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  • Alfred Hitchcock's Vertigo Soundtrack (Pre-Order) Alfred Hitchcock's Vertigo Soundtrack (Pre-Order) Quick View

    $32.99
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    Alfred Hitchcock's Vertigo Soundtrack (Pre-Order)

    Limited Coloured Vinyl: Solid Orange

    Vertigo is a 1958 American film noir psychological thriller film directed and produced by Alfred Hitchcock. The story was based on the 1954 novel D'entre les morts (From Among the Dead) by Boileau-Narcejac. The film was shot on location in San Francisco, California, and at Paramount Studios in Hollywood. It is the first film to use the dolly zoom, an in-camera effect that distorts perspective to create disorientation, to convey Scottie's acrophobia. As a result of its use in this film, the effect is often referred to as the Vertigo effect. Vertigo received mixed reviews upon initial release, but is now often cited as a classic Hitchcock film and one of the defining works of his career.

    On this LP you will find the music of the original soundtrack along with some bonus tracks culled from other Alfred Hitchcock films and even from the television series.

    SIDE A: VERTIGO - Original Movie Soundtrack
    1. Vertigo Prelude And Rooftop
    2. Madeleine And Carlotta's Portrait
    3. The Beach
    4. Farewell And The Tower
    5. The Nightmare And Dawn


    SIDE B:
    1. Love Music
    2. The Necklace And The Return And Finale
    Bonus tracks - Original soundtrack recordings from Alfred Hitchcock films
    3. Theme from ALFRED HITCHCOCK PRESENTS (Funeral March Of A Marionette)
    FROM THE TELEVISION SERIES
    4. Theme from DIAL M FOR MURDER
    5. Mouvements Perpetuels from ROPE
    6. Theme from THE TROUBLE WITH HARRY
    7. Juke Box #6 from REAR WINDOW
    8. Prologue; Duet For Four Feet from STRANGERS ON A TRAIN

    Bernard Herrmann
    $32.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • Vertigo Vertigo Quick View

    $15.99
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    Vertigo

    A 1959 session and five numbers from a 1963 McLean set. While Formidable has a strong quintet (with altoist Jackie McLean, trumpeter Donald Byrd, pianist Walter Davis, bassist Paul Chambers, and drummer Pete La Roca), the 1963 session has the recording debut of drummer Tony Williams along with strong contributions from Byrd, pianist Herbie Hancock (then also near the beginning of his career), and bassist Butch Warren. The latter unit sticks to group originals by Byrd, Hancock, and McLean, and the music ranges from catchy funk and hard bop to strong hints of the avant-garde.
    1. Marnie
    2. Dusty Foot
    3. Vertigo
    4. Cheers
    5. Yams
    Jackie Mclean
    $15.99
    Vinyl LP Reissue - Sealed Buy Now
  • Cinema Cinema Quick View

    $32.99
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    Cinema

    180 Gram Clear Vinyl


    1000 Only Limited Edition


    Cinema is the sixteenth album by the Scottish hard rock band Nazareth, released in 1986 through Vertigo Records. Deluxe Vinyl Edition!

    1. Cinema
    2. Juliet
    3. Just Another Heartache
    4. Other Side Of You
    5. Hit The Fan
    6. One From The Heart
    7. Salty Salty
    8. White Boy
    9. A Veterans Song
    Nazareth
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Song Cycle Song Cycle Quick View

    $24.99
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    Song Cycle

    Van Dyke Parks visionary 1968 debut, Song Cycle, rose phoenix-like from the ashes of his fabled Smile collaboration with Brian Wilson. Parks breathtaking high-wire act fused the pop genius of Phil Spector, Stephen Sondheims Broadway vertigo and the orchestral flare of American composer Charles Ives and made it wholly his own. Our definitive pressing of this landmark Warner Bros. album is sourced from the original analog master, and pressed on audiophile High-Definition Vinyl.
    1. Vine Street
    2. Palm Desert
    3. Widow's Walk
    4. Laurel Canyon Blvd.
    5. The All Golden
    6. Van Dyke Parks
    7. Public Domain
    8. Donovan's Colours

    9. The Attic
    10. Laurel Canyon Blvd.
    11. By The People
    12. Pot Pourri
    Van Dyke Parks
    $24.99
    Vinyl LP - Sealed Buy Now
  • On Every Street On Every Street Quick View

    $49.99
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    On Every Street

    Import


    On Every Street is the sixth and final studio album by British rock band Dire Straits, released on 10 September 1991 by Vertigo Records internationally, and by Warner Bros. Records in the United States. The follow-up to the band's massively successful album Brothers in Arms, On Every Street reached the top of the UK albums chart and was also certified platinum by the RIAA.

    1. Calling Elvis
    2. On Every Street
    3. When It Comes to You
    4. Fade to Black
    5. The Bug
    6. You and Your Friend
    7. Heavy Fuel
    8. Iron Hand
    9. Ticket to Heaven
    10. My Parties
    11. Planet of New Orleans
    12. How Long
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • 13 13 Quick View

    $24.99
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    13

    Black Sabbath's new studio album, one of the most anticipated metal releases of the year, already has a title. It will be called 13, so it is only fitting that the heavy metal band announced it today, on January 13th. We know now that it will be released this June (the exact date will be revealed later). The band also revealed what everyone wanted to know: who was the drummer that joined the recording sessions for the new album.


    The original Black Sabbath line-up, Ozzy Osbourne (vocals), Tony Iommi (guitar) and Geezer Butler (bass), recorded the album primarily in Los Angeles and were joined at the sessions by drummer Brad Wilk of Rage Against The Machine fame.


    13 was produced by Rick Rubin and the album will be released on Vertigo (worldwide) and Vertigo/Republic in the US. The new studio album also marks the band's return to Vertigo, their original label, apart from being the group's first studio album together since 1978s Never Say Die.

    1. End Of The Beginning
    2. God Is Dead?
    3. Loner
    4. Zeitgeist
    5. Age Of Reason
    6. Live Forever
    7. Damaged Soul
    8. Dear Father
    Black Sabbath
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Communique Communique Quick View

    $26.99
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    Communique

    CommuniquÉ is the second studio album by British rock band Dire Straits, originally released in 1979 by Vertigo Records internationally, and by Warner Bros. Records in the United States. The album produced the single Lady Writer, which reached the number 45 position on the Billboard Hot 100 chart, and number 51 on the UK Singles Chart. The album reached the number one position on album charts in Germany, New Zealand, and Sweden, the number 11 position in the United States, and the number five position in the United Kingdom. CommuniquÉ was certified gold in the United States, platinum in the United Kingdom, and double-platinum in France.
    1. Once Upon A Time In The West
    2. News
    3. Where Do You Think You're Going?
    4. Communique
    5. Lady Writer
    6. Angel Of Mercy
    7. Portobello Belle
    8. Single-Handed Sailor
    9. Follow Me Home
    Dire Straits
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Women And Children First Women And Children First Quick View

    $20.99
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    Women And Children First

    Welsh band ANCIENT GREASE played a for that time very trendy heavy blues-rock with a shot of prog. Women and Children First was supposed to appear on the legendary Vertigo Swirl label, but at the last moment, the record company decided otherwise, and so the album was released in summer 1970 on Mercury Records. In the USA it appeared with a different cover artwork. Now here's this cult album back on vinyl for the first time for over 40 years, on 180 gram vinyl. For the first time in gatefold cover. A real gem!
    1. Freedom Train

    2. Don't Want

    3. Odd Song

    4. Eagle Song

    5. Where The Snow Lies Forever
    6. Mother Grease The Cat

    7. Time To Die

    8. Prelude To A Blind Man

    9. Mystic Mountain

    10. Women And Children First
    Ancient Grease
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • When Machines Exceed Human When Machines Exceed Human Quick View

    $19.99
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    When Machines Exceed Human

    Mark Pritchard's first full-length release under the Harmonic 313 moniker, When Machines Exceed Human Intelligence, is a real doozy. Grumbling bassweight, glitchy traces of minimal tech, acid, dancehall and dubstep all combine to form a sound both cerebral and danceable. The elegant juxtaposition of these elements substantiate Pritchard's breadth in both influence and execution; after all, this is the man behind Link, Troubleman, NY Connection, Global Communication, Series 7 (with Stephen Horne), Vertigo (with Danny Breaks)and a dizzying array of other projects. Transmitting his equal love for Detroit techno, Jamrock dancehall and space-age hip-hop, this album should prove to be one of the standout electronic releases of 2009. The sheer bass pressure contained herein is sure to leave an indelible mark.
    1. Dirtbox

    2. Cyclotron

    3. No Way Out

    4. Music Substitute System

    5. Köln

    6. Galag-A

    7. Word Problems

    8. Battlestar

    9. Cyclotron C64 SID

    10. Call To Arms

    11. Flaash

    12. Don't Panic

    13. Falling Away

    14. When Machines Exceed Human Intelligence

    15. Quadrant 3

    Harmonic 313
    $19.99
    Vinyl LP - 2 LPs Sealed 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
  • Check 'Em Before You Wreck 'Em Check 'Em Before You Wreck 'Em Quick View

    $16.99
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    Check 'Em Before You Wreck 'Em

    The Admiral Sir Cloudesley Shovell are the last of a dying breed of Grease Rock Bastard musicians who somehow, despite and in spite of the last 3 decades trying their best to kill off balls out, non-bullshit rock'n'roll music, somehow, against all the fucking odds, still exist, surviving on a steady diet of God sent gigs, hire vans, broken down amps, split drum skins, greasy spoon fry ups, patched up jeans, roll-ups, cheap leather jackets, booze, weed and bathtub speed.


    Spare them your sympathy - no-one made the silly bastards do it. They just NEED to!! Right??


    Facts to face - the Shovell are named after a 17th century English naval commander; Bill Darlington plays drums, Louis Comfort-Wiggett plays bass and Johnny Gorilla plays guitar and sings, they have been together as a band since 2008.


    Their debut 2011 Rise Above 7, Return To Zero'/'Day After Day, sold out instantly and now commands £100 plus a copy; their 2012 debut long-player DON'T HEAR IT FEAR IT received unilateral rave reviews and was described pretty accurately by one scribe as 'the aural equivalent of stumbling into an 18 year-old male's bedsit in 1973 - the kind of greasy hard-rock thrills rarely heard in this climate of blind nostalgia and misjudged authenticity. It's hard 'n' heavy, without the marshmallow; it's old-fashioned yet so NOW that it hurts!''
    They've toured and played with the likes of Orange Goblin, Uncle Acid and the Deadbeats, Incredible Hog, Gentlemans Pistols, Graveyard, Gonga and countless more, toured Europe and had chief Groundhog Tony McPhee playing on their first LP!


    On their new LP CHECK 'EM BEFORE YOU WRECK 'EM the Shovell somehow carry on the lineage of the truly golden age of British heavy rock whose dog shit stained road was paved by the likes of Budgie, Sabbath, early Motorhead, Quo, Lizzy, The Groundhogs, Stray etc. Chuck in a healthy chunk of U.S. and Aussie proto metallurgists Sir Lord Baltimore, Dust, Bang, The Litter and Buffalo, as well as a healthy Vertigo 'Swirl' of dew picked mushrooms bad trip psych.


    The Shovell thinks the world could do with another slice of no-nonsense re-gressive proto-rock 'n'metal - one that you don't need a Degree in doom-rock or a Masters in metal to appreciate - just a love of when music was F U N !!!!


    Remember kids - CHECK 'EM BEFORE YOU WRECK 'EM!!!

    1. Do It Now
    2. 2 Tonne F*ckboot

    3. Captain Merryweather
    4. Running From Home
    5. Happiness Begins
    6. Shaker Your Head
    7. Don't Hear It ... Fear It!
    8. Bulletproof
    9. The Thicker The Better
    10. Late Night Mornings
    Admiral Sir Cloudesley Shovell
    $16.99
    Vinyl LP - Sealed Buy Now
  • Timespan Remixes (On Sale) Timespan Remixes (On Sale) On Sale Quick View

    $16.99 $11.89 Save $5.10 (30%)

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    Timespan Remixes (On Sale)

    Timespan Remixes is exactly what the title implies: The entire debut album by Majeure, remixed by three of his friends and favorite producers. Zombi co-conspirator Steve Moore expands on the opening minutes of Timespan to give it an ominous John Carpenter dread. Jesu mastermind Justin K Broadrick transforms Teleforce into a 10-minute vertigo-inducing shoegaze epic. Renowned French producer Black Strobe closes out the album with a staggering 20-minute reinvention of The Dresden Codex, a white- hot house banger.
    1.Timespan [Steve Moore Remix] - (remix)
    2.Teleforce [Justin K Broadrick Remix] - (remix)
    3.Dresden Codex [Black Strobe Remix], The - (remix)
    Majeure
    $16.99 $11.89 Save $5.10 (30%)
    Vinyl LP - Sealed Buy Now
  • From Silence From Silence Quick View

    $11.99
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    From Silence

    From Silence is the first EP from the New York City duo Exitmusic, comprised of Aleksa Palladino and Devon Church. The four song collection, immediately establishes the duos beautiful, chilling aesthetic. The songs evoke a sense of loss, disorientation and vertigo, while pulsing forward on Churchs hazy winds of guitar squalor and bass-heavy beats. Anchoring the songs are Palladinos otherworldly voice, with its spine-tingling vibrato and rich, emotional resonance. From the urgency of opener The Sea, to the haunting sway of The Hours and the stunning depths of The Silence, From Silence is the perfect introduction to one of New York Citys most intriguing new bands.
    1. The Sea
    2. The Modern Age
    3. The Hours
    4. The Silence
    Exitmusic
    $11.99
    Vinyl LP - Sealed Buy Now
  • How To Dismantle An Atomic Bomb How To Dismantle An Atomic Bomb Quick View

    $24.99
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    How To Dismantle An Atomic Bomb

    How to Dismantle an Atomic Bomb is the eleventh studio album by Irish rock band U2. It was originally released on November 22nd, 2004 on Island Records and Interscope Records and features the singles Vertigo, Sometimes You Can't Make It On Your Own, City Of Blinding Lights, All Because of You, and Original of the Species.


    Much like their previous album, All That You Can't Leave Behind, How to Dismantle an Atomic Bomb exhibits a more mainstream rock sound after the band experimented with alternative rock and dance music in the 1990s. The album was produced by Steve Lillywhite, with additional production from Chris Thomas, Jacknife Lee, Nellee Hooper, Flood, Daniel Lanois, Brian Eno, and Carl Glanville.

    1. Vertigo
    2. Miracle Drug
    3. Sometimes You Can't Make It On Your Own
    4. Love And Peace Or Else
    5. City Of Blinding Lights
    6. All Because Of You
    7. A Man And A Woman
    8. Crumbs From Your Table
    9. One Step Closer
    10. Original Of The Species
    11. Yahweh
    U2
    $24.99
    Vinyl LP - Sealed Buy Now
  • Clash The Truth (On Sale) Clash The Truth (On Sale) On Sale Quick View

    $25.99 $18.19 Save $7.80 (30%)

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    Clash The Truth (On Sale)

    Now with a full time drummer (and co-writer of two tracks on the LP) Beach Fossils entered the studio in the fall of 2012 with producer Ben Greenberg of The Men. Instead of merely going from a "bedroom DIY" project to a "better fidelity studio project" the deliberate decision to work with Ben was determined to capture, if not in style, the spirit and enthusiasm of
    punk and aggressive music in general. To ensure that dynamic, the drums were recorded live in a room with Dustin on bass to give the album a driving and energetic force. Consider the titles "Generational Synthetic," "Caustic Cross" and "Burn You Down," it's easy to see how the record, while not a punk or post-punk record by strict definition, certainly nods to the first major influence of Dustin's creative spark. The first two notes of the title track that kick the LP off are a clear indicator of where his head was at.


    The LP also sees Dustin stretching his songwriting muscles, with the acoustic Lennon-esque "Sleep Apnea" and the dreamy "In Vertigo", which features the vocals of Kazu Makino (Blonde Redhead). During the recording period, the studio was flooded and destroyed by Hurricane Sandy and the band had to relocate to another studio to finish the LP in earnest. It all came together when the work of legendary video artist Peter Campus was finalized to be featured throughout the release and on the striking cover. Clash the Truth marks a clear progression in the ongoing story of Beach Fossils. Drawing from the previous works' melodic strengths and uncanny guitar textures emboldened by a sound closer to their energetic and cathartic live set, it's the clear next step in the trajectory of the band and the dis-association from the home-recording boom from which it originated.

    1. Clash The Truth
    2. Generational Synthetic
    3. Sleep Apnea
    4. Careless
    5. Modern Holiday
    6. Taking Off
    7. Shallow
    8. Burn You Down
    9. Birthday
    10. In Vertigo (feat. Kazu Makino)
    11. Brighter
    12. Caustic Cross
    13. Ascension
    14. Crashed Out
    Beach Fossils
    $25.99 $18.19 Save $7.80 (30%)
    Vinyl LP - Sealed Buy Now
  • Endgame Endgame Quick View

    $24.99
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    Endgame

    After emerging in 2011 via a rapid-fire series of groundbreaking EPs, Brooklyn-based producer Ital (Daniel Martin-McCormick) surprised followers by releasing his debut album "Hive Mind" on Planet Mu in February 2012. The record immediately struck a chord with both critics and fans for its fascinating use of house rhythms to bolster fractured, alien landscapes with a surprisingly tender emotional power. Seemingly unconcerned with dance music orthodoxy and informed by years in the noise-punk underground, his compositions came out of left field, constructed on primitive software with bizarre, culture jamming samples. Dance music in New York was re-emerging after a period of stagnation, and Ital was among the first of a younger wave of producers to invigorate it with a dose of visceral vitality.


    Since then, he's remained at the forefront with a remarkable EP for esteemed label Workshop, a collaboration with Hieroglyphic Being and a pair of excellent EPs on his own Lovers Rock imprint. Now Ital has returned to Planet Mu for "Endgame", his most singular and hypnotic work to date.Vertigo-inducing, nuanced and highly evocative, "Endgame" is a delirious pleasure to dive into. The album's textures often explore inviting spaces, only to bring the listener "somewhere uncomfortable, perceiving constant chaos and collapse in the periphery of your vision," as Daniel describes. This is especially evident on the haunting title track, its dizzying reverb lingering while the bottom drops out, leaving the listener suddenly on the edge of a cliff they weren't even aware of, and the glacial shift in "Beacon" from warm, bubbling chords to disconcerting stillness. Meanwhile, throttling techno tracks like Whispers In The Dark & White II burst with undeniably seductive dancefloor energy, each jagged edge and oozing melody uniquely formed. One of his goals from the start was "to keep things liquid. The music had to come from that natural, unforced space." Inspired by recent excursions into psychedelics, "apocalyptic" strains of minimalist composition, and his sense of "eerily ubiquitous post-globalization culture-leveling," "Endgame" is a techno album that teems with ideas. Recorded with a select arsenal of hardware, mixed with M Geddes Gengras at his LA studio and mastered by acclaimed engineer Rashad Becker, the final result is a shimmering blend of his swirling, effects-laden live sets with a deeper, more penetrating emotional and melodic clarity. "Endgame" sees Ital unlocking his own sound and pushing himself to new depths sonically and technically, a figurehead for a strong international community as well as a truly visionary artist in his own right.

    LP1
    1. Relaxer
    2. Endgame
    3. Whispers In The Dark
    4. Coagulate
    5. Dancing
    6. Concussion


    LP2
    1. Beacon
    2. White II
    3. Black Dust
    4. Oche

    Ital
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Total Strife Forever Total Strife Forever Quick View

    $22.99
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    Total Strife Forever

    The lead single, and the accompanying video, from East India Youth's debut album Total Strife Forever really tells you all you need to know about the record. 'Looking For Someone' opens like a familiar, albeit electronic, ballad with East India Youth (otherwise known as William Doyle) emoting directly into camera in a way reminiscent of Sinead O'Connor. Then he begins to ascend, the London skyline now whizzing past Doyle as the elevator he's in climbs the Heron Tower. Almighty, booming drums signalled the ascension; humming synths join the journey to the top before the music is stripped away and the camera pans away, twisting as the elevator descends. We are then shown a vertigo-inducing journey back to street level and a trip through the shaft of an elevator. Abrasive synthesisers and what sounds like a distorted church organ are the soundtrack for this dizzying descent. It's no longer a simple plea to a lost lover, but a rallying cry against loneliness in the midst of huge, anonymous monuments.


    Total Strife Forever is a brutal electronic album, but one that still retains a very humanistic core - this juxtaposition is a thematic thread which runs throughout the album. Doyle then sculpts and defines the music in order to create tension between these two disparate elements, or else uses their differences in order to surprise and engage the listener. This is done within individual songs and across the record: over 11 tracks you'll hear acid beats, euphoric electronic pop, ambient passages, drone, krautrock and more. What's incredible is how East India Youth has managed to bring all of these elements together and construct a cohesive record.


    The album opens with 'Glitter Recession'. Soft piano meets a twinkling keyboard melody and then heavy bass stabs. The piano becomes louder and deeper, the keyboard softer, and swirling synths enter the mix. It's a beautiful, optimistic opening, the instruments all layered so that they never feel like they are jostling for attention, but rather adding details and intricacies to make the piece more alive. 'Glitter Recession' is followed by the first of four 'Total Strife Forever' pieces, this one built around a steady sawtooth bass line that grows in intensity as a pounding kick drum appears and echoing synths wash in and out of audible range. It feels like it is building towards heavy electronic noise, of the kind bands like Fuck Buttons are renowned for. But instead 'Total Strife Forever I' is more restrained as sustained chords create a stunning euphoric ending.


    The third track 'Dripping Down' is the first to feature vocals. If you've previously heard the singles leading into this album, or the Hostel EP from last year, you might be surprised by the fact that Total Strife Forever is largely instrumental, yet it makes the rare appearance of vocals all the more effective. 'Dripping Down's harmonies are beautiful, particularly in the closing moments of the track when they sound as though they've been recorded in a grand cathedral (most of this album was in fact recorded at home over the course of three years).


    With clear percussion and shimmering synthesiser riffs, 'Dripping Down' is the first dance track on the album, yet what follows takes things up a notch. 'Hinterland' is an out and out acid track. It starts with an echoing, sonar-like melody, ambient chords and a quick snare/kick beat. The bass drops and we're given an infectious, shuffling four-to-the-floor beat; what follows deserves to be a staple in any self-respecting DJ's club mix. 'Hinterland' is phenomenal, yet somehow East India Youth manages to go beyond that on the next track.


    'Heaven How Long' is easily the album's highlight and arrives just around the mid-point of the album. It's euphoric electronica at its best, and features one of the record's most delicate sections in the second verse. Doyle's vocals, hushed during the verses, soar for the chorus and the whole song ends with a krautrock inspired instrumental, marrying looped synthesisers to heavy bass guitar riffs.


    The second half of the Total Strife Forever is just as strong and rewarding as the first half. There's the aforementioned lead single 'Looking For Someone', as well as three more 'Total Strife Forever' pieces. The second of those tracks, which immediately follows 'Heaven How Long', is easily one of the most meditative tracks on the album, solely comprising an organ, haunting choral vocals and a deep electronic buzzing. In many ways it's similar to Tim Hecker's most recent work which used church organs and filters to blur the lines between what's real and what's synthetic. Meanwhile, 'Midnight Koto' is perhaps the album's most atmospheric track. Distant loops, heavily distorted and sounding like a terrifying rush of traffic, play under the koto melody. It's heavily inspired by Brian Eno, particularly his work with Bowie on tracks like 'Moss Garden'.


    Whilst these references are clear, at no point does it seem like East India Youth is just trying to replicate his idols. Total Strife Forever pulls together these influences and creates something truly extraordinary. This is an album firmly rooted in a decade where technology blurs the lines between fact and fiction, where we 'socialise' with brands and it's possible to feel hopelessly alone amidst the towering skyscrapers of a city. The final track 'Total Strife Forever IV' opens with static that eventually fades away to reveal grand synthesiser melodies before disintegrating once more. The beauty of those melodies is only enhanced by their temporary nature. Amidst the machinery there's a realisation that whilst the buildings, the brands and digital world might live on, it's reality and our fellow human beings that are truly beautiful and deserving of our attention.


    - Robert Whitfield (The 405)

    1. Glitter Recession
    2. Total Strife Forever I
    3. Dripping Down
    4. Hinterland
    5. Heaven, How Long
    6. Total Strife Forever II
    7. Looking For Someone
    8. Midnight Koto
    9. Total Strife Forever III
    10. Song For Granular Piano
    11. Total Strife Forever IV
    East India Youth
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Culture Of Volume Culture Of Volume Quick View

    $24.99
    Buy Now
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    Culture Of Volume

    The lead single, and the accompanying video, from East India Youth's debut album Total Strife Forever really tells you all you need to know about the record. 'Looking For Someone' opens like a familiar, albeit electronic, ballad with East India Youth (otherwise known as William Doyle) emoting directly into camera in a way reminiscent of Sinead O'Connor. Then he begins to ascend, the London skyline now whizzing past Doyle as the elevator he's in climbs the Heron Tower. Almighty, booming drums signalled the ascension; humming synths join the journey to the top before the music is stripped away and the camera pans away, twisting as the elevator descends. We are then shown a vertigo-inducing journey back to street level and a trip through the shaft of an elevator. Abrasive synthesisers and what sounds like a distorted church organ are the soundtrack for this dizzying descent. It's no longer a simple plea to a lost lover, but a rallying cry against loneliness in the midst of huge, anonymous monuments.


    Total Strife Forever is a brutal electronic album, but one that still retains a very humanistic core - this juxtaposition is a thematic thread which runs throughout the album. Doyle then sculpts and defines the music in order to create tension between these two disparate elements, or else uses their differences in order to surprise and engage the listener. This is done within individual songs and across the record: over 11 tracks you'll hear acid beats, euphoric electronic pop, ambient passages, drone, krautrock and more. What's incredible is how East India Youth has managed to bring all of these elements together and construct a cohesive record.


    The album opens with 'Glitter Recession'. Soft piano meets a twinkling keyboard melody and then heavy bass stabs. The piano becomes louder and deeper, the keyboard softer, and swirling synths enter the mix. It's a beautiful, optimistic opening, the instruments all layered so that they never feel like they are jostling for attention, but rather adding details and intricacies to make the piece more alive. 'Glitter Recession' is followed by the first of four 'Total Strife Forever' pieces, this one built around a steady sawtooth bass line that grows in intensity as a pounding kick drum appears and echoing synths wash in and out of audible range. It feels like it is building towards heavy electronic noise, of the kind bands like Fuck Buttons are renowned for. But instead 'Total Strife Forever I' is more restrained as sustained chords create a stunning euphoric ending.


    The third track 'Dripping Down' is the first to feature vocals. If you've previously heard the singles leading into this album, or the Hostel EP from last year, you might be surprised by the fact that Total Strife Forever is largely instrumental, yet it makes the rare appearance of vocals all the more effective. 'Dripping Down's harmonies are beautiful, particularly in the closing moments of the track when they sound as though they've been recorded in a grand cathedral (most of this album was in fact recorded at home over the course of three years).


    With clear percussion and shimmering synthesiser riffs, 'Dripping Down' is the first dance track on the album, yet what follows takes things up a notch. 'Hinterland' is an out and out acid track. It starts with an echoing, sonar-like melody, ambient chords and a quick snare/kick beat. The bass drops and we're given an infectious, shuffling four-to-the-floor beat; what follows deserves to be a staple in any self-respecting DJ's club mix. 'Hinterland' is phenomenal, yet somehow East India Youth manages to go beyond that on the next track.


    'Heaven How Long' is easily the album's highlight and arrives just around the mid-point of the album. It's euphoric electronica at its best, and features one of the record's most delicate sections in the second verse. Doyle's vocals, hushed during the verses, soar for the chorus and the whole song ends with a krautrock inspired instrumental, marrying looped synthesisers to heavy bass guitar riffs.


    The second half of the Total Strife Forever is just as strong and rewarding as the first half. There's the aforementioned lead single 'Looking For Someone', as well as three more 'Total Strife Forever' pieces. The second of those tracks, which immediately follows 'Heaven How Long', is easily one of the most meditative tracks on the album, solely comprising an organ, haunting choral vocals and a deep electronic buzzing. In many ways it's similar to Tim Hecker's most recent work which used church organs and filters to blur the lines between what's real and what's synthetic. Meanwhile, 'Midnight Koto' is perhaps the album's most atmospheric track. Distant loops, heavily distorted and sounding like a terrifying rush of traffic, play under the koto melody. It's heavily inspired by Brian Eno, particularly his work with Bowie on tracks like 'Moss Garden'.


    Whilst these references are clear, at no point does it seem like East India Youth is just trying to replicate his idols. Total Strife Forever pulls together these influences and creates something truly extraordinary. This is an album firmly rooted in a decade where technology blurs the lines between fact and fiction, where we 'socialise' with brands and it's possible to feel hopelessly alone amidst the towering skyscrapers of a city. The final track 'Total Strife Forever IV' opens with static that eventually fades away to reveal grand synthesiser melodies before disintegrating once more. The beauty of those melodies is only enhanced by their temporary nature. Amidst the machinery there's a realisation that whilst the buildings, the brands and digital world might live on, it's reality and our fellow human beings that are truly beautiful and deserving of our attention.


    - Robert Whitfield (The 405)

    1. The Juddering
    2. End Result
    3. Beaming White
    4. Turn Away
    5. Hearts That Never
    6. Entirety
    7. Carousel
    8. Don't Look Backwards
    9. Manner Of Words
    10. Montage Resolution
    East India Youth
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Violent Sleep Of Reason The Violent Sleep Of Reason Quick View

    $27.99
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    The Violent Sleep Of Reason

    Pressed On Grey / Black Splatter


    Limited To 1000 Copies


    The Violent Sleep of Reason, the band's eighth full-length studio album, finds MESHUGGAH building upon their legacy for fearless metal sculpting within the context of extreme metal, but also recapturing some of the magic and excitement specifically within the aspect of performance, finding flow and groove that would be a challenge for any lesser band to locate, given such technical geometric madness at mischievous hand.


    "There's a distinct methodology", says drummer, writer and spokesman for the band Tomas Haake, that was put into motion to help the band achieve the level of "intensity" the attentive fan will feel as he/she makes their way through The Violent Sleep of Reason.


    For this one, it's all live takes, with either 3 or 4 of the band members recording their respective instruments simultaneously - which is a way of recording they haven't used in many years. And that definitely goes against the stream of what you see in most technical metal nowadays, where editing, drum programming, the use of "beat detectives" etc. is a way more common approach to recording. So on this one, MESHUGGAH went back towards a more old-school approach, properly rehearsing the songs as a whole band before going into studio to record them. Jens was in one room, guitarists were in one room, bass player Dick was sitting right next to the drum set with an amplifier/cab in the next room. So in that sense this is more "old school"; the methodology is in that sense more like what bands were doing in the '80s and 90s. "And that vibrancy comes out", says Haake; "it's a very audible difference, sloppier sounding if you will, but at the same time it brings a different energy than the last few albums - this is "less perfect", but in that sense, also more alive."


    The personal challenge taken on by the band produced fortunate byproducts as well, or, rather, it inspired them to "de-machine" other aspects of the technical MESHUGGAH juggernaut.


    "Yes, for this one we also changed our approach toward the guitar recording/sounds," explains Haake, who nonetheless confirms that the band is still using eight-string axes, and for the most part, tuning down half a step to achieve that torrid MESHUGGAH guitar grunt. "The last few albums have been mostly digital, guitar sounds-wise, using all digital guitar gear as opposed to analog tube amps and regular cabs. The upside of using all digital like we did previous, is you can re-amp it afterwards, as it's basically a clean signal so you can pick, choose, and tweak things at a later point. But with this album, it was six speakers, all separately miked in one (super-loud) room, each cabinet with a different head -Marshall, Orange, Mesa Boogie etc-and then mixing it up a little bit depending on the song. If there was a song that was a little slower and sludgier, we might add more of the Orange amp to get a tad more of that stoner sound. And if it's a bit more metal, we'd maybe use the Marshall head or the Mesa head a little more in the mix. So we did have the opportunity, to mix and match for each song so the guitar sound is not exactly the same for every song. And that's a difference from Koloss and obZen, for example, where pretty much every song had the same drum and guitar sound."


    But the end result is still a relentless onslaught of MESHUGGAH -patented ideas, save for one gorgeous and atmospheric respite, at the close of "Stifled."


    Framing the pacing and contours of record, Tomas says, "None of the songs stick out quite like, for example, the way "Bleed" did on obZen. To me, it doesn't really have hits-it just has really cool songs! Not that we ever really had "hits" though (laughs). They're just maybe a little "wilder" sounding on this album, much due also to the live recording approach. Dick and I wrote about half of the material, and the rest was either me and Mårten working together or Mårten writing on his own. We were kind of going for something nuts as is the case with all our writing/recording albums - We wanted to hear something that we hadn't heard ourselves do before." Fredrik was not part of the songwriting for this one, as he's been hard at work on his next solo album, but as always he was still very involved with every aspect of the recording, from recording rhythm guitars, guitar solos etc . "And that's also a completely new thing," continues Tomas. "Dick was never involved in the songwriting prior to this album, whereas Fredrik always was. And that, of course, creates a difference in the way the album as a whole came out."


    At the lyrical end, highlights include the title track, which, set to a massively heavy arch-djent rhythm, speaks of "the violent outcome of not dealing with what is going on, the violent implications of being asleep. "The title is actually inspired by a Goya painting called 'The Sleep of Reason Produces Monsters.'"


    A second highlight is strident opener and longest song on the album, "Clockworks," which is strafed by a typically super-human drum performance from Haake. "That's more about looking to yourself and who you are and things you want to change about yourself. And then in the context of how your mind works, as a clockwork. It's the idea of taking out all the little pins, wheels, and springs and kind of rebuilding it to make you function in a different fashion. So lyrics for that song is a look in on self, at things that you wish that you could change about yourself."


    Listen to tracks like the vertigo-inducing "Nostrum" and the slower if equally circular and note-dense "By the Ton," and it's easy to understand why it's been four years since a MESHUGGAH album. But mind-numbing complexity of the material is not the only reason, explains Haake.


    "No, well, I would say first of all, it takes us a lot of time to write. And we're very bad at focusing; we're very bad at multitasking. I don't think we ever wrote one single riff on a tour bus or in a hotel room. So if you have a touring cycle of two, two-and-a-half, three years, there's not going to be anything written in that time period. And that's just how we all function. We need to have a break, like, okay, time out now-nothing else for a year. We need to write for one year. But you also want to tour as much as possible for an album. Koloss, for example, we toured for like two-and-a-half years. And then you write. And when we do finally write, we scrutinize those songs, riffs, structures over and over and over, and change things as we go. So in a lot of the songs, maybe only one riff was actually there originally. So writing for us does take a long time, no doubt."


    As a result, the band's erudite and intelligent fan base "get something that they don't really hear in any other bands". On the first album you still hear a lot of Metallica and Anthrax and Bay Area kind of thrash metal influence. "We knew that we sounded a bit like that, but we were aiming for something we hadn't heard in any other band. And that's still the main fuel. We're not trying to write your average metal song. We're not trying to write catchy songs. We're not trying to write hit songs (laughs). We're just trying to write something that is cool, that we haven't heard before, and hopefully our fans haven't heard before. And that also gets harder and harder though, because by now, there are so many awesome musicians and bands and so much great music out there. But it would seem like the followers that we do have, the people that have kept buying our albums and stayed with us for a lot of years, are not necessarily the typical metal fans. The crowd we have is diverse. We have a lot of geeks and nerds and weirdos, and they are beautiful ones, you know? We have a lot of people with talent, and a lot of people that are also interested in music as art, and not just an event."


    But it's not lost on Tomas that MESHUGGAH is making daunting progressive music, music where melody is subservient to jackhammer rhythm, as evidenced by the way that even his lead singer, Jens Kidman, is situated within the maelstrom that is MESHUGGAH


    "He's the perfect tool for the job. Just like most people, we all, of course, like music where there's "proper singing", and we all love a great singer. Personally, I think the voice is the most empathic instrument. You hear someone sing and you're like, oh my God, that's the coolest instrument in the world. But at the same time, what we're trying to do is not that. Just like the guitars and me as a drummer, Jens also is a rhythmic tool, one that adds aggression, as well as words to back up that aggression if you will."


    So would Tomas then acquiesce to the idea of MESHUGGAH as metal's reigning enemies of melody?


    "In a sense, yeah. I mean, there is definitely melody and a lot of melodic thought put into tonalities, harmonies between bass and guitars and things like that, but at the same time, we're not often going for anything pretty. Sometimes there's a little bit, where we go, 'Awww, that's beautiful," but then we usually immediately mess it up again. You give it a little bit of something "nice" sometimes, but basically we're not going for niceness (laughs)."


    Produced by Meshuggah; engineered by Tue Madsen, Puk Studios, Kaerby, Denmark.

    1. Clockworks
    2. Born In Dissonance
    3. MonstroCity
    4. By The Ton
    5. Violent Sleep Of Reason
    6. Ivory Tower
    7. Stifled
    8. Nostrum
    9. Our Rage Won't Die
    10. Into Decay
    Meshuggah
    $27.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Dead Forever (Out Of Stock) Dead Forever (Out Of Stock) Quick View

    $32.99
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    Dead Forever (Out Of Stock)

    Dead Forever... is the debut album for Australian proto-Heavy Metal band Buffalo, recorded and originally released in 1972. Considered by some to be the first Australian heavy metal album, Dead Forever... also strongly displayed the band's progressive rock and psychedelic influences. Significantly, it was the first release by a non-British and non-European artist on the legendary Vertigo label.
    Side 1

    1. Leader

    2. Suzie Sunshine

    3. Pay My Dues

    4. I'm A Mover

     

    Side 2

    1. Ballad Of Irving Fink

    2. Bean Stew

    3. Forest Rain

    4. Dead Forever 
    Buffalo
    $32.99
    Vinyl LP - Sealed Temporarily out of stock
  • Sunbather (Out Of Stock) Sunbather (Out Of Stock) Quick View

    $26.99
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    Sunbather (Out Of Stock)

    Sunbather is the highly anticipated new album from Deafheaven.


    Recorded and engineered by Jack Shirley (Funeral Diner, Comadre) and designed by Nick Steinhardt (Touche Amore) Sunbather deals with the profound sadness found in the quest for one's personal perfection. Serving as an artistic lucid dream of warmth despite the stinging pain of life's cruel idealism.


    With opener Dream House George Clarke's tortured vocals familiarly intertwine with Kerry McCoy's hypnotic guitar work before crashing into a wash of post-everything melody. This leads to the moving instrumental Irresistible a track that carries a twisted indie-like sensibility buried beneath glittery layers of guitar and piano. However it is in the title track and beyond where the maturation and growth of Deafheaven brightly shines. In Sunbather they explore sonic peaks and valleys created by superb percussionist Daniel Tracy (new to the band for this recording). His inclusion brings new dynamics to light as an urgent pulse to the swirling musical chaos. Pushing bleak epic Vertigo and the dark emotional closer The Pecan Tree to new, awe-inducing heights.


    Without question Sunbather is Deafheaven at the peak of their creative strength and vision of their young existence. A masterfully crafted work of art that will be renowned for years to come.

    1. Dream House
    2. Irresistible
    3. Sunbather
    4. Please Remember
    5. Vertigo
    6. Windows
    7. The Pecan Tree
    Deafheaven
    $26.99
    Vinyl LP - Sealed Temporarily out of stock
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