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ZabaCreated in Epworth's own studio it is undoubtedly among this year's most striking debuts. The title, lifted from Dave's favorite childhood story, comes from
William Steig's The Zabajaba Jungle. Steig's evocation of childhood adventure, exoticism and discovery is brilliantly fresh. ZABA is one complete beast
and a journey you will get most from if you immerse yourself fully and listen from start to finish. The sound of the record, Dave says, is like a backdrop
of man-made wilderness...
Influenced by the exploratory, New World scenarios of Apocalypse Now, The Island of Dr Moreau, Heart of Darkness, The African Queen and Mosquito
Coast, ZABA's songs tackle the humanization of nature and human interference with nature. Even now a lot of my favorite books are those books that I
grew up with, he says. Things like Zabajaba, like Roald Dahl, like Wind in the Willows. I suppose all I've been doing is using those little creatures and
animals to cover up what I really meant, to disguise who and what I was really talking about.
Inspired by Kanye West and Charles Darwin, Nina Simone and the Velvet Underground, ZABA is a rich and textured work, a very special record indeed.
With Dave producing and Epworth as A&R and mentor, the studio became their home and the band were free to record, improvise and write at their own
speed, making their sound a bigger, brighter, heavier and more intense experience than ever before.
The first single, Gooey is wobbly and child-like, a hymn to naivety. There's a confidence in the way children act, Dave says. I was trying to push that
confidence into the beat. Walla-Walla goes back to Dave's love of Timbaland and Dr Dre, while Intruxx, initially the introduction to the entire record,
summarizes this entire new world you're entering.1. Flip
2. Black Mambo
5. Walla Walla
10. Cocao Hooves
11. JDNT$22.99Vinyl LP - Sealed Buy Now
$18.99 $15.00 Save $3.99 (21%)
Nature Noir (On Sale)Crystal Stilts first came to attention with a self-titled eP in 2005 and 2008's Alight of Night, an early ripple in what would soon be perceived of as a wave of fuzzy, reverb-laden bands memorably dubbed "Jangle-Schrammelpop" by one German reviewer. The intervening years have seen the band grow and evolve, with 2011's robust In Love With Oblivion, and the Radiant Door eP, their debut release for Sacred Bones.
Founded by vocalist Brad Hargett and guitarist JB Townsend, Crystal Stilts have since come to include Andy Adler on bass, Keegan Cooke on drums, and organist Kyle Forester. Together the five-piece have crafted the band's latest lP, Nature Noir. Recorded in the damp spring of 2013, this newest disc finds the group expanding their palette to include strings, percussion, and synthesizers, to create a record that is both more sonically adventurous and a more personal and humane statement than their previous work.
On tracks such as "Star Crawl" and "Sticks and Stones", Hargett's vocals have a striking clarity and soulfulness, while the musical arrangements throughout display a sophistication that may be surprising to those who previously thought of the band as "lo-fi". Meanwhile, album opener "Spirit in Front of Me" and the ripping "Future Folklore" showcase the psychedelic grit that has long been a trademark sound.1. Spirit in Front of Me
2. Star Crawl
3. Future Folklore
4. Sticks and Stones
5. Memory Room
6. Worlds Gone Weird
7. Darken the Door
8. Electrons Rising
9. Nature Noir
10. Phases Forever$18.99 $15.00 Save $3.99 (21%)Vinyl LP - Sealed Buy Now
The Natural WorldCoke Bottle Clear Vinyl
Land Lines is an impossible decade, some gap in history where the tines of early electric pianos shimmer in echo chambers, baroque cellos thrum minor chords, and modern percussive rhythms build with surgical precision. All culminating in sparing, angular pop melodies that find new creative spaces in an otherwise overpopulated musical landscape. 'Land Lines' arose from the ashes of Matson Jones, when Martina Grbac, Anna Mascorella, and Ross Harada regrouped and began crafting new songs. After releasing their self-titled LP on Denver's Cash Cow Records, Anna left the group to attend graduate school; James Han, who had been recording and touring with Nathaniel Rateli and Gregory Alan Isakov, joined and helped shape the new sonic direction of the band. In early 2014, Land Lines recruited Xandy Whitesel to record/mix and TW Walsh (Suan Stevens, The Shins, David Bazan) to master a second LP, 'The Natural World.' With sultry songs that saunter, thrust, and linger, 'The Natural World' is a treasure trove of heart breaking songs of love, loss, and human nature and ushers in the next era of Land Lines's sonic exploration.1. Rivers + Streams
3. Limb From Limb
9. Will + Worry$19.99Colored Vinyl LP - Sealed Buy Now
In War & Peace: Harmony Through MusicOne of opera's most outspoken and impassioned personalities, Joyce DiDonato reminds us with her new album In War and Peace that music "soothes turmoil, threatens power and the status quo, and gloriously exalts the spirit". Her selection of arias demonstrates how powerfully Baroque opera explores the extremes of human nature - from the tumult of Handel's Scenes of Horror, Scenes of Woeto Purcell's descent into despair, Dido's Lament. Joyce's longtime partners, the spirited Italian Baroque ensemble Il Pomo d'Oro, join her on this unique journey through sublime, challenging music; through chaos transformed by the eternal search for serenity.LP 1
1. Jephtha, HWV 70, Act 1: Some dire event hangs o'er our heads... Scenes of horror, scenes of woe (Sesto)
2. Andromaca, Act 1: Prendi quel ferro, o barbaro! (Andromaca)
3. Giulio Cesare, HWV 17, Act 1: Vani sono i lamenti... Svegliatevi nel core (Sesto)
4. The Indian Queen, Z. 630, Act 3: They tell us that you mighty powers above (Orazia)
5. Giulio Cesare, HWV 17, Act 1: Figlio non è... Cara speme (Sesto)
6. Agrippina, HWV 6, Act 2: Pensieri, voi mi tormentate (Agrippina)
7. Dido and Aeneas, Z. 626, Act 3: Thy hand, Belinda... When I am laid in earth (Dido)
8. Rinaldo, HWV 7, Act 2: Lascia ch'io pianga (Almirena)
1. Bonduca, or the British Heroine, Z. 574: Oh! Lead me to some peaceful gloom (Bonvica)
2. Rinaldo, HWV 7, Act 1: Augelletti che cantate (Almirena)
3. Attilio Regolo, Act 2: Sprezza il furor del vento (Regolo)
4. The Indian Queen, Z. 630, Prologue: Why should men quarrel? (Girl)
5. Attilio Regolo, Act 1: Par che di giubilo (Attilia)
6. Susanna, HWV 66, Act 2: Lead me, oh lead me to some cool retreat.... Crystal streams in murmurs flo
7. Il ritorno d'Ulisse in patria, Act 5: Illustratevi, o cieli (Penelope)
8. Giulio Cesare, HWV 17, Act 3: Da tempeste il legno infranto (Cleopatra)$28.99Vinyl LP - 2 LPs Sealed Buy Now
Chicago Jazz Festival 1990Classic late period festival show from Miles' final tour.
Miles Davis is backed by Kenny Garrett on alto saxophone and flute, Kei Agaki on synths, Richard Patterson on bass, Ricky Wellman on drums, Erin Davis (Mile's youngest son, incorrectly announced as John Bigham) on electronic percussion, and John "Foley" McCreary, Jr. on "lead bass" - a custom Blue Marble instrument tuned almost an octave higher than a standard model to fill the role of a lead guitarist.
The choice of material was equally as curious and exciting, consisting of one cut apiece from 1983's Star People and 1989's Amandla, a few numbers previously un-released on studio recordings, and a trio of covers - Scritti Politti's 'Perfect Way,' Cyndi Lauper's 'Time After Time' and Michael Jackson's 'Human Nature.'
Despite rumors of failing health during this period, Miles' playing is just as sharp and energetic as ever it was, and his band expertly blend together a complex mixture of jazz, funk and fusion.
Broadcast live on local radio for those unable to attend, this release captures the group's full set providing a snapshot of a jazz great giving one of the finest performances of his late career. Sadly, there were scant opportunities left for such as little more than a year after performing the show, now available here for the first time, Miles Davis passed away at the age of 65.LP 1
1. Perfect Way
2. Star People
1. The Senate / Me And You
2. Human Nature
3. Time After Time
5. Announcements$37.99Vinyl LP - 2 LPs Sealed Buy Now
Descended Like VulturesRogue Wave's 2005 album Descended Like Vultures is now back in print on vinyl! Historians, rock critics and sports announcers have all spent plenty of time waxing poetic about the sophomore slump, but don't waste any time pulling out that reference for Descended Like Vultures, Rogue Wave's second album for Sub Pop. While the album defies expectations as much as it defies the odds, singer/guitarist Zach Rogue knows the score: "That's the whole thing with the title," he admits. "It' like waiting for the other shoe to drop this perception that everyone around you is going to turn their back."
A related adage is that you have your whole life to write your first album and a year to write your second, but Rogue had anything but writer's block after completing Out Of The Shadow and seeing it re-released by Sub Pop in 2004 (the original, limited pressing was released on the band's own label in early 2003). In fact, the group entered the studio at the end of March with more than enough material for a full-length (three albums worth, to be exact).
"I've wanted to record records for years and years, so really, it's like someone opened the door for me to get started," explains Rogue. "I feel like Descended Like Vultures is actually the beginning this is really where we start." Though Rogue assembled the Oakland, CA, quartet which includes fellow multi-instrumentalists Pat Spurgeon (focus: drums), Gram LeBron (guitar) and newest member Evan Farrell (bass) in late 2002, Descended Like Vultures is the first time the band's leader has ever made a record with a whole group in the studio. The band spent 10 days with Bill Racine (who also produced Out Of The Shadow with Rogue) at Supernatural Sound in Oregon City, OR, resulting in the creation of 11 tracks that journey through a dreamy landscape inspired by several decades of classic rock and pop (from Fleetwood Mac to Neil Young to My Bloody Valentine.)
The Mark Kozelek-esque "California" and the XTC-flavored "Catform," which sports Rogue's most dazzling vocal performance to date both feature cold yet inspired examinations of human nature informed by Rogue's experiences on the road. For the first time as an entire unit, Rogue Wave went out of its way to create a free-flowing album that includes equal amounts of tension, release and resolution. In the process they have made a brilliantly layered, expertly crafted album that changes shape with repeated spins.1. Bird On a Wire
2. Publish My Love
3. Salesman At the Day of the Parade
5. Love's Lost Guarantee
8. Are You On My Side
9. Medicine Ball
11. Temporary$17.99Vinyl LP - Sealed Buy Now
Dumb FleshBlanck Mass is the solo project of Benjamin John Power. The Fuck Buttons
musician has been making music under the moniker since 2010. Described by
Fact magazine as "simultaneously soothing and sweepingly grandiose, esoteric
and surprisingly accessible", his self-titled debut album was an elegant, introspective
departure from the stadium electronica he had become known for. In 2012,
his track "Sundowner" soundtracked the London Olympics Opening Ceremony
and was performed by London's Symphony Orchestra to 900 million people
Power's newest solo offering, Dumb Flesh, was written, produced and recorded
by Power in a number of different locations over the space of a year. As a work
of art, Dumb Flesh is a comment on the flaws of the human form in its current
evolutionary state. The frailty of the human body naturally became a resonant
and inescapable part of the album's gestation.
The album went through myriad stages of completion before arriving at this definitive
version. Power elaborates: "There must have been at least three occasions
where I re-produced the whole thing, replacing instrumentation and experimenting
with new machines until I was happy with where the evolution of the project
The geographical spread of the sessions is reflected in the shifting landscapes of
the tracks and the ever-changing sound palette used to realize Dumb Flesh as an
expansive but coherent body of work. This release sees Power's solo work transition
seamlessly from euphoric ambient soundscapes to definitive techno anthems.1. Loam
2. Dead Format
3. No Lite
5. Cruel Sport
6. Double Cross
9. Life Science Suite [Vinyl only]$24.99Vinyl LP - 2 LPs Sealed Buy Now
Ben Sollee And Kentucky Native (Pre-Order)Acclaimed cellist, composer, songwriter and activist Ben Sollee announces the release of Ben Sollee And Kentucky Native via Soundly Music. Tracing the origins of a traditional American genre back to early immigrants, Sollee takes a nontraditional approach, blending the influences of early Irish and Scottish musicians with the rhythms of Mexico, Africa, and India. This album is Sollee's most personally revealing work and a reflection of his native Kentucky, a place like many others, that's still helping refine the ever-changing Bluegrass genre.
Inspired by the interactions and collaborations of string musicians from all walks of life, Sollee and his bandmates recorded twelve songs in a cabin at the Bernheim Arboretum and Research Forest in Clermont, KY. Each song was captured live as an ensemble with a mobile, analog studio and with just a few overdubs. Together, they thoughtfully reimagined a revered style with world music characteristics. The moving arrangement of Carrie Bell features syncopated African-influenced rhythms, which contrast Sollee's melodic cello. Drawing inspiration from this side of the globe, Mechanical Advantage is built on the foundations of the Huapango musical-dance genre in Mexico. Sollee's vision, influenced by the people, culture, and environment around him, is elevated by lyrics reflecting life and human nature.
Pieces Of You is a compelling and idealistic composition inspired by Sollee's friendship with conceptual artist Louis Zoellar Bickett II and his art exhibit 'The Archive.' The piece, which shows no distinction between personal mementos and trash, reminds Sollee of everyday artifacts in his life. Objects like a U.S. Postal name badge given to him by his grandfather and the marked-up sheet music from his first cello teacher could be considered worthless, but to Sollee, each has a story. In Presence which is perhaps the most poetic and personal, he shares a personal affinity for lying on his back in the deep end of a pool finding solace in the peacefulness of the water, before the need to come back to the surface. Just like that, he is thrown back into the frenetic pace of the real world and existence.
Ben Sollee and Kentucky Native was produced by Alex Krispin. Musicians on the album include Jordon Ellis (Percussion), Bennett Sullivan (Banjo), Julian Pinelli (Fiddle), Jonathan Estes (Bass), Josh Hari (Bass) and Jonah Smith (Background Vocals). Sollee wrote all but two songs on the album (Emily's Song and Carrie Bell).1. Carrie Bell
3. Mechanical Advantage
4. Eva Kelley
5. The Holdout / Speed Breaker
6. Pieces of You
7. Two Tone Gal
8. Well Worn Man
9. Emily's Song
10. Moon Miner
11. The Wires$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
CeremonyIt begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.
You want to talk about compromises? No. Nor does Anna Von Hausswolff.
These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.
Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.
"I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."
Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."
That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."
He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.
"This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."1. Epitaph of Theodor
3. Mountains Grave
5. Red Sun
6. Epitaph of Daniel
7. No Body
8. Liturgy of Light
12. Funeral for my Future Children
13. Sun Rise$18.99Vinyl LP - Sealed Buy Now
InriFrom dark and primitive origins comes this highly refined and directed musical statement, both aesthetically and musically wrought from the primal polarities of angst, rendered into simple but effective fast, furious, and cryptic black metal.
Similar in many ways to Sodom or Massacra, this music features floating highspeed riffs from which pseudopods of dogmatic rhythm emerge to stamp out their defiant message. The last seconds of the title track, Fuck you...fuck you!...fuck you, Jesus Christ exemplify the paradox of this album: raw punkness contrasting with the need for ideology.
Guitar seems haphazard, solos in the afterthought tradition of Bathory and early Burzum, but delivers the rapid trembling hand rhythm of soaring metallic riffs and melodies.
Underneath bangs a primitive and ill-programmed mechanistic beat which might be dubbed Rudiments of Rhythmic Awareness for Context and left to the abyss. How are these riffs? Simple fluid note wraparounds racing toward a tonal note...some center...some context...or maybe simply giving up. They fit in a narrow compositional sense of lucidity in this entity, alone, and work together for the power of its unique countenance.
At their core musicians inspired by punk music, Sarcofago blend with their hardcore the moron-rock destructiveness and theatrical pro-Satan anti-life program of heavy metal black metal bands, creating an over-the-top image imbued in the anti-aesthetic style of resistance and hatred to all which would accept it, protecting virus of dark spiritual nature to recipient human listeners. Variations of few elements project ideas: some profound, some careless, some inspired, some vapid.
- American Nihilist Underground Society1. Satanic Lust<
2. Desecration Of Virgin
5. Christ's Death
7. Ready To Fuck
9. The Last Slaughter$29.99Vinyl LP Reissue - Sealed Buy Now
Predatory HeadlightsPredatory Headlights was completed over the course of three years with the assistance of engineer and co-producer, Justin Perkins. Pitsch has often cited Perkins' involvement in early 2000's groups Yesterday's Kids and The Obsoletes as a heavy influence. Perkins also worked with Tenement on their 2011 offering, Napalm Dream, as well as acclaimed records by the likes of The Goodnight Loving, The Sugar Stems, and The Mystery Girls. The bulk of Predatory Headlights was written and recorded at BFG in Appleton, Wisconsin - Tenement's home and personal studio. The house was symbolically demolished within days of finishing the record, and in a fitting display of finality, three years of sweat and nightmares and beauty and dissonance returned to the soil and found its way back into the water and woods with only this document to prove it ever even existed at all. Thanks to Don Giovanni Records, you hold the very document in your hands - Tenement's newest window into the nature of the human being and the complexity of life: Predatory Headlights.1. Theme of The Cuckoo
2. Crop Circle Nation
3. Dull Joy
4. Feral Cat Tribe
5. The Shriveled Finger
6. Harvest Time (Has Come)
7. Under The Storm Clouds
8. Ants + Flies
9. Garden of Secrecy
10. The Butcher
11. Whispering Kids
12. Curtains Closed
13. Why Are We Where We Are
14. You Keep Me Cool
15. Cold The Pavement Is
16. Heavy Odor
17. A Frightening Place
18. Licking A Wound
19. I'm Your Super Glue
20. Hive of Hives
21. The Dishwasher's Meal
22. Keep Your Mouth Shut
23. Foreign Phrase$25.99Vinyl LP - 2 LPs Sealed Buy Now
Selected Ambient Works Vol. 2Aphex Twins 1994 masterpiece Selected Ambient Works Volume II includes barely anything resembling a beat or any sign of typical song structure, yet the album continues to garner adulation generally reserved for holy music. Fans have been testifying on its behalf for nearly two decades, as if it were capable of curing ills or healing the soul. Its synthetic construction belies the intuitive, human, melancholic and uplifting nature of the music.
Some have speculated the album was intended by Aphex Twins Richard D. James as a farce, as if its Über-minimalism was a joke played on an electronic community that relied so heavily on the beat; an expectation-defying statement from ambient-houses young hero. The album induces varied responses and often from the same person. A listener may go from being incredulous to drenched in tears within the span of a single track. Music critic Frank Owen described the music as veering between an eerie beauty and an almost nightmarish desolation. James himself described it as like standing in a power station on acid.
The albums raw emotional power is built upon the influences of Brian Eno, Erik Satie, Steve Reich, Terry Riley and The Orb. Each of its tracks has an elegiac and desolate feel far removed from the tooth-rattling, drill-n-bass or abstract electronica for which James was originally known. The soft, nimble flow leaves one in a tranquilized state. Throughout the album, James resists the temptation to layer the sound with beats or samples. Instead, he relies on swathes of sound and harmonics and almost-implied pulses. When the music does incorporate subtle industrial sounds, rhythmic drums or muted samples, it is only to affect a menacing feel in the textures.
Remarkably, for an album that is often perceived as difficult, Selected Ambient Works Volume II is quite accessible. Featured in films, commercials and video games, the music continues to offer an entry point for listeners new to the ambient genre while remaining a classic touted by connoisseurs.No tracklist available$33.99Vinyl LP - 3 LPs Sealed Buy Now
Godzilla OSTIncludes A 60x60cm Poster
ln Summer 2014, the world's most revered monster is reborn when the epic action adventure Godzilla is released. From visionary new director Gareth Edwards (Monsters) comes a powerful story of human courage and reconciliation in the face of titanic forces of nature, when the awe-inspiring Godzilla rises to restore balance as humanity stands defenceless.
Film composer Alexandre Desplat was hired to compose an original soundtrack for Godzilla. Desplat had not composed previously for a monster film, having worked on movies such as The King's Speech, The Curious Case of Benjamin Button, and the final two Harry Potter films. Desplat accepted the contract after being impressed with Edwards' Monsters. Desplat describes the soundtrack for Godzilla as non-stop fortissimo, with lots of brass, Japanese drums, and electric violin. The score is also conducted by Desplat.LP1
2. lnside The Mines
3. The Power Plant
4. To Q Zone
5. Back To Janjira
6. Muto Hatch
7. ln The Jungle
8. The Wave
9. Airport Attack
10. Missing Spore
1. Vegas Aftermath
2. Ford Rescued
3. Following Godzilla
4. Golden Gate Chaos
5. Let Them Fight
6. Entering The Nest
7. Two Against One
8. Last Shot
9. Godzilla's Victory
10. Back To The Ocean$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Future In Whose Eyes?British Metal Forefathers SikTh Return With Their First Full-Length Album In 11 Years
SikTh pushed me in to the progressive genre. Death of a Dead Day is my jam - Spencer Sotelo (Periphery)
A keystone in the progressive metal genre, SikTh's legacy gave the inspiration for bands like Protest The Hero, Periphery, TesseracT and Animals As Leaders following their hiatus in 2007. Now in 2017 the intense and enigmatic frontman Mikee Goodman is joined by Alias' vocalist Joe Rosser for a unique double-vocal attack. The band also welcomed guest singer Spencer Sotelo from Periphery as SikTh's first ever guest performer on an album, cementing the relationship formed between the bands on their US tour in 2016.
Following their reformation at the UK's legendary Download Festival in 2014, SikTh have been teasing the metal scene with the release of mini-album Opacities in 2015, a support tour in the UK for Slipknot, their first ever US tour as the main support for Periphery, and a 6-week tour at the beginning of 2017 as the main support for Trivium in Europe and the UK. The band also released a deluxe edition of their most popular album Death of a Dead Day on its 10th anniversary through Peaceville in 2016.
Kicking off The Future In Whose Eyes? album campaign in February, the single No Wishbones became an instant favourite with streaming platforms; Spotify placed the track on their popular curated playlists New Metal Tracks, Top Tracks in Metal and Got Djent?; iTunes selected the single for their Hot Tracks in Metal promotions in both the UK and the US; and Deezer chose the track for their Metal New Releases playlist.
Mikee commented on the new album: Personally I feel this is our best album yet. The band has made incredible music, brutal, technically warped and also some psychedelic moments... we've done something special here. The SikTh frontman explained the artwork, created by Meats Meier, whose credits include the film Hellboy and TOOL: Meats Meier is an absolute genius, a visionary and a pioneer. We wanted something really special and we got it; the inspiration was the title itself, the constant evolution of humanity and the self-destructive nature of man."1. Vivid
2. Century Of The Narcissist?
3. The Aura
4. This Ship Has Sailed
5. Weavers Of Woe
6. Cracks Of Light
7. Golden Cufflinks
8. The Moon's Been Gone For Hours
9. Riddles Of Humanilty
10. No Wishbones
11. Ride The Illusion
12. When It Rains$24.99Vinyl LP - Sealed Buy Now
An Ancient ObserverNonesuch Records releases its second album from pianist Tigran Hamasyan, An Ancient Observer, in 2017. An Ancient Observer is the follow-up to Hamasyan's label debut, Mockroot, of which the Guardian said, A phenomenal piano player, an irrepressible entertainer, a promising experimenter with hi-tech gizmology and a creative world-music composer. Mockroot plays vivaciously to all those strengths. The musician says of his new solo recording, which features ten new compositions: These songs are musical observations about the world we live in now, and the weight of history we carry with us.
An Ancient Observer's songs-two of which are based on Armenian melodies-were written over the last four years. Some of the pieces are through-composed and completely written out, while others are composed with ample space for Hamasyan to improvise. Many include vocals layered into the mix. As with most of his compositions, Hamasyan cites a wide range of influences, from Baroque dance to hip-hop, with pedals connected to a synthesizer on a few tracks-while the sounds of his native country also are present, as always.
Hamasyan has returned to Armenia, where his daily life inspired these new pieces: I gaze out of my window and see the biblical mountain Ararat with perpetual snow on its peak, with electrical towers with wires in the foreground cutting the picture, and satellite dishes melted onto old and modern houses-ancestral smoke coming out of their chimneys-and birds hovering above the trees along with occasional airplane trails in the vast sky. It is a dialogue, this interaction of God-given ancient nature with our modern human achievements, he says. For me it is an awakening, and a beautiful feeling, to be able to observe the magnificence of this sleeping volcanic giant, which has existed for millions of years and was observed by the Ararat Valley Koura-Arax culture through to the present day citizens of the Armenian republic. I can see and observe the same birds, animals, rivers, and mountains that the craftsman of 4,000 years ago painted on a clay vessel. He was observing the same thing I observe now, and what remains is his or her beautiful work of art.1. Markos and Markos
2. The Cave of Rebirth
3. New Baroque 1
4. Nairian Odyssey
5. New Baroque 2
6. Etude No. 1
7. Egyptian Poet
8. Fides Tua
10. Ancient Observer$18.99Vinyl LP - Sealed Buy Now
ImmunityThe LP is a double heavyweight vinyl in a gatefold jacket and comes with a mp3 download
Jon Hopkins is to release Immunity, his fourth solo album, and second on Domino on June 4 following
up on 2009's Insides.
A powerful, multi-faceted beast, packed with the most aggressively dancefloor-focused music
Hopkins has ever made, Immunity is about achieving euphoric states through music. Inspired by
the arc of an epic night out, the album peaks with Collider, a huge, apocalyptic, techno monster and
dissolves with the quiet, heartbreakingly beautiful closer, Immunity. The track featuring vocals from
King Creosote, which could sit comfortably alongside the gems of their 2011 Mercury-nominated
collaboration, Diamond Mine.
Immunity is a confident, dramatic record defined by an acute sense of physicality and place. It feels
like the hypnotic accompaniment to a journey of creativity, a trip inside Hopkins' mind, using analog
synthesis alongside manipulations of physical, real-world sounds to make dance music that feels as
natural and unforced as possible.
Immunity is the most human electronic album you'll hear this year.1. We Disappear
2. Open Eye Signal
3. Breathe This Air
5. Abandon Window
6. Form By Firelight
7. Sun Harmonics
8. Immunity$24.99Vinyl LP - Sealed Buy Now
High PlacesHigh Places is Mary Pearson and Rob Barber. Mary and Rob met while Mary was completing a music degree in bassoon performance and Rob was working in visual art, teaching lithography and etching at an art school. Both were performing as solo musicians at the time. Mary relocated to New York from Michigan in late 2006 and the two soon began collaborating under the name High Places. The name refers to a place where one has a better vantage point and can gain broader perspective; it references a love for mountains, rooftops and of course metaphorical 'high places.' The duo exchanges ideas back and forth, challenging one another's expectations, pushing songs to new places, or more aptly, new heights. They began by releasing a number of singles as well as contributing songs to a few compilations. These early and varied works were collected and released in July of 2008 as 03/07-09/07 in advance of tours with Deerhunter and No Age. Since its inception, High Places has created a signature sound out of using bass-heavy, yet crisp beats, lilting vocal melodies, syncopated rhythmic lines performed on folk percussion instruments, guitar duets turned into treated samples and percussive lines created from the manipulation of household objects. The songwriting is expansive and fluid, all the while managing to be concise. Overall, the compositions are settled and assured. High Places gravitates toward the organic over the electronic and that natural aesthetic adds warmth and intimacy to the recordings.
In a live setting, the band creates their layered recordings with Mary singing and simultaneously manipulating her vocals with various delay and reverb pedals, while playing some hand percussion, recorders and creating and controlling various loops. Rob handles the drums triggering a variety of percussive sounds with his drum pads, as well as playing hand percussion, wooden blocks with contact mics and singing some ambient vocals. High Places' self-titled debut was recorded by Rob and Mary in their apartment in Brooklyn'
s Fort Greene neighborhood between January and May of 2008. They employed a wide variety of instruments to make this album ranging from the more traditional: 12 string guitar, banjo, shakers and rattles, bass, bells and Kalimba, to the inventive: plastic bags, mixing bowls, wood blocks and other common household objects. The album has a contemplative and organic lyrical tone emphasized by the themes of goodness manifested in nature, hardship and wonder as necessities to human existence and growth. Additionally, the idea of maturation and development is further accented through the recurring mention of trees and their extending, enveloping branches. Rob created the High Places artwork by using photos taken by both band members. The images are drawn from nature but all have a subtle, mystical, golden motif, a fitting frame for the album's recurring themes.1. The Storm
2. You in Forty Years
3. The Tree with the Lights in It
4. Visio's the First...
5. Gold Coin
6. Papaya Year
9. A Field Guide
10. From Stardust to Sentience$13.99Vinyl LP - Sealed Buy Now
The ValleyThe 25-year-old Australian-born and Los Angeles-based pop star is hoping that 2017 keeps her busy after she broke out with the dance-pop hit Somebody Loves You in 2014 and spent most of last year on the road. Since then, Who (real name: Jess Newham) has moved to Los Angeles, gotten into a serious relationship and experienced the personal growth that she says naturally comes when you enter your mid-20s. On this album, there's still grieving about my last relationship, or talking about friendships that have fallen apart over the past couple of years due to the nature of my job -- but I also think it's much more self-assured. The difference between who you are when you're 22 and who you are when you're 25 is not just some casual difference. I feel like I'm just this completely different person. Who has released two songs this year: a warm, electronic cover of Donna Lewis' I Love You Always Forever and, more recently, the dynamic dance track Human Touch, which will be included on her sophomore album, The Valley.1. The Valley
2. Some Kinda Wonderful
3. You Can Cry Tomorrow
4. Mama Say
5. Human Touch
6. Free To Fly (feat. Warren G)
7. Wanna Be
8. Pretend You're Missing Me
9. Blue Heaven Midnight Crush
10. Make You Memories
12. Beautiful (feat. Superfruit)
13. I Love You Always Forever$21.99Vinyl LP - Sealed Buy Now
3xaWOMANSplitting the difference between passion and song, PEOPLE play multidimensional utopian pop music in which opposing musical forces integrate to form a new sustainable recipe for sound and social implication. The audacious nature of PEOPLE's rhythmically dialectical core unabashedly conjoins with its anthemic melodies and neo-utilitarian lyrics. Guitarist Mary Halvorson's systematic chordal prophecies propel humanity's tired neural pathogenic mud toward a prescient intervalic wisdom of melodic certainty - all the while expertly coercing PEOPLE's rhythm section into ever broader feats of aural transplantion. Kyle Forester's vocal harmonies attune the sweet spots of history's hits while his cocksure bass overpinnings perpetuate righteous gluttony and wanton hubris. Kevin Shea's drums are filled with joyous diablerie- like the subservient foundation of a nowave saxophonist with a hankering for pungent bebop, he simultaneously disrupts and reinforces the ensemble/song until all that remains is the avant-garde concept of world peace.1. Prolegomenon
2. These Words Make Up The Lyrics Of The Song
3. What's So Woman About This Woman
4. A Song With Melody And Harmony And Words And Rhythm
5. Supersensible Hydrofracked Dystopia!!!
7. Reinterpreting Confusing Lyrics To Popular Songs
8. Interoperable Intertrigo
9. Piles For Miles
10. Psychic Recapitulation
11. The Virtuous Relapse
12. The Caveman Connection
13. These Lyrics Are Simultaneously About How The Song Stars And What The Lyrics Are About
14. The Disambiguated Clone$17.99Vinyl LP - Sealed Buy Now
L1 EPFor much of the Brooklyn duo's career, Beacon has worked
with a kind of effervescent, forward-looking R&B that evokes
out-of-body experiences, but with their new L1 EP, the music
is anchored assuredly to your flesh, bone, and physical
senses. The brawny synth timbres which open lead track
Fault Lines and the stomping beats bolstering gauzy
falsettos on confident songs like Minor Structure set the
tone for a new phase in Beacon's evolution, one geared
toward the movements and magnetism of human bodies. As
producer Jacob Gossett puts it, Our records have often been
described as moments after the night has given way, a
'comedown after the club.' Hopefully, this record inspires
people to go back out for one more.
Mixed by Al Carlson-who has worked on Autre Ne Veut's
Anxiety and St. Vincent's Marry Me, among many other
notable records-L1's five tracks focus on themes provided
by a natural phenomenon in gravitational physics known as
Lagrangian points. The title itself refers to the point in space
where a satellite can fall in synchronous orbit with the earth
around the sun, caught between the two gravitational pulls
and never falling out of sync. With a breathy voice that
sounds as vulnerable as it does touchingly sanguine, singer
and producer Thomas Mullarney III translates the idea to
nuanced musings on internal conflict, human relationships,
and questions about desire, guilt, and pleasure. I wanted to
stage intimacy and desire as natural forces," explains
Mullarney, "spinning with reflex and intuition, caught within
different spheres of influence."1. Fault Lines
3. Minor Structures
4. Better Love
5. Only Us$14.99Vinyl EP - Sealed Buy Now
Terrestrials (Awaiting Repress)
Thick Stock Cardboard Stoughton Style Tip On Jacket
180 Gram Vinyl
Limited To 3,000
Four figures stand atop a summit, staring east out over a vast, frostbitten wasteland, the black sun dwindling in the west, casting their shadows across the plain. They await another clan, legendary for their slow approach. Eyes on the horizon, searching, patiently, for some signal of the arrival, some plume of smoke that would announce that the time had come. At last, at the edge of the plane, they note a black banner, and soon two hooded figures appear in the dusk. A horn sounds, and drumbeats echo through the valley.
It's only the threshold of the distant horizon that limits the scope of Terrestrials, but like much of Earth, its landscape is arid, only disclosing its secrets upon active contemplation of its component dust. From the opening strains, hidden at the foot of a vertiginous crescendo from zero decibels, the album recalls a technique of Andrei Tarkovsky's, later developed in the films of BÉla Tarr. The eight-and-a-half-minute opening shot in Tarr's epic Sátántangó laterally tracks cattle carefully plodding through a dilapidated commune in search of food from muddy pasture. As the audience investigates the frame for clues to Tarr's purpose, he slowly reveals to them a symbolic vision of the film as a whole, inviting contemplation of the rich surfaces of the decayed buildings and the labyrinthine entrapment of the commune's inhabitant kine, some playing at leadership and some dragging their feet, cow and human alike awaiting deliverance by a dark messiah. Terrestrials proceeds in a remarkably similar fashion. As each track unfurls, its glacial pace arrests the listener's search for novelty, forcing attention to the profundities of the mix and the texture that the interlaced sounds create; and yet it also deepens the desire for what each step forward promises, the crisis that the procession patiently unveils.
Terrestrials features more complex instrumentation than most of the works of either party. Sunn O)))'s deep bass and endlessly sustained guitar feature heavily on each track of Terrestrials, but so do Ulver's electronics and a myriad of additions, including trumpets, didgeridoo, and strings. Although the tracks apparently began as a set of improvisations recorded at Ulver's Oslo studio, the vast scope of the release clearly evolved out of the various mixing and arrangement sessions helmed by Ulver's Kristoffer Rygg and Sunn O)))'s Stephen O'Malley between 2008 and 2012. Here they achieved a synthesis that stylistically transcends the mere combination of the two groups and their traditional pathways, with Ulver sealing up the cracks of Sunn O)))'s immense backdrop and heightening the atmosphere with tense strings, sculpted textures, and insistent rhythm. It's this attention to the subtleties that renders Terrestrials monolithic; they ensure that each tick of the clock yields an array of sonic qualities, each progressing slowly in themselves but together moving the whole mass of sound forth at a constant click.
From the trumpets on "Let There Be Light" to the drum-like pound of the bass and didgeridoo in "Western Horn," Terrestrials relentlessly heralds its own arrival, an endless parade slouching towards Bethlehem. By the time Rygg's vocals enter at the middle of "Eternal Return," the crawling pace of the album has ensured their sublimity. Taken on its own, this short section would scarcely justify a song unto itself; it emerges out of the sudden but carefully orchestrated resolution of the murky depths of the track's recesses, manifesting as a piercing clarity and a distillation of the album's theme of annunciation. Its lyrics, rich in spite of their brevity, conceal a messianic yearning in the fallow desert, a hope for deliverance from the stasis of the Egyptian yoke and the confusion of exile, and a dark prophecy of a "liminal animal" with "golden nature" of the sinful calf. Rygg urges us to "listen silent."
Gongs or guitars ring out. This final stage of Terrestrials heralds a return of an immense mystery. What approaches, its lumbering gait constantly pressing onward, can't divulge its nature until it finally arrives. The quintessential figure of doom is an immense behemoth, a force of nature whose sublime shadow conceals it from view even as its thundering steps reveal its impending advent. But here we lie in wait. Terrestrials delivers on its persistent promise by offering another transcendental promise of a future culmination. But the restraint they exert in their advance to the beautiful oasis at the center of "Eternal Return" suggests that, here, Sunn O))) and Ulver are more interested in the process as it happens through time, tracking the march of the sun across the heavens, marking each moment as it slips back into eternity.
- Matthew Philips (Tiny Mix Tapes)1. Let There Be Light
2. Western Horn
3. Eternal Return$16.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Blood // Sugar // Secs // TrafficHey, what's this? Well that, my friend, is the newest album from The
Gotobeds, entitled Blood // Sugar // Secs // Traffic. It's their second
full-length LP and their first for Sub Pop. Whoa, whoa, please slow down.
I'm already completely lost. What you just said sounded like a stream of
complete gibberish. Okay, I'll lay it out for you and if you have any
questions could you yell them at me? SOUNDS GOOD. The Gotobeds
formed vaguely around 2009 in Pittsburgh and play a mutant strain of rock
music that is often filed under punk, indie rock, or 99-cent discount bin.
WAIT, THE GOTOBEDS? I HEARD THEY WERE KNUCKLEHEADS! Only if
the knuckle is the part of the human body that contains the brains. Much
like their previous releases on underground stalwart labels like Mind Cure
and 12XU, this new album artfully slips intelligence and experimentation
into a dying art form. It's a harder feat than you'd think.
And sure, their live shows have often been compared to an all night party
where I feared for my life and the lives of everybody in the five block
radius, and their recorded output is akin to the sonic manifestos of four
men deprived of human love and raised on beer and Swell Maps, Mission
of Burma, and old Fall records. But what you get with The Gotobeds,
delivered in spades on this album, is smart, noisy rock with just the right
amount of stupid.
FAIR ENOUGH. SO HOW'D THIS GET MADE? It was recorded in bursts
over several months of 2015 in their friend My War Matt's basement in
Pittsburgh. Unlike previously, the songs were conceived and recorded in
blocks, which resulted in a more experimental feel. But this is no chin
stroking curate's egg. You like loud, double guitar leads? OF COURSE I DO.
WHO DOESN'T? You're in luck, because this album is carpeted with em,
thanks to Eli Kasan and TFP. On a song like 'Bodies,' it sounds as if
you've walked into the biggest Guitar Center, but, you know, not terrible.
Keeping it all locked down is the rhythm section of drummer, Cary Belback
and bassist, Gavin Jensen. They allow the downright prettiness of a song
like Red Alphabet to shine, and the lyrics on the anti-sexism thrash of
Crisis Time to punch through.
THIS ALL SOUNDS WONDERFUL, IS THERE ANYTHING ELSE I NEED
TO CARE ABOUT? Eh, probably not. Except that Tim Midyett (Silkworm,
Bottomless Pit, Mint Mile) and some bum (Protomartyr) are featured as
guest vocalists on Rope and Why'd You, respectively. Also, I'd be remiss
to not mention the fact that the band's live show is a testament to the
cathartic nature of speed, skill, repetition, noise, and red stage lights. If
you don't believe me, ask the bands they have played with, like Total
Control, Tyvek, or The Replacements. Also, they rep Pittsburgh harder than
anyone possibly could and come off better for it...which is saying
I THINK I UNDERSTAND. BLOOD // SUGAR // SECS // TRAFFIC IS THE
GREATEST ALBUM SINCE THE LAST GOTOBEDS RECORD? Yes. Now
please stop yelling. -Joe Casey, Protomartyr1. Real Maths/Too Much
3. Brass Not Rash
5. Why'd You
6. Red Alphabet
7. Cold Gold (LA's Alright)
8. Crises Time
10. Glass House
11. Amazing Supermarkets$17.99Vinyl LP - Sealed Buy Now
If I'm The Devil...letlive.'s new album, If I'm the Devil is a strident, principled and heavy work. It's also perfectly suited for someone who just wants to pound on the steering wheel after a hard day at school, work, or whatever institution happens to command most of your waking life. Just consider the name "letlive." - it's meant to be life-affirming above all else.
Frontman Jason Aalon Bulter has an ambitious nature which takes him to extremely lofty places. He acknowledges that letlive. is a punk band and one that reflects humanity
as a collection of emotional, frontal-lobe beings. At the same time, he fully believes that letlive. can access that utopian, inexplicable transcendental quality that allows art
to reach budding revolutionaries the way books and other oratory cannot.
letlive. continually refuse to be constrainedby the ideas of "scene" - whether letlive. is punk, metalcore, indie, rap, whatever, Butler finds these labels to be another form of systematic oppression. He grew up with Black Flag and Circle Jerks as well as 2Pacalypse and Xzibit's At the Speed of Life - it's all revolutionary counterculture music to him.
"Punk is more an ideology than a scene dictated by what pants you wear. What are you saying, what do you believe in? That's to me a better identifier." If their new album, If I'm the Devil needs a genre, Butler would call it "revolutionary counterculture music" , like a more emotional Rage Against the Machine, or Public Enemy with more inclusive politics. Butler grew up as a skater disillusioned with what he saw as a heteronormative, patriarchal punk rock scene until the older kids showed him black artists such as Bad Brains, Living Colour and Fishbone. "Punk rock is inclusive if you want to be included," Butler states, recognizing how letlive. can speak for people who feel they lack representation.1. I've Learned To Love Myself
2. NÜ Romantics
3. Good Mourning, America
4. Who You Are Not
5. A Weak Ago
6. Foreign Cab Rides
7. Reluctantly Dead
9. Another Offensive Song
10. If I'm The Devil...
11. Copper Colored Quiet$19.99Vinyl LP - Sealed Buy Now
Live At Old South ChurchOn Friday night, October 22nd, 2010, Caspian played a benefit concert in Boston, MA at The Old South Church. The performance was a benefit for Amirah, a non-profit organization located in Boston dedicated to providing whole-person care for victims of human sexual trafficking. On this evening in particular, the band was in that special place that special bands go when things come together perfectly during a performance. Keep in mind they were in a massive, Gothic Revival style church built in 1875 with natural reverb and an unparalleled organic wall of sound. The audio of this experience was captured, and while it's true that there's nothing like actually being there, this recreation is about as close as it gets. These first official live recordings of Caspian in this specific venue are truly indicative of the sheer power of their epic performances. Two dollars from every sale will be donated directly to Amirah.1. Last Rites
2. The Dove
5. Sycamore$13.99Vinyl LP - Sealed Buy Now