Pink Floyd - Pink Floyd At Pompeii - MCMLXXII - CD

Pink Floyd at Pompeii - MCMLXXII, the groundbreaking 1972 film directed by Adrian Maben, has been digitally remastered and remixed by Steven Wilson. Set in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy, this unique film captures Pink Floyd performing an intimate concert. This audio companion contains the live performances from the film as well as two additional tracks, including a previously unreleased extended version of "A Saucerful Of Secrets".

*** For Autographed versions, please state in the notes if you are interested and if it needs to be addressed to anyone besides yourself ***

Marty Willson-Piper is an English guitarist, singer, and songwriter best known

as a longtime member of the Australian band The Church (1980–2013). With

a career spanning over 45 years, he has contributed to a wide range of musical

projects, including his solo work, collaborations with All About Eve and The

Saints, and his own band, Noctorum.

In 2025, Willson-Piper launched Archaeological Dig - Volume 1, the first in

a planned trilogy of releases where he re-records over 30 songs from his

extensive catalog. This re-imagined collection features ten songs from different

time periods, played with strings, acoustics, piano, and keyboards while still

incorporating bass, drums, and multi-layered vocals. The album revisits material

from his solo career—including selections from In Reflection (1987), which

also received a Record Store Day 2025 reissue, and Art Attack (1988)—as well

as songs from his tenure with The Church, drawing from landmark albums like

Heyday (1985) and Starfish (1988).

Included in Volume 1 are fan favorites like "Tristesse," originally featured on

Heyday (1985), and "Spark," from the platinum-selling Starfish (1988). These

songs highlight the diversity of Willson-Piper’s catalog and showcase his

evocative songwriting and signature guitar work.

Adding to the album’s distinctive presentation, the cover art for Archaeological

Dig features a themed sci-fi illustration, with each of the three volumes

depicting Willson-Piper in a different setting alongside UFOs. The release is

available across all planets and throughout the galaxy via the In Deep boutique

label in conjunction with Schoolkids Records.

Blending psychedelic rock, folk, and alternative influences, Willson-Piper’s music

remains deeply atmospheric and introspective. Beyond his recording career,

he is also an avid vinyl collector, music historian, and passionate champion of

independent artistry.

After a long absence, Rilo Kiley—Jenny Lewis, Blake Sennett, Jason Boesel, and Pierre “Duke” de Reeder— are back, with arms outstretched. Over the years, a reunion “felt like a possibility, but it was never the right time,” explains Boesel. “Planning this reunion over these past months has been like reconnecting with family. We haven’t missed a beat,” says De Reeder. “The stakes are only to have a good time, to revel in this nostalgia. Getting to revisit and celebrate the music from that special time of our lives while experiencing it alongside a lot of people that lived it with us back when, and new folks alike.” The new Rilo Kiley album, That’s How We Choose to Remember It, is a collection of career-spanning songs that hit its audience with a breath of honest, fresh air. “For some people, Rilo Kiley evokes a formative, emotional time in life, when you were maybe grasping for your place in the universe. We were too,” says Sennett. We’ve all got a memory or two with the songs of Rilo Kiley. Maybe belting “I Never” or requesting “The Frug,” at a show in the early 2000s. This latest collection celebrates the music so deeply held by many of us. Here’s to Rilo Kiley, their reunion, and the next generation of listeners to love this band as much as we do. Long live Rilo Kiley.

Strike Up The Band is Little Feat's triumph return to rock n roll with plenty of swampy southern soul with Bill Payne (keys/vocals0, Scott Sharrard (guitar/vocals), Tony Leone (drums/vocals), Fred Tackett (guitar), Kenny Gradney (bass), and Sam Clayton (percussion/vocals). It's their first album of new material in over 13 years with songs written by Payne and Tacket as well as Feat's newest members Sharrrard and Leone. The album was produced by the multi Grammy Award winner, Vance Powell (Phish, Chris Stapleton, Jack White) and Bill Payne. The song "Bluegrass Pines" features speacial guest Molly Tuttle and Larry Campbell & Teresa Williams, and was written by Payne and the Grateful Dead lyricst Robert Hunter, and the title track features Larkin Poe on guest vocals.

“Sun was made for coming out, even though the night is long.” Aperture – The Head And The Heart’s sixth album and first since signing to Verve Forecast – is the affirming work of a band finding again its shared footing, reaching unimagined levels of camaraderie and mutual risk as one. With every song fortified by the sense of beginning again, Aperture is The Head And The Heart’s most vital and poignant album. Featuring tracks like the album’s beautifully arcing opener “After the Setting Sun” and the mighty anthem “Arrow,” Aperture is a stunning testament to the collaborative work of a band who decided to let in the light, return to their roots, and forge a new path, together as one.

Something Soft, the second full-length album by Irish post-punk firebrands M(h)aol, is anything but. From the first note of it's propulsive opening track to the distorted cries of it's last, Something Soft feels antagonistic to the very concept of softness, sonically and thematically, taking an unapologetic approach to intersectional feminism, animal welfare, consumerism, and the struggle to find a place in a world lacking in empathy. What M(h)aol offers is catharsis, in two forms: the kind you get from being open with others, and the kind you get from righteously smashing some shit up.Effectively channeling rage and empathy is an act of resilience, and to make Something Soft, M(h)aol had to become especially resilient. Following their acclaimed debut Attachment Styles, M(h)aol's line-up changed, settling on the core trio of Constance Keane (drums/vocals, she/her), Jamie Hyland (bass/vocals, she/her), and Sean Nolan (guitar, he/him). That process changed the band's approach to songwriting and performing, resulting in an unexpected breakthrough where many groups have folded. Something Soft features a more urgent sound wound tightly around Hyland and Keane's rhythm. On songs like "Pursuit" and "Snare," Keane's vocals lock in on her drums, as if her words were stirred to life by her playing, issued directly from her body. Set against those respectively anxious and swaggering tracks, her voice occupies the space of an inner monologue narrating a tense walk home, and green room misogyny from a place of droll observance, a universal experience rendered in specific detail. Like it's predecessors Attachment Styles and the Gender Studies EP, Something Soft was recorded by Jamie Hyland. It is the most technically nimble of M(h)aol's recordings to date, with the band-joined by Pixie Cut Rhythm Orchestra's Sarah Deegan on bass-decamping to Dublin's Ailfionn Studio where they took advantage of the space and studio equipment to bring more nuance to their sound. The additional sessions and prowess behind the boards were a boon, but for a band used to operating under extreme time constraints, this presented an unexpected challenge: Could M(h)aol keep the sense of immediacy that had marked their music up to that point? Songs like "DM: AM" quickly dispelled that worry, blooming into life in 20 minutes from a drone Nolan was playing while Hyland set up her recording equipment, racing to capture the song once Keane and Deegan joined in. One of Something Soft's ghosting anthems, "1800-Call-Me-Back," began as a joke that the band should write a football chant, but it became far more complex-the delicious balance of chaos and clarity they struck would have been impossible without time. "I Miss My Dog" is less off-the-cuff, but it's meditation on grief builds up at a breakneck pace, from feedback to Keane's drumming and singing to a spectacular conclusion that smothers that grief in bass and guitar, one of M(h)aol's greatest technical achievements to date. The Polish serves to highlight M(h)aol's roguish charms, making the intimate feel anthemic, using personal experience to detail the broader systems we live under. For those who've come to recognize themselves in M(h)aol's songs, listening to Something Soft is like jumping into a long-running chat thread, full of fury and humor. For those who haven't, the door is open-Something Soft's thrills often turn on a dime towards introspection, as in "Snare" where Keane's response to the question "Why not play something soft like piano or violin?" resolves itself to one of her own: "Did you ask him too?" It's not a lecture or a snide rebuke but something much more deft: an invitation to see the world for what it really is, starting with the listener.

RSD Essential 071 - The classic album released in 1992. Features the hit songs “Found Out About You” and “Hey Jealousy”. Pressed on Red/Rust Marble vinyl.

“You have to see them in concert,” is what fans of The National have been preaching for years. “The songs transform. It’s a whole other level.” Recorded live (without overdubs) in June 2024 at an architecturally stunning venue named for famed Italian film composer Ennio Morricone, Rome is the definitive live document of The National. The 21-track double album is truly career spanning, and showcases scintillating versions of beloved songs like “Bloodbuzz Ohio,” “Don’t Swallow the Cap,” “I Need My Girl,” “The System Only Dreams in Total Darkness,” “England” and “Fake Empire”; plus sharpened readings of recent tracks “Eucalyptus,” “New Order T-Shirt,” “Tropic Morning News” and the boundary-pushing “Smoke Detector.” The National’s setlist changes significantly show to show, revisiting their 25-year catalog to cast fresh light on hidden gems. For Rome that includes the show opener “Runaway,” “Lemonworld,” “The Geese of Beverly Road,” “Lit Up” and a tour de force pairing of “Humiliation” from their critically acclaimed album Trouble Will Find Me into Sad Songs For Dirty Lovers’ “Murder Me Rachael.” The Rome encore features the election anthem “Mr. November,” and, from High Violet, “Terrible Love” and the show-closing fan singalong, “Vanderlyle Crybaby Geeks.” The live album was mixed by the band’s longtime collaborator Peter Katis. Reviewing a National performance this summer, NME wrote that “every song is played like it could be the last.” Rome captures that playing-for-keeps urgency on record and serves not merely as a concert souvenir but the latest vital addition to the band’s peerless catalog.

"In 1990 the Chapel Hill, North Carolina music scene was bubbling up into a soon-to-be-legendary froth and at its center was a mysterious band called Metal Flake Mother. As bands like Polvo and Archers of Loaf were all just forming, they all looked up to and often opened for Metal Flake Mother during the height of this cultural tipping point. While the previous sonic template of the region had been set by bands like Corrosion of Conformity, Flat Duo Jets and a very early form of Superchunk, Metal Flake Mother were the first to reach for a kind of Beatles-esque form of indie-rock and cut a timeless record that could build a bridge out to the burgeoning national scene. But before that could happen the band tragically broke up and their lost masterpiece "Beyond the Java Sea" was never released on LP. The arrival of this new release "Metal Flake Mother, Songs 1989-1991", will mark the first time any of their tracks recorded with Boston legend Lou Giordano have ever been on vinyl. This release will be limited to only 500 copies."

TRACK LISTING Tongue Long Open a Vase The Inquisition Wingtip Lizards Dance for Nails Got a Lot of Blood Safer Matador Squash Beetle Mean to Me Ballroom Sutpen Moss Howl Mr. Flavor Deem-On

Grammy Award-winning singer/songwriter Jason Isbell is one of the most respected and celebrated artists of his generation. The North Alabama native possesses an incredible penchant for identifying and articulating some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry through song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty. After releasing multiple albums and touring the world with his band, the 400 Unit, Isbell will begin 2025 with a change of pace. He will hit the road on his own, performing solo this winter and early spring at historic music venues across Europe and the US. In conjunction with these much anticipated shows, Isbell will be releasing a new album featuring only his voice and an acoustic guitar, an all-mahogany 1940 Martin 0-17. These recordings further demonstrate his pure talent as a songwriter and musician. Produced by Gena Johnson and Jason Isbell, and recorded at Electric Lady Studios in NYC, ‘Foxes in the Snow’ is set to be released on March 7th.

New "Solar Garlic" 4-LP colored vinyl pressing
with extensive photo book.

A Live One, Phish's first live album,
originally released by Elektra in 1995; certified
g o l d and remains Phish's best selling album.

The band produced the album i n 1995 with Ed
Thacker and his team of engineers at Bearsville
Studios and was recorded by Paul Languedoc on
multitrack DA-88 DTRS digital tapes.

Lacquers cut from t h e 1/2" flat masters by Chris
Bellman at Bernie Grundman Mastering.

A Boy Named Goo is the Goo Goo Dolls fifth studio album, originally released on March 14, 1995. Driven by the smash hit “Name”, the album catapulted the band to mainstream success, and it was certified double platinum within a year of the release. The album also included the singles “Flat Top”, “Naked”,“Only One”, and “Long Way Down”.

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through it's Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better.What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on.On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture.Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

Coheed and Cambria presents their forthcoming album, The Father of Make Believe, out via Virgin Music Group. The new full-length marks the 10th studio album from the New York band and continues the narrative of The Amory Wars / Vaxis universe, following their 2022 album, Vaxis Act II: A Window of the Waking Mind.

Vinyl LP pressing. 2025 release.

NEAL FRANCIS / RETURN TO ZERO Acclaimed singer-songwriter-pianist Neal Francis is ringing in the new year with his eagerly anticipated third studio album, Return To Zero. Francis' first full-length studio effort in more than three years and most extravagantly realized work so far, Return To Zero sees the Chicago-based singer-songwriter-pianist creating a beautifully strange entangling of timeless rock 'n' roll and '70s-era dance music. Merging supremely heavy guitar riffs with lush and pulsating grooves, Francis constructed the album sans digital programming in keeping with his long-standing devotion to all things analog. The album is heralded by today's premiere of the gorgeously sprawling power pop anthem, "What's Left Of Me," available everywhere now. A piercingly candid reflection on life on the road co-written with chart-topping Nashville-based songwriter Chris Gelbuda (Sabrina Carpenter, Meghan Trainor, Zac Brown Band). ATO RECORDS