Staff Picks

Indie Exclusive Limited to 500 copies

"IN TERMS OF DOING WHAT I WANTED TO IN EVERY ELEMENT FROM START-TO-FINISH, this feels like my first album, the narrative is really about destroying the things that try to destroy you." I Disagree is the third studio album from Poppy, and the mysterious internet citizen shifts her sound. On Am I A Girl? and Choke, Poppy presented a very distinct brand of pop, and for this record, which she's labeling as post-genre, with a heavy pivot toward heavy metal from the beginning to end. In that aspect, I Disagree feels like a first album: "I feel like everything that we've been working on is synchronizing. I feel like the past two albums were more of a sound bed to the YouTube videos we're making." Check out the title track, "BLOODMONEY," which is an abrasive, glitchy serving of sound made with the philosophy of breaking collaborator Titanic Sinclair's Moog without touching it, or "Fill the Crown," which shows Rammstein and Marilyn Manson influences. Other highlights: "Anything Like Me," "Don't Go Outside," and "Concrete."

Two guitar legends - Eric Clapton and B.B. King - first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 2 million copies and win the 2000 Grammy Award for Best Traditional Blues Album.

 

To celebrate the 20^th anniversary, the album will be expanded and remastered by Bob Ludwig will be released on June 26^th. Two additional previously unreleased tracks have been added to the album: The blues standard “Rollin’ and Tumblin’” and a cover of Willie Dixon’s “Let Me Love You Baby”. Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton.

 

The album features five Dixon originals, plus a selection of covers from writers as diverse as Isaac Hayes (“Hold On I’m Coming”), Johnny Mercer (“Come Rain Or Come Shine”) and “Big” Bill Broonzy (“Key To The Highway”). John Hiatt wrote the album’s title track.

 

The album features an all-star line-up of musicians: Andy Fairweather Low, Steve Gadd, Nathan East, Joe Sample, Doyle Bramhall II, Susannah and Wendy Melvoin, and Jim Keltner. The celebrated producer and arranger Arif Martin contributed string arrangements and orchestration to two tracks.

Double vinyl LP pressing. 2020 release. Women in Music Pt. III is the third studio album by American band HAIM. Released through Columbia Records. It was produced by Danielle HAIM, Rostam Batmanglij and Ariel Rechtshaid, and was preceded by the singles 'Summer Girl', 'Now I'm in It' and 'Hallelujah'.

Coke bottle clear vinyl

160 gram black vinyl. The Presidents of the United States of America's debut album came out in 1995, first on a tiny Seattle label called Pop Llama, then some months later on Columbia Records. 1995 was a time when vinyl seemed like a format whose days were numbered. Because OMG COMPACT DISCS! We stayed very busy circling the globe and kicking out the jams and selling gajillions of these "CDs." Now, 25 years later, it's on vinyl for the very first time!!

Limited double 180gm vinyl LP pressing. Deja Entendu is the second album from Long Island-based rock band Brand New, originally released in 2003. It was widely praised for showing the band's maturation from Your Favorite Weapon. The album's title is French for "already heard" and is a commentary on modern rock. Two singles were released from the album: "The Quiet Things That No One Ever Knows" and "Sic Transit Gloria... Glory Fades." The album was written in "the year and-a-half or two years" that they were touring the material from Your Favorite Weapon. According to drummer Brian Lane, "Jesse [Lacey] wrote a lot of the lyrics about different things than 'I just broke up with my girlfriend' for the record."

Vinyl LP pressing. Bad Music for Bad People is the second compilation album of previously released material by the American garage punk band the Cramps. It was released in 1984 on I.R.S. Records and was seen by most fans as a cynical cash-in by the record label, following the departure of the band. The Cramps were an American punk rock band formed in 1976 and active until 2009. The band split after the death of lead singer Lux Interior. Their line-up rotated frequently during their existence, with the husband-and-wife duo of Interior and lead guitarist and occasional bass guitarist Poison Ivy comprising the only ever-present members.

Limited 180gm vinyl pressing of this classic 1991 album from Kurt Cobain and the boys. Nevermind became a surprise success in late 1991, largely due to the popularity of its first single, "Smells Like Teen Spirit". By January 1992, it had replaced Michael Jackson's album Dangerous at #1 on the Billboard 200 chart. The album also produced three other successful singles: "Come as You Are", "Lithium", and "In Bloom".

The band's commercial break through, this 2001 album went gold, spinning off the Top 20 Modern Rock hits 'Fell In Love With A Girl' and 'Dead Leaves And The Dirty Ground.'

Sgt. Pepper's Lonely Hearts Club Band's 2017 stereo mix as a 1-LP 180-gram black vinyl. Produced by Giles Martin for this year's universally heralded 'Sgt. Pepper' Anniversary Edition releases, the album's new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles' father, George Martin. Praised by fans and music critics around the world, The Beatles' 'Sgt. Pepper' Anniversary Edition is 2017's most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.

This 45th Anniversary Deluxe Vinyl Edition, features 13 tracks spread across 2LPs and features the original stereo release, completely remastered, with bonus tracks including alternate versions and unreleased outtakes. Including four newly prepared remixes, including the earliest known, previously unreleased version of 'Beginning To See The Light,' and previously unreleased versions of 'The Gift (vocal version)' and 'The Gift (instrumental version).' The vinyl set comes in a beautiful gatefold jacket with the music on 180gram audiophile virgin vinyl. The 45th anniversary editions of White Light/White Heat have been developed in conjunction with Lou Reed and John Cale.

Black Pumas has announced their highly anticipated debut album set for release on June 21. The band is led by the creative partnership between Grammy Award-winning guitarist / producer Adrian Quesada and 27-year-old songwriter Eric Burton. Burton is a relative newcomer who arrived in Austin in 2015 after busking his way across the country from Los Angeles, while Quesada has a storied reputation for playing in bands like Grupo Fantasma and Brownout. 

After the two connected via friends in the Austin scene, they began to collaborate on a new sound that transmutes soul into something idiosyncratically modern. Reminiscent of Ghostface Killah and Motown in equal measure, this original sound ensured that Black Pumas’ weekly residency at C-Boys quickly became “the hottest party in town” (Austin-American Statesman). 

Performing live is where this band was born and thrives. Anyone who’s seen them play can attest to how outstanding their shows truly are. The spectacular energy, the showmanship of lead singer Durand Jones is not to be missed. The live album encapsulates this and more with tracks from their self-titled debut album and covers of some R&B treasures. On transparent blue vinyl. 

'1. I Can't Do Without You [Live from Bloomington, IN]2. Make A Change [Live from Bloomington, IN] 3. Can't Keep My Cool [Live from Bloomington, IN] 4. Groovy Babe [Live from Bloomington, IN] 5. Should I Take You Home [Live from Bloomington, IN] 6. Dedicated To You [Live from Boston, MA] 7. Now I'm Gone [Live from Boston, MA] 8. Is It Any Wonder? [Live from Boston, MA] 9. Smile [Live from Boston, MA]
10. Giving Up [Live from Boston, MA]

Three-time Grammy Award winner Lucinda Williams unabashedly takes on some of the human, social and political issues of our day with her boldest and most direct album to date, Good Souls Better Angels. During the course of her celebrated four-decade, pioneering career Williams has never rested on her laurels as she continues to push herself as a songwriter. On Good Souls Better Angels, she has much she needs to get out. On Good Souls Better Angels, Williams changes course and chooses to forgo the personal and narrative-based songcraft that has become synonymous with her name and instead speaks to some of the injustices permeating our society. Williams recorded Good Souls Better Angels backed by her remarkable, long time band, featuring Butch Norton (drums), Stuart Mathis (guitar) and David Sutton (bass). The rock-solid unit propels the music with both fire and finesse. Good Souls Better Angels marks the first time Williams' husband/manager Tom Overby is credited as a co-writer on many of the new songs. The album was co-produced by Williams, Overby and Ray Kennedy, who last worked with Williams on her 1998 landmark album Car Wheels On A Gravel Road.

8x GRAMMY® Award-nominated Atlantic recording group Death Cab for Cutie has officially announced the release of their upcoming EP - "The Blue EP" - which will arrive everywhere Friday, September 6th Along with all new tracks "Kids in ‘99" and "Blue Bloods" - produced by Peter Katis (The National, Interpol, Kurt Vile) - the EP also includes "To The Ground" and "Before The Bombs," produced by Rich Costey during the recording sessions for the band's critically acclaimed ninth studio album, Thank You for Today and held for this planned subsequent EP. The fifth track on the project, "Man in Blue," was self-produced by the band itself.

Death Cab for Cuties classic album Transatlanticism, reissued for its 10th anniversary after being out of print for years. Four sides of high-quality 180-gram vinyl in a nice gatefold sleeve, with a 12-page full-color booklet. Comes with download of the album plus the newly released original demos, many of which are drastically different from the final versions.

2LP Silver & Gold Colored Vinyl

Grandiose, dynamic, heavy, melodic, technically challenging: these are all words that fall equally short when trying to describe Between the Buried and Me's sonic offerings. When tasked with explaining the band's previous effort, The Parallax II: Future Sequence, Decibel Magazine claimed that the album "offers more substance than most bands put forth in entire careers" and Metal Hammer simply stated that it was "utterly captivating." Where does a burgeoning progressive act go from there? The answer is found in their seventh full-length album, Coma Ecliptic. Spanning just over an hour, the album stands as a significant step in the evolution for the group as a whole, as well as the individual musicians: vocalist / keyboardist Tommy Rogers, guitarists Paul Waggoner and Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson.

As menacing and unhinged as ever, the pride of Staten Island is back with their fifth full-length offering, V. Raw and absent of the modern technological trappings, the Budos pick up where they left off with 2014s Burnt Offering, and finds the group expanding on the brooding, fuzz-fueled riffs, whilst harkening back to the Ethiopian inspired rhythms and percussive proclivity that put Budos Band on the map.

The preceding years have been extraordinary for Ryley Walker. In March, his second album, Primrose Green, emerged to critical hosannas from the likes of NPR, Village Voice, Uncut, and Mojo - in the process, earning admiration of musicians who had chalked up no shortage of turntable miles in Walker's life. Robert Plant declared himself a fan - as did double-bass legend Danny Thompson, with whom Ryley would later embark on a British tour. A sprawling tour of the USA around Primrose Green presented a perfect chance to workshop ideas for what would eventually become his third studio album, Golden Sings That Have Been Sung. On the album, "The Roundabout" represents a symbolic return to Chicago, while other songs are directly wedded to Ryley's actual return there. Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track "The Halfwit In Me" most audibly bear the imprint of Ryley's improvisational sessions with Wilco multi-instrumentalist, Chicagoan and producer Leroy Bach, while "Funny Thing She Said" is an unflinching study of separation set to a shimmeringly supple ensemble performance. Soft, slo-mo explosions of melody intermittently burst through the distant thunder of the verses on "A Choir Apart". Intriguing, surreal images are meted out by "I Will Ask You Twice", like a malfunctioning slide projector; and, perhaps best of all, the stunning finale, "Age Old Tale", which spiders out from an Alice Coltrane-inspired reverie into a sustained rapture that very few artists have managed to achieve.

Double 200gm vinyl LP pressing. 50th anniversary edition of one of rock music's seminal debut albums. LP1 features all new 2019 stereo mixes as approved by Robert Fripp. LP2 features all new, 2019 alternate takes and recordings with five pieces mixed by Steven Wilson and two pieces mixed by David Singleton. Artwork derived from the original paintings, as meticulously restored for the limited edition full sized, signed prints. Cut by Jason Mitchell at Loud Mastering from original 24/96 high-resolution source files.

Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next. Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music—not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on “Hysteria,” how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of “Mutinies,” how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to “Come Again.” These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with Australian singer-songwriter-guitarist Courtney Barnett, opened for Neil Young in front of 90,000 people in Quebec, famously became a clue on Jeopardy, hung out with friends, took vacations with his wife and daughters. “I’ve been bouncing around a lot and recording all over. My family would meet me in the middle of America, and we’d go on a road trip somewhere. I would record in between all that stuff.” As Vile prepares for another round of lengthy tours and countless shows, these songs should prove good company, reminders of the love and responsibility he has toward those he leaves at home and those he meets along the way. That makes the sentiments resonate more strongly and lends Bottle It In an emotional weight. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.” “Impeccably recorded and mixed songs that shuffle bits of folk, new wave, or country in the mix but are always squarely down-the-middle rock.” Mark Richardson, Pitchfork “Vile’s self-awareness is as appealing as his melodies, and he’s stoked a reputation as a bit of a slacker maharishi—at the very least, a look inside Vile’s head might make you think a bit more deeply about what’s going on in your own.” The New Yorker

Limited to 3,500 numbered copies on Silver colored 180 gram audiophile vinyl.

This is the eponymous debut studio album by the Modern Lovers, originally released in 1976. Six tracks ("Roadrunner", "Astral Plane", "Old World", "Pablo Picasso", "She Cracked" and "Someone I Care About") were produced by John Cale. The Modern Lovers were formed in 1970 by teenage singer, songwriter, guitarist Jonathan Richman, augmented with Jerry Harrison (keyboards), Ernie Brooks (bass) and David Robinson (drums), with Richman's friend and original band member John Felice joining them occasionally. The Modern Lovers influenced numerous aspiring punk rock musicians on both sides of the Atlantic, including the Sex Pistols, whose early cover of "Roadrunner" was placed on The Great Rock 'n' Roll Swindle. The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die. In 2003, the album was listed on Rolling Stone magazine's list of the 500 greatest albums of all time.

Lauded as an experimental, alternative band that's never been married to one genre, Phantogram-comprised of lifelong friends Josh Carter and Sarah Barthel-challenge the zeitgeist with their signature blend of hard-hitting beats, guitar-driven dark psychedelia and electronic pop. On March 6th they will release highly anticipated fourth studio album, Ceremony, which marks a rebirth and embodies a dark but hopeful chapter for the duo. Features recent singles "In A Spiral" and "Into Happiness".

Available on vinyl for the first time, the career-spanning compilation features some of the best known album tracks from across Pink Floyd s career, 1967-1994, as well as the UK Top 10 single 'See Emily Play.' Newly mastered for vinyl in 2018 by longstanding Pink Floyd associate James Guthrie, with Joel Plante, and with lacquers cut by Bernie Grundman of Grundman Mastering in Los Angeles, California, the 2-LP version features at least one difference from the CD version. Time is slightly longer, with the ringing alarm clocks at the start of the track reinstated. The original artwork, art directed by the late Storm Thorgerson, has been amended by Pink Floyd Creative Director Aubrey Powell of Hipgnosis with Peter Curzon, to include alternate versions of the photographs used in the CD version. The album package comes in a gatefold outer sleeve, with two separate printed inner bags, and is pressed on heavyweight 180 gram vinyl.