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Reflections: Mojave DesertThe project started simply because we were on tour with the band, had just finished FYF fest in LA, and had a week before picking up the rest of the tour in Phoenix. On the way, we stopped for a week near Joshua Tree National Park. The idea was to go somewhere fairly remote and setup to rehearse. It was peak summer, so we set up outside and would be playing throughout the day and night. Whilst we were out playing and exploring the area around us - the sound reflecting from the rocks, the sound of the wind between them, complete stillness at night and packs of roaming coyotes in the distance, it became apparent that we could use this as its own unique recording environment. Anna in our crew creates the projections for our live show but is predominantly a filmmaker. We made a few calls to friends in LA and borrowed some film/sound gear and recorded some of the new music that came out of the rehearsals. Through the process of making this record, we decided to start a series of musical & video explorations in interesting locations, where the music is a function of its surroundings. This first experiment only marks the beginning of this idea, and I am currently seeking new interesting acoustic environments to explore.
- Sam Shepherd, Floating Points1. Mojave Desert
2. Silurian Blue
4. Kelso Dunes
5. Lucerne Valley$24.99Vinyl LP - Sealed Buy Now
ElaeniaElaenia is a dazzling score which puts Floating Points-a.k.a. Sam Shepherd-in the spotlight as a composer who bridges the gap between his rapturous dance music and formative classical roots. Growing up in Manchester-he
started out as a chorister at an early age-Shepherd eventually arrived in London for university, where he spent the next five years recording Elaenia, all the while DJing in cities across the globe and working towards his PhD in
2. Silhouettes (I, II & III)
5. Thin Air
6. For Marmish
7. Peroration Six$19.99Vinyl LP - Sealed Buy Now
Plastic BeachWe rejoin the band as Murdoc the bass player is gathering musicians and collaborators to create the new album. The new Gorillaz empire is set on a strange floating island deep in the South Pacific at the furthest point from any land mass on the planet. Introducing Plastic Beach, an island made entirely of plastic, debris and the washed up remnants of humanity. Amongst the collection of historical remains and discarded rubble, Murdoc finds a book detailing the history of Man right up to the present day, except the last chapter The End of Days has been torn out, the future is missing. Time to get the band together, finish this album and have fun while the sun still shines. To complete the task, Murdoc has assembled some other musicians to join the band at Plastic Beach, these select people would join him on his floating Hellfire Club, as musicians, players and contributors in this wonky, damaged Plastic opera. Mos Def, Bobby Womack, The Horrors, Lou Reed, Little Dragon, rappers Kano and Bashy, Mark. E. Smith, Syrian orchestras, global musicians and more were subpoena-ed to collaborate on this visionary Gorillaz record.1. Orchestral Intro
2. Welcome To The World Of The Plastic Beach
3. White Flag
4. Rhinestone Eyes
6. Superfast Jellyfish
7. Empire Ants
8. Glitter Freeze
9. Some Kind Of Nature
10. On Melancholy Hill
13. Plastic Beach
14. To Binge
15. Cloud Of Unknowing
16. Pirate Jet$18.99Vinyl LP - 2 LPs Sealed Buy Now
AudioQuest Evergreen Interconnect Cable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
RCA to RCA
Different Connection Types & Longer Lengths Available Upon Request
Note: All cables in our Bridges & Falls Series place their left and right channels in a single jacket, and feature our Asymmetrical Double-Balanced geometry with separate high-quality positive and negative conductors. This design allows for a thin, flexible, and uniquely versatile high-performance cable that can be terminated with a variety of today's connections, including 3.5mm (male or female), DIN, and RCA. In Bridges & Falls, you'll find better metals and more sophisticated technologies - including Air-Tube insulation, Dielectric-Bias System, and Noise-Dissipation System - at lower prices than ever before. Do keep in mind, however, that, by necessity, the plugs on Bridges & Falls cables are fairly close together. If the L and R inputs of your components are more than 3 (7.6cm) apart, please consider models from our Rivers or Elements Series.
The Evergreen Point Floating Bridge connects Seattle, Washington (USA) to the Bellevue area across Lake Washington. Since opening in 1963, its 2,285 meters (7,497 ft) makes it the longest floating bridge in the world. The structure includes 33 pre-stressed concrete pontoons averaging 110 meters (360 ft) long and 18 meters (60 ft) wide.
SOLID LONG-GRAIN COPPER (LGC) CONDUCTORS: Solid conductors eliminate strand-interaction distortion. Evergreen's solid Long-Grain Copper allows a smoother and clearer sound than cables using regular OFHC (Oxygen-Free High-Conductivity) copper. OFHC is a general metal industry specification regarding "loss" without any concern for distortion. LGC has fewer oxides within the conducting material, less impurities, less grain boundaries, and definitively better performance.
FOAMED-POLYETHYLENE INSULATION: Any solid material adjacent to a conductor is actually part of an imperfect circuit. Wire insulation and circuit board materials all absorb energy (loss). Some of this energy is stored and then released as distortion. Evergreen uses air-filled Foamed-Polyethylene Insulation on both conductors because air absorbs next to no energy and Polyethylene is low-loss and has a benign distortion profile. Thanks to all the air in Foamed-PE, it causes much less of the out-of-focus effect common to other materials.
METAL-LAYER NOISE-DISSIPATION SYSTEM (NDS): 100% shield coverage is easy. Preventing captured RF Interference from modulating the equipment's ground reference requires AQ's Noise-Dissipation System. Noise-Dissipation System prevents a significant amount of RFI from reaching the equipment's ground plane.
ASYMMETRICAL DOUBLE-BALANCED GEOMETRY: Purpose designed for single-ended applications, Asymmetrical Double-Balanced Geometry offers a relatively lower impedance on the ground for a richer, and more dynamic experience. While many single-ended cable designs use a single path for both the ground and the shield, Double-Balanced designs separate the two for cleaner, quieter performance.
COLD-WELDED, GOLD-PLATED TERMINATIONS: This plug design allows for a connection devoid of solder, which is a common source of distortion. Because the ground shells are stamped instead of machined, the metal can be chosen for low distortion instead of machinability.$32.95Analog-Audio Interconnect Cable (Pair) - Multiple Lengths Available Buy Now
Keep It Like A SecretDoug Martsch is enough of a guitar god to fill Keep It Like a Secret, one of indie rock's strongest 1999 major-label releases, with blazing solos. He's also ambivalent about the whole thing, which allows him to highlight the album with You Were Right, a despairing litany of classic-rock lyrical hooks.
Most guitar heroes make their mark by doing something extravagant, like playing with their teeth or with their instrument in flames. Doug Martsch of Boise, Idaho's Built to Spill has acquired his guru status by simpler means--he combines his trippy, meandering guitar style with classic pop structures. Doug Martsch also wins points for singing about small-scale moments as well as huge moral abstractions, from watching TV to contemplating the center of the universe. By subtly balancing the forest of dense guitars with Doug Martsch's oddly prosaic yet uncannily beautiful singing, Built to Spill hold the rare achievement of making music that's rooted yet allows you to fly. Time Trap begins with a harplike guitar line floating above a heavy wave of distortion, drifts into a reggae pattern, and eventually rises to the high step of musical theater. The charming and funny You Were Right decides once and for all which of the classic-rock clichÉs ring true. You were wrong when you said, 'Everything's going to be all right' / You were right when you said, 'We're all just bricks in the wall.' It is a richly deserved analysis from alt rock's heroic Everyman.1. The Plan
2. Center Of The Universe
3. Carry The Zero
5. Bad Light
6. Time Trap
8. You Were Right
9. Temporarily Blind
10. Broken Chairs$18.99Vinyl LP - 2 LPs Sealed Buy Now
ZEBRA (Pre-Order)Release Date: June 22, 2018*
With ZEBRA, the fourth Arp long-player, NY-based artist/producer/DJ, Alexis
Georgopoulos has boldly stepped into vastly new musical territory - blurring the lines
between electronic and acoustic, between the experimental impulse and the addictive pop
sensibility. Reaching across genres - colliding modern composition with post-pop
structures, dub techniques and three-dimensional geometries - Georgopoulos creates a
delirious m lange of sound, spellbinding in its range.
Using forward-looking production techniques and an idiosyncratic instrumental palette -
analog synthesizers, double bass, Fender Rhodes, electronic and acoustic drums, flute,
harmonizers and tape delay - Georgopoulos paints a topography of sound, hinting at an
astonishing range of styles - 4th world tremors, vibey cosmic jazz, forward-looking 80s
Japanese production, floating kosmische drum atmospherics. Like transmissions through a
medium wave receiver, it moves, liquid-like, in flow motion. A mutant offspring of diverse
stylings, unlikely convergences, unfixed constellations, stretching ... into new mutations. All
that's solid melts to air, all that's air crystallizes into rhythm, shifting through multiple
atmospheres, telling a complicated story that compels repeat listens.
ZEBRA emphasizes 'points of connectivity' in a time when reactive and fractious isolationism
threaten to emphasize division.
*Please note that release dates are subject to change.1. Halflight Visions
4. Folding Water
7. Moving Target
8. A Clearing
10. Reading A Wave
11. Fiji$24.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Rega Planar 3 Turntable
Need help choosing the right turntable for you? Please contact our audio advisor at 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
**All Cartridges Installed Free Of Charge**
Replacing the multi award winning and five times What Hi-Fi? Product of the Year (RP3) was never going to be an easy task. It took a team of designers headed up by Rega's Roy Gandy, two years to develop the all new 'Planar 3' following the biggest re-design of the iconic 'three' model ever seen.
The Rega team has worked tirelessly to improve every aspect of this turntable offering improved ergonomics, usability and first and foremost, sonic performance.The new 'Planar 3' is truly a new turntable for 2016 carrying over just two components from the previous model.
New features of the Planar Three:
RB330 tonearm - Designed using the latest 3D CAD & CAM technology, the new RB330 is the culmination of more than 35 years of tonearm design experience. Featuring a brand new bearing housing, and our latest tonearm tube designed using intelligent redistribution of mass ensure this arm will exhibit fewer points of possible resonance. Extreme stability with almost friction free movement from the new high precision bearing assemblies guarantees to gather more information from your vinyl than ever before.
- Featuring a new bias assembly, re-designed stiffer vertical bearing housing, integrated
arm clip and an improved spring housing with easier to read numbers.
- Rega made, new low capacitance phono cable with Neutrik plugs,
- Improved lower friction, precision horizontal and vertical bearings
- New design 100g mild steel balance weight.
Plinth - High gloss acrylic, laminated plinth, stiffer and vastly improved appearance, ergonomically positioned power switch.Two plinth finishes at launch: gloss black & gloss white
Double braces - Improved thicker 3mm phenolic bottom brace and new metalised skin phenolic top brace.
Bearing housing - Re-designed brass main hub central bearing, improved fit and construction reducing stress on the bearing itself.
Sub platter - Re-designed sub platter, improved accuracy and improved stiffness.
Platter - New float glass 'Optiwhite' polished rim 12mm - Improved accuracy in manufacture and stunning looks.
Re-designed foot - New improved foot to increase stability and reduce vibration transfer.
24V motor - Improved new motor control PCB with integration for the addition of TT-PSU for electronic speed change and improved advanced anti-vibration circuit (sold separately).
Motor cover tray with integrated cooling.
DB Technology (Double Brace Technology)
Mass absorbs energy - lost energy equals lost music!
Rega has pioneered the use of lightweight rigid plinths. Clever use of lightweight particulate core with a highly rigid phenolic resin skin became the foundations of the high level of performance achieved by the now iconic original Planar range.
The new Planar 3 takes this design philosophy to the next level. A lightweight acrylic laminated plinth strengthened using a new improved double brace system mounted specifically where the increased rigidity is required (between the tonearm mounting and the main hub bearing) which forms a structurally sound stressed beam assembly. This rigid plinth design prevents energy absorption and unwanted resonance, which will add unnatural distortions to the music.
Equally, heavier mass can transfer more unwanted energy, such as motor or bearing noise directly into the rotating record. The use of braces instead of the complete skin allows double thickness phenolic resin in these key areas while providing further weight reduction to the plinth which directly addresses the issue of mass absorption and unwanted energy transmission.
Hand assembled RB330 tonearm.
24v low noise motor / 12mm float glass platter.
Lightweight double braced plinth.
Precision main bearing.
Factory fitted Elys2 MM cartridge or mounted with Ortofon 2m Blue cartridge (optional).
Compatible with the TT-PSU electronic speed change and power supply box (optional).$945.00Planar Turntable - Black, White, or Red - Cartridge Options Buy Now
- Featuring a new bias assembly, re-designed stiffer vertical bearing housing, integrated
Time To Go HomeChastity belt is a rock band consisting of four friends - guitarists Julia Shapiro and Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. They met in a tiny college town in eastern Washington, but their story begins for real in Seattle, that celebrated home of Macklemore and the twelfth man. Following a post-grad summer apart, a handful of shows and enthusiastic responses from the city's diy community led them, as it has countless others, into a cramped practice space. They emerged with a debut album, No Regerts, sold it out faster than anyone involved thought possible, and toured America, a country that embraced them with open-ish arms. Now they're back and the tab is settled, the lights are out, the birds are making noise even though the sun isn't really up yet: it's time to go home, their second long-player and first for hardly art. In the outside world, they realized something crucial: they didn't have to play party songs now that their audience didn't consist exclusively of inebriated 18-22 year olds, as it did in that college town. Though still built on a foundation of post-post-punk energy, jagged rhythms, and instrumental moves that couldn't be anyone else's, the songs they grew into in the months that followed are equal parts street-level takedown and gray-skied melancholy. They embody the sensation of being caught in the center of a moment while floating directly above it; shapiro's world spins around her on on the floor, grounded by Grimm and Truscott's most commanding playing committed to tape. They pay tribute to writer Sheila Heti on drone and John Carpenter with the thing, and deliver a parallel-universe stoner anthem influenced by electrelane with joke. recorded by JosÉ Díaz Rohena at the unknown, a desecrated church and former sail factory in anacortes, and mixed with a cathedral's worth of reverb by Matthew Simms (guitarist for legendary british post-punks and one-time tourmates Wire), time to go home sees Chastity Belt take the nights out and bad parties of their past to their stretching points, watch the world around them break apart in anticipatory haze, and rebuild it in their own image with stunning clarity before anyone gets hungover.1. Drone
3. Why Try
4. Cool Slut
5. On the Floor
6. The Thing
10. Time To Go Home$15.99Vinyl LP - Sealed Buy Now
Give Me The Night (Pure Pleasure)This is the peak of George Benson's courtship of the mass market -- a superbly crafted and performed pop album with a large supporting cast -- and wouldn't you know that Quincy Jones, the master catalyst, is the producer. Q's regular team, including the prolific songwriter Rod Temperton and the brilliant engineer Bruce Swedien, is in control, and Benson's voice, caught beautifully in the rich, floating sound, had never before been put to such versatile use. On Moody's Mood, Benson really exercises his vocalese chops and proves that he is technically as fluid as just about any jazz vocalist, and he become a credible rival to Al Jarreau on the joyous title track. Benson's guitar now plays a subsidiary role -- only two of the ten tracks are instrumentals -- but Q has him play terrific fills behind the vocals and in the gaps, and the engineering gives his tone a variety of striking, new, full-sounding timbres. The instrumentals themselves are marvelous: Off Broadway is driving and danceable, and Ivan Lins' Dinorah, Dinorah grows increasingly seductive with each play. Benson should have worked with Jones from this point on, but this would be their only album together.
- George Benson (vocal, guitar)
- Lee Ritenour (guitar)
- Herbie Hancock (electric piano, synthesizer)
- Kim Hutchcroft (saxophone, flute)
- Jerry Hey (trumpet)
- Abraham Laboriel (bass)
- Paulinho Da Costa (percussion)
- Carlos Vega (drums)
Recording: 1980 by Bruce Swedien
Production: Quincy Jones
About Pure Pleasure
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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.1. Love X Love
2. Off Broadway
3. Moody's Mood
4. Give Me The Night
5. What's On Your Mind
6. Dinorah, Dinorah
7. Love Dance
8. Star Of A Story (x)
9. Midnight Love Affair
10. Turn Out The Lamplight$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Beethoven: Violin Sonata Op. 96 & Op. 25200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
Stereophile's Recording of the Month For February 1984
Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984
David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.
Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.
The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.
David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.
Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.
The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.
This title is not eligible for discount.1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Nat King Cole StoryAnalogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out! - David W. Robinson, Positive Feedback, Issue 52
The results on this five 45rpm 180g LP set are simply astonishing, particularly if you've heard the originals. The transparency, dynamics and three-dimensionality create the intense sensation of being in the studio with the musicians and especially with Cole who appears as a visceral, floating apparition between the speakers. The size and three-dimensionality of the vocal image produces the sensation of the listener being a 'fly on the microphone mike stand' listening to Cole perform, surrounded by musicians. The arrangements and performances are faithful to the originals but the sound of course is far superior. The feeling is of sitting in on history by being there, not merely eavesdropping after the fact. Music = 10/11; Sound = 11/11 - Michael Fremer, Musicangle
...mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin - as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue. Stereophile Records To Die For - Michael Fremer, Stereophile, February 2010
One of Nat King Cole's crowning achievements and a fittingly lavish celebration of a cultural and musical icon, The Nat King Cole Story offers a glorious overview of the career of one of the greatest and most beloved performers in popular music history. 38 tracks, many re-recorded in stereo for this anthology, offer a selection spanning his popular career.
His beginnings leading the popular jazz-oriented Nat King Cole Trio are represented with selections including Route 66 and I Love You (For Sentimental Reasons). Hits including Nature Boy, Mona Lisa, Unforgettable, Orange Colored Sky, Night Lights and Looking Back are here to represent his unparalleled string of memorable hits as a popular vocalist. Calypso Blues and Ay Cosita Linda help illustrate the range his projects could cover. More contemporary to this anthology, selections including Wild Is Love are augmented here with two huge hits as a special bonus, Ramblin' Rose and Those Lazy, Hazy, Crazy Days of Summer to further expand the scope.
A talent and voice for all times with a body of work that could and did help define their eras, Nat King Cole's career offers some of the finest, most enduring and treasured recordings ever made. Nat King Cole could never be fully served by any one set. But this wonderful cornucopia stands as a fantastic celebration for the enthusiast and a good starting point for someone just beginning to explore The Nat King Cole Story.
Using the original first generation 2-track and 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings in this 45-RPM 180-gram five album set.
Originally presented as a deluxe box set of 3 LPs in a canvas-bound embossed box with essays and pictures included in a album-sized booklet, The Nat King Cole Story was a prestigious release Capitol took obvious pride in. Complete with 5 LPs, canvas-bound embossed box and booklet with essays and pictures, Analogue Productions proudly recreates the experience for a new generation to cherish with this deluxe release. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.
There are 38 songs in this collection. Of those, three are the same recordings included on other Analogue Productions Nat King Cole reissues. Stardust (track 28) is the same version included on Love Is The Thing. St. Louis Blues (track 30) is the same version included on the album of that title. And Paradise (track 33) is the same version included on The Very Thought Of You. Three more songs - Sweet Lorraine, It's Only A Paper Moon and (Get Your Kicks On) Route 66 - are songs that appear on After Midnight, however these versions are stereo re-recordings of the original arrangements from the 1940s.
This title is not eligible for discount.1. Straighten Up And Fly Right
2. Sweet Lorraine
3. It's Only A Paper Moon
4. (Get Your Kicks On) Route 66
5. (I Love You) For Sentimental Reasons
6. The Christmas Song (Merry Christmas To You)
7. Nature Boy
8. Lush Life
9. Calypso Blues
10. Mona Lisa
11. Orange Colored Sky
12. Too Young
14. Somewhere Along The Way
15. Walkin' My Baby Back Home
17. Blue Gardenia
18. I Am In Love
19. Answer Me, My Love
21. Darling, Je Vous Aime Beaucoup
22. The Sand And The Sea
23. If I May
24. A Blossom Fell
25. To The Ends Of The Earth
26. Night Lights
29. Send For Me
30. St. Louis Blues
31. Looking Back
32. Non Dimenticar (Don't Forget)
34. Oh, Mary, Don't You Weep
35. Ay, Cosita Linda
36. Wild Is Love (spoken intro and song)
37. Ramblin' Rose
38. Those Lazy-Hazy-Crazy Days Of Summer$149.99200 Gram Audiophile Virgin Vinyl 45 RPM Box Set - 5 LPs Sealed Buy Now
MetalsOn her new 12-song collection, Metals, Canadian singer/songwriter Feist is joined by her longtime collaborators Chilly Gonzales and Mocky. The trio spent a frigid month Trying to sound like we had played together as long as we'd collectively known each other, around 50 years, then decamped for California's rugged Big Sur coastline to record them. Feist co-produced the album with her aforementioned collaborators and Valgeir Sigurosson (Bjork, Bonnie 'Prince' Billy.)
Recording can be a weightless free float from your day-life, and I like to pick places with certain fertile qualities that can give me a visual hook that I'm there to do something other than what I would otherwise do. And that clean line between land and see, the graphic edge of the continent pointing out toward the east, meaning not the Atlantic next stop Europe feeling, but next stop somewhere you've never been, Feist says. Plus, you are somewhere that looks completely unfound and yet it's been so perfectly recorded literarily. Steinbeck made 1000 albums there! Henry Miller and Anais Nin probably considered that line between land and sea, too. And on top of it, we truly found the perfect room to build a studio in, perched on the cliffs. A giant empty space.
Metals' songs range from low rumbling and moody ambiences to brutal and intense, as if it sonically maps the fog rolling in and the resulting cracking of thunder. There's a lot more chaos and movement and noise than I've had before, Feist says. I allowed for mistakes more than I ever have, which end up not being mistakes when you open things up and make room for them. It was about un-simplifying things and leaning on these masterful minds I have so much respect for. We were sort of testing the air, like a sea captain licks his finger to see which way the wind is coming from. It was less Brill Building and more naturalistic.1. The Bad In Each Other
3. Caught A Long Wind
4. How Come You Never Go There
5. A Commotion
6. The Circle Married the Line
7. Bittersweet Melodies
8. Anti Pioneer
9. Undiscovered First
10. Cicades and Gulls
11. Comfort Me
12. Get It Wrong, Get It Right$24.99Vinyl LP - Sealed Buy Now
Clearaudio Master Innovation Wood Turntable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
The lowest platter (the lower of two drive platters) is belt-driven by a low-noise, high-torque DC motor controlled by Clearaudio's Optical Speed Control (OSC) technology, which is a microscopic reflective strobe and infrared sensor that ensures incredible speed accuracy.
The dynamically balanced main platter, a precision-machined sandwich of 70mm of high density polymer and 15mm of stainless steel, is connected to the upper drive platter by Clearaudio's patented Ceramic Magnetic Bearing (CMB), so that the main platter and upper drive platter assembly floats on a magnetic field just above the lower drive platter with no point of load to wear or to generate friction and noise.
The two drive platters contain a magnetic clutch so that the upper drive platter and the main platter are driven with no physical connection to the drive source.
In addition to providing silent and frictionless drive, this system gives the Master Innovation Wood twice the flywheel mass of the renowned Clearaudio Innovation Wood turntable.
The combination of the no-contact magnetic drive, frictionless Ceramic Magnetic Bearing, and Optical Speed Control guarantee incredible pitch stability and freedom from noise, ultimately leading to unbelievably realistic musical reproduction.
The chassis features four layers of a complex sandwich of resonance-damping materials: aluminum and Panzerholz (bulletproof wood).
The Master Innovation can accommodate up to three tonearms, allowing for complete flexibility of tonearm and phono cartridge.
In keeping with Clearaudio's commitment to long-term customer satisfaction, Innovation Wood owners are able to upgrade to the Master Innovation Wood.
- Magnetic drive system from the Clearaudio Statement turntable with additional 15mm stainless steel sub-platter
- 70mm thick POM main platter and 15mm stainless steel sub-platter
- Upper platter uses 85mm Ceramic Magnetic Bearing (CMB)
- Decoupled 3 speed DC motor with Optical Speed Control (OSC)
- Pushbutton electronic speed selection
- 4 Tri-star plinths featuring solid Panzerholz and aluminum sandwich construction
- 3 tonearm capability
- Field upgrade path from Innovation Wood
- Optional piano black lacquer finish over Panzerholz, clear lacquer over Panzerholz standard
- Drive platters available in black POM or clear acrylic
European Piano Black Lacquer finish (+$2000)
European Piano Red or White Lacquer finish (+$3500)
*contact us to apply upgrades to order$32,500.00Master Innovation Wood Turntable - Black Or Silver, Tonearm Options Buy Now
- Magnetic drive system from the Clearaudio Statement turntable with additional 15mm stainless steel sub-platter
If You Wait
"Longing, loving, leaving: Those are the boundaries of the impeccable
pop universe that London Grammar has built for itself."
- The New York Times
"A stylish debut that demonstrates both their immense
talent and impressive instincts."
THE NEXT BIG THING. Such a label serves at once as a curse and a blessing, for messianic crowns come studded with thorns, and chalices emblazoned with this inscription are often tainted with poison. Custodians of the title can implode under the weight of expectation, or fail to bottle further the magic of that first hit single.
Not so for English art-rock trio London Grammar. Hannah Reid, Dot Major and Dan Rothman have been careful to avoid the dangers of over-exposure in the nine months since first single "Hey Now" seared itself into the collective consciousness of the blogosphere, instead releasing work after work of gradually escalating beauty from the safety of the shadows.
That was until Disclosure dropped their album Settle, at which point London Grammar vocalist Hannah Reid came to wider attention on sweeping album closer "Help Me Lose My Mind," where her spine-tingling soulful singing combined with the wash of swooning synths and downbeat 80's percussion. It will come as no surprise to fans of this track to learn that Reid's magnificent vocals are integral to London Grammar's sound, serving as the perfect accompaniment to the band's discreet production and minimalist instrumentation.
The same words will be used ceaselessly to describe Reid's vocals in coming weeks - "haunting", "brooding", "ethereal". Yet none of these terms adequately conveys the way her voice melts and evolves to suit the temperament and melody of each song on If You Wait, flowing like molten gold on "Interlude", or acquiring the varied textures of a vast swathe of satin and silk on "Nightcall". Her vocal is always underscored by an enduring brittle beauty and an underlying otherworldliness, as if she honed her craft singing amidst the forests of Lothlórien, or some far-flung corner of Westeros.
Though her voice may be otherworldly, the thematic concerns of the album are very much rooted in this world - youth's timeless preoccupation with finding not only love but the nature of ourselves. These soundscapes and the lyrics that populate them are characterised by broken hearts, fractured dreams and people falling in and out of love. Perhaps the most telling lyric of all is on "Wasting My Young Years", with the heart-breaking concession of "I've heard it takes some time to get it right".
The album's first single and opening track "Hey Now" has lost none of its grandeur and remains as devastatingly beautiful as it did when released at the tail-end of 2012. It's the main track on If You Wait that justifies the comparisons with The XX - especially in terms of how the band forges the space and atmosphere from reverb-tinged percussion and Rothman's discreet, almost-spectral guitars. "Wasting My Young Years" further showcases how perfectly the band balance the interplay between Reid's vocal and the twinkling keys and subtle instrumentation that floats around it, allowing it to drive the song and dictate proceedings but never once to feel overbearing.
Latest single "Strong" mirrors the intricately weaved threadwork of sounds and elaborately crafted sense of space showcased on the opening track, but utilises a more hypnotic vocal from Reid that manages to sound simultaneously heart-rending and inspiring. Elsewhere "Interlude" is as refined a paean to love and devotion as you will hear all year, matching dual melancholic piano lines and subtly building percussion to Reid's sublime wistful singing.
There is not a single weak track, but amongst the many highlights is a spellbinding cover of French house artist Kavinsky's "Nightcall". There's a particularly gorgeous moment around the two-minute-thirty-second mark when the instrumentation is peeled away and, for a few seconds, you think the song will end - before Reid's dazzling vocal is re-introduced amidst a haze of swirling keys. It's nothing short of transcendent. Also, the flawless sequencing leads to an album that begs you to drink in its beauty by listening to it from beginning to end.
This is an enthralling, stunning, deeply emotive album that perfectly marries understated electronica to sublime vocals and melodies. In a year dominated by titanic LPs, London Grammar have not only made the most perfectly formed debut album of the year - they've made one of the best LPs, period. [A-]
- Benji Taylor (Pretty Much Amazing)1. Hey Now
2. Stay Awake
4.Wasting My Young Years
8. Metal & Dust
9. Interlude (Live)
11. If You Wait
13. High Life*
14. Strong (US Radio Edit)*
*US Bonus Track$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Moon TidesIt's a rare and beautiful thing when a band emerges fully formed, but it makes perfect sense in the case of guitarist Daniel Hindman and keyboardist Sarah Versprille's Pure Bathing Culture. Having backed folk rock revisionist Andy Cabic in Vetiver, the New Yorkers partnered up and moved West in 2011, settling in Portland, Oregon. Building off their past experiences as musical collaborators, in a short time the duo have created a sound that is undeniably their own: soaring synths, chiming keyboards, and shimmering electric guitars move in lockstep with bouncing drum machines. Sarah's crystalline voice floats on top of it all with divine purpose. It's a sound that looks back momentarily for inspiration -- Talk Talk, Prefab Sprout, Cocteau Twins -- but then fixes its gaze firmly on the present.
Further developing the sound of their acclaimed four song, self-titled 2012 EP, at the start of 2013 they set out to record Moon Tides, their first full length album. Again, they chose to work with producer Richard Swift at his National Freedom studio in rural Cottage Grove, Oregon. Throughout 2012 Swift had called on the duo to help him with other studio projects (Versprille sings on Foxygen's latest LP and Hindman adds his sprawling guitar work to Damien Jurado's excellent Marqopa) which only helped to cement the threesome's musical partnership. For Moon Tides they continued where the previous EP left off, bolstered by Swift's belief in the duo's artistic vision and their unique sound, "From very early on, Richard was the person telling us that what we were hearing and wanting to do musically (which at times could feel a little strange or embarrassing to us) was ok and valid and that we should pursue it."
Like the earlier sessions for the EP, they worked quickly in the studio and improvised parts around the basic song structures that they'd carefully composed up in Portland. Dan explains, "Pretty much all tracks (vocals and instruments) are all first or very early takes. Richard is kind of a stickler about this and I actually don't go in with a clean, pristine idea of what I'm going to play on guitar or any other instrument for that matter, so there's actually a lot of improvisation as far as performances in the studio go." The results, like the earlier EP, are astounding: the arrangements feel fresh and imaginative, the melodies are unforgettable and the finished songs, most importantly, feel intensely human and deeply spiritual.
It's this compassion and warmth in Pure Bathing Culture that set them apart. The music is uplifting. It invites self-reflection. It never feels alienating. This, confirms the band, is no accident: "Concepts of spirituality, self actualization, mysticism, new age symbolism and pretty much anything that has to do with humans making sense of why we're all here are all deep, deep muses for us." To that point, even the album title Moon Tides alludes to self-discovery: "We are deeply inspired by the relationship between the moon and the tides. Particularly in the sense that the tides and the ocean are comprised of water and the element water is often associated with human emotion." While these heady themes can be difficult to explore in a pop song, Pure Bathing Culture makes it feel effortless. "Pendulum" is a perfect mid-tempo album opener that pulses and shines. Other standout tracks from the album -- "Dream The Dare", "Twins", "Scotty" and "Golden Girl" -- are slices of reverb-drenched, soulful, danceable electro-pop, that musically and lyrically tap into an introspective worship of the natural and psychic mysteries that surround us. Pure Bathing Culture's debut album Moon Tides is optimistic modern music for souls who seek to explore the infinite.1. Pendulum
2. Dream The Dare
3. Ever Greener
5. Only Lonely Lovers
7. Seven to One
8. Golden Girl
9. Temples Of The Moon$15.99Vinyl LP - Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now