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  • Shobaleader One: D'Demonstreator Shobaleader One: D'Demonstreator Quick View

    $21.99
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    Shobaleader One: D'Demonstreator

    This is by far the most accessible record Squarepusher (aka Tom Jenkinson) has ever made. This was not the original intent, but the result is clear. This record will change the way people view Squarepusher. Having been known as a leader and innovator in Drum 'n Bass and various forms of up tempo electronic music for 15 years, Jenkinson was always able to push the boundaries of the genre, but on Shobaleader One: d'Demonstrator, he is pushing so far beyond his previous releases it is easy to hear why it might take a few listens to register that this is indeed a Squarepusher record. Vocals, R&B rhythms and heavy synths? These and other un-Squarepusher like elements form what could even be described as baby makin' music. Jenkinson's vast knowledge of rhythm and harmony help to make these songs much more than nu-soul R&B, they are truly an entity unto themselves.
    1. Plug Me In
    2. Smash Unreason
    3. Into the Blue
    4. Frisco Wave
    5. Megazine
    6. Abstract Lover
    7. Endless Night
    8. Cryptic Motion
    9. Maximum Planck
    Squarepusher
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Rock 'n Roll Blues Rock 'n Roll Blues Quick View

    $18.99
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    Rock 'n Roll Blues

    Luther Dickinson enters a new phase of his storied musical
    career with his rollicking and raw new solo album, Rock 'n
    Roll Blues. From the propulsive beat and unbridled sound of
    opener Vandalize, to the insanely catchy Bar Band, it's clear this
    is a unique chapter in the acclaimed Southern musician's
    songbook. More informed by a youth spent listening to punk rock
    than the blues and boogie rock of his revered band North Mississippi
    Allstars, the record consists mostly of acoustic guitar, stand up
    bass and drums and although not punk in sound, it is in spirit and
    the DIY ethos. In essence, an autobiography set to music, the
    10-track LP traces Luther's journey from excitable teen to
    tour-van vet and offers a side of himself seldom seen before.


    The son of the late great producer and musician Jim Dickinson,
    Luther made his recording debut at age 14 and has recorded
    with a who's who of musicians including The Replacements,
    Beck, Jon Spencer, John Hiatt, Levon Helm, Mavis Staples,
    Ry Cooder and Patty Grifffin. He is the lead guitarist and vocalist
    for the North Mississippi Allstars and widely known as both a
    talented musician and producer with four Grammy® nominations
    to prove it - three in the contemporary blues category and one in
    traditional folk.

    1. Vandalize
    2. Blood 'n Guts
    3. Yard Man
    4. Goin' Country
    5. Mojo, Mojo
    6. Rock 'n Roll Blues
    7. Bar Band
    8. Stone's Throw
    9. Some Ol' Day
    10. Karmic Debt
    Luther Dickinson
    $18.99
    Vinyl LP - Sealed Buy Now
  • Sweet 'N Blues (Extra Sugar) Sweet 'N Blues (Extra Sugar) Quick View

    $16.99
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    Sweet 'N Blues (Extra Sugar)

    6 tracks; white vinyl with single jacket on uncoated recycled stock


    G. Love & Special Sauce are a Philadelphia-based trio whose laid-back, sloppy blues sound is quite unique, as it encompasses the sound/production of classic R&B and recent rap artists (the Beastie Boys, in particular). The group is composed of G. Love (born Garrett Dutton) on guitar/vocals/harmonica, Jeff Clemens on drums, and Jim Prescott on upright bass. (All Music Guide)

    G. Love & Special Sauce
    $16.99
    10 Vinyl LP - Sealed Buy Now
  • Hooker 'N Heat (Pure Pleasure) Hooker 'N Heat (Pure Pleasure) Quick View

    $49.99
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    Hooker 'N Heat (Pure Pleasure)

    When this two-LP set was initially released in January 1971, Canned Heat was back to its R&B roots. Sporting a slightly revised personnel with the return of Henry 'Sunflower' Vestine and the incorporation of Antonio 'Tony' de la Barreda on bass, a highly skilled constituent of Aldolfo de la Parra on drums. Sadly, it would also be the final effort to include co-founder Alan 'Blind Owl' Wilson, who passed away in September 1970. Hooker 'n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Wilson, as well as five full-blown confabs between Hooker and Heat.



    The full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill - probably as it was the group's record company that sprung for Hooker 'n Heat - make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic Boogie Chillen No. 2 stretches over 11-and-a-half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.



    Musicians:



    • John Lee Hooker (guitar, vocal)

    • Alan Wilson (piano, harmonica)

    • Henry Vestine (guitar)

    • Antonio de la Barreda (bass)

    • Adolfo de la Parra (drums)




    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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



    1. Messin' With the Hook
    2. The Feelin' Is Gone
    3. Send Me Your Pillow
    4. Sittin' Here Thinkin'
    5. Meet Me in the Bottom
    6. Alimonia Blues
    7. Driftin' Blues
    8. You Talk Too Much
    9. Burnin' Hell
    10. Bottle Up and Go
    11. The World Today
    12. I Got My Eyes On You
    13. Whiskey and Wimmen
    14. Just You and Me
    15. Let's Make It
    16. Peavine
    17. Boogie Chillen No. 2
    John Lee Hooker
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Forensic R 'n' B (On Sale) Forensic R 'n' B (On Sale) On Sale Quick View

    $19.99 $13.99 Save $6.00 (30%)

    Buy Now
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    Forensic R 'n' B (On Sale)

    Here be the Spartan Dreggs, Billy Childishs new ensemble. The Spartan Dreggs rose from the ashes of the Vermin Poets, but kept the same line-up and similar songs. On Forensic R 'N' B Childish once more drives from the back seat, playing tug-boat bass guitar. Wolf, of course, is playing the drum set while lead vocals and guitar are supplied by the excellent Neil Palmer and Nurse Julie handles harmony duties.
    1. Forensic R'n'B
    2. The Ocean River Runs Around The Edge
    3. Tower Block
    4. And Darkness Engulfed His Eyes
    5. The Physics Of Blown Sand And Desert Dunes
    6. The Fighting Tameraire
    7. Our Strange Power Of Speech
    8. Intertidal Marshland
    9. The Charcoal Burners Lament
    10. Pegasus Bridge
    11. A Dismembered Book Of Myself
    12. Scout-a-boo
    13. Are You A Wally? (Or Are You A Smooth?)
    14. Paeleo Punk
    Wild Billy Childish and the Spartan Dreggs
    $19.99 $13.99 Save $6.00 (30%)
    Vinyl LP - Sealed Buy Now
  • I Do Not Play No Rock 'N' Roll (Pure Pleasure) I Do Not Play No Rock 'N' Roll (Pure Pleasure) Quick View

    $34.99
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    I Do Not Play No Rock 'N' Roll (Pure Pleasure)

    When Mississippi Fred McDowell proclaimed on one of his last albums, I do not play no rock & roll, it was less a boast by an aging musician swept aside by the big beat than a mere statement of fact. As a stylist and purveyor of the original Delta blues, he was superb, equal parts Charley Patton and Son House coming to the fore through his roughed-up vocals and slashing bottleneck style of guitar playing. McDowell knew he was the real deal, and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota. Though he scorned the amplified rock sound with a passion matched by few country bluesmen, he certainly had no qualms about passing any of his musical secrets along to his young, white acolytes, prompting several of them - including a young Bonnie Raitt - to develop slide guitar techniques of their own. Although generally lumped in with other blues 'rediscoveries' from the '60s, the most amazing thing about him was that this rich repository of Delta blues had never recorded in the '20s or early '30s, didn't get 'discovered' until 1959, and didn't become a full-time professional musician until the mid-'60s.



    Musicians:



    • Fred McDowell (vocal, guitar)


    • Jerry Puckett (bass)


    • Darin Lancaster (drums)





    Recording: September 1969 in Jackson, Mississippi, USA




    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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



    1. Baby Please Don't Go
    2. Good Morning Little Schoolgirl
    3. Kokomo Me Baby
    4. That's All Right Baby
    5. Red Cross Store
    6. Everybody's Down on Me
    7. 61 Highway
    8. Glory Hallelujah
    9. Jesus Is on the Mainline
    Mississippi Fred McDowell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • N.E.W.S N.E.W.S Quick View

    $28.99
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    N.E.W.S

    Golden Earring have been together since 1961 and the current line-up includes two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone) a member since 1968 and Cesar Zuiderwijk (drums) a member since 1970.

    They have had over 40 hits and 30 albums, many achieving either gold or platinum status in their home country, The Netherlands.

    They are best known for their 1973 hit single 'Radar Love' and their 1982 single 'Twilight Zone'.


    In 1984 the band released the album N.E.W.S. (North, East, West, South).

    It features the song 'When The Lady Smiles' which became an international hit in 1984, reaching #3 in Canada and becoming the band's fifth number one hit in their native country.

    The music video of the song, made by film maker Dick Maas (Amsterdamned) was banned from MTV, because of nudity.
    Music on vinyl brings you this album, including a bonustrack which was never before released on vinyl.

    Side A:
    1. Clear Nite Moonlight

    2. When The Lady Smiles

    3. Enough is Enough

    4. Fist In Glove

    5. Orwell's Year (BONUSTRACK)

    Side B:
    1. N.E.W.S.

    2. I'll Make It All Up To You

    3. Mission Impossible

    4. It's Over Now

    Golden Earring
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rip This Rip This Quick View

    $19.99
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    Rip This


    A perfect form of release - it heaps up mounds of
    high tension, but in the most cathartic and enjoyable
    possible way. - NPR


    A punk-fired garage tinkerer handy with all the tools
    one needs to jury-rig some tasty rock nuggets - SPIN
    Original Rock n' Roll Swagger at its finest - Hypetrak


    A pungent, effective collision of garage rock- bashing
    and Ramones sneer
    - NY Times


    When Bass Drum of Death started touring the rock club circuit
    outside Oxford, Mississippi, several years ago, there was a legitimate
    concern that the band's appeal might be limited to fans of the
    garage scene. With a seemingly never-ending series of tour dates,
    BDoD nonetheless transformed rooms full of normally
    too-cool-to-rock indie crowds into a mob of sweaty, stage-diving
    maniacs. Meanwhile, Madison Avenue, eager to cash in on hip
    cachet, took notice. Since the release of 2011's GB City, "Get Found"
    has been featured in FOX promos for the NASCAR season. Rockstar
    Games' megaseller Grand Theft Auto V helped to promote last
    year's self-titled album. Gamers terrorized the freeways of Los
    Santos, living out their cops-and-robbers fantasies, as "Crawling
    After You" blasted through their car stereo speakers. Bass Drum of
    Death are teetering on the brink of reaching a mainstream audience,
    and Rip This is their attempt to record an unapologetic rock album
    for people outside their normal fan base.


    In the past, BDoD brainchild John Barrett wrote and recorded all the
    material and toured with a revolving lineup of hired guns on drums
    and guitar. This time around, drummer Len Clark joins Barrett as a
    full-time member and collaborator. The duo began discussing plans
    for a new record when touring with Unknown Mortal Orchestra in
    2013. Barrett and Clark then convinced UMO bassist Jacob Portrait
    to take on the role of producer when the band booked a session in
    March at Prairie Sun Studios in Sonoma County, California. With a
    few rough demos, Barrett, Clark, and Portrait hunkered down for two
    weeks and cranked out the band's first proper studio album. Rip This
    retains BDoD's trademark sorry-for-partyin' swagger while
    scrapping the crackling hiss and lo-fi fuzz. The result is an record
    that still relies on an obliterating attack of heavy guitars, danceable
    hooks, and kinetic drumming, but will appeal as much to KISS fans
    as the music freaks and geeks who worship Nuggets. Both a
    challenge to music critics and a rock call-to-arms, the title says it all.
    You're not going to hear many records this year that rip like this, so
    shotgun a beer, tune in, and turn up.

    1. Electric

    2. Left For Dead

    3. For Blood

    4. Everything's The Same

    5. Sin Is In 10

    6. Black Don't Glow

    7. Burns My Eye

    8. Lose My Mind

    9. Better Days

    10. Route 69 (Yeah)
    Bass Drum Of Death
    $19.99
    Vinyl LP - Sealed Buy Now
  • Lines We Trace Lines We Trace Quick View

    $23.99
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    Lines We Trace

    White Colored Vinyl


    The 12 songs on Lines We Trace represent a band steady enough in its sound-poignant, panoramic, unreservedly gorgeous-that it can expand beyond it. The string section that hums throughout "Elegy"-quintessentially sweeping, Hey Marseilles style-shifts into finely composed abstraction for the song's final minute. Colin Richey's skittering rhythm on "Bright Stars Burning" is a gentle
    breakbeat, a sly nod to atmospheric drum 'n' bass. "Madrona" and the album-closing "Demian" are Hey Marseilles' first fully instrumental songs, a pair of echo-laden piano-and-cello dirges that are simultaneously solemn and sumptuous.

    1. Tides
    2. Heart Beats
    3. Dead of Night
    4. Elegy
    5. Bright Stars Burning
    6. Building Glare
    7. Madrona
    8. Hold Your Head
    9. Rainfall
    10. Looking Back
    11. Cafe Lights
    12. Demian
    Hey Marseilles
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Music For The Jilted Generation Music For The Jilted Generation Quick View

    $22.99
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    Music For The Jilted Generation

    The Prodigy's response to the sweeping legislation and crackdown on raves contained in 1994's Criminal Justice Bill is an effective statement of intent.


    Pure sonic terrorism, Music for the Jilted Generation employs the same rave energy that charged their debut but yokes it to a cause other than massive drug intake. Compared to their previous work, the sound is grubbier and less reliant on samples; the effect moved The Prodigy away from US influenced rave and acid house of the past and toward a uniquely UK vision of breakbeat techno that was increasingly allied to the invention of drum 'n bass.

    1. Intro
    2. Break and Enter
    3. Their Law
    4. Full Throttle
    5. Voodoo People
    6. Speedway (Theme from Fastlane)
    7. The Heat (The Energy)
    8. Poison
    9. No Good (Start the Dance)
    10. One Love (Edit)
    11. 3 Kilos
    12. Skylined
    13. Claustrophobic Sting
    Prodigy
    $22.99
    Vinyl LP - Sealed Buy Now
  • Damogen Furies Damogen Furies Quick View

    $24.99
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    Damogen Furies

    Through this record I aim to explore as forcefully as possible the hallucinatory, the nightmarish and the brutally visceral capacities of electronic music." - Squarepusher. Squarepusher's legacy is unassailable. From his early releases on Rephlex and his residency at the Blue Note, through his aggressive interpretations of ensemble jazz, the peerless Music Is Rotted One Note, his musique concrete experiments, and the boundary-warping drum 'n' bass with which he is synonymous, Squarepusher has tilted ever forwards. Damogen Furies, his first full-length since 2012's Ufabulum, sees Squarepusher's powers in full flow. All of the recordings here were made in one take, with no edits. Damogen Furies is a record that has the brutal energy and vivaciousness of a debut. It sees the peak and confluence of the preoccupations that have emerged throughout Squarepusher's career, approached with the antagonism and audacity of an artist who still believes in the power of Format: CD the intervention.
    1. Stor Eiglass
    2. Baltang Ort
    3. Rayc Fire 2
    4. Kontenjaz
    5. Exjag Nives
    6. Baltang Arg
    7. Kwang Bass
    8. D Frozent Aac
    Squarepusher
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • DJ Kicks DJ Kicks Quick View

    $19.99
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    DJ Kicks

    Some mixes are just mixes, but some change the agenda. Rupert Parkes, aka Photek, was determined that his DJ-Kicks set would be the latter. I wanted to create one of those classic listening experiences, he says. With a mix like this, you can either bang it with the most current dancefloor tunes, or you can put a theme into it, or you can make it a journey. I was thinking about the classic LTJ Bukem mix tapes that I first came across in 92 and 93 and how epic they were. There was such a range of styles on there, they were so timeless and had real character. They had some personality. Thats what I wanted to capture with my DJ-Kicks mix.


    Hes certainly done just that. Starting with his own Azymuth, the tracks range from the moody, downtempo throb of In 2 Minds by Kromestar to the broken, tribal beats of Boddikas remix of Photeks 101 to straight-up tech house such as Baby Fords 1994 classic Dead Eye. The thread linking them together is a brooding atmosphere that recalls Parkess classic drum n bass releases in the 90s (although there isnt a drum n bass track to be seen). Fountainhead, a collaboration between Photek and Kuru and exclusive to this DJ-Kicks mix, sums up the vibe perfectly with its swirling textures, echoing vocal cut-ups and stonking low-end. Its music with some atmosphere, explains Parkes. Its introspective. I imagined that this would be the mixtape that you listen to later on, after the club. Its more intimate. Im not trying to show what I would do in a club, its something completely different.


    In 2 Minds by Kromestar is a key track, he continues. I stumbled across it on Beatport. It reminds me of Art Of Noise, that weird early electro music. I mean it is very weird. Then theres one of my all time favourite tracks, Dead Eye by Baby Ford. That song is always in my mind. Its moody as fuck. It came out in 94, but it sounds like it was made this year. I listened to it everyday for a year, then I listened to it on a new pair of headphones and started hearing new things in it. Its magical when that happens with a track you think you know so well. I hope people will listen to this mix with that kind of repetition because there are some quite detailed moments.


    Such as the way he mixes in No Agenda, another of four Photek exclusives, including the aforementioned Azymuth and Fountainhead, plus Levitation. But, in fact, he doesnt ever quite mix it in. You never get to hear the full track, just snippets dusted around. Indeed, it would be easy to miss it entirely. I dont like to make things too obvious, says Parkes. There are clean powerful moments and murky moments that you have to hear a few times to know whats going on. The way I mix in No Agenda is very deliberate. You look at the track listing and theres a track called No Agenda, but its hard to work out what it is, unless you go to the individual tracks and then work out which bits have been used in the mix. You dont get to hear the song in its entirety. Its little bits sprinkled here and there, as though I start to mix it in then change my mind.


    The DJ-Kicks mix marks a new era for Parkes, who seemed to withdraw from the music scene in 2007. He had long been disillusioned with the constraints of the drum n bass scene he helped pioneer. When I played in clubs, there was never any music I liked either side of my set. I wondered why I was part of this niche when it seemed I was a square peg in a round hole. When he started releasing music again last year with the Avalanche EP it had more in common with post dubstep than anything else, bass heavy music thats hard to categorize, but really it wasnt like anything else at all. If dubstep has taught us one thing its to let it all go, says Parkes. Just let stuff happen and sort it out later.


    The track listing for the vinyl release of Photek's DJ Kicks compilation will feature four exclusive Photek tracks plus others from the mix.

    Photek - Azymuth
    Photek No Agenda
    Photek - Levitation
    Photek & Kuru Fountainhead
    Photek
    $19.99
    Vinyl LP - Sealed Buy Now
  • Ease Up Ease Up Quick View

    $9.99
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    Ease Up

    With Ease Up Planet Mu delivers the first new material from Mike Paradinas's μ-Ziq project since 2003's acclaimed full-length Bilious Paths. This three-track 12-inch contains the live favorite Ease Up-- a slow, dubwise drum'n'bass/breakcore cut that's been ending his sets nicely for the last two years. The halftime breakdown introduces a malevolent kick drum of immense proportions that drags the course of the track against its will into hardcore territory. Wergle The Proud brings back two of Paradinas's famous melody lines, weaving and interacting like they've never been away, reminiscent of Lunatic Harness. The B-side contains the V.I.P. mix of Ease up-- a thirteen-minute epic that builds up riffing on the original's samples and bass line, then breaks down into melodic, underwater dub and slowly but expertly returns to the surface for another five melodic movements.

    1. Ease Up (Original Mix)
    2.Wergle The Proud
    3. Ease Up (V.I.P Mix)
    U-Ziq
    $9.99
    Vinyl LP - Sealed Buy Now
  • DYAD: Original Game Soundtrack (Discontinued) (On Sale) DYAD: Original Game Soundtrack (Discontinued) (On Sale) On Sale Quick View

    $18.99 $13.29 Save $5.70 (30%)

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    DYAD: Original Game Soundtrack (Discontinued) (On Sale)


    Limited Numbered First Edition


    In the videogame DYAD, a mysterious, micro organic particle zips through a
    Pollock-like tunnel that intensifies in shape, color and feel as players
    advance through the game. But like DYAD's predecessors, games aiming to
    be all-out sensory assaults, the synapse-frying player experience is
    inherently tied to the game's extraordinary soundtrack. Designed and
    produced by Oakland based composer David Kanaga, the soundtrack to
    Dyad will be made widely available for the first time by Software Recording
    Co.


    David Kanaga's maximalist score for DYAD fuses a breakneck array of
    sound events to rich, ambient segues of layered harmonies and melodic
    color. Like the ceaseless forward movement of the game itself, where the
    protagonist particle encounters cascades of oncoming enemies, the
    elements of the music also shift in concert with the events of the game.
    There are drops in octaves according to speed of the particle, and synced
    musical events signaling an array of hallucinatory actions on screen.
    Textures morph, pitches drift, events quantize and de-quantize in meditative
    flows that sustain repose one moment, and sonic assaults the next.


    Kanaga casts a wide net stylistically; a kaleidoscope of influences ranging
    from from acid-fried happy hardcore, to jungle and drum-n-bass rhythms to
    re-applied fragments of Top 40 production tropes, not to mention more than
    several sublime passages of hazy, cosmic coloring. Importantly, even with
    this stylistic range, the soundtrack never veers from referencing the
    particular intensities of the events in play. The frenetic music shifts in
    accordance with the game's own digital psychedelia, becoming on its own a
    kind of virtual stand-in for the game itself.


    David Kanaga's foray into videogame soundtracking first reached acclaim
    with 2011's Proteus. The peaceful approach of the soundtrack heightened
    the 'natural environment' of the game, imbuing it with a sense of cryptic
    quietude. The soundtrack was awarded Indiecade's award for Best Audio,
    was heralded by The Guardian as beautiful and affecting and was also
    exhibited at MoMA.


    In DYAD, Kanaga pivots away from the drifting ambiances of Proteus in
    order to score this rail shooter. (A rail shooter is a type of videogame
    where a player's protagonist is guided along a pre-set path, typically within a
    technoidal tunnel filled with rapidly appearing obstacles at high velocities,
    ala Tetsuya Mizuguchi's Rez or Jeff Minter's classic Tempest) This kind of
    speed-play forces the player to grapple with time and motion in constantly
    shifting spaces. Kanaga's audible results are aptly mystifying -- it's a
    soundtracked journey that relentlessly pushes forward into an ever more
    abstract provenance.


    Extensive liner notes in the DYAD release include notations,
    schematics and game instructions hand penned by Kanaga himself as well
    as snippets of the code behind the music (programmed by the game's
    mastermind Shawn McGrath). David Kanaga, who is an experimental
    music composer, active writer and new media artist, is continuing to explore
    interactive possibilities of music in games and other dynamic environments
    with a prolific stream of projects forthcoming. DYAD is an essential node in
    today's expanding base of trailblazing game music by one of the brightest
    minds in the field.

    1.Start/Break
    2. Dyadic
    3. Fo
    4. Surf/Ks/Pumpkin
    5. Michael Brown
    6. Just Take a Pinch
    7. Space OX
    8. Peking Duck (Eye Edit)
    9. Miss You Jack/18 Triads
    10. Match Sprint
    11. Brake/Fruit
    12. Perpetuation
    13. Orol
    14. Jupiter Cuts
    15. Judgement/Swarm
    16. Start/Break/Slow
    17. Triads
    18. Ziplines
    19. Peking Duck 2 pt. I
    20. Peking Duck 2 pt. II
    21. Peking Duck 2 pt. III
    22. Peking Duck 2 pt. IV
    23. End Mush
    24. Start Mush
    David Kanaga
    $18.99 $13.29 Save $5.70 (30%)
    Vinyl LP - Sealed Buy Now
  • Rips Rips Quick View

    $18.99
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    x

    Rips

    Ex Hex is a power trio hailing from Washington, DC, making the music
    you've been waiting for. Drums, bass, guitar, P90s, searing leads-this is
    unapologetic rock 'n' roll spat out in the discipline's mother tongue.


    With Wild Flag on hiatus, Mary Timony (Autoclave, Helium) needed a new
    outlet, so she retreated to her basement and started writing. To her surprise,
    the songs came easily and the hooks practically wrote themselves.


    Mary found Laura Harris (The Aquarium, Benjy Ferree) and they hit it off
    immediately. Laura is a monster on drums: intuitive, solid, and just a bit rough
    around the edges. The pair played together for a couple of months in a tiny
    carpet-lined practice space shared with half a dozen hardcore bands and what
    appeared to be the better part of a B.C. Rich Mockingbird.


    In walked Betsy Wright from the wilds of Virginia. She and Mary have similar
    tendencies, both defaulting to denim and The Voidoids. Betsy is a performer
    and an ace piano player, and before long, she was slinging a cherry SG as the
    third member of Ex Hex.


    The group played a handful of shows and a couple of months later, in the
    spring of 2014, headed into the studio. Working furiously, they recorded over
    the span of two weeks in North Carolina with Mitch Easter (Let's Active) and
    in the basement of Mary's home with frequent collaborator Jonah Takagi.
    Bobby Harlow (The Go, Conspiracy of Owls) was tapped to mix because of
    his unique take on making rock records.


    What results is Ex Hex Rips, twelve songs about underdogs, guys stealing your
    wallet, schoolyard brawls, and getting bent. The record happens pretty quickly,
    so don't blink.

    1. Don't Wanna Lose
    2. Beast
    3. Waste Your Time
    4. You Fell Apart
    5. How You Got That Girl
    6. Waterfall
    7. Hot and Cold
    8. Radio On
    9. New Kid
    10. War Paint
    11. Everywhere
    12. Outro
    Ex Hex
    $18.99
    Vinyl LP - Sealed Buy Now
  • Chelsea Light Moving Chelsea Light Moving Quick View

    $21.99
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    Chelsea Light Moving

    Includes Bonus 7 with Hidden Tracks!


    Chelsea Light Moving is the new band from Sonic Youth's Thurston Moore, recently named the #1 Guitarist Of All Time by Spin. Featuring the backing talents of Keith Wood on guitar, Samara Lubelskion bass and John Moloney on drums. This is the same band from Thurston's last solo album Demolished Thoughts -- but this time it hits hard with rock n roll noise. The man himself describes the tracks as chug & shred burners, and they hit the usual mindblowing variety of rock-historical referencepoints and the primal clatter Thurston's pinoeered for over two decades.

    1. Sleeping Where I Fall
    2. Alighted
    3. Lip
    4. Groovy & Linda
    5. Burroughs
    6. Empires Of Time
    7. Frank O'Hara Hit
    8. Mohawk


    Bonus 7
    9. Heavenmetal
    10. Communist Eyes

    Chelsea Light Moving
    $21.99
    Vinyl LP + 7 - Sealed Buy Now
  • Check 'Em Before You Wreck 'Em Check 'Em Before You Wreck 'Em Quick View

    $16.99
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    Check 'Em Before You Wreck 'Em

    The Admiral Sir Cloudesley Shovell are the last of a dying breed of Grease Rock Bastard musicians who somehow, despite and in spite of the last 3 decades trying their best to kill off balls out, non-bullshit rock'n'roll music, somehow, against all the fucking odds, still exist, surviving on a steady diet of God sent gigs, hire vans, broken down amps, split drum skins, greasy spoon fry ups, patched up jeans, roll-ups, cheap leather jackets, booze, weed and bathtub speed.


    Spare them your sympathy - no-one made the silly bastards do it. They just NEED to!! Right??


    Facts to face - the Shovell are named after a 17th century English naval commander; Bill Darlington plays drums, Louis Comfort-Wiggett plays bass and Johnny Gorilla plays guitar and sings, they have been together as a band since 2008.


    Their debut 2011 Rise Above 7, Return To Zero'/'Day After Day, sold out instantly and now commands £100 plus a copy; their 2012 debut long-player DON'T HEAR IT FEAR IT received unilateral rave reviews and was described pretty accurately by one scribe as 'the aural equivalent of stumbling into an 18 year-old male's bedsit in 1973 - the kind of greasy hard-rock thrills rarely heard in this climate of blind nostalgia and misjudged authenticity. It's hard 'n' heavy, without the marshmallow; it's old-fashioned yet so NOW that it hurts!''
    They've toured and played with the likes of Orange Goblin, Uncle Acid and the Deadbeats, Incredible Hog, Gentlemans Pistols, Graveyard, Gonga and countless more, toured Europe and had chief Groundhog Tony McPhee playing on their first LP!


    On their new LP CHECK 'EM BEFORE YOU WRECK 'EM the Shovell somehow carry on the lineage of the truly golden age of British heavy rock whose dog shit stained road was paved by the likes of Budgie, Sabbath, early Motorhead, Quo, Lizzy, The Groundhogs, Stray etc. Chuck in a healthy chunk of U.S. and Aussie proto metallurgists Sir Lord Baltimore, Dust, Bang, The Litter and Buffalo, as well as a healthy Vertigo 'Swirl' of dew picked mushrooms bad trip psych.


    The Shovell thinks the world could do with another slice of no-nonsense re-gressive proto-rock 'n'metal - one that you don't need a Degree in doom-rock or a Masters in metal to appreciate - just a love of when music was F U N !!!!


    Remember kids - CHECK 'EM BEFORE YOU WRECK 'EM!!!

    1. Do It Now
    2. 2 Tonne F*ckboot

    3. Captain Merryweather
    4. Running From Home
    5. Happiness Begins
    6. Shaker Your Head
    7. Don't Hear It ... Fear It!
    8. Bulletproof
    9. The Thicker The Better
    10. Late Night Mornings
    Admiral Sir Cloudesley Shovell
    $16.99
    Vinyl LP - Sealed Buy Now
  • Black Hours Black Hours Quick View

    $19.99
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    Black Hours

    Hamilton Leithauser announces his debut solo album Black Hours via Ribbon Music -
    inaugurating a new chapter in an already remarkable career from The Walkmen front man. The album
    brings Leithauser full circle and then some, from lonely midwinter piano-and-vocals sessions, to a
    loud, live Rock n Roll group and back again. Featuring Leithauser with a slew of talented collaborators
    including Rostam Batmanglij (Vampire Weekend), Paul Maroon (The Walkmen), Morgan Henderson
    (Fleet Foxes) and Richard Swift (The Shins/solo), the album showcases Leithauser at his most
    passionate, personal and free.


    The video for the first single "Alexandra," which was directed by SXSW Film Festival Grand Jury award
    winning director Tristan Patterson. The track was co-written by Hamilton Leithauser and Rostam
    Batmanglij, the latter producing and mixing the track.


    In its orchestrated rhythms, dynamic vocals, and generous production, Black Hours speaks from one
    booming voice. The instrumentation provides muscle and texture: Maroon covering a wide range of
    acoustic and electric guitars as well as grand piano; Batmanglij switching between guitar, harpsichord,
    piano, bass and harmonica; Morgan Henderson from Fleet Foxes takes the marimba and upright bass,
    and Richard Swift lays down impressive drums on seven tracks (Henderson & Swift will be accompanying
    Leithauser on a full U.S. tour). Amber Coffman from the Dirty Projectors provides backing vocals on
    several numbers and even Hugh McIntosh of Leithauser's first band, the Recoys, returns to the drum
    stool for a pair of songs.


    Principal recording was done in August 2013 at Vox Studios in Los Angeles, "the oldest private studio in
    the world", where Nat King Cole, Bing Crosby, Johnny Mercer, and countless others cut demos before
    appearing on air at NBC studios, just across Melrose Ave.

    1. 5 AM
    2. The Silent Orchestra
    3. Alexandra
    4. 11 O'Clock Friday Night
    5. St Mary's County
    6. Self Pity
    7. I Retired
    8. I Don't Need Anyone
    9. Bless Your Heart
    10. The Smallest Splinter
    Hamilton Leithauser
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Black Hours (Deluxe Edition) Black Hours (Deluxe Edition) Quick View

    $24.99
    Buy Now
    x

    Black Hours (Deluxe Edition)


    Includes Bonus 4 Track EP


    Hamilton Leithauser announces his debut solo album Black Hours via Ribbon Music -
    inaugurating a new chapter in an already remarkable career from The Walkmen front man. The album
    brings Leithauser full circle and then some, from lonely midwinter piano-and-vocals sessions, to a
    loud, live Rock n Roll group and back again. Featuring Leithauser with a slew of talented collaborators
    including Rostam Batmanglij (Vampire Weekend), Paul Maroon (The Walkmen), Morgan Henderson
    (Fleet Foxes) and Richard Swift (The Shins/solo), the album showcases Leithauser at his most
    passionate, personal and free.


    The video for the first single "Alexandra," which was directed by SXSW Film Festival Grand Jury award
    winning director Tristan Patterson. The track was co-written by Hamilton Leithauser and Rostam
    Batmanglij, the latter producing and mixing the track.


    In its orchestrated rhythms, dynamic vocals, and generous production, Black Hours speaks from one
    booming voice. The instrumentation provides muscle and texture: Maroon covering a wide range of
    acoustic and electric guitars as well as grand piano; Batmanglij switching between guitar, harpsichord,
    piano, bass and harmonica; Morgan Henderson from Fleet Foxes takes the marimba and upright bass,
    and Richard Swift lays down impressive drums on seven tracks (Henderson & Swift will be accompanying
    Leithauser on a full U.S. tour). Amber Coffman from the Dirty Projectors provides backing vocals on
    several numbers and even Hugh McIntosh of Leithauser's first band, the Recoys, returns to the drum
    stool for a pair of songs.


    Principal recording was done in August 2013 at Vox Studios in Los Angeles, "the oldest private studio in
    the world", where Nat King Cole, Bing Crosby, Johnny Mercer, and countless others cut demos before
    appearing on air at NBC studios, just across Melrose Ave.

    LP 1
    1. 5 AM
    2. The Silent Orchestra
    3. Alexandra
    4. 11 O'Clock Friday Night
    5. St Mary's County
    6. Self Pity
    7. I Retired
    8. I Don't Need Anyone
    9. Bless Your Heart
    10. The Smallest Splinter


    Bonus EP
    1. Waltz [Deluxe Edition]
    2. In Our Time (I'll Always Love You) [Deluxe Edition]
    3. Utrecht [Deluxe Edition]
    4. I'll Never Love Again [Deluxe Edition]

    Hamilton Leithauser
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Friends Friends Quick View

    $27.99
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    Friends

    A release that its creator Stanley Jordan cites as his most realized project to date finds him in challenging company: fellow strummers Charlie Hunter, Russell Malone, Bucky Pizzarelli and Mike Stern; saxmen (and label mate) Kenny Garrett and Ronnie Laws; N'awlins trumpeter Nicholas Payton and the renown violinist Regina Carter. Another
    label mate, Christian McBride, guests on bass when not handled by Stanley's long-time trio bassist Charnett Moffett. Kenwood Dennard of his trio holds down the drum chair. Truly, a collection of Friends whose benefits push Stanley into a heightened musical reality.
    1. Capitol J
    2. Walkin' The Dog
    3. Lil' Darlin'
    4. Giant Steps
    5. I Kissed A Girl
    6. Samba Delight
    7. Seven Come Eleven
    8. Bathed In Light
    9. Bartok Duet
    10. Reverie
    11. One For Milton
    Stanley Jordan
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • We The People We The People Quick View

    $26.99
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    We The People

    Hard rock icons Adrenaline Mob have had their fair share of challenges in the past but have risen to each & every one continuing to march forward yet again & again! Formed by guitarist Mike Orlando & vocalist Russell Allen they joined forces with drummer Mike Portnoy & bassist John Moyer to launch the band's debut. The band eventually parted ways with drummer Mike Portnoy due to scheduling conflicts & brought drum legend AJ Pero into the fold. Only two years after the debut was released, the group was involved in a major vehicle accident while on the road with Avenged Sevenfold and Hellyeah. Then, in 2015, Adrenaline Mob lost drummer and long-time friend drum legend A.J. Pero to a heart attack while on tour with Drowning Pool. In 2017, Adrenaline Mob have now replenished the ranks with newcomers David Zablidowsky on bass and Jordan Cannata on drums for work on their latest effort, 'We The People'.


    Recorded once again at Sonic Stomp Studios over a year-plus period, We the People sounds huge. Each riff is massive, every drum hit a chest-thumping pound, and each line Russell vocalizes exudes unbelievable power and heart. Life-changing events may've halted Adrenaline Mob, but the group's third full-length is proof positive they're stronger now than they've ever been. Tracks like the raging 'Blind Leading the Blind', the big-hitting 'King of the Ring', the rhythmically wicked 'What Do You Really Want', and the rock radio-tailored title track evince purpose and authority. In every way, We the People puts the hard in hard rock. And the metal in heavy. Orlando was responsible for composing the music, engineering, recording, co-producing, mixing, and mastering and that all says one thing: the dude's a beast. Along with the incredible talents & amazing voice of his co-producing partner Allen who is by far one of rocks greatest voices, the two seem unstoppable on We The People.


    As the title, We the People, indicates there's a political side to Adrenaline Mob. Throughout their years as a musicians and songwriters, they hadn't stayed silent on matters significant. Whether they were masked in metaphor or flatly conspicuous, they've always poured their feelings into song. It was, as Orlando puts it, a form of catharsis. So, as they were watching the presidential campaigns, feeling the negativity-the constant bickering and finger pointing-they knew Adrenaline Mob's next venture would be impacted. In fact, the first song Orlando began writing for We the People was the politically-charged rocker 'Blind Leading the Blind'. "The title track is very much inspired by the past election year," confirms Allen. "It touches on our society, here in America. The album title is a reflection of our times. The songs have certain particular stories that stand on their own. Many of them are also driven by the climate we live in today & some are about having a good time, being free & loving rock n roll. All the tracks have a personality and character to them."


    Undoubtedly, the re-energized Adrenaline Mob will face adversity with We the People. But the strong always rise. Adrenaline Mob have proven they have the fortitude and music to prevail over anything. We the People, folks. It's time to rise up with Adrenaline Mob!

    LP 1
    1. King Of The Ring
    2. We The People
    3. The Killer's Inside
    4. Bleeding Hands
    5. Chasing Dragons
    6. Til The Head Explodes
    7. What You're Made Of
    8. Raise Em Up


    LP 2
    1. Ignorance & Greed
    2. Blind Leading The Blind
    3. Violent State Of Mind
    4. Lords Of Thunder
    5. Rebel Yell
    6. Devil Went Down To Georgia
    7. Snortin' Whiskey
    8. Tie Your Mother Down

    Adrenaline Mob
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dirty Spliff Blues Dirty Spliff Blues Quick View

    $18.99
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    Dirty Spliff Blues

    Dirty Spliff Blues" is Left Lane Cruiser's 5th album for Alive Naturalsound, and the first one as a trio. The blues-driven rock'n'roll noise combo, now firmly headed by slide guitarist and lead vocalist Freddy J IV (aka Joe Evans), with Joe Bent on bass and skateboard (yes, he uses his skateboard as an instrument), and with Pete Dio on drums and assorted trash, delivers another primal high voltage take on the boogie and Hill Country blues.
    1. Tres Borrachos
    2. Elephant Stomp
    3. Whitebread n' Beans
    4. Tangled Up in Bush
    5. Heavy Honey
    6. Dirty Spliff Blues
    7. Cutting Trees
    8. All Damn Day
    9. Skateboard Blues
    10. She Don't Care
    Left Lane Cruiser
    $18.99
    Vinyl LP - Sealed Buy Now
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    $19.99
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    White Reaper Does It Again

    White Reaper Does It Again: a raucous debut full-length from a bunch of barely 20-somethings who have more fun on a Tuesday night than you do on a Saturday.


    Recorded in White Reaper's hometown of Louisville, KY, with engineer Kevin Ratterman (Young Widows, Coliseum), WRDIA is a pure rock 'n' roll adrenaline shot: vicious guitar scratches, elastic bass, sugary keyboard leads, and a thudding drums that will inevitably give your heartbeat a new rhythm.

    1. Make Me Wanna Die
    2. I Don't Think She Cares
    3. Pills
    4. On Your Mind
    5. Last 4th of July
    6. Alone Tonight
    7. Candy
    8. Sheila
    9. Friday the 13th
    10. Wolf Trap Hotel
    11. Don't You Think I Know?
    12. B.T.K.
    White Reaper
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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