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Wasting LightFoo Fighters anxiously anticipated seventh album, Wasting Light, produced by Butch Vig and mixed by Alan Moulder, was recorded entirely on analog tape in the garage of Dave Grohls home in Californias San Fernando Valley. The new record marks the Foo Fighters first full length effort with legendary producer Butch Vig, who previously produced new tracks Wheels and Word Forward on 2009s Greatest Hits and with whom Dave Grohl (of course) first worked on Nirvanas classic Nevermind.
Nirvana co-founder Krist Novoselic also makes a cameo, contributing bass and accordion to I Should Have Known, while former Nirvana touring guitarist and longtime extended FF family member Pat Smear now joins the permanent FF core of Grohl, Taylor Hawkins, Nate Mendel and Chris Shiflett.
The album received its first public airing at a surprise gig Friday, January 28th at the minuscule Velvet Jones club in Santa Barbara, where the band ripped through the entire record from start to finish, and followed up with a crushing live collection of greatest hits and rarely played deep cuts including Wattershed from the bands self-titled 1995 debut.
45 RPM EditionLP 1
1. Bridge Burning
3. Dear Rosemary
4. White Limo
6. These Days
1. Back & Forth
2. A Matter Of Time
3. Miss The Misery
4. I Should Have Known
5. Walk$29.99Vinyl LP - 2 LPs Sealed Buy Now
Covers Shipped At Random
This album is instantly recognizable as a Foo Fighters record, but there's something deeper and more musical to it. I think that these cities and these people influenced us to stretch out and explore new territory, without losing our 'sound'.-Dave Grohl
FOO FIGHTERS have confirmed the worldwide release date of the band's long awaited follow up the 4X-Grammy-winning, international #1 Wasting Light: The band's eighth studio album of all-new material will be titled Sonic Highways.
Produced by Butch Vig and Foo Fighters and being released in the U.S. on Roswell Records/RCA Records, Sonic Highways clocks in at just over 44 minutes and is made up of the following tracks:
Though not a soundtrack album by any stretch, Sonic Highways shares its title with the Dave Grohl-directed eight-episode HBO series described by Grohl as a love letter to the history of American music and premiering Friday, October 17 at 11 p.m.. For the album and series, Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett and Pat Smear wrote and recorded one song in each of these eight cities, delving into the local musical currents: how each region shaped these musicians in their formative years, and in turn the impact those people had on the cultural fabric of their hometowns. All songs feature local legends sitting in, with every lyric written in an unprecedented experimental style: Dave held off on putting down words until the last day of each session, so as to be inspired by the experiences, interviews for the HBO series, and other local personalities who became part of the process.1. Something From Nothing
2. The Feast and The Famine
4. What Did I Do?/God As My Witness
6. In The Clear
8. I Am A River$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Foil DeerSpeedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!
When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.
The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.
Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."
And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip?1. Good Neck
2. Raising the Skate
3. The Graduates
4. Dot X
7. Swell Content
9. My Dead Girl
11. Mister Difficult
12. Dvrk Wvrld$14.99Vinyl LP - Sealed Buy Now
Life And Times30 years since the formation of Husker Du and 20 years since their explosive demise and the subsequent release of his first lauded solo effort Workbook, called a masterpiece by critics, Bob Mould is marking anniversaries with an album filled with self-reflection and an unflinching examination of the world around him. Standouts like Wasted World and I'm Sorry Baby, But You Can't Stand in My Light Anymore highlight an artist completing a cycle decades in the making, his talent undiminished, his perspective acute.
Bob Mould is one of the most influential musicians of the alternative rock era, first for his early work with post-punks Husker Du, followed by the college-rock-defining pop of Sugar and finally for his solo albums, notably his first, Workbook, which quieted Mould's previous ire to reveal his fine songwriting in a new light and allowed an introspective glimpse into the inner workings of an evolving artist. With Life and Times, Mould comes full circle, reclaiming his indie songwriting mantle from the generation of musicians he inspired.1. Life And Times
2. The Breach
3. City Lights (Days Go By)
4. MM 17
6. Bad Blood Better
7. Wasted World
8. Spiraling Down
9. I'm Sorry, Baby, But You Can't Stand In My Light Any More
10. Lifetime$19.99Vinyl LP - Sealed Buy Now
Jumping The SharkMy name is Alex Cameron and I won't waste your time. When you're talking about me and my business partner, Roy Molloy, you're talking about the online cowboys in the wild-west days of the World Wide Web. And if you want to know what we're really about just look at all the things you wish you'd done differently. All the things you stopped yourself from doing on account of the fear of failure, or rejection. Weigh that up against your ambitions. Think about your work ethic. We're reclaiming failure as an act of progress. An act of learning. Something to celebrate.
A word's meaning can change depending on who utters the thing; and so we present characters - shapes are morphed and stories are delivered. This is a collection of 4-minute tales written to provide you with insight into the inner workings of failed ambitions and self-destruction. Unedited, uncensored, and without inhibition. I've learned to reveal what I want to unlearn. I cast a light on the darkness and in doing so understand love and compassion. Fear is to be confronted, and to learn requires failure - over and over. Celebrate failure with Jumping The Shark.1. Happy Ending
2. Gone South
3. Real Bad Lookin'
4. The Comeback
5. She's Mine
6. The Internet
8. Take Care of Business$17.99Vinyl LP - Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Double Vision (On Sale)So much for sophomore jinxes that almost always go hand-in-hand with groups that explode onto the scene. Overflowing with first-rate songwriting, lascivious hooks, and sing-a-long choruses, Foreigners Double Vision lays waste to conventional sophomore-release wisdom and went on to actually exceed the popularity of the bands blockbuster debut. More than seven million copies and two Top Five singles later, the 1978 set still rocks with definite purpose.
Half-speed mastered from the original master tapes, Mobile Fidelitys collectible audiophile 180g LP of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, bottom-end punch, and newfound instrumental separation. Sure, you may have heard songs such as Double Vision and Hot Blooded countless times, but trust us, youve never really heard them (outside of an arena setting, stadium amplifiers blaring) like this. You may just find yourself investing in a new power amp to get every last degree of detail thats been uncovered!
Synonymous with AOR (album-oriented rock), Foreigner essentially perfects the style throughout this concise, focused, down-and-dirty ten-song set. The key to any memorable 70s rock record is a catchy single, and the quintet has several lying in the waiting. The title track, inspired by New York Rangers goalie John Davidson getting whacked in the head by a hockey puck, spills over with double-entendre meaning, tough-cut riffs, and a rotating groove, not to mention a mystical keyboard refrain. Equally memorable, and a permanent part of any radio stations rotation, Hot Blooded is the ideal come-on, the groups open-ended rhythm and dance-inspiring beats pouring with promise, salaciousness, and ass-kicking sexuality. A terrific power ballad infused with woe and longing, Blue Morning, Blue Day features insistent harmonies and piano notes that grab you by the collar and doesnt let go.
Of course, great songs alone dont make for great records. The bands chemistry and performance needs to be on par with that of the material. And what else can be said of leather-lunged vocalist Lou Gramm and guitar-hero Mick Jones save for the fact the pair combine for a legendary one-two punch, leading their mates through sensational melodies and swaggering leads. Seldom has the balance between tough and polished, light and heavy, fun and reserved been better established and maintained.
Ready to rock out? Wait until you hear Mobile Fidelitys analog remaster. Itll bring back (double) visions of hot stage lights, dry-ice fog, feel-good times, and amplifiers cranked to 10only this time, the experience will take place inside the confines of your own home. Check it and see!
This title is not eligible for further discount.1. Hot Blooded
2. Blue Morning, Blue Day
3. You're All I Am
4. Back Where You Belong
5. Love Has Taken Its Toll
6. Double Vision
8. I Have Waited So Long
9. Lonely Children
10. Spellbinder$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Youth And Young ManhoodNow Available on Remastered 180 Gram Gatefold Double LP
Youth & Young Manhood is the debut album from American rock band Kings of Leon, released in August 2003. The title was taken from a drawing of the family tree of Moses, found on the inside of one of their Pentecostal preaching father's Bibles. Each branch contained a line that the band was quoted as saying could easily have passed for an album title. Youth and Young Manhood, however, seemed fitting and was quickly agreed upon by all members.
The album was recorded between Sound City Studios, California (where Nirvana's Nevermind and Fleetwood Mac's Rumours were made) and Shangri-La Studio in Malibu. Molly's Chambers, Wasted Time and California Waiting were all released as singles. Spiral Staircase featured on the PS3 game Motorstorm. Red Morning Light was also featured on a Ford Focus commercial, and as the opening song in FIFA 2004 by EA Sports. Holy Roller Novocaine was featured in the movie Talladega Nights: The Ballad of Ricky Bobby as well as on the soundtrack.
The album peaked at number 3 in the United Kingdom, but fared worse in the band's homeland, peaking outside the top hundred. The band's popularity exploded in Australia during the weeks of the 22nd and 29 September 2008, when all four of the band's studio albums reached the top 50.Youth and Young Manhood making its first top 50 chart appearance since its release in 2003, peaking at number 46. The album sold more than 940,000 copies worldwide, and was ranked at #80 in Rolling Stone's Top 100 Albums of the Decade.LP 1
1. Red Morning Light
2. Happy Alone
3. Wasted Time
4. Joe's Head
6. California Waiting
2. Molly's Chambers
5. Holy Roller Novocaine
6. Talihina Sky$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Put Your Needle DownThe Secret Sisters' incredible story is as simple and true as the effortless harmonies that got them here. Begin anywhere -- the thick and fertile brambles
of their own family history or light upon the branches of the wondrous, fractal menagerie that makes up their self-titled debut album. The pair of Alabama
sisters direct from Muscle Shoals (barely twenty-somethings themselves) caught the attention of T Bone Burnett, who signed on as Executive Producer of
their debut album after spending time with Laura and Lydia and hearing them sing live, and is releasing the album on his new label created especially for
this release -- Beladroit. As Burnett explains, I have been making music for over forty years and The Secret Sisters album is as close to pure as it gets.
Their self-titled debut album consists of ballads, originals, and cover songs such as Why Don't Ya Love Me?, Why Baby Why, and the Frank Sinatra
song Somethin' Stupid. The album also includes two originals written by Laura Rogers: Tennessee Me and Waste the Day. The album was recorded
in two weeks at Blackbird studios. Their eleven-song debut was produced by Dave Cobb, who has worked with artists such as Waylon Jennings and
Jamey Johnson, and also executive produced by T-Bone Burnett. The Secret Sisters brough in studio musicians such as steel guitar player Robbie
Turner and pianist Pig Robbins. Also included on the album is a cover of the 60s rock song by then teenage singer Nancy Baron I've got a Feeling,
written by Wally Zober and C. Laverne. The album was also recorded with classic analog equipment. The production team and the Sisters utilized vintage
microphones and classic recording techniques, down to the same type of tape they would have used fifty years ago.1. Rattle My Bones
3. Dirty Lie
4. The Pocket Knife
5. Let There Be Lonely
6. Black And Blue
7. Lonely Island
8. I Cannot Find A Way
9. If I Don't
10. Good Luck, Good Night, Goodbye
11. Bad Habit
12. River Jordan$23.99Vinyl LP - Sealed Buy Now
Indoor LivingWith a lot of Superchunk products, it's easy to think there's a simple message because
the music is so direct. But on Indoor Living, typically unfussy guitar hooks and
shout-sung tag lines that beg for an audience to croon along-"Let's burn last
Sunday"-are just the overarching structure of a record that moons over details:
"Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos
twisting apart ("The arc of lights / above your head / is not to be believed").
"Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a
search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted
space is mine / Yeah I hardly have the right to sing about it."
Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone
can write a break-up record, anyone can color in a broken heart all black. It takes a
more sophisticated eye to find the light and perfect moments that happen even when
we wish they didn't, and Indoor Living is a scrapbook of those moments. A request
for mercy comes across like an in-joke ("We both know that I've got bad knees") in
"Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly
fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy
("Hold my hand steady while I write / Look over my shoulder all night"). Even "The
Popular Music," the record's angriest slice of heartache, has a protagonist that can't
quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left
me to use," but "making mosaics of scenes from the parts of my life that you left me
Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy,
knowing you won't is hard. Adulthood is about forsaking the black and white
resolutions of youth for a more complicated, and resonant, resilience: From "Burn
Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd
break / Well, they just bend." In music and with people, maturity happens when the
sharp edges and jangly rhythms of angst and outrage give over to fuller conversations.
Indoor Living shows that you don't have to lose a single joule of energy in becoming a
little more self-reflective. You just have to be willing to take it all in.
Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I
wanted it to be. Though of course-of course!-I've listened to the record on and
off in the intervening time, I had forgotten how familiar this record is to me. I had
forgotten I knew all the words to every song, could anticipate every hesitant drop in
rhythm and wavering chorus. This record was the soundtrack of being 25 and because
of that, it does remind me of a really specific time; but that time is not so much the
late '90s as the turning point between adolescence and adulthood, which happens later
and later to me every year.
-Ana Marie Cox, 20131. Unbelievable Things
2. Burn Last Sunday
4. Watery Hands
5. Nu Bruises
6. Every Single Instinct
7. Song for Marion Brown
8. The Popular Music
9. Under Our Feet
10. European Medicine
11. Martinis on the Roof$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Blood On The Tracks (On Sale)Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain
Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear
Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond
Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain
The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity
Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.
A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.
For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.
Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.
Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for further discount.1. Tangled Up in Blue
2. Simple Twist of Fate
3. Youre A Big Girl Now
4. Idiot Wind
5. Youre Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter From the Storm
10. Buckets of Rain$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
As musical lunacy goes, things have gotten as crazy as it gets for Death Cab for Cutie since 2002's You Can Play These Songs with Chords compilation. A wildly successful tour with Dismemberment Plan, a collaboration for singer Ben Gibbard with emo-electronic guru Dntel under the Postal Service moniker, and a whole new legion of fans swooning to Gibbard's lyrics as if he were a modern day answer to Kiss Me-era Robert Smith have all amassed considerable hype around Transatlanticism. But the group proves themselves more than equal to the task, answering the call and proving the cynics wrong with their most focused and most mature work in their entire catalog. Transatlanticism wastes absolutely no time and dives in head first with The New Year, one of the most melodramatic openings to an album since the Smashing Pumpkins' Tonight, Tonight from Mellon Collie and the Infinite Sadness. The mellow, mixed-meter percussion and dense atmosphere of Lightness is a brilliant lead into the pop-happy Expo '86 and The Sound of Settling before setting up the climatic and intensely dramatic title track. Unconsciously taking a page from Blur's Sing, the hypnotic drumming and guitar call and responses through the eight-minute climax of the album are backed with a singalong finale that unquestionably will have every audience on the next tour singing along and holding up their lighters. And while most albums would be left exhausted after such a track, the group keeps things moving, albeit at a much slower pace than compared to the anthems that packed the first half. Gibbard seamlessly makes the transition between songs that full out rock to songs that are comparable to Elliott Smith's finest hour with great ease. But it's Gibbard's poetic lyrics and signature introspection that remain a bench mark for Death Cab; and it's the group's maturity as musicians as well as songwriters that make Transatlanticism such a decadently good listen from start to finish. The band has never sounded more cohesive, the track sequencing is brilliant, and it caps off a triumphant year for not only Gibbard, but a band whose time and greater recognition is finally due. ~ Rob Theakston, All Music Guide1. The New Year
3. Title And Registration
4. Expo '86
5. The Sound Of Settling
6. Tiny Vessels
8. Passenger Seat
9. Death Of An Interior Decorator
10. We Looked Like Giants
11. A Lack Of Color$36.99Vinyl LP - 2 LPs Buy Now
Transatlanticism: 10th Anniversary Edition
Reissued For Its 10th Anniversary After Being Out Of Print For Years.
Comes With 12-page Full-color Booklet
As musical lunacy goes, things have gotten as crazy as it gets for Death Cab for Cutie since 2002's You Can Play These Songs with Chords compilation. A wildly successful tour with Dismemberment Plan, a collaboration for singer Ben Gibbard with emo-electronic guru Dntel under the Postal Service moniker, and a whole new legion of fans swooning to Gibbard's lyrics as if he were a modern day answer to Kiss Me-era Robert Smith have all amassed considerable hype around Transatlanticism.
But the group proves themselves more than equal to the task, answering the call and proving the cynics wrong with their most focused and most mature work in their entire catalog. Transatlanticism wastes absolutely no time and dives in head first with The New Year, one of the most melodramatic openings to an album since the Smashing Pumpkins' Tonight, Tonight from Mellon Collie and the Infinite Sadness. The mellow, mixed-meter percussion and dense atmosphere of Lightness is a brilliant lead into the pop-happy Expo '86 and The Sound of Settling before setting up the climatic and intensely dramatic title track. Unconsciously taking a page from Blur's Sing, the hypnotic drumming and guitar call and responses through the eight-minute climax of the album are backed with a singalong finale that unquestionably will have every audience on the next tour singing along and holding up their lighters.
And while most albums would be left exhausted after such a track, the group keeps things moving, albeit at a much slower pace than compared to the anthems that packed the first half. Gibbard seamlessly makes the transition between songs that full out rock to songs that are comparable to Elliott Smith's finest hour with great ease. But it's Gibbard's poetic lyrics and signature introspection that remain a bench mark for Death Cab; and it's the group's maturity as musicians as well as songwriters that make Transatlanticism such a decadently good listen from start to finish. The band has never sounded more cohesive, the track sequencing is brilliant, and it caps off a triumphant year for not only Gibbard, but a band whose time and greater recognition is finally due.
- Rob Theakston (All Music Guide)LP 1
1. The New Year
3. Title And Registration
4. Expo '86
5. The Sound Of Settling
6. Tiny Vessels
2. Passenger Seat
3. Death Of An Interior Decorator
4. We Looked Like Giants
5. A Lack Of Color$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Algiers"This is revolutionary music in the truest sense of
the word. It demands action. It requires penance. It
destroys expectations." - Stereogum
"The Death Grips of gospel torching the South's
dark underbelly." - Rolling Stone
The debut LP by Algiers is haunted by promises of the past:
the rapturous call and response of millenarian gospel, the
bellowing urgency of 60s protest soul, the scene-searching
intensity of DC hardcore and the smeared viscosity of
post-punk and no wave. After all, as Marx once said: "The
tradition of all dead generations weighs like a nightmare
on the brains of the living." But rather than revel in a state
of nostalgia, the band wields these burdened visions to
charge headlong into the future.
Over the album's eleven tracks, these three ÉmigrÉs of
the American Deep South lay waste to appropriators,
oppressors, revivalists and the cultural shock troops of
capitalism. Vocalist Franklin James Fisher's every shriek and
incantation will take you from the sweaty fervor of Dennis
Edwards-era Temptations through the righteous rebellion
of Nina Simone to the solitary midnight howls of PJ Harvey.
Shards of Lee Tesche's guitar, along with Ryan Mahan's
bass pulses and synthesizer slashes, pierce through the
processional, transforming neo-modernist hymns with
explosions of foreboding and dread that evoke the
vanguard of pop experimentation from Suicide to Roland
In an era when political subjectivity and human connectivity
have been smashed to pieces by the demands of finance
capital, Algiers has taken its stance: to maintain fidelity to
these subversive spirits and trudge toward the light. While
they may never arrive at their destination - consigned to a
life of wandering - they conjure the dead sound to life in
frightening new directions.1. Remains
3. And When You Fall
5. Old Girl
6. Irony. Utility. Pretext.
7. But She Was Not Flying
8. Black Eunuch
10. In Parallax
11. 11$21.99Vinyl LP - Sealed Buy Now
UNIM-ATO-0010xKing Gizzard & The Lizard Wizard
Nonagon InfinityPressed On Splattered Vinyl (Dark Vinyl With Light Splatters)
"Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It's exactly the kind of ambitious vision that prompted Rolling Stone to dub the band "one of the most compelling collectives of art-rock experimentalists in recent years." But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.
The roots of 'Nonagon Infinity' stretch back to 2014, when King Gizzard recorded their critically acclaimed album "I'm In Your Mind Fuzz," which was hailed by Pitchfork as "dense, intricately crafted, and most importantly, powerful."
"We actually wanted to do this with 'Mind Fuzz,' but it just didn't work," explains Mackenzie. "We ended up writing songs that needed to be on that record but didn't connect to the others, so we had to abandon the idea, but the seeds were sown."
To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed 'Mind Fuzz' with two more records in 2015, 'Quarters'-described by The Guardian as "the neon intersection of DIY psych and 1960s beach pop"-and the stripped-down 'Paper Mache Dream Balloon,' which earned praise from NPR to Stereogum. The truth, though, was that King Gizzard was honing in on the 'Nonagon Infinity' material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic.
"We really wanted to focus on things that felt good live," says Mackenzie. "We'd grab a little riff here or a little groove there, and we'd jam on them and form songs out of them, which was the opposite of 'Paper Mache,' where we were making songs in an acoustic, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn't just a song, it was part of a loop, part of this whole experience where it feels like it doesn't end and doesn't need to end."
Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path.
"I wanted it to feel like a horror or sci-fi movie," explains Mackenzie of the album's dark overtones. "The lyrics came as a stream of consciousness, all of these elements just falling out of my head as it was happening."
"Big Fig Wasp" references a particularly macabre insect that must kill itself in order to perpetuate the species, while "Gamma Knife," with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and "People-Vultures" plays like a sinister film soundtrack. Album opener "Robot Stop" pulls more directly from the band's recent experiences, inspired in part by their relentless work ethic and tour schedule, which has included festival performances at Bonnaroo, Glastonbury, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA, UK, Europe and Australia.
"That song's about feeling overworked, like a bit of a robot that's just going to crash and die or something," he says with a laugh. "But you get yourself up and do it again and you robot on and you're alright. It was one of the early ones we wrote for the record, and I think when that song came together, everybody started to feel like were going to actually be able to pull off this never-ending album idea."
To say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album's final track.
"In the Australian desert, in the outback, there are what's called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long," he explains. "They drive on the road really, really fast, and they're deadly, with these bars in the front to kill kangaroos and anything else in their path."
'Nonagon Infinity' has opened the door for King Gizzard & The Lizard Wizard, and they're barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.1. Robot Stop
2. Big Fig Wasp
3. Gamma Knife
5. Mr. Beat
6. Evil Death Roll
7. Invisible Face
8. Wah Wah
9. Road Train$19.99Colored Vinyl LP - Sealed Buy Now
CavemanOn Their self-titled sophomore album, Caveman strech thier legs in a number of different, albeit cohesive, directions.
Caveman-a five-man vibe collective from NYC-released their first album in 2011. As first albums go, CoCo Beware was something akin to a moody statement of intent, a blueprint for a band quickly learning how to create horizon-wide rock songs that were equal parts intimate and expansive. Initially self-released and later snatched up by Fat Possum for re-release in early 2012, the record brims over with four-part harmonies, crystalline guitar lines, and tracks that see-sawed between echoey lullaby ("A Country's King of Dreams") to shoegaze-by-way-of classic-FM-radio sprawl ("Old Friend"). The album quickly elevated Caveman from local band to watch to a sizable touring draw and formidable live act, as evidenced by stints on the road with the likes of The War on Drugs, White Rabbits and Built to Spill. Despite being the work of a brand new band, CoCo Beware displayed a kind of Zen-like ease. It was the sound a five friends settling into a nice groove; the music that happens when, for whatever reason, a lot of seemingly disparate elements finally fall into place.
"We all went up to Jimmy's grandmother's place in New Hampshire," says singer Matthew Iwanusa. "That's where the new record kind of started. It was literally the attic of her barn, lit up by Christmas lights. We'd all sit in this one room together and one by one we'd all go into the bathroom and record ourselves making the most psycho noises possible. It actually felt kind of like a weird breakthrough. We were all confident and comfortable enough with each other to try out these experiments, which extended itself into the making of the new record which is really just an evolution of this vibe that we'd been cultivating for long time."
With that, the guys holed up in Brooklyn's Rumpus Room to start recording in earnest with Nick Stumpf (who produced the band's debut album) and Albert Di Fiore behind the controls. The album is a kind of sonic microcosm-a series of emotional yet tough mini-narratives operating within the same quixotic musical universe.
As a result, the guitars on Caveman are bigger and more expansive, the rhythm section is tighter and more adventurous, the keyboards more opaque and pronounced. Like a marriage between Tangerine Dream, late period Slowdive, and Lindsey Buckingham, tracks like their new single "In the City" and "Ankles" boast synth lines that sound simultaneously retro and futuristic, while "Pricey" and "Never Want to Know" overflow with guitar sounds that could have miraculously floated off an old Cure album. It should be noted that James Carbonetti, the band's primary guitar player, also happens to be one of the most highly regarded guitar makers in New York City.
And while Caveman's music could certainly operate on the level of dreamy soundscape and still be excellent, the depth of feeling in front man Matthew Iwanusa's lyrics helps weave the songs deeply into your memory. When Iwanusa sings Where's the time to waste on someone else's life? on "Where's the Time," it's hard not to read between the lines. Wonder and regret seem to fuel the record in almost equal measure.1. Strange to Suffer
2. In the City
3. Shut You Down
4. Where's the Time
6. Over My Head
9. I See You
10. I Never Want to Know
11. The Big Push$16.99Vinyl LP - Sealed Buy Now
Summon The FaithlessThe Sanford Parker (Minsk, High Confessions, Nachtmystium) and Bruce Lamont (Yakuza) helmed Circle Of Animals delivers a modern form of the legendary Chicago industrial sound on its first proper full-length Destroy the Light. Created from the ground up around a rotating cast of well-known drummers picked from all corners of the rock spectrum (Steve Shelley - Sonic Youth), Dave White - Municipal Waste/Burnt By The Sun), John Herndon - Tortoise), John Merryman - Cephalic Carnage), Parker and Lamont paint a collection of dark, epic unforgettable tracks that are sometimes driving, sometimes creeping, but always brooding and hypnotic.1. In a Frightened State of Gnawed Dismemberment
2. Summoning the Faithless
3. Greed is Your Horse
4. Descend Into External
5. Dreams of Mercy
6. Perverse Osmosis
7. Water Under a Burning Bridge
8. What is Not...is$19.99Vinyl LP - Sealed Buy Now