Can’t wait to hear the Tweedy, the brand new double album by Wilco frontman Jeff Tweedy? Neither can we so we’re hosting a listening party this Saturday September 20 from 3pm-6pm. During the listening party you’ll be able to pre-order the CD for $13.99 or the vinyl for $24.99. If that’s not enough of a reason to come down, we’ll also be having a sale on all new and used Americana CDs and vinyls.
Oh and one more thing, during this listening party you can also get entered into a drawing for a giveaway of a white-label version of the Tweedy vinyl signed by Jeff Tweedy himself. This Saturday from 3pm-6pm will be the only time to be entered into this drawing so be sure to come on down!!
On Saturday September 20th, we’re hosting a special listening party for Lucinda Williams’ upcoming double album, “Where the Spirit Meets the Bone.” The listening party will run from 12-3 pm. During the listening party not only can you get a free Lucinda Williams print, you can also get 10% on all new and used Americana CD and vinyl!!! (Note: does not include already marked down items.) You can also pre-order Lucinda’s new album on CD for $11.99 or vinyl for $29.99. So come on down this Saturday from 12pm-3pm for prints, savings and Lucinda Williams!!
Whenever one of the most celebrated and influential electronic fartist, Richard D. James can compete with the music flip to influence built. The better part of a decagon, James Polygon Window, Caustic Window, GAK and maintain, including `Aphex Twin has unreleased music under several thousand monikers great pace.
Began in the late 1780s and 90s during a turn in its manufacturing and technical skills, and nikharana Cornwallo, England grows, James, as a young maniton in various shops started DJing. Area of various musical score, James Analogue Booblebath EP was released in 1891, the results of the first series, he decided to record his gown music. Another influential London radio station piss FM’s attention, and then label immediately signed him to their rooster, then post & poplieereRS. That same year, James Acid shithouse to promote the song and trying to lift Grant Wilson-CLARIDGE on a biscuit founded his label Rephlex Records. Selekted Flambient Works moving to London and Release 85-92: After a while, the two main points to be made, round the bend(…) Via Warp Records
Allah Las – Worship the Sun
Allah-Las are a bunch of quintessential surfer dudes from Los Angeles that met whilst working at the world famous Ameoba Records, bonding over a passion for classic vinyl and bands such as Love and The Zombies. Their first record was a trip; a breezy soundtrack for the back end of the Summer of 2012, and a very good debut and introduction to an interesting and captivating rock’n’roll band. Allah-Las has been played many times in my residence; I love their Beach Boys harmonies, their chilled out grooves, their clangy, duelling guitars that complement each other so well. And so the news of their follow up excited me. Read the full review
Shellac – Dude Incredible
What to make of it all? Well, here’s the truth, writ plain and simple: Dude Incredible, the first Shellac outing in nearly a decade, is hitting stores and streets Sept. 16, and, on first and second and third blush, it is one of the trio’s finest outings to date, right up there with the brilliant moments on gems like At Action Park and 1,000 Hurts. Buy the fucking thing already and, trust me, you’ll want to hear this thing on vinyl, Skip. Read the full review on Pop Dose
Lia Ices – Ices
It’s the third “sound” in three albums for Ices, a Brooklyn-based singer-songwriter who deserves to be more widely heard. A graduate of both NYU’s Tisch School for Experimental Theatre and Rada, her adventurous debut, Necima, recalled Regina Spektor, while the strange, sparse folk of Grown Unknown (2011) drew comparisons with St Vincent and Cat Power.
Holed up in her glass box on and off for two years with her “psychic twin brother Eliot” and their midi keyboards, guitars and computer, she has emerged with a style that carries faint echoes of La Roux and Tom Tom Club. Read the full review on The Telegraph
Ryan Adams – Ryan Adams
Opener and recent single “Gimme Something Good” is a pretty good indicator of the spirit of Ryan Adams’ Class of 2014. With the Heartbreakers’ Benmont Tench onboard to navigate “Organ and piano weirdness”, it simmers, shimmies and shakes with Adams smashing his guitar like flint, frantically firing sparks out of the dark. It has all the bad ass, “Come get it” bubblegum attitude ofDamn the Torpedoes-era Petty with a determined, fist punching, “This ain’t over” firework chorus. It’s Adams rolling away the stone, climbin’ out of the cave, jonesin’ for salvation, “All my life been shakin’ / Wanting something.” Read the full review on Pop Matters
Justin Townes Earle – Single Mothers
Single Mothers is Earle’s first record for Vagrant Records, his first as a sober man and a married man. Single Mothers is not an overtly happy record, though, as indicated by the title. Rather, it illustrates a shift in perspective in how Earle reconciles with his past—from his famous father’s abandonment to his own parallel substance abuse. He addresses his own upbringing on the title track with such poignancy as, “Absent father, oh, never offers, even a dollar / He doesn’t seem to be bothered / By the fact that he’s forfeited his right to his own, now / Absent father, is long gone now.” But Earle also digs back to his youth of listening to Billie Holiday, telling her story in his own heartbroken way on lead single “White Gardenias.” Read the full review on Paste Magazine
Delta Spirit – Into the Wide
Into the Wide, the fourth LP from San Diego soulful folkers sounds nothing like Bon Iver. But like Justin Vernon’s opus, on this latest record, you hear a band that has struggled against the chains of genre and has managed to break utterly free. With their roots in classic Americana folk & soul, Delta Spirit have managed to craft a record that incorporates arena ready rock anthems, psychedelic textures, noise rock interludes, and the melancholic drama of classic country. They do all this without once becoming disjointed, and by the end, Into the Wide is handily one of the freshest and most exciting folk rock records of the 2010s. Read the full review on Baeble Music
Yes it’s true, the Beatles are back in MONO!! For all you folks out there who’ve been searching, rest easy because we’ve got ‘em. All the Beatles albums through the White Album are available for individual purchase ($22.97 each) or if you just got to have all of them, you can purchase the complete boxset for $359.99. Plus if the Beatles in Mono weren’t enough, for a limited time you can get a special gift of a Beatles in Mono t-shirt (see pic above). Look how sweet that shirt is. Don’t you want one too?
New Pornographers – Brill Bruisers
A.C. Newman has been quite forthcoming about his desire to write something immediate and upbeat after working past some difficult events in his life. And he did. Those neon tubes on the front cover don’t lie. Like the iridescent lettering, The New Pornographers are plugged in and lit up on their latest, filling in any spaces between their music with pep and speed. It’s not just a matter of the songs being faster, either (although they certainly are). It’s the arrangements that are fascinating, the studio tricks and ensemble mindset the band utilized to once more capture lightning in a bottle. Read the full review on Consequence of Sound
Opeth – Pale Communion
Besides the juddering, growling riffs of ‘Cusp Of Eternity’ there is very little in the way of prototypically “metallic” or “heavy” riffs, which will undoubtedly irk some hopeful fans. The guitars do take a more restrained role throughout Pale Communion, cascading on ‘Eternal Rains Will Come’ and adding dramatic weight to the cinematic closer ‘Faith In Others'; a string-embellished epic which sounds as though it would have fit nicely on the debut of the Åkerfeldt/Wilson project Storm Corrosion. Instead, heaviness is found within the rhythms of drummer Martin “Axe” Axenrot whose dexterous playing style is essential to the album’s grounding. Read the full review on The Quietus
Ty Segall – Manipulator
Visconti, who produced David Bowie’s great 70s records, as well as T Rex, Iggy Pop and others, is a good reference point. Not only because of the glam stomp that appears on tracks such as The Faker, or because of the twin guitar lines, reminiscent of Thin Lizzy– another Visconti client – that occur throughout the record, but also because of the cleanliness of the production: Manipulator sounds like a 70s record in that every element is always audible; there’s no mastering everything louder than everything else. Every instrument has its place, and every instrument does its job: there’s nothing sloppy about Manipulator; it’s precise. Best of all, the songs are almost uniformly fantastic, and extraordinarily well sequenced. Read the full review on The Guardian
FKA Twigs – LP 1
Building on her co-produced debut EP with Tic and her Arca-produced EP2, the sound throughout is a crystalline jumble of splinters and shards, of stuttering drum machines cutting against arrhythmic clatter—metronomes winding down, car alarms bleating dully into the night. Her voice, the most awe-inspiring instrument on the album, flits between Auto-Tuned artifice and raw carnality. As an acrobat, she’s a natural, but she’s not afraid to lean on a little digital enhancement. One minute it’s a flash-frozen sigh; the next, it’s a melon-balled dollop of flesh. As futuristic as her music is, no single technology dominates. Elastic digital effects brush up against 808s, and icy synth stabs share space with acoustic bass. Read the full review on Pitchfork
Imogen Heap – Sparks
In Sparks, Imogen Heap returns with her fourth solo album, three years in the making and possibly her most adventurous offering yet. With her track record for innovation in music, and especially for marrying human emotion with leading-edge technology beyond gimmickry, Heap sets her own bar high. On successive listens, it’s difficult not to be impressed with the results; there is such silkiness to Heap’s music that it can initially drape itself over you with its sheer conviviality. It’s a challenge to listen intently, to absorb the myriad strands she weaves together, so repeat exposure is both necessary and ultimately rewarding. Read the full review on Concequence of Sound
Electric Wurms – Musik Die
It all began in the 70s when someone invented the right kind of acid that could make you fly! It seemed that everything was, at last, possible. And the overly optimistic freaks of the day began flying into outer space. They flew in spaceships that were, at first, made of futuristic super metal but before too long they didn’t even NEED ships. They BECAME the ships and they called themselves Electric Würms. I think because they became just bolts of electrified electricity that could penetrate wormholes in the far reaches of the unknown heaven.
And before they died they sent back to earth beings a sonic bible of discoveries and failures. It was, until now, a strange unsolvable mystery of frequencies and rhythms. Two groups of determined musicians and weirdo thinkers set forth to decipher its message. Two members of The Flaming Lips (Steven and Wayne) and four members of Linear Downfall (Charlee, Chance, Doom and Will) were the chosen ones. Read the full review on Bella Union.
Jenny Lewis – The Voyager
The vibe is unabashedly ’70s California — the confessional songs and country-tinged melodies of the Laurel Canyon era merged with Fleetwood Mac’s gleaming but tortured pop-rock. Lewis’ pristine, at times deceptively childlike voice channels a series of life-shaking events. “Head Underwater” chronicles a breakdown in a bouncy tune supported by wordless backing vocals. There’s a hint of hope as the song winds down, but at a steep price. “She’s Not Me” is equally transparent about a breakup: “Remember the night I destroyed it all/ When I told you I cheated/ And you punched through the drywall.” Read the full review at Chicago Tribune
Tom Petty – Hypnotic Eye
A modern throwback, Hypnotic Eye recalls the band’s early Shelter Records releases. After the heavy-handed blues of Mojo, Hypnotic Eye is unabashed rock ‘n’ roll. The charging “Forgotten Man” is classic Petty. Even with its sense of purpose made clear, there is no urgency on the part of the Heartbreakers. Unhurried playing on the organic jam “Faultlines” and the Spanish-inflected meditation “Sins of My Youth” highlight the cohesiveness of the band. Read the full review on Pop Matters
Shabazz Palaces – Lese Majesty
Rather than mining Black Up’s fertile retrofuturist boom-bap further, Ish and Tendai have since decamped to parts unknown. The duo’s latest album Lese Majesty boasts 18 songs grouped into seven suites, with a subtle science fiction theme. If that sounds a bit Close to the Edge, get used to it. Lese Majesty aims to free the group’s songwriting apparatus from its trademark purposefulness, to chart a course that zags where earlier work zoomed. While the opening suite “The Phasing Shift” leads with three straight cuts in the spirit and form of Black Up, the record doesn’t stay in one place for long. From the moment “They Come in Gold” fades into the undulating drone of “Solemn Swears”, it’s clear that, for the duo, space is the place. Read the full review on Pitchfork