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Bass phenom Les Claypool and his cohorts have previously Frizzle Fried, Sucked, and Sailed The Seas Of Cheese. Now, it seems, they have been to the Punchbowl, and have lived to tell its Tales. If you could take an element of Doctor Seuss, add some Fishbone and a bit of Tom Waits, you'd probably get something very strange, totally unlike Primus--but probably the nearest thing possible. They have harnessed the all-mighty powers of weirdness, and have made them their own: \"It's alright,\" they say, \"don't fear the worm.\"\u003cbr\u003ePrimus' strength lies in their ability to mix and mask the frivolousness that comes from their peculiarity with seriously dangerous music. This is loud funk, heavy funk, driving, grooving, smelly funk. Your body will move, your brain will smile. The threesome can sound like a singular voice or a multitude of synchronous twists. Each member is a stunning instrumentalist. 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The move from his acoustic folk debut INSIDE WANTS OUT to the electric pop of his breakthroughs, ROOM FOR SQUARES and HEAVIER THINGS, showed him to be a singer, guitarist, and songwriter of range as well as commercial durability. Mayer then confounded the critics who dismissed him as a Dave Matthews clone when he released a raw, rootsy, blues-based live album with a trio that featured ace session musicians. The horizons of Mayer's musical world continued to expand with 2006's CONTINUUM. Mellow and soulful, yet textured and sophisticated in execution, CONTINUUM incorporates all the elements of the artist's previous releases while raising the bar on craft, musicianship, and tunesmithery. Classic blues, R\u0026amp;B, and soul are the major touchstones here, but Mayer doesn't merely ape his influences; instead he assimilates them into a personal singer-songwriter mode that is as affecting as it is understated. 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Producers: Sylvia Massy, Steve Hansgen, Tool. Recorded at: Sound City, Van Nuys, California and live at Jello Loft, Hollywood, California on December 31, 1991. In retrospect, Opiate seems a little haphazard, but it's possible to hear the seeds of Tool's bleak, cerebral metal in such cuts as \"Sweat\" and \"Opiate.\" The two live tracks, \"Cold and Ugly\" and \"Jerk-Off,\" don't sound out of place, since they share Tool's characteristic undertow of gloom and doom and the EP as a whole points toward the ground the group explored in Undertow and ?nima. ~ Stephen Thomas Erlewine\u003c\/p\u003e\r\n\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Tool","offers":[{"title":"Default Title","offer_id":42461562306758,"sku":"Q37KOF-7I4S-00","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Tool-Opiate_yW3e4.jpg?v=1779550209"},{"product_id":"death-death-new-vinyl","title":"Death - N.E.W. [Vinyl]","description":"Death - Death - N.E.W. [Vinyl] \u003cbr\u003eBarcode: 781484480112 \u003cbr\u003e\u003cbr\u003e\u003cp\u003eDeath lives! David, Dannis, and Bobby Hackney's singular brand of scorching, '70s Detroit proto-punk power trio rock was all but unheard save for a few handfuls of Motor City fans and record collectors. Their first seven singles were compiled by Drag City and issued as For the Whole World to See. Two subsequent collections (Spiritual-Mental-Physical in 2011 and III in 2013), as well as a documentary film entitled A Band Called Death and a subsequent tour (with new guitarist Bobbie Duncan replacing the deceased David) drew massive attention. N.E.W. is the band's first newly issued material since the '70s. Half the songs are new compositions; the remainder were written over the years by David. Their root sound remains crunchy, driving, crescendo-fueled hard guitar rock. That said, it is difficult to overstate the importance of the rhythm section: the hyperkinetic drumming of Dannis and the propulsive bass playing of Bobby are guiding forces for Duncan's absolutely stunning axe work. This is music that is guided by David's spirit -- he knew how to juxtapose the music of their influences: the funky psychedelic rhythms of Funkadelic and the heatseeking rock \u0026amp; roll destruction of the Stooges, Alice Cooper, and the MC5. The themes here seem to be evolution, resurrection, and change. Sometimes the lyrics are goofy, but they don't detract from the well-crafted melodies, vamps, riffs, and arrangements. Their sound, despite better fidelity, remains basic -- and yeah, that's a really good thing. The knotty charge in \"Relief\" puts the roiling bassline up front, filled by Duncan with Hendrix-esque lines. The simmering blues rock that introduces \"Look at Your Life\" is soon replaced by knotty stop-and-start cadences and a brief but killer guitar solo. \"The Times\" is storming, furious punk rock, followed by the heavy yet nearly danceable pop-punk of \"Playtime.\" \"Who Am I\" is the most expansive track here, with an elongated melody that shapes itself around skittering, punchy snares, power chords, and loping guitar and bass fills. \"You Are What You Think\" is a dead cross between classic early power metal and Bad Brains. \"Resurrection\" is almost anthemic; its melody could have been written by Phil Lynott circa Jailbreak, but the attack and frenzy are pure Detroit. Closer \"Change\" may have some of the cheesiest lyrics on the set, but its hooky, kinetic punk boogie is a guaranteed party jam. N.E.W. is solid proof that Death never stopped pursuing the idiosyncratic rock \u0026amp; roll vision that inspired them initially. The energy, ability, and vitality are here in abundance, and Duncan proves an excellent, respectful choice to fill in the Hackney Brothers' lineup. The album, though brief, is not only better than it had any right to be, but is close to perfect. 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Recorded in the wake of the accident that hospitalized Cox in December 2014, in some ways it feels like the band hit the reset button on Fading Frontier, which is as different from Monomania as that album was from what came before it. Aside from the slinky, disco-tinged outburst \"Snakeskin,\" which could be the last remnant of Monomania's toughness, Fading Frontier hews closer to the sound the band forged on Microcastle and Halcyon Digest. Though they collaborated with Stereolab's Tim Gane and Broadcast's James Cargill -- both of whom know a thing or two about making weightless, introspective music -- \"All the Same\" casts a jangly spell that hovers between raucous and poignant and is classic Deerhunter. After Monomania's chaos, Fading Frontier's shimmering sonics bring literal and figurative clarity to the band's music, serving as reflecting pools for their meditations on seizing the moment -- and mourning the ones that they missed. They do both beautifully on the Cargill-assisted \"Take Care\" and the gorgeous \"Breaker,\" where Cox sighs \"When I die\/There will be nothing to say\/Except I tried not to waste another day.\" Cox returns to his obsession with memories on \"Duplex Planet,\" as Gane's harpsichord adds a prickly edge to lyrics like \"In your head you will fall asleep\/And then you won't remember me.\" Nevertheless, the optimism bubbling under the melancholy makes Fading Frontier all the more affecting. \"Living My Life\" is one of Deerhunter's most gently joyous-sounding songs yet, a blissful synth pop reverie that caresses where Monomania sneered. 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