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WARB-RHI-278xJools Holland & his Rhythm & Blues Orchestra
Sirens Of SongA purveyor and survivor of Britpop (with band Squeeze), solo artist, author, and television presenter, Jools Holland is prominent as one of British music's most recognized and trustworthy.
A couple of years back, Holland's talent for composition was refreshed with 2012's The Golden Age Of Song, a star-studded effort. Holland must have had the itch to repeat that highly successful and pleasant experience, only this time around he's kept it between him and the ladies. What emerges is 14 tracks of originals and reworked gems starring some of the best female voices in the business.
What Holland nails here are his choices of leading ladies for each track, which offer so much in the way of delightfully surprising and sublime covers. Jamaican songstress Ruby Turner sasses up Ray Charles' Jumpin' In The Morning, our own pop princess Kylie Minogue puts her pout to The Clash's Should I Stay Or Should I Go, and Emeli SandÉ admirably takes on 1920s standard Love Me Or Leave Me. Among the standouts, though, are Louise Marshall's A Vow, a poem by one of Holland's favourite English poets, Wendy Cope; Joss Stone's soulful attack in Letting Me Down; and the playful ska in Monkey Man, brought to life by the late, great Amy Winehouse.
Holland's orchestra never falters, nor do the man's fingers on the ivories, and running throughout is a vibrant sense of celebration for not only these skilfull lasses but for the sheer act of making music with many different talents.
-Carley Hall (The Music)1. Jumping In the Morning - By Jools Holland & Ruby Turner
2. Letting Me Down - By Jools Holland & Joss Stone
3. Love Me Or Leave Me - By Jools Holland & Emeli SandÉ
4. A Vow - By Jools Holland & Louise Marshall
5. Monkey Man - By Jools Holland & Amy Winehouse
6. Should I Stay Or should I Go - By Jools Holland & Kylie Minogue
7. Sweet Bitter Love - By Jools Holland & Mabel Ray
8. See-Line Woman - By Jools Holland & Laura Mvula
9. Lost Mind - By Jools Holland & Rumer
10. Top To Bottom Boogie - By Jools Holland & Imelda May
11. Night & Day - By Jools Holland & KT Tunstall
12. I Wish - By Jools Holland & Melanie C
13. I Still Went Wrong - By Jools Holland & Ruby Turner
14. Ain't Misbehavin' - By Jools Holland & Eartha Kitt$24.99Vinyl LP -Sealed Buy Now
Siren Song1. Do The Du (casse)
3. Crippled Child
6. I Feel
8. All Night Party
10. The Choir
11. The Fox
15. And Then Again
16. The Thin Boys$27.99Vinyl LP - Sealed Buy Now
Siren Song Of The Counter-Culture
Back In Stock For The First Time Since 2007!
Chicago's Rise Against might be seen as an outcast amongst its peers. Armed with The fury of classic punk acts such as Minor Threat & Bad Brains, they blend Intelligent vocals with a serious commitment to providing a positive alternative to the oft-dreary & disenchanted aura that engulfs most punk bands. There are so many bands that sing about negative things, & we kind of wanted to show people it's OK to voice your opinions & stay positive. We just wanted to be more productive, lyrically. - JOE PRINCIPE.1. State Of The Union
2. The First Drop
3. Life Less Frightening
4. Paper Wings
5. Blood To Bleed
6. To Them These Streets Belong
7. Tip The Scales
8. Anywhere But Here
9. Give It All
10. Dancing For Rain
11. Swing Life Away
12. Rumors Of My Demise Have Been Greatly Exaggerated$19.99Vinyl LP - Sealed Buy Now
The Sirens Of The DitchFor the past six years, Jason Isbell was one of three frontmen for the critically acclaimed Drive-By Truckers and although fans may have been shocked by his departure from the band in April of 2011, once you hear this, his solo debut Sirens Of The Ditch (which was co-produced by Isbell and Patterson Hood) it will only confirm that Isbell by no means is putting his feet up. Musicians joining Isbell on the album include Shonna Tucker (bass) and Brad Morgan (drums) with cameos from Patterson Hood, his father David Hood, Spooner Oldham, John Neff and more.
Recorded over the past four years at FAME Studios in Muscle Shoals (Aretha Franklin, Duane Allman, Otis Redding), Sirens Of The Ditch is a diverse collection of songs that incorporates elements of rock, blues and soul music into a heartfelt mix of songs that favor piano and pedal steel over buzzing guitars, although theres a fair share of overdriven amps here as well. A lot of old soul musicians came through here in the late 60s and 70s and helped define the Muscle Shoals sound, the lifelong Alabamian explains, so that influence was always in my environment, but on this record I really tried to capture that.1. Brand New Kind Of Actress
2. Down In A Hole
4. Chicago Promenade
5. Dress Blues
7. Hurricanes and Hand Grenades
8. In A Razor Town
9. Shotgun Wedding
10. The Magician
11. The Devil Is My Running Mate$18.99Vinyl LP - Sealed Buy Now
WeatherheadWeatherhead is the sophomore album from Helms Alee. Their gamut of timbres from the most guttural blown-out roar to the most graceful lilting melody summon a sense of triumph, empowerment and conquest.
The relentless chugging fuzz and vocal harmonies of Elbow Grease, the concrete thrust of the central riff of 8/16, the thunderstruck arpeggio of Pretty As Pie, the siren song of Pig Pile, the unbridled scuzz of Ripper No Lube and the alternating agit-punk and anthemic approach of the title track all reinforce Helms Alees position as masters of diametrically opposed tactics.
They are the true heroes and heroines of the loud-quiet-loud. Weatherhead was recorded by Matt Bayles at Studio Litho and Red Room Studios in the Winter of 2010-2011.1. *
2. Elbow Grease
4. Music Box
5. Pretty as Pie
6. Anemone of the Wound
7. Mad Mouth
8. Epic Adventure Through the Wood
9. Speed Sk8r
10. Pig Pile
12. Ripper No Lube
13. Born in Fiberglass
14. Weatherhead$25.99Vinyl LP - Sealed Buy Now
$16.99 $11.89 Save $5.10 (30%)
Ides of Gemini / Vermapyre Split (On Sale)Colored Vinyl
Comes with a digital download code! France's Vermapyre play raw, relentless tracks here recorded live in Oslo May 2011. Vermapyre are the msyterious, dark blackened beast with a previous split on Holy Terror Records. Los Angeles' Ides of Gemini come in like the high tide, enveloping the listener with a wide open flood of dreamy, cerebral doom. Sera Timms (vocals) ethereal vocals hit like a siren's song atop glacial riffs and expansive percussive emanations. Ides of Gemini have their debut full length coming in May on Neurot Records, here we have just a taste of what's to come. First pressing is on green and brown vinyl. First pressing is limited green and brown vinyl in a pressing of 500.1. Vermapyre- Oslo
2. Ides of Gemini- Martyrdom of the Hippolyt
3. Ides of Gemini- Constantinople$16.99 $11.89 Save $5.10 (30%)Colored Vinyl LP - Sealed Buy Now
The Expanding Flower Planet'The Expanding Flower Planet' is an album, a song, a cosmic ideal, a form of psychic expansion and expanded capability. It's original and personal. It transmutes ethereal abstractions into crystalline harmonies and sinuous grooves. It's music nurtured with the idea of healing, exciting, inspiring, enlightening. Drones, dissonance, warmth, and love. Even if you're unfamiliar with Angel Deradoorian's name, you're likely familiar with her voice. As the former bassist and vocalist for Dirty Projectors, her lepidopteran flights helped buoy the Brooklyn-based group. She's been a member of Avey Tare's Slasher Flicks and sang on Flying Lotus' "Siren Song." Her fist song collection, 2009's Mind Raft EP elicited praise from Pitchfork for being "passionate and lovingly crafted." The Fader hailed her "zen weed energy" and "moody dervish spirals."But her debut LP, 'The Expanding Flower Planet' reflects a remarkable creative journey. In the course of cutting it, Deradoorian realized a more profound communion with music than she'd ever experienced. It's salient in the songs, which glow and warp, burn brightly and float gracefully past sun and assorted stars.1. A Beautiful Woman
2. Expanding Flower Planet
3. Violet Minded
5. Your Creator
6. The Invisible Man
9. The Eye
10. Grow$17.99Vinyl LP - Sealed Buy Now
GlynnaestraDaniel O'Sullivan and Alexander Tucker are long time friends and collaborators. Both artists are veterans of the UK experimental underground: O'Sullivan as a member of Guapo, Ulver, and Aethenor (with Stephen O'Malley), and Tucker with imbogodom and as an eclectic (read: Yeti) solo artist. On their newest album as Grumbling Fur, Glynnaestra, they have crafted an avant-pop album assembled as one would a collage. This structural foundation is built up via an eclectic array of instruments, both acoustic and modified, to pulsating electronic sounds. Add to this mix the pair's entirely modern shamanistic meta-narratives, and the result is a contemporary psychedelic pop delight. Grumbling Fur's world is an innovative one, where every sound contains its own unique story, and is driven by the overarching melody and harmony. O'Sullivan and Tucker write pop songs for the sophisticated palate.
The songs on Glynnaestra, have many reference points, from the paean to Blade Runner on the anthemic "Ballad Of Roy Batty", to the distant siren song of the ice-cream van on "Cream Pool", and even slow burning, molten proto-hip hop on "His Moody Face." Mutant electronic rhythms bubble and pop underneath swathes of strings. Glowing at the centre are the duo's unmistakable vocal harmonies, which seem almost telepathically entwined. Throughout, their experimental pedigree shines through, from the mournful cello and guitar of the title track to off kilter percussion of "Alapana Blaze."
Grumbling Fur surfaced with debut album Furrier (Aurora Borealis) in 2011. The record was an assemblage from a one-day recording session involving Jussi Lehtisalo of Circle and Pharaoh Overlord and Dave Smith of Guapo, resulting in a suite of psychedelic mantras. The first outing as a duo, Alice, is a session recorded live in the studio for Southern Records' Latitudes series in 2012, and was inspired by a psychoactive houseplant and the rabbit hole therein.
As their history attests, this is a group unbound from the restrictions of traditionalism and unafraid to shed the pretence of pure abstraction. There's a tradition of subterranean Englishness at play, harking back to This Heat's Deceit and Eno's Another Green World. In their first fully realised album as a duo, the process and texture ripple with a kind of electro-gnosis. Glynnaestra herself (an archaic goddess divined by Tucker and O'Sullivan) presides over the record, transcendent and sphinx like: an apt muse for an album of such lovely and powerful music.1. Ascatudaea
4. The Ballad of Roy Batty
5. Alapana Blaze
6. Cream Pool
9. Dancing Light
10. Clear Path
11. The Hound
13. His Moody Face$18.99Vinyl LP - Sealed Buy Now
Weirdo ShrineFor most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It's Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music's ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland's guitar solos took on a more unhinged quality. The basslines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves. When it came time to record Weirdo Shrine, their second album-due out August 7th-the goal was to capture the band's restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland's newly fuzzed-up guitar solos-which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country-were juxtaposed against the group's most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on "You Disappear" and "Oranges," and sought inspiration from Charles Burns' Seattle-set graphic novel Black Hole. The resulting album is a natural evolution of the band's self-styled "surf noir" sound-a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of "Sleep Till They Die" to the widescreen, receding-skyline send-off of "Oranges" and its bittersweet epilogue, "True Love Knows." In describing Weirdo Shrine, Segall remarked that it gave him a vision of a "world burning with colors [he'd] never seen, like mauve that is living." In "Oranges," the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal "orange wind / that glows from your footsteps." These hue-based allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.1. Sleep Till They Die
2. You Disappear
3. With Davey
4. Don't Wanna Be Anywhere
5. I Can't Speak
6. Hey Papi
7. I Wanna Be Alone (With You)
8. I'll Be True
9. Black Hole, Weirdo Shrine
11. True Love Knows$15.99Vinyl LP - Sealed Buy Now
ParallelogramsWhat's all the fuss about? If you've read any of the hundreds of articles in music mags and on the net about Linda Perhacs' sole 1970 LP Parallelograms, you'd be tempted to question its reputation. People talk about Parallelograms in much the same way that they talk about Nick Drake's Island albums, Swaddling Songs by Mellow Candle and Vashti Bunyan's sole LP for Phillips... as a life-changing musical experience, one that inspires them to create new works of art and to express their deepest emotions despite the risk. Sure, there's a lot of hyperbole out there about this record, and yet it's absolutely warranted. For just about 40 minutes, it will take you on a guided tour of a world that's far too beautiful to exist... but does.
Part of the effect of the album is in the incredibly sensitive production by soundtrack composer Leonard Rosenman. He facilitates some very non-traditional ideas and gets extraordinarily skilled musicians to execute them. Rosenman's willingness to work in intense collaboration with a wide-eyed studio novice speaks volumes about his desire to help create something truly original. Sundazed used a pristinely preserved master tape of the album as its source and meticulously remastered to reveal a deep and subtle soundscape that practically reinvents the listening experience even if you've heard Parallelograms a thousand times before. Listen to Steve Cohn's guitar lines and how they dance so delicately in and around Linda's vocal lines on songs like Dolphin. When you get to the end of side one, it's time to don the headphones. Every ride in the sonic theme park that is the song Parallelograms is free, and there are no lines!
As much as it's about the psychedelic production and gorgeous arrangements, it's about words. Linda Perhacs uses words like no one else, teasing and toying with them, spinning them into bright, joyous confections with her voice on songs like Porcelain Baked-Over Cast-Iron Wedding. Her words at times sound like ancient sacred poetry, translated for the first time into English and whispered in your ear by a true love. Listening to Call of the River and Delicious is as close as you'll ever get to hearing the Sirens' song without getting strapped to a mast first!
People like Devendra Banhart, Guy-Manuel de Homem-Christo & Thomas Bangalter (Daft Punk) and Kieran Hebden (Four Tet) have expressed their love of these recordings, and they've taken direct inspiration from it for their current work. Parallelograms has also encouraged a close re-examination of the genre. Let's hope record collectors never stop searching for the kind of magic they hear in Parallelograms. For psychedelic folk, you can start at perfect and go from there.
This Sundazed release is the definitive edition of this essential album.1. Chimacum Rain2. Paper Mountain Man3. Dolphin4. Call of the River5. Sandy Toes6. Parallelograms7. Hey, Who Really Cares?8. Moons and Cattails9. Morning Colors10. Porcelain Baked-Over Cast-Iron Wedding11. Delicious$24.99Vinyl LP - Sealed Buy Now
The Best OfDespite great acclaim at the time The Czars remain one of Denver's best-kept secrets. Over the course of their career they couldn't quite turn critical salvos into commercial success. Then, when the band split up in 2004 after their fifth album - the presciently titled Goodbye - nothing was heard from any member for six years. So when John Grant reappeared in 2010 with his landmark solo debut Queen Of Denmark, some thought he was a new artist, without a back-story that stretches as far back as 1994 when the band originally formed.
The Best Of The Czars is made up predominantly from the run of three studio albums that Bella Union released between 2000 and 2004. Before But Longer donates the first four songs, 2002's The Ugly People Vs The Beautiful People the next six, and Goodbye the next five. The final track is an exquisite reading of Tim Buckley's signature standard Song To The Siren taken from 2005's B-sides/covers compilation Sorry I Made You Cry.
Grant is his own fiercest critic, and says of all Czars albums he only stands by Goodbye. It's the only one that came anywhere close to being what I'd hoped for, he reckons. Out of the five albums we made, there's one good solid album of material. Well, John, here it is. But The Best Of The Czars isn't merely good; it's magnificent. At their best, The Czars mastered a luminous and stately country-folk'n'western noir shot through with a classic songwriting twist.
On various tours since his solo debut, Grant has performed three old Czars tracks: Drug (from The Ugly People ), Paint The Moon and Little Pink House (from Goodbye). They're the Czars songs I most connect to in performance, that I'm proudest of, that flowed out of me as complete products, says Grant. As a whole, though, the band remains a conflicted memory for the singer. I had so much fear at the time, I wanted to try and control everything around me, which I feel affected my voice, he admits. Only now do I feel that voice is coming out of its shell, and that I'm comfortable in my own skin. But the music is an important part of my history, so it deserves to be heard.1. Val
3. Get Used To It
4. Dave's Dream
5. Roger's Song
7. Side Effects
10. Lullaby 6000
11. Paint The Moon
13. My Love
15. Little Pink House
16. Song To The Siren$22.99Vinyl LP - Sealed Buy Now
Lili MarleneMarlene Dietrich had a long and versatile career in the entertainment business. The German-American star, who traded on her exotic appearance and seductive persona, was one of the most famous female Hollywood movie stars of the thirties. After World War II, she went on to become a cabaret entertainer and singing siren with a sung-and-spoken vocal delivery that, combined with her unmistakable German accent, made her performances inimitable. This 2-LP set combines some of the sultry and sophisticated pop songs that became her signature numbers with some of her rare early recordings and soundtrack songs.LP 1
1. Falling In Love Again
2. The Boys In The Backroom
3. Lili Marlene
4. Ich Bin Die Fesche Lola
5. Give Me The Man
6. Nimm Dich In Acht Vor Blonden
7. You Go To My Head
8. Near You
11. I've Been In Love Before
12. Black Market
13. You Do Something To Me
14. Quand L'Amour Meurt
15. Das Lied Ist Aus
16. La Vie En Rose
1. Wenn Die Beste Freundin
2. Es Liegt In Der Luft
3. Blonde Women
4. Kinder, Heut Abend, Da Such Ich Mir Was Aus
5. Ich Bin Von Kopf Bis Fuß Auf Liebe Eingestellt
6. Wenn Ich Mir Was WÜnschen DÜrfte
8. Hot Voodoo
9. I Couldn't Be So Annoyed
10. You Little So-And-So
11. Moi, Je M'Ennuie
12. Ja So Bin Ich
13. Allein In Einer Großen Stadt
14. Mein Blondes Baby
16. Awake In A Dream$29.99Vinyl LP - 2 LPs Sealed Buy Now
Cowboy Worship EPAmen Dunes' Love took close to a year and a half, 16 musicians, and five different
studios to complete. It was a song cycle that required broad experimentation before
it was clear what was essential underneath the surface. In that process, much
of the sound that might have made it onto the album was lost. There was just too
much to say for one record.
Cowboy Worship is an attempt to give life to some of the music that didn't make
it past the scalpel. From a blown-out version of "Green Eyes" featuring Harvey
Milk's Stephen Tanner, to a darker and mellower "I Can't Dig It" as Damon
McMahon originally arranged it upon writing the song in China, many of the
original intentions for the music that were lost in the Love sessions are revived. In
addition is a band version of Through Donkey Jaw's "Lezzy Head," featuring Dunes
mainstays Jordi Wheeler and Parker Kindred, and most significantly, a shining
cover of This Mortal Coil's interpretation of the Tim Buckley classic, "Song to
the Siren," featuring Ben Greenberg (Hubble) on guitar.
Tim Buckley, along with several other singers, from Elvis Presley to Marvin
Gaye to Tim Hardin, were the beacons that guided the making of Love. McMahon's
cover of "Song to the Siren" is an homage to the spirit that directed those
One description that seemed to work for Love was that it was an album of devotional
music, and even more specifically, a type of devotional music McMahon
called cowboy worship.
Cowboy worship as a concept certainly did not begin with Love, but instead Love
began with cowboy worship, was born from it, and in turn added a new link to
the chain.1. I Know Myself (Montreal)
2. Song to the Siren
3. I Can't Dig It (China Street Blues)
4. Green Eyes (Music Blues)
5. Lezzy Head (Burial)
6. Love (Montreal)$15.99Vinyl EP - Sealed Buy Now
SWhere previous recordings have been introspective, reflecting the deepest concerns and confines of Emmy's own mind, 'S' EP looks outwards. Written in cities - Salt Lake City, Tokyo, Hong Kong, LA, New York and London - during an itinerant period in Emmy's life, the songs track the resulting personal changes and invite us to explore the rapidly advancing world around us.
"My previous recordings were a reflection of my internal world, but this is a record of me trying to engage with the outside. Over the course of travelling and touring for the last two years I inhabited many cities and landscapes. While I wrote this EP and the album that will follow, everything changed. As I wrote the songs I began to reflect more and more the world that I saw around me, incredibly bright, technologically breathtaking. I am curious about being a person in this world, and I tried to write that into the music." Emmy explains.
An impressive cohort of talent signed up to assist Emmy's latest creation. Wild Beasts' Tom Fleming joins Emmy for lead single 'Swimming Pool', a haunting siren-song that submerges us in an affluent montage, replete with rippling keys and dream laden bass.
The sweet musings of 'Social Halo' question our role in an increasingly self-aware world, the resulting social anxiety and the fleeting moments of reality that revive us from its ever quickening pace.'Solar Panels' builds to a crescendo of synthesisers as Emmy reflects on what it is that keeps us going before 'Somerset (I Can't Get Over)' seeks a lover's attention - "Come outside," she sings. "Let's talk about something that's real, like, please don't get over me."
Recording was split between LA, with Ludwig Goransson (Haim, Childish Gambino), and London, with Dave McCracken (Oh Land, Beyonce). MIA's MD Neil Comber mixed the final results.
A singer-songwriter gifted with a rare idiosyncratic charm, Emmy The Great released debut album First Love to critical acclaim in 2009 with follow up Virtue (2011) winning equally impressive plaudits. Songs that walk the line between heartbreaking fragility and bold, wit-laden observations on the human condition continue to enthrall all who hear them. Her keen observational eye has no doubt contributed to her recent success as a writer, with regular contributions to Vice and The Guardian.
The accompanying visuals were devised by Emmy herself, beginning with 'Swimming Pool's enigmatic clip, shot poolside in a decaying LA home, where the final interaction between a hologram and its owner betrays a flaw in our technological Utopia.1. Swimming Pool feat. Tom Fleming (Wild Beasts)
2. Social Halo
3. Solar Panels
4. Somerset (I Can't Get Over)$10.99Vinyl EP - Sealed Buy Now
Calico ReviewIf you drive past the 200 block of South La Brea, there is a lamp shop, a pet shop, and a little glass door that says "Casting Agency" above it. Inside you'll find one of LA's most stereotypical rituals, where men & women from all walks of life vie for the attention and popularity of the Hollywood producer. It's a dream factory for some of them. It's also a place where Los Angeles outsiders learn what the city is really like, beyond the sun and surf and celebrities, where every brightly-lit surface eventually faces a cloud.
Indeed, the lessons learned by the Allah-Las - guitarists Miles Michaud and Pedrum Siadatian, bassist Spencer Dunham, drummer Matthew Correia - since their auspicious formation in 2008 have been tempered with experience. Now, with their third album Calico Review (their first for Mexican Summer), their experience transforms once more, this time into wisdom. The band's trajectory, formed around mutual appreciation for the same kinds of music and a host of shared experiences, focuses on both the outer trappings of their home and surroundings, and the through line of darkness that suffuses life in LA county.
Where the Allah-Las display their insight, and what really shines across the 12 songs that comprise Calico Review, is the way that the group has pivoted from specific influences and nods to the music they love, to crafting the feelings of freedom, grit, and melancholy in their music. That feeling - the peerless capture of music long in the tradition and mood of California pop, the sound that's captured the essence of the LA experience - aligns with their stylistic technique and their experience in the studio environment to create their strongest album to date, one which showcases their developments in songwriting and arrangements.
The process began with their self-titled debut, which captured the Allah-Las' live set circa 2012 and continued onward with 2014's Worship the Sun, where they began to experiment with overdubs and writing songs individually instead of as a band. Now, Calico Review showcases a band that's grown confident in its own style to reflect the perspectives of each member, to craft an album that changes up the approach from song-to-song, while retaining their abilities as a cohesive unit.
Audiences familiar with the band will recognize the levels of nuance and steadiness the Allah-Las have grown into throughout Calico Review. It's immediate, the first thing you recognize about the band in the opening moves of "Strange Heat," in the amount of control and character burning off of the band's knack for restraint. Songs like "Famous Phone Figure" cradle character sketches over delicate strains of violin, organ, and Mellotron, Correia's drumming carefully underlining a three-note theme that casts a phantom sadness over the proceedings, the group exerting a touch both light and steady enough to bring your mood to theirs. "
Could Be You" works off a steady percussive gallop, guitarist Miles Michaud waxing reflexively on second chances while the band focuses on forward motion. "Roadside Memorial" applies the Bo Diddley beat to the open road, Pedrum Siadatian stepping up on vocals, and finding new ways to match his talents to propulsive musical ends. Elsewhere, "High & Dry," featuring drummer Matthew Correia on lead vocals, focuses on the Allah-Las most quintessential and peerless quality: writing emotionally resonant pop, at once direct and detached, casual and knowing, and instantly memorable. The dream factory itself gets called out in the fun, surf-stung number "200 South La Brea," its carnival-like atmosphere reflecting the excitement and anxiety of those who await their judgment.
In between releases, the Allah-Las have toured around the world, and will continue that journey in support of Calico Review. The experience of traveling and idle time on tour inspired the group in different ways, and provided the pathways by which the band transports its listeners to a different place, be that wherever they are, and where the band has been.
What the Allah-Las present is not necessarily crossing the L.A. River, coin in mouth, on the Riverboat Styx. It's not Raymond Chandler and it's not Raymond Carver. But the band's four members are aware of the pitfalls that stack against the idyllic notion of southern California life that forms from outside of the city. It's a siren call to the hopeful, and it's a successful town for tempering dreams into wakeful reality. Even with over 8,000 people per square mile, there is room for everyone, and then some, to be completely alone, by choice or otherwise.
Calico Review bears the mark of four students becoming the teachers, sharing the sentiments of the town they call home. Join them. There's a lot to learn.1. Strange Heat
3. Could Be You
4. High & Dry
6. Roadside Memorial
7. Autumn Dawn
8. Famous Phone Figure PLAY
9. 200 South La Brea
10. Warmed Kippers
11. Terra Ignota
12. Place In The Sun$21.99Vinyl LP - Sealed Buy Now
Duskland"He dwells in the same darkness as Cass McCombs, punctuating the cobwebbed stillness with lowing organ and severe, almost pagan imagery. The Crimson moon, the city of refuge: Thesewould be hapless signi ers in
another singer's mouth. Cale's drawl molds them back into tremendous fra gments, oating in a skyline somewhere just beyond the dusk. All of Duskland possesses that same fantastic self-assurance." -Stereogum
Zachary Cale has been releasing records under his own name for just shy of a decade. Duskland,
the title of his latest record, is a work of craftsmanship full of elegant lyricism and mysterious
imagery; a collection of songs that look directly into the face of darkness yet drive beyond it,
forging new paths.
Allegorical in nature, Cale's songs move away from the inward reveries of his last album, Blue Rider,
and divide outward into the voices of others. The album projects images of wide-open spaces and
landscapes constructed from half remembered dreams. There isn't always a clear resolution, characters
remain in a state of twilight, wandering from place to place in search of an undefined illumination. The
lyric: So many lifetimes I lived in one / I've got to bury them now / No surprises this time around /
Not beneath this crown, taken from I Left The Old Cell, aptly captures the human complexities found
throughout the songs.
Taking cues from artists like Oh Mercy/Time Out of Mind era Dylan and Nick Cave's work with the
Bad Seeds, Duskland evokes a restless spirit, one that is informed by American myths and tall tales.
There's a Western flair to many of the album's songs with nods to soundtrack composers such as
Morricone and the dream-laden noir of Badalamenti. Many of the album's highlights maintain a
ceremonial grace. Sundowner opens the album with a lush organ progression played over a
plaintive march. As the tension builds, Cale muses Branded as a fugitive / Dressed in the clothes
of an innocent / Sirens ricochet / From bloodless lips I hear them call my name. From there the
album moves forward like one long processional; Cale leads his band through up-tempo folk rock
and charming country waltzes to minor key dirges and atmospheric instrumentals until ending with a
horn section dragging over a funeral beat in the long form ballad Low Light Serenade.1. Sundowner
2. Blue Moth
3. I Left The Old Cell
6. Dark Wings
7. I Forged The Bullet
8. Changing Horses
9. Low Light Serenade$16.99Vinyl LP - Sealed Buy Now
REDD-FAT-6515xRowland S. Howard
Pop CrimesRowland S. Howard started playing in teenage bands in late
70s Melbourne. Whilst still a callow youth he wrote "Shivers," an
undisputed classic, (quietly ignoring the fact that Rowland perhaps
doesn't see it that way and approaches the song as if it was written
by someone else). The song was recorded by his band The Boys Next
Door who mutated into the Birthday Party and then relocated to
Europe to wage a guerrilla campaign against the trivialities of the
80s, until they turned their fire upon themselves and disintegrated
Whilst his former associates have moved on to weekend colour
supplement acceptability, Rowland has commonly been perceived
as the banished wastrel prince... exiled to a squalid garret on the
colder edges of the kingdom, accompanied only by his dreams and
inclinations. His demeanour (pale, gaunt, stick thin, sickly, dark
humoured, fatalistic) has perhaps inadvertently added far too much
credence to this interpretation of events. The shadow of this myth
has seemingly obscured the sheer volume of his creativity and the
singularity of his musical vision.
Always respected by his peers, a scan through Rowland's
catalogue of work sees him allied with the likes of Lydia Lunch,
Thurston Moore, Wim Wenders, Barry Adamson, The Gun Club, Nikki
Sudden, the Beasts Of Bourbon, the Hungry Ghosts and HTRK.
Rowland's own ensemble These Immortal Souls gun their engines
in the ill-lit background and the legacy of his work with The Birthday
Party scores the skin of successive generations of musicians and
But it's a history Rowland would gleefully put a match to. With or
without it Rowland S. Howard would make tense, beautiful music,
would deliver us his personal vision of the world, would create Pop
Long-time faithful friends Mick Harvey (who played with Rowland
for over 30 years), JP Shilo (Hungry Ghosts) and producer Lindsay
Gravina make for a formidable backline. Out front the guitar playing
couldn't be any one else but Rowland S Howard and his weary,
almost journalistic vocal delivery dispassionately sits amidst the
sweaty panic of the music, adding to the ill ease.
The band lurch in to Pop Crimes as if dragging a rain soaked body
across a muddy field. The ghosts of Lee Hazlewood, Snatch, Sergio
Leone, The Shangri-Las and nameless guys from a never known chain
gang watch on. Within the first few breaths Rowland references
Stalin, Calvary and genocide, whilst razoring guitar lines the current
crop of post-punk revisionists could only fantasize about.
"Shut Me Down" is Rowland at his most romantic, though
inevitably it's shot through with loss and longing. If only Dusty
Springfield were alive to revel in its drama. Talk Talk's 'Life's What
You Make It' is re-imagined as if it had risen from the grind of a
Detroit auto plant's assembly line. '(I Know) A Girl Called Johnny'
sees Jonnine D from HTRK sidle up to the microphone for a duet
that will melt even the coldest of hearts. It's a glorious missing link
between the New York girl group sound and the street smarts of
Suicide. Townes Van Zandt's "Nothin" is given a chilling tenement
building transformation. "Wayward Man" has the band wailing like
alarm sirens before Rowland emerges at his most contemplative
with the gorgeous, fragile build of "Ave Maria." Final track "The
Golden Age Of Bloodshed" takes the album out on a swaggering,
swashbuckling epic, with salvation slipping through the narrator's
fingers.1. (I Know) A Girl Called Jonny
2. Shut Me Down
3. Life's What You Make It
4. Pop Crimes
5. Nothin '
6. Wayward Man
7. Ave Maria
8. The Golden Age Of Bloodshed$17.99Vinyl LP - Sealed Buy Now
BacdafucupAt the time that Bacdafucup hit the record racks and airwaves, Onyx seemed to be inventing a genre all their own: heavy metal rap. Of course, on closer inspection, it is not at all surprising stylistically, given their link to Def Jam and Run DMC, the record company and crew that introduced heavy guitar riffs into hip-hop. Onyx, though, seemed far more threateningly hardcore than Run DMC ever were, and each song on their debut album seems like a quick-triggered, menacing chip set squarely on the shoulders of MCs Big DS, SuavÉ, Fredro, and Sticky Fingaz. That the entire album from beginning to end circumvents almost any backlash by being so brilliantly catchy as well, is a sterling tribute to how strong a quartet Onyx truly is on this first effort. The group gives the impression that they wanted to spotlight the sort of cartoonish, directionless anger that existed in a lot of hardcore rap, and then funnel that sort of energy into songs full of singalong choruses and joyous, chanted hooks that lend a certain feeling of camaraderie to the whole album. The release is mostly co-produced by Run DMC's Jam Master Jay and newcomer Chyskillz, and its music has a tense, wired edge that amplifies the vividness of the threatening lyrics. Sonically, it has a hardcore East Coast/New York City cast, full of throbbing bass and screeching siren-like effects. The grimy urban vibe is matched by Onyx's narrative thuggery, discharged straight from the streets like pumped-up news dispatches and predating the roughneck rap trend by several years. It's hard to imagine, given the gritty content of the album, that Onyx was aiming for airplay with Bacdafucup; nevertheless, almost in spite of itself, it was so good that it earned just that.
- Stanton Swihart (All Music Guide)1. Bacdafucup
3. Throw Ya Gunz
4. Here 'n' Now
5. Bust Dat Ass
6. Atak Of Da Bal-hedz
7. Da Mad Face Invasion
8. Blac Vagina Finda
9. Da Bounca Nigga
10. Nigga Bridges
11. Onyx Is Here
13. Stik 'n' Muve
16. Phat ('n' All Dat)
17. Da Nex Niguz
$24.99Vinyl LP - Sealed Buy Now
Icky BlossomsHailing from America's center, Omaha-based Icky Blossoms formed in the blizzard of 2011 through friendship, trials and a mutual desire to make art and new music. A brainchild born from the boredom of sitting still. Guitarist and vocalist Derek Pressnall met Icky Blossoms vocalist Sarah Bohling and lead guitarist Nik Fackler in the vibrant Omaha art scene and invited them to play in his band Flowers Forever. Enchanted by endless nights in clubs and inspired with a desire to program dance music with instantaneous grooves and depth, Pressnall, an acclaimed visual artist, and Fackler, a spirit award nominated filmmaker, combined with Bohling's mesmerizing voice and formed Icky Blossoms.
Icky Blossoms combine bass-heavy electronic grooves, pop structure, and a rock & roll swagger to pioneer a sound on the audio vanguard: music that is simultaneously avant garde, catchy and danceable. Their music spans from the anthemic to the introverted, chronicling the twists and turns of the human condition. Nodding to great sub-genres of the past, while creating songs firmly propelled into the future. Each band member arrives at the group from distinct musical backgrounds and collectively cite varied influences including contemporary pop, electronic, hip hop, experimental, no wave and world music. When Derek, Sarah, and Nik each input their particular inspirations they create a final product that is not only wholly unexpected, but greater than the sum of its parts.
Icky Blossoms' sound and explosive live shows caught the attention of Omaha's distinguished Saddle Creek, which has since signed the trio to release their debut LP. The self-titled album, produced by Dave Sitek from TV On The Radio, is slated for a July of 2012 release and features tracks that range from "Perfect Vision," an experiment based around trunk thumping low end and chainsaw guitars, to "Babes," which was lauded by Rolling Stone as a "girl-power dance anthem." Other standout tracks include "Heat Lightning," with its hypnotic arpeggiated synths, electro pulse and siren-esque vocals; the more raucous "Sex to the Devil," featuring futuristic synth lines and esoteric lyrics; or "Temporary Freakout," a classic pop song within an unconventional structure.
With a strong emphasis on DIY, the trio plans to integrate all their artistic abilities into the band, able then to better connect with those who choose to follow their creations or attend their live shows. Imbued with a celebratory atmosphere, their concerts have grown to be conduits for personal expression and individual creativity for everyone in the room. Loud, sweaty and out of control, the edge of their music and personalities combine with the hooks of their pop songs, creating a show which is one side dance party, one side mosh pit. By brazenly denying to be subservient to a single genre or medium, Icky Blossoms is set to garner the attention of a truly diverse audience and make a lasting impact on music to come. LP includes full album on CD.1. Heat Lightning
2. I am
3. Sex to the Devil
5. Deep in the Throes
7. Burn Rubber
8. Temporary Freakout
9. Stark Weather
10. Perfect Vision$17.99Vinyl LP - Sealed Buy Now
REDD-ART-0011xGord Downie, The Sadies, and The Conquering Sun
Gord Downie, The Sadies, And The Conquering SunGord Downie, The Sadies, And The Conquering Sun begins with Crater, a ragged anthem that erupts with frayed guitar and thundering rhythm. Dallas and Travis Good's trudging riffs light the low-slung growl of Gord Downie:
Hello there / Gentle Son / A crater / We're creating!
Crater is an arrival: the mission statement of a young band unhinged, igniting ten songs of visceral punk rock exultation. Gord Downie, The Sadies, And The Conquering Sun is a spirited exploration of the darkness surrounding daylight, a rallying cry from the Secret Museum of Mankind:
Crater! / Getting crushed in our dreams / Or in our dreams / Doing all the crushing
Downie's words burn in unison with the charging Sadies, the mantra of a band forged out of primal necessity. This album is a vital, reckless, and ecstatic moment, gleaming with the proud imperfections of a group discovering its voice.
It came together urgently but slowly, after the long-time Toronto friends first recorded together for Lake Ontario Waterkeepers in 2006. Fleeting sessions over the next seven years yielded finished songs in immediate, alchemical takes. Gord Downie, The Sadies, And The Conquering Sun is the action of first-thought-best-thought.
The project's namesake, The Conquering Sun fuses The Sadies' rusted psychedelia with Downie's humble, volatile wail. Mike Belitsky's roiling drums, and Sean Dean's sure, standing bass spur the band through uncharted desert-scapes.
Working the fugitive dust / Under the conquering sun / Nature, please be good to us / Under the conquering sun
Each song brims with energy, electricity embellishing a simple, rustic core. Acoustic inflections are cached in the album's array of fiery environments, staggering in its balance of ferocity and craft.
Downie cries out possessed on It Didn't Start To Break My Heart Until This Afternoon: a pulsating blast of brash guitars and fuzzed-out gnarl.
Drive it like we stole it / Through the snowflakes, into the cold of the sun
On Budget Shoes, guitars shine over the tumbling bedrock of desolate but hopeful imagism. Downie writes in a universal voice, with a chorus taunting shadow from light. On Los Angeles Times, nations gather under that conquering blaze, singing unanimous poetry of promise and provocation:
Raise a glass of hope / Raise a glass of liberty / And a glass of something else / May we be at ease with ourselves!
The Sadies' effortlessly invoke this primitive emotion, intuiting Downie's themes with rollicking instrumental passages. On Devil Enough, Downie's solemn musings are liberated by The Sadies' roving plainsong; sobering internal sentiment brought to life with the flame of improvisation:
You're making me drop things / I can't hold my cup / My state of being / Isn't what it was / The light the light / And my eyes adjust / What?s for sure is Devil Enough
One Good Fast Job sneers like a siren, blunt guitars circling Downie's snarl. Demand Destruction pops with environmental pressure, coaxing an answer to a nuclear dilemma:
And as the sun went down behind the shadow / Of this invisible war / You say, Is this accident ever over anymore?
Gord Downie, The Sadies, And The Conquering Sun spans depths and ages in its relentless half-hour, before concluding on an only note of reprieve. Saved dwells in the light of darkness, capturing our silent vibration of debt to the source. The album's last moments glint in the rapturous calm of collective awe:
You say nothing can be saved / It all goes away / Darkness falls and colours fade / And the music gets so loud it flaps your pant legs
Gord Downie, The Sadies, And The Conquering Sun boils with hope and irreverence; toils with fire as a tool and a curse. This is the combustion of brotherhood and dissent: music of wisdom and innocence:
It is the work, day is your word, night is the glue.
by Jonathan Shedletzky1. Crater
2. The Conquering Sun
3. Los Angeles Times
4. One Good Fast Job
5. It Didn't Start To Break My Heart Until This Afternoon
6. Budget Shoes
7. Demand Destruction
8. Devil Enough
9. I'm Free, Disarray Me
10. Saved$22.99Vinyl LP - Sealed Buy Now
The High FrontierLumerians release The High Frontier on through Partisan Records. The name for the album comes from a term coined by Gerard K. O'Neil in his illustrated 1976 book depicting human colonisation of space. The High Frontier contains Krautrock inspired exploration, Afrobeat's ritualistic rhythms, post-punk guitar noise and cracked-glacÉ synth lines culled from perverse 1970s sci-fi soundtracks.
It's a cacophony of sound in which Lumerians acknowledge the role noise and rhythm has always played in transcendent and ecstatic rituals the world over, from the repetitious drums of tribal animists to the penetrating electronic pulses of neon dance clubs.
The six tracks and 33 minutes that make up The High Frontier were recorded and produced in Lumerians' self-built studio/brewery: a room housed in a converted store-front church in a neighbourhood affectionately referred to as the "Murder Dubbs".
The High Frontier brings back the sound of prog rock that was so familiar in the 70s. Uncut described the album as: "a fruitful collision between Boredoms, Neu! and the Grateful Dead" and they are spot on.
Track one Dogon Genesis could easily fit itself into the 70s with no questions asked. Dogon Genesis is a fantastic first track that prepares the listener for the rest of the album. Dogon Genesis could refer to the Dogon tribe of Mali which gives a good indication of how bonkers the record is.
Title track The High Frontier has a completely different sound to that of Dogon Genesis. It's a slower tempo with more deep, bass tones coming through. The drum beat produces a mesmerising rhythm alongside the swooping synth sounds.
Previously disclosed track, The Bloom follows the same theme as The High Frontier. It's strange and eery. It is probably the most experimental song on the record which introduces lots of sounds and plays with the concepts of prog rock to create a brilliantly atmospheric track. The synth sounds heard at the beginning almost sound like sirens, building a sense of tension and fear into the listener.
Koman Tong breaks the album away from eerie and unnerving and plunges it into summer happiness. Koman Tong is still very experimental but it starts to introduce the idea of world influences into Lumerians' music, the guitar is distorted leading it to sound faintly like a sitar in parts while gongs and bells can be heard in the background. It's the best track on the record by far. There is just so much to catch and involve yourself in that you will instantly become lost in the music - cliched as it may sound.
Smokies Tangle turns the album back to its 70s prog rock style while the last track, Life Without Skin again oozes world influences, foreign vocals and jazz inspired drum beats to create a superb end track. It has a fantastic rhythm and melody and can easily be placed as one of the best songs on The High Frontier. It's also one of the only tracks on the album that uses influences from Lounge - think Bonobo vs prog rock and you're almost there.
The High Frontier is a mesmerizing account of weirdness and oddity that will leave you wanting to hear more. Each track has so many layers to it that you really will become immersed in this record. It's 33 minutes of experiments, fusion of genres and rule-breaking in the music world. A triumph.
- Rocking Republic1. Burning Mirrors
2. Black Tusk
3. Shortwave Fields
4. Atlanta Brook
6. Calalini Rises
8. Melting Space
9. Gaussian Castles$17.99Vinyl LP - Sealed Buy Now
"Madi Diaz Writes The Most Danceable Break Up Record Ever" - LA Weekly
"We have to say, this change does her good" - Refinery29
"With infectious structure and an addicting nature, Phantom should quickly find
its way into an already powerfully, lady-driven indie pop movement, ready to kick
down the doors of every local scene" - High Voltage
Indie-pop siren, Madi Diaz's new album Phantom is an open-faced and undeniably honest chronicle of falling
down, getting back up, and heading to the horizon.
Phantom was recorded in Madi's newly adopted home of Los Angeles, produced by Nick Ruth (Mikky Ekko,
Active Child) and mixed by John O'Mahony (Coldplay, Metric, Oh Land) at NYC's famed Electric Lady Studios.
The album's 11 tracks expand upon Madi's brand of sophisticated indie pop songs, providing a soundtrack
for adventurous escapades on sweaty dance floors with old friends or late night introspective drives under a
canopy of stars. Underneath the effervescent pop, her lyrics reveal an emotional through line.1. Tomorrow
2. Stay Together
4. Dancing In The Dark
5. The First Time
6. Ghost Rider
7. The Other Side
10. White Lightning
11. Ashes$22.99Vinyl LP - Sealed Buy Now
Scorpion ChildBlack Double-LP in Gatefold
Includes Bonus Track and Poster. Side D: Etched!
Hooks: a musical idea or short riff, passage, or phrase that catches the ear of the listener. Some bands have 'em, most don't. Austin-based five-piece SCORPION CHILD have 'em in spades. Whether it's an extended blues jam or a short slice of bombastic heavy rock "The Child" lay a hook so tasty everyone bites. SCORPION CHILD come from lots of different places, not only logistically but musically. Their sound heralds back to early 70's kraut and psych-rock with a modern twist and lists PENTAGRAM, HAIRY CHAPTER and LUCIFER'S FRIEND as influences. They originally formed in 2006 and have spent the last few years perfecting both their songwriting and stage presence. Aryn Jonathan Black fronts the outfit with a siren-like voice reminiscent of a young Robert Plant. Guitarists Christopher Jay Cowart and Tom Frank layer high-energy twin-guitars over the band's driving rhythm section fueled by Shaun Avants (bass) and Shawn Alvear (drums). "Our influences are diversified as classic 80's thrash metal to the old school southern blues of Blind Willie Johnson, Lemon Jefferson and Willie McTell," says Black. "We came to Austin to form a band with a single vision and though we've played in different bands with a range of styles, after jamming together, we found our footing in what we do best." Balancing full-time jobs at coffee shops and bars around town forced the group to be very disciplined. "Austin's a great city to develop and hone your skills musically," admits Black. "Every genre can be found here from blues and jazz to punk and hardcore." In 2010, after years of slogging it out in the Austin scene, SCORPION CHILD gained peer recognition with critical praise from local and regional press while selling out high profile gigs at SXSW. The stage was set for the band's recording debut. After songwriting sessions in Nashville, the band spent last year recording their self-titled album with Grammy-nominated producer Chris "Frenchie" Smith known for his work with THE ANSWER, JET, AND YOU WILL KNOW US BY THE TRAIL OF DEAD, DAX RIGGS, and many others). The result is a hybrid of nine, hook-filled heavy-psych classics that breathe new life into a stale hard rock market. Their music erupts with big drums, thunderous guitar riffs and dangerous soul ridden bass lines. Black's powerful rock vocals convey a sexiness and swagger not heard since the days of FREE and HUMBLE PIE. A surge of electricity bursts from the first notes of "Kings Highway" to the pummeling drive of "The Secret Spot" and the highly addictive open-chord "Liquor". Built for the big stage is "Salvation Slave" which hearkens back to a time when guitar rock ruled the airwaves and made going to a concert the ultimate main event. Building on dynamic tension comes the acid-infused "Antioch", a progressive number with hypnotic beats and subtle shades of light that build into a blinding guitar duet. A galloping pulse distinguishes "In The Arms of Ecstasy" as a celebration of groove that is followed by the raw unchained riffage of "Paradigm". The album concludes with the slow building "Red Blood (The River Flows)" which continues to attract comparisons to LED ZEPPELIN. "We do have this whole acoustic side that sounds very ZEPPELIN III with a lot of gospel", says Black. "ZEPPELIN were very innovative and not afraid to go outside the usual confines of electric blues. I guess that's where the comparison comes from." Recently signed to legendary metal label Nuclear Blast the band has pulled "Polygon of Eyes" as their lead single. A nod to DIO-era RAINBOW, the song is four minutes of power-heavy rock plowing through an ancient storyline of swords and mystics. Says Black, "I've always wanted to hear new musical ingredients within a classic heavy sound. We want to maintain spontaneity while putting special emphasis into integral hooks." As vinyl continues to gain momentum, SCORPION CHILD with Nuclear Blast have plans to release their debut in June 2013 as a glorious gatefold edition with different colored vinyl in each pressing. Building up to the debut release was a large-scale tour with CLUTCH and UK's ORANGE GOBLIN the perfect event to introduce SCORPION CHILD to the masses. Several summer festivals are to follow including Rock The Range and Rocklahoma. The band join an elite few including THE SWORD, GRAVEYARD, WOLFMOTHER and RIVAL SONS who celebrate a warm Marshall and liquid feedback while still pushing boundarie1 Kings Highway
2 Polygon Of Eyes
3 The Secret Spot
4 Salvation Slave
7 In The Arms Of Ecstasy
9 Red Blood (The River Flows)
10 Keep Goin' (LUCIFER'S FRIEND cover)$24.99Vinyl LP - 2 LPs Sealed Buy Now