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  • Demon Days Demon Days Quick View

    $25.99
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    Demon Days

    Demon Days is the second studio album by Gorillaz. The album features the hit singles Feel Good Inc., DARE, Kids With Guns, and El Mañana, with contributions from De La Soul, Neneh Cherry, Martina Topley-Bird, Roots Manuva, MF DOOM, Ike Turner, Bootie Brown of the Pharcyde, Shaun Ryder, Dennis Hopper, the London Community Gospel Choir, and the Children's Choir of San Fernandez.
    LP 1
    1. Intro
    2. Last Living Souls
    3. Kids With Guns
    4. O Green World
    5. Dirty Harry
    6. Feel Good Inc
    7. El Manana


    LP 2
    1. Every Planet We Reach Is Dead
    2. November Has Come
    3. All Alone
    4. White Light
    5. DARE
    6. Fire Coming Out Of The Monkey's Head
    7. Don't Get Lost In Heaven
    8. Demon Days

    Gorillaz
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Time Is Over One Day Old Time Is Over One Day Old Quick View

    $18.99
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    Time Is Over One Day Old

    Bear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral
    relationship to time and its processes.Where invulnerability and ambition can support you as you grow,
    at some point they become dead weight, and being true to yourself means casting them off,starting anew.
    This plays out as a powerful analogy for the band across the arc of it's career.


    They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this
    band.They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative
    beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely
    arranged and glistening.Jon Philpot's high,smooth,strong voice is so tightly wound into the music that
    it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives,the
    interactions with the world that are both difficult to express and anathema in daily conversation.


    While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's
    Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth(2009)was a pivotal record
    that still feels important,seductive and intense.On their 2012 LP I Love You, It's Cool the structural and
    musical ideas are challenging, and masterfully developed. For Time is Over One Day Old,we witness the
    band once again turning their gaze inward and prioritizing their evocative abilities in line with or even
    slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's
    moving.


    Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times,
    louder than their others; it feels personal and direct."If I Were To Lie"places Wills' bass groove front and
    center,"Demon" is riveting and propulsive in spite of its dark pointed lyric, and"They Dream"dissolves
    into three and a half minutes of deeply satisfying ambient synth work in its second half.Wills has always
    been the bands anchor, providing rock solid,rhythmic bass lines and guitars that blur the boundaries of
    Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts
    through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release.
    This album isn't about being dark, it's about releasing darkness and frustration.


    When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses.
    Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that
    which is merely impressive and to concentrate on simply what is crucial.For Philpot this is about making
    something lasting. "A lot of shedding, getting rid of layers and preconceptions breaking up with old
    ways of thinking, old ways of being, starting to look at this thing in a new way and finding something
    positive."The result is a record that will stay with you.

    1. Autumn
    2. Time Between
    3. If I Were To Lie
    4. They Dream
    5. The Sun and The Moon and The Stars
    6. Memory Heart
    7. Demon
    8. Way Off
    9. Dissolve The Walls
    10. You Don't Need The World
    Bear In Heaven
    $18.99
    Vinyl LP - Sealed Buy Now
  • St. Elsewhere St. Elsewhere Quick View

    $19.99
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    St. Elsewhere

    Gnarls Barkley is the highly anticipated collaboration from Danger Mouse and Cee-Lo. Danger Mouse is one of the most important artist/producers in music today. 'Demon Days' sold over 5 million worldwide and Dangerdoom's 'The Mouse And The Mask' sold over 100,000 units. Accolades include GQ's 'Men Of The Year' honor; Spin's 'Eccentric Genius Of The Year', NME's 'Hottest Hip-Hop Producer In The World', Entertainment Weekly's 'Album Of The Year', Grammy nomination for Producer Of The Year, and more. Cee-Lo is a Grammy-nominated, founding member of Goodie Mob. He wrote and produced the Pussycat Dolls #1 smash hit 'Don't Cha', and his two solo albums for Arista scanned over 500,000 units combined. He also wrote hit singles for Ludacris, Common, P Diddy, Trick Daddy, and others. 'Goodie Mob' has sold over two million albums worldwide. 'Crazy', from this release, is all over UK's Radio One.
    1. Go-Go Gadget Gospel

    2. Crazy
    3. St. Elsewhere
    4. Gone Daddy Gone
    5. Smiley Faces
    6. The Boogie Monster

    7. Feng Shui
    8. Just a Thought
    9. Transformer
    10. Who Cares?
    11. On-Line
    12. Necromancing
    13. Storm Coming
    14. The Last Time
    Gnarls Barkley
    $19.99
    Vinyl LP - Sealed Buy Now
  • I Don't Like Shit, I Don't Go Outside: An Album By Earl Sweatshirt I Don't Like Shit, I Don't Go Outside: An Album By Earl Sweatshirt Quick View

    $19.99
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    I Don't Like Shit, I Don't Go Outside: An Album By Earl Sweatshirt

    I Don't Like Shit, I Don't Go Outside: An Album by Earl Sweatshirt is the second studio album by American rapper Earl Sweatshirt.


    On his first studio album, 2013's Doris, the most mysterious member of L.A. shock-rap gremlins Odd Future proved himself by exploring real-life alienation. On his excellent second LP, Earl Sweatshirt keeps deepening his game - spooling out dense, mordant rhymes over zombifically blunted tracks as he somehow sucks you into his sunless reality. It's amazing that music so claustrophobic can be this engrossing.


    As always, Sweatshirt is most compelling when he's going toe to toe with his own demons. I spent the day drinking and missing my grandmother, he raps on Huey, perfectly summing up the music's desolate vibe. Mantra opens with some maniac grandstanding (With a cleaver and a .30 and some twisted weed/I pick one and let the crimson leak), then slides into a downhearted breakup song. Grief is a harrowing shut-in snapshot: I just want my time and my mind intact/When they both gone, you can't buy 'em back. At just 10 songs in a half-hour, I Don't Like Shit is surprisingly concise - even if it's sometimes dark and paranoid enough to make There's a Riot Goin' On sound like the Three's Company theme. And who needs more? Even a half-hour with Earl is enough to leave you with a lifetime of creepy memories.

    1. Huey
    2. Mantra
    3 . Faucet
    4. Grief
    5. Off Top
    6. Grown Ups
    7. AM // Radio
    8. Inside
    9. DNA
    10. Wool
    Earl Sweatshirt
    $19.99
    Vinyl LP - Sealed Buy Now
  • Roadhouse 01 Roadhouse 01 Quick View

    $21.99
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    Roadhouse 01

    Pressed On Red Colored Vinyl


    Roadhouse 01 chronicles Allan's retreat to an isolated cabin in the woods of Lost Springs, where he wrestles with his demons in the form of a rebellious alter ego, Mr. Roadhouse. It covers a lot of narrative territory, from the fluttery, vulnerable, hip-hop infused "Repeat" to the closing tracks on the album, where the antagonistic Mr. Roadhouse fully takes over. The album fuses R&B, hip hop, and folk influences with dark, seductive storytelling. - Vents Magazine

    1. Wolf
    2. December
    3. Sweetheart
    4. Repeat
    5. Shelby Moves
    6. Jim's Story
    7. Left Alone
    8. Faust Road
    9. Hollywood/My Way
    10. Head Over Heels
    11. 25.22
    12. 13
    13. God Is A Woman
    Allan Rayman
    $21.99
    Colored Vinyl LP - Sealed Buy Now
  • Everybody Is Going To Heaven Everybody Is Going To Heaven Quick View

    $17.99
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    Everybody Is Going To Heaven

    Almost two years to the date of the release of their breakthrough album, Citizen return with their highly
    anticipated follow-up full-length, Everybody is Going to Heaven. Haunting these ten songs is a foreboding,
    dark atmosphere masterfully crafted by producer Will Yip, and an immediate, intense energy is palpable
    from even the first grimy seconds of the opener, "Cement." As with every one of Citizen's releases, Mat
    Kerekes' signature vocal delivery here is a trademark feature, demonstrating the emotional tension that boils
    over on this release. As cathartic as ever, he duels between a soft croon and a haunting scream, confronting
    his demons on tracks like "My Favorite Color" echoing the tormented refrain, "my heart still beats for nothing".


    And while most of the record is an intense and noisy onslaught, songs like "Heaviside" and "Yellow
    Love" act as armistices, each aching in reverb-drenched consonance. Everybody is Going to Heaven is a
    turning point for Citizen: once regarded as newcomers with undeniable potential, the band shows here that
    they have matured both abruptly and uniquely, with no end to their upward trajectory in sight.

    1. Cement
    2. Dive Into My Sun
    3. Numb Yourself
    4. Heaviside
    5. My Favorite Color
    6. Weave Me (Into Yr Sin)
    7. Stain
    8. Ten
    9. Yellow Love
    10. Ring of Chain
    Citizen
    $17.99
    Vinyl LP - Sealed Buy Now
  • Assault on Precinct 13 / The Fog Assault on Precinct 13 / The Fog Quick View

    $16.99
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    Assault on Precinct 13 / The Fog


    12 Housed In Deluxe Mylar Mirrorboard Sleeve


    Much of the power of the best films by the cult director John Carpenter can
    be attributed to their use of music - music that, more often than not, was
    composed and performed by Carpenter himself. What began as a necessity for
    the low-budget productions by Carpenter became a major part of his aesthetic,
    and established him as a pioneering figure in genre-film score work as well as
    electronic music in general. Now, flanked by his son Cody Carpenter and godson
    Daniel Davies, and with two albums (Lost Themes and Lost Themes II) of nonsoundtrack
    material under his belt, Carpenter has decided to revisit some of his
    most beloved themes.


    Assault on Precinct 13 was the first feature film Carpenter made after film school,
    and he made it partially as an urban reimagining of Rio Bravo, a film by his idol,
    Howard Hawks. In Carpenter's movie, a soon-to-be-closed police precinct is
    placed under siege by a gang who have taken a blood oath to kill someone inside.
    Assault is a classic, not least of all because it has perhaps Carpenter's best-loved
    theme. The theme's main synthesizer line, partly inspired by the score to Dirty
    Harry and Led Zeppelin's "Immigrant Song," is catchy and dread-inducing in
    equal measure.


    Carpenter's theme for The Fog is one of his finest, and creepiest. In the film, a
    weather-beaten old fisherman tells an ancient tale of betrayal and death to fascinated
    children as they huddle together by their campfire. As a piece of driftwood
    in a child's hands glows with spectral light, an eerie fog envelops the bay, and
    from its midst emerge dripping demonic victims of a century old shipwreck,
    seeking revenge. The spooky synthesizer tone in Carpenter's composition evokes
    the advance of the fog itself, helping to make this a quintessential horror score for
    a classic horror movie.


    This 12 release includes the themes to Assault on Precinct 13 and The Fog, newly
    rerecorded by Carpenter and his Lost Themes bandmates. May it serve as a bridge
    between the Horror Master's legendary, still relevant past and his remarkable
    present.

    1. Assault on Precinct 13
    2. The Fog
    John Carpenter
    $16.99
    12 Vinyl Single - Sealed Buy Now
  • 9 Songs 9 Songs Quick View

    $17.99
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    9 Songs


    "Whole generations of basement-tape shenanigans are baked into their lurching, overdriven sound, alternatingly stripped-down and blown-out" - SPIN


    Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills,where the core duo of
    the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for
    the music they wrote while there, but you're free to look.


    "Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos.
    "The kinds of thingsthat have shaped our band aren't anchored to any one time or place."


    Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting
    that line of thought to the test; their musical influences travel from the Midwestern malaise of
    Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British
    belligerence of The Fall and This Heat.


    Recording the album while living with Foxygen's Jonathan Rado at his rented house in
    Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and
    insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on
    a porch," says Pulos of the experience.


    Their first collection of songs slyly unties the shoes of genre and convention, shape shifts
    mischievously, and tramples on the promises delivered on the name itself.
    There are only eight songs on this rangy debut.


    Intense blasts of hook-filled noise rock ("Hayward!"), rock steady marionette stomp ("No
    Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock
    ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest
    across 9 Songs.


    The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges,
    pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh
    out of his electric. Laffer matches him step for step on the drums, an exacting presence behind
    the kit who pushes even the band's more placid moments into bouts of tension. Together they
    succeed in animating their musical ideas to startling, almost unnatural life. Reverb units,
    keyboards,samples and processing gluing everything together,saturated in the August heat and
    worn in until they sound second nature, it's like somehow you've been listening to these songs
    forever.

    1. Hayward!
    2. No Time
    3. Epicondyles
    4. Dograces
    5. Mono
    6. 9 Songs
    7. Ash Wednesday
    8. Pterodactyls
    Dub Thomspons
    $17.99
    Vinyl LP - Sealed Buy Now
  • Infinity Caller Infinity Caller Quick View

    $17.99
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    Infinity Caller

    What do you do when irrational guilt and fear start to steer the ship? When you're a kid living in the Dallas suburbs it's relatively predictable; you start to see a shrink, take some prescribed meds, and as soon as you have access, numb the voices with
    drugs and alcohol. Not a particularly novel or interesting trajectory, but what if those voices just keep getting louder, consuming every waking moment, leaving you effectively paralyzed or twitching with paranoia? After a while, succumbing to these voices might seem self-indulgent, a cry for attention, or just boilerplate teenage histrionics. What do you do when you're 30; a grown-ass-man still tethered to the beast that dictated your life throughout your formative years? You could do a lot of things, but if you're Travis Johnson of the band Grooms, you stop drinking, soberly stare the demons in the face, and start writing songs.


    Johnson's OCD (a religion-centric form of OCD called Scrupulosity) has guided all of his adult life's pursuits, from inspiring his initial interest in music to his current day job making guitar pedals at Brookyn's Death By Audio. After releasing two albums on the prestigious indie label Kanine Records, the band still hadn't gained enough traction to support themselves with their music and they were understandably ready to call it quits. However, in 2011, impressed with their albums and live shows, author Michael Azerrad invited Grooms to perform at his Our Band Could Be Your Life show alongside St. Vincent, Ted Leo, Wye Oak, Dan Deacon, and WV alumni Dirty Projectors. It was a huge opportunity for the band, and the catalyst for what would become their
    new album Infinity Caller. Azerrad's enthusiasm and encouragement gave Johnson the confidence to soldier on, keep making music, and ultimately find peace of mind.

    1. Lion Name
    2. I Think We're Alone Now
    3. Sleep Detective
    4. Iskra Goodbye
    5. Play
    6. Susie Jo
    7. Completely
    8. Very Very Librarian
    9. Sometimes Sometimes
    10. Something I Learned Today
    11. Infinity Caller
    Grooms
    $17.99
    Vinyl LP - Sealed Buy Now
  • Chopin - Scherzo No. 3 / Brahms -  Rhapsodies (Speakers Corner) Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner) Quick View

    $34.99
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    Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner)

    The debut recording by the Argentinian pianist Martha Argerich took the public by the storm all over the world - and the applause has still not subsided! A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages - and Martha Argerich proves herself a master of them all! The demonic opening of the Scherzo in C sharp minor gives way to an iridiscent dialogue which sings and sparkles beyond compare. The Barcarolle rocks gently along; Prokofiev's Toccata is filled with dynamic force and nervous agitation; Ravel's Jeux d'eau is pensive and introverted, with the water rippling in a circular motion. As a contrast, the two famous Brahms Rhapsodies are performed with passion, impetuosity and occasionally the required heaviness.



    This recording is surely one of the brightest candles to burn anew on Deutsche Grammophon's birthday cake.



    This record was part of the 3-LP Set "The Conductors" and is now available again.



    Musicians:



    • Martha Argerich (piano)




    Recording: July 1960 at Beethoven-Saal, Hannover by Heinz Wildhagen

    Production: Prof. Elsa Schiller





    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.


    and that the lacquer discs are newly cut.



    1. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp
    2. Minor, Op.39
    3. Rhapsody, Op.79: No.1 Agitato In B Minor
    4. Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
    5. Toccata, Op. 11
    6. Jeux D'Eau: Tres doux
    7. Barcarole In F Sharp Major, Op. 60
    8. Hungarian Rhapsody No.6:
    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Black Moon Spell Black Moon Spell Quick View

    $18.99
    Buy Now
    x

    Black Moon Spell

    King Tuff's new record is called Black Moon Spell.


    It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California,
    in the hot winter of 2014.


    No one involved was prepared to make a record, but an invisible hand pushed them
    to do it. Perhaps it was God or that special someone we all know and love called The
    Devil.


    God and The Devil actually have very similar interests. They both love electric guitars
    and they both want you to listen to Black Moon Spell and freak the fuck out.


    There were many strange occurrences during the recording session- Dracula landlords,
    flashes of mysterious light, haunted microphones, songs that mixed themselves,
    demonic vortexes swirling in coffee cups, etc.


    Under the Black Moon Spell you may experience euphoria, demented visions, wet
    dreams, bouts of backwards laughter, and dazed confusion resulting in primordial
    dancing.


    Fire played a very important role in the making of this album. King Tuff loves fire.
    For some reason, no one can really explain how the Black Moon Spell came to be.
    It just appeared one day and demanded heavy rock music and meatball subs.
    Backwards messages may be found on this record.


    Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered
    its sexy, twisted, hairy, polluted spirit all over Black Moon Spell. The Sunset Strip
    shat itself when it heard all these guitar solos.


    Can you feel the Black Moon Spell creeping up the back of yr neck yet?


    King Tuff would prefer not to tell you the full story of making this record because
    its long and crazy and you wouldn't believe him anyway. Also, I am King Tuff.


    Magic Jake, who played bass and is beautiful like sunshine, would like to take this
    moment to give you a hug and invite you to a tanning party on a beach of your choice.


    Old Gary, who plays drums and has the most glorious cackle, would like to take this
    moment to crack a cold one with you and invite you to watch the old ballgame with
    him.


    Old Gary was out watching the old ballgame, so a wild critter named Ty Segall played
    drums on the song "Black Moon Spell". Ty enjoys speaking in a goblin voice in his
    spare time.


    Night fell on Studio B. A Tarot card leapt from the deck and said, "No human
    judgement is of any value here." King Tuff agreed.


    Sub Pop first discovered King Tuff curled up in his palace in Vermont. It was basically
    a shit hut made of moss, mud, and glimmering stones hidden near the graveyard,
    and it was guarded by beautiful wild bullfrogs with silver fangs and baseball bats.


    Punx, Squares, Skaters, Farmers, Bartenders, Grandparents, Stoners, Carpenters,
    Hobos, Heshers, Babes, Babies, Plumbers, Strippers, Art Teachers, Teenagers, Townies,
    Moms, Dads, Truck Drivers, and Witches will all love this record.


    Every song on Black Moon Spell was written without giving a shining fuck about
    nothing.


    Listen to Black Moon Spell, turn yr volume knob up to 666, put yr lover in a 69,
    and let yr inner grinagog rear it's wicked, unwashed, smiling snake head.


    Listen to Black Moon Spell and give yr ears what they've been begging for all year;
    a heavily weird, heavenly dark, hysterically magical Rock & Roll Sexperience.


    ps. the only part of this story that isn't true is the part about the shit hut. I actually
    was living at my parents' house when I was discovered. Love, KT

    1. Black Moon Spell
    2. Sick Mind
    3. Rainbow's Run
    4. Headbanger
    5. Beautiful Thing
    6. I Love You Ugly
    7. Magic Mirror
    8. Madness
    9. Demon From Hell
    10. Black Holes in Stereo
    11. Radiation
    12. Eyes of the Muse
    13. Staircase of Diamonds
    14. Eddie's Song
    King Tuff
    $18.99
    Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner)

    If you want to get to the bottom of the cheerfulness and gallantry in Mozart's oeuvre, you can do no better than taking as a contrast one of his compositions that has always been described as gloomy and demonic.

    Putting aside the often-cited vocal heavyweights such as Don Giovanni and Requiem, Mozart's Piano Concerto No. 20, K. 466 occupies a distinguished position as a resonant counterpart to the charming music he wrote for social occasions in that it takes on a new dimension in his instrumental music. The choice of a minor key, unusual for a concerto, lends a dramatic tone to the composition, whereby the soloist and orchestra engage with one another in sharp contrast. Rudolf Serkin, one of the greatest interpreters of Mozart's piano works, allows the immense energy of this concerto to slip through his fingers with due care. He battles his way through the weighty first movement with enthusiasm and verve, lets his fingertips dance daintily through the cantilena of the Romance, and then rousingly celebrates the passionate and fiery Finale with a bell-like touch.

    On the reverse side the Festival Orchestra rounds off this inspiring performance with the filigree and charmingly effervescent Concerto in F major, K. 413 from Mozart's Viennese period - as cheerful as it is gallant.

    Musicians:

    • Rudolf Serkin (piano)
    • The Marlboro Festival Orchestra conducted by Alexander Schneider

    Recording: August 1957 in Marlboro, VT

    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.


    Piano Concerto No. 20 In D Minor

    I- Allegro
    II- Romance
    III- Rondo; Allegro Assai
    Piano Concerto No. 11 In F Major
    I- Allegro
    II- Larghetto
    III- Tempo Di Menuetto
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beulah Beulah Quick View

    $15.99
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    Beulah

    Beulah. It's a small, complicated word with a tangle of meanings.


    It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.


    Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."


    Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."


    And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."


    Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.


    "Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."


    Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."


    White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.


    One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.


    At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.


    The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."


    Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."


    Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."

    1. Black Leaf
    2. What's So
    3. The Once And Future Queen
    4. Make You Cry
    5. Fight For You
    6. Hope I Die
    7. I've Been Over This Before (Feat. The Secret Sisters)
    8. The Martyr
    9. Hate The Way You Love Me
    10. I'll Get Even
    John Paul White
    $15.99
    Vinyl LP - Sealed Buy Now
  • Inferno Soundtrack Inferno Soundtrack Quick View

    $39.99
    Buy Now
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    Inferno Soundtrack

    180 Gram Audiophile Vinyl


    First Pressing Of 1,000 Numbered Copies On Red Vinyl, Black Vinyl Thereafter


    Gatefold Sleeve


    Includes 4-Page Booklet


    PVC Protective Sleeve


    Music Composed By Multiple Award Winner Hans Zimmer



    After waking up in a hospital room in Florence, Italy, with no memory of what has occurred for the last few days, Robert Langdon suddenly finds himself the target of a manhunt. With the help of Dr. Sienna Brooks and his knowledge of symbology, Langdon will try to escape whilst solving the most intricate riddle he's ever faced.


    Inferno is based on the 2013 novel of the same name by Dan Brown. The film is the sequel to The Da Vinci Code and Angels & Demons, and stars Tom Hanks, reprising his role as Robert Langdon, alongside Felicity Jones, Omar Sy, Sidse Babett Knudsen, Ben Foster and Irrfan Khan.


    The score is composed by Grammy, Golden Globe, BAFTA, Academy Award Winner Hans Zimmer (Interstellar, Inception, Pirates Of The Caribbean, Lion King).

    LP 1
    1. Maybe Pain Can Save Us
    2. Cerca Trova
    3. I'm Feeling A Tad Vulnerable
    4. Seek And Find
    5. Professor
    6. Venice
    7. Via Dolorosa #12 Apartment 3C
    8. Vayentha
    9. Remove Langdon


    LP 2
    1. Doing Nothing Terrifies Me
    2. A Minute To Midnight
    3. The Cistern
    4. Beauty Awakens The Soul To Act
    5. Elizabeth
    6. The Logic Of Tyrants
    7. Life Must Have Its Mysteries
    8. Our Own Hell On Earth

    Hans Zimmer
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Fain Fain Quick View

    $17.99
    Buy Now
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    Fain

    Recorded in a beautiful and isolated house in the Yorkshire Dales, Fain is the sound of a band at the peak of their creative powers. It's an honest and natural album that allows its stories, its melodies, its themes and structures to breathe. The album draws on more traditional English and Scottish folk melodies than anything they've done before, but not straying from the drop-out fuzz-rock route they've made their own, the influences are vast - British rock bands like Groundhogs, Dark, Mighty Baby and Peter Green's Fleetwood Mac are evident in the swirling and distorted guitars throughout Fain, along with the 60s revival folk of Fairport Convention, Nic Jones, and Trees. Additionally they have looked towards Scandinavian's rich psychedelic tradition both new and old - you can hear the likes of Mecki Mark Men, Mikael Ramel and contemporaries Dungen. You can even hear the band's teenage forays into Hip-Hop in the drums of 'Thief' and 'Athol'.


    It rained constantly throughout the recording process and the house was so packed with gear and recording equipment the band were forced to sleep in tents and caravans parked outside. Whilst performing, they could look out into the vast countryside and catch sight of buzzards, hares, curlews and hundreds upon hundreds of crows and gulls. The fire was on permanently, overnight and throughout the day. A serene experience that informs every track on the album. It was mixed and finished in the equally rainy London, with additional performances from Olivia Chaney on piano and backing vocals, plus Nic Kearey and Rachel Davies of Stick in the Wheel and Various (XL). Jace Lasek (Besnard Lakes) recorded backing vocals in Vancouver remotely for All Returns.


    As evidenced by the first single All Returns, Fain is more lyrically focused than anything they've previously recorded.. The song tells the story of a dream Jack Sharp (guitars/vocals) had during which an acquaintance had looked into his eyes and seen into his soul whilst calmly describing his faults and inner demons, a truly cathartic experience. However, says Sharp, his life is largely too banal for material and he largely draws upon snapshots of history to furnish him with the ideas for lyrics. Stand out track Thief is taken from various stories of highwaymen that had been made famous by broadsheet ballads and plays - the likes of Charles Peace, William Nevison, Jonathan Wild and Jack Sheppard. He delivers this story in first person, almost as if he is playing the part of a complete degenerate with little or no conscience or morals. As Sharp says, It's like a form of tourism. You can visit but not live in the mind of an appalling human being.

    Empty Vessels
    All Returns
    When the Fire is Dead in the Grate
    Athol
    Hesperus
    Answer
    Thief
    NRR
    Wolf People
    $17.99
    Vinyl LP - Sealed Buy Now
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