guitar chords and riffs, accompanied by basic drum rhythms and a washed-out wailing vocal singing lyrics of despair at the present world and conjuring avenues of escape from the social and political oppression in our society.


    We dive straight into the deep end with Return Trip, a crusty doom sludge song if ever there was one, with black grime peeling off riffs to expose a raw layer that quickly changes to hard and dark and bleeds off in turn. The song sticks to the straight and narrow: even an extended instrumental passage doesn't attract a wiggly guitar solo, and it's only towards the end the song acquires layers of melody and riffing to suggest the vocalist's increasing mental derangement. Jus Oborn's singing isn't great - it's more like chanting or shouting sometimes - but his voice has a rough, anguished edge suited to the lyrical content. Real life is cold, hard, tyrannical, unjust and abusive and for many people the only way to stay sane is to escape into one's own world through the portal of hallucinogenic drugs. Wizard in Black and Doom-Mantia take up where Return Trip leaves off: these are epic tracks that extend the sludge / stoner doom trip out further into the realms of psychedelia, the latter track featuring treated vocals and multi-tracked voices (or so they sound).


    Ivixor B / Phase Inducer is a wonderfully trippy mindfuck of a piece featuring a seemingly endless loop of female chanting with bubbly guitar effects and lazy bass rhythm followed by an abstract spacey tone piece that probably fell from an old pre-Autobahn Kraftwerk album and needed a home, so why not here. The atmosphere is spooky without appearing sinister. The two separate passages of the track are combined in a way that suggests a breakdown in a spaceship's communications with Earth while the astronauts are overcome by strange cosmic forces that can't be understood by rational people. Very original and quite ingenious!


    The remaining tracks on the album suffer for being footnotes to the instrumental track and the strong first half of the album. Son of Nothing is hardcore melodic rock with metal trimmings in style and its post-apocalyptic / sci-fi lyrics embody both hope and fear as the remnants of humanity flee a scorched Earth to find a new home. Solarian 13 brings up the rear with a mix of gently buoyant and seesawing grime-thickened guitar rhythms around which trippy ambient effects swirl and tease.


    The album draws its strength from a more streamlined musical approach in which music serves to enhance each song and its subject rather than fill out empty spaces with frills or show off individual musicians' dexterity and master of their instruments; and also from powerful lyrical themes of alienation, global destruction and flight to new worlds whether internally in one's head as a form of escape or externally for survival. Fantasy, the apocalypse and its aftermath, and science fiction elements of space travel through drugs and spaceships, and human migration to new worlds combine with doom, stoner and sludge metal to generate an original piece of work in Come My Fanatics .... It's on this album that EW find their calling.


    - NausikaDalazBlindaz (The Metal Archives)

    1. Return Trip
    2. Wizard in Black
    3. Doom-Mantia
    4. Ivixor B / Phase Inducer
    5. Son of Nothing
    6. Solarian 13
    7. Demon Lung
    10. Return to the Son of Nothingness
    Electric Wizard
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pronounced Leh-nerd Skin-nerd (On Sale) Pronounced Leh-nerd Skin-nerd (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Pronounced Leh-nerd Skin-nerd (On Sale)

    Ranked 401/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The South Rises Again: Bluesy, Hard-Rocking 1973 Debut Raised Southern Rock Flag


    Landmark Release Includes Ageless "Free Bird," "Tuesday's Gone," "Gimme Three Steps," "Simple Man"


    Rawness Never Felt So Real: Mobile Fidelity LP Affords Triple-Guitar Array, Gritty Lead Vocals Plentiful Space and Rich Tonalities


    Forget, for a moment, "Free Bird." Consider, instead, the authentic down-home rowdiness, distinctive first-person narratives, searing triple-guitar front, gritty vocals, and bluesy boogie bluster. And the undeniable youthful hunger pumping through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.


    Half-speed mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's vinyl edition of the Floridian group's ground-shaking debut is the equivalent of having access to the band's amplifiers and producer Al Kooper's control boards in the studio. Affording palpable spaciousness to each of the instruments, expanding the dynamic range, and clearing away previous tonal congestion, this version presents the septet's raw, honest tunes in the most direct, hard-hitting sound they've ever enjoyed. It lays waste to all prior reissues-none of which on LP went back to the master tapes.


    Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.


    It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches-twinkling piano notes, soaring mellotrons, a one-off harmonica-provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.


    Whether it's the them's-fightin'-words edginess of the humorous albeit entirely believable Southern-etched yarn "Gimme Three Steps," which sails on a triple mast of six-string exchanges and clicks heels to a trotting percussive beat that doubles as the sound of cowboy-boot heels, or the spiritual pleas and lived-in wisdom echoed on the barbed-wire balladry of "Simple Man," Pronounced Leh-nerd Skin-nerd burns with forthright and freewheeling desire, rebellious and sincere earnestness. Seen from either a lyrical, musical, or performance perspective, there's not a wasted second or awkward moment to be found.


    Then, of course, there's the sugary drip of Van Zant's political ragtime-referencing affair "Things Goin' On," bluegrass-tinted swing of "Mississippi Kid," and swampy get-go of "Poison Whiskey." They all lead up to the epic "Free Bird," a greasy slide-guitar anthem that no matter how many times it's played or requested in jest, never loses its power to grip the listener's emotions like an iron vice. What a record.


    This title is not eligible for further discount.

    1. I Ain't the One
    2. Tuesday's Gone
    3. Gimme Three Steps
    4. Simple Man
    5. Things Goin' On
    6. Mississippi Kid
    7. Poison Whiskey
    8. Free Bird
    Lynyrd Skynyrd
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Deadweight Deadweight Quick View

    $18.99
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    Deadweight

    Pressed On Colored Vinyl

    WAGE WAR If you think that you've already heard it all when it comes to heavy music, you just haven't heard Wage War. The group - which is composed of vocalist Briton Bond, guitarist/vocalist Cody Quistad, guitarist Seth Blake, bassist Chris Gaylord and drummer Stephen Kluesener - formed in Ocala, Florida, in 2013 and instantly started playing all over the area, quickly getting signed to Fearless Records the old fashioned way: By sending a song to the label. From there the group linked up with the production team of Andrew Wade (Neck Deep, Motionless In White) and A Day To Remember vocalist Jeremy McKinnon who produced their 2015 debut Blueprints together and returned to produce the sophomore full-length Deadweight, which the band started writing immediately after they finished their debut.

    "I'm very proud of Blueprints but a lot of those songs were written seven years ago so who we are as people and musicians these days is drastically different," Quistad explains - and a listen to Deadweight confirms that statement. "I think a big strength of this new record is the continuity of sitting in a room together and playing instead of trying to send files back and forth," he continues. "We were truly grinding out songs and I think this album still sounds like Wage War but, at the same time, it has some of our most melodic moments as well as some of the heaviest." The latter is evidenced on songs like "Stitch" which is certain to incite frenzied mosh pits for years to come and displays an aggression that the band has only hinted at in the past.

    "We really tried to not overthink things on this record and just do whatever worked for the song, even if it was something that people might not necessarily expect," Quistad says. For this reason, the band decided it made sense to enlist the aforementioned producers who truly understood Wage War on a deep level. "There were so many early mornings and late nights making this record and it was such a pleasure to work with Andrew and Jeremy again because you could tell that they really cared about it and would go to any ends to make it the best that it could be." From the explosive production to the alternately screamed and sung vocals of "Don't Let Me Fade Away," all seven of the people involved in the making of TBA worked as one unit in working toward the same collective goal.

    Lyrically, Deadweight sees the band exploring both personal to political issues in a way that's as raw and honest as the music that supports them. "This record is very much a snapshot of the past year; we are all very positive people but in 2016 we went through so much from seeing the world for the first time to scraping the bottom at some point emotionally or with relationships," Quistad admits. From 3 a.m. run-ins with refugees in Europe to flying home only to be confronted with the aftermath of the Pulse nightclub shooting in Orlando, there was no shortage of content to draw from this time around. "We didn't hold anything back when it came to this record, so hopefully it's as therapeutic for listeners as it was for us."

    In a heavy music scene that's increasingly formulaic, Wage War pride themselves on the fact that they listen to a diverse range of music. "I'm a big fan of country music which surprises a lot of people and other guitarist Seth is really into pop music," Quistad explains. "We have an appreciation for all kinds of stuff and I think that all of it bleeds into the album in some way even if it's not always blatant." Take the song "Johnny Cash" which recalls the country tradition of paying homage to a pioneer of a genre while still retaining the heaviness of the act. "We get called metalcore a lot but we've never pledged allegiance to any genre because we always want to do something beyond that in the sense that we just listen to what we love and try to incorporate that into Wage War."

    More than anything though, the band can't wait to get back on the road and start playing the songs from Deadweight live. "We played three hometown shows at the end of last year where we would include a new song and it was so cool to see the crowd react to the new material," Quistad says - and it's obvious that palpable excitement goes both ways. "This album is the truest representation of Wage War in the sense that we wanted to put every part of us under the microscope and come up with something that we're not only proud of but also encompasses what we want to be as a band and the kind of musical statement we want to lay down," he summarizes. "I would say this is a defining album for our band."

    This title is not eligible for further discount.

    1. Two Years
    2. Southbound
    3. Don't Let Me Fade Away
    4. Stitch
    5. Witness
    6. Deadweight
    7. Gravity
    8. Never Enough
    9. Indestructible
    10. Disdain
    11. My Grave Is Mine To Dig
    12. Johnny Cash
    Wage War
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • 409 409 Quick View

    $22.99
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    409

    Purple play pop music. Messy, dirty, raucous, grit-spitting, tequila-glugging pop music. They do not apologise for this. They have a big streak of it running skunk-like up their backs and through urgent tunes full of indie-punk snarl and piss and vinegar, but driven by grooves deep enough to rival any hop-hop classics. They are wrestling pop away from the world of vocoders, slick dance routines and coquettish airheads and bringing back to where it belongs: to the beach, to the house party, dancing on the table in that bar you need a fake ID to get into. They like to bare flesh and play until they bleed. Good things followed: a huge local following, two managers and endless touring.


    '(409)' is the name of the area code for their East Texas neighbour and the name of Purple's debut album produced by Chris 'Frenchie' Smith (...Trail Of Dead, Jet ). Recorded in El Paso, '(409)' is an album that's borne out of endless jams and no shortage of live shows where Purple offer a combination of the explosive and the celebratory. Instruments are abused and crowds are surfed; their shows are somewhere between the wild, fleshy abandonment of early White Stripes. "We're positive people," shrugs Busby. "We're always looking for the party somewhere. Or maybe we are the party."


    Pop is there in the 60s garage-influenced brilliance of 'Beach Buddy', a song propelled by a dual girl/boy vocal and the same endless summer joie de vivre of Ramones, Black Lips and Weezer . The chorus is an earworm that burrows deep. It's there too in 'Wallflower', a joyously uplifting song that flips the usual script and sees a girl ardently - some might say aggressively - pursuing an admirer through the upended bottles, overflowing ashtrays and tangled limbs of a party: "I'm a girl - you're supposed to be chasing me!" With definite shades of Bikini Kill and No Doubt it's the best femme-punk song we've heard in an aeon. 'Head On The Floor' meanwhile is a proto-grunge song that swings like early Hole and has a whole of soul.


    '(409)' is certainly an album with sand in its shoes and a rocket up its ass. It transports you to a better place. Listening to Purple quickens your pulse. Gives you the sweats. Has you reaching for a cold one. And then another. And then ten more. They make you feel alive. They are good for you.

    1. Wallflower
    2. Double Nickels
    3. Leche Loco
    4. Beach Buddy
    5. Thirteen
    6. Target
    7. Head On The Floor
    8. Liquor
    9. New Born
    10. DMT
    Purple
    $22.99
    Vinyl LP - Sealed Buy Now
  • Beast Beast Quick View

    $19.99
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    Beast

    Imagine a creature laying dormant beneath the earth, in an inhuman slumber since a time long forgotten. This creature reawakens, cracks up through the ground and finds a world it barely recognizes. Chaos, disorder, brutality, bloodthirst and terror are all around. Seeking to restore some sense of order to its surroundings, the creature adopts the destructive nature it witnesses in man and begins a vengeful quest for power.


    Mythology, fable and metaphor collide with "Beast", a blistering new album marking the return of DESPISED ICON. The genre-defining band is fully reawakened, poised to recapture the crown with the monstrous and merciless might of their potent expression. Featuring the men responsible for most of the band's now classic death metal catalog, "Beast" is a vicious commentary on the state of the world and the state of music itself.


    This is old school DESPISED ICON reminiscent of "The Healing Process" (2005) and "The Ills Of Modern Man" (2007), but cast through an ultra-modern lens, carrying with it the experience and driven purpose of a band secure in their identity and their legacy. Without sacrificing the creative leaps of what many feared would be their final album, "Day Of Mourning" (2009), DESPISED ICON renew their focus on the collision of dual vocals, technical wizardry, precision dexterity and massive bottom end they helped to pioneer.


    'The Aftermath' kicks off the album with brutal immediacy, encompassing the full scope of what's ahead with unrelenting attack and classic death metal flair. 'Inner Demons' will have guitar teachers and drum instructors pulling their hair out in frustrated angst, while songs like 'Bad Vibes' put the impossible sounding shred workouts on the backburner in favor of brute force. Throughout the album, deep grooves reminiscent of the best of OBITUARY, DYING FETUS, INTERNAL BLEEDING, or even BIOHAZARD pulse within the fierce aggression. There's melody to be found in songs like the French-language 'Drapeau Noir.' The dual vocal style DESPISED ICON fans love is as unrestrained as ever.


    For many extreme music fans, it may be hard to remember a time before DESPISED ICON, given the massive influence they've subsequently had on the genre. But when the group formed back in 2002 and released "Consumed By Your Poison" the same year, there was little intersection between the sounds of classic death metal and the brute force of hardcore. The "metalcore" genre had been in full swing for some time and plenty of those bands had experimented with elements of death metal. But DESPISED ICON were among the first to fully embrace the signatures of the traditional death metal formula combined with a relentless embrace of breakdowns, part of an emerging new sound.


    DESPISED ICON steadily built a following through hard touring with CRYPTOPSY, SUFFOCATION, IMMOLATION, DEICIDE, MORBID ANGEL, BEHEMOTH, HATEBREED and NAPALM DEATH. The diversity of sounds demonstrated by that list of bands is evidence of DESPISED ICON's broad appeal. Before too long, a new subgenre bubbled up from the underground, built around bands like DESPISED ICON, SUICIDE SILENCE, ALL SHALL PERISH, CARNIFEX and JOB FOR A COWBOY. Like many genre tags, "deathcore" became something of a controversial and uncomfortable albatross for many of the associated bands at various times. But the impact of what is unquestionably an exciting variation of extreme music is undeniable.


    DESPISED ICON now boldly reclaims their legacy without reservation or apology. Since the time of the band's dissolution - the result of professional burnout, the shifting priorities and responsibilities that come with adulthood and the need for a creative recharge - the group's members were able to explore different textures with groups like OBEY THE BRAVE and HEAVEN'S CRY. The time apart has only strengthened their resolve when it comes to the purity of what DESPISED ICON means to them as well as to their worldwide fans.


    From the savagely unhinged vocals to the inexhaustible pound of the blast beats, DESPISED ICON's new album is a swift reminder that this band is one of the originators of a powerful movement in extreme metal. The "Beast" is reawakened and ready to rumble. DESPISED ICON is back, ladies and gents, with no frills, no bullshit, and just total power.

    1. The Aftermath
    2. Inner Demons
    3. Drapeau Noir
    4. Bad Vibes
    5. Dedicated to Extinction
    6. Grind Forever
    7. Time Bomb
    8. One Last Martini
    9. Doomed
    10. Beast
    Despised Icon
    $19.99
    Vinyl LP - Sealed Buy Now
  • Blood On The Tracks (On Sale) Blood On The Tracks (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Blood On The Tracks (On Sale)

    Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain


    Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear



    Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond


    Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain


    The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity


    Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.


    A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.


    For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.


    Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.


    Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for further discount.

    1. Tangled Up in Blue
    2. Simple Twist of Fate
    3. Youre A Big Girl Now
    4. Idiot Wind
    5. Youre Gonna Make Me Lonesome When You Go
    6. Meet Me in the Morning
    7. Lily, Rosemary and the Jack of Hearts
    8. If You See Her, Say Hello
    9. Shelter From the Storm
    10. Buckets of Rain
    Bob Dylan
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Catacombs Of The Black Vatican Catacombs Of The Black Vatican Quick View

    $22.99
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    Catacombs Of The Black Vatican

    Catacombs of the Black Vatican will stand as an enduring testament to Black Label Society s sheer force of will and mastery of each and every musical neighborhood the hard rock titans choose to stomp through. The aggressive bite of the barnstorming BLS banger Damn the Flood sits comfortably right alongside the stripped down, emotionally searing Angel of Mercy, Scars and Shades of Gray. The album's opening tracks, Fields of Unforgiveness and lead single My Dying Time, drop the throttle into swampy, down-tempo menace that wouldn't sound out of place in a Classic Rock band's catalog nor at the creative height of the grunge era.


    There's a beauty in caveman like simplicity, in the break-bottles-and-break-necks gusto of a loud power chord. To many listeners, Wylde invented pinch harmonics every bit as much as Chuck Berry s dreamt up the duck walk. When the Guitar Hero franchise was all the rage, Wylde was a playable character in the game.


    Every time you're going to make a new record, it's exciting, he says of the run-up to the creation of Catacombs of the Black Vatican. When you're in the studio you can approach it like Salvador Dali where you've got a blank canvas in front of you. You can paint a little bit, sit back and look at it and go, Oh man, let's add a little more red over here, let's make this darker over there. Because live? It's a free-for-all. People are bleeding. There's fire going on. You're getting attacked by grizzly bears.

    1. Fields of Unforgiveness
    2. My Dying Time
    3. Believe
    4. Angel of Mercy
    5. Heart of Darkness
    6. Beyond the Down
    7. Scars
    8. Damn the Flood
    9. I've Gone Away
    10. Empty Promises
    11. Shades of Gray
    Black Label Society
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Nightbringers (Pre-Order) Nightbringers (Pre-Order) Quick View

    $25.99
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    Nightbringers (Pre-Order)

    Any band that has earned an army of devout followers through dropping seven killer full-lengths - and touring their collective ass off for sixteen years - could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that's just not The Black Dahlia Murder's style, and Nightbringers is testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015's Abysmal, the Michigan quintet have once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. "I always feel a responsibility to the people who support this band when we start making a new record," asserts vocalist Trevor Strnad. "The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it's so exciting that those people love you so much for just doing what you do. It makes you want to honor what you've done in the past, but also excite them with where you go next, and that definitely drove us on Nightbringers. When we started writing I honestly didn't know we had this album in us, and I feel really proud of it. It's a great moment for us."


    Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach - who co-founded the band with Strnad in 2001 - and new recruit Brandon Ellis (Cannabis Corpse/ex-Arsis) Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band's ranks has helped usher in an exciting new era. "He's very professional for his age, I think he's skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon's pushed that even further," states Strnad. "Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it's definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we're putting across." Strnad's statements are vividly borne out by every moment of Nightbringers. For fans attending 2017's Summer Slaughter tour, the first taste of of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a "circusy, evil and playful" air. By contrast, "Catacomb Hecatomb" is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to "As Good As Dead", which has some swagger to it that Strnad likens to Megadeth, or "Matriarch", described by Eschbach as a "wild, neoclassical romp" and stands as one of the most cutthroat and all out aggressive tracks in the quintet's arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. "I felt inspired to write very violent lyrics to it. It's told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach." While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album's title, which embraces a tenet that has been central to The Black Dahlia Murder's output since the very beginning. "A lot of archaic ideas that are still upheld - such as marriage and monogamy - came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It's 'being-the-villain music', because we're the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it's for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and "Kings Of The Nightworld" are about leading a legion of awakened minds into battle." Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. "I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn't feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things, and definitely trying in different ways to take down tradition."


    Rather than decamp to a single studio, the members split off when it came time to start laying down the songs - all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars in the band's practice space in Warren, Michigan [was bass tracked there too?]. Ellis then recorded his many blistering solos in his home studio, while Strnad headed to Full Force Studios on Long Island, with Joe Cincotta (Suffocation, Internal Bleeding) overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wåhlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM's 2007 release, Nocturnal. "I think he's the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of Nocturnal felt right. By now people probably wouldn't have expected us to go back to him, so it's kind of a surprise, but at the same time it's a very classic cover too." With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. "When I think back to when we started the band I feel very proud of everything we've done, and I also see a lot of improvement over the years," says Strnad. "In the early songs I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in I still feel young as a band. I feel like we have a shit ton left to do, and I think we're sitting pretty with the best lineup we've ever had. I also think Nightbringers could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people's ears, and I want them to check out everything we've got on this record. There's so much variety and so many great ideas, and I think that this could take us to another place."

    1. Widowmaker
    2. Of God and Serpent, of Spectre and Snake
    3. Matriarch
    4. Nightbringers
    5. Jars
    6. Kings of the Nightworld
    7. Catacomb Hecatomb
    8. As Good as Dead
    9. The Lonely Deceased
    The Black Dahlia Murder
    $25.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
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