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Prick (Pre-Order)Prick was an American industrial rock band signed to Trent Reznor's Nothing Records imprint. Founded in 1992 in
Los Angeles by guitarist and songwriter Kevin McMahon, after his first project Lucky Pierre disbanded.
Here McMahon uses the basic production style of industrial metal, but twists it into a mix of Bowie glam rock and Gary
Numan new wave that sounds way ahead of its time. Pressed on vinyl for the first time, this is a must for fans
looking to dig deeper into industrial music's past.1. Communique
4. Other People
5. No Fair Fights
7. I Got It Bad
8. I Apologise
10. Makebelieve$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
Kicking Against The PricksBesides being noteworthy as an astonishingly good all-covers album, Kicking Against the Pricks is notable for the arrival of a new key member for the Seeds, drummer Thomas Wydler. Besides being a fine percussionist, able to perform at both the explosive and restrained levels Cave requires, Wydler also allowed Harvey to concentrate on adding guitar and keyboards live as well as in the studio, a notable bonus. Race reappears briefly to add some guitar while former Birthday Party cohorts Rowland Howard and Tracy Pew guest as well, the latter on some of his last tracks before his untimely death. The selection of songs is quite impressive, ranging from old standards like Long Black Veil to everything from John Lee Hooker's I'm Gonna Kill That Woman and Gene Pitney's pop aria Something's Gotten Hold of My Heart. Matching the range of material, the Seeds are well on their way to becoming the rock/cabaret/blues showband of Cave's dreams, able to conjure up haunting, winsome atmospheres (Sleeping Annaleah) as much as higher-volume takes (Roy Orbison's Running Scared, the Velvet Underground's All Tomorrow's Parties). The version of Leadbelly's Black Betty is particularly grand, Harvey's drumming driving the track with ominous power. This said, often holding everything back is the key, as the creepout build of Hey Joe demonstrates. Even more striking is how Cave's own vocals rebut the charges that all he ever does is overdramatize everything he sings -- consider the husky, purring delivery on Johnny Cash's The Singer. Other winners include a masterful version of Jimmy Webb's By the Time I Get to Phoenix and the stately, album-closing The Carnival Is Over, originally a mid-'60s hit for the Seekers.
- Ned Raggett (All Music)1. Muddy Water
2. I'm Gonna Kill That Woman
3. Sleeping Annaleah
4. Long Black Veil
5. Hey Joe
6. The Singer (a.k.a. The Folksinger)
7. All Tomorrow's Parties
8. By the Time I Get to Phoenix
9. The Hammer Song
10. Something's Gotten Hold of My Heart
11. Jesus Met the Woman at the Well
12. The Carnival Is Over$22.99Vinyl LP - Sealed Buy Now
I See YouI See You is marked by a tonal shift to something close to pure, crisp pop structure, adorned by unusual crescendos that echo a dexterous DJ inching their dancer toward climax without ever quite lifting the house lights. Its lyric sheet moves from the danger and hopelessness of love to its deliciousness and rapture; a move into a more outward looking proposition.
I See You is recognizably still The xx but is now powered by the voluble ambition of its three perfect counterweights to one another starting to not just realize but harness their full potential. You might even want to think of the decisive move from Joy Division to New Order here, too.
When they take their plum festival slots in 2017, armed with the ten most robust songs of their career, The xx should prick the skin and touch gently the shoulder of an audience reaching to the back of the field.1. Dangerous
2. Say Something Loving
4. A Violent Noise
7. Brave For You
8. On Hold
9. I Dare You
10. Test Me$24.99Vinyl LP- Sealed Buy Now
$19.99 $15.79 Save $4.20 (21%)
The Power In One (On Sale)Limited To 1000 LPs Worldwide
Re-Mastered From Original Tapes
The Wipers Final Recordings
One of the most passionate and influential punk bands ever! The Wipers ''Power In One'' became the last final Wipers recordings. Recorded in 1998 by Greg Sage, all tracks were recorded through vacuum tubes.
''Guitar leeds that dazzle, frighten, and prick the senses, like Jimi Hendrix sans the showy bits and hyper-blues base. This remarkable talent's work as a guitarist is without peer. Power In One is another gale force wind'' - Jack Rabid (All Music Guide)
''As with every Wipers LP I would spend many months observing people and their situations to get ideas of what was in their mind and their motivations. This was always where the inspiration would come from for our songs. I would get a glimpse of the future by doing this and it was easy to write songs that would make sense 10 years from then. The Wipers songs and sound has always been a reflection of real life. I would look for raw and powerful emotions to write about, things that would bring a sense and illusion of realism, this would make our LP's more personal to the listener. I got so many songs from just walking the streets of Portland and watching people'' - Greg Sage (The Wipers)1. The Fall
2. Power In One
6. I'll Be Around
7. Still Inside Of Me
8. Ship Of Dreams
9. Rest Of My Life
10. Losers Revenge
11. Take It Now
12. Stay Around
13. What's Wrong?
14. Too Many Strangers$19.99 $15.79 Save $4.20 (21%)Vinyl LP - Sealed Buy Now
Melophobia (Awaiting Repress)Cage The Elephant's highly anticipated forthcoming third studio album, entitled 'Melophobia', is released via RCA Records. The album was recorded in Nashville, TN and reunites the band with producer Jay Joyce who produced the group's prior two releases.
This album has tested us as individuals and as a collective. We're five people fighting for our own ideologies of good music - we clash stylistically and sometimes even personally, said drummer Jared Champion. The studio is the place where we push all of those individual creative emotions together and smash them to the dispersion point until they explode like a Timebomb. With the explosion arrives something beautiful and in the end, when you listen back and goose bumps prick your skin like the first few drops of a summer rainfall on searing concrete, you know that you and your band of brothers have created something substantial. Conquering our melophobia is what drives us.
The new album is the follow up to 2011's acclaimed sophomore album Thank You Happy Birthday, which debuted at #2 on the Billboard Top 200 Chart and has sold over 250,000 copies to date. Rolling Stone, New York Times, LA Times, USA Today, and Entertainment Weekly praised the release as one of the best rock albums of the year. The album also spawned the hit single Shake Me Down which spent six weeks at #1 at Alternative radio. Their acclaimed self-titled debut album was released in 2009 and has sold over 550,000 copies to date. The album remained on the Billboard 200 Chart for an astounding 73 consecutive weeks and produced three Top 5 singles at Alternative Radio, including the massive hit Ain't No Rest For The Wicked. In additional to numerous Sold Out headline runs, Cage The Elephant has toured with Black Keys, Foo Fighters, Queens of the Stone Age, Muse, Stone Temple Pilots, Foals, Silversun Pickups, Manchester Orchestra, and many more.
- BWWMusicWorld1. Spiderhead
2. Come A Little Closer
4. It's Just Forever (featuring Alison Mosshart)
5. Take It Or Leave It
7. Black Widow
10. Cigarette Daydreams$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
PhotodrameOf all languages, French may be the most musically suited to convey the emotion of melancholy. And as the prickly landscape of Photodrame unfolds, the yearning lyrical baritone plays out as a sardonic disgust and surrender to the sorry state of things. Armed with a stripped-down gear set-up of bass, guitar and a single drum machine, the band recorded this at home direct to tape. Sacred Bones is excited to be making this album available on LP for the first time in a limited edition of 700 deluxe LP format.1. Why Not?
2. Les Anges D'Aujourd'hui
3. La Mort Est Humaine
4. Johnny Is A Loser
5. Jeux Interdits
6. Jad Wagen
7. Introduction A Fuite Mentale
8. Je T'Attends
9. Le Chant Des Martyrs
10. Fuite Mentale
11. Enfermedad Del Alma
12. Ma Folie Se Dessiner$21.99Vinyl LP - Sealed Buy Now
Last Year's SavageNobody grows up wanting to be an artist''s artist. Appreciated by the sub sect of the sub sect is like being the beauty queen at the leper colony. Hell, anybody who claims they grew up wanting to even be an artist rather than an astronaut or a Cthulhu is probably lying or was a corny kid. Art is hard and degrading and generally bullshit. Your friends will find you irritating and your parents will certainly not throw you a parade. But if you're an artist you're an artist; the soul will fuck you every time, what can you do? Shilpa Ray is, through no fault of her own, one of our unsung great artists. Having made her bones with the gothic Sturm und Drang of Beat The Devil and moving forward to the blues erosion of " and The Happy Hookers." Shilpa Ray has been, armed only with an incomparable voice and harmonium haunted by the ghosts of dead lovers, perpetually crying in the wind, hoisting both middle fingers in the general direction of god. It's not a life a wise man would choose. Shilpa Ray kicks against the pricks but the pricks keep coming.1. Burning Bride
2. Pop Song for Euthanasia
3. On Broadway
4. Johnny Thunder's Fantasy Space Camp
5. Oh My Northern Soul
6. Nocturnal Emissions
7. Colonel Mustard in the Billiard Room
8. Sanitary iPad
10. Pipe Dreams Ponzi Schemes
11. Hymn$18.99Vinyl LP - Sealed Buy Now
Comfort Of StrangersFew vocalists equal the expressive subtlety of Beth Orton, whose fourth album is both her most musically spare and artistically complex to date. Not only does the production and backing by Jim O'Rourke (known for his work with Sonic Youth and Wilco) capture Orton's vocal style at its most unstudied and unvarnished, the lack of embellishment focuses all the more attention on her songwriting. From the jazzy phrasing on the deceptively jaunty Worms through the haunting Feral and the amazing grace of the closing, hymnlike Pieces of Sky, Orton's songs give voice to the sort of knotty, prickly emotions that are as hard to define as they are deeply felt. Most of the musical dynamic features piano or guitar over an elemental, insistent rhythm section, making the coloring of an occasional string section (Conceived), harmonica (Absinthe), or accordion (Safe in Your Arms) all the more striking. As an indication of the emotional range of this musical minimalism, the title cut is soothing enough to please fans of Norah Jones, while Heartlandstruckstop is as edgy as Patti Smith. -Don McLeese1. Worms
3. Heartland Truckstop
5. Comfort Of Strangers
6. Shadow Of A Doubt
9. A Place Aside
10. Safe In Your Arms
11. Shopping Trolley
12. Feral Children
13. Heart Of Soul$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Your Funeral...My TrialReduced to a quartet for the most part, with Barry Adamson joining Nick Cave, Blixa Bargeld, Mick Harvey and Thomas Wydler on only a couple of tracks, the Bad Seeds turn from the interpretive triumph of Kicking Against the Pricks to another strong high, the mostly-original Your Funeral...My Trial. The one cover is a sharp, unsurprisingly dramatic version of Tim Rose's Long Time Man. As for the rest of the album, Trial shows the Seeds working as, again, a remarkably accomplished and varied act, ever available and ready to explore a wide range of musics distilled into Cave's often dark, always passionate vision. Arguably Cave and company have by now so clearly established their overall style that Your Funeral...My Trial is much more a refinement of the past than anything else, but so good is their work that resistance is near impossible. If anything, the brooding power of the Seeds is more restrained than ever, suggesting destructive endings and overwhelming love without directly playing it. Songs like Jacks Shadow and the gentler but still melancholy moods of Sad Waters, detailing a riverside scene between a couple, are simply grand. The opening title track sets the mood well, Cave handling not merely vocals but Hammond organ, adding a strangely sweet air to the late-night atmosphere of the piece. The Carny is a definite highlight, the cracked music-box/carnival accompaniment courtesy of Harvey utterly appropriate for Cave's tale of a circus gone horribly wrong in ways Edward Gorey would appreciate. Hard On for Love, as the title pretty clearly gives away, is at once sensual and blunt right down to the lyrics, Biblical references and all, as the feverish music rises in a tide of emotion.
- Ned Raggett (All Music)1. Sad Waters
2. The Carny
3. Your Funeral, My Trial
4. Stranger Than Kindness
5. Jack's Shadow
6. Hard On for Love
7. She Fell Away
8. Long Time Man$24.99Vinyl LP - 2 LPs Sealed Buy Now
OpeningFor years, I've imagined the work I do in music, photography, and video all coming into one space, says music-tech guru Christopher Willits from his home in San Francisco. It's an ambition that many musicians have aspired to, but nonetheless seems especially befitting of a worldly polymath like Willits. I believe that sound and light, when used intentionally, have the power to transform and inspire our imaginations, he continues. I believe that art has an ability to awaken our connection to everything. And that is exactly what he has set out to do with OPENING, the veteran Ghostly artist's immersive new audio-visual project.
Across seven tracks of widescreen ambient music, 45 minutes of visuals shot over four years in multiple countries, seven bespoke photographs, and a multi-sensory live performance, Willits has conceived and produced something which might better be thought of as an experience than a simple album. Of course, OPENING does feature Willits' latest music since Ancient Future, his 2012 collaboration with Japanese pianist Ryuichi Sakamoto, and the vibrant, enveloping sounds we've come to expect from him are on full display. The quiet majesty of Vision ushers us into the sacred world Willits created, a living universe which billows and heaves in the corners of slow-grooving songs like CLEAR and CONNECT or the
textural minutiae and harmonic subtleties in GROUND. Closing out the album, WIDE and RELEASE o!er the listener a gentle comedown through 15 cumulative minutes of transcendent audio, with Willits' delicate guitar manipulations breathing life into the aether of prickly atmospheres and soft-glowing synths.
The other integral facet to the experience of OPENING is Willits' visual work. After building a library of footage and images from his travels around California, Hawaii, Japan, and Thailand, Willits will unveil for the first time a portion of his videos as an abstract film, the seven scenes of which each correspond with a song and photo from the album. The
45-minute piece uses music and a first-person perspective to tell what Willits calls a very ambiguous story, much in the vein of ground-breaking experimental films Koyaanisqatsi and Baraka. Taken as a whole, OPENING is unlike anything Willits has accomplished before, and maybe that's because the audio-visual project is about expanding one's mind to become something new. Or, as Willits puts it, OPENING is about transformation, the experience of changing oneself to be more of who you know you can be, and, ultimately, the joy that comes with that change.1. Vision
7. Release$18.99Vinyl LP - Sealed Buy Now
Trompe Le Monde
The Pixies Trompe Le Monde On Numbered Limited Edition 180g LP From Mobile Fidelity
Pixies Swan Song Sparks With Electrically Charged Hooks, Outer-Space Atmospherics, And Eminent Tunefulness
Mastered From The Original Master Tapes: Restoration Turns 1991 Album Into A Sonic Blockbuster
Frank Black-led Set Includes Contagious Cover Of The Jesus And Mary Chain's "Head On"
The Pixies verged on commercial breakthrough when the now-iconic band released Trompe le Monde in September 1991. A sea change in popular music tastes that the band helped initiate began to sweep the world. And the Boston quartet seemed prepared to lead the way, with this, its eminently tuneful fourth record, jam-packed with crafty hooks, prickly tones, catchy elements, outer-space atmospherics, electrically charged energy, and delightfully quirky lyrics.
As it stands, Trompe le Monde takes its place as one of the finest swan songs ever recorded. If the Pixies wouldn't have broken up right after its release, there's no telling what would've happened. All that you need to know is that the 15-track effort is as hard rocking and brilliantly innovative as any of the group's creations. That's no small feat.
Mastered from the original analog tapes and pressed at RTI, Mobile Fidelity's numbered limited edition 180g LP presents the ensemble's abrasively melodic landmark in a fidelity it's never enjoyed in any prior version. Featuring lusher keyboards and moodier soundscapes than its predecessors, but also reclaiming the nasty guitar edginess and swooning distortion of the group's earliest efforts, Trompe de la Monde finally comes across as the Pixies intended: A sonic bridge between college-rock's influential cruder-textured albums and the polished professionalism that distinguished alt-rock classics.
In other words, Mobile Fidelity's version presents it as the perfect-sounding album: Replete with grit, rawness, and character, but mixed in with radio-friendly smoothness and virtuosic professionalism. Awash with incredible timbres and tonalities, myriad new details rise to the surface. Listen to the counterpoint melodies and layered vocals on "Letter to Memphis"; the trash-compactor feedback and thumping bass during the whipsawing "Planet of Sound"; the "Spyhunter"-like pace and limitless depth now present on "Subbacultcha." Dynamics, contrasts, low-end frequencies, and imaging are all significantly enhanced. Compared to the original CD, Trompe le Monde emerges as a new album-a sonic wonderland that's not far removed from that of Nirvana's celebrated blockbuster Nevermind.
Musically, the Pixies were never better. On par with the groundbreaking Surfer Rosa and Doolittle, Trompe le Monde explodes with hyper riffs, jerks to stop-start progressions, elates with cheerful emotions, and bangs on to giddy surf-fused arrangements. With Kim Deal absent from the songwriting process, vocalist/guitarist Frank Black takes the reigns and doesn't disappoint. Tales about sea monkeys ("Palace of the Brine"), aliens ("Planet of Sound"), and love ("The Sad Punk") bop alongside memorable jabs at hipster pretensions ("Subbacultcha") and inflated egos ("U-Mass"). A contagious cover of the Jesus and Mary Chain's "Head On" will have you hitting "repeat." Power pop, wanderlust punk, theatrical glam rock, reconfigured reverb-laden country-all here, all encouraging repeat listens.
Nearly lost due amidst the alternative trend that it played such a key role in spawning, Trompe le Monde gets new life courtesy of this extremely punchy, greatly balanced Mobile Fidelity issue. If you missed it the first time, don't make that mistake again. Essential with a capital "E," and the perfect way to close Mobile Fidelity's Pixies catalog restoration series.
This title is not eligible for discount.1. Trompe le Monde
2. Planet of Sound
3. Alec Eiffel
4. The Sad Punk
5. Head On
7. Palace of the Brine
8. Letter to Memphis
9. Bird Dream of the Olympus Mons
10. Space (I Believe In)
12. Distance Equals Rate Times Time
13. Lovely Day
14. Motorway to Roswell
15. The Navajo Know$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Funk Beyond The Call Of DutyFunk Beyond the Call of Duty album by Johnny Guitar Watson was released Oct 11, 2005 on the Shout! Factory label. This installment of Johnny Guitar Watson's sojourn into 1970s' style funk incorporates Funkadelic-style chants and sophisticated grooves as well as the blues and R&B master's trademark hoarse vocalizing; but, as always, his prickly, jazzy guitar soloing is the main attraction, displayed to its best advantage on burning funk tracks like Barn Door and It's About the Dollar Bill.1. Funk Beyond The Call Of Duty
2. It's About The Dollar Bill
3. Give Me My Love
4. It's A Damn Shame
5. I'm Gonna Get You Baby
6. Barn Door
7. Love That Will Not Die$13.99Vinyl LP - Sealed Buy Now
Dogs On AcidThe members of Philadelphia's DOGS ON ACID have only been playing together since 2014, but there's nothing novice about them. For starters, the band is a veritable supergroup of revered Philadelphia acts, featuring members of Algernon Cadwallader, Snowing and others to make Dogs On Acid yet another export from the buzzed-about local scene. This longstanding entrenchment in Philadelphia's music landscape has allowed the punk/indie band - singer/guitarist Peter Helmis, guitarist Joe Reinhart, bassist Nate Dionne and drummer Nick Tazza - a refreshing amount of familiarity to bypass the typical startup grunt work that comes with forming a new project and focus on the most important thing: the music. "We've never said, 'Let's write music like this because people who like our old bands' stuff want to hear more," Dionne explains. "Our past bands really never come up [in conversation]; we just know so much about each other that it's never a discussion we really have." And while the mention of their past projects might gain the band a few more eyeballs or perked-up ears, the last thing Dogs On Acid want to do is halt progression or resort to propping up their past to sustain their present. It's that fixation on the future that makes the band's self-titled debut album (out 8/28 on Jade Tree) so engaging. You'll hear bits of the band's musical past on Dogs On Acid, but when these moments get juxtaposed alongside a brand-new sonic outlook is when things really start to pop - the true sign of individual influences and playing styles melding together to form something exciting. "Part of the reason we wanted to start this band was because we'd all seen each other in other bands and knew how we played, the styles we all had," says Dionne. "We wrote around knowing those styles. We write really well together because we've been watching each other play for so long and feed off of that." As such, the songs on Dogs On Acid at times feel effortless in the best way: "The Prick" stomps like Pinkerton-era Weezer; the playful hooks of "Flushed" make for an earworm surprise; and '90s indie-rock influences like Pixies, Built to Spill and Archers of Loaf shine through on songs such as "Make It Easy." But above all, Dogs On Acid is an album with a distinct personality, the result of the band rejecting desires to overthink things and play what feels right. That manifested itself in the studio, where the group tracked much of the album live with minimum overdubs to encapsulate what it's like at a Dogs On Acid show: a loose, vibrant experience - much like the band itself - where listeners are free to let all preconceived notions and past baggage float away, and instead celebrate the here and now.$15.99Vinyl LP - Sealed Buy Now
Change Becomes UsOnly Wire would attempt to make their fourth album after their tenth. At the beginning of their career, between 1977 and 1979, the great British art punk quartet released three perfect albums, Pink Flag, Chairs Missing and 154, each wildly different from the other. Then they splintered, though a bunch of post-154 songs-in-process came to light later, in the dodgy live recordings that made up the bizarre, messy Document and Eyewitness (1981) and 1996's Turns and Strokes.
Since they first reunited in 1985, Wire has had an exceptionally weird relationship to its own past. During their commercial peak in the latter half of the 80s, they refused to play anything from the pre-breakup era, and for the first few years of their current incarnation, they mostly acted as if they'd jumped straight from Pink Flag to the year 2000. At the beginning of this decade, they started looking back in earnest-- not in a hey, kids, we wrote 12 x U, remember? way, but in a cleaning up loose ends way. 2011's Strays EP contained four pieces that had been kicking around their live repertoire for a long time but had never been recorded to their satisfaction before; the Black Session album that came out last year actually included a few relatively faithful versions of old songs.
And now they've gone back to the material they'd have recorded for the album that never happened after 154. The 13 titles on Change Becomes Us are new, but the songs themselves aren't; they're all more or less newly rewritten versions of the Document and Eyewitness/Turns and Strokes repertoire. It's not the first time they've reckoned with some of those sketches, either. B/W Silence and Time Lock Fog are respectively adapted from Lorries and 5/10, which singer/guitarist Colin Newman previously reworked on his 1982 solo album Not To. Doubles & Trebles is a new version of Ally in Exile, which Wire mutated first into Art of Persistence on 2000's The Third Day and then into I Don't Understand on 2002's Read & Burn 01; positioned as the new album's opener, its arrangement and lyric (about a solitary agent in enemy territory) explicitly allude to the way Reuters introduces Pink Flag.
The Wire of 1980, and the band's members on the solo records that immediately followed the split, were radicals who were trying to pry open the pop-recording form and avoid repeating themselves. The Wire of 2013 have settled on a sweet-and-prickly sound that suits them, and sonically Change Becomes Us is of a piece with Red Barked Tree and Object 47, the other studio albums they've recorded since the 2004 departure of guitarist/texturalist Bruce Gilbert. (These days, his spot is filled by Matt Simms, who's 30 years younger than the rest of the band.)
Considered as a set of songs, though, it's fantastic-- a clear look at the twisty, glittering material that had previously only been a few sparkles of possibility shining through the muck of those difficult live albums. The band who wrote these songs were a couple of years away from becoming hardcore punk icons-- there are hints of that when drummer Robert Grey breaks into a high-speed two-step on Adore Your Island and Stealth of a Stork. And they were so deeply invested in non-obviousness that their lyrics sometimes read like cryptic crossword clues: the hook of Eels Sang Lino-- recast here as Eels Sang-- is an anagram for in Los Angeles.
But the Wire of 1979 and 1980 were also developing their enduring fascination with unlikely kinds of beauty, and their 21st century incarnation has built some of their most fetching songs from some of the most ragged and jagged ideas to come from their younger selves. (Re-Invent Your Second Wheel, sung by bassist Graham Lewis, is a languorous waltz whose DNA has traces of the in-your-face Document and Eyewitness experiment Zegk Hoqp.) History and transformation are, understandably, recurring themes in the new lyrics on Change Becomes Us, and it's a treat to have this missing link in the Wire story repaired, even if it's as much an anomaly in the present moment as Document and Eyewitness was in its time.
- Douglas Wolk (Pitchfork)1. Doubles & Trebles
2. Keep Exhaling
3. Adore Your Island
4. Re-Invent Your Second Wheel
5. Stealth Of A Stork
6. B/W Silence
7. Time Lock Fog
8. Magic Bullet
9. Eels Sang
10. Love Bends
11. As We Go
12. & Much Besides
13, Attractive Space$29.99Vinyl LP - Sealed Buy Now
The Good Son (Out Of Stock)Losing Wolf, aside from the final reprise of Lucy, but otherwise making no changes in the line-up, the Seeds followed up Tender Prey with the equally brilliant but generally calmer Good Son. At the time of its release there were more than a few comments that Cave had somehow softened or sold out, given how he was more intent on exploring his dark, cabaret pop stylings than his thrashy, explosive side. This not only ignored the constant examples of such quieter material all the way back to From Her to Eternity, but Cave's own constant threads of lyrical darkness, whether in terms of romance or something all the more distressing. This said, the softly crooning group vocals and sweet strings on the opening Foi Na Cruz certainly would catch some off guard. The title track itself captured the overall mood of the album, a retelling of the Bible's prodigal son story from the other son, the one who stayed at home and did what he was meant to do. The elegant, reflective Lucy and the staccato then sweeping Lament are two further high points, but the flat-out winners come dead center. The Weeping Song, a magnificent duet between Cave and Bargeld, starts out sounding a bit like Gene Pitney's Something's Gotta Hold of My Heart, which the Seeds covered on Pricks, before shading into its own powerful, blasted drama. The Ship Song, meanwhile, equals if not overtakes the Scott Walker ballads Cave so clearly is inspired by, a soaring, tearjerking declaration of intense love that's simply amazing.
- Ned Raggett (All Music Guide)1. Foi Na Cruz
2. The Good Son
3. Sorrow's Child
4. The Weeping Song
5. The Ship Song
6. The Hammer Song
8. The Witness Song
9. Lucy$21.99Vinyl LP - Sealed Temporarily out of stock