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Tricky

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  • Maxinquaye Maxinquaye Quick View

    $37.99
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    Maxinquaye

    Around the time Tricky emerged as a solo artist, independent of the Massive Attack collective, he was asked to describe his music. If you want to dance to it, go ahead. If you want to sit in a darkened room and let it fill your head with strange thoughts, that's fine too.


    Trip Hop, a term Tricky soon grew to despise, has become so omnipresent over the years, that it's easy to forget how outside the mainstream it once was. Tricky's 1995 debut 'Maxinquaye' is one of those albums that brought the music to the forefront, entering the UK charts at #2 on its release despite a shocking lack of airplay, and ending up topping many, many year-end lists.


    But despite its being a harbinger of one of the most prevalent music styles of the nineties, it exists outside of trends and time and still stands as a powerhouse of musical innovation almost twenty years on.


    Vocalists Martina Topley-Bird and Goldfrapp work as modern day female Pied Pipers, luring you into Tricky's dark, menacing, haunting and overall disturbing world: a ghostly Hades painted in vivid imagery by Tricky's lisping and lilting flow on top of tantalizing beats.

    Side 1

    1. Overcome 

    2. Ponderosa 

    3. Black Steel 

    4. Hell Is Round The Corner 

    5. Pumpkin 

    6. Aftermath

     

    Side 2

    1. Abbaon Fat Tracks 

    2. Brand New You're Retro 

    3. Suffocated Love 

    4. You Don't 

    5. Strugglin' 

    6. Feed Me 
    Tricky
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Adrian Thaws Adrian Thaws Quick View

    $24.99
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    Adrian Thaws

    Calling it Adrian Thaws is saying you don't really know me," says Tricky, explaining the title of his 11th album. "So many times people have tried to put a finger on me and every album I go to a different place." "I suppose this is my club/hip hop album," he says. "I've only heard my music a few times in a club but I grew up in clubs from when I was 14: blues parties, hip hop clubs, a few raves. I'm not known for doing club music but this album has some club tracks on it - well, what I would consider club music."
    1. Sun Down feat. Tirzah
    2. Lonnie Listen feat. Mykki Blanco & Francesca Belmonte
    3. Something In The Way feat. Francesca Belmonte
    4. Keep Me In Your Shake feat. Nneka
    5. The Unloved (Skit)
    6. Nicotine Love feat. Francesca Belmonte
    7. Gangster Chronicles feat. Bella Gotti
    8. I Had A Dream feat. Francesca Belmonte
    9. My Palestine Girl feat. Blue Daisy
    10. Why Don't You feat. Bella Gotti
    11. Silly Games feat. Tirzah
    12. Right Here feat. Oh Land
    13. Silver Tongue - When You Go
    Tricky
    $24.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Man Man Quick View

    $42.99
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    Man

    Deluxe 20th Anniversary Edition


    1,000 Numbered Copies On Clear Blue Vinyl


    Packaged In A Gatefold Sleeve


    Includes 4 Page Booklet


    Man is the third solo album by Swedish singer Neneh Cherry, released in 1996. The first single, 7 Seconds was released two years earlier and was a duet with Youssou N'Dour, a famous Senegalese singer who helped make the musical style mbalax popular in Africa. Cherry was nominated for a Grammy in 1994 for the duet.


    The album also contains the songs Woman and Kootchi, and features further appearances of Bernard Butler, Tricky and Eagle Eye Cherry.

    1. Woman
    2. Feel It
    3. Hornbeam
    4. Trouble Man
    5. Golden Ring
    6. 7 Seconds
    7. Kootchi
    8. Beastiality
    9. Carry Me
    10. Together Now
    11. Everything
    Neneh Cherry
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Valentine (Andy Stott Remix) Valentine (Andy Stott Remix) Quick View

    $12.99
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    Valentine (Andy Stott Remix)

    !K7 are proud to announce 'Valentine', the 4th single taken from Tricky's critically acclaimed album 'False Idols', remixed by Manchester born Techno producer Andy Stott and presented on limited edition vinyl.
    1. Tricky - Valentine (Andy Stott Remix)
    Tricky
    $12.99
    12 Vinyl LP - Sealed Buy Now
  • Welcome Oblivion Welcome Oblivion Quick View

    $27.99
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    Welcome Oblivion

    Includes a Cd Version of the Entire Album


    Anybody who paid attention to Trent Reznor's post-Nine Inch Nails project How to Destroy Angels' two EPs would not be shocked by the coolly meditative nature of their full-length debut, Welcome Oblivion, but if there happens to be a NIN fan coming to this 2013 LP cold -- odds aren't great, but stranger things have happened -- they're likely to be shocked by how aggressive this album isn't. This isn't to say Welcome Oblivion is an ambient album or a record consumed with solipsistic navel-gazing. Rather, How to Destroy Angels frees Reznor to explore quiet, intricately textured territory with the assistance of longtime collaborator Atticus Ross and vocalist Mariqueen Maandig, who also is Reznor's wife. Given Reznor's close connections with Maandig and Ross, it's possible some listeners may view this as a Trent vehicle where his bandmates are nothing more than sidemen, but How to Destroy Angels is a true collaboration, with Reznor and Ross sculpting the tracks to fit Maandig's soft, insinuating tones. At times, the interplay recalls vintage Tricky stripped of menace. HTDA certainly has drama and flirts with ominous overtones, but ultimately they're not a threatening lot; they're enjoying the process of creation too much to threaten. Nothing stays stationary on Welcome Oblivion -- even the quietest moments have things percolating in the background, and when a torrent of sound is unleashed, it isn't a mere deluge; there is definition, the empty spaces accentuating either the noisy squiggles or the shimmering, insinuating melodies. And make no mistake, Welcome Oblivion does have its share of melody, as this isn't merely a collection of sounds: there are songs here, some as tight as the defiantly new wave How Long?, and others as elliptical as the skeletal Ice Age -- each are distinguished by their exquisite details and slow, ingratiating melodies. Welcome Oblivion is not an album that comes on forcefully, and by many measures, it's the most measured record of Reznor's career, yet it's also his most melodic, showing that this former angry young man has a design to grow old gracefully.-- Allmusic.com


    Side A
    1. The wake-up
    2. Keep it together
    3. And the sky began to scream
    4. Ice age
    5. Welcome oblivion
    6. On the wing
    7. Too late, all gone
    8. The province of fear


    Side B
    1. How long?
    2. Strings and attractors
    3. Recursive self-improvement
    4. Unintended consequences
    5. We fade away
    6. The loop closes
    7. Hallowed ground

    How To Destroy Angels
    $27.99
    Vinyl LP With CD - 2 LPs Sealed Buy Now
  • Knowle West Boy Knowle West Boy Quick View

    $18.99
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    Knowle West Boy

    Tricky is back with a brand new album titled Knowle West Boy, named after the Bristol neighborhood where he grew up. The album finds Tricky seizing his roots and detailing the travels and travails of his youth, resulting in a record that acts as an eclectic aural history of his diverse upbringing. Produced by Tricky, and mixed by Switch (MIA, Santogold) Knowle West Boy was recorded in London and L.A. and is the summation of everything he has accomplished since his brilliant 1995 Maxinquaye debut.The album finds Tricky reaching into the post-punk, Two-Tone, reggae, hip hop and pop he grew up adoring and twisting it all into surreal songscapes. From the sardonic bar-room blues of Puppy Toy, to the twisted Specials-worshipping, hard charging punk of lead single Council Estate, to the bereft torchery of Past Mistake, to the Roxy Music's The Bogus Man-at-the-dancehall art-stomp of Bacative; Tricky uses his astonishingly eclectic band and a host of great undiscovered singers to create the most varied and accessible set of his career.
    1. Puppy Toy
    2. Bacative
    3. Joseph
    4. Veronika
    5. C'mon Baby
    6. Council Estate
    7. Past Mistake
    8. Coalition
    9. Cross To Bear
    10. Slow
    11. Baligaga
    12. Far Away
    13. School Gates
    Tricky
    $18.99
    Vinyl LP - Sealed Buy Now
  • Finest Finest Quick View

    $34.99
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    Finest


    Out Of Print Since 1997


    Limited To 1000 copies


    Tidal Waves Music proudly presents: FUNKADELIC Finest


    Compilations are tricky and hard to get right Finest is that rare one that knocks it out of the park. This release focuses on George Clinton and crew at the height of their career & on their most renowned work.


    Comprised out of sixteen carefully selected tracks and covering a six-year period (1970-1976)Finest may be the best-assembled Funkadelic collection from this period yet, as both renowned band standards share space with several oft-overlooked tracks.


    The early tracks "I Got a Thing" and "I Wanna Know if It's Good to You" show the band members still honing their rich 'n' funky sound, before they hit their stride with selections from the classic 'Maggot Brain' album. As a result, you get a healthy sampling of some of the best funk the '70s had to offer, including "Hit It and Quit It," "You and Your Folks, Me and My Folks," "Loose Booty," "Cosmic Slop," "Red Hot Mama," and "Get Off Your Ass and Jam."


    Finest is an exceptional sampler for those discovering the wild and wacky universe of Funkadelic. Out of print since 1997 and transferred from the original analogue master tapes, now finally back available as a deluxe Double-LP set with some of the craziest psychedelic crumb-style artwork you'll ever see

    1. I'll Bet You
    2. I Got A Thing, You Got A Thing, Everybody's Got A Thing
    3. Funky Dollar Bill
    4. I Wanna Know If It's Good To You
    5. Hit It & Quit It
    6. You And Your Folks, Me And My Folks
    7. A Joyful Process
    8. Loose Booty
    9. You Can't Miss What You Can't Measure
    10. Cosmic Slop
    11. Red Hot Mama
    12. Standing On The Verge Of Getting It On
    13. Let's Take It To The Stage
    14. Get Off Your Ass & Jam
    15. Undisco Kidd
    16. Maggot Brain (Live)
    Funkadelic
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Moon Queen Moon Queen Quick View

    $19.99
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    Moon Queen

    Ask anyone who lived through it and they'll tell you that the '70s will never be bettered for rock. Connecticut's Lord Fowl know this as well as anyone but rather than simply cruise by on retro clichÉs, they add touches of stoner, grunge and heavy psych to give their arena-worthy anthems a bit more kick. With a strong emphasis on soulful crooning, groove over heaviness and big choruses (and maybe a little cheese) they hit up stomping southern rock in the vein of Skynyrd (Quicksand), rip-roaring metal (Streets Of Evermore) and power-pop (The Queen Is Not Impressed) with flair, attitude and confidently understated guitarwork. The balance between poppier cuts and darker, more substantial numbers is a tricky one but the lunar luminaries pull it off comfortably. If you dig Mountain, Camaros and Pabst, these are your new brothers in arms.

    - David Bowes

    Rock-A-Rolla - January 13th, 2013
    1. Moon Queen
    2. Touch Your Groove
    3. Split
    4. Mutate
    5. Streets of Evermore
    6. Dirty Driving
    7. Woman King
    8. The Queen is Not Impressed
    9. Quicksand
    10. SOS
    11. Hollow Horn
    12. Pluto
    Lord Fowl
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Save His Soul Save His Soul Quick View

    $39.99
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    Save His Soul

    Celestial Marble Vinyl


    Fully Remastered Audio By Jeffrey Norman


    Custom True Replica Jacket Featuring Brilliant Original Artwork


    Blues Traveler are a hippie blues'n'boogie band in the mode of Canned Heat and Savoy Brown. Led by John Popper, a rotund singer and harmonica player, the New Jersey quartet captured the open-ended jam mentality of its live shows on its first two studio albums. On their third album, Save His Soul, Blues Traveler tightens up their arrangements and puts more emphasis on songwriting and premeditated parts. While this cuts down on the meandering solos and monotonous rhythm patterns, it forces attention on the hackneyed aphorisms and melody-starved chord changes that pass for the band's songwriting. On the other hand, they have improved noticeably as players, and bassist Bobby Sheehan shines in particular on the fast and tricky syncopations. --Geoffrey Himes


    1. Trina Magna
    2. Love and Greed
    3. Letter From a Friend
    4. Believe Me
    5. Go Outside and Drive
    6. Defense & Desire
    7. Whoops
    8. Manhattan Bridge
    9. Love of My Life
    10. NY Prophesie
    11. Save His Soul
    12. Bullshitter's Lament
    13. Conquer Me
    14. Fledgling
    Blues Traveler
    $39.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Save His Soul (Black Vinyl) Save His Soul (Black Vinyl) Quick View

    $39.99
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    Save His Soul (Black Vinyl)

    180 Gram Black Vinyl


    Fully Remastered Audio By Jeffrey Norman


    Custom True Replica Jacket Featuring Brilliant Original Artwork


    Blues Traveler are a hippie blues'n'boogie band in the mode of Canned Heat and Savoy Brown. Led by John Popper, a rotund singer and harmonica player, the New Jersey quartet captured the open-ended jam mentality of its live shows on its first two studio albums. On their third album, Save His Soul, Blues Traveler tightens up their arrangements and puts more emphasis on songwriting and premeditated parts. While this cuts down on the meandering solos and monotonous rhythm patterns, it forces attention on the hackneyed aphorisms and melody-starved chord changes that pass for the band's songwriting. On the other hand, they have improved noticeably as players, and bassist Bobby Sheehan shines in particular on the fast and tricky syncopations. --Geoffrey Himes

    1. Trina Magna
    2. Love and Greed
    3. Letter From a Friend
    4. Believe Me
    5. Go Outside and Drive
    6. Defense & Desire
    7. Whoops
    8. Manhattan Bridge
    9. Love of My Life
    10. NY Prophesie
    11. Save His Soul
    12. Bullshitter's Lament
    13. Conquer Me
    14. Fledgling
    Blues Traveler
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • He's Got The Whole This Land Is Your Land In His Hands He's Got The Whole This Land Is Your Land In His Hands Quick View

    $19.99
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    He's Got The Whole This Land Is Your Land In His Hands

    Twenty years now there's been this thing, our band, Joan of Arc. Sometimes we forget about it
    and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and
    wake up surprised and exhausted every day for months on end, given walking tours of old
    Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the
    Pacific coast. We know how lucky we are.


    The less we feel like a band-the more we can continue to be a band, but escape that feeling of
    doing all those shitty, corny things expected of bands-the truer to ourselves we feel. And you
    all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day:
    the truer to ourselves we feel, the better everything gets.


    We have shifted shapes and modified our approaches quite a number of times in the course of
    twenty years. And we've done so always aiming to stay true to ourselves at that moment, by
    instinct and with conscious intent. This time, it took us a long time to figure out how to start
    back up. We threw away a lot of songs and started over, over and over.


    But here's the thing: We are getting better at being ourselves. So many of the postures of
    youth just fall away with time. Most bands break up by that point, or become caricatures of
    their younger selves. Because money is tricky, or I should say, it comes to be that energy is
    tricky to muster after all of it goes into the basics of sustaining yourself.


    Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I
    am now. But I got this community of weirdo collaborators to lean on that he never had.
    We've never had an audience that gets any validation of its coolness through liking us. We've
    mangled, juxtaposed, and collaged too many elements for that social contract. But we trust
    each other.


    This time, finally, we trusted each other enough to throw all the songs away, to even throw
    away every preconceived idea about which one of us should take position at which instrument.
    We hit Record and played, and our collective tastes emerged. And they, our tastes in the
    moment, were the only standards in all the expanse of the stupefying and beautiful unknown
    universe, that we regarded as relevant in the least.

    1. Smooshed That Cocoon
    2. This Must Be The Placenta
    3. Stranged That Egg Yolk
    4. Full Moon and Rainbo Repair
    5. Cha Cha Cha Chakra
    6. Grange Hex Stream
    7. Two-Toothed Troll
    8. New Wave Hippies
    9. Never Wintersbone You
    10. F is for Fake
    11. Ta-ta Terrordome
    Joan of Arc
    $19.99
    Vinyl LP - Sealed Buy Now
  • Eponymous Eponymous Quick View

    $16.99
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    Eponymous

    A supercombo team-up between Simon Lord (ex Simian) and Rafter Roberts, the Roberts & Lord duo present their Asthmatic Kitty debut, Eponymous. Roberts rough and grimy (yet complexly arranged) analog backing tracks paired with Lords clean, digitally-recorded vocals, gives these songs a tricky kind of depth that is immediately engaging.


    This effortless juxtaposition reigns throughout these 35 some-odd minutes. The album begins with Mosquito, a perfect example and touchstone of Roberts loud, garage rocky, blown-outness paired with structure well-thought-out (but never lingered upon). Simons lyrics tell the story of a mans love for a mosquito, his vocals backed by a crunchy oil-drum thunk of beats (a theme of this record.) Simons lyric writing on Mosquito sets the tone for what's to come and the tone is fun.


    Influenced by verse poets like Ivor Cutler and Edward Lear, Lord gives us a simple, light-hearted return to innocence, a goodly love for good love, the capital F feel-goodness compressed into a chorus, the sweaty exuberance of a solid dance party with all your friends around you.

    1. Mosquito
    2. Wild Berries
    3. Bottom of the Bottle
    4. Windmill
    5. Oblique
    6. Knots
    7. Menuhin
    8. Purple Doves
    9. We Rise, We Fall
    10. Interior Demon
    11. Spem
    12. The Same Love
    Roberts & Lord
    $16.99
    Vinyl LP - Sealed Buy Now
  • Ramp Ramp Quick View

    $32.99
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    Ramp

    2010 marks the 25th anniversary of Valley Of Rain - the debut album by Giant Sand and Fire Records is proud to announce the start of a Giant Sand/ Howe Gelb series of rolling reissues from September 2010, which will see the re-release of roughly 30 albums.


    "Ramp" was originally released in 1991 and is the seventh Giant Sand reissue in the series from Fire Records. For 'Ramp', Giant Sand ushered in several new members to the fold, "including young bassist Joey burns, the stunning voice of 74 year old Pappy Allen, and our sweet, sweet friend Victoria Williams .. we had begun recording in Tucson and finished it back in Venice, CA at mad dog studio again .. the first track was produced by Dusty Wakeman and featured the late great Duane Jarvis".


    Howe describes that the experiment with 'Ramp' was "to record an electric song live in the studio and have the pre-recorded acoustic bridge be slotted in by DAT machine while then starting up again with the electric part live at the same pace as before the DAT take was applied with its different beat. What made this tricky was the mechanical delay of the play button on the state of the art day machine...you can hear the result in "warm storm".

    1. Warm Storm
    2. Romance Of Falling
    3. Wonder
    4. Welcome To My World
    5. Anti-Shadow
    6. Jazzer Snipe
    7. Z. Z. Quicker Foot
    8. Neon Filler
    9. Seldom Matters
    10. Resolver
    11. Nowhere
    12. Always Horses Coming
    13. Patsy's Blues
    14. Shadow To You (Bonus)
    Giant Sand
    $32.99
    Vinyl LP - Sealed Buy Now
  • Raising Hell Raising Hell Quick View

    $34.99
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    Raising Hell

    Following the success of King Of Rock, Raising Hell (1986) raised more than just a massive revenue stream by selling over three million albums worldwide. It's a well known fact that the record, produced by Rock/ Hip Hop production pioneer Rick Rubin, raised the bar for Hip Hop albums in general. Musically it indeed raises hell, being crammed to the brim with hard-hitting hooks, loops, samples, scratches, inventive tong-twisting braggadocio and catchy choruses. Too many classics on this one: Peter Piper with the massive Bob James bell drum sample It's Tricky (putting The Knack's My Sharona sample to extremely good use) and the song that popularized a certain brand of shoes in the Hip Hop community, My Adidas.


    However the album's flag bearer is undoubtedly Walk This Way which literally rendered Aerosmith's original version obsolete. Viewing from an eighties Hip Hop perspective, the collaboration with Aerosmith seemed rather unusual to say the least, but at the same time it proved that Hip Hop and Rock are merely next door neighbours. The album's timeless quality surfaces in its ability to bring together masses of fans of both genres.

    1. Peter Piper
    2. It's Tricky
    3. My Adidas
    4. Walk This Way
    5. Is It Live
    6. Perfection
    7. Hit It Run
    8. Raising Hell
    9. You Be Illin'
    10. Dumb Girl
    11. Son Of Byford
    12. Proud To Be Black
    RUN DMC
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Greatest Of Deceivers Greatest Of Deceivers Quick View

    $29.99
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    Greatest Of Deceivers

    Limited Edition 180-Gram White Vinyl Pressing Of Band's 3rd Full Length Album.


    Greatest of Deceivers, the fourth album by Borre, Norway's Nidingr since 1996, the group takes a black metal approach to a lengthy list of influences. The group's mastermind, Morten Iversen, better known as Teloch, has been involved in the Scandinavian black metal scene since the prime of its second wave when it was ruled by a hardline orthodoxy that didn't allow for much in the way of crossover, and when a lot of other metal scenes didn't want much to do with it in return.


    Despite his involvement with such classically-minded groups as Mayhem, Gorgoroth, 1349, and Ov Hell, Iversen's got an especially broad sonic vision. Greatest of Deceivers is a dense and complex mass made up of songs that themselves generally have more discrete movements than you can count on one hand. Some of them offer blackened takes on full-throttle death metal and crust punk. Others offer complicated leads and tricky time signatures that hint at mathcore and sometimes even at a particularly gnarly interpretation of jazz. Occasionally the group cuts back the aggression sharply and coasts into near-ambiance. In terms of compositional ambition the songs are closer to the labyrinthine post-rock and post-hardcore bands of the mid to late 90s than the savagely straightforward black metal outfits that were operating around the same time.
    - Miles Raymer

    1. Greatest of Deceivers

    2. All Crowns Fall

    3. O Thou Empty God

    4. The Balances

    5. Vim Patior

    6. Rags Upon A Beggar

    7. The Worm is Crowned

    8. Pure Pale Gold

    9. Mother of Abominations

    10. Dweller in the Abyss
    Nidingr
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fitz And The Tantrums Fitz And The Tantrums Quick View

    $21.99
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    Fitz And The Tantrums

    Fitz and The Tantrums' natural exuberance permeates their new self-titled album, which celebrates walking to the beat of your own drum.


    Lead singer, Michael Fitzpatrick, says of the new record, We've always tried to push ourselves at every turn. For our third album, we continued to challenge ourselves, taking care not to write the same record again.


    Turn It Up, Fitz exhorts at the top of album opener and first single HandClap. The horn-and-beats fueled track captures the exhilarating sense of promise - and danger - that a night out and a new romance hold. The staccato Complicated paints a relationship that's packed with both chemistry and conflict and bursts into an unexpected cheer. Echo and otherworldly keyboards make Tricky an intoxicating dance-floor anthem and a warning to any future lover, while A Place For Us, the album closer, encapsulates the band's belief that there is a place in the world for each of us to belong, regardless of our differences.


    Overall, this is an album about desire - the desire for intimacy, for sex, for acceptance on your own terms and the struggle not to compromise, explains Fitz.


    Fitz and The Tantrums was recorded in the band's hometown of Los Angeles. Jesse Shatkin (Sia, Matt & Kim) produced eight of the album's eleven tracks. Fitz produced Fadeback while Joel Little (Lorde) produced Do What You Want and Ricky Reed (Jessie J) helmed HandClap.

    1. HandClap
    2. Complicated
    3. Burn It Down
    4. Roll Up
    5. Tricky
    6. Fadeback
    7. Run It
    8. Get Right Back
    9. Do What You Want
    10. Walking Target
    11. A Place For Us
    Fitz And The Tantrums
    $21.99
    Vinyl LP - Sealed Buy Now
  • Brilliant Corners Brilliant Corners Quick View

    $27.99
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    Brilliant Corners

    Two superb piano trio albums of covers had set the stage for Monk the composer to re-emerge with horns, and the pianist responded with BRILLIANT CORNERS, one of his greatest recordings, featuring three classic new tunes and two formidable studio bands. The Sonny Rollins featured on BRILLIANT CORNERS is a far more imposing presence than the young acolyte of previous Monk sessions--just witness the title tune. With its multiple themes, quirky intervallic leaps, idiomatic rhythmic changes and tricky transitions in tempo, it is one of Monk's masterpieces--a miniature symphony. So daunting were its technical challenges, that the final ending was edited on from another take. Rollins begins his solo with swaggering composure, boldly paraphrasing Monk's vinegary intervals and trademark trills, before navigating the swift rapids of the double-time chorus with deft syncopations. Monk plies dissonance upon dissonance in his first chorus, playing rhythmic tag with Max Roach on the out chorus. Ernie Henry's slip-sliding bluesiness is followed by a brilliant rhythmic edifice from Roach, who maintains melodic coherence at a drowsy tempo, then explodes into the final chorus.Elsewhere, Ba-Lue Bolivar Ba-Lues-Are is a soulful, easygoing blues, and Monk's solo is a compendium of pithy rhythmic devices, bent notes and calculated melodic abstractions, played with enormous relaxation and swing. He concludes with heckling big-band figures that form the basis for Rollins' expressive rhythmic testimonies. Monk employs the bell-like timbre of a celeste to stunning effect on Pannonica, one of his loveliest melodies and improvisations. And in closing, Bemsha Swing is a hard-swinging, conversational performance, with fine contributions from trumpeter Clark Terry, bassist Paul Chambers and Roach on drums and timpani.
    1. Brilliant Corners
    2. Ba-Lue Bolivar Ba-Lues-Are
    3. Pannonica
    4. I Surrender Dear
    5. Bemsha Swing
    6. Pannonica (Thelonious Monk)(Alt. Take)*


    *Bonus Track

    Thelonious Monk
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • II II Quick View

    $20.99
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    II

    Moderat is a collaborative group comprised of artists Apparat and Modeselektor.II is their second album release, debut album was released in 2009.


    Apparat and Modeselektor are both well known and highly respected in their own right. Modeselektor - Gernot Bronsert and Sebastian Szary - are bass music heroes. Together with a veritable army of collaborators, guest artists and with their two labels Monkeytown and 50 Weapons, they have built a broad network. They assimilate and process the tiniest vibrations in the global bass continuum and at the same time, their wobbly salvos and their oblique sense of humour are unmistakable. They became known to a select audience through their records on BPitch Control with which they catapulted themselves out of the Berlin 4/4 cosmos, whilst simultaneously reflecting the raw and full-on spirit of the 1990s Berlin club scene.


    Apparat (real name: Sascha Ring) could hardly be more opposite. He fuses tricky electronics with heartfelt and auspicious pop. Together with
    T.Raumschmiere, he founded Shitkatapult. From early on, Apparat realised that the LP was his preferred form of expression. With each album, he reinvented himself on a personal, stylistic and social level: gradually bringing ever more strata of his emotional persona to light, exploring previously unknown musical styles and involving guest musicians in the process.


    The secret of Modeselektor's and Apparat's collaboration lies in the fact that they never even tried to get close to one another. Modeselektor's thundering bass rumbles in the cellar, Apparat's sensitive and subtle melodies float high in the eaves. The fact that what one assumes to be incompatible actually communicates, is what makes Moderat so unique. Moderat is not just a studio project: they've toured all five continents.

    1. The Mark (interlude)
    2. Bad Kingdom
    3. Versions
    4. Let in the Light
    5. Gita
    6. Clouded (Interlude)
    7. Damage Done
    8. This Time
    Moderat
    $20.99
    Vinyl LP - Sealed Buy Now
  • I'm Not Bossy, I'm The Boss I'm Not Bossy, I'm The Boss Quick View

    $22.99
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    I'm Not Bossy, I'm The Boss

    Having recently signed to Nettwerk Music Group, SinÉad O'Connor prepares to release her 10th studio
    album in a career spanning over twenty-five years. The newly titled album, I'm Not Bossy, I'm The Boss
    will be released via Nettwerk Records.


    Indicative of where SinÉad is in life the album is passionate and direct, yet with an overarching fragility; her
    voice is as powerful as it is tender.


    The album's title I'm Not Bossy, I'm The Boss was inspired by Lean In's Ban Bossy campaign from earlier
    in the year. "Originally I had a different title, The Vishnu Room, but a few months back when I saw the phrase
    'I'm not bossy, I'm the boss' and became aware of the Ban Bossy campaign, I wished I could re-name the
    album since indeed it can be tricky being a female boss and I think Sheryl [Sandberg]'s campaign is a terribly
    important one," explained O'Connor. "At the stage I became aware of the Ban Bossy campaign it was too late
    to change the album title because the sleeve was already in print. But last week, when the record company
    received the promo shots, which included the cover shot you now see, they asked could they change the
    planned cover to the current one, and that allowed me the opportunity of changing the title. Very happy girl."
    From her breakthrough hit, 1987's Mandinka, to the multi-platinum international success of 1990's I Do Not
    Want What I Haven't Got with its number one version of Prince's "Nothing Compares 2 U," from her fearless
    genre-crossing forays into Irish folk, and roots reggae to her collaborations with artists as diverse as Peter
    Gabriel, Massive Attack and The Chieftains, O'Connor has trodden a unique path to become the one of the
    most iconic female artist of the past three decades. There is no one like SinÉad O'Connor.

    1. How About I Be Me
    2. Dense Water Deeper Down
    3. Kisses Like Mine
    4. Your Green Jacket
    5. The Vishnu Room
    6. The Voice of My Doctor
    7. Harbour
    8. James Brown (with Seun Kuti)
    9. 8 Good Reasons
    10. Take Me To Church
    11. Where Have You Been?
    12. Streetcars
    Sinead O'Connor
    $22.99
    Vinyl LP - Sealed Buy Now
  • Tomorrow The Green Grass Tomorrow The Green Grass Quick View

    $24.99
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    Tomorrow The Green Grass

    On Tomorrow the Green Grass, the Jayhawks found themselves in the tricky situation of trying to match the quality of Hollywood Town Hall without simply repeating themselves, and they came remarkably close to achieving that daunting task. Rather than simply mimic the warm and unaffected sound of Hollywood Town Hall, the Jayhawks reached for a broader and more eclectic approach on Tomorrow the Green Grass; with the presence of new keyboard player Karen Grotberg and the addition of strings on several tracks, the album certainly sounded fuller and more artful, but Mark Olson and Gary Louris' harmonies were still the band's secret weapon, and were as pure and emotionally compelling as ever, while Louris' electric guitar solos gave the songs real rock & roll muscle without disturbing the essentially gentle nature of their music. And the best songs on Tomorrow the Green Grass are every bit as good as anything on Hollywood Town Hall, especially the opening hat trick of Blue, I'll Run Away, and Miss Williams' Guitar (the latter a joyous love letter to Olson's new bride, Victoria Williams). But while nearly every song on Hollywood Town Hall seemed like a classic in context, the greater stylistic variety of Tomorrow the Green Grass had the consequence of making a few of the songs in the second half of the album seem less than essential, most notably Ann Jane and Pray for Me, though they hardly counted as disappointments, and the album rallies to a rousing finale with Ten Little Kids. If Hollywood Town Hall is inarguably the Jayhawks' best album, Tomorrow the Green Grass runs a very close second, and though it was to be the group's last album with Mark Olson, the eclectic approach pointed the way to the sound and style of the fine records the Louris-led version of the band would go on to make.


    - Mark Deming (All Music Guide)

    1. Blue
    2. I'd Run Away
    3. Miss Williams' Guitar
    4. Two Hearts
    5. Real Light
    6. Over My Shoulder
    7. Bad Time
    8. See Him On the Street
    9. Nothing Left To Borrow
    10. Ann Jane
    11. Pray For Me
    12. Red's Song
    13. Ten Little Kids
    The Jayhawks
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach: 1-6 Solo Cello Suites (Speakers Corner) Bach: 1-6 Solo Cello Suites (Speakers Corner) Quick View

    $95.99
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    Bach: 1-6 Solo Cello Suites (Speakers Corner)

    Today it is difficult to understand that despite the tremendous Bach renaissance that took place in the 19th century many compositions by the Cantor of St. Thomas's Church in Leipzig had been underrated. The Cello Suites, for example, have been regarded for almost 300 years as purely a set of tricky etudes that every virtuoso in the making simply must tackle. What recording engineers and their equipment can bring to the ears is quite astounding. So it was back in the Thirties with Pablo Casal's legendary recording against which every cellist is measured today and to whose perfection he aspires.



    Janos Starker's recording of the Suites from 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience.



    Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker's full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach's thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach's Cello Suites are 'polyphony for a solo instrument'.



    Musicians:



    • Janos Starker (cello)




    Recording: April 1963, September and December 1965 at ballroom Studio A at Fine Recording Studios, New York, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart



    Format: 3LPs 33rpm / Box, booklet



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Janos Starker
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Seductive Reasoning (Speakers Corner) Seductive Reasoning (Speakers Corner) Quick View

    $34.99
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    x

    Seductive Reasoning (Speakers Corner)

    Thanks to their undeniable musical talent, which allowed them to be taken seriously in the folk scene, the industrious Roche sisters' career began when they were young. The duo began by singing Christmas carols, doo-wop song syllable puzzles, and tricky barbershop harmonies. They finally caught the attention of Paul Simon, who brought the gifted girls in as backup singers on his LP There Goes Rhymin' Simon, and was primarily responsible for the birth of their first recording. The lavishly produced album achieved high critical acclaim. Although it was a worthy professional debut, the public was hesitant to buy the album. The specialist magazine Rolling Stone commented drily and somewhat at a loss that the Roches weren't everyone's cup of tea.



    Maggie and Terre Roche are a well-rehearsed vocal team however: with a range from hazy, finely balanced voices singing as one, right up to pearly, radiant brilliance, the Roche sisters enthusiastically penned a songbook which is almost without exception their very own creation. Mechanical bluegrass music (Wigglin' Man), a steam-train character (If You Emptied ...) and a somewhat crude and unrefined country aura make the subtle lyrics easily accessible to all, but the LP also offers the listener wonderfully ill-humoured verse (The Mountain People) and story-like prose (West Virginia). This is a truly exceptional album, and well worth being discovered!



    Musicians:



    • Maggie Roche (piano, guitar)

    • Terre Roche (guitar)

    • Paul Simon (guitar)

    • Pete Carr (guitar)

    • Jimmy Johnson (guitar)

    • Barry Beckett (keyboard)

    • David Hood (bass)

    • Roger Hawkins(drums)



    Recording: 1973 in the Morgan Studios, London, and 1974 in the Muscle Shoals Studios, Sheffield, Alabama

    Production: Paul Simon, Paul Samwell-Smith, David Hood and Jimmy Johnson




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Underneath the Moon
    2. Down the Dream
    3. Wigglin' Man
    4. West Virginia
    5. If You Empty Out All Your Pockets You Could Not Make the Change
    6. Telephone Bill
    7. Malachy's
    8. Burden of Proof
    9. The Mountain People
    10. Jill of All Trades
    Maggie & Terre Roche
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Grand Stan (Pure Pleasure) Grand Stan (Pure Pleasure) Quick View

    $34.99
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    x

    Grand Stan (Pure Pleasure)

    Mr. Levey worked with Peggy Lee, Ella Fitzgerald, Bobby Darin and many other singers, and with the big bands of Benny Goodman, Woody Herman and Stan Kenton. He was also a ubiquitous presence in Los Angeles recording studios for many years. But he earned his place in jazz history primarily through his work with Charlie Parker and Dizzy Gillespie, the leading lights of bebop.



    A self-taught drummer who played left-handed even though he was naturally right-handed, Mr. Levey was still a teenager when he began attracting attention for the ease with which he handled the breakneck tempos and tricky accents of the modern style. Working with Gillespie and Parker, he also attracted attention for being one of two white musicians (the pianist Al Haig was the other) in an otherwise all-black group, by no means a common sight in the 1940's.



    Stan Levey was born in Philadelphia on April 5, 1926. The son of a prizefight promoter, he took up boxing about the same time he took up drums, and for a few years pursued both careers. But boxing, at which he was never exceptional, soon lost out to drumming, at which he was.



    His work with Gillespie and Parker in 1945, when bebop was new and controversial, won him the admiration of his peers but not much of a living. Greater success came a few years later when he began working with big bands.



    In 1954, after two years with Kenton, he settled in Los Angeles, where he spent five years with the Lighthouse All-Stars, the group in residence at a popular local nightclub. He was also in great demand for studio work, recording with many of the best-known musicians in jazz and playing on hit records like Peggy Lee's Fever. In addition, his drumming was heard on the soundtracks of hundreds of movies and television shows, including five Disney documentaries for which he wrote the music.



    Musicians:



    • Conte Candoli (trumpet)

    • Frank Rosolino (trombone)

    • Richie Kamuca (tenor saxophone)

    • Sonny Clark (piano)

    • Leroy Vinnegar (bass)

    • Stan Levey (drums)



    Recording: August 1955 in New York City



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Yesterdays
    2. Angel Cake
    3. Why Do I Love You
    4. Grand Stan
    5. Hit That Thing
    6. Blues At Sunrise
    7. A Gal In Calico
    8. Tiny's Tune
    Stan Levey
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 2 (Pre-Order) Deer Tick Vol. 2 (Pre-Order) Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 2 (Pre-Order)

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that wa sbound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer DennisRyan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauleysays. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get inthe final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood in a song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kindof a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't say in the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll take down of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time at a music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark head space of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Don't Hurt
    2. Jumpstarting
    3. Look How Clean I Am
    4. It's a Whale
    5. Tiny Fortunes
    6. Sloppy
    7. Wants / Needs
    8. S.M.F.
    9. Pulse
    10. Mr. Nothing Gets Worse
    Deer Tick
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
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