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Record Store Day Events

See what’s happening at our stores on Saturday, April 19 for Record Store Day.

Recap: Record Store Day 2014

Record collectors & music fans united on April 19 to celebrate Record Store Day at Amoeba.

What's New

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Record Store Day 2014 Release List

Download the list of official RSD14 titles (.pdf) available exclusively at indie record stores on April 19. View

Music We Like Contest

Enter to win a selection of staff picks from our latest Music We Like Book. View

New Electronic Releases

Our experts from the Amoeba Hollywood Electronic section serve up the week’s new 12”s, CDs, and LPs. View

Vinyl Exhibit at Oakland Museum of California

Explore the social and cultural phenomenon of records in "Vinyl: The Sound and Culture of Records" running at OMCA April 19 – July 27. View

The Drop: Mary Gauthier 4/21

Join us for a conversation & performance with Americana troubadour Mary Gauthier at the GRAMMY Museum in downtown LA April 21. View

Jazz at LACMA

Amoeba teams up with the LA County Museum of Art for a series of free jazz concerts every Friday night through November. View

Mr. Little Jeans Live in LA April 24

Red Bull Sound Select presents Mr. Little Jeans at the Roxy in LA Thursday, April 24. $3 with RSVP. View

Tickets For Sale at Amoeba Hollywood

See all concert tickets Amoeba Hollywood is currently selling (with low fees). View

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Live at Amoeba

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Nick Thorburn and company played a great set of tracks from their latest effort, Ski Mask.

Upcoming Shows

Record Store Day at Amoeba Berkeley

Today 10:30am - Berkeley

Record Store Day at Amoeba Hollywood

Today 10:30am - Hollywood

Record Store Day at Amoeba San Francisco

Today 11am - San Francisco

The String Cheese Incident

April 24th 2pm - San Francisco

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Music We Like

Great Deals on Handpicked Titles!

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Evil Friends (CD)

Portugal. The Man

Portland band Portugal. The Man teams with producer extraordinaire Danger Mouse for their seventh album, and in doing so they’ve brought their pop ambitions to stratospheric new heights. The hooks on songs like “Creep in a T-Shirt” launch out of the speakers with full-force, while they still retain the experimentation to cram four song’s worth of ideas into songs like “Plastic Soldiers,” which carries its everything-goes mentality into lyrics — “everything carries weight, everything is the same” John Gourley sings boldly. The band’s ability to truly wield several ideas within a song and make the whole thing memorable and catchy is what really sets them apart — the extended lo-fi pop intro of “Evil Friends,” which leads into a three-chord garage-rock rave-up, would sink most bands, but Portugal. The Man makes it into radio-friendly gold. Occasionally Portugal. The Man’s hook-heavy psych-pop gets samey, but they’re usually able to pull you back in with intriguing bits like the acoustic last half of “Atomic Man,” which nicely leads into “Sea of Air,” a Beatles-esque pop song that only uses the occasional handclaps and soft bass drum as its percussion, instead relying on pure songwriting to hold listener attention, and only breaking into full orchestral pop for a blissful couple of seconds halfway into the song. It says something about them, too, that they save two of their catchiest songs, the hard-hitting, shambolic pop of “Purple Yellow Red and Blue” and big-hearted power-ballad “Smile,” for the end of the album. By then, if you’re already not on board, Portugal. The Man ensure that there’s no way you can leave Evil Friends without their dizzying melodies spinning around your skull.

Rave Tapes (CD)

Mogwai

Every once in a while, Mogwai releases an album, and the world is reminded of how awesome they are. Rave Tapes , the post-rock band’s eighth album, has all the trademarks of classic Mogwai—scenic, intricate guitarwork; a dedicated, marching rhythm section; and grandiose, elemental crescendos. They tweak the formula here with a bit of analog electronics, on songs like the single “Remurdered,” whose sinsister synth line and muted guitars give it the feel of a vintage horror soundtrack. Just watch out when those drums kick in. That creepiness continues on “Repelish,” a track dense with atmosphere as a voice details the Satanic message allegedly embedded in Led Zeppelin’s “Stairway to Heaven.” Songs like “Simon Ferocious” and “Deesh” use synthesizers to great effect to bolster Mogwai’s sound, while their classic, more guitar-based sound is the focus of much of the album, as the band tears through songs like “Hexon Bogon.” Rave Tapes nicely sees Mogwai bringing something new to the table while still pleasing their fanbase with some of the most epic guitar music around.

Like Clockwork (LP)

Queens of the Stone Age

The latest album from Queens of the Stone Age has longtime fans excited for a number of reasons: it’s their first album in six years; it features high-profile guest appearances (Elton John, Trent Reznor); and it’s the first time since their classic Songs for the Deaf that Dave Grohl’s back on drums for the majority of the album, with former bassist Nick Oliveri singing backup on a couple of tracks. Of course none of that would matter if the songs weren’t as good as they are. Like Clockwork finds Homme and co. in gothic mode, wrapping dark riffs around moody arrangements. "Keep Your Eyes Peeled" struts slowly like an old engine starting, firing off in quick bursts of robot riffery. "The Vampyre of Time and Memory" sees the band engaging in Queen-style rock cabaret, with Homme likely reflecting on months of medical struggles with typically dark humor ("I survive, I speak I breathe, I’m alive, hurray"). Grohl’s metallic disco beat sends "If I Had a Tail" sailing smoothly through its troubled waters. The band brings back the desert-rock magic for "My God is the Sun" and "I Appear Missing," which will have fans kneeling before them once again after years of quietude from the band. And "Fairweather Friends" is a must-hear, with Homme unleashing some of his finest singing and guitarwork to date as Elton John billows the whole thing with his ever-commanding voice. By fearlessly taking on new territory while throwing fans a few bones, Like Clockwork ends up a welcome return. All hail the Queens!

Lift Your Spirit (CD)

Aloe Blacc

Following the transcendental monster success of "I Need A Dollar," the O.C. native follows up with an even better record of real life contemporary soul music, anthemically imbued with the slice-of-life spirits of Stevie Wonder, Bill Withers & Pharrell in equal parts. This album also contains "Wake Me Up" in its original acoustic countrified form, pre-Avicii euro-tech-bombast. The entire album is peppered with these country and bluegrass elements, separating it from the contemporary R&B pack and making it something endearingly unique.

Seasons of Your Day (CD)

Mazzy Star

It's no surprise that Mazzy Star guitarist David Roback says the band was always recording throughout its long hiatus since 1996's Among My Swan . They still sound like the band that bummed out a million teenagers in the '90s on Seasons of Your Day. Opener "In the Kingdom" seems to underline the influence the band has had on acts like Beach House, Roback's warbling country guitar, gentle organ and Hope Sandoval's airy vocals taking ownership of that particular combination of sounds. Dark strummer "California" steers them into darker territory—Cali. ain't all sunshine and palm trees, Sandoval seems to remind us as she wistfully sings "it's so far, far away." "I've Gotta Stop" sounds like the Rolling Stones circa "Wild Horses" if they did even more heroin—no easy feat. That narcotic haze only occasionally gets lulling, though, as it has on some of their other releases. For the most part, Seasons of Your Day is more grabbing than anything the band has done to this point. Previously released songs "Common Burn" and "Lay Myself Down" are included here, sounding even better within the context of the album. They bookend one of Mazzy Star's best songs yet, the title track, capturing the mystery and subtle eroticism of Mazzy Star classics like "Into Dust" with just two fingerpicked acoustic guitar chords, some light strings and keys, and Sandoval's impossibly alluring voice, singing simple lines like "won't you let me come inside ... I know you've been missing me" that somehow evoke an entire relationship's worth of details. The band makes it easy to let them back inside with the stunning Seasons of Your Day.

Tres Cabrones (CD)

Melvins

Buzz Osborne and Dale Crover reunite with original drummer Mike Dillard for The Melvins’ chaotically fun 19th studio album.

Defend Yourself (CD)

Sebadoh

Amid the countless recent reunions of '90s bands, the timing seems perfect for the return of Sebadoh. While he's been toiling beneath the din of J Mascis' guitar heroics in the reunited Dinosaur Jr. for years, Lou Barlow's second-fiddle position in that band hasn't given enough of an outlet for Barlow's own songwriting. Thus Barlow sounds hungry on Defend Yourself , the first Sebadoh album since 1999. "Can you tell that I'm about to lose control?" he asks on the outset of the album on "I Will," over a serviceable melodic jangle. That statement proves true, as things get more interesting as Defend Yourself progresses. The stuttering "Beat" provides ample room for Barlow to shred both his guitars and vocals. It sounds as though Barlow's world is coming apart in the rumbling "Defend Yr Self"—an understandable position, given the end of his marriage, which provides bitter fuel for Barlow's fire on this album. Songs like "Oxygen," an upbeat indie pop-rocker, and "Once," a tentative instrumental, provide respite (though "Oxygen's" typically caustic lyrics remind us that even the shiniest apples from Barlow are laced with arsenic). But Barlow's at his manic best in songs like "Inquiries," which heaves into a nauseating (in a thrilling way) final portion, or "Final Days," which pairs headlong, full-band rush with world-doubting lyrics ("it's all made up and a waste of time" Barlow sings under his breath). With a mouthful of bile, Barlow spits out the songs of Defend Yourself . The resulting record feels as crucial and relevant as anything he's been a part of.

Place In The Sun (CD)

Ozomatli

Ozomatli’s eighth album is a truly uplifting affair. Their typically upbeat mix of rock, cumbia, hip-hop and just about every other genre continues to be updated and comes together remarkably well here. “Place in the Sun” is bright and cheery, pleasing enough to land on pretty much any radio station while still retaining their signature sound blend. “Brighter,” featuring The Eurythmics’ Dave Stewart, pulls reggae into the mix for a very SoCal song that makes you want to run outdoors and enjoy this early Summer weather we’re having. Those songs make for a great entry point for anyone new to the band, but longtime fans will be pleased to know they haven’t abandoned their strongly Latin roots, with the hip-shaking rhythms of “Paleta” and “Prendida” being clear album highlights, while their forays into party hip-hop are pretty irresistible, as on the Black Eyed Peas-ish “Ready to Go.” Place in the Sun once again proves Ozomatli are the rare band in which adding more and more ingredients to the stew don’t ruin it; rather, it’s a delicious blend of Southern California’s cultures and sounds.

Saudade (CD)

Thievery Corporation

Thievery Corporation return with an album of their signature acid-echo-tech-bossa-nova/MPB vibes, fleshed out with the conceptual maturity of a '70s Serge Gainsbourg record, and the results are miserable and beautiful. Saudade is essentially Portugese for blues, a musical longing and yearning, a wilting pull across a violin or a smokey vocal cord. So, it's miserable on purpose and probably beautiful on purpose too. Sounding almost like old Air records, Saudade is a slab of yearning tropical pathos which manages to emulate the classic mope-groove of some of the best bossa-nova, MPB, French avant-pop and occasional tropical Morricone-isms, all while keeping an eye on the world of sampling and electronic music for both inspiration and execution.

Atlas (CD)

Real Estate

It should be no surprise that Real Estate’s third album is another impeccably crafted piece of beautiful guitar music. The New Jersey band has only made the necessary updates to their sound over the past few years, like polishing a statue into perfection. The album’s first few tracks offer everything we’ve come to love about this band, with sunny jangle-pop songs (opener “Had to Hear” and single “Talking Backwards”) butting next to nostalgic, minor-key songs about suburban splendor and decay—like being depressed about seeing a high school friend that never moved on, Matt Mondanile sings “I walk past these houses where we once stood/I see past lives, but somehow you’re still here,” with perfect precision on “Past Lives.” Real Estate’s lyrics have often taken a back seat to their shimmering guitarwork, but here they’re a bit more prominent, shining a light on Mondanile’s minimalist approach—despite how lovely the music is, songs like “Crime” are pretty depressing when you get down to it, with lyrics like “I wanna die/lonely and uptight.” Musically things have expanded a bit, as the band throws in more overt nudges toward easy listening and ’70s singer-songwriters in “The Bend” and country tinges in the gauzy, pretty “How I Might Live.” Instrumentally, these guys are just top notch, as they make instrumental “April’s Song” an album highlight, even without Mondanile’s soothing vocals, allowing his tremoloed, romantic guitar lines to do the singing for him. Atlas is simply a stunningly beautiful piece of guitar pop.

Rap Album One (CD)

Jonwayne

It's tough for some to remain behind the scenes. Stones Throw signee Jonwayne has been a producer first and foremost, collaborating with the likes of Flying Lotus, but as the man himself says on his Facebook page, he's "a rapper and producer who refuses to give up either one." So Rap Album One is actually Jonwayne's third album and his first as an MC, and damn if he doesn't own it. His deep timbre lends extra gravitas to his rhymes on tracks like "You Can Love Me When I'm Dead," while other times he's goofing around on some nerd-rap vibes, rapping about juniper, Hermes and The Matrix on "Find Me in the Future." Meanwhile, his production remains top-notch, slow and menacing on "You Can Love Me When I'm Dead," big and open-hearted on "The Come Up Pt. 1," and mind-bending on "Pt. 2." Sure, everyone wants to be a star. Luckily for Jonwayne, he seems to be able to do it all.

Wenu Wenu (CD)

Omar Souleyman

The first time you hear Omar Souleyman, it might be tempting to say aloud, "what the f*ck am I hearing?" The Syrian artist doesn't quite sound like anyone on the planet, unleashing wild synthesizer solos and chanting in Kurdish and Arabic. His latest release ups the fidelity from some of his previous compilations (the man has released some 500 albums, so compilations are a godsend), allowing those gloriously distorted keyboard melodies to shine. The title track bounces on a dance beat with digital cheers that make it an awesome global party starter. "Ya Yumma" moves fast and funky on a simple beat and bassline, while Souleyman spouts like a wildman and the synthesizers go truly nuts, hitting stratospheric, impossible notes and sending your head spinning. Tired of only being exposed to BS fusiony world music that could put a coffee house to sleep? Let Omar Souleyman take your brain out for a joyride—you'll never be the same.

Vinyl Vaults

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Look Out / Delores

The Four Buddies

Two very different sides of The Four Buddies here: "Look Out" is a seriously swingin' rock 'n' roll number, with killer harmonies, jagged electric guitar, and wailing sax...

 

Vinyl Vaults is our boutique, curated collection of digitized vinyl and 78s.