Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
LP20 - 20% Off Vinyl
Home > Products for: '

Burn My Eyes

'
  • 1
Results per page:
  • Burn My Eyes (Awaiting Repress) Burn My Eyes (Awaiting Repress) Quick View

    $22.99
    Buy Now
    x

    Burn My Eyes (Awaiting Repress)


    180 Gram Gold Colored Vinyl


    Limited To 1500


    Released to massive European acclaim, Machine Head's full-length debut, Burn My Eyes, successfully bridges the gap between second-generation Bay Area thrash (Testament, Death Angel, etc.) and the modern-day Pantera school of hard knocks. Produced by underground stalwart Colin Richardson, Burn My Eyes is a bone-shattering exercise in brutality that gives Pantera's classic, Vulgar Display of Power, a good run for its money. A veteran of the Bay Area thrash scene, guitarist/vocalist Robb Flynn emerges as Machine Head's anchor. As guitar player of the riff-heavy yet vocally challenged band Vio-Lence, Flynn had already distinguished himself as a riff-making machine on tracks like Serial Killer and Kill on Command. Interestingly, with the release of Burn My Eyes, every effort was made to cover up Flynn's involvement with his ex-bandmates. Looking back at it, it's easy to understand why. Because of the quick word of mouth in the underground metal community, comparisons to his ex-bandmates would have limited the impact of the record, possibly thwarting its merits. If Vio-Lence held promise, Machine Head was a different proposition all together. Anthems like Davidian are monstrous slabs of metal that, by far, eclipse anything Flynn had previously done. Nevertheless, Burn My Eyes is a classic debut and one that helped launch a huge European groundswell for the band that would result in a tour as Slayer's support act. A few months later, the Head would return and headline the very same venues in which they'd opened for Slayer.


    - John Franck (All Music Guide)

    1. Davidian
    2. Old
    3. A Thousand Lies
    4. None But My Own
    5. The Rage to Overcome
    6. Death Church
    7. A Nation on Fire
    8. Blood for Blood
    9. I'm Your God Now
    10. Real Eyes, Realize, Real Lies
    11. Block
    Machine Head
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Ruminations Ruminations Quick View

    $22.99
    Buy Now
    x

    Ruminations

    This past winter, Conor Oberst found himself hibernating in his hometown of Omaha after living in New York City for more than a decade. He emerged with the unexpectedly raw, unadorned solo album Ruminations, available on Nonesuch Records. I wasn't expecting to write a record, says Oberst. I honestly wasn't expecting to do much of anything. Winter in Omaha can have a paralyzing effect on a person but in this case it worked in my favor. I was just staying up late every night playing piano and watching the snow pile up outside the window. Next thing I knew I had burned through all the firewood in the garage and had more than enough songs for a record. I recorded them quick to get them down but then it just felt right to leave them alone.


    Oberst went to ARC, the studio he built with his Bright Eyes bandmate and longtime friend Mike Mogis, to record that music. With the help of engineer Ben Brodin, he recorded all the songs in the span of 48 hours. The results are almost sketch-like in their sparseness, and they ultimately became the songs that comprise Ruminations. These tracks do not have the multi-layered instrumentation of the most recent Bright Eyes and solo albums: This is Oberst alone with his guitar, piano, and harmonica; the songs connect with some of the rough magic and anxious poetry that first brought him to the attention of the world, while their lyrical complexity and concerns make it obvious they could only have been written in the present. Conor Oberst has several live dates scheduled, including intimate solo performances in November and December at venues such as New York's Carnegie Hall and Nashville's Ryman Audtorium.

    1. Tachycardia
    2. Barbary Coast (Later)
    3. Gossamer Thin
    4. Counting Sheep
    5. Mamah Borthwick (A Sketch)
    6. The Rain Follows the Plow
    7. A Little Uncanny
    8. Next of Kin
    9. You All Loved Him Once
    10. Till St. Dymphna Kicks Us Out
    Conor Oberst
    $22.99
    Vinyl LP - Sealed Buy Now
  • Gord Downie, The Sadies, And The Conquering Sun Gord Downie, The Sadies, And The Conquering Sun Quick View

    $22.99
    Buy Now
    x

    Gord Downie, The Sadies, And The Conquering Sun

    Gord Downie, The Sadies, And The Conquering Sun begins with Crater, a ragged anthem that erupts with frayed guitar and thundering rhythm. Dallas and Travis Good's trudging riffs light the low-slung growl of Gord Downie:


    Hello there / Gentle Son / A crater / We're creating!


    Crater is an arrival: the mission statement of a young band unhinged, igniting ten songs of visceral punk rock exultation. Gord Downie, The Sadies, And The Conquering Sun is a spirited exploration of the darkness surrounding daylight, a rallying cry from the Secret Museum of Mankind:


    Crater! / Getting crushed in our dreams / Or in our dreams / Doing all the crushing


    Downie's words burn in unison with the charging Sadies, the mantra of a band forged out of primal necessity. This album is a vital, reckless, and ecstatic moment, gleaming with the proud imperfections of a group discovering its voice.


    It came together urgently but slowly, after the long-time Toronto friends first recorded together for Lake Ontario Waterkeepers in 2006. Fleeting sessions over the next seven years yielded finished songs in immediate, alchemical takes. Gord Downie, The Sadies, And The Conquering Sun is the action of first-thought-best-thought.


    The project's namesake, The Conquering Sun fuses The Sadies' rusted psychedelia with Downie's humble, volatile wail. Mike Belitsky's roiling drums, and Sean Dean's sure, standing bass spur the band through uncharted desert-scapes.


    Working the fugitive dust / Under the conquering sun / Nature, please be good to us / Under the conquering sun


    Each song brims with energy, electricity embellishing a simple, rustic core. Acoustic inflections are cached in the album's array of fiery environments, staggering in its balance of ferocity and craft.


    Downie cries out possessed on It Didn't Start To Break My Heart Until This Afternoon: a pulsating blast of brash guitars and fuzzed-out gnarl.


    Drive it like we stole it / Through the snowflakes, into the cold of the sun


    On Budget Shoes, guitars shine over the tumbling bedrock of desolate but hopeful imagism. Downie writes in a universal voice, with a chorus taunting shadow from light. On Los Angeles Times, nations gather under that conquering blaze, singing unanimous poetry of promise and provocation:


    Raise a glass of hope / Raise a glass of liberty / And a glass of something else / May we be at ease with ourselves!


    The Sadies' effortlessly invoke this primitive emotion, intuiting Downie's themes with rollicking instrumental passages. On Devil Enough, Downie's solemn musings are liberated by The Sadies' roving plainsong; sobering internal sentiment brought to life with the flame of improvisation:


    You're making me drop things / I can't hold my cup / My state of being / Isn't what it was / The light the light / And my eyes adjust / What?s for sure is Devil Enough


    One Good Fast Job sneers like a siren, blunt guitars circling Downie's snarl. Demand Destruction pops with environmental pressure, coaxing an answer to a nuclear dilemma:


    And as the sun went down behind the shadow / Of this invisible war / You say, Is this accident ever over anymore?


    Gord Downie, The Sadies, And The Conquering Sun spans depths and ages in its relentless half-hour, before concluding on an only note of reprieve. Saved dwells in the light of darkness, capturing our silent vibration of debt to the source. The album's last moments glint in the rapturous calm of collective awe:


    You say nothing can be saved / It all goes away / Darkness falls and colours fade / And the music gets so loud it flaps your pant legs


    Gord Downie, The Sadies, And The Conquering Sun boils with hope and irreverence; toils with fire as a tool and a curse. This is the combustion of brotherhood and dissent: music of wisdom and innocence:


    It is the work, day is your word, night is the glue.


    by Jonathan Shedletzky

    1. Crater
    2. The Conquering Sun
    3. Los Angeles Times
    4. One Good Fast Job
    5. It Didn't Start To Break My Heart Until This Afternoon
    6. Budget Shoes
    7. Demand Destruction
    8. Devil Enough
    9. I'm Free, Disarray Me
    10. Saved
    Gord Downie, The Sadies, and The Conquering Sun
    $22.99
    Vinyl LP - Sealed Buy Now
  • Defying Gravity Defying Gravity Quick View

    $20.99
    Buy Now
    x

    Defying Gravity

    Mr Big's new album, DEFYING GRAVITY deftly showcases that patented MR. BIG blend of crunch and melody, from the freight-train ride of opening cut Open Your Eyes to the harmony-laden wonderment of Damn I'm in Love Again to the grateful/wistful nostalgia of 1992 (recalling the days when the band was flying high atop the singles charts with their international #1 smash To Be With You) to the barn burning slide-blues closer, Be Kind. Overall, DEFYING GRAVITY is prime evidence that the only thing MR. BIG remains tethered to is their ongoing pursuit of achieving creative excellence.

    Original members Eric Martin (lead vocals), Paul Gilbert (guitars), Billy Sheehan (bass) and Pat Torpey (drums) reunited with producer Kevin Elson (who was behind the boards for the band's 1989 self-titled debut, 1991's LEAN INTO IT and 1993's BUMP AHEAD) for an intensive six-day recording session in Los Angeles. While Torpey was unable to perform some of the songs on DEFYING GRAVITY due to a recent diagnosis of Parkinson's disease, Matt Starr has been filling in for him on a majority of the album. Starr also been touring with the band for the past couple of years, with Torpey able to play a couple of songs at each stop.

    It was great to get back in the studio with our original producer, Kevin Elson, says guitarist Paul Gilbert. Kevin recorded all of our original classic albums from the '80s and '90s, and we immediately felt that magic chemistry with him on DEFYING GRAVITY. We basically played live in the studio. Over the years, we've all had a chance to experiment with every recording technique possible, but it's still always the best just to play together as a band. Most of my guitar solos were tracked live with the band. I've worked hard on my improvisation in the last few years, and it really paid off on this record both melodically, and on the face-melting stuff.

    DEFYING GRAVITY is the follow-up to 2014's THE STORIES WE COULD TELL (Frontiers Music Srl), which Ultimate-Guitar.com described as An exceptional offering of accelerated hard rock from one of the more dominant 'supergroups' of the late 1980s, MR. BIG return with a vengeance on THE STORIES WE COULD TELL.

    1. Open Your Eyes
    2. Defying Gravity
    3. Everybody Needs a Little Trouble
    4. Damn I'm In Love Again
    5. Mean to Me
    6. Nothing Bad (About Feeling Good)
    7. Forever and Back
    8. She's All Coming Back to Me Now
    9. 1992
    10. Nothing At All
    11. Be Kind
    Mr. Big
    $20.99
    Vinyl LP - Sealed Buy Now
  • Indoor Living Indoor Living Quick View

    $21.99
    Buy Now
    x

    Indoor Living

    With a lot of Superchunk products, it's easy to think there's a simple message because
    the music is so direct. But on Indoor Living, typically unfussy guitar hooks and
    shout-sung tag lines that beg for an audience to croon along-"Let's burn last
    Sunday"-are just the overarching structure of a record that moons over details:
    "Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos
    twisting apart ("The arc of lights / above your head / is not to be believed").
    "Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a
    search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted
    space is mine / Yeah I hardly have the right to sing about it."


    Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone
    can write a break-up record, anyone can color in a broken heart all black. It takes a
    more sophisticated eye to find the light and perfect moments that happen even when
    we wish they didn't, and Indoor Living is a scrapbook of those moments. A request
    for mercy comes across like an in-joke ("We both know that I've got bad knees") in
    "Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly
    fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy
    ("Hold my hand steady while I write / Look over my shoulder all night"). Even "The
    Popular Music," the record's angriest slice of heartache, has a protagonist that can't
    quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left
    me to use," but "making mosaics of scenes from the parts of my life that you left me
    to lose."


    Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy,
    knowing you won't is hard. Adulthood is about forsaking the black and white
    resolutions of youth for a more complicated, and resonant, resilience: From "Burn
    Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd
    break / Well, they just bend." In music and with people, maturity happens when the
    sharp edges and jangly rhythms of angst and outrage give over to fuller conversations.
    Indoor Living shows that you don't have to lose a single joule of energy in becoming a
    little more self-reflective. You just have to be willing to take it all in.


    Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I
    wanted it to be. Though of course-of course!-I've listened to the record on and
    off in the intervening time, I had forgotten how familiar this record is to me. I had
    forgotten I knew all the words to every song, could anticipate every hesitant drop in
    rhythm and wavering chorus. This record was the soundtrack of being 25 and because
    of that, it does remind me of a really specific time; but that time is not so much the
    late '90s as the turning point between adolescence and adulthood, which happens later
    and later to me every year.


    -Ana Marie Cox, 2013

    1. Unbelievable Things
    2. Burn Last Sunday
    3. Marquee
    4. Watery Hands
    5. Nu Bruises
    6. Every Single Instinct
    7. Song for Marion Brown
    8. The Popular Music
    9. Under Our Feet
    10. European Medicine
    11. Martinis on the Roof
    Superchunk
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Meetle Mice Meetle Mice Quick View

    $16.99
    Buy Now
    x

    Meetle Mice

    The music contained on these albums I wrote while in college (and a few while in high school) when I was just discovering computer music. I wrote them for fun, never planning on doing anything with them at the time or expecting them to be heard outside of my circle of friends. When I was asked to play a show on campus I thought it might be a good idea to burn some CD-Rs and try to sell them at the show.


    Going through my files, I found the pieces that I liked the most, grouped them into two different collections and gave them the most appropriate/absurd titles I could think of. Many of the song titles are absurd or toy with the idea of what is offensive and what is not, many of them created as a commentary on the super politically correct atmosphere that was Purchase College in the early 2000s.


    The organization of the songs was somewhat thought out but mostly chaotic: make sure the granular synth pieces are far from each other; keep the songs with beats spread out; sound collages placed amongst sine wave drone pieces. They were more like compilations of my experiments than albums of compositions.


    I made only 8 CD-R copies of each in photocopied sleeves with contact paper on the discs. I sold all but 1 of each for $7 or two for $10. Explosions were going off in my head, dollar signs appearing in my eyes. Making $70 from selling CD-Rs was blowing my mind. I started selling them at every show, even though the music contained on them didnt represent what I ever performed live, since the music on Meetle Mice and Silly Hat was never meant to be performed live (except for the acoustic ensemble pieces).


    The CD-Rs and artwork are riddled with mistakes. Theres digital clipping on many of the tracks; Silly Hat vs. Egale Hat was meant to be Silly Hat vs. Eagle Hat; copy write should have been copyright, etc., but I thought the typos were funny and kept it with each batch of the CD-Rs. Since I was only selling them on campus or a few shows in NYC it didnt really matter. I hated stuff that took itself too seriously so keeping my spelling mistakes glaring was important to me. And considering the music was made in a vacuum with no intention of it ever seeing the light of day, it made sense to keep all the errors in their original state (true of this reissue as well (the artwork was scanned from the original run of 8)).


    I was a very different musician back then trying to figure out how to interact with sound, what could be done with it, where it could go, learning music software for the first time, and discovering many more genres of experimental music than what I was exposed to in my youth on Long Island. It was an exciting time! Since then my aesthetic has shifted, my absurdist mindset subdued and Ive been exposed to a global audience. At times I feel like these albums are skeletons in my musical closet, knowing how easily parts of them could be taken out of context by a media that loves to take things out of context. But these records were made without knowledge of that media world. Theres an innocent ignorance to them that none of my other records will ever be able to have, an ignorance lost to experience.


    These albums are like seeds. They sound, look and feel very different from the fruit that theyve grown but they are still of the same tree. I hope you enjoy listening to them as much as I enjoyed making them. - Dan Deacon

    1. BJI Aii Hmhp #14
    2. Never Do That (Mars)
    3. Biggle Hat Was Ice Cream Time (Card Shark Nose Nose)
    4. 30 (from 21 through 35)
    5. Electronics With Clarinet and Bari Sax
    6. Song For Dina
    7. My own face is F word
    8. Drinking Out of Cups
    9. sdahgsfdgh3frgha3wffhjdvbjs4uh
    10. The Adventures of Mr Bumbershine
    11. Thats A Nice Shirt (Dad)
    12. Aerosmith Permanent Vacation 24162-2
    13. Plums
    14. Im So Gay with The Boner
    15. Aw Ah Ah Ah (Party Cakes)
    16. My Weasle Is Married Worm Married
    17. I Have AIDS
    18. 005 September 22 BE
    Dan Deacon
    $16.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Silly Hat Vs. Egale Hat Silly Hat Vs. Egale Hat Quick View

    $16.99
    Buy Now
    x

    Silly Hat Vs. Egale Hat

    The music contained on these albums I wrote while in college (and a few while in high school) when I was just discovering computer music. I wrote them for fun, never planning on doing anything with them at the time or expecting them to be heard outside of my circle of friends. When I was asked to play a show on campus I thought it might be a good idea to burn some CD-Rs and try to sell them at the show.


    Going through my files, I found the pieces that I liked the most, grouped them into two different collections and gave them the most appropriate/absurd titles I could think of. Many of the song titles are absurd or toy with the idea of what is offensive and what is not, many of them created as a commentary on the super politically correct atmosphere that was Purchase College in the early 2000s.


    The organization of the songs was somewhat thought out but mostly chaotic: make sure the granular synth pieces are far from each other; keep the songs with beats spread out; sound collages placed amongst sine wave drone pieces. They were more like compilations of my experiments than albums of compositions.


    I made only 8 CD-R copies of each in photocopied sleeves with contact paper on the discs. I sold all but 1 of each for $7 or two for $10. Explosions were going off in my head, dollar signs appearing in my eyes. Making $70 from selling CD-Rs was blowing my mind. I started selling them at every show, even though the music contained on them didnt represent what I ever performed live, since the music on Meetle Mice and Silly Hat was never meant to be performed live (except for the acoustic ensemble pieces).


    The CD-Rs and artwork are riddled with mistakes. Theres digital clipping on many of the tracks; Silly Hat vs. Egale Hat was meant to be Silly Hat vs. Eagle Hat; copy write should have been copyright, etc., but I thought the typos were funny and kept it with each batch of the CD-Rs. Since I was only selling them on campus or a few shows in NYC it didnt really matter. I hated stuff that took itself too seriously so keeping my spelling mistakes glaring was important to me. And considering the music was made in a vacuum with no intention of it ever seeing the light of day, it made sense to keep all the errors in their original state (true of this reissue as well (the artwork was scanned from the original run of 8)).


    I was a very different musician back then trying to figure out how to interact with sound, what could be done with it, where it could go, learning music software for the first time, and discovering many more genres of experimental music than what I was exposed to in my youth on Long Island. It was an exciting time! Since then my aesthetic has shifted, my absurdist mindset subdued and Ive been exposed to a global audience. At times I feel like these albums are skeletons in my musical closet, knowing how easily parts of them could be taken out of context by a media that loves to take things out of context. But these records were made without knowledge of that media world. Theres an innocent ignorance to them that none of my other records will ever be able to have, an ignorance lost to experience.


    These albums are like seeds. They sound, look and feel very different from the fruit that theyve grown but they are still of the same tree. I hope you enjoy listening to them as much as I enjoyed making them. - Dan Deacon

    1. My Name Is Robert
    2. ksjfhgljkhertykjlehgskjhkjvhda
    3. Sound Events (Live)
    4. Shit Slowly Applied On Cock Parts
    5. The House I Was Isn't My Girlfriends Porshe
    6. Missy Modle x 1000
    7. Spring
    8. I Will Always Have Juice Today
    9. Glass and Metal
    10. It's Not As It's Going Downtown
    11. Junior High Band With Trucks and Dogs
    12. 4400440044040 with Dufus and The Beatles
    Dan Deacon
    $16.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Balmorhea Balmorhea Quick View

    $16.99
    Buy Now
    x

    Balmorhea


    ...an exemplary experiment in restraint, lush with
    a slow-burning, wordless, and ambient Americana
    that manages to captivate while avoiding the
    histrionics of its post-rock forebears.
    - THE NEW YORKER


    ...they create minimalist, cinematic music that
    combines modern, experimental acoustic sounds
    with classical qualities.
    - NPR


    This - not steak finger baskets or soft-serve ice
    cream - is what you should like about Texas.
    - The ONION / A.V. CLUB


    Balmorhea flashes brilliance only to highlight a
    slow-burning constancy that's at the core of one
    of the year's early slow wonders.
    - PITCHFORK


    For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined
    their creative partnership as the core members of the band Balmorhea. Though their first
    album on Western Vinyl Rivers Arms (2008) garnered some remarkable press, their
    self-titled debut, recorded in 2006 and released in 2007 best captures the duo's unique
    magic as it first blossomed. With no label, distributor, manager, publicist, or booking agent
    the duo quietly self-released their first recordings and started playing live shows. Now,
    seven years later Western Vinyl is honored to have the opportunity reissue the band's
    self-titled album, and make it available on vinyl for the first time ever.


    In preparation for this special reissue, the audio was lovingly remastered, drawing out
    even more of the nuances magnifying the sounds of Muller and Lowe's fingers on the
    instruments, and teasing out the textures that set these recordings apart from the rest of
    their catalog. Simple and sincere, these songs and ambient sounds the duo captured in
    these recordings are strangely inviting. Throughout the album the distant sounds of Texas
    grackles, the warm summer rain, the steady rhythm of crickets chirping, and creaking
    wooden stools, all seeping in to cradle the notes in a restrained din of primordial wonder.


    It's hard to imagine Western Vinyl without Balmorhea. After our fateful meeting in 2007,
    we forged a deep and lasting relationship we're all grateful for. We met at an Austin performance on the eve of their first US tour in support of their recently self-released debut
    album. Their show that night was one of the most powerful performances I'd ever seen,
    and as I looked around the room, it was apparent that I wasn't alone. With the help of a
    cellist the group briefly transformed the dingy lounge into a vibrant pulsing cell. I had
    experienced deeply moving shows before, but the ecstatic emotions they conjured were
    new to me. Calling it electrifying, might sound clichÉ, but as the hair on my arms and legs
    stood at attention, my eyes squinted a bit with concentration, and my head cocked to the
    right, the electricity that passed over me felt very real. Over the next few years I had the
    pleasure of experiencing dozens of Balmorhea shows, each with a slightly different story
    to tell. - Brian Sampson, Western Vinyl

    1. Attesa
    2. Baleen Morning
    3. Dream of Thaw
    4. In The Rowans
    5. A Circumnavigation
    6. En Route
    7. If You Only Knew The Rain
    8. And I Hear The Soft Rustling...
    9. We Will Rebuild With Smooth Stones
    Balmorhea
    $16.99
    Vinyl LP - Sealed Buy Now
  • Salome Salome Quick View

    $18.99
    Buy Now
    x

    Salome

    Marriages is a new band comprised of Red Sparowes members Emma Ruth Rundle (vocals, guitar), Greg Burns (bass, synthesizer) and David Clifford (drums). Their sound is a singularly sensual kind of heavy, dramatic rock, but perhaps the most stark contrast to their other band, Marriages employs vocals in their songs. Their music is also considerably darker and more experimental, drawn from a wide range of styles and ideas. Emma's breathy, understated delivery provides a focal point, the eye of the proverbial storm. A haunting presence, as elusive as it is alluring, her voice is a shore upon which waves of overdriven bass, thunderous drums, and cosmic guitars and synths swell and crash.


    Kitsune is their 6-song debut release, a short introduction of an album whose undeniably epic proportions suggest massive things to come. Recorded with the formidable Toshi Kasai (Melvins, Red Sparowes, Tool) at the controls, Kitsune presents a collection of poignant, emotionally-charged tracks that wriggle free of easy classification. The comparisons are diverse; Cocteau Twins and Zola Jesus would appear to be as influential as Boris and Godspeed You! Black Emperor. The songs came together quickly as the band wrote and played their first shows in November of 2011 and wrapped recording in January of 2012.


    Album opener Ride in My Place sets the tone, immediately revealing the undulating, reverb-cloaked darkness at the band's core. Sounding not unlike PJ Harvey fronting an overdriven rendition of Pink Floyd's Echoes, the fittingly-titled song arrives as a fully-formed companion piece for expansive landscapes, perhaps traversing the vastness of the American west. Hardly overstaying its welcome, the track soon gives way to Body of Shade, whose cryptic lyrics suggests a sort of transcendence echoed in the music itself while Clifford's steady backbeat, the tense rhythm and the swirling interplay of synth and cascading guitars recall the finer moments of The Verve's early recordings.


    Opening with a celestial keyboard loop and quickly gaining weight, third track Ten Tiny Fingers builds upon a heavy dirge-like rhythm punctuated by Rundle's vocals, which by now clearly occupy a place among esteemed peers such as Chelsea Wolfe and label mate Lisa Papineau. The song's cryptic, claustrophobic lyrics, contrasted with a loose (but by no means less thunderous) atmosphere and sense of impending collapse bring to mind The Cure, circa Pornography. The next track, Pelt, is born from the decaying remnants of Ten Tiny Fingers. A menacingly hypnotic three-minute meditation on minimalist doom, it serves as the perfect introduction to the distorted, bass-driven hard rock and wailing psychedelia of instrumental track White Shape.


    Seven-minute closer Part the Dark Again is a song whose cinematic scope recalls precisely the kind of grandiosity the Red Sparowes are synonymous with, taken to its logical extreme. The impassioned, struggling-against-the-odds sentiment of the vocals takes things over the top emotionally, culminating in a soaring, melancholic riff that grinds to a halt far earlier than you'd expect. Throughout, Rundle unassumingly steps to the forefront, showcasing her unique talents as a guitarist often overlooked within the Red Sparowes' three guitar onslaught.


    Kitsune is an exciting debut release from a band well aware of their potential, harnessing the skills to fulfill it. Marriages are an expansive, visionary development, a unique combination of elements, a sound signposting the path ahead. Kitsune will be released courtesy of Sargent House.

    1. The Liar
    2. Skin
    3. Santa Sangre
    4. Southern Eye
    5. Binge
    6. Salome
    7. Less Than
    8. Love, Texas
    9. Contender
    Marriages
    $18.99
    Vinyl LP - Sealed Buy Now
  • Nonagon Infinity Nonagon Infinity Quick View

    $19.99
    Buy Now
    x

    Nonagon Infinity

    Pressed On Splattered Vinyl (Dark Vinyl With Light Splatters)


    "Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It's exactly the kind of ambitious vision that prompted Rolling Stone to dub the band "one of the most compelling collectives of art-rock experimentalists in recent years." But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.


    The roots of 'Nonagon Infinity' stretch back to 2014, when King Gizzard recorded their critically acclaimed album "I'm In Your Mind Fuzz," which was hailed by Pitchfork as "dense, intricately crafted, and most importantly, powerful."


    "We actually wanted to do this with 'Mind Fuzz,' but it just didn't work," explains Mackenzie. "We ended up writing songs that needed to be on that record but didn't connect to the others, so we had to abandon the idea, but the seeds were sown."


    To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed 'Mind Fuzz' with two more records in 2015, 'Quarters'-described by The Guardian as "the neon intersection of DIY psych and 1960s beach pop"-and the stripped-down 'Paper Mache Dream Balloon,' which earned praise from NPR to Stereogum. The truth, though, was that King Gizzard was honing in on the 'Nonagon Infinity' material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic.


    "We really wanted to focus on things that felt good live," says Mackenzie. "We'd grab a little riff here or a little groove there, and we'd jam on them and form songs out of them, which was the opposite of 'Paper Mache,' where we were making songs in an acoustic, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn't just a song, it was part of a loop, part of this whole experience where it feels like it doesn't end and doesn't need to end."


    Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path.


    "I wanted it to feel like a horror or sci-fi movie," explains Mackenzie of the album's dark overtones. "The lyrics came as a stream of consciousness, all of these elements just falling out of my head as it was happening."


    "Big Fig Wasp" references a particularly macabre insect that must kill itself in order to perpetuate the species, while "Gamma Knife," with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and "People-Vultures" plays like a sinister film soundtrack. Album opener "Robot Stop" pulls more directly from the band's recent experiences, inspired in part by their relentless work ethic and tour schedule, which has included festival performances at Bonnaroo, Glastonbury, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA, UK, Europe and Australia.


    "That song's about feeling overworked, like a bit of a robot that's just going to crash and die or something," he says with a laugh. "But you get yourself up and do it again and you robot on and you're alright. It was one of the early ones we wrote for the record, and I think when that song came together, everybody started to feel like were going to actually be able to pull off this never-ending album idea."


    To say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album's final track.


    "In the Australian desert, in the outback, there are what's called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long," he explains. "They drive on the road really, really fast, and they're deadly, with these bars in the front to kill kangaroos and anything else in their path."


    'Nonagon Infinity' has opened the door for King Gizzard & The Lizard Wizard, and they're barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.

    1. Robot Stop
    2. Big Fig Wasp
    3. Gamma Knife
    4. People-Vulture
    5. Mr. Beat
    6. Evil Death Roll
    7. Invisible Face
    8. Wah Wah
    9. Road Train
    King Gizzard & The Lizard Wizard
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • More Than Any Other Day More Than Any Other Day Quick View

    $25.99
    Buy Now
    x

    More Than Any Other Day


    Debut Album From One Of Montreal's Most Talked-about Indie-Rock Bands.


    Ought has been burning with a strong and steady flame since flickering to life in
    Montreal in 2011. Holed up in a shared apartment that doubled as their rehearsal
    space, the four band members self-recorded a first EP and played their first show
    in these domestic confines, then busted out into the city's loft circuit, and into the
    city streets during the Printemps d'Erable Quebec student general strike, in 2012.
    These inspired months of mass mobilization against neo-liberal austerity
    measures galvanized a wide range of agit-prop expression in Montreal, and
    indelibly shaped the emerging sound, vision and social mandate of Ought.
    Guitarist/vocalist Tim Beeler, who previously had been writing poetry and folk
    music, drew new energy from electrification/amplification and solidarity/protest
    alike; his declarative, observational vocal style ranges from wide-eyed to
    worried, but never submits to cool irony or emotional detachment.


    Ought's earnest, stately and exuberant post-punk is dextrous, deliberate, unfussy
    and fluid, with debts to Cap'n Jazz, The Feelies, Lungfish, Gang Of Four and early
    Talking Heads, among many others. The band shifts from sharp angles and stuttering
    counterpoint to softer edges and chiming flow, with an economy of elements and
    fidelity to their basic 4-piece constitution. The instrumental interplay is
    consistently whipsmart, supple and deceptively simple. Beeler's speak-singing
    can give way to melancholic melodic croons and ragged, desperate yelps, always
    driven by sincerity of feeling and connection to his subject matter, whether that's
    the conundrum of our fractured interiority or communion with others in our
    fractured social space (or, for the most part, both).


    Ought are a righteous and humble young band, fiercely dedicated to grassroots
    organizing and artmaking, taking as self-evident the inseparability of politics
    and aesthetics; we are proud and excited to be releasing their debut full-length.


    More Than Any Other Day is the result of a week of recording and mixing at
    Montreal's Hotel2Tango with engineer Radwan Moumneh (Suuns, Matana Roberts,
    Jerusalem In My Heart) in November 2013; the album replaces the band's previously
    self-released 5-song Bandcamp EP of the same name, which comprised a separate
    set of recordings. Thanks for listening.

    1. Pleasant Heart
    2. Today, More Than Any Other Day
    3. Habit
    4. The Weather Song
    5. Forgiveness
    6. Around Again
    7. Clarity!
    8. Gemini
    Ought
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Absolute Zero Absolute Zero Quick View

    $19.99
    Buy Now
    x

    Absolute Zero

    Absolute Zero is the debut album by Irish quintet, Little Green Cars. Absolute Zero's 48 minutes, crafted in unabashed earnestness with the aid of seasoned epic-producer Markus Dravs (Mumford and Sons' Sigh No More and Babel, Arcade Fire's Neon Bible and The Suburbs, Coldplay's Mylo Xyloto), acts as a soul-bearing report, as guileless as the young five-piece themselves, on the act of simply growing up; a process that requires, at once, so little and so much effort it could explode you from the inside at any moment.


    "This record constantly jumps between two contrasting perspectives: the beauty of a reckless youth and the fear and confusion caused by our ever-pending adulthood," Appleby explains. "It's a hopeful and naïve look at love and life in general, which gives the album its bright days - but also deals with isolation, unrequited love and madness. We wanted to express both a feeling of strength and vulnerability, so the work had to encompass both the light and dark."


    "These are all feelings we've had, as a group or as individuals. We hope this is something people can relate to. That's always been why music has been written; it's a voice for people who don't have a voice. Hopefully someone can find some sort of comfort or solace in this. "


    The band -a group of 20-year-old friends with a habit of waxing deadly serious about their ever-expanding ambitions - convened in 2008 in a bungalow in Stevie Appleby's parents' backyard for as ordinary a reason as any: as the frontman admits sheepishly, they wanted to win a battle of the bands competition. With guitarist Adam O'Regan and bassist Donagh O'Leary friends since primary school, and the rest having met in secondary, the five rehearsed for the gig, at which they promptly lost out to another local band.


    The defeat, however, was surprisingly fuel enough. It inspired them to work harder, to work through their remaining two years of school, during which they produced a massive catalog of demo recordings, blending acoustic and electronic, classical and punk, djembe drums and synth strings. Then, in 2010, not long before graduation, then-rising manager Daniel Ryan found them at one of their sparse live gigs. With just one client already under his wing, he approached the young band with a terrifying, yet exhilarating ultimatum: Do you want to go to university, or do you want to really be in a band?


    "That was the first time we considered looking that far ahead," says guitarist/vocalist/primary songwriter Faye O'Rourke. "We were trying to avoid thinking about the future because of the prospect of college, but " The choice became obvious. And like that, they dove in. For two years they redoubled their efforts, crafting a wide-eyed musical narrative that mirrored their evolution as an ensemble until, inevitably, label suitors began to knock. Since 2011 they've been quietly boiling down those demos into an album - the first they've ever recorded.


    "The main thing I want to hear out of an artist I admire is the truth," says Appleby. "How they really felt. If I'm going to say something, it may as well be the truth." The lengths to which Appleby, O'Rourke and the rest of the band will go to tell that truth have yet to reveal their depth, but a full-steam-ahead debut record is a good place to start. Finally, five years' worth of backyard Garage Band tracks have a name: Absolute Zero.


    The songs of Absolute Zero have only begun to see the light of day, because, as Appleby puts it, "we've always been more interested in recording and writing and experimenting with everything than in touring. [The past five years] was time spent finding our sound, finding ourselves. We've gone through everything, from acoustic guitars to electronic music. We needed the time to grow up as people and as musicians."


    In other words, this is a debut that is a sum total of its creators' ascent to this moment. It is a desperate, under-pillow diary; a painstakingly lettered love note dropped in a locker; a collective, yet very personal, dissertation. On the record's debut single The John Wayne, a fierce paean to the ones who so easily break our hearts, the lot of them proclaim, "It's easy to fall in love with you/It's easy to be alone/It's easy to hate yourself when all your love is inside someone else." On "My Love Took Me Down To The River To Silence Me," O'Rourke is torn between the heartbreak and the healing that comes from being heartbroken, "But my heart burned out til it was no more/still I wait on the ground, I don't know what for/There is a heart in you/where is the heart in me?/This love's killing me, but I want it to." And by its early-morning close, when Appleby asks, "And who will write and who will fight for this man/I know I am?/And if you're running out of space/Please don't erase your time with me," it becomes clear that it's not just love Little Green Cars are grasping at: even amidst an ex-lover's plea for acknowledgement, the search has grown far beyond that.

    1. Harper Lee
    2. Angel Owl
    3. My Love Took Me Down to The River to Silence Me
    4. The Consequences of Not Sleeping
    5. Big Red Dragon
    6. Red and Blue
    7. The Kitchen Floor
    8. The John Wayne
    9. Please
    10. Them
    11. Goodbye Blue Monday
    Little Green Cars
    $19.99
    Vinyl LP - Sealed Buy Now
  • Smart Flesh Smart Flesh Quick View

    $20.99
    Buy Now
    x

    Smart Flesh

    Includes CD


    With its dreamy, rustic take on the idea of Americana, the Low Anthem's Smart Flesh builds on the promise of the group's universally praised 2008 Nonesuch Records debut, Oh My God, Charlie Darwin. As the Washington Post has put it, The Low Anthem isn't the first bunch of indie rockers to experiment with older string-band instruments and echoes of the songs of pre-1940 rural America. But no one has done it better than this Rhode Island trio... That's because very few bands have paid so much attention to detail, or to beauty.


    To record Charlie Darwin, the three original band members-Jocie Adams, Ben Knox Miller, and Jeff Prystowskytook over a Block Island cabin in the dead of winter. To record Smart Flesh, the group now expanded to a quartet with the addition of drummer Mat Davidson-found a former pasta factory in Central Falls, Rhode Island, a cavernous loft space that became crucial to the shape of the album. Says vocalist Miller, We knew right away when we stepped into the factory that the space was really the main instrument for the whole record. The resonance was chilling. We were able to experiment with new recording techniques to capture the sound at different distances. Mics 100-200 feet away caught the sound barreling across the room. Additional tracks were recorded in a garage that had previously been home to a reptile breeder, another unconventional studio space that the quartet dubbed the gator pit.


    The group self-produced Smart Flesh, bringing in Mike Mogis (Bright Eyes, Monsters of Folk, M. Ward) to mix the Pasta Sauce sessions and Jesse Lauter (Elvis Perkins, April Smith) to engineer. Instrumentation included jaw harp, musical saw, stylophone, oversized drum kits, and three antique pump organs that the band had found and restored. The exquisitely crafted, achingly spare arrangements at times recall the early recordings of Leonard Cohen, and Miller's voice, on a track like Burn, displays a similarly gruff yet plaintive timbre. The deeply melancholic mood the group favors, starting with a spellbindingly slow-motion rendering of George Carter's 1920's era Ghost Woman Blues, will appeal to fans of the backwoods musings of Bon Iver or the lovelorn southern balladry of the Avett Brothers, with whom The Low Anthem has toured.

    1. Ghost Woman Blues
    2. Apothecary Love
    3. Boeing 737
    4. Love And Altar
    5. Matter Of Time
    6. Wire

    7. Burn
    8. Hey, All You Hippies!
    9. I'll Take Out Your Ashes
    10. Golden Cattle
    11. Smart Flesh

    The Low Anthem
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stranded In Arcadia (Out of Stock) Stranded In Arcadia (Out of Stock) Quick View

    $24.99
    x

    Stranded In Arcadia (Out of Stock)

    Considered as one of the greats of the European stoner rock scene, France based MARS RED SKY have gained international recognition thanks to a unique sound imprint based on thick infectious grooves and melodic aerial guitar riffs. This is truly a one of a kind experience, wrapped up by Julien Pras' ethereal vocals, Matgaz' powerful rhythms and Jimmy Kinast's pachydermic bass lines. Somewhere between
    doom metal and 70's psyche pop, the Mars Red Sound intrigues to begin with, after which it irremediably attracts the masses to celebrate this cosmic ritual of solar burning fuzz and reverberated atmospheres. Driven by the huge success of their eponymous debut record, which was recorded in Spain's mystic Bardenas desert and released in 2011 , the Bordelais were quickly invited to play on the largest European stages with KYUSS Lives !, DINAUSOR JR, SLEEP, and popular festivals
    such as EurockÉennes de Belfort ( FR ), Roadburn ( NL ), London ( UK ) and Berlin ( DE ) Desertfests, Sziget Festival ( HUN ), SXSW ( USA ), leading them to play in more than 20 countries. With their incredibly heavy and hypnotic performances, MARS RED SKY have been considered as one of the most thrilling live acts among the international stoner rock scene. In 2012, they paired up with French doom
    metal monsters YEAR OF NO LIGHT to release a 3-track split record, which sells out in a blink of an eye. The release of their EP "Be My guide" in the spring of 2013 prophetically opened the path for an extensive tour across Europe, then across the Atlantic Ocean for a few exciting gigs in Latin America, where they recorded their new album : "Stranded in Arcadia" .
    1. The Light Beyond
    2. Hovering Satellites
    3. Holy Mondays
    4. Join The Race
    5. Arcadia
    6. Circles
    7. Seen A Ghost
    8. Beyond The Light
    Mars Red Sky
    $24.99
    Vinyl LP - Sealed Temporarily out of stock
  • 1
Go to top