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Preview RSD Black Friday Releases

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Charity Auction at Amoeba Hollywood Saturday, November 1

Comedian Jimmy Pardo hosts a charity auction for Smile Train at Amoeba Hollywood Sat 11/1 at 4pm. View

Red Bull Sound Select Presents Wax on Wax in LA Nov. 5

Join us for this unique record swap meet and vinyl DJ night featuring Mayer Hawthorne 11/5 at Madame Tussaud's in Hollywood. View

David J Book Signing November 7

David J Haskins (Bauhaus, Love & Rockets) signs his new memoir at Book Passage in Corte Madera Friday 11/7 at 7pm. View

Toure-Raichel Collective Live in San Francisco November 8

The Toure-Raichel Collective performs at SF’s Nourse Theater Saturday 11/8 for CIIS Programs & Performances. View

Jimmy Page in Conversation with Chris Cornell November 12 in LA

Tickets for this special event at the Theatre at Ace Hotel are on sale now at Amoeba Hollywood & include the new book "Jimmy Page by Jimmy Page." 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

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Live at Amoeba

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Watch Deap Vally tear through a killer set of fuzzy Big Muffed guitar rock from their latest LP, Sistrionix, at Amoeba Hollywood. 

Music We Like

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Nobody Wants To Be Here & Nobody Wants To Leave (CD)

The Twilight Sad

The Twilight Sad are masters of misery, plying heartbreak directly into their guitars on their stunning fourth album. “There’s a Girl in the Corner” is an epic breakup song, with James Graham’s repeating “she’s not coming back,” his Scottish brogue piercing through sheets of minor key noise. “Last January” is propulsive with a perfect layering of synths, displaying at how well The Twilight Sad have folded their recent new-wave leanings into their core noise-pop sound. The band also continue to show an uncanny ability to repurpose familiar influences like R.E.M., Joy Division and My Bloody Valentine and still come out with something fresh and enjoyable on tracks like “It Was Never the Same,” touching on these influences without being beholden to them, or letting Graham’s voice soar over a Suicide-style drum machine on the title track. The band has often been noted more for its atmospherics than hooks, but “Drown So I Can Watch” is one of their catchiest songs yet, with a relatively light, lilting melody that eases some of the downer mood. And they allow for more space on  Nobody Wants to Be Here and Nobody Wants to Leave  than on previous albums, ending on a pair of spare, beautiful tracks. It’s the best thing they’ve done since their electrifying debut.

At War With Reality (CD)

At The Gates

Melodic death metal pioneers At The Gates have returned with a fury. Nearly twenty years after releasing the bench mark melodeath masterpiece,  Slaughter of the Soul , the Swedish group drop this record on unsuspecting fans like they never left. Having reformed twice in the last 10 years the threat of new material was never in the cards. Vocalist Tomas Lindberg assured that the legacy of their final 1995 release would remain intact. And why not? If you are in many ways the founder of an entire subgenre (Gothenburg Sound), and that legacy is defined by your last album, why tarnish that? Because fucking metal, that’s why. But really  At War With Reality  by no means tarnishes the name of At The Gates. That is really why. Tracks like “Death And The Labyrinth” and “Heroes And Tombs,” are pure Gothenburg Metal that would have fit nicely on any of their earlier recordings. Throughout listening to the record the glaringly obvious realization is many groups have attempted to recreate this sound, but sometimes you just need the original.

Bestial Burden (CD)


To listen to Pharmakon is to stare the beast straight in the mouth. Margaret Chardiet’s latest album starts with heavy breathing, panting and a buzzing synth that sounds more like an electroshock therapy machine. “Intent or Instinct” builds deliberately with an atonal loop gathering strength until she unleashes a nasty banshee wail. Free of too much digitized effect, it sounds truly bloodcurdling. It’s also immensely cathartic. And “Body Betrays Itself” feels like it takes over your very being, her most powerful musical statement to date. Not everything in such harsh surroundings works—“Primitive Struggle” is about as inviting as it sounds, full of coughing, spitting and heaving along to a digital heartbeat. But Chardiet can really surprise you, too. “Autoimmune” actually nudges closer to something resembling pop, like the dirtiest Trent Reznor would ever let himself get. And in the incantation of the title track, Chardiet’s actual, human voice can be heard, albeit echoed out into infinity, and the result is quite affecting, given how she shreds her voice across the rest of the record. So  Bestial Burden  isn’t for the faint of heart. Dismiss it and you might even get a laugh out of its relentless brutality. But give it your full attention, and it just might change you. So don’t be afraid. Dive in and let  Bestial Burden  swallow you whole.

Fumes (CD)

Lily & Madeleine

Teenage folk duo Lily & Madeleine have done a remarkable thing with their second full-length,  Fumes . The harmonious team comprised of two sisters hailing from Indiana successfully injected meaning and emotion into folk music. All of this is without the artifice and dependence of tugging on the listener's heartstrings. No small feat when you consider the overtly anthemic and overly passionate landscape of mainstream folk. And when you are 16 (Lily) and 18(Madeleine)! Signed by Sufjan Stevens' label in 2013 Lily & Madeleine’s previous releases had a warm reception yet the focus was on their youth and innocence. With  Fumes , which is the first in a trilogy the duo plans on releasing annually, the focus is clearly on the present. The sisters lyrically paint tracks like the opener “Fumes” and presumable single “The Wolf Is Free” with an easy hope and wonder. The feelings are not forced into their composition. Feelings and thoughts are simply expressed by one sister and answered by the other… while singing. The self proclaimed “Blood Harmony” is riveting through the entire record. The lush production, completely informed by the Alto and Soprano intertwining, is never out of place. Intrigued to see what these Midwest gals have in store for the next two installments.

And The War Came (CD)

Shakey Graves

Alejandro Rose-Garcia's second album under the name Shakey Graves is the kind of music that keeps Austin weird and retains its Texan flavor.  And the War Came  is a blissful late-night drive of FM country ballads buzzing out of the busted stereo of your old car. Surprisingly minimal, Shakey Graves, armed with his guitar, whiskey-pitched vocals and foot-stomping percussion, gives country-rock an edge of millennial hipness lacking from most contemporary acts, but without any of the ironic distance. His sincere approach comes through in the feelings of love and joy he has for the country culture around him. The album's single, a duet with Esmé Patterson called "Dearly Departed," recalls Bob Dylan and Emmylou Harris on the legendary album,  Desire . Shakey's voice drenched in whiskey and beer harmonizes in a swirl of Beauty and the Beast against Patterson's sweet, melodious twang. The sparseness of "If Not For You" with just a man and his guitar feels more like Depression Era hobo folk where someone pours out through the soul not for money or recognition, but because they know no way to keep it in. For those who think "country music isn't for me," they should blast some Shakey Graves in their car and see how he's keeping Texas the hub for interesting country.

Phantom Radio (CD)

Mark Lanegan

On his ninth studio album, Mark Lanegan delivers the gravelly voiced goods, with a few surprises. “Harvest Home” starts the album on a strong note, as Lanegan’s whiskey-soaked voice and tremoloed guitars are joined by some Gary Numanesque synthesizers and a propulsive beat. Lanegan goes mellow with some worldly psych-soul on “Seventh Day,” and he sings gorgeously on the lushly atmospheric “Torn Red Heart,” breaking our hearts with his vulnerable croon and lyrics like “you don't love me, what's to love anyway?” Some of the digital effects on tracks like “The Killing Season” sound a bit dated, like leftover trip-hop backing tracks from the ’90s, but even then, that song is saved by Lanegan’s cool lyrics, full of creepy details that strike the senses, like “the perfume of your blood” and “I feel your hands around my throat.” And while it’s nice to hear Lanegan stretch a bit, when he’s in his familiar wheelhouse of slow-burners, the results are still wonderful — “I Am the Wolf” possesses beautifully bleak acoustic guitar strums and reverbed electric guitars that fall like rain to set the stage for Lanegan's dusky drawl. And “Judgment Time” is a spare, organ-driven spiritual ode “a strung-out angel” so elegant and evocative, it could serve as an elegy to a war film. With terrific variation and strong melodies, Lanegan seems to nail every nuance on  Phantom Radio .

Master Mix: Red Hot + Arthur Russell (CD)

Various Artists

Pop music's most fantastic chameleon, Arthur Russell, was able to morph from discotheque debonair, minimalist 20th century avant-garde composer, East Village folkie or floor-stomping, white-man funk god. Despite all the talents he died in relative obscurity, except among the New York heads, due to complications from AIDS. But like the case with so many great artists, it's in death that outsiders discover their treasures like they're forgotten artifacts and they garner the respect they always deserved. Now after so many reissues, books and documentaries, Arthur Russell is remixed, chopped up and redone for the 21st century by an eclectic cast of musicians including Robyn, Sufjan Stevens, Blood Orange, Devendra Banhart, and Scissor Sisters. This is not just another tribute album featuring an odd menagerie of B-sides and by-the-number tunes, but is instead a complete reexamination and reinterpretation of iconic Arthur Russell tracks with layers added to his already dense songs. Hot Chip knead's mutant disco sideshow "Go Bang" into Fela Kuti by way of a Macbook. No release this year has so many tasty and diverse flavors than this.

Museum Of Love (CD)

Museum Of Love

Ye, what else hath risen from the fallen ashes of the LCD? Former LCD Soundsystem drummer Pat Mahoney and Dennis “Jee Day” McNany of The Juan Mclean release their eponymous debut,  Museum Of Love . The duo made themselves known last year when they released the darkly groove ridden “Down South” back in 2013 along with the repetitiously soulful “Monotronic.” The album is indeed a continuation of the beats set in motion with their pre-released singles. At the forefront and most apparent are the distinct vocals of now frontman Pat Mahoney. Having named the outfit after a Daniel Johnston song the vocals are surprisingly soulful. Uniquely placed between a sort of David Byrne / Bryan Ferry croon, the vocals are draped over Jee Day’s complex disco beats. The velvety vocals are employed remarkably well, comforting the listener as they groove through the eerie steely “Learned Helplessness in Rats (Disco Drummer).” The experience culminates in the closing track, “All The Winners (Fuck You Buddy),” which actually sounds like a closing credits tune complete with obligatory orchestral strings. The shadow of the inherent nepotism of DFA’s flagship group completely cast aside, let us welcome freshly  Museum of Love  in all its soul shaking glory. Thanks be.

Indian Ocean (CD)

Frazey Ford

Using Al Green's former backing band, The Hi Rhythm Section, with melodious, mellow horns and splashes of jazzy, organ sparkle, former folkie Frazey Ford has reinvented herself into the 21st century progenitor of the blue-eyed soul sound of the '70s. Her wispy, almost childlike folk vocals easily could have gotten lost in the Stax-like sound, but the arrangements are soft and delicate. "September Fields" almost makes you think it's going to be a coffee shop acoustic set before suddenly an organ sneak attack pops up from behind. The tragic ballad of "Weather Pattern" is the raw, tear-filled ballad most musicians don't have the spirit to sing without sounding hackneyed or hollow, but Ford nails it so gorgeously and almost effortlessly. Indian Ocean 's amalgamation of funk and folk work so harmoniously, you'll be asking why can't more musicians blend things beautifully like this?

Z² (CD)

Devin Townsend Project

Z2 ! The Return of Ziltoid. Townsend’s latest record is actually, in fact, two separate albums. The first,  Sky Blue,  is a Devin Townsend Project release. It follows the logical progression where  Epicloud  left off and steps it up with complicated melodies and a melancholic tone. The album is filled with hooks and a heaviness that make it a very accessible record. Accessibility not withstanding,  Sky Blue  has an experimental quality. Even the song “Sky Blue” is a heavily EDM influenced tune that contains lots of glitches and digitizing that is almost a foreshadowing to the companion disc, the heavily experimental  Dark Matters . The return of Ziltoid The Omniscient. For those of you unaware, this is a science fiction story involving all sorts of aliens, plots to destroy, coffee. It’s a thing. Check out the previous work  Ziltoid The Omnisicient . This is a continuation or sequel that is mainly for kids. The story trumps all of the music. That isn’t to say the tunes aren’t there. It is a story first and foremost, soundtracked by heavy riffage, orchestras, choirs! Wow. Ambitious work, but what else would you expect from Townsend?

Burnt Offering (CD)

The Budos Band

Afro-soul stars the Budos Band are back with a metallic barnburner of a fourth album. The Daptone-signed instrumental band have a way of making their horns sound larger than life, their guitar riffs sound gigantic and beats sound perfectly considered, on songs like the psychedelic title track, that make an absense of a singer an afterthought. On “The Sticks,” the 10-man band craft a kind of funkadelic Led Zeppelin track with gnarly, evil riffs and a bassline that won’t quit that could have existed in virtually any decade over the past half-century—that fact that it’s here now just feels like a gift. True heads know the distance between funk and metal is only skin deep, but Burnt Offering manages to make that incredibly apparent. It’s like locking Black Sabbath in a room with Parliament and ending up with something too out of this world to fathom. Cool beyond believe, Burnt Offering has us hooked. Keep it coming, guys.

Our Love (CD)


Dan Snaith’s latest album moves his varying aliases closer together, utilizing some of the dancier aspects of his work as Daphni without sacrificing his core indie-electro-pop appeal as Caribou. The albums starts on a brilliant note with “Can’t Do Without You,” a sumptuous love song that circulates some of the psychedelic swirl of previous Caribou releases even as it taps into EDM culture’s builds and breaks. “Silver” is a sweet, dazzling digital tapestry of sound that tips its hat to ’80s synth pop while retaining its  now  cache. Snaith touches on many eras of dance music throughout  Our Love , on the freestyle-vibing “All I Ever Need” and the luxuriously banging title track, which ends in a nod to Chicago house classic “Good Life.” Yet Snaith’s work is still his own, as tracks like “Dive” feature wavering keyboards and breathy vocals that make you feel like you’re teetering. Some of the later tracks fail to distinguish themselves, but none sounds remotely bad.  Our Love  is a warm, inviting listen from start to finish. It’s yet another bit of perfection from Snaith.

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Amoebite Alison Stolpa talks about Portishead's Dummy, which just saw its 20th anniversary.

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Jade & Sarsaparilla

Janet Hood

From mid-'70s Cape Cod, Jade & Sarsaparilla is centered around Janet Hood's piano and the vocal interplay between her and partner Linda Langford...