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ADULT. Make a triumphant return after their 2018 album This Behavior, dubbed " one of the best records of their career" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of Perception is/as/of Deception, an anxiety fueled cyclone of pandemonium that only ADULT. #would know how to harness. While This Behavior was recorded in the isolated snow-covered woods of northern Michigan, Perception is/as/of Deception was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. #obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up Perception is/as/of Deception might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like Have I Started at the End successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions... what's the point? Why Always Why offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, Total Total Damage, comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of Perception is/as/of Deception, one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. #has a long-standing reputation for creating the soundtrack for our insecurities, and Perception is/as/of Deception further solidifies their apprehensive position.
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Aleph is often defined as the "oneness of God", and Cardiff, UK indie pop outfit Private World thematically embrace the sentiment on their debut album for Dais while eschewing pop conventions, simultaneously navigating and subverting it's context. Rather than individual tracks that inform a greater narrative, Aleph finds members Harry Jowett and Tom Sanders weaving in and out of a space they call the "pop psyche," where songs become scenes in a collective exploration of sentimentality and melody. In a sense, the songs that comprise Aleph are soothing vehicles that dart about pop history, stopping at touchpoints throughout the '80s to borrow from jazz- tinged synth, ambient music, and even cine'ma ve'rite'. The plot twist is while weaving this tapestry, they omit the familiarity of chorus-driven song, allowing space and mood to build melancholy transitions that feel whole and floaty. As much as their single "On the Run," released with DAIS in 2019, touched on this hushed world of memory, Aleph retains Private World's DNA but tames the dynamics of pop with Eno-esque intention. Aleph is an album you can pick up at any entry point and loop into it's conscious nostalgia. Rather than singular statements, each song on the album nods to Roxy Music, Peter Gabriel, Talk Talk, Spandau Ballet in tandem. In a sense, it's a rolling piece that spans ten movements, each informing a sphere of culture. Though it's not forward-facing lyrically, Aleph is a culture driven work, as the duo offers it as an equalizer that transcends social boundaries or divisions-united passages meant to be heard and immersed by all. On it's own, "Blue Spirit," is very much the album's mission statement, as vocal unapologetically indebted to Brian Ferry leads the way over a gated beat as instruments pulse in and out, punctuating the rhythm before disappearing into the echoes of the next moment. One second over five minutes in length, "Magic Lens," is Aleph's most direct and authoritative, without disrupting it's tonality. As Tom Sanders delivers a syncopated vocal, the track lightly sprinkles synth washes and prominent bass accents that plod out atmospheric pattern. Embracing the overarching north star for their sound to be a return to sophistication, Aleph embodies the sentiment by redefining it. Yes, the album's sounds work back to the masters of synth-pop but the actual journey bounds forward with vivid personality and contemporary control. Private World offers a singular embrace of the pop psyche - and a startlingly refreshing debut.
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After swapping hemispheres, Australian outfit Death Bells have found a new home in Los Angeles, emerging with a new album of fervent guitar-driven rock, stripped of gloom and punching through with a new sense of positivity. New Signs of Life, their debut for Dais Records, finds Death Bells using a DIY pedigree to plunder the conventions of "rock music" with a saxophone along for the mission. Rather than leaping genres or formats, New Signs of Life is refined and nuanced-a methodology built on process, craft, and perspective. Following their 2017 debut, Standing at the Edge of the World, and follow-up single "Echoes," Death Bells left their hometown of Sydney for the United States. Energized by impulse, extensive touring and exploration led to the formation of an ambitious six-piece band that eventually coalesced as a collaboration between founding members Will Canning and Remy Veselis. With Canning and Veselis becoming the engine, Death Bells began to employ several underground mainstay musicians to complete their live presentation, including Cortland Gibson (Dock Hellis), Colin Knight (Object of Affection), and on occasion Brian Vega (Fearing). Revitalized and centered, Death Bells released the single "Around the Bend" in 2019, before workshopping material that would eventually comprise their second full-length effort. As much as Standing at the Edge of the World was an energized disclosure informed by fresh naivete, New Signs of Life harnesses those initial sparks, cloaking the threads of Death Bells with authority, allowing each of the nine tracks which embody New Signs of Life to become lush streamlined vehicles. The eponymous lead single is a grandiose statement, influenced by the theme song of HBO's classic television program Six Feet Under. The lyrics are a shopping list of personal neuroses butted against self-help clichés, dressed with jagged guitars, brass, and percussion providing a deliberate pace for Death Bell's new chapter. As method gives way to melody, New Signs of Life exudes an urgent hope laced with drive and verve. The first track for New Signs of Life, "Heavenly Bodies," signals Death Bells' point-blank delivery of a laconic truth: "We all vanish, anyway." Somber and cool, it eases into hushed staccato hypnosis while still finding the tenets of guitar-driven rock. "A Different Kind of Happy" and "Alison" push the edge of convention, speaking to the power of love in a world gone mad. A nod to their homeland and new city's surf heritage, "Shot Down (Falling)" pivots playful to a sun-soaked beach strum, layered with shimmer before the horizon fades. As a new statement of purpose, New Signs of Life subverts the band's moniker, offering breath during suffocation; optimism in chaos with sound over sinking.
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Veteran NYC based Scottish electronic musician Drew McDowall's latest work is his loftiest, most liturgical, and least industrial outing to date - and potentially the apex of his recent discography. Named after an ancient Greek word for votive offering, Agalma exudes a hooded, devotional aura, creaking and keeling under vast rafters of stone, stained glass, and shredded wires. It's a music of majesty and mystery but also modernity, McDowall's refined modular system shape-shifting strings, piano, pipe organ, and choral masses into disorienting synthetic mirages of the sacred. He cites the intersection of "joy, terror, and the elegiac" as a centering inspiration - or, phrased more bluntly, "that 'what the fuck is going on' feeling."As a career collaborator himself, with stints in Coil, Psychic TV, and countless other shorter-lived partnerships, it's telling that McDowall chose this project to gather such an impressive spectrum of peers. Italian synthesist Caterina Barbieri, American drone organist Kali Malone, prolific multi-instrumentalist Robert Aiki Aubrey Lowe, operatic Humanbeast vocalist Maralie Armstrong-Rial, Saudi producer MSYLMA, and warped futurist beat-makers Bashar Suleiman and Elvin Brandhi cameo across the album's 42 minutes, contouring McDowall's nuanced negative spaces with shudders, shadows, and shivering flickers of serenity. Each of them shines in their spotlight, elevating these elusive alchemical states into surreal revelations of texture and transcendence.McDowall's original working title for the record is revealing: Ritual Music. He speaks of his creative practice in ceremonial terms, negating binaries by seeking the middle path to a numinous equilibrium that erases the distinction between the inner and outer worlds. These compositions feel similarly processional and intuitive, at the crossroads of holiness and hallucination, the sacred vertigo of yawning naves rising into untouchable night skies. It's a vision of industrial music as enigma and invocation, cryptic hymnals of shrouded beauty summoned in catacombs and crumbling cathedrals.Despite it's depths, Agalma is also an album of immediacy and emotion. Celestial laments of and for times of unrest and suffering. McDowall characterizes his initial intention for this music as an to attempt to convey experiences he felt incapable of putting into words: "To try and approach sublimity, or at least acknowledge it in some way." Agalma more than acknowledges the ineffable - it embodies it.
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Tempers

Services

Vinyl: $21.99 Buy

Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect REM Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther K?nig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.
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The collaborative debut of American minimal techno pioneer Troy Pierce and Colombian audiovisual artist Natalia Escobar aka Poison Arrow was conceived in reverse: first they created a collection of shadowy surrealist videos, then wrote music inspired by them. This inverted process proved remarkably fruitful. Shatter is a simmering, slow-burn noir odyssey inspired by the Greek myth of Echo and Narcissus, traversing subtle shades of sleepwalker dub, metallic lament, broken beats, and erotic negative space. It's an effectively unsettling evocation of the legend's core theme: "There is nothing more complex than a shattered heart, or a heart that can't love."Considering their shared background trafficking in darkened dance floor modes, what's most striking about Pierce with Arrow's partnership is it's rhythmic restraint. The album's 10 tracks seethe and shudder between glamor and gloom, with only occasional dread-steeped metronomes mapping the malaise to a grid. They speak of pursuing a "spatial approach" with this project, which manifests in the music's immersive design and patient execution, each mangled clang and rippling pool of bass allowed to reverberate it's full flickering waveform. Guest appearances by austere techno producer Konrad Black ("Obsidian Glass") and drum n bass institution dBridge ("It's A Love Story, After All") flow seamlessly into the whole, subtle sculptural accents on a dimly lit descent through purgatories of longing and lust. But the shadows recede for the record's closing cut, "Narcissus," which swells elegiacally in a mass of devotional drones over a muted heartbeat, like Narcissus gazing upon his reflection in holy awe: elusive true beauty, finally beheld, by itself.
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Hide's third album, Interior Terror further abandons traditional concepts of song structure in favor of splintered rhythms and fevered, immediate release. Expanding on previous themes of autonomy and empowerment, Interior Terror addresses and questions the corporeal and immaterial body in a physical and metaphysical sense. Turning to the dread inside, reflecting on the world around us, Hide gives voice to the power of destruction as a catalyst for hope, and to the collective experiences of those who've come before us as a wellspring of our own power. Raw vocal delivery of mantra-like prose issued forth yields a raging, plaintive wail that lulls, mocks, questions, proclaims and decries. A dearth of collected field recordings give way to more fluid arrangements while retaining a scathing urgency. The result is minimal, spacious, and jarring; a distant knocking grown into the pulse of a hypnotic dirge, drones emerge from shards of decomposed sound, bending, seething their way through your body."Do Not Bow Down" loops the driving, off kilter rhythm of a skipping Depeche Mode CD with the twisted trill of a sampled composition by quarter note pianist and composer Mildred Couper to produce a madly spinning otherworld where self-immolation serves as your most positive contribution to society. "Nightmare" explodes, unrelenting; conflating time and space to the beat of repeated blows to the head. A reflection on perpetual suffering, generational traumas and the transformative action of release. Title track "Interior Terror" belies a new brand of body horror informed by the systemic enforcement of a contemporary Western gender binary, touching on experiences of dysphoria and disassociation. "Fear" answers the question 'Where do cops come from' in the opening line 'Straight from God's cunt to the death cult', belittling the pathetic and repeated attempts of man to access power only to use it to terrorize others. "Daddy Issues" recontextualizes the text of a letter written and read by Brock Turner's father to the judge presiding over his son's rape trial to nauseating effect. Finally, "This Blood" closes the album with determined acceptance and solemn reverence, acknowledging our own intrinsic natures, our own electrified and beating hearts.Previous releases from Hide include 2016's Black Flame ep which is dedicated to the memory of Reyhana Jabbari, a 27 year old Iranian woman who was hung for allegedly killing someone who was trying to rape her, and deals with various human rights violations in Iran. Hide's 2017 debut album for Dais, "Castration Anxiety", addresses issues of power dynamics and representation, an album that calls for personal autonomy and the destruction of anything barring the way. A single on Sub-pop for the label's singles club followed, with two unhinged tracks touching on the phenomenon of internalized misogyny, motherhood and child abuse. In 2019, Hide's second full-length album "Hell is Here" finds the artists trading more traditional compositions for a far more incongruous and disjointed approach. The tone is sick and heavy, and the listener is met with something less illusory and a lot more direct.
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Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: "new pathways always being uncovered." Across decades of activity Cinder's body of work has forever followed it's own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as "a call to arms" inspired by Scotland and it's struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.Opening with an aching solo vocal rendition of the British folk standard "The First Time Ever (I Saw Your Face)," the album then surges into the Cindytalk classic, "A Song Of Changes," sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on "Wheesht"), bagpipe drone, and apocalyptic post-punk. Given it's aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a "precarious" process, composed from "scraps" with abruptly shifting personnel - a situation only compounded by the impending dissolution of their label at the time, Midnight Music.Despite, or perhaps because of, these factors, the collection stands as a testament to Cinder's belief that "so-called experimental can only remain so if you keep challenging yourself." This is singular and challenging music, texturally jagged and emotionally conflicted, swimming through shivering darkness into fragile pockets of light. At the time of it's recording, Cinder was attempting to leave London after many years in the city, dreaming of an ancestral return. But as much as "ideas of homecoming were percolating," there remained unfinished business, old ghosts to exorcise, culminating in Wappinschaw's heady, harrowing voyage: "An invocation of spirits of resistance - as much a declaration of war as a declaration of love."
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New York electronic experimentalist Nicky Mao's 4th full-length, Silvercoat the throng, emerged against the backdrop of lockdown, compelled by an intuitive directive: “resist the urge to fill the space.” Compositionally this translated as a simmering, shadowy energy, veiled but variable, traced in a composite of strings, synthetics, rhythm, and voice. The title alludes to a poetic notion of “possibility, rescued from darkness,” which aptly evokes the shape-shifting, devotional feel of these ambitious and elegant sound designs, crafted in defiance of impermanence, driven by the pursuit of becoming “more and more articulated, differentiated.”
 
Collaborations with travis from ONO, Speaker Music, and Muqata'a further expand the album's lyrical, liminal palette, meshing elements of experimental techno, spoken word, neo-classical, and industrial noise into a fluid, encrypted dialect all its own. Mao speaks of creative strategies of solidification and reification, encounter and transformation, pure being and punctuation – a multitude of sparks, fuses, and forking paths leading across fresh thresholds and twilit terrain. Taken as a whole, Silvercoat captures Hiro Kone at the peak of their powers, alchemizing disruption and decomposition into regenerative interior worlds: “Within the darkness and absence is an opportunity for discovery.”

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Drab Majesty's first release for Dais Records was the "Unknown to the I"cassette in 2015, which featured the title track that would later appear on hisdebut album "Careless" that summer. The additional early cuts "Saturn Inc."and "Ultra Violet" have previously only been available on digital or as CDbonus tracks. Now, along with the "Unarian Dances" 12" also released onMarch 26, these songs are finally made available on vinyl in 45 RPM 12"format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging byNathaniel Young.Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco and partner Mona D. With it's combination ofreverb-drenched guitars, synth bass lines, commanding vocals, and rhythmicdrum machine beats, this project is a stark departure from Clinco's previousstints as drummer in Marriages and Black Mare. Dubbed "Tragic Wave" and"Mid-Fi" by DeMure, Drab Majesty eloquently blends classic 80s New Waveand hints of early 4AD with a futuristic originality.A talented multi-instrumentalist, DeMure composes all of the elements ofDrab Majesty. However, rather than taking personal credit for the music,DeMure insists that the inspiration for the songs is received from an otherworldly source and that Deb is merely a vessel through which outside ideasflow inward. But Drab Majesty is more than just a musical project - it's amethodical experiment in the identity of creativity. The character Deb DeMureis an enigma that eludes all expectations of gender and ego. When DeMure'simposing 6' 4" figure assumes the stage, Deb's playful, harlequin-esqueappearance, tempered by an ominous body language, and clashing with thedreamy, ethereal melodies comes across as a web of contrasts. The result is aperfect balance between seemingly conflicting messages, between the highand the low, the drab and the divine.
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Riki

Gold [LP]

Vinyl: $20.99 Buy

West coast new romantic icon Riki returns with her 2nd simulacrum of pitch-perfect synth-pop, aptly titled for the precious substance it is: Gold. Inspired by notions of symbolic power, letting go, and transmutable realms of the heart, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio, the sessions unfolded fluidly and fruitfully, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming, purple sunsets dissolving into deepening neon night.
 
Like all the most elusive pop, Riki’s songcraft is simultaneously direct and oblique, dynamic and detached, shifting from sparkling chorus to elliptical outro according to its own poetic logic. She characterizes her lyrical muse as “very much what’s going on in my life, things I wanted to say but didn’t have the platform.” This subcurrent of dream fulfillment animates the melodies with a specificity and immediacy that transcends her pantheon of 80’s influences: from Saâda Bonaire and Strawberry Switchblade to Bryan Ferry, Bananarama, and beyond. Gold skews less dance floor than her instant classic 2020 debut but taken as a collection it’s equally stirring, stylish, and exquisitely produced. Evocatively layered arrangements of drum machinery, sequencer, fretless bass, grey sky guitar, saxophone, and FX, anchored by Riki’s singular voice, alternately widescreen and wounded, yearning beyond time for ecstasies both fleeting and forever: “Thought I knew you, but you’ve gone far away / it’s not in your nature to stay / but the thought that I need you, grows stronger every day / the colors begin / to change.”

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London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: "It felt like going back to the beginning, it felt freeing." Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something "visceral, with physical movement in mind." When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining it's sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in it's most elevated and compelling form, from and for the body as much as the mind.The album's unique immediacy stems from Younger's instinctual muse, reactivating raw methods with fresh energy. "I tuned back in to working with noise techniques again: more primitive equipment, cheap FX, contact mics, noise boxes." Key guest contributions by Lucy Railton (cello), Mark Morgan of Sightings (guitar), Alex Tucker (vocals), and the late, legendary John Hannon (violin) further enrich the record's bristling palette. Although half the tracks were begun pre-Covid at Hannon's Essex studio, the rest were finished in Younger's kitchen and living room during lockdown. The final tracks were then relayed to veteran mix specialist Randall Dunn, who further honed the material, adding a vivid spatial quality.From the hellscape metronome of "Moskito" to the insectoid warzone pulse of "Repellent" to the seething orchestral undertow of "Axis," this is music of ominous gravity and worlds in peril. But it's the closing cut, "Tower," which Younger calls "perhaps the most dramatic piece of music I've ever made." A lurking, blackened descension conjured on keys, guitar, and wormhole wah, the melody simmers and swells until suddenly exploding in a chaos of distorted blast beats. From their ashes the three- note riff slowly returns, like some astral dungeon synth exorcism, rising in a searing arc towards frenzied immolation before finally fading away in white fire and afterlife whispers.
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New York painter and musician exploratory industrialist Tor Lundvall initially envisioned his 14th album,Beautiful Illusions, as an entirely instrumental affair, “inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass.” Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadow play and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring “the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance.” Tricks of the eye, mind, and ear, magnified by silence and the looming long winter.
 
Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall’s mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: “behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been.”

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The New York City duo of Jasmine Golestaneh and Eddie Cooper aka Tempers specialize in a sleek strain of low-lit poetic synth-pop, the latest statement of which feels like the peak fruition of their elusive alchemy. With New Meaning, Tempers present an album about navigating the unknown, coping mechanisms and exploring the nature of choice. Its ten songs reflect on the creation of meaning as an access to freedom and purpose in times of transition and loss. Speculating on the transformative potential that exists alongside the grief of living in a world that is in an ongoing state of crisis.
 
This is distinctly nocturnal music, elegantly introspective and quietly intense, born of “living in a society that is still a dream of itself.” Tracks like “Unfamiliar,” “Here Nor There,” and “Song Behind A Wall” distill the Tempers template to icy pop perfection, drum machinery framed in shivering reverb, Golestaneh’s voice both ethereal and towering, simultaneously within and above. On other cuts, Golestaneh and Cooper’s production skews more evocatively greyscale, from new wave shadow play (“Carried Away”) to depressive disco (“In And Out Of Hand”) to an elegy of hopeful resignation (“Secrets And Lies”). Cooper speaks of production ideas regarding “human architecture,” breathing life into the precision of electronics, and of melodic intervals “on the exact edge between major and minor, severe and sweet.”
 
New Meaning is a document of forking paths and fleeting transcendence, the liberation of instability and impermanence, of embracing “a constant state of becoming.” Ten anthems for a derailed age, fugitive and sympathetic, nightwalking through an “anguished city” towards a nameless future, poised for rebirth: transcendent state, as if having finally glimpsed beyond the pale: “When I have / when I have no name / my joy is blinding.”

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The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines–a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye.

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The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines–a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye.

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The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: “We all got in a room and this is what came out.” Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths.

Opener “Recovery” captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody (“You sacrifice perfect days to laugh through the night / you have to get out of bed / and it’s hard / and it’s hard / it’s so hard to admit”), peaking in Ian Simpson’s poignant single-note vibrato guitar solo; Farrar agrees: “The guitar says what we cannot.” Other tracks embrace the group’s shredded pop potential (“Any Day Now,” “Dining Out,” “Live Scene”) and their speedway ripper mode (“Threnody”), with detours into oblique instrumentals (“Melody Drive”) and orchestral balladeering (“Ashes In The Birdbath”).

But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you’re not supposed to be, living a life you don’t recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls “Climbing Down The Ladder” a “relapse song – telling people you’re okay but you’re still fucking up.” Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: “I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn’t dead / I felt so vivid in the next life.”

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The album Tribe Called Quest wanted to make from the very beginning. It's their most even, consistent album of the original trilogy that also includes People's Instinctive Travels... and the Low End Theory. But in spite of this, or maybe because of it, it's also their most uninteresting. With so many competent tracks, there's no chance for something to stand out above the pack, like "Scenario" did on Low End Theory or "Can I Kick It" did on People's Instinctive Travels. The celebration is there ("Stir It Up"), the jazz drums kick ("Oh My God"), and the stand-up bass dribbles, keeping perfect pace with Q-Tip's unmistakable mic-touch ("Electric Relaxation"). There's even a Native Tongues armistice/reunion with de la Soul ("Awards Tour"). Although it comes together like a seamless tutorial in jazz hip-hop style, it comes together so damn well that it's hard for any one track to excel, cursing the album with consistent quality.
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Vinyl LP pressing. Archive collection of classic tracks by the country music legend. Includes 'El Paso', 'Streets Of Laredo', 'Mr. Shorty' and more.
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Discover what's in a number with this Grammy award-winning album from Mannheim Steamroller. Magic and mystery abound on the Gold-certified Fresh Aire 7 as soaring musical compositions explore life, love, art and music. Go on a magical journey through many cultures from the comfort of your living room with this groundbreaking musical adventure. A great gift for classical music enthusiasts!
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Collector's edition of the classic 'Hi, How Are You' album, featuring unreleased sonic surprises on side B. 

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- First time on colored vinyl, Robinson's 1974 debut studio album for Alligator Records.  AllMusic calls this, "one of the most subtly satisfying electric blues albums of the '70s."

- The Mellow Giant of the blues, one of the genre's finest composers, most melodic singers, and sensitive and subtle guitarists.

- "Absolutely haunting power"--LIVING BLUES 

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140 gram reissue vinyl reissue of the Grammy-nominated Alligator debut by The Master of the Telecaster, Albert Collins. An essential part of any blues collection, the album features all-time fan favorites like Master Charge, Honey Hush and Conversation With Collins. All tracks remastered. Revered as a true blues legend, Albert Collins' greatest success came after he signed with Alligator and cut ICE PICKIN.' It won the Best Blues Album of the Year Award from the Montreux Jazz Festival, in addition to being nominated for a Grammy, and has been inducted into the Blues Hall Of Fame.
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Albert Collins

Cold Snap [LP]

Vinyl: $24.99 Buy

MP3 Album: $9.99 Download

Vinyl LP pressing. Classic Alligator title on vinyl for the first time in 30 years! Grammy-nominated album features some of Albert's most popular tracks like "I Ain't Drunk," "Lights Are On But Nobody's Home" and "Too Many Dirty Dishes." The Master of the Telecaster's last Alligator release, and his favorite, finds him backed by a hand-picked all-star band featuring organist Jimmy McGriff and guitarist Mel Brown, plus the Uptown Horns. All tracks remastered.
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180 gram vinyl release of the 20-year-old blues firebrand's sensational debut. The album contains 10 of the CD release's 12 tracks, with all 12 available from an included download card.
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World class Chicago blues masters The Cash Box Kings deliver a fresh, exhilarating take on the real deal Windy City sound, filled with soul deep singing, brawny harmonica, stinging guitar and infectious ensemble playing. They are revered around the world for their dedication to creating rich, timeless blues.

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Whipsmart songwriter, electrifying guitarist and lap steel player, and gruff, commanding vocalist Selwyn Birchwood is one of the blues' brightest young stars. His third album amazes with potent rhythms, startlingly fresh lyrics and jaw-dropping musicianship. Selwyn's first two releases, 2014's Don't Call No Ambulance and 2017's Pick Your Poison have scanned over 16,000 units combined.Alligator publicity and social media teams will be expanding awareness for an artist who has been featured on NPR's World Café and XM/Sirius Satellite radio and in Rolling Stone, The Wall Street Journal, The Washington Post, The Chicago Tribune, DownBeat, Vintage Guitar and No Depression, plus tour press from coast to coast. Selwyn has enjoyed strong Triple A support from format leaders like WXPN/Philadelphia and WMNF/Tampa, as well as being championed at blues radio worldwide.A tireless live performer, Selwyn has logged over 150 live performances a year since his 2014 debut and will be scorching stages across the U.S. as soon as tour dates are feasible.Produced by Grammy winner Tom Hambridge (Buddy Guy, Christone "Kingfish" Ingram, Susan Tedeschi), Living In A Burning House is a master class in distinctive, contemporary roots music and positively brimming with immediately catchy lyrics, undeniable grooves and some of the most exhilarating guitar playing in any genre. Thirteen compelling originals include horn-fueled declarations of love, rocking reflections on modern life and low and slow ballads, all bound by Selwyn's raw, urgent vocals. National advertising includes a Facebook ad campaign, plus color ads in Living Blues and Blues Music Magazine. Regional advertising for Selwyn Birchwood tour dates and in major blues society newsletters. Aggressive promotion at Triple A and Americana radio, plus specialty blues shows, radio syndicators and various internet music programmers.Whipsmart songwriter, electrifying guitarist and lap steel player, and gruff, commanding vocalist Selwyn Birchwood is one of the blues' brightest young stars. His third album amazes with potent rhythms, startlingly fresh lyrics and jaw-dropping musicianship. Selwyn's first two releases, 2014's Don't Call No Ambulance and 2017's Pick Your Poison have scanned over 16,000 units combined.Alligator publicity and social media teams will be expanding awareness for an artist who has been featured on NPR's World Café and XM/Sirius Satellite radio and in Rolling Stone, The Wall Street Journal, The Washington Post, The Chicago Tribune, DownBeat, Vintage Guitar and No Depression, plus tour press from coast to coast. Selwyn has enjoyed strong Triple A support from format leaders like WXPN/Philadelphia and WMNF/Tampa, as well as being championed at blues radio worldwide.A tireless live performer, Selwyn has logged over 150 live performances a year since his 2014 debut and will be scorching stages across the U.S. as soon as tour dates are feasible.Produced by Grammy winner Tom Hambridge (Buddy Guy, Christone "Kingfish" Ingram, Susan Tedeschi), Living In A Burning House is a master class in distinctive, contemporary roots music and positively brimming with immediately catchy lyrics, undeniable grooves and some of the most exhilarating guitar playing in any genre. Thirteen compelling originals include horn-fueled declarations of love, rocking reflections on modern life and low and slow ballads, all bound by Selwyn's raw, urgent vocals. National advertising includes a Facebook ad campaign, plus color ads in Living Blues and Blues Music Magazine. Regional advertising for Selwyn Birchwood tour dates and in major blues society newsletters. Aggressive promotion at Triple A and Americana radio, plus specialty blues shows, radio syndicators and various internet music programmers.
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2-LP collection celebrating fifty years of classic, genre-defining recordings by a star-studded Who's Who of American blues and roots music artists past and present, featuring HOUND DOG TAYLOR, CHRISTONE "KINGFISH" INGRAM, J.J. GREY & MOFRO, KOKO TAYLOR, JOHNNY WINTER, TOMMY CASTRO, MARCIA BALL, ALBERT COLLINS, LUTHER ALLISON, JAMES COTTON, TORONZO CANNON and many more! Two-LP set features 24 songs (over 97 minutes of music) celebrating the 50th anniversary of the world's premier blues label. LPs packaged in a double-pocket gatefold cover with extensive liner notes. This is the first-ever Alligator anniversary release on vinyl, as well as the first double-LP in label history.
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Shemekia Copeland

Uncivil War [LP]

Vinyl: $25.99 Buy

MP3 Album: $9.99 Download

Nominated for 2022 Grammy for Best Contemporary Blues Album. Winner of Blues Music Award for Contemporary Blues Album Of The Year. Celebrated blues, R&B and Americana vocal powerhouse blazes an exhilarating roots music trail, with many of the songs reflecting the spirit of our turbulent times. Produced by Will Kimbrough, it features guest performances and/or songwriting by Kimbrough, Jason Isbell, Christone "Kingfish" Ingram, Jerry Douglas, Sam Bush, Orphan Brigade, Steve Cropper, Duane Eddy and Shawn Mullins. Shemekia's passion-packed singing breathes fire into solemn, gospel-drenched anthems, lowdown blues, crunching rockers and frisky New Orleans R&B. On captivating original songs and invigorating new takes on tracks by the Rolling Stones, Junior Parker and her father, famed bluesman Johnny Clyde Copeland, she commands listeners' attention while exploring life's daily struggles and triumphs, both political and personal.
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Nominated for 2022 Grammy for Best Traditional Blues Album. Winner of Blues Music Awards for Album Of The Year and Traditional Blues Album Of The Year. Rock and Roll Hall of Famer Bishop and Grammy-winning harmonica great Musselwhite join forces for a fun and historic collaboration of front porch blues. Bishop and Musselwhite are joined by guitar and piano master Bob Welsh (also a member of Elvin's Big Fun Trio) for an infectious set of warm, funky, down-home blues. The relaxed, spontaneous nature of the recordings reveals a unique musical chemistry on nine originals and three well-chosen covers, as the two trade licks and vocals on one of the finest, most memorable recordings of either artist's career.
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Internationally beloved soul-blues rocker tells a timeless tale of young man bitten by the blues bug. He masters the craft and sets out for fame and fortune, only to realize that what he left behind is what he's been looking for all along. An infectious collection of songs that stand on their own tell the story in vivid lyrics backed by Castro's patented roadhouse rock, soulful ballads and deep, greasy grooves.
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"With incendiary guitar chops and raw, powerful vocals, fiery Texas blues rocker Carolyn Wonderland draws instant comparisons to fellow Texans Stevie Ray Vaughan and Janis Joplin." ::: Blistering guitarist, fire-breathing singer and gifted songwriter releases an exuberant and astonishing collection of songs, deeply rooted, yet fired by a rocker's sensibility. The Houston, Texas native just left blues great John Mayall's Blues Breakers as first female lead guitarist in a band whose previous lead players include Eric Clapton, Mick Taylor and Peter Green. Tempting Fate was produced by Dave Alvin, with guest appearances by Alvin, Marcia Ball and Jimmie Dale Gilmore. The tracks pit brilliant originals with revelatory versions of songs by Bob Dylan, Grateful Dead, John Mayall and Billy Joe Shaver.
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Limited red colored vinyl LP pressing. 2021 release from world-renowned guitarist, vocalist and songwriter Tinsley Ellis. Devil May Care features ten of Ellis' most dynamic original compositions, mixing muscular rock 'n' roll and hard blues into his own instantly recognizable sound. The emotionally-charged guitar solos soar in full service to the songs, as if Ellis is living and breathing the sound rather than simply playing the notes. "The goal," says Ellis, "was to make the guitar sing."
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Grammy award-winning blues icon returns to his Delta blues roots for the most captivating musical statement of his long and legendary career. Charlie's first new solo studio release in seven years is stripped-down and semi-acoustic, driven by his deft guitar playing, while also featuring the masterful harp and soul-deep vocals for which he is famed. Mississippi Son is front porch country blues that is at turns raucous and languid, haunting and impossibly soulful. The track listing includes Musselwhite originals and songs by Charley Patton, Yank Rachell and Big Joe Williams. This warm, intimate recording is loaded with feeling and exhilarating, timeless music.
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Celebrating the 70th anniversary of rock n' roll's birthplace, blues-rock icon and Sun Records fanatic Chris Isaak has curated the ultimate collection. Featuring gems from the countless hit records produced by Sam Phillips and Shelby Singleton, spanning many genres. From the original recording of Johnny Cash's "I Walk the Line" to Jeanie C. Reilly's "Harper Valley PTA," Sun Records' 70th Anniversary Compilation, Vol. 1 is your definitive playlist of timeless American hits. 180-gram vinyl.
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Celebrate the man to whom Elvis Presley once said, "I love what you do but we'll never play together because I'll never follow that." Originally released in 1969, Sun Records is pleased to share its remastered 70th Anniversary Edition of Roy Orbison's The Original Sound. This gem includes classic Sun masters "Ooby Dooby" and "Mean Little Mama," alternate versions of original Sam Phillips recordings, reworked by Shelby Singleton, and featuring an unreleased recording of "Problem Child." 180-gram.
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Vinyl LP pressing. Celebrate the golden era of Carl Perkins with Sun Records' 70th Anniversary collection of his remastered hits, The King of Rockabilly. Boasting an alternate version of "Honey Don't," as well as an extended, never-before-released version of "Y.O.U." which features a spoken-word bridge section by Carl Perkins. The album also includes the classic hits "Put Your Cat Clothes On" featuring Jerry Lewis, "Boppin' the Blues," and "All Mama's Children," co-written with Johnny Cash
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Vinyl LP pressing. As part of Sun Records' 70th-anniversary celebration, the classic album Chapel of Love by The Dixie Cups (an iconic New Orleans girl group) has been remastered and restored to it's original mono recordings. It features the hits "Chapel of Love," "Iko Iko," and more.
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Sam Phillips created the label where rock n' roll was born, Sun Records. He and Shelby Singleton produced and released countless hit records, spanning many genres. From the original recording of Johnny Cash's "I Walk the Line," Jerry Lee Lewis's "Great Balls of Fire," and The Dixie Cups "Chapel of Love," to reimagined classics like Dave Dudley's "Six Days on the Road" and everything in between. Essential Sun Records celebrates the 70th-anniversary of the iconic label. 180-gram vinyl.
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Limited 180gm vinyl LP pressing. Looking back on the career of a living legend - Let Me Down Easy: Bettye LaVette in Memphis - captures the recordings she made in the 1960s for Silver Fox Records, part of the Sun Records family celebrating 70 years. Blending her northern R&B with southern soul, this remastered retrospective includes tracks like the rocking, "He Made a Woman Out of Me," her explosive cover of "Piece of My Heart," and "Let Me Down Easy," which was recently featured by the electronic duo Odesza.
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Limited 180gm vinyl LP pressing. Sun Records' 70th Anniversary Compilation, Vol. 2 (Curated by Music Supervisors) is a collaboration between Primary Wave and their community of music supervisor friends. Ten expert supervisors who have worked on projects like Breaking Bad and Ted Lasso pick their favorite tracks from the Sun Records catalog - featuring artists like Johnny Cash and Roy Orbison - with liner notes explaining their choices.
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Vinyl LP pressing. Theories abound regarding the seven-year cycle. Even the most casual of searches yields a wealth of discourse on the philosophy, positing the occurrence of transformation (or even full rebirth) in the seventh year. Higher Power grow into a similar space on their second full-length offering, 27 Miles Underwater. Uncovering the nexus between melodic vulnerability, metallic viciousness, and punk vitality, the Leeds, UK quintet-brothers Jimmy Wizard [vocals] and Alex Wizard [drums], Louis Hardy [guitar], Max Harper [guitar], and Ethan Wilkinson [bass]-deliver eleven anthems informed by everything from shoegaze and grunge to punk and thrash, yet defiant of era.
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THE NEW ALBUM SAY NOTHING FEATURING THE SONGS“SAY NOTHING”, "STRANGERS" &"HISTORY OF VIOLENCE"

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Their debut album, remastered and released with a bonus CD of music recorded live at The House of Brick in 2002. 

Side A 1) Get Inside (Explicit Remastered Version) 2) Orchids (Remastered Version) 3) Cold Reader (Explicit Remastered Version) 4) Blotter (Remastered Version)5) Choose (Explicit Remastered Version) 6) Monolith (Remastered Version)
Side B 1) Inhale (Remastered Version) 2) Bother (Explicit Remastered Version) 3) Blue Study (Explicit Remastered Version) 4) Take A Number (Remastered Version) 5) Idle Hands (Explicit Remastered Version) 6) Tumult (Remastered Version) 7) Omega (Explicit Remastered Version)
Bonus CD
1) Intro (Superego) (Live 2002) 2) Get Inside (Explicit Live 2002) 3) Orchids (Live 2002) 4) The Wicked (Live 2002) 5) Idle Hands (Explicit Live 2002) 6) Choose (Explicit Live 2002) 7) Rules Of Evidence (Live 2002) 8) Inhale (Live 2002) 9) Blue Study (Explicit Live 2002) 10) Cold Reader (Explicit Live 2002) 11) Blotter (Live 2002) 12) Monolith (Live 2002)

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The masked Iowan nu-metal nonet return with their fifth studio album, their first in six years and the follow-up to 2008's All Hope Is Gone. It is the first to feature their new (and as yet anonymous) rhythm section, following the departure of drummer Joey Jordison and the untimely death of bassist Paul Gray. Marking a return to a more raw, brutal, dissonant sound reminiscent of their earlier work, the album includes the singles "The Negative One" and "The Devil in I."
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Rush

Clockwork Angels [180 Gram]

Vinyl: $31.99 Buy

MP3 Album: $11.49 Download

Double vinyl LP pressing. 2012 album from the legendary Canadian Rock trio. The recording of Clockwork Angels began with Grammy Award winner Nick Raskulinecz (Foo Fighters, Deftones) who collaborated with the band on their 2007 studio album, Snakes and Arrows - and Rush co-producing. Lyrically, Clockwork Angels chronicles a young man's quest across a lavish and colorful world of steampunk and alchemy as he attempts to follow his dreams. The story features lost cities, pirates, anarchists, exotic carnival, and a rigid Watchmaker who imposes precision on every aspect of daily life. With more than 40 million records sold worldwide and countless sold-out tours, Rush - Geddy Lee, Alex Lifeson, and Neil Peart - is not only one of the most inventive and compelling groups in rock history, but remains one of the most popular.
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