Apocalypse Vinyl - End of the World Deals 24/7

1225 Kempsville Road #65133 | Virginia Beach, VA | 23467

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Harmony House, the follow-up to Dayglow's runaway 2018 debut album Fuzzybrain is a finely calibrated, carefully fussed overexpression of encouragement for anyone who needs it. Inspired by the piano-driven rock from the late '70s and early '80s, the album was written, produced, performed, and recorded entirely by Dayglow himself. Featuring danceable lead single "Close To You", effervescent "Balcony" and timeless "Medicine", Harmony House is about coming to terms with change and accepting that it doesn't have to be overwhelming.
Dayglow - Harmony House [Orange Cassette]
$13.98 Video
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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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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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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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The Weeknd

Dawn FM [Cassette]

Cassette: $29.98 Buy

MP3 Album: $7.99 Download

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2022 release. 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 [Cassette]
$29.98 Video
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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 Ã…hman (ex In Solitude, now in PÃ…GÃ…).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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The demo album from pop punk superstars, blink-182, that kicked off their meteoric rise into the mainstream music stratosphere! These raw, early recordings showcase all the passion and verve of songwriting duo Tom DeLonge and Mark Hoppus! Available again on collectible cassette!
blink-182 - Buddha [Cassete[
$15.98
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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, Rompavè, 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]
$9.98
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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]
$10.98

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