Double vinyl LP pressing including digital download. 2017 release. For much of the three and a half year period since the release of Lost In The Dream, The War on Drugs’ frontman, Adam Granduciel, led the charge for his Philadelphia-based sextet as he holed up in studios in New York and Los Angeles to write, record, edit, and tinker-but, above all, to busy himself in work. Teaming up with engineer Shawn Everett (Alabama Shakes, Weezer), Granduciel challenged the notion of what it means to create a fully realized piece of music in today’s modern landscape. Calling on his bandmates – bassist Dave Hartley, keyboarding Robbie Bennett, drummer Charlie Hall and multi-instrumentalists Anthony LaMarca and Jon Natchez – continuously throughout the process, the result is a “band record” in the noblest sense, featuring collaboration, coordination, and confidence at every turn. Through those years of relocation, the revisiting and reexamining of endless hours of recordings, unbridled exploration and exuberance, Granduciel’s gritty love of his craft succeeded in pushing the band to great heights.
Double vinyl LP pressing. 2017 release. The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year’s A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining-with equal dashes of abandon and menace-on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you’ve come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer’s cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in it’s swaggering skulk, manic in it’s fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there’s plenty to sweat over if you just hopped into the sauna. More evil… more complex… more narcotic… more screech… more blare… more whisper… there’s even more Brigid. Less Thee, but more of everything else.
Vinyl LP pressing including digital download. 2017 release. Beast Epic, Iron & Wine’s fourth album of new material for Sub Pop and it’s sixth overall, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Sam Beam has called Beast Epic his “most personal” album to date. It is the first Iron & Wine album that he’s produced since The Creek Drank The Cradle, though the results are vastly different. This album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like “Call It Dreaming.” After a decade and a half of prodigious expression and exploration, recording as both Iron & Wine and eponymously, Sam Beam confessed that he has finally figured out how to make records. Iron & Wine’s Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, Tennessee.
Double vinyl LP pressing. 2017 release from the British singer, songwriter, and musician. To The Bone is his expansive, brilliant fifth solo album. It is the follow up to 2015’s Hand. Cannot. Erase. (one of Rolling Stone’s best albums of 2015). A gloriously dynamic modernist pop record as imagined by the UK s biggest underground artist, To The Bone is Steven Wilson’s hat-tip to the hugely ambitious progressive pop records of his youth (think Peter Gabriel’s So, Talk Talk’s Colour of Spring, Tears for Fears Seeds of Love). Steven Wilson’s career has come a long way since his days as a member of No Man (with Tim Bowness) three decades ago. Apart from his own music (solo, Porcupine Tree, etc.), he has become one of the top album remixers in the industry.
The Rose of England continues with a slightly more contemporary feel. John Hiatt’s “She Don’t Love Nobody” is a sturdy pop single, while “I Knew the Bride (When She Used to Rock and Roll)”-a song Lowe wrote in the ’70s and was popularized by fellow Rockpile member Dave Edmunds-is given a modern kick in the pants, produced by Huey Lewis and featuring Huey’s band the News. Granted, from a production standpoint it basically sounds like a Huey Lewis and the News song, but the quality of the songwriting is miles past “The Heart of Rock and Roll”. The Rose of England isn’t necessarily a record company’s bid for Lowe to top the pop charts, though. “Seven Nights to Rock” is a lively, caffeinated rockabilly cover that feels like a timeless whirl through a more carefree time, and there isn’t a synthesizer or over processed drum sound in sight.
Vinyl LP pressing. 2017 release from the acclaimed rockers. Hundreds of epic shows, memory lapses, unexplained injuries, one year-long detour with Iggy Pop and multiple Grammy nominations later, Queens of the Stone Age reemerge from the desert newly scarred and somehow strangely prettier with lucky seventh album, Villains, out August 25 on Matador Records. Produced by Mark Ronson and co-produced by Mark Rankin and mixed by Alan Moulder, Villains is the first full album offering from Queens of the Stone Age since 2013’s… Like Clockwork gave the band it’s first #1 album in the U.S. Like the stunning artwork of returning illustrator Boneface, the sonic signatures of the lineup that took… Like Clockwork around the world and back are as unmistakable as ever, though coexisting with sufficient new twists to induce recurring double takes. As Homme himself puts it, “The most important aspect of making this record was redefining our sound, asking and answering the question ‘what do we sound like now?’ If you can’t make a great first record, you should just stop – but if you can make a great record but you keep making records and your sound doesn’t evolve, you become a parody of that original sound.” Longtime Queens cohort co-producer Mark Rankin added, “After the baptism of fire that was… Like Clockwork, I was excited to get into the studio again with the challenge of pushing the sound for this record, especially with the the addition of Ronson into the creative mix… What we’ve made is forward looking yet unmistakably Queens.” “The title Villains isn’t a political statement. It has nothing to do with Trump or any of that shit. It’s simply 1) a word that looks fantastic and 2) a comment on the three versions of every scenario: yours, mine and what actually happened… Everyone needs someone or something to rail against – their villain – same as it ever was. You can’t control that. The only thing you can really control is when you let go.” -Joshua Homme.
Limited transparent blue colored vinyl LP pressing in gatefold sleeve. 2017 release. Seekers and Finders is just a very magical and playful record for us,” says frontman Eugene Hütz of renowned gypsy punk band Gogol Bordello about Seekers And Finders, the seventh in their wide-ranging oeuvre. “It just feels quite complete in capturing the Gogol familia transcontinental lifestyle, every side of it… The Good, The Bad, and the Snugly.” Written over an extended time on three different continents, Seekers and Finders finds the nine-piece multi-cultural band in top form – an aural party of violins, accordions, trumpet, marimba amongst the standard rock basics of guitars, drum and bass. “I was still bouncing between Latin America and Eastern Europe when songs were emerging, but finally, as soon as I moved back to New York, it all came into focus… as it always did for me here,” he explains.
Athens Of The North and Symphoncal Records are proud to present the long lost Raw Soul Express LP in a special limited vinyl only release. Mastered personally from the original tapes with love. If you don’t know what this is then you’re in the wrong game, the LP also includes the full previously unreleased version of their rare-groove and surprisingly rare club classic “The Way We Live” in it’s full intended format. Solid Ballads are what makes the LP for me but there is not a bad track on there, boogie, funk and Rare-groove, blink and it’ll be gone.
PMG present a reissue of Goldfinger Doe & B.M.S.’s Let’s Dance Together, originally released in 1979. “William Onyeabor wasn’t the only Nigerian experimenting with synthesizers in the ’70s and ’80s. Goldfinger Doe was twiddling knobs too, no more so than on Let’s Dance Together – a prime slab of cosmic Afro boogie funk, recorded with legendary percussionist, Mike Umoh (aka B.M.S.) Goldfinger met Umoh playing with Bongos Ikwue & The Groovies. Bass player Bashiru Musa, was a fellow Groovie too, and when the three hit the studio to record Let’s Dance Together, the groove was already tight and hot. The title track, ‘Let’s Dance Together’, is an urgent boogie monster, peppered with cosmic synths. ‘Funky Africa’ is an irresistible floor-filler, driven by the ‘funk in the black soil and the soul in the air.’ ‘Jah Help Us’ is a reggae-tinged reworking of the Lord’s Prayer, with added squelchy synth. ‘B.M.S. Bowl’? It’s just an excuse for Umoh to show off his preposterous percussive skills. Goldfinger’s extraordinary synth skills are always front and center. They transform ‘Jane’, providing a humorous commentary in an otherwise straightforward romantic lament, and propel the funkier tracks to become the heartbeat of the album. Let’s Dance Together is an Afro funk space ship, fueled up and ready to take off.” -Peter Moore.
Limited red colored vinyl LP pressing. Liars have, as a matter of course, sounded radically different with each album, pursuing new concepts and occupying diverse mindsets. On this, Liars’ eighth studio album, the bustling backdrops of Los Angeles, Berlin and New York have been replaced with a presence far more intimate and autobiographical as Liars once again boldly step out of their comfort zone into vastly new musical territory. Following an amicable parting of ways with Aaron Hemphill, Liars is now Angus Andrew, who decamped to his native Australia, specifically to a remote part of the Australian bush, to create an album unlike any Liars had attempted before.
Scraps At Midnight on LP
180gm vinyl LP pressing includes digital download. Scraps at Midnight, Mark Lanegan’s third solo album, could be considered the final installment of a trilogy of albums featuring Lanegan’s interpretation of American roots music accompanied by his troubling lyrics of loss, sin, and redemption.
Field Songs on LP
180gm vinyl LP pressing includes digital download. On Lanegan’s fifth and final solo album for Sub Pop, Field Songs, he seems to have taken the best elements from his previous work to create one of the most fulfilled, and fulfilling, albums of his career; Field Songs also includes “Kimiko’s Dream House,” which Mark co-wrote with Jeffrey Lee Pierce of The Gun Club. This LP version is the first standalone vinyl edition of Field Songs (it was previously only available in the 2015 box set entitled One Way Street).
I’ll Take Care Of You on LP
180gm vinyl LP pressing includes digital download. One of America’s great modern day vocalists and songwriters, Mark Lanegan is a man whose career has been defined by an unwillingness to sit still. In addition to his time in the Screaming Trees and a fruitful solo career the Pacific-Northwest icon has worked with Queens of the Stone Age, Mad Season, former Belle & Sebastian vocalist Isobel Campbell, Melissa Auf der Maur and formed The Gutter Twins with Afghan Whigs/Twilight Singers’ Greg Dulli. For 1999’s I’ll Take Care of You, his fourth solo effort for Sup Pop, Lanegan chose to cover songs by artists who have influenced and inspired him over the years, including Jeffrey Lee Pierce of the Gun Club, Bobby “Blue” Bland, Buck Owens, Leaving Trains, O.V. Wright, Fred Neil, Tim Hardin, Tim Rose, and more. Prior to this gatefold 180g LP version, I’ll Take Care of You was only available on vinyl via a long-out-of-print European run, and in the One Way Street box set.
The remastered LP features updated artwork and includes an 11″ × 17″ replica of an early Chunk show flyer, with photos and notes from the band on the reverse. Both CD and LP include a bonus download of Clambakes Vol 9: Other Music From Unshowered Grumblers – Live in NYC 1990, a show recorded at CBGB just four days after the album was released. Mac shared his memories of these early days of Superchunk: When I listen to our first album now, other than cringing at some clams and the vocals and the juvenile attitude of the whole thing… what was I angry about? You’ll have to ask 21-year-old me because in my memory, we were having fun. I hear the accumulation of our influences, which I suppose is normal for a first album-weaving all the things you loved up to that point into your own first thing. The Buzzcocks, Hüsker Dü, Dinosaur Jr, and Sonic Youth are all right there and what we were listening to. Hearing this record recently, though, I was surprised at how “southern” some of it sounds, and I think the influence of bands like Drivin’ n’ Cryin’ and of course R.E.M. is there under the fuzz. I remember thinking the solo 4-track demo of “Slack Motherf***er” sounded like Tom Petty. I can’t find it now to prove it to you, but take my word for it. I was living in NYC finishing school when we made this record, so rehearsals and recording were all rushed. I’m surprised we knew this many songs well enough to record them. Twenty-seven years later, we still play at least three or four of these songs live occasionally (one of them all the time…), which says something good about a few of the songs, anyway! We got so much better as a band, and as songwriters, that it’s hard to even see this as any kind of template for what Superchunk would eventually be, but it’s definitely where we were at in 1989/90.
Vinyl LP pressing. 2017 collection. It was to be expected that, sooner or later, someone would give recognition to these two key artists, Roy Panton and Yvonne Harrison, central to understanding Jamaican music and it’s evolution. For some time, all over the world, thousands of followers and lovers of these Jamaican rhythms have tried, sometimes with luck and some with dismay, to get some of the recordings presented here today on vinyl, in what is the first compilation dedicated to Roy Panton & Yvonne Harrison. Roy Panton started his musical career at an early age, and after finishing school, decided to take his passion for music and the stage more seriously. In late 1950, Roy and Stranger Cole auditioned for Duke Reid. They subsequently recorded their first work titled “Freedom Land / Adam & Eve” under the name “The Rovers”, a name that they would not be using again given that, after the recording, each went their separate ways. Unfortunately, the recording never saw the light of day. Roy recorded some songs with Monty Morris in the studio of C.C. Dood. So, by suggestion of “Sir Coxone”, Roy Panton and Millie Small started singing together and became one of the most prolific duos of the island, leaving behind many recordings under the name “Roy and Millie”. Some of these you can find on this LP. Unfortunately, after Millie’s departure to England under the management of Chris Blackwell, Roy found himself without a partner. However, this should not be for long. In the autumn of 1962, discovered by TIP TOP Label’s Lynden Pottinger, Yvonne and Roy met for the first time at the West Indies Studios (WIRL) of Edward Seaga and recorded their first ever single, “Two Roads” with the B-side “Join together”. The magnificent performance of both, and perfect compatibility of their voices “joint together” Roy and Yvonne in what would be one of the most requested duets in the country.
Limited double vinyl LP pressing. Now back on vinyl after several years out of print, this set was originally a 1982 release featuring Stevie’s biggest hits from 1972-1980, with a new song at the end of each of the four sides. The vinyl reissue is newly remastered at famed Capitol Studios, additionally it recreates the original raised artwork while correcting the track sequence errors printed on the original outer jacket. Eleven previously released tracks were taken as singles from their respective albums, with “Higher Ground” and “Master Blaster (Jammin’)” released before the LP. “Isn’t She Lovely” was not released as a single from Songs in the Key of Life, while “Superstition”, “You Are the Sunshine of My Life”, “You Haven’t Done Nothin'”, “I Wish”, and “Sir Duke” all topped the Billboard Hot 100. “Living for the City” and “Boogie On Reggae Woman” appear in slightly different versions to those on their albums, and “You Are the Sunshine of My Life” is the single mix with the horns added.
PMG present a reissue of Danny Offia’s Funk With Me, originally released in 1981. “Danny Offia’s Funk With Me is a prime slab of Nigerian boogie. Sinewy and urbane, it’s the soundtrack of Lagos in the early eighties. The city was awash with oil money, clubs were booming and every night was a party night – the perfect place for a man with a great voice, a white suit and seductively-clutched packet of B&H Golds. Funk With Me was recorded in London with a crack team of session musicians. Drummer Blair Cunningham was from Memphis and had played with Robert Johnson. Sax player Ray Carless was regarded as the London jazz scene’s best-kept secret. Engineer Duncan Bridgeman would go on to work with Duran Duran. Danny Offia brought the songs and the Lagos attitude. ‘Funk With Me’ is a certified party starter. ’10 Years In Love’ and ‘Weak For You’ are sophisticated groovers. ‘Sat, Nite (Is A Party Nite)’ is guaranteed to get any girl on the dance floor, while ‘Don’t Make Me Cry’ is smooth enough take her home. Funk With Me is Lagos in an album – cosmopolitan, sexy and witty with an energy and spirit, all of it’s own.” -Peter Moore
Vinyl LP pressing. After the success of 2011’s Past Life Martyred Saints and 2014’s prophetic The Future’s Void, Ema retreated to a basement in Portland, OR – a generic apartment complex in a non-trendy neighborhood, with beige carpeting and cheap slat blinds. Now, she returns, with a portrait of The Outer Ring: A pitch-black world of dark night highways, American flags hung over basement windows, jails and revival meetings and casinos and rage. In a year dominated by white working-class alienation and anger, Ema – a Midwesterner who never lost her thousand-yard stare – has delivered an album that renders Middle American poverty and resentment with frightening realism and deep empathy.
Limited orange colored vinyl LP pressing. Erasure (Andy Bell and Vince Clarke) has always been adept at examining politics. It’s just, perhaps, we were too busy dancing to register and contemplate the deeper meaning behind many of their classic songs, or perhaps world events just feel so much more intense right now. World Be Gone (the follow up to 2014’s The Violet Flame), sees the band in an altogether more thoughtful and reflective mood. It’s less bombastic than it’s predecessor, love is still the focus but recent political upheavals have also left their mark. From the pounding beats of the album opener (and first single), “Love You To The Sky,” the listener is immediately enveloped in Erasure at their optimistic best with a soaring chorus that fills the room with love and promise. On “World Be Gone,” recent political upheavals are given a thoughtful examination and, as highlighted on the painted artwork showing a ship’s masthead rising up from being submerged in the stormy waters, Erasure are looking ahead, towards an expectant future which points towards love as evidenced on the buoyant closer “Just A Little Love.”
Double 140gm vinyl LP pressing. 2017 live release from the Grammy-winning alt-rock band. Unpeeled was recorded over a series of intimate shows in cities including Los Angeles, Washington DC, Knoxville, and Nashville where the band performed in a stripped down arrangement with a string quartet and additional percussion. Unpeeled features twenty-one tracks: eighteen curated songs from their past four albums plus three re-imagined versions of existing songs. Cage the Elephant received their first Grammy Award for Best Rock Album for their fourth studio album, Tell Me I’m Pretty, which was produced by Dan Auerbach of The Black Keys. At radio, Cage the Elephant holds the record for the most #1 Alternative songs of any artist this decade. Long celebrated as one of the most explosive live bands in the world, Cage the Elephant have sold out several headlining runs including a summer 2016 arena tour and recent sold out UK and European tour.
Double 180gm vinyl LP pressing. 2017 album from singer/songwriter Lukas Nelson (son of Willie) and his band Promise Of The Real. Focused and self-assured, this album includes 12 Nelson originals that draw on Lukas’ lineage as well as surrogate uncles like Kris Kristofferson, Waylon Jennings, J.J. Cale, The Band, Clapton-era Delaney & Bonnie and of course, mentor Neil Young. An inspired work of cosmic country soul, Lukas Nelson & Promise of the Real is the sound of American music reborn, sure to be one of 2017’s most distinctive and essential recordings. The band consists of Lukas Nelson (vocals/guitar), Anthony Logerfo (drums), Corey McCormick (bass), and Tato Melgar (percussion). The band backed Neil Young on his 36th studio album, The Monsanto Years, and the tour which followed.