Youth Code – S/T 12″ LP

Posted: December 6, 2013 by Juan D. in Record Nerds
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Every once in a while I get behind on what bands are doing or new ones that pop up. The case with L.A.’s Youth Code is that I had been hearing their name in numerous places: blogs, shows, zines, and maybe even some message boards. Initially I didn’t pay much mind. Curiosity got the best of me one day and I reached to Tre from Deathwish. No idea why I’d ask him since he potentially doesn’t like some of the stuff I’d be into. But hey, it was worth a shot. His description of them was somewhere along the lines of Sleigh Bells but less dance-y and less pretentious than some dude in Poison the Well. Ouch!.

Thank goodness for Spotify. Off I went. My very initial reaction on listening to their self-titled album was that they were no more than emulating Skinny Puppy. Early Skinny Puppy that is. And although Skinny Puppy is one of my favorite industrial music bands, I was a bit turned off by this thought.

But fear not.

A week or two later I listened to the album again. Then it clicked. Having a similar sound to Skinny Puppy is a good thing. But Youth Code embody a more hardcore punk ethos in their approach. Listening to them you get the clear impression that they don’t give a fuck and they will pummel you with their sounds on their own terms. I dig that in a band.

So being the OCD record nerd that I am, I went looking for their LP. Released by Dais Records, who have also done stuff from Cold Cave, King Dude, Missing Foundation, and more, were close to sold out of the first pressing. The only color available at the time was the Black out of 500 pressed. The other colors initially available were a Smoke out of 100 and a red out of 400. But lo and behold, checking out Deathwish’s distro section they had the Red. So I snapped it up.

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Got the Red version and left it at that. Then a couple of months later, I saw a post on a vinyl message board, that a guy who used to be in Nothing and Night Sins, two great bands out of Philly, was selling some stuff on eBay. Thinking that it’d be just Nothing and Night Sins, I checked it out and much to my surprise he was also selling the Smoke version of the YC LP. Sweet! Ended up winning it along with some Nothing and Night Sins stuff also. Double score!

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The Youth Code LP is great. There is no doubt about it. If you’re a fan of “classic” industrial music with a punch, then this is for you. Trust me.

The band is in town right now here in good ol’ South FloriDUH! playing a few shows. Two actually. They played last night at an in-store at Radio-Active Records in Ft. Lauderdale. It was a small and very intimate (cheesy word to be using considering the style of music!) performance and they decimated the place. Getting a chance to talk to both Sara and Ryan before and after their performance, they were both super nice and friendly people. The entirety of the show I was (and still am) in excruciating pain. Not from “moshing” or going nuts. Oh no. Wish it were that. Recently (the day before) I was diagnosed with an epidermal inclusion cyst right at my lower back. Not only is it inflamed but it’s painful to the point that it has me in tears. Sitting or even laying on my back proves to be a chore. A painful one at that. So much so that it’s causing my whole back to be stiff and tightened. Ouch!

So thanks to that I can’t make it tonight to their show at Gramps Bar in Miami. It bums me out because it’s going to be a proper show for them showing the full effect of their sound and performance. The pain has overcome by will to overcome. Ha!

But Ryan mentioned that they may be coming back down this way next year. Hope it is so.

So if you’re intrigued by Youth Code, and you should be, check them out. A new pressing of the LP is up for pre-order at Dais Records. New colors and the cover art has been redone. So it’s like a whole new record!

And check out their video for “Carried Mask”. Watching it and listening to the song makes wanna get up and fuck shit up!

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Black God – Three 7″

Posted: September 8, 2013 by Juan D. in Record Nerds
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It’s been quite some time since the last post. Over two months it seems. Chalk up the inconsistency to a combination of feeling uninspired and not many great records coming in. Although there has been a few received and listening to, but not enough to post about.

Oh well.

Being that I posted about their first 7″ (and completely neglected their second one), may as well briefly talk about the new Black God 7″. Simply titled Three, it’s six songs of short and unbridled hardcore punk. If you have and listened to their first two, then you know what you’re getting here. Not so that they’ve become formulaic and predictable. Just good ol’ fashioned hardcore punk. With Louisville, KY as the stamp of street cred.

No Idea put up pre-order for it a week or so ago on their new webstore, and it is advertised as being a run of 1,000 total copies comprised of Red, White, Clear and four mystery vinyl colors.

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As you can see, the mystery colors seem to be “Brown”,  “Grey”, “Orange”, and “Purple”. In quotes of course as they could be called something else being that they’re No Idea mixed colors.

And of course being the completist nerd that I am, I went for a test press as well. Why not?

Listen to Black God. Do it.

It’s already evident that I’m either listening to a lot shoegaze and fuzz-pop bands as of late. Just exploring what else is out there besides hardcore and metal. Always been the case with me. I’m all over the place.

Pity Sex is one of those fuzz-pop shoegaze style bands that I’ve been into a lot. They just released their second album Feast of Love on Run For Cover Records. RFC has been killing it lately with some great bands they’ve been releasing. It’s rare for a label to be consistent with great releases that not only cover different styles and sounds but are also solid and good.

The Feast of Love release has been a bit of a mess. Well, not really but there has been some snafus along the way. Four colors were announced right out the gate for it. And an exclusive color for Hot Topic. Somewhere along the way amidst some confusion, one of the more limited colors (Peach w/ Red Haze out of 400) ended up being sent to Hot Topic instead of the label and thusly those who ordered that /400 color were not getting it. Scramble the damage control and now a sixth color, Lilac, was done to fill those orders. And as expected, this caused a stir and some commotion for completist assholes (like myself) in tracking down that now-new HT color. Some were sent to stores while there was a chance that if ordered online, you’d get one.

I happened to be in the area of my closest HT and decided to pop in and check it out. Lo and behold they had four copies on hand. I grabbed the two with the least amount of jacket damage and lucked out with the variant I was tracking down.

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So while I wait for the actual order from RFC, Pity Sex had a record release show in their hometown and I had found pretty early on that they were planning to have a special version of the record. They were considering doing a special screened cover for it. Works for me. It would set the release apart and make it special. But how would I get my hands on a copy? Put the word out that I was looking for it and if anyone going to the show would mind picking me up a copy. Sure enough, a fellow record nerd went to the show and snagged be a copy.

As a sidenote. I may be a mod in one of the largest record message boards out there and kinda sorta known for my writings in The 1st Five, but that doesn’t mean shit. At least to me it doesn’t. I’m just some random fanboy at the end of the day. But it is cool when someone does recognize and know who I am. I always find it surprising.

So yeah. I got lucky with the hook-up for a show release version of the LP.

It’s a screened cover with the date and numbering on the back that wraps around the LP jacket itself. The vinyl color is the most common Clear Green out of 1,000.

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So that’s it.

Record release show version secured.

As of right now we’re all waiting for the pre-order copies to start shipping. But that got delayed due to the aforementioned snafu. It’s all good.

This record is pretty great and well worth the wait. But by now anyone who wants to hear it already has. And you know it’s awesome.

 

 

As much as I’ve been trying, I can’t keep myself from chuckling at that 7-Eleven jingle about “Oh, thank heaven…” and weirdly enough applying it to Deafheaven. Silly, yes.

BUT.

With Deafheaven’s new record, Sunbather, the sheer brilliance and genius of the band can’t be denied. Surely some haters will try, but they will fail miserably. And if you’ve listened to, and love, Roads to Judah, then you will not only be pleased but completely blown away by the new one.

As soon as Sunbather was announced, the anticipation built up like crazy. Especially for the vinyl release. The album is scheduled to be widely released on June 11th, and as with all things Deathwish Inc., pre-orders went up earlier. This past Tuesday as a matter of fact. And without a hitch. No system crashes. No oversells. No immediate selling out. Although the one particular color did sell out in about an hour as it was limited to one per customer, so presumably the most limited.

And it started arriving at people’s homes and blowing minds away all over again.

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Deathwish have gotten smart with their last few releases in that instead of the usual pre-order mayhem and uncertainty of colorways, they have put up the records already on hand and allowing customers to choose which colors they prefer. Some more limited than the others of course.

Sunbather was no exception to this new approach. Colors were already known and it was clear that the Clear with Splatter would be the most limited as it was “one per customer”. The other two colors are Hot Pink & Beer and Red & Gold.

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In the pics is hard to discern much difference between the Hot Pink and the Red, but in person it’s evident what each is. Although the Hot Pink looks like a more muted red when you look at it.

The packaging and design of the sleeve and jacket were done by Nick Steinhardt of Touché Amoré. He has done a few record art designs before and this one for Sunbather is top-notch. It’s simple and understated but also bold. The diecut detail in both front and back of the jacket are a nice touch. Adds a little punch to the overall image and design.

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There is some “criticism” on why put in a 2xLP in a single record jacket. Especially when Roads to Judah was a single LP in a gatefold jacket. Missed opportunity? Band and/or label decision? Not sure we may find out. But myself personally can go either way with it. Yes, it would have been cool to have been in a gatefold jacket, but it also works as a single jacket given how the diecuts are. That’s just me. Other record nerds will still bitch and moan about something or other on this release.

(Edit: I got in touch with Steinhardt about the art and design of the release and he shared this with me about the  packaging: “The non gatefold was a conscious decision to aid the design and dictate the way certain details revealed while opening it”)

Hell, I’ve heard some complaining about the colors for the vinyl, even the splatter, which I think looks great as all hell.

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Deafheaven’s Sunbather is a great record through and through. There is no doubt about that. It takes a new step in the band’s evolution with their music and songwriting but also with how it’s presented musically and visually with the record itself. This is already making its way to plenty of people’s Top Lists for 2013, mine included.

And to be completely lazy with my closing statement, I’ll just copy the proper review I wrote for Sunbather.

If there is such a thing as a sophomore record slump in music, then Deafheavenmust not have gotten that memo. And even if they did, they tore it to shreds and burnt it in a funeral pyre, as clearly evidenced in the brilliance of Sunbather. In this eagerly anticipated second record, the Bay area black metal shoegaze amalgamists have created a document in music and beautiful noise. It’s not easy to mix disparate and unlikely genres, but Deafheaven have done it so well that it looks and sounds easy.

Sunbather opens easily enough with “Dreamhouse” which is a standard showcase in the band’s sound. But as the song evolves and is followed by the later tracks, it’s apparent that Deafheaven have expanded their sound and style in the two years since Roads to Judah. Where Roads was a much darker and heavy album, Sunbather is more expansive, faster, and yet still heavier nonetheless. The best example of this new approach and heaviness is in the songs “Please Remember” and “Vertigo.” The former track builds up the noise and nuances, then bleeds into the latter and explodes in a chaotic wall of noise. And therein lies Deafheaven’s true essence as a band and as musicians. It’s the perfect harmony and balance of subdued and serene with the ugliness of heavy and dark.

Two things are clear listening to Sunbather. First, this album is a start-to-end record that has to be taken in as a whole. Each and every song compliments the one preceding and following it. The ambience and feel throughout is harmonious in that all the tracks work together to create a mood. Second, is that mood itself. This is an emotional record. It may be heavy and dark and fast at times, but it is rife with emotion. Sunbather gives you the sense of seeking a light in a world full of darkness. It is almost the musical question of the conundrum that plagues each of us since birth: why am I here? But better yet, it is the soundtrack to our search for equilibrium in this world where stability in shaky ground is ever-so elusive.

Sunbather is the album where Deafheaven expands not only their sound, but also breaks free of any and all preconceived notions anyone may have had of what they are supposed to sound like. This album is relentless with enough moments to reflect and breathe in all that we’re hearing. And hopefully closely listening to.

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And oh yeah. No pressing info as of yet.

It’s being assumed that it may be the “typical” Deathwish Inc. run of 300/700/1,000. We shall see soon enough.

Taylor Swift – Red 2xLP Part Deux

Posted: April 5, 2013 by Juan D. in Record Nerds

Yeah, yeah, yeah. Another fuckin’ post about Taylor fuckin’ Swift! Hey man, you knew what you were getting into when reading this blog. It’s not like my unhealthy obsession with T-Swizzle is any secret. Ha!

Anyways.

Going back to the original post about her RED record, I mentioned that it was a sorely missed opportunity that the record has not been pressed on red vinyl. It would have made great sense given not only the title but also how much Swift was going on and on and on about the importance of the title and the color red. Well hell. It seems that someone somewhere realized that screw-up and went ahead and did press it on red vinyl. BUT. Not before making it difficult to get.

You see, right now it’s awards season. At least when it comes to country music. So the American Country Music Awards are in high gear right now accepting and taking in votes for their awards show later this month. The exact date escapes me right now. So prior to that, they usually send out to whomever makes up their “panel” (I use that loosely because I honestly have no idea how it exactly works with them when it comes to awards decisions and votes) any and all promotional items to be for their consideration. This usually means new versions and editions of album releases with new write-ups geared towards swaying their vote. You could say that it could be considered variants and special editions of releases, but they’re normally CD releases.

Well. With Taylor Swift‘s RED, they seem to have gotten savvy and pressed the album on red vinyl and sent that out to the panel members. And of course a few of those members got smart and dumped their copies on eBay. Of course. Where else?

A few  started showing up out of the blue and thanks to a fellow record nerd and Swift addict, I got given the headsup on them and one seller in specific that had the best deal. So of course without a second thought I swooped on it.

First, the album was sent out in an oversized LP mailer box more fitting for a box set. It was adorned with a nice sticker boasting a bold statement about Swift. (Signed RED CD was not included. No one needs to know my damn address)

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Inside, the record was packed in bubble-wrap and in a “sleeve” presenting the accolades of past to sway the voter to choose Swift for the awards.

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The jacket itself is exactly the same as the regular version with the exception that the barcode on the back has been stricken-through with a sharpie as any promo-only releases would have been. Anyone who has ever worked in a music store and radio station will know what I’m talking about whenever any promo CDs and releases were received. This was and still is the norm.

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How ’bout that? Red vinyl for a record titled RED. Now THAT makes sense and fits along with any and all grand master plan Swift may have.

And it’s heavyweight vinyl too. So that makes it mo’ better.

That’s it.

It’s red. As it should have been right out of the gate.

 

YOUWRETCH – Sympathy of Wolves LP

Posted: March 12, 2013 by Juan D. in Record Nerds
Tags: ,

Going back to the earlier post on being a fan and supporter of certain labels, this record falls squarely in that place. I’ve been really into all the records and bands that Forward! Records have been putting out. First it started with Pity Sex and their Dark World EP. From there I also checked out Procession and Radiator Hospital. I exchanged a few emails with the label and they were always courteous and appreciative of the support. In a recent newsletter, they posted about YOUWRETCH. Forward! was going to be doing the vinyl and their album, Sympathy of Wolves was already streaming online. It would appeal to fans to doom, sludge, black metal, and crust. OK. I enjoy a few of those styles, so why not? I checked them out and was immediately hooked. And pre-ordered the LP of course.

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As has become typical with Forward!, the first 100 pressed are on color vinyl. For YOUWRETCH, they did white vinyl. Works perfectly with the black and barren silkscreened fold-over cover art.

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To give you an idea of what this band is all about, here’s the post I did for the other music site I write for:

Hailing from the birthplace of the Purple one, YOUWRETCH are Minneapolis’ bastard children of all things doom and gloom and quite possibly grind. Their music is abrasive and harsh. Blame it on the harsh winters of the area, YOUWRETCH deliver a brand of heavy music that doesn’t make its mind up. It’s fast, heavy, noisy, and even a melody or two find their way into the spastic assault of the senses. And one thing that is clear with the band’s full-length Sympathy of Wolves is that they are not afraid to experiment and mix things up. The ambient-like break in “Cobblestone & Smoke” is a welcomed respite to the brutality and powerviolence that preceded the track. And the aural destruction that follows it.

YOUWRETCH formed in 2010 and by the sound of a few of their recordings, they sound like seasoned veterans well-ingrained in their own style and approach to heavy music. My exposure to the band was by simple coincidence. 

They will appeal to any metalhead and hardcore punk kid who has branched out in also digging doom, gloom, black metal, and powerviolence.

 Check out their Bandcamp stream below and if you need to order this LP, as you should, click here.

I was initially going to post some long-winded entry about how lazy I’ve been in posting about new records. And I have been beyond lazy. Maybe even uninspired. I’ve had some great records come in and re-discovered a few in my collection, but nothing to get me off my ass to write. So this will be a somewhat conscious effort to do something.

It’s no secret that I am big supporter of certain labels and whatever music they release. Regardless if I have never heard of the band, if they’re on a particular favorite label, I will more than likely end up buying it. And surely enjoying it to no end. The case was always 100% for certain with Initial Records. I’ve shed plenty of tears over them when the label closed its doors. But their discography was and still is unbeatable. It helped that I lived in Louisville, KY when they were in operation and I was able to get plenty of all that they put out. But I also missed a few things in the dark years when I was more concerned with partying and being in college than buying and listening to records.

So because of that I have been searching to fill in some of the gaps in my Initial Records collection. But I’ve been a bit passive aggressive about it. Not really making it a priority but when the opportunity does cross my path, then I go for it. And it happened this past week with Coliseum announcing that they’d be putting a vault sale of rare and out of print records from not only themselves but also any bands they’re associated with, past and present. So going down then list we had a few Coliseum test presses and out of print early releases. OK. A couple of Lords and Young Widows rarities. Cool. And then we had some Breather Resist. Interested. Even better, they had the Breather Resist 7″ done by Initial Records. Both colors and a test press. Easy no-brainer purchase.

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So luckily I was able to secure the Breather Resist The Second Half 7″ on green, clear, and the test press.

The entire run was limited to 1,000 on the two colors. I am not 100% sure on what the breakdown between the two colors within the 1,000 is. The green is numbered #4 out of 1,000.

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The clear is numbered 666 of 1,000.

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And the test press is 1 of 6. Simple test press of course.

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This is very much-welcomed addition to the Initial Records collection. Not to mention that it’s a killer 7″ with two great tracks.

And added enticement for the vault sale, which is still going on by the way (click here), is that 25% of the sales from all Coliseum Vault items will go to benefit the ongoing care and medical bills of Callum Robbins, the son of Coliseum producer and friend J. Robbins (Jawbox, Burning Airlines, Office Of Future Plans) who was born with Spinal Muscular Atrophy (SMA). So that is also an enticement and reason to help out and also get some great records.

And oh yeah. They threw in a rejected test press of the Coliseum True Quiet 7″ that was released on Deathwish Inc. That was  nice touch.

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Now I can say that I have a Deathwish Inc. test press in my collection. Hurrah!

If you’re a record nerd with any Initial Records releases I may not have and you’re willing to sell or trade, hit me up. We can work something out. Hollah!

Awwwwww yeah!!! Here I am back to regain some of my hardcore punk street cred.

The almighty Converge returned with a new album, All We Love We Leave Behind. To say that this is album is a beast is an understatement. This is Converge at their meanest and rawest and most intense. In the band’s already ongoing 20+ years career, this album is a summation of all things Converge and then some. They have taken everything from before, beaten it into the current sound and style, and come up with a mish-mash that encompasses all the  best they have to give. And it’s fuckin’ glorious!

If you’ve listened to the album by now, then there is no need to “review” or retread what AWLWLB is all about. If you feel inclined though, just mozy on over to the proper review of the album I did on T1F. No, this is more and all about the vinyl. Vinyls. Records. Rekkidz. Yeah.

Waaaaaaaay back in late August, pre-orders for this bad boy dropped on and went live on Deathwish Inc. As expected fanboys and girls clamored for this and ordered with the quickness. Myself included of course. I don’t even remember what the expected release date was at the time. That’s a bit irrelevant by now. All that is widely known is that this pre-order was fraught with delays all thanks to The Beatles. Yes. The Beatles. I have no beef with the Liverpool foursome and their music. I enjoy what they’ve done and I’m cognizant of their influence and contributions to pop and rock music. (If you’re one of those narrow-minded assholes that kept saying “Fuck The Beatles” and bitching and moaning about their music when tied in with the delays faced by a lot of labels and record manufacturing plants, please do me a favor and get fucked. You’re an idiot and more than likely some young 20-something who doesn’t know his/her head from your own ass).

So yeah. The Beatles…or rather, whomever is holding the rights to their music nowadays, decided to release a massive box set of all of their records. Being that it’s a massive catalog and undertaking, this tied up at least two of the major record manufacturing plants in producing it. Which of course affected every other customer/label/band who had records to be made. Including Deathwish Inc. and all the Converge AWLWLB 2xLP.

But all the waiting and inherent bitching and moaning by the aforementioned narrow-minded assholes, was well worth the wait. The 2xLP release of AWLWLB is incredible. How can you beat a foil-stamped gatefold jacket and full-art in the centerfold as well as the insert?!?! You can’t!

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The foil-stamping made it fun to photograph properly with and without the camera flash and even natural light. So shiny!

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And of course as expected, it was off to the races to figured out what colors would be pressed and how limited they’d each be. Speculation ran rampant as soon as the first few orders started being received by all the clamoring fanboys and girls. Right out of the gate, Deathwish Inc. announced that there’d be a three-colorway as usual with their releases. Plus a 180gram Black and also an exclusive Yellow for their Kings Road Merch & Epitaph webstore.

At the time of posting this, the only pressing numbers known are the 180gram Black (1,000) and the KRM Yellow (1,000).

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And there is also yet another color, a Red/Orange Swirl that the band currently has on tour in Europe. The exact pressing on that is still up for debate after much discussion and arguments over it. We will know in due time.

So. That’s a total of seven variants including the Black 180gram. And surely if you haven’t kept up the dominant record nerds message boards discussing this release, you’re wondering where that Clear variant came from and what’s it all about. So far it is being speculated that it’s a “friends & family” pressing much like Relapse Records does with their releases (coincidently also on clear vinyl). But if you’ve been a long Converge and Deathwish Inc. fan and supporter, then you know this along the same lines as the Axe to Fall “shards” and the Jane Doe reissue “peach” variants which were  randomly inserted to the first few orders and also given to long-time friends and supporters of the band and label. And are ridiculously rare and limited.

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So there you have it.

Converge‘s All We Love We Leave Behind 2xLP. I’m sure that all pressing info will be released soon. And then people can start going nuts over what colors they have and how limited they are and inflate their senses of entitlement even more. Ha! Just kidding.

By this point it’s no secret that I have an unhealthy obsession with Taylor Swift and her music. It’s a bit inexplicable since I am not a 14-year old girl. Instead, I’m an old and jaded hardcore punk rock metalhead. Weird huh?

So Swift put out a new album this year, Red, and as expected, it decimated all in sales and release week records. Sold a gazillion records already out of the gate and when tour dates were announced and tickets went on sale for next year, those sold out with the quickness as well. And yes, I will be hitting up one of the tour dates here in FloriDUH!

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The vinyl version of Red was released a few months after the regular edition. The 16-song tracklisting requires this to be a 2xLP. Nicely done gatefold jacket with the lyrics and images printed on the inside. The vinyl itself is a solid heavyweight. It continues the trend of quality in the release as the Speak Now 2xLP. Only difference is that this sound a lot better.

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A great opportunity was completely missed by the label and even Swift herself. This record begged to be pressed on red vinyl. Why wasn’t it? With the amount of importance that Swift made of the color red and how it fits into the theme of the album and its songs, red vinyl would have been a no-brainer for the release.

As for the music itself. Red is further moving along in Swift’s effort to expand her sound and veer away from any trappings of the pop-country she had a foothold on. The new songs are still all pop but a few flirt with indie rock and some more experimentation. There is even a hint of dubstep in there!

Recently, someone asked me why I am so hooked on Swift and her music. It was an easy question to answer: the fact that she writes her own music and lyrics (yes, she has some co-writing credit on some songs), is impressive enough and gets mad respect from me. Her music is catchy as all hell and I’m ok with it being mainstream and Top 40. I may have been weaned on hardcore, punk, and metal, but I still can appreciate and get hooked into a good pop song.

And don’t worry, I’ll regain some of my hardcore punk street cred when I get my hands on the new ConvergeAll We Love We Leave Behind 2xLp and post about it.

Baroness – Yellow & Green

Posted: August 7, 2012 by They Still Press Vinyl in Record Nerds
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What more can be said about Baroness that hasn’t already been said? For me, they are one of those bands that are a “no doubt about it, must buy!” in a time when the bulk of my non-vinyl music listening comes from iTunes or a service like Pandora, Spotify or Rdio. Their last 2 full lengths (“Red Album” & “Blue Album”) are absolute heavy music classics that everyone who even remotely likes metal or any kind of heavy music should have in their heavy rotation – be it on CD, digital or vinyl. So, with that kind of track record behind them expectations were high for their latest release, a double behemoth titled “Yellow & Green.”

Continuing their evolution into being something more than just another modern sludge or prog metal band, “Yellow & Green” finds the band playing around with a more “dreamy” (for lack of a better way of putting it) sound scape that, other than the tuning and use of heavy riffs, is something closer to a band like Dredg than some of their heavy contemporaries and that is a a surprisingly good thing. While at times the 18 tracks that comprise this album seem to all be one continuous jam it still manages to hold your attention.

As for the vinyl release  itself, there were a few different variations that the always reliable Relapse Records put out for the fans and the collectors alike.  There’s the absolutely insane Deluxe Hardbound Book version that saw a total of 3000 pressed with 500 Yellow/Green split, 500 on Dark Green, 500 on Orange Cream and 1500 on Opaque Yellow. There’s also the standard double lp gate fold release with 9100 total pressed; the standard 100 on clear that Relapse does for every release (and rarely, if ever, release to the public), 1000 on 180 Gram black, 1000 on Yellow (A & B sides) and Green (C & D sides) and 7000 on standard black. (All pressing info via Discogs)


As is typically the case with Relapse Records vinyl releases this is a fantastically put together release with awesome artwork (done, as usual, by Baroness’s own John Baizley) and the always greatly appreciated gate fold packaging. Combine all that with the fact that Relapse keeps the price of the release to nothing one would call absurdly high it’s absolutely a release you need to look into. It’s still available on the standard black pressing through the Relapse web store so slide over and pick it up today.