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  • Ghost in the Machine (Half-Speed Master) Ghost in the Machine (Half-Speed Master) Quick View

    $44.99
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    Ghost in the Machine (Half-Speed Master)

    HALF-SPEED MASTER : 2016 reissue of 1981 album, mastered at Abbey Road Studios from the original tapes & pressed on 180-gram audiophile quality vinyl! Features 'Every Little Thing She Does Is Magic' & 'Invisible Sun'.
    1. Spirits In The Material World
    2. Every Little Thing She Does Is Magic
    3. Invisible Sun
    4. Hungry For You (j'aurai toujours faim de toi)
    5. Demolition Man
    6. Too Much Information
    7. Rehumanize Yourself
    8. One World (Not Three)
    9. Omegaman
    10. Secret Journey
    11. Darkness
    Police
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Petruchka (Speakers Corner) Stravinsky - Petruchka (Speakers Corner) Quick View

    $34.99
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    Stravinsky - Petruchka (Speakers Corner)

    Petrushka was born of Stravinsky's vision of a long-haired musician hammering indiscriminately at the piano keys and engaging in a furious contest with the orchestra which »answers with vehement protests and acoustic fisticuffs«. As was the case with The Rite of Spring and The Firebird, Sergei Diaghilev and his Russian ballet had their share in ensuring that the 'burlesque' in four scenes would be suitable for the stage.
    The clown-doll Petrushka revels in his spiteful teasing and pranks at the Shrovetide fair.


    The orchestra contributes swirling dance figures, blaring brass and scurrying strings to his high-spirited clownery - but then the Moor enters and dances with the Ballerina, arousing jealousy in Petrushka. Although the clown-doll does not survive this bitter-sweet story, he triumphs at the end, his ghost mocking the crowd at the fair.
    This highly inventive music combines folksong, popular music and the waltz, all bound together by exhilating rhythms which are often taken to thunderous extremes. With its outstanding sound, this recording is a must-have in any Stravinsky collection.


    Recording: May 1959 at the Northrop Memorial Auditorium, Minnesota, USA, by C.R. Fine
    Production: Wilma Cozart-Fine and Clair Van Ausdall


    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The Minneapolis Symphony Orchestra



    About Speakers Corner



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



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



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



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



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



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



    1. Petrouchka - Burlesque Scenes In Four Tableaux - The Shrovetide Fair; Russian Dance
    2. Petrouchka - Burlesque Scenes In Four Tableaux - In Petrouchka's Room
    3. Petrouchka - Burlesque Scenes In Four Tableaux - In The Moor's Room; Dance Of The Ballerina And The Moor
    4. Petrouchka - Burlesque Scenes In Four Tableaux - Grand Carnival - Dance Of Gypsies, Coachmen And Grooms; The Maskers; Death Of Petrouchka
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pretty Hate Machine (2010 Remaster) Pretty Hate Machine (2010 Remaster) Quick View

    $34.99
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    Pretty Hate Machine (2010 Remaster)

    Fans can now revisit the conception of Nine Inch Nails. Trent Reznor's Null Corporation has teamed up with UMe/The Bicycle Music Company to release Pretty Hate Machine: 2010 Remaster on 12/7/2010. After completing the score for David Fincher's The Social Network, Reznor oversaw the digital remastering of Pretty Hate Machine from the newly unearthed original tapes with engineer Tom Baker (whose NIN credits include The Downward Spiral, Broken, The Fragile, With Teeth and Ghosts). This remastered version includes an eleventh track, a cover of Queen's Get Down Make Love, originally the B-side to the Sin single and produced by Al Jourgensen. Rob Sheridan, NIN's longtime art director, has also re-imagined the packaging of Pretty Hate Machine under Reznor's supervision.


    As a young musician in Cleveland, Ohia, Reznor took a job at a local recording studio and employed unused studio time to develop his own material. The nascent album was later recorded with his favorite producers including Flood/Mark Ellis (U2, Depeche Mode, PJ Harvey), John Fryer (Cocteau Twins, This Mortal Coil), Adrian Sherwood (Ministry, Cabaret Voltaire) and Keith LeBlanc (Trackhead). The result was the first Nine Inch Nails album, 1989's Pretty Hate Machine. All songs were written, arranged, programmed and performed by Reznor. The album featured the breakthrough singles Sin, Down In It and Head Like A Hole, and ultimately sold over 3 million copies, reaching Triple Platinum sales status. In the wake of the album's inital underground success, NIN soon developed a reputation as one of the best live acts in rock and jointed the inaugural Lollapalooza tour in 1991. NIN have since sold more than 18 million albums, collected Grammy Awards and headline arenas, amphitheaters and festivals worldwide.


    The Bicycle Music Company acquired the rights to Pretty Hate Machine from a division of Prudential Securities in the spring of 2010. It was Bicycle's intention from the onset to enable Reznor to regain some control of this lost piece of NIN's legacy, resulting in this artist approved 2010 reissue of one of music's most groundbreaking and influential albums. Note: The previous CD version was reissued in 2005 but was not overseen by Reznor and is now out of print.


    Reznor is currently working on new music as a member of the group How To Destroy Angels, continuing his Nine Inch Nails efforts and composing for future film score projects.

    1. Head Like A Hole
    2. Terrible Lie
    3. Down In It
    4. Sanctified
    5. Something I Can Never Have
    6. Kinda I Want To
    7. Sin
    8. That's What I Get
    9. The Only Time
    10.Ringfinger
    11.Get Down Make Love (Bonus Track in 2010 Reissue)
    Nine Inch Nails
    $34.99
    Vinyl LP - 2 LPs - Sealed Buy Now
  • Give You The Ghost Give You The Ghost Quick View

    $19.99
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    Give You The Ghost

    Poliça's debut album, Give You The Ghost, is 11 perfectly formed auto-tuned songs that re-shape the intersection of pop and digitised R&B. And for all Poliça's synthetic manipulation, Channy's soft vocals and Ryan's electronic soundscapes reveal a tender heart beneath, pulsating with life and raw emotion. Give You The Ghost opens with the attention grabbing sonic of first track 'Amongster', the two drummers immediately coming into full effect as it builds to a heady mass of beats, bass and Channy's wandering vocals. 'Violent Games' continues the heavy on the drums theme, with duelling beats that intensify to machine gun-like levels, led by Channy's urgent and cyclical vocals "Tremble at the taste of / Tremble at the taste of / Tremble at the taste of in his hands".


    Born out of the break-up of a recent relationship, the majority of Give You The Ghost reflects the difficulty of facing up to your mistakes and making peace with them; an exorcism via exciting new musical possibilities. "The recurring theme of this record is 'what in the hell just happened and who in the hell am I anyways'" says Channy. This redemptive mood is key for the track 'Dark Star', released online late last year amidst a viral whirlwind. Backed by smooth brass breakdowns throughout and mid-tempo loping rhythms, it's typical of Poliça's often meditative content fused with the addictive refrain "Ain't a man who can pull me down from my Dark Star".


    First sashaying single proper 'Lay Your Cards Out' and the dreamy 'Wandering Star' both feature Mike Noyce of Bon Iver on vocals and are equally as deliciously funk laden as they are hypnotic, with more ratatat drums from Ben Ivascu and Drew Christopherson, propelling the lush arrangements and slinky bass, provided by Chris Bierden.

    1. Amongster
    2. I See My Mother
    3. Violent Games
    4. Dark Star
    5. Form
    6. The Maker
    7. Lay Your Cards Out (feat. Mike Noyce)
    8. Fist Teeth Money
    9. Happy Be Fine
    10. Wandering Star
    11. Leading To Death
    Polica
    $19.99
    Vinyl LP - Sealed Buy Now
  • All Harm Ends Here All Harm Ends Here Quick View

    $14.99
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    All Harm Ends Here

    The Early Day Miners Good Time Band is back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here Early Day Miners have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, EDM take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place. While the album is filled with death and ghosts of all sorts, its unifying theme is the individual's ability to escape the death and ghosts. Even the making of the album (which was done just outside of the band's hometown of Bloomington, Indiana, on the outskirts of Hoosier National Forest) was plagued by ghosts and phantoms. Recorded at the Old Mt. Gilead Church - recently revamped into a recording studio and still immediately surrounded on three sides by a dozen acres of 150-year old cemetery - principal tracking for All Harm Ends Here was halted for days at a time on multiple occasions when inexplicable flutter infected the reels of tape, almost requiring EDM to relocate its principal tracking altogether. Mixing and overdubbing was done at Burton's own Grotto Home Studio in an effort to evade those ghosts in the machine which possessed Old Mt. Gilead. While the Early Day Miners don't make flashy music, their layered music rewards the repeat listener. If you listen closely enough, in fact, you can hear ghosts in the distance.
    Errance
    Townes
    The Union Trade
    Comfort/Guilt
    All Harm
    Precious Blood
    We Know in Part
    The Way We Live Now
    The Purest Red
    Early Day Miners
    $14.99
    Vinyl LP - Sealed Buy Now
  • Renegades Renegades Quick View

    $39.99
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    Renegades

    Import

    Remastered


    Following 3 studio albums with original material (all available on Music on Vinyl) Rage Against The Machine
    offered a tribute to their musical heroes, showing a broad variety in their favourite artists and genres. The
    album (rel. 2000) proved to be their latest studio album and includes songs originally made famous by artists
    like Bruce Springsteen, Bob Dylan, Minor Threat, Eric B. & Rakim, EPMD, MC5, The Rolling Stones, Cypress
    Hill, Devo and Afrika Bambaataa.


    Instead of just giving each song the hard-riffing-and-rapping treatment, each song is treated differently,
    resulting in a musically varied album. For instance, Renegades of Funk and ´Microphone Fiend´ have never
    been rocked so hard before, whereas The Ghost of Tom Joad is Rage Against The Machine more subtle than
    youve ever heard before!

    Side A


    Microphone Fiend
    Pistol Grip Pump
    Kick Out The Jams
    Renegades Of Funk
    Beautiful World
    I'm Housin'


    Side B


    In My Eyes
    How I Could Just Kill A Man
    The Ghost Of Tom Joad
    Down On The Street
    Street Fighting Man
    Maggie's Farm

    Rage Against The Machine
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • What Is The Meaning Of What (Awaiting Repress) What Is The Meaning Of What (Awaiting Repress) Quick View

    $19.99
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    What Is The Meaning Of What (Awaiting Repress)

    What Is The Meaning Of What is the third album from New York City psych-dance-rock stalwarts, Turing Machine, their first since the critically acclaimed Zwei was released on Frenchkiss Records way back in 2004. The extended hiatus was largely due to its members other projects, most notably drummer Jerry Fuchs' relentless rotation in virtually every live band within stone's throw of the DFA orbit, including but not limited to LCD Soundsystem, Maserati, Holy Ghost!, The Juan Maclean, !!!, MSTRKRFT and Massive Attack.


    Shortly after Turing Machine began to work on what would become What Is The Meaning Of What, Fuchs tragically passed away. In his absence, guitarist Justin Chearno and bassist Scott DeSimon spent the better part of a year completing the album, with a little help from a plethora of friends, including Disappears vocalist Brian Case, and a host of musicians from the DFA roster, including Andrew Raposo and Caito Sanchez (both of Midnight Magic), Abe Seiferth, DJ McNany, and Pat Mahoney (LCD Soundsystem).


    What Is The Meaning Of What boasts an increased focus on the dance floor while maintaining the adrenalin-fueled psychedelic post-punk fetishism that is the heart of Turing Machine. Propelled by Fuchs' unrelenting grooves and bubbling with layer upon layer of hypnotic riffs and driving synths, the album locks in and refuses to let go for its 40-minute duration.

    1. Yeah, C'mon!
    2. Lazy Afternoon Of The Jaguar
    3. Slave To The Algorithm
    4. Sex Ghost
    5. What Is The Meaning Of What
    6. If It's Gone (It's On)
    7. Bovina 2/23/08
    Turing Machine
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blonde Blonde Quick View

    $16.99
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    Blonde


    Special Edition 180 Gram Purple Vinyl


    "If you can get people dancing as early as noon. You're good. They did." - NPR 'All Songs Considered'


    "Ghost Beach are the Venn diagram of their influences-Peter Gabriel, Talking Heads, The Police, and Daft Punk
    -and then some, thanks to a shitload of synths, some nostalgic 80s sonics and even the occasional reggae groove.
    The sound is unmistakably their own." - VICE's Noisey


    Ghost Beach, the New York-based duo of Josh Ocean and Eric "Doc" Mendelsohn, bring together the two worlds of
    electronic and live performance whose sound is self-described as "Tropical Grit Pop." "We like writing pop music. We
    draw a lot from the 80's, including Peter Gabriel, The Police and Talking Heads," says Ocean. "Their music incorporated
    synthesizers and drum machines, had tons of energy and it had a very eclectic sound. From a songwriting standpoint, that
    is where we draw our inspiration and today we attempt to bridge the gap by using a similar sonic palette in combination
    with modern recording technologies including Ableton." added Mendelsohn.


    On their debut full-length album Blonde, Ghost Beach once again perfects a blend of retro and futuristic soaring synth-pop, none more so evident than in the searing single "Miracle." Blonde features a mix of newly recorded material and
    a handful of tracks from the bands self-released Modern Tongues EP. All previously released songs will be remixed,
    re-mastered and enhanced for the forthcoming release.


    Ghost Beach is not purely electronic or purely a live band, but a realization of what lies in the middle. Josh plays the jilted
    lover with vocal panache as Eric's soaring synths, guitars and forever young harmonies are plucked right out of Neverland.
    Ghost Beach is more about a time than a place, and that time is now.

    1. Moon Over Japan
    2. Miracle
    3. Been There Before
    4. Close Enough
    5. On My Side
    6. Every Time We Touch
    7. Without You
    8. Tear Us Apart
    9. Faded
    10. First Time
    11. Empty Streets
    12. Too Young
    Ghost Beach
    $16.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Topiary (Colored Vinyl) Topiary (Colored Vinyl) Quick View

    $19.99
    Buy Now
    x

    Topiary (Colored Vinyl)

    Half-Moon Vinyl (Half Black, Half Transparent)


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Topiary Topiary Quick View

    $18.99
    Buy Now
    x

    Topiary

    Recorded At Tom Tom Club/Talking Heads' Clubhouse Studio On All Analogue Gear


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $18.99
    Vinyl LP - Sealed Buy Now
  • Galactic Melt Galactic Melt Quick View

    $21.99
    Buy Now
    x

    Galactic Melt

    When talking about the music of COM TRUISE (one of the many pseudonyms of New Jersey designer/musician SETH HALEY), the nostalgia bit inevitably comes up, so let's get that out of the way. Yes, his songs tap classic sci-fi and proto-electro in a way that is distinctly early eighties in scope. But they're also remarkably weirdstutter-step proggy and intoxicatingly psychedelic, like those classic touchstones got drunk on lava lamp juice inside a pinball machine. After his well-received Cyanide Sisters EP, a grip of remixes for artists like Twin Shadow, Neon Indian, and, uh, Daft Punk, and a few floating MP3s, Truise's first LP, Galactic Melt, will finally enter brainspaces this summer. And what an appropriate title it bears. For a brief moment, opener Terminal subsumes you in warm, starry-eyed synth arpeggios, and then down the rabbit hole you gofrom the keyed up, skyscraping machine love of VHS Sex and Cathode Girls to opuses like Air Cal and Ether Drift that sound like Doogie Howser's idea of the perfect prom songmathy, forlorn, funky, and mighty in technical ambition. That they're all noticeably cinematic is, of course, by designHaley envisioned Galactic Melt as a sort of film scorefrom the mind, chronicling the lift and death of Com Truise, the world's first synthetic/robotic astronaut, from his creation and life on earth to his subsequent mission to a newly discovered galaxy called Wave 1. Eventually, Truise becomes one with his newfound cosmos, like Pinocchio becoming a real boy, but in the nether regions of imaginary space.
    1. Terminal

    2. VHS Sex
    3. Cathode Girls
    4. Air Cal
    5. Fightwave
    6. Hyperlips
    7. Brokendate
    8. Glawio
    9. Ether Drift
    10. Futureworld
    11. Galactic Melt
    Com Truise
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Road Runners The Road Runners Quick View

    $24.99
    Buy Now
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    The Road Runners

    After the Kings Verses album flips your wig and sends you stumbling out of the garage, the haunted fuzz and ghostly Farfisa of the Road Runners - the second half of Fresno's devastating one-two punch - will turn what's left of your brains to Malt-O-Meal. Results of secret marketing surveys assure us that this unreleased gem is running neck-and-neck with the Watchband, the Standells and the Music Machine in the '66 Punk Hall Of Fame Marathon.
    1. Nighttime Love
    2. Goodbye
    3. I Got To Get Away
    4. Little Miss Love
    5. I'll Make It Up To You
    6. Tell Her You Love Her

    7. Sleepy Friend
    8. 2120 South Michigan Avenue (Live)
    9. Goodbye (Live)
    10. The Train Kept A Rollin' (Live)
    11. I'll Make It Up To You (Live)
    12. Don't Let Me Be Misunderstood (Live)

    13. Baby Please Don't Go (Live)
    14. Don't Bring Me Down (Live)
    The Road Runners
    $24.99
    Vinyl LP - Sealed Buy Now
  • Homesick Homesick Quick View

    $20.99
    Buy Now
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    Homesick

    Before digging into the steely, handcrafted technoisms of Homesick, you need to
    know a few things about Charles Du , the Bay Area artist behind Matrixxman.
    Perhaps most importantly, he is a dedicated futurist-quick to name Google's
    director of engineering, Ray Kurzweil, as a major personal inspiration, and prone to
    contemplating artificial intelligence and a true post-corporeal reality. He's also a
    voracious information junkie, soaking up government conspiracies and
    contemporary science-fiction like a proper X-Files fanatic. These cultural reference
    points are as integral to the background of Homesick as Detroit, Chicago, and
    Berlin's musical legacies. Across the record's versatile tracklist, Matrixxman uses
    the language of machines and dancefloors like a hungry pulp novelist, weaving
    together his divergent narratives and characters under one sprawling dystopian
    sky.


    If you listened to house and techno in 2014, you've undoubtedly heard the name
    Matrixxman. The guy has been on a prolific tear since debuting his project in 2013,
    having issued no fewer than 12 cold-ass futuristic releases and taken his
    genre-blurring DJ sets around the world in under two years. But his story reaches
    much further into the past: back to being a drum & bass-obsessed teenager in the
    late '90s, back to when Du 's best friend changed his life with a Juan Atkins mix
    CD in 2001, back to producing for hotly tipped MCs like Le1f, Ty Dolla Sign, and YG.
    Matrixxman is already a venerable pro with workmanlike constitution, to say the
    least, and yet his debut album has only just materialized.


    My obsession with the darker sides of humanity's exploits gone awry is secondary
    to the more important matter at heart: evolutionary transcendence, Matrixxman
    explains. And his focus on cybernetic themes shines through the music. Emergent
    AI, interplanetary travel, neuroenhancement drugs, incredible opulence
    juxtaposed with abject poverty, leaving physical form and existing as data-Homesick
    distills the concepts into thick acid lines, brawny 909 patterns, tonal contrasts,
    dynamic aesthetics, and viscous pads steeped in digital ephemera. It begins with
    Necronomicon, a massive black cloud of noxious ambience looming over our
    story, and ends on the astral mysticism of Earth Like Conditions. Yes, there is an
    arc built into Homesick, and the sci-fi epic it illustrates seizes your undivided
    attention.


    Even the tracklist speaks volumes to the record's music and narrative-from the
    enhanced motorik systems of Augmented and Network Failure's cognitive
    dissonance, to the dark hedonism in Opium Den and the drum machine violence
    that drives Switchblade. As Matrixxman says himself, The titles correlate to
    distinct, separate scenes. And those visuals just about come alive on tracks like
    Packard Plant-a whirring, windswept homage to the desolate Detroit
    landmark-or the album's haunted and distant centerpiece, Annika's Theme. Du
    is quick to share Annika's identity: She's an incredibly gifted neuroscientist,
    pursuing cutting-edge research in fields that will have a profound impact on
    humanity. But what exactly she accomplishes and where she goes is unexplained.
    Homesick outlines the cues needed to follow along, careful to leave room for us to
    fill in the details.


    Matrixxman uses his debut album to evoke visions of a not-too-distant-future with
    music made both for the dancefloor and the early morning zone-outs that follow.
    These are the real world applications of Homesick, though Du comes to it all from
    an entirely di erent mindset. We will have the technological capability to fully
    map out a human brain in its entirety within 30 years, he starts. The implications
    of such a possibility are deep and far reaching. We will be crossing a rubicon
    towards a new phase in human consciousness. I am one person that is prepared to
    take that step. Once you emerge on the other side of Homesick, it seems possible
    that Matrixxman already has.

    1. Necronomicon
    2. Augmented
    3. Red Light District
    4. Packard Plant
    5. Dejected
    6. Network Failure
    7. False Pattern Recognition
    8. Opium Den
    9. Annika's Theme
    10. HMU (Hit Me Up) feat. Vin Sol
    11. Switchblade
    12. Earth Like Conditions
    Matrixxman
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Floodland Era Collection Floodland Era Collection Quick View

    $74.99
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    Floodland Era Collection

    One of England's leading goth bands of the 1980s, the Sisters of Mercy play a slow, gloomy, ponderous hybrid of metal and psychedelia, often incorporating dance beats; the one constant in the band's career has been deep-voiced singer Andrew Eldritch. (There is some disagreement as to whether the group took its name from an order of Catholic nuns or from the Leonard Cohen song of the same name.) Eldritch originally formed the band in 1980 with guitarist Gary Marx and recorded its first single with a drum machine dubbed Doktor Avalanche. Guitarist Ben Gunn and bassist Craig Adams were added to make live gigs feasible, and the Sisters built a reputation through several singles and EPs. Gunn left the band in 1983 and was replaced by Wayne Hussey. the Sisters of Mercy recorded their first full-length album, First and Last and Always, in 1985, but two years later, internal dissent had split them apart; Marx left to form Ghost Dance, and Adams and Hussey departed shortly thereafter.


    A legal dispute ensued over the rights to the name Sisters of Mercy; Adams and Hussey attempted to use the name Sisterhood, but Eldritch released an EP under the name to prevent its usage, and the two finally settled on the Mission. Eldritch chiefly utilized a corps of temporary sidemen from this point on (although former Gun Club bassist Patricia Morrison was an official member of the group for a short time) and rebounded with his two biggest-selling American LPs, Floodland and Vision Thing. Despite ceasing studio recordings, Eldritch kept the band active as a performing entity through the first decade of the 2000s and beyond.

    LP 1
    1. Dominion/Mother Russia

    2. Flood I
    3. Lucretia My Reflection

    4. 1959
    5. This Corrosion

    6. Flood II
    7. Driven Like The Snow
    8. Never Land (A Fragment)


    LP 2
    1. This Corrosion
    2. Torch
    3. Colours


    LP 3
    1. Dominion
    2. Untitled
    3. Sandstorm
    4. Emma


    LP 4
    1. Lucretia My Reflection
    1. Long Train (1984)

    Sisters Of Mercy
    $74.99
    Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • Insides Insides Quick View

    $22.99
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    Insides

    Like many others, Ghostly became enamored with Fort Romeau's idea of slow
    listening, the concept of enriching relationships with music through careful
    attention and focus. His understated take on deep, groove-friendly house started
    pushing this practice three years ago, when the producer's debut LP, Kingdoms,
    appeared via 100% Silk. The native Londoner, born Mike Greene, has evolved
    considerably since then, finessing his sound over the course of three breezy 12s,
    one EP, and lengthy DJ sets at some of the best clubs in Europe-not the least of
    which were Berlin's famed Panorama Bar, London hotspot Plastic People, and
    Robert Johnson in Frankfurt. Those years Greene spent immersed in his craft and
    new inspirations have generously informed the eight stunning productions which
    comprise Insides, Fort Romeau's long-awaited sophomore album.


    Playing in those clubs definitely had an affect on how I approach composition and
    pacing, Greene shares. I want to allow things to breathe and develop gradually
    over longer track lengths, rather than cram everything into four or five minutes. His
    patient methods are a central component to the billowy house music on Insides,
    though this isn't an indulgent album of gratuitous buildups and tiresome
    breakdowns. Each production is pointed and purposeful, as the artist crafts every
    second of analog electronics with rich detail, nuance, and refinement.


    Throughout Insides, Fort Romeau guides us down misty corridors lined with supple
    synth pads, quietly thumping kicks, and elastic low-end sequences reinforced by an
    emotive confidence. Thick dancefloor cuts like All I Want and Folle are built on
    such satisfying elements-sounds so full-bodied, you'd swear they're knocking
    against your bones. This, too, is by design. I wanted to make sure all the songs
    have a tangible quality, says Greene of his LP's physicality, to make texture and
    grain become as important a part of the vocabulary as timbre and pitch. This was
    accomplished with an arsenal of machines, including his Moog Voyager, Yamaha
    DX7, Roland Juno-6, and Korg 770, a vintage synth he describes as having so much
    presence and vitality, it almost feels like it's alive. Equally important to the weighty
    presence of his music is meticulous post-production. The record was mixed on an
    analog desk and mastered to tape, Fort Romeau elaborates. These processes are
    as much a part of the sound as the synths and sample sources themselves.


    There is also a deep stylistic eclecticism to Insides, and coming from Greene, this
    was galvanized by deep cuts he discovered while digging to find music for his
    extensive DJ sets. Old kosmiche, disco, and early electronic records are among the
    strongest influences, and Fort Romeau used them as an impetus for creation. It's
    those strange and wonderful tracks that you find on the b-side of an old record that
    sparked my desire to make something new, he shares, but it's very important for
    me never to feel like I'm making a pastiche. Indeed, the sleek expanse of Lately
    and the title track's jacking grooves take cues from buoyantly cosmic dance music.
    And yet it's the personality of a young artist coming into his own that makes Insides
    such a graceful collection of house music, one that only further enriches the soul
    over time.

    1. New Wave
    2. Folle
    3. All I Want
    4. Insides
    5. Not A Word
    6. IKB
    7. Lately
    8. Cloche
    Fort Romeau
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Metafather Metafather Quick View

    $18.99
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    Metafather

    Metafather was recorded in summer 2011 during the final days of Bush House, as the building was undergoing the process of decommission. The duo pulled tape machines from the wreckage of abandoned studios and set to work to create a new set of radiophonic song-smithery and quarter-inch tape works. Situated in Aldwych, central London, Bush House was the BBC World Service hub for over 70 years. With its Orwellian architecture and labyrinthine corridors, this historic building served as the perfect location to tap into London's hidden ley lines and unlock its sonic secrets. As the city erupted into riots and warehouses blazed outside, Imbogodom plugged into the heart of the disquiet to create a varied collection of brooding tape work anthems for a dystopian Albion.


    From 2006 to 2011, Imbogodom made use of Studio 6, located deep underground in the bowels of the building, to conduct their nighttime experiments. While London slept, Beban and Tucker put the neglected studio equipment to work, creating phantom-like transmissions and sound pieces out of tape machine loops, foley sound effects and vintage mixing desks. Invoking the spirit of radiophonic and library music from the past, the duo brings a distinctly modern voice to their work.


    Bringing their individual songwriting skills to the table, Imbogodom trade roles as tape and mixing desk operators, players and sound manipulators. The balance between song and abstract sound weave together Beban and Tucker's love of psychedelic song writing, improvisation, composition, and outsider music.


    As the last fragments of magnetic tape dust are vacuumed from the deserted studio floors, Imbogodom release Metafather, conjuring the ghosts of Bush House and concluding their trilogy.

    1. Imbosoundsystem
    2. Soaked Into Walls
    3. The Living Creatures
    4. Voices of Lists
    5. Marchpane
    6. Mirror Dust
    7. Laudanum Husk
    8. Behold the Whirlwind
    9. Soaked Into Walls (Slight Return)
    10. Other Animals
    11. Summer Fungus
    Imbogodom
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Blackest Beautiful The Blackest Beautiful Quick View

    $19.99
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    The Blackest Beautiful

    LP Contains CD Of Full Album.


    From the streets of Inglewood CA come letlive. Their self-produced and released debut Fake History was picked up by Epitaph in 2011,and quickly established the band as a force to be reckoned with, inheritors of that uncategorizable blend that made bands like the Deftones, Mars Volta and Rage Against the Machine so crucial.


    Such was the rapt reception for the album that by end of year frontman Jason Aalon Butler was being named the #1 rock star in the world by Kerrang (yes, #1,that's not a typo). Mixing hardcore punk, metalcore, and even jazz and R&B influences in their sound (Jason's dad was a well-known LA bandleader who pioneered rock/soul crossover with Eric Burdon), letlive.'s melting pot of influences reflects the melting-pot Los Angeles neighborhood in which the band came together.


    Now with their proper debut on the label, The Blackest Beautiful, the band comes fully prepared with a mammoth sonic attack, produced by longtime co-conspirator Kit Walters and mixed by pop guru
    Stephen George (Britney Spears, Michael Jackson).


    Opening salvo "Banshee (Ghost Frame)" announces a band that has remained loyal to their hardcore origins, while tracks like "Younger" and "Pheromone
    Cvlt" display a new melodic sophistication.

    1. Banshee (Ghost Fame)
    2. Empty Elvis
    3. White America's Beautiful Black Market
    4. Dreamers Disease
    5. That Fear Fever
    6. Virgin Dirt
    7. Younger
    8. The Dope Beat
    9. The Priest And Used Cars
    10. Pheromone Cvlt
    11. 27 Club
    Letlive
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • First And Last And Always (On Sale) First And Last And Always (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    First And Last And Always (On Sale)

    Numbered Limited Edition



    Paint It Black: 1985 Debut Is Penultimate Goth-Rock Album



    Andrew Eldritch's Ghostly Vocals, Static Beats, Melodic Guitar Jangle Create Hauntingly Atmospheric Soundscapes



    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP



    The template for all goth-rock records that followed, Sisters of Mercy's First And Last And Always stands as one of the-if not the most-influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.



    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.



    Ever since it's release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.



    Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking Possession, dramatic Some Kind of Stranger, and desperate Marian remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.



    It's unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.


    This title is not eligible for further discount.

    1. Black Planet
    2. Walk Away
    3. No Time to Cry
    4. A Rock and a Hard Place
    5. Marian (version)
    6. First and Last and Always
    7. Possession
    8. Nine While Nine
    9. Amphetamine Logic
    10. Some Kind of Stranger
    Sisters Of Mercy
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed Buy Now
  • Signs & Signifiers Signs & Signifiers Quick View

    $24.99
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    Signs & Signifiers

    Named as an artist you should know in 2011 by NPR, singer/songwriter JD McPherson makes his Rounder Records debut with the release of Signs & Signifiers which All Music calls a rockin', bluesy, forward-thinking album that subtly breaks the conventions of most vintage rock projects. McPherson is an artist with an unaffected take on vital American music and a voice that channels the spirit of Little Richard and James Brown.


    The seductively kickass 12-song set finds this renaissance man/hepcat seamlessly meshing the old and the new, the primal and the sophisticated, on a work that will satisfy traditional American rock 'n' roll and R&B purists while also exhibiting McPherson's rarified gift for mixing and matching disparate stylistic shapes and textures. Recorded on analog equipment through vintage microphones and a 1960s Berlant 1/4 inch tape machine, Signs & Signifiers marks the arrival of an authentic, gutsy American artist.


    Featuring JD McPherson (lead and backing vocals, guitar), Jimmy Sutton (bass), and Alex Hall (drums, piano, organ), the album also hosts an array of guest musicians, including Scott Ligon on piano (NRBQ's Terry Adams Rock & Roll Quartet); Jonathan Doyle (Nick Curran & the Lowlifes, White Ghost Shivers); Chicago's Josh Bell (The Del Moroccos) on tenor and baritone saxophones; Susan Voelz (Alejandro Escovedo, Poi Dog Pondering) on violin; Allison Chesley (Helen Money) on cello; and Joel Paterson (The Modern Sounds) lends choice guitar work to the Joey Simone classic Your Love (All That I'm Missing).

    1. North Side Gal
    2. Country Boy
    3. Fire Bug
    4. Signs & Signifiers
    5. Wolf Teeth
    6. Scratching Circles
    7. A Gentle Awakening
    8. Dimes for Nickles
    9. B.G.M.O.S.R.N.R.
    10. I Can't Complain
    11. Your Love (All That I'm Missing)
    12. Scandalous
    J.D. McPherson
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Last Stand The Last Stand Quick View

    $28.99
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    The Last Stand

    If you have any doubts, please update your books now: our favourite Swedish war machine SABATON are on their way to the absolute top of the heavy metal world.


    Need some evidence? As we speak, these platinum selling, Falun-based heavy metal heroes are headlining some of the biggest European festivals through fires and flames and playing massive stadium concerts in front of tens of thousands of enthusiastic fans with legendary comrades, such as IRON MAIDEN and SCORPIONS. In August SABATON will once again command the troops on the holy grounds of Rockstad Falun Festival - aka Sabaton Open Air - when the band hosts their own three day festival - closing the last day with an explosive performance. Then, later this year, SABATON's sight will be directed at the USA, where the band is a doing huge tour and also performing at Ozzfest Meets Knotfest Festival in California, alongside BLACK SABBATH, SLIPKNOT and others.


    However, this is just the beginning: when the winter arrives, SABATON will unleash their prestigious live power upon the whole of Europe. No mercy will be given and all guns will be blazing, when this tireless killing machine will blow out sold-out arenas to another dimension. During this tour, named "The Last Tour", SABATON's support comes from German metal legend ACCEPT.


    What? The last tour of SABATON? No, not really, as the band's worldwide war plans are already marching years ahead.


    The title of this massive, to say the least, world tour comes from SABATON's latest masterpiece "The Last Stand". The new record, which will be unleashed to the masses in August by the world's most powerful heavy metal label Nuclear Blast Records, is simply a perfect addition to SABATON's discography, which already contains some of the most heroic heavy metal known to man.


    "We have done a majestic record and we couldn't be happier with it. Is 'The Last Stand' SABATON's strongest album to date? Well, time will tell us that, but one thing is 100 % guaranteed: on the record, there are lots of songs that will go down in SABATON's own hall of fame, says the band founder and bassist PÄr Sundström.


    "'The Last Stand' contains all the elements that our fans could ask for, adds the band's main composer and singer Joakim BrodÉn. "The new record tells a victorious tale of SABATON in 2016, and even further. Lots of fresh ideas and unprecedented magic can be heard on these new tunes - for example, check out bagpipe and Hammond driven major key song 'Blood Of Bannockburn'. We have never done anything like that before.


    "At the same time, our legions of diehard fans will be pleased to observe some echoes from our older works: such as relentless heavy metal of 'Primo Victoria' (2005), catchy flavours of 'The Art Of War' (2008) and deep epicness of 'Carolux Rex' (2012). 'The Last Stand' contains all of these elements - and lots more!


    If the previous record, straightforward heavy metal assault "Heroes", showed the unstoppable power of SABATON's eloquent line-up, huge-sounding "The Last Stand" conquers whole new kingdoms. The band's apparent sixth member, HYPOCRISY / PAIN mastermind and renowned producer Peter TÄgtgren (LINDEMANN, DIMMU BORGIR, CHILDREN OF BODOM among others), grasped everything out of BrodÉn, Sundström, drummer Hannes Van Dahl and guitarists Thobbe Englund and Chris Rörland. The result? Innovative guitar solos and razorsharp riffs, pounding drum patters, catchier than catchy choruses and haunting melodies - and the list goes on Well, let's put it this way: if SABATON used to sound intense, bombastic and invincible, this time they sound absurdly intense, bombastic and invincible.


    The lyrics have always been a very important part of SABATON's art. Thanks to their classic metal anthems, such as 'Ghost Division', 'Uprising', 'Soldier Of 3 Armies', 'No Bullets Fly' and '40:1, SABATON has achieved superstar status in countries like Sweden, Finland, Czech Republic and Germany. Poland, however, signifies "something else for these guys: SABATON's members have been adopted as Poland's honorary citizens and the band's biggest show ever happened in Przystanek Woodstock Festival in front of half a million fans.


    "Regarding new lyrical themes, there were several possibilities this time, but when we came up with the idea about the famous last stands on battlefields and other historical places, that was it - we didn't have to look any further, tells BrodÉn.


    "The previous album's heroic stories about fighting and surviving were a perfect match for SABATON, but these new tales may be even more interesting to our devoted fans. The lyrics are based on very interesting historical episodes and they will open a whole new world for the friends of our band, insists Sundström.


    SABATON have reached their unshaken position as heavy metal's AAA-torchbearer after releasing ingenious studio recordings and playing endless amount of unforgettable live shows. "The Last Stand" is another unquestionable and bulletproof evidence of SABATON's top class abilities and it will be followed by the band's most gigantic world tour to date.

    1. Sparta
    2. Last Dying Breath
    3. Blood Of Bannockburn
    4. Diary Of An Unknown Soldier
    5. The Lost Battalion
    6. Rorke's Drift
    7. The Last Stand
    8. Hill 3234
    9. Shiroyama
    10. Winged Hussars
    11. The Last Battle
    12. Camouflage
    13. All Guns Blazing
    Sabaton
    $28.99
    Vinyl LP - Sealed Buy Now
  • West West Quick View

    $18.99
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    West

    Wooden Shjips, as it is today, started in 2006. The band self released a 10 and 7 that year and started playing shows shortly thereafter. Prior to 2006, Wooden Shjips was an experiment in primitive and minimalist rock. After it imploded, Ripley Johnson, guitar and vocals, assembled the current lineup of Dusty Jermier on bass, Nash Whalen on organ, and Omar Ahsanuddin on drums. West marks the first time the band recorded in a proper studio, as well as the first time with an engineer (Phil Manley). All previous recordings, either self-released, for Holy Mountain, or Mexican Summer were done more piecemeal in the bands rehearsal studio. West was recorded and mixed in six days at Lucky Cat Studios in San Francisco. It was mastered by Sonic Boom at Blanker Unisinn, Brooklyn, with additional mastering by Heba Kadry at The Lodge in New York.


    The over riding theme for the album (as indicated by the title) is the American West, and all of the mythology, romanticism, and idealism that it embodies. The band members grew up on the East Coast, so for a long time the history and literature of the West was an abstraction and a fascination for them. Part of the allure of the West, which is part of the myth, is the concept of Manifest Destiny, the vastness, and the possibilities for reinvention, which is not to say that is what each song is specifically about, but it was very much an undercurrent during the songwriting of the album. The artwork also touches on the same theme by using an iconic structure that is both a gateway in a literal and metaphorical sense.


    It is easy to see why these would appeal to Wooden Shjips, as their music lends itself to exploration. It is both transformative and transporting, the sum being far greater than its parts. The steady driving rhythms are the elliptical motion machine driven by the often thick and distorted guitar lines, melodic and boundless. Where they may lead cannot be anticipated but following them is exhilarating. It is all about getting there, the destination, while the experience of getting there is an adventure. It is the guitar lines that guide both the listener and the band on the literal and metaphorical journey into the vastness. The ghostly vocals, obscured by dense layers of instruments surrounding them, are alluring with their airy mystery. This elusive quality further draws the listener in, while they attempt to grasp at their meaning. While indebted to both the psych music of the 60s and mid-70s, electric Neil Young, and even the induced travels of Spacemen 3, the Wooden Shjips music is modern and in every way their own. West is an epic journey to the edge and beyond.

    1. Black Smoke Rise
    2. Crossing
    3. Lazy Bones
    4. Home
    5. Flight
    6. Looking Out
    7. Rising
    Wooden Shjips
    $18.99
    Vinyl LP - Sealed Buy Now
  • East Coasting (Pure Pleasure) East Coasting (Pure Pleasure) Quick View

    $34.99
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    East Coasting (Pure Pleasure)

    Charles Mingus is usually known for his wild, soulful and avant-garde compositions. East Coasting is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on West Coast Ghost (the album's stand-out track) and Celia are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.East Coasting sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel On The Road and have become interested in exploring Jazz. East Coasting will allow them to get a taste of lost creative America.



    Musicians:



    • Charles Mingus (bass)

    • Clarence Shaw (trumpet)

    • Jimmy Knepper (trombone)

    • Shafi Hadi (tenor saxophone, alto saxophone)

    • Bill Evans (piano)

    • Dannie Richmond (drums)




    Recording: August 1957 in New York City




    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. Memories Of You
    2. East Coasting
    3. West Coast Ghost
    4. Celia
    5. Conversation
    6. Fifty-First Street Blues
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Patches (Pure Pleasure) Patches (Pure Pleasure) Quick View

    $34.99
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    Patches (Pure Pleasure)

    Clarence Carter's first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter's singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though It's All in Your Mind was also a hit later in the year, and I Can't Leave Your Love Alone and Your Love Lifted Me could easily have joined it and topped the pop charts as well. Carter even provides a bracing authentic gospel approach to the then-new Beatles song Let It Be, taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on Till I Can't Take It Anymore, on which Carter starts to sound a bit like Elvis Presley, while on It's All in Your Mind he seems to invoke the ghost of Sam Cooke. On his own C.C. Blues, Carter's bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey's piano, and he returns to a soul sound for the finale, the soaring Getting the Bills (But No Merchandise).



    Musicians:



    • Clarence Carter (vocals, guitar)

    • Ronnie Eades (bassoon)

    • Aaron Varnell, Harvey Thompson (tenor saxophone)

    • Jack Peck (trumpet)

    • Albert Lowe Jr. (guitar)
    • Clayton Ivey (keyboard)

    • Bob Wray (bass)

    • Cornell McFadden (drums)

    • Charles Chalmers, Donna Rhodes (vocal)



    Recording: Sonny Limbo & Rick Hall

    Production: Rick Hall



    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. Willie And Laura Mae Jones
    2. Say Man
    3. I'm Just A Prisoner (Of Your Good Lovin')
    4. Let It Be
    5. I Can't Leave You Love Alone
    6. Your Love Lifted Me
    7. Till I Can't Take Anymore
    8. Patches
    9. It's All In Your Mind
    10. Changes
    11. C. C. Blues
    12. Getting The Bills (But No Merchandise)
    Clarence Carter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Psychic Temple II Psychic Temple II Quick View

    $19.99
    Buy Now
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    Psychic Temple II

    It may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.


    Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.


    "I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.


    "It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."


    Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."


    Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.


    Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.


    Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."


    Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.


    Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."


    Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.

    1. Seventh House
    2. The Starry King Hears Laughter
    3. Solo In Place
    4. Bird In The Garden
    5. 'Til I Die
    6. She Is The Golden World
    7. Steppin' Out
    8. All I Want Is Time
    9. Sofa No. 2
    10. NO TSURAI
    11. Hyacinth Thrash Quarter
    Chris Schlarb
    $19.99
    Vinyl LP - Sealed Buy Now
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