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Cease To Begin'
Cease To BeginThese songs are strikingly beautiful, if less elliptical and more straightforward, with more sophisticated arrangements than the last record, 2006's Everything All The Time (scanned nearly 85K). Produced by Phil Ek.1. Is There a Ghost
2. Ode to LRC
3. No One's Gonna Love You
4. Detlef Schrempf
5. General Specific, The
6. Lamb on the Lam (In the City)
7. Islands on the Coast
8. Marry Song
9. Cigarettes, Wedding Bells
10. Window Blues$17.99Vinyl LP - Sealed Buy Now
Infinite ArmsOriginally released in 2010, Infinite Arms is the third full-length from the Low Country's premier rock 'n' roll outfit Band of Horses. Produced by Band of Horses with additional production from Phil Ek and mixed by Dave Sardy, the 12-tracks on Infinite Arms project the essence of the different locales across America that became the setting for the recording and songwriting process behind the album.
The rich musical heritage of Muscle Shoals, AL, the sublime beauty of Asheville's Blue Ridge Mountains, the glamorous Hollywood Hills and the vast Mojave desert all influenced the sounds on Infinite Arms and helped yield the group's most focused and dynamic recordings to date. The serene woods of Northern Minnesota and the band's native Carolinas inspired the songwriting, lending the compositions an air of comfort and familiarity.
Band of Horses is Ben Bridwell, Creighton Barrett, Ryan Monroe, Tyler Ramsey and Bill Reynolds. Long-time touring members of the group, Infinite Arms marks the recording debut of Ramsey and Reynolds, while Barrett and Monroe graced the last album, Cease to Begin. Through touring together in support of Cease to Begin and during breaks in the Infinite Arms recording process, the band have become a cohesive force with all members making invaluable contributions to the unmistakable sound that founder Bridwell has crafted since the band's inception.1. Factory
4. Blue Beard
5. On My Way Back Home
6. Infinite Arms
8. Evening Kitchen
10. For Annabelle
11. NW Apt.
12. Neighbor$28.99Vinyl LP - Sealed Buy Now
I'm Not Your ManIt's amazing how the floodgates open when you shut out all the internal and external noise, stop pandering to stereotype, cease listening to your anxieties, and disregard the compartment society has built for you. I'm Not Your Man, the Charlie Andrew(Alt-J, Rae Morris)-produced second album from Marika Hackman, begins with an impromptu hearty laugh. It's not the sound of silliness; it's the sound of liberation, spontaneity, and joy. 24-year-old Hackman is feeling more herself than ever. Life isn't necessarily funnier or happier, but when there's cause for a joke or a big ballsy statement, she's not holding back anymore.
The album took almost 18 months to complete, during which time Hackman switched to a new manager and a new label, transitions that yielded new avenues for exploration, a lot of time, and a lot of distance - mainly, she insists, from self-imposed boundaries. "I used to be very self-conscious," explains Hackman. "If something sounded a bit too pop or like I'd heard it before I'd mold it into something different. This time around I thought, 'fuck it, I'll just let it flow.'"
The results of this semi-anarchic approach are evident in the grungier, catchier sonics of I'm Not Your Man, and the lyrics, which reveal an unhinged and shamelessly free Hackman. There's an open-ended nature to the lyrics, which delve into femininity, sex and sexual identity, millennial ennui, the pressures of living in a social media bubble, and the perils of being young in a fast-paced industry. "The record's all about female relationships, romance, and breakdowns, but there's also a dim worldview going on. 'I'm Not Your Man' can either mean 'I'm not your man, I'm your woman,' or it can mean 'I'm not a part of this.'"
Hackman cranked up the knobs in the studio, turning away from the quieter sounds of her past to realize her teenage fantasy of fronting a raucous band. "I wanted to let rip and lose control. When I was younger I wasn't looking at Joni Mitchell. I was looking at Nirvana thinking, 'I wanna be like that!'" To channel this feral female energy, Hackman recruited London quartet The Big Moon as her backing band. The results are a dynamic, multi-genre album tied together by razor-sharp wit. The sounds span from Cate Le Bon weirdness to Warpaint dirge jams to straight-up Britpop choruses. "People were saying it was a mash-up between Radiohead, Blondie, and The Cure," laughs Hackman, self-mockingly. "I can't wait to see the reaction," she says. "That's the thrill of reinventing yourself. I might piss off a lot of die-hard folky fans but this is still my brain, it's still my world, and I'm gonna create it how I want."1. Boyfriend
2. Good Intentions
3. Gina's World
4. My Lover Cindy
5. Round We Go
8. Time's Been Reckless
9. Apple Tree
10. So Long
11. Eastbound Train
13. I'd Rather Be With Them$19.99Vinyl LP - Sealed Buy Now
Brain OneThere's nothing typical about the Oxford, Mississippi-based rock act Young Buffalo or the story behind their debut album, House. Although the group's
songwriters Ben Yarbrough and Jim Barrett didn't begin playing under the Young Buffalo moniker until 2009, they started writing music together as
teenagers and never ceased evolving. The band-which now also features drummer Tim Burkhead, bassist Andrew Guinn and keyboardist Will
Eubanks-couldn't be more excited to share their debut album House, an 11-track album produced by Dave Schiffman (Haim, Weezer) that establishes
the five-piece act as a band that's as unique as the town where they were conceived.1. Man In Your Dreams
2. No Idea
4. Cliff Diver
5. My Place
7. Black Eye
8. Summertime Blondes
10. Old Soul
11. Beat Back$9.99Vinyl LP - Sealed Buy Now
The Bach Keyboard Concertos (Speakers Corner) (Awaiting Repress)
The attempts that have been made to describe Glenn Gould's complex personality are endless in number, as are his surprising and often eccentric interpretations. Whether he is considered to be a sensitive maniac, neurotic individualist or uncompromising genius - Gould polarises, provokes and fascinates us long after his death in 1982. As early as 1964 the Canadian pianist ceased to give concerts, since he found appearing before an audience completely unacceptable and preferred to concentrate on studio recordings.
Way in front of composers of the Viennese Classical era, which he did not take particularly seriously - although his performances keenly reflect Beethoven's rhythmicity - comes his personal deity: Bach. Gould's notorious strictness gives form to the minutest of figure in the score. He weaves his way through Bach's music and thereby articulates its tightly knit and multi-facetted depths. No lecturing keyboard proponent this, but a creative co-composer who imbues the spirit of the music with life and sonority. Upon the release in 1980 of the 80th Birthday Edition with its wealth of visual and tonal material, the music journalist Werner Theurich wrote that »no one had ever played more raptly, or more intensively. That Gould's performances are nothing but heavenly can be seen and felt. The rest is pure music.«
Recording: April 1957, May 1967 and February 1969 at Columbia 30th Street Studio, New York City, by Fred Plaut
Production: Andrew Kazdin
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.The Bach Keyboard Concertos J. S. Bach: Keyboard Concertos Nos. 1-5 and 7
L. v. Beethoven: Piano Concerto No. 1 - Glenn Gould, the Columbia Symphony Orchestra conducted by Vladimir Golschmann and Leonard Bernstein$95.99180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed AWAITING REPRESS Buy Now
FutureIt's something we all want the answers for. It's something we fear. It's something we want to have a grip on.
So we ask for clearcut forecasts, desperately seeking security in precise, defined direction. Tossing and turning, we think if we could just glimpse the end of the book, we'd rest easy. We make plans and maps, charting out our lives and where we want them to go. We find ourselves filled with anxieties, pressure, worries
Jordan Feliz knows the feeling.
But he didn't write his newest album, Future, because he figured out all the answers to his path. Quite the opposite. This record was born out of Feliz making peace with the fact that he doesn't, none of us can, know what his future holds. Cling to your best-laid plans until your knuckles turn white, mark your calendar up and down, worry yourself dizzy But the real answer is accepting that we do not hold the future in our own two hands. And thank goodness, because the One who does has already written better stories for us than we ever could.
Following widespread acclaim for his first album, The River, Jordan Feliz began the journey of recording a new one. But the process didn't start how he expected or hoped.
"I started going through anxiety and honestly didn't know how to begin, because I felt like 'Everything I create isn't going to be good enough.'" Jordan remembers.
He was on tour, trying to write for the album, but experiencing panic attacks. He found himself unable to connect with the songs he'd been working on.
"My head wasn't in the right spot. My heart wasn't either. it was more focused on appeasing people. It was listening to myself and not to God."
Then back home with friends and co-writers Paul Duncan and Colby Wedgeworth, he marched not around the fear, but through it. And on the other side was solid ground.
"I said 'What if I just can't do it?' but then Paul says to me 'Look man, there's no pressure. Everything in your future has already been plotted by Jesus. He has paved every step of the way for you, in a way to have favor on your life. Our future is not wound up in our success, but in the inheritance of God.'"
With those words, something clicked for Jordan. He took a breath. He let go. He remembered that his future is held by the strong, kind hands of the Father.
"Sometimes it's really hard to silence out the world and just listen to the small, still voice. But once I refocused and listened to Him, He had a message for me," Feliz shares. "A fire was set in me to write a song about freedom. A song we can sing to be stoked that every single day there's a God that loves us, never ceases, and never fails."
That day they wrote "Witness," which would go on to be Feliz's first single for Future, in only 45 minutes.
"And that's when the record started."
It's certainly not the first time Jordan's had to rely on faith. Six years ago, following much prayer, he and his wife ventured to Nashville after feeling called to make the move; the only catch: they didn't even have enough money to make it all the way from California to Music City. They were depending on a few performance gigs Jordan had along the route.
"But all the shows I was scheduled to play got cancelled. At first we were stressed and asking 'What do we do?'. We just felt like the Lord was saying 'You need to go.You just need to trust me.' We had to decide to think about what the Lord has for us, instead of what we have for ourselves. Watch and prepare for what He can do, not what we think we can do."
He ended up with a spontaneous opportunity to perform for less than 30 people, who bought more than enough merchandise to get the Felizes to Nashville.
"We sobbed in the car," he reflects. "For God to show us that He gives us more than we even need "
Jordan tells that story in the album's track "All Along," his most personal song to date. With the first lyric describing his literal first moment of breath, Feliz goes on to tell some of his life's highlights, revealing God's presence through each moment of every season.
And that's what marks this album as a mature step forward for the singer-songwriter. The vibrant pop melodies are not only infectious, but deep-rooted in the vulnerable walks of faith he's ventured through in the past year.
"This record is just chock-full of story. Every single song," Jordan says. "It's kind of me taking a piece of my life, my heart, my beliefs, and my trust in God and just giving them to people. And hopefully they'll hold onto the message and learn to trust God even more through it."
He wrote most of the album on the road with a hectic tour schedule and only eight other writers. Feliz was surprised to find that he loved this unorthodox writing process, saying it allowed for him and cowriters to spend more time simply experiencing life together, then reflect on it through creating music. Gone was the pressure to sit in a room and crank out a hit song. The result: more authentic songs that come from inspiration found in everyday life. Songs the musicians poured themselves into- including one of Jordan's favorites, "Faith," which came about from a middle-of-the-night writing session.
"That never would've happened back home," Jordan laughs.
And as Feliz and his team were wrapping up, something incredible happened for an album that began from a place of insecurity. When it came time to make the final song decisions, typically a stressful and challenging process, Jordan felt an unexpected peace.
"Not even kidding, the day we left that meeting, we all just kind of knew those were the songs. With The River, we thought through every little thing, but this time it feels like the Lord just gave us these songs and was like 'This is it. You don't need anything other than these.' And we still wrote over 40 songs, but it was so clear that these were the ones that were going to be recorded. We hadn't even heard them produced yet, so we were just hoping it was all going to turn out right and it did. These songs were gifted to me by the Lord."
Jordan Feliz belts out "Witness" to a roaring crowd.
"Your love is moving mountains every day of my life. Can I get a witness?"
Hands shoot up, voices join in, souls worship. Jordan beams. It's the smile of a heart that knows it's landed in the hands of its Protector. The smile of a heart, fearlessly honest, that is connecting with others. A heart that's traveled through uncertainty, and probably will again, but will always find home in the story already written for it.
Jordan listens to the new record, the latest season of his life in musical form. Those early doubts have transformed into peace. The shame into compassion. The worry into joy, and the fear into excitement.
"Probably craziest of all is that I didn't see any of it coming together at beginning. I thought 'There's no way this is going to get done and I'm going to be able to handle it,' and it just happened. This entire project comes down to the fact that every day I'm learning how to trust God more and more and more."
He doesn't know how the next chapter reads. But he knows something more important: the Author.
"Every time I think about the concept of this record, it feels like it's purposeful for people to grab onto the idea of a song and hold onto it for a very long time. That's what it stands for. It stands for what's coming. It stands for what God has for our life."
Written. Held.1. Witness
2. Count That High
4. Streets Of Gold
6. Lay It Down
8. All Along
11. That's The Life
12. My Shelter
13. Blank Canvas$19.99Vinyl LP - Sealed Buy Now