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Kylie Minogue

Step Back In Time: The Definitive Collection



    FORMAT INFORMATION

    2xColoured LP Info: Mint green vinyl, limited to 5000 for the UK.

    Morrissey With Billie Joe Armstrong

    Wedding Bell Blues - RSD Stores Exclusive



      FORMAT INFORMATION

      Ltd 7" Info: Clear Yellow vinyl.

      Popol Vuh

      Essential Collection Vol. 1

        Popol Vuh are considered one of the most influential German “70s progressive rock” avant-garde acts of the Seventies and are also known as a a pioneering Band in Ambient and Progressive Rock Music. Their records "Affenstunde" (1971) and "In the Garden of Pharao" (1972), played with with the Moog Synthesizer, are claimed to be fundamentally influencing works in Electronica. In 1975, Fricke and Popol Vuh began a lengthy creative partnership with the most acclaimed German filmmaker Werner Herzog, which yielded to epic soundtracks for feature films including “Aguirre- Wrath of God”, “Fitzcarraldo”, “Nosferatu”, “Heart of Glass”, and “Cobra Verde”. As a consequence, Popol Vuhs Music got three times nominated for the Oscars. The name and the book POPOL VUH comes from the mythology of the Inca cultures and is the memory of the history of becoming humanity. Florian Fricke himself was reluctant to put his music in order. "Music is for me a form of law". He died on December 29, 2001 in Munich.

        6 LP vinyl box set "The Essential Album Collection Vol. 1" contains the classic albums of the pioneers of electronic music / All albums remastered by the former Popol Vuh member Guido Hieronymus / Audiophile 180g vinyl pressing.

        Original tracklists plus four bonus tracks / High-quality slipcase with spot varnish / Original artworks (gatefold). "Nosferatu" poster and two band posters / 6-page insert with detailed liner notes, photos and discography.


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        FREE SHIPPING This item has FREE UK shipping!

        “I can’t think of a more fitting way to commemorate the first anniversary of Dolores’ passing and to celebrate her life than to announce to the world the release of her final album with the band.” Eileen O’Riordan, Dolores O’Riordan’s mother.

        30 years after forming in Limerick (initially as The Cranberry Saw Us) The Cranberries release their 8th and final album ‘In The End’. With Stephen Street once again taking producer duties, the eleven-track record brings a remarkable career to a fitting and powerful closure. 

        The Cranberries - Dolores O’Riordan, Noel Hogan, Mike Hogan and Fergal Lawler - emerged from the pre-Brit-pop scene of the early '90s, with their trademark indie guitar sound and Dolores’ distinctive Celtic-tinged lilting vocal style – described by Melody Maker as “the voice of a saint trapped in a glass harp”. Their rise to global fame was nothing short of meteoric; best known for their now classic songs ‘Linger’, ‘Zombie’ and ‘Dreams’, the band have sold more than 40 million albums worldwide.

        While it is tinged with sadness following Dolores’ unexpected death on January 15th 2018, ‘In The End’ is not a valediction, it is a celebration, one that stands as a powerful testimony to the life and creative work of Dolores and her brothers in music Noel, Mike and Fergal.

        The genesis of ‘In The End’ began in May 2017 while the band were on tour. By winter of 2017 Noel and Dolores had written and demoed the eleven songs which would eventually appear on the album. “Dolores was so energized by the prospect of making this record and to getting back out on the road to play the songs live” recalls Noel.

        In coming to terms with her tragic passing Noel, Mike and Fergal listened to the songs and, with the support of Dolores’ family, wanted to honour their close friend, and collaborator by completing the record.

        Speaking about the band’s concerns at the time Noel said “we knew this had to be one of the, if not the, best Cranberries album that we could possibly do. The worry was that we would destroy the legacy of the band by making an album that wasn’t up to standard. Once we had gone through all the demos that Dolores and I had worked on and decided that we had such a strong album we knew it would be the right thing and the best way that we could honour Dolores.”

        With the songs at various stages of completion they turned to Stephen Street – who had produced four of their previous albums including ‘Everybody Else Is Doing It, So Why Can’t We?’ and ‘No Need To Argue’ - and spent 4 weeks in a London studio building the sounds around her vocals from the original demos. “It was a bitter sweet time. The joy of recording new tracks is always exciting and one of the best parts of being in a band. At the end of every day when we’d laid down our parts there was a sense of sadness, knowing that Dolores wouldn’t be in that evening to work on that day’s track” remembers Noel.

        The album is a strong goodbye from the band to their fans, a fitting tribute to their bandmate and friend and, most importantly, a collection of powerful songs that can take their rightful place with The Cranberries’ previous six records.


        FORMAT INFORMATION

        Coloured LP Info: Limited indies exclusive red rust coloured vinyl.

        The new album for the US artist Young Man aka Colin Caulfield with guitarist Emmett Conway, bassist Joe Bailey, drummer Dylan Andrews and synth player Jeff Graupner - produced by John McEntire (Tortoise, The Sea And Cake a.o.)

        Before he was even finished with the debut Young Man EP Boy, singersongwriter Colin Caulfield already knew what he wanted to do with this one, the 9-track album Vol. 1. First conceived in Caulfield’s college dorm room in 2009, Young Man is a concept project about youth -- about how that fleeting phase when you're emerging into adulthood can feel like reliving two decades of highs and lows in just a couple years. "I wanted all the things to come out in succession," Caulfield says, "because the series documents what happened to me when I was writing them. The whole project more or less portrays the trajectory of a young musician, first starting out, making mistakes, then growing up.

        He's growing in leaps and bounds, turning out a more muscular, focused sound on 'Vol.1,' where songs such as "21" and "Fate" bend the dreamy atmospherics Caulfield has been exploring since his first EP into lean, pliable melodies. Vol. 1 is the first Young Man effort to feature a full band. He is supported here by guitarist Emmett Conway, bassist Joe Bailey, drummer Dylan Andrews and synth player Jeff Graupner, most of whom have been playing live with Caulfield for the past couple years on tours with Cold War Kids, Givers, Grouplove and Fanfarlo, among others. "I always envisioned this as a full band project," Caulfield says. "Experimenting with a group of musicians in a way that you can't when you’re alone is much more appealing for me, but I had to teach myself how to record the songs on my own first."

        Vol 1 is also Caulfield's first project to be recorded in a studio -- Chicago's Soma Studios, where Young Man spent several weeks last year with producer John McEntire, known for his influential work with Nineties indie rock heavyweights Tortoise and The Sea And Cake, as well as production/engineering credits for Broken Social Scene and Stereolab. "I had a very good idea of what each song should sound like in my head before we went to the studio," Caulfield says. "They came out sounding different than I thought they were going to, but a lot of the album is about being happy with that. We almost called the album Damon & Division, which are the cross streets where Soma is, because the studio itself was such an important instrument on this record."

        Beyond any one instrument, Caulfield says the biggest influence on Vol. 1 was his longtime attraction to progressive rock. "It’s such geeky music," he says. "But the musicianship is something I really get behind. Sometimes I find myself using the same chords and rhythmic concepts, but those influences always push me to do something new as much as I'm able - making music technical in clever ways without letting it get too selfindulgent."

        Yet Caulfield also notes that the real writing of this record coincided with his beginning to develop a real taste for pop music again, for the first time since his early teens. "I got more interested in songwriting, and I learned to embrace pop music like Kelly Rowland and Nick Drake. I resented that music for so long, for some reason. I don’t think it’s negative anymore to write a good hook and have it repeat. For the longest time I wanted to make music that had parts that moved in and out, that didn’t follow standard pop conventions. I guess I finally realized it’s cool to do both." Prog pop? Yes. Finally.


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