axisrecapital

And I have not seen one pre-order in the US popup online yet, so I'd bet there is another colored variant coming as well. Probably trying to sellout the blue vinyl in the UK / EU and then another variant in the US...just a hunch, no evidence to support the claim.

If it makes you feel better, I caved on the first pre-order and then again on the signed pre-order. Multiple copies.....ugh!

Done and Done...thanks for the heads up!

Use a VPN and you can order Bullmoose. I live in Paris, but have my records sent to my office in WA. Bullmoose works if you use a VPN.

Indie ordered...

It is back up for sale....get em while there hot...

I'd bet it will be back online later today. It just went live yesterday and I doubt they had finished up the website. More to come soon....

Limited Heavyweight 'Sea Blue' Edition - Double vinyl - Gatefold is here: http://heavenlyemporium.com/buy/somebodys-knocking-2/ Awesome Video for the Single, Stitch It Up is here: https://youtu.be/vuW0KLUYCQg Info and Track List is here: From the opening bars of Disbelief Suspension onwards, it’s clear that Somebody’s Knocking is an album made by someone deeply obsessed with how music - with all its primal, spiritual healing power - truly penetrates the soul. As a result, there’s joy in the music, as if created from a perfect set of inspirations smashed and grabbed from God’s own record shop. Some of the influences are oblique, others direct and fully respectful. From the Raw Power-esque garage metal grind of that opener to Letter Never Sent’s rocket-powered take on Love-era kaleidoscope-psych, through the pensive subterranean murk of Dark Disco Jag and on to Playing Nero’s sun-bleached riff on Joy Division’s Atmosphere, there’s the glee of infatuation running deep in the tracks. And, in some ways, that display of infatuation serves to change the very perception of Lanegan the artist - this album being less the tale of a brooding, crepuscular rock’n’roll veteran and more that of someone consumed by a lifelong love of words and sound fused together. With that perception shift in mind, one of the most remarkable moments on Somebody’s Knocking is Penthouse High - a track that positively blooms, sounding like a love letter to imperial phase New Order. For Lanegan, it signals a return to one of his formative musical loves from a time even before he joined Screaming Trees. “I’ve always been into electronic music since I was a kid,” he says. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written Penthouse High for Gargoyle (the 2017 album the Guardian stated saw “Lanegan in the form of his career”) but then it didn't really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time - a blatantly catchy, old-school dance-type song.” Although Somebody’s Knocking came together in an 11 day session in L.A. (Lanegan’s hometown of the last 22 years), many of the deepest musical influences on the record are European - be they the aforementioned electronic artists or newer, murkier forms provided by writing partners Martin Jenkins (who records as Pye Corner Audio) or Rob Marshall - a collaborator on Gargoyle and on his own, forthcoming debut album as Humanist. In each case, Lanegan approached working with each of the writers from the perspective of a fan. Lyrically, Somebody’s Knocking sets the listener off down multiple rabbit holes, painting deeply psychedelic pictures where someone’s “drip, drip, dripping acid out of the dropper” (Disbelief Suspension) or where “the hounds are behind me/footsteps following/you know you can't find me/I’m miles from the crime scene” on the monumentally addictive Stitch It Up. While on the whole, interpretations are left for the listener to decide on, there are aspects of the real world that can’t help but seep subconsciously into Lanegan’s songs: “It seems to me that the entire world is in a weird, precarious place right now. I try to not be someone in a constant state of worry and alarm but watching the massive divide that is taking place and the political situations, especially in the US and UK makes me think, “what the fuck are these idiots thinking?” The hatred, racism and all this other fear-driven shit, these “adults” that continually drive the machine that perpetuates this ignorance to their own ends should all be in prison cells instead of the non-violent drug “offenders” in them now. I can't specifically say how any of this effects my writing but I know that most of the things that occupy my thoughts have a way of coming back out in a song.” At the end of the day though, Somebody’s Knocking doesn’t need to be either commentary or allegory. Like Lanegan’s best work, it tells its own stories and weaves its own wonders, conjuring up feverish hallucinogenic visions to sit atop roughly hewn rock and glassy, brilliant bright electronics. And then it leaves them to penetrate their own ways right down to our deepest, darkest roots. Tracklisting 12" VINYL ALBUM (LIMITED COLOURED VINYL EDITION) (HVNLP166C) Mark Lanegan Band - Disbelief Suspension Mark Lanegan Band - Letter Never Sent Mark Lanegan Band - Night Flight to Kabul Mark Lanegan Band - Dark Disco Jag Mark Lanegan Band - Gazing from the Shore Mark Lanegan Band - Stitch It Up Mark Lanegan Band - Playing Nero Mark Lanegan Band - Penthouse High Mark Lanegan Band - Paper Hat Mark Lanegan Band - Name and Number Mark Lanegan Band - War Horse Mark Lanegan Band - Radio Silence Mark Lanegan Band - She Loved You Mark Lanegan Band - Two Bells Ringing At Once Mark Lanegan Band - Two Bells Ringing At Once

Looks like two other versions are available for preorder, but this time, there are a few more songs on the new version. Red and Blue Marble is here: https://www.recordstore.co.uk/recordstore/recordstore/EODM-Presents-Boots-Electric-Performing-The-Best-Songs-We-Never-Wrote-Exclusive-Red-Blue-Marble-Vinyl/64LP0000000?utm_campaign=recordstorecoukWeek16Weekly180419170419&utm_content=UMGUK13879-639690&utm_medium=Email&utm_source=Email Jesse “Boots Electric” Hughes dives into the world of his favorite musicians and songs to create his first-ever covers album titled EODM Presents Boots Electric Performing The Best Songs We Never Wrote. Kicking the album off with electrifying renditions of KISS’s “God Of Thunder,” Guns N’ Roses’ “It’s So Easy” and AC/DC’s “High Voltage / It’s A Long Way To The Top (If You Wanna Rock N’ Roll”), he then jumps into covers of Love & Rockets’ “So Alive” and The Ramones’ “Beat On The Brat.” A special nod to the space cowboys, Boots takes on the Steve Miller Band’s “Abracadabra” and further digs into the ‘80s with an incredible twist on George Michael’s “Careless Whisper.” The biggest surprise in this collection is Boots coming out of leftfield with a cover of Mary J. Blige’s “Family Affair” that simply put is kickass. Keeping it in the family, Boots spreads his arms wide to give love to his brother Joshua “Baby Duck” Homme and Josh’s wife Brody Dalle with versions of Queens of the Stone Age’s “Long Slow Goodbye” and The Distillers’ “The Hunger.” Bringing the album to an unwanted finish, Boots delivers the Kenny Rogers & The First Edition’s epic psychedelic track “Just Dropped In (To See What Condition My Condition Is In)” [original is also widely recognized from the cult favorite film The Big Lebowski], Cat Stevens’s “Trouble” and David Bowie’s “Moonage Daydream.”

Also...why do you know this about the guy who does the album art? You are either in the industry or a big fan of both bands.

Yeah...Encyclopedia was great. The picture kind of made it look like "well, there are two of us left where four would have fit on this couch". The first three records had great artwork...can't say 4 or 5 did.

I'd rather see a simple logo of The Drums than a guy with a shoe to his ear (Abysmal Thoughts) and I don't know why he chose a picture of either Johnny wiping tears away or sticking his finger up his nose to avoid blood running down from doing too much cocaine.

So...here is a little more about the new record: Brutalism is quite possibly the best collection of songs in The Drums’ ten-year career. The album is defined by growth, transformation and questions, but it doesn’t provide all the answers. Brutalism is a form of simplistic architecture defined by blocks of raw concrete. Brutalism is rooted in an emotional rawness but its layers are soft, intricate and warm, full of frivolous and exquisitely crafted pop songs that blast sunlight and high energy in the face of anxiety, solitude and crippling self-doubt. Even the fact that Brutalism sounds intentional, focused and efficient is a symbol of how Pierce’s prioritizing of his own health and wellbeing has bled into how he makes music. For the making of this album, between his lake house in Upstate New York and a studio in Stinson Beach, California, Pierce was more open than ever, keeping his control freakery at bay, working with others to produce and record the album. He brought in Chris Coady (Beach House, Future Islands, Amen Dunes) to mix it. If there was a guitar part he wanted to write but couldn’t play, he brought in a guitarist. It’s also the first Drums record with a live drummer. Delegating freed up Pierce’s time to produce a more specific vision. His intentions were rooted in pop, as they’ve always been. Back in The Drums’ previous iterations, however, the pressure was on Pierce to maintain the innocent and nostalgic sound of this surf-pop indie band and it didn’t allow him to explore sex, drug use, darker emotions or how he felt currently. Abysmal Thoughts was the first occasion he had chance to do that. Lyrically, Brutalism is another giant step in that direction. It’s much more cut-throat. “I think there’s a parental advisory sticker on the cover!” laughs Pierce. “I didn’t have the courage to stand up for what I wanted before. I felt I had to keep things whimsical and that’s not who I am. It feels empty.” Sonically he had been devoid of external influences, so afraid of being accused of losing the purism of The Drums’ sound. Now he’s rediscovering music: everything from SOPHIE to 90s band Whale. They inspired the loop-based, breakbeat drums on ‘Kiss It Away’ and ‘Body Chemistry’. “I used to think our songs sounded like they were held together by scotch tape. These are more bulletproof.

So...here is my take on things. First, if you bought the new record, they have released two tracks so far. Both tracks are great in my opinion. Classic drums and I love that Johnny has confidence with his lyrics. I agree that The Drums have lost something over the years, but I think they also have regained it. The first time I saw them live was with Jacob playing at a gig in Amsterdam. Top of their game and they sounded great while they were touring Encyclopedia. Cut to Jacob leaving and Abysmal Thoughts being released. I saw them in Paris about 1.5 years ago while promoting Abysmal Thoughts...they still sounded great, although a more stripped down version. But Johnny still has a stage presence like no other and they pulled it off. Johnny can command an audience. I think Abysmal Thoughts was a tough album because it was the first real solo record. Hard space for Johnny to be in, but the record has some great tracks. Now back to the new tracks. I heard Johnny hired a producer and the sound of the two singles are very concentrated pop songs. They are all the best of what Johnny has done with The Drums over the years. Now...another theory....they need to fire whoever is approving the artwork for their records. Abysmal Thoughts was easily the worst art work I have ever seen. The picture made no sense at all to me. Not a huge fan of the artwork for Brutalism either. Maybe the worse the album cover gets, the better the music? But seriously, tone the artwork down.....

Really surprised the clear variant is still available. Limited to 250 pressed and still available? Anyone know how to check the amount left? https://kingsroadmerch.com/the-drums/view/?id=15085