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The Phosphorescent Blues\After working with Burnett numerous times-most recently on the soundtrack for the Joel and Ethan Coen film Inside Llewyn Davis and the related Town Hall/Showtime concert Another Day, Another Time-Punch Brothers decided to join forces with the multiple Grammy Award-winning producer for their new record. Last summer, the band and Burnett spent a month at Hollywood's Ocean Way Recording laying down the songs that guitarist Chris Eldridge, bassist Paul Kowert, banjo player Noam Pikelny, mandolinist and lead singer Chris Thile, and fiddler Gabe Witcher had written during several writing "retreats" last winter and spring.
Thile explains one of the ways the music on The Phosphorescent Blues reflects the band's view of modern life: "We often go to bars after shows or writing sessions, to be around other people for a little while. And I'd see people just like me on their phones, telling people they wish they were there, texting people who really are there. Then a song would come on that somebody likes and then they see that someone else does too and maybe they both sing it together and that moment is spiritual, some shared experience, and they are interacting in the flesh, with their fellow man. And that's communion. Many of the songs on this record dive into that: how do we cultivate beautiful, three-dimensional experiences with our fellow man in this day and age?"
Shortly before the sessions began, Thile and Witcher met with Burnett and discovered the producer had the very same things on his mind. In fact, he'd just given a commencement address at the University of Southern California on the subject of technology and human interaction. Witcher remembers, "Thile and I looked at each and said, 'This is unbelievable. It's exactly what we are writing about.' So this was a perfect, serendipitous union."LP 1
3. Passepied (Debussy)
4. I Blew It Off
6. My Oh My
1. Boll Weevil
2. PrÉlude (Scriabin)
4. Between 1st and A
5. Little Lights
6. Sleek White Baby
8. The Hops of Guldenberg
9. The Wireless$39.99Vinyl LP - 2 LPs Sealed Buy Now
Who's Feeling Young Now?Punch Brothers release their new album, Whos Feeling Young Now?, on vinyl March 20. Completed over three weeks at Blackbird Studios in Nashville, the record was produced by Grammy Award winner Jacquire King (Kings of Leon, Tom Waits, Modest Mouse). Whos Feeling Young Now? is the follow-up to 2010s Grammy-nominated Antifogmatic, about which the New York Times said: Punch Brothers have the unplugged lineup of an old-fashioned string band But their music is as radical as new acoustic music can be.
Ten songs from Whos Feeling Young Now? were written by Punch Brothers, with the bands friend Josh Ritter co-writing lyrics on two tunes (Hundred Dollars and New York City). Additionally, the album contains the bands interpretations of Radioheads Kid A and the Swedish group VÄsens Flippen. The vinyl album was pressed on two discs of 140-gram, audiophile-quality vinyl and includes four additional Punch Brotherspenned tunes. Pre-orders include an instant download of the album track Movement and Location and an exclusive set of five custom Punch Brothers paper coasters illustrated by New Yorker cartoonist Matthew Diffee, signed by the band.
Punch Brothers was formed in 2006 by mandolinist/singer Chris Thile with four other virtuosic musicians: fiddler Gabe Witcher, banjo player Noam Pikelny, bassist Paul Kowert, and guitarist Chris Critter Eldridge. Their first Nonesuch record, Punch, was released in 2008 and combined elements of the bands many musical interests, including indie rock, folk, jazz, bluegrass, and classical music. In 2009 they all moved to New York City and began a regular, standing-room-only, residency at the Living Room, trying out new songs as well as inspired covers; these shows ultimately spawned Antifogmatic.
Whos Feeling Young Now? is less evasive than Antifogmatic and Punch, said Thile. And I feel like part of that is us becoming more comfortable with who we are as a band, and me becoming more comfortable with who I am as a singer.LP1
1. Movement and Location
2. This Girl
3. No Concern of Yours
4. Who's Feeling Young Now?
6. Flippen (The Flip)
7. Patchwork Girlfriend
8. Hundred Dollars
1. Soon or Never
2. New York City
3. Kid A
4. Don't Get Married Without Me
5. Roses Blooming in the Dark
7. Knock Me Down
8. Shh, Just Let Me Do This$29.99Vinyl LP - 2 LPs Sealed Buy Now
Ahoy!Nonesuch Records releases Punch Brothers' five-song EP, Ahoy! Recorded during the Nashville sessions for their critically acclaimed 2012 album, Who's Feeling Young Now?, these tracks also were produced by Jacquire King (Kings of Leon, Tom Waits, Modest Mouse). The Los Angeles Times said Who's Feeling Young Now?'s "rich and evocative tracks capture a white-hot musical mind coming into his own and collaborating with stellar peers," and Rolling Stone said, "The acoustic framework dazzles-wild virtuosity used for more than just virtuosity."1. Another New World
2. Down Along the Dixie Line
4. Squirrel of Possibility
5. Icarus Smicarus$13.9910 Vinyl LP - Sealed Buy Now
AntifogmaticAntifogmatic, the follow-up to the Punch Brothers' 2008 debut, Punch, is a collaboratively written collection of songs from these five wily, omnivorous bluegrass titans, as the Village Voice has called them, a quintet that the Washington Post, in turn, has described as some of the best string pickers of the new generation.
Antifogmatic is seamlessly sequenced to display the collective imagination, the instrumental and vocal power, of the band: Thile, guitarist Chris Eldridge, bassist Paul Kowert, banjo player Noam Pikelny, and fiddler Gabe Witcher. Though the quintet is now based in New York City, where they have an informal residency at Manhattan's The Living Room, they recorded and mixed the album at Hollywood's historic Ocean Way studio with iconoclastic producer Jon Brion (Brad Mehldau, Aimee Mann, Fiona Apple, Kanye West) and engineer Greg Koller. Says Witcher, We knew we needed a producer equally as well-versed in pop and rock as in instrumental music, and I don't think there is anyone more able to capture and communicate the essence of this material than Jon Brion.
The arrangements on Antifogmatic range from intimate to boisterous and back; genre-wise, the band once again ventures where no string band has ever gone before. The spare opening track You Are contrasts percussive guitar riffs with lyrical string parts that dance around Thile's sweet upper register as he spins a tale of romantic emancipation; occasionally, the other instruments give way to reveal the throb of the bass. The band also engages in some unexpectedly beautiful harmony singing, smoothing out the compelling melodic twists and turns of Welcome Home. Me and Us and Woman and the Bell both have a dream-like quality; the former, in fact, was inspired by those jumbled, thought-filled moments before sleep sets in, and the instrumentation keeps pace with the ever-shifting imagery. In contrast, Don't Need No and Rye Whiskey are foot-stomping barroom boasts and Next to the Trash is the closest the band gets to traditional bluegrass, even as the lyrics tug the piece in a more surreal direction.1. You Are
2. Don't Need No
4. Rye Whiskey
5. Me and Us
7. The Woman and the Bell
8. Next to the Trash
9. Welcome Home
10. This Is The Song [Good Luck]$24.99Vinyl LP - Sealed Buy Now
Tomorrow Is My TurnRhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.
Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City's Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis." Backstage, Burnett was immediately moved to ask if he could produce a record with her. "It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe," Burnett says. "We need that person in our culture."
For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional "Black Is the Color," tracks include Hank Cochran's "She's Got You," made famous by Patsy Cline; Dolly Parton's "Don't Let It Trouble Your Mind"; "O Love Is Teasin'," popularized by the Kentucky-reared "mother of folk" Jean Ritchie; and Elizabeth Cotton's "Shake Sugaree."
"I had already started putting together a list of songs that didn't really fit into the Chocolate Drops world," Giddens explains. "At the top was 'Tomorrow Is My Turn' [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she'd gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words 'tomorrow is my turn,' I began to think about the struggle of her and women like her." The significance of this song led Giddens to make it the title of the album as well. "Other songs started getting on my list and they were all by women or interpreted by women," she says.
Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown's renowned Funk Brothers; drummer Jay Bellerose; guitarist Colin Linden; legendary backup singer Tata Vega; veteran Nashville session bassist Dennis Crouch; and Giddens' Drops touring band-mates, multi-instrumentalist Hubby Jenkins and beat-boxer Adam Matta.
Tomorrow Is My Turn follows Giddens' work with Elvis Costello, Taylor Goldsmith, Jim James, and Marcus Mumford on Lost On The River: The New Basement Tapes, an album also produced by Burnett that was released in November 2014. Her contribution was hailed by Rolling Stone magazine as the "showstopper evoking antebellum blues with a magnificent voice that interrogates the myths stirred up at Big Pink." The New York Times agreed, saying "On lead vocals she's the album's revelation, singing melodies that hark back to Celtic modes with a decisive presence and a haunting grace."1. Last Kind Words
2. Don't Let It Trouble Your Mind
4. She's Got You
5. Up Above My Head
6. Tomorrow is My Turn
7. Black Is the Color
8. Round About the Mountain
9. Shake Sugaree
10. O Love Is Teasin'
11. Angel City$22.99Vinyl + CD - Sealed Buy Now
Chris Thile & Brad MehldauNonesuch Records labelmates mandolinist/singer Chris Thile and pianist Brad Mehldau, longtime admirers of each other's work, first toured as a duo in 2013. At the end of 2015, they played a two-night stand at New York City's Bowery Ballroom before going into the studio to record Chris Thile & Brad Mehldau, a mix of covers and original songs.
Chris Thile and Brad Mehldau come from different worlds but the same species, says the New York Times. Mr. Thile is a progressive-bluegrass pacesetter; Mr. Mehldau is the most influential jazz pianist of the last 20 years. Both are team players ... Both love Bach and the Beatles, and both have developed fan bases bigger and broader (and younger) than their genre silos can accommodate.
The two musicians first performed together in September 2011 as part of Mehldau's residency at London's Wigmore Hall. The Guardian said of that performance, Mehldau struck up his signature rocking chord vamp over which lightly struck motifs swell to sensuous extended melodies. Thile kept cajoling him with percussive snaps, flying runs, and chords strummed fast enough to sound as seamless as a purring strings section, inducing Mehldau to bat back the playful provocation with stinging rejoinders.
MacArthur Fellow and A Prairie Home Companion host Chris Thile is the founding member of Punch Brothers, which a Boston Globe reviewer called the tightest, most impressive live band I have ever seen. The band has released four albums on Nonesuch beginning in 2008: Punch, Antifogmatic, Who's Feeling Young Now?, and The Phosphorescent Blues. Thile's other releases on the label include Sleep with One Eye Open with Michael Daves; Edgar Meyer & Chris Thile and Bass & Mandolin-the latter of which won a Grammy Award; a solo record of Bach violin sonatas and partitas; and A Dotted Line with his longtime band Nickel Creek. He also recently collaborated with Yo-Yo Ma, Stuart Duncan, and Edgar Meyer on the double Grammy Award-winning album The Goat Rodeo Sessions.
Brad Mehldau's Nonesuch debut was the 2004 solo disc Live in Tokyo and includes six records with his trio: House on Hill, Day Is Done, Brad Mehldau Trio Live, Ode, Where Do You Start, and Blues and Ballads. His collaborative records on the label include Love Sublime, Highway Rider, Metheny Mehldau, Metheny Mehldau Quartet, Modern Music, and Mehliana: Taming the Dragon. Mehldau's additional solo albums on Nonesuch include Live in Marciac and last year's 8-LP/4-CD 10 Years Solo Live, which the New York Times says contains some of the most impressive pianism he has captured on record. Earlier this year, he released a duo album with Joshua Redman, Nearness, of which the Wall Street Journal said: Few records released this year better define what jazz sounds like today, even if there isn't a hip noun to describe it.1. The Old Shade Tree (Brad Mehldau & Chris Thile)
2.Tallahassee Junction (Brad Mehldau)
3. Scarlet Town (David Rawlings & Gillian Welch)
4. I Cover the Waterfront (Johnny Green & Edward Heyman)
5. Independence Day (Elliott Smith)
6. Noise Machine (Chris Thile)
7. The Watcher (Brad Mehldau)
8. Daughter of Eve (Chris Thile)
9. Fast As You Can (Fiona Apple)*
10. Marcie (Joni Mitchell)
11. Don't Think Twice It's Alright (Bob Dylan)
12. Tabhair dom do Lámh (Ruaidri Dáll Ó Catháin)
*Vinyl-only bonus track$27.99Vinyl LP - Sealed Buy Now
ADAD-ANT-3812xThe Milk Carton Kids
The Ash & ClayThe Ash & Clay culminates a whirlwind first year of the Milk Carton Kids' existence. In that short time the duo of Kenneth Pattengale and Joey Ryan have built a vibrant following with the simple purity of their music: touring with the Lumineers, Old Crow Medicine Show, Punch Brothers, and KD Lang; appearing on NPR's Tiny Desk concert series; charming audiences with their deadpan on-stage humor (riffing on the Smothers Brothers for young fans who have never heard of the Smothers Brothers); offering their debut album for free to willing fans - over 110,000 downloaded - from their website; and grabbing press acclaim usually reserved for veteran artists. A sweetly dazzling variation on closeharmony vocals, part Simon and Garfunkel and part Everly Brothers, with occasional acoustic prestidigitation," proclaimed The New York Times. With three new Milk Carton Kids songs - "Snake Eyes," "The Ash & Clay" and "The Jewel of June" - featured in the new Gus Van Sant film Promised Land starring Matt Damon, 2013 looks to be a big year for these Kids.
This LP contains a CD of the full album.1. Hope Of A Lifetime
2. Snake Eyes
3. Honey, Honey
4. Years Gone By
5. The Ash & Clay
6. Promised Land
7. The Jewel Of June
8. Whisper In Her Ear
9. On The Mend
11. Hear Them Loud
12. Memphis$19.99Vinyl LP - Sealed Buy Now
Donkey Punch The NightDonkey Punch the Night is the third EP by American alternative rock act Puscifer. Donkey Punch the Night is the follow-up to Puscifer's 2011 album Conditions of My Parole and features two new tracks (Breathe and Dear Brother) as well as two covers, Bohemian Rhapsody by Queen and Balls to the Wall by Accept. Also included are remixes of the new tracks and of one cover.1. Bohemian Rhapsody (O.G. Mix)
3. Dear Brother
4. Balls To The Wall (Pillow Fight Mix)
5. Breathe (Drumcell rework)
6. Dear Brother (Denton rework)
7. Balls to the Wall (Silent Servant El Guapo mix)$13.99Vinyl LP - Sealed Buy Now
The Notorious Byrd Brothers (MONO)Ranked 171/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Byrds pull no punches kicking off their fifth album, 1968's The Notorious Byrd Brothers, with Artificial Energy, a devastating haymaker aimed at the go-fast generation. In the blink of an eye, they're into the most beautiful baroque folk-rock ever created, the Carole King/Gerry Goffin-penned Goin' Back. It was the song that caused David Crosby to leave the band (witness the empty horse stall on the cover photo) an odd reaction, considering most of Notorious was layered with a phased and eerie deep-space vibe that seemed to come from another galaxy. Space Odyssey is the perfect post-film mint for Stanley Kubrick's intergalactic thriller 2001: A Space Odyssey. The heartbreak of Draft Morning says plenty about being eligible for conscription during the Vietnam War, while Wasn't Born To Follow was a perfect fit for silver screen epic Easy Rider, whose main characters were based directly on McGuinn and Crosby.
Insanely rare and unavailable for over 40 years, we're proud to present the first ever reissue of this monumental recording in its original, highly-sought-after mono incarnation, cut directly from the original Columbia Recordings analog mono masters, with perfect artwork restoration and meticulously faithful mastering.1. Artificial Energy
2. Goin' Back
3. Natural Harmony
4. Draft Morning
5. Wasn't Born To Follow
6. Get To You
7. Change Is Now
8. Old John Robertson
9. Tribal Gathering
10. Dolphin's Smile
11. Space Odyssey$28.99Vinyl Mono LP - Sealed Buy Now
Della MaeWith an approach that's steeped in tradition yet firmly rooted in the present, Della Mae draws from a well of
influences to create vibrantly original music that conveys their expansive musical vision with timeless lyrical truths and a contemporary sensibility all their own, placing them alongside such young acts as the Avett Brothers, Punch Brothers, and the Lumineers. Produced by Jacquire King (Of Monsters and Men, Dawes, Kings of Leon), this is the all-female combo's 2nd album for Rounder.1. Boston Town
2. Rude Awakening
3. Can't Go Back
4. For the Sake of my Heart
5. Good Blood
6. To Ohio
8. Take One Day
9. Long Shadow
10. No Expectations
11. High Away Gone$21.99Vinyl LP - Sealed Buy Now
LanternsEqual parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual
gap between old-world music theory and next-level experimentation. Meditative
but heaving with energy, "Lanterns" nds a peculiar congruency between
futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To
Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly
juxtaposing densely layered arrangements with Lott's fragile voice.
In recent past Son Lux has gained notoriety both for his s/s/s project (with
Sufjan Stevens and Serengeti), and from being named NPR's "Best New Artist of
the Year". His third full-length album, and his rst for Joyful Noise (Kishi Bashi,
Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of
instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter
Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath),
Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).1. Alternate World
2. Lost It To Trying
5. No Crimes
7. Enough of Our Machines
8. Plan The Escape
9. Lanterns Lit$22.99Vinyl LP - Sealed Buy Now
Bach: Sonata and Partitas, Vol. 1Nonesuch Records releases an album of three Bach works recorded by mandolin virtuoso and MacArthur Fellow Chris Thile in 2013. Bach: Sonatas and Partitas, Vol. 1 comprises three works written for solo violin: Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B minor, BWV 1002; and Sonata No. 2 in A minor, BWV 1003. The album was produced by Thile's friend, mentor, and frequent collaborator, the double bassist and composer Edgar Meyer.
Thile explains his connection to the composer: "Bach was my first meaningful experience with-for lack of a better word-classical music. It was the second recording of Glenn Gould playing the Goldberg Variations. Gould plays with the kind of rhythmic integrity that I had previously only associated with non-classical music: music with a groove, with a pocket, that made you move. Gould was playing that music like my heroes play fiddle tunes. It humanized the whole thing for me and the heavens opened up and Bach came down. I started devouring all the Bach I could get my hands on."
He continues, "This record to me is not about this iconic violin music played on the mandolin-like, 'Oh boy, what fun, he's playing a weird instrument!' It's about Bach being one of the greatest musicians of all time, the solo violin music being some of his best work, and the mandolin having the potential to cast it in a new and hopefully interesting light.
Chris Thile, whom London's Independent calls "the most remarkable mandolinist in the world," is the founding member and lead vocalist of Punch Brothers. With broad influences including progressive bluegrass, classical, rock, and jazz, Thile transcends the borders of conventionally circumscribed genres, creating a distinctly American canon and a new musical aesthetic. Thile will be touring this summer with Yo-Yo Ma, Stuart Duncan, and Edgar Meyer, with whom he released last year's The Goat Rodeo Sessions, which won two Grammys in 2013.
As a soloist, Thile has released five previous albums. In 2011, Nonesuch Records released the Grammy-nominated Sleep with One Eye Open, an album of duets with guitarist Michael Daves. Thile has also collaborated with a pantheon of musical innovators from multiple genres including BÉla Fleck, Brad Mehldau, and Hilary Hahn. For more than 15 years, Thile played in the wildly popular band Nickel Creek, with which he released three albums, sold two million records, and was awarded a Grammy.
The New Yorker's Alec Wilkinson said of Punch Brothers: "each musician has a deep command of his instrument their technique and specific sensibilities have given Punch Brothers a sound that is strikingly coherent and singular, even if they haven't yet settled on a genre Each of the musicians plays with grace, thoughtfulness, and force to a degree that is not duplicated by any band I am aware of." Their latest album, the critically acclaimed Who's Feeling Young Now?, was released in 2012 on Nonesuch Records.
Chris Thile, mandolin
Produced by Edgar Meyer
Recorded and Mixed by Richard King
Recorded January 12-17, 2013, at The Barn, Washington, MA
Mastered by Robert C. Ludwig at Gateway Mastering Studios, Portland ME
Illustration by Oliver Jeffers
Design by Rory Jeffers
Photography by Ryan Mastro
Executive Producer: Robert Hurwitz1. Sonata No. 1 in G Minor, BWV 1001: I. Adagio
2. Sonata No. 1 in G Minor, BWV 1001: II. Fuga: Allegro
3. Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
4. Sonata No. 1 in G Minor, BWV 1001: IV. Presto
5. Partita No. 1 in B Minor, BWV 1002: I. Allemanda
6. Partita No. 1 in B Minor, BWV 1002: II. Double
7. Partita No. 1 in B Minor, BWV 1002: III. Corrente
8. Partita No. 1 in B Minor, BWV 1002: IV. Double: Presto
9. Partita No. 1 in B Minor, BWV 1002: V. Sarabande
10. Partita No. 1 in B Minor, BWV 1002: VI. Double
11. Partita No. 1 in B Minor, BWV 1002: VII. Tempo di Borea
12. Partita No. 1 in B Minor, BWV 1002: VIII. Double
13. Sonata No. 2 in A Minor, BWV 1003: I. Grave
14. Sonata No. 2 in A Minor, BWV 1003: II. Fuga
15. Sonata No. 2 in A Minor, BWV 1003: III. Andante
16. Sonata No. 2 in A Minor, BWV 1003: IV. Allegro$20.99Vinyl LP - Sealed Buy Now
Sara WatkinsSara Watkins self-titled debut, eagerly anticipated by the significant fan base shes built after nearly two decades as fiddle player and vocalist for Grammy Award-winning trio Nickel Creek, boasts an easygoing virtuosity. The youthful Watkins, who joined Nickel Creek when she was barely in her teens, displays formidable skill as a multi- instrumentalist, playing the guitar and ukelele as well as the fiddle, and is just as versatile, and breathtakingly mature, as a singer. Watkins incorporates folk, country, gospel, and pop into her 14-song set, produced by former Led Zeppelin bassist John Paul Jones and recorded in Los Angeles and Nashville. Shes joined by a wide range of old friends and longtime heroes, including alt-country duo Gillian Welch and Dave Rawlings, Tom Petty and the Heartbreakers keyboardist Benmont Tench, and Elvis Costello drummer Pete Thomas; colleagues from the bluegrass world like Tim OBrien, Punch Brothers Chris Eldridge, Ronnie McCoury, and Rayna Gellert; and Nickel Creek band-mates Chris Thile and Sean Watkins.
Watkins mixes eight of her own songs with tunes by such artists as John Hartford, Tom Waits, and Davíd Garza. Her self-penned fiddle numbers are exuberant, foot-stomping instrumentals, while the songs for which she wrote both music and lyrics have a heart-meltingly lovelorn quality. Watkins knows how to channel in her own work the plaintive emotions of classic country and timeless pop. Theres honesty and empathy on tracks like the sweetly soulful My Friend, the brooding Bygones, and rueful album closer, Where Will You Be. She proves to be as astute as Emmylou Harris or Linda Ronstadt in her choice of covers, segueing gracefully from the aforementioned Waits, Garza and Hartford to the lighthearted country-and-western swing of Jimmie Rodgerss Any Old Time, to the world-weariness and spiritual yearning of Norman Blakes Lord Wont You Help Me, to the romantic wistfulness of Jon Brions Same Mistakes.1. All This Time
2. Long Hot Summer Days
3. My Friend
5. Same Mistakes
6. Any Old Time
8. Lord Wont You Help Me
10. Give Me Jesus
12. Too Much
13. Will We Go
14. Where Will You Be$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
$19.99 $15.79 Save $4.20 (21%)
This World Oft Can Be (Discontinued) (On Sale)On May 28, Boston-based quintet Della Mae will release their debut for Rounder, This World Oft Can Be. The album, which was produced by Bryan Sutton and mixed by Paul Q. Kolderie (Radiohead, Hole, Dinosaur Jr.) shows that like the Avett Brothers, Lumineers, and Punch Brothers, these five multitalented young women are respectful of American musical tradition, but not restricted by it, combining centuries' worth of musical influences with an emotionally tough, undeniably modern songwriting sensibility.
This World Oft Can Be's 12 songs-including such engaging originals as "Empire," "Paper Prince" "Maybeline" and the feisty title track-showcase the fivesome's world-class instrumental abilities, lilting harmonies and subtly commanding lead vocals. Although the musicians' sublime skills have already won them numerous individual honors, the album's focus is squarely on the band's emotionally potent songs and spirited, effortlessly expressive performances.
"The identity that we've developed as a band is a melting pot of our different personalities and backgrounds," asserts founder Kimber Ludiker. After having the idea at a summer festival, Kimber hand picked musicians from all over the country: singer Celia Woodsmith comes from a blues/rock background, guitarist Courtney Hartman studied at Berklee College of Music, bassist Shelby Means played with various bands in Nashville, and mandolin player Jenni Lyn Gardner was schooled in traditional bluegrass. Della Mae's members hail from all over the United States, and the five women each bring impressive musical resumes amassed in their previous ventures.
Della Mae recorded This World Oft Can Be at Cash Cabin Studio, Johnny Cash's former recording base, in Hendersonville, Tennessee. In addition to absorbing the studio's inspirational vibes, Courtney Hartman played June Carter Cash's vintage 1933 Gibson L5 Round Hole guitar on "Some Roads Lead On," while Ludiker had the honor of borrowing John Hartford's custom carved fiddle on "Letter From Down The Road."1. Letter From Down The Road
3. Paper Prince
6. Ain t No Ash Will Burn
7. Heaven s Gate
8. Turtle Dove
9. Pine Tree
10. Like Bones
11. This World Oft Can Be
12. Some Roads Lead On$19.99 $15.79 Save $4.20 (21%)Vinyl LP - Sealed Buy Now
The Goat Rodeo SessionsThe last time cellist Yo-Yo Ma teamed with bassist Edgar Meyer and mandolin player Chris Thile (of Nickel Creek and Punch Brothers fame) for a classical/bluegrass hybrid, the result was the gold-selling Songs of Joy & Peace. Here, Ma, Meyer, and Thile are joined by fiddler Stuart Duncan in a different kind of string quartet.
The slang phrase goat rodeo, according the Urban Dictionary, is about the most polite term used by aviation people (and others in higher risk situations) to describe a scenario that requires about 100 things to go right at once if you intend to walk away from it. That may be overstating the case for a group of musicians, most of whom have worked together and succeeded before, but it also carries a rural connotation that is appropriate for music that is, for the most part, closer to bluegrass than classical. The tunes were written by Duncan, Meyer, and Thile, and Ma's role is largely supportive. After the fast pieces Attaboy and Quarter Chicken Dark, Helping Hand is the first slower number, with Thile switching to guitar and Duncan taking over the mandolin for a musical conversation between the two instruments.
Where's My Bow? is a violin/cello/bass trio with Thile sitting out, and it is one of the few tracks that leans more toward the classical side, boasting a big, dramatic finish. The more exotic Here and Heaven finds both Thile and Meyer at times playing the Renaissance instrument the gamba, as Duncan picks up a fretless banjo, all of them backing a vocal duet between Thile and Aoife O'Donovan of Crooked Still. Meyer moves to piano for the slow, thoughtful Franz and the Eagle, another piece that has more of a classical bent.
The rest of the album is in a progressive bluegrass mode, Less Is Moi mixing several short themes and allowing room for improvisation, and 13:8 taken quickly, with Duncan and Thile interacting briskly. It doesn't really seem as if 100 things had to go right for The Goat Rodeo Sessions to work; it only required four or five talented musicians to play and sing in sympathetic unity, and that they did, making this a satisfying experience for more adventurous classical and bluegrass fans.LP1
2. Quarter Chicken Dark
3. Helping Hand
4. Where's My Bow?
5. Here and Heaven
6. Franzand the Eagle
1. Less is Moi
2. Hill Justice
3. No One But You
5. Goat Rodeo$29.99Vinyl LP - 2 LPs Sealed Buy Now
Violence and OrchidsNonesuch Records will release Violence and Orchids, the vinyl edition of Michael Daves's new album, Orchids and Violence. The vinyl edition comprises two versions each of five traditional bluegrass tunes: acoustic takes performed with a band of roots-music innovators-bassist Mike Bub, violinist Brittany Haas, mandolinist Sarah Jarosz, and Punch Brothers banjoist Noam Pikelny-paired with electric rock renditions of the same songs played mostly played by Daves, with his wife Jessi Carter playing bass. It's a roots-music master class, a brilliant example of old modes reinhabited with flair, says the New York Times. To his credit, it can be hard to pick which version of a tune is best. The LP includes a download of the complete Orchids and Violence album.
The straightforward interpretations of the songs were recorded live to tape in a 19th-century church by Daves. The second disc was recorded in Daves's home studio and includes bass, drums, and electric guitar, and takes a raw, experimental rock approach to the same old-time material. The album was mixed by Vance Powell (Jack White, Kings of Leon, Danger Mouse).
One of the things I love about bluegrass music is the tension between innovation and tradition, says Daves of the album. When bluegrass came together, it was a fabrication of a variety of influences in American music yet it quickly became something people assume has been around forever. With this project, I can respect and honor the traditional aspects of that but also reflect on the innovative nature of bluegrass music when it was being created, when it was new.
In the early conceptions of the electric record, I was thinking about it as something of a grunge record, but as it developed it became something pretty different, Daves says. Those sounds that were happening in the early nineties were part of my discovering music, what I was absorbing as I was going out on my own as a guitarist and having my own bands. But when I got into making the record it was much more about the fun of exploring new sounds than reconnecting with some musical past. The album followed a period where I hadn't been playing much electric music, so plugging in felt pretty fresh, like discovering something new.1. June Apple (Bluegrass)
2. June Apple (Electric)
3. Drunken Hiccups (Electric)
4. Drunken Hiccups (Bluegrass)
5. The Dirt That You Throw (Bluegrass)
6. Darling Corey (Electric)
7. Darling Corey (Bluegrass)
8. Elzic's Farewell (Bluegrass)
9. Elzic's Farewell (Electric)
10. The Dirt That You Throw (Electric)$22.99Vinyl LP - Sealed Buy Now
Young In All The Wrong WaysYoung in All the Wrong Ways is Sara Watkins'
most cohesive and fully realized solo album.
The new collection finds her embracing the role
of frontwoman following the collaborations of
Watkins Family Hour (featuring Sean Watkins,
Fiona Apple and Benmont Tench) and Nickel
Creek, the hugely successful group she first
formed with her brother Sean and Chris Thile.
The album is also her most powerful. Personal
and revealing, she wrote or co-wrote each of the
10 songs-a first for her. It was produced in Los
Angeles by Gabe Witcher who arranged a stellar
band including two of his fellow Punch Brothers,
guitarist Chris Eldridge and bass player Paul
Kowert, and additional musicians Jon Brion and
Jay Bellerose. Sarah Jarosz and Aoife O'Donovan,
Watkins' bandmates in I'm With Her, provide
harmonies on the title track while Jim James of
My Morning Jacket guests on "One Last Time."
Benmont Tench is again featured on keys.
Sara calls the record "a breakup album with
myself..." Writing and recording these ten
intensely soul-baring songs was a mechanism
to process and mark the last few transformative
years. The record is about Sara turning the
page and taking the reins of her own life, in
both a career and personal sense.
around and realized that in many ways I wasn't
who or where I wanted to be," Sara says. "It's
been a process of letting go and leaving behind
patterns and relationships and in some cases
how I've considered myself. What these songs
are documenting is the turmoil you feel when
you know something has to change and you're
grappling with what that means. It means you're
losing something and moving forward into
The songs contain some of the
heaviest moments of her career, with eruptions
of thrumming B3 organ and jagged electric guitar.
But it's also quiet, vulnerable, tenderhearted.
Bold in all the right ways.
Young in All the Wrong Ways reveals an artist
who has managed to transform her own turmoil
into music that is beautiful and deeply moving:
"God bless the tenderhearted," she sings, "who let
life overflow."1. Young In All The Wrong Ways
2. The Love That Got Away
3. One Last Time
4. Move Me
5. Like New Year's Day
6. Say So
7. Without A Word
8. The Truth Won't Set Us Free
10. Tenderhearted$19.99Vinyl LP - Sealed Buy Now
AbsolutionWith Absolution, Muse continued to expand on their unique rock sound with complex guitars, transition-laden rock anthems and melodic harmonics. Muse also switched gears here with new producer Rich Costey, creating a smoother more polished sound. The album has plenty of punch to satisy their hard core fans, while the musicianship of Absolution garnered critical praise and a new legion of fans who couldn't get enough of the powerful anthemic rock and the mind-blowing live shows the band has become known for. Two regular weight black vinyl discs in gatefold jacket with 2 inserts produced and pressed at Pirates Press.
2. Apocalypse Please
3. Time Is Running Out
4. Sing for Absolution
5. Stockholm Syndrome
6. Falling Away with You
10. Butterflies and Hurricanes
11. Small Print
13. Thoughts of a Dying Atheist
14. Ruled by Secrecy$24.99Vinyl LP - 2 LPs Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Eat A Peach (On Sale)Allman Brothers Band Eat a Peach on Numbered Limited Edition 180 Gram 2LP from Mobile Fidelity
1972 Double LP Split Between Live and Studio Fare
Last Appearance of Fallen Member Duane Allman on an Official Release
Sonic Spectacular: Mastered from the Original Master Tapes, Mobile Fidelity Edition Captures Grit of Live Tracks and Organic Soul of Studio Cuts
Includes Standout 33-Minute-Plus Epic "Mountain Jam"
Features Complete, Accurate Reproduction of Gatefold Artwork
Tributes to fallen icons don't come any more poignant or illustrative than Eat a Peach. Released in early 1972, slightly more than three months after guitarist Duane Allman died in a motorcycle accident, the double album honors the musician via sides he recorded in the studio as well as several live performances that didn't fit on the mammoth At Fillmore East. The Allman Brothers Band, determined to press on, also contributes a trio of songs completed after their soulmate's passing. Its execution is near perfect, its concept timeless.
Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180 gram 2LP of Eat a Peach joins the unparalleled reissue imprint's other Allman titles in presenting the superlative ensemble's work in the most lifelike, uncompromising fidelity possible. Not only is the punch of the concert fare transmitted with full-range dynamics and realistic spaciousness, but the studio cuts-in particular, the acoustically framed "Melissa" and "Little Martha"-come through with astounding clarity and body, replete with textural richness that affords listeners images of fingers on frets and sticks hitting drum skins.
In all probability, the Allman Brothers Band would've leapt to the fore of music's commercial and critical elite had it not been for Duane's fateful motorcycle accident that altered history and the trajectory of the group's course. A statement of purpose and homage, Eat a Peach extends the guitarist's legacy in the form of three heart-racing live tunes recorded at Fillmore East, none more important than the nearly 34-minute harmonic showcase "Mountain Jam." Begun at the end of "Whipping Post" during the final show of the group's four-gig stand, the tour de force improvisation finds the band at the peak of its telepathic aural and communicative capacities.
Not that the three studio originals with Duane are by any means forgettable. "Blue Sky" epitomizes the gorgeously elegant colors with which the late virtuoso could paint while the heart-stopping sentimental feel of "Little Martha" finds just he and Dickey Betts engaged in spiritual communion. To this extent, the band continues a mellower vibe on the hit "Melissa," a country-rock ballad that taps into a melancholy feel largely courtesy of Gregg Allman's weary vulnerability and Betts' lyrical, slap-back-echoing guitar lines.
Yet nothing here eclipses the direct meaning and steadfast intent of the record-opening "Ain't Wastin' Time No More," a defiant showing of unity and understated anthem with which the band seemed to embrace as a motto. No one knew, however, that fate would again subvert the group's plans even if it could never take away the magic held within Eat a Peach, sonic and lyrical sorcery that extends to the legendary gatefold-artwork mural.
This title is not eligible for further discount.1. Ain't Wastin' Time No More
2. Les Brers in A Minor
4. Mountain Jam
5. One Way Out
6. Trouble No More
7. Stand Back
8. Blue Sky
9. Little Martha$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Ellipsis180 Gram Vinyl Record
As is tradition, writing sessions for the album saw Biffy Clyro - Simon Neil (vocals/guitar) and the Johnstonbrothers James (bass) and Ben (drums) working in the intimate environment of their practice room. They then headed to Los Angeles for recording sessions with producer Rich Costey (Muse, My Chemical Romance, SigurRos). Citing influences as diverse as Tears For Fears' Songs From The Big Chair album, DJ Arca and Deafheaven,Simon Neil has described Ellipsis as more of a punch to the nose than a big cuddle.
Lyrically, the album's songstackle personal issues with the idea of fighting back a recurring theme. Such themes are also apparent in the album's visceral first single Wolves of Winter which captures BiffyClyro's famous blend of angular riffs, pummelling rhythms and strident hooks. Says Neil: 'Wolves of Winter' isabout us being wolves on a patch and if you come onto that patch, we'll tear you limb-from-limb.
An Ellipsis (most commonly depicted as ...) indicates a continuation: in this case, Biffy Clyro's new body of workis an ongoing representation of everything that the band have stood for since first debuting in 2002 with theBlackened Sky album.$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Back To Higher GroundBlue Vinyl LP
The Briggs play brash American cockney punk anthems that come complete with union-made sing-alongs and ear-splitting riffs. They are the kind of songs that would make Joe Strummer shed a tear of pride and Shame McGowamn raise a glass to salute brothers Joe and Jason LaRocca's rollicking sense of spunk and bravado. In their own inimitably slick and sneering ways, the Los Angeles four-piece demonstrates the spirit of punk is alive and well and thriving on the West Coast. With their third full-length, Back to Higher Ground, now on vinyl for the first time, the Briggs bring angularity to their gut-punching assault.
1. Back To Higher Ground
2. Let Them Know
3. Song Of Babylon
4. Common & Unknown
5. Maritime Tragedies
6. Everyone's An Actor
7. Wasting Time
9. My Own Enemy
10. Harder To Stand
12. Don't Care$11.99Colored Vinyl LP - Sealed Buy Now
Smith WesternsRummaging through 1970s glam, Phil Spector teen-pop, and Nuggets garage-punk with the youthful abandon of kids finding new toys in the attic, the Smith Westerns' self-titled debut exudes an earnestness almost as pure as its recording levels are deafening. Their simple, sweet choruses about boys and girls in love could spike the punch at a 1970s TV show school dance.
When singing guitarist Cullen Omori, his bassist brother Cameron, second guitarist Max Kakacek, and a drummer known as Hal have the tunes to make themselves heard over their vintage aesthetic, The Smith Westerns' teenage kicks are hard to beat. Take string-swept glam ballad Be My Girl. which softly punctuates one of the year's most wrenchingly innocent hooks with somewhat risque pick-up lines. There's less lyrical subtext, but no less raunchy production, on the glam-rock boogie of Girl in Love, a come-on cursorily addressing the fleetingness of youth. It's only fitting that the Smith Westerns both look and sound like the Black Lips' good-bad not-evil twins.
These guys are sort of literally true to their school, garage-rocker Miss Alex White is a fellow Northside College Prep magnet-school alum, and their time on the road with the likes of Jay Reatard and Nobunny is evident on fine 60s-style frat-rocker Gimme Some Time. With fuzzed-out xylophone, frenetic opener Dreams suggests the group's most recent tour with Girls and Los Campesinos! might serve them better for a follow-up. Diamond Boys almost earns its piano on the strength of its adolescent grandiosity, but We Stay Out lets lo-fi become the end rather than the means, with a guitar line that sounds like a bee buzzing underwater.1. Dreams
2. Boys Are Fine
3. Gimme Some Time
4. Girl In Love
5. We Stay Out
7. Be My Girl
8. The Glam Goddess
9. Diamond Boys
10. My Heart$16.99Vinyl LP - Sealed Buy Now
The Stand-In (Awaiting Repress)Caitlin Rose is back with a new studio album, the follow up to her critically acclaimed debut, Own Side Now. The Stand-In introduces a newfound confidence in Rose, the poise of an experienced songwriter rarely displayed on a sophomore offering. This sense of self-assurance is woven throughout twelve carefully crafted songs with the timeless sound and witty approach to lyricism that has become her signature. Still only 25, the scope of her progression as an artist is palpable from the outset, and Rose herself happily concurs.
"This album could be considered my first attempt at a high kick," she says, acknowledging Own Side Now as a much more small scale and pared down recording. "We're not aiming to make indie-sounding records. How boring would that be? "Incorporating classic influences from her Nashville roots with a modern pop twist, Caitlin's vocals soar over lyrics that seem to possess the wisdom of an old soul. Crafted with Nashville producers Jordan Lehning and Skylar Wilson (Justin Townes Earle), featuring two songs co-written with Gary Louris (The Jayhawks), The Stand-In came together and took form as a team effort, strengthened by a longtime friendship with band mates Jeremy Fetzer and Spencer Cullum.
Inspired by classic country musicians, misunderstandings, break ups, mystical landmarks and the constantly evolving landscape of the Nashville music scene, The Stand-In is an ambitious record, a testament to Rose's bold approach and strength as a songwriter. With a trademark punch that the New York Times once likened to a young "Patsy Cline learning to howl, Rose's fiery disposition shines through on rollicking tracks like "No One To Call" and "Waitin'," songs that possess a huge sound and a whole lot of character. Never the type to be one-dimensional, Rose wears her heart on her sleeve on candid serenades like "I Was Cruel" and sentimental ballads like "Pink Champagne" or "When I'm Gone."And in true form, Rose includes a brilliant cover on The Stand-In, this time of The Felice Brothers' single, "Dallas."1. No One to Call
2. I Was Cruel
4. Only a Clown
6. Pink Champagne
7. Golden Boy
8. Silver Sings
9. Everywhere I Go
10. When I'm Gone
12. Old Numbers$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
SavagesMax 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
2. Cannibal Holocaust
4. Ayatollah Of Rock 'N' Rolla
5. Master Of Savagery
1. This Is Violence
3. El Comegente
5. Fuck Reality (Bonus Track)
6. Soulfly IX (Bonus Track)$24.99Vinyl LP - 2 LPs Sealed Buy Now