Double vinyl LP pressing in gatefold jacket. 2000 debut album from the Australian electronic outfit. Playful, twisted, psychedelic, sampledelic, delirious and infectious, it’s the sound of six men who spent most of adolescence rummaging through bargain bins in Melbourne’s record shops, constructing their own post-modern disco-pop amalgam from rubbish ’50s rejects and saccharine ’60s pap. “Our records make sense in their own world,” says Robbie Chater, the group’s baby-faced spokesman. “We always wanted to make a record with a life of it’s own that you could lose yourself in.” Since I Left You was received favorably by the critics. It peaked in the Top 30 on the ARIA Albums Chart, #12 in Norway, #8 on the UK Album Charts and, in the United States, at #10 on the Top Electronic Albums chart and in the top 40 on the Top Heatseekers chart.
Drawing inspiration from music from all over the world – crossing genres of classical, jazz and old-fashioned pop – Thomas Lauderdale founde”d the “little orchestra” Pink Martini in 1994 to provide more beautiful and inclusive musical soundtracks for political fundraisers for causes such as civil rights, affordable housing, the environment, libraries, public broadcasting, education and parks.
Jungle Fire, provocateur of a sound called Tropi-Funk, was born in Los Angeles, out of a jam session between friends in 2011. With no real direction other than to share musical tastes amongst its participants they’ve magically released a highly acclaimed debut album (Tropicoso) and toured worldwide over the past 5 years.
Vinyl LP pressing. Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album – a psychedelic opus in two separate volumes released in early-2017 – is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light. Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang. In Chinese, Yin means “the shady side of the hill” and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embodies Moon Duo’s darker qualities – released appropriately in February, in the heart of winter in the Northern Hemisphere.
Vinyl LP pressing includes digital download. For their fifth full-length After the Party, The Menzingers set out to make the quintessential jukebox record: an unstoppably melodic album primed for bar-room sing-alongs. Delivering anthemic harmonies, furious power chords, and larger-than-life melodies, the Philadelphia-based garage-punk four-piece amply fulfills that mission while achieving something much more deeply nuanced. With it’s delicately crafted storytelling and everyman romanticism, After the Party ultimately proves to be a wistful but life-affirming reflection on getting older but not quite growing up. “We spent our 20s living in a rowdy kind of way, and now we’re at a point where it seems like everyone in our lives is moving in different directions,” says Tom May, who joined fellow singer/guitarist Greg Barnett, bassist Eric Keen, and drummer Joe Godino in forming The Menzingers as teenagers in their hometown of Scranton. With each song unfolding as it’s own fully realized story, After the Party came to life thanks largely to an introspective yet outward-looking lyrical sensibility on the part of Barnett and May. Produced by Will Yip (Title Fight, Balance & Composure, Pianos Become the Teeth) and recorded in Yip’s Conshohocken, Pennsylvania-based Studio 4, After the Party finds the band breaking into new sonic terrain. The Menzingers’ most refined album to date, After the Party was also shaped from an intensive writing and pre-production process that involved holing up for five weeks in Yip’s studio. Along with sculpting more expansive arrangements, the band focused on experimenting with new effects and production techniques to forge the album’s dynamic but intricately textured sound.
Vinyl LP pressing includes digital download. Tourist in This Town was made at Uniform Recording in Philadelphia with Jeff Zeigler, who is known for his work with Kurt Vile, Steve Gunn, and Mary Lattimore, among others. His synthesizer collection and related expertise proved an alluring draw for Crutchfield, who had started incorporating synths into her work when she branched off into a solo career. “This record marked a sonic transition in the way I think about the element of space in music, and I attribute that mainly to Jeff,” says Allison. “His arsenal and knowledge of analog synths, along with his ear for spatial addition and subtraction within a song, really sculpted this album and impacted me artistically forever.” “Tourist in This Town is completely made up of heightened anxiety and became a clearly defined puzzle that I slowly put together over the course of a year,” says Crutchfield. “It’s a record about change- change of scenery, of partner, of band, of home, of friends, of outlook-and how that change can cause a temporary panic but ultimate triumph in most of us.”
Limited 180gm vinyl LP pressing. Take a late-night stroll through downtown New Orleans and you’ll hear a thousand flavors of music spill from the clubs. Spin the 2016 album by the Crescent City’s new favorite sons, meanwhile, and you’ll hear a band who embody that eclectic spirit. Demolition Day is the band’s fourth full-length studio release and marks a milestone in their career. The album title cuts deep. It’s just over a decade since Hurricane Katrina tore along the Gulf Coast, plunging New Orleans into devastation, but throwing together four Big Easy evacuees who found themselves marooned in San Francisco. Aaron Wilkinson (acoustic guitar/mandolin/vocals), Chris Mulé (electric guitar/vocals), Sam Price (bass/vocals) and Garland Paul (drums/vocals) were already on nodding terms from their hometown circuit, but when the four men joined forces for a weekly residency at San Francisco’s Boom Boom Room, the chemistry was undeniable. By 2009, the lineup had released award-winning debut Wishing Well, enlisted Hammond B-3 wizard Trevor Brooks and placed one foot onto the podium of New Orleans greats. Ten years and a thousand gigs down the line, that same battle-hardened lineup took just four days to track Demolition Day at The Parlor Recording Studio in New Orleans with famed producer Luther Dickinson (also leader of the North Mississippi Allstars and ex-Black Crowes guitarist). Demolition Day is just the start. You might experience these eleven tracks for the first time on your stereo or smartphone, but as Honey Island Swamp Band tour across the States and beyond in 2016, you can expect them to take on a life of their own.
Limited vinyl LP repressing of this classic 1973 album. The Joker is the eighth album by Steve Miller Band. The album marked a period of significant change for the group as the band abandoned their psychedelic oriented music for a more melodic, smooth rock/blues sound. Perhaps not coincidentally, it was also their first solid commercial success due to the strong radio-play of the title track. The title track took 19 days to record. The album reached #2 on the Billboard 200 and has been certified Platinum in the United States. The artwork of the album is also considered amongst the greatest; for example Rolling Stone would later rank it as one of the Top 100 Album Covers Of All Time.
2017 release from the Gainesville, Florida-based ska/punk band. Sound The Alarm marks an new chapter for the band as they celebrate 25 years together. The EIP includes seven ska infused punk songs. Sound The Alarm was recorded and produced by Roger Lima and mixed at the famed punk recording studio, The Blasting Room, in Fort Collins, CO. The band wrapped the record following their run on last summer’s Vans Warped Tour.
180 gram vinyl LP pressing includes digital download. Beth Hart is on fire. Right now, the Grammy-nominated singer/songwriter is riding a creative tidal wave, firing out acclaimed albums, hooking up with the biggest names in music and rocking the house each night with that celebrated burnt-honey voice. In 2016, the headline news is Beth’s latest album, Fire On The Floor (Provogue/Mascot Label Group): a release that even this fiercely self-critical artist describes as “pretty frickin’ good”. Fire On The Floor is sure to build on her breakneck momentum. As the singer explains, this latest record gave her an emotional release following the bitter-sweet sessions for Better Than Home. If there’s a theme that ties these twelve songs together, it’s a sense of escapism following the hardest of times. “We were still in the mixing stages for that album and I knew I had to make another record. Making Better Than Home was so painful, because one of the producers, Michael Stevens, was dying of cancer. It was a very emotional record to write and to make. I wanted the songs for Fire On The Floor to get born real quick.”
Limited purple colored vinyl LP pressing. Soft Machine was one of the first prog-rock bands, but if your vision of prog-rock consists of musicians wreathed in pot smoke airily singing of fairies and wizards, it will be summarily dispelled by this fantastic “authorized bootleg,” which captures the band in March 1969 at the Paradiso in Amsterdam, playing material that was to be released six months later on Soft Machine: Volume Two. The trio of Robert Wyatt on drums and vocals, Mike Ratledge on organ and Hugh Hopper on bass launch what can only be called a high-decibel, jazz-rock sonic assault; “Like vindaloo for the ears” is how Hopper puts it on the accompanying notes on the inner sleeve, adding, “I do remember playing incredibly loud, Mike on fuzz organ and me on fuzz bass, both through hundred-watt Marshall stacks.” Some of the frenzied instrumental passages might recall Miles Davis’ Agharta-era band, but remember, this is a trio making all this racket (in 1969, no less); Soft Machine at this point in time were on a journey all their own.
Limited vinyl LP pressing includes digital download. 2017 release. A Girl, A Bottle, A Boat is Train’s first album without lead guitarist and founding member Jimmy Stafford. Although he is not on the new album, he is currently still partially involved with the band, as he continues to play with them at some live performances and events. It marks the band’s first new music since their 2014 album Bulletproof Picasso. The album’s first single “Play That Song” borrows the central melody from the 1938 single “Heart and Soul” by Howard Hoagland “Hoagy” Carmichael. A Girl, A Bottle, A Boat is the first album of new Train material since 2014’s Bulletproof Picasso.
And Stereophonics re-issues…