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  • Destroy The Machines Destroy The Machines Quick View

    $15.99
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    Destroy The Machines

    Colored Vinyl


    Earth Crisis became Victory Records' first breakthrough hardcore band. From 1995 to 2001, the straight edge vegan metal group put out four full-lenghts on the label, each one progressively becoming more complex and sophisticated. Their sonic influence can be felt and heard in bands like P.O.D. Slipknot, and System Of A Down.


    Originally issued in 1995, Destroy The Machines is Earth Crisis' propulsive debut full-length and the best selling release in the Victory Records catalog. Essential for hardcore and metal fans alike. Reissued here on colored vinyl with an accompanying MP3 digital download.

    1. Forced March
    2. Born From Pain
    3. Destroy The Machines
    4. New Ethic
    5. The Discipline
    6. Deliverance
    7. Inherit The Wasteland

    8 Asphyxiate
    9. The Wrath Of Sanity

    10. Fortress
    Earth Crisis
    $15.99
    Colored Vinyl LP - Sealed Buy Now
  • Inner Crisis Inner Crisis Quick View

    $13.99
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    Inner Crisis

    Out On The Coast
    153rd Street Theme
    Inner Crisis
    Bahamian Street Dance
    For A Friend
    Journey's End
    Larry Willis
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Personality Crisis Personality Crisis Quick View

    $35.99
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    Personality Crisis

    LP 1
    1. Personality Crisis (1973 Demo)
    2. Bad Girl (1973 Demo)
    3. Pills (1973 Demo)
    4. Looking For A Kiss (1972 Demo)
    5. Don't Start Me Talking (1972 Demo)
    6. Don't Mess With Cupid (1972 Demo)
    7. Human Being (1972 Demo)
    8. Personality Crisis (Live In Paris)
    9. Bad Girl (Live In Paris)
    10. Looking For A Kiss (Live In Paris)
    11. Pills (Live In Paris)


    LP 2
    1. Give Me A Great Big Kiss (Live In Paris)
    2. Stranded In The Jungle (Live In Paris)
    3. Vietnamese Baby (Live In Paris)
    4. Hoochie Coochie Man (Live In Paris)
    5. Trash (Live In Paris)
    6. Chatterbox (Live In Paris)
    7. Puss 'n' Boots (Live In Paris)
    8. Jet Boy (Live In Paris)
    9. Pirate Love - Johnny Thunders & The Heartbreakers

    New York Dolls
    $35.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Psychedelic Blues Psychedelic Blues Quick View

    $21.99
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    Psychedelic Blues

    The worlds top Latin jazz ensemble comes roaring back with this exciting new release, which finds them going back to their roots with excellent new treatments of jazz and Latin jazz classics, such as Herbie Hancocks Cantaloupe Island, Freddie Hubbards Crisis and a medley of classics from Willie Bobo. Also features a pair of brand new originals written especially for this album.
    1. Cantaloupe Island
    2. Crisis
    3. Psychedelic Blues
    4. Willie Bobo Medley:
    I Dont Know
    Fried Neck Bones and Some Homefries
    Spanish Grease
    5. Grand Central
    6. Slowly But Surely
    7. Delifonse
    8. Con Sabor Latino
    Poncho Sanchez
    $21.99
    Vinyl LP - Sealed Buy Now
  • Ride The Void Ride The Void Quick View

    $19.99
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    Ride The Void

    Southern California traditional metallers Holy Grail present their sophomore album, Ride The Void. The follow-up to 2010's Crisis In Utopia, Ride The Void was recorded with producer Matt Hyde (Slayer, Hatebreed, Children Of Bodom) throughout the year, working around national tours with Dragonforce and Valient Thorr. The cover artwork was created by famous American digital matte artist Dylan Cole, who is well-known for his work on movies like The Lord Of The Rings, Avatar and Daredevil.
    1. Archeus
    2. Bestia Triumphans
    3. Dark Passenger
    4. Bleeding Stone
    5. Ride The Void
    6. Too Decayed To Wait
    7. Crosswinds
    8. Take It To The Grave
    9. Sleep Of Virtue
    10. Silence The Scream
    11. The Great Artifice
    12. Wake Me When It's Over
    13. Rains Of Sorrow
    Holy Grail
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Land Of Gold Land Of Gold Quick View

    $18.99
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    Land Of Gold

    Five-time Grammy nominee Anoushka Shankar returns with her fourth album on DG, Land of Gold, a fervent response to the humanitarian crisis of displaced people fleeing conflict and poverty. With exquisite arrangements blending genres and musical collaborations, Land of Gold is a message of enduring hope from the virtuoso sitar player, featuring guest vocalists M.I.A. ("Jump In (Cross the Line)") and Alev Lenz ("Land of Gold") as well as actress Vanessa Redgrave ("Remain the Sea").
    1. Boat To Nowhere
    2. Secret Heart
    3. Jump In (Cross The Line)
    4. Dissolving Boundaries
    5. Land Of Gold
    6. Last Chance
    7. Remain The Sea
    8. Crossing The Rubicon
    9. Say Your Prayers
    10. Reunion
    Anoushka Shankar
    $18.99
    Vinyl LP - Sealed Buy Now
  • Tears Lies And Alibis Tears Lies And Alibis Quick View

    $17.99
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    Tears Lies And Alibis

    Tears, Lies, And Alibis, marks the first release on Shelby Lynne's own newly founded label, Everso Records. Coming on the heels of Just a Little Lovin', Lynne's critically acclaimed 2008 tribute to Dustry Springfield, Tears, Lies, And Alibis affirms her position as a visionary, iconoclastic artist who deftly weaves country, soul, rock, blues, pop and folk influences to forge her own unique style.


    Like Identity Crisis (2003) and Suit Yourself (2005), this sparse, unquarded collection was produced by Lynne, who evokes a live-in-the-studio vibe from a stellar group of musicians. From the exuberant Rains Come and dreamy Something To Be Said, her ode to the iconic Airstream trailer, to the restless, bluesy Old Dog and poignant Alibi, her evocative imagery brings to life the scarred yet determined group of survivors whose stories are told in Tears, Lies, And Alibis.

    1. Rains Came
    2. Why Didn't You Call Me
    3. Like A Fool
    4. Alibi
    5. Something To Be Said About Airstreams
    6. Family Tree
    7. Loser Dreamer
    8. Old #7
    9. Old Dog
    10. Home Sweet Home
    Shelby Lynne
    $17.99
    Vinyl LP - Sealed Buy Now
  • By The Sea Soundtrack By The Sea Soundtrack Quick View

    $39.99
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    By The Sea Soundtrack

    180 Gram Audiophile Vinyl


    Gatefold Sleeve / 4-page Insert


    Pvc Protective Sleeve


    First Pressing Of 750 Numbered Copies On Clear Gold Vinyl


    The official soundtrack album for Angelina Jolie's drama By the Sea is composed by Academy Award winner Gabriel Yared (The English Patient, The Talented Mr. Ripley, Cold Mountain, 1408) who previously scored Jolie's In the Land of Blood and Honey.


    Also included are the songs featured in the movie by artists including Serge Gainsbourg, Jacques Dutronc, Jane Birkin, Chantal Goya & more.


    By The Sea is written and directed by Jolie who also stars in the film alongside Brad Pitt, MÉlanie Laurent, Melvil Poupaud, Niels Arestrup and Richard Bohringer. The movie follows an American writer and his wife who arrive in a tranquil and picturesque seaside resort in 1970s France with their marriage in apparent crisis

    1. Intro

    2. Jane Birkin - Jane B.

    3. Rearranging Furniture
    4. Separate Lives
    5 Charles Aznavour - Il Faut Savoir
    6. V Spies Again

    7. Jacques Dutronc - Ill Est Cinq Heures, Paris S'eveille
    8. Shopping
    9. Chantal Goya - La Pluie Du Ciel
    10. Will You Watch With Me?

    1. Outsides Match My Insides
    2. Serge Gainsbourg - L'anamour
    3. Roland Finds Vanessa And Francois
    4. I Don't Like This Game

    5. V Watches Couple
    6. Serge Gainsbourg - Black Trombone

    7. Barren Suite

    8. David Arch - 24 Preludes Op. 28 No. 4 In E Minor
    Various Artists
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cover Stories: Brandi Carlile Celebrates 10 Years Of The Story (An Album To Benefit War Child) Cover Stories: Brandi Carlile Celebrates 10 Years Of The Story (An Album To Benefit War Child) Quick View

    $24.99
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    Cover Stories: Brandi Carlile Celebrates 10 Years Of The Story (An Album To Benefit War Child)

    This year marks the 10th Anniversary of Brandi Carlile's breakthrough album The Story. To celebrate she recruited artists like Dolly Parton, Kris Kristofferson, Pearl Jam, The Avett Brothers, Adele and many more for this Cover Stories album to benefit the charity War Child.


    Brandi describes this project as ...a David and Goliath story. Since becoming a mother, the reality of a child s beautiful little life being torn apart by war felt like too big of a problem for me. So I asked my heroes and friends to help me launch a rock at the giant that is our refugee crisis and help in the only way we know how, through the power of music.

    LP 1
    1. Late Morning Lullaby - Shovels & Rope
    2. The Story - Dolly Parton
    3. Turpentine - Kris Kristofferson
    4. My Song - Old Crow Medicine Show
    5. Wasted - Jim James
    6. Have You Ever - The Avett Brothers
    7. Josephine - Anderson East


    LP 2
    1. Losing Heart - The Secret Sisters
    2. Cannonball - Indigo Girls
    3. Until I Die - TORRES
    4. Downpour - Margo Price
    5. Shadow On the Wall - Ruby Amanfu
    6. Again Today - Pearl Jam
    7. Hiding My Heart - Adele

    Various Artists
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Reckon Reckon Quick View

    $18.99
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    Reckon

    Political. Personal. Poetic. Such is the new album Reckon from one of Canada's most renowned songwriters, Jason Collett. Recorded at Revolution Recording Studios in Toronto, the album was produced by Howie Beck and includes guest appearances by Afie Jurvanen (Bahamas), Basia Bulat, Kevin Drew and Zeus. An 11-song retrospective titled Essential Cuts will be released as a companion to Reckon as a digital download in the vinyl package. Chosen by Jason himself Essential Cuts represent the sense of community that he has always held in such high regard.


    There is a poetic serendipity to the fact that Jason Collett started recording Reckon during the same month that Occupy Wall Street began. Not necessarily setting out to make a record with these overtones, his travels and political engagements lead to the subject matter being unavoidable. "The consistent thread throughout this record is loss," he explains. "The love songs are largely emotive reflections of the 'political' songs. All written through the distillation of events since the economic calamity of 2008 and it's insidiously long looming shadow. I've seen first hand the kind of devastation this crisis has wrecked upon much of the world I've toured these last few years. The shut-down-shops and foreclosed homes on the suburban fringes as I've made my way to and from cities I've played. This record is a personal reflection of the crisis we've all witnessed and read about every day in the paper. Calling it Reckon is an acknowledgement of loss ... lost jobs, lost homes, loss of faith in our political and financial institutions and in turn, loss of illusion."


    The Essential Cuts album is more or less a family affair featuring everyone from Amy Millan (Stars), Zeus, Feist, Emily Haines (Metric), Bahamas and more as well as production from long time friends Andrew Cash and Howie Beck. Collett reflects, "With a little help from my friends indeed...There is a revolving door cast of characters that make this a sweet selection of the back catalogue. The myriad of producers and players that have graced these recordings are a testament to the blessed incestuousness of the musical family I'm lucky to be part of."

    Reckon

    1. Pacific Blue

    2. Jasper Johns' Flag

    3. King James Rag

    4. Sailor Boy

    5. Ask No Questions

    6. You're Not The One And Only Lonely One

    7. Miss Canada

    8. Talk Radio

    9. I Wanna Rob A Bank

    10. Where Things Go Wrong

    11. Song Of The Silver Haired Hippie

    12. Black Diamond Girl

    13. My Daddy Was A RocknRoller

    14. Don't Let The Truth Get To You

    15. When The War Came Home


    Essential Cuts (Digital Download)

    1. Bitter Beauty

    2. Blue Sky

    3. We All Lose One Another

    4. Hangover Days

    5. I'll Bring The Sun

    6. No Redemption Song

    7. Angel Of Kensington

    8. Brother

    9. Long May You Love

    10. Love is a Dirty Word

    11. Every Night

    Jason Collett
    $18.99
    Vinyl LP - Sealed Buy Now
  • Earth Has Doors Earth Has Doors Quick View

    $14.99
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    Earth Has Doors

    Four years ago Wymond Miles, guitar player and songwriter in San Franciscos The Fresh & Onlys, began writing solo material thematically based on the concepts of eschatology, anthroposophy, and Gnostic and Hermetic symbolism. Drawing from a vast musical pool of inspiration, including Scott Walker, Robert Wyatt, Arvo Part, and Nikki Sudden amongst others, Earth Has Doors is Miles first solo release.


    These songs concisely yet esoterically document the existential crisis of our current epoch, moving from the nothingness of modern materialism, fragmented reductionist thought, and drug escapism to a world imbued with subjectivity and meaning through a new relationship with the Earth and cosmos as alive and full of inherent intelligence.


    Wymond describes his early writing process: For the first time I had a sense of place, and a reverence of humility for my surroundings. I was full of wonder, but I felt very small, and went inward to begin the work of writing. He elaborates, Sonically the mood had to reflect the somberness of moving between the existential chaos of my twenties into this new perspective of living. The mysterious hues of the soundscape reflect a sense of curiosity and possibility in the canyons of sound.


    Working in his home studio and using 8 track tape (the infamous Tascam 388), Miles performs almost everything on this record: guitars, synths, bass, drums, manipulated tape delay, and vocals. A few friends played with him, guesting on drums (Hidden Things, Earth Has Doors) and viola (As the Orchard), while his wife Sarah sings some harmonies on side A.

    1. Hidden Things Are Asking You To Find Them
    2. Temples Of Magick
    3. As The Orchard Is With Rain
    4. Earth Has Doors, Let Them Open
    Wymond Miles
    $14.99
    Vinyl LP - Sealed Buy Now
  • Heal Heal Quick View

    $17.99
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    Heal

    From the first bars of HEAL, the exhilarating melodic stomp of 'Goshen '97' puts you right into Tim Showalter's fervent
    teenage mindset. We find him in his family's basement den in Goshen, IN, feeling alienated but even at 15 years old,
    believing in the alchemy and power of music to heal your troubles. "The record is called HEAL, but it's not a soft, gentle
    healing, it's like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst
    parts. And that's how I got better." HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria,
    confusion and clarity.It is deeply personal and unwittingly anthemic.


    Showalter was on tour, walking home on a mild autumn night in Malmo, Sweden, when he first felt the weight of the
    personal crisis that would ignite him to write HEAL. "It was a culmination of pressure," Showalter recalls. "My marriage
    was suffering, I'd released a record I was disappointed in, I didn't like how I looked or acted so I'd gone on tour, I was
    gone about two years!I didn't take time to think about failure, but I knew I was going deeper and deeper I was thinking,
    I have this life, but it's not my life,I haven't done it right "


    When Showalter returned, he wrote 30 songs in three weeks, a process that proved difficult, but cathartic and at times
    invigorating.Previous Strand Of Oaks records were more skeletal, raw examples of folk-rooted Americana with occasional
    rock and electronic currents,that have now come to the fore.HEAL is a bold new beginning,with a thrilling full-tilt sound
    that draws on Showalter's love of '70s, '80s and '90s rock and pop, with the singer and guitarist playing the intense
    valedictory confessor.


    Crucial to HEAL's sound was the man who Showalter chose to mix the record, the stellar alt-rock icon John Congleton.
    Showalter also re-connected with Ben Vehorn, synth expert and studio engineer extraordinaire, and drummer Steve
    Clements,who provides HEAL's thunderous ,sinewy drive. Songs such as 'Shut In','Plymouth' and'Woke Up To The Light'
    have a classic construction and mood,recalling '70s power-pop/ballads and the yearning ache of Big Star'slate, great Chris
    Bell. Many of the songs on HEAL reveal an electronic undercarriage and towering drums that push the album's wired
    dynamic to its stretching point, especially on'For Me',which expertly bridges the album's twin decades of influences.And
    if 'Goshen '97'recalls the molten energy of Dinosaur Jr, that actually is J Mascis on lead guitar. Despite the initials, the
    album's smoldering 7-minute epic 'JM' is not a Mascis tribute, but to the late Jason Molina, about having his music as
    comfort no matter how bad things get.


    Which brings usto another crisis, this time much more serious and immediate. HEAL was scheduled for mixing on Dec.
    26, 2013.Driving on the freeway Christmas Day, Showalter and his wife were involved in a car accident with a semi-truck,
    and were fortunate to walk away with their lives. Showalter suffered a, "pretty severe," head trauma, "which affected me
    much more than Irealized at the time."Fearing delays, Showalter didn't let Congelton know about it,so the mixing session
    went ahead. "Being on the verge of death, and my thoughts being so closely tied to that, changed the album's direction,"
    Showalter claims. "Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at
    that exact moment,somewhere between almost dying and being absolutely fearless."


    HEAL is not just a saviour for its creator, but for anyone who needs reminding of music's ability to heal, or just thrill.
    Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 15 might get his chance.
    Finally, he and Strand Of Oaks have much to celebrate.

    1. Goshen '97
    2. HEAL
    3. Same Emotions
    4. Shut In
    5. Woke Up To The Light
    6. JM
    7. Plymouth
    8. Mirage Year
    9. For Me
    10. Wait For Love
    Strand Of Oaks
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Embers Of Time The Embers Of Time Quick View

    $19.99
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    The Embers Of Time

    A talent to outrank Ryan Adams or Conor Oberst - Uncut


    He's found a way to encapsulate all the dichotomies of life and make them work within the confines of a three-minute pop song. - Popmatters


    "It's my surreal expat therapy record," observes Josh Rouse about his new LP, The Embers of Time. A career peak, The Embers of Time takes inspiration from his self-admitted crisis of confidence and bouts with existential psychotherapy in his adopted home of Valencia, Spain.


    The 10-song collection of originals contains some of Rouse's most beautiful arrangements and complex songwriting to date. First song and lead single "Some Days I'm Golden All Night" channels Glen Campbell-style Countrypolitan pop mastery through 'Self Portrait'-era Dylan confessional lyrics.


    Rouse has been called "one of contemporary music's most engaging singer-songwriters" (NPR) as well as "a talent to outrank Ryan Adams or Conor Oberst" (Uncut), and with The Embers of Time he opens a new chapter in his lauded career. He split time recording the album between Valencia and Nashville, and enlisted Brad Jones (Justin Townes Earle) as producer. The record moves from the hushed twang of "Time," where Josh recalls a stepfather who died too young and muses about his own mortality, to the deceptively sunny album closer "Crystal Falls," which recounts a rare period of solace from his itinerant childhood. "In Crystal Falls I made a few good friends," he sings. "It was just another stop. I never saw them again."


    Originally hailing from rural Nebraska, Rouse has carved out a distinguished career as a top-tier musician. His last record, 'The Happiness Waltz' earned unanimous praise, with AllMusic calling it "absolutely beautiful, like 10cc producing Al Green."

    1. Some Days I'm Golden All Night
    2. Too Many Things On My Mind
    3. New Young
    4. You Walked Through The Door
    5. Time
    6. Pheasant Feather
    7. Coat For A Pillow
    8. Worried Blues
    9. Expat Blues
    10. Crystal Falls
    Josh Rouse
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vega Intl. Night School Vega Intl. Night School Quick View

    $19.99
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    Vega Intl. Night School

    While making Neon Indian's third album, Alan Palomo turned a crisis into an opportunity: When his laptop -- which contained demos of his new songs -- was stolen at the end of the Era Extraña tour, he started anew by drawing inspiration from his past. Vega Intl. Night School takes its name and sound from his previous electronic project VEGA and his pet name for his after-dark adventures, conveying the dazzling, fleeting allure of a night out. Era Extraña's crisper beats and textures hinted that Palomo might be headed in a more danceable direction, but on his third album, he finds ways to subvert expectations while remaining true to Neon Indian's essence.


    He applies his flair for mood-crafting to a palette of electro, funk, disco, new wave, and reggae, transforming his synth-heavy sound into a love letter to the fabulous keyboard tones of the '70s and '80s: Note the Baroque embellishments to Slumlord's filter-disco and the squiggles that make Street Level sound even more like forgotten Paisley Park brilliance. Prince and Daft Punk are two of the album's biggest influences, not just in sound but in spirit. The way these tracks flow into each other recalls the uninhibited, possibly inebriated way Homework's first few cuts blended into an atmospheric portrait of nightlife, a concept Palomo runs with on Vega Intl. Night School. Sounding like a field recording from an '80s nightclub, Smut! captures the disorienting, intoxicating feel of entering a party that's already in full swing; Techno Clique expresses the anonymity and intimacy of dancing with a stranger, and the luminous synths that close The Glitzy Hive might as well be sunrise peeking through the club's doors. Vega Intl. Night School's more structured songs are so good that it's easy to wish there were more of them

    1. Hit Parade
    2. Annie
    3. Street Level
    4. Smut!
    5. Bozo
    6. The Glitzy Hive
    7. Dear Skorpio Magazine
    8. Slumlord
    9. Slumlord Re-Release
    10. Techno Clique
    11. Baby's Eyes
    12. C'est La Vie (Say the Casualties!)
    13. 61 Cygni Ave
    14. News From The Sun (Live Bootleg)
    Neon Indian
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • In Between (Discontinued) (On Sale) In Between (Discontinued) (On Sale) On Sale Quick View

    $14.99 $10.49 Save $4.50 (30%)

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    In Between (Discontinued) (On Sale)

    Kanine Records presents, In Between, the sophomore release from San Francisco's Young Prisms and follow-up to their acclaimed 2011 debut Friends For Now. Still a five piece, (albeit a different five) the album captures the highs and the lows of the last year. Born out of a traumatizing Heathrow Airport crisis and the death of a loved one, a strong sense of rejection, loneliness, and despair all play a huge role in the creation of In Between.


    However, Its not all doom and gloom and its not like childhood friends Gio Betteo and Matthew Allen didnt see the changes coming (they named their first album Friends For Now). They just didnt expect it all to happen in such a dramatic fashion. Still united with singer Stefanie Hodapp and drummer Jordan Silbert, the Young Prisms welcome a second female vocalist/guitarist in Ashley Thomas.


    Its this addition that brings a softer, more melodic touch to their fuzzed out sound. If Friends For Now yields comparisons to My Bloody Valentine and the Jesus and Mary Chain, In Between lends itself more to the Mazzy Star and Slowdive end of the spectrum, and one need not look any further than lead single Four Hours (Away). Its gentle swing and sullen vocal sweep will melt hearts and help pass those cold and dark hours.


    To spotlight how the band has made peace with the past year, check out Runner, which will put a bounce in your step, while Dead Flowers has the Young Prisms stepping on their pedals harder than ever. Album opener Floating in Blue will fill your head with swirly dream pop and the guitar-drenched Midnights When pays homage to the innocent 50s inspired lullaby that Mary Chain fans will swoon to both awake and asleep.


    Enlisting the production of Monte Vallier (Weekend, Mark Eitzel) and once again as a full five piece, the Prisms sound refreshed and indeed Young again. With Allen having moved outside the city, Betteo and Allen began traveling back and forth in between homes to write this record. The result is a perfect soundtrack to the loneliest road trip down California Highway 1 where the lights dim and flicker as the sun sets on the Pacific while the fog and haze return to the redwood forests and coastal cliffs.

    1. Floating in Blue
    2. Dead Flowers
    3. Gone
    4. Four Hours (Away)
    5. Runner
    6. Midnights When
    7. Outside
    8. Better Days
    9. To Touch You
    10. Sunshine
    11. Wedding Bells
    Young Prisms
    $14.99 $10.49 Save $4.50 (30%)
    Vinyl LP - Sealed Buy Now
  • The Drift The Drift Quick View

    $22.99
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    The Drift

    He never really went anywhere, but he's back again at the ripe age of 63 anyway. Sounding younger than ever before, Scott Walker's spirit truly soars here. There are a lot of ways you might introduce the stunning and towering singularity of Walker's new work The Drift. As the critic Cynthia Ozick once said of novelist William Gaddis (three novels in thirty years): he may not have been "prolific," but "instead he has been prodigious, gargantuan, exhaustive, subsuming fates and conditions under a hungry logic."


    Hungry logic? Oh yes: songs you feel you could almost run a finger along and come away with brick dust or splinters, traces of blood curdled sand. It's the immense and beckoning, blistering noise of The Drift that tells the real story here, but also the microscopic attention to 'background' detail, layer upon layer, quotations, discreet little sonic movies full of scent and chill and bruise, clue and ricochet and close up.


    Walker more or less invents a world with each new song, the shock of which being partly that he should treat subjects like this at all, that he should treat us with this immoderate cast: Cossacks framed in mnemonic petals, ill-fated lovers rubbing shoulders like dead moons, Elvis baying in Memphis moonlight, Mussolini hanging like something from a Francis Bacon tarot deck, songs for and from all our Black Septembers, all our German autumns, all the nines, elevens, ones, zeros in a mangle of newspeak.


    There are a lot of self-proclaimedly 'experimental' artists clamoring for our attention, but who else gives us so much space in song, yet still a recognizable song, one marked by sex and pity and perplexity and rage, all the while keeping his ego to a bare minimum. Who else allows so many other voices; unlikely, unmoored, unmourned voices, into his songs?


    Who else gives us language back as such a shock and surprise, as here, in the incredible risk and wager and crisis of The Drift, hear how sweeps and heaps of gory or holy or horrific confusion and reflection and fall are rendered with so precise and unfaltering and unique an ear, eye and throat, by this man alone, out of time, our first and last and best recording angel, the last Modernist left standing, the only one left alive! Artwork by Vaughan Oliver.

    LP1
    1. Cossacks Are
    2. Clara
    3. Jesse
    4. Jolson And Jones


    LP2
    1. Cue
    2. Hand Me Ups
    3. Buzzers
    4. Psoriatic
    5. The Escape
    6. A Lover Loves

    Scott Walker
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Catharsis Catharsis Quick View

    $19.99
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    Catharsis


    "For all their resemblance to deathrock and post-punk
    greats of yore, there's nothing mannered or simulacral
    about them. They are as real as the lump in your throat
    and the salt under your nails, and their sting couldn't
    be sweeter." - Pitchfork


    Politically speaking, not much has changed about the way Austin's Institute exists
    as a band since signing to Sacred Bones. Having members in Glue, Wiccans,
    and Back to Back, all fellow stalwarts of the Texas punk scene, helps streamline
    the approach for them, as all of their bands operate from the same basic ethos
    (i.e. operating outside of the normal cycle of PRs, agents, social networking and
    self-promotion). In fact, singer Moses Brown has said they're only comfortable
    being on Sacred Bones because he considers the label "a punk label on steroids."
    (A note from the label-"Drugs, yes. Steroids, usually no.")


    Aligning themselves so closely with punk politics might make some of the
    music on Catharsis come as a surprise. Yes, they're still the anarcho punks who
    put out gloriously lean Crass and Crisis worship across a demo, a 7-inch, and
    last year's Salt EP. But for their boundary-smashing debut long-player, they've
    incorporated everything from acoustic guitars to proto-punk psych excursions,
    even stretching their songs out to Krautrock lengths when necessary.


    Brown's lyrics on Catharsis reflect its title. He said he used the record "as a
    vehicle to put things out in the open that I haven't necessarily told anyone. The
    songs are about my faults, my insecurities, my existence, my relationships, my
    childhood. I'm thoroughly disappointed in myself."


    After demoing for several weeks at home in Austin, Institute tracked and mixed
    Catharsis in just four days between Christmas and New Year's Eve 2014, in New
    York City with Ben Greenberg at Brooklyn's Gary's Electric. "Cheerlessness"
    carves out the perfect trine foundation to aspect both the anthemic "Cheaptime
    Morals " and the much looser jam "Christian Right" (the latter featuring fellow
    Texan Andrew Savage of Parquet Courts). Issues of morality, sexuality and religion
    are all interwoven seamlessly throughout the 10 tracks as the band explores
    new sonic astral space.

    1. Perpetual Ebb
    2. Admit I'm Shit
    3. I Am Living Death
    4. Cheerlessness
    5. Interlude
    6. Untitled
    7. Leathernecks
    8. Cheaptime Morals
    9. No Billowing Wind
    10. Christian Right
    Institute
    $19.99
    Vinyl LP - Sealed Buy Now
  • Copland - Appalachian Spring / Billy The Kid (Speakers Corner) Copland - Appalachian Spring / Billy The Kid (Speakers Corner) Quick View

    $34.99
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    Copland - Appalachian Spring / Billy The Kid (Speakers Corner)

    Aaron Copland is among those Americans whose compositions have found worldwide recognition. Measured against his long lifespan (1900-1990), his creative phase was relatively short, and indeed he hardly composed at all from the Sixties onwards. His most important works were his answer to the musical crisis of the Thirties, and he has gone down in history as having greatly influenced the development of New Music in the USA.



    The ballets Appalachian Spring (1944) and Billy the Kid (1938) are considered to be key works of their day. Both have folkloric traits, which brought Copland the reputation of having a penchant for borrowed melodies. In reality, the well-known tunes are very subtly treated and modified, and are incorporated into large-scale, defined forms. Now and again, melodic echoes of Mahler's music or highly rhythmic exposed passages reminiscent of Stravinsky flash through. The ballet Billy the Kid is thoroughly American. Arranged in orchestral 'wide-screen sound', as it were, cowboy melodies glow with the very best Wild West tradition, and are bedded in a dramaturgy which is almost ripe for a film soundtrack. The signal to Hollywood is virtually unmistakable. That is America.




    Recording: June 1961 by C.R. Fine and Robert Eberenz

    Production: Wilma Cozart-Fine and Harold Lawrence




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Copland: Appalachian Spring, Billy the Kid - The London Symphony Orchestra conducted by Antal Dorati
    Antal Dorati with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rachmaninoff - Concerto No. 2 (Speakers Corner) Rachmaninoff - Concerto No. 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Rachmaninoff - Concerto No. 2 (Speakers Corner)

    The Second Piano Concerto represents Rachmaninoff's escape from a crisis lasting several years during which he experienced one catastrophe after another. At the suggestion of his psychiatrist, who had prophesied that he would write wonderful music, he turned once again to the work - and it brought him his greatest success to that date. Although the piano writing demands enormous technical dexterity, the composer was apparently not solely aiming at producing a virtuosic showpiece, since the piano part clings snugly to the orchestra like an accompaniment for long stretches, although it does triumph powerfully here and there for good measure.



    Once again, Byron Janis - whose brilliant interpretations of Rachmaninoff's repertory have influenced whole generations of pianists - has made a benchmark recording in which he alagamates tremendous energy with great tranquility. He revels in the late-Romantic ecstatic harmonies, dazzles us with his transparent presentation of the internal structures, and displays great vigour in the weighty themes. The emotional middle movement is also glorious in that Janis enjoys to the full the interplay of passion and reverie with expansive chords and dark-hued tonalities.




    Recording: April 1960 at the Northrop Memorial Auditorium, Minnesota, USA, by C.R. Fine and Robert Eberenz

    Production: Wilma Cozart-Fine and Harold Lawrence




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Piano Concerto No. 2 in C minor, Opus 18
    Two Preludes For Piano Solo
    E Flat Major, Opus 23, No. 6
    C Sharp Minor, Opus 3, No. 2
    Byron Janis and Minneapolis Symphony
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blood // Sugar // Secs // Traffic Blood // Sugar // Secs // Traffic Quick View

    $17.99
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    Blood // Sugar // Secs // Traffic

    Hey, what's this? Well that, my friend, is the newest album from The
    Gotobeds, entitled Blood // Sugar // Secs // Traffic. It's their second
    full-length LP and their first for Sub Pop. Whoa, whoa, please slow down.
    I'm already completely lost. What you just said sounded like a stream of
    complete gibberish. Okay, I'll lay it out for you and if you have any
    questions could you yell them at me? SOUNDS GOOD. The Gotobeds
    formed vaguely around 2009 in Pittsburgh and play a mutant strain of rock
    music that is often filed under punk, indie rock, or 99-cent discount bin.
    WAIT, THE GOTOBEDS? I HEARD THEY WERE KNUCKLEHEADS! Only if
    the knuckle is the part of the human body that contains the brains. Much
    like their previous releases on underground stalwart labels like Mind Cure
    and 12XU, this new album artfully slips intelligence and experimentation
    into a dying art form. It's a harder feat than you'd think.


    And sure, their live shows have often been compared to an all night party
    where I feared for my life and the lives of everybody in the five block
    radius, and their recorded output is akin to the sonic manifestos of four
    men deprived of human love and raised on beer and Swell Maps, Mission
    of Burma, and old Fall records. But what you get with The Gotobeds,
    delivered in spades on this album, is smart, noisy rock with just the right
    amount of stupid.


    FAIR ENOUGH. SO HOW'D THIS GET MADE? It was recorded in bursts
    over several months of 2015 in their friend My War Matt's basement in
    Pittsburgh. Unlike previously, the songs were conceived and recorded in
    blocks, which resulted in a more experimental feel. But this is no chin
    stroking curate's egg. You like loud, double guitar leads? OF COURSE I DO.
    WHO DOESN'T? You're in luck, because this album is carpeted with em,
    thanks to Eli Kasan and TFP. On a song like 'Bodies,' it sounds as if
    you've walked into the biggest Guitar Center, but, you know, not terrible.
    Keeping it all locked down is the rhythm section of drummer, Cary Belback
    and bassist, Gavin Jensen. They allow the downright prettiness of a song
    like Red Alphabet to shine, and the lyrics on the anti-sexism thrash of
    Crisis Time to punch through.


    THIS ALL SOUNDS WONDERFUL, IS THERE ANYTHING ELSE I NEED
    TO CARE ABOUT? Eh, probably not. Except that Tim Midyett (Silkworm,
    Bottomless Pit, Mint Mile) and some bum (Protomartyr) are featured as
    guest vocalists on Rope and Why'd You, respectively. Also, I'd be remiss
    to not mention the fact that the band's live show is a testament to the
    cathartic nature of speed, skill, repetition, noise, and red stage lights. If
    you don't believe me, ask the bands they have played with, like Total
    Control, Tyvek, or The Replacements. Also, they rep Pittsburgh harder than
    anyone possibly could and come off better for it...which is saying
    something.


    I THINK I UNDERSTAND. BLOOD // SUGAR // SECS // TRAFFIC IS THE
    GREATEST ALBUM SINCE THE LAST GOTOBEDS RECORD? Yes. Now
    please stop yelling. -Joe Casey, Protomartyr

    1. Real Maths/Too Much
    2. "Bodies"
    3. Brass Not Rash
    4. Rope
    5. Why'd You
    6. Red Alphabet
    7. Cold Gold (LA's Alright)
    8. Crises Time
    9. Manifest
    10. Glass House
    11. Amazing Supermarkets
    The Gotobeds
    $17.99
    Vinyl LP - Sealed Buy Now
  • Terrestrials (Awaiting Repress) Terrestrials (Awaiting Repress) Quick View

    $16.99
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    Terrestrials (Awaiting Repress)


    Thick Stock Cardboard Stoughton Style Tip On Jacket


    180 Gram Vinyl


    Limited To 3,000


    Four figures stand atop a summit, staring east out over a vast, frostbitten wasteland, the black sun dwindling in the west, casting their shadows across the plain. They await another clan, legendary for their slow approach. Eyes on the horizon, searching, patiently, for some signal of the arrival, some plume of smoke that would announce that the time had come. At last, at the edge of the plane, they note a black banner, and soon two hooded figures appear in the dusk. A horn sounds, and drumbeats echo through the valley.


    It's only the threshold of the distant horizon that limits the scope of Terrestrials, but like much of Earth, its landscape is arid, only disclosing its secrets upon active contemplation of its component dust. From the opening strains, hidden at the foot of a vertiginous crescendo from zero decibels, the album recalls a technique of Andrei Tarkovsky's, later developed in the films of BÉla Tarr. The eight-and-a-half-minute opening shot in Tarr's epic Sátántangó laterally tracks cattle carefully plodding through a dilapidated commune in search of food from muddy pasture. As the audience investigates the frame for clues to Tarr's purpose, he slowly reveals to them a symbolic vision of the film as a whole, inviting contemplation of the rich surfaces of the decayed buildings and the labyrinthine entrapment of the commune's inhabitant kine, some playing at leadership and some dragging their feet, cow and human alike awaiting deliverance by a dark messiah. Terrestrials proceeds in a remarkably similar fashion. As each track unfurls, its glacial pace arrests the listener's search for novelty, forcing attention to the profundities of the mix and the texture that the interlaced sounds create; and yet it also deepens the desire for what each step forward promises, the crisis that the procession patiently unveils.


    Terrestrials features more complex instrumentation than most of the works of either party. Sunn O)))'s deep bass and endlessly sustained guitar feature heavily on each track of Terrestrials, but so do Ulver's electronics and a myriad of additions, including trumpets, didgeridoo, and strings. Although the tracks apparently began as a set of improvisations recorded at Ulver's Oslo studio, the vast scope of the release clearly evolved out of the various mixing and arrangement sessions helmed by Ulver's Kristoffer Rygg and Sunn O)))'s Stephen O'Malley between 2008 and 2012. Here they achieved a synthesis that stylistically transcends the mere combination of the two groups and their traditional pathways, with Ulver sealing up the cracks of Sunn O)))'s immense backdrop and heightening the atmosphere with tense strings, sculpted textures, and insistent rhythm. It's this attention to the subtleties that renders Terrestrials monolithic; they ensure that each tick of the clock yields an array of sonic qualities, each progressing slowly in themselves but together moving the whole mass of sound forth at a constant click.


    From the trumpets on "Let There Be Light" to the drum-like pound of the bass and didgeridoo in "Western Horn," Terrestrials relentlessly heralds its own arrival, an endless parade slouching towards Bethlehem. By the time Rygg's vocals enter at the middle of "Eternal Return," the crawling pace of the album has ensured their sublimity. Taken on its own, this short section would scarcely justify a song unto itself; it emerges out of the sudden but carefully orchestrated resolution of the murky depths of the track's recesses, manifesting as a piercing clarity and a distillation of the album's theme of annunciation. Its lyrics, rich in spite of their brevity, conceal a messianic yearning in the fallow desert, a hope for deliverance from the stasis of the Egyptian yoke and the confusion of exile, and a dark prophecy of a "liminal animal" with "golden nature" of the sinful calf. Rygg urges us to "listen silent."


    Gongs or guitars ring out. This final stage of Terrestrials heralds a return of an immense mystery. What approaches, its lumbering gait constantly pressing onward, can't divulge its nature until it finally arrives. The quintessential figure of doom is an immense behemoth, a force of nature whose sublime shadow conceals it from view even as its thundering steps reveal its impending advent. But here we lie in wait. Terrestrials delivers on its persistent promise by offering another transcendental promise of a future culmination. But the restraint they exert in their advance to the beautiful oasis at the center of "Eternal Return" suggests that, here, Sunn O))) and Ulver are more interested in the process as it happens through time, tracking the march of the sun across the heavens, marking each moment as it slips back into eternity.


    - Matthew Philips (Tiny Mix Tapes)

    1. Let There Be Light
    2. Western Horn
    3. Eternal Return
    Sunn O))) & Ulver
    $16.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Infinite Worlds Infinite Worlds Quick View

    $15.99
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    Infinite Worlds

    Within the songs of Laetitia Tamko there are infinite worlds: emotional spaces that grow wider with time, songs within songs that reveal themselves on each listen. Tamko is a multi-instrumentalist and a producer, recording since 2014 as Vagabon. On her forthcoming debut, Infinite Worlds, she hones her singular voice and vision with an unprecedented clarity.


    "I feel so small / my feet can barely touch the floor / on the bus where everybody is tall," she sings softly and with caution, as she begin the album with "The Embers." Driving punk drums pry her song open, exploding it into an anthem that pushes back at entitled people who make others feel tiny. "I'm just a small fish / and you're a shark that hates everything," she sings, repeating that line and over and over with strength and power. "I've been hiding in the smallest space / I am dying to go / this is not my home," Tamko starts carefully on "Fear & Force," before her finger-picked guitar playing gives way to slow-building synth claps and ethereal harmonies. "Mal a L'aise" is one of the album's focal points, a five-minute meditation of ambient dream pop, featuring Tamko's usage of samples; some are samples from a Steve Sobs song on which Tamko was featured, enticing the one writing collaboration of the album. "Mal a L'aise" means "discomfort" in French, Tamko's first language, and throughout the song she works through different meanings of that word: social, cultural, physical.


    Infinite Worlds builds upon Tamko's stripped-down demos that have been circulating online and throughout the independent music community for the past two years. Her Persian Garden cassette, released in 2014 via Miscreant Records, was a lo-fi collection where she embraced a first-thought best-thought approach, making songs that began with just her voice and guitar. But here, Tamko is a main performer of synths, keyboard, guitars, and drums, at times enlisting the work of session studio musicians. This had Tamko channeling the thoughtfulness of her lyricism into her arrangement and production as well. The result is a wide-ranging eight-song collection that's pleasantly unclassifiable: hypnotic electronic collages, acoustic ballads, and bursts of bright punk sit side-by-side cohesively, all tied together by Tamko's soaring voice.


    "I write a lot about places, archiving my memories in spaces that I used to be in, spaces I am currently in, or spaces I will eventually be in" she says. "Archiving different moments that I've been thinking about, have gone through. It's not always autobiographical though. It could be about different situations I've seen people I love in. Or people I don't know in. I think that comes a lot from being in different environments. Like growing up in Cameroon. There, we are happy with very little. Then moving here and seeing how the culture differs from where I'm from."


    Tamko's songs are embedded with her own story and personal history: growing up in Cameroon, her family's move to New York and adjusting to culture shock. Her family left Cameroon just in time for her to begin high school in the states. She grew up around music and loved it, but finishing engineering school was a priority before music could start to feel like a real possibility. "When I was in Cameroon, my mom would have these 'reunions' which was just her friends coming over on Sundays," she says. "There was a lot of music around me. Traditional West-African songs sung as group chants, hand drums and percussive instruments being played, etc." To date, Tamko mostly listens to East and West African music nostalgic of her childhood, styles of music that influence her own in subtle ways.


    Infinite Worlds was recorded at Salvation Recording Co. in New Paltz, NY with engineer and co-producer Chris Daly. Tamko and Daly worked closely and tirelessly in his upstate NY studio through the winter into the spring of 2016. The album's title references a book of poetry by Dana Ward called The Crisis of Infinite Worlds, a book Tamko found particularly inspiring during her recording process, but also very challenging to read: "I had to think critically while reading Dana Ward, it was exciting to be challenged in that way. While I was writing the album, it was a lot of me thinking critically about how to actualize my ideas, and the challenge of reaching proficiency in new instruments. It sort of mirrored my experience reading Dana Ward's book. I found myself combing his writing over and over and over until I grabbed something from it."


    And as she sat with her songs, she found more and more. "A lot of it is about finding a space for myself, whether it is physical, emotional, social" Tamko says. "It's about finding that place where I feel most comfortable. And also finding that the confidence within myself can continue to grow. And finding what it takes for me to feel whole through making music."

    1. The Embers
    2. Fear & Force
    3. Minneapolis
    4. Mal à L'aise
    5. 100 Years
    6. Cleaning House
    7. Cold Apartment
    8. Alive and A Well
    Vagabon
    $15.99
    Vinyl LP - Sealed Buy Now
  • Crises Crises Quick View

    $32.99
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    Crises

    2013 Stereo Remaster


    Following a long-established production pattern, Mike Oldfield assembled some relatively simple pop- and rock-flavored numbers following one long introductory piece on his 1983 Disky release, Crisis. The 20-minute opening title-track is a quintessential Oldfield texture study that consists of sparkling synth washes with edgier material weaving in and out. A fine setup, this track cleanses the aural pallet, preparing the listener nicely for the tunes that follow. Yes fans who can adjust to the sugary highlight In High Places will enjoy Jon Anderson's springy vocal work on the track. The energetic guitar romp Taurus 3 will also appeal to most prog and art rock fans. Those in search of more ethereal Oldfield material should be aware of this record's pop leanings, but open-minded listeners will have a good time exploring Crisis, one of Oldfield's better releases of this type.

    - Jason Anderson (All Music Guide)

    1. Crises
    2. Moonlight Shadow
    3. In High Places
    4. Foreign Affair
    5. Taurus
    6. Shadow On The Wall
    Mike Oldfield
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Biophilia Biophilia Quick View

    $32.99
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    Biophilia

    Biophilia is the eighth studio album by Icelandic singer-songwriter Björk. It is avant-garde music, alternative dance and experimental music. Björk composed it as a concept album during the 2008-11 Icelandic financial crisis, exploring the links between nature, music and technology. Billed as the first app album, Biophilia is a multimedia project released alongside a series of apps linking the album's themes to musicology concepts. It was followed by a series of educational workshops in four continents.
    LP1
    1. Moon

    2. Thunderbolt
    3. Crystalline
    4. Cosmogony
    5. Dark Matter


    LP2
    1. Hollow
    2. Virus
    3. Sacrifice
    4. Mutual Core
    5. Solstice

    Bjork
    $32.99
    Vinyl LP - 2 LPs Sealed Buy Now
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