Evanescence - The Bitter Truth - VINYL LP

Double vinyl LP pressing. We Can't Dance is the fourteenth studio album by Genesis, released on 28 October 1991. It is their last album recorded with drummer and singer Phil Collins before his departure in 1996 to pursue solo projects full time. Production began after a four-year period of inactivity from the group, following the commercial success of Invisible Touch (1986) and it's tour. We Can't Dance was a worldwide commercial success for the band. It became the band's fifth consecutive #1 album in the UK and reached #4 in the U.S., where it sold over four million copies. Between 1991 and 1993, six tracks from the album were released as singles, including InchNo Son of MineInch and InchI Can't DanceInch. The latter received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals in 1993. Album Tracks 1. No Son of Mine (2007 Remastered Version) 2. Jesus He Knows Me (2007 Remastered Version) 3. Driving the Last Spike (2007 Remastered Version) 1. I Can't Dance (2007 Remastered Version) 2. Never a Time (2007 Remastered Version) 3. Dreaming While You Sleep (2007 Remastered Version) 1. Tell Me Why (2007 Remastered Version) 2. Living Forever (2007 Remastered Version) 3. Hold on My Heart (2007 Remastered Version) 1. Way of the World (2007 Remastered Version) 2. Since I Lost You (2007 Remastered Version) 3. Fading Lights (2007 Remastered Version)

180-gram heavyweight LP pressing of Depeche Mode's classic InchMusic For The MassesInch album. Album Tracks 1. Never Let Me Down Again (Remastered) 2. The Things You Said (Remastered) 3. Strangelove (Remastered) 4. Sacred (Remastered) 5. Little 15 (Remastered) 6. Behind the Wheel (Remastered) 7. I Want You Now (Remastered) 8. To Have and to Hold (Remastered) 9. Nothing (Remastered) 10. Pimpf (Remastered)

Khruangbin's fourth studio album, A La Sala (InchTo the RoomInch in Spanish), is an exercise in returning in order to go further, and doing so on your own terms. It continues the mystery and sanctity that is the key to how bassist Laura Lee Ochoa, drummer Donald InchDJInch Johnson, Jr. And guitarist Mark InchMarkoInch Speer approach music. If 2020's Mordechai, the last studio LP Khruangbin made without collaborators, was a party record that enhanced the band's musical reputation far and wide, then A La Sala is the measured morning after. It's a gorgeously airy record completed only in the company of the group's longtime engineer Steve Christensen, with minimal overdubs. It's a window onto the bounties powering Khruangbin's vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on InchFifteen Fifty-ThreeInch), West African discos (on InchPon PónInch), G-funk fantasias (InchTodavía VivaInch), living room dancing moments (the first single, InchA Love InternationalInch), or even