Category Archives: Right Price

Bruce Springsteen for $9.99 and Other Goodies!

“The Boss” did it again! Bruce Springsteen released his new album titled Wrecking Ball today and we’ve got it as part of our “Right Price” program all week so you can pick it up for only $9.99!

We also have a couple of FREE goodies this week with purchase! Andrew Bird released his new album today titled Break It Yourself and you’ll also get a litho with purchase, while supplies last.

The White Rabbits released their sophomore album today titled Milk Famous and we also have an awesome litho to go with that, while supplies last.


Right Price Title and Free Goodies!

We have another Right Price title coming for you this week. It’s the documentary about Kings of Leon titled Talihina Sky. We’ll have it on sale the entire first week of release!

The first goodie we have this week is a Metal Club trading card from Megadeth! Baseball fans have their cards, now metal fans can have theirs too! Each card is free with purchase of the new Megadeth album titled Th1Rt3En. Quantity is limited, so don’t wait!

The 2nd goodie is a limited edition 7″ single that is free with purchase of the new Patrick Stump album titled Soul Punk. The 7″ single contains the album track This City, but also contains the exclusive non-album track Saturday Night Again.



Bright Eyes Right Price!

Cd is on sale this week ONLY for $9.99!                                        

Listening to a Bright Eyes album is similar to reading a really good book.  It must be heard from beginning to end and re-listened to a number of times to understand each songs’ meaning.  Conor Oberst, the man behind the pen, is no stranger to creating in-depth albums.  His career has been dotted with some of the best records in indie music.  Touted as a boy-genius and my generation’s answer to Bob Dylan, Oberst is barely into his 30’s and has been making music for almost two decades.  His seventh Bright Eyes album, and first in four years, The People’s Key has been released on Saddle Creek today, on Oberst’s 31st birthday, February 15th.

The People’s Key takes on a very different sound than we’re use to hearing from Bright Eyes.  Opening in the same storytelling fashion, ‘Firewall’ begins with a voice describing a theory of alien life coming to earth to breed with humans and the consequences of our moral code which leads into the dark and base-driven track itself.  Immediately brightening the mood, ‘Shell Games’, a current single from the album, starts softly with Oberst’s vocals and a backing piano, quickening its pace with every beat before an attack of guitar and synthesizer come in, livening the already upbeat tone.  The high-paced momentum continues forward on ‘Jejune Stars’.  Beginning with a quick and heavy guitar, the song then quiets, flecked with bass and keyboards, only to return to the intense and heavy guitar every so often.  The contrast of this heavy and fast guitar placed throughout the more quieted melodies creates an interesting dynamic and tone which is found on most of the tracks throughout the entirety of the album.  The dark and bass-driven songs continue with ‘Approximate Sunlight’, a slow and haunting track, and with ‘Haile Selassie’, another single from the album, which is more beat-driven and fast-paced than the others.

‘A Machine Spiritual (In the People’s Key)’ is the first song found on the album that uses the familiar acoustic sound that Bright Eyes is generally known for but with a soundscape of rhythm from bass, shakers, and drums over-arched with piano and vocal melodies so that the acoustic tone is light and traced only at certain moments.  ‘Triple Spiral’ and ‘Beginner’s Mind’ continue the faster-paced melodies and harmonies.  ‘Ladder Song’, a haunting and melancholy piano ballad, has the most familiar sound and tone of previous Bright Eyes’ albums but with a very distinctive maturity.  The album ends with ‘One For You, One For Me’, a mid-paced but upbeat track with a mix of synthesizer, keys, guitar and quick but not overpowering rhythm.  The song eventually diminishes to the same voice as the beginning (and also found dotting tracks throughout the record) discussing once again, the moral code of humanity and need to love.

The People’s Key is one of the most interesting Bright Eyes’ albums to date, and definitely worth the four-year wait since Cassadega‘s release in 2007.  Taking a step away from his usual influence and discourse, Oberst has branched out beautifully into new sounds and lyrics that are no longer a poetic introspection of himself and his way of understanding the world.  The story Oberst has penned is more about humanity as a whole and our roles within it and the objects we surround ourselves by.


New Right Price Title – Sufjan Stevens

On Sale for $9.99 ALL week long!

Sufjan Stevens’ official follow-up to 2005’s critically acclaimed Illinoise puts to rest the conceptual trappings that have dominated his work thus far. Taking a cue from 2009’s Koyaanisqatsi-inspired BQE, Age of Adz is a schizophrenic album: a subject-spanning, electro-orchestral collection of original pop songs which feels like more like an exorcism than it does a simple evolution of Stevens’ songwriting. The literate, collegiate folk-pop that dominated his earlier work has been transformed by the self-admitted “existential crisis” that followed the success of Illinoise, and while there are elements of the past third-person intimacy on Age of Adz, it’s Stevens himself who bears the weight of the world this time around, though it’s never revealed as to whether he’s heartbroken, world-weary, or just raw from the unattainable expectations placed on him by many of his overly earnest fans. Loosely based on the work of troubled American Creole artist Royal Robertson, who specialized in apocalyptic visions of the future replete with aliens, Utopian temples, and end-time prophesying, Age of Adz (pronounced “oddz”), with its glitch-filled, heavily processed barrage of late-’90s electronica, feels cut from the same desolate cloth as Radiohead’s Kid A, or Björk’s chilly Vespertine, but where Kid A utilized restraint, Age of Adz trumpets a near-constant cacophony. Opener “Futile Devices” eases the listener into this new world with the familiar sound of a gently finger picked electric guitar, and as Stevens’ pitch-perfect, heavily delayed vocals reassure his subject that “I do love you,” it almost seems like old times. That dreamy setup is revealed as a red herring just seconds into the epic “Too Much,” as tree trunk-sized synth bursts and staccato drum machine blips flip the switch on and unleash the Age of Adz’ most accomplished cog. “Too Much,” along with the gorgeous “All by Myself” and the propulsive “I Want to Be Well,” are stand-outs not just because of their formidable intricacies (the title cut owns that honor), but because they operate on an emotional level that some of the other tracks fail to convey — as lovely and naked as closer “Impossible Soul” is, it could have been 20 minutes shorter. Stevens’ talents as a musician are indisputable, but it’s refreshing to hear him so candid, even if that forthrightness is festooned by enough bells and whistles to wake the dead.