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  • Disintegration (20th Anniversary Remaster) Disintegration (20th Anniversary Remaster) Quick View

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    Disintegration (20th Anniversary Remaster)

    Ranked 326/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The Cure evolved into one of the most visionary, creatively satisfying and influential groups to come of age in the 1980s. From dreamy pop to moody expressionism, their signature sound is adventurous, hypnotic and beautifully melodic.


    Originally released in 1989, Disintegration is the band's highest selling record to date thanks to the hit singles Lovesong, Pictures Of You and Lullaby. Now you can re-experience the groundbreaking bands masterpiece, remastered to sound better than ever! Also includes complete lyrics and bonus photos.

    1. Plain Song
    2. Pictures Of You
    3. Close Down
    4, Love Song
    5. Last Dance
    6. Lullaby
    7. Fascination Street
    8. Prayers For Rain
    9. The Same Deep Water As You
    10. Disintegration
    11. Homesick
    12. Untitled
    The Cure
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Soft Bulletin The Soft Bulletin Quick View

    $29.99
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    The Soft Bulletin

    The Flaming Lips followed-up their interactive 1997 extravaganza Zaireeka in typical unforeseen fashion by releasing their 1999 magnum opus The Soft Bulletin, the most emotionally accessible and musically grandiose statement of the band's career. Wayne Coyne's plaintive and spiritual explorations on the human experience are brought to life as never before here by a symphonic multidimensional sound that is as beautiful as it is transcendent. Featuring ethereal and poignant classics like Race For The Prize, Waitin' For A Superman, Suddenly Everything Has Changed and Feeling Yourself Disintegrate among others, The Soft Bulletin proved to be that elusive artistic breakthrough from a band that looked destined to be eternally restless. Not only is The Soft Bulletin a high water mark for The Flaming Lips on multiple levels, it's arguably one of the best recordings of the decade plus.
    LP1
    1. Race For The Prize
    2. A Spoonful Weighs A Ton
    3. The Spark That Bled
    4. The Spiderbite Song
    5. Buggin' (Remix)
    6. What Is The Light?
    7. The Observer


    LP2
    1. Waitin' For A Superman
    2. Suddenly Everything Has Changed
    3. The Gash
    4. Slow Motion
    5. Feeling Yourself Disintegrate
    6. Sleeping On The Roof

    The Flaming Lips
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Deluge The Deluge Quick View

    $24.99
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    The Deluge

    White Colored Vinyl


    Cascade and The Deluge are variations on the latest tape-loop
    and delay composition from the inimitable William Basinski.
    Cascade is the CD/Digital variant, and The Deluge is the vinyl LP
    companion - pressed on exquisite 180 gram white colored vinyl.


    In Cascade, a single ancient lilting piano tape loop repeats
    endlessly carrying one along in its tessellating current. In The
    Deluge, the same loop is processed through a series of feedback
    loops of different lengths, creating a spiraling crescendo of
    overtones that eventually fades away to silence. In the
    denouement, a series of limpid piano loops leads to an urgent
    orchestral theme that builds and gradually dies.


    William Basinski is a classically trained musician and composer
    who has been working in experimental media for over 30 years in
    NYC and most recently, California. Employing obsolete
    technology and analogue tape loops, his haunting and
    melancholy soundscapes explore the temporal nature of life and
    resound with the reverberations of memory and the mystery of
    time. His epic 4-disc masterwork, The Disintegration Loops
    received international critical acclaim and was one of Pitchfork's
    Top Albums of the Decade. Installations and films made in
    collaboration with artist-filmmaker, James Elaine have been
    presented in festivals and museums internationally, and his
    concerts are presented to sold-out crowds around the world.
    Basinski was chosen by Music Director, Antony Hegarty to
    create music for the Robert Wilson opera, The Life and Death of
    Marina Abramovic which had its world premiere at the
    Manchester International Festival in July 2011 and toured Europe
    in 2012 and North America in 2013. Orchestral transcriptions of
    The Disintegration Loops by Maxim Moston have been
    performed at The Metropolitan Museum of Art, Queen Elizabeth
    Hall and La Batie Festival in Geneva, Switzerland. Basinski is
    currently touring the world in support of his latest works, Cascade
    and The Deluge.

    1. The Deluge
    2. The Deluge (The Denouement)
    3. Cascade
    William Basinski
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Shadow In Time A Shadow In Time Quick View

    $24.99
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    A Shadow In Time


    Includes Vinyl-Only Mix Not Available On Any Other Format


    Pressed Onto Audiophile-Quality 100% Virgin Vinyl


    "Deeply melancholic and subdued,
    music to embrace in the deep of a
    sleepless night." - The Quietus


    "Euphoric and transparent."
    - The Wire


    "There is something oddly
    otherworldly and plaintive about the
    whole thing." - Drowned In Sound


    World-renowned as one of experimental music's most vital and
    impressionistic composers of the past few decades, William
    Basinski's tape loop works have been especially influential,
    particularly on the historic series, The Disintegration Loops,
    where distorted, orchestral tape samples burrow deep into the
    listener's psyche through meditative repetition. On his new album,
    A Shadow In Time, Basinski plunges deeper than ever for the
    plaintive, solitary eulogy to David Bowie, aptly titled "For David
    Robert Jones." Conversely, the title track, "A Shadow In Time," is
    a subtle, celestial escalation of melody and drone. The result is
    one of the most truly transcendent pieces of music he has ever
    committed to - or wrung from - tape.


    William Basinski is a classically trained musician and composer
    who has been working in experimental media for over 30 years in
    NYC and most recently, California. Employing obsolete
    technology and analogue tape loops, his haunting and
    melancholy soundscapes explore the temporal nature of life and
    resound with the reverberations of memory and the mystery of
    time. His epic 4-disc masterwork, The Disintegration Loops
    received international critical acclaim and was one of Pitchfork's
    Top Albums of the Decade. Basinski was chosen by Music
    Director, Antony Hegarty to create music for the Robert Wilson
    opera, The Life and Death of Marina Abramovic which had its
    world premiere at the Manchester International Festival in July
    2011 and toured Europe in 2012 and North America in 2013.

    1. A Shadow In Time
    2. For David Robert Jones
    William Basinski
    $24.99
    Vinyl LP - Sealed Buy Now
  • Straight Shooter Straight Shooter Quick View

    $24.99
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    Straight Shooter

    Straight Shooter is the second studio album by British supergroup Bad Company. The original album was released in April 1975.


    One of the most acclaimed bands of the classic rock era, England's Bad Company has put its indelible stamp on rock 'n' roll with a straight-ahead, no-frills musical approach that has resulted in the creation of some of the most timeless rock anthems ever. Led by the incomparable singer and songwriter Paul Rodgers, arguably the finest singer in rock 'n ' roll and a huge songwriting talent.


    Formed in 1973, Bad Company came to life when Rodgers was looking to start anew after the disintegration of his legendary band Free. His powerhouse vocals and songwriting were a main ingredient during Free's impressive five-year run; a period of time that saw the release of seven extremely influential albums that featured Free's minimalist blues-rock approach. Included among Free's dynamic body of work is the 1970 smash, All Right Now, one of the most recognizable rock anthems ever recorded. Lyrics and melody by Rodgers. He was Free's main songwriter.

    1. Good Lovin' Gone Bad
    2. Feel Like Makin' Love
    3. Weep No More
    4. Shooting Star
    5. Deal With The Preacher
    6. Wild Fire Woman
    7. Anna
    8. Call On Me
    Bad Company
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Shooter (Deluxe) Straight Shooter (Deluxe) Quick View

    $39.99
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    Straight Shooter (Deluxe)

    Straight Shooter is the second studio album by British supergroup Bad Company. The original album was released in April 1975.


    One of the most acclaimed bands of the classic rock era, England's Bad Company has put its indelible stamp on rock 'n' roll with a straight-ahead, no-frills musical approach that has resulted in the creation of some of the most timeless rock anthems ever. Led by the incomparable singer and songwriter Paul Rodgers, arguably the finest singer in rock 'n ' roll and a huge songwriting talent.


    Formed in 1973, Bad Company came to life when Rodgers was looking to start anew after the disintegration of his legendary band Free. His powerhouse vocals and songwriting were a main ingredient during Free's impressive five-year run; a period of time that saw the release of seven extremely influential albums that featured Free's minimalist blues-rock approach. Included among Free's dynamic body of work is the 1970 smash, All Right Now, one of the most recognizable rock anthems ever recorded. Lyrics and melody by Rodgers. He was Free's main songwriter.

    LP1
    1. Good Lovin' Gone Bad (2015 Remastered)
    2. Feel Like Makin' Love (2015 Remastered)
    3. Weep No More (2015 Remastered)
    4. Shooting Star (2015 Remastered)
    5. Deal With The Preacher (2015 Remastered)
    6. Wild Fire Woman (2015 Remastered)
    7. Anna (2015 Remastered)
    8. Call On Me (2015 Remastered)


    LP2
    1. Good Lovin' Gone Bad (Alternate Vocal & Guitar)
    2. Feel Like Makin' Love (Take Before Master)
    3. Weep No More (Early Slow Version)
    4. Shooting Star (Alternate Take)
    5. Deal With The Preacher (Early Version)
    6. Wild Fire Woman (Alternate Vocal & Guitar)
    7. Anna (Alternate Vocal)
    8. Call On Me (Alternate Take)

    Bad Company
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • American Band American Band Quick View

    $21.99
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    American Band

    LP Includes Bonus 7-Inch Single


    Drive-By Truckers have always been outspoken, telling a distinctly American story via craft, character, and concept, all backed by sonic ambition and social conscience. Founded in 1996 by singer/songwriter/guitarists Mike Cooley and Patterson Hood, the band have long held a progressive fire in their belly but with AMERICAN BAND, they have made the most explicitly political album in their extraordinary canon. A powerful and legitimately provocative work, hard edged and finely honed, the album is the sound of a truly American Band - a Southern American band - speaking on matters that matter. DBT made the choice to direct the Way We Live Now head on, employing realism rather than subtext or symbolism to purge its makers' own anger, discontent, and frustration with societal disintegration and the urban/rural divide that has partitioned the country for close to a half-century.


    AMERICAN BAND's considerable force can in part be credited to the sheer musical strength of the current Drive-By Truckers line-up, with Hood and Cooley joined by bassist Matt Patton, keyboardist/multi-instrumentalist Jay Gonzalez, and drummer Brad Morgan - together, the longest-lasting iteration in the band's two-decade history. AMERICAN BAND follows ENGLISH OCEANS and 2015's IT'S GREAT TO BE ALIVE!, marking the first time DBT have made three consecutive LPs with the same hard-traveling crew.

    1. Ramon Casiano
    2. Darkened Flags On The Cusp Of Dawn
    3. Surrender Under Protest
    4. Guns Of Umpqua
    5. Filthy And Fried
    6. Sun Don't Shine
    7. Ever South
    8. What It Means
    9. Once They Banned Imagine
    10. Baggage


    7-Inch Single
    1. Kinky Hypocrite

    Drive-By Truckers
    $21.99
    Vinyl LP + 7 Single - Sealed Buy Now
  • Imaginary Cities Imaginary Cities Quick View

    $25.99
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    Imaginary Cities


    Chris Potter: tenor and soprano saxophones, bass clarinet

    Adam Rogers: guitars

    Craig Taborn: piano

    Steve Nelson: vibraphone, marimba

    Fima Ephron: bass guitar

    Scott Colley: double bass

    Nate Smith: drums

    Mark Feldman: violin

    Joyce Hammann: violin

    Lois Martin: viola

    Dave Eggar: cello


    Imaginary Cities is the recording premiere of saxophonist Chris Potter s new Underground Orchestra. At the core of this larger ensemble is the personnel of his long-established Underground quartet with Adam Rogers, Craig Taborn and Nate Smith now joined by two bassists, a string quartet, and Potter s old comrade from Dave Holland Quintet days, vibes and marimba man Steve Nelson. The title composition is a suite, panoramic in its reach, with movements subtitled Compassion , Dualities , Disintegration and Rebuilding . The scope of the work, and its contrasting moods and thematic development, inspire some of Potter s finest playing. His saxes fly high above his idealized cityscapes or launch into dialogues or group improvising with its gifted inhabitants. Four further pieces Lament , Firefly , Sky and Shadow Self extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of the orchestra. References are multi-idiomatic and multicultural, and Potter, who counts Charlie Parker with Strings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well as contemporary composition, when shaping this material. Imaginary Cities was recorded in December 2013 in New York s Avatar Studio and produced by Manfred Eicher. Release of the album is followed by US performances with the Underground Orchestra in New York and San Francisco.

    1. Lament
    2. Imaginary Cities (Pt. 1, Compassion)
    3. Imaginary Cities (Pt. 2, Dualities)
    4. Imaginary Cities (Pt. 3, (Disintegration)
    5. Imaginary Cities (Pt. 4, Rebuilding)
    6. Firefly
    7. Shadow Self
    8. Sky
    Chris Potter, Underground Orchestra
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I.T.T. I.T.T. Quick View

    $19.99
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    I.T.T.

    I.T.T. International Thief Thief (1980) was recorded following Afrika 70's disintegration and the formation of Egypt 80. It is one of a quartet of courageous 1979/80 albums completed by V.I.P. (Vagabonds In Power), Authority Stealing and Coffin For Head Of State. After drummer Tony Allen, who had been with Fela since 1964, quit Afrika 70 in autumn 1978, baritone saxophonist Lekan Animashaun, who had joined Fela in 1965, became Fela's new band, Egypt 80's bandleader. Animashaun is credited as bandleader on I.T.T., which is really an Egypt 80 album even though the band's name is given as Afrika 70 on the sleeve. In "International Thief Thief ," Fela makes highly insulting, personal attacks on former Nigerian president General Obasanjo, and Moshood Abiola, the local chief executive of the multi-national corporations Internal Telephone & Telegraph (ITT) and Decca Records. Obasanjo Fela regarded as a crook, an incompetent and a thug, and held him responsible for the death of his mother following the 1977 sack of Kalakuta. Abiola, he believed, had both cheated him out of royalties and conspired with Decca's London bosses to silence him after the 1977 attack, in order to maintain favourable relations with Obasanjo's regime. Both men, Fela says, are "thieves," "rats" and of "low mentality." "Many foreign companies dey Africa," sings Fela, "carry all our money go, them get one style wey them dey use, them go pick one African man, a man with low mentality, them go give am million naira bread, to become of high position here, him go bribe some thousand naira bread, to become one useless chief, like rat they do them go do from corner corner, passee passee, under under, passee passee, inside inside, passee passee like Obasanjo and Abiola we are tired of carrying their shit." The backing chorus intermittently respond: "International Thief Thief!"
    1. I.T.T. (Part 1)
    2. I.T.T. (Part 2)
    Fela Kuti
    $19.99
    Vinyl LP - Sealed Buy Now
  • Die Healing (Awaiting Repress) Die Healing (Awaiting Repress) Quick View

    $21.99
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    Die Healing (Awaiting Repress)

    "Die Healing" featuring original SAINT VITUS vocalist Scott Reagers! This is essential doom!!!!


    Recommended if You Like: BLACK SABBATH, TROUBLE, COUNT RAVEN, CANDLEMASS, THE OBSESSED, HIGH ON FIRE, SLEEP, BARONESS, MASTODON, SIR LORD BALTIMORE


    Die Healing is a pivotal point in Vitus' discog; not only their very last before they temporarily ended their relentlessly classic doom metal album releases with a thirteen year hiatus, but their third recording with Scott Reagers, who helped make the eponymous debut, Hallow's Victim and EP The Walking Dead such milestones of doom. And what a way to go out. Many will tell you this is actually Saint Vitus' finest moment, and although I favour the debut and Wino's career zenith Born Too Late above it, there is no doubt it deserves as solid a place in the pantheon of doom as Nightfall or Master Of Reality or In The Rectory Of The Bizarre Reverend.


    The band's sound and instrumentation is class without question. The guitar tone saw a slight departure from the fuzz prevalent on Wino-albums (including the 2012 opus Lillie: F-65), with something more of an electric edge familiar to C.O.D. Fret not, the tone is still plenty burly, and of course massively appropriate for the toking of vaporous substances.


    The guitar solos are likewise a little clearer - though of course solos like on 'One Mind' and 'Return Of The Zombie' have that inimitable Chandler scaling chaos in spades, squeaking like a dozen metal detectors malfunctioning. In general though the album's sound gives the feeling of the band moving forward with the sound established on the underappreciated, Chritus Linderson-assisted C.O.D., while welcoming their original singer back into the fold as easily as if he'd never left. It comes together brilliantly.


    What cements the album's place atop the pile of '90s Vitus releases is that it's a lot more solid than V and C.O.D. in terms of songs, chock full of highlights with nary a skippable track. 'Dark World' heralds absolutely no messing about, a timeless slow burn Saint Vitus classic to get you going. Reagers unlocks his trademark moon-touched howls, boosted here with a gruffness and depth that must have come with age. He can still hit the unnerving highs that made the debut such a unique piece. Not to mention his more aghast and tragic-heroic style is accompanied by a lyrical shift toward tales of horror and myth, adding further colours of yore to the band's solidified musical approach (although 'In The Asylum' is as brilliantly witty a tale of human disintegration as anything Wino has written for Vitus).


    Some of the great knells peeling off Chandler's guitar in the main riff of 'Let The End Begin' are highlights for Vitus' entire career. It climaxes with a great rocking section, splashed with sumptuous guitar and bass solos, in a move actually quite uncharacteristic for the band, who tended to steer between leadweight trawling songs and more rambunctious cuts. The eerie build on 'Sloth' is another of the band's best moments. The entire song, with its off-kilter structure and wailing chorus, is an example of just how muscular the band's creative fibers were at the time. 'Return of the Zombie', a quasi-sequel to the classic, shifty song off the debut of course, makes its mark with a crazed vocal performance and some spooky effects. And of course there's more, I've just listed a few real standouts but the album is too generous in its blessings for them to be exhaustively listed.


    It's just a really solid album that builds on all the best things the band had done to date while keeping the songwriting fresh. What a swansong this was. This album is the reason Lillie: F-65 had such vast expectations from me. A must have.


    - joncheetham88 (Metal Archives)

    1. Dark World
    2. One Mind
    3. Let The End Begin
    4. Trail Of Pestilence
    5. Sloth
    6. Return Of The Zombie
    7. In The Asylum
    8. Just Another Notch
    Saint Vitus
    $21.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Lucifer I Lucifer I Quick View

    $25.99
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    Lucifer I

    Restless creative spirits never sleep and class is eternal. Thus, the timely and welcome return of Johanna Sadonis is only to be expected. Despite the sudden and distinctly premature disintegration of her previous band The Oath in 2014, Johanna's passion for making music that touches the darkest recesses of the soul has blazed on. The result is Lucifer - a new manifestation of the Berlin-based singer and songwriter's extraordinary and potent musical vision.


    Although still firmly rooted in the fertile soil first cultivated by Black Sabbath, Deep Purple, Led Zeppelin and Blue Oyster Cult, Lucifer exist in a proudly liberated and limitless sonic realm, where the heaviest blues rock is a mere starting point for the band's skyward creative trajectory. Lucifer's instinctive take on the very soul of early heavy metal is the electrified essence of rock'n'roll at its nascent purest. This is Magic Rock - heavy, heartfelt and holistic.


    Eschewing the now well-worn clichÉs of the occult rock explosion in favour of a truthful and tempestuous re-imagining of classic 70s proto-metal and turbocharged blues, the two songs on this band's debut seven-inch single crackle and fizz with nascent energy and the compelling conviction of music made for all the right reasons. Boasting a sound that revels in exquisite analogue warmth without ever retreating into some nostalgic ghetto, both 'Anubis' and 'Morning Star' came to life at Candy Bomber studios in Berlin, under the supervision of aural wizard Ingo Krauss, a one-time apprentice of legendary Krautrock producer Connie Plank. With the finest and most unique collection of old school analogue equipment, from tape machines to vintage amps, Candy Bomber provided Lucifer with everything they needed to realize their potent vision.


    Lucifer represents the culmination of a spontaneous and intuitive creative mind-meld, wherein their leader's kaleidoscopic focus collides with the heavy soul abandon of earthbound but astrally-inspired musicians at the top of their game. With songs crafted by Johanna and Cathedral legend Gaz Jennings - the first Lucifer release is a mesmerizing glimpse into the sumptuous depths that await us further down the evolutionary trail.


    After the release of their debut seven-inch via Rise Above Records in February, Lucifer releases their debut full length, Lucifer I. While Johanna states that this first release does give some indication of the musical direction that this band will pursue, there is a strong sense that these songs are merely a prologue to the much deeper and more substantial body of work to come. Meanwhile, the band intend to hit the road to spread the news of Magic Rock to as many willing sinners as possible. With a solid line-up, a renewed sense of collective purpose and the invigorating effects of creative adrenalin propelling them forward, Lucifer is a glowing advertisement for fresh starts, clarity of vision and the rejuvenative powers of heavy music. Lucifer lives!


    Dom Lawson, December 2014

    1. Abracadbra
    2. Purple Pyramid
    3. Izrael
    4. Sabbath
    5. White Mountain
    6. Morning Star
    7. Total Eclipse
    8. A Grave For Each One Of Us
    Lucifer
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Crooked Teeth Crooked Teeth Quick View

    $19.99
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    Crooked Teeth

    Papa Roach has never taken the easy way out and they aren't going to start now. Over the past two decades the group have established themselves as true trendsetters in heavy music: They've been nominated for two Grammys, toured the globe with everyone from Eminem to Marilyn Manson and crafted the nÜ metal anthem "Last Resort," which is still in heavy rotation on rock radio seventeen years after its release. However, the group's tenth full-length Crooked Teeth sees the band returning to their humble-and hungry-roots. The album was recorded in a cramped West Hollywood studio with up-and-coming producers Nicholas "RAS" Furlong and Colin Brittain, who grew up listening to Papa Roach and inspired them to revisit some of the traits that personally endeared the band to them, most notably frontman Jacoby Shaddix's remarkable rapping technique.


    "We've always kind of considered ourselves to be the bastard cousins of everything we've every been involved with so we wanted to be true to that and switch things up this time around," Shaddix says. "The first time we met up with RAS and Colin, they said that [2000's] Infest was on constant rotation when they were growing up and they wanted to bring back some of that fire." The connection between the artists and producers was immediate and the first song Papa Roach-which also features guitarist Jerry Horton, bassist Tobin Esperance, and drummer Tony Palermo-came up with for Crooked Teeth was "My Medication," an instantly catchy banger that sees Shaddix spitting verses in between massive choruses and ambient accents. "I really felt like we had a personal connection and the music was just there waiting to be written and once we nailed that song things really clicked and we knew exactly what we had to do" Furlong explains. "We really followed our instincts and tried something unproven with this record and because of that we ended up with a bold, courageous and more adventurous version of Papa Roach." It was in this studio that "old school" Papa Roach ways, morphed to create this "new school" Papa Roach sound.


    From the instantly infectious nature of the title track to the atmospheric sheen of the ballad "Periscope" (which features Skylar Grey) and the hip-hop rock mashup "Sunrise Trailer Park" (which features an impassioned verse from Machine Gun Kelly). Crooked Teeth displays the various sides of Papa Roach and illustrates why they've managed to remain relevant while musical trends ebb and flow. "We didn't go into this album with the intention of trying to write radio singles," Horton explains. "The collection of songs was really about bookending everything that we've done prior to this album and reintroducing Papa Roach to people who didn't realize the depth that we have," says Palermo. "The whole idea was to take the classic elements of Papa Roach that everyone loved and revamp them into a modern version of the sound through the creative process," adds Furlong. "We just wanted to flip everything on its head and see what would happen and it turned out more amazing than any of us could have expected."


    "The people who have wanted to hear me rap for years are gonna love some of the viscousness on this record," Shaddix explains adding that while he had his own initial reservations about some of the album's more unorthodox moments - such as the 808 bass drop into a metal breakdown on the album title track, "Crooked Teeth" - ultimately those adventurous decisions are what make the album such a refreshing change of pace in a rock climate that's grown increasingly sterile. "I'd like to personally thank all of the guys in the band for making this happen because all it takes is one person to give you a shot and this was definitely mine," Furlong adds. "I want to be one of the best producers in modern day music so I wanted to work as hard for these guys as they would for themselves because as a producer it was my job to push them to get the kind of quality work everyone has been expecting."


    Just as Papa Roach felt like they still had something to prove with this record, so did the production team who attempted to bring in elements of music from different genres and parts of the world while still staying true to Papa Roach's sound. "One of the big elements in my production is finding those pockets of rhythm that people associate more with rap or reggae," Furlong explains, a fact that came in especially handy when Shaddix was fine-tuning his freestyle skills. "I know rap rhythms because I grew up listening to hip-hop, so I was able to make sure that the delivery was on point and the beat was in the pocket so it didn't suffer from a lot of the stylistic pitfalls that can happen when you merge rock and rap."


    Crooked Teeth also sees Shaddix pulling no punches lyrically, as evidenced on intensely personal tracks like "Born For Greatness," produced by Jason Evigan (Jason Derulo, Demi Lovato, Kehlani, Madonna), which sees Shaddix getting sentimental about his three children, or "American Dream" where the lifelong pacifist begs the listener to ask, "have you ever thought war was a sickness?" "My father is a Vietnam veteran and a lot of those soldiers came back to a country where people weren't accepting them back into society or aware of the effects that war has on your psyche," Shaddix says of the song." "Post-traumatic stress disorder and the disintegration of the American family are things I've dealt with personally and I knew other people could relate to. I think that's what makes this record bold. Nothing was off limits when it came to what was on my mind."


    Never one to shy away from difficult topics, Papa Roach dug deep with Crooked Teeth and refused to censor themselves when it came to their opinion of the current political landscape and organized religion. For example, on "None Of The Above," every ounce of musical intensity on the album is mirrored by Shaddix's words whether he's screaming, singing or rhyming. "It took me a long time, but eventually I realized that in life we're all human and we all make mistakes whether you're the president or the preacher, you know?" Shaddix explains when asked about the latter song. "It's an example of how I can get lost in a storyline and explore so many different issues in one track and that's what I love about this record. Just the spark of an idea would instantly ignite and the next thing we knew we had another song that we all loved."


    In many ways making Crooked Teeth reminded Shaddix of the band's early days, well before they sold millions of albums and became a household name. "When we were in the rehearsal space I wasn't thinking about who I needed to impress, I was thinking about how much I love making music with the guys in this band," Shaddix admits. "It feels honest and it feels pure," adds Esperance. Fittingly, throughout the process, Shaddix gained inspiration from bands like Led Zeppelin and Faith No More, acts who constantly redefined themselves and were never content to rest on the merits of a hit single." This band encompasses some of my greatest victories, but it's also brought out some of my darkest character flaws," Shaddix summarizes, "so I have kind of a love-hate relationship with this music, but I can't stop because I've got too much of my life invested in it at this point. We are a purpose-driven band and I've got a responsibility to myself and our fans to continue to create."

    1. Break The Fall
    2. Crooked Teeth
    3. My Medication
    4. Born For Greatness
    5. American Dreams
    6. Periscope
    7. Help
    8. Sunrise Trailer Park
    9. Traumatic
    10. None Of The Above
    Papa Roach
    $19.99
    Vinyl LP - Sealed Buy Now
  • Fire Music Fire Music Quick View

    $15.99
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    Fire Music

    Danko Jones has announced the release of FIRE MUSIC via Bad Taste Records/MRI. The new album is loaded with some of the most incendiary, fierce, and downright pissed-off songs the band has ever committed to tape. In the past, Danko Jones' repertoire has frequently exhibited a physical and emotional release for those times when love is unkind, but with these songs the trio exhibits what happens when therapy doesn't work. Song to song, the listener experiences Danko's pent-up agitation that has been left to stew, getting expelled into pure, merciless, violent rock 'n' roll fury. The repertoire unleashes a torrent of Misfits-worthy shout along hooks, as Jones crosses into a realm where whatever belief he ever had in love and romance has disintegrated into the darkest depths of a blackened soul.


    Danko Jones' composition "Gonna Be A Fight Tonight" has been selected as the official theme song for WWE's Royal Rumble Pay-Per-View Event, taking place on January 25, 2015 at Wells Fargo Center in Philadelphia, PA. One of WWE's pinnacle annual events, this year it is especially buzzing in anticipation of its main event "Triple Threat Match" featuring WWE Heavyweight Champion Brock Lesnar versus John Cena versus Seth Rollins.


    With the new album, co-founders Danko Jones and John JC Calabrese welcome new drummer Rich Knox, formerly of southern fried Toronto rockers Flash Lightning. FIRE MUSIC was produced and mixed by Juno Award winning producer Eric Ratz (Billy Talent, Monster Truck, Metric), and the cover / packaging was designed by Grammy Award winner Gail Marowitz.

    1. Wild Woman
    2. The Twisting Knife
    3. Gonna Be A Fight Tonight
    4. Body Bags
    5. Live Forever
    6. Do You Wanna Rock
    7. Getting Into Drugs
    8. Watch You Slide
    9. I Will Break Your Heart
    10. Piranha
    11. She Ain't Coming Home
    Danko Jones
    $15.99
    Vinyl LP - Sealed Buy Now
  • Along The Way Along The Way Quick View

    $20.99
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    Along The Way

    From the mid-western underground consciousness, guitarist/producer Mark McGuire
    emerges with his forthcoming 2014 Dead Oceans debut Along the Way. The conceptual
    album details the inner journey of an individual seeking definition and enlightenment. For
    those following McGuire's musical ascent thus far, the record is a culmination of a prodigious
    and prolific artist.


    Playing with a wide variety of instruments and styles on Along the Way, McGuire presents his
    unique vision of modern psychedelia. Using electric and acoustic guitars, a Talkbox, drum
    machines, a mandolin and lots in between, McGuire conducts a sonic exploration of the
    inner self. "This story is an odyssey through the vast, unknown regions of the mind," he
    explains in the liner notes," The endless unfolding of psychological landscapes, leading to
    perpetual discoveries and expansions, in a genuinely emergent and infinite world of worlds."


    Mark McGuire first came to national attention as part of Cleveland's drone collective
    Emeralds, a band that single handedly created a paradigm shift toward the meditative in an
    era of underground music best known for noise and chaos. Their albums for the Editions
    Mego, No Fun and Hanson labels, among others, remain treasured to a generation of tape
    collecting misfits. Over the course of many independent and self-releases the individual
    members of the band exhibited their solo material from their earliest days. McGuire's first
    solo release in 2006 showcased a natural affinity for melody, slowly disintegrating loops and
    composition. When he kept audiences spellbound with live performances of his material it
    made believers of concertgoers across the world. By 2009 his solo debut album Living With
    Yourself was garnering praise from press and audiences alike. McGuire as a solo performer
    made a direct connection with fans through his hypnotic playing, becoming more complex
    in its dynamics and phrasings. The album's 2011 follow up Get Lost furthered the guitarist's
    palate to include a sun-bleached digital effect. The music continually grew over itself as delays
    decayed and new ones took their place, each layer revealing colors and sunspots, reflecting the
    expanse of roads traveled.


    The last few years have found McGuire touring with friends like Ducktails as well as
    performing as a fifth member of the legendary Afghan Whigs, collaborating with artists like
    Ponytail's Dustin Wong and releasing his own R&B influenced Road Chief project. 2014 will
    bring more touring, more collaborations, more videos and media; expanding horizons that
    all start with a sound.

    1. Awakening
    2. Wonderland of Living Things
    3. In Search of the Miraculous
    4. To The Macrobes (Where Do I Go?)
    5. Astray
    6. Silent Weapons (The Architects of Manipulation)
    7. The Instinct
    8. The Human Condition (Song For My Father)
    9. For the Friendships (Along the Way)
    10. Arrival Begins the Next Departure
    11. The War on Consciousness
    12. The Lonelier Way
    13. Turiya (The Same Way)
    Mark McGuire
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Desire (Awaiting Repress) (On Sale) Desire (Awaiting Repress) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Desire (Awaiting Repress) (On Sale)

    Ranked 174/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time



    Multi-Platinum 1976 Record Made With Members of Celebrated Rolling Thunder Revue, as well as Emmylou Harris


    Go-for-Broke Sonics: Mastered from the Original Master Tapes, Lifelike Mobile Fidelity Reissue Spotlights Live, Raw Sound of First-Take Arrangements


    Effort Balances Epic Storytelling and Dylan's Heartbreak Over Failing Marriage


    Includes Timeless and Tireless Songs "Sara," "Hurricane," and "One More Cup of Coffee (Valley Below)"


    Bob Dylan cut Desire flanked by more than a dozen musicians, aided by a producer averse to multitracking, and bent on tequila. Reeling from the effects of his disintegrating marriage, the singer penned several of the most heartfelt songs of his career, including "Sara," the most overtly public broadcasting of his private life and emotions committed to tape. Straddling lines between haphazard and organized, loose and planned, Desire lives up its title, a masterwork that Dylan would not equal in creativity, performance, and lyricism for another two decades.


    Mastered from the original master tapes on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 45RPM analog version lays bare the catch-all ambience of the sessions as well as the unguarded emotionalism that fueled them. Largely captured at one unruly New York studio date, many songs are first-take arrangements, experienced on this reissue in a raw, realistic fashion that allows chords to swell, vocals to naturally carry, and percussion to span a seemingly bridge-wide soundstage. Accenting instruments-bouzouki, accordion, mandolin, violin, congas, piano-gain their own space and color the music with intriguing textures. The wider grooves mean more information reaches your ears.


    Surging with a nothing-to-lose disposition, Desire juggles myriad styles and owns up to no single theme. Disappointment and loss related to Dylan's broken relationship surfaces directly and metaphorically, but the album isn't mired in depression or sadness. More often than not, it howls, the sprawling canvas needlepointed with complexity and diversity. In pairing with lyricist Jacques Levy, Dylan invites narrative collaboration he never again repeated, as well as an eclecticism that gives the effort its fascinating charm.


    Desire finds Dylan at an evocative peak. With the tour de force single "Hurricane," he composes his first protest song in years, the enraged verses aimed squarely at maintaining the innocence of boxer Ruben Carter, falsely convicted of murder, as a violin melody swirls in the background. He finds similar inspiration in gangster Joey Gallo, turning "Joey" into a beautiful epic outfitted with Emmylou Harris' transcendent backing vocals. Flashing a sense of humor, "Mozambique" relishes an irreverent quirkiness that balances the more serious fare.


    And in the nakedly biographical "Sara," Mediterranean-flavored "One More Cup of Coffee (Valley Below)," fragile "Oh, Sister," and swirling fable "Isis," Dylan develops a series of loosely related songs at once flawless, timeless, and tireless. Rarely has the folk-rock icon addressed love, romance, and loss more openly, eloquently, or universally. It's no wonder they remain amongst the very favorites of many hardcore Dylan enthusiasts, and account for a large reason why Rolling Stone ranks Desire the 174th greatest album of all-time.


    This title is not eligible for further discount.

    1. Hurricane
    2. Isis
    3. Mozambique
    4. One More Cup of Coffee (Valley Below)
    5. Oh, Sister
    6. Joey
    7. Romance in Durango
    8. Black Diamond Bay
    9. Sara
    Bob Dylan
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Parts Of Speech Parts Of Speech Quick View

    $19.99
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    Parts Of Speech

    From its first track, Dessa's new full-length Parts of Speech announces itself as something different. The Doomtree veteran and inveterate wordsmith - having proved her mettle in the fields of creative non-fiction, spoken-word and hip-hop - jettisons all genre expectations on "The Man I Knew" and croons a heartbreaking lament to a disintegrating relationship at an explosively-building clip.


    From this moment on Dessa - oft-described as "Mos Def plus Dorothy Parker" for the wit and flow shown off on previous solo albums A Badly Broken Code and Castor, The Twin - proves she has truly coalesced as an artist, transcending the restrictions of genre to reveal an astonishing multi-platform voice.


    "I wanted to investigate the idea that a cohesive record isn't always made cohesive by having twelve songs that sound the same. I figured when you make a mixtape for a friend, you can get away with a range of genres and a lot of dynamic change. Why can't I approach an album like that? The sequence has to be just right, and we worked hard to nail it, but the thing that holds this record together is the sensibility of the lyrics, rather than a uniform theme."


    Track two kicks off a stunning hat-trick of the record's standout numbers. "Call Off Your Ghost" is an admittedly haunting dirge on the "struggle for grace in the wake of a long relationship." An arena-sized chorus tucked into a melancholy lullaby, "Ghost" has that unique ability to perfectly soundtrack new love or bitter breakup at the same time.


    Dessa then puts her fists up for "Warsaw." The track boasts a beat like Azealia Banks playing Pacman, which provides a background for our emcee's confident, hypnotic flow. Narrative takes a backseat to mood here, as Dessa spits impressionistic one-ups like "I sleep with both eyes open, standing up," daring you to blink first.


    "Skeleton Key" contains Parts of Speech's mission statement: "I haven't met a locked door yet." An ode to female self-reliance that doesn't waste ambiance for message, the track plays like a great, lost M. Night Shyamalan movie, calling forth an era out of time in the story of a woman, a key and a bottomless reserve of courage.


    "This record involves multiple narratives. It explores the same themes of love, loss, connection and communion as a lot of my work, but the angle and lens through which they're explored sets this album apart from my previous ones. The production techniques were new for me too - we spent a lot of time crafting a record that could include live players, Doomtree production, and sometimes a blend of the two."


    While the album is born of Dessa's artistic vision, it benefits from the collaboration of her varied friends. Parts of Speech owes much of its impact to its diverse production. Dessa got her start as a member of Minneapolis hip-hop collective Doomtree - eventually going on to help manage the group's business affairs as they launched their own label - and members Lazerbeak and Paper Tiger lend their production to several tracks.


    The players in Dessa's live ensemble all contributed to the record, as did several top-flight Minneapolis musicians working in rock, folk, and opera. She even enlisted a cellist she found on Pandora to make the gorgeously-layered foundation of penultimate track "It's Only Me."

    1. The Man I Knew
    2. Call Off Your Ghost
    3. Warsaw
    4. Skeleton Key
    5. Dear Marie
    6. I'm Going Down
    7. Fighting Fish
    8. The Lamb
    9. Beekeeper
    10. Annabelle
    11. It's Only Me
    12. Sound the Bells
    Dessa
    $19.99
    Vinyl LP - LP Sealed Buy Now
  • Pop Crimes Pop Crimes Quick View

    $17.99
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    Pop Crimes

    Rowland S. Howard started playing in teenage bands in late
    70s Melbourne. Whilst still a callow youth he wrote "Shivers," an
    undisputed classic, (quietly ignoring the fact that Rowland perhaps
    doesn't see it that way and approaches the song as if it was written
    by someone else). The song was recorded by his band The Boys Next
    Door who mutated into the Birthday Party and then relocated to
    Europe to wage a guerrilla campaign against the trivialities of the
    80s, until they turned their fire upon themselves and disintegrated
    mid-decade.


    Whilst his former associates have moved on to weekend colour
    supplement acceptability, Rowland has commonly been perceived
    as the banished wastrel prince... exiled to a squalid garret on the
    colder edges of the kingdom, accompanied only by his dreams and
    inclinations. His demeanour (pale, gaunt, stick thin, sickly, dark
    humoured, fatalistic) has perhaps inadvertently added far too much
    credence to this interpretation of events. The shadow of this myth
    has seemingly obscured the sheer volume of his creativity and the
    singularity of his musical vision.


    Always respected by his peers, a scan through Rowland's
    catalogue of work sees him allied with the likes of Lydia Lunch,
    Thurston Moore, Wim Wenders, Barry Adamson, The Gun Club, Nikki
    Sudden, the Beasts Of Bourbon, the Hungry Ghosts and HTRK.
    Rowland's own ensemble These Immortal Souls gun their engines
    in the ill-lit background and the legacy of his work with The Birthday
    Party scores the skin of successive generations of musicians and
    fans.


    But it's a history Rowland would gleefully put a match to. With or
    without it Rowland S. Howard would make tense, beautiful music,
    would deliver us his personal vision of the world, would create Pop
    Crimes.


    Long-time faithful friends Mick Harvey (who played with Rowland
    for over 30 years), JP Shilo (Hungry Ghosts) and producer Lindsay
    Gravina make for a formidable backline. Out front the guitar playing
    couldn't be any one else but Rowland S Howard and his weary,
    almost journalistic vocal delivery dispassionately sits amidst the
    sweaty panic of the music, adding to the ill ease.


    The band lurch in to Pop Crimes as if dragging a rain soaked body
    across a muddy field. The ghosts of Lee Hazlewood, Snatch, Sergio
    Leone, The Shangri-Las and nameless guys from a never known chain
    gang watch on. Within the first few breaths Rowland references
    Stalin, Calvary and genocide, whilst razoring guitar lines the current
    crop of post-punk revisionists could only fantasize about.


    "Shut Me Down" is Rowland at his most romantic, though
    inevitably it's shot through with loss and longing. If only Dusty
    Springfield were alive to revel in its drama. Talk Talk's 'Life's What
    You Make It' is re-imagined as if it had risen from the grind of a
    Detroit auto plant's assembly line. '(I Know) A Girl Called Johnny'
    sees Jonnine D from HTRK sidle up to the microphone for a duet
    that will melt even the coldest of hearts. It's a glorious missing link
    between the New York girl group sound and the street smarts of
    Suicide. Townes Van Zandt's "Nothin" is given a chilling tenement
    building transformation. "Wayward Man" has the band wailing like
    alarm sirens before Rowland emerges at his most contemplative
    with the gorgeous, fragile build of "Ave Maria." Final track "The
    Golden Age Of Bloodshed" takes the album out on a swaggering,
    swashbuckling epic, with salvation slipping through the narrator's
    fingers.

    1. (I Know) A Girl Called Jonny
    2. Shut Me Down
    3. Life's What You Make It
    4. Pop Crimes
    5. Nothin '
    6. Wayward Man
    7. Ave Maria
    8. The Golden Age Of Bloodshed
    Rowland S. Howard
    $17.99
    Vinyl LP - Sealed Buy Now
  • Eparistera Daimones Eparistera Daimones Quick View

    $25.99
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    Eparistera Daimones

    Limited Edition US Reissue Of 700 Copies


    Gatefold Double LP


    Pressed On White Vinyl


    Includes Poster


    Created to further develop the darkness invoked by its immediate precursors, seminal black/extreme metal pioneers Hellhammer and Celtic Frost, Triptykon evolved from a Celtic Frost side project initiated by Tom Gabriel Fischer (a.k.a. Tom Gabriel Warrior), the group's singer, guitarist, and main songwriter.


    Both music and lyrics reveal a group immersed in themes such as history, occultism, human disintegration, religious fanaticism, and nihilism. Songs such as "Abyss Within My Soul", "A Thousand Lies", and, particularly, "The Prolonging" bear witness to wastelands of eternal night. The transcending and mergence of seemingly distinct forms of imagination, a hallmark long prominent in Celtic Frost's efforts, is naturally also abundant within Triptykon's sphere of inspiration.

    LP 1
    1. Goetia
    2. Abyss Within My Soul

    3. In Shrouds Decayed

    4. Shrine

    5. A Thousand Lies


    LP 2
    1. Descendant

    2. Myopic Empire

    3. My Pain

    4. The Prolonging

    Triptykon
    $25.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Total Strife Forever Total Strife Forever Quick View

    $22.99
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    Total Strife Forever

    The lead single, and the accompanying video, from East India Youth's debut album Total Strife Forever really tells you all you need to know about the record. 'Looking For Someone' opens like a familiar, albeit electronic, ballad with East India Youth (otherwise known as William Doyle) emoting directly into camera in a way reminiscent of Sinead O'Connor. Then he begins to ascend, the London skyline now whizzing past Doyle as the elevator he's in climbs the Heron Tower. Almighty, booming drums signalled the ascension; humming synths join the journey to the top before the music is stripped away and the camera pans away, twisting as the elevator descends. We are then shown a vertigo-inducing journey back to street level and a trip through the shaft of an elevator. Abrasive synthesisers and what sounds like a distorted church organ are the soundtrack for this dizzying descent. It's no longer a simple plea to a lost lover, but a rallying cry against loneliness in the midst of huge, anonymous monuments.


    Total Strife Forever is a brutal electronic album, but one that still retains a very humanistic core - this juxtaposition is a thematic thread which runs throughout the album. Doyle then sculpts and defines the music in order to create tension between these two disparate elements, or else uses their differences in order to surprise and engage the listener. This is done within individual songs and across the record: over 11 tracks you'll hear acid beats, euphoric electronic pop, ambient passages, drone, krautrock and more. What's incredible is how East India Youth has managed to bring all of these elements together and construct a cohesive record.


    The album opens with 'Glitter Recession'. Soft piano meets a twinkling keyboard melody and then heavy bass stabs. The piano becomes louder and deeper, the keyboard softer, and swirling synths enter the mix. It's a beautiful, optimistic opening, the instruments all layered so that they never feel like they are jostling for attention, but rather adding details and intricacies to make the piece more alive. 'Glitter Recession' is followed by the first of four 'Total Strife Forever' pieces, this one built around a steady sawtooth bass line that grows in intensity as a pounding kick drum appears and echoing synths wash in and out of audible range. It feels like it is building towards heavy electronic noise, of the kind bands like Fuck Buttons are renowned for. But instead 'Total Strife Forever I' is more restrained as sustained chords create a stunning euphoric ending.


    The third track 'Dripping Down' is the first to feature vocals. If you've previously heard the singles leading into this album, or the Hostel EP from last year, you might be surprised by the fact that Total Strife Forever is largely instrumental, yet it makes the rare appearance of vocals all the more effective. 'Dripping Down's harmonies are beautiful, particularly in the closing moments of the track when they sound as though they've been recorded in a grand cathedral (most of this album was in fact recorded at home over the course of three years).


    With clear percussion and shimmering synthesiser riffs, 'Dripping Down' is the first dance track on the album, yet what follows takes things up a notch. 'Hinterland' is an out and out acid track. It starts with an echoing, sonar-like melody, ambient chords and a quick snare/kick beat. The bass drops and we're given an infectious, shuffling four-to-the-floor beat; what follows deserves to be a staple in any self-respecting DJ's club mix. 'Hinterland' is phenomenal, yet somehow East India Youth manages to go beyond that on the next track.


    'Heaven How Long' is easily the album's highlight and arrives just around the mid-point of the album. It's euphoric electronica at its best, and features one of the record's most delicate sections in the second verse. Doyle's vocals, hushed during the verses, soar for the chorus and the whole song ends with a krautrock inspired instrumental, marrying looped synthesisers to heavy bass guitar riffs.


    The second half of the Total Strife Forever is just as strong and rewarding as the first half. There's the aforementioned lead single 'Looking For Someone', as well as three more 'Total Strife Forever' pieces. The second of those tracks, which immediately follows 'Heaven How Long', is easily one of the most meditative tracks on the album, solely comprising an organ, haunting choral vocals and a deep electronic buzzing. In many ways it's similar to Tim Hecker's most recent work which used church organs and filters to blur the lines between what's real and what's synthetic. Meanwhile, 'Midnight Koto' is perhaps the album's most atmospheric track. Distant loops, heavily distorted and sounding like a terrifying rush of traffic, play under the koto melody. It's heavily inspired by Brian Eno, particularly his work with Bowie on tracks like 'Moss Garden'.


    Whilst these references are clear, at no point does it seem like East India Youth is just trying to replicate his idols. Total Strife Forever pulls together these influences and creates something truly extraordinary. This is an album firmly rooted in a decade where technology blurs the lines between fact and fiction, where we 'socialise' with brands and it's possible to feel hopelessly alone amidst the towering skyscrapers of a city. The final track 'Total Strife Forever IV' opens with static that eventually fades away to reveal grand synthesiser melodies before disintegrating once more. The beauty of those melodies is only enhanced by their temporary nature. Amidst the machinery there's a realisation that whilst the buildings, the brands and digital world might live on, it's reality and our fellow human beings that are truly beautiful and deserving of our attention.


    - Robert Whitfield (The 405)

    1. Glitter Recession
    2. Total Strife Forever I
    3. Dripping Down
    4. Hinterland
    5. Heaven, How Long
    6. Total Strife Forever II
    7. Looking For Someone
    8. Midnight Koto
    9. Total Strife Forever III
    10. Song For Granular Piano
    11. Total Strife Forever IV
    East India Youth
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Jake Xerxes Fussell Jake Xerxes Fussell Quick View

    $21.99
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    x

    Jake Xerxes Fussell

    The Southern half of the Georgia-Alabama border follows the Chattahoochee River, which cleaves Columbus, Georgia from its decidedly less reputable neighbor, Phenix City, Alabama. Georgia's second city is the hometown of "Mother of the Blues" Ma Rainey and novelist Carson McCullers, but it was local hillbilly duo Darby and Tarlton's 1927 hit "Columbus Stockade Blues" that first immortalized Columbus in popular culture. Back in their day, if you ended up in lockup in Columbus, chances are you did your dirtiest deeds across the river. Historically rife with vice of every conceivable variety-gambling, prostitution, moonshining, and endemic corruption and violence perpetrated by both gangs and police-the notoriously anarchic Phenix City was once known as "The Wickedest City in America."


    A similar frontier liminality and skewed sense of place characterize the music of Durham, North Carolina singer and guitarist Jake Xerxes Fussell, whose self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that's his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from America's Wickedest City. Fred's fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)


    As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant ("Georgia Buck"), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel ("Rabbit on a Log"). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann ("Push Boat"); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.


    Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (steel guitar, bass, fiddle: Bonnie "Prince" Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles) to crew.


    So it's no accident that Jake approaches the songs and styles represented here with both interpretive respect and unfussy irreverence, imbuing them with equal parts vaporish, percolating atmosphere and academic rigor, honoring the folksong headwaters by emphasizing their liquid mutability, alien strangeness, and sly humor above preconceived notions of static authenticity. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with the unruliness and restlessly inventive practices of tradition bearers-no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these. Likewise, when you examine their lyrical content, ostensibly linear tales about rivers and work (labor of the hands, as in "Boat's up the River" and "Man at the Mill" and labor of the heart, as in "Star Girl" and "Pork and Beans") reveal themselves as fractured, riddled with narrative lacunae that open up the texts as squirrelly riddles or gentle metaphysical jokes.


    For Fussell, these odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity. (Aptly, "Chattahoochee" may mean something like "writing on rocks" in Muscogee or Yuchi.) Each song rendered here contains its own twinned inversion-its own Columbus, its own Phenix City-and Jake navigates their shoals with intuitive grace and authority.

    1. All in Down and Out
    2. Let Me Lose
    3. Star Girl
    4. Raggy Levy"
    5. Rabbit on a Log
    6. Boat's up the River
    7. Man at the Mill
    8. Push Boat
    9. Georgia Buck
    10. Pork and Beans
    Jake Xerxes Fussell
    $21.99
    Vinyl LP - Sealed Buy Now
  • Culture Of Volume Culture Of Volume Quick View

    $24.99
    Buy Now
    x

    Culture Of Volume

    The lead single, and the accompanying video, from East India Youth's debut album Total Strife Forever really tells you all you need to know about the record. 'Looking For Someone' opens like a familiar, albeit electronic, ballad with East India Youth (otherwise known as William Doyle) emoting directly into camera in a way reminiscent of Sinead O'Connor. Then he begins to ascend, the London skyline now whizzing past Doyle as the elevator he's in climbs the Heron Tower. Almighty, booming drums signalled the ascension; humming synths join the journey to the top before the music is stripped away and the camera pans away, twisting as the elevator descends. We are then shown a vertigo-inducing journey back to street level and a trip through the shaft of an elevator. Abrasive synthesisers and what sounds like a distorted church organ are the soundtrack for this dizzying descent. It's no longer a simple plea to a lost lover, but a rallying cry against loneliness in the midst of huge, anonymous monuments.


    Total Strife Forever is a brutal electronic album, but one that still retains a very humanistic core - this juxtaposition is a thematic thread which runs throughout the album. Doyle then sculpts and defines the music in order to create tension between these two disparate elements, or else uses their differences in order to surprise and engage the listener. This is done within individual songs and across the record: over 11 tracks you'll hear acid beats, euphoric electronic pop, ambient passages, drone, krautrock and more. What's incredible is how East India Youth has managed to bring all of these elements together and construct a cohesive record.


    The album opens with 'Glitter Recession'. Soft piano meets a twinkling keyboard melody and then heavy bass stabs. The piano becomes louder and deeper, the keyboard softer, and swirling synths enter the mix. It's a beautiful, optimistic opening, the instruments all layered so that they never feel like they are jostling for attention, but rather adding details and intricacies to make the piece more alive. 'Glitter Recession' is followed by the first of four 'Total Strife Forever' pieces, this one built around a steady sawtooth bass line that grows in intensity as a pounding kick drum appears and echoing synths wash in and out of audible range. It feels like it is building towards heavy electronic noise, of the kind bands like Fuck Buttons are renowned for. But instead 'Total Strife Forever I' is more restrained as sustained chords create a stunning euphoric ending.


    The third track 'Dripping Down' is the first to feature vocals. If you've previously heard the singles leading into this album, or the Hostel EP from last year, you might be surprised by the fact that Total Strife Forever is largely instrumental, yet it makes the rare appearance of vocals all the more effective. 'Dripping Down's harmonies are beautiful, particularly in the closing moments of the track when they sound as though they've been recorded in a grand cathedral (most of this album was in fact recorded at home over the course of three years).


    With clear percussion and shimmering synthesiser riffs, 'Dripping Down' is the first dance track on the album, yet what follows takes things up a notch. 'Hinterland' is an out and out acid track. It starts with an echoing, sonar-like melody, ambient chords and a quick snare/kick beat. The bass drops and we're given an infectious, shuffling four-to-the-floor beat; what follows deserves to be a staple in any self-respecting DJ's club mix. 'Hinterland' is phenomenal, yet somehow East India Youth manages to go beyond that on the next track.


    'Heaven How Long' is easily the album's highlight and arrives just around the mid-point of the album. It's euphoric electronica at its best, and features one of the record's most delicate sections in the second verse. Doyle's vocals, hushed during the verses, soar for the chorus and the whole song ends with a krautrock inspired instrumental, marrying looped synthesisers to heavy bass guitar riffs.


    The second half of the Total Strife Forever is just as strong and rewarding as the first half. There's the aforementioned lead single 'Looking For Someone', as well as three more 'Total Strife Forever' pieces. The second of those tracks, which immediately follows 'Heaven How Long', is easily one of the most meditative tracks on the album, solely comprising an organ, haunting choral vocals and a deep electronic buzzing. In many ways it's similar to Tim Hecker's most recent work which used church organs and filters to blur the lines between what's real and what's synthetic. Meanwhile, 'Midnight Koto' is perhaps the album's most atmospheric track. Distant loops, heavily distorted and sounding like a terrifying rush of traffic, play under the koto melody. It's heavily inspired by Brian Eno, particularly his work with Bowie on tracks like 'Moss Garden'.


    Whilst these references are clear, at no point does it seem like East India Youth is just trying to replicate his idols. Total Strife Forever pulls together these influences and creates something truly extraordinary. This is an album firmly rooted in a decade where technology blurs the lines between fact and fiction, where we 'socialise' with brands and it's possible to feel hopelessly alone amidst the towering skyscrapers of a city. The final track 'Total Strife Forever IV' opens with static that eventually fades away to reveal grand synthesiser melodies before disintegrating once more. The beauty of those melodies is only enhanced by their temporary nature. Amidst the machinery there's a realisation that whilst the buildings, the brands and digital world might live on, it's reality and our fellow human beings that are truly beautiful and deserving of our attention.


    - Robert Whitfield (The 405)

    1. The Juddering
    2. End Result
    3. Beaming White
    4. Turn Away
    5. Hearts That Never
    6. Entirety
    7. Carousel
    8. Don't Look Backwards
    9. Manner Of Words
    10. Montage Resolution
    East India Youth
    $24.99
    Vinyl LP - Sealed Buy Now
  • Ullages Ullages Quick View

    $18.99
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    Ullages

    "An Echo & the Bunnymen-inspired delay fest with Robert Smith-style vocals, it speaks for itself."


    -FLOOD


    Whilst Eagulls' debut album was a juggernaut of a record, often moving at breakneck speed and intensity, it was also a deeply melodic one and underneath the heady fuzz and gushing charge of the guitars laid a band with just as many pop leanings as they had punk. It's these moments that have been brought to the surface on the new record: dense, deeply textured explorations that recall the shimmering opulence of the Cocteau Twins and the ominous gloom of The Smiths and Disintegration/Pornography-era The Cure. Recorded during long days and nights in a converted Leeds Catholic church with returning producer Matt Peel before the album was sent to London to be mixed by Craig Silvey (Portishead, Nine Inch Nails, Depeche Mode, R.E.M), it's as refreshing as it is exhilarating to hear Eagulls' Ullages as they continue to forge a fierce and prominent British voice in the world of music.


    This record is every bit as dazzling as it's predecessor but it comes along with that most rare and treasured quality of being so in a way that feels new, whilst simultaneously remaining in the existing character and tone of the band. Never has the term 'sophomore slump' been kicked so mercilessly to death as by Eagulls on this album.

    1. Heads or Tails
    2. Euphoria
    3. My Life In Rewind
    4. Harpstrings
    5. Velvet
    6. Psalms
    7. Blume
    8. Skipping
    9. Lemontrees
    10. Aisles
    11. White Lie Lullabies
    Eagulls
    $18.99
    Vinyl LP - Sealed Buy Now
  • Desolate Divine Desolate Divine Quick View

    $18.99
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    Desolate Divine

    When boundaries disintegrate, anything is possible. While making their fifth full-length album, Desolate Divine [Fearless Records], The Color Morale consciously evolved and expanded their creative palette, while preserving the lyrical message that's earned them a diehard global fan base, to inspire and influence. For the Rockford, IL quintet, treading new territory uncovered their most poetic, potent, and powerful body of work to date.
    1. Stay In One Place
    2. Empty Picture Frames
    3. Keep Lying To Me
    4. Scared To Be Alone
    5. Mokena, 6.Mess
    6. Isolating Everything
    7. Well, I'm Sorry
    8. Basement Stairs
    9. Door Without A Key
    10. Eastwick
    11. Colder Quicker
    The Color Morale
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • Improvisations Improvisations Quick View

    $16.99
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    Improvisations

    Asa Osborne's solo guise, Zomes, is the penultimate exercise in the study of repetition and meditative repose. Simple melodic keyboard patterns overlay primitive drum loops. The repetitive quality is both remindful of much in the oriental music tradition as well as Osborne's guitar work in Lungfish. Patterns emerge and disintegrate, spaces expand and contract, all in a cyclical pattern that is by nature fixed and by design capable of transporting the listener to otherworldly states.


    With Improvisations, Zomes second release for Thrill Jockey, the drum loops are replaced with a more obtuse drone bed pulsing not unlike a key on a harmonium that's been taped down. The continually changing tones create a warm sea of sound that acts as a canvas for his melodic improvisations. Tonal transmissions that phase in and out of a thick drone-filled ether, captured, translated, and expressed in Zomes own unique language of meditative bliss.


    Improvisations was recorded to cassette tape and mastered by Roger Seibel at SAE Mastering. It is released on LP-only with an insert and free download coupon

    1. No. 1
    2. No. 2
    3. No. 3
    Zomes
    $16.99
    Vinyl LP - Sealed Buy Now
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