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A Glorious Dawn'
Before The Dawn Heals Us"A symphony of dreamy synths and soaring guitar fuzz gloriously fluctuates between ecstasy and panic... A-"
- Entertainment Weekly
Before the Dawn Heals Us is the third studio album by
M83, the first since departure of founding member Nicolas
Fromageau. The album was originally released on Mute in
2005 and saw the band's profile continue to rise. Several
tracks were used in high profile sync placements including
"Don't Save Us From the Flames" in a 2006 Pontiac
commercial and "*" in a 2011 Red Bull advertisement
featuring snowboarder Travis Rice. Key tracks include
"Don't Save Us From the Flames", "*" and "Teen Angst."
M83 has since gone on to release 2011's Grammy-nominated
double album, Hurry Up, We're Dreaming (which contains
platinum single, "Midnight City"). M83 scored the soundtrack
for the 2013 film, Oblivion (with Tom Cruise), the soundtrack
to French film, You and the Night (the directorial debut of his
brother, Yann Gonzalez), and most recently contributed the
original track, "I Need You" to the 2014 film, Divergent. M83
is currently considered one of the top electronic music artists
in the world.1. Moonchild
2. Don't Save Us from the Flames
3. In the Cold I'm Standing
4. Farewell / Goodbye
5. Fields, Shorelines and Hunters
7. I Guess I'm Floating
8. Teen Angst
9. Can't Stop
11. Let Men Burn Stars
12. Car Chase Terror!
13. Slight Night Shiver
14. A Guitar and a Heart
15. Lower Your Eyelids to Die with the Sun$25.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The 2nd LawMuse didn't set out to make the most gloriously ambitious album of their career. How could they have? The band who dreamt up Supermassive Black Hole, Knights Of Cydonia and the three-part Exogenesis symphony were already well-versed in going One Louder. Any wilder, any further out there, and Muse would risk incineration by a dwarf star of their own making.
But you don't become one of the biggest bands on this planet - in excess of 15 million albums sales worldwide, 5 MTV Europe Awards, 2 Brit Awards, 8 NME Awards, 5 Q Awards, 4 Kerrang Awards and winner of the Best Rock Album Grammy 2011; No 1 in 19 countries with 2009's The Resistance; filler of arena and stadia across the world - by sitting on your hands.
So when Muse approached the making of their sixth studio album, they wouldn't stint on the choirs, strings and horn sections. And be reassured: guitar-shredding, piano-thumping, orchestra-arranging, book-chewing, big-thinking Matt Bellamy, as the band's chief songwriter, didn't lower his sights from The Big Picture nor ignore The Precious Details. And nor were the trio afraid of giving space to a brilliant new element to their sound - songs written and sung by bass player Chris Wolstenholme.
But what the Devon-born band of schoolfriends did do different was this: they made things easy for themselves. For the first time since the dawn of their career in smalltown England 18 years ago, all three members were living in the same place during the making of an album. Domiciled in and around London, they block-booked a recording studio - Air - and came and went as they pleased.
This time, the only clock Muse had to beat was their own internal band rhythm. They had the days and weeks and space to experiment, explore ideas, rig up massive in-studio PA systems, hire in remixers, play with pedals, and (technical term alert!) fanny around to their hearts' content.1. Supremacy
3. Panic Station
6. Follow Me
9. Big Freeze
10. Save Me
11. Liquid State
12. The 2nd Law: Unsustainable
13. The 2nd Law: Isolated System$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Music For Listening To Music To180-Gram White Vinyl
Produced By Ryan Adams At His Pax-Am Studios
"Lovely melody counterbalanced by rough guitars and
lightning-quick solos." - SPIN
After the punky heft and wildness of 2014's Hour of the Dawn,
an LP that thrashed against expectation, La Sera returns with
a set of songs that double down on the power of wry lyrics,
glorious guitar, driving backbeat, and the occasional pump
Ryan Adams joins to produce the fruit of their union, La Sera's
first live-recorded analog album, featuring 10 tunes about
good love, bad love, dead men, and confused kids.
As a testament to the chemistry that happened in that
space, Music For Listening to Music To spawned another
fruitful relationship: Adams and Wisenbaker hit it off and
decided to start their own band. Instead they wound up
recording a bunch of Taylor Swift covers, which became
the 1989 album.1. High Notes
2. A Thousand Ways
3. One True Love
4. Begins to Rain
5. Take My Heart
6. I Need an Angel
7. Time To Go
8. Shadow of Your Love
10. Too Little Too Late$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Spinners Spinners On Numbered Limited Edition 180g LP From Mobile Fidelity
Spinners' Silky Smooth 1972 Self-titled Record Birthed The Philadelphia Soul Sound: Includes Top 5 Hits I'll Be Around And Could It Be I'm Falling In Love
Mastered From The Original Master Tapes: Mobile Fidelity 180g LP Presents Groundbreaking Soul Album With Pristine Detail, Soothing Warmth, And Involving Emotionalism
Sweeping Strings, Funk Rhythms, Brassy Rejoinders, Immaculate Harmonies, And Satiny Lead Singing Fill Thom Bell's Melodic Arrangements: Few Albums Sound Creamier Than This Watershed Effort
The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic - a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.
Mastered from the original tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of Spinners presents the quintet's magnum opus with pristine detail, soothing warmth, and involving emotionalism. Free of previously constraining ceilings, highs soar to their intended heights. Each singer's voice can be distinctly heard amidst the expert mix. Superb dynamics, soundstaging, and imaging highlight Bell's gorgeous orchestrations as well as the Spinners' pillow-soft mellifluousness. Backing instrumentation, ranging from rolling bass lines and punctual horns to swaying strings and crisp high-hat beats, unfolds with reference-caliber purity and transparency. Not many 1970s albums of any genre sound silkier, creamier, or more tonally rich than this LP.
While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic - prompted by a suggestion by Aretha Franklin - and refashion their approach with Bell signaled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.
Anchored by Top 5 smashes like Could It Be I'm Falling In Love, Spinners signaled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.
Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as One of a Kind (Love Affair). Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling I'll Be Around. Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance (Just You and Me Baby), regret (How Could I Let You Get Away), and social ills (Ghetto Child) with consummate passion.
This title is not eligible for discount.1. Just Can't Get You Out of My Mind
2. Just You and Me Baby
3. Don't Let the Green Grass Fool You
4. I Could Never (Repay Your Love)
5. I'll Be Around
6. One of a Kind (Love Affair)
7. We Belong Together
8. Ghetto Child
9. How Could I Let You Get Away
10. Could It Be I'm Falling In Love$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Mahler - Symphony #3 (Speakers Corner)
"My symphony will be something the world has never heard before. The whole of Nature will be lent a voice in it and will impart such deep secrets as those one might imagine in one's dreams." Mahler's vision of music which reflects the world finds its monumental culmination in his Third Symphony. The god Pan awakes to dull drum beats and rumbling basses. From afar a lied theme feels its way to the fore. The mild season of Spring dawns with song, sounds of nature and the budding of vegetation; then at last Summer marches in, grotesquely distorted in its exuberance, expressing the dualism of the innocence of Nature and its terrifying primeval force. Only in the finale are these contrarieties united in glorious harmony - although an undercurrent of doubt is always present.
Sir Georg Solti and the London Symphony Orchestra are absolutely ideal for performing this mammoth, highly complex, multi-layered work. With fairly brisk tempi, clearly differentiated strings, and the usual excellent brass, Solti gives a gripping performance which no Mahler fan should miss - even if already has other recordings of the work in his collection.
- The London Symphony Orchestra
- Sir Georg Solti (conductor)
Recording: January 1968 at Kingsway Hall, London by Gordon Parry and James Lock
Production: David Harvey
Format: 2LPs 33rpm / gatefold sleeve, booklet
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
This title is not eligible for discount.$69.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
A Glorious Dawn (Cosmos Remixed) (Out Of Stock)Third Man Records is over the moon to announce the 7-inch release of 'A Glorious Dawn' on November 9th.
'A Glorious Dawn' is a moving arrangement of Carl Sagans sagacious words culled from his magnificent 'Cosmos' series. The piece initially gained recognition when composer John Boswell uploaded to YouTube his remixed Sagan dialogue edited, Auto-Tuned and put to a beat and coupled with a guest appearance by Stephen Hawking. At well over one million views, this is a project that goes far-beyond the buzz of 'Internet phenomenon.'
The release is timed to coincide with the 75th anniversary of Sagans birth. Also happening that day is a reception in United States Congress with speeches by senators, NASA officials and assorted scientists, all hosted by the Planetary Society, which was co-founded by Sagan.
The one-sided single features a very special etching on the flipside. Reproduced from the original artwork, the etching copies the etching included with the Voyager Golden Record, set off into space in 1977 as the most elaborate message-in-a-bottle idea ever imagined. With its inclusion of Blind Willie Johnsons 'Dark Was The Night' it goes without saying that the Voyager Golden Record is one of Third Mans favorite releases of all-time.1. A Glorious Dawn (feat. Stephen Hawking)
1. b-side is an etched reproduction of The Voyager Golden Record [NO AUDIO]$6.99Vinyl LP 7'' Single - Sealed Temporarily out of stock