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The Appetite For Destruction: Locked N’ Loaded box is the one true GN’R Holy Grail. The box includes the Super Deluxe Edition with 4CDs featuring the album newly remastered for the first time ever; B-sides N’ EPs newly remastered; the previously unreleased 1986 Sound City Session N’ More recordings; a Blu-ray Audio disc with the album, bonus tracks and music videos in brand new 5.1 surround sound along with the unearthed music video for “It’s So Easy” originally shot in 1989 but never finished; and a 96-page hardcover book showcasing unseen photos from Axl Rose’s personal archive and a wealth of memorabilia. In addition, the Locked N’ Loaded box contains high quality collectables including seven 12-inch 180g audiophile vinyl discs, seven 7-inch singles on yellow vinyl, a dozen lithos newly visualizing each song on Appetite, 5 custom hand-made metal-cast band skull face rings, 5 hand-made metal-cast band skull face lapel pins, buttons, patches, replica concert tickets and gig flyers, 5 metal skull face and signature-stamped guitar picks, a turntable mat, wall posters, replica ‘85/’86 club days banner, a Robert Williams painting litho, never-before-seen band lithos, a numbered certificate of authenticity and more.
Appetite For Destruction is also available as Remastered CD / Deluxe 2CD / Super Deluxe / 2LP
This Super Deluxe limited edition package features a new stereo mix of the album by Bob Clearmountain from the original analog masters. The package also features the previously unreleased complete “Live At Woodstock” performance from 1969, the Classic Albums – The Band documentary, and thirteen bonus tracks. Bonus tracks include six previously unreleased outtakes and alternate versions. The exclusive book features a new essay by Anthony DeCurtis and classic photos by Elliott Landy.
The original release of the Jackson 5's Greatest Hits LP in 1971 was cause for celebration, as it encapsulated an extraordinary 18-month strings of back-to-back-to-back-back-etc. hits and was itself a hit souvenir of Jacksonmania. It featured eight smash records, led by the group s phenomenal Motown debut, 'I Want You Back,' plus two immensely popular B-sides 'I Found That Girl' and 'Who's Lovin' You' and something new: 'Sugar Daddy,' a just-dropped single which went top 10 pop and no. 3 R&B; it was then not available on any other J5 LP. This LP reissue is something new again: it features the rare quadrophonic mixes, originally released in Japan only in 1975. These mixes used alternate vocals and sometimes emphasized instrumentation not heard in the J5 singles or LP and as a result these versions are much sought-after. As within this edition these mixes are the stereo folds, consumers do *not need a special decoder or four speakers to enjoy the music.
Over their career, Cold War Kids have fielded music’s seismic shifts while simultaneously sticking to their own game plan. Over the course of a dozen releases – including seven studio albums, multiple EPs, and a live album on majors and indies alike, non-stop tours and the festival circuit’s biggest stages, massive radio, sales & streaming successes, the band have become a major part of the modern landscape. Their new album New Age Norms 1, with lead single “Complainer” is the next chapter with the approach of taking apart the idea of what the band is and just trying to take the doors off a bit to see where it can go.
Nirvana's classic MTV Unplugged in New York album is getting a 25th anniversary vinyl reissue. Marking the iconic lives set's first pressing as a double LP, the new edition features five rehearsal performances that were previously available on only the DVD release.
Among the rehearsals – which were previously only available as bonus content on the MTV Unplugged in New York – is a different take on the David Bowie cover “The Man Who Sold the World,” a version that finds both Nirvana and the production team finding their footing ahead of the concert. Rehearsal versions of “Polly,” “Pennyroyal Tea,” “Come As You Are” and the Meat Puppets’ “Plateau” are also included on the vinyl’s Side D.
- 5-CD/1-BLU-RAY
- Featuring the hits: "What's the Frequency, Kenneth?," "Bang and Blame," "Crush With Eyeliner" and more
- 2019 Completely Remixed Album, by original producer, Scott Litt
- 15 Previously Unreleased Demos
- 2-disc Unreleased Live Set from the 1995 Monster Tour
- Remastered Album
- Concert Film Road Movie
- Hi-Res & 5.1 Surround Sound Audio
- Official Music Videos
- Plus extensive new liner notes, featuring interviews from members of the band
- Reimagined artwork by the original cover artist, Chris Bilheimer
Rock and Roll Hall of Fame inductee and multi GRAMMY Award-winning band R.E.M. is one of the most revered bands to emerge from the American underground. Singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and drummer Bill Berry helped originate college rock during the post-punk scene of the 80s. The Athens, GA-based group toured relentlessly for the first decade of their career, refining their idiosyncratic blend of brash tunefulness, poetic lyrics, chiming guitars and evocative vocals.
By the early 90s, R.E.M. had become one of the most popular and critically-acclaimed bands in the world. With an extraordinary three-decade-long run of creative vitality, R.E.M. have established a powerful legacy as one of the most enduring and essential rock bands in popular music history.
Japanese Wallpaper is Gab Strum, Melbourne-based dream pop producer, songwriter and artist. Gab blends shimmery synths, downtempo beats, and electronic influences with introspective, coming of age song themes to craft his brand of indie pop. Glow is the debut album from Japanese Wallpaper about navigating the simultaneously beautiful and incredibly awkward phase that is one's late teens, growing up and trying to figure out your place in the world. Produced by Grammy-winning producer Ben H. Allen (Walk the Moon, Animal Collective, Gnarls Barkley, Kaiser Chiefs, Cut Copy, Washed Out, Neon Indian),
In 1997, Josh Homme (Queens of the Stone Age) and a handful of friends retreated to the desert of Joshua Tree, CA in order to isolate themselves from the distractions and comforts of their everyday lives. What began as a casual writing and recording session amongst friends has since become a project of legend. Spanning twelve volumes over the course of two decades, Desert Sessions has featured some of music’s most cherished icons stepping out of their comfort zones and collaborating with one another to create some of the most exciting music of their careers.
After nearly sixteen years since its last entry, the longest-running mix tape in existence, Desert Sessions will return this October with two stunning new volumes in its already storied catalog, Vols. 11 & 12, featuring collaborations from Billy Gibbons (ZZ Top), Les Claypool (Primus), Stella Mozgawa (Warpaint), Jake Shears (Scissor Sisters), Mike Kerr (Royal Blood), Carla Azar (Autolux, Jack White), Matt Sweeney (Chavez), David Catching (Co-founder of Rancho De La Luna studio), comedian Matt Berry (What We Do in the Shadows), Töôrnst Hülpft and new comer Libby Grace.
Limited Edition Vinyl packaging includes a one of a kind custom mix & match, body swap booklet!
Written and produced by Michael Gira, Leaving Meaning is Swans fifteenth studio album and features contributions from recent and former Swans, members of Angels of Light as well as guest artists Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee, and a Hawk and a Hacksaw.Michael Gira explains, "Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 - 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I'd like to see the songs I've written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They're all people whose work I admire and whose company I personally enjoy.
The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.
