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Micro-PhoniesFollowing neatly after The Crackdown's aggressive art/funk/electro combination, Micro-Phonies shows the duo taking that combination to a stronger level. Having invented the shadowy, murkier side of industrial/noise experimentation, here Cabaret Voltaire make their equally justified claim at fully kickstarting the beat-heavy crunch such labels as Wax Trax! would pursue shortly thereafter. DAF and the On-U Sound collective deserve as much notice for this, but the Cabs' relatively higher profile in the English/American cultural scheme made them the harbingers as much as anyone. Flood's sympathetic co-production with the band is another feather in his cap, and the album sounds just as strong today as it did upon its release. Micro-Phonies' most noted tracks are the appropriately funky, horn-heavy James Brown, and the gripping Sensoria, which makes for a brilliant album closer, with nervous-tension synth signals and a spare but compelling guitar line over another strong beat combination. Subtler moments abound as well -- there's a nice combination of the Cabs' initially understated approach and the greater opportunities available to them in the album's recording. The Operative is an unheralded highlight of the release, Mallinder's low-key speak/singing sidling alongside the crisp but not overpowering rhythm, controlled funk bass and guitar and touches of dub melodica sneaking through the mix. Other hints of the dub influences that the band has always embraced crop up on songs like (unsurprisingly) Digital Rasta. Throughout the album, Mallinder submerges his vocals into the music rather than calling overt attention to them, the reverse of what a lot of later industrial acts would do (often to their detriment). It's a sharp continuation of the Cabs' similar practice from many earlier numbers, here used in a newer musical style.
- Ned Raggett (All Music Guide)1. Do Right
2. The Operative
3. Digital Rasta
4. Spies in the Wires
5. Theme From Earthshaker
6. James Brown
8. Blue Heat
9. Sensoria$20.99Vinyl LP - Sealed Buy Now
#7885 (Electropunk to Technopop 1978-1985)
First Time Both Periods Of Cabaret Voltaire Are Together On
One Release (1978-1981 & 1983-1985)
Cabaret Voltaire, alongside Human League, Throbbing
Gristle, Fad Gadget and The Normal, were at the
forefront of the UK Electronic Movement of the late '70s.
Way ahead of their time, Cabaret Voltaire's blend of
dance music, techno, dub, house and experimental
made them, without a doubt, one of the most influential
acts of the last 35 years.
#7875 (Electropunk to Technopop 1978-1985),
compiles for the first time, both periods of Cabaret
Voltaire together on one release-- all remastered from
original files. It contains singles and popular tracks
and also includes single mixes not previously available
digitally. This release is easily Cabaret Voltaire's most
thorough catalog-skimming compilation yet and serves
as a perfect introduction to the band for new fans.1. Do The Mussolini
2. The Set Up
3. Nag Nag Nag
4. On Every Other Street
5. Silent Command
6. Kneel To The Boss
7. Seconds Too Late
9. Breath Deep
10. Just Fascination (7'' Version)
11. Crackdown (Radio Edit 83)
13. The Dream Ticket (7'' Version)
14. Sensoria (7'' Version)
15. James Brown (7''Version)
16. Kino (7'' Version)
17. Big Funk (7'' Version)
18. I Want You (7'' Version)
19. Warm$25.99Vinyl LP + CD - 2 LPs Sealed Buy Now
$25.99 $18.19 Save $7.80 (30%)
Drinking Gasoline (On Sale)
Includes bonus "Gasoline in Your Eye" DVD
Cabaret Voltaire, alongside Human League,
Throbbing Gristle, Fad Gadget and The Normal, were
at the forefront of the UK Electronic Movement of the
late '70s. Way ahead of their time, Cabaret Voltaire's
blend of dance music, techno, dub, house and
experimental made them, without a doubt, one of the
most influential acts of the last 35 years.
Drinking Gasoline, originally released in 1985,
consists of four songs from the legendary
"Gasoline In Your Eye" video cassette. These songs
are consdiered underground dancefloor classics.
They rank among Cabaret Voltaire's more infectious
compositions and have been remastered for incredible
The long sought after, '"Gasoline In Your Eye" DVD
is included, featuring videos shot and edited by
groundbreaking director Peter Care and original band
member, Richard H Kirk.Vinyl:
3. Big Funk
4. Ghost Talk
5. Slow Boat To Thassos
8. Big Funk
1. Just Fascination (7 Mix)
2. Sensoria (7 Mix)
3. I Want You (7 Mix)
4. I Want You (12 Mix)$25.99 $18.19 Save $7.80 (30%)Vinyl LP + DVD - Sealed Buy Now
The CrackdownOne of Cabaret Voltaire's strongest albums, The Crackdown features the band working a number of menacing electronic textures into a basic dance/funk rhythm; the result is one of their most distinctive, challenging records.
- Stephen Thomas Erlewine (All Music Guide)1. 24-24
2. In the Shadows
3. Talking Time
5. Over and Over
6. Just Fascination
7. Why Kill Time (When You Can Kill Yourself)
11. Double Vision
12. Badge of Evil
13. Moscow$20.99Vinyl LP - Sealed Buy Now
$20.99 $14.69 Save $6.30 (30%)
The Covenant, The Sword And The Arm Of The Lord (On Sale)Cabaret Voltaire (CV) started out in the mid-70's as industrial noise outfit. There was a brief industrial-disco phase for CV in the the mid-80's, followed by house. At the dawn of a new decade, Cabaret Voltaire, now Stephen Mallinder and Richard H. Kirk (Chris Watson left to take a more scientific curve with experimental/noise group 'The Hafler Trio'), started to ease from techno/bleep into trance/ambient. The results were quite startling and Cabaret Voltaire finally regained the attention they deserved. At the height of the trance/ambient wave, Cabaret Voltaire parted ways. While Mallinder went off to Australia to study, Kirk continues on with solo projects (Richard Kirk, Sandoz, etc).
1985's Arm of the Lord (reissued as The Covenant, The Sword and the Arm of the Lord) proves that no band could be so productive without a few tricks up its sleeve. Titled after an American neo-Nazi religious zealot organization, the record crossbreeds trademark electro-rhythm attack with odd breaks, varied tempos, the return of eerie found voices, unpolished production and harsh dissonance.The Arm of the Lord finds Cabaret Voltaire at the crossroads between their early experimentalism and all out dance and nascent techno, and certainly much further down that latter road than Red Mecca and 2 X 45 or even Micro-Phonies. But as 'normal' as it sounds, it's much weirder than most eighties pop records with many samples of Charles Manson, movie clips and lots of signature Cab-Volt noise.
- Fantasmi Macchina1. L21st
2. I Want You
3. Hells Home
5. The Arm Of The Lord
7. Golden Halos
8. Motion Rotation
9. Whip Blow
10. The Web$20.99 $14.69 Save $6.30 (30%)Vinyl LP - Sealed Buy Now
Pretty Hate MachineAs a young musician in Cleveland, Ohio, Trent Reznor took a job at a local recording studio and employed unused studio time to develop his own material. The nascent album was later recorded with his favorite producers including Flood/Mark Ellis (U2, Depeche Mode, PJ Harvey), John Fryer (Cocteau Twins, This Mortal Coil), Adrian Sherwood (Ministry, Cabaret Voltaire) and Keith LeBlanc (Tackhead).
The result was the first Nine Inch Nails album, 1989's Pretty Hate Machine. All songs were written, arranged, programmed and performed by Reznor. The album features the breakthrough singles Sin, Down In It and Head Like A Hole and ultimately sold over 3 million copies, reaching Triple Platinum sales status.=1. Head Like A Hole
2. Terrible Lie
3. Down In It
5. Something I Can Never Have
6. Kinda I Want To
8. That's What I Get
9. The Only Time
10. Ringfinger$21.99Vinyl LP - Sealed Buy Now
FilthFirst Authorized Vinyl Edition Of 1983 Debut Studio Album In 25 Years
Re-Mastered With Original Cover Art
"This is all slabs of sound, rhythm and screaming/testifying. What more do you need? In a way, it was a reaction against Punk (and just about any other music you can think of), and the conservative notion that 3 chords were somehow necessary. I used to deny it vehemently at the time, but No Wave (I "hated" that scene too, for some reason I can't remember now) played a big role as the germ from which this music grew, along with The Stooges and Throbbing Gristle, of course. I wanted Swans to be "heavier" though - I wanted the music to obliterate - why, I don't remember! I think it just felt good. Live, we used two basses (playing utterly unmusical chords that were stabbed and left to sustain or sometimes hit in staccato or opposing rhythms), drums, a "percussionist" that slammed down on a metal table with a metal strap, crude cassette loops of various sounds/noises (usually some kind of undefined ROAR), and Norman Westberg's glorious sustained and screaming guitar chords. It was pretty elating to play live - for us. If 100 people showed up (which would have been a huge audience at the time - 20 was more the average), 80 were guaranteed to leave by the second song. Somehow that tension - contempt or indifference from the audience - was nourishing, so we kept going.
Here's some music I was listening to at the time: Throbbing Gristle, Psychic TV, The Stooges, Brian Eno, Teenage Jesus And The Jerks, DNA, The Contortions, Glenn Branca, Black Flag, early Pink Floyd, This Heat, Kraftwerk, The Germs, Cabaret Voltaire, Can, Public Image LTD., SPK "
- Michael Gira / Swans/Young God Records1. Stay Here
2. Big Strong Boss
4. Power for Power
6. Right Wrong
7. Thank You
9. Gang$17.99Vinyl LP - Sealed Buy Now
Pretty Hate Machine (2010 Remaster)Fans can now revisit the conception of Nine Inch Nails. Trent Reznor's Null Corporation has teamed up with UMe/The Bicycle Music Company to release Pretty Hate Machine: 2010 Remaster on 12/7/2010. After completing the score for David Fincher's The Social Network, Reznor oversaw the digital remastering of Pretty Hate Machine from the newly unearthed original tapes with engineer Tom Baker (whose NIN credits include The Downward Spiral, Broken, The Fragile, With Teeth and Ghosts). This remastered version includes an eleventh track, a cover of Queen's Get Down Make Love, originally the B-side to the Sin single and produced by Al Jourgensen. Rob Sheridan, NIN's longtime art director, has also re-imagined the packaging of Pretty Hate Machine under Reznor's supervision.
As a young musician in Cleveland, Ohia, Reznor took a job at a local recording studio and employed unused studio time to develop his own material. The nascent album was later recorded with his favorite producers including Flood/Mark Ellis (U2, Depeche Mode, PJ Harvey), John Fryer (Cocteau Twins, This Mortal Coil), Adrian Sherwood (Ministry, Cabaret Voltaire) and Keith LeBlanc (Trackhead). The result was the first Nine Inch Nails album, 1989's Pretty Hate Machine. All songs were written, arranged, programmed and performed by Reznor. The album featured the breakthrough singles Sin, Down In It and Head Like A Hole, and ultimately sold over 3 million copies, reaching Triple Platinum sales status. In the wake of the album's inital underground success, NIN soon developed a reputation as one of the best live acts in rock and jointed the inaugural Lollapalooza tour in 1991. NIN have since sold more than 18 million albums, collected Grammy Awards and headline arenas, amphitheaters and festivals worldwide.
The Bicycle Music Company acquired the rights to Pretty Hate Machine from a division of Prudential Securities in the spring of 2010. It was Bicycle's intention from the onset to enable Reznor to regain some control of this lost piece of NIN's legacy, resulting in this artist approved 2010 reissue of one of music's most groundbreaking and influential albums. Note: The previous CD version was reissued in 2005 but was not overseen by Reznor and is now out of print.
Reznor is currently working on new music as a member of the group How To Destroy Angels, continuing his Nine Inch Nails efforts and composing for future film score projects.1. Head Like A Hole
2. Terrible Lie
3. Down In It
5. Something I Can Never Have
6. Kinda I Want To
8. That's What I Get
9. The Only Time
11.Get Down Make Love (Bonus Track in 2010 Reissue)$34.99Vinyl LP - 2 LPs - Sealed Buy Now
We Must Become The Pitless Censors Of Ourselves (Out Of Stock)John Maus lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science, he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesizers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for Johns deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenagers wall. Its this curious conflux of influences that partially helps to describe Johns music. Its a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of '80s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.
Johns debut album proper entitled Songs was released through Upset The Rhythm in 2006. It was a record permeated with aching memories; a perfect testimony to lost romance and longing. Its awe-inspired follow-up Love Is Real (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth. Maus returned last year to the heavy snows of the Midwest to finish album number three, We Must Become The Pitiless Censors Of Ourselves.
We Must Become The Pitiless Censors Of Ourselves breaks new ground for Maus. The shirt pulling and air punching of his impassioned live performance is finally captured in all its frenzied appeal alongside a tender inner space that wasnt as apparent on his previous albums. Its a record where promise takes the lead for the first time, providing a counterpoint to Johns default existential calling.1. Streetlight
2. Quantum Leap
3. And The Rain
4. Hey Moon
5. Keep Pushing On
6. The Crucifix
7. Head for the Country
8. Cop Killer
9. Matter of Fact
10. We Can Breakthrough
11. Believer$20.99Vinyl LP - Sealed Temporarily out of stock
A Collection Of Rarities And Previously Unreleased Material (Out Of Stock)Ribbon Music's inaugural signing was Minnesotan pop enigma John Maus and his album We Must Become the Pitiless Censors of Ourselves was released in June of 2011 in North America. They will now release on behalf of John Maus, throughout the world, a sixteen song collection of music spanning eleven years of creative output titled A Collection of Rarities and Previously Unreleased Material.
Of the sixteen songs showcased, five: "This is the Beat," "Castles in the Grave," "No Title (Molly)," "Bennington" and "My Hatred is Magnificent" have appeared on previous compilations, while two of the songs "Angel of the Night" and "Lost" have never been released on any format, nor across any media. The same can not be said of the remaining nine songs, the majority of which initially appeared on Demos 2011, a bundle of tracks originating from mausspace.com where they had been uploaded by their creator to be appreciated, if not reviewed, by those eager enough to search them out.
A Collection of Rarities and Previously Unreleased Material has been entirely remixed and remastered and features artwork and design by Turner Prize winning artist Wolfgang Tillmans. This LP version is limited to a one time worldwide pressing of 3000 hand numbered copies and includes an MP3 download card.
John Maus lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science, he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesizers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for John's deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager's wall. It's this curious conflux of influences that partially helps to describe John's music. It's a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of 80's movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.1. North Star (2008)
2. The Law (2003)
3. Castles in the Grave (2010)
4. Angel of the Night (2010)
5. Mental Breakdown (2004)
6. Bennington (2007)
7. Big Dumb Man (2003)
8. No Title (Molly) (2008)
9. Lost (2003)
10. All Aboard (2007)
11. This is The Beat (2005)
12. My Hatred is Magnificent (2008)
13. The Fear (2003)
14. Fish With Broken Dreams (1999)
15. Rock the Bone (2008)
16. I Don't Eat Human Beings (2008)$20.99Vinyl LP - Sealed Temporarily out of stock