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Music Releases 09-23-22

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Limited edition PINK/BLACK SPLATTER vinyl edition of the 1985 full-length debut album from Huntington Beach punk legends, The Vandals!Includes the classic "Ladykiller" plus several more fan favorites!This is the last Vandals album to feature original vocalist Steven "Stevo" Jensen!
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The blistering studio album from one of the most revered American street punk bands on the planet, The Casualties! This is the first studio album to feature David Rodriguez (Starving Wolves, Krum Bums) on vocals alongside longtime members Jake Kolatis (guitar), Marc Eggers (drums) and Rick Lopez (bass)! Now available in WHITE vinyl!
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First released in 1991, Lean Into It is the second studio album by the American rock supergroup, Mr. Big. Comprised ofband members Paul Gilbert, Eric Martin, Billy Sheehan, and Pat Torpey, the band's breakthrough release, Lean IntoIt, peaked at number 15 on the Billboard 200 charts. The lead single, "To Be With You," would become the band's firstand only song to hit number 1 on the Billboard Hot 100. Their follow-up single, "Just Take My Heart," was a Top 20 hit,peaking at number 16 on the Billboard Hot 100. Other favorites from the album include "Daddy, Brother, Lover, LittleBoy," "Alive and Kickin'," and "Green Tinted Sixties Mind."evoXS has remastered the album using hi-resolution digital transfers from the original analog master tapes and madethe album available in high-quality 180g black vinyl for the best sound quality experience
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One of the most anticipated reissues of the year! The 1999 dark masterpiece from metal gods of the underworld, Danzig! This powerful album has some of Danzig's heaviest and most profound songs including "Thirteen," which was written for and recorded by Johnny Cash in 1994 and used as the opening song in the hit 2009 film The Hangover! Beautifully restored artwork from British comic book artist and longtime metal illustrator Simon Bisley! Deluxe gatefold CD jacket with full color inner sleeve!
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On Heartmind, Cass McCombs enters the double-digit-album phase of his career, a quantitatively rarified place for any songwriter; rarer still,though, is the fact that he does not yet seem to have settled into a qualitative sound or pattern, of singing the same thought twice (or perhapseven once). Songs like Karaoke are a god-level burst of power-pop perfection, as fetching as anything Cass has ever cut. The springy staccato guitar, the vaporized electric keys, the melody seemingly born for singing or clapping or dancing along: Cass triangulates a perch of hisvery own out among The Go-Betweens, The dBs, and The Cure, and vibrates there, a beacon. And then, of course, there is the songs playfulif painful lyrical conceitthe lover who is making all the sacred motions of commitment but whose feelings may be no more deep or real thansomeone simply reading the lyrics for Vision of Love or Stand by Your Man from some crowded bars TV screen.

There are, at least, some basic facts to share about Heartmind, logistical evidence that may in turn shape your own questions: Cass recordedthese songs in multiple sessions on both coasts, in Brooklyn and Burbank. The great Shahzad Ismaily not only cut the staggering UnproudWarrior and four others here but also played lots of bass. Buddy Ross tracked New Earth, a paean of post-humanity renewal with severalsharp wisecracks. Ariel Rechtshaidnow a dozen years into his collaboration with Cass, which began with 2009s CatacombscapturedCass scintillating guitars on Belong to Heaven, a thoughtful consideration of what we all lose when we lose an old friend to the inevitableend. The steadfast Rob Schnapf (who previously produced McCombs ANTI- debut, Mangy Love) mixed and merged it all. Wynonna Judd(yes, that one) offers harmonies, while her beau Cactus Moser provides some lap steel. Joe Russo, Kassa Overall, Danielle Haim, NestorGomez are featured on the album, too.

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Tech-metal outfit Fallujah intensify their metallic dynamism on stunning new album, Empyrean. Built on an "all killer, no filler" maxim, the Bay Area-based quartet delivered just that on album number five. From video single "Radiant Ascension" and "Embrace Oblivion" to "Soulbreaker" and "Mindless Omnipotent Master," Empyrean is breathtaking in atmospheric expanse and impressive in sophistication. Fallujah's remodeled lineup contributed significantly to the level-up on display. Primary songwriter/guitarist Scott Carstairs and compeer/drummer Andrew Baird enlisted Archaeologist's Kyle Schaefer and Evan Brewer (formerly Entheos/The Faceless) as their new vocalist and bassist, respectively. Technicians at heart but looking for old flames, Fallujah rediscovered their muse on Empyrean. Gold & Black Galaxy. Limited to 1,700
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A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre. Recorded at Studio Somil, Rio de Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it's most pure form.The 29 minute masterpiece, perfect in it's arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur's supervision.
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Recorded November 15, 1960 at the Nola Penthouse Sound Studios in New York, Lightnin' In New York captures the legendary bluesman in classic form, including some rare solos on the piano. Produced by Candid Records label co-founder, famed music critic and social activist, Nat Hentoff, and recorded at a time when Hopkins was being "rediscovered" by white audiences, the bluesman was reluctant in accepting his new role as an "artist" before predominantly white audiences.
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Divino Nio are no strangers to bold reinvention. When CamiloMedina and Javier Forerofriends whose bond dates back totheir childhoods in Bogot, Colombiamoved to Chicago andrecruited guitarist Guillermo Rodriguez to form a band, theywere psych-pop outsiders playing live shows with a drummachine. With the addition of drummer Pierce Codina, their2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after,multi-instrumentalist Justin Vittori joined to round out theirlineup. Once again, with their masterful, unpredictable, andeminently danceable new album, the band has done something radical: They totally upended the way they write songs,eschewing practice room jams for unrelentingly collaborativebeats, implied grooves for immersive dance floor heaters, andmellow vibes for frenetic doses of reggaeton, electropop, andtrap on their most adventurous and ambitious work to date.Welcome to the Last Spa on Earth.

Written and recorded over the past two years, Last Spa onEarth deals in release and catharsis: confronting your darkestmoments and coming out better for it. The album artwork,done by Medina, a longstanding visual artist, depicts adreamy, yet graffiti-tagged spa, void of physical bodies solisteners can envision themselves in this unique environment. Itrepresents the yin and yang approach Divino Nio took whilecreating the album: the serenity of the spa and the chaos ofthe party. Ultimately, the bands desire is to provide healing inthe same way one feels after sweating, shivering, stretching,and resting at the spa against the backdrop of the worldsdarkness. Last Spa on Earth is the cathartic product of DivinoNio letting go of their musical preconceptions, past traumas,and future anxieties to embrace change, chaos, and eachothers contributions both to these songs and to each other.

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Modern Nomad

There It Is, There You Are

Vinyl: $24.98 UNAVAILABLE
Modern Nomad is the recording project of multi-instrumentalist and songwriter, Tom McLean. He has been recording and writing his own music after being inspired by the jangly psychedelic pop sounds of The Beatles, and the deep atmospheric grooves of the likes of Tame Impala and Toro y Moi since he was 16. The best way to describe "There Is Is, There You Are," is to call it Psych Indie Pop that drips with positive vibes. Modern Nomad is for fans of Mac DeMarco, Tame Impala, and Revolver-era Beatles. The growth of this indie-pop master Modern Nomad continues to evolve with each new release. The influences of Modern Nomad ooze out of these grooves and will catch just about any ear. These songs were written and recorded while reflecting on his budding long-distance relationship - this record can make you dance and move your feet while getting hit in the feels. Come discover the beautiful soundscapes that Modern Nomad has created for you to dig deep into on "There Is Is, There You Are.
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The whole point of this record was to share every emotion that I feel, saysTheSoft MoonsLuis Vasquez.No two songs are the same. Its about existing inthe world as a human being and experiencing many emotions and experiencesthroughout life.

And so hence the titleExister, a record rooted in the ecstatic joys and cripplinglows that life can throw up and how just hanging on and existing is sometimes allwe have. Exister is my way of saying Im here, deal with it. Vasquez says.

Sonically, this expression is a vast, expansive and potent one. The opening SadSong, which unfurls with a dense brooding atmosphere, Vasquez describes asalmost a ballad, while tracks such as The Pit capture the opposite end of themusical spectrum, exploding as a thundering piece of industrial techno completewith gut-churning levels of bass.Monster - a song that follows a human metamorphosis into an unrecognizableand destructive being - seamlessly combines a deeply melodic, almost electropop, vocal hook with a slow build atmospherics to create something equallybeautiful and unsettling. Become the Lies explores the devastating consequencesof being lied to by your own family and is a post-punk stomper, merging charging basslines, pummelling drums and snaking guitars, all of which combineexplosively. Elsewhere the album runs the gauntlet of everything from ambientto dark wave - features ferocious guest contributions fromfish narcandSpecialInterestsAlli Logoton Him and Unforgiven - all while retaining that distincttone that unmistakablyThe Soft Moon.

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Gather your loved ones, Together is here. Duster's fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and overdriven rhythm tracks. "I know people say, 'Oh Duster music so sad, we've even said it ourselves before," Clay Parton said. "But it's a lot more like absurdism than nihilism."
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Ali Farka Tour trekked the world, bringing his beloved Malian music tothe masses. Dubbed the African John Lee Hooker, one could hear strongconnections between the two; both employed a bluesy style of play with grittytextures that elicit calm and fury in equal measure. While the influence of Blackblues music prevailed, Tour created a West African blend of 'desert blues' thatgarnered Grammy awards and widespread reverence.

Though he transcended in 2006, Alis musical legacy lives on through hisson, Vieux aka the Hendrix of the Sahara, an accomplished guitarist andchampion of Malian music in his own right. OnAli, his collaborative albumwith Khruangbin, Vieux pays homage to his father by recreating some of hismost resonant work, putting new twists on it while maintaining the originalsintegrity. The result is a rightful ode to a legend.

Aliisnt just a greatest hits compilation. Its a lullaby, a remembrance of Ali'slife through known highlights and B-sides from his catalog. It is a testamentto what happens when creativity is approached through open arms and openhearts. To me, music is magic, it is spontaneous, it is the energy betweenpeople, Vieux says. I think Khruangbin understands this very well.

The genesis of the album dates back to 2019, when Khruangbin, comingoff their breakthrough albumCon Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemicshuttered businesses and forced us to take stock of what Earth was becoming.Indirectly,Alicaptures this as a moment of peace within a raging storm, aconversation between past and present without allegiance to suffering. Now,given Khruangbins reach as a unit with legions of fans (including the likes ofJay-Z and Paul McCartney), theyre poised to bring Malian music to broadergroups of listeners.

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Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your PsycheIn few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story.Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?)The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends.
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Limited pink colored vinyl LP pressing. What So Not is the Gold-selling, surf-obsessed Australia-based producer Chris Emerson. What So Not returns after 4 years with his sophomore LP, bringing along an impressive list of friends and collaborators including Oliver Tree, Killer Mike, Louis The Child, MO, Captain Cuts, Herizen and more. With over 1 billion streams, 150k tickets sold in over 75 countries and collaborations with the likes of Skrillex, RL Grime, Run the Jewels, Toto, Jagwar Ma, Daniel Johns (Silverchair), San Holo, Flux Pavillion, RomeFortune, What So Not is a force to be reckoned with. Anomaly arrives as WSN's most varied yet cohesive project yet, providing a sonic connective tissue between the worlds of dance, hip-hop, alt rock and much more. The album was created in various parts of the world: The Netherlands, Nicaragua, Germany, Australia, Atlanta (at the iconic Stankonia Studios) and Los Angeles. What each of these locations had in common was a creative ecosystem which WSN seamlessly became a part of. In every city, WSN connected with different collaborators.
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Limited 180gm vinyl LP pressing housed in gatefold jacket. Includes digital download.
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Shake the Feeling: B-Sides & Rarities 20152021 surveys the sound surrounding Iceages last three albums, Plowing Into the Field of Love, Beyondless and Seek Shelter. A study in the powerful song form and raw execution that have defined the Danish band as rock 'n rolls saviors, this essential collection digs deep into the Iceage vault for unheard and rare cuts that both devotees and the uninitiated alike will relish.

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Whether original or discovered, songs have always come into my life out of need. I think every song in this record is about a beginning hidden in an ending, hidden reclamations of ways I've disappointed myself.

The record opens with Backup Plan. because I think being absolutely and freely myself was always stupidly my back up plan. If I couldn't succeed at being the person I was pretending to be, if I couldn't want the things I'd been pretending to want, only then would I give myself permission to just be me. Then came Thérèse and Mermaid Bar - Thérèse is about a misunderstood girl trapped in a painting and Mermaid Bar is about a girl who tries to end her life by jumping into the Hudson River and instead becomes a mermaid.

Bloomed Into Blue was originally a poem I had written with a friend in high school called the B-Word Muse. It was a tribute to Ariel, to Eddie Sedgwick, Marie Thérèse, and so many more.Women who were always the subject of art and not the creator. Worthy of being spoken about but not worthy of being listened to. This record reckons with childhood in Sweet Tooth and Driver, with regret in Luna Moth, Crazy Kid and Sticky Little Words, with anger in South Elroy, Restless Moon and Over.Above all this record wants to be about rebirth and acceptance.I'm crawling back to myself. Thank you for watching- Maya Hawke"

MAYA HAWKE / MOSS

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Alhaji Waziri Oshomah known to his fans in southern Nigeria as the Oyoyo King, the Godfather of Afemai Music, the Etsako Super Star is the originator of a form of Muslim highlife that fuses local folk styles with pan-Nigerian highlife and Western pop. A devout Muslim and an exemplar of religious piety in his community, Waziri has recorded more than 100 albums over the course of his decades-long career. To this day, he continues to perform to adoring audiences who regard him as the greatest entertainer in Edo State. This September, Luaka Bop brings you the best of Waziris illustrious career as the third installment of their critically acclaimed World Spirituality series.

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Through the writing of these songs and the making of this music, I found my way back to the world around me a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing. Beth Orton describes Weather Alive, her most personal album to date, as a collaboration with time of someone struggling to make sense. And in that struggle, something beautiful got made. For Orton, music re-emerged in the past several years as a tethering force, even when her own life felt more tumultuous than ever. After wrestling with mysterious health issues for years, she turned a major corner in 2014 when at long last she received a correct diagnosis and was able to begin managing her condition with medication. However, Orton found this newfound clarity almost as disempowering as the mystery of her inexplicable illness because it waylaid her sense of self, and when strange occurrences persisted, she was only able to process them through long periods of making music at the upright piano installed in a shed in her garden. These sessions in solitude turned into the eight-track Weather Alive, the first album Orton has self-produced in her 30-year career. The piano spoke to Orton, holding an emotional resonance she wasnt able to explore with guitar. Indeed, the first notes of the album-opening title track usher the listener into an expansive, emotive and dream-like world of sound with little precedence in Ortons prior work, and through the writing of these songs and the making of this music, Orton found her way back to the world around her. Ortons close collaborators on Weather Alive include Tom Skinner (Sons of Kemet, The Smile) on drums and Tom Herbert on bass, with additional players adding nuance and color to the music: Shahzad Ismaily on guitar, drums, harmonica, bass and Moog, Sam Beste on vibraphone, Francine Perry on synths, and Alabaster dePlume on saxophone.

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From the first bass note within the driving drum beat you can tell something is different about the new record from Nikki Lane. The backbeat feels like a gutsy strut while the lead guitar feels like a revved up engine shifting gears. Denim & Diamonds comes out firing, spit shining the cowboy boots and tossing on a jean jacket. Produced by Joshua Homme (Queens of the Stone Age), Denim & Diamonds has the Highway Queen embracing a more rock-oriented sound while still maintaining the heartfelt outlaw country sound she has developed across her previous three releases. Denim & Diamonds still has the fuck-off flare of which Nikki has come to be known. Her stylized, story-telling lyrics are all there as well as her catchy country hooks. The outlaw country sound is now balanced out with a gritty guitar and a machine gun snare that echoes the sound of 70s rock. Nikki Lane has made a record that sounds new and old. Familiar and surprising. She embraces where she has come from, (First High, Born Tough) the lessons learned along the way, (Good Enough, Try Harder) all while doing things her way, (Denim & Diamonds, Black Widow).

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God figures in the new album from Philadelphia, PA based Alex Giannascoli's LPs title, its first song, and multiple of its thirteen tracks thereafter, not as a concrete religious entity but as a sign for a generalized sense of faith (in something, anything) that fortifies Giannascoli, or the characters he voices, amid the songs often fraught situations. Beyond the ambient inspiration of pop, Giannascoli has been drawn in recent years to artists who balance the public and hermetic, the oblique and the intimate, and who present faith more as a shared social language than religious doctrine. As with his previous records, Giannascoli wrote and demoed these songs by himself, at home; but, for the sake of both new tones and a routine that was outside of my apartment, he asked some half-dozen engineers to help him produce the best recording quality, whatever that meant. The result is an album more dynamic than ever in its sonic palette.


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