Sorry to inform all you hopefuls holding out, but the RP1 has been claimed. But, good news, Rega is running a killer promo this month, $200 off of the Planar 1, Planar 2, and Brio amp, making them very nicely priced. We’ve got a bunch showing up tomorrow, but interest is already high, so don’t wait too long to take advantage of this deal.
…..picks of the week…..
Maria Teresa Luciani: Sounds of the City (Finders Keepers) LP
Welcome to the parallel musical universe of Miss Maria Teresa Luciani, a landscape of sonic architecture and theoretical composition constructed by a family of engineers that reinvented the wheel before the vehicle even began the journey. Imagine, if you will, the musical equivalent of Peter Cook’s Archigram group or the soundtrack to Charles and Ray Eames’ private sketchbooks, hinting at a new municipal, utopian metropolis just hours before the blueprints are suspiciously misplaced by the courier and mainstream pop building regulations piss on our asbestos bonfire. These 1972 constructions of progressive, cyclic, proto-industrial colour music were never intended for public habitation. These are the Sounds Of The City in a galaxy far, far beneath our radar and above your expectations that was never built. Pseudo-futurist pop music? Cubic folk? Tape-op-art? Sì, grazie! Before the needle hits the first groove, the story of Maria Teresa Luciani reads like an Alphaville caper full of foreign intrigue, low intensity identification fraud, secret codes, family bonds, mistrust and wanderlust… Naturally, you are holding a genuine Finders Keepers article. To say this rare Italian concept album is “unbelievable” is justified on multiple levels. This multi-storey storage facility of found sounds, radiophonic samples, tape loops, early electronic music experiments, mechanical folk, cinematic vision, sound design, educated music theory, political pop and high concept art-as-noise successfully layers more musical ideas within its unique structure than one would think possible for a solo artist within any musical genre. This is why Sounds Of The City presents us with a brand new genre defying compositional framework, pre-dating sampling culture, cut ‘n’ paste plunderism and industrial music in the process. Pre-digital, indefinable and genuinely unbelievable. But who is Maria Teresa Luciani? On hearing this record respected collectors and enthusiasts have suggested “the female answer to Basil Kirchin,” or “the Italian Daphne Oram”. Both with justified cause. Mystery, myth, legend, teacher, artist, inventor, author, musician, psychologist, daughter, and (possibly most importantly) sister.
File Under: Ambient, Experimental, OST
Tom Rogerson & Brian Eno: Finding Shore (Dead Oceans) LP
Tom Rogerson’s new solo album Finding Shore features 13 elegant and evocative tracks assembled in collaboration with Brian Eno. Finding Shore is the sound of Rogerson distilling the essence of what he does after a protracted musical journey from childhood up until now. He took the traditional route of music lessons and learning notation before starting composing “properly.” Eno’s influence on Finding Shore was to enable Rogerson to overcome his fear of committing to any one piece and turning it into an album, an issue he says he shares with many improvisers. Eno suggested that they try experimenting with the Piano Bar, an obscure piece of musical equipment. This works by using infrared beams focused on each piano key. These are then broken as the keys are played, transforming the piano’s note into a midi signal that can then be used to trigger or generate new, digital sound. “It immediately puts a frame around what I do, which is what all improvisers need,” Rogerson says. The first day in the studio was instructional in terms of what was to come. Eno had already mic’d up a piano and asked Rogerson to do what he’d normally do at a gig. Rogerson describes what he played as “very emotional, very cathartic, me wailing and screaming, getting quite out there. I thought ‘wow that was just such a perfect 45 minute thing we could just release that’.” But Eno had other ideas, eventually zooming in on just 30 seconds of music, cutting it up and looping it to a form inspired by Eric Satie. The result is the three-minute-long “An Iken Loop,” which is now Rogerson’s favorite on the record. Other Eno-devised systems included playing along to an arpeggiator, cut-ups of chord sequences written down and pulled out of a hat, or placing Midi and physical sounds in juxtaposition. “It was never anything other than pleasurable,” says Rogerson of the experience. “We had plenty of experiments that didn’t work, but it never feels like you’re failing. He’s quite egoless as well about his own ideas.”.
File Under: Ambient, Classical
Nahid Akhtar: I Am Black Beauty (Finders Keepers) LP
“I am black beauty… love me!” A forthright enough request, one would think, from an artist whose music was indeed loved, revered and which played a hugely influential and omnipresent role in Lahore’s vibrant cinematic patchwork that covered the late 1970s and early 1980s. However, until now, it seems that this lost love letter to a potential global audience of millions of sonic suitors has been caught up in the pesky Pakistani postal system. Nahid Akhtar needs a connection. Don’t blame the Khyber Mail. In a neat and tidy career that spanned exactly ten years, Nahid Akhtar came, saw and conquered, then relatively disappeared without even thinking about buying the t-shirt. Disrobing the vibrant finery that interweaved textures of Ghazals, classical music, Punjabi folk songs and Qawwalis (not forgetting a wide range of progressive pop music penned for the Pakistani picture house) from which this records track list is lovingly gathered. It is virtually unfathomable that the multifarious music of Nahid Akhtar, combining textures, tempos, technologies, global influences and multi-cultural languages (and all this within the opening seconds of a song!), didn’t open the door to international stardom to match that of Asha Bhosle or Lata Mangeshkar from India. In the last few years the music of Lollywood’s golden era has enjoyed a marked resurgence amongst outernational music fans, with labels like Finders Keepers remastering and compiling the work of the Tafo Brothers and M. Ashraf for a global market with wide critical acclaim. Hopefully, with this collection as a sturdy stepping stone to a widely rewarding expanse of further listening, the music of Nahid Akhtar can find a place alongside your favourite international songbirds and her original love letters to the world of music will command a much justified RSVP.
File Under: World, OST
Beastie Boys: In Sound From Way Out (Capitol) LP
In tomorrow… The Beastie Boys were once upon a time the court jesters of rap. Wearing the label loud and proud, the New York trio lived by their own set of rules and ignited controversy wherever they set foot. Besides their daring-to-be-different and non-conforming attitudes, Adam “Ad-Rock” Horovitz, Michael “Mike D” Diamond and Adam “MCA” Yauch were considered pretty influential musicians too – the group were inducted into the Rock and Roll Hall of Fame in 2012. The group’s excellent 1996 compilation The In Sound From Way Out! (which pays homage to the title and cover of Perrey and Kingsley’s 1966 Vanguard album) shows off some of those musical chops and collects funky instrumentals from Check Your Head and Ill Communication plus a few new cuts.
File Under: Hip Hop
Bjork: Utopia (One Little Indian) LP
Bjork returns on One Little Indian Records with her ninth studio effort Utopia, co-produced by Venezuelan DJ Arca. It follows-up her 2015 breakup record Vulnicura and celebrates her reemergance on the other side of heartache. “The last album, we sort of call it ‘hell’ – it was like divorce. So we are doing paradise now. Utopia,” the enigmatic artist explains. “Vulnicura was about a very personal loss, and I think this new album is about a love that’s even greater. It’s about rediscovering love – but in a spiritual way…” Transcendent lead single “The Gate” serves as a fitting introduction to a record about Bjork’s romantic renaissance. The eye-catching cover art was designed by artist Jesse Kanda with creative direction from Björk and her longtime collaborator James Merry.
File Under: Experimental, Pop, Electronic
Boris: Live at Third Man (Third Man) LP
There’s no better way to celebrate the 10-year anniversary of your best record than playing it in full, 19 nights in a row. Hailing from Tokyo, beloved psych-doom shredders Boris performed their critically acclaimed album Pink in full, live in the Blue Room at Third Man Records. They recorded it direct to 8 track, 2″ tape, providing an incredibly high fidelity document of an unforgettable night. Local weekly The Nashville Scene reviewed this show as “at least in that moment…by far the greatest show Third Man Records has hosted to date.” It’s hard to disagree. Atsuo, Takeshi and Wata filled the room with foreboding smoke, dark red light reflecting off of the blue walls and, to this date, was Third Man’s loudest performance yet. This is almost certainly the only time that they handed out and required earplugs for every single audience member upon entry. And now you can keep the celebration of Pink going with the choicest tracks of the night – get this record!
File Under: Metal
Butthole Surfers: Locust Abortion Technician
(5 Music) 10″
Butthole Surfers first release since the 2007 compilation Pioughd/Widowermaker is a vinyl reissue of the band’s masterful 1987 EP Locust Abortion Technician, considered a 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. It reached No. 3 on the UK Indie Chart and its influence led to the birth of grunge music.
File Under: Punk, Experimental
Suzanne Ciani: Help, Help, The Globolinks! (Finders Keepers) LP
As faithful guardians of the Ciani Musica Inc. studio vault Finders Keepers Records twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in the history of multi-disciplinary electronic music. Open-minded, unpretentious, enigmatic and consistently inspiring, Suzanne Elizabeth Ciani would shatter the mould and invert the stereotype of electronic composers in the early 1970s with a bona fide education in classical music, a clear understanding of technology and a genuine will to communicate and naturalise electronic music. All of these unique attributes, coupled with her natural charm and generosity, would win her success and notoriety in the colliding worlds of art, film, advertising, theatre, dance and eventually popular recorded music in the latter part of the 21st century – a multifarious achievement which remained unrivalled by any of her contemporaries, regardless of gender, conquering many male-dominated platforms and breaking creative ground in the process. It is exactly these key factors that would form the basis for this multifaceted musical project that is stored within the grooves of the record you are now holding. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theatre production for children of all ages not only further reveals Suzanne’s vibrant and versatile skills as an experimental musician and narrative sound designer but also highlights her European heritage – working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department). Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the 80s which called for a new approach to the music and sound effects – all of which would make their world premier in New York high school theatres in April of 1980. “I was honoured to have been selected to create a new electronic score for Gian Carlo Menotti’s opera for children,” Suzanne told Finders Keepers. “The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production.” For this task Suzanne would approach the brief with the same zeal and tenacity that she continues to apply to all her work by reinventing the process, challenging convention and supplying the audience with something they have never experienced before. For Help, Help The Globolinks Ciani would give Menotti’s well-travelled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality quite potentially overshadowing the “human” casts exceptional abilities and challenging the director’s and writer’s authority in true Ciani style: “I recall meeting with Maestro Menotti at his home in New York City,” recalls Suzanne. “Later I was told that he was upset by the size of my credit on the poster.” Unlike many successful electronic composers, Suzanne, as a serious and genuinely revolutionary artist, managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema (Swiss composer Bruno Spoerri readily observes that all the best space film scores veered from this pairing) but within the realms of opera and education Suzanne found her perfect channel (scratching her other cosmic cinematic itches with android music in The Stepford Wives and as “the first female composer to score a major Hollywood movie” with The Incredible Shrinking Woman release one year after The Globolinks redux debut). Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl’s Aniara or Remi Gassman’s Electronics for family consumption, this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Having honed her craft in the close company of late synthesiser designer Don Buchla (a company of whose development she played a key role) it is plain to see how the young Suzanne Ciani combined roles as an abstract artist and an astute technician in equal measures, a rare duplicity which would be essential The Globolinks and all our musical quests for a brighter future.
File Under: Electronic, OST
Earth: Live at Third Man (Third Man) LP
The Blue Room at Third Man shook with the sludge-drone majesty of Olympia, Washington’s Earth. Anchored by wife-husband duo Adrienne Davies and Dylan Carlson, this band has an integral spot in American music by bringing a low-frequency uproar and six-string extremism to the forefront of the experimental, punk metal underground. More concisely, they are widely considered the pioneers of drone metal. The band built their reputation on widely respected albums, starting with Sub Pop and moving to current home Southern Lord. Using the device of repetition, the band disarms and transforms first impressions with a performance so plodding and insistent that each song is stretched to its limits. The set spanned their catalog with four first-class compositions, employing powerful guitar drones and Davies’ precise, slow-motion percussion swirling throughout.
File Under: Metal, Stoner
Gokcen Kaynatan: s/t (Finders Keepers) LP
The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside İlhan Mimaroǧlu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s – sending teenagers wild with his custom built guitars and back lines – helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey’s first national television channel TRT 1. Despite having a modest discography of only four 7” singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan’s pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles – including a never before heard extended version of Evren – as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 – most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.
File Under: Turkish, Electronic, Funk, Psych
Pearl Jam: Binaural (Legacy) LP
With ex-Soundgarden drummer Matt Cameron replacing Jack Irons, Pearl Jam cut their sixth LP, Binaural, in 2000. The record’s title referred to new producer Tchad Blake’s adoption of the binaural recording technique, wherein two microphones are used simultaneously to try and simulate the experience of being in the room with the band. Lyrically, this dark, brooding album frequently railed against injustice, with tracks such as Eddie Vedder’s “Grievance” inspired by the anti-corporate World Trade Organization protests in Seattle in 1999 and Stone Gossard’s “Rival” based on the Columbine High School massacre. Going gold, Binaural peaked at No. 2 on the Billboard 200.
File Under: Rock
Pearl Jam: Riot Act (Legacy) LP
In tomorrow… Devastated by the tragic death of nine fans during their set at Denmark’s Roskilde Festival in 2000 and the September 11, 2001 terrorist attacks, Pearl Jam considered splitting up, but eventually poured their emotions into the making of their seventh album, 2002’s Riot Act. Perhaps inevitably, ruminations on death loomed large in the record’s lyrics, though the gold-certified album also included some of the band’s most sublime material, courtesy of the folksy “I Am Mine,” the Beatles-y psychedelia of “Love Boat Captain” and the looming art-rock of “Save You.”
File Under: Rock
Pearl Jam: s/t (Legacy) LP
In tomorrow… Having concluded their Epic contract with the self-explanatory anthology set Rearviewmirror (Greatest Hits 1991-2003), Pearl Jam initially opted to self-release new records, including the single “Man Of The Hour” and rarities collection Lost Dogs. Eventually, however, they signed a short-term deal with Sony subsidiary J Records for 2006’s long-awaited Pearl Jam (aka Avocado), an exhilarating hard rock album which Rolling Stone cogently declared was “as big and brash in fuzz and backbone as Led Zeppelin’s Presence.” With the band’s loyal fanbase in wholehearted agreement and the impassioned singles “World Wide Suicide,” “Life Wasted” and “Gone” in rotation, Pearl Jam debuted at No. 2 on the Billboard 200 and climbed to No. 5 in the U.K.
File Under: Rock
Pile: Live at Third Man (Third Man) LP
Prominent members of the Boston music scene and post-rock specialists, Pile began as the brainchild (and solo project) of Rick Maguire in 2007. In it’s earliest incarnations, the songs were the broken bones of bigger ideas: the impassioned, ramshackle work of one dude with a momentous sense of riff and mood. In the time between then and now, the band has enjoyed a steady output and expanded to include Kris Kuss, Matt Connery, Matt Becker and, from time to time, Chappy Hull. In the Spring of 2017, their new critically-acclaimed LP A Hairshirt of Purpose was given a rare 10/10 by The AV Club, citing the record is “still pushing the (rock music) form to its outermost limits,” and fortunately, Third Man’s live LP was recorded right after its release, capturing them at a distinctly creative peak and unparalleled energy. This record is somehow chilling and explosive – to say nothing of a surprise Blonde Redhead cover. It stands shoulder to shoulder with the rest of their catalog and will no doubt remain a shining example of Third Man live series for years to come.
File Under: Rock
Chris Stapleton: From a Room Vol 2 (Mercury) LP
Chris Stapleton’s From A Room: Volume 2 takes its name from Nashville’s historic RCA Studio A (the capital “A” in From A Room) where it was recorded with Grammy Award-winning producer Dave Cobb. Along with Stapleton on vocals and guitar and Cobb on acoustic guitar, the album features Morgane Stapleton on harmony vocals as well as longtime band-members J.T. Cure on bass and Derek Mixon on drums. In addition to seven songs co-written by Stapleton, the album features versions of Kevin Welch’s “Millionaire” and the Homer Banks/Lester Snell-penned song made famous by Pops Staples, “Friendship.” Volume 2 follows the release of From A Room: Volume 1, which debuted earlier this year at #1 on the Billboard Country Albums chart, #2 on the Billboard Top 200 chart and, with its RIAA Gold certification, remains the #1 best-selling country album of 2017. Stapleton’s 2015 double platinum, Grammy-winning solo debut, Traveller, is currently the #2 best-selling country album of the year.
File Under: Country
Sza: CTRL (Sony) LP
In tomorrow… SZA, one of the redefining voices of today’s contemporary music era, entered the music scene in 2012 with her first critically acclaimed EP, See.SZA.Run. Following that, she released S in 2013 and Z in 2014, both to rave reviews. In 2013, SZA signed to Top Dawg Entertainment, being the first female artist to join the label. SZA wrote and performed on Rihanna’s Anti single “Consideration” in 2016 and helped write Nicki Minaj and Beyonce’s “Feelin Myself” in 2014. Born in Maplewood, NJ as Solána Rowe, SZA grew up listening to classic and avant-garde jazz, alternative, and rap. She renamed herself finding inspiration within the Supreme Alphabet: the ‘S’ stands for savior or sovereign, the ‘Z’ for zig-zag, and the ‘A’ for Allah. On the strength of hit lead single “Love Galore,” SZA’s major label debut Ctrl claimed the No. 3 spot on the Billboard 200 albums chart and entered at No. 1 on Billboard’s R&B Albums and No. 2 on the R&B/Hip Hop Albums charts. The long-awaited Ctrl is revered for its raw and honest lyrics and features guest appearances by Kendrick Lamar, Travis Scott, James Fauntleroy and Isaiah Rashad. Noisey describes Ctrl as “14 tracks of the dreamy R&B lusciousness that we’ve come to know and love the New Jersey singer-songwriter for.” NPR calls Ctrl “a resolutely confident and skillful R&B album that explores the notions of control and honesty,” while The Shade Room proclaims, “‘Ctrl’ is actuals! Imagine ‘The Miseducation of Lauryn Hill’ tailored for our generation.”
File Under: Funk, Soul
U-Men: s/t (Sub Pop) Box
“The U-Men are one of the best bands I’ve ever seen. They were hypnotic, frenetic, powerful and compelling. It was impossible to resist getting sucked into their weird, darkly absurd world. They effortlessly blended The Sonics, Link Wray, Pere Ubu, and Captain Beefheart. Their shows were loose-limbed, drunken dance parties and no two shows were alike. The U-Men were avant-garage explorers and, most importantly, they fucking rocked. I was lucky enough to live in their hometown and I saw them every chance I could. “From 1983 to 1987, the U-Men were the undisputed kings of the Seattle Underground. No one else came close. They ruled a bleak backwater landscape populated by maybe 200 people. They were the only band that could unify the disparate sub-subcultures and get all 200 of those people to fill a room. Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate punks who shit in bathtubs at parties; Mod vigilantes who tormented the homeless with pellet guns; college kids who thought college kids were lame; Industrial Artistes; some random guy with a moustache; and eccentrics who insisted that they couldn’t be pigeonholed: all coalesced around the U-Men. “Sub Pop co-founder, Bruce Pavitt released the first record by the U-Men, a 4-song 12″ EP on Bombshelter Records. By the time they had recorded songs for another record, Bruce was too broke to release it on his proto-Sub Pop label, so he hooked them up with Gerard Cosloy at Homestead Records. This was a big deal. Homestead had a heavy rep at the time with recent releases by Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that the release of their second 12”, Stop Spinning, would propel the U-Men into the ranks of those. “Homestead acts and the worldwide underground would get hip to Seattle’s finest. Following the departure of bassist Jim Tillman (replaced by Tom Hazelmyer of Amphetamine Reptile Records, and then Tony Ransome), the band recorded two fantastic singles, and recorded their one full-length album, Step on a Bug, for Black Label, which was run out of Fallout Records. They became increasingly disenchanted with the direction the Seattle underground was heading and called it quits in 1989. “The U-Men had nothing to do with grunge. They were their own unique thing. I loved them and I still miss them. I remember thinking at the time that most of their recordings were a little soft and didn’t capture the power of the band live. Now, thirty years later, their records sound great to me and we are lucky that they exist. I’m stoked that Sub Pop complied these long out-of-print records and scrounged up some unreleased songs so that everyone has a chance to take a trip back to old weird Seattle.” – Mark Arm
File Under: Rock, Proto-Grunge
Muddy Waters: Electric Mud (Third Man) LP
As a continuing collaboration with Chess Records/Universal Records and the estate of Muddy Waters, Third Man Records is proud to present the reissue of Muddy Waters’ fifth studio effort Electric Mud. The album, which Chess originally released in 1968 has not seen a legitimate domestic vinyl release since 2002, despite its enormous influence on generations of blues rockers. It features members of Rotary Connection as Muddy’s backing band and was very controversial upon its release for its fusion of electric blues with psychedelic elements. The album is now recognized as a forward-thinking classic, sampled extensively by artists like The Black Keys and Gorillaz. Pressed at Third Man Pressing in Detroit, with a beautiful gatefold jacket in its original black-on-white color scheme, and a four-panel foldout poster.
File Under: Blues
Weezer: Pacific Daydream (Crush) LP
In tomorrow… Following the release of Weezer (The White Album), the band began working on what they called The Black Album, but as they worked, they found the songs they were writing felt more like reveries from a beach at the end of the world. Instead of forcing a different direction, they began an entirely new album; Pacific Daydream was born. Pacific Daydream – an album full of the melodic mastery and craftsmanship for which Weezer are beloved – is a record that navigates the uncertainty between reality and dreams, blurring the line between the listener knowing if they are daydreaming the world of the album, or if the world of the album is daydreaming them. It’s a record about finding the gray area between the black and the white, about escaping the everyday into the fantasy of what may be just down the line, but also maybe isn’t. It’s an album that sounds like the Beach Boys and The Clash fell in love by the ocean and had one hell of an amazing baby.
File Under: Rock
Yeah Yeah Yeahs: Fever To Tell (Interscope) LP
In tomorrow… Nearly 15 years after its original release, the Yeah Yeah Yeahs’ impassioned (and long out of print) debut album Fever To Tell is getting a remastered reissue in 2017. Fusing together blistering garage rock with punk’s attitude and danceable rhythms, the Yeah Yeah Yeahs brought rock music back to the dance floor here. While The Strokes may have lit the fire of New York’s nascent rock revival, the Yeah Yeah Yeahs kept it burning in the boroughs, setting the scene for the city’s DIY rock scene and introducing the rest of the world to one of the most formidable frontwomen in music history, Karen O. Released in 2003, Fever To Tell would become the blueprint for the countless indie-rock that emerged in early-2000s and beyond. Thanks to Nick Zinner’s propulsive guitar and Brian Chase’s thunderous drums the New York trio could produce gritty bangers like “Date With The Night” and “Y Control” to scorching love anthems like “Maps,” that coincidentally put them on the map after it got serious play on MTV. The album would go on to be nominated for a Grammy Award for Best Alternative Music Album and was certified gold in both the US and the UK. While the band would go on to release three additional critically and commercially acclaimed albums, Fever To Tell will always remain their lightning a bottle moment. This single LP version features a new remastering by Stephen Marcussen on black 180g vinyl and includes and five newspaper lyric posters with exclusive photos by Nick Zinner, Spike Jonze, Lance Bangs, Julian Gross, Patrick Daughters and Cintamani Calise.
File Under: Rock
Bad Religion: Christmas Songs (Epitaph) LP
David Bowie: Blackstar (Columbia) LP
Nick Cave: Boatman’s Call (Mute) LP
Suzanne Ciani: Buchla Concerts (Finders Keepers) LP
Suzanne Ciani: Lixiviation (Finders Keepers) LP
Miles Davis: Kind of Blue (Columbia) LP
Miles Davis: Round About Midnight (Columbia) LP
Bob Dylan: The Basement Tapes (Columbia) LP
Bob Dylan/The Band: Before the Flood (Columbia) LP
Bob Dylan: Nashville Skyline (Columbia) LP
Funkadelic: s/t (Westbound) LP
Tim Hecker: Harmony in Ultraviolet (Kranky) LP
Tim Hecker: Ravedeath, 1979 (Kranky) LP
Here Lies Man: s/t (Riding Easy) LP
Joseph: Merry Christmas to You (Numero) LP
LCD Soundsystem: American Dream (Sony) LP
Melvins: Eggnog/Lice All (Boner) LP
Melvins: Houdini (Third Man) LP
OST: The Elder Scrolls (Sony) LP
Pink Floyd: The Wall (Columbia) LP
Propaghandi: Victory Lap (Epitaph) LP
Rural Alberta Advantage: Wild (Paper Bag) LP
Quasimoto: The Unseen (Stones Throw) LP
Stars of the Lid: And Their Refinement of the Decline (Kranky) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Visible Cloaks: Reassemblage (RVNG Intl) LP
Mike Watt: Contemplating… (ORG) LP
Jack White: Lazaretto (Third Man) LP
Various: Bollywood Bloodbath (Finders Keepers) LP
Various: Disco Dildar (Finders Keepers) LP
Various: Wayfaring Strangers: Cosmic American (Numero) LP