• The group features Ian MacKaye, his Fugazi bandmate Joe Lally, and his Evens bandmate Amy Farina. On this self-titled debut each of the musicians share singing responsibilities. The lead track, Clean Kill, is a deceptively warm-sounding song about political corruption. It’s a clean kill, but it’s not clean, the band members sing in unison on the chorus. It’s unmistakably the work of Ian MacKaye, probably closer to The Evens than to any of his other projects, but with a bit more of that Fugazi-esque grit in the mix. It’s a very cool first track. (Dischord Records) https://coriky.bandcamp.com/album/coriky
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    FUGAZI | the argument | LP

    20.00 incl. tax
    2001’s The Argument was the final Fugazi album before the band took an extended and possibly permanent hiatus. It’s easy to see why the venerated D.C. group would be comfortable closing its career here; The Argument brings its four players full circle. Guy Picciotto’s “Full Disclosure” and Ian MacKaye’s “Epic Problem” give the album two songs—one from each frontman—that reconnect to the bracing physicality that defined Fugazi in its earliest years. At the same time, the album marks the final step of the group’s long trek to extricate itself from its early punk roots. With deep dub inflections and whispering piano, “The Kill” and “Strangelight” might make listeners think that film composing should be the band’s next chapter. As has always been the case with Fugazi, the songs that blend extremes stand out from the pack. “Cashout,” “Life and Limb,” and “The Argument” join the ranks of the group’s classic songs. (Dischord Records)
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    Including the first ever versions of songs like: Twist Of Cain, Am I Demon?, Possession and others. 9 anthems recovered from long lost tapes (not available anywhere else before) that gave birth to a record that is considered one of the best Metal albums of all time. The lost demos from Glen Danzig's pre-self-titled debut album in 1987. The first sketches and fully developed songs of some of the more remarkable classics in Danzig's career. This Release came in a least 4 different colors of vinyl. This is the Red Vinyl. Τracklist A1     Twist Of Cain A2     Feel It (Am I Demon?) A3     Possession A4     When Death Had No Name (Mortal Sin) B1     Trouble (I'm Evil) (Elvis Presley Cover) B2     Waiting On The Summer (Soul On Fire) B3     Die For The Demon (Night Of Hate) B4     Chaos (Descent) B5     Trouble (I'm Evil) v.2 (Yellow Dog Records/Unofficial)
  • 'Push the sky away' is the fifteenth studio album by nick cave and the bad seeds. at the heart of 'push the sky away' is a naturalism and warmth that makes it the most subtly beautiful of all the bad seeds albums. the contemporary settings of myths, and the cultural references that have time-stamped nick's songs of the twenty-first century mist lightly through details drawn from the life he observed around his seaside home, through the tall windows on the album's mysterious and ambiguous cover. 'push the sky away' has a clarity and sweet strangeness that's built upon the refusal to accept limitations, whether they be the traditional uses and sounds of musical instruments, lyric styles, or diminished spiritual horizons. Printed inner sleeve with lyrics. Contains code for digital mp3 album download. (Bad Seed Ltd.)
  • DAVID BOWIE | low | LP

    20.00 incl. tax
    2018 Remastered Version. The first of Bowie's legendary Berlin trilogy and the one that broke the most ground. It also caused so much consternation in the NME offices that they ran two reviews, one praising it to the skies, the other bewildered by Bowie's move towards the chilly electronic sounds that bore the influence of krautrock, particularly that of Kraftwerk and Neu! Collaborating with Brian Eno and produced by the genius Tony Visconti, Low is an album of two distinct halves. Side one ( in old money) is full of quirky oddball pop vignettes, the highlight being the incredible Sound and Vision, a hit for Bowie in 1977. Side two was the side which upset some people, four long icy instrumentals evoking the spirit of the city of Berlin, split into two halves by the wall, and the mood of the eastern bloc in general (see Warszawa). Now, of course, these tracks are seen as a blueprint for much that was to come over the following decade, and even furter, but at the time, it so so surprising and so groundbreaking that many didn't know what to make of it. (Parlophone Records)
  • Remastered and reisssued on Anti. Blue Valentine (1978) is a big departure from earlier Waits albums. Trading the piano for the guitar, Waits is getting rawer and bluesier and the title track is a great example of this. Waits is in transition here, so you also get a stunning orchestrated rendition of Gershwin’s Somewhere, and the beautiful piano ballad, Kentucky Ave., but you also get the juke joint swagger of Romeo Is Bleeding and Whistlin’ Past the Graveyard. This is also the record that contains one of Waits’ most popular songs ever, Christmas Card from A Hooker in Minneapolis. LP - 180 Gram Black Vinyl housed in Gatefold Sleeve with Download. (Epitaph Records)
  • Marquee Moon is a revolutionary album, but it's a subtle, understated revolution. Without question, it is a guitar rock album -- it's astonishing to hear the interplay between Tom Verlaine and Richard Lloyd -- but it is a guitar rock album unlike any other. Where their predecessors in the New York punk scene, most notably the Velvet Underground, had fused blues structures with avant-garde flourishes, Television completely strip away any sense of swing or groove, even when they are playing standard three-chord changes. Marquee Moon is comprised entirely of tense garage rockers that spiral into heady intellectual territory, which is achieved through the group's long, interweaving instrumental sections, not through Verlaine's words. That alone made Marquee Moon a trailblazing album -- it's impossible to imagine post-punk soundscapes without it. Of course, it wouldn't have had such an impact if Verlaine hadn't written an excellent set of songs that conveyed a fractured urban mythology unlike any of his contemporaries. From the nervy opener, "See No Evil," to the majestic title track, there is simply not a bad song on the entire record. And what has kept Marquee Moon fresh over the years is how Television flesh out Verlaine's poetry into sweeping sonic epics. It is impossible that 'post punk' would have happened without this album. (Eletra/Rhino Records)
  • Presence is the seventh studio album by the English rock band Led Zeppelin, released by Swan Song Records on 31 March 1976. The sticker on the front cover reads: THE CLASSIC 1976 ALBUM ON 180G VINYL Includes "Achilles Last Stand" and "Nobody's Fault But Mine" Remastered & Produced by Jimmy Page. The cover has embossed writings: "LED ZEPPELIN PRESENCE" on top right corner of the front cover and The Swan Song symbol on the bottom left corner of the rear cover. Includes insert. (Swan Song)
  • Houses of the Holy is the fifth studio album by the English rock band Led Zeppelin. It was released on 28 March 1973 by Atlantic Records. 180gr vinyl in gatefold sleeve sealed. Includes 11" x 11" thick velum style paper insert with lyrics and band line-up (Atlantic/2014)
  • In Through the Out Door is the eighth and final studio album by the English rock band Led Zeppelin. It was recorded over a three-week period in November and December 1978 at ABBA's Polar Studios in Stockholm, Sweden, and released by Swan Song Records on 15 August 1979. This is the final album released prior to the death of drummer John Bonham in 1980, shortly after which the group decided to disband. The original album had an outer sleeve which was made to look like a plain brown paper bag. Each cover showed an alternate angle of a man in a bar. The scenario has been photographed from 6 different viewpoints within the bar and then 6 different sleeve variations have been created (with the letters A - F at the top of the spine denoting each variation). The inner sleeve features a 'magic' ink in different colours which appear on the design when gently wetting. Comes in a brown paper bag. (Swan Song/2015)
  • LED ZEPELLIN | IV | LP

    20.00 incl. tax
    The untitled fourth studio album by the English rock band Led Zeppelin, commonly known as Led Zeppelin IV, was released on 8 November 1971 by Atlantic Records. It was produced by guitarist Jimmy Page and recorded between December 1970 and February 1971, mostly in the country house Headley Grange. The album is notable for featuring "Stairway to Heaven", which has been described as the band's signature song. 180gr vinyl in gatefold sleeve with insert. (Atlantic/2014)
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    Jackie Brown: Music from the Miramax Motion Picture is the soundtrack to Quentin Tarantino's motion picture Jackie Brown. It was originally released on December 9, 1997. The film's score was composed by James Newton Howard. The soundtrack uses a variety of music genres, including soul. The soundtrack also includes dialogue from the motion picture and a lack of typical film score, similar to the other soundtracks of Tarantino films. (A Band Apart/Warner Bros.Records‎/Maverick/2016)
  • With their 1978 eponymous debut, Van Halen simultaneously rewrote the rules of rock guitar and hard rock in general. Guitarist Eddie Van Halen redefined what the electric guitar could do, developing a blindingly fast technique with a variety of self-taught two-handed tapping, hammer-ons, pull-offs, and effects that mimicked the sounds of machines and animals. It was wildly inventive and over the top, equaled only by vocalist David Lee Roth, who brought the role of a metal singer to near-performance art standards. Roth wasn't blessed with great technique, unlike Eddie, but he had a flair for showmanship derived as much from lounge performers as Robert Plant. Together, they made Van Halen into the most popular American rock & roll band of the late '70s and early '80s, and in the process set the template for hard rock and heavy metal for the '80s. ReMastered From The Original Analog Tapes. 180g Vinyl (Warner Bros/2019)
  • The Black Keys’ long-awaited ninth studio album, "Let’s Rock," their first in five years, is a return to the straightforward rock of the singer / guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single "Lo/Hi". Let’s Rock was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to. (Nonesuch/2019)‎
  • In 2019, Bob Mould bucked the era’s despair with his melodic, upbeat album Sunshine Rock. Cut to spring 2020, and he has this to say: “We’re really in deep shit now.” That sentiment informs his new full-length album, Blue Hearts, the raging-but-catchy yin to Sunshine Rock’s yang.
    To be sure, we were in some shit in 2018, when Mould recorded Sunshine Rock. Back then, he had a song called “American Crisis” that didn’t fit the album. “That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown.
    “American Crisis” is the third song in a walloping album that spits plainspoken fire at the people who fomented this crisis. “This is the catchiest batch of protest songs I’ve ever written in one sitting,” he says. Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”
    Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.” Back then, Mould was a selfdescribed “22-year-old closeted gay man” touring with the legendary Hüsker Dü and seeing an epidemic consume his community. Leaders were content to let AIDS kill a generation. Mould later realized why his mind wandered back there for Blue Hearts. “We have a charismatic, telegenic, say-anything leader being propped up by evangelicals,” he says. “These fuckers tried to kill me once. They didn’t do it. They scared me. I didn’t do enough. Guess what? I’m back, and we’re back here again. And
    I’m not going to sit quietly this time and worry about alienating anyone.”
    Recorded at the famed Electrical Audio in Chicago with Beau Sorenson engineering and Mould producing, Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day. Acoustic opener “Heart on My Sleeve” catalogues the ravages of climate change. “Next Generation” worries for who comes next. “American Crisis” references “Evangelical ISIS” and features this dagger of a line: “Pro-life, pro-life until you make it in someone else’s wife.”
    “Leather Dreams,” “Password to My Soul,” and “The Ocean” were composed during a writing binge before a January 2020 Solo Electric tour, when Mould stayed up for three straight days. “Songs just kept coming out,” he says. “‘Leather Dreams’ and ‘The Ocean’ both appeared within hours. I barely remember writing them.”
    That feels right for an explosive, hook-laden album like Blue Hearts. Only there’s nothing forgettable about it. (Merge Records)
  • The cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet Bob Mould calls his new album Sunshine Rock. It's not because Mould - whose face belongs on the Mount Rushmore of alternative music - likes the current administration. His decision to "write to the sunshine," as he describes it, comes from a more personal place - a place found in Berlin, Germany, where he's spent the majority of the last three years. Here Mould would draw inspiration from the new environments. "Almost four years ago, I made plans for an extended break," Mould explains. "I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift." "To go from [2011 autobiography] See a Little Light to the last three albums, two of which were informed by loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, "Try to think about good things." Otherwise I could really go down a long, dark hole," he says. "I'm trying to keep things brighter these days as a way to stay alive."
    (Merge Records)
  • 40th Anniversary reissue of the first album featuring Nick Cave, before the band’s name morphed into The Birthday Party and prior to the formation of his next band, Nick Cave and the Bad Seeds. Includes the classic “Shivers,” which has recently been covered by the likes of Cat Power and Courtney Barnett, to name a few. Door, Door' basically is the debut album by The Birthday Party, though it was originally released under the name The Boys Next Door in 1979. The album was recorded before the band left Australia for London in 1980, at which point they changed their name to The Birthday Party and created the body of work for which they are most recognized. The album is different stylistically from their later work, being less dark and slightly more poppy. This will be the first time the album will be issued on vinyl in many territories including the U.S. (Warner Music Australia)
  • L7 is an American punk rock band from Los Angeles, often associated with the grunge movement of the late 1980s and early 1990s. They released their fourth studio album Hungry for Stink in 1994. Album's single “Andres” charted in the UK, USA, and Australia. Vocalist Donita Sparks' growls and howls were at their prime on this record. Their music is fast, dirty, and profound. 180 gram audiophile vinyl Insert (Music on Vinyl Record)
  • Bob Mould returns with his next solo album titled 'Patch the Sky' via Merge Records. It is both his darkest and catchiest work. While written in solitude, Mould is backed on the record by longtime drummer Jon Wurster (Superchunk, Mountain Goats) and bassist Jason Narducy (Split Single). The first side of the LP is simple and catchy whilst he back-half of the record heavier in spirit and tone. (Merge Records)
  • Out of stock
    An album Maximum Rock 'N' Roll deemed not punk enough to review, Unwound's 1994 sophomore effort was a lethal depth charge aimed at major label grunge and independent hardcore alike. From the off-kilter, vertiginous rhythm of "Entirely Different Matters" to the neck-snapping velocity of "What Was Wound" to the relentless pounding at the end of "All Souls Day," New Plastic Ideas is the Sonic Youth-loving older sister to Fake Train's post-punk-obsessed little brother. (Numero Group Records)
  • Out of stock

    UNWOUND | fake train | LP

    21.00 incl. tax
    After the Pacific Northwest grunge raids of the early ’90s that saw Nirvana, Mudhoney, and even the Melvins hoisted up the major label flagpole, Unwound’s 1993 debut came as a welcomed reprieve for underground noise-niks everywhere. A pulsing cluster of wiry feedback, lurching bass, and single stroke rolls, Fake Train entangles the energies of frustrated backpack emo, faded Riot Grrrl back issues, and their own dash of teen spirit and unleashes it all in an earsplitting 10-song assault. (Numero Group Records)
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    DANZIG | danzig 4 | 2xLP

    21.00 incl. tax
    Danzig 4, also titled Danzig 4P, is the fourth studio album by American heavy metal band Danzig. Released in 1994, it was the band's final album on American Recordings, and the last to feature the original lineup of John Christ (guitar), Eerie Von (bass), and Chuck Biscuits (drums). Danzig 4 followed 1993's highly successful Thrall: Demonsweatlive EP and singer Glenn Danzig's 1992 instrumental solo effort, Black Aria. (Def American Recordings/Unofficial Release)
  • PORTISHEAD | dummy | LP

    21.00 incl. tax
    Portishead are an English band formed in 1991 in Bristol. They are often considered one of the pioneers of trip hop music. The band is named after the nearby town of the same name, eight miles west of Bristol, along the coast. Portishead consists of Geoff Barrow, Beth Gibbons and Adrian Utley, while sometimes citing a fourth member, Dave McDonald, an engineer on their first records. Their debut album, Dummy, was met with critical acclaim in 1994, quickly becoming a landmark album in the trip hop genre. Two other studio albums have been issued: Portishead in 1997 and Third in 2008, both of which received similar acclaim. In 1998, the band released a concert album, Roseland NYC Live. (Go! Beat)
  • Color Vinyl
    Hold Me Up is the third studio album by American rock band Goo Goo Dolls, originally released in 1990 by Metal Blade Records. It marked the beginning of John Rzeznik's emergence as the band's principal lead vocalist. The album features the band's first single "There You Are." (Metal Blade Records)
  • Jed is the second studio album by Goo Goo Dolls, originally released in 1989 by Metal Blade Records. It was the band's first album in which John Rzeznik sang vocals for some of the tracks; the majority of the songs are sung by Robby Takac, with Rzeznik taking over for two ("Up Yours" and "James Dean"). The album was named after painter Jed Jackson, who was Robby Takac's art teacher at Medaille College and who painted the cover artwork, which is entitled "Arkansas Sunset". (Metal Blade Records)