VMP is amped to partner with CREEM to celebrate the launch of VMP Rock and the return of America’s only rock ‘n’ roll magazine. As part of the celebration, the CREEM editors compiled a mix of VMP titles that speak to the legendary mag’s notorious past as well as its optimistic future. Plus, CREEM subscribers get 20% off this collection, now through July 20th!
Get an exclusive record delivered monthly for as low as $36/mo. During 2023, get up to 8 bonus records when you join the club!
Transatlanticism was released on Oct. 7, 2003. It was Death Cab for Cutie’s fourth album, and the first to bring them to the attention of an audience beyond the comparatively underground community of indie rock adepts they’d been playing to with notable, incremental, success for the first five years of their existence. “Existence,” as opposed to “career.” A career was what they had after, and to a large extent because of, the success — in both scale and style — Transatlanticism enjoyed. Because you’re reading this, odds are good you already know this story, which is fortunate, because it spares these notes the duty of having to dwell overmuch on the extra-musical media details that aligned to make both the record and the band attractive to an audience unused to having to seek out music made by bands that were not yet, or never in the running to be, famous.
read more2nd Edition: An 8 album, 14 disc set that illustrates and captures the breadth and influence of the great American rock band. Including 4 classic studio albums and 4 essential live albums, the collection connects the Dead's history, subculture and lore to modern relevance and mainstream music culture with liner notes and essays from Jim James, Avey Tare, David Longstreth, Margo Price & more.
Introducing Miles Davis: The Electric Years, a limited-edition vinyl box set featuring seven albums from one of the most fertile periods of Miles Davis’ career. Starting in 1969 and ending in 1974, these albums changed jazz — and all of modern music — in their wake, and changed Miles, too. For the fourth — or fifth, or sixth? — time in his career, he remade jazz in his own image.