Alternative - Grunge - 90’s
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Razorblade Suitcase (In Addition) [Blck & White Swirl Vinyl]
Since the late '80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid. Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm's raw yawp and his bandmates' long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker. "My sense of humor is dark, and these are dark times," says Arm. "I suppose it’s only getting darker." Digital Garbage opens with the swaggering "Nerve Attack," which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album's title comes from the outro of "Kill Yourself Live," which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Arm says: "people really seem to find validation in the likes—and then there's Facebook Live, where people have streamed torture and murder, or, in the case of Philando Castile, getting murdered by a cop. In the course of writing that song, I thought about how, once you put something out there online, you can’t wipe it away. It’s always going to be there—even if no one digs it up, it’s still out there floating somewhere." Appropriately enough, bits of recent news events float through the record: “Please Mr. Gunman," on which Arm bellows "We'd rather die in church!" over his bandmates' careening charge, was inspired by a TV-news bubblehead's response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of "Next Mass Extinction" calls back to last summer's clashes in Charlottesville. Mudhoney's core sound—steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm's hazardous-chemical voice—remains on Digital Garbage, which the band recorded with longtime collaborator (and Digital Garbage pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy "21st Century Pharisees" builds its case with Maddison's woozy synths, which Arm says “add a really nice touch to the proceedings.” Digital Garbage closes with "Oh Yeah," a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. "I would’ve really just loved to write songs about just hanging out on the beach, and going on a nice vacation," says Arm. "But, you know, that probably doesn’t make for great rock." Mudhoney, however, know what does make great rock—and the riffs and fury of Digital Garbage will stand the test of time, even if the particulars fade away. "I've tried to keep things somewhat universal, so that this album doesn’t just seem like of this time—hopefully some of this stuff will go away," Arm laughs. "You don’t want to say in the future, 'Hey, those lyrics are still relevant. Great!'”
The Center Won't Hold [LP]
Vinyl: $25.98 Buy
“How does brokenness walk? Or move through the world?” says guitarist/vocalist Carrie Brownstein about The Center Won’t Hold, Sleater-Kinney’s tenth studio album. “We’re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person – ourselves or versions of ourselves or iterations of depression or loneliness – in the middle of the chaos.” The Center Won’t Hold is Sleater-Kinney’s midnight record on the doomsday clock. After twenty-five years of legendary collaboration, rock’n’roll giants Brownstein, Corin Tucker, and Janet Weiss rise to meet the moment by digging deeper and sounding bigger than we’ve heard them yet. Here are intimate battle cries. Here are shattered songs for the shattered survivors. The Center Won’t Hold drops you into the world of catastrophe that touches on the election,” says guitarist/vocalist Tucker of the title track. “We’re not taking it easy on the audience. That song is meant to be really heavy and dark. And almost like a mission statement, at the end of that song, it’s like we’re finding our way out of that space by becoming a rock band.
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Exclusively remastered double LP 180 gram audiophile pressing.
Pearl Jam + Alice In Chains + Screaming Trees = MAD SEASON
The lone album from the iconic Seattle supergroup. Includes three brand new tracks featuring Mark Lanegan.
Originally released in 1995.
Prophets Of Rage
Prophets Of Rage [Red LP]
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Tom Morello, Tim Commerford and Brad Wilk of Rage Against The Machine, Chuck D and DJ Lord of Public Enemy and B-Real of Cypress Hill have lived the resistance from day one. So it's no surprise that in the midst of 2016's tumultuous election, the revolutionary musicians would join together as Prophets of Rage to combat the coming storm, whatever it may be.
While the fierce independence and enduring influence of their collective lineage is nearly impossible to overstate, these creative kindred spirits knew immediately this was a different beast. Set for release in September of 2017, Prophets of Rage, their explosive, self-titled debut LP, exemplifies the band's commitment to creating a more decent and humane world. The 12 tracks, produced by Brendan O'Brien fuse the diverse styles, sonic firepower and hard-hitting social consciousness of the group's previous work into an inventive and commanding new musical statement.
Vinyl: $27.99 Buy
No Doubt [LP]
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To celebrate the 25th Anniversary of No Doubt’s self-titled debut, UMe is pleased to issue ‘No Doubt’ on vinyl for the first time. This 180g pressing features the original track listing, along with a new, never-before seen photo, added to the LP jacket.
NINE is the new album from Grammy nominated California rock heavyweights, blink-182. The album features soon to be classics “Darkside,” “Happy Days,” “Generational Divide,” “Blame It On My Youth,” and others.
blink-182 is Mark Hoppus (vocals/bass), Travis Barker (drums) and Matt Skiba (vocals/guitar). Since their humble beginnings in 1992 in San Diego, blink-182 have sold over fifty million albums worldwide and rocked audiences around the globe, becoming one of the defining and inspirational rock bands of their generation.
Roots of Sublime [RSD BF 2019]
Vinyl: $29.98 Buy
A band of Long Beach rag-tag punks created a revolutionary blend of music that brought together a community of reggae, tattooed-punks, Rastafarians, surfers, Chicanos, hip-hoppers and others to define an entire era and lifestyle that lives on now more than ever.
This collection celebrates the musical heroes and influences that inspired Sublime by pairing up their version with the original musical recording. RESPECT YOUR ROOTS
SUBLIME - "Foolish Fool"
DEE DEE WARWICK - "Foolish Fool"
SUBLIME - "Pawn Shop"
WAILING SOULS - "War Deh Round A John Shop"
SUBLIME - "Rivers of Babylon"
MELODIANS - "Rivers of Babylon"
SUBLIME - "I Love My Dog"
BAD BRAINS - "I Luv I Jah"
Live At Easy Street [RSD 2019]
Vinyl: $31.99 Buy
Pearl Jam's live performance at Seattle's Easy Street Records in 2005 now available on vinyl for RSD 2019, for which they are the AMBASSADORS
1) 1/2 Full 2) Lukin 3) American In Me 4) Save You 5) Bleed For Me 6) The New World 7) Porch
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2LP – Double Vinyl w/ 3-sides audio and 1-side etched; includes 32-page booklet
Pearl Jam will release their much-anticipated eleventh studio album, Gigaton, on March 27th. It marks the band's first studio album since 2013. "Making this record was a long journey," explains Mike McCready. "It was emotionally dark and confusing at times, but also an exciting and experimental road map to musical redemption." 2020 officially marks 30 years of Pearl Jam performing live, with over 85 million albums sold worldwide and a 2017 induction into the Rock and Roll Hall of Fame.
Enhanced with PlayARt - Augmented Reality
The story of Seattle's rise to global rock supremacy in the late '80s and early '90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12”s and a 7” single during its brief existence. Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind. "By '83, '84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for My War," says Arm. "The Replacements and Butthole Surfers were rearing their heads, and they're very different bands, but they're not hardcore—the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really interesting post-hardcore things were happening." Green River, which formed in 1984, was part of that evolution, with a sound that straddled a lot of different genres—blues, punk, bloozy straight-ahead rock. The mini-LP Dry As A Bone, which came out in 1987, and the band's lone full-length Rehab Doll, which came out in 1988, were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's "Queen Bitch" and their marauding version of Dead Boys' "Ain't Nothin' to Do," in 1990—but they've been unavailable on vinyl for years. Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades. Dry As A Bone was recorded at Jack Endino's Reciprocal Recording in 1986, and it shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's ferocious guitar playing on "This Town" and "Unwind" opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green River's cuts from the crucial Seattle-scene compilation Deep Six, as well as long-lost songs that were recorded to the now-archaic format Betamax. Rehab Doll, recorded largely at Seattle's Steve Lawson Studios., bridges the gap between the taut, punky energy of Dry As a Bone and the bigger drums and thicker riffs that were coming to dominate rock in the late '80s. This new edition of Rehab Doll includes a version of “Swallow My Pride” recorded to 8-track at Endino's Reciprocal Recording, which features a more accurate depiction of how the band sounded when they played live. "When I listen to these mixes, I think, 'This is how we actually sounded—this is the kind of energy we had,'" says Shumway. Green River's place in American music history is without question, but these recordings paint a more complete picture of the band—and of rock in the mid- to late-'80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
Riot Act [LP]
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