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  • Destruction By Definition Destruction By Definition Quick View

    $24.99
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    Destruction By Definition

    This all time classic ska-punk record from Detroit's Suicide Machines on vinyl for the first time ever! After 17 years this essential punk-ska classic is finally getting released on vinyl. Detroit's finest delivered 16 tracks of blisteringly fast, anthemic sing-a-longs and made this record the heir apparent to Operation Ivy's Energy, in terms of it's importance to fans of the genre.
    1. New Girl
    2. S.O.S.
    3. Break The Glass
    4. No Face
    5. Hey
    6. Our Time
    7. Too Much
    8. Islands
    9. The Real You
    10. Face Values
    11. Punk Out
    12. Vans Song
    13. Insecurities
    14. Inside/Outside
    15. Zero
    16. So Long
    The Suicide Machines
    $24.99
    Vinyl LP - Sealed Buy Now
  • Battle Hymns Battle Hymns Quick View

    $24.99
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    Battle Hymns

    Mixed Color Vinyl


    Includes Poster


    Limited to 1,000


    This all time classic ska-punk record from Detroit's Suicide Machines on vinyl for the first time in 20 years, featuring cover art by world famous street artist Shepard Fairey. Originally available as a super limited pressing in the late 90's, Battle Hymns followed up their epic major label debut, with an even thrashier, harder edged, ska tinged classic record.... 22 songs, and only 4 coming in over 2 minutes long, this record is a must have in you ska-core collection!

    1. Someone
    2. Hating Hate
    3. Give
    4. Hope
    5. Black & White World
    6. Numbers
    7. High Society
    8. Pins And Needles
    9. Confused
    10. DDT
    11. Punck
    12. Step One
    13. In The End
    14. Face Another Day
    15. What You Say
    16. Speak No Evil
    17. Empty Room
    18. Independence Parade
    19. Sympathy
    20. Strike
    21. Sides
    22. Jah
    The Suicide Machines
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Stay Asleep Stay Asleep Quick View

    $19.99
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    Stay Asleep


    Reissue Of This Classic Record, Available For The First Time On Vinyl


    Bigwig is a hardcore punk band from New Jersey, formed in 1995. They were originally composed of Josh Farrell (guitar), John Castaldo (bass), Tom
    Petta (guitar/vocals), and Dan Rominski (drums).


    Since their inception, they have been steadily gaining popularity, having played / toured with such bands as Pennywise, Less Than Jake, Blink-182, The
    Ataris, The Vandals, New Found Glory, No Use for a Name, NOFX, The Suicide Machines, Agnostic Front, Lagwagon, and Reel Big Fish. Following the
    release of their 2001 album Invitation To Tragedy' Both Josh Farrell and Tom Petta have received producers credits on several well known albums. Tom
    Petta has most recently produced the new record entitled For Heaven's Sake by Canadian punk rock band Only Way Back.

    1. Still
    2. Dent
    3. Smile
    4. Flavor Ice
    5. Freegan
    6. Falling Down
    7. Friends
    8. Numbers
    9. Sellout
    10. Jerk
    11. 13
    12. Stand Up
    13. Boardumb
    14. 1-800-Whipped
    Bigwig
    $19.99
    Vinyl LP - Sealed Buy Now
  • Under Attack Under Attack Quick View

    $13.99
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    Under Attack

    Under Attack, the brash, brutal album from New York punk rock veterans The Casualties is a must own punk rock album. The Casualties previous effort On The Front Line , released in February of 2004 went on to sell over 62K copies in the US on the back of a very solid touring schedule. The Casualties took a short break from their relentless touring schedule and returned to the studio with Bill Stevenson (Black Flag, Rise Against, The Suicide Machines.) The result is Under Attack, thirteen tracks of blistering punk rock.
    1. Under Attack
    2. Without Warning
    3. System Failed Us... Again

    4. Social Outcast
    5. V.I.P.
    6. No Solution - No Control

    7. Down & Out
    8. In It For Life
    9. On City's Streets

    10. Fallens Heros
    11. Great American Progress
    12. Stand And Fight
    The Casualties
    $13.99
    Vinyl LP - Sealed Buy Now
  • Living The Dream? Living The Dream? Quick View

    $11.99
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    Living The Dream?

    The masterpiece Living The Dream? is the result of Common Enemy's long time line-up and new vocalist Gary Critical's instant writing chemistry. Producing 20 Punk Rock anthems about Skating, Partying, and Politics for 2009, the band invited Suicide Machines/ Hellmouth singer Jason Navarro to the party to guest on the title track. The formative years started in 1997 by brothers Tank on drums and Justin on guitar. Focusing their beer goggles in 2004 with the edition of Greg Disoder on Bass and releasing the acclaimed Late Night Skate CD. Touring road miles, empty beer cans, broken decks, and members numbers all mounted, CE started gaining a fanatical and frenzied fanbase that was finally sticking to their grip tape. Treking all over North America and 3 trips to Europe to support Late Night Skate and the follow-up Thrashing Under The Influence aka T.U.I have cemented CE their well respected place in the DIY Punk scene. Living The Dream? will be an instant underground classic!
    1. Still Having Fun
    2. The Thrill Will Kill
    3. We're Under Attack
    4. Living the Dream? (feat. Jason Navarro)
    5. Beer Bong
    6. To the Left
    7. Warped in World 8
    8. Hey Kid, Wake Up
    9. Nothing's Wrong
    10. My Board, My Rules
    11. Pac-Man Fever
    12. Thrash House Party
    13. Police Story
    14. Just Another Enemy
    15. Party Harder
    16. Never Enough
    17. Shut Your Mouth
    18. Bail Out
    19. Syphon & Destroy
    20. Standing In Line
    Common Enemy
    $11.99
    Colored Vinyl LP - Sealed Buy Now
  • Goldfinger (Awaiting Repress) Goldfinger (Awaiting Repress) Quick View

    $25.99
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    Goldfinger (Awaiting Repress)



    First Time On Vinyl


    Mastered For Vinyl And Lacquers Created By Stan Ricker


    Pressed On Limited Edition 180 Gram Colored Vinyl


    Gatefold Jacket And 11 X 22 Insert


    SRCvinyl is proud to bring you Goldfinger's self-titled album on vinyl for the first time ever! Goldfinger is the first album by ska punk band Goldfinger, originally released in February 1996.


    ''The year 1996 was a breakthrough year for a new sound: the fusion of ska and punk. The Suicide Machines debuted, Less Than Jake made their major-label debut, but no one had more success with this new sound than Goldfinger on their self-titled debut. That could be because the band went even farther with their genre-bending, throwing metal and a touch of reggae into the mix. Or it could be because songs like the hit ''Here in Your Bedroom'' and ''Mabel'' are irresistibly catchy, creative, and, with such self-effacing lyrics as the maybe-size-does-matter line in ''Mabel,'' hopelessly endearing. The album is an emotional roller coaster, from the self-affirming ''Bedroom'' (''You have changed/Cuz I still feel the same'') to the confusion of ''Mind's Eye'' (''Every time that I see you/I act like a different man'') to the oh-well-I-give-up humor of ''My Girlfriend's Shower Sucks'' (''It's like the shower's going pee''). And there's plenty of anger and aggression left over for songs like ''Answers.'' The album went gold in 1998.'' -- Allmusic.com

    1. Mind's Eye
    2. Stay
    3. Here In Your Bedroom
    4. Only A Day
    5. King For A Day
    6. Anxiety
    7. Answers
    8. Anything
    9. Mable
    10. The City With Two Faces
    11. My Girlfriend's Shower Sucks
    12. Miles Away
    13. Nothing To Prove
    14. Pictures
    15. Telephone Conversation
    16. Fuck You And Your Cat
    Goldfinger
    $25.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Ride Or Die Ride Or Die Quick View

    $19.99
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    Ride Or Die

    Debut full-length album from New York duo on Skrillex's OWSLA label.


    While HEARTSREVOLUTION have worked with the likes of Just Blaze and released a string of Eps, singles, and mixtapes, they return to thrill us with their first LP of classic Rock & Rock dance gems. The 13 tracks that make up Ride or Die are a blend of bubble-gum pop sensibilities with Riot Grrrl ferocity that explores childlike innocence along with a visceral revolutionary spirit. Up-tempo tracks such as Ride or Die, Kill Your Radio and Vertigo show-off their punk spirit and sound as though they came out of a basement in Olympia as much as the streets on New York. Bedroom dance parties are bound to break out with Kishi Kaisei and KISS. Digital Suicide and Heart vs the Machine make light of their versatility and electro prowess while Final Destination features New York hip-hop mainstay Esso. And just when you think it's all fun and games, you'll find an unexpected masterpiece like Gen wh(Y). This song explores a level of intimacy and vulnerability that is rare, and is a call to arms as the band wears their heart on their sleeve and questions just about everything.

    1. Iscream Bombs
    2. Ride Or Die
    3. Kishi Kaisei
    4. KISS
    5. Battleships
    6. Digital Suicide
    7. Kill Your Radio
    8. Vertigo
    9. Brillianteen
    10. Heart vs. the Machine
    11. Gen Wh(Y)
    12. Heaven's Gate
    13. Final Destination Feat. Esso
    14. We Out
    Heartsrevolution
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Terror The Terror Quick View

    $34.99
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    The Terror

    The nine grim, harrowing songs that comprise the Flaming Lips thirteenth studio album The Terror are as much a paradigm shift in the Lips' sound as Zaireeka and The Soft Bulletin before it. Recorded on and off last year at Tarbox Road Studios with longtime co-producer Dave Fridmann in the wee hours between Heady Fwends collaborations, the album finds the Lips favoring heavy-lidded loops and drum machine mesmerism. Traces of Silver Apples, Suicide, Can, Beak>, and Broadcast abound, riding motorik grooves that push everything all deep into Wayne Coyne's heart of darkness. Or, as he put it from his compound in Oklahoma City, these were songs to be sung from this despondent futuristic dystopian church.

    -Andy Beta
    1. Look The Sun Is Rising
    2. Be Free, A Way
    3. Try To Explain
    4. You Lust
    5. The Terror
    6. You Are Alone
    7. Butterfly, How Long It Takes To Die
    8. Turning Violent
    9. Always There In Our Hearts
    The Flaming Lips
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • End Of The Party (Pre-Order) End Of The Party (Pre-Order) Quick View

    $36.99
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    End Of The Party (Pre-Order)

    To capitalize on their early success, RATM boosted their touring efforts, playing 185 shows through 1992 and 1993, a tour which remains the group's most extensive to date. These included their now legendary performance at the 1993 Lollapalooza festival and a plethora of gigs supporting Suicidal Tendencies across Europe.

    This Deluxe 2LP release features two Rage shows, both the subject of FM radio broadcasts and both released here on vinyl for the first time. The first performance was made on the penultimate date of the above noted tour when the band played at the Universal Amphitheatre on 12th December 1993. The second was recorded at Irvine Meadows on 17th June 1995, while the group were recording their sophomore album Evil Empire, a release that became equally as successful as their debut.

    LP 1
    1. Take The Power Back
    2. Testify
    3. Bombtrack
    4. The House Of Rage
    5. Killing In The Name
    6. Bullet In The Head


    LP 2
    1. Tire Me
    2. Bullet In The Head
    3. Know Your Enemy
    4. Roll Right
    5. Bombtrack
    6. Revolver
    7. Year Of Tha Boomerang
    8. Killing In The Name
    9. Freedom

    Rage Against The Machine
    $36.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • End Of The Party (Clear Vinyl) (Pre-Order) End Of The Party (Clear Vinyl) (Pre-Order) Quick View

    $40.99
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    End Of The Party (Clear Vinyl) (Pre-Order)

    Clear Vinyl

    To capitalize on their early success, RATM boosted their touring efforts, playing 185 shows through 1992 and 1993, a tour which remains the group's most extensive to date. These included their now legendary performance at the 1993 Lollapalooza festival and a plethora of gigs supporting Suicidal Tendencies across Europe.

    This Deluxe 2LP release features two Rage shows, both the subject of FM radio broadcasts and both released here on vinyl for the first time. The first performance was made on the penultimate date of the above noted tour when the band played at the Universal Amphitheatre on 12th December 1993. The second was recorded at Irvine Meadows on 17th June 1995, while the group were recording their sophomore album Evil Empire, a release that became equally as successful as their debut.

    LP 1
    1. Take The Power Back
    2. Testify
    3. Bombtrack
    4. The House Of Rage
    5. Killing In The Name
    6. Bullet In The Head


    LP 2
    1. Tire Me
    2. Bullet In The Head
    3. Know Your Enemy
    4. Roll Right
    5. Bombtrack
    6. Revolver
    7. Year Of Tha Boomerang
    8. Killing In The Name
    9. Freedom

    Rage Against The Machine
    $40.99
    Colored Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Apocalipstick Apocalipstick Quick View

    $19.99
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    Apocalipstick

    Society would deem that a prodigious girl can't be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem Creevy, a 19-year-old teen Queen dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path.


    Back in 2014, much-loved Cali imprint Burger Records released their intoxicating debut Haxel Princess and Suicide Squeeze released the Had Ten Dollaz 7-inch.


    On Apocalipstick, the band worked with "rock'n'roll wizard" Joe Chicarelli [White Stripes, The Shins, The Strokes] and Carlos de la Garza [Bleached, M83, Tegan and Sara]. With their help and the band's newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.

    1. Told You I'd Be With The Guys
    2. Trash People
    3. Moon Dust
    4. Humble Pro
    5. Nuclear Bomb
    6. Only Kid On The Block
    7. Lucid Dreams
    8. Sip O' Poison
    9. Nurse Ratched
    10. Instagratification
    11. Apocalipstick
    Cherry Glazerr
    $19.99
    Vinyl LP - Sealed Buy Now
  • Hard Attack Hard Attack Quick View

    $13.99
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    Hard Attack

    The 70's were the golden era of rock music. Especially in 1972 albums such as Deep Purple's Machine Head, Jethro Tull's Thick as a Brick, David Bowie's Ziggy Stardust, Uriah Heep's Demons and Wizards, Black Sabbath's Vol. 4, and of course the colossal live Made in Japan were released. In addition to their undeniable historical value, these albums were released by British artists that dominated the rock scene back then. On the other side of the Atlantic, 3 teens from the US were forming a short-lived band that released only two albums but had a strong impact on a small nucleus of fans that recognized something different in the sound of Dust. The sound of Hard Attack, the band's second and final release, that we now call proto-metal is influenced by the likes of Deep Purple, Uriah Heep, Black Sabbath, the Who and even Cream. So, what we have here is an American band that sounds as if it consists of British musicians. The band members however were not strangers to the world of rock. Drummer Marc Bell became known as Marky Ramone, while singer and guitarist Richie Wise went on to produce the first two KISS albums along with Kenny Kerner who wrote the lyrics of Hard Attack. Nevertheless, bass player Kenny Aaronson is the one who shines mostly throughout the album with his amazing musicianship.


    As a result, the fact that the album sounds like a fusion of the aforementioned bands is not accidental. In addition, the listener can recognize elements of KISS from the very beginning with excellent riffs, heavy rock attitude but most notably huge chugging bass lines. But it's not just speed and heaviness that this band has to offer. The combination of acoustic and electric guitar showcases the band's ability to create more melodic passages along with their proto-metal sound. The song Suicide is the pinnacle of the whole album as one can listen to the band's Sabbathian sound accompanied by drum fills reminiscent of Ginger Baker. Bear in mind that in this release Marc Bell (aka Marky Ramone) is just 16 years old. Additionally, one can listen to melodic brakes in the middle of some songs that remind Uriah Heep and psychedelic influences from the likes of the Beatles. Moreover, the band sounds even more interesting when they add strings and organ to a mellow song with lyrics such as "Angry angels cried, Satan yearning cast a spell on us, Cherubim with wings that cannot fly, Dancing demons fill the sky". An additional sample of proto-metal can be heard in the speedy instrumental Ivory with its catchy riffs, cool bass licks, and Paice-like drumming. As you may have guessed, Dust is not your typical 70's hard rock band. Yes, they do incorporate elements from several bands but they add their own style in order to produce a rather exciting outcome, that we now call proto-metal.


    - manosg (Sputnik Music)

    1. Pull Away/So Many Times
    2. Walk In The Soft Rain
    3. Thusly Spoken
    4. Learning To Die
    5. All In All
    6. I Been Thinkin
    7. Ivory
    8. How Many Horses
    9. Suicide
    Dust
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Three Worlds: Music From Woolf Works Three Worlds: Music From Woolf Works Quick View

    $35.99
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    Three Worlds: Music From Woolf Works

    Following the success of SLEEP, Max Richter reveals his latest recording project - a new album entitled Three Worlds: music from Woolf Works. It's drawn from his music to Wayne McGregor's award-winning Royal Ballet production Woolf Works - inspired by the works of Virginia Woolf - and will be released on Deutsche Grammophon.


    Just like the ballet, Richter's new album has a three-part structure, built around themes from three of Woolf's novels: Mrs. Dalloway, Orlando and The Waves. Fragments from her letters, diaries and other writings are woven into the work, with spoken words from Gillian Anderson, Sarah Sutcliffe and even Virginia Woolf's own voice, reading the essay 'Craftsmanship' from a 1937 BBC recording.


    Max Richter explains: "When we began to discuss making the ballet, I hunted around for material of all kinds, photographs, memoirs, biographies. I never expected to find a recording of Virginia Woolf - this is the only one to survive. It's like a tremendous time machine which allows you to hear her voice and wonderful use of language. I've used spoken-word elements quite often in my work, so to come across Virginia Woolf reading her own words was like a Christmas present. That lit the fuse for the musical language of the ballet's first act, based on Mrs. Dalloway, and the piece grew from there."


    Richter's new album, which stems from his longer score for Woolf Works, features a vast palette of sounds - from solo instrumental and orchestral episodes, to electronic textures and music for wordless soprano. It opens with the chime of Big Ben, whose unmistakeable sound can still be heard above the noise of London traffic from the distance of Gordon Square in Bloomsbury, where Virginia Woolf lived before her marriage to Leonard Woolf.


    Woolf's suicide note, her heart-rending farewell letter to her husband, read by Gillian Anderson, sets the contemplative atmosphere for 'Tuesday', the album's final and longest track. The piece develops from the sound of breaking waves into a plaintive solo melody, constantly repeated yet ever-changing, and grows to become a dream-like meditation on life and death. "My approach goes back to the aesthetic pleasure of simple, well-made things," Richter observes. "I believe 'Tuesday' connects to minimalism in painting and architecture; within the realm of what people call spirituality, it connects to Zen Buddhism. All those things flow together in the striving for the maximum from the minimum."


    Max Richter and Wayne McGregor are frequent collaborators. Richter wrote the scores for McGregor's ballets Infra and The Future Self, while McGregor staged Richter's recomposition of Vivaldi's The Four Seasons and directed his chamber opera, Sum. Woolf Works was met with outstanding critical acclaim on its premiere in 2015, winning the Critics' Circle Award for Best Classical Choreography and the Olivier Award for Best New Dance Production.

    1. Words (Mrs Dalloway)
    2. In The Garden
    3. War Anthem
    4. Meeting Again
    5. Memory Is The Seamstress (Orlando)
    6. Modular Astronomy
    7. Entropy
    8. Transformation
    9. Morphology
    10. The Tyranny Of Symmetry
    11. The Explorers
    12. Presistence Of Images
    13. Genesis Of Poetry
    14. Possibles
    15. Love Songs
    16. Tuesday (The Waves)
    Max Richter
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Fantasy Fantasy Quick View

    $17.99
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    Fantasy

    Lightning Dust - the duo comprised of Amber Webber and Josh Wells - tends to thrive in the spirit of
    change.2007'sself-titled debutwas a hushed,intricate folk affair,while 2009'sInfinite Lightfound a middle
    ground between Suicide and Fleetwood Mac era pop. So when they geared up to make the music that
    would become Fantasy, the pair waslooking for a new sonic stamp.
    Lightning Dust'sthird properfull length findsitsinspiration in skeletalsynth pop,modernR&B beats,the
    films of John Carpenter and - in accordance with Lightning Dust's only longstanding rule - absolute
    minimalism.


    The core of Fantasy lies as much in the songwriting as in its sonics, and begins with tools
    familiar to Webber and Wells: her acoustic guitar and his Wurlitzer piano. They worked to distill the
    arrangementsto justthe fewkey elementsthatwere necessary to make the feelright, and through countless
    hours of labor in The Balloon Factory - their Vancouver studio - the songs found their way to a sonic
    palette more squarely electronic than either expected.
    The first product of this experimentwasNeverAgainwhichwas previously featured on a 7in 2011 and
    now closes the new album. It is a menacing, almost gothic electro-pop churner, marching from an
    oscillating beat to an anthemic thunderstorm of synth textures. Like many of its cohorts, the song came
    together slowly: beginning with a barebones acoustic demo and honed through their new sonic prism,
    NeverAgain became not only a bouncing synth opus but a thesisstatement of sortsfor Fantasy.
    Knowing now where they were going, the path began to take shape. The duo was keen to use a purely
    synthetic palette for Fantasy, but instead of toiling away in front of a computer,Wells armed himself with
    an MPC 2000 - a cumbersome, outdated machine, but one that proved to be the perfect tool to keep the
    spirit of absolute minimalism alive in their new musical terrain.

    The time-honored producer's weapon of
    choice became Wells' entrance to the world of programming, one that empowered him to work by feel
    alone. Webber, meanwhile, mined the freedom she felt singing along to records as a child, and strove to
    write vocal melodies and singwith a more extroverted pop sensibility.The hooks are apparent, andWebber
    sings with a self-assurance that beliesthe extent to which Fantasy marks a new, uncharted sonic space for
    the band.


    By beginning at the end, Lightning Dust has delivered an album that informs their sound in remarkable
    new ways. Fantasy is a hypnotic, exciting record,recklessly new without sacrificing the rich atmosphere
    that makes Lightning Dust who they are. Loaded Gun is a robotic riot grrrl anthem, while Agatha
    standstall as an ominouslullaby.Fire, Flesh and Bonerecallsthe best cinematic newwave ballads,while
    acoustic heartbreaker Moon makes the rest of the world disappear. And so while Lightning Dust's
    destination was never an exact place, Fantasy is as vivid a place as you've everimagined.

    1 Diamond
    2 Reckless And Wild
    3 Mirror
    4 Moon
    5 Fire Me Up
    6 Loaded Gun
    7 In The City Tonight
    8 Fire, Flesh And Bone
    9 Agatha
    10 Never Again
    Lightning Dust
    $17.99
    Vinyl LP - Sealed Buy Now
  • In The Hollows In The Hollows Quick View

    $16.99
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    In The Hollows


    there's a thrilling feeling of freedom to it all.
    - PITCHFORK


    Nat Baldwin is a musical maverick one of the
    best leftfield pop albums of the year.
    -DROWNED IN SOUND


    terrifically earnest, terrifyingly intimate, and
    terribly special.
    -THE BOSTON PHOENIX


    In The Hollows is Nat Baldwin's followup to 2008's People Changes. Despite his busy scheule recording and touring as the bass player for Dirty Projectors, Nat found time to write
    and record his most soulful and ambitious collection of songs to date. After recording the
    initial tracks at Machines With Magnets in Pawtucket, RI, Nat recruited Otto Hauser for
    drums and percussion, and Rob Moose and Clarice Jensen to write string arrangements.
    Discussing the album's production, Nat says I wanted to achieve a consistency throughout
    that my past albums have lacked. I wanted the strings to add to the mournful quality of the
    songs, weaving their way through the sonic terrain, providing emotional emphasis, but also
    leaving necessary amounts of space. Albums by Nick Drake, Judee Sill, Joanna Newsom,
    Antony & the Johnsons, and Bill Callahan, to name a few, provided inspiration in balancing
    that intimacy with minimal, but powerful, adornments.


    Much of the album was written while Nat was training for a marathon at his home in Maine.
    According to Nat, I had a pretty rigorous and consistent routine of running/working out
    early in the morning, and working on music all afternoon/evening. I also started reading
    obsessively during this time, as I wasn't moving around much after the morning marathon
    training. Some of the songs were inspired by books I was reading, and some were inspired
    by my lifestyle. Blending autobiographical details with fiction, the songs cover a wide
    range of topics including boxing, drowning, bodybuilding, target practice, will power, Steve
    Prefontaine, competition, separation, isolation, devastation, manipulation, conflagration,
    intoxication, and suicide.


    Immersive, athletic, and often profound, In the Hollows represents his clearest and most
    consistent album-length statement, melodically, structurally, and lyrically. Nat explains
    that I hope it is as unsettling as it is beautiful. I want it to make people feel things they
    can't describe.

    1. Wasted
    2. Knockout
    3. Half My Life
    4. In The Hollows
    5. The End Of The Night
    6. Cosmos Pose
    7. Sharpshooter
    8. Bored To Death
    9. A Good Day To Die
    Nat Baldwin
    $16.99
    Vinyl LP - Sealed Buy Now
  • Savages Savages Quick View

    $24.99
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    Savages

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blood In, Blood Out Blood In, Blood Out Quick View

    $24.99
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    Blood In, Blood Out

    With a career spanning 34 years, EXODUS has not only helped shape and define the thrash metal genre for over three decades, but they continually stretch and raise the genre's boundaries. One of the forefathers of the Bay Area scene, the band's 1985 debut album, Bonded By Blood, has since become a legendary album featuring mandatory live staples such as "Strike Of The Beast", "A Lesson In Violence", and the album's title track.


    Formed in 1980, the band's original members included Tom Hunting on drums, Kirk Hammett (Metallica) & Tim Agnello on guitars and Carlton Melson on bass. With a line-up that has evolved throughout the years, the current incarnation of EXODUS charges into the future with returning frontman Steve "Zetro" Souza on vocals, Gary Holt and Lee Altus on guitars, Tom Hunting on drums, and Jack Gibson on bass.


    In 2014, EXODUS closed the first half of the year with stellar performances at Kirk Hammett's Fear FestEvil and Rock On The Range, as well as a groundbreaking tour with fellow thrash legends Slayer and Suicidal Tendencies. To date, EXODUS has released nine studio albums, two live albums, and one compilation. Their most recent release, Exhibit B: The Human Condition, debuted within the Billboard Top 200 Albums chart in 2010.


    Produced by Andy Sneap (Machine Head, Megadeth, etc), the new Exodus record, "Blood In, Blood Out", will be released in 2014.

    1. Black 13 (feat. Dan the Automator)
    2. Blood In, Blood Out
    3. Collateral Damage
    4. Salt the Wound (feat. Kirk Hammett of Metallica)
    5. Body Harvest
    6. BTK (feat. Chuck Billy of Testament)
    7. Wrapped in the Arms of Rage
    8. My Last Nerve
    9. Numb
    10. Honor Killings
    11. Food for the Worms
    Exodus
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Black Market The Black Market Quick View

    $22.99
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    The Black Market

    "There's a lot of raw emotion on this record," begins Rise Against singer and guitarist Tim McIlrath as he describes the Chicago punks' highly anticipated
    and searing new album, The Black Market on Interscope Records. "It's a raw nerve," he clarifies, "it's going to be a hard thing to ignore."


    These words should not be taken lightly. After 15 years, and six incendiary albums, Rise Against have become one of the most successful, challenging
    and revered punk rock bands on the planet. While selling four million albums globally across their last four releases - with 2011's Endgame debuting at
    number one in Germany and Canada, and number two on the U.S. Billboard charts - they've also always adhered to the idea of music as a vehicle for
    change. In doing so, they've appeared alongside superstars like Adele and Sting on Amnesty International's Chimes Of Freedom - The Songs Of Bob
    Dylan compilation in 2012, toured with Rage Against The Machine's iconic guitarist Tom Morello, campaigned against gun violence with the Demand A
    Plan organization and advocated the Make It Stop campaign's attempt to raise awareness of LBGT teen suicides and bullying, working closely with "It
    Gets Better." It's important to keep this rich heritage of protest in mind when discussing The Black Market.


    On the one hand, The Black Market was forged like other Rise Against records. Tim McIlrath, bassist Joe Principe, guitarist Zach Blair and drummer
    Brandon Barnes recorded it between January and March, 2014, at the Blasting Room Studios, with long-time producers Bill Stevenson and Jason
    Livermore. But something was different this time around.


    The Black Market focuses on the cost of self-awareness. "Rise Against has always been a political band, but also a personal band," says Tim. "We've
    always had songs that have a foot in both worlds. This album is a lot more introspective to me." The intensely melodic strains of "I Don't Want To Be Here
    Anymore" is a case in point - riding a huge chorus and speaking of universal themes of entrapment and escape.


    The Black Market also marks the maturation of Rise Against's sound. The melodic breadth, the impassioned screaming, scissoring guitars, bubbling
    basslines and whipping drums still exist, but other moments have no reference point in their discography.


    The Black Market casts Rise Against's relationship with their own music and social struggle in a stark new light. It may be a raw nerve to behold, but's it's
    also a magnificent one that will surely be felt across the world. It deserves to be.

    1. The Great Die-Off

    2. I Don't Want to Be Here Anymore
    3. Tragedy + Time

    4. The Black Market

    5. The Eco-Terrorist In Me

    6. Sudden Life

    7. A Beautiful Indifference

    8. Methadone

    9. Zero Visibility

    10. Awake Too Long

    11. People Live Here

    12. Bridges
    Rise Against
    $22.99
    Vinyl LP - Sealed Buy Now
  • All Harm Ends Here All Harm Ends Here Quick View

    $14.99
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    All Harm Ends Here

    The Early Day Miners Good Time Band is back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here Early Day Miners have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, EDM take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place. While the album is filled with death and ghosts of all sorts, its unifying theme is the individual's ability to escape the death and ghosts. Even the making of the album (which was done just outside of the band's hometown of Bloomington, Indiana, on the outskirts of Hoosier National Forest) was plagued by ghosts and phantoms. Recorded at the Old Mt. Gilead Church - recently revamped into a recording studio and still immediately surrounded on three sides by a dozen acres of 150-year old cemetery - principal tracking for All Harm Ends Here was halted for days at a time on multiple occasions when inexplicable flutter infected the reels of tape, almost requiring EDM to relocate its principal tracking altogether. Mixing and overdubbing was done at Burton's own Grotto Home Studio in an effort to evade those ghosts in the machine which possessed Old Mt. Gilead. While the Early Day Miners don't make flashy music, their layered music rewards the repeat listener. If you listen closely enough, in fact, you can hear ghosts in the distance.
    Errance
    Townes
    The Union Trade
    Comfort/Guilt
    All Harm
    Precious Blood
    We Know in Part
    The Way We Live Now
    The Purest Red
    Early Day Miners
    $14.99
    Vinyl LP - Sealed Buy Now
  • Angel Guts: Red Classroom Angel Guts: Red Classroom Quick View

    $19.99
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    Angel Guts: Red Classroom

    Angel Guts: Red Classroom is the beginning of Xiu Xiu's descent from grayness into the deepest blackness endurable. It is the sound of Xiu Xiu's death.


    This is a bold proposition, even for a band that has never so much pushed the envelope as pulled it (forcefully) away from the line other musicians are willing to toe. And now, in what is unquestionably their darkest hour, Xiu Xiu have lit the envelope on fire and are using it as a torch to light the path ahead.


    Having spent the previous four years living in North Carolina, primary songwriter Jamie Stewart relocated to Los Angeles, moving blindly into a neighborhood whose notoriously dangerous reputation was unknown to him.


    A park divided among four gangs, a lake routinely dragged for bodies, a building wherein two infant skeletons were recently uncovered -- the aura of his new home bleeds into every pore of the album, each lyric and note bearing traces of its essence: the terrible beauty, the despair, the violence, the ultra humanity, the uncertainty.


    I know to a degree I must have romanticized it, Stewart admits, But when it's not safe to go out at night, what else can one?


    Romanticized is hardly the word anyone other than Stewart would use. Like its namesake, a Japanese erotic noir film, Angel Guts: Red Classroom is as radical as it is inventive. The subject matter -- racialized sex, double suicide, double penetration, criminality, fear of physical harm -- is unsuitable for the faint of heart. But when the heart has stopped beating, only the soul remains to carry on. And here, Stewart transcribes his without boundaries.


    Your face is down alone / On your desk / At the end of the city / You were squashed into / There is no one you love. So begins the album's first verse.


    In the wrong hands, such topics could be rendered as far-fetched fantasies. But Stewart's evocative vocals lend his provocative lyrics the balance they need, grounding them in a stark realism that forces us to acknowledge their existence, even confront them (as discomforting as that is).


    Unsettling, too, is the music. Working with only analog synths, drum set, and 1970's analog drum machines, Xiu Xiu has never before sounded so focused, so captivating, so intent on delivering a kick to the throat.


    Though influences can be cited (Suicide, Kraftwerk, Nico, EinstÜrzende Neubauten), they are ultimately far less relevant than the mark this album will leave on other musicians and music fans from this point forward.


    Take Stupid in the Dark -- its tone ominous and pulsing, its harmonies simple and direct, its grip unrelenting. Or Botanica de Los Angeles, a sparse, yet undeniably anthemic merging of bruising drums and bone-rattling bass synths.


    Unbearably dark, yet incredibly illuminating, on the John Congleton-produced Angel Guts: Red Classroom Xiu Xiu continues to forge (and at times risk) its reputation as avant-garde pioneers. It is the work of a band unraveling to its core and exposing the boldness within.


    Xiu Xiu may be dead, but its will is more alive than ever.

    1. Angel Guts
    2. Archie's Fades
    3. Stupid in the Dark
    4. Lawrence Liquors
    5. Black Dick
    6. New Life Immigration
    7. EL Naco
    8. Adult Friends
    9. The Silver Platter
    10. Bitter Melon
    11. A Knife in the Sun
    12. Cinthya's Unisex
    13. Botanica de Los Angeles
    14. Red Classroom
    Xiu Xiu
    $19.99
    Vinyl LP - Sealed Buy Now
  • Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock) Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock) Quick View

    $29.99
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    Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock)


    Includes Detailed Artwork And Two Essays By Leon


    Craig Leon's seminal synthesizer albums Nommos and Visiting are finally re-editioned in
    definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.'s archival
    series.


    Issued respectively by John Fahey's Takoma record label in 1980 and Leon's Arbitor
    private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard
    Craig Leon. Leon's production was pivotal in realizing the debut recordings by Ramones,
    Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound,
    Leon's own debut album was arguably, if not literally, more alien.


    In 1973 , the Brooklyn Museum hosted a comprehensive collection of sculptures by the
    Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections
    of a visit from an extraterrestrial species they named Nommos. Years after experiencing the
    exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their
    home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was
    presented and a challenge in place: what would music sound like if handed down from an
    ancient alien species? And how best to imagine it?


    Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to
    employ the latest and greatest synthesizer technology available. An avant empathist and
    eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint.
    After a secluded week in an Austin, Texas studio with his partner, wife and collaborator
    Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the
    Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms
    programmed on a prototype of Roger Linn's nascent drum-machine, the LM-1.


    Issued by Fahey with zero expectation of the same radio airplay Leon accomplished
    with his pop productions, Nommos now stands as an innovative example of cosmic-synth
    composition that wasn't made for its time or any other. For this edition, Leon has in fact
    re-animated Nommos by re-recording the exact audio signals as preserved in the album's
    original studio notes. Every patch, tape-delay speed and outboard setting was transcribed
    as first scored, materializing the best possible audio from an album whose masters were lost
    in major label merger milieu years ago.


    Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title
    suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The
    album is in equal measure more improvisatory and constructed than its predecessor. Both
    albums were intended to be listened to as a set in the first volume of Leon's Anthology of
    Interplanetary Folk Music (the title was an homage to Harry Smith's influential collection of
    folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and
    compositional additions to both albums to enhance the connectivity and encourage infinite
    interpretation.


    While reissues and bootlegs have appeared to relieve the demand for these records,
    this collection will stand as the first ever version authorized by Craig Leon himself. The
    vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by
    Leon. The first tells the complete story of the stargazing Dogon people and their prescient
    understanding of cosmology. The second details Leon's adventure in creating the Anthology
    of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one
    seamless synth classic.

    1. Ring With Three Concentric Discs
    2. Donkeys Bearing Cups
    3. Nommo
    4. Four Eyes To See The Afterlife
    5. She Wears A Hemispherical Skullcap
    6. One Hundred Steps
    7. Region of Fleeing Civilians
    8. Three Small Coins
    9. Visiting
    10. Details Suggest Fidelity To Fact
    11. The Customs of the Age Disturbed
    Craig Leon
    $29.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
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