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Dance Of Death'
Dance Of Death180-gram 2xLP reissue of Iron Maiden's 13th studio album. Never before available on LP in the US.1. Wildest Dreams
3. No More Lies
5. Dance of Death
6. Gates of Tomorrow
7. New Frontier
9. Face in the Sand
10. Age of Innocence
11. Journeyman$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Dance Of Death And Other Plantation FavoritesOriginally released in 1964. Dance of Death offers a glimpse of an artist in transformation. More than half the album's titles draw from the traditional blues and country repertoire Fahey had spent his teen years and young adulthood collecting, listening to, and learning to play, yet the recordings proved once and for all that his interests lay in musical transfigurations rather than preservation - Fahey was not afraid to use these old tunes as raw material.1. Wine and Roses
2. How Long
3. On the Banks of the Owchita
4. Worried Blues
5. What the Sun Said
6. Revelation on the Banks of the Pawtuxent
7. Poor Boy
8. Variations on the Coocoo
9. The Last Steam Engine Train
10. Give Me Corn Bread When I'm Hungry
11. Dance of Death$21.99Vinyl LP - Sealed Buy Now
Mighty Real: Greatest Dance HitsTwenty-five years after his untimely death at the age of 41, the iconic legacy of Sylvester, the "Queen of Disco," will be resurrected with "Mighty Real: Greatest Dance Hits," due out June 25 (international release dates vary) on Fantasy Records.
This collection will celebrate the life and music of the artist who once danced his way into the hearts and minds of the disco and LGBT communities.
A quarter of a century after his passing, Sylvester will make a fabulous debut back into a prolific time in the LGBT community just the way he would have liked it - through dance music. This 11-track release, available on CD and on double pink vinyl, will feature a number of original album tracks and 12" mixes that are rare or no longer available on CD, as well as the brand new remix of the iconic "You Make Me Feel (Mighty Real)" by Grammy-nominated remixer and DJ, Ralphi Rosario (Rihanna, Mariah Carey, Beyonce, Madonna).
As a dear friend of Harvey Milk and an icon to the LGBT community, Sylvester has long held a special place in music and socio-political history. Sylvester was not only one of the first disco stars to stand openly gay, but bravely crossed beyond the boundaries of race, gender and sexuality to become a proud figure of the gay liberation movement.
"Sylvester James was an unlikely star: an androgynous, cross-dressing, openly gay, African-American, falsetto-singing, unapologetically flaming man-diva influenced primarily by church women, black blues singers, drag queens, hippies and homos," liner notes writer Joshua Gamson said. "Like very few before him, and quite a few after, Sylvester rode his marginality right into the mainstream."
A Los Angeles local, Sylvester found his home in the vibrant subcultural scenes of San Francisco in the late 1960s. As the community around him became devastated with AIDS, Sylvester's music took on a sort of weary determination, becoming a call to live, to keep dancing and to keep loving.
Sylvester died on Dec. 16, 1988 and bequeathed royalties from the sale of his music to benefit two charitable organizations in the San Francisco Bay Area: the AIDS Emergency Fund and Project Open Hand.
"Decades later, even as strides have been made in the fight against the disease that has taken so many lives, Sylvester's music lives on, a call to be fabulous against the odds," Gamson said.
"Mighty Real: Greatest Dance Hits" was produced by Tom Cartwright and Chris Clough on Fantasy Records with liner notes written by Gamson, author of "The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco."
The Double Pink Vinyl edition features all 11 tracks on two 12" pink vinyl LPs.1. You Make Me Feel (Mighty Real) [Ralphi Rosario Dub Remix]
2. Dance (Disco Heat)
4. Can't Stop Dancing
6. Over And Over
7. I Need Somebody To Love Tonight
8. Sell My Soul
9. I Need You
10. Body Strong
11. You Make Me Feel (Mighty Real)$24.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Death After LifeDeath After Life, Thug Entrancer's debut for Software Recording Co. is
a deliberately realized collection of dance experimentation and hybridized
electronic music with narrow stylistic precedents. It's also a gripping, somber
tide formed from the gravitational pull of an artist's amble through unknown
Ryan McRyhew's footing as a creative lynchpin in the Denver DIY
electronic music scene shued to the other world and beat of the South side
of Chicago in 2011. McRyhew's new home allowed him secluded time and
space to create in-depth and unconditional music as Thug Entrancer. The
move also provided McRyhew direct access to Chicago's dance music history
and the groundbreaking works being crafted in bedrooms and blasted on
speakers throughout his neighborhood.
A summation of varied approaches to electronic music, Thug Entrancer's
multiverse is not dissimilar to other Software artists (Slava and Huerco S.,
for example). McRyhew draws inuence from pioneering electronic and
experimental composers who placed an emphasis on extended development
and technique, alongside early analog dance producers who went all-out and
all-in with little more than a TR-808 in their arsenal.
Death After Life is comprised of eight chapters drawn from the album title,
each numbered I through VIII. These portions underscore a pitch-dark
motif thread throughout the album's fty minutes. Death After Life I is
whittled and icy - long echoed claps and panned sawtooth shapes swelter
around the skittering percussive elements over the four-and-half-minutes of
unsettled, environmental shifting.
Death After Life III delivers rapid-re, straight up acid with a snare heavy rhythm registering in an upper BPM range before fraying into the
sonic beyond. Death After Life V frenetically lashes out with hi-hat
triplets, lower mix perimeter synths and pounding claps / snare at a
breakneck footwork pace.
The album's nal cut is the most up-front Juke number. Altogether shorn of
the more abstract spaces heard earlier, "Death After Life VIII" attacks with
the feel of a live, improvised performance. In fact, the majority of the tracks
on Death A!er Life were composed on the y with very few overdubs and
zero reliance on sampled sources.
While Death After Life reframes elements of Chicago Juke and house in
long-form design, the end result one in which a subtler horizon is discovered,
trumping more palatable musical codes and dissuading us from treating
electronic music, or any genre-stamped style matter, with rote attention.1. Death After Life - I
2. Death After Life - II
3. Death After Life - III
4. Death After Life - IV
5. Death After Life - V
6. Death After Life - VI
7. Death After Life - VII
8. Death After Life - VIII$18.99Vinyl LP - 2 LPs Sealed Buy Now
MUSD-VAR-1013xVHS or Beta
Diamonds and DeathThey say location is everything, so it should come as no surprise to learn that the aesthetic shift audible on Diamonds & Death, the fourth album by VHS or Beta, was accompanied by a change of zip code. Two years ago, founding band member, Mark Palgy relocated from Louisville, KY to Brooklyn, NY. Six months later, his creative foil, Craig Pfunder followed. New surroundings exerted a powerful influence on the predominantly electronic grooves of their first full-length since 2007's Bring on the Comets.
The album juxtaposes more straightforward dance floor tracks like the jittery Watch Out with experimental yet sublime electronic fare such as Jellybean, a trippy excursion pitched somewhere between Pink Floyd and the dark side of Italo-disco. While the grooves of Diamonds & Death are among the band's most optimistic and propulsive to date, it is no accident that they are often paired with dark lyrics, as on the crisp, percolating single Breaking Bones.1. Breaking Bones
2. Under The Sun
3. Diamonds and Death
4. I Found A Reason
6. Watch Out
7. All Summer In A Day
10. Over$19.99Vinyl LP - Sealed Buy Now
180 Gram Vinyl, Remastered In 24/96 Format
Includes The Original Artwork
Includes The Extras And Inserts Included In The Original Release
Face Dances is the ninth studio album by English rock band The Who. It was released in 1981 on Warner Bros. Records in the United States (it was the band's first release on that label) and on Polydor Records in the United Kingdom. It was one of two Who studio albums with drummer Kenney Jones, who had replaced Keith Moon after his death three years earlier.1. You Better You Bet
2. Don't Let Go the Coat
3. Cache Cache
4. The Quiet One
5. Did You Steal My Money
6. How Can You Do It Alone
7. Daily Records
9. Another Tricky Day$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Transcendental WaterfallThe Transcendental Waterfall: Guitar Excursions 1959-1967 is a 6-LP box set drawing from John Faheys best, and most influential, period. Included in the set are Blind Joe Death, Death Chants, Breakdowns, And Military Waltzes, The Dance of Death and Other Plantation Favorites, The Great San Bernardino Birthday Party, The Transfiguration of Blind Joe Death, and Days Have Gone By, all reissued on 180 gram vinyl with deluxe tip-on jackets.
Also included are a t-shirt, poster, and a postcard, all of which are housed in a deluxe box with stunning graphic design. An amazing package featuring some of the most important guitar solo recordings of the 20th century.Blind Joe Death
1. West Coast Blues (Blind Blake)
2. St. Louise Blues (W.C. Handy)
3. I'm A Poor Boy A Long Way From Home (Barbecue Bob)
4. Uncloudy Day (Josiah Kelley Alwood)
5. John Henry (Traditional)
6. In Christ There Is No East or West (Episcopal Hymn)
7. The Transcendental Waterfall
8. Desperate Man Blues
9. Sun Gonna Shine In My Back Door Someday Blues
10. Sligo River Blues
11. On Doing AN Evil Deed Blues
Death Chants, Breakdowns and Military Waltzes
1. Sunflower River Blues
2. When the Springtime Comes Again
3. Stomping Tonight On the Pennsylvania/Alabama Border
4. Some Summer Day
5. On the Beach at Waikiki
6. Spanish Dance
7. The Downfall of the Adelphi Rolling Grist Mill
8. John Henry Variations
9. Take A Look At That Baby
10. Dance of the Inhabitants of the Palace of King Phillip XIV
12. Episcopal Hymn
The Dance of Death and Other Plantation Favorites
1. Wine and Roses
2. How Long
3. On the Banks of the Owchita
4. Worried Blues
5. What the Sun Said
6. Revelation on the Banks of the Pawtuxent
7. Poor Boy
8. Variations on the Coocoo
9. The Last Steam Engine Train
10. Give Me Corn Bread When I'm Hungry
11. Dance of Death
The Great San Bernardino Birthday Party
1. The Great San Bernardino Birthday Party
2. Knott's Berry Farm Molly
3. Will the Circle Be Unbroken (traditional)
4. Guitar Excursions Into the Unknown
5. 900 Miles (traditional)
6. Sail Away Ladies (traditional)
7. Oh Come, Oh Come Emanuel (traditional)
The Transfiguration of Blind Joe Death
1. Beautiful Linda Getchell
3. I Am the Resurrection
4. On the Sunny Side of the Ocean
5. Tell Her to Come Back Home
6. My Station Will Be Changed After Awhile
7. 101 Is A Hard Road to Travel
8. How Green Was My Valley
9. Bicycle Built For Two
10. The Death of the Clayton Peacock
11. Brenda's Blues
12. Old Southern Medley
13. Come Back Baby
14. Poor Boy
15. Saint Patrick's Hymn
Days Have Gone By
1. The Revolt of the Dyke Brigade
2. Impressions of Susan
3. Joe Kirby Blues
4. Night Train of Valhalla
5. The Portland Cement Factory
6. A Raga Called Pat, Pt. 1
7. A Raga Called Pat, Pt. 2
8. My Shepherd Will Supply My Needs
9. My Grandfather's Clock
10. Days Have Gone By
11. We Would Be Building (Sibelius)$124.99180 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
REDI-LUA-7313xThe Terror Pigeon Dance Revolt!
I Love You...The Terror Pigeon Dance Revolt is a never ending romp of a dance party; looped pianos and saxes race on top of crappy synths and ill beats, and like twenty vocal takes (like seriously rivaling broken social scene status) are mixed in there somewhere. These are severely catchy, dancey pop songs that actually have lyrical content. These are songs about friends, romance and everything else that rules in life, presented in a comic, yet somehow deathly serious, way.Snakebites
My Favorite Hair
In Your Face Suckiness$18.99Vinyl LP - Sealed Buy Now
Unknown PleasuresFormed in 1977, Joy Division (guitarist Bernard Albrecht, bassist Peter Hook, drummer Stephen Morris, and vocalist Ian Curtis) helped usher in the Post-Punk movement with their haunting melodies and melancholy lyrics. By incorporating synthesizers into their music, they paved the way for an entire generation of bands who would soon follow in their footsteps. The band released two classic albums, 1979's Unknown Pleasures and 1980's Closer as well as several singles, before Curtis' suicide on the eve of their first American tour. Following Curtis' death, Albrecht (now Sumner), Hook, and Morris formed the band New Order, and would continue to record over the next twenty-five years.
It even looks like something classic, beyond its time or place of origin even as it was a clear product of both - one of Peter Saville's earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all Unknown Pleasures was, it wouldn't be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to Unknown Pleasures can be heard through every note, with Martin Hannett's deservedly famous production - emphasizing space in the most revelatory way since the dawn of dub - as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, minimal keyboard lines add to an air of looming disaster - something, somehow, seems to wait or lurk beyond the edge of hearing. But even though this is Hannett's album as much as anyone's, the songs and performances are the true key. Sumner redefined heavy metal sludge as chilling feedback fear and explosive energy, Hook's instantly recognizable bass work at once warm and forbidding, Morris' drumming smacking through the speakers above all else. Curtis synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect - as Candidate plaintively states, I tried to get to you/you treat me like this. Pick any song, the nervous death dance of She's Lost Control, the harrowing call for release New Dawn Fades, all four members in perfect sync, the romance in hell of Shadowplay, Insight and its nervous drive towards some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect - one of the best albums ever.1. Disorder
2. Day Of The Lords
5. New Dawn Fades
6. She's Lost Control
10. I Remember Nothing$21.99Vinyl LP - Sealed Buy Now
REDI-BAR-1117xDeath Cab For Cutie
We Have The Facts And We're Voting Yes
Newly Reissued 180 Gram Version
Like the also-great Idaho or Wheat, to file Death Cab for Cutie under the mellow-pop umbrella that shelters tranquil chamber outfits such as Red House Painters, Low, or (post-dance-pop) Talk Talk would do them a gross, miscalculated service. While they're no strangers to the tickling knelling of guitars searching out the extra space found in laggard tempos, that predilection only encompasses a fourth of Death Cab for Cutie's output (like on Title Track and Little Fury Bugs). Heck, they're not even remotely quiet for half of We Have the Facts and We're Voting Yes -- the best and brightest LP of their three fine albums to date. Ben Gibbard has turned into a sublime composer, using melodies sparingly but with splendid tunefulness, as all four players marinate his writing with delicately plucked, picked, and pulled arpeggios, ringing chords, and non-obvious atmosphere building. Verily, the slow, broody stuff is but a change of pace; it's when the volume doubles (if only occasionally crashes), when the band shows potency, that We Have the Facts starts flying, soaring with exigency beyond even the threatening storm clouds from the last flight plan, 1998's Something About Airplanes. Lowell, MA and Company Calls are perfect examples: drummer Nathan Good actually gets to punish his snare and toms, the other three dig in with him, and the words indie pop suddenly sounds fresh and alive, with real aggressive, post-dream pop guitar popscapes. Loud and soft, or most of all both, and plenty of points in between, DCFC write and record finished songs that emote, that do more than merely fill a slot in a form in a preconceived genre. In short, they're superb. And getting greater.
- Jack Rabid (All Music)1. Title Track
2. The Employment Pages
3. For What Reason
4. Lowell, MA
6. Little Fury Bugs
7. Company Calls
8. Company Calls Epilogue
9. No Joy in Mudville
10. Scientist Studies$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Everything Is Debatable (Awaiting Repress)Hellogoodbye: Everything is Debatable - Is everybody ready for an inspired cacophony of joyful sound contrasted with dark yet mature lyrics? If so, take a listen to Everything Is Debatable. This album is the sonic personification of live for today because you might not get tomorrow. The album deals extensively with death, but instead of descending into depression, the album explodes with energy. It's as if Hellogoodbye sees death coming and there's a lot on their bucket list, the culmination of which is a great album.
The concept of death leads off the album with the opening line to 'And Everything Becomes a Blur'. "All the friends we made along the way, everyone single one will pass away". Later in the album the concept is explored further with 'Die Young, Die Dumb; Not Soon' and with the album's closer, 'A Near Death Experience'. The final track vacillates between slow build, soaring self-exploration and almost jazz-inspired interludes. 'Die Young, Die Dumb; Not Soon' uses the concept of death as more of a joke. The plan of the title is to pass away before cynicism infiltrates your psyche: die before you're no longer open-minded, but hopefully "not soon".
The album is quite adept at dance tracks as well. '(Everything is) Debatable' is an inspired, danceable song. It is rich and full and it never leaves the listener bored. Every moment is complete with a new sound to hear, a new instrument being shown off. 'Just Don't Let Go Just Don't' is another really great dance track. This entire album is a clinic in how dance tracks can be exciting without being vapid. The electronic base line mixed with the real guitars and drums is brilliant. Hellogoodbye mixes the real with the synthetic like a brilliant designer.That blend is really what completes the album. A track is never fully synthetic or completely grounded with real instruments. The blend is always present and well thought out.
Probably my favorite song on the album is also its darkest. 'Summer of the Lily Pond' explores the details of disagreements and discovers that the author is in fact the one that "was wrong". The concept is explored with fantastic horns that capture the brassy feeling of regret. It is perhaps the least synthetic song on the album and its contrasting presence highlights the brilliance of the album.
- Jay Abbondanza (Violent Success)1. And Everything Becomes A Blur
2. (Everything Is) Debatable
3. The Magic Hour Is Now
4. Swear You're In Love
5. Summer Of The Lily Pond
6. Just Don't Let Go Just Don't
7. I Don't Worry (as Much As I Should)
8. How Wrong I Can Be
9. An External Force
10. Die Young, Die Dumb; Not Soon
11. A Near Death Experience$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
In The WildFaltyDL's Poem In The Wild
Upon a mountaintop in Port Lligat I found my true love. We wrapped each other Uptight, never will I forget so much regret. Never apologize.
Do Me is truth is progress is death is pain is boredom is sex is dance is silence is void. Nine is eternal stream is people is family is anger is fight is father is not all.
Heart & Soul is female is more anger is ignorance is blisters on sun soaked lips.
Greater Antilles is two parts masculine one part crystalline structures. Ahead the Ship Sleeps in Danger is Grief resolved through Rolling in New Haven.
Dos Gardenias para ti.
Post-stroke vernacular, insult to salt intake fake injury to resume sideline spectatorship. Strained precision, illegal decision and fat masterbatorial visions.
Vapid vaper-what never signed up, tell a lie, till the day I die. Never apologize.
Ghost written by Shanghai Den,
Very best, Falty
PS. Sorry1. Aquí, Port Lligat
2. New Haven
4. Do Me
5. Greater Antilles Part 1
8. Untitled 12
9. Ahead The Ship Sleeps
11. Dos Gardenias
12. Heart & Soul
14. In The Shit
16. Some Jazz Shit
17. Greater Antilles Part 2$29.99Vinyl LP - 2 LPs Sealed Buy Now
Master Mix: Red Hot + Arthur RussellMaster Mix' embodies the genre-defying, experimental spirit that defined Russell's work. Living in the East Village from the '70s until his untimely death in 1992 at age 40 from AIDS-related causes, Russell moved effortlessly between the city's various music scenes, recording disco beats alongside Nicky Siano one night, and the next, crafting slow, haunting tracks in his apartment with his cello and idiosyncratic warbling voice. The New Yorker called his work "stranded between lands real and imagined: the street and the cornfield; the soft bohemian New York and the hard Studio 54 New York; the cheery bold strokes of pop and the liberating possibilities of abstract art." Through his collaborations, he earned the admiration of artists like Allen Ginsberg, David Byrne and Philip Glass, who said of Russell's music: "It does not submit to formula, but subverts the formula." The record features 26 tracks by more than 20 artists, including Hot Chip, Sufjan Stevens, Phosphorescent, Blood Orange, The Autumn Defense and Lonnie Holley, paying homage to Russell's boundless creativity and wide-ranging work, which swerved from electronic dance to folk to classical and resulted in what NPR hails as "catchy and hypnotic records that were far ahead of their time."1. Jose Gonzalez - "This Is How We Walk On The Moon"
2. Lonnie Holley - "Soon-To-Be Innocent Fun (Interlude)"
3. Robyn - "Tell You"
4. Hot Chip - "Go Bang"
5. Sufjan Stevens - "A Little Lost"
6. Lonnie Holley - "In The Light Of The Miracle (Interlude)"
7. Richard Reed Parry, Little Scream, Sam Amidon, Colin Stetson & Sarah Neufeld - "Keeping Up"
8. Liam Finn, Ernie Brooks & Peter Zummo - "This Love Is Crying"
9. Rubblebucket & Nitemoves - "Eli"
10. The Revival Hour - "Hiding Your Present from You"
11. Sam Amidon - "Lucky Cloud"
12. Devendra Banhart - "Losing My Taste For The Night Life"
13. Phosphorescent - "You Can Make Me Feel Bad"
14. Blood Orange - "Is It All Over My Face & Tower Of Meaning"
15. Scissor Sisters - "That's Us/Wild Combination"
16. VEGA INTL. - "Arm Around You"
17. Oh Mercy - "Planted A Thought"
18. Lonnie Holley - "Hop On Down (Interlude)"
19. Cults - "Being It"
20. Richard Reed Parry - "Just A Blip"
21. Glen Hansard - "I Couldn't Say It To Your Face"
22. Thao & The Get Down Stay Down - "Nobody Wants A Lonely Heart"
23. The Autumn Defense - "Oh Fernanda Why"
24. Alexis Taylor - "Our Last Night Together"
25. Lonnie Holley - "The Deer In The Forest (Interlude)"
26. Redding Hunter - "Close My Eyes"$24.99Vinyl LP - 3 LPs Sealed Buy Now
Weirdo ShrineFor most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It's Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music's ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland's guitar solos took on a more unhinged quality. The basslines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves. When it came time to record Weirdo Shrine, their second album-due out August 7th-the goal was to capture the band's restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland's newly fuzzed-up guitar solos-which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country-were juxtaposed against the group's most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on "You Disappear" and "Oranges," and sought inspiration from Charles Burns' Seattle-set graphic novel Black Hole. The resulting album is a natural evolution of the band's self-styled "surf noir" sound-a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of "Sleep Till They Die" to the widescreen, receding-skyline send-off of "Oranges" and its bittersweet epilogue, "True Love Knows." In describing Weirdo Shrine, Segall remarked that it gave him a vision of a "world burning with colors [he'd] never seen, like mauve that is living." In "Oranges," the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal "orange wind / that glows from your footsteps." These hue-based allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.1. Sleep Till They Die
2. You Disappear
3. With Davey
4. Don't Wanna Be Anywhere
5. I Can't Speak
6. Hey Papi
7. I Wanna Be Alone (With You)
8. I'll Be True
9. Black Hole, Weirdo Shrine
11. True Love Knows$15.99Vinyl LP - Sealed Buy Now
4everevolutionRoots Manuva's brand new studio album, '4everevolution,' via Big Dada/Banana Klan, is just a few seconds under an hour long, consists of seventeen tracks and covers every style from wonky reggae through pop-funk, street spitting, straight up hip hop, sung ballads and epic death-disco. We think it's his very best work since Run Come Save Me. We're wondering (whisper it) whether it might be his best album... (sshh) ever.
The album mainly revolves around Roots' own production and voice, with contributions from Banana Klan stalwarts including Ricky Ranking, DJ MK and Daddy Kope. In addition, on three tracks Mr Manuva introduces talented young singer Rokhsan. Other guests include Skin and Cass Lewis from Skunk Anansie, Elan Tamara and Spikey T. Production, meanwhile, comes from as far afield as Australia, Rodney Smith's travels allowing him to meet beatmakers and producers all over the world.
Overall, though, the vision remains that of one man. Roots Manuva has honed his craft across four previous studio albums, picking up a MOBO, plus Brit and Mercury nominations along the way. This record, though, represents some of his freshest, most urgent work. Whether castigating politicians or himself, joking about girls or men in love with their computers, ruminating on the void at the heart of urban music or bigging himself up, crooning an apology or growling about loins, Roots Manuva remains one of the foremost lyricists and musicians of his generation.
The first taste from this epic is already out and about in the form of Watch Me Dance. A dirty little funk ditty with its origins in Ricky Ranking's earliest live performances with the Manuva band, Rodney demoed the track 18 months or so ago and then gave the parts to Toddla T to see what he could do with them. They both agreed that the results sounded more like a Toddla T track than a Roots Manuva track, so that version gave Toddla's new album its name, but Rodney's own version is also out and about. To get the world at large in the mood for the record to follow, we're offering the chance to download Roots Manuva's version of Watch Me Dance for free. The download link is here: bigdada.com/rootsmanuva.
Is Watch Me Dance typical of the album that follows? No, it isn't. This record is so varied that we couldn't really pick a track to represent it. Just treat is as representing one facet of the many facets of a great recording artist...1. First Growth
2. Here We Go Again
3. Skid Valley
4. Who Goes There?
5. Watch Me Dance
7. Wha' Mek?
8. Takes Time To
9. Beyond This World
10. Go Champ
11. Get The Get
12. Crow Bars
13. In The Throes Of It
15. Much Too Plush
16. The Path
17. Banana Skank$20.99Vinyl LP - 2 LPs Sealed Buy Now
The Final Revolution (Awaiting Repress)Limited Edition Colored Vinyl + CD
The New York quartet Pro-Pain require little introduction. Since their trailblazing debut album Foul Taste Of Freedom, which was nominated for a whole range of awards in the early 1990s, the band surrounding vocalist/bassist Gary Meskil has earned the affection and respect of countless fans worldwide and is rightly considered to be a true hardcore metal legend. Every Pro-Pain album is a paragon of intensity, inspiration, honesty and unwillingness to compromise. Their 14th studio recording The Final Revolution marks the band's return to their old form: "The music is quite dark, and the groove and tempos are very reminiscent of the classic Pro-Pain style as opposed to our last album Straight To The Dome, which was a bit more thrashy", Meskil explains.
Meskil is referring to a good dozen hard-as-nails Pro-Pain numbers which would be difficult to surpass in terms of drive and energy. The title track 'The Final Revolution', for example, has all of the Pro-Pain ingredients: thrash, groove, breakdown, solo, and lyrics about current world affairs. Meskil is particularly proud of 'Southbound', a personal
song about his trek south, burying the past, and remaining true to what he does. The Final Revolution even features a side to the band which we haven't seen for a long time: 'One Shot One Kill', with a style and feel that haven't been used in Pro-Pain since 'Death On The Dance Floor' from their 1992 debut Foul Taste Of Freedom. Meskil: "It's quite
refreshing, actually."1. Deathwish
2. One Shot One Kill
4. Problem Reaction Solution
5. The Final Revolution
6. Can't Stop The Pain
7. All Systems Fail
8. Want Some?
9. Fall From Grace
11. Mass Extinction
12. Under The Gun$19.99Colored Vinyl LP + CD - Sealed AWAITING REPRESS Buy Now
Good Times AheadAfter years of cultivating songs, mixes and remixes, and overall vibes for festivals and tours, Matt Toth and Julio Mejia - better known as GTA (short for GOOD TIMES AHEAD) - will release their full length debut Good Times Ahead via Warner Brothers.
Featuring Tinashe, Vince Staples, Tungi Ige, Iamsu, Wax Motif, What So Not and more, the long-waited debut is a testament to their multiple influences and highlights their eclectic production ear.
For the last few years we've been feeling like things have been getting repetitive. We've always had goals of ascending beyond the festival bangers we're known for, so around a year ago we set out to create a body of work that reflected our depth and growth as producers, they explained to The FADER.
We've always had bigger aspirations than just the dance space which came hand in hand with our 'Death To Genres' mentality. To us, music was more about what made you move rather than what type of music was playing. With this album we're able to explore all facets of music that we love, flip the script and bring everything together into one fluid album that we're really proud of.1. True Romance (feat. Jarina De Marco)
2. Lil Bit of This (feat. Vince Staples)
3. Feel It (with What So Not) [feat. Tunji Ige]
5. Get It All (with Wax Motif)
6. All Caught Up (feat. Tinashe)
7. In My Nature (feat. Karina)
8. Pressure (feat. RKCB)
9. Contract (feat. Iamsu!)
10. Illuminate$17.99Vinyl LP - Sealed Buy Now
Sebastien Grainger And The Mountains
A muscular and smart rock record that will surprise people expecting him to relive his past. Best known as singer and drummer for Canadian dance-punk duo Death From Above 1979, whose decadently catchy anthems took the world by storm, Grainger is soon to be better known as a singer/songwriter of sophisticated distinction with delicately layered folk-rock ruminations rich with energetic arrangements and deep melodic undercurrents.1.Love Can Be So Mean
2.Who Do We Care For?
3.By Cover of Night (Fire Fight)
4.I'm All Rage [Live '05] - (live)
5.I Hate My Friends
6.(Are There) Ways To Come Home?
8.(I Am Like a) River
9.Love is Not a Contest
11.Meet New Friends
12.Renegade Silence$15.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Girls, Girls, Girls
Limited Edition (1500) Translucent Red Vinyl
Girls, Girls, Girls is the fourth studio album by the American heavy metal band Mötley CrÜe, released on May 15, 1987.
The album contains a more blused riffed style than their previous albums. The record contains the hits Wild Side and Girls, Girls, Girls. The record also reflects the band's hard-living lifestyle, and pays homage to their love of riding Harley Motorcycles, drinking whiskey, drug use, life on the Sunset Strip, and spending nights at strip clubs. However, there are darker sides to the album as well, notably Dancing on Glass and Wild Side. The power ballad You're All I Need tells the story of the death of a lover, and the song Nona is a tribute to Nikki Sixx' grandmother, who died during the recording of the album. First time on translucent red vinyl.1. Wild Side
2. Girls Girls Girls
3. Dancing On Glass
4. Bad Boy Boogie
6. Five Years Dead
7. All In the Name Of...
8. Sumthin' For Nuthin'
9. You're All I Need
10. Jailhouse Rock (live)$19.99Colored Vinyl LP - Sealed Buy Now
XXX: 30 Years of Girls, Girls, Girls (Pre-Order)Limited Edition 30th Anniversary Blue Marble Vinyl
Girls, Girls, Girls is the fourth studio album by the American heavy metal band Mötley CrÜe, originally released on May 15, 1987.
The album contains a more blused riffed style than their previous albums. The record contains the hits Wild Side and Girls, Girls, Girls. The record also reflects the band's hard-living lifestyle, and pays homage to their love of riding Harley Motorcycles, drinking whiskey, drug use, life on the Sunset Strip, and spending nights at strip clubs. However, there are darker sides to the album as well, notably Dancing on Glass and Wild Side. The power ballad You're All I Need tells the story of the death of a lover, and the song Nona is a tribute to Nikki Sixx' grandmother, who died during the recording of the album. Pressed on limited edition 30th Anniversary blue marble vinyl.1. Wild Side
2. Girls Girls Girls
3. Dancing On Glass
4. Bad Boy Boogie
6. Five Years Dead
7. All In the Name Of...
8. Sumthin' For Nuthin'
9. You're All I Need
10. Jailhouse Rock (live)$19.99Colored Vinyl LP - Sealed PRE-ORDER Buy Now
Eccentric Soul: The Forte LabelIn 1969, after three years as Soul Sister #1 to James Brown's touring entourage, Marva Whitney came home to Kansas City, putting Ellis Taylor's Forte label back at full fighting strength. She'd calmed aching crowds the day after MLK's death, and she'd lived the life, despite its rigors-to pour out her pain and exuberance on Forte sides including "I've Lived The Life" and "Daddy Don't Know About Sugar Bear," which made national rounds in 1972.
By then, Forte had already done more than deliver Marvelous Marva to market. Taylor worked overtime at KPRS to bring the world The Rayons, who'd stroll their girl group harmonies past Chicago's RCA studios on "Baby Be Good." In '68, The Four Darlings sauntered in with smoky-voiced soul operatics on the demanding "Give Me Love." Progressing in the middle '70s, Everyday People got "Super Black" on Forte's pine-green label. Still powering forward some 13 years on, Forte redawned with the 1980s, essaying disco funk with Sharon Revoal's "Reaching for Our Star."
Numero 047 Eccentric Soul: The Forte Label charts Kansas City yeoman's work, the Carpets and the Derbys, dapper clothiers mysteriously murdered, and marriages made and broken. In 28 LP tracks, plus a trove of promo headshots and every-hued label scans
detailing all iterations of Forte's logo in print, this 16th Eccentric Soul sojourn hands over vivid floor shakers and lost dance craze records alike-though what moves "The Hen" required remains anyone's guess.LP1
1. Gene Williams - Don't Let Your Love Fade Away
2. Lee Harris - I'm Gonna Get Your Thing
3. Tear Drops - I'm Gonna Get You
4. Louis Chachere - The Hen Part 1
5. The Fantasticks - Cry Night And Day
6. Marva W Taylor - I've Lived The Life
7. Fabulous Rhythm Makers - Mini Mini Afro Twist
8.Tony Ashley & the Delicates - I'll Never Be Satisfied
9. The Rayons - You Confuse Me Baby
10. The Four Darlings - Baby Your Love Is Amazing
11. Lee Harris - Lookin' Good
12. Marva Whitney - Daddy Don't Know About Sugar Bear
13: Gene Williams - Whatever You Do (Do It Good)
14. Everyday People - Is It Really That Bad
1. The Rayons - Baby Be Good
2. Tony Ashley & the Delicates - All Along I've Loved You
3. Lee Harris - I've Got To Have Somebody's Love
4. Everyday People - Super Black
5. James Whitney - With Fun In My Life
6. Sharon Revoal - Reaching For Our Star
7. Marva W Taylor - Nothing I'd Rather Be (Than Your Weakness)
8. Four Darlings - Give Me Love
9. Unknown Artist - Dearest Lover
10. Fantasticks - Live And Let Live
11. Fabulous Rhythm Makers - Ya Gotta Be Doing It
12. Lee Harris - Skate Boogaloo and Karate Too
13. Tear Drops - Don't Fade Away
14. Marva Whitney & Ellis "Gripey" Taylor - We Need More (But Somebody Gotta Sacrifice)$21.99Vinyl LP - 2 LPs Sealed Buy Now
Mountain Moves (Pre-Order)This is no time for the tortured artist. Right now, we're living in two worlds at once.The first is a death-driven monoculture: cutthroat, cynical, exploitative, literally deranged. This is the dominant, unlistening world, the unmoved mountain. Then there's the other world: the still-breathing, idealistic, and wholly life-affirming underground.
Mountain Moves is a celebration of the under-sung communities that have nourished us with their joy, their energy, their individualism, their pointless beauty.Starring the singing, playing, and songwriting of guests whose musical and political voices we admire, Mountain Moves is partly an ecstatic snapshot of a would-be utopia.
Fragmentation is more than an aesthetic. One moment your head's exploding over the stupidity and sadism of our leaders and systems, the next your favorite singer has just emailed you a vocal track recorded in their hotel room on tour. Mountain Moves explores the extremes of despair and hope that make up so much of our minute-to-minute experience.
We met a lot of crowds this year, at Brazilian music festivals, arena shows, protests.The power and potential of a crowd is like music itself - inspiring, healing, urgent.We made Mountain Moves fast, in hopes of capturing some of that communal energy. Please dance and sing along.
-Deerhoof1. Slow Motion Detonation (ft. Juana Molina)
2. Con Sordino
3. I Will Spite Survive (ft. Jenn Wasner)
4. Come Down Here & Say That (ft. Laetitia Sadler)
5. Gracias a la Vida (Violeta Parra)
6. Begin Countdown
7. Your Dystopic Creation Doesn't Fear You (ft. Awkwafina)
8. Ay That's Me
9. Palace of the Governors
10. Singalong Junk (ft. Xenia Rubinos)
11. Mountain Moves (ft. Matana Roberts)
12. Freedom Highway (The Staple Singers)
13. Sea Moves (ft. Chad Popple & Devin Hoff)
15. Small Axe (Bob Marley)$22.99Vinyl LP - Sealed PRE-ORDER Buy Now
REDD-FAT-3321xAnna Von Hausswolff
CeremonyIt begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.
You want to talk about compromises? No. Nor does Anna Von Hausswolff.
These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.
Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.
"I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."
Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."
That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."
He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.
"This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."1. Epitaph of Theodor
3. Mountains Grave
5. Red Sun
6. Epitaph of Daniel
7. No Body
8. Liturgy of Light
12. Funeral for my Future Children
13. Sun Rise$18.99Vinyl LP - Sealed Buy Now
NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli EnsembleMono
On the 17th of May 1957 StÉphane Grappelli came to Hamburg for a recording session with a quartet in Studio 1 of the Norddeutscher Rundfunk radio broadcaster. From today's perspective the trip was a rare event for the then 49-year-old jazz musician, because from the end of the 1940s until the mid-1960s he was rarely to be found in a recording studio anywhere, even though he was already one of the world's best jazz violinists. His studio absence is particularly puzzling given that up to his death on the 1st of December 1997 he was probably one of the most recorded violinists in the history of music of the 20th century. But from this roughly 15-year period there is actually just a handful of released recordings by and with StÉphane Grappelli.
For the jazz violinist the years before making his trip to Hamburg in 1957 were a time of upheaval and change which left a "gap" in Grappelli's CV and discography. There are several reasons for this. One of them lies in the technical developments of the time. Music became louder. Electric guitars, improved microphones and the voluminous sound, in particular of the brass section, also led to a broadening of the dynamic spectrum in jazz. With its delicate acoustics it was difficult for a violin to assert itself against the other instruments without amplification. Before coming to Hamburg, Grappelli had already started experimenting with various pick-up systems. But he was generally dissatisfied with the results because the electrification of his instrument had an excessively alienating effect on the unique timbre of the violin and the ambience was lost. This is why he often preferred a chamber music setting in the recording studio, as this gave him the best acoustic results with just a simple microphone.
Another reason was of a personal nature. On the 16th of May 1953 the Manouche guitarist "Django" Reinhardt died. The death of his long-time friend and musical companion had deeply wounded StÉphane Grappelli. He rarely spoke about this loss. When he did, then he spoke about the years between 1934 and 1939, when they both fronted the now legendary Quintette du Hot Club de France. It was the countless recordings with this band that earned Grappelli and Reinhardt their reputation as "legends" of early European jazz. Here and in the USA: with the then so popular Hot Jazz which the pair mixed from the very beginning of their percussionless band with the Musette waltzes typical of French dance music and the music of the Manouches, the French Gypsies.
When the Second World War broke out on the 1st of September 1939, the Quintette du Hot Club de France was on tour in England. While one, Reinhardt, returned to his homeland of France, the other, Grappelli, remained in London. In his English exile the violinist became acquainted with George Shearing. An encounter with consequences. Because Grappelli - who had taught himself to play the violin as a youth before going to study classical violin at the venerable Conservatoire de Paris, after which, like many musicians of the time, he earned his livelihood playing with dance orchestras in the French capital - was always interested in being part of new musical developments. With the blind pianist who was more than ten years younger and his concept of block chords, Grappelli was given the opportunity to learn what was for him an unknown harmonic language in jazz.
But above all, up to the late 1950s Grappelli was still working on perfecting his instrumental skills. While his solo choruses on the violin with the Quintette du Hot Club de France mainly involved intensifying ornamentations, tension-escalating vibrati, glissandi and tremoli, short fill-ups and improvised melodic phrases, in the years after the end of the war he expanded the range of forms of expression on his instrument. He was inspired, for example, by the "Bel Canto" playing of the classical violin virtuosos, taught himself different type of bow strokes, and learned an unusual grip technique for the violin in order to be able to fly over the strings with the minimum of pressure. But above all he emotionalised his sound using a technique with which he preceded the played notes with a glissando from below.
StÉphane Grappelli's visit to Studio 1 at the Norddeutscher Rundfunk in Hamburg in 1957 was then indeed a stroke of luck. Because on this day he had for the first time the complete repertoire of forms of expression on the violin which made him the style-forming jazz musician who earned the admiration even of instrumentalists in other genres such as the great classical violinist Yehudi Menuhin. At the same time, his tone and phrasing still had the vitality and virility of his younger years with the Quintette du Hot de France in the 1930s. And even more: In 1957 he was able to build a bridge with his violin between the swinging grandezza of the US jazz musicians and the great tradition of European music.
A major factor in making the recording session in Studio 1 of the NDR a field of experimentation for Grappelli was his rhythm group. This included his twenty-years-younger compatriot, the pianist Maurice Vander, and the two Germans Hans Last on the contra bass (yes, you've read it correctly: years later "Hans" was to become "James" Last) and Rolf Ahrens on percussion. With delicate harmony and colourful melody the three musicians cleared the ground for their leader to experiment with his violin: with his soft and broad legato bowing technique, for example, which allowed him to achieve such naturally swinging phrasing, particularly in the ballads and mid-tempo numbers, as the great US saxophonists at the time, with his sharp pizzicato which gave his solo choruses a dynamically differentiated energy level, or with his sensational flageolet tones in preparation for the climaxes of his improvisations.
Even though at first glance the repertoire recorded in Hamburg with its mixture of songs from the "Great American Songbook" ("St. Louis Blues" for example, or "Lady Be Good" and "The Lady Is A Tramp") and pieces, for example, by Django Reinhardt (in particular "Manoir De Mes Rêves" and "Nuages") appeared to offer little spectacular, in its natural and self-evident way this studio session was an illustration of what was to be Grappelli's life-long guiding principle: "Jazz is all about feeling: It is a matter of the heart", as he once summarised it in simple words "It is only when you have the feeling that the music happens as if by itself."LP1
1. Autumn In New York
2. Jeepers Creepers
3. These Foolish Things
4. She's Funny That Way
6. It Might As Well Be Spring
7. Hambourg Souvenir
8. Vours qui passez sans me voir
9. Lady Be Good
10. A Flower Is A Love-Some Thing
1. I Can't Believe That You're In Love With Me
2. Manoir de mes reves
3. How About You?
4. The Lady Is A Tramp
5. St. Louis Blues
6. A Girl In Calico
7. I'll Remember April
8. Blue Moon
9. How High The Moon
10. Pennies From Heaven$37.99Vinyl LP Mono - 2 LPs Sealed Buy Now