09/24 Vinyl New Releases

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The Bob’s Burgers Music Album Vol. 2 includes nearly every single musical morsel from seasons 7 through 9.

This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin), Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen Schaal) - as well as the show’s numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National).

For fans of the show, enjoying the music of Bob’s Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration “Hot Pants Rain Dance”, sing along with the musical theater gem, “The Wedding Is My Warzone,” or do whatever you’re gonna do to “Sexy Little Tiger” but don’t miss the Bob’s Burgers Music Album Vol. 2. Fans, your order is up.

Bob's Burgers [TV Series] - The Bob's Burgers Music Album Vol.2 [3LP]
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Colleen Green

Cool [Cloudy Smoke LP]

ON SALE $20.97 Vinyl: $18.87 Buy

Colleen Green has always been cool, but on 2015's I Want To Grow Up, she didn't necessarily feel it. Too young to be free of insecurities but old enough to be sick of them running her life, Green was experiencing an existential crisis. Five years and a new album later, we find her parsing out what it means to be grown-up-and realizing that it's actually pretty cool.Opener "Someone Else" is a paean to power in which Green let's a lover know that double standards can go both ways. A groovy bass loop and zig-zagging guitar lines underscore her realization that happiness is in her own hands, and the vibe is set. Next up is the witty, catchy "I Wanna Be A Dog," where Green celebrates the simplicity of a canine life and questions why she's still overcomplicating her own. Dark and slinky "Highway" uses ruthless driving as a metaphor for a lifestyle that no longer interests her.Burnt out on bad feelings and ready to have fun with melodies and beats, Green enlisted producer Gordon Raphael (The Strokes) to take her songs to higher ground while keeping her lo-fi aesthetic intact. Raphael was already a fan, having caught a show in L.A. and finding himself "struck by how confident and powerful she looked, even though she was the only one onstage." He agreed to take the gig, and together with drummer Brendan Eder and hip hop producer Aqua over a few weeks in Los Angeles, Cool was created. The album's themes come together on the anthemic "It's Nice to Be Nice," Green's reminder to herself that you get what you give, so it's important to try and be the best person you can-a hard-won but essential lesson in the emotional maturity that defines Cool.
Colleen Green - Cool [Cloudy Smoke LP]
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Peak Vinyl LP: Single LP on translucent pink w/ orange swirl color vinyl in same packaging as standard version. Full album download included. Ltd edition. Indie only.

On September 24, Mac McCaughan will release The Sound of Yourself, his second full-length under his own name.

Throughout his musical career fronting Superchunk and Portastatic, Mac McCaughan has channeled more than his share of angst and tumult into a microphone, resulting in straight-up undeniable rock anthems. So how can a voice so familiar to others still seem foreign to its owner? On The Sound of Yourself, he explores that question fully, shooting his voice through a prism and refracting it across these songs in new and rewarding ways. In January 2021, McCaughan found himself at his home studio in Chapel Hill staring down a clean slate after wrapping up a film score and several other music projects. This setting—a distant light at the end of a figurative tunnel, and a literal room full of instruments—was integral to The Sound of Yourself. His thought process was simple: “Each day is blurring into the next, so what are we doing today? How can I disrupt this? I think what resulted was a theme of subdued... ‘joy’ is the wrong word, but it’s at least comforting if not propulsive to have something open-ended to work on every day without any kind of structure or deadline or rules.”

While the pop-oriented tracks hint at sounds first explored on his 2015 album Non-Believers, McCaughan’s recent scoring work and frequent excursions down the rabbit hole of synthesizers and sequencers (see: the Moogfest-commissioned POMS and his ambient project with Mary Lattimore) add a particularly crystalline spaciness akin to The Durutti Column and Bowie’s Berlin trilogy. Also similar to the making of the Berlin trilogy, McCaughan sought out vital contributions from a slew of accomplished musicians: Yo La Tengo, Mackenzie Scott (TORRES), Jon Wurster (Superchunk, Mountain Goats, Bob Mould Band), Annie Hayden (Spent) & Michael Benjamin Lerner (Telekinesis), just to name a few.
Mac McCaughan - The Sound of Yourself [Indie Exclusive Limited Edition Peak LP]
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I’ll Be Your Mirror: A Tribute to the Velvet Underground & Nico, is a contemporary tribute to the Velvets debut, with each of the album’s songs performed by one of the band’s noteworthy artistic descendants. Featured artists include Kurt Vile & the Violators, Sharon Van Etten, Iggy Pop & Matt Sweeney, Michael Stipe, Matt Berninger of The National, Courtney Barnett, King Princess, Fontaines D.C. and more. Wide Spine Jacket. Indie Exclusive Yellow 2 LP.

Various Artists - I'll Be Your Mirror: A Tribute To The Velvet Underground & Nico [Indie Exclusive Limited Edition Yellow 2 LP]
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Emerging singer, songwriter and musician Taylor McCall will release his anticipated full-length debut album, Black Powder Soul, September 24 via Thirty Tigers. Produced by Sean McConnell (Michael Franti, Wade Bowen), Black Powder Soul is the product of a winding musical journey for McCall that began at age seven when he received his first guitar. In the years since, the South Carolina native and avid outdoorsman and fisherman has formed his own sense of unique musicianship—incorporating self-taught styles that fit each song rather than following conventional techniques. With Black Power Soul’s fourteen tracks, including a special prologue featuring the voice of his late grandfather, McCall explores the balance of good and evil, destruction and healing and the importance of having faith in the darkest of times.
 
Reflecting on the album, McCall shares, “This, to me, felt like what I’d been dreaming about for years…Black Powder Soul is the circle of life: you’re dropped off here, by the old ship of Zion, and everything in between is life itself, from good to bad. The things that clutter up the pure soul are all in here. We all have a black powder soul that can explode, but there is redemption in all of us too.” 
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Double vinyl LP pressing. Recorded January 29th, 2009 at The Bowery Ballroom New York. The long-awaited live concert featuring the 'Sonic Mass' line up featuring Stig, The Baron and Roy Mayorga (Stone Sour) on drums and percussion.
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24-year-old Celeste was the UK breakout artist of 2020. “A once-in-a-generation talent...the finest British soul singer to emerge in years” – NME. Earlier this year, she made her US TV debut on the Late Late Show with James Corden who tweeted, “I dare you not to love her. I dare you.” Tracks from Not Your Muse have seen heavy usage in film & TV including Disney/Pixar’s “SOUL”, the Netflix film The Trial of the Chicago 7, Grey’s Anatomy, and Bridgerton. 12-track LP.

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Double marbled yellow colored vinyl LP pressing in gatefold jacket. The Charlatans is the fourth album by the British alternative rock band, originally released in 1995. It went to the top of the UK Albums Chart the same year. The Charlatans is rated 84 in the Melody Maker's top 100 albums of all-time list from 2000.
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Chock full of humid, resonant soundscapes that bend time and emphasize texture, tone and timbre, Sarah Davachi's latest is her most defining and rewarding full-length to date. We're floored, again - there's nobody else doing it quite like this. Composed using a Mellotron, electric organ, piano and synthesizers, "Antiphonals" takes all the elements we know and love from Davachi's impressive catalogue to date and refines them into eight tracks of expertly-sculpted deep listening stickiness. If you're familiar with her work, the content won't be surprising, but Davachi's dedication to her craft has resulted in music that feels more and more revelatory each time. Here, she brings her obsession with the tonal and textural character of early music to the fore, playing confidently with sounds that exist two or three steps from the contemporary sonic spectrum. Her favored outpost is a cocoon of soft-focus resonance, where sounds graze lightly and hypnotize rather than scrape or bruise. It's not background music - this is art that requires attention and understanding to appreciate it's layered beauty and subtle complexity.

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Vinyl LP pressing. In February 1964, Eric Dolphy assembled a quintet of modern jazz visionaries with Freddie Hubbard - trumpet, Bobby Hutcherson - vibraphone, Richard Davis - bass, & Tony Williams - drums, & headed into Rudy Van Gelder's studio to record what would stand as his masterwork: Out to Lunch! Dolphy possesses the revolutionary spirit of the avant-garde while keeping a foot firmly planted in the feeling of swing, perfectly captured from the opening Monk tribute "Hat and Beard" to "Straight Up and Down."
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Limited yellow colored vinyl LP pressing. The musical score for the film's soundtrack was composed by Warren Fitzgerald, guitarist of the punk rock band The Vandals. Vandals bassist Joe Escalante served as music supervisor, along with Lia Vollack. The Vandals performed original music for the film score, including the "Theme from Glory Daze" which plays during the opening credits. "It's a Fact", from their then-upcoming album The Quickening, was included, and a music video was later released for the song featuring clips from the film. The soundtrack also features several other contemporary punk rock bands, mostly from California, including NOFX, Bad Religion, Tilt, The Mr. T Experience, Assorted Jelly Beans, The Bouncing Souls, and the New Bomb Turks. Members of the cast and crew also contributed to the soundtrack.
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1965's Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist's career. Hancock is joined by Miles Davis Quintet bandmates Ron Carter on bass & Tony Williams on drums, along with Freddie Hubbard on trumpet & George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of 5 original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, "Eye of the Hurricane," & "Dolphin Dance."
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Jaime – the first solo album from Brittany Howard – has been reimagined by an astonishing cross-section of the five-time GRAMMY winners’ peers. Featuring fresh takes and remixes from Bon Iver, Childish Gambino, Common, Michael Kiwanuka, Little Dragon & more - Jaime Reimagined illuminates these songs in a brilliant and new light. Jaime was awarded four stars by Rolling Stone, MOJO and Q, named the Best Album of 2019 by NPR and nominated for a GRAMMY in the Best Alternative Music Album category.

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This 1974 release by Keith Hudson is something of a lost gem - with hisgravelly vocal style gaining more and more prominence in recent years. Housed in some sunshine cover art, 'Entering The Dragon' with the manKeith bringing an abrasive edge to the proceedings that probably soundedquite startling in it's day, now acts as a sign-post to the dancehall/hip-hopevolutions that were to come.
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Coke Bottle Clear Vinyl. Who still sleeping on the kid?! Two of the hardest working veterans in the game, legendary MC Jim Jones has teamed up with cult favorite producer Harry Fraud for the new project, The Fraud Department. Pairing Jones' iconic delivery with Fraud's knack for cloud-like production, The Fraud Department elevates the duo's best attributes and showcases how their chemistry is undeniable. The album features appearances from Belly, Dave East, Trav, French Montana, Curren$y, Jay Worthy, Conway the Machine, Marc Scibilia, Big Body Bes, Maino, and Kenny Sway.
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The psychedelic garage duo The Liminanas and French techno pioneer Laurent Garnier have produced together "De Pelicula". The result is neither a Limi¤anas techno record nor a Laurent Garnier rock album. It is a record that feels like a walk on the wild side, straight out of a film noir that was spawned from the need to write music that tells a story and rattles all traditional patterns in a (super)sonic trance. A heated road-trip spent chasing Juliette and Saul, two teenage rascals.
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The Men's hugely influential album Leave Home came out during an exciting time in New York City. DIY lofts and shitty bars littered downtown Manhattan and North Brooklyn. The Acheron had just opened it's doors. Kill Your Idols had broken up. Toxic State Records was just getting started with Crazy Spirit, Dawn of Humans, Hank Wood and Perdition EP's. The city was alive with punk and noise and filth. And right at that time, The Men were the show to be at. Every gig was dripping with sweat. Hallways and sidewalks were packed between sets. Chaos reigned in the pit. The Men hit like a bag of hard cement, a hardcore band with a familiar sound but with an aura of absolute chaos and intensity, like everything was on the brink of going off the rails at every moment of their set, a downhill freight train with no brakes. During these shows one's focus could shoot back and forth between the intimidatingly angry-eyed, bald-headed Chris Hansell (who went on to front Warthog) and the long haired hippie punks Mark Perro, Nick Chiericozzi and Rich Samis, that made up the surrounding band. Just one of the many juxtapositions the band embraced. If The Men were a chapter in Michael Azzerad's Our Band Could Be Your Life, the early EP's and cassettes would obviously be Minor Threat and Black Flag, while Leave Home would likely be... Sonic Youth. It was just before they made the full jump into each record being a smorgasbord of underground genres, from dream pop to folk; before they had tracks called "Country Song," for example. But it was a preview of what was to come. Leave Home was a pivot from pure hardcore punk (some might even call it mysterious guy hardcore), as the band got lost in the groove in a way one couldn't on a straight up punk record. That groove was so strong on "If You Leave...," "," and "Bataille," while they spaced out on "Shitting With The Shaw," and stayed as aggro as ever on "LADOCH." But of course, Leave Home had a re-recording of their hardest track to date, "Think," making it clear that they were still the moshers we all had come to know and love. If The Men raised their flag as an important New York punk band with Immaculada, they started waving it in the freakiest way with Leave Home. There is no doubt that Leave Home was one of the most influential records of the last decade. You can hear their mark everywhere from Ty Segal and The Oh Sees to Milk Music and Hank Wood. Few bands have traversed as many genres as The Men and even fewer have done it so well. It is a testament to the band's undying authenticity and adventurism that the record sounds as timeless and urgent now as it did when it blew the doors of New York punk off it's hinges ten years ago, leaving a giant hole for bands of all kinds to come racing through.
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Gary Numan

Warriors

Vinyl: $22.97 Buy

Orange colored vinyl LP pressing. Beggars Arkive is excited to announce the LP reissue of Gary Numan's fifth album Warriors. Originally released in 1983 and co-produced with Bill Nelson, the album continues Numan's ambient-funk experimentations and has aged very well.
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To celebrate it's 30th anniversary, a limited marbled green vinyl pressing of Pixies 1991 album Trompe Le Monde is being released on September 24th 2021. Trompe Le Monde bookended a golden run of landmark records - a mini-album followed by four albums, released in quick succession ' that cemented Pixies as one of the best for a generation. Translated from French to mean 'fool the world', Trompe Le Monde showed the band restless to still push their sound forward. Recorded between Burbank, Paris and London, with producer Gil Norton again at the controls, their fourth album is arguably their most playful with Black Francis's lyrics on UFOs and conspiracy theories keeping things weird while power pop creeps in to amplify the space rock established on predecessor Bossanova.
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Recorded in the San Fernando Valley just a stones throw away from the infamous Van Nuys Blvd. cruising scene, it’s no wonder from the debut long player from The Rugged Nuggets hits hard and demands to be turned up loud with the windows rolled down. Delivering west-coast cool at it’s finest. With swooning strings, breezy guitars and tough as nails drums, Odds & Ends epitomizes a mellow vibe, but is undeniably cool.

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In the wake of Bitch Magnet and current of Superchunk, Sooyoung Park and Mac McCaughan formed a raw version of Seam in the summer of ’91. With bassist Lexi Mitchell, the trio banged out an album and two singles worth of shambolic dream pop in the sweltering Chapel Hill heat. Ten songs of talk-whispered vocals, sloshing guitar solos, scattered snare rolls, Velocity Girl’s Sarah Shannon, and the original version of Codeine’s slowcore classic “New Year’s,” on LP for the first time in 30 years.

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Vinyl LP pressing. Includes digital download. 25th Anniversary remastered audio. Elliott Smith is the second studio album by American singer-songwriter Elliott Smith. It was recorded from late 1994 to early 1995, and released on July 21, 1995, through Kill Rock Stars, his first album on the label.

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For more than two decades, SOJA have elated audiences across the globe with their fresh yet timeless take on roots reggae, a sound born from their shared passion for making music that transports and inspires. On their first new album in four years, Beauty in the Silence, the 2x GRAMMY-nominated band deepens that communal spirit by collaborating with artists from all corners of the reggae world, including UB40, Slightly Stoopid, Dirty Heads, and Rebelution. White with Green/Blue/Red Splatter LP.
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It's been said that writing about music is like dancing about architecture (impossible and absurd). But what about singing about movies? Sufjan Stevens and Angelo de Augustine have paired up for a collaborative project that does just that. A Beginner's Mind is their debut album that contains 14 songs (loosely) based on (mostly) popular films. The source material is highbrow, lowbrow, and everything in between. The music is folksy, sweet, sincere and harmonically effervescent-Simon & Garfunkel with New Age flourishes. This album runs the gamut and has fun with it, even while it's songwriters remain fully rooted in the melancholy folk idioms they are known for.Daniel Anum Jasper, a pioneer of Ghanian movie poster painting, was commissioned to paint a series of new works for A Beginner's Mind. His paintings are a graphic simulacrum for the same sense of wonder, wordplay, and intrigue that shape A Beginner's Mind. By transforming old films into vital new songs, Stevens and de Augustine ask us to consider ourselves from a previously unconsidered vantage point-a new way of seeing and hearing-an exercise that's as necessary and relevant now as it's ever been.
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It may be tempting to reduce Convocations into a longform ambient anomaly within Sufjan Stevens' vast catalogue. It is, however, neither an anomaly nor entirely ambient. This is not a side project. From his numerous dance scores for New York City Ballet to instrumental albums such as Enjoy Your Rabbit, Aporia, and The BQE, Stevens spends at least half his working life making largely instrumental music, as he has for decades. And though the first ten pieces, dubbed "Meditations," unfurl as gorgeous states of reflective new-age grace, this is by no means an ambient enterprise. Stevens invokes the lessons of Morton Subotnick, Maryanne Amacher, Christian Fennesz, Brian Eno, and Wolfgang Voigt here. As musically erudite as it is emotionally experienced, Convocations can be dissonant, vertiginous, rhythmic, repetitive, urgent, or calm-that is, all the things we undergo when we inevitably live through loss, isolation, and anxiety. Indeed, Convocations moves like a two-and-a-half-hour requiem mass for our present times of difficulty, it's 49 tracks allowing for all these feelings to be felt. The album is divided into five sonic cycles, each replicating a different stage of mourning. "Meditations" work toward acceptance and resolution, of coming to terms with the day's news even if it stings. The subsequent "Lamentations" slink, sputter, and sometimes grind, as sadness transmutes to anger and back again. The rhythmic drift and glitchy strata of "Revelations" allow for confusion and catharsis, of asking just why the world or the heavens have wronged us. With it's bright tones, occasional sweeps of strings, and scrambled voices, "Celebrations" offers furtive bits of fondness, though the nostalgia is never far removed from the news that prompted it. The final nine "Incantations" are lessons for those of us who remain, gorgeous and galvanizing reminders that our time here is as limited as the possibilities for how we spend it are infinite. Convocations occasionally soothes and sometimes hurts; when it's done, you're left with a renewed sense of wonder for being here at all.In fact, Stevens made Convocations in response to (and as an homage to) the life and death of his father, who died in September last year, two days following the release of The Ascension. It is, then, ultimately an album about loss, and an album that reflects a year in which we have all lost so much. One could easily compare this project to Stevens' album Carrie & Lowell, which he wrote following his mother's death. But this is something entirely different. A new time, a new season, a new life lost, a new reckoning, a new kind of isolation, grief, despair, frustration, confusion, and the search for happiness and hope for the future. This is not a personal record, but a universal one. Convocations is built on a shared experience that seeks to be honest about how complicated grief can be in these difficult times-the pain, the anxiety, the unknown, the absolute joy of memory. This is also an album made in lockdown, when we were all cloistered in whatever space we had. So long as the science and statistics hold, Convocations arrives just as we begin to emerge from a year whose losses we will calculate for a lifetime. It is, then, right on time, as we begin to process our grief and try to carry on with it. -Grayson Haver Currin
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LOOK AT YOURSELF is the third studio album by British rock band URIAH HEEP, released in September 1971 by Bronze Records in the UK and Mercury Records in the US. Characterized as heavy metal and progressive rock, the album came to be viewed as a high point in the band’s career, and is today regarded by many fans and critics as URIAH HEEP’s finest album along with Demons and Wizards, released the following year.

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WELCOME TO HELL is the debut studio album by English metal band VENOM. It was released in December 1981, through Neat Records, at the culmination of the New Wave of British Heavy
Metal movement. The music of WELCOME TO HELL is often described as speed metal, but it had a great influence on the then-emerging thrash metal style, and crystallized the elements of what later became known as death metal and black metal and has been a huge influence on extreme metal as a whole, the band being the pioneers of the genre. This 40th anniversary, limited edition splatter vinyl version comes in an embossed sleeve, with a reproduction

of the original lyric bag and poster..

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Ronnie Wood and the Ronnie Wood Band is back with the second installment of his live album trilogy, ‘Mr Luck - A Tribute to Jimmy Reed: Live at the Royal Albert Hall’, to be released 3 September 2021. The Ronnie Wood Band with special guests Mick Taylor, Bobby Womack, Mick Hucknall and Paul Weller. Live from the Royal Albert Hall on 1st November 2013. A ‘Tayle’ of Two Sidemen ‘When self-taught guitarist Eddie Taylor imparted his skills onto his friend Jimmy Reed, he surely couldn’t have imagined the effect this was to have on the Chicago blues scene. Backing up such luminaries as John Lee Hooker, he is best remembered for his work with his former student. Sweet coincidence, then, that in 1974 another Taylor, Mick, would make way for Ronnie Wood in the Rolling Stones, paving the way for these two friends and celebrated guitarists to work on projects ever since. The culmination of this to date is surely Taylor’s place in The Ronnie Wood Band at the Royal Albert Hall for 2013’s Bluesfest, where they played the now-legendary set that would come to give birth to this recording.’

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While spending time trying to conquer the audio of live-stream athome performances, I got better acquainted with my friend Adam McDaniel, an engineer and producer in Asheville, NC. Adam and I had known each other for years. When the band was a bit smaller I'd often rent his studio, Drop of Sun, for pre-recording / pre tour rehearsals. Summer 2020 was tough for many reasons. But Adam and his wife Emily opened their home to me and made it a safe space to create and let go. I had an idea to record some covers and bring some of the band into the mix, or add other players. I wanted to record 80's songs that I'd overheard walking the aisles at the grocery store, and I needed to laugh and have fun and be a little less serious about the recording process in general. I thought about completely changing some of the songs and turning them inside out. I'd heard "Gloria" by Laura Branigan for the first time at a family Christmas gathering and I was amazed at all the aunts who got up to dance. I imagined them all dancing and laughing in slow motion, and that's when I got the idea to slow the entire song down and try it out in this way. I felt that "Safety Dance" by Men Without Hats could be reinterpreted to be about this time of quarantine and the fear of being around anyone or having too much fun. It made me wonder, is it safe to laugh or dance or be free of it all for just a moment? I know it's not really in my history to do something unintentional or just for the hell of it but my connection to these songs is pretty straightforward, I just wanted to have a little fun and be a little more spontaneous, and I think I needed to remember that I could!
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Vinyl LP pressing in gatefold jacket. 2021 release. A.M.G.O.D. (Allotropic/Metamorphic Genesis of Dimorphism) is the third studio album by Finnish industrial black metal band,... and Oceans. This album incorporates more electronic/industrial elements than past albums.
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