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  • Where It All Begins Where It All Begins Quick View

    $47.99
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    Where It All Begins

    180 Gram Double LP with Gatefold Sleeve and Insert


    Where It All Begins (1994) is the eleventh studio album by the Allman Brothers Band. No One to Run With obtained the greatest amount of album-oriented Rock airplay, while Soulshine, written by Warren Haynes, gained success as a concert and fan favorite.


    Gregg Allman also started to confront his substance abuse problems in the past on songs such as All Night Train. In 1998, the album went Gold. This was also the last studio album the group recorded with original guitarist Dickey Betts.


    This is the first ever vinyl release of this essential Allman Brothers Band album! The D-side features beautiful etched artwork in the vinyl.

    1. All Night Train
    2. Sailin' 'cross The Devil's Sea
    3. Back Where It All Begins

    4. Soulshine
    5. No One To Run With
    6. Change My Way Of Living
    7. Mean Woman Blues
    8. Everybody's Got A Mountain To Climb
    9. What's Done Is Done
    10. Temptation Is A Gun
    Side D
    Etch
    The Allman Brothers Band
    $47.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Where Have All The Merrymakers Gone? Where Have All The Merrymakers Gone? Quick View

    $24.99
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    Where Have All The Merrymakers Gone?


    Available For The First Time On Vinyl!


    On Exclusive Clear Vinyl Limited To 1000 Copies


    Includes Liner Notes And Essay Written By Singer Sean Nelson


    Nearly two decades after its release, Seattle indie rock band Harvey Danger's cherished debut full-length album, Where have all the merrymakers gone?,
    will be released on vinyl LP for the first time ever via No Sleep Records.


    The Vinyl packaging for Where Have All The Merrymakers Gone? will feature new artwork, designed by band members Aaron Huffman, Evan Sult and
    Sean Nelson, that features the same house where the band lived together during their early years - as depicted in the original cover art - now updated to
    reflect the passage of time.


    Originally released in 1997, Where have all the merrymakers gone? catapulted the young band to stardom with the massive radio and video success of
    their anthemic hit song "Flagpole Sitta." The album has since sold over half a million copies with the single still receiving regular airplay on radio stations
    across the country.


    For many critics, Harvey Danger's history begins and ends with "Flagpole Sitta." However, a revisitation of Where have all the merrymakers gone? reveals
    an album that transcends it's most famous song with music that is smart, sardonic and dynamic and a band that was far more than simply a "one hit
    wonder."


    Harvey Danger emerged from the garages and basements of mid-'90s Seattle playing music that walked a line between indie-rock and pop-punk, with an
    uncommon emphasis on the clever, heartfelt lyrics. They never sought worldwide notoriety, but managed the best they could when it was thrust upon
    them. Simply put it was four kids, Aaron Huffman (bass), Jeff Lin (guitar), Evan Sult (drums) and Sean Nelson (vocals), who created a song and an album
    that made a mark on rock music and whose pleasures have only deepened with time.
    In preparation for the upcoming release, singer Sean Nelson wrote a foreword for the vinyl release, looking back on the album and its unexpected
    success.


    "Under the long shadow of 17 years' worth of memory, I must say that listening back to the 10 songs that changed everything for us is a bracing
    sensation. To hear the person you were when you weren't yet who you are now is to understand how little you understood, and to recognize how little you
    even could have understood. This is doubly bracing when you consider that the person you were then had everything riding on the depth of his
    understanding. It's tempting to be hard on your past self, the one who made all those idiotic mistakes, who scorched so many friendships, who insisted he
    knew exactly what we was doing while steering car after car into ditch after ditch. And yet, temptations aside, it feels a lot better, and in a much bigger
    way, to hoist hindsight's binoculars to your deteriorating eyes and spy something you love." (full essay from Nelson can be found in the liner notes of the
    vinyl LP).

    1. Carlotta Valdez
    2. Flagpole Sitta
    3. Wooly Muffler
    4. Private Helicopter
    5. Problems and Bigger Ones
    6. Jack The Lion
    7. Old Hat
    8. Terminal Annex
    9. Wrecking Ball
    10. Radio Silence
    Harvey Danger
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Where Is Love (Pure Pleasure) Where Is Love (Pure Pleasure) Quick View

    $34.99
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    Where Is Love (Pure Pleasure)

    This classic set, originally cut for the Choice label, presents a program of ballads exquisitely interpreted by singer Irene Kral and pianist Alan Broadbent. The tempos are all quite slow, but the emotional yet cool intensity given by Kral and Broadbent means that there are no slow moments. Among the songs given definitive and memorable treatment are Blossom Dearie's I Like You, You're Nice and Bob Dorough's Love Came on Stealthy Fingers, Never Let Me Go, and especially Spring Can Really Hang You up the Most. This is a haunting program, Irene Kral's best; it sticks in one's memory long afterwards and can be considered one of the finest sets of ballads ever recorded. Essential music.



    Musicians:



    • Irene Kral (vocal)

    • Alan Broadbent (piano)



    Recording: December 1974 at Wally Heider Studios by Gabby Garcia

    Production: Joe Burnett




    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. I Like You, You're Nice
    2. When I Look In Your Eyes
    3. A Time For Love / Small World
    4. Love Came On Stealthy Fingers
    5. Never Let Me Go
    6. Spring Can Really Hang You Up The Most
    7. Lucky To Be Me / Some Other Time
    8. Where Is Love?
    9. Don't Look Back
    Irene Kral
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In The Beginning In The Beginning Quick View

    $21.99
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    In The Beginning

    Seminal Early Beatles Recordings as Backing Band for Singer Tony Sheridan


    Includes Rare Lennon/Harrison Instrumental "Cry for a Shadow" and Lennon-Led "Ain't She Sweet"


    Gatefold LP with Rare Photos and Essay By Tony Sheridan


    This is where the legend starts. Serving as the backing musicians for British rock singer Tony Sheridan, the Beatles turned out the most productive studio session of their formative years in June 1961 in Hamburg, a historical occasion documented on the seminal In the Beginning. Billed as the Beat Brothers, the group that evolved into the Fab Four counted original member Pete Best on drums and largely supplied Sheridan with rhythmic foundations for traditional cuts such as Ray Charles' "What'd I Say" and Lieber-Stoller's "Ruby Baby," as well as a batch of originals.


    Most importantly, the date also produced the rare jazzy instrumental "Cry for a Shadow," the only Beatles track ever credited to Lennon-Harrison. Another essential gem is "Ain't She Sweet," an early 20th century hit covered here with lead vocals by John Lennon. Most importantly, this treasured LP affords music fans from around the world an early glimpse into the instrumental abilities and harmonic sound of a band that would, within two years, become the most important and popular ensemble in history.


    Historians and collectors, take note: These performances occurred long before the quartet's similarly prized artifact Live at the Hamburg Club 1962, making this album the earliest official recording of the Beatles available.


    Featuring dead-quiet surfaces, this Wax Cathedral LP is pressed at RTI, America's best record plant.


    Music sounds better on vinyl. Especially when it's experienced on new pressings from RTI, America's finest record plant. Introducing Wax Cathedral, an imprint focused on reissuing great albums on LP, complete with dead-quiet surfaces and authentically replicated artwork. Wax Cathedral goes where few other labels dare, restoring titles from diverse genres, myriad eras, and recognizable artists beloved by generations of listeners. Wax Cathedral is all about bringing back quality vinyl titles that have been out-of-print on LP for decades, and having fun in the process. Get your turntables ready.

    1. Ain't She Sweet
    2. Cry for a Shadow
    3. Let's Dance
    4. My Bonnie
    5. Take Out Some Insurance on Me, Baby
    6. What'd I Say
    7. Sweet Georgia Brown
    8. When the Saints Go Marching In
    9. Ruby Baby
    10. Why
    11. Nobody's Child
    12. Ya Ya, Pts. 1-2
    The Beatles
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Is That All There Is? (Pure Pleasure) Is That All There Is? (Pure Pleasure) Quick View

    $34.99
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    Is That All There Is? (Pure Pleasure)

    When Peggy Lee became well-known in the 1940s, swing and jazz-influenced pop dominated the musical landscape. In the 1960s, however, it was a whole new world in popular music. The British Invasion and Motown - not big bands - were mainstream, and to the Baby Boomer youths of the 1960s, Lee was part of 'our parents' music'. But the singer had a major hit with 1969's Is That All There Is?, one of the best-selling albums of her career. While this isn't a rock album per se - Lee's foundation was still jazz-influenced pop - it acknowledges pop-rock tastes of the 1960s without being unfaithful to her history. Everything on this LP is a gem, and that includes a moody remake of Lee's 1940s hit Don't Smoke in Bed as well as classic arrangements of George Harrison's Something, Neil Diamond's Brother Love's Traveling Salvation Show, Leiber & Stoller's I'm a Woman, and Randy Newman's Love Story. The LP's centerpiece, however, is Newman's hit arrangement of Leiber & Stoller's title song, which was covered by P.J. Harvey in the 1990s. Influenced by German cabaret, this half-spoken, half-sung treasure is as hauntingly soulful as it is maudlin. The song's outlook is far from optimistic; essentially, it's saying that we might as well grab our moments of pleasure and enjoyment where we can find them because ultimately, life is nothing more than a meaningless series of disappointments. But there's nothing disappointing about Is That All There Is?, an LP that is most certainly among Lee's finest accomplishments.



    Musicians:



    • Peggy Lee (vocal), and orchestra





    Recording: November 1962, January / February / April / October 1969 at Capitol Tower, Hollywood, CA

    Production: Lieber & Stoller / Phil Wright / David Cavanaugh




    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. Is That All There Is?
    2. Love Story
    3. Me and My Shadow
    4. My Old Flame
    5. I'm a Woman
    6. Brother Love's Travelling Salvation Show

    7. Something
    8. Whistle for Happiness

    9. Johnny (Linda)
    10. Don't Smoke in Bed
    Peggy Lee
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Austin City Limits 1995 (Pre-Order) Austin City Limits 1995 (Pre-Order) Quick View

    $37.99
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    Austin City Limits 1995 (Pre-Order)

    Available here on vinyl for the first time, this superb 1995 performance is testimony to the fact that whatever turmoil the Allmans were going through - and, boy, did this band go through their fair share, and then some - they would never let their performances suffer. In November 1995, The Allman Brothers Band were the headline act for an episode of Austin City Limits, the long running Public Television live music show. Performing an hour long set, largely made up of oldies and classics, they also played - as opener - one of their finest late period songs, the magnificent 'Sailin' Across The Devil's Sea' from the album Where It All Begins.
    LP 1
    1. Sailin' Across The Devil's Sea
    2. Ain't Wastin' Time No More
    3. Ramblin' Man
    4. Midnight Rider
    5. The Same Thing
    6. Blue Sky


    LP 2
    1. Where It All Begins
    2. One Way Out

    The Allman Brothers Band
    $37.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Built To Last Built To Last Quick View

    $34.99
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    Built To Last

    1000 Numbered Copies On Rust Brown Colored Vinyl


    Built To Last is the fourth full-length studio album and the second major label release by New York Hardcore Punk band Sick Of It All, released in 1997.


    Built to Last was the result of a year's work for Sick Of It All, with pre-production beginning around late 1995/ early 1996. The recording took place in Normandy Sound studio in Warren, Rhode Island (where their first three albums had been recorded, including Scratch The Surface and in two studios in California.


    Featuring the anthems "Good Lookin' Out", "Us vs. Them" and "Built To Last". Circle pit!

    1. Good Lookin' Out
    2. Built To Last
    3. Closer
    4. One Step Ahead
    5. Us vs. Them
    6. Laughingstock
    7. Don't Follow
    8. Nice
    9. Busted
    10. Burn 'Em Down
    11. End The Era
    12. Chip Away
    13. Too Late
    14. Jungle
    Sick Of It All
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Permeable Life A Permeable Life Quick View

    $18.99
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    A Permeable Life

    Singer-songwriter Carrie Newcomer is releasing her twelfth
    studio recording this spring, A Permeable Life, produced and
    engineered by Paul Mahern (John Mellencamp, Over the
    Rhine, Willy Nelson, Lily & Madeleine). Newcomer is simultaneously
    releasing a companion book, A Permeable Life: Poems and
    Essays. Newcomer has attracted a devoted following with
    her warm voice, exquisite melodies, and an irreverent yet
    spiritual view of the world. As in the work of poets Mary
    Oliver and Wendell Berry, Newcomer's songs are based in
    the ordinary, and infused with images from the natural world.


    "A Permeable Life is about what presses out from the heart,
    what comes in at a slant and what shimmers below the
    surface of things," Newcomer says. "To live permeably is to
    be open-hearted and audacious, to risk showing up as our
    truest self, and embracing a willingness to be astonished."


    On this album, Newcomer's signature deep voice-which the Austin American-Statesman called "as rich
    as Godiva chocolate"-takes on a quiet conversational tone, close and intimate. Open and elegant arrangements
    showcase lyrics that balance introspection and interior monologue with love and fascination for the shared
    human story. The concept of this album was creating a musical framework as intimate and elegant as the songs
    themselves. Each individual part have clarity and beauty, tting perfectly together like the gears of a ne clock,
    and yet uid and never ridged or contained but remaining open and seemingly effortless. Newcomer states, "We
    wanted this album to be very intimate. We wanted the listener to feel very close as if in conversation with me.
    The vocals on this album were sung as if I were sitting at the kitchen table with the listener."


    In "Every Little Bit of It," Newcomer delights in the small experiences that give our life meaning, and the
    importance of embracing these moments while we can "drain the glass drink it down, every moment of this,
    every little bit of it." In "A Light in the Window," she reects on the feeling of seeing a light in the window at a
    distance. We don't know what the next threshold will bring, and yet there is always a whisper, a light in the
    distance giving us hope and encouragement. In "Writing You a Letter," Newcomer describes the process of
    traveling with an open heart, and how it will inevitably change us: "Every place I go leaves it's own tattoo." But
    she also knows that we make impressions when we leave: "That's how it is laying stone on stone, building little
    altars by the side of the road." "The Ten O'clock Line" and "Abide" (co-written with author Parker J. Palmer),
    explore themes of loss and new thresholds, musing on the possibility that what may look like a hole in one's
    life, may be only a space. In "Visitation," Newcomer describes the experience of how memories do not arrive in
    a linear fashion, but wash over us throughout the day. In the haunting "Thank You Good Night" she describes
    the evolution of a prayer of gratitude. "A Room at the Table" is an anthem for a new diverse world where she
    writes "This is how it all begins, let us sing the new world in," calling us to allow this troubled world to
    transform us and move us to action. In "An Empty Chair" she explores one woman's story in the wake of
    unexpected gun violence. And "Forever Ray" and "Don't Put Me On Hold" reect Newcomer's mischievous
    humor.

    1. Every Little Bit of It
    2. The Ten O'clock Line Featuring Lily & Madeleine
    3. Writing You a Letter

    4. A Light in the Window
    5. The Work of Our Hands
    6. Abide
    7. Room at the Table
    8. Thank You Good Night
    9. Forever Ray
    10. An Empty Chair
    11. Visitation

    12. Please Don't Put Me on Hold
    Carrie Newcomer
    $18.99
    Vinyl LP - Sealed Buy Now
  • Pushin' Against A Stone Pushin' Against A Stone Quick View

    $21.99
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    Pushin' Against A Stone

    Concord Records is proud to present vocalist/musician and Tennessee native Valerie June and her debut project, Pushin' Against a Stone. The album has already received significant buzz with its recent European release, where it's earning critical and commercial success by reaching #1 on both the UK
    Indie Breakers Chart and the French FNAC Independent Chart. And now, amid all this international hype, she is primed to make a splash here in the
    States as well!


    Valerie June is truly one of the most unique and fascinating talents to hit the music scene in recent time. This is her highly anticipated debut release.
    Valerie's voice is one of distinction that effortlessly shifts between eras and genres, transporting you to another world the moment she begins to sing.


    Produced by the acclaimed Kevin Augunas (Edward Sharpe, Florence + The Machine), Dan Auerbach and Peter Sabak. Features an all-star cast of musicians, including Booker T, Jimbo Mathus and more.

    1. Workin' Woman Blues
    2. Somebody To Love
    3. The Hour
    4. Twined and Twisted
    5. Wanna Be On Your Mind
    6. Tennessee Time
    7. Pushin' Against a Stone
    8. Trials, Troubles, Tribulations
    9. You Can't Be Told
    10. Shotgun
    11. On My Way
    Valerie June
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Making Of The Making Of Quick View

    $19.99
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    The Making Of

    The Bohicas debut album The Making Of lands blow after blow. A barrage of killer hooks, razor blade riffs and choruses that slap you in the face, grab your hand and lead you onto the dance floor. All shot through with pulp imagery torn from the pages of a graphic novel. Their story begins in Essex where as schoolmates they first came together over a love of The Beatles, The Kinks, Ray Charles and the new wave of guitar bands who emerged at the start of the century after the scrag ends of Britpop had finally limped off. The album was was produced by Mark Rankin (Queens Of The Stone Age, Bombay Bicycle Club), Chris 'Merrick' Hughes (Tears For Fears, Adam And The Ants) and Oli Bayston (Toy, Boxed In). The Making Of is 21st Century rock and roll.
    1. I Do It For Your Love
    2. To Die For
    3. Only You
    4. Girlfriend
    5. The Making Of
    6. Where You At
    7. XXX
    8. Swarm
    9. Red Raw
    10. Upside Down and Inside Out
    11. Somehow You Know What I Mean
    The Bohicas
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Undersea Undersea Quick View

    $13.99
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    Undersea

    The Antlers' debut on ANTI continues the Brooklyn trio's evolution begun with the acclaimed albums Hospice and Burst Apart. Their new 4-song EP, Undersea was recorded in early 2012.



    In the band's own words: "In January, after returning home from a year of touring, we started something new. We knew not what it would become and had no purpose but to see what could happen in two and a half months of recording in our studio. We started from nowhere, and inadvertently tapped into a new beginning, the despair of Hospice and the subsequent recovery in Burst Apart felt like a closed chapter, and we suddenly felt the immense freedom to change the subject entirely. We let our creative instincts lead us forward, and they brought us here, to Undersea, an EP in length, but beyond that in scope. It's an attempt to begin to express and communicate something bigger, something outside of ourselves and harder to explain.



    The record begins with the dream of a peaceful flood, followed by an existential re-evaluation in the face of massive, all-encompassing change. We take a deep breath in, a slow breath out, and take stock of where we're at. Undersea is the feeling of suspension. Memories suspended in time and space, energy suspended in the air around us. It's the serenity of drifting off to sleep or of sinking to the bottom of the ocean. Time slows and stretches.



    We've searched for sounds that are patient and meditative, mellow and colorful and intended to calm. There's a subtle but insistent pulse that leaves room for the music to breathe and expand. These songs are not in a hurry, and they take their time to unfold. In one sense it is familiar and terrestrial. But there's also a strange, fantastic, and largely as-yet-unknown world below the surface. The result is a kind of oceanic lucid dream of the future."

    1. Drift Dive

    2. Endless Ladder

    3. Crest

    4. Zelda
    Antlers
    $13.99
    Vinyl LP - Sealed Buy Now
  • Hard Love Hard Love Quick View

    $19.99
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    Hard Love

    Tim Showalter's latest release as Strand of Oaks, Hard Love, emanates an unabashed, raw, and
    manic energy that embodies both the songs and the songwriter behind them. "For me, there
    are always two forces at work: the side that's constantly on the hunt for the perfect song, and
    the side that's naked in the desert screaming at the moon. It's about finding a place where
    neither side is compromised, only elevated."


    Drawing from his love of Creation Records, Trojan dub compilations, and Jane's Addiction,
    and informed by a particularly wild time at Australia's Boogie Festival, he sought to create a
    record that would merge all of these influences while evoking something new and visceral.
    These influences coupled with an uninhibited and collaborative studio experience moved an
    initial concept for a singularly feel-good record to something more complex and real. As
    much as Showalter wants this record to seem like a party, it's more than that. It feels
    like living. "You went away you went searching came back tired of looking" is how
    Showalter begins the title track, a sentiment that epitomizes Showalter's own mentality in
    beginning Hard Love. As the record progresses, so do the themes of dissatisfaction
    and frustration with love, family, success, and aging, both in personal experience and
    songwriting

    1. Hard Love
    2. Radio Kids
    3. Everything
    4. Salt Brothers
    5. On The Hill
    6. Cry
    7. Quit It
    8. Rest Of It
    9. Taking Acid And Talking To My Brother
    Strand Of Oaks
    $19.99
    Vinyl LP - Sealed Buy Now
  • Dog Beats EP Dog Beats EP Quick View

    $14.99
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    Dog Beats EP

    One of the most legendary and sought-after albums to ever come out of Detroit in the last 30 years, Dog Beats returns to record bins everywhere this spring! Representing the very first official release from the group that would become INSANE CLOWN POSSE, Dog Beats was released when the group were still in their teens and calling themselves Inner City Posse. This EP was sold on the streets of Detroit and original cassette copies now fetch an average of $2,000 on eBay. Despite a mail-order-only CD reissue around 2000, Dog Beats has been out of circulation ever since and has NEVER BEFORE BEEN RELEASED NATIONALLY! This is truly a historic piece of Midwest hip-hop that shows the humor, rap skills, and never-say-die enthusiasm that would eventually catapult INSANE CLOWN POSSE (the band changed their name shortly after the release of Dog Beats) into the worldwide pop culture and underground icons they are today. This is where the story of ICP begins ... and is a MUST OWN for all hip-hop fans!
    1. Ghetto Zone
    2. Wizard of the Hood
    3. Life At Risk
    4. Dog Beats
    Insane Clown Posse
    $14.99
    180 Gram Audiophile Virgin Vinyl 12 EP - Sealed Buy Now
  • Against The Grain Against The Grain Quick View

    $32.99
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    Against The Grain

    Re-Mastered from the Original ¼ inch Tape

    Featuring the Original Restored Album Artwork with a Printed Inner Sleeve!


    After releasing two albums in 1973 and a live, contract-fulfilling disc in 1974, Gallagher returned rested and recharged in 1975 with a new record label, Chrysalis, and a band with almost three years of hard touring under their belts. With its attention to detail, Against the Grain sounds more practiced and intricate than most of Gallagher's previous studio discs, but still includes some of his most powerful rockers. The supercharged Souped-Up Ford, where Rory howls and wails, with his voice and smoking slide, and All Around Man, an urgent blues rocker that begins with Gallagher screaming and crying together with just his electric guitar until the band kicks in with a stop-start blues rhythm, are two of the definitive moments. Bought and Sold adds congas to the mix to bring a more rootsy and even jazzy feel to Rory's table. But it's on the acoustic tracks where the guitarist and his band really lay into the groove. Gallagher's version of Leadbelly's Out On the Western Plain, with its combination of Indian chords, American Delta folk and cowboy yippee-ki-yay chorus is one of the Irishman's unheralded highlights, and Cross Me Off Your List is affecting in its yearning melody, subtle keyboard and minor key. A playful and forceful romp through Sam and Dave's I Take What I Want shows Gallagher's soul roots. Its well-rounded menu of country, Delta blues, and blues-rock is indicative of his approach; though few of these songs became classics in the guitarist's extensive catalog, they're far more mature and eclectic than most blues-rock bands' best work. --Allmusic.com

    1. Let Me In
    2. Cross Me Off Your List
    3. Ain't Too Good
    4. Souped-Up Ford
    5. Bought And Sold
    6. I Take What I Want
    7. Lost At Sea
    8. All Around Man
    9. Out On The Western Plain
    10. At The Bottom
    Rory Gallagher
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Future Crayon Future Crayon Quick View

    $24.99
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    Future Crayon

    Broadcast will have their long out of print albums made available again through Warp Records on LP. This seminal catalogue encompasses the albums Work And Non Work, The Noise Made By People, Haha Sound, Tender Buttons, The Future Crayon and ...Investigate Witch Cults of the Radio Age.


    Collecting most of Broadcast's EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the band's output is. Indeed, the band's other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups' full-length albums. Future Crayon isn't quite that cohesive, but it does chart how Broadcast's sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Two's Illumination is particularly gorgeous, opening with an insistent bassline and Trish Keenan's coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, Still Feels Like Tears from the Pendulum EP takes the title track's stripped-down psych-rock in a lighter, sweeter direction, while Extended Play's Where Youth and Laughter Go begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the band's music, which usually only appears as brief interludes on their albums. 1998's Hammer Without a Master, which originally appeared on the Warp comp We Are Reasonable People and is one of this collection's rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with Daves Dream, it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named Chord Simple is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of Unchanging Window. While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesn't always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music.

    - Heather Phares (All Music)

    LP1
    1. Illumination
    2. Still Feels Like Tears
    3. Small Song IV
    4. Where Youth and Laughter Go
    5. One Hour Empire
    6. Distant Call
    7. Poem of a Dead Song
    8. Hammer Without a Master
    9. Locusts
    10. Chord Simple


    LP2
    1. Dave's Dream
    2. DDL
    3. Test Area
    4. Unchanging Window / Chord Simple
    5. A Man for Atlantis
    6. Minus Two
    7. Violent Playground
    8. Belly Dance

    Broadcast
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Wait Don't Wait (Pre-Order) Wait Don't Wait (Pre-Order) Quick View

    $19.99
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    Wait Don't Wait (Pre-Order)

    Wait Don't Wait is the band's second full-length album - and their first release via Tender Loving Empire. Joy as an act of revolutionary defiance in the face of oppression is the name of their game, and it sounds too damn good to ignore. On the New Wave by way of Progressive Jazz banger, "Sleepy Eyes", an imposing kick and warping synth take o like a supersonic jet. In an 'I mean Serious Business' manner, Westman declares, "When the time is right I will take you home oh oh oh / When the feeling's right I will let you know," and it is clear that this is her call to make. The bounce continues, and - out of nowhere - the dancefloor falls into space and soothing jazz chords float over the classic puttering of a Roland CompuRhythm CR-78.


    Just as suddenly, the four-on-the-floor beat returns, and soon saxophone, flute, guitar, and synth stabs pop in and out. Not since Beasties Boys' Paul's Boutique have such abrupt changes within one song felt so damn right. "Let Me Go", another knockout, begins with a grimy bassline and a classic hip hop clap with Westman and Vait trading verses, asking those universal questions of love and love lost. On a dime, the song transforms to near power ballad - soaring upward and lifting the listener out of the muck of the day with the refrain "Home is where I'd be if my heart could just decide", and in the same way all pop masterpieces do, it seems to end too soon - a serious 'back button' burner. With the release of Wait Don't Wait, SISTERS are not only presenting a pop record full of bangers that demands repeat listens, they are also methodically working toward creating a world that is safe for everyone. SISTERS deliver unrestrained joy, and it is desperately needed right now. The world has been waiting, but it needs wait no more.

    1. Scene Here
    2. Heart Beats
    3. Let Me Go
    4. Sleepy Eyes
    5. Glitter Lights
    6. Bird
    7. Preface
    8. Posing In The Field
    9. My Little Head
    10. Night Walk
    11. Y Do U Take So Long?
    12. Love You Too
    SISTERS
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Love Love Quick View

    $32.99
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    Love

    Available On Vinyl For The First Time


    Mastered For Vinyl At 96 Khz/24-bit From 1/2 Inch Analog Tape By The Famous Stan Ricker


    Gatefold Jacket, 11 X 22 Insert


    Pressed On 180 Gram Audiophile Vinyl


    ''Imagine the anthemic power of Iron Maiden, the ambitious pop of Joshua Tree-era U2, and the energetic tension of Sunny Day Real Estate all thrown together in a blender and you can begin to understand where Juliana Theory is coming from.'' - Allmusic


    First ever vinyl pressing of The Juliana Theory's third album, Love. Mastered for vinyl at 96 kHz/24-bit from 1/2 inch analog tape and features two bonus tracks.


    Produced by Jerry Harrison of Talking Heads

    Bring It Low
    Do You Believe Me
    Shell of a Man
    Repeating, Repeating
    Congratulations
    Jewel To Sparkle
    White Days
    The Hardest Things
    DTM
    Trance
    In Conversation
    Into the Dark
    As It Stands
    Everything
    Before I Go
    The Black Page
    The Juliana Theory
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Baby Baby Quick View

    $17.99
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    Baby

    Freedom often begins from terror, and White Hinterland's third album, Baby, addresses the fear
    that comes along with breaking out of established rituals, or leaving a comfortable place, and
    striking out into the unknown. Four years after her profile-raising release, Kairos(2010), Casey
    Dienel aka White Hinterland has taken the gloves off and knuckled down to produce a deep,
    dark, heady mix of songs. After two and a half years of writing and recording material in
    Montreal and Portland, OR, Dienel moved back in to her family home in Scituate, MA. There
    she forged a new aesthetic, spending five months building her own studio, The Glades, in her
    parents' basement - the same space where she practiced piano and vocal lessons as a child.
    Determined to helm her new album, Dienel spent months studying production, poring over
    YouTube tutorials about Protools, mic'ing techniques and other minutiae.


    Armed with this self-taught skill and her new studio, Dienel set forth to subvert the existing
    power structure of male producer as svengali and female artist as figurehead (see: Billy
    Corgan/Courtney Love, Timbaland/Aaliyah, Phil Spector/The Ronettes). She created her own,
    new path on Baby, which showcases her as a singer/songwriter/producer who has only become
    bolder and more resolute over the past three-plus years. Calling in her friends as pinch hitters,
    Dienel worked acclaimed musicians Sean Carey (Bon Iver, S. Carey), Neal Morgan (Joanna
    Newsom, Bill Callahan), and Cole Kamen-Green (BeyoncÉ).


    On her first four records, Dienel projected her fears and fantasies onto imaginary characters,
    role play, and lush atmospherics. If Kairos was a work of atmosphere, then Baby sits at the
    opposite end of that spectrum. Baby is about song craft. It is forceful, rooted in the physicality
    of the voice, percussion and piano, and it is about getting straight to the point. Where her earlier
    work occasionally showcased a strong Joni Mitchell influence, on new songs like "David" she
    finds herself in Fiona Apple territory. Her lifelong love of R&B and gospel also comes to the fore,
    these resonant styles complement and contrast the sharp dynamic shifts, booming drums, and
    blasts of brass. On Metronome, Baby's centerpiece and most assertive track, she declares, All
    day long I'm a boss. She's not asking for someone to serve as a steadying influence, but instead
    requiring that it's necessary to keep up with her. It is the past three years of her life distilled into
    song: joy, heartbreak, frustration, longing, disappointment, anger, and loss accumulated, poured
    out and reborn in this new, unflinching release.

    1. Wait Until Dark
    2. Dry Mind
    3. Ring the Bell
    4. David
    5. Baby
    6. White Noise
    7. Metronome
    8. No Devotion
    9. Sickle No Sword
    10. Live With You

    White Hinterland
    $17.99
    Vinyl LP - Sealed Buy Now
  • Mojo Mojo Quick View

    $32.99
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    Mojo

    Some time in the last few years Tom Petty and the Heartbreakers took a left turn. Maybe it was when Petty woke up in the night with the idea of reuniting his first band, Mudcrutch, to cut the album they never got a chance to make back in the early 70s. Maybe it was when the Heartbreakers assembled the mammoth multi-disc The Live Anthology, which detailed thirty years of concerts. Maybe it was when they gave all their home movies, outtakes and live footage to director Peter Bogdanovich to create the Grammy-winning four-hour career documentary Runnin' Down A Dream. There have been side projects and experiments since the band last went into the studio to cut a new Tom Petty and the Heartbreakers album. With Mojo, they have taken their recent freedom and experimentation to heart. They have gone off the reservation and all signs indicate they aren't coming back.


    The first thing that hits you about Mojo is that the spirit of the Mudcrutch sessions has carried on with the Heartbreakers. This is the sound of a band playing together in a room, not a studio, facing each other, all singing and playing at the same time. The music is alive, with no overdubs or studio trickery. What you hear is what they created on the spot at that time.


    Tom Petty says, With this album, I want to show other people what I hear with the band. Mojo is where the band lives when it's playing for itself.


    As for the songs, Mojo showcases a wide variety of American music from rock n' roll to country and both electric and acoustic blues. And then there are the images in Petty's lyrics which slip in on the melodies and set up a home in your head: The barefoot girl in the high grass chewing on a stick of sugar cane, the run-in with the law that begins when a carload of buddies decide to party with the motel maids, and the hilariously audacious idea of opening an album with an electric blues rocker about Thomas Jefferson's love affair with Sally Hemings.


    Mojo has juice and guts but it also has some sweet balladry for the slow dancers and even a wacked-out reggae number that is unlike anything that the Heartbreakers have done before. It's the kind of album nobody's supposed to be able to make anymore. It got here just in time.

    1. The Trip To Pirate's Cove

    2. Candy

    3. No Reason To Cry

    4. I Should Have Known It

    5. U.S. 41

    6. Takin' My Time

    7. Let Yourself Go

    8. Don't Pull Me Over

    9. Lover's Touch

    10. High In The Morning

    11. Something Good Coming

    12. Good Enough
    Tom Petty
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Something Else!!!! The Music Of Ornette Coleman Something Else!!!! The Music Of Ornette Coleman Quick View

    $21.99
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    Something Else!!!! The Music Of Ornette Coleman

    This 1958 debut recording by the Ornette Coleman Quintet, which featured Coleman on his trademark white plastic alto, Don Cherry on trumpet, Billy Higgins on drums, Walter Norris on piano, and Don Payne on bass, shook up the jazz world -- particularly those musicians and critics who had entered the hard bop era with such verve and were busy using the blues as a way of creating vast solo spaces inside tight and short melody lines. Something Else!!!! is anathema to that entire idea, and must have sounded like it came from outer space at the time. First, Coleman's interest was in pitch, not being in tune. His use of pitch could take him all over -- and outside of -- a composition, as it does on Invisible, which begins in D flat. The intervals are standard, but the melodic component of the tune -- despite its hard bop tempo -- is, for the most part, free. But what is most compelling is evident in abundance here and on the next two tunes, The Blessing and Jayne: a revitalization of the blues as it expressed itself in jazz. Coleman refurbished the blues framework, threaded it through his jazz without getting rid of its folk-like, simplistic milieu. In other words, the groove Coleman was getting here was a people's groove that only confounded intellectuals at the time. Coleman restored blues to their classic beginnings in African music and unhooked their harmonies. Whether the key was D flat, A, G, whatever, Coleman revisited the 17- and 25-bar blues. There are normal signatures, however, such as Chippie in F and in eight-bar form, and The Disguise is in D, but in a strange 13-bar form where the first and the last change places, altering the talking-like voice inherent in the melodic line. But the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene. ~ Thom Jurek, Rovi
    1. Invisible
    2. The Blessing
    3. Jayne
    4. Chippie
    5. The Disguise
    6. Angel Voice
    7. Alpha
    8. When Will the Blues Leave?
    9. The Sphinx
    Ornette Coleman
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • New Masses For Squaw Peak New Masses For Squaw Peak Quick View

    $16.99
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    New Masses For Squaw Peak

    New Masses for Squaw Peak gifts unto us bold, surprising new textures and denser, cheekier ideas and themes. Its packed tight with style: gauze-flange experimentation; jazz-chord death-pop; shifty proto-prog; historical and personal mythologies weaved through its passages. Yet, claustrophobic it is not. New Masses for Squaw Peak is as wide-open of a landscape as its title may suggest. It is also a well-traveled collection of songs: laid to tape in the belly of an abandon Philadelphia textile factory; run through three mixing boards by three separate sets of hands; and ultimately sculpted into its final form by the gentlemen to conjured it in the first place. And oh joy, what conjuring.


    Mystics Pharaohs (Masc. Pharaohs) begins with a big, fat wink to Enos Here Come the Warm Jets (a hallmark of Squaw Peak) before descending into its own purply blackhole of dark, dissonant whitefunk. A metallic sonic fog allows guitar stabs and squalls, and the pings of ringleader Nathan Pembertons vocal calls, to hit you twice then thrice, then unravel out into the cosmos. All players here (multi-instrumentalists Josh Martin and Brian Forfa; and drummer John Frank) are using both sides of the brain at every turn, the instinctual, tribal rhythm with which we are born and the semi-learned, nervy way we manipulate that instinct. The instinct that tells us to stay and play inside our comfort zone, and the secret instinct to see what lies just beyond its boundary. Cor-Du-Roi, another standout, is almost perpendicular to Mystics Pharoahs with its shambling, assured pace and melodies all tinny and distant. Its a risky number for Holiday Shores in its maturity and subtle composition. It also just might be their most inspired, beautiful piece to date. We find this kind of maturity and patience again with deep-cut Coming to Shores, an ambient-pop sci-fi wash that almost falls into the new classical phylum.


    Pemberton and Martin prove time and again that they share more than just a keyboard table in the live setting; they share an endlessly searching, creative brain. Pembertons jazz keyboards are often interlocked with Martins plinkety-plankety lyrical guitar. On Shadie Spun Gold and in other spots, like pulsing leadoff track Airglow their separately played parts are hocketed to create the larger melody, with notes falling just left of where Steely Dan might drop them (which sounds awesome). Holiday Shores might be prog-rock in the way that Ariel Pink might be prog-rock. Its shape-shifting pop songcraft that will slip from your fingers like a sea cucumber the very second you think you have hold.

    1. Airglow
    2. We Couldn't Be Together
    3. Threepeat Got Old
    4. Ocotillo Dripping
    5. Spells
    6. Squaw Peak
    7. Mystic Pharaohs (Mas Pharaohs)
    8. Coming To Shores
    9. Cord-Du-Roi
    10. New Masses
    11. Injun
    12. Shadie Spun Gold
    Holiday Shores
    $16.99
    Vinyl LP - Sealed Buy Now
  • Secret Life Secret Life Quick View

    $19.99
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    Secret Life

    Toronto duo Moon King have crafted a raw, rapturous and emotional new record, which documents their ascent from an intimate conceptual project into a powerful live band. A first preview of the record comes with the chugging propulsion, soaring harmonies and cosmic haze of album opener 'Roswell'.


    In 2013, Moon King, made up of songwriter Daniel Benjamin and singer/guitarist Maddy Wilde, played over 100 shows to support a pair of EPs, Obsession I and II, which were released on Fucked Up's One Big Silence label in North America and Tough Love in UK/Europe. After a year spent on the road, it became evident they should capture the energy of their live show while it was fresh. Following a performance at Iceland Airwaves, Daniel & Maddy relocated to a cottage in northern Ontario to record the album with a group of Toronto music scene luminaries, all of whom had played in various incarnations of the live band.


    Most of the tracks on the album were recorded live off the floor, with little except the vocals added, put to tape by live sound engineer Noah Giffin (Owen Pallett, Austra, Diana). Though only five days of recording were booked, an ice storm prevented them from leaving, resulting in an extra couple of days work. The record was then mixed in New York with Jacob Portrait of Unknown Mortal Orchestra/Blouse.


    The album's production introduces further nuance to the wall-of-sound approach of the EPs, stripping back dense layers to unearth spellbinding vocals and melodies. Daniel's lyrics focus on catharsis and the weight of emotional trauma, as well as dealing with the self-doubt that stands in the way of recovery.


    Frequent show-opener "Apocalypse" begins with the confession "somehow I feel no release when I'm alone with anyone else / somehow I fall to pieces when I wake up to nothing where you should be" and builds intensity and speed until overflowing in a rush of noise, an oddly structured pop song with no repeating sections. "It's impossible / you've been run through with fear / love's a landfill / just another burning spear" chants the soaring chorus of 'Impossible'. The ultimatum at the climax of "Golden Age" - "all I want is to be wanted" channels an honest and tangible fear not common in today's pop landscape.


    This sense of loss and longing permeates the album throughout, each song carrying with it both a weight and a sense of urgency.

    1. Roswell
    2. Secret Life
    3. Impossible
    4. Come Back
    5. Hexe
    6. Threads
    7. Apocalypse
    8. Golden Age
    9. Medicine
    Moon King
    $19.99
    Vinyl LP - Sealed Buy Now
  • Dublin Blues Dublin Blues Quick View

    $21.99
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    Dublin Blues

    Available On Vinyl For The First Time


    Dublin Blues is an album by American singer-songwriter Guy Clark, originally released in 1995.


    A mere three years after Boats to Build, Guy Clark offered Dublin Blues, a record filled with sizzle, inspiration, and his
    best batch of songs in years. Teaming with Miles Wilkinson for the third time and using in the studio for the first time
    his road band -- which included Über guitarist and singer Darrell Scott -- Clark delivered a batch of searing portraits,
    intimate observations, first-person narratives, and one dumb throwaway cut ("Baby Took A Limo to Memphis").
    As usual, some old friends return to the fold -- Rodney Crowell, Emmylou Harris, Sam Bush, Verlon Thompson, Kenny
    Malone, and Suzy Ragsdale -- but there were new faces at the time that joined in like Ramblin' Jack Elliott, Nanci
    Griffith, and Kathy Mattea.


    The magic begins with the title track. Haunted Celtic melodies played on the fiddle and a mandolin with an acoustic
    guitar usher in a country song that could be from the countryside of Ireland. With Mattea on the backing vocals,
    the listener is transported between worlds in time and space. "Black Diamond Strings" is a friendly little number
    about what else: guitar strings! Its catchy hook and singalong chorus make it a Clark winner. "Shut Up and Talk to
    Me" features Scott playing the swinging blues as Clark counts off the music like a fierce memory. "Stuff That Works"
    is another of Clark's quiet observation tunes, where his words speak volumes and the instruments underline their
    meanings. It's a workingman's anthem sung seemingly from the workshop bench. But "Hank Williams Said It Best,"
    "Tryin' to Try," "Cape," and "Hangin' Your Life on the Wall" are all tremendous in their scope and intimacy. They are
    full of dimension and depth, and Wilkinson gives them textures.


    The set ends with a re-recording of the spooky yet shattering elegy "The Randall Knife" Clark cut on Better Days. The
    difference here is age. The view Clark sings from is one of distance and age. "The Randall Knife" doesn't feel quite
    so spooky this time out, but it does resonate with empathy and even tenderness. As it winds to a close, the listener
    is left not in bewildered silence but in awe that such a bond exists at all.

    1. Dublin Blues
    2. Black Diamond Strings
    3. Shut Up And Talk To Me
    4. Stuff That Works
    5. Hank Williams Said It Best
    6. The Cape
    7. Baby Took a Limo to Memphis
    8. Tryin' To Try
    9. Hangin' Your Life On The Wall
    10. The Randall Knife
    Guy Clark
    $21.99
    Vinyl LP - Sealed Buy Now
  • Not Art Not Art Quick View

    $18.99
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    Not Art

    The story of Big Scary begins in Melbourne, Australia, where duo Tom Iansek and Jo Syme, armed with just acoustic guitars and egg shakers, started playing songs together in the living room of Syme's parents' house, gradually working up to a bolder, more expansive sound by incorporating electric guitars, drums, synths and piano. What began as a few rainy day acoustic ballads in their first incarnation soon grew, and before long, the newly named Big Scary were writing anything they pleased - fuzzed-out garage rock; piano-led pop; intricate, pastoral instrumentals - each imbued with an effortless pop sensibility and lightness of touch that would quickly see the duo attract a strong following in their home country.


    Following a series of early self-released singles and EPs, Big Scary released the intimately crafted debut album Vacation in 2011 via the band's own label Pieater. The album brought the pair widespread acclaim, and earned the duo a large Australian audience with nominations for 'Album Of The Year' from Triple J and 'Breakthrough Artist Of The Year' from AIR (Australian Independent Record Labels Association), plus a small but growing cult following overseas. 2012 saw Big Scary take its first small steps onto the world stage, earning further underground acclaim via a self-funded North American tour that saw Tom and Jo play SXSW, CMW, and CMJ, impressing whatever audiences happened upon the versatility, lovable magnetism, intelligent songwriting and dynamic live performances that make up the band's riveting shows. On the heels of their adventures abroad, an invigorated Tom and Jo returned home and began recording their second full length album. Grappling with the pressures and perceived responsibilities of their Australian success, the daunting goal of bringing their music to wider audiences, and their own expectations of themselves as writers and creators, the band eventually settled into making an album that would be, paradoxically, hotly anticipated at home while acting simultaneously as a first introduction to almost all audiences elsewhere: Not Art. The Melbourne-based duo has become a household name in Australian indie-pop circles and has a growing cult following overseas.


    Barsuk Records is thrilled to be the U.S. home for the band's forthcoming album Not Art, a slow-burning stunner produced and engineered by Iansek and mixed by Tom Elmhirst (Amy Winehouse, The Kills, Arcade Fire, Adele) that distills influences of indie rock song structure, pop and hip-hop production, and experimental ambient music.

    1. Hello, My Name Is
    2. Luck Now
    3. Harmony Sometimes
    4. Belgian Blues
    5. Phil Collins
    6. Twin Rivers
    7. Invest
    8. Lay Me Down
    9. Why Hip Hop Sucks In '13
    10. Long Worry
    11. Final Thoughts, With Tom And Jo
    Big Scary
    $18.99
    Vinyl LP - Sealed Buy Now
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