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  • Nothing's Shocking Nothing's Shocking Quick View

    $32.99
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    Nothing's Shocking

    Ranked 309/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time.


    Although Jane's Addiction's 1987 self-titled debut was an intriguing release (few alternative bands at the time had the courage to mix modern rock, prog rock, and heavy metal together), it paled in comparison to their now classic major-label release one year later, Nothing's Shocking. Produced by Dave Jerden and Jane's Addiction vocalist Perry Farrell, the album was more focused and packed more of a sonic wallop than its predecessor; the fiery performances often create an amazing sense that it could all fall apart at any second, creating a fantastic musical tension. Such tracks as Up the Beach, Ocean Size, and one of alt-rock's greatest anthems, Mountain Song, contain the spaciousness created by the band's two biggest influences, Led Zeppelin and the Cure. Elsewhere, Ted, Just Admit It... (about serial killer Ted Bundy) and the haunting yet gorgeous Summertime Rolls stretched to epic proportions, making great use of changing moods and dynamics (something most alt-rock bands of the time were oblivious to). An incredibly consistent and challenging album, other highlights included the rockers Had a Dad and Pigs in Zen, the horn-driven Idiots Rule, the jazz instrumental Thank You Boys, and the up-tempo Standing in the Shower...Thinking. Like most great bands, it was not a single member whose contribution was greater: Perry Farrell's unique voice and lyrics, Dave Navarro's guitar riffs and wailing leads, Eric Avery's sturdy basslines, and one of rock's greatest and most powerful drummers, Stephen Perkins. Nothing's Shocking is a must-have for lovers of cutting-edge, influential, and timeless hard rock.

    -All Music Guide

    1. Up The Beach
    2. Ocean Size
    3. Had A Dad
    4. Ted, Just Admit It...
    5. Standing In The Shower...Thinking
    6. Summertime Rolls
    7. Mountain Song
    8. Idiots Rule
    9. Jane Says
    10. Thank You Boys
    Jane's Addiction
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Short Sharp Shock (On Sale) Short Sharp Shock (On Sale) On Sale Quick View

    $37.99 $30.01 Save $7.98 (21%)

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    Short Sharp Shock (On Sale)

    Originally released on the small Children Of The Revolution label back in 1984, Short Sharp Shock is Chaos UK's own under the rug masterpiece, and their first 12 recorded with the classic Mower/Chuck/Gabba/Chaos line up. Up there along with Discharges Hear Nothing, See Nothing, Say Nothing and Disorders 1984 Under the Scalpel Blade, Short Sharp Shock came straight out of the holy trinity of British 80's punk: angry and fashionably out of tune just as it should be!
    1. Lawless Britain
    2. Living In Fear
    3. Detention Centre
    4. Support
    5. Control
    6. People At The Top
    7. Global Domination
    8. No One Seems To Really Care
    9. Farmyard Stomp (Again)
    Chaos UK
    $37.99 $30.01 Save $7.98 (21%)
    Vinyl LP - Sealed Buy Now
  • Sterling Spoon (Box Set) Sterling Spoon (Box Set) Quick View

    $99.99
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    Sterling Spoon (Box Set)

    180 Gram vinyl box set compiling Jane's Addiction's Nothing's Shocking and Ritual De Lo Habitual LPs along with demos, outtakes, live tracks, and more.
    LP 1: Nothing's Shocking
    1. Up The Beach
    2. Ocean Size
    3. Had A Dad
    4. Ted, Just Admit It...
    5. Standing In The Shower... Thinking
    6. Summertime Rolls
    7. Mountain Song
    8. Idiots Rule
    9. Jane Says
    10. Thank You Boys


    LP 2: Ritual De Lo Habitual
    LP 1
    1. Stop
    2. No One's Leaving
    3. Ain't No Right
    4. Obvious
    5. Been Caught Stealing


    LP 2
    1. Three Days
    2. Then She Did
    3. Of Course
    4. Classic Girl


    LP 3: Kettle Whistle Extraction
    1. Kettle Whistle
    2. Ocean Size (Demo Version)
    3. My Cat's Name Is Maceo (Demo)
    4. Had A Dad (Studio Out-Take)
    5. So What!
    6. Mountain Song (Demo Version)
    7. Been Caught Stealing (Studio Out-Take)
    8. City (Soul Kiss 88)


    LP 4: Live At The Hollywood Palladium 1990
    LP 1
    1. Drum Intro (Live, 1990)
    2. Up The Beach (Live, 1990)
    3. Whores (Live, 1990)
    4. 1% (Live, 1990)
    5. No One's Leaving (Live, 1990)
    6. Ain't No Right (Live, 1990)
    7. Then She Did... (Live, 1990)
    8. Had A Dad (Live, 1990)


    LP 2
    1. Been Caught Stealing (Live, 1990)
    2. Three Days (Live, 1990)
    3. Mountain Song (Live, 1990)
    4. Stop! (Live, 1990)
    5. Summertime Rolls (Live, 1990)
    6. Ocean Size (Live, 1990)

    Jane's Addiction
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Congrats Congrats Quick View

    $21.99
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    Congrats

    A cyborg dance party for a broken future that's closer
    than you think - Pitchfork


    Off Your Face Euphoria - The Line of Best Fit


    hypnotic, electronic climax-rock - SPIN


    scuzzy, funk-fuelled energy - FACT Mag


    Holy Fuck took the world by surprise around 2005 because there was
    just nothing like them-a hardcore thrift-store found-object punk
    band with a relentless commitment to rhythm and a sense for
    atmosphere better matched to a close encounter of the third kind
    than a simple rock concert. Think EinstÜrzende Neubauten re-inspired
    by Fela Kuti with Brian Eno working as keyboard tech and every
    channel on the mixer set to max power. It was the best ride out there
    while it lasted, up to and including their 2010 full-length Latin,
    recorded largely in too-brief breaks while on the road. That album
    cemented Holy Fuck's sound and reputation for unapologetic
    instrumental noise but at the end of yet another insane touring cycle,
    it was time to take a break which turned into a hiatus which turned
    into a chance to explore other projects and production work. (Like the
    bands Lids, Dusted and Etiquette, or production for Metz, Alvvays and
    Viet Cong.)


    They'd been moving faster than they'd ever expected, especially after
    a 2007 sophomore release that came close to securing Canada's
    prestigious Juno and Polaris Music Prize. (Not to mention festival slots
    at All Tomorrow's Parties, Glastonbury, Coachella and more-plus Lou
    Reed said they were the best band he'd seen at SXSW.) The strategy
    was just to stay busy, says founder and noisemaster Brian Borcherdt,
    but soon they started to feel like Indiana Jones running from that
    boulder: "He had to step aside and let things settle!"


    But there's nothing Indiana Jones does better than the shock reveal, is
    there? And so in 2016 Holy Fuck suddenly announced the release of
    Congrats, a surprise full-length two years in the making that is by any
    scientific measure their holiest fuckiest release ever: "When you're
    sitting still in a van and staring out the windows, you start to dream
    about all the other things you want to do," says Borcherdt. "This album
    is exactly what we couldn't do then."


    Checking into a "proper" studio, rather than the barn in rural Ontario
    where most of Holy Fuck's records were made, Congrats was
    recorded by the same lineup that recorded Latin: Borcherdt, Graham
    Walsh, Matt "Punchy" McQuaid, and Matt Schulz. As they worked, they
    discovered that Congrats was a process of refining things, Walsh
    says-both physically and philosophically. Their ad hoc arsenal of
    low-budget hi-tech toys has been streamlined down to what he calls
    the nervous system of the band: "What gets run through our system is
    the seed of the idea for our music, and the system is what we play. This
    record is almost a beginning-the first stage of a new way for us."


    So consider those previous albums prelude to Holy Fuck's true
    breakthrough, and recognize Congrats as the moment when Holy
    Fuck take the chaos and craziness (and charm) that have always been
    at the heart of their band and not so much control it as concentrate it.
    Now they're heavier, wilder, leaner, sharper, more daring and more
    unpredictable than ever before, on fire with the power of inspired
    outsiders like Suicide, Silver Apples, Can, Mission of Burma or the
    Monks or even Sun Ra, says Borcherdt, whose pursuit of his own kind
    of musical purity is exactly what Holy Fuck are after. Yes, it took them
    a few years, which in 2016 is supposed to be the career suicide, but
    they took that time to take chances. "We were told we did everything
    wrong," Borcherdt says now, laughing-but really Congrats is the
    sound of a band doing absolutely everything right.

    1. Chimes Broken
    2. Tom Tom
    3. Shivering
    4. Xed Eyes
    5. Neon Dad
    6. House Of Glass
    7. Sabbatics
    8. Shimmering
    9. Acidic
    10. Crapture
    Holy Fuck
    $21.99
    Vinyl LP - Sealed Buy Now
  • Aerosmith Aerosmith Quick View

    $24.99
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    Aerosmith

    Remastered from the original source tapes!


    Contains the classics Dream On & Mama Kin


    In retrospect, it's a bit shocking how fully formed the signature Aerosmith sound was on their self-titled 1973 debut -- which may not be the same thing as best-executed, because this album still sounds like a first album, complete with the typical stumbles and haziness that comes with a debut. Despite all this, Aerosmith clearly showcases all the attributes of the band that would become the defining American hard rock band of the '70s. Here, the Stones influences are readily apparent, from the Jagger-esque phrasing of Steven Tyler to the group's high-octane boogie, but the group displays little of the Stones' deep love of blues here. Instead, Aerosmith is bloozy -- their riffs don't swing, they slide. They borrow liberally from Led Zeppelin's hybridization of Chess and Sun riffs without ever sounding much like Zep. They are never as British as Zeppelin -- they lack the delicate folky preciousness, they lack the obsession with blues authenticity, they lack the larger-than-life persona of so many Brit bands. They are truly an American band, sounding as though they were the best bar band in your local town, cranking out nasty hard-edged rock, best heard on Mama Kin, the best rocker here, one that's so greasy it nearly slips through their fingers. But the early masterpiece is, of course, Dream On, the first full-fledged power ballad. There was nothing quite like it in 1973, and it remains the blueprint for all power ballads since. The rest of the record contains the seeds of Aerosmith's sleazoid blues-rock, but they wouldn't quite perfect that sound until the next time around.

    -All Music Guide

    1. Make It
    2. Somebody
    3. Dream On
    4. One Way Street
    5. Mama Kin
    6. Write Me
    7. Movin' Out
    8. Walkin' The Dog
    Aerosmith
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Legion (Original Television Series Soundtrack) (Pre-Order) Legion (Original Television Series Soundtrack) (Pre-Order) Quick View

    $34.99
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    Legion (Original Television Series Soundtrack) (Pre-Order)

    Lakeshore Records presents LEGION (Original Television Series Soundtrack) by Jeff Russo.

    When I first started working on LEGION, the showrunner Noah Hawley gave me some great feedback regarding the tonal palate, he suggested I read neurologist Oliver Sacks Hallucinations, said Russo. It was a fascinating read and it really did help inspire. It is all about the way that our mind can change our perception of reality and what that says about our brains. It was something that directed me right to where this amazing show was going.

    LEGION, based on the Marvel Comics by Chris Claremont and Bill Sienkiewicz, is the story of David Haller (Dan Stevens) - a troubled young man who may be more than human. Diagnosed as schizophrenic as a child, David has been in and out of psychiatric hospitals for years. Now in his early 30s and institutionalized once again, David loses himself in the rhythm of the structured regimen of life in the hospital: breakfast, lunch, dinner, therapy, medications, sleep. David spends the rest of his time in companionable silence alongside his chatterbox friend Lenny (Aubrey Plaza), a fellow patient whose life-long drug and alcohol addiction has done nothing to quell her boundless optimism that her luck is about to change. The pleasant numbness of David's routine is completely upended with the arrival of a beautiful and troubled new patient named Syd (Rachel Keller). Inexplicably drawn to one another, David and Syd share a startling encounter, after which he must confront the shocking possibility that the voices he hears and the visions he sees are the result of him being a mutant.

    I used many esoteric synths from the 70s including something called a 'synthi,' described Russo of his approach to the score. That along with a traditional cinematic orchestral sound makes up most of the sound of the score. I also used a lot of bowing metals...springs, and different kinds of metal percussion.

    EMMY® and Grammy®-nominated musician, Jeff Russo has become a prominent composer, songwriter and arranger in the film and television industry. Russo received two Emmy nominations for his memorable music on FX's Emmy and Golden Globe-winning series, Fargo. He is currently scoring the third season of the show, as well as Starz's hit drama Power. Russo's music was recently heard on HBO's hit Golden Globe-nominated miniseries The Night Of.

    1. Young David
    2. David in Clockworks
    3. 174 Hours
    4. Seeing Things Hearing Things
    5. Run
    6. David
    7. The Shift and Cascade
    8. The Caper 2
    9. Legion Main Title
    10. 87 Days
    11. Open
    12. Almost Legion
    13. Levitate
    14. Clockworks
    15. Chaos and Madness
    16. David and Syd
    17. Choir and Crickets
    18. Tea and Memory
    19. David Redux
    20. Darkness (Full Suite)
    Jeff Russo
    $34.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Storm Corrosion Storm Corrosion Quick View

    $37.99
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    Storm Corrosion

    Storm Corrosion is the long-discussed and highly anticipated collaboration between two of the modern progressive rock scene's most innovative and multi-talented artists: Porcupine Tree's Steven Wilson and Mikael Åkerfeldt of Opeth. The pair will release their self-titled debut album via Roadrunner Records.


    The sound of Storm Corrosion can best be described as enchanting, orchestral, ambient, epic (half the album's tracks clock in around the 10-minute mark) and nothing short of surprising to the new ear. However, the musicians' respective fanbases will be primed to appreciate the new output, with Wilson's recent solo album, Grace for Drowning, and Opeth's Heritage having brought them to a logical place to understand Storm Corrosion. This eponymous collection is almost viewed as one side of a musical triangle.


    Says Wilson, "If you'd asked me three months ago about the music, I would have said, 'Expect the last thing you would expect.' But actually, now that Heritage and Grace for Drowning have come out, I don't think it's going to be that much of a shock to people, because it's almost like a third part of the trilogy, in a way. If anything, it's even more orchestral, even more stripped down, even more dark, twisted and melancholic, but it certainly feels like it comes from the same place as Heritage and Grace for Drowning, which indeed it does because it was written during the same period."


    "Some of the music on this record I think is the most beautiful music I have participated in ever," adds Åkerfeldt. "There's some magical sections on there. Musically I think we've created something earthy, a bit frightening, exhausting, profound and rather intense. All at the same time. I can safely say I don't know any other band or artist that sounds anything like Storm Corrosion. I guess that was also one of our goals, so to speak."

    1. Drag Ropes
    2. Storm Corrosion
    3. Hag
    4. Happy
    5. Lock Howl
    6. Ljudet Innan
    Storm Corrosion
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Great Is Our Sin Great Is Our Sin Quick View

    $22.99
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    Great Is Our Sin

    Having delivered five killer albums boasting some of the most potent, technical and abrasive metal unleashed over the last decade, it would be easy for Revocation to sit back and rest upon their laurels. However, with their constant drive to push their sound ever forward and refusal to compromise their integrity, this could never be the case - and Great Is Our Sin is their most dynamic, boundary-pushing and weighty release to date.


    Reuniting with producer Zeuss (Hatebreed, Bleeding Through), who also helmed Deathless and 2012's Teratogenesis EP, the record packs the requisite punch, yet retains the organic feel with which it was conceived. Known for their technical prowess, the band remained dedicated to upping the ante without ever losing sight of the importance of good songwriting.


    Opener "Arbiters Of The Apocalypse" makes this abundantly clear, blending together breakneck thrash, crunching death metal flavors, plenty of visceral fret abuse as well as compelling yet unforced melodies. While the songs come together to make for a cohesive record that is engaging from front to back, they are further united by the lyrical concept. To this end, REVOCATION tackles issues such as political corruption and the buying and selling of lawmakers on "Only The Spineless Survive", while on "Theatre Of Horror" reflects on the place of public execution in Medieval times, and the manner in which it was supposed to shock and entertain the populace.


    Regardless of the state of the world, nothing is going to slow Revocation down any time soon. Whilst the lineup has changed over the ten years the band has been in existence, Davidson's passion has never waned, and they are arguably sounding better than ever as they look toward the future.


    "We can't wait to bring these songs out on the road and perform them for different audiences all over the world. 'Great Is Our Sin' is a new chapter for the band, and collectively we feel that it is our defining record to date."

    1. Arbiters of the Apocalypse
    2. Theatre of Horror
    3. Monolithic Ignorance
    4. Crumbling Imperium
    5. Communion
    6. The Exaltation
    7. Profanum Vulgus
    8. Copernican Heresy
    9. Only the Spineless Survive
    10. Cleaving Giants of Ice
    11. Altar of Sacrifice
    Revocation
    $22.99
    Vinyl LP - Sealed Buy Now
  • Songs Cycled Songs Cycled Quick View

    $22.99
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    Songs Cycled

    This album is released on Bella Union 45 years from my debut album "Song Cycle" (when I was but 24). In both cases, there's a maverick on the loose, with a highly personal set of tunes and instrumentals. All of them reveal an iconoclast tilting at windmills, railing at tyrants, barking at masters of war, and celebrating a shameless commitment to the very definition of 'Americana'. As I was in my brunette era, at age 70, I'm found looking through the glass darkly. These new songs show more than a hint of an eco-politic. In fact, there's nothing more precious than the song-form to revolutionize popular thoughts and practices that need a jolt of shock therapy. Yet, songwriters must work with a leger demain. A light hand and heart can draw more approval than a heavy-handed scold. My first aim is to entertain the ear with beautiful sounds. I try to do that as an arranger. These pieces reveal my best effort.


    I've drawn from a grab-bag of American roots music, from the 19th Century forward. (It was, after all, 'The American Century'). Yet this song-set goes beyond, and muses about '9/11' and other self-inflicted wounds ('Wall Street'). It explores the American bombing of Baghdad ('Dreaming of Paris'), the chicanery of Big-Oil ('Black Gold'). I insist that the song-form is the most potent political tool available. I learned as much from Woody Guthrie, Phil Ochs, and yes, Bob Dylan.


    Still there's time for folderol. 'Sassafrass' captures all I love about the youth I spent in the Smokey Mountains of North Carolina. It's a roll in the grass. There's the renegade arranger in that, reflecting my obsession for studio technique, sound- effects with tuneful percussion that I first heard in 1948, in the music of Spike Jones.


    I guess I am like that rusty nail that sticks out, just waiting to be hammered down by an intolerant bastard, with no room for what isn't rockin' or classically elite. In truth, I embrace both those worlds. Guilty as charged, I'm wrapped in the flag, looking through the glass, at the world beyond informed yet optimistic, in my dream escape. It hangs together well, as we must, lest we all hang separately.


    I have so many contributing visual artists to thank, for coating it all so deliciously.

    -Van Dyke Parks

    1. Dreaming of Paris
    2. Hold Back Time
    3. Sassafras
    4. Black Gold
    5. Aquarium
    6. Money Is King
    7. Wall Street
    8. The Parting Hand
    9. The All Golden
    10. Wedding in Madagascar
    11. Missin' Missippi
    12. Amazing Graces
    Van Dyke Parks
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Welcome Oblivion Welcome Oblivion Quick View

    $27.99
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    Welcome Oblivion

    Includes a Cd Version of the Entire Album


    Anybody who paid attention to Trent Reznor's post-Nine Inch Nails project How to Destroy Angels' two EPs would not be shocked by the coolly meditative nature of their full-length debut, Welcome Oblivion, but if there happens to be a NIN fan coming to this 2013 LP cold -- odds aren't great, but stranger things have happened -- they're likely to be shocked by how aggressive this album isn't. This isn't to say Welcome Oblivion is an ambient album or a record consumed with solipsistic navel-gazing. Rather, How to Destroy Angels frees Reznor to explore quiet, intricately textured territory with the assistance of longtime collaborator Atticus Ross and vocalist Mariqueen Maandig, who also is Reznor's wife. Given Reznor's close connections with Maandig and Ross, it's possible some listeners may view this as a Trent vehicle where his bandmates are nothing more than sidemen, but How to Destroy Angels is a true collaboration, with Reznor and Ross sculpting the tracks to fit Maandig's soft, insinuating tones. At times, the interplay recalls vintage Tricky stripped of menace. HTDA certainly has drama and flirts with ominous overtones, but ultimately they're not a threatening lot; they're enjoying the process of creation too much to threaten. Nothing stays stationary on Welcome Oblivion -- even the quietest moments have things percolating in the background, and when a torrent of sound is unleashed, it isn't a mere deluge; there is definition, the empty spaces accentuating either the noisy squiggles or the shimmering, insinuating melodies. And make no mistake, Welcome Oblivion does have its share of melody, as this isn't merely a collection of sounds: there are songs here, some as tight as the defiantly new wave How Long?, and others as elliptical as the skeletal Ice Age -- each are distinguished by their exquisite details and slow, ingratiating melodies. Welcome Oblivion is not an album that comes on forcefully, and by many measures, it's the most measured record of Reznor's career, yet it's also his most melodic, showing that this former angry young man has a design to grow old gracefully.-- Allmusic.com


    Side A
    1. The wake-up
    2. Keep it together
    3. And the sky began to scream
    4. Ice age
    5. Welcome oblivion
    6. On the wing
    7. Too late, all gone
    8. The province of fear


    Side B
    1. How long?
    2. Strings and attractors
    3. Recursive self-improvement
    4. Unintended consequences
    5. We fade away
    6. The loop closes
    7. Hallowed ground

    How To Destroy Angels
    $27.99
    Vinyl LP With CD - 2 LPs Sealed Buy Now
  • And The War Came And The War Came Quick View

    $21.99
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    And The War Came


    "A gnarly composite of blues and folk." - PASTE "Best of What's Next"


    "A surprisingly pop-leaning single from a rising folk hero." - ESQUIRE


    "Astonishing Unclassifiably Original. And frighteningly good." - NPR Music


    "His voice is shockingly soulful, and his effects-laden guitar playing exceptional." - BOSTON HERALD


    Performing live with nothing but a guitar and a homemade kickdrum built out of an old suitcase, Austin TX's "astonishing
    one-man-show" (NPR Music) Shakey Graves has quickly risen from obscurity into the nation spotlight since the release of
    his debut full-length LP "Roll The Bones." Nearly two years later, as word of his haunting lo-fi recordings and contrastingly explosive live show spreads, the self-released album continues to sell at a vigorous pace, consistently ranking near the top
    of Bandcamp's digital best seller charts. The album was recently released as a limited edition LP, which sold out almost immediately. New listeners around the world continue to discover his music every day, often through a series of live performance videos on YouTube (collectively over 1.5 million views). His videos for Myspace and Cadillac's "One Two Watch"
    documentary series have also gathered over 3 million views alone.

    1. This Is The Beginning
    2. Only Son
    3. Dearly Departed (featuring EsmÉ Patterson)
    4. The Perfect Parts
    5. Hard Wired
    6. Family And Genus
    7. Big Time Nashville Star (featuring EsmÉ Patterson)
    8. Pansy Waltz
    9. House Of Winston
    10. If Not For You
    11. Call It Heaven (featuring EsmÉ Patterson)
    Shakey Graves
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Strange Desire Strange Desire Quick View

    $17.99
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    Strange Desire

    Bleachers will release debut album 'Strange Desire' on RCA Records. The highly anticipated album was written and produced by Grammy Award winning musician Jack Antonoff with co-producer John Hill (MIA, Jay Z, Empire of the Sun) as well as Vince Clarke (Depeche Mode, Yaz, Erasure) and others.


    "It's the 2 words that perfectly title what this Bleachers album is as a documentation of my life as I can remember it at this point", wrote Antonoff yesterday afternoon in the Craigslist ad he posted announcing the album title.


    Bleachers first single "I Wanna Get Better" has already streamed over 1.5 million times, was deemed "the song of the summer in February" by the Huffington Post and quickly skyrocketed into the top 10 at Alt radio.


    Since the Bleachers launch in February critics have been nothing but excited and eager to hear more. Rolling Stone exclaimed "We'll be shocked if it's not all over the radio by spring", TIME raved " it's exciting to imagine what else Antonoff has up his sleeve" and Hilly Dilly proclaimed " this is the kind of music that can't get big enough."


    Hailing from New Jersey, 29 year old Jack Antonoff has been in the music scene for over a decade. In 2002, with Jack as the lead singer, the success of New Jersey born indie rock band Steel Train was well underway. Steel Train's cult following lead them to make their national television debut on Late Night With Conan O'Brien and later appeared on Late Show With David Letterman. In 2008, Jack joined Nate Ruess and Andrew Dost to form the Grammy award winning fun.


    In addition to being a multi-talented musician, Jack is a critically acclaimed songwriter and producer. His achievements include fun. being honored with the Vanguard Award at the 2014 ASCAP Pop Music Awards and co-writing fun.'s Grammy award winning song "We Are Young" and Grammy nominated album Some Nights. He also received a Golden Globe nomination for his collaboration with Taylor Swift on her song "Sweeter Than Fiction. Jack has also worked with Sara Bareilles, co-writing her Grammy nominated hit "Brave, and Canadian Indie icons Tegan and Sara.

    1. Wild Heart
    2. Rollercoaster
    3. Shadow
    4. I Wanna Get Better
    5. Wake Me
    6. Reckless Love
    7. Take Me Away (ft. Grimes)
    8. Like A River Runs
    9. You're Still A Mystery
    10. I'm Ready To Move On/Wild Heart Reprise (ft. Yoko Ono)
    11. Who I Want You To Love
    Bleachers
    $17.99
    Vinyl LP - Sealed Buy Now
  • Mobile Fidelity PLUS Enzyme LP Cleaning Fluid Mobile Fidelity PLUS Enzyme LP Cleaning Fluid Quick View

    $29.99
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    Mobile Fidelity PLUS Enzyme LP Cleaning Fluid

    Mobile Fidelity PLUS Enzyme LP Cleaning Fluid Removes All Organic Materials Embedded in the Grooves of Your Precious Vinyl Records. Nothing on the Market Works as Well to Remove Oils, Sweat, Smoke and Mold!


    Mobile Fidelity PLUS Enzyme Cleaner for all Vinyl LPs is a revolution in record cleaning! PLUS uses enzymes to more completely clean records than any other fluid we've found.


    Most sound degrading contaminants found on records are organic in nature, oils and sweat from hands, skin, hair and other minuscule particles of dust are attracted by electrostatic charges on the vinyl and can become deeply embedded in the vinyl. The best way to remove these is with an enzyme specifically designed for this purpose. By coating the play surface with PLUS Enzyme Cleaning Fluid and allowing it to sit on the record surface for 3-5 minutes, the enzymes will break the particles down and loosen them from the grooves.


    Highly purified, high surface tension water is used as the base for PLUS - water that will bead up, removing contaminants and holding them in the water beads, rather than allowing them to settle back into the grooves.


    Using PLUS is a revelation, even on a clean record, the improvement is shocking. Drastically lower noise floor, increased dynamic range, richer tonal balance and clear undistorted peaks. Put simply, PLUS reveals more of the information that's been hiding in the grooves.


    To get the most out of PLUS, we highly recommend using Mobile Fidelity PURE Record Rinse. PURE is ultra-pure water that has gone through four stages of deionization, after which it is triple-distilled, then treated with high intensity ultraviolet light to kill all bacteria and microbiological particles. This intense and thorough process leaves nothing in PURE to harm your vinyl.


    Mobile Fidelity has a history of setting industry standards. We are the first to provide this quality of care in our base and rinse water. The ultraviolet light purification sets the bar for the competition to once again play catch-up. Call us today to learn more about how analog lovers can benefit from Mobile Fidelity PLUS Enzyme Cleaning Fluid.

    Mobile Fidelity
    $29.99
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  • The Satanist (Awaiting Repress) The Satanist (Awaiting Repress) Quick View

    $44.99
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    The Satanist (Awaiting Repress)


    Exclusive Bonus Track


    Double Gatefold Jacket


    24-Page LP Sized Book


    "The Satanist is magic. It's dangerous. It's adventurous, and it's organic," states Nergal, the driving force behind Behemoth since their inception in 1991, and brief exposure to the band's tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing, densely layered, brutally violent and sinister record, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention, offering ever greater sonic and emotional depths with every listen. "You may hear the title and think it's very primitive and one-dimensional, and yes it is, but when you look beyond that it's as primitive as it is complex and multidimensional, and that applies to everything about the record."


    It has been a rocky road leading to the realization of the album. Having dropped 2009s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world, and playing some of the best shows of their lives the band seemed truly unstoppable. But, in August 2010 Nergal was diagnosed with leukemia, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation. "I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can't control. The sooner you realize which is which it's going to make your life so much easier, and since then I started to focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference."


    Rather than immediately getting down to working on a new album, the band - also comprised of drummer Inferno, bassist Orion, and guitarist Seth - set out to complete the abandoned touring cycle for Evangelion, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal's mind. "I was a fucking wreck, and I almost didn't make it to the end of the set. The venue was really smoky, and that was stuffing my nose and my lungs, and physically I felt that I couldn't pull it off. I did, but I was close to passing out on stage. I was literally shocked by this, I remember thinking while we were playing shit, what if I can't do this anymore? I'm just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident, and aware of the fact that yes, we will do this."


    Having returned to full force the band were ready to once more move forward, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful - and successful - as Evangelion Nergal faced no such doubts. "I don't race myself, and I don't need to prove anything to anyone. Evangelion was a very important record to us, and yes, it was very successful too, but in making The Satanist it wasn't a point of beating that. The point was to do what was organic, and make a natural and honest and sincere album, and that's it. Now the record is finished I like to think of it as an album that is just so different that you can't really compare it to our previous works, which is the best outcome I could hope for." One thing is inarguable, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density, but there is intricacy to this, and nothing is forced or contrived. "I don't have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them, but there's never a one hundred percent guarantee he's going to become a lawyer and not a serial killer. It's the same story with the records - we supply the elements but we just don't know how these elements mixed together are going to come out, and I think it's fortunate that we don't have one hundred percent control over it! It makes for something special."


    The title of the record itself is undeniable in its power, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. "To me it's not pretentious at all. It's very straight up, very sincere, and a devastating, conquering statement. There's no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it's a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you're going to hear a hundred different opinions, which they can then discuss and fight over." Likewise, Nergal views the lyrical content of the record as similarly open to interpretation, encouraging this. "There's a lot of symbolism and reflections and impressions in there, and it's using millions of metaphors to express a certain very sinister and very captivating atmosphere, but there are no answers. People always like to have a deeper insight into what we do, but that's not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire, but what we're doing is just giving you the matches, giving you the spark, what you want to do with it is up to you. Personally, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts, it's a never ending process, and that's exciting to me."


    Twenty-three years and ten albums into their career, that Behemoth is still in the ascendant is a statement to their commitment, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song, but don't expect them to disappear any time soon. "I remember before we we had a record deal I was having a conversation with Baal, the band's original drummer, and we said okay, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more, and there was something about that that had an appeal, but y'know what, it doesn't work like that for individuals like myself. Hunger has always driven me through life, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now, over two decades later it's the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art - but then again, I remember that conversation with Baal, and I know it doesn't work like that, so I know there will probably be other incarnations of our artistic identity, one way or another. All I know is I love being here and now, and I just want to underline that I couldn't be more proud and happy with my own music. It really drives me through the day, and now I just want to sit back and hear any and all opinions of it."

    1. Blow Your Trumpets Gabriel
    2. Furor Divinus
    3. Messe Noire
    4. Ora Pro Nobis Lucifer
    5. Amen
    6. The Satanist
    7. Ben Sahar
    8. In the Absence ov Light
    9. O Father O Satan O Sun!
    Behemoth
    $44.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Lover, Beloved: Songs From An Evening With Carson McCullers Lover, Beloved: Songs From An Evening With Carson McCullers Quick View

    $18.99
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    Lover, Beloved: Songs From An Evening With Carson McCullers

    When Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.


    "I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."


    The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.


    But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.


    Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.


    In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."


    Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."


    "12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.


    With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis

    1. Carson's Blues
    2. New York Is My Destination
    3. Instant of the Hour After
    4. We of Me
    5. Annemarie
    6. 12 Mortal Men
    7. Harper Lee
    8. Lover, Beloved
    9. The Ballad of Miss Amelia
    10. Carson's Last Supper
    Suzanne Vega
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Last Days of Oakland (Pre-Order) The Last Days of Oakland (Pre-Order) Quick View

    $23.99
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    The Last Days of Oakland (Pre-Order)

    Fantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit. In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to make it, who got it, and who lost it all. For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life.

    The first life ('who am I and where am I going?'). Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music. When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation. Shit was extra real in Oakland.

    By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette.

    The second life ('I want to be a star I think'). It didn't take long for Negrito to find himself entrenched in the 'Hollywood' lifestyle; clubs and bitches and bullshit politics that have nothing to do with great music. Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death.

    The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on 'what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit. He sold all of his shit and he quit.

    In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated. Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland.

    The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star. This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born.

    With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out. His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. Fuck what's hot now, what moves me? Negrito turned to the original DNA of all American music, the Blues. The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta.

    For Fantastic Negrito, derivative is the devil so to ensure his sound is his own, every chord comes from a place of immediacy. Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments.

    When you listen to Negrito, you're invited to hear the story of life after destruction. Your dream can die. You probably will give up. But from there, you can start everything over.

    1. Intro - The Last Days of Oakland
    2. Working Poor
    3. About A Bird
    4. Scary Woman
    5. Interlude - What Would You Do?
    6. The Nigga Song
    7. In the Pines (Oakland)
    8. Hump Thru the Winter
    9. Lost In A Crowd
    10. Interlude 2 - El Chileno
    11. The Worst
    12. Rant Rushmore
    13. Nothing Without You
    14. Push Back
    15. The Shadows
    Fantastic Negrito
    $23.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Nothing's Shocking (Out Of Stock) Nothing's Shocking (Out Of Stock) Quick View

    $17.99
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    Nothing's Shocking (Out Of Stock)

    Ranked 309/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time.


    Jane's Addiction may not have been a strict metal band, but their music was certainly full of traits inherent to the genre: hard, gleaming and powerful. Their 1988 release Nothing's Shocking captured the much too short-lived quartet at its absolute peak. Combining radically diverse musical elements from art and classic rock, to hard-core punk and funk, Jane's Addiction was the last great precursor to the alternative revolution of 1991-92. From songs about Ted Bundy (Ted, Just Admit It) to punk ideology as Eastern philosophy (Pigs In Zen) to mystic romances (Summertime Rolls) and early-morning thoughts (Standing In The Shower...Thinking), Perry Farrell consistently dissects his subjects through a psychologically-stimulating viewpoint while the extremely talented band made up of guitarist Dave Navarro, bassist Eric Avery and drummer Stephen Perkin provide the songs with an expansive set of musical colour. A must-have for lovers of cutting-edge, influential, and timeless hard rock.

    1. Up The Beach
    2. Ocean Size
    3. Had A Dad
    4. Ted, Just Admit It
    5. Standing In The Shower...Thinking
    6. Summertime Rolls
    7. Mountain Song
    8. Idiots Rule
    9. Jane Says
    10. Thank You Boys
    Jane's Addiction
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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