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Russian Circles
Station (15th Anniversary)
A 15th anniversary re-issue of Russian Circles’ critically acclaimed sophomore album. Indie Exclusive Transparent Blue LP in gatefold Jacket w/ printed inner sleeve & poster. Standard black vinyl single LP in gatefold Jacket w/ printed inner sleeve & poster. Genre: Metal. Station received critical acclaim from numerous outlets including Pitchfork, AV Club, Line of Best Fit, Pop Matters and more. Originally released in 2008, Russian Circles’ Station marked the second album in an eight LP journey that’s tracked the band’s rise to the upper echelon of heavy music. Fifteen years later, the beloved album is set to be re-issued on vinyl via Sargent House. Lumbering layers of chiseled post-rock and feathery psychedelic infusions continue to rev and entice listeners new and old. Station weaves intense and cinematic compositions that form into audible head trips that defy pigeonholing. Inertia builds to impossible levels before imploding into earth-shattering riffs. It’s push-and-pull on a seismic scale, where schisms feel rapturous. In addition, Station was the first Russian Circles album to feature now long-time member Brian Cook on bass. Formed in Chicago in 2004, Russian Circles represented a distinct shift for the rock landscape. From the beginning, their concoction of metal trimmings, minimal jazz primers, and cryptic riffs hit the scene out of nowhere with the pummeling impact of a rouge comet crashing in from the skies. Across the span of their eight studio albums, Russian Circles have traversed a diverse topography of sounds, moods, and approaches with their arsenal of drums, bass, and guitar.
Sargent House
LP
Chelsea Wolfe
Abyss (10th Anniversary)
Sleep paralysis plagues singer/songwriter, Chelsea Wolfe, and that strange intersection of the conscious and the unconscious has inadvertently manifested itself within her work.Across the span of her first four albums, there is an underlying tension, a distorted and nebulous territory where dark shadows hover along the edges of the sublime and the graceful. But until now, Wolfe’s trials and tribulations with the boundaries between dreams and reality have only been a subconscious influence on her work.With her fifth album, 'Abyss', she deliberately confronts those boundaries and crafts a score to that realm she describes as the “hazy afterlife… an inverted thunderstorm… the dark backward… the 'Abyss' of time.” Chelsea Wolfe’s material has always felt intensely private, from the almost voyeuristic bedroom-production aesthetic of her debut album, 'The Grime and the Glow', to the stark themes and atmospheres of 2013’s 'Pain Is Beauty'.“'Abyss' is meant to have the feeling of when you’re dreaming, and you briefly wake up, but then fall back asleep into the same dream, diving quickly into your own subconscious,” says Wolfe. To conjure this in-between world, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas, TX to record with producer John Congleton (Swans, St. Vincent).In the back of her mind burned the words of designer, Yohji Yamamoto: "Perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion.” The resulting eleven songs reflect that philosophy as they smoulder with human frailty, intimacy, quiet passion, anxiety, and deep longing.“Sleep and dream issues have followed me my whole life,” remarks Wolfe as she revisits notes from the writing and recording sessions. In a way, these issues have become a part of Chelsea Wolfe’s identity, for whom the notion of sleep as an escape has been subverted. 'Abyss' captures this dichotomy, this battle between the soothing and the upsetting, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade.“Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics.” Rolling Stone
Sargent House
CD | LP
The Armed
The Future Is Here And Everything Needs To Be Destroyed
The Armed return with their new album The Future Is Here and Everything Needs to Be Destroyed, the follow up to 2023’s critically acclaimed album Perfect Saviors. After completing a trilogy of albums laser-focused on dissecting artistic authenticity in the Information Age, The Armed began work on new material with no premeditated rules or concepts favouring only raw expression and urgency to herald a new era for the project.What emerged is a furious and confrontational new album—The Future Is Here and Everything Needs to Be Destroyed. Still genre-defying, yet overtly pissed, it's an unfiltered expression of Weltschmerz, the German term describing the anguish of the world’s reality versus our idealized visions of what it should be. “This record rejects sanitized, G-rated rebellion curated for upper middle-class tastes,” vocalist Tony Wolski explains. “It’s music for a statistically wealthy population that somehow can’t afford food or medicine—endlessly scrolling past vacation photos, gym selfies, and images of child amputees in the same feed. It reflects the dissociation required just to exist in that reality.”The album includes performances by Ken Szymanski, Patrick Shiroishi, Urian Hackney, Kurt Ballou, Troy Van Leeuwen, Meghan O’Neil, Cara Drolshagen, Tony Wolski, Brian Wolski, Justin Meldal-Johnsen, Ben Chisholm, Prostitute, Zach Weeks, Mark Guiliana, Kayleigh Goldsworthy, and Derek Coburn.
Sargent House
CD | LP
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