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Since the band's inception in 1992, Built to Spill founder Doug Martsch intended his beloved band to be a collaborative project, an ever-evolving group of musicians making music and playing live together. "I wanted to switch the lineup for many reasons. Each time we finish a record I want the next one to sound totally different. It's fun to play with people who bring in new styles and ideas, " says Martsch. "And it's nice to be in a band with people who aren't sick of me yet." Following several albums and EPs on Pacific Northwest independent labels, including the indie-rock classic, There's Nothing Wrong With Love, released on Sub Pop offshoot Up Records in 1994, Martsch signed with Warner Brothers from 1995 to 2016. He and his rotating cast of cohorts recorded six more great albums during that time - Perfect From Now On, Keep It Like a Secret, Ancient Melodies of the Future, You In Reverse, Untethered Moon, There Is No Enemy. There was also a live album, and a solo record, Now You Know. While the band's impeccable recorded catalog is the entry point, Built to Spill live is an essential force of it's own: heavy, psychedelic, melodic, and visceral tunes blaring from amps that sound as if they're powered by Mack trucks. Now in 2022, Built to Spill returns with When the Wind Forgets Your Name, Martsch's unbelievably great new album (and his eighth full-length)... with a fresh new label. "I'm psyched: I've wanted to be on Sub Pop since I was a teenager. And I think I'm the first fifty year-old they've ever signed." (The rumors are true, we love quinquagenarians...). When the Wind Forgets Your Name continues expanding the Built to Spill universe in new and exciting ways. In 2018 Martsch's good fortune and keen intuition brought him together with Brazilian lo-fi punk artist and producer Le Almeida, and his long-time collaborator, Joao Casaes, both of the psychedelic jazz rock band, Orua. Martsch fell in love with their music the moment he heard it. So when he needed a new band for shows in Brazil, he asked them, and the partnership went so well Martsch, Almeida, and Casaes continued playing together throughout 2019, touring the US and Europe and ultimately recording the bass and drum tracks for When the Wind Forgets Your Name at Doug's rehearsal space in Boise. After Martsch tracked guitars and vocals, they group collaborated from afar to mix the album. What emerged is When the Wind Forgets Your Name, a complex and cohesive blend of the artists' distinct musical ideas. Alongside Built to Spill's poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds, from guitar-driven rock odes to REM and Dinosaur Jr to bluesy '60s-style anthems to dub-reggae-inspired instrumentation. It may have taken us 30 years of obvious fandom and courtship, but on September 9, 2022, Sub Pop Records is unabashedly proud to finally release an excellent new album from Built to Spill: When the Wind Forgets Your Name. Sometimes persistence pays off.
Built To Spill - When The Wind Forgets Your Name [Cassette]
$10.98
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Tommy Boy Records celebrates "30 Years" of House of Pain's debut album House of Pain (Fine Malt Lyrics) with remastered, limited edition release on July 22, 2022' Everlast, DJ Lethal & Danny Boy formed House of Pain while attending high school and were signed to Tommy Boy Records after fashioning themselves as rowdy Irish-American hooligans, hitting the local rap & alternative music scene. House of Pain (Fine Malt Lyrics) went multi-platinum and the self titled debut album spawned the successful producer DJ Muggs, who produced the single "Jump Around". The song was also remixed twice by Pete Rock, one version featuring a verse from him and one without."Jump Around" became a hit in 1992, reaching number 3 in the United States. A 1993 re-release of the song in the United Kingdom, where the initial release had been a minor hit, peaked at number 8. "Jump Around" was featured at position 580 on Q Magazine's "1001 Best Songs Ever, " number 24 on VH1's "100 Greatest Songs of the 90s, " number 66 on VH1's "100 Greatest Songs of Hip Hop, " number 325 on Blender's "500 Greatest Songs Since You Were Born" and number 47 on NME's "100 Best Songs of the 1990s." The song is popular among dancehall DJs and is widely regarded in the United Kingdom as a club classic. The album also featured Cypress Hill member B-Real on the song "Put Your Head Out" and Funkdoobiest's Son Doobie on "House and the Rising Sun", both members of the musical collective known as Soul Assassins. Q magazine "... their music is of the dense, hard-hitting school of hip hop... The group have absorbed black rap's musical lessons and create a satisfying platform for their above average deliveries... " The Source "... a very solid and at times exceptional album... imagine if Licensed to Ill wasn't an upper middle class Jewish thing but rather a working class Irish thing... The atmosphere is like that of a cross between a frat party and a bar room brawl
House Of Pain - House of Pain (Fine Malt Lyrics): 30 Years [Cassette]
$19.98
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With "The Devils", long-running Diabolical Death Metal titans Belphegor unleash their twelfth studio album upon the masses, which proves to be one of the strongest and most elaborate records in the group's career. Black cass
Belphegor - The Devils [Cassette]
$12.98
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Emerald Sea, the third album from New York-based audiovisual projectSound of Ceres, tells the story of how the universe comes to know itself.Rendered in dynamic, ambitious orchestral passages, it forms the basis of future stage performances intended to draw its half-submerged narrative into the visual sphere. In its dreamlike impressions, it could also be the soundtrack to a long-forgotten early musical film - an experience that delighted and transported audiences and then vanished from record, surviving only in the imprint of memory.

Written in three acts, Emerald Sea follows two deities who trail each other through the furthest reaches of experience. There is the Universe, all that exists, voiced by performance artist Marina Abramović. And there is Venus, transformer of matter and avatar of love, sung by the group's lead vocalist Karen Hover (who goes by k).

Through a dazzling suite of songs inspired by Les Baxter's midcentury exotica, Maurice Ravel's balletDaphnis et Chloé, and Gustav Holst's The Planets, Emerald Sea studies intimacy on both an interpersonal scale and a cosmological one. Connection and severance, joy and grief, wonder and bewilderment all tumble through its scope. In the widest frame, the universe begins, meets itself, and ends. In the closest frame, two people encounter each other, grow close, and then separate. These stories are two views of the same fractal. In every intimacy human beings cultivate, every rush of connection, no matter how fleeting, we reenact the universe for ourselves.

"I envisioned myself journeying through these different realms -- space, the land, the sea, the heavens -- and following Marina's character," says k. "I always saw her as a shadow figure that I couldn’t quite figure out."

In its current cycle, Sound of Ceres is Derrick Bozich, songwriter, harpist, and flautist; Jacob Graham, synthesist, costumer, and light designer; K Hover, vocalist, lyricist, costumer, and choreographer; andRyan Hover, songwriter and producer. They recorded Emerald Sea in collaboration with Jon Sonneberg at Ka-Boom studio in Ohio. It was mixed by Nicholas Principe and mastered by Kramer.

Ryan says, "The album’s story is an allegory for the emergence of mind and meaning from the matter of the universe, and its eventual fading, with a glimmer of hope at the end."

When you receive it, when its sounds in motion light up your mind's eye, it is created in collaboration with you.

Sound Of Ceres - Emerald Sea [Cassette]
$12.98
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The 2022 repress of the blistering Nail's full length "You Will Never Be One of Us". Cass Exclusive to North America
Nails - You Will Never Be One Of Us [Indie Exclusive Limited Edition White Cassette]
$12.98
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Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, it's 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."
Rolling Blackouts Coastal Fever - Endless Rooms [Cassette]
$10.98
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Diamond Star Halos is the brand new album from Def Leppard, their first since their chart topping self-titled Def Leppard record in 2015. Written by the band over the past two years it features 15 tracks including the anthemic, stadium-ready singles “Kick” and “Fire It Up”, with guest vocals from Alison Krauss on “This Guitar” and “Lifeless”. The album title references T. Rex’s “Bang a Gong (Get It On)” with nods to T.Rex, David Bowie and Mott The Hoople across the album, which mixes the sound of their classic spirit with modern fire. The limited edition cassette features a black & white cover with color logo, packaged in a fluorescent red body and clear case.

Def Leppard - Diamond Star Halos [Limited Edition Red Cassette]
$22.98 Video
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Poland's Decapitated are back with their 8th studio album "Cancer Culture". The green cass is limited to 400 worldwide
Decapitated - Cancer Culture [Indie Exclusive Limited Edition Green Cassette]
$12.98
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If you're looking for a raw, sugary blast of distorted pop, look no further than Weird Nightmare. The debut album from METZ guitarist and vocalist Alex Edkins contains all of his main band's bite with an unexpected, yet totally satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously hissy miniature epics of classic-era Guided by Voices combined with the bombast of Copper Blue- era Sugar-just tons of red-line distortion cut with the type of tunecraft that thrills the moment it hits your ears. These ten songs showcase a new side of Edkins' already-established songwriting, but even though the bulk of Weird Nightmare was recorded during the COVID-19 pandemic some of it's tunes date back to 2013 in demo form. "Hooks and melody have always been a big part of my writing, but they really became the main focus this time" he explains. "It was about doing what felt natural." To be clear: Weird Nightmare is not a "pandemic album," but an album-some of which had been gestating for quite a while-that just so happened to be recorded during the pandemic. "I had always planned on finishing these songs, but being unable to tour with METZ, and forced to lock down, really gave me a push." After days spent homeschooling his son, Edkins would drive to the METZ rehearsal room and tinker deep into the night on these songs' deceptively simple structures and rich, static-laden textures. "It was a godsend for me," he states about the creative process. "The hours would disappear and I would get lost in the music and record. It was a beautiful escape."Weird Nightmare is, in it's own way, a study in extremes: Edkins' melodic instincts and penchant for dissonance are both turned up to the max throughout, the latter reflecting not only the barn-burning tendencies of METZ, but Alex's own sonic predilections. "It doesn't sound right to my ears until it's pushed over the edge." He also cites other artists who are masterful at mixing the sublime and the punishing-Kim Deal and Scout Niblett among them-as influences on his own songwriting. "My favorite songs are the simple ones," he explains. "I've never been attracted to virtuosity or technicality. Certain songs have the power to lift your spirits like nothing else can. I wanted to create that type of song." A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad VanGaalen adds his unmistakable touch to the ever-escalating "Oh No," while Alicia Bognanno of Bully lends her distinctive pipes to the thrashing "Wrecked," a collaboration that effectively saved the song. "I almost didn't put it on the album because I thought it was missing something," Edkins explains. "I sent it to Alicia and she lifted it way up." And taking risks and reaching out of Edkins' comfort zone was the name of the game when it came to making Weird Nightmare. "I found myself doing new things I didn't have the guts to do before, recording everything by myself and trusting all of my musical instincts," he states. "I think when music manifests quickly, a certain amount of honesty automatically comes along with it. When it is a purely instinctual creation, there is no opportunity to obscure the truth."
Weird Nightmare - Weird Nightmare [Cassette]
$10.98
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Clear plastic case, blue cassette. Set for release on May 13th via Communion Records, the album sees the much-loved folk-rock duo - made up of Andrew Davie and Kevin Jones - once again team up with producer Ian Grimble on what is one of their most personal records to date.Davie says: "Blue Hours is a kind of imaginary space you get into at night, a place where you process difficult things or where you try to figure everything out." Themes on the album include both self-reflection and mental health after both struggled with the latter in recent years. "It's the main over-arching theme with this record," Davie explains. The group, who have worked with mental health charity CALM (Campaign Against Living Miserably) previously added: "It probably speaks to our struggles and hopefully many other people's too. Men are not very good at talking. We're not really taught how to - men have no idea how to talk about this stuff, certainly to each other."The pair describe the conceptual blue hours headspace that gives the new album it's title as being "somewhere between a hotel, a mental health hospital, a bar that stays open later than anywhere else, a paradise, a dream, a nightmare and an endless sea of corridors and staircases leading you to rooms that represent memories - good, bad, happy or difficult." Despite the album's challenging themes, it's an album drenched in hope too. "We wanted this to be a celebration of music," Jones continues. "I think that informed some of the bolder decision making on this record. At a time when music was so distant, it felt important to make an album that sounded hopeful, celebratory, ambitious and beautiful in spite of the heavy subject matter in some of the songs." Jones adds: "It was almost like we needed to shout louder than before because we felt that there were more barriers between the audience and us. We needed something to transcend that."
Bear's Den - Blue Hours [Cassette]
$10.98
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Live A Little is 10 fully improvised ten songs by acclaimed experimental multi-instrumentalist Sam Gendel and eleven year old Antonia Cytrynowicz. The album was recorded in one sitting, back-to-back, in the sequence they appear with no preparation or premeditated ideas.
Sam Gendel  / Cytrynowicz,Antonia - Live A Little
$10.98
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Sonic Youth

Evol

Cassette: $15.98 Buy

Released in May 1986 on SST Records and Blast First! In the UK, EVOL was the third studio album by Sonic Youth and showed the first signs of the band transforming their No Wave past into a greater alt-rock sensibility. "EVOL... mark[s] the true departure point of Sonic Youth's musical evolution," noted Pitchfork, "In measured increments, Thurston Moore and Lee Ranaldo... bring form to the formless, tune to the tuneless, and with the help of Steve Shelley's drums... , [impose] melody and composition on their trademark dissonance." "If Daydream Nation is Sonic Youth's opus, EVOL was crucial research. There's a directness that makes everything feel close. It is pure tension with little release. The entire record is a shadow." Stereogum likewise praised the album as one, "full of suspense... , the cornerstone [of] the Sonic Youth sound... , ground zero for the combination of chiming guitars and atonal skronk... muggy delirium... The virile 'Tom Violence' sounds less written than coaxed from a cauldron, the sort of song that fogs windows. The off-kilter 'Starpower'... is sung in a frosty [Nico-evoking] monotone [by Kim Gordon]. 'In The Kingdom #19,' featuring Mike Watt on bass and... vocals [by Ranaldo]... , is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by... live firecrackers in the vocal booth." For Popstache, "EVOL slithers into the unconscious. Once the... detuned melodies and haunting riffs and final whispers of feedback depart from the speakers... The music [leaves] a faded footprint, forever reeling the listener back for another strange trip." "The seeds of greatness... " - Pitchfork (who placed the album #31 of the Top 100 Albums of The 1980s) "A near-masterpiece." - Trouser Press "A stunningly fluent mixture of avant-garde instrumentation and subversions of rock'n'roll." - All Music Guide
Sonic Youth - Evol
$15.98
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IBARAKI - the name for a terrifying Japanese demon taken from feudal legend - is more than a solo record for Trivium frontman, Matt Heafy. As he tells it, it's the end-result of a journey to find his voice. It's personal, it's deep, and as he explains, it's inspirations include everything from an adoration for the extremes of black metal, to the exuberant storytelling of Gerard Way, to the adventuresome worldliness of tragic bon viveur Anthony Bourdain. It's a reflection of his multifaceted interests as well as a profound affirmation of his Japanese-American identity, and one that led him to confront one of his family's most tragic moments. Like the artist behind it, there is much to the story of IBARAKI and it began with a timid email to one of black metal's most revered and influential figures, Ihsahn of Emperor.But IBARAKI was more than just an expression of Matt and Ihsahn's deep creative resonance. Matt got by with a little help from his friends, too. While primarily written by Matt, Ihsahn engineered and produced and contributed some song structures, plus TRIVIUM drummer Alex Bent and bassist Paolo Gregoletto and guitarist Corey Beaulieu contributed to various tracks. Ihsahn's wife Heidi even sampled some natural sounds from the forest near their home and his entire family and Gerard Way contributed guest vocals to the song "Ronin". "We got Nergal doing guest vocals on 'Akumu', too, which was just amazing," says Matt
Ibaraki - Rashomon [White Cassette]
$12.98
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"Sharon Van Etten has always been the kind of artist who helps people make sense of the world around them, and her sixth album, We’ve Been Going About This All Wrong, concerns itself with how we feel, mourn, and reclaim our agency when we think the world - or at least, our world - might be falling apart. How do we protect the things most precious to us from destructive forces beyond our control? How do we salvage something worthwhile when it seems all is lost? And if we can’t, or we don’t, have we loved as well as we could in the meantime? Did we try hard enough? In considering these questions and her own vulnerability in the face of them, Van Etten creates a stunning meditation on how life’s changes can be both terrifying and transformative. We’ve Been Going About This All Wrong articulates the beauty and power that can be rescued from our wreckages. We’ve Been Going About This All Wrong is as much a reflection on how we manage the ending of metaphorical worlds as we do the ending of actual ones: the twin flames of terror and unrelenting love that light up with motherhood; navigating the demands of partnership when your responsibilities have changed; the loss of center and safety that can come with leaving home; how the ghosts of our past can appear without warning in our present; feeling helpless with the violence and racism in the world; and yes, what it means when a global viral outbreak forces us to relinquish control of the things that have always made us feel so human, and seek new forms of connection to replace them. We’ve Been Going About This All Wrong is intensely personal, exploring themes like motherhood, love, fear, what we can and can’t control, and what it means to be human in a world that is wracked by so much trauma. The track “Home To Me,” written about Van Etten’s son, uses the trademark “dark drums” of her previous work to invoke the sonic impression of a heartbeat. Synths grow in intensity, evoking the passing of time and the terror of what it means to have your child move inevitably toward independence, wanting to hold on to them tightly enough to protect them forever. In contrast, “Come Back” reflects on the desire to reconnect with a partner. Recalling all the optimism of love felt in its infancy, Van Etten begins with the plain beauty of just her voice and a guitar, building the arrangement alongside the call to “come back” to anyone who has lost their way, be it from another person or from themselves. Hovering between darkness and light, “Born” is an exploration of the self that exists when all other labels - mother, partner, friend - are stripped back. Unlike Van Etten’s previous albums, there will be no songs off the album released prior to the record coming out. The ten tracks on We’ve Been Going About This All Wrong are designed to be listened to in order, all at once, so that a much larger story of hope, loss, longing and resilience can be told. This is, in itself, a subtle act of control, but in sharing these songs it remains an optimistic and generous one. There is darkness here but there is light too, and all of it is held together by Van Etten’s uncanny ability to both pierce the hearts of her listeners and make them whole again. Things are not dark, she reminds us, only darkish."
Sharon Van Etten - We've Been Going About This All Wrong [Cassette]
$9.98
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Following 2019’s critically-acclaimed sophomore album, I Spent the Winter Writing Songs About Getting Better, Proper. is making their return with The Great American Novel.

The Great American Novel is a concept album about how Black genius, specifically my own, goes ignored, is relentlessly contested, or just gets completely snuffed out before it can flourish,” says vocalist Erik Garlington (he/him). “This record is a concept album that’s meant to read like a book; every song is a chapter following the protagonist through their 20s. Imagine a queer, Black Holden Caufield-type coming up in the 2010s.”

The result is an album that is both lyrically and musically heavy, the former something fans have come to expect from Garlington’s unflinchingly honest lyrical content, but the latter something that’s refreshingly new. Channeling the heavier music he listened to during his adolescence—from post-hardcore outfit At the Drive-In to progressive metal band System of a Down—Garlington and the rest of Proper.—bassist Natasha Johnson (she/her) and drummer Elijah Watson (he/they)—push themselves in ways they haven’t before, culminating in an ambitious project that showcases the new sonic territory the band is heading in.

Produced and recorded by Bartees Strange and mixed and mastered by Brian DiMeglio, The Great American Novel clocks in at fifteen tracks including “Huerta,” which explores Garlington’s Mexican heritage, and “Red, White and Blue,” a commentary on the imbalance between the United States’ everyday citizens and elite class. The songs reflect the overall tone of The Great American Novel:abrasive, powerful, and beautifully poignant.

“At the end of the day, what I wanted to do with this record is take Proper. in a direction that would surprise people on first listen, but end up making complete sense on the second or third listen. I think a lot of bands tend to go more pop but I wanted to make something both challenging and undeniably catchy,” Garlington said. “It all goes back to Black genius and how it’s ingested by the predominantly cishet, white male crowd. If they’re going to be a voyeur to the Black experience, I wanted to strip away all the cheeky song titles, lyrical inside jokes, and optimistic singalongs. I want them to hear this record and learn about our identity crises, our aimlessness, how many friends and family we know that are dead or in jail by 25. How, at eight we were told we were gifted but by 11 we were told we’re dangerous.”

Proper. - The Great American Novel [Cassette]
$10.98
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Watain crawled out of Satan's c*t in 1998 and has since then ascended and grown into one of the world's most well-known and notorious Black Metal bands. Their legacy is often referred to with fear, love, confusion, or awe, but seldom with indifference.Their infamous live shows have become a worldwide phenomenon; inimitable ceremonies of wild Black Metal fanatism where the sacred and solemn collides with raw unadulterated force.With their greatly anticipated seventh studio album, Watain continues to arouse and electrify their audience with an unmistakable, adventurous brand of Black Metal Magic, processed and distilled over the course of a 25-year long history.Recorded live inside an old church on the Swedish countryside, "The Agony & Ecstasy of Watain" takes the listener one step closer to the innermost heart of a band that despite always being surrounded by rumors and controversy has always strived for the most sincere and genuine ways of expression. With 10 songs written by the founding trinity of Watain (E. Danielsson, H. Jonsson and P. Forsberg), it is also the first Watain album to be recorded with a full line up completed by A. Lillo, H. Eriksson and E. Forcas. The material is further enriched by noble contributions from Farida Lemouchi (Ex The Devil's Blood, now in Molasses) and Gottfrid Ă…hman (ex In Solitude, now in PĂ…GĂ…).The lyrics, always central in Watain, range from profound contemplation to manic proselytism, meticulously exploring the winding depths of both mind and spirit with a new sense of clarity and determination.Characterized by a twisted beauty and primal ecstatic force, Watain is the wolf that keeps on hunting, fearless and free, in the dark night of man. Limited to 300
Watain - The Agony & Ecstasy of Watain [Indie Exclusive Limited Edition Black & Gold Cassette]
$12.98
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Indie Exclusive Cassette w/ alternate cover art

Dawn FM is the fifth studio album by Canadian singer-songwriter The Weeknd. The album is narrated by Jim Carrey, and features guest appearances from Tyler, the Creator and Lil Wayne. The production was handled by The Weeknd himself alongside Oneohtrix Point Never-who produced the majority of the tracks-as well as Max Martin, Oscar Holter, Calvin Harris, and Swedish House Mafia, among others. The album serves as a follow-up to The Weeknd's fourth studio album, After Hours (2020).

The Weeknd - Dawn FM [Indie Exclusive Limited Edition Cassette]
$29.98 Video
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CASSETTE. Twilight of the Gods is the sixth studio album by Swedish extreme metal band Bathory. It continues the exploration of the newly created Viking metal style, and also displays heavy epic doom and classical influences; it is titled after an opera by Wagner. It is a mid-tempo, more acoustic album than previous Bathory releases, though it follows on from Hammerheart.
$16.99
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Credic

Vermillion Oceans

Cassette: $17.98 Buy

MP3 Album: $9.99 Download

Credic is a five-piece melodic death metal juggernaut from Stuttgart that sounds like the early Gothenburg scene taking a stroll through the sonic netherworld of "Stranger Things". Their second record "Vermillion Oceans" reminds us how it feels to gaze at the starlit sky in awe and terror. In a good way.
Credic - Vermillion Oceans
$17.98
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Cremation Lily's Dreams Drenched In Static exists at the horizon of consciousness and heavy experimental music. Through the use of frenetic vocal melodies, tape degradation, and guitar noise, the album documents the liminal moments at the edge of sleep, and the distressing thoughts that often accompany late-night R.E.M. disturbances. The lyrics were largely written at three in the morning and serve to evoke the depression and meditations on death that seem to haunt these early hours.Based in London, England, Cremation Lily is the project of Zen Zsigo. Like many Flenser artists, Cremation Lily is difficult to classify. Starting out in 2009 as a sample-based ambient artist, Cremation Lily has evolved to incorporate more rock-based guitar instrumentation and influence from a wide range of genres such industrial, shoegaze, tape loops, noise, and power electronics.Although rooted in electronic music, Cremation Lily shares similarities with other Flenser artists like Planning For Burial and Have a Nice Life, as well as black metal. Dreams Drenched In Static is the first Cremation Lily album to primarily rely on guitar and vocal-based contributions, and is the project's most intentional and developed work to date.
Cremation Lily - Dreams Drenched In Static
$11.98
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Giving the World Away, the sophomore album from Hatchie, is the truest introduction to the songwriter/bassist at the helm of the project, Harriette Pilbeam. Produced by Jorge Elbrecht, Giving the World Away is Hatchie’s most thunderous, sprawling work yet. Featuring input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it’s synthed-out, sonic opulence, a more structured and ornate musicality with traces of ‘90s trip-hop and acid house influences.

Pilbeam initially intended for these songs to go in a higher-energy direction. She had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Pilbeam retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across Giving the World Away, she returns to that same theme of dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself.

Giving the World Away is an album about self-confidence, about the strange time in young adulthood where you begin to finally be able to see yourself clearly. Incisive and probing, Giving the World Away is the clearest look at Pilbeam yet, and a relic of the power and bravery that spring forth from embracing vulnerability and putting your heart on the line.

Hatchie - Giving The World Away [Cassette]
$9.98
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2022 Release. Welcome back, A Wilhelm Scream - Lose your Delusion. The fiery punk rock outfit are back just shy of a decade without new music. The band has just released their first new album in nine years, a pulse-pushing new song called "Be One to No One" is the lead track. Watch out The Wilhelm Scream is Back!
Wilhelm Scream - Lose Your Delusion
$9.98
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Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavč, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui—not only the musician, but the man—someone whose age hasn’t altered any of his freshness or authenticity

Papé Nziengui - Kadi Yombo [Cassette]
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Father John Misty returns with Chloë and The Next 20th Century, his fifth album and first new material since the release of God's Favorite Customer in 2018. Chloë and the Next 20th Century was written and recorded August through December 2020 and features arrangements by Drew Erickson. The album sees Father John Misty - aka Josh Tillman - and producer/multi-instrumentalist Jonathan Wilson resume their longtime collaboration, with Dave Cerminara returning as engineer and mixer. Basic tracks were recorded at Wilson's Five Star Studios with strings, brass and woodwinds recorded at United Recordings in a session featuring Dan Higgins and Wayne Bergeron, among others. Chloë and The Next 20th Century features the singles "Funny Girl," "Q4," "Goodbye Mr. Blue," and "Kiss Me (I Loved You)."
Father John Misty - Chloe and the Next 20th Century [Cassette]
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Good Looks

Bummer Year

Cassette: $10.98 Buy

Born and raised in small Texas towns, the members of Good Looks met and began playing together in Austin. Songwriter Tyler Jordan grew up in a South Texas coastal town dominated by the petrochemical industry, his childhood steeped in the tension between nature and industry, exploitation abundantly present and the wealth gap on full display. His father's church, described by Tyler as "cult-like in it's intensity," was homebase and where he learned to sing. Tyler eventually met lead guitarist Jake Ames in the late-night song-swap circles of the Kerrville Folk Festival campground (where they would also meet Buck Meek and Adrienne Lenker pre-Big Thief). They shared their mutual love of the Texas hill country canon (Blaze Foley, Townes Van Zandt, and Willie Nelson), a love of cheap diner food, thrift store baseball caps, and a healthy dose of harmless shit-talking. They began playing in bands together, backing up other songwriters and taking turns in the spotlight. They sought out producer Dan Duszynski (Loma, Cross Record, Jess Williamson) to engineer their debut album. What would form was Good Looks, a blue-collar political indie-rock band with healthy doses of Replacements swagger and shimmering, desert rock riffs not unlike The War On Drugs.
Good Looks - Bummer Year
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Chinese Junk

Raw Deal

Cassette: $4.99 Buy

Featuring ex members of The Ulcers, Griswalds and The Unreleasables, Chinese Junk are a garage punk band from the suburbs of London, UK. Described as " the Ramones on Rip Off Records " they are the self proclaimed 'Kings of Pound Shop Rock' and churn out under two minute snotty and infectious songs mostly about the crappier side of life: dead end towns, being skint, cheating girlfriends etc.
Chinese Junk - Raw Deal
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Sonic Youth

Sister

Cassette: $15.98 Buy

1987's Sister was another notch in the band's move away from No Wave, yet still maintained their experimental approach. Gordon, Moore, Ranaldo and Shelley were coming into their own at this point, combining elements of noise, punk and pop. They had also become better songwriters since their previous album, providing better context for their noisier elements and incorporating the dissonance of their earlier releases into more traditional song structures. To quote Stereogum "Sister is the sonic manifestation of refracted light. It's a record that changes you."
Sonic Youth - Sister
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On Barbara, the sophomore album from Brooklyn-based songwriter and producer Barrie, she battles the loss of a parent, the start of a new relationship, and the impulse to separate herself from her music. This result is a beautifully peculiar, and quietly ambitious collection of synth-pop, art-pop, indie rock and folk songs that reflect a willingness to let listeners into her world.
 
Two events redefined Barrie Lindsay’s life and shaped the direction of Barbara. In the summer of 2019, she met her now-wife, the musician Gabby Smith. Simultaneously, Lindsay’s father learned that his lung cancer had worsened. In January of 2020, she moved home to Ipswich to spend time with the family and begin work on her new album. Three months later became nine, thanks to the pandemic. Lindsay wroteBarbara while quarantining with Smith in Maine, while her father was dying, and she was falling in love.
 
Lindsay finds catharsis from the ambivalent desperation of losing a parent on the album’s centerpiece, “Dig”. You can hear her newfound boldness as she wails the son’s central refrain, giving herself over to emotion: “I can’t get enough of you / Where did you come from?” Despite the grief, personal and collective on Lindsay’s mind while making Barbara, she often pauses to embrace joy. “Jenny”, is a simple acoustic guitar ode to meeting Smith. Similarly, her fantasy of a romantic but bloodied afternoon, “Quarry” sounds eerie and aqueous before erupting into a euphoric geyser of synth and drums.
 
Barbara isn’t an album specifically about grief or love. It’s just an album where I let myself actually feel my emotions,” Lindsay says. “That was something I’d never done before in music.” Barbara is our on March 25, 2022 via Winspear.

Barrie - Barbara [Blue Cassette]
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Ghost Bitch, like most suburban-bred "American" girls, has followed the traditional Britney Spears to Rowland S. Howard trajectory. On her 10th birthday, her wish came true when she was given an electric guitar, but she somehow managed not to learn a single chord (by her estimate) for the next 13 years. That did not stop her from beginning to perform in "Olympia, WA" on her own and in the short-lived punk band KZV, and later, Desire Complex, Di. Or. And Babyface Evil. What originally started (Ghost Bitch!) as a solo noise project and an outpouring of grief has slowly transformed into a poetic yet primal force of rock-n-roll while maintaining the touch of an exorcism, of late, a danceable one nonetheless. Ghost Bitch's new album Blood and Honey was recorded in six hours by Capt. Tripps Ballsington at High Command in October 2021. It was written in "Olympia" during the pandemic while long awaiting a move to Naarm ("Melbourne, Australia"). Blood and Honey is brutally romantic and funny the way a Baudelaire poem is funny, reveling in turning things upside down, most of all- beauty, yet this time spoken from the mouth of the razor-sharp, decaying Venus herself.
Ghost Bitch - Blood & Honey
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Come one, come all to the demented, heinous bloodbath of a murder metal circus! In 2020 Macabre released "Carnival of Killers", their first record in almost 10 years, following 2011's "Grim Scary Tales". Nuclear Blast is honored to reissue four of the band's celebrated and long out of print catalog titles. Prepare for a gore filled thrill ride from a band that originated in the 80's yet progresses to the edge of modern metal with clear production, expanded variety, and with a whole mess of nostalgic pleasure.
Macabre - Macabre Minstrels: Morbid Campfire Songs: Remastered [Red Cassette]
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Come one, come all to the demented, heinous bloodbath of a murder metal circus! In 2020 Macabre released "Carnival of Killers", their first record in almost 10 years, following 2011's "Grim Scary Tales". Nuclear Blast is honored to reissue four of the band's celebrated and long out of print catalog titles. Prepare for a gore filled thrill ride from a band that originated in the 80's yet progresses to the edge of modern metal with clear production, expanded variety, and with a whole mess of nostalgic pleasure.
Macabre - Grim Scary Tales: Remastered [Red Cassette]
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Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you'll find yourself blooming right back out into the sun. That's the transformation Guerilla Toss trace on their newest album Famously Alive, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive, and extending an open invitation to anyone who wants to soak it all up beside them.Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote Famously Alive at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. "You have to be with yourself all the time during the pandemic," she says. "I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It's meant to inspire people."The album's title derives from a poem written by a close friend of the band, Jonny Tatelman, who supported Carlson through the early stages of her recovery from opiate addiction. The poem comprises the entirety of the lyrics to the title track, an exuberant ode to loving your own survival and charting a course into unconditional self-acceptance. "The song 'Famously Alive' is about living with purpose and excitement whether you're famous or not, accepting your strangeness and thriving even if your successes look different than other people's," notes Carlson. Negroponte adds. "I also like to think of it as a way to describe living through something traumatic and coming out of it a stronger, wiser person."Throughout the record, Guerilla Toss meet themselves with curiosity, generosity, and acceptance even for the harder parts of being alive. Together with guitarist Arian Shafiee, Carlson and Negroponte cultivated a sound that spliced together psychedelic texturing and Krautrock syncopation with the gloss and glow of contemporary pop music. Carlson's voice, it's range now broadened by a recent venture into formal training, puts playful, searching vocal melodies and lyrics about reaching for yourself and holding fast in your own love atop ripples of Auto-Tune. Famously Alive finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible, and fun.
Guerilla Toss - Famously Alive [Cassette]
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Come one, come all to the demented, heinous bloodbath of a murder metal circus! In 2020 Macabre released "Carnival of Killers", their first record in almost 10 years, following 2011's "Grim Scary Tales". Nuclear Blast is honored to reissue four of the band's celebrated and long out of print catalog titles. Prepare for a gore filled thrill ride from a band that originated in the 80's yet progresses to the edge of modern metal with clear production, expanded variety, and with a whole mess of nostalgic pleasure.
Macabre - Murder Metal: Remastered [Red Cassette]
$12.98
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Bad Brains

Quickness [Cassette]

Cassette: $9.98 Buy

MP3 Album: $9.99 Download

"Quickness" is the fourth full-length studio album by Bad Brains, originally released by Caroline Records in 1989. At the time of it's release, it was the band's best selling album and also landed them a featured MTV music video for the opening track, "Soul Craft." This reissue marks the fifth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing. Available on LP, CD, and cassette.
Bad Brains - Quickness [Cassette]
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French Extreme Metal veterans Otargos celebrate their 20th anniversary crushing the 7th gate to multi-dimensional inferno opening a wormhole that'll swallow the Universe as we know it with a 7th full-length that'll remain in the fan's mind as the band's "Black Monolith"! Preceeded by a terrifyingly heavy digital live and follow-up to 2015 masterpiece "Xeno Kaos", that new one is total darkness!
Otargos - Fleshborer Soulflayer
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Defying expectations is standard operating procedure for El Ten Eleven. Seriously, who would expect two instrumentalists to create such a large and complex sound? But thanks to inventive arrangements and a masterful use of looping, Kristian Dunn (bass/guitar) and Tim Fogarty (drums) developed a pulsating sound full of atmospheric intensity. They’ve also crafted an incredibly durable career, and the duo credit the ongoing interest in their debut album as the foundation for that success.
 
The music of El Ten Eleven has been embraced by fans of many genres — from math rock, to jazz, to lo-fi hip-hop. The duo’s sound is sharply evocative in mood and feeling, yet simultaneously abstract and meditative. The combination of these qualities has stimulated the imagination of the group’s fans and gives space for listeners to assign their own value and meaning to the sounds. “I’m aiming for emotional impact when I come up with songs,” Dunn explained. “Does it move me? Does it make me feel something? Sometimes it doesn't. Sometimes it's technically interesting but it doesn't make me feel anything. But I don't want music that's interesting. I want music that's emotionally resonate.”
 
Further details their next full-length album, produced by Sonny DiPerri (DIIV, Portugal. The Man) won’t be announced until 2022, but the SoCal pair have shared a preview with the release of “New Year’s Eve”, a song about cautious optimism. “It was written while the pandemic seemed to have a chance of ending and there was lots of political change in the air. But even the most well laid plans for New Year's Eve celebrations often end up being disappointing, thus the metaphor.”

El Ten Eleven - New Year's Eve [Cassette]
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Eyecandy, a three piece punk outfit from Oxnard CA, describe themselves as 'pretty noise rock'. A simple, sort of odd moniker... yet once you listen, it makes sense. You could go into the depths of finding the bands they remind you of and you might get hints of some Unwound, Slint, Polvo... or even Vitrious Humor... or Jawbox'
Eyecandy - Promontory & Supernova
$13.99
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A lingering guitar note. A cushion of a bassline nudging along a hushed cadence unspooling impressionistic poeticism one halting line at a time; the sparse snap of a snare providing punctuation. This is how Boston's Karate opened their third full-length, 1998's The Bed Is In The Ocean. Perhaps this was a reaction to the aggressive punk tones that marked their previous album, or maybe they hoped to capture the somnambulant dusk on one of those pristine fall days that make living in a town whose population swells when colleges welcome back students all worthwhile. Then again, Karate never made a point of chasing the same idea twice, and "There Are Ghosts" remains in line with the band's stylistic intrepidness and unpredictability. Even the group's lineup appeared constantly in flux. After expanding from a trio to a quartet and employing a dual-guitar attack with 1997's In Place of Real Insight, founding member Eamonn Vitt hung up his axe to attend medical school. Karate soldiered on as a trio, with mid-stream addition Jeff Goddard's bass work helping establish a sidewinding path forward through the smoky jazz melodicism and sun-beaten blues brushstrokes that hung in the background of the band's catalog. In their short time together, Karate helped bolster the national punk ecosystem, a scene in which individual artistic vision was prized but rarely achieved. Their exacting precision and emotive interplay helped recombine the DNA of the dignified grace of slowcore, the hot-and-sweaty atmospherics of the blues, and the high-wire tension of post-hardcore to deliver drawling instrumental curveballs and a furtive riptide climax with a controlled grace on "Outside Is The Drama." Singer-guitarist Geoff Farina frequently teased out the emotional nuances of each song, his worn-in voice shading in the complexities of his enigmatic lyrics; no matter how difficult it may be to parse his snatched-from-daily-life wisdoms, on The Bed Is In The Ocean Farina sounded like a guy who knew exactly the right thing to tell whoever may be listening. And with Karate's snaking turns through quasi-punk reveries no one else appeared capable of mustering, it's comforting to hear it accomplished by a band that knew exactly what they were doing.
Karate - The Bed Is In The Ocean [Cassette]
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Founded and immediately became cult in 1991 with their debut split MLP with Switzerland's EXULCERATION, French Gore Death / Grind pioneers Putrid Offal came back in 2014 after 20 years of silence. Seven years and two albums later, the band celebrates it's 30th anniversary with vinyl release of their '90s recordings compilation "Premature Necropsy" on vinyl at long last!
Putrid Offal - Premature Necropsy: The Carnage Continues
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"Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region’s sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020’s acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own—Bridges calls it “more introspective,” while Khruangbin bassist Laura Lee says it “feels more night time.” When Texas Sun was released, AllMusic called the results “intoxicating” and Paste noted that “their talents and character go together so well.” Now comes the next stage—a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties’ musical directions were clearly affected by their time working together. Khruangbin’s most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger’s Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. “As far as an essentially instrumental band, these guys are kind of the top for me,” says Bridges. “I’m honored to have been the first singer that they’ve incorporated in their music.” “It feels really special to me,” says Lee. “It’s not Khruangbin, it’s not Leon, it’s this world we created together."

Khruangbin & Leon Bridges - Texas Moon EP [Cassette]
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Once Twice Melody is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach
House records remain present throughout many of the compositions.

Beach House is Victoria Legrand, lead singer and multi-instrumentalist, and Alex Scally, guitarist and multi-instrumentalist. They write all of their songs together. Once Twice Melody is the first album produced entirely by the band. The live drums are by James Barone (same as their 2018 album, 7), and were recorded at Pachyderm studio in Minnesota and United Studio in Los Angeles. For the first time, a live string ensemble was used. Strings were arranged by David Campbell.

The writing and recording of Once Twice Melody began in 2018 and was completed in July of 2021. Most of the songs were created during this time, though a few date back over the previous 10 years. Most of the recording was done at Apple Orchard Studio in Baltimore. Once Twice Melody was mixed largely by Alan Moulder but a few tracks were also mixed by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.

Beach House - Once Twice Melody [2 Cassette]
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"... An impressive work that furthers the chunk and fuzz of 1990s indie rock on up to wuthering shoegaze heights." Bao Le-Huu, The Orlando Weekly
Palomino Blond - ontheinside [Blue Cassette]
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Featuring members from Delaware-based bands Grace Vonderkuhn, Cave Life, and EyeBawl, the Philadelphia band Tangled Up is clearly a sibling of those projects while forging their own path. Combining elements of aggressive noise rock with some of the more melodic elements of grunge rock, the four-piece band is both musically proficient while striking a creative balance between many genres.
Tangled Up - Silk Embroidered Light
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After a run of critically-acclaimed singles and EPs, British producer Michael Greene, aka Fort Romeau, returns to the full-length format with Beings of Light, the long-awaited follow-up to 2015's Insides and his second LP on Ghostly International. While a prolific DJ who orients many of his productions for the dancefloor, Greene still sees the album as the ultimate statement of intent, "a space to stretch out, to speak in full paragraphs rather than stunted sentences." He has explored several stylistic fragments in recent years (including the summer 2018 anthem "Pablo," hailed a Best New Track by Pitchfork), but when faced with the extended pause to the dance community in 2020, Greene felt compelled to focus on a larger body of work. Embracing a back-to-basics mentality, he amassed over a dozen hours of sounds, asking himself throughout the sessions: "Does the music move you? Is it honest?" He came out the other end with Beings of Light, an expressive collection traversing rainy day ambient, moonlit disco, and dream-like techno in pursuit of the power found within our subconscious.Like previous Fort Romeau records, Greene's foundational inspiration for Beings of Light is imagery. Specifically a work by Steven Arnold, a Dalí protégé known for constructing otherworldly, tableau vivant set designs from found objects until his death in 1994 amid the AIDS crisis. Arnold's 1984 photograph Power of Grace (featured as the album art and lending a title to one of it's tracks) spoke to Greene immediately: "It's transcendent in the most potent and direct manner, imagination untethered by material, elegance without riches. For me it represents, among other things, a radical class politics. Imagination always wins over resource." The visual, as well as the surrealist idea that dreams allow us to create a better reality, led Greene to shape his most ambitious and complete record to date, a love letter to dance music coded with a message of hope. The album title comes from his belief that people can facilitate change by first imagining the way we want things to be, and not letting cynicism block that light.The urgency is felt right away, as album opener "Untitled IV" ushers in a sprinting tempo in it's exploration of the human voice, a recurring device in the Fort Romeau project. Greene uses it as a compositional layer, disembodied with it's context often opaque or reduced to a single phrase. Here the voice is scattered in percussive twitches, colliding with a kick drum to induce a near state of hypnosis as horns sound off in the distance.Propulsive standout "Spotlights' is Greene's ode to the romanticised New York City that lives in our hearts, nocturnal and carefree. A vocal snippet repeats the title with a breezy poise, reminiscent of classic house cuts. "Ramona' honors the beloved Robert Johnson club in Offenbach, Germany. Hazy, spacious, and sustained, Greene designed the beat with their system in mind, "also with a strong nod to the more modern lineage of exceptional minimal house music from Frankfurt," he says. Two ambient pieces surround the track, "(In The) Rain" sets the scene and "Porta Coeli" (a Latin phrase which loosely translates to "heaven's gate") soundtracks the comedown. It's these sequential choices that reflect Greene's desire to reach beyond the formulaic demands of the dancefloor for something less tangible, a middle space. "One that relates to the immediacy of precision frequency soundsystem music but also connects to us with the complication and ambiguity that is required of human emotion," he explains. No better example than the album's closer, the title track. An arc constructed with atmospheric textures, euphoric swings of percussion, and a well-placed piano refrain, "Beings of Light" is adaptive; one could imagine it reverberating from a club, scoring the emotional apex of a film, or radiating through the realm of dreams. That is where Greene sees us having real impact. "The dream world is our most potent weapon against the status quo - realities cannot exist without first being imagined. It is the job of power to limit the scope of the imagination. We must resist it always and fully."
Fort Romeau - Beings Of Light
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SLASH featuring Myles Kennedy and The Conspirators

It's been a decade since SLASH featuring Myles Kennedy and the Conspirators released their debut album together, and since then have been on one of the more impressive and unrelenting tears in rock `n' roll, issuing two more hard-hitting, highly-acclaimed records, and rocking stages all over the world. Since their debut, SLASH has amassed album sales of over 100M copies, garnered a Grammy Award and 7 Grammy nominations, and was inducted into the Rock & Roll Hall of Fame.

Enter 4, the Dave Cobb-produced highly anticipated studio effort from SMKC. True to the band's expanding legacy, it's everything you've come to expect from SLASH, Myles Kennedy, Todd Kerns (bass), Brent Fitz (drums) and Frank Sidoris (rhythm guitar)... but also unlike anything you've heard from them yet. This time out, SLASH says, they captured a certain "magic" - the sound of five musicians and band mates listening to and playing off one another in the spirit of live, in-the-moment collaboration. "It has a very spontaneous, fun kind of thing to it, and I love that," SLASH says of 4. "It's the sound of the five of us just jamming together in one room."

4 (FEAT MYLES KENNEDY AND THE CONSPIRATORS) [CASSETTE]

Slash - 4 (Feat Myles Kennedy And The Conspirators) [Cassette]
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After a 15-year hiatus, Seattle, WA's David Bazan reformed his legendary project Pedro the Lion with the release of Phoenix, it's first new album in over a decade. Phoenix became an instant critical darling, with publications such as NPR saying "It's a feat to reignite an old flame after 15 years; it's another thing altogether to make it burn brighter than ever," and Vulture calling it "Bazan's best work in years and a worthy successor to a back catalog beloved by indie rock and emo fans for over 20 years."Phoenix not only marked the project's official comeback, it quietly introduced Bazan's ambitious plan of recording 5 full-length albums devoted to each city he lived in throughout his youth. With Havasu, Bazan goes back to the seventh grade, where he and his family spent one year living in Lake Havasu City, AZ. The result is an open-hearted acknowledgment of shame and elation both, spaciously but delicately arranged in affirmation of the nurturing those feelings deserve-even if the kid in need of validation has long since grown up and moved away. After 25 years refining and building what he calls his "garden of songs," David Bazan has sold hundreds of thousands of albums, performed in sold-out clubs and living rooms around the globe, and played high-profile live sessions with the likes of NPR's Tiny Desk, KEXP, WNYC's Soundcheck, and many others. His music has been featured in outlets such as The New York Times, Pitchfork, Rolling Stone, SPIN, Vox, Paste and others, as well as 2019 year-end lists from NPR and Aquarium Drunkard. With Havasu, Bazan continues his prolific trajectory while planting the seeds for darker stories ahead.
Pedro The Lion - Havasu [Smoky Tint Shell With Forest Green Ink Cassette]
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SKA DREAM is a complete re-recording of Jeff Rosenstock's critically-acclaimed 2020 record NO DREAM however this time around all the songs are ska songs you're welcome. The very good idea to make this record came together when, like many other bands throughout this pandemic that refused to participate in super spreading events, we were trying to find a fun way to make some music together to share with people. Otherwise we were just spending our evenings texting the group chat in dread about the collapsing world around us. Not the most fun band activity.As with most things ska in my life, what started out as a fun goof with friends eventually morphed into "Hey, what if we tried to make it good though?" All of us have a pretty deep history playing and touring the country in punk/ska bands. We all understand the stigma that comes along with ska, we've all dealt with the pitfalls of it, and we've all kept on truckin' regardless. If you are one of those people who loves music as long as it isn't ska, that's cool, we see you. This record isn't for you and you don't have to listen to it. Byeeee.Okay, everyone else, we see you too, we love you and check it out, SKA DREAM is real.
Jeff Rosenstock - Ska Dream [White Shell W/ Black Ink Cassette]
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‘Requiem’ follows Korn’s critically acclaimed 2019 release, ‘The Nothing’. Korn changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre, while the band’s enduring success points to a larger cultural moment. The band have continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.

Korn - Requiem [Indie Exclusive Limited Edition Cassette]
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Following the success of Scandroid's double-album experience The Darkness and The Light, released in Fall 2020, each vocal track has received official remixes that will send listeners into Dreams of Darkness, Visions of Light.
Scandroid - Dreams Of Darkness, Visions Of Light
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We don’t typically look to pop albums to answer our cultural moment, let alone to meet the soul hunger left in the wake of global catastrophe. But occasionally, an artist proves the form more malleable and capacious than we knew. With Laurel Hell, Mitski cements her reputation as an artist in possession of such power - capable of using her talent to perform the alchemy that turns our most savage and alienated experiences into the very elixir that cures them.

Her critically beloved last album, Be the Cowboy, built on the breakout acclaim of 2016’s Puberty 2 and launched her from cult favorite to indie star. She ascended amid a fever of national division, and the grind of touring and pitfalls of increased visibility influenced her music as much as her spirit. Like the mountain laurels for this new album is named, public perception, like the intoxicating prism of the internet, can offer an alluring façade that obscures a deadly trap—one that tightens the more you struggle. Exhausted by this warped mirror, and our addiction to false binaries, she began writing songs that stripped away the masks and revealed the complex and often contradictory realities behind them.

She wrote many of these songs during or before 2018, while the album finished mixing in May 2021. It is the longest span of time Mitski has ever spent on a record, and a process that concluded amid a radically changed world. She recorded Laurel Hell with her longtime producer Patrick Hyland throughout the isolation of a global pandemic, during which some of the songs “slowly took on new forms and meanings, like seed to flower.” Sometimes it’s hard to see the change when you’re the agent of it, but for the lucky rest of us, Mitski has written a soundtrack for transformation, a map to the place where vulnerability and resilience, sorrow and delight, error and transcendence can all sit within our humanity, can all be seen as worthy of acknowledgment, and ultimately, love.

Mitski - Laurel Hell [Cassette]
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The Finnish heavy metal sextet Battle Beast are once again getting ready to unleash their force upon the world in the shape of their brand new masterpiece "Circus Of Doom". In true Battle Beast fashion, the 10 tracks blend true heavy metal with pop and rock-vibes, paired with Noora Louhimo's unique voice. "Circus Of Doom" was once again recorded at JKB Studios in Helsinki, Finland and produced and mixed by keyboardist Janne Björkroth, while the stunning artwork was created by Jan Yrlund (KORPIKLAANI, MANOWAR etc.), who already took care of Battle Beast's previous two album designs. "Circus Of Doom", is overall heavier, but still as catchy as ever with bangers like "Masters Of Illusion", "Freedom", or the title track "Circus Of Doom". Once again, the band stay true to their formula of "100% heavy metal - 0% bulls*t!" The limited edition cass & vinyl contain two bonus tracks
Battle Beast - Circus Of Doom [Indie Exclusive] (Cobalt Blue) (Blue) [Colored Vinyl]
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As the 21st century was born, Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades. In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99). Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains."During the 1990s, we were definitely experimenting with what the band was doing. But (drummer) Ventor and I decided that for this album - our first of the new millennium - we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place."'Violent Revolution' was released in September 2001, and became the band's highest charting album in Germany, as it reached #38. "We knew we had a good album, so in that way it wasn't a surprise to see this do so well in the chart. But however good you might think your album is, you can never be certain how people will react to what you've done, and whether you can pick up new fans, as well as satisfy the older ones."'Violent Revolution' is without question an excellent album. While in some ways it does harken back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force.
Kreator - Violent Revolution [Indie Exclusive] (Reissue) (Red) (Colc)
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The debut album from Earthless, remastered for a 2022 release on CD and limited edition cass and vinyl
Earthless - Sonic Prayer [Indie Exclusive Limited Edition Smokey Cassette]
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The sophomore album from Earthless, remastered for a 2022 release on CD and limited edition cass and vinyl
Earthless - Rhythms From A Cosmic Sky [Indie Exclusive Limited Edition Purple Cassette]
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