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  • CI Audio PEQ-1 MKII MM/MC Phono Preamplifier CI Audio PEQ-1 MKII MM/MC Phono Preamplifier Quick View

    $995.00
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    CI Audio PEQ-1 MKII MM/MC Phono Preamplifier



    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Channel Islands Audio is proud to announce the release of our long-awaited PEQ•1 MKII MM/MC Phono Preamplifier!


    Features



    • Ultra-Low noise

    • Ultra-Low harmonic & intermodulation distortion (THD/IMD)

    • Dual-Mono Design for low crosstalk

    • Heavy steel faraday cage for high resistance to electromagnetic and radio frequency interference

    • Rear panel DIP switches for convenient configuration & adjustment

    • 5 Year Warranty

    • Handcrafted in USA


    The PEQ•1 is a versatile design offering outstanding performance with a wide variety of phono cartridge types.


    This new dual-mono design is aimed at music lovers seeking the utmost life-like performance from their vinyl collection. Dynamic and detailed, yet smooth and rich, with soundstage and imaging to create realism rarely heard.


    Power


    The internal design of PEQ•1 starts with a dual AC input (one for each channel).


    When the outboard power supply is connected, the AC is fed to two independent filter/regulation circuits (1 per channel). These circuits feed the L & R audio stages with ultra-low noise on par with the best battery technologies, and without the inconvenience. There is also a Chassis Ground switch to optimize chassis shielding.


    The standard AC supply is an AC wall adapter type with a single winding feeding the L&R circuits.


    This supply is 120V input only.


    Countries with 220~240V mains must use the AC·15 MKII Upgrade Supply.


    The AC·15 MKII Upgrade Supply Features:


    • Large Toroidal Transformer with dual outputs (1 per channel)

    • AC Line Filtering

    • Dual common-mode choke filtering (1 per channel)

    • 120V/240V Selectable Input Voltage

    • Rear Panel Power Switch

    • Detachable AC Input & Output cables



    Audio Circuit


    Input signals are connected via highest quality Cardas™ panel-mounted RCA jacks. The input jacks are routed to two independent mono circuits of identical layout. This assures exact performance from both channels and reduces crosstalk.


    Circuit topology consists of an input gain stage with selectable resistive load, capacitance, gain, and subsonic filter. This gain stage is followed by a passive high frequency cut, then an active bass boost to create the RIAA equalization curve, then to the output jacks.


    Careful layout yields a very short signal path from input to output, and a combination of star grounding power supply components/ground plane for the audio circuits, result in a silent background and immunity to EMI/RFI pickup. The entire circuit board is then housed in a heavy steel faraday cage to further reject outside interference, then inside the attractive aluminum outer chassis.


    Highest quality components are used throughout:


    Cardas™ jacks, Nichicon Muse™ NP power supply capacitors, Vishay™ 2% Polypropylene signal and bypass capacitors, Takman™ metal film & carbon films resistors, and Grayhill™ switches.


    5 Year Warranty


    Enjoy peace of mind with our comprehensive 5 year warranty. Full service information is included in the product manual.


    CI Audio
    $995.00
    PEQ-1 MKII MM/MC Phono Preamplifier Buy Now
  • Human Ceremony Human Ceremony Quick View

    $17.99
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    Human Ceremony

    Included in top 45 most anticipated albums of 2016 from Rolling Stone


    Sunflower Bean find magic within friction. The New York trio's full-length debut album, Human Ceremony [Fat Possum Records], emerges at the intersection of dreamy modern psychedelica and urgent fuzzed-out bliss. That push-and-pull colors the aural tapestry of these three musicians-Jacob Faber [drums], Julia Cumming [vocals/bass], and Nick Kivlen [vocals/guitars].


    "Everything comes from a conflicting interest," affirms Nick. "We love dream pop, but we also really love rock 'n' roll. It's those two spectrums."


    "You're allowed to obsess over Black Sabbath as well as The Cure," adds Julia. "It'd be boring if everything was just one way or the other."


    That diversity defined the group's approach since Nick and Jacob started jamming back in high school. They would hole up in Jacob's Long Island basement for hours on end, channeling this vast cadre of influences. Julia's addition would only expand that creative palette further in 2013.


    Through constant gigging around New York, Sunflower Bean sprouted into a sonic enigma, boasting a fiery musical call-and-response that serves as a centerpiece, giving the music what Jacob refers to as a "lyrical aspect" between the guitars, drums, and bass.


    They transferred this multi-headed energy into their 2015 Independent EP, Show Me Your Seven Secrets. At the same time, this distinct alchemy enchanted ever-growing audiences live. By the time, they entered the studio for Human Ceremony, Sunflower Bean had a lively aural cauldron from which to draw.


    They took the summer of 2015 off and retreated to Jacob's basement to write together. Taking the ideas out of the basement, they hit a Brooklyn studio with producer Matt Molnar [Friends] and tracked eleven tunes in just seven days. Whereas the EP was recorded after Sunflower Bean played 100 shows in one year, Human Ceremony showed the band's studio side with richer soundscapes, overdubs, and music that had yet to be debuted live.


    On the lead track "Easier Said," Julia's delicate vocals glide over a lilting clean guitar that spirals off into a vibrant hum.


    Sunflower Bean's spell is cast on Human Ceremony.


    "When you're in a band, you always dream about the first record," Julia concludes. "It's that moment where you explore everything that's been inspiring you."

    1. Human Ceremony
    2. Come On
    3. 2013
    4. Easier Said
    5. This Kind of Feeling
    6. I Was Home
    7. Creation Myth
    8. Wall Watcher
    9. I Want You To Give Me Enough Time
    10. Oh, I Just Don't Know
    11. Space Exploration Disaster
    Sunflower Bean
    $17.99
    Vinyl LP - Sealed Buy Now
  • Children Of Mu Children Of Mu Quick View

    $24.99
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    Children Of Mu

    Monster Island is a group of artists and musicians with roots in the midwest craziness of Destroy All Monsters and Pere Ubu. The Children of Mu is a unique and complex musical story that is the recent culmination of Monster Island's study of world mythology, theater, art and imagination. The Children of Mu is a limited edition of 500 copies with four color + metallic gold coverart designed by ratty art genius Gary Panter. The pieces on this recording includes early wax cylinder recordings of avant-garde poet Apollinaire and the first Chinese Opera and improvisations set over the psychic channeled voice of Madame Blavatsky. Like nothing else in the world, seriously.
    Yingxi: Shadow Play (introduction)
    Sun Shadows
    Song of Tears
    Xie (harmony)
    Swamp America
    Tujour Avant x 10
    Magic Lantern
    Loie Fuller
    The Riegal
    Light a Green Candle (Pere Ubu Roi)
    Ride the Tiger
    Mu is Gone
    Creation
    Story of Mu (part one)
    Story of Mu (part two)
    Monster Island
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Legend Remixed Legend Remixed Quick View

    $24.99
    Buy Now
    x

    Legend Remixed

    For the first time, Bob Marley and the Wailers' iconic 1984 album, Legend, is re-imagined for Legend Remixed, an inspired new spin on the reggae classic to celebrate the summer. Legend's 16 tracks have been remixed by top DJs/producers. Included in this the cohesive new set are tracks by ten time Grammy winner Stephen Marley, Pretty Lights, Thievery Corporation, Jason Bentley, Z-Trip with Lee Scratch Perry, Photek, My Morning Jacket's Jim James, Roni Size, RAC, Beats Antique, Nickodemus & Zeb, as well as a new rendition remix of Redemption Song by five-time Grammy Award winning reggae artist, Ziggy Marley.


    The fourth track on the album, Three Little Birds, was remixed by Stephen Marley and DJ/producer Jason Bentley. This iconic Marley track serves as the worry-free anthem for Hyundai's new Assurance Connected Care program, a new suite of features that allows drivers to feel safe and secure and enjoy a stress-free ownership experience. Prior to its television debut, Three Little Birds made its television debut on May 14 with free downloads available to the first 15,000 fans through Hyundai's Facebook and YouTube channels and is also available for sale through all digital retailers.


    Hyundai also supported the creation of the Making of Legend Remixed documentary, a short film about the creation of the new album including interviews with the Marley family and the musicians and remixers involved.


    Bob Marley and The Wailers' Legend is the world's best-selling reggae album with global sales exceeding 40 million copies, including more than 14 million in the U.S. alone. The RIAA Diamond®-certified album holds the distinction of being the second longest-charting album in the history of Billboard magazine, second only to Pink Floyd's The Dark Side Of The Moon. In 2003, Rolling Stone ranked LEGEND at No. 46 on its 500 Greatest Albums of All Time list.


    Bob Marley remains one of the 20th century's most important and influential entertainment icons. Marley's lifestyle and music continue to inspire new generations as his legacy lives on through his music. In the digital era, he has the second-highest social media following of any posthumous celebrity, with the official Bob Marley Facebook page drawing more than 42 million fans, ranking it among the Top 25 of all Facebook pages and Top 10 among celebrity pages. Since 1992, Marley's music catalog has sold more than 77 million albums worldwide and his accolades include inductions into the Rock and Roll Hall of Fame (1994) and ASCAP Songwriters Hall of Fame (2010), a GRAMMY® Lifetime Achievement Award (2001), multiple entries in the GRAMMY® Hall Of Fame, and a star on the Hollywood Walk of Fame (2001).



    1. Waiting In Vain (Jim James Remix)
    2. Stir It Up (Ziggy Marley Remix)
    3. Three Little Birds (Stephen Marley and Jason Bentley Remix)
    4. Could You Be Loved (RAC Remix)
    5. No Woman, No Cry (Stephen Marley Remix)
    6. Get Up, Stand Up (Thievery Corporation Remix)
    7. Satisfy My Soul (Beats Antique Remix)
    8. I Shot The Sheriff (Roni Size Remix)
    9. Exodus (Pretty Lights Remix)
    10. Easy Skanking (Stephen Marley Remix)
    11. One Love / People Get Ready (Photek Remix)
    12. Redemption Song (Ziggy Marley Remix)
    13. Is This Love (Jason Bentley Remix)
    14. Jamming (Nickodemus and Zeb Remix)
    15. Punky Reggae Party (Z-Trip Remix featuring Lee Scratch Perry)
    16. Buffalo Soldier (Stephen Marley Remix)
    Bob Marley
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Tea For The Tillerman (200g) Tea For The Tillerman (200g) Quick View

    $49.99
    Buy Now
    x

    Tea For The Tillerman (200g)

    Ranked 206/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    When word got out that we were beginning a pressing plant, customers began to call with questions. And the most common and full-of-anticipation question was inevitably: What will be the first title that you press? Well, we couldn't possibly imagine hitting a bigger home run than to open Quality Record Pressings (QRP) with one of the all-time most classic audiophile records, Cat Stevens' Tea for the Tillerman from 1970.


    There are so many things perfect about this release. First and foremost, it's a masterpiece of a record. It's that rare record that couples breathtaking sound with hit after hit after hit. In fact, to list the hits would be to list the entire song list. We couldn't pick a better vehicle for which to show off what we're so confident will be the highest quality records ever pressed.


    But here's something else that's cool: We scored the absolute original analog masters, and the tapes were in impeccable condition. It took an unbelievable amount of digging and research - and luck - to get this project done to the standards of Analogue Productions. But, wow, was it ever worth it! The tapes were last used in December 1999 when Ted Jensen at Sterling, along with producer Paul Samwell-Smith, remastered the Cat Stevens catalog for CD.


    In 1970, Lee Hulko at Sterling Sound cut Tea For The Tillerman for A&M Records in the U.S. and Island Records in the UK using a Telefunken M10 tape machine and a Neumann VMS 66 lathe with a Neumann SX68 cutterhead. Hulko started Sterling in 1968 and was its original mastering engineer. He's considered among the first engineers to advance mastering from just transferring music from tape to lacquer to an art where attention is paid to all the details that result in better sound. We actually found Hulko's original mastering notes from more than 40 years ago. It's incredible, but Sterling still has all of their notes filed away.


    So, it was originally cut at Sterling - as were all of the early original Cat Stevens albums - and the tapes were last used at Sterling. How appropriate then that we should go back to Sterling for this monumental reissue. Using the original tapes, George Marino handled the mastering this time. He used an Ampex ATR-102 tape machine, another significant point of interest. While Ampex has long been revered for their sound, they had never made a preview version so that a mastering engineer could cut a lacquer from an Ampex machine. Mike Spitz at ATR Services made a unique preview modification for Sterling so that they could cut this record using an Ampex. Marino then used a Neumann VMS 80 lathe with a Neumann SX 74 cutterhead.


    I think we've gotten something quite a bit better than what was originally issued, Marino says. I think this version is much more representative of what was on the tape. And that's not a criticism of what was originally done.


    Marino points out that since the original issue, there have been advancements in cutting lathe technology that make the improvements of this reissue possible.


    You didn't have the same number of options that you have in the new Neumann electronics, Marino says. With the new one, they give you more variations to work with. Let's say there's a nice kind of present sounding acoustic guitar on the left channel and then all of the sudden there's a drum peak with cymbal crashes and stuff and that stuff happens to be on the left channel. Being the vocal is down the center, you can drive the high frequency limiter from the right channel. So you can set a threshold on the right channel and grab the vocal without wiping out some of the musical peaks on the left channel. This is what I talk about when I say that we have technical advantages that they didn't have.


    Marino also chose to use a wide-track stereo head for this project, which he said allows for better signal-to-noise than the normal stereo head.


    And he also decided against using tube electronics, as would have been used originally, because he says that while the tubes allowed for more warmth, they also made the sound duller.


    You wind up wanting to put a little top-end EQ or something to get a little something back (when using tubes), Marino explains of his decision.


    Marino says that he is very pleased with the results.


    A great record. A classic, he says. And those tapes were in excellent, excellent condition. Musically, I think we've got something that sounds richer and more natural. It sounds more correct. I had to do very, very little to the tape regarding EQ processing or anything.


    To package this reissue, we've decided to do a facsimile of the original British Island gatefold jacket rather than the non-gatefold U.S. version. This British jacket also has a textured paper stock on the inside and is glossy on the outside. Additionally, we're using the original pink Island label.


    So there you have it. Quality Record Pressings is off and pressing in a big, big way! Finally, we're ready to unveil the innovations in record pressing that we've been working on for more than a year. Among those innovations are the installations of microprocessors on the presses so that all of the presses functions are performed with absolute precision. For example, we've developed a dye with an imbedded temperature sensor that we can use to cycle the presses. Rather than having the presses close and open based on time - as it's been to date - these presses will close and open based on temperature, the far more accurate indicator of when the record is ready. We also have a plating department in Quality Record Pressings, run by the best plating man in the business, Gary Salstrom.


    Still to come from Analogue Productions pressed at Quality Record Pressings will be the Cat Stevens classics Teaser and the Firecat and Catch Bull at Four.


    Tea For The Tillerman is one of Cat Stevens' finest albums and a gem in the crown of early 1970s singer/songwriterdom. Stevens manages to have his cake and eat it too, simultaneously achieving pop accessibility and artistic relevance. The feel is decidedly gentle and spare. Apart from the occasional string section, Stevens is accompanied only by a three-piece band as he sings his introspective lyrics with appreciable favor.

    1. Where Do The Children Play?
    2. Hard Headed Woman

    3. Wild World

    4. Sad Lisa
    5. Miles From Nowhere
    6. But I Might Die Tonight

    7. Longer Boats

    8. Into White
    9. On The Road To Find Out
    10. Father And Son
    11. Tea For The Tillerman
    Cat Stevens
    $49.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fear Fear Quick View

    $21.99
    Buy Now
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    Fear

    Nearly five years into his solo career, Velvet Underground alum John Cale headed to the studio to reinvent himself yet again in 1974. The result, Fear, became the first of a trio of eclectic albums all released in a period spanning just inside 14 months for Island Records. On this, his fourth solo release and first collaboration with Roxy Music's Phil Manzanera and Brian Eno, Cale changes form with every composition.


    Back on domestic vinyl for the first time in decades, this RTI-pressed edition of Fear is cut at Mobile Fidelity by in-house engineer Krieg Wunderlich and features stunning sonics. Quiet surfaces, faithful artwork, and the opportunity to hear Cale's incisive fare unfold amidst wide soundstages and black backgrounds-not to mention the intense content within-make this Wax Cathedral LP a must for music aficionados.


    A smooth, textured departure from the clamor of the Velvets but a darker, more rage-filled concoction than Cale's 1973 set Paris 1919, Fear amazes with boundless range. Whether he's channeling the sweet, gentle Doctor Jekyll in symphonic ballads like "Emily and Ship of Fools, sharpening his teeth as the demented Mr. Hyde in the graffiti-strewn city-rock anthem "Gun, or thrilling with morbid joy in Fear is a Man's Best Friend," Cale effortlessly metamorphoses from one persona to the next. The whimsical Man Who Couldn't Afford to Orgy bounces into the earnest, misty You Know Me More than I Know."


    In the background, Manzanera's guitar buzzes and stings as Eno sculpts a changing landscape of textures with his synthesizer. Infused with sarcastic or cynical lyrics, sweeping melodies, and a wide-eyed sense of exploration, Fear spins rage into beauty and back again.


    Cale is a shapeshifter. Listen to him transform.

    1. Fear is a Man's Best Friend
    2. Buffalo Ballet
    3. Barracuda
    4. Emily
    5. Ship of Fools
    6. Gun
    7. The Man Who Couldn't Afford to Orgy
    8. You Know More Than I Know
    9. Momamma Scuba
    John Cale
    $21.99
    Vinyl LP - Sealed Buy Now
  • Blackberry Light Blackberry Light Quick View

    $17.99
    Buy Now
    x

    Blackberry Light

    Charlie Mars has been a journeyman artist with all the ups and downs that entails. He has gone from uncertainty to redemption with major label releases and high profile gigs opening for the likes of R.E.M., KT Turnstall, Citizen Cope and Steve Earle, among others. Now, with the extraordinary new Blackberry Light, the Mississippi-based troubadour builds his distinctive musical approach employing supple grooves and ambient Daniel Lanois-inspired production to enhance the elemental force of his classic songwriting influenced by Bob Marley, Bill Withers and Dire Straits.



    From the dreamlike Nothing But The Rain, to the shimmering Picture of An Island, Blackberry Light sees Mars delving deep within to offer insight and a path to self awareness and ultimately transcendence via a gracefully beatific distillation of folk, rock, and smooth acoustic soul. Mars took a modest tack towards overall recording of Blackberry Light, which took place at Austin's Treefort Studios under production prowess of Billy Harvey (Bob Schneider), looking to capture those perfect uncalculated moments where everything just clicks.



    Upon the sessions' conclusion, Mars sought out one of his dream collaborators legendary producer/engineer/mixer Tchad Blake. The Grammy-award winner, known for his distinctive work with such artists as Elvis Costello, Richard Thompson and Sheryl Crow, ultimately agreed and helped give Blackberry Light much of its uniquely spacious warmth. Like any songwriter worth his salt, Mars employs his art as a channel towards personal discovery, candidly exploring all the human limitations, from pride and fear to cynicism and self-doubt, that stand in the way of his attaining true happiness. 180g gatefold vinyl.

    1. Let The Meter Run
    2. How I Roll
    3. Nothing But The Rain
    4. Blackberry Light
    5. Pacific Oceans
    6. Back of the Room
    7. I Do I Do
    8. Picture Of An Island
    9. Sometimes The Sky
    10. Great Wall of Chine
    Charlie Mars
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 2 (Pre-Order) Deer Tick Vol. 2 (Pre-Order) Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 2 (Pre-Order)

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that wa sbound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer DennisRyan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauleysays. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get inthe final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood in a song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kindof a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't say in the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll take down of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time at a music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark head space of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Don't Hurt
    2. Jumpstarting
    3. Look How Clean I Am
    4. It's a Whale
    5. Tiny Fortunes
    6. Sloppy
    7. Wants / Needs
    8. S.M.F.
    9. Pulse
    10. Mr. Nothing Gets Worse
    Deer Tick
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Deer Tick Vol. 1 (Pre-Order) Deer Tick Vol. 1 (Pre-Order) Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 1 (Pre-Order)

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that was bound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer Dennis Ryan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauley says. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood ina song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kind of a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't sayin the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time ata music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark headspace of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Half Believing (By The Black Angels)
    2. Card House
    3. Doomed From The Start
    4. Hope Is Big
    5. Only Love
    6. Cocktail
    7. Me And My Man
    8. End Of The World
    9. Limp Right Back
    10. Rejection
    Deer Tick
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
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