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  • Logan (Original Motion Picture Soundtrack) Logan (Original Motion Picture Soundtrack) Quick View

    $29.99
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    Logan (Original Motion Picture Soundtrack)

    Lakeshore Records will release the LOGAN- Original Motion Picture Soundtrack. The album contains original music by Marco Beltrami (BEN-HUR, THE HURT LOCKER) who previously scored two films for director James Mangold, 3:10 TO YUMA, for which Beltrami earned an Academy Award® nomination, and THE WOLVERINE.

    When I first watched LOGAN I was really impressed with its originality, Beltrami stated. Although it's a Marvel superhero movie, it is also many other movies as well, all tied up into a delicate balance of brazenness and subtlety. Jim is a master at moving fluently between genres and subverting them to present a new emotional landscape, and it was in trying to define this landscape in musical terms that I found my puzzle.

    In the near future, a weary Logan (Hugh Jackman) cares for an ailing Professor X in a hide out on the Mexican border. But Logan's attempts to hide from the world and his legacy are up-ended when a young mutant arrives, being pursued by dark forces.

    LOGAN was an extremely demanding but very inspiring film score to work on. Jim distilled the innovation of an indie within the framework of a tentpole, Beltrami explained. He played me scores he liked and which inspired the tone of the film for him-Taxi Driver, Paper Moon (the film itself), The Gauntlet. He liked the directness and rough edges, the unpolished tone, the energy. Somehow I had to capture this while simultaneously creating a modern score. It did not need grandiose thematic music and verbose melodic statements. It was all about vibe.

    1. Main Titles
    2. Laura
    3. The Grim Reavers
    4. Old Man Logan
    5. Alternate Route to Mexico
    6. That's Not a Choo-Choo
    7. X-24
    8. El Limo-nator
    9. Gabriella's Video
    10. To the Cemetery
    11. Goodnight Moon
    12. Farm Aid
    13. Feral Tween
    14. Driving to Mexico
    15. You Can't Break the Mould
    16. Up to Eden
    17. Beyond the Hills
    18. Into the Woods
    19. Forest Fight
    20. Logan vs. X-24
    21. Don't Be What They Made You
    22. Eternum - Laura's Theme
    23. Logan's Limo
    24. Loco Logan
    25. Logan Drives
    Marco Beltrami
    $29.99
    Vinyl LP - Sealed Buy Now
  • Logan's Run (Original Motion Picture Soundtrack) Logan's Run (Original Motion Picture Soundtrack) Quick View

    $14.99
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    Logan's Run (Original Motion Picture Soundtrack)

    Jerry Goldsmith's brilliant, witty, often very touching score for this 1976 big-budget science-fiction thriller was easily the best part of the movie. It's the first time this music -- a mix of hauntingly lyrical orchestral passages and electronic tonalities -- has been properly treated.

    - Bruce Eder (All Music Guide)


    Logan's Run is a 1976 American science fiction film directed by Michael Anderson and starring Michael York, Jenny Agutter, Richard Jordan, Roscoe Lee Browne, Farrah Fawcett, and Peter Ustinov. The screenplay by David Zelag Goodman was based on the novel of the same name by William F. Nolan and George Clayton Johnson. It depicts a dystopian future society in which population and the consumption of resources are managed and maintained in equilibrium by the simple expedient of killing everyone who reaches the age of thirty, preventing overpopulation. The story follows the actions of Logan 5, a Sandman, as he runs from society's lethal demand.

    1. The Dome
    2. On the Circuit
    3. The Sun
    4. Flameout
    5. The Monument
    6. You're Renewed
    7. Ice Sculpture
    8. Love Shop
    9. The Truth
    10. Intensive Care
    11. End Of the City
    12. Love Theme From Logan's Run
    Jerry Goldsmith
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • EP #260 EP #260 Quick View

    $16.99
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    EP #260

    One-Time Pressing Of 1500 Copies

    SQÜRL is: Jim Jarmusch, Carter Logan and Shane Stoneback. An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores.

    SQÜRL began in 2009 when Jim Jarmusch and Carter Logan teamed with producer Shane Stoneback to record some original music for the film The Limits of Control. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them as Bad Rabbit). Following these scoring sessions Jim, Shane, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. SQÜRL released a series of 3 EPs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY. Jarmusch and Logan's collaboration continued as a duo with SQÜRL's acclaimed score for Paterson, and a trio with Stoneback for EP #260.

    1. Solstice
    2. The Dark Rift
    3. Equinox
    4. Gates of Ishtar (Equinox Remix by Anton Newcombe)
    5. The Dark Rift (Follakzoid Remix)
    SQURL
    $16.99
    12 Vinyl EP - Sealed Buy Now
  • Carrier Carrier Quick View

    $20.99
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    Carrier

    • 180-Gram Smoke Vinyl In Gatefold Jacket


    • Recorded At John Vanderslice's Tiny Telephone Studio With Jay And Ian Pellicci (Deerhoof, Matt Pond PA)


    • Featuring Magik Magik Orchestra (Death Cab For
    Cutie, Sting, Nick Cave And The Bad Seeds)


    Meric Long and Logan Kroeber recorded The Dodos new
    album, Carrier, in their hometown of San Francisco. After guitarist Chris Reimer passed away in early 2012, The Dodos reassessed everything about the band - in particular Long's songwriting.


    "Chris was a huge influence on the way I think about guitar, songwriting, and music in general," reveals Long. "Seeing how he could transform and shape sound with an electric guitar inspired me to explore more tones and use those tones to begin writing a song."


    And so, when he began to formulate the tracks that would ultimately comprise Carrier, Long employed two principles he inherited from Reimer: patience to let a song develop and a judgment-free enthusiasm for sound.


    "[T]he melodies are warm and pleasantly rumpled, drummer Logan Kroeber forgoes mundane timekeeping to push and prod Long and in the second half, the two ditch the relative minimalism to hurtle through a breakneck jam of harmonized guitar leads that can be heard as a tribute to a man whose short time with Dodos truly moved them."
    - Pitchfork (on first single "Confidence")

    1. Transformer
    2. Substance
    3. Confidence
    4. Stranger
    5. Relief
    6. Holidays
    7. Family
    8. The Current
    9. Destroyer
    10. Death
    11. The Ocean
    The Dodos
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Essential Tremors Essential Tremors Quick View

    $19.99
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    Essential Tremors

    No stranger to the south, lead vocalist, guitarist and pianist J. Roddy Walston was brought up in the southern church hometown of Cleveland, Tennessee before relocating to Baltimore where he made the acquaintance of lead guitarist and vocalist Billy Gordon, bassist and vocalist Logan Davis and drummer Steve Colmus, now collectively known as The Business.


    Essential Tremors, the band's third release, is the most far-ranging and eclectic album in the band's history. Their blend of classic rock & roll emphasized by rapturous hooks, riffs and rhythms, coupled with Motown flavor and funky charm brings out a pure Bacchanalian splendor. J. Roddy's arresting voice and thumping piano playing travels directly from your eardrums to your bone marrow as he keens, croons and intones words and music that are at turns lunatic and mystic. Their relentless touring and trademark spirited live performances has helped J. Roddy Walston & The Business grow from a grass roots movement into a band with a loyal and expansive following.


    Joined by born and bred Valdostan Mark Neill, the Grammy-winning producer and engineer of Black Keys' Brothers and Matt Wignall (Cold War Kids, Delta Spirit), J. Roddy and co. manifested eleven immersive and relentless tracks that now comprise their third album Essential Tremors. From the explosive raw power of "Heavy Bells" to the hymnal reverberations of "Sweat Shock" to the contemplative, soulful call of "Boys Can Never Tell", Essential Tremors demonstrates the band's growth into becoming one of the forerunners in rock 'n roll today.

    1. Heavy Bells
    2. Marigold
    3. Take It As It Comes
    4. Black Light
    5. Sweat Shock
    6. Nobody Knows
    7. Hard Times
    8. Boys Can Never Tell
    9. Same Days
    10. Tear Jerk
    11. Midnight Cry
    J Roddy Walston And The Business
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Last Ship The Last Ship Quick View

    $19.99
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    The Last Ship


    11th Studio Album From the 16-Time Grammy® Award Winner


    The Last Ship is inspired by Sting's forthcoming play of the same name and explores the central themes of homecoming and self-discovery, drawing upon his memories of growing up in the shadow of the Swan Hunters Shipyard in Wallsend. His personal reminiscences illuminate universal truths - the complexity of relationships, the passage of time and the importance of family and community - to form an affecting, complex parable for our modern times.


    The play, in which Sting has been creatively immersed for nearly three years, debuts on Broadway in 2014 and is a collaboration with Tony Award winners Joe Mantello (director; Wicked, Other Desert Cities), John Logan (writer; Red, Skyfall) and Brian Yorkey (writer; Next to Normal). The Last Ship tells the story of the demise of the shipbuilding industry in 1980s Newcastle which had, for so long, shaped and overshadowed the city, its development, and its community.


    The Last Ship album is produced by Rob Mathes (Sting, Eric Clapton, Elton John, Lou Reed, Carly Simon) and engineered and mixed by Donal Hodgson.

    1. The Last Ship
    2. Dead Man's Boots
    3. And Yet
    4. August Winds
    5. Language of Birds
    6. Practical Arrangement
    7. The Night the Pugilist Learned How To Dance
    8. Ballad of The Great Eastern
    9. What Have We Got? (feat. Jimmy Nail)
    10. I Love Her But She Loves Someone Else
    11. So To Speak (feat. Becky Unthank)
    12. The Last Ship (reprise)
    Sting
    $19.99
    Vinyl LP - Sealed Buy Now
  • Modes and Blues: 8th February 1964 Modes and Blues: 8th February 1964 Quick View

    $25.99
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    Modes and Blues: 8th February 1964


    Live At Ronnie Scott's


    This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on 8th February 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.


    Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.


    The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.

    1. Modes and Blues (Part One)
    2. Modes and Blues (Part Two)
    Tubby Hayes Quartet
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • J Roddy Walston & The Business J Roddy Walston & The Business Quick View

    $19.99
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    J Roddy Walston & The Business

    Not too many bands would move to Baltimore, MD in search of their big break -- as the city's most famous citizen, John Waters, once put it, No one moves here -- and fewer still would consider making the jump to Charm City from Chattanooga, TN. But J. Roddy Walston and the Business are clearly not your average rock & roll band, and after listening to their self-titled second album (and first for Vagrant Records), this trajectory actually makes some sense. The band's music suggests a meeting of the minds between the Deep South and the East Coast -- Walston's raw, twangy vocals and rollicking piano style and Billy C. Gordon's thick guitar lines cut with sharp interjections of slide, could both come straight from a Tennessee roadhouse, but the heavy stomp of Logan Davis' bass and Steve Colmus' drums is all-beef, no-filler hard rock stomp, the stuff of guys who've spent half their life trying to perfect Led Zeppelin's glorious thud and are within spitting distance of catching it. Put these two sides together, have them spend a few hundred nights playing bars where they struggle to be heard over flying beer bottles and shouts for more bourbon, and you could get something a lot like J. Roddy Walston and the Business.


    These ten songs have swagger to spare, but there's little in the way of crowd-pleasing gestures; this band is here to rock but you have to take or leave them on their own terms, and the material is strong enough that plenty of listeners are likely to climb aboard for the ride. Whether they're living on the edge in Brave Man's Death, sharing tales of unsatisfying lovers in Pigs and Pearls, or mixing risky metaphors in Don't Break the Needle, J. Roddy Walston and the Business are a real-deal, roots-conscious hard rock band in an era when such things are believed to have gone the way of the 8-track tape. Picture a band that captures the lean and glorious Southern arrogance of the early Black Crowes and the FTW attitude of Appetite for Destruction-era Guns N' Roses -- all without obviously lifting licks from either act -- and you get one enjoyably butt-kicking surprise of an album.


    - Mark Deming (All Music Guide)

    1. Don't Break The Needle
    2. Full Growing Man
    3. Used To Did
    4. Pies N' Pearls
    5. Brave Man's Death
    6. Don't Get Old
    7. I Don't Wanna Hear It
    8. Uh Oh Rock N' Roll
    9. Caroline
    10. Use Your Language
    J Roddy Walston And The Business
    $19.99
    Vinyl LP - Sealed Buy Now
  • Burn Your Fire For No Witness Burn Your Fire For No Witness Quick View

    $17.99
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    Burn Your Fire For No Witness

    Many of the superlatives describing Angel Olsen refer to how seemingly little it takes for her to
    leave an audience speechless, even spellbound. But Olsen has never been as timid as those
    descriptors imply, and the noisy, fiery hints in her earlier work find a fuller expression on her
    newest LP, Burn Your Fire for No Witness. Here, Olsen sings with full-throated exultation,
    admonition, and bold, expressive melody.Also,with the help of producer John Congleton, her
    music now crackles with a churning,rumbling low end and a brighter energy.


    Angel Olsen began singing as a young girl in St. Louis, where she explored the remarkable
    range of her voice and the places it could take her songwriting. Her self-released debut EP,
    Strange Cacti, belied both that early period of discovery and her Midwestern roots. Cautious
    and homespun on the one hand,the EP transported us to a mystical, unrecognizable world on
    the other, and it garnered extensive praise for its enigmatic beauty.Olsen then went further on
    Half Way Home, her first full-length album (released on Bathetic Records), which mined
    essential themes while showcasing a more developed voice. Olsen dared to be more personal.


    After extensive touring, Olsen eventually settled for a time in Chicago's Logan Square
    neighborhood, where she created a collection of songs grown in a year of heartbreak, travel,
    and transformation. The new songs go on to tell us to leave, or to high-five a lover who is
    lacking, or to dance our way up and out of sorrow. Many of them also remain essentially
    unchanged from their bare beginnings.In leaving them so intact, a more self-assured Olsen is
    opening up to us, allowing us to be in the room with her at the very genesis of these songs,
    when the thread of creation is most vulnerable and least filtered. Our reward for entering this
    room are many head-turning moments and the powerful, unsettling recognition of ourselves
    in the weave of her songs.


    This act of meaning-making recurs as a theme throughout the album, as the sublimating
    response to the power of negativity.In the song,Stars,for example,Olsen wishes to"have the
    voice of everything" and in a moment of hatefulness and hurt realizes that the strength of fury
    results in the power she had been seeking all along. Thankfully for us, Olsen has decided to
    channel a lot of this new found power into the ethereal, hypnotic performances of her new and
    revealing songs,sharing with us the full grace and beauty of her transformative moments.


    -Matthew Didier

    1. Unfucktheworld
    2. Forgiven/Forgotten
    3. Hi-Five
    4. White Fire
    5. High & Wild
    6. Lights Out
    7. Stars
    8. Iota
    9. Dance Slow Decades
    10. Enemy
    11. Windows
    Angel Olsen
    $17.99
    Vinyl LP - Sealed Buy Now
  • Straight From The Heart (Speakers Corner) Straight From The Heart (Speakers Corner) Quick View

    $34.99
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    Straight From The Heart (Speakers Corner)

    Ann Peebles' climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song I Can't Stand The Rain.



    Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.
    Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart (Slipped, Tripped And Fell In Love). The beat is powerful, throbbing, young and fresh (What You Laid On Me) or surging and groovy (How Strong Is A Woman?). The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven (Somebody's On Your Case), while a fusion of soft swing and snappy acerbity (I Pity The Fool) rounds off this album which is filled with pure emotion, heart and soul.



    Musicians:



    • Ann Peebles (vocal)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Andrew Love, Ed Logan (tenor saxophone, vocals)

    • Charles Hodges (organ, piano)

    • Wayne Jackson (trumpet)

    • Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)



    Recording: August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Willie Mitchell





    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. Slipped, Tripped and Fell In Love
    2. Trouble, Heartaches & Sadness
    3. What You Laid On Me
    4. How Strong Is A Woman
    5. Somebody's On Your Case
    6. I Feel Like Breaking Up Somebody's Home Tonight
    7. I've Been There Before
    8. I Pity The Fool
    9. 99 Pounds
    10. I Take What I Want
    Ann Peebles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Al Green Gets Next To You (Pure Pleasure) Al Green Gets Next To You (Pure Pleasure) Quick View

    $34.99
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    Al Green Gets Next To You (Pure Pleasure)

    After the shaky start of Green Is Blues, Al Green and producer Willie Mitchell established their classic sound with Green's second album, Gets Next to You. The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke's croon and Otis Redding's shout, Green develops his own distinctive style, and Gets Next To You only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell's reinterpretation of the Temptations' I Can't Get Next to You, which turns the original inside out.



    Musicians:



    • Al Green (vocal)

    • Wayne Jackson (trumpet)

    • Ed Logan (tenor saxophone)

    • James Mitchell (bassoon)

    • Jack Hale (trombone)

    • Charles Hodges (keyboards)

    • Mabon Teenie Hodges (guitar)

    • Leroy Hodges (bass)

    • Al Jackson (drums)



    About Pure Pleasure



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



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



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



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



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



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



    1. I Can't Get Next To You
    2. Are You Lonely for Me, Baby
    3. God Is Standing By
    4. Tired of Being Alone
    5. I'm a Ram
    6. Driving Wheel
    7. Light My Fire
    8. You Say It
    9. Right Now, Right Now
    10. All Because
    Al Green
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Angels & Devils Angels & Devils Quick View

    $29.99
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    Angels & Devils

    It's after the end of the world, don't you know that yet...


    With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin's sonic predictions of dystopian London that were set out on 2008's London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there's no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.


    The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.


    The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can's Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.


    With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is Void. Followed by contributions from ex Hype Wiliams half copeland (Fall), the blissed out patois of touring partner Miss Red (Mi Lost), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on Save Me. It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...


    Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with The One. Roll Deep's Manga steps up next with the instant Bug classic Function, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with Fuck A Bitch. Flowdan & Justin Broadrick come back for the cinematic death crawl of Fat Mac. Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for Fuck You, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts dirty, fuck that murky....


    The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.


    Utopian/dystopian, black/white, complexity/singularity, negative/positive... Angels/Devils.

    1. Void (Featuring Liz Harris)
    2. Fall (Featuring copeland)
    3. Ascension
    4. Mi Lost (Featuring Miss Red)
    5. Pandi
    6. Save Me (Featuring Gonjasufi)
    7. The One (Featuring Flowdan)
    8. Function (Featuring Manga)
    9. Fuck a Bitch (Featuring Death Grips)
    10. Fat Mac (Featuring Flowdan)
    11. Fuck You (Featuring Warrior Queen)
    12. Dirty (Featuring Flowdan)
    The Bug
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Savages Savages Quick View

    $24.99
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    Savages

    Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.


    Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.


    "All of the things that make SOULFLY killer are combined in Savages," Max declares.


    »Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.


    "I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."


    A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.


    SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.


    In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).


    Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"


    Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."


    Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."


    Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."


    Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."


    Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."


    Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."


    Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."


    Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.


    Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"


    Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
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    Vinyl LP - 2 LPs Sealed Buy Now
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    The Perks Of Being A Wallflower Original Motion Picture Soundtrack

    Music From The Major Motion Picture The Perks of Being a Wallflower.


    The movie is based on the novel written by Stephen Chbosky, about 15-year-old Charlie (Logan Lerman), an endearing and naive outsider, coping with first love (Emma Watson), the suicide of his best friend, and his own mental illness while struggling to find a group of people with whom he belongs. The introvert freshman is taken under the wings of two seniors, Sam and Patrick, who welcome him to the real world.

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    2. Come On Eileen - By Dexys Midnight Runners
    3. Tugboat - By Galaxie 500
    4. Temptation - By New Order
    5. Evensong - By The Innocence Mission
    6. Asleep - By The Smiths
    7. Low - By Cracker
    8. Teenage Riot - By Sonic Youth
    9. Dear God - By XTC
    10. Pearly-Dewdrops' Drops - By Cocteau Twins
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    12. Heroes - By David Bowie
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    After trekking east from the suburbs of Perth to take new root in Sydney, in 1983 the Scientists hooked up with producer Chris Logan, who's credited with the album's imposing sonic girth and rumbling low end, and premier Aussie punk label Au Go Go for an album that would define their unmistakably swampy, psychotic aura. These six songs revisited band leader Kim Salmon's interest in the Cramps and the Stooges,while adding in the repetitive dementia of Suicide and elements of cow punk twang, with Salmon's distinctly unrefined Australian accent snarling tales of lust, confusion and angst.
    1. When Fate Deals Its Mortal Blow
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    3. The Spin
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    Lia Mice is the experimental pop project of Eleanor C Mice (nÉe Logan). After spending her teens touring Australia in punk and soul groups she lurked the Brooklyn noise scene for half a decade. In late 2012 at the end of a European tour in support of her debut solo album (originally released under the moniker Happy New Year) she became stranded in France when her return flight to Brooklyn was cancelled due to Hurricane Sandy. Waiting for her replacement flight, she passed the time in Lyon penning songs in a friend's living room. Within a week she had decided to relocate to France for good. The songs became the genesis of 'I Love You', out October 7 on Old Flame Records - LiaMice's second solo album, and first experiment in danceable tempos, inspired by new music uncovered during in her first year living in France: in the grooves of yÉ-yÉ singles; on the dancefloors of converted boat-venues; in the theme songs of classic French cinema and on the iPods of neighborhood house parties.
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    2. Lucky Bamboo
    3. We Live Out Of Sight
    4. Memory Maps
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