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  • Within And Without Within And Without Quick View

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    Within And Without


    Washed Out is the operational alias for Atlanta, GAs Ernest Greene, and their first full-length, Within and Without will be released via Sub Pop Records. Greene recorded Within and Without with Ben Allen, who, among a great many other things, co-produced Animal Collectives Merriweather Post Pavillion, Gnarls Barkleys St. Elsewhere and Deerhunters Halcyon Digest.


    In 2009, Washed Out released two critically-acclaimed EPs; Life of Leisure (Mexican Summer) and High Times (Mirror Universe Tapes). Most recently, the Washed Out song Feel It All Around, from Life of Leisure, was chosen as the theme song for the new and very funny IFC series Portlandia, which features Saturday Night Live cast member Fred Armisen and Sleater-Kinney/Sub Pop alum and current Wild Flag member Carrie Brownstein.

    1. Eyes Be Closed

    2. Echoes
    3. Amor Fati
    4. Soft
    5. Far Away
    6. Before
    7. You and I
    8. Within and Without
    9. A Dedication
    Washed Out
    $16.99
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  • Paracosm Paracosm Quick View

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    Paracosm

    The music recorded by Ernest Greene as Washed Out has been nothing if not dreamy, and on his second full-length, Paracosm, he takes the dreamlike,
    otherworldly atmospheres of his music a huge leap further.


    The title refers to a phenomenon in which people create detailed imaginary worlds, and the idea of escaping is all over Paracosm's music and lyrics. Paracosm finds Greene reaching beyond the computers and synths that filled Washed Out's previous recordings, expanding his sonic palette to include over 50 different instruments, the most significant of which turned out to be old keyboards like the
    Mellotron, Chamberlin, Novatron, and Optigan.


    "I've grown as a songwriter to the point where I
    want to have more involved arrangements, and that's really hard to do with sampling," says Greene. "These machines were kind of a happy medium: The sounds have a very worn, distressed quality about them, much like an old sample. But they also offer much more flexibility because they're playable."


    Following two years on the road in support of
    the critically-acclaimed Within And Without, and the lauded Life Of Leisure EP (which can still be heard during Portlandia's opening credits), he and his wife, Blair (who plays in the Washed Out live band), relocated from the big-city hubbub of Atlanta to a house outside Athens, where Greene could shut out the real world in favor of an alternate universe of his own making. Listeners will be immediately struck by Paracosm's seamless melding of organic and synthetic sounds, and its lighter tone. Greene says: "I knew from the beginning I wanted this record to be optimistic, very much a daytime-sounding album. I think the last record felt more nocturnal in some ways. This one I just imagined being outside, surrounded by a beautiful, natural environment."


    With its gorgeous execution and uplifting attitude, Paracosm is primed to be this year's summer record. And it promises to do what its name suggests: take listeners to a better world.


    Paracosm was recorded at in Atlanta with Ben H. Allen (Animal Collective, Deerhunter, Gnarls Barkley, Washed Out - Within and Without) at Maze Studios.

    1. Entrance
    2. It All Feels Right
    3. Don't Give Up
    4. Weightless
    5. All I Know
    6. Great Escape
    7. Paracosm
    8. Falling Back
    9. All Over Now
    Washed Out
    $17.99
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  • Rapture Rapture Quick View

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    Rapture


    White Colored Vinyl


    Intoxicating and memorably tuneful - Pitchfork


    Gorgeously Weary - The Guardian


    An idiosyncratic, deeply individual voice - Clash Magazine


    The new album from Tropics, aka 27 year old Chris Ward, looks
    outwards, armed with a newfound confidence that foregrounds his
    vocal performance and songwriting.


    It's a musical progression that mirrors a personal one: the early Tropics
    output was all made in the idyllic, if isolated setting of Ward's
    grandmother's empty house in the seaside town of Southsea, which
    he moved into after graduating from university to focus on writing
    and recording. He was alone there - "like, really alone. For days, I had
    literally no distractions." Having moved to London in 2013, Ward now
    splits his time between the city and the road, having played in
    America, Mexico and across Europe throughout the past year with his
    live band Keith Vaz and Morgan Hislop.


    Tropics' new full-length Rapture is the culmination of this journey. A multi-instrumentalist
    from an early age, Ward has always drawn on his musical upbringing
    when composing, but this time around he's pushed himself to develop
    a fuller sound than ever with the help of Vaz, Hislop and specialist jazz
    drummer Gillan McLaughlin. Taking influence from Beach Boys, Max
    Roach and Arthur Russell, Ward has crafted an album that fuses his
    love of avant-garde percussion, 70s and 80s singer-songwriters such
    as Peter Gabriel known for pop-leaning hooks, and deep production
    that takes cues from ambient music.


    The very first iterance of the record is the crystal clear vocal that kicks
    off 'Blame'. Ward explains that performing live so much caused him to
    step outside of his comfort zone: "I used to be a bit dubious about
    using my vocal too much, and felt like my strength was in sampling
    and playing keys. It's kind of switched now in that I feel a lot more
    comfortable just holding a microphone and losing myself." Inspired by
    the vocal performances of the likes of Little Dragon and Innovative
    Leisure labelmates Rhye, Ward also found a new lease of life in
    experimenting with more androgynous vocals.


    But even as his sound has greater scope than ever before, Rapture is
    still a deeply personal endeavour. The majority of the songs started
    life in Ward's home, in front of a piano, before being built on in the
    studio. The first half of the record is a chronicle of a whirlwind
    relationship: the piano-led title track "Rapture" addresses this theme,
    striving for the throes of ecstatic happiness but never quite making it
    there. "It's got this feeling of hope and joy, even though it is coming
    from a sad place," says Ward. "It's about the struggles in your life to
    get to where you want to be." Elsewhere, lyrics such as, "You ran away
    just like my luck did" hint at Ward's love for literature and his poetic
    touch, something he further explores on the album's second side.
    Later, the album grows more ambient and the literary references more
    apparent. "Gloria" takes its name from the character of a frustrated
    wife in F. Scott Fitzgerald's The Beautiful and Damned. Likewise,
    "Torrents of Spring" - also named for a work of 20th century American
    fiction - builds to a sax-led climax over two painstaking minutes, and
    the penultimate "House of Leaves" is "a really slow-burning ambient
    instrumental; it's kind of a nod to the first stuff I made".


    Whether filling dance floors or simply filling up your headspace,
    Rapture is an intricate and intimate record that presents the many
    faces of Tropics in a more revealing light than ever before.

    1. Blame
    2. Hunger
    3. Indigo
    4. Kwiat
    5. Rapture
    6. Perfume Kinship
    7. Torrents of Spring
    8. Home & Consonance
    9. Gloria
    10. House of Leaves
    11. Not Enough
    Tropics
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • Moonlight Moonlight Quick View

    $19.99
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    Moonlight


    Engine-revving dose of filthy, leather-clad blues.
    - NME


    A shit-kicking garage greaser with badass hooks.
    - SPIN


    Stripped- down garage rock with crunching guitars
    and kiss-off cockiness.
    - GQ


    This is desert-burned blues rock boosted by punk,
    soul and hip-hop
    - ROLLING STONE


    On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried
    something he'd never tried before-making a bedroom-style
    recording of his then stripped-to-the-skeleton guitar-and-drums
    rock 'n' roll mostly for the sheer joy of making it. For his ferocious
    2013 follow-up Head In The Dirt, he tried something new again,
    showing up at producer Dan Auerbach's analog-dreamland
    Nashville studio with nothing but the clothes on his back and an
    open mind.


    But after Head In The Dirt's release and almost a year of relentless
    touring, Hanni knew he needed to go past 'unpredictable' all the
    way to 'unprecedented.' He needed isolation, time and the chance
    to experiment. So after 30 days locked in hand-picked L.A. studio
    The Lair, the result is the album Moonlight-the rarest and most
    welcome kind of album, made at that perfect point in life where
    confidence, experience, and technique unite to help an artist do
    anything they want.


    That's why it starts with a song that sounds like a Mobb Deep beat
    under a Suicide-style synth drone and ends with an
    ESG-meets-LCD Soundsystem gone italo-disco song about life and
    death. That's why it collides crushing crate-digger drumbeats
    that'd be right at home on a Can LP or an Eddie Bo 45 with
    bleeding distorto guitar, bent and broken barroom piano and
    hallucinatory analog flourishes. (In fact, some smart producer is
    going to sample the drums from this album and complete the circle
    of life.) And that's also why Moonlight feels like the album he's
    always wanted to make: "What would it sound like if RZA got in the
    studio with Iggy Pop and Tom Waits?" he asks. "I don't know! That
    was my approach on everything."


    It's a personal album in the most primal sense, put together in any
    way that worked. Iggy Pop and David Bowie did this kind of thing
    on The Idiot, the Wu-Tang Clan did it on 36 Chambers and the
    Clash did it three times over on Sandinista. And now it's Hanni's
    turn, across 11 new lightning-struck songs, each written and
    recorded in its own flash of inspiration. It sounds like an album
    made by an endless list of collaborators, but really Moonlight was
    more like the first do-it-almost-all-yourself music Hanni ever made,
    except after six years recording and touring, he'd learned to do so
    much more.

    1. Moonlight
    2. Melt Me
    3. The Teeth
    4. Chasin'
    5. Worship Song (No 2)
    6. Mexico
    7. Servant
    8. All Black
    9. Home
    10. Dance Hall
    11. Two Brothers
    Hanni El Khatib
    $19.99
    Vinyl LP - Sealed Buy Now
  • Fated Fated Quick View

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    Fated


    A luscious, elegant, electronic work - Los Angeles Times


    Hip-hop instrumentals and electronic sketches;
    pristine and prim - FACT


    Gorgeously haunted - Pitchfork


    We seek the new because of the numbness. If you listen to enough
    music, you're familiar with the feeling. Sounds get recycled so often
    that they can seem like geometric configurations organized via Wav
    files. Trends get time-stamped faster than a triplicate trap hi-hat.


    The most rare records emerge outside of any clearly delineated orbit.
    They're solitary visions that supply their own rhythm and arsenal.
    Music that reverberates through heart, brain, and spine. This is Nosaj
    Thing's third album, Fated.


    "I just tried to escape really, and escape even what's going on in the
    music world," says Nosaj Thing, the LA producer born Jason Chung. "It
    just felt so suffocating in a way. I just wanted to do my own thing."


    It's been six years since Nosaj Thing emerged among the vanguard of
    Low End Theory-affiliated producers. His debut Drift created 31st
    century tones and chromatic textures so sleek that they inspired
    innumerable Soundcloud imitators.


    None could match its moody iridescence, faded sadness and funky
    swing. Bach collided with Boards of Canada. Spaceships came
    equipped with rear view mirrors and a booming system bumping
    G-Funk and warped soul. Pitchfork called it "gorgeously haunted."
    Resident Advisor said it "exists in its own dimension and feeds off its
    own exhaust: full of alien choirs, conquered computers, and refracting
    stained-glass light."


    Fated exists in this same alternate dimension, but further out. If
    comparisons previously existed with other artists within the LA beat
    scene, Nosaj has rendered them baseless. His second album on
    Innovative Leisure (after 2013's Home) seeks celestial escape through
    streamlining.


    "The last record took out so much of me. I just wanted to go back to
    simplifying and overthinking so much. It was a battle," Nosaj says.
    "The soul of a song, the essence of a song-whatever you want to call
    it-should be simple."


    By stripping away all but what's really necessary, the sounds harness
    an unusual directness. Guest appearances are rare, save for vocals
    from Whoarei on "Don't Mind Me," and Chicago rap phenomenon,
    Chance the Rapper. The latter gravely spits on "Cold Stares," invoking
    terminal fevers, empty beds, devil's whispers, and insomniac fears.


    If comparisons crop up, Fated has most in common with records like
    Burial's Untrue or Dilla's Donuts. Requiems that canvass the shadowy
    hinterlands between life and death, darkness and light, loneliness and
    love. Eternal themes re-imagined in ingenious fashion.


    "The album name came from all these coincidences that just kept on
    happening to me," Nosaj says. "Specific interaction with specific
    people in unexpected places. A perpetual feeling of dÉjà vu."


    It's foundation rests on that intangible thing that some call fate or
    primordial feeling. Numbness receding, old emotions flooding back,
    un-tampered visions. Fated is what you can't explain, so it's best to
    just listen.

    1. Sci
    2. Don't Mind Me [ft. Whoarei]
    3. Realize
    4. Varius
    5. Cold Stares [ft. Chance the Rapper]
    6. Watch
    7. UV3
    8. Let You
    9. Moon
    10. Erase
    11. Medic
    12. A
    13. Phase IV
    14. Light #5
    15. 2K
    Nosaj Thing
    $19.99
    Vinyl LP - Sealed Buy Now
  • Wayne Interest Wayne Interest Quick View

    $17.99
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    Wayne Interest


    Cribbing as much from Brian Wilson's lyrical topics as they take
    from Dick Dale's reverb-soaked guitar tone"
    - Noisey / Vic


    [The music of the Tijuana Panthers] sounds something like they had
    spent an afternoon with Jan and Dean sharing fish tacos with Quentin Tarantino, before laying down some 4-track recordings with The
    Cramps in a sunlit garage."
    - LA Weekly


    the polished punx in vintage pop-snarlers like the Only Ones, the
    Real Kids, or Generation X."
    -Spin


    Live and on record, the Tijuana Panthers are a great band. You
    could say garage, punk or surf while describing their sound, but
    they're harder to pin than that. The truth is that they write classic
    songs that don't depend on tropes from any genre. They craft perfect
    pop and deliver it with energy and immediacy. However, the real
    magic of this band is in their weirdness.


    Behind their picturesque portraits of daily life is an aching despair.
    This subtle contrast creates an eerie tension between the ideal, the
    real and the surreal. You suddenly realize they're not the happy-golucky beach boys you tried to pin them as, but more akin to sexually
    frustrated soda jerks in a David Lynch film. And this all makes sense
    with the fact that they come from Southern California's shadier city
    of Long Beach, not exactly the fun in the sun that California dreamers might expect.


    For Wayne Interest, the Panthers team up with producer Richard
    Swift. The recordings took place at Swift's studio in Oregon where
    the band decidedly took risks in performance and production. The
    risks paid off. With Swift's direction and upgrade in fidelity, Wayne
    Interest sounds just as compelling in headphones as it would at a
    house party in East LA. It also gives the listener a closer look at the
    idiosyncrasies of the Tijuana Panthers, only making it clearer that
    there's something off about these creeps. Their weirdness, or boldness to be whoever they may be, is what makes this band great. It's
    a rare quality. The more you listen to the Tijuana Panthers the more
    you wonder about them.

    1. Four Horsemen
    2. Torpedo
    3. Cherry Street
    4. Dark Matter
    5. Sooner Or Later
    6. Fired
    7. NOBO
    8. Time
    9. 7th Seal
    10. Everybody's Happy Nowdays
    11. Reaction
    12. Wayne Interest
    13. Money Jar
    14. Car Crash
    Tijuana Panthers
    $17.99
    Vinyl LP - Sealed Buy Now
  • Generation Generation Quick View

    $20.99
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    Generation

    Joyrides atop a walloping disco beat and furious percussive guitars, headed somewhere between the Rapture, Chic, and Talking Heads, but with a cartoonish giddiness that takes me back to the heyday of Junior Senior and Scissor Sisters. - Stereogum


    Rising stars - DJ Mag


    On their full-length 2014 debut Voyage, L.A duo De Lux learned how to
    take their influences and create a sound all their own-a beyond-their-years
    synthesis of post-punk, disco, funk and of course synthesizer wizardry,
    drawing inspiration from the same combination of agitation and exhilaration
    that helped LCD Soundsystem and Talking Heads deliver some of the most
    danceable social commentary ever. And now that they've found their sound,
    De Lux are creating a story to go with it on their new album Generation: "All
    of these things that they put us through," sings co-founder and multi-instrumentalist
    Sean Guerin, "I'm writing it down / I'm writing it down."


    They first started writing Generation in the kind of uncommitted
    instances that happen so rarely once a new band puts out its first album. Once
    Voyage was released, De Lux found themselves playing and interviewing and
    touring and remixing-"All fun!" says Sean-but they had to fight to find time
    to write. A random Instagram of work-in-progress song "It's A Combination"
    was the tipping point, when Sean and co-founder Isaac Franco realized they'd
    been rough-drafting for a year: "Let's finish it now," they decided, and that's
    the exact moment when Generation officially started.


    They returned to the L.A. practice space where they wrote and recorded
    Voyage, this time with new instruments-like the little-known but sought-after
    synthesizer guitar beloved of King Crimson's Adrian Belew-and new inspirations,
    chief among them punk peformance artist Karen Finley, whose 1987
    debut album Sean discovered at a Seattle record store simply because it
    looked promising. Her infamously uncensored lyrics made him realize there
    was more he could sing about, too: "You admire the ambition behind her
    saying whatever she wants," he says.


    So if Generation is a darker album than Voyage-and it's inherited plenty
    of the modern urban anxiety of David Byrne-that's because it's a fearlessly
    honest and candid album, too. In fact, call it a millennial documentary. In
    Generation's eleven songs, De Lux chart the distance between childhood and
    adulthood, nostalgia and aspiration and dream and reality, all with unflinching
    autobiographical detail. (And with a secret nod to the Pokemon theme, too.)
    Says Sean: "When I write lyrics, I try and be as specific as possible. We think
    about if someone listens to us in 30 years: 'Oh, that's what was going on at
    that time.'"


    The result is a sort of Less Than Zero for the post-Social Network era.
    Think of it as a nighttime freeway drive that starts with the propulsive "L.A.
    Threshold" and rides the borderline between feel-good rhythm and artfully
    sophisticated sentiment. "There's dark moments, but it's still fun," explains
    Sean. "The first album was just more innocent." There's new space in De Lux's
    sense of rhythm and groove, says Isaac, for Sean to say what he needs to say:
    "The song gives him the freedom to be himself."


    And so Generation is an album about high highs, low lows and the vast
    space in between. "Center of L.U.B" is a roller-skate jam that starts with a
    Can-style guitar riff before spinning into an examination of one utility company
    employee's ennui-you knew this wasn't going to be a love song,
    right?-while "It's A Combination" is a brooding Italo disco track and
    unexpected piano piece "Conditions" is like Harry Nilsson or John Lennon
    suddenly transplanted to Rough Trade Records. Then there's the alternately
    hilarious and harrowing "Oh Man The Future"-a satirical reading on the shape
    of things to come, propelled by a bass-and-drum rhythm right off one of ESG's
    first EPs-to the desolate-yet-funky "When Your Life Feels Like A Loss," where
    De Lux dissect just what happens when "you think you're special/no, you're
    not special/you're just an average guy."


    In other words, Generation isn't a departure. This is De Lux going
    deeper, not farther away, and the result is surely the most anthropologically
    daring dancefloor album of the year. That might seem difficult to pull off, but
    that's why they did it, explains Sean: "At some point we realized creativity is
    just limitless," he says. "You can do anything. There might be certain people
    who think, 'Oh, you can't do that.' That's when you say, 'Well-I'm doing it!'"

    1. LA Threshold
    2. 30
    3. Living In An Open Place
    4. Center of L.U.B.
    5. Simba Simba Simba
    6. No One Really Cares Who You Are
    7. Oh Man The Future
    8. Conditions
    9. When Your Life Feels Like A Loss
    10. It's A Combination
    11. Someday Now
    De Lux
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Automaton Automaton Quick View

    $17.99
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    Automaton

    Gossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
    urban-spelunking field recorder whose full-length debut Automaton dissolves
    the genre-breaking electronica of Autechre and Boards of Canada into a
    bottomless sea of found sound and ambient atmosphere. It's less an album than
    an environment all its own, or a journey into the unexplored. And whether it's
    inspiring a trip deep into the discography of Steve Reich or into California's
    beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
    exploration that brought Automaton to life.


    Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
    stories about seeing Black Flag and the Germs play and with a set of cousins
    who'd get him started listening to hip-hop. (Especially instrumentals by
    iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
    Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
    as well as listening intently to Slayer and Cannibal Corpse on the way to
    ferocious hardcore shows on the fringes of Los Angeles.


    By the time he graduated high school, he was a hardcore kid with a heavy
    grounding in hip-hop who'd developed so tremendously as a guitarist that he
    was practicing notoriously formidable Django Reinhardt songs for fun. The
    connection might not seem obvious, but it was there nonetheless-these were
    three distinct musical forms equally dedicated to passion, individual technique
    and total commitment to expression.


    He won admission to the prestigious Berklee School of Music in Boston, where
    his first semesters in the fall of 2009 were everything he'd hoped. But the more
    he studied, the clearer it became that he'd need to strike out on his own: "So
    many professors would tell their students what the right thing to do was in a
    creative setting," he says now. "There is no right way."


    He'd once used his computer just to help with his composition homework, but
    now he was restless. So he began to focus on the potential of electronic music:
    "I realized it was like having every component of a band at your fingertips," he
    says. "It felt free and genuine with no distractions." He'd begun to make his own
    field recordings, too, capturing the sounds of Boston at sunrise and stirring
    them into his beat experiments. Intense study of movie sound and foley artistry,
    like pouring sand across drum cymbals or using spent shells from a gun range
    for percussion, gave him a whole new vocabulary, and he found further
    inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
    Derbyshire-people who blew open the boundaries of their own disciplines.
    Then in July 2013, he began to make what would become his first full-length
    album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
    under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
    summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
    During a month in Japan, he recorded "terrifying trains" and cicadas and the
    squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
    in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
    level in California's Ansel Adams Wilderness Area. Then he'd come
    home-whether "home" at that particular moment was his own studio, a capsule
    hotel in Japan, a friend's place in Boston or a temporary space in New York-and
    "make accidents happen," he says, with recorders and samplers and guitar and
    (this time) a stable of analog synthesizers.


    The result was Gossamer's Automaton, a precise and gentle dreamscape of
    experimental electronica, where the ambient atmosphere of Gas drifts across
    the fractured beats of Autechre or Boards of Canada. It starts with its own
    sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
    of synthesizer, and then shifts into the haunting "Print," which transplants the
    sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
    is like a Tortoise song that never touches solid ground, while tracks like [3] and
    [5] recall the Brian Eno of Fourth World, somehow ancient and futuristic at
    once. When the crickets start chirping on closer "-;- ", it's a signal that the
    day-and the journey-are both coming to an end. It's might be his first album,
    but it's also a first step towards something new.


    "Automaton is me," Reiner explains. "It's my process. It's a symbol of having
    accepted that there is a difference between being alone and being lonely. It's a
    coping mechanism for the struggle to realize and balance what I am and am not
    in control of in my life. It reminds me of playing Bioshock and watching Blade
    Runner at the same time while naked in the jungle on another planet. It makes
    me think of watching an old home video of myself and seeing Neptune right
    outside my window. The list goes on and on-I could go forever."

    1. Thoughtform
    2. Print
    3. 3d Relief
    4. Okuma
    5. J - Cruise
    6. Off World
    7. Truax
    8. For Sleep
    Gossamer
    $17.99
    Vinyl LP - Sealed Buy Now
  • Jessie Jones Jessie Jones Quick View

    $17.99
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    Jessie Jones

    In 2013, Jessie Jones gave up her possessions, vanished into the nothingness of farm country, and found herself on interstellar overdrive - far away from her Disneyfied home in Orange County. For three years, she had fronted Burger Records' Feeding People, OC's answer to Black Sabbath. The teenage byproduct of gloomy acid trips and gospel choirs, Feeding People released two albums, got signed to Innovative Leisure in 2011, and played Low End Theory with Radiohead's Thom Yorke . The 19-year-old Jones, with her bluesy growl and whimsical melodies, was being compared to Jefferson Airplane's Grace Slick, Janis Joplin, and Screaming Females' Marissa Paternoster. In 2014, her voice returned to her with primal intent - like the caterwauling echoes of coyotes deep in the Hollywood hills. Earlier this year, Jones began singing with paranormal proto-punk outfit Death Valley Girls, which allowed her to release her demons and find salvation during what Jones describes as the most cosmically ordained project of her life. Reveling in the quantum wobble of her own alternative reality, Jones is now releasing her self-titled debut on Burger Records by channeling the voices in her head; not quite the sanitarium blues of Roky Erickson, but a mÉlange of Jim Morrison mysticism; a more stripped-down MGMT meets early-Grouplove; and Syd Barrett reverie. Under the guidance of producer Bobby Harlow (The Go) and Burger's Studio B, Jones' debut this summer will include guest appearances by drummer Duke Mushroom, violinist Hannah Glass, and Studio B regular King Tuff.
    1. Sugar Coated
    2. Butterfly Knives
    3. Make It Spin
    4. Prisoner's Cinema
    5. Lady La De Da
    6. Quicksilver Screen
    7. La Loba
    8. Nightingale
    9. Twelve Hour Man
    10. Mental Illness
    Jessie Jones
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Magic Whip The Magic Whip Quick View

    $39.99
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    The Magic Whip

    The new album from Blur, titled The Magic Whip, started life in Hong Kong when the band had an unexpected break in touring in May 2013. It is released by Parlophone Records, 16 years since 13, the band's last record as a four-piece. The recordings for the band's eighth studio album began in Spring 2013 at Avon Studios in Kowloon. Damon Albarn, Graham Coxon, Alex James and Dave Rowntree spent 5 days jamming together and carried on with their live dates while the recordings were put aside and the group finished touring and returned to their respective lives. Dave resumed his day job as a lawyer and Alex returned home to his farm in Oxfordshire from where he writes a regular farming column in The Telegraph and hosts the annual food and music festival The Big Feastival with Jamie Oliver. Graham, who has released eight critically acclaimed solo albums to date, continued to work on his own material and, in 2014, Damon released his Mercury-nominated debut solo album 'Everyday Robots'.Then, in November last year, Graham revisited the tracks and, drafting in Blur's early producer Stephen Street (Leisure, Modern Life is Rubbish, Parklife, The Great Escape, Blur), he worked with the band on the material. Damon then added lyrics and the 12 tracks on The Magic Whip is the result.
    LP 1
    1. Lonesome Street
    2. New World Towers
    3. Go Out
    4. Ice Cream Man
    5. Thought I Was A Spaceman
    6. I Broadcast


    LP 2
    1. My Terracotta Heart
    2. There Are Too Many Of Us
    3. Ghost Ship
    4. Pyongyang
    5. Ong Ong
    6. Mirrorball

    Blur
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • To The Happy Few To The Happy Few Quick View

    $19.99
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    To The Happy Few

    Eighteen years after they called it quits as a working band, 2013 finds the original members of Medicine reunited and proudly offering a newly recorded LP on Captured Tracks. "To The Happy Few" is the sound of a highly inspired group reclaiming its creative legacy, thoroughly immersed in the practice of mixing harsh noise with obsessive melodic detail and heavily groovy rocking.


    Returning is the core trio of lead singer/ chanteuse Beth Thompson, guitarist / vocalist Brad Laner, and drummer Jim Goodall, the same team which created the still vital, influential and controversial LPs "Shot Forth Self Living" (1992) , "The Buried Life" (1993) and "Her Highness" (1995) as well as a stand-out appearance in the 1994 film "The Crow".


    As it happens, it's really all the fault of Captured Tracks. In 2012 C/T pulled off the seemingly
    impossible and secured the rights to reissue the aforementioned two original Medicine LPs in loving and expanded fashion. This was a rather emotional moment for the original band members. So much so that upon meeting up at Brad's home studio in May 2012 for the first time since 1995 in order to divide up the vinyl goodies and ultra-limited box sets, the trio laid down the basic track for what became the final song on the new LP. Emboldened by the natural ease with which they slipped back into Medicine mode, the trio spent the remainder of the year leisurely recording the new LP and enjoying each other's company far removed from the stress and turmoil of their original early 90's run. The resulting LP is not your parent's Shoegaze record. The sonic palette and the hands, feet and mouths that utilize it may be the same, but the end result more subtly reflects the amassed life experiences and refined aesthetics of three mature artists only just now approaching the peak of their powers.


    The members of Medicine stayed quite busy with music in the interim between 1995 and 2012: Jim Goodall recorded and toured with his legendary evil country western band Jon Wayne which had its first LP reissued by Jack White's Third Man label. He also toured as a member of UK noise gods Whitehouse and recorded with Current 93. Beth Thompson made a collaborative album as The Shway and performed with The Furry Things. Brad Laner has released a bunch of solo and collaborative LPs under various names and recorded with the likes of Brian Eno, M83, Caribou and Blinker The Star.


    "Long As The Sun," the first single from Medicine, simultaneously references the origins of the band and explodes into brand new territory. An exuberant, belligerently pounding carnival of sound and harmony. A joyful acceptance of something that just simply works. Noise for beauty's sake. You know, Medicine

    1. Long As The Sun
    2. It's Not Enough
    3. Burn It
    4. Holy Crimes
    5. The End Of The Line
    6. Butterfly's Out Tonight
    7. All You Ne ed To Know
    8. Find Me Always
    9. Pull The Trigger
    10. Daylight
    Medicine
    $19.99
    Vinyl LP - Sealed Buy Now
  • Cargo (Awaiting Repress) (On Sale) Cargo (Awaiting Repress) (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    Cargo (Awaiting Repress) (On Sale)

    A New-Wave Touchstone: 1983 Sophomore Album Picks Up on Momentum of Band's Debut


    Contains Top 10 Hits "It's A Mistake" and "Overkill"


    Spectacular Sonics: Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    Men at Work already had an album in the Top Ten when the Australian ensemble released Cargo, which continued the momentum gained by its record-setting debut. As ambitious and even more diversified than its initial salvo, the 1983 effort firmly established the band as new-wave pioneers-a group whose goofy playfulness, sharp hooks, brass accents, and memorable choruses helped define the decade's landscape. Any doubts about Men At Work's quirky sensibility were promptly answered by the iconic cover art gracing this multi-platinum set.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this LP not only brings the artwork back into full-scale glory but also takes the enjoyably melodic pop-rock to new sonic heights courtesy of improved imaging, separation, and balance. Previously obscured details jump to the surface, and leader Colin Hay's unique voice takes on life-like dimensions that hover between the speakers.


    While remaining true to the approach that garnered them a Grammy Award for Best New Artist, Men at Work expands the creative palette on Cargo by giving guitars a more prominent role and increasing the rhythmic textures. With the sweeping ballad "Overkill" and politically savvy cynicism of "It's a Mistake," the band furthered their radio domination and extended their run of Top 10 singles. A third hit, "Dr. Heckyll and Mr. Jive," cracked the Top 30. Well-tailored melodies and whimsical imagination definitely had a place in the public's consciousness, and no group understood this more.


    As the final album captured by the original lineup, Cargo remains an indelible piece of the 1980s audio terrain and a reminder of the era's endless fun. Bolstered by lively saxophone solos, self-effacing humor, and instantly catchy refrains, the album is as good as excuse as any to turn on the stereo, sit down, forget your worries, and dance to leisurely pursuits so perfectly captured by this beloved group.


    This title is not eligible for further discount.

    1. Dr. Heckyll and Mr. Jive
    2. Overkill
    3. Settle Down My Boy
    4. Upstairs In My House
    5. No Sign of Yesterday
    6. It's a Mistake
    7. High Wire
    8. Blue for You
    9. I Like To
    10. No Restrictions
    Men At Work
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
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