I don’t know if you’ve noticed, but there’s only about 10 shopping days left before Christmas. I hope you are more prepared at this point than I am. Anyway, lots of restocks coming in every day and there’s still some sweet new releases trickling in as well. We’ve been getting re-ups on accessories as well.
Don’t forget about the Rega Turntable sale that is going on right now as well….
Rega RP1 – $399 (reg $449)
Rega Planar 1 – $449 (reg. $599)
Rega Planar 2 – $599 (reg. $799)
Rega Planar 3 – $1299 (reg. $1499)
Rega Planar 6 w/ Exact Cartridge – $1999 (reg. $2499)
Rega Planar 6 w/ Ania Cartridge – $2199 (reg. $2799)
This sale is on while supplies last! Stock is dwindling, so if you are thinking about picking something up, or hoping someone will pick something up for you, best not to wait too long!
Annnnnnd if you didn’t have a chance to come down, we still have our 50% off crates out for the time being, so come have a dig and save save save!
Oh ya… and if you follow us on Instagram, you know we bought some amazing used stuff in the last few weeks. If you don’t follow us on Instagram, WHY NOT?! And now you know.
CHECK OUT OUR WEBSTORE!!!
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…..pick of the week…..
Drew McDowall: The Third Helix (Dais) LP
For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall’s product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template. Featuring eight new tracks of McDowall’s dark, experimental electronics, including the opener “Rhizome”, The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process. Packaged within a thick sturdy matte sleeve jacket featuring artwork/design by artist J.S. Aurelius (Ascetic House / Marshstepper). FOR FANS OF: Coil, Tim Hecker, The Haxan Cloak, emptyset, Fennesz, Cut Hands, Raime.
File Under: Ambient, Electronic, Industrial, Coil
Brainbombs: Burning Hell (Armageddon) LP
Armageddon Shop is proud to announce the long-awaited reissue of the BRAINBOMBS’ first album Burning Hell. Originally released in 1992 on the Blackjack label. After many years out of print in the USA, it has been freshly re-cut for this vinyl release by CARL SAFF at Saff Mastering (Fu Manchu, Elder, The Residents, Pallbearer). Ltd to 600 copies on black vinyl with download. Nine tracks of abrasive noise rock that will drill into your skull. Abrasive music that surges with hypnotic Stooges riffs that have been laced with acid and drenched in the sweat of physical fear and danger. Mutated and disorienting songs with lyrics that deliver first person accounts of the most disturbing and darkest events that are part of the human experience… Murder, sex, drugs, blood, and violence.
File Under: Punk, Noise Rock
Brainbombs: Fucking Mess (Armageddon) LP
Armageddon Shop is proud to announce the long-awaited reissue of the BRAINBOMBS’ fifth album Fucking Mess. Originally released in Sweden in 2008 on the Lystring label, it quickly sold through two pressings. After many years out of print, it will be available for the first time domestically in the USA. It has been freshly re-cut for this vinyl release by CARL SAFF Saff Mastering (Fu Manchu, Elder, The Residents, Pallbearer). Ltd to 600 copies on black vinyl with download. Seven tracks of blown out noise rock from the depths of Sweden’s sub/urban landscape. Blood soaked lurching riffs taking you through a horrific police report. An audio notebook filled with disturbing and murderous events. A serial killer walking down a dark road listening to a blown out cassette on a dying walkman as he wipes the blood off his hands and into the dirt… In their own words: “Brainbombs Fucking Mess as a testament/funeral. BB found previous releases to be too naive, this time it’s for real.”
File Under: Punk, Noise Rock
John Coltrane: 1963: New Directions (Impulse) BOX
In tomorrow... Jazz icon John Coltrane has his 1963 masters collected in the 5LP box set entitled 1963: New Directions. The new Impulse! collection features material from Trane’s recordings during that year from the albums Both Directions at Once: The Lost Album, John Coltrane and Johnny Hartman, Dear Old Stockholm, Newport ‘63 and Live at Birdland. 1963 came to be regarded as a point of transition between his previous jazz masterpieces and the genre-expanding music he went on to create. The recently-released Both Directions at Once: The Lost Album was recorded by Coltrane’s Classic Quartet on March 6, 1963. The following day, they went on to record standards with the American jazz singer and ballad specialist Johnny Hartman, for the John Coltrane and Johnny Hartman album, which went on to great success. Coltrane was the most relentlessly exploratory musician in jazz history. His musical and spiritual journeys were intertwined and took him to places far beyond the reaches of any musician before, during or after his time on the planet. Trane’s tonal and textural approaches on the tenor saxophone, his rhythmically complex soloing along with his signature modal melodic and harmonic compositional structures influenced generations of musicians across multiple genres (jazz, rock, avant-garde, experimental).
File Under: Jazz
Die Form: Some Experiences With Shock (Dark Entries) LP
Die Form is a French post-industrial and electronic band formed in 1977 as the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic. The name ‘Die Form’ means ‘(the) form/shape’ in German and is a play on the English homonym ‘deformed’ and on the French homonym ‘difforme’ (deformed). With ‘Some Experiences with Shock’, originally issued in 1984, Die Form return to sadistic pleasures. The album is a rare example of medical music, horribly sordid moreover, adding a more extreme dimension to their work. The first side, “Survival & Determination”, contains 7 tracks recorded in studio with analog equipment are the direct realization of previous works. In contrast the second side, “Lacerations & Immolation”, contains 5 songs improvised in the fever of paramedical oppression, with aggressive sonorities from new digital synthesizers. Devoted to the madness (the phantom of Antonin Artaud is not far) and handling the machines with instinct, Die Form advance on the way of industrial electronic creation, without concession. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy comes is housed in a replica of the original jacket designed by Philipe Fichot and includes a long post card insert with liner notes.
File Under: Electronic, Industrial
Fall: Totale’s Turn (Superior Viaduct) LP
Given The Fall’s penchant for iconoclasm, it’s no surprise that they decided to say goodbye to the ’70s with a series of gigs at Northern England’s gruffest halls. The band’s formidable live show was met with even more derision and disorder than customary during these late ’79 and early ’80 performances, and they skillfully amplified such sentiments back at the crowd. Totale’s Turns, The Fall’s first live album, was released on Rough Trade just prior to their pivotal third album, 1980’s Grotesque. “The difference between you and us is that we have brains,” shouts Mark E. Smith to open Totale’s Turns as the band breaks into the rollicking “Fiery Jack,” their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon’s splintering guitars, Steve Hanley’s thunderous bass and Smith’s combative sneer reverberate over “Rowche Rumble,” “Choc-Stock” and “Spectre Vs. Rector” more than any studio would ever allow. Totale’s Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date. Superior Viaduct’s edition is the first time that Totale’s Turns has been available on vinyl domestically. Liner notes by Brian Turner.
File Under: Punk
Foxwarren: s/t (Arts & Crafts) LP
In tomorrow... Foxwarren’s backstory reads like a page torn from the manual of rock & roll authenticity. They are siblings and childhood friends who formed a band in college. They went on to live as roommates and recorded an album in the basement of a rented house. Even the band’s namesake comes from the brothers (Avery and Darryl) Kissick’s family home. The band’s self-titled debut is subtle and thoughtful, it draws parallels to frontman Andy Shauf’s solo work while leaning on collaboration and looseness rather than Shauf’s meticulous arrangements. Where Shauf leaves space for orchestration, Foxwarren take time to ruminate on passages and themes. Propped up by warm driving rhythms and a familiar voice, and colored with soft electronics and coarse guitars, it’s a record that ultimately hinges on sincerity. It captures the feeling of friends pushing each other, of a band looking inward for inspiration instead of outward for influence. It’s a record that sat finished for years and almost never saw the light of day. We should count our lucky stars that they’ve decided to share it.
File Under: Indie Rock, Andy Shauf
Leimer: Music for Land & Water (Les Giants) LP
“Music for Land and Water was produced in 1983 following completion of my work on the Imposed Order and The Neo-Realist (at Risk) albums. Acting as a sort of proto- lower case construct, MFLAW was composed for an ensemble of four closed-loop tape players — each player running a different duration loop — as part of a month-long gallery installation. Instrumentation was limited to a Moog and a Sequential Circuits synthesizer and a Hohner Pianet. Processing was simple: a Lexicon delay line, some spring reverbs and basic tape manipulation. Pitch and time compatible phrases and fragments were duped against a uniform click track, edited, isolated and mixed down to the four monaural closed tape loops. It was later “performed” in a presentation including works by Marc Barreca and Steve Fisk in Seattle’s Seward Park open-air amphitheater.” K. Leimer, July 2018
File Under: Ambient, New Age
Loscil: Submers (Kranky) LP
Scott Morgan’s second Loscil full-length, Submers, took inspiration from salvaged Time Life classical music albums and “the indelible mystery of submarines and the deep sea.” Composed using a custom-built Max / MSP sequencer—with no external samplers, synthesizers, or acoustic instruments involved—the limitations of the process shaped these masterful, minimal compositions. Each piece was produced as a live mix, direct to disk, with no separated tracks. Originally issued in November of 2002 on compact disc, Kranky is now making these timeless recordings available on vinyl for the first time. All of these tracks are named after submarines, the final cut being a requiem for the crew of the ill fated Russian nuclear vessel Kursk. Recorded at home using only samples as sound sources, the album is rife with sourceless echoes, steely surfaces and ominous melodic and rhythmic undertows. The sifted melodies are layered over muffled, clicking and pulsing rhythm tracks with an appropriately aquatic feel to the tracks. “This is seriously gorgeous stuff that just happens to be the right sort of thing for drifting into another consciousness. A tuned-out heaven perfect for dreaming.” —Pitchfork
File Under: Ambient, Electronic
Marked Men: On The Other Side (Dirtnap) LP
On The Other Side collects all non-album tracks released by The Marked Men, originally released in the period between 2003 and 2010 on labels such as Dirtnap, Swami, No Idea, Shit Sandwich, and Mortville, plus two never-before-heard unreleased tracks from deep in the vault. It’s hard to believe that it’s been close to fifteen years since Dirtnap first released a Marked Men record. Since then, the label has done close to twenty releases by the band member’s various bands (Marked Men, Radioactivity, High Tension Wires, Potential Johns, Mind Spiders). Counting the releases Mark Ryan and / or Jeff Burke have had a hand in recording, that number goes even higher. It’s a relationship that continues to this day; if there is / has been a “flagship band” for the label, Marked Men and their various offshoots are it. Although they continue to play a handful of shows each year, the band hasn’t released any new material since 2009 (the last album came out in 2008), and they have no plans to do so, so this compilation is as close to a new album as one is going to get. The band’s affinity for fast, choppy power chords and manic energy is in evidence here, as the band stretches its legs throughout these solid closing credits and shows why they were one of the leaders of a sound that has never gone (or will go) out of style.
File Under: Punk
Scientist: In The Kingdom of Dub (Superior Viaduct) LP
Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby’s studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby’s throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname. Originally released in 1981, In The Kingdom Of Dub remains one of the best early LPs in Scientist’s long career. Produced by Roy Cousins at Channel One and featuring Sly & Robbie along with members of The Revolutionaries, The Aggrovators and The Soul Syndicate, the album offers a wide range of arresting rhythms, bold effect drops and exquisitely melodic bass. From “18 Drumalie Avenue Dub” (a reference to King Tubby’s address) to “Burning Sun Dub,” Scientist lays down a veritable roadmap of dub —filled with disintegrating echoes of satiny organ and textural guitar—firmly cementing his place as one of the true innovators in Jamaican popular music.
File Under: Reggae, Dub
Supersilent: 14 (Smalltown Supersound) LP
Produced by Helge Sten (Deathprod), ’14’ is the latest blinder from his avant-jazz-supergroup with Arve Henriksen and Ståle Storløkken, a.k.a. Norway’s Supersilent… Arriving more than 20 years since the trio’s debut, ’14’ finds their improvisational formula of trumpet, voice, keys and electronics generating some of the most phantasmic sound images imaginable. At only 33 minutes wide, ’14’ is also one the shortest Supersilent albums in memory, revolving around 12 succinct pieces ranging in length from 1 minute to nearly 6, and tiled like an abstract, tessellating mosaic of ideas, rent in 3D by Sten’s bespoke Audiovirus system of analog oscillators and vintage tape machines. Incredible,evocative and fuucked up music for late nights and isolation – a huge recommendation.
File Under: Jazz, Improv, Ambient
Thou: Inconsolable (Community) LP
Inconsolable is a collaborative companion EP to 2018’s full-length Magus – offering 8 Thou compositions expressing the band’s ongoing confrontation with the grotesquerie and power of modern civilization with a unique focus on melodic vocal and string performances by the band and guests. Inconsolable stands apart from any other Thou release as the first they would call “acoustic” for a radical instrumental stride away from the heavy, electric instrumentation that’s seen them relegated to such genres as sludge, doom, stoner metal, post-metal, grunge, and post-hardcore but, despite this, establishes its potency in acoustic guitar, violin, and other strings and melodious lead vocals by guest performers KC Stafford, Emily McWilliams, Melissa Guion, Nicole Estill, Jacques Boudreaux, Michael Moss, Clayton Hunt, and Dr. Scott Francioni. Thou frontman and pillar of New Orleans’ DIY culture, Bryan Funck, would appear to be totally absent for the album’s lack of his signature vocals. But, to those of us who have worked with Funck in New Orleans and beyond, his voice manifests just as presently on Inconsolable in other signature contributions such as philosophically pessimist lyrics, his self-effacing support of his community, the ironic streak that he likes to use as a smokescreen, and, of course the brutally obscure Nirvana worship. Thou’s Inconsolable is a collaborative album that, unlike ever before, offers Thou’s love of dark, 90s guitar pop beyond the macabre, through the macabre.
File Under: Metal
Upsetters: Double Seven (Antarctica Starts Here) LP
“Double Seven, released by Trojan in late 1973, was the last album Lee ‘Scratch’ Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track ‘Kentucky Skank’ sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel’s KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden’s Chalk Farm studio, also prominently featured on U-Roy’s double-tracked, stereo-panned gambling ode ‘Double Six.’ David Isaacs’ ‘Just Enough’ was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic ‘In The Iaah’ sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry’s own ‘Jungle Lion’ has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green’s ‘Love and Happiness.’ “Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry’s work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.” —David Katz (excerpt from the liner notes)
File Under: Reggae
Upsetters: Scratch The Upsetter Again (Antarctica Starts Here) LP
“The inventive record producer and vocalist Lee ‘Scratch’ Perry was involved in every musical shift of note in his native Jamaica, from the rhythm and blues that pre-dated the arrival of ska in the early 1960s through the slower and more spacious rocksteady style that appeared mid-decade and, of course, the frenetic sound of reggae, which he helped to birth as an independent producer during the late 1960s. Operating as ‘The Upsetter’ from his base in a downtown Kingston record shop, Perry found his greatest success with instrumental music during this phase, the organ and saxophone re-castings of standard vocal issues proving exceptionally popular overseas. “Scratch The Upsetter Again surfaced early in 1970 as a largely instrumental set, but with dreamy reverb a hefty feature and keyboards veering away from standard organ motifs. Dave Barker, who was soon to hit the pop charts as part of Dave & Ansel Collins, tackles The Shirelles’ ‘Will You Still Love Me’ in soul reggae mode, only for Perry to shift things towards the emerging dub spectrum with ‘Take One.’ “As Perry inched ever closer to the dub experimentation he would turn into an art form at his own Black Ark studio later in the decade, Scratch The Upsetter Again shows him moving away from the standard approaches of his competitors in his quest to test the very limits of recorded sound. And reggae was all the richer for it.” —David Katz (excerpt from the liner notes)
File Under: Reggae
Neil Young: Songs for Judy (Reprise) LP
Songs For Judy is a thoroughly engaging collection of live acoustic performances culled from Neil Young’s November 1976 solo tour and features twenty-two songs recorded at various cities along the tour. This song cycle of live recordings is particularly powerful and unique. Young had spent much of the year traveling around the world on tour with Crazy Horse. When touring on his own, he recharged and focused on songs that would not surface in recorded form for several years. Of the albums many treasures, “No One Seems To Know” would not see the light of day until now and it remains unreleased in any other iteration. The raw versions of the tracks found on Songs For Judy reflect an artist completely unvarnished and unafraid to allow the songs to breathe and to find their own shape when performed in a solo setting. Songs written in that era would come into focus and then seemingly disappear only to re-enter Young’s orbit somewhere down the road. “White Line” and “Give Me Strength” are such examples of finding the light in 1990 and 2017 respectively. It’s also fascinating to hear Young revisit early gems such as Buffalo Springfield’s “Mr. Soul” (1967), “Here We Are In The Years” (1968), and “The Losing End” (1969) from some of his earliest solo recordings which remain as timeless as ever. Curated by director Cameron Crowe and producer/photographer Joel Bernstein, both of whom contribute to the fascinating liner notes, Songs for Judy marks the debut release from Young’s Reprise Records imprint, Shakey Pictures Records. “The tour had been so satisfying, and so different from all that rock would become in the ensuing years, something indelible was captured in our humble collection,” explains Crowe. “Listening to it today is a little like discovering postcards from home. It was a precious time in Neil Young’s journey, a breath of oxygen in between some of his biggest adventures.” Songs For Judy captures lightning in a bottle, illuminated for all time here on double vinyl!
File Under: Rock, Folk
Aphex Twin: Selected Ambient Works (R&S) LP
Beatles: White Album (Apple) 4LP BOX
Bell Witch: Mirror Reaper (Profound Lore) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Can: Ege Bamyasi (Spoon) LP
John Coltrane: Crescent (Impulse) LP
Dedekind Cut: Tahoe (Kranky) LP
Elder: Dead Roots Stirring (Armageddon) LP
Elder: Lore (Armageddon) LP
Emperor: Anthems to the Welkin at Dusk (Spinefarm) LP
Electric Citizen: Helltown (Riding Easy) LP
John Fahey: Blind Joe Death (Takoma) LP
Fall: Hex Enduction Hour (Superior Viaduct) LP
Tim Hecker: Ravedeath 1972 (Kranky) LP
Tim Hecker: Virgins (Kranky) LP
Tim Hecker: Konoyo (Kranky) LP
Hiro Kone: Pure Expenditure (Dais) LP
Idles: Joy as an Act of Resistance (Partisan) LP
JPEGMafia: Veteran (Deathbomb Arc) LP
Kinks: Village Green Preservation Society (Sanctuary) LP
Kraftwerk: Radio-Activity (EMI) LP
Kraftwerk: Man Machine (EMI) LP
Kraftwerk: Tour de France (EMI) LP
Liquid Liquid: Optimo (Superior Viaduct) LP
Curtis Mayfield: Curtis/Live! (Antarctica Starts Here) LP
Thelonious Monk: Monks Mood (Prestige) LP
Thelonious Monk: Monk’s Dream (Waxtime) LP
Moondog: Story of Moondog (4 Men With Beards) LP
Oh Sees: Help (In The Red) LP
Oh Sees: Mutilator Defeated At Last (Castleface) LP
Oh Sees: Smote Reverser (Castleface) LP
Oh Sees: Warm Slime (In The Red) LP
Om: Advaitic Songs (Drag City) LP
Om: Conference Of the Birds (Holy Mountain) LP
Om: Variations On A Theme (Holy Mountain) LP
OST: Solaris (Superior Viaduct) LP
Ben Pirani: How Do I Talk To My Brother (Colemine) LP
Steve Reich: Four Organs/Phase (Superior Viaduct) LP
Ty Segall: Manipulator (Drag City) LP
Solid Space: Space Museum (Dark Entries) LP
Space Lady: Greatest Hits (Mississippi) LP
Jon Spencer: Spencer Sing the Hits (In The Red) LP
Spiritualized: And Nothing Hurt (Fat Possum) LP
Spiritualized: Ladies & Gentlemen We are Floating In Space (Plain) LP
Stereolab: Mars Audiac Quintet (1972) LP
Stereolab: Sound-dust (1972) LP
Suicide: s/t (Superior Viaduct) LP
Ween: Mollusk (Plain) LP
Windhand: s/t (Forcefield) LP
ZNR: Barricade 3 (Superior Viaduct) LP