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X Free Shipping On All Domestic Orders Over $49.99 Free shipping on domestic orders will be sent in the form of USPS Media Mail. Any domestic order within the continental USA containing audio hardware will automatically be upgraded to ship via UPS Ground, free of charge, unless an expedited service has already been selected. USPS Media Mail This shipping method is a service provided by USPS that may take up to 14 postal days to deliver, although average delivery period is 2-8 days. UPS Ground On any domestic order within the continental USA containing audio equipment, we will expedite your free shipping method to UPS Ground. This service will deliver within 1-6 business days; Monday through Friday only. No UPS delivery is available on Saturday or Sunday. Fantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit.

In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to 'make it', who 'got it', and who lost it all.

For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life. The first life (‘who am I and where am I going?' Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music.

When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation.

Shit was extra real in Oakland. By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. Livro O Sentido Da Vida Bradley Trevor Greive Pdf. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette. The second life (‘I want to be a starI think'). It didn't take long for Negrito to find himself entrenched in the ‘Hollywood' lifestyle; 'clubs and bitches and bullshit politics that have nothing to do with great music.'

Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death. The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on ‘what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit.

He sold all of his shit and he quit. In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated.

Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland. The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star.

This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born. With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out.

His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. 'Fuck what's hot now, what moves me?' Negrito turned to the original DNA of all American music, the Blues.

The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta. For Fantastic Negrito, 'derivative' is the devil so to ensure his sound is his own, every chord comes from a place of immediacy.

Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments. When you listen to Negrito, you're invited to hear the story of life after destruction.

Your dream can die. You probably will give up. But from there, you can start everything over. After a rollercoaster twenty-five year career as an artist, curator and tastemaker, James Lavelle returns with UNKLE's fifth studio album, The Road: Part I.

James Lavelle was one of the key players who shaped the cultural landscape of the 1990s. As the founder of Mo' Wax Records and UNKLE, Lavelle nurtured, worked and rubbed shoulders with some of the most influential artists of the decade, including DJ Shadow, Ian Brown, Thom Yorke, Richard Ashcroft and Massive Attack. Within ten years of leaving Oxford to work in a record shop, Lavelle had founded one of the most coveted music labels in the world. As a record producer, label head and tastemaker, he absorbed the 90s as a night owl, seeking out musicians, designers, film makers and unique individuals to share ideas and collaborate with. He tapped into what was without a doubt the most celebrated and innovative era since the 1960s, and was widely regarded as the greatest A&R man of the day. In the twenty years since UNKLE's debut, Lavelle has been prolific.

He created three studio albums with UNKLE (Never Never Land, War Stories and Where Did The Night Fall), a host of critically acclaimed film scores, and curated a series of art exhibitions through Daydreaming With. Most notably, the hugely successful Daydreaming With Stanley Kubrick exhibition at Somerset House. England’s most distinctive, multiple award-winning, platinum-selling, hugely entertaining rock gods – and one-time saviours of rock’n’roll turned national pleasures – The Darkness are back with their fifth album Pinewood Smile, set for release through Cooking Vinyl. Returning to save our airwaves from mediocre, auto-tuned tweens and that awful, throbby EDM shite, the album Pinewood Smile finds The Darkness on electrifying form, delivering some of the most sharp-witted, infectious, humorous and downright brilliant songs of their career. Alison Moyet became a household name when ‘Only You’ garnered worldwide success for her and Vince Clarke, the duo otherwise known as Yazoo. Completely by accident, she found herself thrust into the spotlight of the mainstream pop world.

Yazoo went on to reinvent British dance music, merging cool synthesized soundscapes with soul. Two albums and a Brit Award for Best New Band later, aged just 23 she signed a solo deal with Columbia and recorded the multi-million selling debut ‘Alf’. Released in 1984 the album spawned three UK Top 10 hits and won her a Brit for Best Female Artist.

2017 sees Alison return with her second studio album, 'Other,' on Cooking Vinyl, which is also her second collaboration with Guy Sigsworth. I CAN SPIN A RAINBOW is the fulfillment of a lifelong dream for Amanda Palmer, an avowed fan of Edward Ka-Spel and the Legendary Pink Dots since discovering their psycho-theatrical, multi-textural work in her teens. As noted in her best-selling 2014 memoir, The Art of Asking, the LPD have long been an inspiration to Palmer, their deeply connected relationship with fans as important to her life and work as their fearless autonomy and impossible-to-pigeonhole musical approach. The two musicians first met in 1992 when Palmer, then 16, attended a Legendary Pink Dots show in her hometown of Boston.

In 1995, having found that the Pink Dots were looking for lodging with fans to save money on the road, Palmer hosted five members of the band and crew at her childhood home. Ten years later, Palmer’s internationally acclaimed punk cabaret duo, The Dresden Dolls, had achieved enough success that they were able to invite the Dots to support them on a German tour, and it was then that Palmer and Ka-Spel vowed to carve out time to collaborate on an original recording. A decade passed and in July 2015 a very pregnant Palmer flew to London to start the long-discussed project but was informed on the first day of recording that her dear friend Anthony was losing his battle with cancer and had been given less than a week to live. Heartbroken, she assured Ka-Spel she would be back within the year. Indeed Palmer made good on her promise, returning in the spring of 2016 with her eight-month-old son, Anthony, in tow. Palmer and Ka-Spel’s search for a London recording studio was interrupted by an incredibly generous offer from Palmer’s friend Imogen Heap, who suggested they make use of her Essex home recording studio, The Hideaway, conveniently located near Ka-Spel’s own home in Hornchurch.

With Palmer traveling between London, Hornchurch, and Heap’s home studio, the pair spent just under a month composing and cutting an album entirely from scratch. Recorded largely on Ka-Spel’s computer, I CAN SPIN A RAINBOW is a truly collaborative effort, “a spiritual experience,” says Palmer, in which both artists’ stories, song fragments, poems, and lyrics became wholly meshed with loops, melancholy piano playing, melodic beds, and strange rhythms. The results range from the enchantingly minimal “The Clock at the Back of the Cage” and the album-opening “Pulp Fiction,” mysterious and strange with a luxurious theatricality that conjures both of its creators’ prior oeuvres while also opening a curtain into a heretofore unheard shared sonic world.

Sensing the need for strings, the pair enlisted frequent LPD collaborator Patrick Q Wright, who contributed violin tracks from his studio in Italy. Alexis Michallek, Heap’s longtime studio assistant, contributes singing saw to “Beyond The Beach.” “We merged our songwriting heads and poetic worlds to make a new universe,” Palmer says. “We would sit in Imogen’s house drinking cups of tea, bemoaning the state of the upcoming election, binge drinking in the UK, the refugee crisis, our internet addictions, frightening news we had read, our relationships and then we’d compost all of the ingredients of our fears and conversations into song form. The Rainbow metaphor – which is also a nod to the ‘spinning beach ball of death’ on a Mac – was a wide-open image that kept popping up as a recurring theme on the record.

It’s both dark and light at the same time. To me, the songs are simultaneously frightening and comforting, like a thunderstorm heard from a living room.” “Making this record with Amanda felt a little like discovering a twin you didn’t know you had,” says Ka-Spel, “until a mysterious email lands in your inbox at a particularly auspicious moment. Some things are just meant to be”. Pressed On 180-Gram Blue Colored Vinyl Limited To 500 Copies Housed In A Gatefold Sleeve Includes 12' x 12' Art Print Me And That Man will release its debut album Songs Of Love And Death on March 24 through Cooking Vinyl. The duo is fronted by Behemoth founder, songwriter/singer Nergal. The album puts away any pre-conceived ideas about what heavy music ‘should’ be, with the release of this side project. The duo draws heavily on blues, country and folk to make music as dark as if it was being screamed over shredding guitars.

Me And That Man pairs Nergal with British/Polish rock musician John Porter. Fans of everything from Nick Cave, Danzig, Leonard Cohen, and Johnny Cash’s American Recordings, through to the grim, frontier polemic of Wovenhand will find countless mesmerizing moments on the album. Pressed On 180-Gram White Colored Vinyl Limited To 500 Copies Housed In A Gatefold Sleeve Includes 12' x 12' Art Print Me And That Man will release its debut album Songs Of Love And Death on March 24 through Cooking Vinyl. The duo is fronted by Behemoth founder, songwriter/singer Nergal.

The album puts away any pre-conceived ideas about what heavy music ‘should’ be, with the release of this side project. The duo draws heavily on blues, country and folk to make music as dark as if it was being screamed over shredding guitars. Me And That Man pairs Nergal with British/Polish rock musician John Porter. Fans of everything from Nick Cave, Danzig, Leonard Cohen, and Johnny Cash’s American Recordings, through to the grim, frontier polemic of Wovenhand will find countless mesmerizing moments on the album. Formed in 2010, Lorna Shore consists of vocalist Tom Barber, guitarists Adam De Micco and Connor Deffley, and drummer Austin Archey. To date, they have released three EPs and released their debut full-length Psalms in June of 2015. Aside from being featured on the Metal Alliance Tour with Deicide, Lorna Shore has most notably toured alongside bands such as Carnifex, Chelsea Grin, The Black Dahlia Murder, and more.

The band has also played festivals such as the New England Metal And Hardcore Festival, Never Say Never Festival, South By So What, Skate and Surf Festival and SXSW’s New England Metal and Hardcore Festival Stage. Lorna Shore’s unique signature aesthetic spans death metal, black metal, power metal, and progressive rock for a style that encompasses brutal breakdowns, dazzling technical passages, white-knuckle-ride dynamics, and rich textured moments. The band’s forthcoming sophomore album, Flesh Coffin (Outerloop Records) was produced by Lorna Shore, Carson Slovak, and Grant McFarland at Atrium Audio (August Burns Red, Everclear, From Ashes to New), mixed by Carson Slovak and Grant McFarland, and mastered by Zakk Cervini (Beartooth, Good Charlotte, Blink 182). Experimental metal outfit the Dillinger Escape Plan have announced a new album, Dissociation, out via Party Smashers Inc./Cooking Vinyl America. Among the producers who worked on the album was Converge’s Kurt Ballou, who mixed it at GodCity in Boston. Along with the announcement, the band have shared the record’s first single, “Limerent Death.” In a press release, guitarist Ben Weinman called the track one of his “all-time favorite DEP songs. Download Office 2010 Professional Ita Crack. ” In the same press release, the band – which formed in 1997 – announced that Dissociation is “potentially” their last release before they go on an “extended hiatus” when they finish touring.

In a new interview with Noisey, Weinman (who is an original member of the band) elaborated on the decision. He said, “I think in some ways we wanted to pull a ‘Seinfeld’ and go out while we’re still on top.” -Matthew Strauss (Pitchfork.com). With 5 Grammy nominations and 2 wins; Golden Gods, Kerrang! And VH1 awards; headlining slots in many major festivals and countless Top 10 albums and singles, the members of Giraffe Tongue Orchestra are ready to re-write the rules of the successful rock ‘super-group.’ Comprised of William DuVall of Alice In Chains, Ben Weinman of Dillinger Escape Plan, Brent Hinds of Mastodon, Pete Griffin of Dethklok and Thomas Pridgen of The Mars Volta, Giraffe Tongue Orchestra has created an album akin to classic cinema. Their innovative debut record, BROKEN LINES, is being released through Party Smasher Inc / Cooking Vinyl.

The name itself represents strength and ingenuity per guitarist, Brent Hinds, “During the time Mastodon was there for Soundwave, I was at the zoo in Sydney, Australia and was checking out the giraffes. They are amazing animals – one just grabbed a bunch of bananas from my hand with its tongue and peeled them with it as well – by the time the bananas got to its mouth, they were ready to be eaten. I saw Ben who was at Soundwave too and said ‘Man I think I found the name for our band,’ and told him the story.” Ben adds “That giraffe made it happen like us, he figured it out.”.

In March 2016, singers Billy Bragg and Joe Henry, guitars in hand, boarded a Los Angeles bound train at Chicago’s Union Station with the hope of reconnecting with the culture of American railroad travel and the songs it inspired. Winding along 2,728 miles of track, the pair recorded songs while the train paused to pick up passengers.

In waiting rooms and at the track side in St. Louis, Fort Worth, San Antonio, Alpine, El Paso and Tucson, they set up their recording equipment, performing classic railroad songs while keeping one eye on the train, bounding back aboard just before pulling out for the next town. After four days crossing the country, they pulled into Los Angeles at 4:30am, recording their final song in Union Station at dawn, just as the first birds began to sing. The resulting album Shine A Light: Field Recordings From The Great American Railroad takes listeners along on that journey and will be released September 23 on Cooking Vinyl Records. The album features the perfectly matched voices of Bragg & Henry and captures the varied atmospheres and environments in which they recorded—from the close proximity of soft furnished sleeping cars to cathedral-like ambience of waiting halls built to hold thousands of passengers. Containing thirteen songs originally recorded by legendary singers such as Lead Belly, Hank Williams, Jimmie Rodgers and more, the album reveals an often forgotten but integral part of America’s musical heritage. Rock Island Line – Traditional (Recorded by Lead Belly, Lonnie Donegan) 2.

The L&N Don’t Stop Here Anymore – Jean Ritchie 3. The Midnight Special – Traditional (Lead Belly) 4. Railroad Bill – Traditional (Riley Puckett) 5. Lonesome Whistle – Hank Williams 6.

KC Moan – Traditional (The Memphis Jug Band) 7. Waiting For A Train – Jimmie Rodgers 8. In The Pines – Traditional (Lead Belly, The Louvin Brothers) 9. Gentle On My Mind – John Hartford (Glenn Campbell, Aretha Franklin) 10. Hobo’s Lullaby – Goebel Reeves (Woody Guthrie) 11.

Railroading On The Great Divide – Sara Carter (The Carter Family) 12. John Henry – Traditional (Doc Watson) 13. Early Morning Rain – Gordon Lightfoot Billy Bragg & Joe Henry. For over a dozen years, Ross and Skye had been playing across the globe as Morcheeba, but Ross’ brother, Paul – their co-producer, with whom they’d founded the band – had stayed at home. During this time, the inevitable separation between what happened in the studio and what happened live had become increasingly pronounced, and, as they observed the band beside them with delight, the singer and guitarist shared an epiphany. “Why don’t we make our records feel more live?” The result of this revelation is SKYE ROSS, an album that pursues its own musical path while returning to the roots of the sound that made Morcheeba a household name back in the late 1990s. It is, Ross explains, “what Skye and I do naturally when you ask us to make music together, and yet not necessarily a continuation of what we’d been doing with Morcheeba.

It therefore felt only right to give it a new identity.” What emerged recalls the spirit of Morcheeba’s international, platinum selling Big Calm, while boasting a revived spirit and the mature experience that comes with two decades of making music. Ultimately, SKYE ROSS doesn’t signify the end of Morcheeba, but rather a purge of sorts, an opportunity for the two musicians who have represented the public face of their band to exploit the musical relationship that has developed between them outside of the studio on stages around the world.

“Our intentions are really aligned,” Ross concludes, “and once you have that synchronicity with someone everything falls into place.”. When Rolling Stone hailed THE CULT as “the Messianic moment of Coachella” in 2014, few knew that their next release would be unveiled in the form of HIDDEN CITY, their tenth studio album (and second for Cooking Vinyl). The final instalment in a trilogy of recordings, completing 2007’s Born Into This (The Fall) and 2012’s Choice of Weapon (Dark Night of the Soul), Hidden City is a tightly-woven series of experience and visions with underlying themes of redemption and rebirth threaded through The Cult’s visceral music.

Astbury’s signature baritone and blood-soaked lyrics paired with Duffy’s smouldering, textured guitar tones, create a musical environment that is fearless and peerless. From the sonic assault of the opening track Dark Energy, Hidden City launches quickly into the dark underbelly of its subject matter. Stemming from the Spanish phrase “La Ciudad Oculta” or “hidden city,” the album reflects an awakening of consciousness through its tone and complexity. “Hidden City is a metaphor for our spiritual lives our intimate interior lives,” explains Astbury.

“I find today’s gurus are trying to peddle some cure, product or insight as if it’s a new phenomenon. My place is to respond, not react, to observe, participate and share through words and music. There is no higher authority than the heart.” Produced by Bob Rock and written by Ian Astbury and Billy Duffy the team has collaborated on what has turned out to be the brutal and beautiful masterpiece Hidden City. The Cult have revealed in a storied career. From the iconic Love album bursting with idealism to the dystopia of 2001’s Beyond Good & Evil to the current seductive Hidden City, the band lives their art.

A new chapter dawns for The Cult as the future unfolds The Cult will respond. It’s what they do. The Cult are Ian Astbury (vocals), Billy Duffy (guitars), John Tempesta (drums), Grant Fitzpatrick (bass), Damon Fox (keyboards + rhythm guitar). The Cult's newest album Choice of Weapon is the follow up to the critically-acclaimed 2007 release Born Into This which Mojo magazine called “a wholehearted, utopian and irrefutably exciting record.” Long-time Cult collaborator and producer Bob Rock (Metallica, Bush), who produced one of the band’s most successful albums in the platinum-certified Sonic Temple, put the finishing touches on the foundations that were laid by co-producer Chris Goss (Queens of the Stone Age, U.N.K.L.E., Masters of Reality). The record was written by Ian Astbury and Billy Duffy, recorded in New York City, Los Angeles, the California high desert, and the band’s Witch Mountain studios in the Hollywood Hills between July and December of 2011. The new release features founding members Astbury on vocals and Duffy on guitars, with drummer John Tempesta and bassist Chris Wyse. “We have had the opportunity to work with two of the most influential and talented producers in the world today,” said Astbury.

“They pushed us beyond our comfort zone, and helped us craft Choice of Weapon.’” The album is aimed at the heart of The Cult’s loyal following. It reflects the current discontent and destruction of our eco systems, the search for individual meaning against a tide of rampant materialism, narcissism and disconnected lives. “We went deeper, we worked a bit harder on this record. We have great fans and they deserve our best,” added Duffy, “and I feel this is one of our best records, maybe the best.”.

To celebrate the 30th anniversary of his seminal 1983 debut recording ‘Life’s a Riot with Spy vs Spy’, Billy Bragg releases a special edition comprising the original album re-mastered, plus a new, live solo version by Billy recorded as a unique encore at his London Union Chapel show on Wednesday 5 June 2013. Billy says “Life’s a Riot with Spy vs Spy has a very special place in my heart, being the first step on a 30 year journey that has seen me travel to places that I could never have imagined back in ’83. Also, as it’s only 17 minutes long, I can knock the whole album out as an encore if the fancy takes me - no need to book the Royal Albert Hall and the London Symphony Orchestra”.