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Relax Edition 12

Blank & Jones

Electronic - Released June 26, 2020 | Soundcolours

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Piet Blank and Jaspa Jones continue their summer ritual with the twelfth episode in their Relax Edition series, released in 2006 alongside the Milchbar-Seaside series, inspired by Norderney, a sea-side resort off the North Sea. A double album which throws us back into the downtempo/acid-jazz/lounge movement which reached its peak at the end of the 90s, it is also presented in the image of the famous Café del Mar compilations, the legendary bar popular for its sunset DJ sets. It’s a place that Blank & Jones know well through playing there several times. In 2002, their chill out track Desire (Ambient Mix) even featured on Cafe Del Mar 9. Between trip hop, downtempo, Brazilian rhythms and beachside grooves, the German duo give the voice of Zoe Durrant (member of Swedish trio Little Majorette) star billing as she features on five tracks on this ultra-smooth record. Also on the vocal bill is the French Coralie Clément (sister of Benjamin Biodlay known for her collaborations with Nouvelle Vague, who also worked with Blank & Jones from 2010 with J’en rest là on the album Relax Edition 5) on the brilliant C’est pas la mer à boire, an ideal addition to a record which strives to reinterpret the concept of dolce vita. © Smaël Bouaici/Qobuz
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Sacrament (15th Anniversary Edition)

Lamb of God

Metal - Released August 22, 2006 | Epic - Legacy

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Space 1992: Rise of the Chaos Wizards

Gloryhammer

Metal - Released September 25, 2015 | Napalm Records

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On the Road to Babylon

Walk In Darkness

Metal - Released November 6, 2020 | Walk In Darkness

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And Now, Let's Turn to Page…

Brent Cobb

Country - Released January 28, 2022 | Ol’ Buddy Records

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Elegy

Shadow of Intent

Rock - Released September 9, 2022 | Shadow of Intent

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Sacrament

Lamb of God

Metal - Released August 21, 2006 | Epic

Virginia metalcore kings Lamb of God get personal on the blistering Sacrament, an 11-track onslaught of machine gun riffs and larynx-shredding vocals filtered through an immaculately mapped-out rhythm section that owes as much to progressive rock as it does traditional heavy metal. Producer Machine, who helped craft 2004's Ashes of the Wake into one of the best metal records of the year, has returned, tightening his wrench and experimenting on Randy Blythe's voice like a fever-mad scientist. Longtime fans will no doubt debate the virtues of Sacrament's commercial bullet, the scathing White Zombie-meets-Megadeth single "Redneck," but the rest of the album is as brutal as anything they've ever done. Melodic opener "Walk with Me in Hell" culls inspiration from Piece of Mind-era Iron Maiden, "Pathetic" wraps itself around a sinewy lead that sounds like a snake swallowing dinner, and "Blacken the Cursed Sun," easily one of the best metal songs of 2006, shows further evidence of the band's potential to become the American version of Opeth. If Sacrament suffers from anything, it's a pounding sense of sameness. They rarely stray from the "Drop D" tuning, resulting in a second half that tends to blur, shake, and sputter out a bit, but there's no denying Lamb of God's almost unnerving power to conjure wind from the tiniest of stereo speakers.© James Christopher Monger /TiVo
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HITS

Sixx:A.M.

Metal - Released October 22, 2021 | Better Noise Music

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Time To Rise

Social Disorder

Metal - Released February 22, 2024 | Pride & Joy Music

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Speechless

Bruce Cockburn

Blues - Released September 27, 2005 | True North Records

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Hell Finds You Everywhere

Thousand Below

Rock - Released December 9, 2022 | Rise Records

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You Rise

Maria Daines

International Pop - Released October 9, 2020 | Maria Daines

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Time to Rise

Black Slate

Reggae - Released September 22, 2023 | TCD Records - Sir George Records

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Bob Corritore & Friends: High Rise Blues

Bob Corritore

Blues - Released May 26, 2023 | VizzTone - SWMAF

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Fading Trails

Magnolia Electric Co.

Alternative & Indie - Released September 12, 2006 | Secretly Canadian

On Magnolia Electric Co's third album, the group takes things down a notch, not in quality but in distortion and intensity. The result is Fading Trails, a more intimate and thoughtful album that could serve as the soundtrack to the more bittersweet moments of a Western film. This could be in part because much of the guitar work and, on occasion, Jason Molina's vocals are incredibly reminiscent of Neil Young, who was the solo soundtrack to film noir Western Dead Man ("Don't Fade on Me" being the best example). The song sees a heavy drum beat take the forefront at times, and occasionally the ringing of a pedal steel, both of which give way to an onslaught of Young-esque solos. "Montgomery" is similar, though Molina's distressed vocals are at their most weary. Fading Trails is beauty in sadness, the melancholy tone of the music couldn't change even if Molina were singing about rainbows and puppies. The majority of songs incorporate multiple instruments to one extent or another, but a few tunes are bleak solos made up of Molina's detached vocals and either a piano or an acoustic guitar. Fading Trails is a much more quiet and reserved album than either Trials & Errorsor What Comes After the Blues and at times lacks the intrigue of the two previous releases, but it's definitely not an album to overlook. What the cathartic Fading Trails might lack in foot-tapping motivation, it makes up for in passion and honesty and is highly recommended for those who like to dig a little deeper for albums that get better each time they are played. © Megan Frye /TiVo
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Lovesick

Randall Scotting

Vocal Music (Secular and Sacred) - Released February 10, 2023 | Signum Records

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This release by countertenor Randall Scotting has a strong program; perhaps no one else has offered a works-on-a-theme set of this kind, and the pieces gain from being grouped together with others of their ilk. The songs are not just of the Dowland melancholy type but include a variety of moods from perhaps misplaced optimism and even humor to the grimmest of the grim, Thomas Ravenscroft's version of the traditional ballad The Three Ravens. There are French and Italian pieces as well as English ones, and the American faux-Scots Black is the color of my true love's hair seems to fit right in. In fact, the music emerges in Scotting's hands as a kind of subgenre, with the various types of piece in dialogue. Scotting has been better known for Baroque opera up to now, and he has a powerful voice that at times somewhat overpowers the material, but he has a feeling for these songs, and several other factors work in the album's favor, one being the presence of veteran lutenist Stephen Stubbs, who gets a few elegant solo turns. Another is the sheer beauty of Scotting's voice, which comes through no matter what the material. The graphics have a sense of fun (and one can say this regardless of the subject matter). Listeners are likely to enjoy this release, which is billed as an anti-Valentine's item. Gift it to someone you don't love!© James Manheim /TiVo
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Prayers for the Damned

Sixx:A.M.

Rock - Released April 29, 2016 | Eleven Seven Music

Sixx: A.M. lightened their load on Modern Vintage, a 2014 album where they spruced up their Sunset Strip sleaze with a bit of vintage glam swagger. The very title of Prayers for the Damned -- the first part of a purported double-album project; the second segment is scheduled for some time later in 2016 -- suggests a return to darkness and, sure enough, the album delivers upon that promise. Hard and heavy, Prayers for the Damned doesn't truck with good times: it's all sturm and drang, tempered by existential protest and calls for all the alienated to rise. These rallying cries ultimately produce a diametrically different effect than The Heroin Diaries, the insular autobiography that kicked off Sixx: A.M.'s career back in 2007. Then, the group was Nikki Sixx's vehicle to exorcise personal demons -- not for nothing did it accompany a written memoir -- but now that Sixx: A.M. is his main creative project, he's channeling greater ambitions into the quartet. Fittingly after a near-decade of work, the band sounds like a cohesive unit, adhering through volume and intensity. Now that the group are comfortable with their chemistry, they're presenting a unified front and confronting the world at large; it's music that looks outward. Sixx: A.M. may still battle misanthropic demons rattling inside their heads, and sometimes they'll succumb to overdriven murk -- a sludgy sound that conveys gloom but gets gloopy -- but the ambition on this first part of Prayers for the Damned is admirable. Better still, they often manage to take this roiling outrage and shape it into something melodramatically satisfying, an achievement that suggests why Sixx had no trouble saying goodbye to Mötley Crüe.© Stephen Thomas Erlewine /TiVo
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Carnival III: The Fall and Rise of a Refugee (Deluxe Edition)

Wyclef Jean

Hip-Hop/Rap - Released September 15, 2017 | Legacy Recordings

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Wyclef Jean's solo discography has been dizzying following the first volume of The Carnival. A series of label and distribution changes, stopgap EPs and stray singles, abrupt conceptual shifts, and announcements trailed by delays and title changes didn't make his moves easy to follow. A multitude of collaborative juxtapositions that seemed random rather than shrewd, and appeared on releases with lengthy titles containing colons and Roman and Arabic numerals, added to the confusion. Another factor was the alternation between prolific and dry periods -- three albums in three years, and then, as Jean juggled various political and charitable causes, and was entangled in a few legal and public relations messes, the next three albums were spread across 13 years. In one significant sense, Carnival III: The Fall and Rise of a Refugee arrived right on time -- ten years after after the sequel, which followed the original by the same amount of time. It's a standard Wyclef Jean release, lively and positive, concerned with the upliftment of the everyday person, blending cross-continental sounds with a broad mix of well over a dozen guests -- this time involving the likes of Emeli Sandé, LunchMoney Lewis, and the Knocks, along with several relative newcomers. As with the first two Carnival releases, this isn't all fun and games. Odds-bucking prosperity, dream fulfillment, and mere survival remain themes for Jean. In the sonically murky if lyrically hopeful opener, "Slums," he plainly states "Statistically, I ain't even supposed to be here," while the part-acoustic ballad, part-regal anthem "Warrior" offers encouragement to the bullied and misunderstood. There are several upbeat grooves and romantic numbers, such as the frothy and escapist "What Happened to Love," the boisterous "Fela Kuti," and the Celia Cruz-sampling "Trapicabana" (indeed a fusion of booming/snaking trap production and vintage salsa rhythms). Carnival III isn't quite as thrilling as the 1997 and 2007 volumes. Now that the pop world has finally caught up with Jean's wild synthesis, it's certainly less novel in approach, but its high spirit nonetheless provides some lasting value.© Andy Kellman /TiVo
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Bates: The (R)evolution of Steve Jobs

Kelly Markgraf

Opera - Released June 15, 2018 | PentaTone

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It's inescapable: love him or hate him, Steve Jobs was a real character. By turns a visionary, an inventor, a despot, a manipulator, he took his computer business to the top of the industry. Long a public figure, he is now a character in an opera, brought to life brilliantly by Mark Campbell and composer Mason Bates, two great explorers of the most offbeat corners of American lyric art. Their opera, The (R)evolution of Steve Jobs , first performed in 2017 in Santa Fe, presents the IT magnate and his inner circle around the time of the foundation and development of their business, his friends and his enemies, all in an extravagant musical language, in which Bates introduces a leitmotif for every new character and situation, with instrumental colours, dedicated themes, and also interjections of electronic sounds, from – you've guessed it – computers and mobile phones made by the firm itself. There's also some jazz thrown in (the symphonic jazz of Bernstein or Gershwin), and some very progressive rock, with atonalism and chromatism, as well as Adams-style minimalism. Bates stays firmly within the realm of classical lyricism, because his modernity has nothing to do with avant-gardist destruction: rather, it's a new creation based on existing elements being used in a thoroughly original and personal way. This recording was made at the world première in Santa Fe in summer 2017. © SM/Qobuz
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Time To Rise (feat. Master Kong Nay)

VannDa

Hip-Hop/Rap - Released October 25, 2021 | Baramey Production