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1972 Vinyl, CD & Tape 20 Artikel

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Aphex Twin - Selected Ambient Works Volume 2
Aphex Twin
Selected Ambient Works Volume 2
3LP | 2012 | US | Reissue (1972)
35,99 €*
Release:2012 / US – Reissue
Genre:Electronic / Dance
Aphex Twin’s 1994 masterpiece Selected Ambient Works Volume II includes barely anything resembling a beat or any sign of typical song structure, yet the album continues to garner adulation generally reserved for holy music. Fans have been testifying on its behalf for nearly two decades, as if it were capable of curing ills or healing the soul. Its synthetic construction belies the intuitive, human, melancholic and uplifting nature of the music. Some have speculated the album was intended by Aphex Twin’s Richard D. James as a farce, as if its über-minimalism was a joke played on an electronic community that relied so heavily on the beat; an expectation-defying statement from ambient-house’s young hero. The album induces varied responses and often from the same person. A listener may go from being incredulous to drenched in tears within the span of a single track. Music critic Frank Owen described the music as “veering between an eerie beauty and an almost nightmarish desolation.” James himself described it as “like standing in a power station on acid.” The album’s raw emotional power is built upon the influences of Brian Eno, Erik Satie, Steve Reich, Terry Riley and The Orb. Each of its tracks has an elegiac and desolate feel far removed from the tooth-rattling, drill-’n’-bass or abstract electronica for which James was originally known. The soft, nimble flow leaves one in a tranquilized state. Throughout the album, James resists the temptation to layer the sound with beats or samples. Instead, he relies on swathes of sound and harmonics and almost-implied pulses. When the music does incorporate subtle industrial sounds, rhythmic drums or muted samples, it is only to affect a menacing feel in the textures. Remarkably, for an album that is often perceived as difficult, Selected Ambient Works Volume II is quite accessible. Featured in films, commercials and video games, the music continues to offer an entry point for listeners new to the ambient genre while remaining a classic touted by connoisseurs.
Sound, The - From The Lions Mouth
Sound, The
From The Lions Mouth
LP | 1981 | US | Reissue (1972)
18,99 €*
Release:1981 / US – Reissue
Genre:Rock / Indie
For THE SOUND's sophomore LP, the group decided to work with producer HUGH JONES (Echo & the Bunnymen, The Teardrop Explodes, Bauhaus). The resulting album is more richly layered than their debut, fusing the band's atmospheric, affecting sound with a set of accessible yet invigorating songs. At the time, From the Lions Mouth gained great marks from the British music press, but did not break the band beyond its devoted cult of fans. Now it is considered a post-punk classic. A relatively restrained but vital follow-up to the charged and ragged Jeopardy, From The Lions Mouth proves that The Sound's critical stature among the post-punk elite was no fluke. A more robust recording budget allows them to explore a fuller, more cohesive sound, while ADRIAN BORLAND's lyrics are even more introspective (a jarring turn after the often political bent of Jeopardy). However despondent the singer's words became, the tone, as pointed out in the original NME review of the album, never descend into "pessimistic wallowing." The bleak nature of the lyrics would be the first true displays of Borland's mercurial nature. While he waged a tragically losing battle with depression for the rest of his life, it's hard not to view this album as an enduring and fascinating document of the beginnings of madness. Contains the unlisted bonus track "Hothouse."
Stereolab - Dots And Loops
Stereolab
Dots And Loops
2LP | 1997 | US | Reissue (1972)
29,99 €*
Release:1997 / US – Reissue
Genre:Pop
First vinyl reissue ever of the band’s fifth album, originally released in 1997!
Aphex Twin - …I Care Because You Do
Aphex Twin
…I Care Because You Do
2LP | 1995 | US | Reissue (1972)
35,99 €* 44,99 € -20%
Release:1995 / US – Reissue
Genre:Electronic / Dance
Released in April of 1995, ...I Care Because You Do is the third studioalbum Richard D. James recorded under the Aphex Twin monikerand marks the end of his initial analog era. It’s also the crowningachievement in the Aphex Twin canon.Veering from his previous acid house, ambient and general technoundertakings, James builds compositions out of lengthy and intricatedrum machine loops, elaborately layered analog synths and intermittentstring pieces. The final product comes off like a Replicant danceparty.Never one to take his art too seriously, James infuses ...I CareBecause You Do with in-jokes and innuendos. “Ventolin,” named afteran asthma medicine, is one of the harshest tracks on the album andfeatures a high-pitch frequency that mimics symptoms of tinnitus;“Alberto Balsalm” is named for a British line of hair care products;“Come On You Slags” samples dialog from a pornographic film. Additionally,several of the song titles are anagrams: Aphex Twin is reworkedas “Wax the Nip”, The Aphex Twin morphs into “The WaxenPith,” “Wet Tip Hen Ax,” and “Next Heap With,” and Richard DavidJames becomes “Acrid Avid Jam Shred.”...I Care Because You Do’s equal infatuation with hip-hop rhythmsand melodic counterpoint provides an effective bridge between hispioneering early releases and the cunning explorations of his laterwork. As much as the front cover self-portrait captures a snapshot ofthe artist’s own image, the music inside provides a glimpse of an artiston the cusp of an invigorating new period of sound experimentation,but still producing his unique blend of melancholy and aggressionat an elite level.Generally seen as one of the quintessential IDM releases of alltime (and once named by Q Magazine as one of the top 20 loudestalbums of all time), the album finds a middle ground between PhillipGlass and the Wu-Tang Clan. Fans of either will not be disappointed.
Echo & The Bunnymen - Ocean Rain
Built To Spill - Ancient Melodies Of The Future
Built To Spill
Ancient Melodies Of The Future
LP | 2001 | US | Reissue (1972)
24,99 €*
Release:2001 / US – Reissue
Genre:Rock / Indie
Formed in 1992 by Doug Martsch, Built to Spill has been of the most tuneful and rewarding acts of the lauded Northwest indie-rock tradition. The group signed to Warner Brothers in 1995, and by 1999 Martsch helmed the group towards commercial and critical success with Keep it Like a Secret. It was a touchstone album, and yet 2001’s Ancient Melodies Of The Future bested that career highlight with considerable grace and craft.
Spectrum - Forever Alien
Spectrum
Forever Alien
2LP | 1997 | US | Reissue (1972)
29,99 €*
Release:1997 / US – Reissue
Genre:Electronic / Dance
With theremin, vocoder, & an array of modular analog synthesizers Peter Kember (Spacemen 3), along with Alf Hardy & Pete Bassman, fused cosmische abstraction & the pulsation of minimalist composition to more traditional psych elements epitomized by early Pink Floyd, forming Spectrum. Landing between the unfettered experiments of E.A.R. & Spacemen 3's songcraft, Kember crafts unnerving atmosphere on the album & an enduring catalog high point on the consummate opener, "Feels Like I'm Slipping Away." This LP leaves no doubts about the reasons for Kemper's sought-after production today (he played a vital role for Animal Collective & sculpted PANDA BEAR's most recent albums) - nor the essential status of his post-Spacemen 3 output.
Primal Scream - Give Out But Don't Give Up
Primal Scream
Give Out But Don't Give Up
2LP | 1994 | US | Reissue (1972)
20,99 €* 27,99 € -25%
Release:1994 / US – Reissue
Genre:Rock / Indie
The ever-mercurial Bobby Gillespie wasn’t content to bridge techno and indie with the wildly popular acid-house foray Screamadelica. No, he carried on as if it didn’t happen. As suggested by the album cover, which features a photo (titled Troubled Waters) by seminal Southern photographer William Eggleston depicting a confederate flag, 1994’s Give Out But Don’t Give Up finds Primal Scream drawing upon rock forms baked in the American South, the nationalistic Britpop climate be damned. A debt to The Rolling Stones held over from Primal Scream inflects the tender balladry on “(I’m Gonna) Cry Myself Blind,” while “Funky Jam” is self-explanatory and the hit single “Rocks” trades, not surprisingly, in roadhouse rock ’n’ roll bravado. On the title track, George Clinton himself arrives to trade verses with the unflappable soul vocalist Denise Johnson atop a dour and hard funk groove. Like Primal Scream’s broader discography, Give Out But Don’t Give Up is an assortment of freewheeling exercises—all of which deftly connect.
Primal Scream - Primal Scream
Primal Scream
Primal Scream
LP | 1989 | US | Reissue (1972)
22,09 €* 25,99 € -15%
Release:1989 / US – Reissue
Genre:Rock / Indie
Following the Byrds-indebted bliss of Primal Scream’s debut, Sonic Flower Groove, bandleader Bobby Gillespie reassembled a lineup and literally grew his hair long to prepare for the uninhibited riffs and leather-laden swagger of the group’s eponymous sophomore album in 1989. Fans were surprised—just like when Gillespie’s old group The Jesus & Mary Chain swapped noisy gauze for high-production sheen—but time has shown thrilling reinvention to be Gillespie’s greatest asset. The shift is told by the cover art: instead of Sonic Flower Groove’s nod to 1960s collegiate artist chic, Primal Scream’s cover depicts little more than wild manes in motion—the visual analog to both the blues-spew thump of “Ivy Ivy Ivy” and the incredible, Beggars Banquet-era Rolling Stones homage, “I’m Losing More Than I’ll Ever Have” (which made history again as the basis for Primal Scream’s crossover hit, “Loaded”). But Primal Scream also slays with softness: “You’re Just Dead Skin to Me” features emotive keys from Felt’s Martin Duffy, and “You’re Just Too Dark to Care” movingly evokes Alex Chilton’s hushed despair on Big Star’s 3rd. Soon after, Screamadelica christened the band with a new identity, but Primal Scream established a mode to which Gillespie would return on 1994’s excellent Give Out But Don’t Give Up.
Primal Scream - Sonic Flower Groove
Primal Scream
Sonic Flower Groove
LP | 1987 | US | Reissue (1972)
25,99 €*
Release:1987 / US – Reissue
Genre:Rock / Indie
Bobby Gillespie’s departure from The Jesus & Mary Chain enabled the pioneering Scots bandleader to focus on Primal Scream full-time. The rewards arrived quickly: the early B-side “Velocity Girl” ended up on NME’s legendary C86 compilation (and later inspired the American indie-pop band of the same name), and Primal Scream connected with the crucial English indie label Creation. For the band’s debut, Primal Scream opted for producer Mayo Thompson—leader of left-field psych outfit Red Krayola and producer for Pere Ubu, Felt, and The Chills, among others—and completed Sonic Flower Groove for release on the newly set up Warner Bros. subsidiary Elevation Records in 1987. It’s the only album featuring Gillespie’s wistful, almost fey vocal style, which makes impeccably balanced pop compositions like “Aftermath” especially infectious. The influence of The Byrds is glaring. Glistening guitar melodies entwine and, yes, jangle, though the way they mingle with and complement Gillespie’s voice distinguishes the tribute. It’s also a prescient album, predicting the refined rock sensibility that would in a few years come to characterize Britpop, but by then Gillespie and Primal Scream would already be blazing new trails.
Sparks - Sparks
Sparks
Sparks
LP | 1972 | US | Reissue (1972)
22,99 €*
Release:1972 / US – Reissue
Genre:Rock / Indie
Sparks’ eponymous 1971 debut presents the singular compositional, lyrical and singing voices of Ron and Russell Mael fully formed. Originally released under the moniker Halfnelson, Sparks’ prescient debut prefigures Queen, power pop, and especially Southern California’s late ’70s skinny-tie explosion. It’s a landmark of Todd Rungren’s early production career, and clearly the backing band of brothers Earle and Jim Mankey brought Sparks’ pop idiosyncrasies to their later work with The Dickies, The Quick and 20 / 20. Infectious, daring, and delightfully flaunting camp theatricality throughout, Sparks is the first installment in an unparalleled series of some of the decade’s most classic albums. Careening melodies soar through space-detritus electronics on the strikingly original “Roger,” which evokes the early solo work of Brian Eno, but the deranged art-rock closing track “(No More) Mr. Nice Guys” is the unequivocal classic of Sparks’ early career and a staple of the band’s live set ever since. Rundgren’s restrained production wisely sets the Mael brothers at the fore of Sparks. With just subtly treated cymbal flourishes keeping the pace, album opener “Wonder Girl” is pared down and mixed to showcase two things: Ron’s twinkling piano trill and Russell’s fluttering high-register. As Rundgren perceived, and a multi-decade career confirms since, their fraternal chemistry is a consummate force.
Lee Hazlewood - The N.s.v.i.p.’s (Not So Very Important People)
Lee Hazlewood
The N.s.v.i.p.’s (Not So Very Important People)
LP | 1964 | US | Reissue (1972)
25,99 €*
Release:1964 / US – Reissue
Genre:Rock / Indie, Pop
Lee Hazlewood’s partnership with Reprise Records in the 1960s resulted in timeless hits for Dean Martin and Nancy Sinatra. Throughout the decade, though, the label also released three of the artist’s most highly regarded solo works: The N.S.V.I.P.’s, Friday’s Child and Love and Other Crimes. Hazlewood’s 1964 sophomore album The N.S.V.I.P.’s (Not So Very Important People) is the perfect companion to his classic debut, Trouble Is a Lonesome Town, released the year prior. Setting his signature spoken intros to a new cast of small town eccentrics (perhaps modeled on his childhood locale in Mannford, Oklahoma), this early career high-point presents Hazlewood with all of his singular assets already intact: playful lyrics veering toward the bizarre, wry delivery and wonderfully understated pop-country song craft. “First Street Blues” opens The N.S.V.I.P.’s with the saga of Leroy, the once-irascible dragon who converts to a cheerful wino. The small-town drunkard’s likely story merges with fantastic whimsy in Hazlewood’s strange world. Elsewhere, he waxes absurd on “I Had a Friend” about Tarzan’s deficiencies as a citizen and marital prospect for Jane. He even imparts some simple wisdom about the presidential election on “Save Your Vote for Clarence Mudd.” As always, Hazlewood’s tongue is firmly rooted in cheek. Still, it’s easy to just forget that and live inside the poignant songs he creates for each and every one of the not so very important, but absolutely riveting, people—and dragons, too.
Stereolab - Cobra And Phases Group Play Voltage In The Milky Night
Stereolab
Cobra And Phases Group Play Voltage In The Milky Night
2LP | 1999 | US | Reissue (1972)
27,99 €*
Release:1999 / US – Reissue
Genre:Rock / Indie
Cobra and Phases Group Play Voltage in the Milky Night is Stereolab’s sixth studio album and a return to the poppier tendencies the band had left behind on their previous full-length, Dots and Loops. Where that album was an amalgam of often chilled, abstract electronica, prog and jazz, this work’s exotic pop features warm Moog textures, bursting horns and lush, layered vocals. Co-producers John McEntire (Tortoise, The Sea and Cake) and Jim O’Rourke (Sonic Youth, Gastr del Sol) add new wrinkles to Stereolab’s sound and deliver rich and expansive mixes. Their contributions to the album’s sonic deconstructions and analog keyboard textures present a radical model of pop-rock song architecture. Harmony and cacophony coexist throughout, wrapped up in the group’s familiar, mellow ’60s bossa-groove. The arrangements incorporate Chicago post-rock, Sun Ra-styled free-form jazz and classic British acid-psych styles, while the songs return to the core melodic instincts of the band’s classic albums. Cobra and Phases Group Play Voltage in the Milky Night ended a decade in which Stereolab constructed a singular vision of popular music. It completed a journey from the lo-fi fuzz of their early ’90s singles to the sophisticated and complex soundscapes of their more mature second phase. The result is an alluring collage of ’60s jazz, French pop and shimmery, ambient guitars, and an underrated piece of Stereolab’s oeuvre.
Stereolab - Sound-Dust
Sound, The - All Fall Down
Sound, The
All Fall Down
LP | 1982 | US | Reissue (1972)
18,99 €* 19,99 € -5%
Release:1982 / US – Reissue
Genre:Rock / Indie
At the time their third album was released, THE SOUND was one of the UK's most acclaimed bands and were on the precipice of a commercial breakthrough. Having been upgraded from the Korova label (also home to Echo & the Bunnymen) to Warner Bros., the group was met with label demands to deliver a more commercial release. In what many consider to be a willfully defiant move, The Sound delivered the challenging and more experimental All Fall Down, a record many of their most ardent fans still consider their most accomplished. It remains one of the great post-punk albums of the early '80s. The logical progression from the band's previous work, the seminal From the Lions Mouth, All Fall Down unfolds slowly and rewards patience. Each song's power is augmented by the ones around it. Highlights include the upbeat "Calling the New Tune" and "Party of the Mind," the melancholy "We Could Go Far" and the dissonance and bleakness of "Glass and Smoke." The aura of Adrian Borland's well-documented mental illness gives many of the songs a sinister edge. All Fall Down has proved itself over time to be an essential album-it is a timeless, modern record that still sounds fresh, and its high points match anything else in the group's canon.
Jesus And Mary Chain, The - Barbed Wire Kisses (B-Sides And More)
Jesus And Mary Chain, The
Barbed Wire Kisses (B-Sides And More)
LP | 1988 | US | Reissue (1972)
17,99 €*
Release:1988 / US – Reissue
Genre:Rock / Indie
The Jesus and Mary Chain released Barbed Wire Kisses (B-Sides and More) in 1988, just five years into their existence. The album is an incredible collection of singles, outtakes and rare tracks that proved to fans outside of collectors’ circles that the group ranked among the UK’s great singles bands.
Stereolab - Emperor Tomato Ketchup
Stereolab
Emperor Tomato Ketchup
2LP | 1996 | US | Reissue (1972)
27,99 €*
Release:1996 / US – Reissue
Genre:Pop
First vinyl reissue ever of classic 1996 album, Pitchfork rated it #51 among the top 100 albums of the ’90s!
Aphex Twin - Richard D. James Album
Aphex Twin
Richard D. James Album
LP | 1996 | US | Reissue (1972)
19,99 €*
Release:1996 / US – Reissue
Genre:Electronic / Dance
In a career full of brilliant, groundbreaking music, the Richard D.James Album remains Aphex Twin’s drill ’n’ bass masterpiece. Itwas James’s fourth and most widely popular full-length to date uponits original 1996 release, and reinvented the artist as a commandinginfluence on like-minded groups such as Radiohead who were tiringof the guitar / bass / drums format.Moving even further away from his ambient and acid house beginnings,the album matches James’s trademark fragile, slow-movingmelodies with harsh, quick breakbeats. When it was released, fellowelectronic artists such as Orbital and Underworld had just begunto filter moderate amounts of drum ’n’ bass in their work, but the RichardD. James Album was more extreme than virtually all jungle at thetime.Autobiographical in nature, it employs electronic sounds, pulsatingrhythms and non-musical samples to convey the author’s feelings onchildhood innocence, evidenced in tracks like “To Cure a WeaklingChild,” “Boy/Girl Song” and “Cornish Acid” (a nod to his Cornishbackground and upbringing). Chicago Sun-Times critic Jim DeRogatissaid of the album: “James has turned inward for inspiration, paintingaural pictures of real and imagined scenes from his West Countrychildhood.” Stylistically, the Richard D. James Album is in themode of “elektronische music” and relies only on sounds generatedelectronically, while continuing James’s implementation of “musiqueconcrète” ideas by manipulating human voices, physical instrumentsand environmental sounds via sampling, distortion and looping.The album continues to gain high marks from music critics, ranking40th on Pitchfork’s Top 100 Albums of the 1990s and 55th on NME’sTop 100 Albums of All Time. A peculiar and personal work, theRichard D. James Album is a modern classic which offers the samethrill on the first listen as the hundredth.
Stereolab - Mars Audiac Quintet
Stereolab - Transient Random-noise Bursts With Announcements
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