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The Money StoreHailing from Sacramento, CA, Death Grips was formed in late 2010 and consists of vocalist Stefan Burnett and production team Zach Hill and Andy Morin.
The band dropped the highly acclaimed mix tape Exmilitary featuring the standout track "Guillotine," Time Out NY 's #1 single of 2011. The release garnered critical praise from tastemakers such as Pitchfork, NME, Spin and The New Yorker, ending up on many year end 'best of' lists.
Death Grips follows-up Exmilitary with their Epic Records debut, The Money Store. The album builds on Exmilitary's unique punk rap sound and explores new territory with the standout tracks "Get Got," "Blackjack" and "I've Seen Footage."1. Get Got
2. The Fever (Aye Aye)
3. Lost Boys
5. Hustle Bones
6. I've Seen Footage
7. Double Helix
8. System Blower
9. The Cage
10. Punk Weight
11. Fuck That
12. Bitch Please
13. Hacker$24.99Vinyl LP - Sealed Buy Now
The Powers That BThe Powers That B is the fourth studio album by experimental hip hop group Death Grips.LP1
1. Up My Sleeves
2. Billy Not Really
3. Black Quarterback
4. Say Hey Kid
5. Have a Sad Cum BB
6. Fuck Me Out
8. Big Dipper
1. I Break Mirrors With My Face In The United States
2. Inanimate Sensation
3. Turned Off
4. Why A Bitch Gotta Lie
5. PSS PSS
6. The Powers That B
7. Beyond Alive
8. Centuries of Damn
9. On GP$25.99Vinyl LP - 2 LPs Sealed Buy Now
Bottomless PitDeath Grips is an experimental hip hop group from Sacramento, California, formed in 2010. Bottomless Pit is the
bands fifth studio album.1. Giving Bad People Good Ideas
2. Hot Head
6. Bubbles Buried In This Jungle
9. BB Poison
10. Three Bedrooms In A Good Neighborhood
11. Ring A Bell
13. Bottomless Pit$22.99Vinyl LP - Sealed Buy Now
DrumgasmDRUM SUPERGROUP WITH DRUMMERS FROM:
Pearl Jam, Soundgarden, Quasi, Wild Flag, Sleater Kinney, Hella, Death Grips
Janet Weiss - Quasi, Wild Flag, Sleater Kinney
Matt Cameron - Pearl Jam, Soundgarden
Zach Hill - Hella, Death Grips
Let's get this out of the way -for the casual listener, the musical window shopper, there is just nothing for you here. This music will confuse you, maybe annoy you, perhaps even cause a panic attack. Even reading about it will probably just confuse and annoy; so better just stop now and forget about it.
Alright - who's left? You are not 90% - you are the music freaks, the true heads, and of course... the drummers! Because, this record is a document of what happens when Matt Cameron, Janet Weiss, and Zach Hill - three of the most remarkable drummers of late period rock & roll, whose collective roll call of bands - Pearl Jam, Sleater-Kinney, Hella, Quasi, Soundgarden,Wild Flag, Death Grips, Boredoms - have had a heavy impact on all levels of rock & roll from full blown arena rock to the radical fringe underground, set up together in a room & just commence to EXPLODE.
I'm in a unique position to comment on this music, as I actually scammed my way into the session, on the pretext of video taping the whole thing. Did I actually shoot some footage? I don't even remember, because, sitting there in the room as it all went down, I was just transported by the spirit, the energy, the fire, which was being generated in large doses. Three people, three drum kits, some microphones and a reel of tape - that's it: pure spontaneity. There's nothing out there that's very comparable to this - maybe the Voodoo drum ritual music of the Drummers of the Societe Absolument Guinin, is all I can think of, though admittedly even that is a pretty far cry.
After the session was done and mixed, I was given access to the recordings, and I spent hours listening closely, parsing out the details in what seems at first like a Niagara Falls of sound. In fact it's very possible to pick out what each of the drummers is doing at a given time (they are given distinct areas within the stereo spectrum), and zoom in on action/reaction, call and response, time games, shifting levels of synchronization and de-synchronization, repetition and pattern... it's all there if you want to dissect it. But eventually I found that simply relaxing into the sound, riding the contours of energy, density, movement, was probably the most rewarding way of listening to this music. At this level, the experience is deeply calming, as the sound becomes a river, sometimes roaring in a torrent, other times opening up to reveal subsurface details, but always moving, flowing... people spend all day watching rivers flow by like this, maybe pretending to try & catch fish. One could likewise spend all day listening to this music flow by, except the time limits imposed by the LP format have pared the music down to more reasonable chunks.
So for us, the freaks, the heads, this is gold: masters of their instruments in a frenzy of creation - creation for its own sake, for the love of music and sound and drums, a universe away from music as product, musician as brand. Dig it. -Armitage ShanksSide A: Drumgasm (21:16)
Side B: Drumgasm (18.27)$17.99Vinyl LP - Sealed Buy Now
No Love Deep WebDeath Grips shocked the world and their record label when they released their second release of the year No Love Deep Web, but upon listening it's pretty clear that this is a mixtape that the label had no intention of releasing. No Love Deep Web was probably just an elaborate way to hype up the band, and it's safe to say it worked. No Love Deep Web had over 34.2 million downloads on BitTorrent thanks to the help of Twitter, and I think its safe to say their plan worked. Speaking of the album itself, it employs very minimalistic stripped down beats and has a much chiller vibe overall compared to the previous two records. That doesn't mean the beats are soft though, because they are harder than the phallus on the album cover. No Love Deep Web is one big grimy middle finger to the music industry and one of the most sordid albums ever released by a group on a major label.
This isn't your father's hip hop, but that should be common knowledge by now. If you go into this expecting insightful lyrics and smooth flow over catchy beats you're going to have a bad time, hell even if you expect to understand the lyrics most of the time you're going to get very little out of No Love Deep Web. MC Ride is his schizophrenic self on tracks like No Love and World Of Dogs, but he also comes down to earth and actually calms down a bit on tracks like Artificial Death In The West adding a lot more depth to their sound. The whole album feels like the fever dreams of a severely withdrawn drug addict, tracks like World Of Dogs, No Love and Hunger Games sound like a sick drug addicts crash back down to earth and their gritty existence. The line I got some *** to say just for the *** of it perfectly encapsulates not only MC Ride's style, but No Love Deep Web, and Death Grips' whole career.
The beats on this thing are raw and stripped down, some of the tracks don't even have a melody some of the time, just drums and vocals like in Lock Your Doors. The beats are fidgety electronic bells and whistles, lots of interesting sounds and synths creating a gritty atmosphere for MC Ride to spit his insane lyrics over. The rawness and harsh production of the beats help point to the fact that this is a mixtape and not a studio release, the minimalistic approach also creates a fresh sound compared to the over produced and at times gimmicky production on The Money Store, and this approach will likely convert a few people who were not fond of the over the top nature of The Money Store.
No Love Deep Web inevitably sounds a tad rushed, no *** it was made in only a few months, but it definitely did its job as a hype generator. It doesn't do enough different to warrant its early release date and the band's sound is getting a bit tiring. The main problem though is the lack of standout tracks, with most of the hooks gone and with such stripped down beats a lot of the songs blend together in an unflattering way. Exhausting as it can be at times, No Love Deep Web turned out to be another great addition to Death Grips' ever expanding discography that is likely to turn a few heads just as all of their previous work has done.
- Robert Lowe (Sputnik Music)1. Come Up And Get Me
2. Lil Boy
3. No Love
4. Black Dice
5. World Of Dogs
6. Lock Your Doors
8. Hunger Games
9. Deep Web
12. Bass Rattle Stars Out The Sky$25.99Vinyl LP - Sealed Buy Now
So It Goes
"Perfect blend of old-school sensibility with modern energy." - Complex
"Ratking unlock noise-rap stunner." - SPIN
"Ratking not what the City expected, but it's exactly what it needs" - REVOLT
"Aggressive, dark, and propulsive." - NPR
Following a busy 2013 that saw them playing shows with acts as diverse
as GZA, Death Grips, King Krule and Trash Talk as well as collaborating
with legendary photographer and lmmaker Ari Marcopoulos, RATKING are
ready to announce their debut album So It Goes. The album nds the group
perfecting the balance between the raw, unbridled energy of their live set
and the warm soulful, golden-era hip hop that the members grew up on,
aided in large part by engineering from Young Guru (Jay-Z, The Diplomats,
Notorious B.I.G.). So It Goes is a portrait of
modern day New York City painted over the course of its 11 tracks.1. *
3. Snow Beach
4. So Sick Stories (feat. King Krule)
5. Remove Ya
7. So It Goes
8. Puerto Rican Judo (feat. Wavy Spice)
11.Take (feat. Soloman Faye)$22.99Vinyl LP - 2 LPs Sealed Buy Now
Angel Guts: Red ClassroomAngel Guts: Red Classroom is the beginning of Xiu Xiu's descent from grayness into the deepest blackness endurable. It is the sound of Xiu Xiu's death.
This is a bold proposition, even for a band that has never so much pushed the envelope as pulled it (forcefully) away from the line other musicians are willing to toe. And now, in what is unquestionably their darkest hour, Xiu Xiu have lit the envelope on fire and are using it as a torch to light the path ahead.
Having spent the previous four years living in North Carolina, primary songwriter Jamie Stewart relocated to Los Angeles, moving blindly into a neighborhood whose notoriously dangerous reputation was unknown to him.
A park divided among four gangs, a lake routinely dragged for bodies, a building wherein two infant skeletons were recently uncovered -- the aura of his new home bleeds into every pore of the album, each lyric and note bearing traces of its essence: the terrible beauty, the despair, the violence, the ultra humanity, the uncertainty.
I know to a degree I must have romanticized it, Stewart admits, But when it's not safe to go out at night, what else can one?
Romanticized is hardly the word anyone other than Stewart would use. Like its namesake, a Japanese erotic noir film, Angel Guts: Red Classroom is as radical as it is inventive. The subject matter -- racialized sex, double suicide, double penetration, criminality, fear of physical harm -- is unsuitable for the faint of heart. But when the heart has stopped beating, only the soul remains to carry on. And here, Stewart transcribes his without boundaries.
Your face is down alone / On your desk / At the end of the city / You were squashed into / There is no one you love. So begins the album's first verse.
In the wrong hands, such topics could be rendered as far-fetched fantasies. But Stewart's evocative vocals lend his provocative lyrics the balance they need, grounding them in a stark realism that forces us to acknowledge their existence, even confront them (as discomforting as that is).
Unsettling, too, is the music. Working with only analog synths, drum set, and 1970's analog drum machines, Xiu Xiu has never before sounded so focused, so captivating, so intent on delivering a kick to the throat.
Though influences can be cited (Suicide, Kraftwerk, Nico, EinstÜrzende Neubauten), they are ultimately far less relevant than the mark this album will leave on other musicians and music fans from this point forward.
Take Stupid in the Dark -- its tone ominous and pulsing, its harmonies simple and direct, its grip unrelenting. Or Botanica de Los Angeles, a sparse, yet undeniably anthemic merging of bruising drums and bone-rattling bass synths.
Unbearably dark, yet incredibly illuminating, on the John Congleton-produced Angel Guts: Red Classroom Xiu Xiu continues to forge (and at times risk) its reputation as avant-garde pioneers. It is the work of a band unraveling to its core and exposing the boldness within.
Xiu Xiu may be dead, but its will is more alive than ever.1. Angel Guts
2. Archie's Fades
3. Stupid in the Dark
4. Lawrence Liquors
5. Black Dick
6. New Life Immigration
7. EL Naco
8. Adult Friends
9. The Silver Platter
10. Bitter Melon
11. A Knife in the Sun
12. Cinthya's Unisex
13. Botanica de Los Angeles
14. Red Classroom$19.99Vinyl LP - Sealed Buy Now
Algiers"This is revolutionary music in the truest sense of
the word. It demands action. It requires penance. It
destroys expectations." - Stereogum
"The Death Grips of gospel torching the South's
dark underbelly." - Rolling Stone
The debut LP by Algiers is haunted by promises of the past:
the rapturous call and response of millenarian gospel, the
bellowing urgency of 60s protest soul, the scene-searching
intensity of DC hardcore and the smeared viscosity of
post-punk and no wave. After all, as Marx once said: "The
tradition of all dead generations weighs like a nightmare
on the brains of the living." But rather than revel in a state
of nostalgia, the band wields these burdened visions to
charge headlong into the future.
Over the album's eleven tracks, these three ÉmigrÉs of
the American Deep South lay waste to appropriators,
oppressors, revivalists and the cultural shock troops of
capitalism. Vocalist Franklin James Fisher's every shriek and
incantation will take you from the sweaty fervor of Dennis
Edwards-era Temptations through the righteous rebellion
of Nina Simone to the solitary midnight howls of PJ Harvey.
Shards of Lee Tesche's guitar, along with Ryan Mahan's
bass pulses and synthesizer slashes, pierce through the
processional, transforming neo-modernist hymns with
explosions of foreboding and dread that evoke the
vanguard of pop experimentation from Suicide to Roland
In an era when political subjectivity and human connectivity
have been smashed to pieces by the demands of finance
capital, Algiers has taken its stance: to maintain fidelity to
these subversive spirits and trudge toward the light. While
they may never arrive at their destination - consigned to a
life of wandering - they conjure the dead sound to life in
frightening new directions.1. Remains
3. And When You Fall
5. Old Girl
6. Irony. Utility. Pretext.
7. But She Was Not Flying
8. Black Eunuch
10. In Parallax
11. 11$21.99Vinyl LP - Sealed Buy Now
HozierSelf-titled debut album from Irish artist Hozier.
Ahead of his forthcoming full-length, Hozier released a 4-track introductory EP, featuring his fast-rising track Take Me To Church in addition to Angel Of Small Death, which reflects the gospel-soul gumbo at the heart of his music, Arcadian acoustic adventure Like Real People Do, and Cherry Wine, a raw emotional discourse recorded live at 6am on an abandoned hotel rooftop. Hozier played all the instruments (Fiachra Kinder helped out on drums), sang all the parts and recorded in his home studio, and Rob Kirwan (Depeche Mode, PJ Harvey) mixed the tracks in Dublin.
Born in County Wicklow on St Patrick's Day, Hozier gained worldwide attention nearly overnight when he posted the video for his song Take Me To Church in late September. The gripping black and white video, directed by Brendan Canty, highlights the turbulent plight of the LGBT community in Russia via the story of two gay men targeted by a homophobic gang. The powerful video brings life to the emotional song, which touches on the influence of religion on humanity.
The Take Me To Church video has quickly racked up views on YouTube, reaching millions of views largely on word of mouth. The track has been a fixture on Spotify's Most Viral charts, regularly appearing in the Top 10 in the US and the UK since the end of last year, and Spotify also selected Hozier as one of their Spotlight Artists to Watch 2014. Take Me To Church also hit #1 on Hype Machine's Most Popular chart, and has also been hovering on the top of Ireland's singles chart, outselling acts like Lorde and One Direction week after week. Hozier has been playing to packed rooms in Ireland, and his first London show sold out in minutes, underscoring the phenomenon that has emerged in such a short time. UK tastemaker Zane Lowe has also just selected Hozier for his coveted Hottest Record spotlight.LP 1
1. Take Me To Church
2. Angel Of Small Death And The Codeine Scene
3. Jackie And Wilson
4. Someone New
5. To Be Alone
6. From Eden
1. In A Week (Feat. Karen Cowley)
3. Work Song
4. Like Real People Do
5. It Will Come Back
6. Foreigner's God
7. Cherry Wine$27.99Vinyl LP + CD - 2 LPs Sealed Buy Now
A Death Grip On YesterdayATREYU exploded from the bitter depths of bright and sunny Orange County, California in 2002, with their sights set on creating the standard for hard rock in the new millennium. After selling 600,000 albums, headlining sold out world tours and spawning an army of unworthy imitators, ATREYU have done just that. Now ATREYU is taking the world by the throat once again with their stunningly intense and highly anticipated new album, A Deathgrip On Yesterday. Quickly devouring any preconceived notions about their trademark metallic riffs and evil, thunderous, guttural vocals, ATREYU have not only written the book on exceeding expectations and reinventing genres, they continue to live it with A Deathgrip On
Yesterday. Josh Abraham, respected producer for his work on albums with KORN, VELVET REVOLVER and STAIND, manned the controls on A Deathgrip On Yesterday. The result is nothing less than a haunting masterpiece that picks up where 2004's smash, The Curse, left off.1. The Theft
2. Ex's And Oh's
3. Our Sick Story (Thus Far)
4. Your Private War
7. My Fork In The Road (Your Knife In My Back)
8. Untitled Finale
9. We Stand Up$15.99Vinyl LP - 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
Angels & DevilsIt's after the end of the world, don't you know that yet...
With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin's sonic predictions of dystopian London that were set out on 2008's London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there's no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.
The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.
The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can's Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.
With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is Void. Followed by contributions from ex Hype Wiliams half copeland (Fall), the blissed out patois of touring partner Miss Red (Mi Lost), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on Save Me. It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...
Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with The One. Roll Deep's Manga steps up next with the instant Bug classic Function, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with Fuck A Bitch. Flowdan & Justin Broadrick come back for the cinematic death crawl of Fat Mac. Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for Fuck You, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts dirty, fuck that murky....
The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.
Utopian/dystopian, black/white, complexity/singularity, negative/positive... Angels/Devils.1. Void (Featuring Liz Harris)
2. Fall (Featuring copeland)
4. Mi Lost (Featuring Miss Red)
6. Save Me (Featuring Gonjasufi)
7. The One (Featuring Flowdan)
8. Function (Featuring Manga)
9. Fuck a Bitch (Featuring Death Grips)
10. Fat Mac (Featuring Flowdan)
11. Fuck You (Featuring Warrior Queen)
12. Dirty (Featuring Flowdan)$29.99Vinyl LP - 2 LPs Sealed Buy Now
The Underside Of PowerIncludes 12-Page Booklet Insert
"This is revolutionary music in the truest sense of
the word. It demands action. It requires penance. It
destroys expectations." - Stereogum
"The Death Grips of gospel torching the South's
dark underbelly." - Rolling Stone
This is the musical response that dark times demand, one
that not only shakes its fist but deploys it. Locally-informed
global citizens, Algiers refuse to sit idly by while most
contemporary artists appear perfectly content to sit out the
revolution. Not only do Algiers harbor a purposeful sense of
obligation in what they do on their latest resistance record
The Underside Of Power, but they recognize the roots and
thorns of precedent in said resistance.
Beyond the technical necessities living their respective lives
both in and outside of music, Algiers' continued deviation
from a more traditional band approach created a more
versatile sound, one that better incorporates a collective
and respective panoply of influences and styles.
Some of this is informed by their choice of collaborators in
this process, a crew that includes Adrian Utley [Portishead],
Ben Greenberg [Uniform, The Men], Randall Dunn [Sunn
0)))], among others. Pick any track off The Underside of
Power and the reference points expand exponentially, a
dizzying and thrilling Recommended-If-You-Like list that
would consume a series of afternoons.
Poke at the seasoned members' bruised flesh, and out
come wafting touchpoints as disparate and intriguing as
Big Black, Wendy Carlos, John Carpenter, Cybotron, The
Four Tops, Portishead, Public Image Limited, Steve Reich,
and Nina Simone, to name but a few. Deep echoes of Black
Lives Matter and its 20th-century forebears gather, surge,
and subside in their often soulful work, a form of principled,
acute dissent more interested in learning from the past
than in evoking nostalgia.1. Walk Like A Panther
2. Cry Of The Martyrs
3. The Underside Of Power
4. Death March
5. A Murmur. A Sign.
6. Mme Rieux
9. Plague Years
10. A Hymn For An Average Man
11. Bury Me Standing
12. The Cycle/The Spiral: Time To Go Down Slowly$22.99Vinyl LP - Sealed Buy Now
This Is SteveThis is Steve, DELICATE STEVE's first new record in 4 years, and first for the ANTI- imprint, is an articulation of his spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve's case, it's very hard to separate the person from the art. It's real. It's pure. This, is Steve. Melody begins with the needle drop on This is Steve, and it's this hallmark as a songwriter on display in tune after tune that has defined all of DELICATE STEVE's work. It's his incredible capacity to write wordless songs that are impossible not to sing along to. He works in no genre, there are no words, but there is never a question as to what he is saying.
DELICATE STEVE (aka Steve Marion) had cornered the status of 'your favorite band's favorite band', as Steve himself became a fixture in and an on-demand collaborator among disparate scenes, players, and bands, making some of the most celebrated and forward thinking music today: Co-signs and work with David Byrne, Dirty Projectors, tUnE-yArDs, Mac DeMarco, Dr. Dog, and most recently, providing guitar on Paul Simon's new record. Likely the only guitarist alive who will cut records with Sondre Lerche and Death Grip's Zach Hill.
Steve produced and played all the instruments on this record. He created it as an introduction from himself to you, and named it appropriately. If there is a question as to who This is Steve's creator is, you'll find it imbued in these ten songs. As he has done from the start, Steve lets the music speak for itself. Without a word.1. Animals
3. Cartoon Rock
10. This Is Steve$19.99Vinyl LP - Sealed Buy Now
Endangered Philosophies (Pre-Order)2LP gatefold with etched vinyl
Before Def Jux, before Death Grips, before Yeezus, there was DÄlek (Noisey). Pioneers of alt hip-hop, DÄlek (pronounced die-a-lek) features Rapper/Producer MC DÄlek, Producer/live electronics Mike Manteca, and Turntabilist DJ rEk . With roots in the mid-'90s DIY scene, DÄlek has been delivering groundbreaking albums for over 20 years. They have enraptured fans and critics across all genres, garnering fans and earning accolades from the hip-hop, electronic, indie, metal, shoegaze, jazz and experimental communities.
After releasing seven studio albums, numerous collaborations, EPs, and remixes, they continue to push boundaries with each release. Debut album Negro Necro Nekros (1998), was hailed by NME as a means to deconstruct hip hop, 2002 saw Ipecac Recordings release the game-changing From Filthy Tongue of Gods and Griots, which was followed by 3 more releases on Ipecac Recordings: Absence (2005), Abandoned Language (2007) and GutterTactics (2009).
In 2010, DÄlek went on a five-year hiatus to recoup from a decade of relentless touring, and to focus on new musical projects. In January of 2015, MC DÄlek said he missed the noise, and a tour and new single quickly followed. 2016 saw the release of the critically acclaimed Asphalt for Eden, which Pitchfork declared: hip hop ascends into the noosphere. DÄlek's sonic and lyrical evolution continues.
Endangered Philosophies is DÄlek's signature sound pushed in new directions. Re-sculpted to say all that needs to be said today. It is no one element, but rather an amalgamation of the lyrics, sonics, drums, noise, melody, bass, and turntablism, explains MC DÄlek of the new work. Endangered Philosophies is a very introspective record about very external forces. This isn't about one listen... it's about your evolving perception when you immerse yourself in the layers of sound and words. Endangered Philosophies is a record about the RIGHT NOW and yet will resonate differently each time it is listened to, in a word....timeless.1. Echoes of
3. Few Understand
4. The Son of Immigrants
5. Beyond the Madness
7. Nothing Stays Permanent
8. A Collective Cancelled Thought
10. Straight Razors
11. Numb$27.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Galactic MeltWhen talking about the music of COM TRUISE (one of the many pseudonyms of New Jersey designer/musician SETH HALEY), the nostalgia bit inevitably comes up, so let's get that out of the way. Yes, his songs tap classic sci-fi and proto-electro in a way that is distinctly early eighties in scope. But they're also remarkably weirdstutter-step proggy and intoxicatingly psychedelic, like those classic touchstones got drunk on lava lamp juice inside a pinball machine. After his well-received Cyanide Sisters EP, a grip of remixes for artists like Twin Shadow, Neon Indian, and, uh, Daft Punk, and a few floating MP3s, Truise's first LP, Galactic Melt, will finally enter brainspaces this summer. And what an appropriate title it bears. For a brief moment, opener Terminal subsumes you in warm, starry-eyed synth arpeggios, and then down the rabbit hole you gofrom the keyed up, skyscraping machine love of VHS Sex and Cathode Girls to opuses like Air Cal and Ether Drift that sound like Doogie Howser's idea of the perfect prom songmathy, forlorn, funky, and mighty in technical ambition. That they're all noticeably cinematic is, of course, by designHaley envisioned Galactic Melt as a sort of film scorefrom the mind, chronicling the lift and death of Com Truise, the world's first synthetic/robotic astronaut, from his creation and life on earth to his subsequent mission to a newly discovered galaxy called Wave 1. Eventually, Truise becomes one with his newfound cosmos, like Pinocchio becoming a real boy, but in the nether regions of imaginary space.1. Terminal
2. VHS Sex
3. Cathode Girls
4. Air Cal
9. Ether Drift
11. Galactic Melt$21.99Vinyl LP - 2 LPs Sealed Buy Now
Salem's Lot SoundtrackPressed On 2x 180-Gram Blue Vinyl
The Complete, Remastered Score Available On Vinyl For The First Time
Waxwork Records is thrilled to announce the double LP soundtrack release of SALEM'S LOT. Directed by TOBE HOOPER (The Texas Chainsaw Massacre, Poltergeist) and adapted from the novel by STEPHEN KING, SALEM'S LOT originally aired as a two-part miniseries on CBS in 1979. Since then, the film has reached cult classic status and is regarded as one of the greatest vampire films ever made thanks to its creepy atmosphere, gripping story-line, and chilling climax.
Waxwork Records presents, for the first time ever on vinyl, the complete, re-mastered score of SALEM'S LOT. Featuring all 84 musical cues from the film, this two-record set clocks in at over one hour of atmospheric, old-fashioned horror film music. Composed and conducted HARRY SUKMAN, the classic score to SALEM'S LOT was his final work before his death in 1984. Waxwork has commissioned art from FRANCESCO FRANCAVILLA (Afterlife with Archie, Marvel Comics, DC Comics, Dark Horse Comics) for the entire LP package.LP 1
2. The Church
3. Holy Water (Main Title #1)
5. Straker's Place
7. The House #1
8. The House #2
9. The Cemetery
10. He Writes Good
11. Lovely Susan
12. Straker Is Troubled
13. Straker Is Nervous
14. The Day Is Here
15. Tell Me It's Not True (Source #1)
16. Dead Dog
17. It's Cold In Here
18. The Thing
19. Mark's Room
20. Nothing Is Forever (Source #2)
21. Source #3
22. It's Still Moving
23. It's Freezing
24. The Monster Appears
25. Bumper / Somebody's Up There
26. Old Faithful
27. So Long Kid
28. Hold It, Larry
29. Goodbye Crockett
30. Ralph Is Floating
32. So Long, Danny!
33. Confident And Evil
34. Opening Soon
35. Ben Ponders
36. Let Us Pray
37. Now, Danny's Mother
38. Mike Dives In #1
39. Fangs Sink In
40. End Credits #1
1. Main Title #2
2. Back In Mark's Room
3. Now It's Mark's Turn
4. Mark Fondles Cross
5. Mike And Jason
6. Mike's Getting The Message
7. Appointment With Destiny
8. Eva Knows
9. Vivaldi - L'Inverno #4 (Arr. Harry Sukman)
10. I Want A Crucifix
11. That's All For Max
12. And Now Jason
13. He's Gonna Do It
14. It's Mr. Barlow Again
15. Face The Master
16. Bumper / Poor Mrs. Glick
17. Good Girl
18. Leave Town
19. A Funny Dream / Uncertain Swan
20. Susan Is Curious
21. Susan Stalks Mark
22. Stuffed Cats
23. It's Susan's Turn
24. Have You Seen Susan?
25. Evil Presence
26. Bill Beware
27. And Now Straker
28. Sprained Ankle / He's Here
29. Mike Dives In #2
30. Green Faced Barlow / Stake For Mr. Barlow / The Skull
31. Goodbye House
32. Two Years Later
33. Found Us Again
34. Poor Susan
35. Conclusion (With Tympani Overdub) / Conclusion
36. End Credits
37. Holy Water (Main Title #1 Alternate)
38. The Church (With Chimes)
39. Conclusion (Without Overdub)
40. Conclusion (With Tympani & Horn Overdub) / Conclusion
41. Main Title (Feature Version)
42. Vampires! (Feature Version)
43. End Credits (Feature Version)$48.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs 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
Offering: Live At Temple University
Deluxe 2-LP, Limited-Edition, 180-Gram Vinyl Pressed On 12 LP's At 33-1/3 RPM By Record Technology Incorporated (R.T.I.)
Hand-Numbered Gatefold By Stoughton Press
Vibrant Four Panel Insert With Liner Notes By Ashley Kahn
Special Collector Postcards With Photos By Frank Kofsky
Mastered By Bernie Grundman
Offering: Live At Temple University documents a legendary concert by John Coltrane at Temple University in his hometown, Philadelphia, Pennsylvania,
on November 11, 1966, six weeks after his fortieth birthday and nine months before his untimely death. Offering incorporates a look that is contiguous with the graphic identity of Impulse! Records, Coltrane's exclusive label from 1961
until the end of his life. This is the first officially sanctioned release of an undiscovered, complete Coltrane performance since 2005. It captures Coltrane in
exemplary form, navigating the language he had developed during the last phase of his musical path with passion and pellucid logic. Operating at
equivalent levels of invention and energy are three members of his working quintet of one year's standing his wife, Alice Coltrane, on piano; Pharoah
Sanders on reeds and flute; and Rashied Ali on drums.
Offering is emblematic of the efflorescent energies and radical ideas that Coltrane himself had much to do with bringing forth during the seven years after
1960, when he left the employ of Miles Davis to pursue his vision as a leader. There are versions of Coltrane's 1960 hits "Naima" and "My Favorite
Things," a transformational reworking of the 1964 ballad "Crescent," a spirit-raising rendering of "Leo," which he had recorded on several previous
occasions during 1966, and the hymnal "Offering," which he would record on a February 15, 1967 studio session that Impulse! would release during the
'90s as Spiritual Offering.
On Offering, Resonance Records achieves the highest possible audio quality, using direct transfers of original master reels from a location recording by
Temple's WRTI-FM, remastered at 96kHz/24 bit, that were tracked down by Coltrane scholar Yasuhiro Fujioka.
The immense life-force that animates the proceedings on this November 1966 evening in Philadelphia belies the declining state of Coltrane's health. It is
still difficult to grasp and to accept that he was firmly in the grip of the liver cancer that would still his voice on July 17, 1967. As co-producer Ashley Kahn
states in his liner notes, "Coltrane was pointing the way forward for generations of players to come, pushing the music to exhilarating, spiritual heights that
caught most by surprise. In 1966, that wasn't what jazz performances were about not yet."
Recorded November 11, 1966
Mitten Hall, Temple University
John Coltrane - soprano & tenor saxophones, flute & vocals
Pharoah Sanders - tenor saxophone & piccolo
Alice Coltrane - piano
Sonny Johnson - bass
Rashied Ali - drums
Additional musicians include:
Steve Knoblauch, Arnold Joyner alto saxophone
Umar Ali, Algie DeWitt, Robert Kenyatta percussion1. Naima
5. My Favorite Things$59.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Learning To Crawl (On Sale)What is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.
Half-speed mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles (Middle of the Road, Back on the Chain Gang) and incredible deep cuts sound.
The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II, the latter available on hybrid SACD from Mobile Fidelity), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders?
Hynde answers this question with a resounding yes on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. Back on the Chain Gang, the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed 2000 Miles holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.
New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious Middle of the Road and socially conscious My City Was Gone testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory--akin to the space referred to on the superb cover of Thin Line Between Love and Hate--that registers in the pits of the human soul.
Whether you've grown up with this album, heard it in college, or are just learning about it now, Mobile Fidelity's expertly mastered 180g LP version is the only analog edition worth owning. Hear Hynde and Co.'s cathartic, transcendent effort in all its full splendor, and, like the Pretenders, refuse to settle for less.
This title is not eligible for further discount.1. Middle of the Road
2. Back on the Chain Gang
3. Time the Avenger
4. Watching the Clothes
5. Show Me
7. My City Was Gone
8. Thin Line Between Love and Hate
9. I Hurt You
10. 2000 Miles$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP Buy Now