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  • Wiped Out! Wiped Out! Quick View

    $25.99
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    Wiped Out!

    Wiped Out! is LA-based band The Neighbourhood's 2nd album via Columbia Records. The record includes the hit single "RIP 2 My Youth."


    The 2015 album and single are sure to give the band's first record, I Love You, and groundbreaking single "Sweater Weather", a run for their money with the critics and fans alike.


    The Neighborhood, who consists of Jesse Rutherford, Jeremy Freedman, Zach Abels, Mikey Margott, and Brandon Fried, was the first band to give The 1975 their first set of tour dates and Travis Scott his first chance before he blew up.

    LP 1
    1. A Moment of Silence
    2. Prey
    3. Cry Baby
    4. Wiped Out!
    5. The Beach


    LP 2
    1. Daddy Issues
    2. Baby Came Home 2 / Valentines
    3. Greetings From Califournia
    4. Ferrari
    5. Single
    6. R.I.P. 2 My Youth

    The Neighbourhood
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I Love You. I Love You. Quick View

    $23.99
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    I Love You.

    The Neighbourhood is a Los Angeles quintet specializing in crossbreeding musical genres. Its debut album swirls anthemic indie rock with smooth R&B and some icy electro-pop, all shot through a sun-soaked West Coast filter. At the core of this aural amalgam is Jesse Rutherford's androgynous voice. Here, the opening "How" plays like an urbanized Portishead, as Rutherford bends high vocal notes over dusty hip-hop beats and hauntingly beautiful background ambience that bleeds right into the following "Afraid." The tempo picks up ever so slightly, but the lyrics are noticeably more pointed as Rutherford verbally abuses his anti-muse and exorcises some inner demons via danceable catharsis. Themes of paranoia surface in "Everybody's Watching Me (Uh Oh)," where his inflections recall '80s-era Michael Jackson over skittering beats and a sweeping symphony of keyboards. "Sweater Weather" is an obvious single that stands out above the rest, resonating like a younger sibling to Maroon 5. The song's soundpool is flecked with funky beats and airbrushed soundscapes of luxurious synthesizer tones.
    1. How
    2. Afraid
    3. Everybody's Watching Me (Uh Oh)
    4. Sweater Weather
    5. Let It Go
    6. Alleyways
    7. W.D.Y.W.F.M?
    8. Flawless
    9. Female Robbery
    10. Staying Up
    11. Float
    The Neighbourhood
    $23.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Hello Memory Hello Memory Quick View

    $12.99
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    Hello Memory

    Brooklyn remix collective turned dance pop luminaries Little Daylight ascended through the Hype Machine fame with remixes of songs by Passion Pit,
    Edward Sharpe and the Magnetic Zeros, The Neighbourhood and more before releasing their own pulsating debut single 'Overdose'. The release of a
    well received debut EP Tunnel Vision, helped garner the trio multiple national tours with Bastille, The Neighbourhood, Charli XCX and more. Little
    Daylight's forthcoming debut album HELLO MEMORY comes on the heels of multiple video premieres, track premieres, radio play, and
    touring.
    1. My Life
    2. Overdose
    3. Siren Call
    4. Love Stories
    5. Mona Lisa
    6. Be Long
    7. Nothing To Lose
    8. No One Else But You
    9. Runaround
    10. Never Go Back
    Little Daylight
    $12.99
    Vinyl LP - Sealed Buy Now
  • The High Frontier The High Frontier Quick View

    $17.99
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    The High Frontier

    Lumerians 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 Republic

    1. Burning Mirrors
    2. Black Tusk
    3. Shortwave Fields
    4. Atlanta Brook
    5. Hashshashin
    6. Calalini Rises
    7. XuluX
    8. Melting Space
    9. Gaussian Castles
    Lumerians
    $17.99
    Vinyl LP - Sealed Buy Now
  • Ceremony Ceremony Quick View

    $18.99
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    Ceremony

    It begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.


    You want to talk about compromises? No. Nor does Anna Von Hausswolff.


    These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.


    Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.


    "I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."


    Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."


    That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."


    He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.


    "This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."

    1. Epitaph of Theodor
    2. Deathbed
    3. Mountains Grave
    4. Goodbye
    5. Red Sun
    6. Epitaph of Daniel
    7. No Body
    8. Liturgy of Light
    9. Harmonica
    10. Ocean
    11. Sova
    12. Funeral for my Future Children
    13. Sun Rise
    Anna Von Hausswolff
    $18.99
    Vinyl LP - Sealed Buy Now
  • 20 Years of Henry Street Music - The Definitive Collection 20 Years of Henry Street Music - The Definitive Collection Quick View

    $26.99
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    20 Years of Henry Street Music - The Definitive Collection

    Incredible as it seems, this year marks twenty years since the launch of Johnny D'Mairo's Henry Street Music label. To celebrate, BBE is marking the occasion with a sumptuous five- disc CD retrospective, a fitting tribute to one of the most important of all house labels. This is one of the most extensive grand summations yet done of a dance label. Henry Street Music exemplified its era as much as Trax and Nu-Groove had theirs. Come the mid-'90s, the disco cut-up became ubiquitous, as thousands tried to emu late the success of Henry Street's first big killer, The Bucketheads' Tha Bomb -still a dancefloor staple two decades on. Many of the movers and shakers of the day had their best moments on Henry Street, and they're all here: Johnnick, Armand Van Helden, DJ Duke, DJ Sneak, Dirty Harry, Davidson Ospina, Todd Terry, Mateo and Matos, Brutal Bill, Josh Wink, even the UK's own Ashley Beedle, and many more -a veritable roll-call of the premiere-league of dance at the time, an era when dance music still seemed incredibly fertile and the link with its own past was still vital. Some of the American originals can struggle to get props among the countless mutations of house out there vying for attention in today's digitalized dance scene, but the real house-heads always knew to check them, and will recognize this as quality product, through and through. Henry Street (named after Brooklyn homeboy Johnny's neighbourhood) always had a 'New York' vibe, and even when drawing its producers from further afield, the label encapsulated the city's melting-pot of talent and raw, bristling energy... energy captured here, and exploding off these remastered tracks like it's 1999 all over again! Alongside the massive dancefloor anthems from the likes of Kenny Dope and Armand Van Helden are some real gems that got away, some exclusive mixes, and the thoughts of Johnny D, one of the prime-movers of the New York dance scene even before he came up with his own label, responsible for countless hits as promotions man and as dance A&R at Atlantic. Never one for the limelight, Johnny's own story is nonetheless inextricably bound up with the transition from disco through house to the ubiquity of dance music today. So... dust off those dancing shoes, and get ready to feel the heat, it's one more time for the Henry Street Hustle!
    LP1
    1. Kenny Dope presents The Bucketheads - The Bomb! (These Sounds Fall Into My Mind)
    2. Armand Van Helden Presents Old School Junkies - The Funk Phenomena
    3. Johnick - Play The World


    LP2
    1. DJ Sneak Presents The Polyester EP - Show Me The Way
    2. Robbie Tronco Presents Tronco Traxx - Walk 4 Me
    3. Groove Culture / Arnold Jarvis - Feelin' It (Rhythm Section Main Mix)
    4. Stron Jay - Feel The Thunder (Tommy Musto Mix)


    LP3
    1. Mike Delgado Presents The Upstairs Lounge - Byrdman's Revenge
    2. Tiger Blood - Like That
    3. BQE - Steal Your Love
    4. DJ Duke / Roland Clark - D2-D2 (I Get Deep) (Timmy Regisford Shelter Mix)

    Various Artists
    $26.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Black Bubblegum Black Bubblegum Quick View

    $19.99
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    Black Bubblegum

    Black Bubblegum is the newest LP from Eric Copeland,
    and we are not kidding when we emphasize it sounds like
    nothing he has done in the past. The title of the record
    says it all: chewy, sticky pop that doesn't taste quite like
    any chewy, sticky pop you've had before.


    Recorded at Copeland's old practice space in South
    Williamsburg, Black Bubblegum contains songs with
    more conventional sounds and songwriting than any of
    his previous releases. While there are similarities with
    Copeland's earlier work in the drum patterns, major
    scales and vocals, Black Bubblegum moves away from
    his trademark psychedelic dub towards strange and
    fantastical pop; imagine Arthur Russell going into the
    studio with the Ramones. Wanting to take a more "handson"
    approach to these recordings, Copeland exchanged
    sample-driven tech and hardware for keyboards, guitars
    and effect pedals, creating a new sound that is oddly
    easy to digest despite its rejection of melody in favour of
    discord and dissonance.


    For a long time, Copeland considered this collection of
    songs to be recordings which would never be heard. This
    invariably influenced certain decisions made during the
    creation of Black Bubblegum, blessing Copeland with
    the unique freedom that comes from making music never
    intended to be heard, let alone released.


    When asked to please jot down what influenced this new
    album and sound, Eric replied "glam holes, glitter dreams,
    money troubles, apocalypse paranoia, one hit wonders,
    manifest destiny, my family's westward migration, body
    troubles (was passing kidney stones almost the entire
    time), LGBT disco parties, Jonathan Richman, Missing
    Foundation, Neil Diamond, New Orleans, poverty, getting
    pushed out of another Brooklyn neighbourhood... No
    Beach Boys, no Beatles, no Buddha... More Bad News
    Bears."


    Eric Copeland has been sound clashing at full volume for
    over twenty years, first carving out a named for himself as
    one third of the legendary NY-via-Providence band Black
    Dice. A wildly prolific solo artist, Copeland has played
    shit houses, party palaces and seemingly everything in
    between all over the world.


    A long time Brooklyn, resident, Eric recently relocated
    to where the L Train does not run - Palma de Mallorca,
    Spain. While maintaining a relatively humble and low key
    presence in a highly competitive musical world, he has
    releases a prolific amount of music every year through
    indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.

    1. Kids In A Coma
    2. Rip It
    3. Fuck It Up
    4. Honorable Mentions
    5. Blue Honey
    6. On
    7. Cannibal World
    8. Don't Beat Your Baby
    9. Radio Weapons
    10. Get My Own
    Eric Copeland
    $19.99
    Vinyl LP - Sealed Buy Now
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