Music Releases 11-24-17
New Vinyl: $22.98 $19.98 Buy
Instrumentals, imagined soundtracks and cut and paste experimentation sets a bracing, perception-shattering course for Who Built The Moon?, the keenly anticipated, WORLD TOUR-triggering third album from Noel Gallagher's High Flying Birds. Produced by David Holmes and featuring guest appearances from Paul Weller and Johny Marr!
Celebrate the 40th anniversary of this classic release with the 3CD/1LP ROCKET TO RUSSIA: 40th ANNIVERSARY DELUXE EDITION. Including two different mixes of the album: a remastered version of the original and a new 40th Anniversary Tracking Mix by Rocket To Russia engineer/mixer Ed Stasium, plus a previously unissued recording of the band’s 1977 concert in Glasgow, Scotland, along with rare tracks, alternate versions & unreleased mixes.
The 40th Anniversary Deluxe edition comes housed in an album sized hardcover book, with 16 page booklet including essays from Sire Records founder Seymour Stein, Rocket To Russia engineer/mixer Ed Stasium & former Creem Magazine writer/editor Jaan Uhelszki, along with rare photo.
Among the band’s best-loved records, it features classics like “Sheena Is A Punk Rocker” and “Rockaway Beach” along with their signature covers of “Do You Wanna Dance?” and “Surfin’ Bird.”
A new 2-CD/1-Blu-ray Audio deluxe edition that includes the original studio album, ten previously unreleased live recordings, as well as hi-res and 5.1 mixes. Presented in an 11 x 11 hardbound book, the set also features rare and unseen photos from the era, a replica tour book, and three stand-alone posters. The collection also marks the debut of ten live tracks that were recorded during the band s three-night stand at the Los Angeles Forum in October 1976. The concert recordings which were recorded about a month before the album came out features one of the first ever live performances of Hotel California and New Kid In Town along with other Eagles classics including Already Gone, Take It To The Limit, and Witchy Woman. The Blu-ray Audio disc that accompanies HOTEL CALIFORNIA: DELUXE EDITION features the 5.1 Surround Sound mix originally released on DVD-A in 2001 along with a hi-resolution, 192 KHz/24-Bit stereo mix.
‘Utopia’ is the ninth studio album from the iconic artist Björk, out November 24th via One Little Indian Records. The album's artwork was created in collaboration of M/M, Jesse Kanda and James Merry and reflects the records sonic direction; optimism, lightness, utopia. The album is written by Björk with five of the 14 songs co-written by Arca and one of the songs co-written by Sarah Hopkins. All of the songs except one is coproduced by Arca. One of the songs is co-produced by Rabit. Björk formed a twelve piece Icelandic female flute orchestra, which she arranged for and conducted. She also wrote an arrangement for Hamrahlíðarkórinn, a choir conducted by Þorgerður Ingólfsdóttir. The album was edited and structured by Björk on Protools. It was engineered by Bergur Þórisson, Bart Migal and Chris Elms. It was mixed by Heba Kadry and Marta Salogni and mastered by Mandy Parnell. The album cover was created by Jesse Kanda, in collaboration with Björk, James Merry and makeup artist Hungry. The rest of the album artwork will feature new digital illuminations and typography from MM Paris. Of the album she explained to Dazed this Summer that, ““Maybe that’s why it became a utopian theme – if we’re gonna survive not only my personal drama but also the sort of situation the world is in today, we’ve got to come up with a new plan, If we don’t have the dream, we’re just not gonna change. Especially now, this kind of dream is an emergency.
''Teeming 2'' features Wayne Coyne of The Flaming Lips and members of Def Rain. From goodrecordsrecordings.com: ''Daniel Huffman is the sole creative force of New Fumes. Huffman has lent his talents to a multitude of diverse bands. He was a member of the 90s space rock outfit Comet as well as the Bitches Brew-loving improv group Ghostcar, and he's been a touring guitarist for the Polyphonic Spree. He's been part of the touring entourage for and a collaborator with the Flaming Lips.'' A noise musician and visual artist, Daniel Huffman spent years recording and touring with names like The Flaming Lips, Polyphonic Spree, Miley Cyrus, Kesha, My Bloody Valentine and Tobacco. He even performed with The Flaming Lips when they broke the Guinness World Record for most shows played in a 24 hour period. Huffman also creates some of the most gorgeous vinyl records on the planet. He has appeared on the albums ''Wastoid'' by Stardeath and White Dwarfs and ''With a Little Help from My Fwends'' by The Flaming Lips. ''Teeming 2'' is the sophomore album from New Fumes. It falls somewhere in the zones of offbeat electronic and colorful weirdo rock. Mostly recorded in a Monolithic Dome surrounded by crack houses in Dallas, Huffman spent five years recording his new album. Daniel has come up with his own process for pouring records by mixing colors so each piece is an individual with its own effect. All copies of ''Teeming 2'' were hand-made this way.
On Real Gone, Tom Waits walks a fraying tightrope. By utterly eliminating one of the cornerstone elements of his sound -- keyboards -- he has also removed his safety net. With songwriting and production partner Kathleen Brennan, he strips away almost everything conventional from these songs, taking them down to the essences of skeletal rhythms, blasted and guttural blues, razor-cut rural folk music, and the rusty-edge poetry and craft of songwriting itself. Real Gone is like two records in one and the contrasting emotions of each play off of each other perfectly. The up tempo tracks are some of the rawest and most kinetic he’s ever laid down, while the ballads are among his most haunting and beautiful, even chilling at times. Taken as a whole, the experience is breathtaking. Tom Waits and Kathleen Brennan have personally remixed and remastered Real Gone from the original master tapes bringing a new sonic brilliance to their 2004 creation.
With gritty lyrics exposing the harsh realities of gang and street life coupled with love and loss over throbbing beats and swirling synthesizers, electronic duo PRAYERS brings an authentic urban feel to Goth music, a mix of genres that crosses cultural and societal boundaries and breaks stereotypes. PRAYERS creates a modern dystopian landscape based in both brutal reality and transcendental occultism. Featuring Leafar Seyer on vocals and synth and Dave Parley on beats and synth, PRAYERS straddles interlocking worlds: Both members were born in Mexico—Seyer in Cotija, Michochan and Parley in Tijuana—and both grew up watching MTV and listening to punk and goth. Their creativity draws on the conflict of embracing of alternative, underground styles rather than traditional Chicancismo, the dissonance of their existence as indigenous people treated as immigrants on their ancestral land, and their status as Mexicans playing in what has long been viewed as a white genre.
Continuing with the celebration of his 50th Showbiz Anniversary, Engelbert Humperdinck is getting ready to release his first album of brand-new material in years with, 'The Man I Want to Be' on OK!Good Records. There are new songs by Richard Marx, Jon Allen (including the title track), Richard Scott, Steve Mac, Les Reed and Engelbert's daughter Louise Dorsey some unexpected covers of Bruno Mars' 'Just the Way You Are' and Ed Sheerans' 'Photograph' - plus three classic songs recently introduced in his Live Show: Willie Nelsons' 'Crazy', Eddy Arnold's 'Welcome to my World' and the NY classic 'On Broadway', all of which have been turned inside out.
This album finds Engelbert in a reflective and introspective mood with lyrics that are very personal and important to him. Most of the new songs were written drawing on some of
his life experiences in a meaningful way that is relevant to various chapters of his life, including the health situation of his wife Patricia who is suffering from advanced Alzheimer's
as the singer recently revealed. The song 'I m Glad I Danced With You' written by his daughter, Louise and performed as a duet with his granddaughter, Olivia is a loving tribute to his wife.
Seattle's Dude York rev up the holidays with their second full-length on Hardly Art, Halftime for the Holidays. Featuring 7 new holiday-themed originals and two classic covers (Randy Bachman's "Takin' Care of Christmas" and "Silent Night"), Halftime for the Holidays is self-consciously goofy, but refreshing in its willingness to tackle the misery and joy of the season in equal parts.
4-Disc 30th Anniversary Edition featuring the remastered original album, B-Sides, rare mixes & more across 3CDs plus a Blu-ray disc with the full Kick album mixed in Dolby Atmos immersive surround sound by Giles Martin & all the music videos. Housed within DVD sized fan-deluxe packaging including 48-page booklet with interviews, essays & rare photos.
Ben Vaughn spent the 1980’s touring the country and making records with the Ben Vaughn Combo and as a solo artist, before recording Instrumental Stylings and using the album as his calling card to get film work in Los Angeles.It didn’t take long before he was the music supervisor for the hit TV show “Third Rock From The Sun” (for which he penned the award winning theme song). He went on to work on the even more successful “That 70s Show”. Many of the songs on Instrumental Stylings were featured in both shows. A couple were written for the documentaries Favorite Mopar and Wild Girl’s Go Go.
TOPOGRAPHIC DRAMA – LIVE ACROSS AMERICA highlights the best performances from the 2017 leg of the 28-show tour and mirrors the set list from those concerts. Each night, Yes opened with all six songs from Drama (1980), the band’s tenth studio album, which peaked at #2 on the U.K. album chart. Standouts include “Machine Messiah,” “Tempus Fugit” and the album’s only single “Into The Lens.” After Drama, the band shifted gears for songs from two of its best-selling albums: “And You And I” from 1972’s Close To The Edge (RIAA platinum) and “Heart Of The Sunrise” from 1971’s Fragile (RIAA double-platinum). Next, the group played the opening and closing tracks of its concept album, Tales From Topographic Oceans (1973). Howe’s exceptional guitar work on “The Revealing Science Of God” and White’s propulsive drumming on “Ritual” have always been regarded as ground-breaking. The album concludes with two live staples: “Roundabout” from Fragile (1971) and “Starship Trooper” from The Yes Album (1971). Among the world’s most influential, ground-breaking, and respected progressive rock bands, Yes was founded in 1968. The Grammy-Award® winning recording artistshave sold more than 50 million records in a career that has so far spanned six decades.
Taken from concert performances in Strasbourg that were described as “the musical event of the year”, this recording of Berlioz’s epic Les Troyens presents the score absolutely complete. John Nelson, unrivalled in his authority in this mighty work, conducts a cast led by Marie-Nicole Lemieux as Cassandre, Joyce DiDonato as Didon and Michael Spyres as Énée.This new Erato recording of the complete, uncut score of Les Troyens is drawn from two concert performances that took place over the Easter weekend in April 2017 in the city of Strasbourg in eastern France. A magnificent cast of singers, predominantly Francophone, assembled under the baton of John Nelson, an acknowledged master of Berlioz’s music who has conducted Les Troyens more frequently than anyone else over a period of more than 40 years; he made his name with the piece when he led performances at New York’s Metropolitan Opera in 1974 and enjoyed great acclaim for a production at the Frankfurt Opera shortly before the Strasbourg concerts.
Frightened Rabbit's Scott Hutchison explains: "These three songs seemed to exist happily next to one another, so it made sense to place them on an EP instead of wedging them into an album on which they didn't fit. These are not B-sides or ‘bonus tracks.' These are songs that still fill us with the same feelings that our albums can, and I'm happy that they now have a place to live." (Clashmusic.com)
Contains the first CD from each of the newly remastered studio albums, housed in a slipcase similar to the previous “Take A Look At Me Now” box.
New Vinyl: $16.98 $14.98 Buy
Asthmatic Kitty Records is pleased to announce Carrie & Lowell Live, an audio and visual document of Sufjan's November 9, 2015 performance at North Charleston Performing Arts Center in South Carolina. The translucent blue 12" release includes "Blue Bucket of Gold" on one side, a cover of Drake's "Hotline Bling" featuring Gallant on Side B, and a digital download to the full 16-track set. The show, which was designed by Marc Janowitz, incorporated an expansive lighting display and cathedral-like LED columns featuring home videos shot by Sufjan's maternal grandfather, Nick Marabeas. Much of this vintage footage highlights family birthdays, graduations, and weddings of Carrie and her siblings from the late 1940s through the early 1970s, lending the performances the emotional arc of a memorial, celebrating Carrie's life and meditating on her death with a sweeping transcendence that gave testament to Sufjan's central thesis of mourning: that in spite of death, we must go on living in fullness and joy.
When Jason Molina took on another artist’s song, he willed his own universe into it, his own personal and artistic mythology. Be it Conway Twitty or Townes Van Zandt, their blues were infused with Molina's own entrancing blues. This pair of newly discovered, home-recorded Black Sabbath covers is no different. Molina, a through-and-through fan of metal (seek out his high school metal band the Spineriders' album if you haven’t yet) peels back the sinister and stoned elements of Sabbath, zeroing in on the loneliness and brooding. He takes “Solitude,” from 1971’s unfuckwithable Master of Reality — and one of Sabbath’s more mystical, near-proggy songs — and doubles down on the title. Molina extracts Ozzy Osbourne’s gorgeously cooed vocal performance and transforms it into a high and lonesome sound, a desert campfire howler. And on his cover of “Snowblind," from 1972’s Vol. 4, it becomes obvious what a guitar hero Sabbath’s Tony Iommi was for Molina. Molina seemed to pull from Iommi’s odd, simple fingerings and tunings throughout his catalogue: from his first album (known informally as “the black album”) to Magnolia Electric Co.’s Josephine. Molina’s brief acoustic cover dials back the bombast, but you can surely connect “Snowblind”’s chord progressions with Molina’s own on the black album and Axxess & Ace. Recorded in the midwest in the late '90s, during Molina’s multi-season run of batting 1.000, these two intimate songs are a bittersweet artifact of one of the rustbelt’s titan songwriters. Note to buyer: Do not attempt to play Side B of this 7” release. Side B is a gorgeous etching of a black ram by artist Will Schaff. If you do attempt to play the etching on Side B it will sound absolutely awful.
Clap Your Hands Say Yeah's landmark second album ''Some Loud Thunder'' will be reissued with exclusive bonus tracks on November 24th to celebrate the 10th Anniversary of its original release. The band will be playing select tour dates in North America, UK and Europe where they'll perform the album in its entirety. ''Some Loud Thunder'' has been remastered by TW Walsh and will be available on vinyl for the first time in several years. A few words about the album from CYHSY's Alec Ounsworth: ''Let me explain... 'Some Loud Thunder' was an album written mostly as a reaction to the not unwelcome but still uncomfortable great interest in the band's first album, 'Clap Your Hands Say Yeah.' Depending on who you asked, in 2007 the band was known alternatively as the real thing or a flash in the pan, a band who presented a new paradigm for independent music or whose model was based on sheer luck, a band simply enjoying the process of creation or a (relatively) new band struggling to maintain some sort of illusory artistic foothold. The general desire to discover the secret behind the project (and the irritation that it caused me in interviews, reviews, etc.) was, to a large degree, what drove the creation of the album, ''Some Loud Thunder.' Mostly, this is evidenced in the songs, 'Some Loud Thunder' (''Yes, that was me breaking glass and pretending to start something big, some new taste'') and 'Satan Said Dance' (Satan here as the transitory faction of an audience which tends to disappear as soon as any chances are taken), but in others as well. I think that this album, from the abrasive first track (which was not as much of a f**k you as some think but rather that it simply worked) to the final disintegrating 'give up, give up, give up, give up, give up' in the song, 'Five Easy Pieces,' documents a band that was comfortable taking big chances, somewhat aware of the consequences of taking chances (in an industry that often seems allergic to veering off the beaten path) but ignoring them all the same. For this, maybe most of all, I am very proud of this album. For true fans, who allow the opportunity to take such chances and are not afraid to embrace what may at first seem difficult or different, I am eternally grateful.''
BRING ME THE HORIZON are currently one of the biggest bands in the active rock scene. But back in the early part of the century they were angst ridden boys from England and their sound was deathcore. BMTH have changed a lot over the years, when they formed in 2003, the band played thrashy, breakdown-studded songs influenced by the screaming, slashing sound of American metalcore. Gradually, the group began incorporating electronic passages, acoustic strumming, ominous keyboards and orchestral elements into their music, and the band became all the more popular for it. Yet, despite their experimentation, BRING ME THE HORIZON remained undeniably rooted in metal. This collection of songs showcases the roots of the band, the best songs from their early releases on Epitaph Records, from 2004- 2013.
Cult-classic punk rock band, Butthole Surfers, announce the up-coming 10" vinyl remastered release of their fan-adored 1987 album, Locust Abortion Technician, today via Five Music/RED Music. This marks the band's first release since 2007's compilation Pioughd/Widowmaker, ahead of new music in 2018 the first in 15 years. The remastered 10" Vinyl is slated for release on November 17th in celebration of the band's 30th anniversary, kicking off a series of remastered releases throughout the next year.
'Sometime in 1986 the band decided that we were tired of living on the road, that it was time to find a home. We were in San Francisco at the time, and chose our new home town by throwing a dart at a map,' says guitarist Paul Leary. 'The dart landed on Athens, Georgia, so off to Georgia we went. We soon realized that we couldn't actually afford to rent a house in Athens, but were able to find a 2-bedroom rental house in tiny nearby Winterville. We used our meager savings to purchase an old Ampex 8-track tape machine, two microphones, and recorded what would become our third full-length LP 'Locust Abortion Technician'.
Upon release in 1987, Locust Abortion Technician reached number three on the UK Indie Chart and was considered by fans to be one of the band's best albums. The album's influence is widely cited to have birthed grunge music and considered one of the top 50 album of all time by the late Kurt Cobain and featured in Robert Dimsey's 1001 Albums You Must Hear Before You Die.
Arguably the most infamously named band in the annals of popular music, Butthole Surfers long reigned among the most twisted and culture defying acts ever to bubble up from the American underground. The Butthole Surfers grew to fame as punk rockers in the 80's and 90's. The legendary group were the first to fuse the antics of shock rock with an avant-garde, hardcore, and psychedelia soundscape. The newly reunited band (consisting of Haynes, Leary, Coffey and Pinkus) are writing and recording new music, nearly ready to feed the flames of their patiently waiting fans. The band are currently relaunching their socials, highlighting rare, retro images, archival footage and memories gathered throughout the years, and encourage fans to share their memories with the band on socials as well.