{"title":"Metal\/ Heavy Rock","description":"","products":[{"product_id":"queens-of-stone-age-like-clockwork","title":"Queens of the Stone Age - Like Clockwork","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK 45rpm VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAll the surface evidence on ...Like Clockwork suggests Josh Homme is steering Queens of the Stone Age back to familiar territory. Once again, he's enlisted drummer Dave Grohl as his anchor and he's made amends with his erstwhile bassist Nick Oliveri, suggesting Homme is returning to either Rated R or Songs for the Deaf, the two turn-of-the-millennium masterpieces that thrust QOTSA out of their stoner rock cult, but ...Like Clockwork isn't so simple as a return to roots. Homme flirts with his history as a way to make sense of his present, reconnecting with his strengths as a way to reorient himself, consolidating his indulgences and fancies into a record that obliterates middle-age malaise without taking a moment to pander to the past. Like always, Homme opens himself up to collaborations, wrangling an impressive roster that includes his wife Brody Dalle, his longtime companion Mark Lanegan, his protégé Arctic Monkey Alex Turner, his kindred spirit Trent Reznor, Scissor Sister Jake Shears, and superstar Elton John, but despite this large cast, the only musician who makes an indelible presence is Homme himself. ...Like Clockwork is unusually focused for a Queens of the Stone Age record, containing all of the group's hallmarks -- namely volume and crunch, but also a tantalizing sense of danger, finding seduction within the darkness -- but there is little of the desert sprawl and willful excess that have always distinguished their records. This is forceful, purposeful, fueled by dense interwoven riffs and colored with hints of piano and analog synthesizers that quite consciously evoke '70s future dystopia. QOTSA always specialized in this eerie sexiness, but the precision on ...Like Clockwork -- quite different than the merciless propulsion of Era Vulgaris, the 2007 album that closed out their time at Interscope -- feels conceptually tight, Homme smartly sculpting guitar fuzz, elastic solos, haunted harmonies, and deceptively slinky rhythms into a cool, relentless collection of heavy rock. The force impresses but also the restraint: there are missed beats and open space, muscular music that seduces and pummels, even manages to soothe while it assaults. It's complex, harder, and catchier than anything QOTSA have done in a decade, and more song-oriented, too, but that's a sign of maturity: Homme has marshaled all of his strengths on ...Like Clockwork and has found a way forward, a way to deepen his music without compromising his identity.\u003c\/p\u003e\n\u003cp\u003eA1        Keep Your Eyes Peeled\u003cbr\u003eA2        I Sat By The Ocean\u003cbr\u003eA3        The Vampyre Of Time And Memory\u003cbr\u003eB1        If I Had A Tail\u003cbr\u003eB2        My God Is The Sun\u003cbr\u003eB3        Kalopsia\u003cbr\u003eC1        Fairweather Friends\u003cbr\u003eC2        Smooth Sailing\u003cbr\u003eD1        I Appear Missing\u003cbr\u003eD2        ...Like Clockwork\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":490422577,"sku":"","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/413WE38pDRL.jpeg?v=1390546774"},{"product_id":"black-sabbath-self-titled","title":"Black Sabbath - S\/T","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBlack Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots like Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Circumstance certainly played some role in the birth of this musical revolution -- the sonic ugliness reflecting the bleak industrial nightmare of Birmingham; guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, thus creating Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it. Take the legendary album-opening title cut. The standard pentatonic blues scale always added the tritone, or flatted fifth, as the so-called \"blues note\"; Sabbath simply extracted it and came up with one of the simplest yet most definitive heavy metal riffs of all time. Thematically, most of heavy metal's great lyrical obsessions are not only here, they're all crammed onto side one. \"Black Sabbath,\" \"The Wizard,\" \"Behind the Wall of Sleep,\" and \"N.I.B.\" evoke visions of evil, paganism, and the occult as filtered through horror films and the writings of J.R.R. Tolkien, H.P. Lovecraft, and Dennis Wheatley. Even if the album ended here, it would still be essential listening. Unfortunately, much of side two is given over to loose blues-rock jamming learned through Cream, which plays squarely into the band's limitations. For all his stylistic innovations and strengths as a composer, Iommi isn't a hugely accomplished soloist. By the end of the murky, meandering, ten-minute cover of the Aynsley Dunbar Retaliation's \"Warning,\" you can already hear him recycling some of the same simple blues licks he used on side one (plus, the word \"warn\" never even appears in the song, because Ozzy Osbourne misheard the original lyrics). (The British release included another cover, a version of Crow's \"Evil Woman\" that doesn't quite pack the muscle of the band's originals; the American version substituted \"Wicked World,\" which is much preferred by fans.) But even if the seams are still showing on this quickly recorded document, Black Sabbath is nonetheless a revolutionary debut whose distinctive ideas merely await a bit more focus and development. Henceforth Black Sabbath would forge ahead with a vision that was wholly theirs.\u003c\/p\u003e\n\u003cp\u003eA1        Black Sabbath  6:22\u003cbr\u003eA2        The Wizard  4:25\u003cbr\u003eA3        Behind The Wall Of Sleep  3:37\u003cbr\u003eA4        N.I.B.  6:07\u003cbr\u003eB1        Evil Woman, Don't Play Your Games With Me  3:27\u003cbr\u003eB2        Sleeping Village  3:46\u003cbr\u003eB3        Warning  10:33\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":973058549,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/617NeBaWSiL.jpeg?v=1415390690"},{"product_id":"metallica-kill-em-all","title":"Metallica - Kill Em' All","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe true birth of thrash. On Kill 'Em All, Metallica fuses the intricate riffing of New Wave of British Heavy Metal bands like Judas Priest, Iron Maiden, and Diamond Head with the velocity of Motörhead and hardcore punk. James Hetfield's highly technical rhythm guitar style drives most of the album, setting new standards of power, precision, and stamina. But really, the rest of the band is just as dexterous, playing with tightly controlled fury even at the most ridiculously fast tempos. There are already several extended, multi-sectioned compositions foreshadowing the band's later progressive epics, though these are driven by adrenaline, not texture. A few tributes to heavy metal itself are a bit dated lyrically; like Diamond Head, the band's biggest influence, Kill 'Em All's most effective tone is one of supernatural malevolence -- as pure sound, the record is already straight from the pits of hell. Ex-member Dave Mustaine co-wrote four of the original ten tracks, but the material all sounds of a piece. And actually, anyone who worked backward through the band's catalog might not fully appreciate the impact of Kill 'Em All when it first appeared -- unlike later releases, there simply isn't much musical variation (apart from a lyrical bass solo from Cliff Burton). The band's musical ambition also grew rapidly, so today, Kill 'Em All sounds more like the foundation for greater things to come. But that doesn't take anything away from how fresh it sounded upon first release, and time hasn't dulled the giddy rush of excitement in these performances. Frightening, awe-inspiring, and absolutely relentless, Kill 'Em All is pure destructive power, executed with jaw-dropping levels of scientific precision.\u003c\/p\u003e\n\u003cp\u003eA1 Hit the Lights 4:17\u003cbr\u003eA2 The Four Horsemen 7:08\u003cbr\u003eA3 Motorbreath 3:03\u003cbr\u003eA4 Jump in the Fire 4:50\u003cbr\u003eA5 (Anesthesia) Pulling Teeth 3:27\u003cbr\u003eA6 Whiplash 4:06\u003cbr\u003eB1 Phantom Lord 4:52\u003cbr\u003eB2 No Remorse 6:24\u003cbr\u003eB3 Seek \u0026amp; Destroy 6:50\u003cbr\u003eB4 Metal Militia 5:11\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":17626029505,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/71La0R9p9GL._SL1500.jpeg?v=1460702994"},{"product_id":"metallica-ride-the-lightening","title":"Metallica - Ride The Lightning","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKill 'Em All may have revitalized heavy metal's underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding their compositional technique and range of expression. Every track tries something new, and every musical experiment succeeds mightily. The lyrics push into new territory as well -- more personal, more socially conscious, less metal posturing. But the true heart of Ride the Lightning lies in its rich musical imagination. There are extended, progressive epics; tight, concise groove-rockers; thrashers that blow anything on Kill 'Em All out of the water, both in their urgency and the barest hints of melody that have been added to the choruses. Some innovations are flourishes that add important bits of color, like the lilting, pseudo-classical intro to the furious \"Fight Fire with Fire,\" or the harmonized leads that pop up on several tracks. Others are major reinventions of Metallica's sound, like the nine-minute, album-closing instrumental \"The Call of Ktulu,\" or the haunting suicide lament \"Fade to Black.\" The latter is an all-time metal classic; it begins as an acoustic-driven, minor-key ballad, then gets slashed open by electric guitars playing a wordless chorus, and ends in a wrenching guitar solo over a thrashy yet lyrical rhythm figure. Basically, in a nutshell, Metallica sounded like they could do anything. Heavy metal hadn't seen this kind of ambition since Judas Priest's late-'70s classics, and Ride the Lightning effectively rewrote the rule book for a generation of thrashers. If Kill 'Em All was the manifesto, Ride the Lightning was the revolution itself.\u003c\/p\u003e\n\u003cp\u003eA1 Fight Fire With Fire 4:44\u003cbr\u003eA2 Ride the Lightning 6:36\u003cbr\u003eA3 For Whom the Bell Tolls 5:10\u003cbr\u003eA4 Fade to Black 6:56\u003cbr\u003eB1 Trapped Under Ice 4:03\u003cbr\u003eB2 Escape 4:23\u003cbr\u003eB3 Creeping Death 6:36\u003cbr\u003eB4 The Call of Ktulu 8:52\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":17626043969,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/81TZr-T2k8L._SL1500.jpeg?v=1460703161"},{"product_id":"deftones-deftones","title":"Deftones - S\/T","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDeftones didn't really have a hard time with their third album, White Pony, since it received generally positive reviews and entered the Billboard charts at number three. However, the class of 2000\/2001 nu-metalurgists overshadowed the group in terms of sales, even if they retained greater critical respect and a hardcore fan base, who nevertheless still registered some reluctance in regard to the artier, atmospheric, post-punk edges on White Pony. At first, their simply titled eponymous fourth album seems like a retreat from that territory, since as it opens with \"Hexagram\" it hits hard -- harder than they ever have, revealing how mushy Staind is, or how toothless Linkin Park is, even if it's a bit of a shame that Chino Moreno has resorted to guttural barking for singing. Deftones continue in that vein through much of the first half of the record, gradually working in more atmospheric numbers as the record draws to a close. That shift in mood has the strange effect of seeming confident at first, and then a retreat, even if the music they're retreating to is, by and large, more adventurous and reminiscent of White Pony. It feels as if Deftones feel compelled to strengthen their metallic roots and will sacrifice the very things that make them better and more interesting than the rest -- namely, their love of art rock, whether it's via the Cure or My Bloody Valentine. They don't abandon this impulse completely -- and when they marry it to their harder inclinations, the results are smashing, as on the lead single, \"Minerva\" -- which is welcome, since even if the harder stuff is done well (again, better than their peers), it doesn't carry nearly as much promise as when Deftones don't play by the nu-metal reviews. When they do play by the rules, they're good, but they're great when they don't follow a map. Deftones sticks a little too close to familiar territory this time around -- the sound is still good, but knowing that they have done a record like White Pony, this feels like a disappointment, especially because in its unevenness, it sounds like it is the album that should have come before this one.\u003c\/p\u003e\n\u003cp\u003eA1        Hexagram\u003cbr\u003eA2        Needles And Pins\u003cbr\u003eA3        Minerva\u003cbr\u003eA4        Good Morning Beautiful\u003cbr\u003eA5        Deathblow\u003cbr\u003eA6        When Girls Telephone Boys\u003cbr\u003eB1        Battle-axe\u003cbr\u003eB2        Lucky You\u003cbr\u003eB3        Bloody Cape\u003cbr\u003eB4        Anniversary Of An Uninteresting Event\u003cbr\u003eB5        Moana\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":3475821068328,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/A1H2Sj0P78L._SL1500.jpg?v=1515015145"},{"product_id":"guns-n-roses-appetite-for-destruction-remaster","title":"Guns N' Roses - Appetite For Destruction","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGuns N' Roses' debut, Appetite for Destruction was a turning point for hard rock in the late '80s -- it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers -- namely, sex, liquor, drugs, and rock \u0026amp; roll -- but there is a nasty edge to their songs, since Axl Rose doesn't see much fun in the urban sprawl of L.A. and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC\/DC, and countless faceless hard rock bands of the early '80s. It's a primal, sleazy sound that adds grit to already grim tales. It also makes Rose's misogyny, fear, and anger hard to dismiss as merely an artistic statement; this is music that sounds lived-in. And that's exactly why Appetite for Destruction is such a powerful record -- not only does Rose have fears, but he also is vulnerable, particularly on the power ballad \"Sweet Child O' Mine.\" He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging \"Welcome to the Jungle,\" the heroin ode \"Mr. Brownstone,\" or \"Paradise City,\" which simply wants out. But as good as Rose's lyrics and screeching vocals are, they wouldn't be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that's what makes Appetite for Destruction the best metal record of the late '80s.\u003c\/p\u003e\n\u003cp\u003eA1 Welcome to the Jungle 4:33\u003cbr\u003eA2 It's So Easy 3:22\u003cbr\u003eA3 Nightrain 4:28\u003cbr\u003eA4 Out ta Get Me 4:23\u003cbr\u003eA5 Mr. Brownstone 3:48\u003cbr\u003eA6 Paradise City 6:46\u003cbr\u003eB1 My Michelle 3:39\u003cbr\u003eB2 Think About You 3:51\u003cbr\u003eB3 Sweet Child o' Mine 5:56\u003cbr\u003eB4 You're Crazy 3:17\u003cbr\u003eB5 Anything Goes 3:26\u003cbr\u003eB6 Rocket Queen 6:13\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":12175565979756,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/91Zs9bMMAaL._SL1500.jpg?v=1530304586"},{"product_id":"thrice-palms","title":"Thrice - Palms","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen Thrice returned in 2016 from their short hiatus, the resulting comeback album retained a glimmer of recognizable spirit of their former post-hardcore selves, but signaled a shift toward midtempo, muscular hard rock. Two years later, on their tenth album Palms, the band took further steps in that direction, resulting in a subdued affair that offers just a few exciting moments, but is otherwise a bleak slog of introspective brow-furrowing. Thus, for those expecting 2000s Thrice, expectations should be checked at the door. Palms is Thrice matured, featuring brooding piano-centric ballads (\"Everything Belongs\") and experimental tempo noodling (\"Blood on Blood\"), with just a couple reminders of past hunger (\"A Branch in the River\" and \"Hold Up a Light\"). Produced by the band and Eric Palmquist, Palms takes inspiration from No Knife, Beach House, Fugazi, and Radiohead, yet ends up sounding like Dave Grohl fronting Shinedown or Royal Blood (especially on \"The Grey\" and \"The Dark\"). Standouts include opener \"Only Us,\" which features a surprising digital-synth crawl and epic, atmospheric scope, and \"Just Breathe,\" a slow-burner with lush harmonies provided by singer\/songwriter Emma Ruth Rundle. The promise of these tracks is unfortunately not delivered elsewhere on Palms, but Thrice inject some variation on this otherwise laborious listen. Upon release, the band explained the album's title as a reference to the palms of one's hands, which, when open, can lead to acceptance and understanding of one another (versus the aggressive response of a fist). The sentiment is admirable, but the sonic execution needs further refinement to reflect the evolved optimism they seek to highlight.\u003c\/p\u003e\n\u003cp\u003eA61.1        Only Us\u003cbr\u003eA61.2        The Grey\u003cbr\u003eA61.3        The Dark\u003cbr\u003eA61.4        Just Breathe\u003cbr\u003eA61.5        Everything Belongs\u003cbr\u003eB61.6        My Soul\u003cbr\u003eB61.7        A Branch In The River\u003cbr\u003eB61.8        Hold Up A Light\u003cbr\u003eB61.9        Blood On Blood\u003cbr\u003eB61.0        Beyond The Pines\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":13645727989825,"sku":"","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81oRSjXOBuL._UF1000_1000_QL80.jpg?v=1775157090"},{"product_id":"black-sabbath-vol-4","title":"Black Sabbath - Vol. 4","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDebatably, Black Sabbath laid the groundwork for various subgenres of metal with individual songs from their early catalog, exploring cosmic psychedelia on one track, symphonic accompaniment on the next, and sludgy, downtuned riffing on the song after that. If the theory that Sabbath forecast a great deal of metal to come, Vol. 4 represents the earliest ancestry of doom metal as one of the band's darkest and most confused early documents. The three albums that came before 1972's Vol. 4 weren't short on dread and doominess, but the band's increasingly heavy mutations of blues-rock were kept from the brink of collapse by relatively streamlined production and aspirations for pop accessibility. By the time of Vol. 4, the band were certified rock stars, indulging in drugs and partying on an accelerated level. These excesses are reflected in the overall murky sound of the album, lyrical themes of a slippery grasp on reality, and weird stylistic curveballs that range from an out-of-nowhere soul breakdown in the middle of \"Supernaut\" (otherwise one of the most intense songs in the band's catalog) to stoned twiddling with delay effects on \"FX\" to the beautifully placid instrumental \"Laguna Sunrise,\" consisting of Tony Iommi's classical guitar and full orchestral backing. This was the first album where Iommi and the band acted as producers, and their boundless experimentation went hand in hand with consuming ungodly amounts of cocaine, to the point where they originally wanted the album to share a title with its centerpiece \"Snowblind,\" a plodding and bewildered ode to the drug. The record company ultimately vetoed the idea and the band acquiesced. Paradoxically, the scattered mindset and muddy atmosphere of Vol. 4 became its defining factors and resulted in some of the heaviest material the band would create. Ozzy Osbourne's patented wraith-like wails begin to come into their own on anguished rockers like \"Tomorrow's Dream\" and \"Cornucopia,\" and take on a tenderness that Sabbath had never attempted before on the piano\/Mellotron ballad \"Changes.\" It's a somewhat awkward jerk from the tearful sentimentality of \"Changes\" to the paranoid proto-sludge of \"Under the Sun,\" and many songs have similarly strange quick turns in composition, fumbling mixing choices, or different overall textural quality from track to track. Black Sabbath's collective mental state would further devolve on their next two albums, and by the late '70s they were virtually a different band. Though clouded by substance abuse, Vol. 4 found Sabbath at a creative peak that teetered on the edge of going off the rails completely. It's messy and bewildered, but stands as one of the band's most captivating and influential documents in all of its bizarre, damaged brilliance.\u003c\/p\u003e\n\u003cp\u003eA1        Wheels Of Confusion    8:00\u003cbr\u003eA2        Tomorrow's Dream    3:08\u003cbr\u003eA3        Changes    4:41\u003cbr\u003eA4        FX    1:41\u003cbr\u003eA5        Supernaut    4:43\u003cbr\u003eB1        Snowblind    5:28\u003cbr\u003eB2        Cornucopia    4:52\u003cbr\u003eB3        Laguna Sunrise    2:50\u003cbr\u003eB4        St. Vitus' Dance    2:25\u003cbr\u003eB5        Under The Sun    5:52\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":18042188562497,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81O0PYcuj3L.jpg?v=1754418171"},{"product_id":"danzig-1","title":"Danzig - I","description":"\u003cp\u003e\u003cstrong\u003eRSD ESSENTIAL - WHITE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDanzig debuts with a record of simple, pounding, bluesy metal featuring lead singer Glenn Danzig's trademark Elvis-meets-Jim Morrison bellow and outlandishly dark, evil lyrics. There isn't a great deal of musical variety or complexity here, but the band powers its way through such signature tunes as \"Twist of Cain,\" \"Am I Demon,\" and the (future) hit \"Mother\" with a primal energy. Plus, Danzig's tongue-in-cheek posturing as the ultimate unholier-than-thou heavy metal frontman gives the record a definite appeal, even if one is not inclined to view his theatrics as dangerous or threatening\u003c\/p\u003e\n\u003cp\u003eA1        Twist Of Cain    4:17\u003cbr\u003eA2        Not Of This World    3:43\u003cbr\u003eA3        She Rides    5:11\u003cbr\u003eA4        Soul On Fire    4:37\u003cbr\u003eA5        Am I Demon    4:58\u003cbr\u003eB1        Mother    3:26\u003cbr\u003eB2        Possession    3:56\u003cbr\u003eB3        End Of Time    4:02\u003cbr\u003eB4        The Hunter    3:31\u003cbr\u003eB5        Evil Thing    3:17\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":31144615772225,"sku":"","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/61robTXGFJL._SL1200.jpg?v=1669775339"},{"product_id":"system-of-a-down-s-t","title":"System of a Down - S\/T","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSystem of a Down's self-titled major-label debut finds the Los Angeles band consolidating its gothic alt-metal, sharpening its deadly riffs, strengthening its brutal rhythms, and adding muscle to its attack. The band differentiates itself from the legions of Southern Californian alt-metalheads by emphasizing its Armenian musical heritage, which gives the music an eerie, otherworldly quality. 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Prerelease, the band described Mezmerize as being the first part -- the first side -- of what's essentially a double album. The records' packaging would even slot together, making the eventual Mezmerize\/Hypnotize whole. Appropriately then, there's an intro to System's first new material since 2001's brilliant Toxicity. On \"Soldier Side\" Daron Malakian and Serj Tankian harmonize as they do throughout the record, and Malakian's guitar has a mournful, Eastern air. But it's just a lull before \"B.Y.O.B.,\" a thrash assault pierced with rabid and incredulous screams. \"Why do they always send the poor?\" Suddenly the gears switch, and the song stomps in crunchy half-time as its lyrics riff with a sick grin on cultural ignorance. The government's lying, System's saying, but \"Blast off!\/It's party time.\" The vocal exploration between Tankian and Malakian on Mezmerize is a thrill -- they spur each other on like a two-headed hardcore hero. Their intermingling voices make \"Cigaro\" more aggressive, frantic, operatic, and totally bananas; they'd be triumphant over the break in \"Violent Pornography\" if they weren't spitting out lines like \"Choking chicks and sodomy.\" The fantastic \"Pornography\" is a rusty shiv of absurdity, another example of System's ability to effectively skewer society with little more than hyper guitar, blistering percussion, and weird turns of phrase. Their volatile mix of righteousness, wordiness, odd meters, and thrash has balanced System's activism since their self-titled debut, making them \"unique heavy music\" over the much more problematic \"unique, heavily political music.\" And Mezmerize doesn't fail to be unique. \"Old School Hollywood\" essays the bizarre experience of a celebrity baseball game (\"Tony Danza cuts in line!\") over keyboard effects from \"Beat It\" and a brutally simplistic rhythm, \"This Cocaine Makes Me Feel Like I'm on This Song\" is more twisted-tongue histrionics and explosive playing, and Tankian and Malakian's harmonies are the catalyst (again!) for making \"Revenga\" a truly feral epic. 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Danzig's vocals are more subtle in places, and John Christ's guitar work continues to improve. 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The anthemic title track and \"Wake Up Dead\" are the two major standouts, and there is also a cover of Willie Dixon's \"I Ain't Superstitious,\" which takes on an air of supernaturally induced paranoia in the album's context. The lines between hell and earth are blurred throughout the album, and the crashing, complex music backs up Dave Mustaine's apocalyptic vision of life as damnation -- his limited vocal style is used to great effect, growling and snarling in a barely intelligible fashion under all the complicated guitar work. Vital, necessary thrash.\u003c\/p\u003e\n\u003cp\u003eA1        Wake Up Dead    3:37\u003cbr\u003eA2        The Conjuring    5:00\u003cbr\u003eA3        Peace Sells    4:05\u003cbr\u003eA4        Devils Island    5:02\u003cbr\u003eB1        Good Mourning \/ Black Friday    6:39\u003cbr\u003eB2        Bad Omen    4:03\u003cbr\u003eB3        I Ain't Superstitious    2:42\u003cbr\u003eB4        My Last Words    4:44\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":42509052903624,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/OC5qcGVn.jpg?v=1672797315"},{"product_id":"alice-in-chains-alice-in-chains","title":"Alice In Chains - S\/T","description":"\u003cp\u003e\u003cstrong\u003e2xLP NEON YELLOW VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDispelling rumors of their demise due to Layne Staley's heroin addiction, Alice in Chains is a sonically detailed effort that ranks as their best-produced record, and its best moments are easily some of their most mature music. Alice in Chains relies less on metallic riffs and more on melody and texturally varied arrangements than the group's previous full-length albums, finally integrating some of the more delicate acoustic moods of their EPs. The lyrics deal with familiar AIC subject matter -- despair, misery, loneliness, and disappointment -- but in a more understated fashion, and the lyrics take on more uplifting qualities of toughness and endurance, which were missing from much of their previous work. The consistent visceral impact Alice in Chains lacks in comparison to that previous work is partially made up for by the skilled production and songs like \"Grind,\" \"Brush Away,\" \"Over Now,\" and the hit ballad \"Heaven Beside You,\" which are among the band's best work. Still, in spite of its many virtues, it's hard not to feel a little frustrated with the record, as though, given those qualities, it should have turned out better than it did -- there are some slow spots where the songs are undercrafted and not especially memorable, and those moments can make the band sound uncommitted and distracted. That, in turn, can make the defiance of songs like \"Grind\" (\"you'd be well advised\/not to plan my funeral 'fore the body dies\") sound more like denial; just when Alice in Chains' music was finally beginning to emerge from the dark side, the intra-band problems became too much to bear and made Alice in Chains the last collection of new material the Staley-fronted AIC would release.\u003c\/p\u003e\n\u003cp\u003eA1        Grind\u003cbr\u003eA2        Brush Away\u003cbr\u003eA3        Sludge Factory\u003cbr\u003eB1        Heaven Beside You\u003cbr\u003eB2        Head Creeps\u003cbr\u003eB3        Again\u003cbr\u003eC1        Shame In You\u003cbr\u003eC2        God Am\u003cbr\u003eC3        So Close\u003cbr\u003eD1        Nothin' Song\u003cbr\u003eD2        Frogs\u003cbr\u003eD3        Over Now\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":42553149030600,"sku":"","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/AllCDCovers_alice_in_chains_alice_in_chains_2001_retail_cd-front.jpg?v=1676064827"},{"product_id":"lacuna-coil-shallow-life-rsd2023","title":"Lacuna Coil - Shallow Life (RSD2023)","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe 2009 album by the Italian gothic metal masters, now officially reissued in cooperation with the band. This RSD 2023 release is pressed on Aqua Blue vinyl and comes in a gatefold jacket. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e1. Survive\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. I Won't Tell You\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Not Enough\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I'm Not Afraid\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I Like It\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Underdog\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. The Pain\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8. Spellbound\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9. Wide Awake\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. The Maze\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11. Unchained\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12. 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You could say that Queens of the Stone Age keep rock's flame burning, but unlike other new-millennium true believers -- like Jack White, for instance -- Homme lacks pop skills or even the interest in crossing over (which isn't the same thing as lacking hooks, mind you), and unlike the stoner metal underground that provided his training ground, he's not insular; he thrives on grand visions and grander sound. He's an anomaly, a keeper of the flame that will never be played on Little Steven's Rock \u0026amp; Roll Underground because Queens of the Stone Age are too heavy, too muso, too tasteless in all the wrong ways to be commonly accepted or embraced as among the next generation of rock heroes -- which only makes them more rock \u0026amp; roll, of course. And if rock \u0026amp; roll is indeed in decline in the 2000s, Homme and his Queens of the Stone Age prove that rock \u0026amp; roll can nevertheless be just as potent as it ever was with each of their remarkable albums. All are instantly identifiable as QOTSA but all are quite different from each other, from the sleazoid freak-out of R to the dark, gothic undertow of Lullabies to Paralyze, a record so willfully murky that it alienated a good portion of an audience ready to bolt in the wake of the departure of Homme's longtime partner, Nick Oliveri. Its 2007 successor, Era Vulgaris, is as different from Lullabies as that was to their dramatic widescreen breakthrough, Songs for the Deaf: it's mercilessly tight and precise, relentless in its momentum and cheerful in its maliciousness. Like other QOTSA albums, guest musicians are paraded in and out, but here it's impossible to tell if Mark Lanegan contributed anything or if that indeed is the Strokes' Julian Casablancas singing lead on the lethal \"Sick, Sick, Sick,\" because Homme has honed Era Vulgaris so scrupulously that it's impossible to hear anybody else's imprint on the overall sound. QOTSA retain some of the spookiness of Lullabies -- there's a ghostly hue on \"Into the Hollow\" -- but this is as balls-out rock as Songs for the Deaf, only minus the mythic momentum Dave Grohl lent that record. But Era Vulgaris isn't designed as a monolith like Songs; its appeal is in its lean precision, how the riffs grind as if they were stripping screws of their threads, how the rhythms relentlessly pulse, and, of course, how it's all dressed up in all kinds of scalding guitars, all different sounds and tones, giving this menace and muscle. If the songs aren't pop crossovers -- not even the soulful seductive groove of \"Make It Wit Chu\" (revived from one of Homme's Desert Sessions) qualifies it as a potential pop hit -- they still have hard hooks that make these manifestos even if they aren't anthems: \"Misfit Love\" digs in like a nasty Urge Overkill, \"Battery Acid\" is metallic and mean, blind-sided only by the gargantuan, gnarly \"3's \u0026amp; 7's.\" It's hard to call Era Vulgaris stripped-down -- there's too much color in the guitar, too much willful weirdness to be that -- but this is Queens of the Stone Age at their most elemental and efficient, never spending longer than necessary at each song, yet managing to make each of these three-minute blasts of fury sound like epics. It's exhilarating, the best rock \u0026amp; roll record yet released in 2007 -- and the year sure needed the dose of thunder that this album provides.\u003c\/p\u003e\n\u003cp\u003eA1        Turnin' On The Screw\u003cbr\u003eA2        Sick, Sick, Sick\u003cbr\u003eA3        I'm Designer\u003cbr\u003eA4        Into The Hollow\u003cbr\u003eA5        Misfit Love\u003cbr\u003eA6        Running Joke\u003cbr\u003eB1        Battery Acid\u003cbr\u003eB2        Make It Wit Chu\u003cbr\u003eB3        3's \u0026amp; 7's\u003cbr\u003eB4        Suture Up Your Future\u003cbr\u003eB5        River In The Road\u003cbr\u003eB6        Run, Pig, Run\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":42701243482312,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71wESt1krkL._SL1428.jpg?v=1685484415"},{"product_id":"queens-of-the-stone-age-songs-for-the-deaf","title":"Queens of the Stone Age - Songs for the Deaf","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOn their third album, Songs for the Deaf, Queens of the Stone Age are so concerned with pleasing themselves with what they play that they don't give a damn for the audience. This extends to the production, with the entire album framed as a broadcast from a left-of-the-dial AM radio station, the sonics compressed so every instrument is flattened. It’s a joke run wild, punctuated by an ironic mock DJ, and it fits an album where the players run wild. As usual, Josh Homme and Nick Oliveri have brought in a number of guests, including Mark Lanegan on vocals and Dean Ween on guitar, but they’ve anchored themselves with the drumming of the mighty Dave Grohl, who helps give the band the muscle sorely missing from most guitar rock these days, whether it's indie rock or insipid alt-metal. QOTSA may be a muso band -- a band for musicians and those who have listened to too much music; why else did the greatest drummer and greatest guitarist in '90s alt-rock (Grohl and Ween, respectively) anxiously join this ever-shifting collective? -- but that’s the pleasure of the band, and Songs for the Deaf in particular: it’s restless and pummeling in its imagination and power.\u003c\/p\u003e\n\u003cp\u003eA1        You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire\u003cbr\u003eA2        No One Knows\u003cbr\u003eA3        First It Giveth\u003cbr\u003eA4        Song For The Dead\u003cbr\u003eB1        The Sky Is Fallin'\u003cbr\u003eB2        Six Shooter\u003cbr\u003eB3        Hanging Tree\u003cbr\u003eB4        Go With The Flow\u003cbr\u003eB5        Gonna Leave You\u003cbr\u003eC1        Do It Again\u003cbr\u003eC2        God Is In The Radio\u003cbr\u003eC3        Another Love Song\u003cbr\u003eD1        Song For The Deaf\u003cbr\u003eD2        Mosquito Song\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":42780043968712,"sku":"","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/61MvC4pGkDL._UF1000_1000_QL80.jpg?v=1699998470"},{"product_id":"queens-of-the-stone-age-in-times-new-roman","title":"Queens Of The Stone Age - In Times New Roman","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJosh Homme designed Queens of the Stone Age as a vehicle to encourage the kind of free-flowing collaboration he cherishes. While QOTSA never is as loose as the Desert Sessions, a side project where Homme corrals any weirdo who comes his way into the studio, the band always allowed space to run wild on the margins. That's not the case with In Times New Roman..., the album that follows Villains by six years. There isn't a single guest to be heard on In Times New Roman..., a shift that's felt more than heard; the group haven't abandoned their fondness for sudden detours, yet even these byways feel more controlled than they have in the past. Perhaps the shift is due to Homme living through a rough few years, a time of personal turmoil involving a public divorce and a private battle with cancer, one that was revealed only on the eve of this album's 2023 release. Some of this tumult can be heard within the lyrics, but Homme isn't a memoirist; he has an ear for striking phrases that gain import through a full-band arrangement. By working exclusively with a lineup that's been largely in place for 16 years -- only drummer Jon Theodore hasn't been around that long, he's been a part of the group for a decade -- Homme is able to steer QOTSA toward their essence, laying down a foundation of gnarled, greasy guitars that allow the band either to soar to the horizons or plummet to earthy depths. While the thick, churning grind may feel familiar, it never seems staid, not when QOTSA rely on clouds of vocal harmonies to push them onto a psychedelic astral plane, a shift that can amount to the subtle colorings of \"Time \u0026amp; Place\" or be as startling as the chorus of \"Emotion Sickness.\" QOTSA don't avoid delving deep into fuzz tones -- \"Made to Parade\" finds endless textures in its interwoven guitars -- but the amount of vocal harmonies help In Times New Roman... feel vulnerable underneath its roar.\u003c\/p\u003e\n\u003cp\u003eA1        Obscenery\u003cbr\u003eA2        Paper Machete\u003cbr\u003eA3        Negative Space\u003cbr\u003eA4        Time \u0026amp; Place\u003cbr\u003eB1        Made To Parade\u003cbr\u003eB2        Carnavoyeur\u003cbr\u003eB3        What The Peephole Say\u003cbr\u003eC1        Sicily\u003cbr\u003eC2        Emotion Sickness\u003cbr\u003eC3        Straight Jacket Fitting\u003cbr\u003eD1        \"Untitled\"\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":42782140694728,"sku":"","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/51CIyBhnfvL._SL1000.jpg?v=1686676513"},{"product_id":"taproot-blue-sky-research-rsdbf23","title":"Taproot - Blue-Sky Research (RSDBF23)","description":"\u003cp\u003eRecord Store Day Black Friday Exclusive\u003c\/p\u003e\n\u003cp\u003eLimited to 1100\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFeaturing three co-writes by Smashing Pumpkins frontman Billy Corgan and guitar guests like Stephen Carpenter of the Deftones and Jonah Matranga of Far and Onelinedrawing, Taproot's Blue-Sky Research tapped a more melodic vein than its predecessors and sold well in 2005 on the strength of such singles as \"Calling\" and \"Birthday.\" It proved to be their last album for Atlantic, though, which probably explains why it has never seen a vinyl release. Our reissue comes with an inner sleeve housing a (natch) \"blue sky\" vinyl pressing limited to 1500 copies worldwide.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI Will Not Fall for You; Violent Seas; Birthday; Facepeeler; Calling; Forever Endeavor; April Suits; Lost in the Woods; So Eager; She; Promise; Nightmare; Blue-Sky Research\/What's Left\u003c\/span\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":43012804444360,"sku":"","price":33.59,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/418467258046_800.webp?v=1700086867"},{"product_id":"judas-priest-invincible-shield","title":"Judas Priest - Invincible Shield","description":"\u003cp\u003e\u003cstrong\u003e2xLP RED VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMore than 50 years into their heavy metal legacy, Judas Priest are still screaming at full power on their 19th studio full-length Invincible Shield. The album, their first studio effort of its kind since 2018's Firepower, is again produced by the band's touring guitarist Andy Sneap, and its 14 songs stretch out at over just an hour-long runtime. The album charges out of the gate with the dumbfounding riffery of \"Panic Attack.\" The song touches on all the now-signature elements of Priest's sound, with dizzying harmonic guitar solos, a relentlessly pushy beat, and layers of Rob Halford's vocals, part winking metal theater, part authentic menace. The majority of the album sticks to thrash levels of speed and force, though the band switches gears to fantastical midtempo lurking on the epic \"Crown of Horns\" and the chugging \"Trial by Fire.\" There's an unexpected acoustic breakdown in \"Giants in the Sky\" and some bluesy swaggering on the chunky \"Fight of Your Life,\" but by and large Invincible Shield finds Judas Priest delivering a tightly wound and immaculately polished rendering of everything fans have come to expect from them over the last half a century. While at this point there's some unavoidable self-awareness to their craft, it does nothing to take away from the exhilarating fun and lawless excitement of the album. 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The main thing that makes this monolithic album different from much of the band's catalog is its construction. The Melvins first tracked a series of ideas, parts, and miscellaneous jams, and later edited songs together from the collected chaos, adding new parts to the Frankenstein-ed structures. They cited Miles Davis' editing process on albums like Big Fun and On the Corner as a huge point of inspiration for this idea. The album begins with the most aggressive example of this patchwork approach, the 19-minute long \"Pain Equals Funny.\" It's less a traditional song than a collage of the kind of sledgehammer riffs the Melvins excel at, connected by passages of distorted drum sounds, time-stretched digital processing, and formless feedback. \"Working the Ditch\" recalls the heaviness of the band's Ozma era, opening with slow, dual drums before kicking into a storm of downtuned guitars chugging along at a grueling pace. King Buzzo growls and curses over the song until it starts to feel like being dragged half-conscious through a ditch. The odd punk of \"She's Got Weird Arms\" is part Devo, part Gong, part Spinal Tap, and all Melvins, while \"Allergic to Food\" rocks out at a fast and frantic pace, featuring We Are the Asteroid\/Ed Hall member Gary Chester on additional guitar, and recalling the psychedelic intensity of the Butthole Surfers. Tarantula Heart's five tracks contain more than an album's worth of weirdness and power. 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The band has also started to craft their songs, using different instruments and a few industrial sounds in the background of some tracks. Not all of the experiments are successful or interesting, partially due to inconsistent songwriting, but out of all their releases, the music here comes the closest to reflecting the darkness of Glenn Danzig's lyrics. 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For one, the band's financial woes had been mounting for years. Even though they were coming off a platinum-selling release, the band was severely indebted to Atlantic; the album had not only failed to wipe out their previous debt, it had exacerbated it. When all was said and done, the band collectively (save for publishing) hadn't made a penny off any of their previous releases. Notwithstanding, standing on an edge of a cliff was nothing new for this bunch. Still, they were determined to write a strong follow-up to their coming-out effort. Little did they know that yet other outside musical forces would put a monkey wrench in their plans. By late 1991, it was clear that popular music was in the midst of undergoing a major cultural shift. A little band by the name of Nirvana was set on a course to wipe the hair rock slate clean, decimating all naysayers in its path-- with Kix being the perfect case in point. 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Indeed, while Kyuss' Blues for the Red Sun and Monster Magnet's Spine of God are more frequently cited as the most influential and important albums in launching the American stoner\/doom metal scene, not even these landmark releases compare to Holy Mountain for sheer devotion to unadulterated doom and copious weed consumption. In fact, as monolithic opener \"Dragonaut\" descends into a bass solo at its conclusion, one would be forgiven for expecting the band to segue straight into \"N.I.B.\" -- such is their similarity to classic Sabbath. Instead, they grind into \"The Druid,\" which despite a quick nod to the Sabs' \"Electric Funeral,\" actually begins to establish Sleep's personality, as riff upon massive riff in the form of songs like \"Evil Gypsy\/Solomon's Theme\" and the groove-heavy \"Aquarian\" flow from the speakers like molten lava. In an age of machine-gun double-bass drums, Sleep's most startling quality had to be their seemingly endless patience. 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A streamlined evolution of their established sound, this ten-song set tightens their rule-shattering whirlwind into a focused assault on the senses and emotions. The faithful will have a pretty good idea of what to expect, but for newcomers and the uninitiated, Sleep Token presents a wild mix that may be confusing and even off-putting to a casual observer. However, if the listener can lock in, it's a refreshing thrill to hear so many styles smashed together. Smooth jazz saxophone, sweeping strings, and twinkling piano crash into crushing djent-y riffs, pummeling drums, and proggy time signatures. There's haunting choir backing, demonic growls, full-chested roars, soulful crooning, and angelic vocal highs that would make Chino Moreno proud. Often colliding on the same track, these extremes are expertly employed to bring out parts of the human experience that may not emerge within typical genre boundaries. 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