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Havoc and Bright Lights is the eighth studio album by Alanis Morissette and became her first top five album in the US since 2004’s So-Called Chaos. The album peaked at number one in Canada, Italy, Austria and Switzerland, and at number two in the Netherlands and Germany.

Havoc and Bright Lights was produced by Guy Sigsworth and Joe Chiccarelli and sounds much brighter, sunnier and up-tempo than her previous album Flavors of Entanglement, winding up with a wide-open, cheerful set of adult pop.

The album spawned three singles; “Guardian”, “Lens” and “Receive”. Havoc and Bright Lights on black vinyl includes a 4-page booklet with pictures and lyrics.

Alex Cameron's newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron's flair for narrative and character are still on full display; yet Miami Memory's most frequent narrator is, for the first time, Cameron himself - singing with stunning candor of his three-year relationship with visual artist and actor Jemima Kirke. ''When you listen to these songs, and you're waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them,'' says Cameron. ''These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex positivity with contemporary family values...It's my gift to Jemima, a symbol to hoist on the totem of love.'' Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Bjork, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ. Cameron's dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular ''stepdad'' rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship with Kirke, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet - but also where constricting mores have deteriorated enough to let ''family life,'' in all its morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute to sex positivity, female empowerment, family and responsibility, and, to his love, Jemima.
1. Stepdad 2. Miami Memory 3. Far From Born Again 4. Gaslight 5. Bad For The Boys 6. End is Nigh 7. PC With Me 8. Divorce 9. Other Ladies 10. Too Far

Clear vinyl

Limited to 2000 copies.

Dark Entries is proud to release the latest offering from Bézier, a 3-track EP titled ‘Primes’. Bézier is the moniker of San Francisco based musician Robert Yang, who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert planted his roots in San Francisco in 2005. Over the years in SF he has built an impressive analog synth-based studio, which also serves as the creative hub for his riveting live performances.

‘Primes’ represents the theme of primordial origins and creation with three tracks that explore disparate, sonic environments in each song. The title track flows and ebbs like currents in an oil slick. Out of something messy (like primordial ooze) arises organized chaos. “Stranger” is a moody dark electro/wave track for a sweaty night cruising on the west coast of Holland. Set against an underwater sound canvas the song features seductive guest vocals and lyrics by Nicole Ginelli. Doc Sleep of Jacktone Records provides additional production duties. The final track, “Imperial Tranz Am”, is an airy, ethereal slow burner clocking in at over 13 minutes. It originally appeared as the soundtrack to an experimental queer fantasy film of the same name by SF film maker Aron Kantor.

All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a Quadtone pastel earthtone of pixelated celluar ooze designed by Eloise Leigh. Each EP includes a postcard with an image still from the ‘Imperial Tranz-Am’ movie. “Do I hear what I see, is it real or just a feeling, a vibration of N-R-G.”

numbered Limited edition. With inserts.

Orange vinyl!

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris. “Krampfhaft is someone I have been listening to for few years adoring his hyperbeauty, orchid techno I nickname it in the
vein of plaid and others: brave enough to take joy on in the often rather apocalyptic
environment of electronic music” - Björk. “I was very honoured to be part of this, although it was a pretty daunting task to
rework a song with such an intimate topic! As the original is very stripped down, all
I could think of doing was adding in [even more] tension and drama. So I layered the
whole track on to a bed of heavily compressed cloth movement and gradually built up
the tension from there.” - Kramphaft

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris. “Mica is someone I have been following growing since 2008, like a proud aunt, I might even have been at her first concert? Sooo exciting to witness her grow into a full on composer and carry the weight of such things as ‘Under The Skin’... And I still adore her upbeat stuff withTirzah too !!!” - Björk. “I did a karaoke version more than a remix, because I love her string arrangements
and thought it would be an opportunity to draw attention to them. I hope Björk isn’t
offended that I took her voice out, [but] you can hear it in your head - or sing
along.” - Mica Levi

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris.“Lotic is the one of the first musicians Alejandro introduced me to in Autumn 2013 with piles of enthusiasm: I got immediately obsessed enjoying how always total nature he was!! The most clublike flamboyant anthems of his always seem like shrieks of beasts, dark insects and pagan birds displaying their feathers in a territorial way: a colourful celebration!! The reason why I asked him to do ‘Notget’ was there are certain suspension-like elastic gravitydefying beat structures that him and Alejandro share (each in their total idiosyncratic way though) that Notget has and I had a gut feeling he would take further. Which he did.” - Björk. “When Björk sent over the original track to review late last year, I couldn't believe how well she had intuited that ‘Notget’ was the perfect selection for me. Perhaps it was a bit of coincidence, but I was very much still tending to the scars left from my previous relationship while at the same time nurturing my current one. ‘Notget’ is both the mourning and the eulogy; I knew this meant remixing the song would be difficult, both technically and emotionally. In the end, I felt I had to attempt to amplify both the desperation the song expresses as well as the inspired, reminiscent joy.” – Lotic

Björk presents a strings version of her highly-acclaimed eighth studio studio album Vulnicura, officially titled Vulnicura Strings. The original version of Vulnicura layered the boom and crack of electronic beats with an intense vocal melody and incredible string arrangements by Björk which have been performed live with a fifteen chair orchestra. The new version is musically wholly comprised of strings, with new violin solos by Una Sveinbjarnardóttir and strings recorded by a Viola Organista. Björk used the only Viola Organista in the world to perform some of the arrangements; an instrument which was designed originally by Leonardo Da Vinci but not built until after his lifetime. The instrument uses a friction belt to vibrate individual strings (similar to a violin), with the strings selected by pressing keys on the keyboard (similar to an organ). The instrument was recorded in Krakow, Poland by it's constructor Slawomir Zubrzycki and here is where the album reached completion.

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed Ccis in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight Ccis’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see Ccis going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

Barcelona's Ciudad Lineal finally deliver the follow up to their fantastic demo from 2013. A full length album of dark minimal wave heavily influenced by El Aviador Dro y Sus Obreros Especializados, The Normal or Cabaret Voltaire. Armed with a bass guitar, drum pad, a keyboard and two synths Ciudad Lineal manage to create a conceptual piece around the idea of progress and industry as opossing forces. 'El Nuevo Hombre' is divided in two parts each one comprising one side of the album. The A side being 'The Splendor' and the B side 'The Fall' joined by a speech symbolizing mankind's awakening. While the Ciudad Lineal sound is certainly rooted in the early 80's synth explosion the band remains fresh due to their lyric approach as well as their DIY ethos.

Copy is close to NM!

vinyl is close to NM. tiny wear

Black Friday Record Store Day 2022 Reissue. Color: Gold. Limitation: 3500.

Not since Ray Davies has a songwriter been able to craft such sharply observed vignettes in the space of a three-minute pop song like the late Adam Schlesinger. And on 2007’s Traffic and Weather, Fountains of Wayne’s fourth album, Schlesinger took his art to a new level, singing short stories as varied as crushing on a DMV clerk (“Yolanda Hayes”), celebrating the sexiness of a car not generally considered sporting (“92 Subaru”), being broke (“Strapped for Cash”), and having luggage lost by an airline (“Michael and Heather at the Baggage Claim”). And while it lacks a radio-friendly hit like “Stacy’s Mom”—it should be mentioned that Chris Collingwood only contributed three songs to this record—there are still earworms aplenty, particularly on “I-95,” Collingwood’s “Seatbacks and Traytables,” and the title tune. Finally out on vinyl, our Real Gone release comes with a printed inner sleeve featuring lyrics and in a gold with black swirl pressing limited to 4000 copies, exclusive for Black Friday!

Side A:

The follow-up to 2014’s Singles. The Far Field has string and horn arrangements by Patrick McMinn and is the first Future Islands record to feature live drums from member Michael Lowry. Blondie’s Debbie Harry makes a guest appearance on “Shadows.”

The band began writing the album last January, and later in the year, performed the songs at a series of secret shows under fake names. They recorded the album with producer John Congleton (Sleater-Kinney, David Byrne, St. Vincent, Cloud Nothings) in Los Angeles at Sunset Sound (where artists like the Beach Boys and Prince have recorded).

Cover with seam split and small sticker.
Includes original insert.

ROB ZOMBIE PRESENTS CARNIVAL OF SOULS Original Motion Picture Soundtrack Features:

The Original Soundtrack Officially Available For The First Time
"Carnival Ghoul" Blue Pinwheel Colored Vinyl
Old Style Tip-On Gatefold Jackets with Matte Satin Coating
New Art by Graham Humphreys
12"x12" Insert

Goldfrapp follow up 2013’s Top 5 album ‘Tales of Us’ with the deep, dark and electronic musical palette of ‘Silver Eye’, their brand new studio album, made, for the first time, with an eclectic collection of collaborators. John Congleton, Grammy-winning producer of St. Vincent, John Grant and Wild Beasts, electronic composer Bobby Krlic, aka The Haxan Cloak and mix engineer David Wrench (The XX, Caribou, fka Twigs) have helped create an album of stomping underground electronica, sensual ethereal melodies and metal machine pop, that is undeniably Goldfrapp. A passionate and increasingly in-demand photographer, Alison art directed and shot all the images for the album cover and the publicity campaign.

Limited Edition of 300 copies.