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Music From Sleeping Beauty (Picture Disc)Music From Sleeping Beauty features songs from the 1959 animated Disney film, Sleeping Beauty, on an exclusive double-sided picture disc.1. Main Title (Once Upon a Dream)
2. Hail To the Princess Aroura
3. The Gifts of Beauty and Song / Maleficent Appears / True Love Conquers All
4. Blue Bird / I Wonder
5. Woodland Symphony / Once Upon a Dream
6. The Three Good Fairies (Sing a Smiling Song)
8. Maleficent's Evil Spell
9. Sleeping Beauty
10. Fairies To the Rescue / Bacchanal
11. The Prince Dreams of Sleeping Beauty
12. Battle with the Forces of Evil / Awakening / Finale$21.99Vinyl LP Picture Disc - Sealed Buy Now
Tchaikovsky - The Sleeping Beauty (Speakers Corner)
His symphonies are ballets, his ballets are symphonies; such has often been said about Tchaikovsky's lengthy dance compositions. This opinion is not entirely due to the fact that these works had to please the audience without being danced to after Diaghilev's legendary ballet company was dissolved. Rather more, Tchaikovsky's instrumental and incidental music is pervaded by movement and dance rhythms that act as a musical scaffolding.
Almost as legendary as the incomparable heritage of Russian music is the reputation of the Orchestre de la Suisse Romande, whose recordings are famed for their lush and saturated sound colouring. Ansermet transforms the score into a veritable firework of sound, without ever straining after cheap effects by means of a thunderous sound; the strings are clean and warm in all registers, the brass volleys blare out keenly, and the percussion is dauntlessly resolute. This performance and Decca's customary excellent sound recording render great homage to this music. All the more reason to be glad that this particular Sleeping Beauty has been awakened at long last.
Recording: March and April 1959 at Victoria Hall, Geneva (Switzerland), by Roy Wallace
Production: James Walker
Format: 3LPs 33rpm
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
This title is not eligible for discount.1. The Sleeping Beauty$95.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of ItClear Colored Vinyl LP
The Manchester-bred band has built its reputation here and overseas on the strength of its rollicking live shows as well as its self-titled 2013 debut album, which entered the UK album chart at No. 1. It has done well over half a million in sales and stream album equivalents, fueled by the success of the gold-certified single "Chocolate." October 2015's "Love Me" marked the first single to be released from The 1975's upcoming new album.LP 1
1. The 1975
2. Love Me
4. A Change Of Heart
5. She's American
6. If I Believe You
7. Please Be Naked
9. The Ballad Of Me And My Brain
1. Somebody Else
2. Loving Someone
3. I like it when you sleep, for you are so beautiful yet so unaware of it
4. The Sound
5. This Must Be My Dream
8. She Lays Down$38.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
While You Were SleepingJosÉ James has announced a his new album, While You Were Sleeping, his fifth studio album and his second album for Blue Note Records. While You Were Sleeping is the follow-up to his widely acclaimed R&B and jazz steeped No Beginning No End, and signals a new creative direction for the versatile singer-songwriter. The album was recorded in Brooklyn, NY, and was produced by JosÉ and Brian Bender.
That creative shift is heard in the rock edge of tracks like "EveryLittleThing" and "Anywhere U Go" and is evidenced in a change in JosÉ's band which adds guitarist Brad Allen Williams to the stellar line-up of keyboardist Kris Bowers, bassist Solomon Dorsey and drummer Richard Spaven. The influence of Jimi Hendrix can be heard throughout the album as much as R&B forefathers like Al Green. Special guests on While You Were Sleeping include vocalist Becca Stevens who duets with James on her song "Dragon," as well as trumpeter Takuya Kuroda who is featured on the cover of Green's classic "Simply Beautiful" that closes the album.
This album is a synthesis of everything I love about music," says JosÉ, "from contemporary artists like Frank Ocean, James Blake, and Junip to groundbreaking artists I grew up with like Nirvana, Radiohead, and Madlib. It's also a love letter to many late nights spent in East London clubs like Plastic People and Cargo, watching new movements unfold in electronic music. I want people to feel the joy of discovery that I experience night after night onstage, reaching for something new.
NPR Music raved about No Beginning No End, proclaiming "James makes utterly contemporary music," adding that he "skirts categories with ease, fitting in with current R&B innovators like Frank Ocean or Miguel, yet maintaining a strong awareness of a lineage that stretches from Ray Charles to Marvin Gaye to Lou Rawls to Maxwell."
Pitchfork noted that "While he's always been one to try stuff out - he successfully collaborated with Flying Lotus on Blackmagic - on No Beginning No End he finds a way to make an eclectic approach feel unified and whole. With previous releases, he's earned his heroic acclaim in the tough, tried-and-trusted lanes of contemporary jazz. With No Beginning No End, he's built his own road out."1. Angel
2. U r the 1
3. While You Were Sleeping
4. Anywhere U Go
6. 4 Noble Truths
7. Dragon feat. Becca Stevens
9. Without U
12. Simply Beautiful feat. Takuya Kuroda (Al Green)$19.99Vinyl LP - 2 LPs Sealed Buy Now
For The Beauty Of WynonaSuperproducer Daniel Lanois took a rare turn on center stage as a performer on his second solo release, For the Beauty of Wynona. Released in 1993, the album follows his earlier release, Acadie. Unlike that album, which had some superstar appearances, For the Beauty of Wynona is a more low-key affair and has a more subtle impact. Lanois has a limited range as a vocalist, but he possesses a warmth that draws in the listener. Producing himself, Lanois also is an accomplished guitarist, although his protÉgÉ, Malcolm Burn, also adds some guitar as well as keyboards. The music is often moody and watercolored, but there are some more upbeat moments like the jaunty melody of Sleeping in the Devil's Bed, which has a country feel, and the single Lotta Love to Give, which is wispy but anchored by twang guitar and has a catchy chorus and serrated guitar solo. For the Beauty of Wynona is not an immediately striking album but rather one that slowly grows on the listener. It also proves that Lanois has something to say on his own.
-All Music Guide1. The Messenger
2. Brother L.A.
3. Still Learning How To Crawl
6. The Collection Of Marie Claire
7. Death Of A Train
8. The Unbreakable Chain
9. Lotta Love To Give
10. Indian Red
11. Sleeping In The Devil's Bed
12. For The Beauty Of Wynona
13. Rocky World$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Maps For SleepFormed in the Fall of 1991 by Brandon Capps (guitar/vocals), Kimber Lanning (drums) and Tim Patterson (bass), Half String created a lush, guitar-driven brand of noise pop. Their sound was an antidote to the desert jangle bar band scene that dominated Tempe, AZ at the time. While the group shared an aesthetic with much of the British shoegaze scene, and occasionally recalled the spirit of early 4AD and Factory Records, they certainly carved out a beautiful noise all their own. During their austere six-year lifespan, Half String inspired an underground music scene in their hometown, and gained a small but loyal following from beyond the desert.
Half Strings first demo was hand delivered to Independent Project Records Bruce Licher during the summer of 1992. Impressed, Licher released the 3-songs as the Eclipse 7 single on his revered post-punk fine art imprint. Matt Kruse joined on second guitar in 1993, adding another layer of texture and intricate melody to the bands broadening sound. This was evident on Oval, Half Strings second single, and the subsequent Tripped Up Breathing EP, both released by IPR in 1994. Patterson left the band that Winter, and was replaced by Dave Rogers, a multi-instrumentalist who added backing vocals.
In 1995, Germanys Pop Goes On! and IPR co-released Eclipse*Oval*Hue as a CD mini-album collecting together the first two singles along with three unreleased tracks. Later that same year, the group recorded their debut album, A Fascination With Heights. Issued by IPR in 1996, this would be Half Strings last release before the band parted amicably the following Summer and the fifth addition to Captured Tracks' recently launched Shoegaze Archives series.1. Eclipse
2. Maps for Sleep
7. Sun Less Sea
10. Quiet Like Seeds
12. Brief As Photographs
13. Landscape Burning
14. Tripped Up Breathing
17. Featherweight$35.99Vinyl LP - 2 LPs Sealed Buy Now
A Sleep & A ForgettingIslands new album A Sleep & A Forgetting continues the bands penchant for crafting adventuresome and infectious state of the art pop music. But this time band leader Nick Thorburn has infused the songs with a personal introspection that gives the record a new and powerful emotional resonance. The new album was produced by Thorburn and fellow Islands member Evan Gordon in less than two weeks, and the 11 songs were recorded live with hardly a single overdub. Its a stripped down process and beautifully understated sound which only reinforces the confessional content of the lyrics.
This comes together to striking effect on songs like the darkly dramatic Oh Maria, written in the voice of Buddy Hollys anguished young widow and her reoccurring crash site dreams. She would have these dreams about being in the field where his plane went down,Thorburn says. She would be trying desperately to get past all the bystanders to see him one last time. Its such an evocative story it just stuck with me. And its absolutely consistent with the albums themes of heartbreak, death and dreaming. Far from being selfâ€pitying, A Sleep & A Forgetting powerfully transforms personal unrest into affecting and soulful pop music.
The LP version of A Sleep & A Forgetting comes with a cool and unique hidden track, toward the end of side 2 the album comes to false end with a locking groove of ambient loops. Listeners may then lift the stylus and find a hidden bonus track that closes the LP.1. In A Dream It Seemed Real
2. This Is Not A Song
3. Never Go Solo
4. No Crying
6. Can't Feel My Face
7. Lonely Love
8. Oh Maria
9. Cold Again
10. Don't I Love You
11. Same Thing$19.99Vinyl LP + CD - Sealed Buy Now
The Violent Sleep Of ReasonPressed On Grey / Black Splatter
Limited To 1000 Copies
The Violent Sleep of Reason, the band's eighth full-length studio album, finds MESHUGGAH building upon their legacy for fearless metal sculpting within the context of extreme metal, but also recapturing some of the magic and excitement specifically within the aspect of performance, finding flow and groove that would be a challenge for any lesser band to locate, given such technical geometric madness at mischievous hand.
"There's a distinct methodology", says drummer, writer and spokesman for the band Tomas Haake, that was put into motion to help the band achieve the level of "intensity" the attentive fan will feel as he/she makes their way through The Violent Sleep of Reason.
For this one, it's all live takes, with either 3 or 4 of the band members recording their respective instruments simultaneously - which is a way of recording they haven't used in many years. And that definitely goes against the stream of what you see in most technical metal nowadays, where editing, drum programming, the use of "beat detectives" etc. is a way more common approach to recording. So on this one, MESHUGGAH went back towards a more old-school approach, properly rehearsing the songs as a whole band before going into studio to record them. Jens was in one room, guitarists were in one room, bass player Dick was sitting right next to the drum set with an amplifier/cab in the next room. So in that sense this is more "old school"; the methodology is in that sense more like what bands were doing in the '80s and 90s. "And that vibrancy comes out", says Haake; "it's a very audible difference, sloppier sounding if you will, but at the same time it brings a different energy than the last few albums - this is "less perfect", but in that sense, also more alive."
The personal challenge taken on by the band produced fortunate byproducts as well, or, rather, it inspired them to "de-machine" other aspects of the technical MESHUGGAH juggernaut.
"Yes, for this one we also changed our approach toward the guitar recording/sounds," explains Haake, who nonetheless confirms that the band is still using eight-string axes, and for the most part, tuning down half a step to achieve that torrid MESHUGGAH guitar grunt. "The last few albums have been mostly digital, guitar sounds-wise, using all digital guitar gear as opposed to analog tube amps and regular cabs. The upside of using all digital like we did previous, is you can re-amp it afterwards, as it's basically a clean signal so you can pick, choose, and tweak things at a later point. But with this album, it was six speakers, all separately miked in one (super-loud) room, each cabinet with a different head -Marshall, Orange, Mesa Boogie etc-and then mixing it up a little bit depending on the song. If there was a song that was a little slower and sludgier, we might add more of the Orange amp to get a tad more of that stoner sound. And if it's a bit more metal, we'd maybe use the Marshall head or the Mesa head a little more in the mix. So we did have the opportunity, to mix and match for each song so the guitar sound is not exactly the same for every song. And that's a difference from Koloss and obZen, for example, where pretty much every song had the same drum and guitar sound."
But the end result is still a relentless onslaught of MESHUGGAH -patented ideas, save for one gorgeous and atmospheric respite, at the close of "Stifled."
Framing the pacing and contours of record, Tomas says, "None of the songs stick out quite like, for example, the way "Bleed" did on obZen. To me, it doesn't really have hits-it just has really cool songs! Not that we ever really had "hits" though (laughs). They're just maybe a little "wilder" sounding on this album, much due also to the live recording approach. Dick and I wrote about half of the material, and the rest was either me and Mårten working together or Mårten writing on his own. We were kind of going for something nuts as is the case with all our writing/recording albums - We wanted to hear something that we hadn't heard ourselves do before." Fredrik was not part of the songwriting for this one, as he's been hard at work on his next solo album, but as always he was still very involved with every aspect of the recording, from recording rhythm guitars, guitar solos etc . "And that's also a completely new thing," continues Tomas. "Dick was never involved in the songwriting prior to this album, whereas Fredrik always was. And that, of course, creates a difference in the way the album as a whole came out."
At the lyrical end, highlights include the title track, which, set to a massively heavy arch-djent rhythm, speaks of "the violent outcome of not dealing with what is going on, the violent implications of being asleep. "The title is actually inspired by a Goya painting called 'The Sleep of Reason Produces Monsters.'"
A second highlight is strident opener and longest song on the album, "Clockworks," which is strafed by a typically super-human drum performance from Haake. "That's more about looking to yourself and who you are and things you want to change about yourself. And then in the context of how your mind works, as a clockwork. It's the idea of taking out all the little pins, wheels, and springs and kind of rebuilding it to make you function in a different fashion. So lyrics for that song is a look in on self, at things that you wish that you could change about yourself."
Listen to tracks like the vertigo-inducing "Nostrum" and the slower if equally circular and note-dense "By the Ton," and it's easy to understand why it's been four years since a MESHUGGAH album. But mind-numbing complexity of the material is not the only reason, explains Haake.
"No, well, I would say first of all, it takes us a lot of time to write. And we're very bad at focusing; we're very bad at multitasking. I don't think we ever wrote one single riff on a tour bus or in a hotel room. So if you have a touring cycle of two, two-and-a-half, three years, there's not going to be anything written in that time period. And that's just how we all function. We need to have a break, like, okay, time out now-nothing else for a year. We need to write for one year. But you also want to tour as much as possible for an album. Koloss, for example, we toured for like two-and-a-half years. And then you write. And when we do finally write, we scrutinize those songs, riffs, structures over and over and over, and change things as we go. So in a lot of the songs, maybe only one riff was actually there originally. So writing for us does take a long time, no doubt."
As a result, the band's erudite and intelligent fan base "get something that they don't really hear in any other bands". On the first album you still hear a lot of Metallica and Anthrax and Bay Area kind of thrash metal influence. "We knew that we sounded a bit like that, but we were aiming for something we hadn't heard in any other band. And that's still the main fuel. We're not trying to write your average metal song. We're not trying to write catchy songs. We're not trying to write hit songs (laughs). We're just trying to write something that is cool, that we haven't heard before, and hopefully our fans haven't heard before. And that also gets harder and harder though, because by now, there are so many awesome musicians and bands and so much great music out there. But it would seem like the followers that we do have, the people that have kept buying our albums and stayed with us for a lot of years, are not necessarily the typical metal fans. The crowd we have is diverse. We have a lot of geeks and nerds and weirdos, and they are beautiful ones, you know? We have a lot of people with talent, and a lot of people that are also interested in music as art, and not just an event."
But it's not lost on Tomas that MESHUGGAH is making daunting progressive music, music where melody is subservient to jackhammer rhythm, as evidenced by the way that even his lead singer, Jens Kidman, is situated within the maelstrom that is MESHUGGAH
"He's the perfect tool for the job. Just like most people, we all, of course, like music where there's "proper singing", and we all love a great singer. Personally, I think the voice is the most empathic instrument. You hear someone sing and you're like, oh my God, that's the coolest instrument in the world. But at the same time, what we're trying to do is not that. Just like the guitars and me as a drummer, Jens also is a rhythmic tool, one that adds aggression, as well as words to back up that aggression if you will."
So would Tomas then acquiesce to the idea of MESHUGGAH as metal's reigning enemies of melody?
"In a sense, yeah. I mean, there is definitely melody and a lot of melodic thought put into tonalities, harmonies between bass and guitars and things like that, but at the same time, we're not often going for anything pretty. Sometimes there's a little bit, where we go, 'Awww, that's beautiful," but then we usually immediately mess it up again. You give it a little bit of something "nice" sometimes, but basically we're not going for niceness (laughs)."
Produced by Meshuggah; engineered by Tue Madsen, Puk Studios, Kaerby, Denmark.1. Clockworks
2. Born In Dissonance
4. By The Ton
5. Violent Sleep Of Reason
6. Ivory Tower
9. Our Rage Won't Die
10. Into Decay$27.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Riceboy SleepsKnown primarily for his haunting falsetto and other-worldly presence as the singer in Sigur Ros, Jon Thor Birgisson has, together with his partner Alex Somers, been exhibiting artwork and staging exhibitions under the name Riceboy Sleeps for two or three years now, including the release of a limited edition picture book. A couple of months back the early fruits of the musical side of this collaboration surfaced in physical form for the first time, with the track Happiness, on the exemplary Dark Was The Night Red Hot compilation.
Riceboy Sleeps is human in a profound and verging-on spiritual way. It says nothing, literally, and yet living through its 68-minutes you emerge feeling much has been revealed. Its slowly evolving abstract landscapes are both edifying and life-affirming. The record works as a whole, and exists in a contemplative dream-state, unconstrained and mesmeric, seemingly outside time. The record, however, is more active than its apparent antecedents in the ambient output of Brian Eno, and other deliberately low-impact works. Riceboy Sleeps is awash with both tension and stimuli, as well as being frequently, and stunningly, beautiful.
Played solely on acoustic instruments in Iceland and featuring long-time string collaborators Amiina, as well as the Kopavogsdaetur choir, Riceboy Sleeps has a suitably organic feel. The full-length Riceboy Sleeps album (the name having migrated from artist moniker to album title) is set to subtly redefine expectations of slow and elegiac instrumental music in 2009.1. Happiness
2. Atlas Song
3. Indian Summer
5. Boy 1904
6. All The Big Trees
7. Daniell In The Sea
9. Sleeping Giant$29.99Vinyl LP - 2 LPs Sealed Buy Now
Tchaikovsky The Nutcracker
180g Audiophile Vinyl!
Cut From The Original Analogue EMI Master Tapes At Abbey Road Studios!
A tall imposing figure, so tall, in fact, that he often dispensed with a podium, Efrem Kurtz was a distinguished Russian conductor, who had studied with Glazunov and Tcherepnin and was a pupil of Arthur Nikisch. Kurtz had a broad symphonic and operatic repertory and conducted the premieres of works by Copland, Barber, Walton, Hindemith, Stravinsky, Shostakovich and Khachaturian. But he was most highly regarded for his interpretations of Russian music.
Kurtz was a familiar name to the record collector of the 1950s and embarked upon a series of Tchaikovsky ballet recordings with the Philharmonia Orchestra for EMI in 1958. HIQ has already released Swan Lake and the release The Sleeping Beauty is in preparation. Of this Nutcracker highlights Gramaphone wrote: This is probably as good a selection as could reasonably be expected.
Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.
In the original review in The Gramophone of November 1958, R.F. remarked: The orchestral quality is superb, and the dynamic contrasts tremendous. If you can hear the opening pizzicato notes of the Sugar-Plum Fairy, the end of the Valse des Fleurs will have your neighbours banging on the wall in desperation.
Recorded March 1958, Kingsway Hall, London. Recording Producer: Peter Andry. Balance Engineer: Neville Boyling
• Hi-Q Records Supercuts 180g Vinyl
• Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!
• Superior Audiophile Pressing
• Features Original Album Artwork
• This recording is not otherwise generally available in any format.
Efrem Kurtz, conductor
This title is not eligible for discountThe Nutcracker Op. 71
2. No. 2 - Marche • No. 3 - Petit Galop Des Enfants Et EntrÉe De Parents • No. 8 - Scène • No. 9 - Valse Des Flocons De Neige
3. No. 12 - Divertissement; Le Chocolat; Le CafÉ
1. No. 12 - Divertissement: Le ThÉ; TrÉpak; Danse Des Mirlitons
2. No. 13 - Valse Des Fleurs
3. No. 14a - Pas De Deux
4. No. 14b - Pour Le Danseur • No. 14c Pour La Danseuse • No. 14d - Coda • No. 15 - Valse Finale$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Raindancing1st Time Officially Released On LP In North America
Raindancing is the second studio album by British singer-songwriter Alison Moyet. It was originally released in 1987, reached No. 2 in the UK and features the singles Is This Love?, Weak in the Presence of Beauty, Ordinary Girl, and Sleep Like Breathing.1. Weak In The Presence Of Beauty
2. Ordinary Girl
3. You Got Me Wrong
4. Without You
5. Sleep Like Breathing
6. Is This Love?
7. Blow Wind Blow
8. Glorious Love
9. When I Say (No Giveaway)
10. Stay$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
La PesteAlabama 3's second album shows off their trademark uplifting quality, albeit in a "Screamadelica"-style fusion of euphoria and melancholy. Songs like SAD EYED LADY OF THE LOWLIFE and recent single TOO SICK TO PRAY have a gospel-like hugeness about them, while WADE INTO THE WATER and MANSION ON THE HILL twang with countrified swagger.
The album runs the gamut of emotions in the face of adversity: from the incandescent beauty of the shimmering WALKING IN MY SLEEP and the closing SINKING " to the claustrophobic beats of COCAINE (KILLED MY COMMUNITY) and the energy rush of STRANGE, adding a sense of dope-fuelled urban paranoia.Of particular note are a twisted beat-heavy cover of the Eagles' HOTEL CALIFORNIA, throwing a totally new slant on the song as the last cocaine-addled stop on the country musician's road to oblivion, and THE THRILLS HAVE GONE, whose spoken word contribution from Birmingham 6 survivor Paddy Hill brings into focus exactly what the band mean when they talk about injustice.
LA PESTE (THE PLAGUE) may well be HIV, computer viruses or simply a global decline in justice and morality, but Alabama 3 are imploring us to come together and get loaded anyway. After all, we all have to die sometime. -PHASE9.tv1. Too Sick Too Pray
2. Mansion On The Hill
3. Sad Eyed Lady Of The Lowlife
4. Walking In My Sleep
5. Wade Into The Water
6. Hotel California
7. Cocaine (Killed My Community)
8. The Thrills Have Gone
12. Woke Up This Morning$20.99Vinyl LP - Sealed Buy Now
IvywildNight Beds, the musical project of 26-year-old Colorado Springs native Winston Yellen, received much acclaim for his 2013 debut album, Country Sleep, scoring plaudits for its tortured take on alt country and Yellen's soaring vocals. But after finishing that album and before Country Sleep was even released, Yellen began experimenting with the kind of melancholic, neon-tinged R&B that makes up the mesmerising Ivywild. The thread that weaves through all of Yellen's music and holds it together is his unmistakable voice - plaintive, yearning, soulful, heartbreaking. Whether it's ascending over the luscious epic-electronics of Tide Teeth or aching alone on Country Sleep's opener Faithful Heights, Yellen's voice has a unique beauty matched by few of his contemporaries. The second Night Beds album draws on Yellen's original love of Bill Evans through to J Dilla and is made up of what Yellen calls sad sex jams and was inspired by a long-term love and a break-up which looms large throughout the albums veiled lyrics. Its genesis can be found in the stoned night in Nashville when Yellen first heard Yeezus. Lying on the floor, Yellen blared the album at top volume. Ivywild is a truly collaborative effort with a makeshift team of 25 musicians, notably Abe, Yellen's younger brother and closest friend - his credit on the album comes above Winston's own, so much value does he place upon the work Abe put in. Additional vocals come from Heather Hibbard, a singer from Maine who features on over half of the 16 track album, and was contacted by the gregarious Yellen through YouTube, after he found a video of her covering one of his songs. She came out to the studio the very next day. Finessing the poignant assortment of songs was a sometimes painful task, but dedicated to the core. I felt at some points we were losing our minds, he says. Initial versions of Me Liquor and God band On High: were 17 and 33 minutes respectively while Finished took four months to record. His editing process though was simple: If it makes you cry, keep it in. Field recordings also flood the record, offering it a deep textural grain. It is a luxury record, but it has a worn shirt feel, explains Yellen. It's lived in. It's like a quilt - but it took forever, cutting up all the vocals and letting it breathe.1. Finished
3. Me Liquor and God
5. Tide Teeth
7. [9_6] slack-jaw
8. Eve A
9. On High:
11. Lay Your Hands
12. All In Good Time (I Get You Wrong Interlude)
13. Moon Sugar
14. Love Streams
15. I Give It
16. Stand On My Throat$20.99Vinyl LP - 2 LPs Sealed Buy Now
Real FearStrapped with an arsenal of moody, abrasive guitars, precision bass lines and mathy drumwork, The Casket Lottery return with their strongest album to date, Real Fear. It is a beautifully cathartic, dreary-dreamlike swirl of grooving riffs that intertwine with singer Nathan Ellis' relentless vocals that transcend into a euphoric intensity.1. Blood On The Handle
2. In The Branches
3. Poor Dorian
4. The Moon And The Tide
7. Ghost Whiskey
9. The Door
10. Radiation Bells
11. Real Fear$17.99Vinyl LP - Sealed Buy Now
Save Yourself, Start AgainWhat began as an acoustic side project between the Transit vocalist Joe Boynton and guitarist Vinny Comeau in 2010 between touring has lead to a full-time band over the course of the last year. The duo signed with No Sleep Records in late 2012 and entered the studio with co-producer Gary Cioffi, Jr. (Transit, Misser) in early 2013 to record their first full-length with drummer Aviv Marotz, guitarist Mat Morin and Bassist Mike Moschetto in tow.
Once in the studio Comeau departed the band, leaving the rest of the guys primary reign over the songwriting and direction of the new material, resulting in a bright and airy collection of ten beautiful indie-pop tunes that exhibit a range of styles and moods, from upbeat power-pop to solemn folk, which any fans of bands like Death Cab For Cutie, Circa Survive, Maps & Atlases and Rilo Kiley will undoubtedly adore.1. Not Worth It
2. Look Back and Wave
3. Old News
4. Drive with Me
5. Save Yourself, Start Again
6. Wild Hearts
8. This Love Will Grow
9. You Can Always Come Home
10. Clean Slate$17.99Vinyl LP - Sealed Buy Now
Anxiety AnsweringSophomore album from the Tampa, FL post-rock quartet.
Recorded with producer Jack Shirley (Deafheaven, Joyce Manor) at The Atomic Garden studios in Palo Alto, CA, Anxiety Answering is a natural
progression and impressive second album. It features ten tracks that are both lush and atmospheric while maintaining an intensely abrasive tone, which
Shirley captured beautifully on analog in a live setting in the studio. "We went with a more organic approach with writing and recording this record,"
explains JP Marra. "We were really into the idea of recording live to tape because we wanted it to translate to a more honest representation of our band."1. White Noise
2. Muscle Memory
3. Out of Focus
4. Learning, Curved
9. Rural Accents
10. Anxiety Answering$17.99Vinyl LP - Sealed Buy Now
Resonate/DesperateHailing from Santa Rosa, CA, State Faults is an emerging rock act that has exploded within California's burgeoning underground music scene over the last few years. The band's unique blend of intense post-hardcore and sweeping post-rock soundscapes create a surreal depth to their dynamic sound and a powerful experience for listeners.
On the band's follow up to their heralded 2012 debut, Desolate Peaks, State Faults continue to expand the breadth of their sound with blissful atmospheric guitars and rhythm that turn on a dime into a blitzkrieg of torrential, angular riffs and vocalist Jonny Andrew's snarling vocals, a balance of melodic and heavy that the band has seemingly perfected with Resonate/Desperate.
"We tried overall to write a more aggressive album, an album bursting with raw energy that still retains the melody, ambience, and introspective nature of our past work, but without letting the influence of post-rock wash over every song," says Andrew.
Resonate/Desperate features eleven tracks that soar through peaks and valleys of beautiful chaos like with their newly released track "Meteor."1. Meteor
5. Diamond Dust
11. Old Wounds$17.99Vinyl LP - Sealed Buy Now
Island IntervalsThat Joel Thibodeau's slender, winsome voice is at once so comforting
and so unsettling might be the greatest of his many strengths. Reed-thin
but sturdy, youthful but somehow ageless, its deep benevolence is also
slightly eerie, and the way he gently walks the line between intense
feeling and contemplative remove lets him sing from a timeless place
where he evokes the beauty of vanished people and places, sweetness
too profound for words, loss too great for tears.
Like Nico's, Jimmy Scott's, or Phil Elverum's, Joel's is a voice that
demands its own sonic and lyrical world, and with Island Intervals, his
third record as Death Vessel (and second for Sub Pop), we're treated to
the sound of him finding a rich and strange new home among new friends
in Iceland who probably saw him as a long-lost relative. Joel's an inveterate
and intuitive wanderer; when I met him years ago, he'd just spent a few
months traveling the United States on Greyhound buses, sometimes
sleeping rough, and making a record from found moments.
Island Intervals springs from a more recent journey. For his first album
since 2008's acclaimed Nothing Is Precious Enough for Us, Joel traveled
to Reykjavík on an invitation from Sigur Rós singer Jónsi and producer
Alex Somers, where they spent three months together conjuring an album
that's both a song cycle and a window into a mysterious and singular
landscape. Island Intervals wraps Joel's voice and furtive guitar in sounds
that evoke not so much a band playing as elemental forces of earth and
water; Pete Donnelly (The Figgs, NRBQ), Samuli Kosminen (Múm) and
Thorvaldur Doddi Thorvaldsson assist Somers in creating a rich and
multi-layered world that sounds, at times, like a well-tuned forest sighing
and bending in a gale, or the deep cracks and booms of a glacier calving
its way to the sea. Jónsi also joins Joel on vocals for the track "Ilsa
Island Intervals lives in the spaces between running away and letting
go, and finds its author embracing a life whose most solid, real moments
loom and vanish, like a range of mountains that emerges from a bank
of low clouds, and just as suddenly slips away.
-Jonathan Meiburg (Shearwater), Nov. 20131. Ejecta
2. Velvet Antlers
3. Triangulated Heart
4. Mercury Dime
5. Ilsa Drown
6. Island Vapors
7. We Agreed
8. Loom$15.99Vinyl LP - Sealed Buy Now
MVDR-LOV-0654xMagna Carta Cartel
Goodmorning RestrainedOriginally released digitally in 2009 on Sounds Of Zilence, Magna Carta Cartel's [MCC] debut album Goodmorning Restrained has become a classic amongst music lovers who have found their way to this album and band. The album is an 8 track experience of what the band refers to as soundtracks for movies yet unmade or Radio-edited movie themes, for daily life and death. Magna Carta Cartel's music has impressed people all across the world and from all walks of life, and the demand for physical copies of this album have been increasing over the years. Lövely Records now offers the first ever physical formats of this legendary album. The release come with original artwork done by designer/graphic artist and director Claudio Marino.
What Magna Carta Cartel are up to today few or no one knows. What we do know though, is the fact that they once made this strange, different and beautiful album, and that it's now about time it is being materialised into this world. Magna Carta Cartel is a five piece Swedish rock band, often rumoured to be mysteriously connected to the highly secretive band Ghost. The band themselves describe their music like this: It reminds of Vangelis meeting Tom Petty, trying to reach U2, willing to be Joy Division, feeling like ABBA, longing to be Brian Eno, remembering Jean Michel Jarre, looking at Metallica, sleeping with Mike Oldfield, dancing to Koto, hunting the Beatles, killing Morricone in a duel, snorting to Moroder etc.1. That It Is Already Too Late To Leave
2. This Time
3. Attending Midnight Screen
4. Metropolis Flow
5. Deriving A Distance
6. Borderline Bordello
7. So Long
8. Hotellus Eviction$19.99Vinyl LP - Sealed Buy Now
MVDR-LOV-0647xMagna Carta Cartel
Valiant Visions DawnMagna Carta Cartel - Valiant Visions Dawn - now on Vinyl Magna Carta Cartel's music has impressed people all across the world and from all walks of life, and the demand for physical copies of this album have been increasing over the years. Lövely Records now offers the first ever physical formats of this legendary album. The release includes one never before released song, THC and comes with original artwork done by designer/graphic artist and director Claudio Marino.
What Magna Carta Cartel are up to today few or no one knows. What we do know though, is the fact that they once made this strange, different and beautiful album, and that it's now about time it is being materialised into this world. Magna Carta Cartel is a five piece Swedish rock band, often rumoured to be mysteriously connected to the highly secretive band Ghost. The band themselves describe their music like this: It reminds of Vangelis meeting Tom Petty, trying to reach U2, willing to be Joy Division, feeling like ABBA, longing to be Brian Eno, remembering Jean Michel Jarre, looking at Metallica, sleeping with Mike Oldfield, dancing to Koto, hunting the Beatles, killing Morricone in a duel, snorting to Moroder etc1. Valiant Visions Dawn
3. Dollhouse Decoration
4. THC$19.99Vinyl EP - Sealed Buy Now
An Ancient ObserverNonesuch Records releases its second album from pianist Tigran Hamasyan, An Ancient Observer, in 2017. An Ancient Observer is the follow-up to Hamasyan's label debut, Mockroot, of which the Guardian said, A phenomenal piano player, an irrepressible entertainer, a promising experimenter with hi-tech gizmology and a creative world-music composer. Mockroot plays vivaciously to all those strengths. The musician says of his new solo recording, which features ten new compositions: These songs are musical observations about the world we live in now, and the weight of history we carry with us.
An Ancient Observer's songs-two of which are based on Armenian melodies-were written over the last four years. Some of the pieces are through-composed and completely written out, while others are composed with ample space for Hamasyan to improvise. Many include vocals layered into the mix. As with most of his compositions, Hamasyan cites a wide range of influences, from Baroque dance to hip-hop, with pedals connected to a synthesizer on a few tracks-while the sounds of his native country also are present, as always.
Hamasyan has returned to Armenia, where his daily life inspired these new pieces: I gaze out of my window and see the biblical mountain Ararat with perpetual snow on its peak, with electrical towers with wires in the foreground cutting the picture, and satellite dishes melted onto old and modern houses-ancestral smoke coming out of their chimneys-and birds hovering above the trees along with occasional airplane trails in the vast sky. It is a dialogue, this interaction of God-given ancient nature with our modern human achievements, he says. For me it is an awakening, and a beautiful feeling, to be able to observe the magnificence of this sleeping volcanic giant, which has existed for millions of years and was observed by the Ararat Valley Koura-Arax culture through to the present day citizens of the Armenian republic. I can see and observe the same birds, animals, rivers, and mountains that the craftsman of 4,000 years ago painted on a clay vessel. He was observing the same thing I observe now, and what remains is his or her beautiful work of art.1. Markos and Markos
2. The Cave of Rebirth
3. New Baroque 1
4. Nairian Odyssey
5. New Baroque 2
6. Etude No. 1
7. Egyptian Poet
8. Fides Tua
10. Ancient Observer$18.99Vinyl LP - Sealed Buy Now
Good Mood FoolIn the winter Luke Temple moved into a cottage, a small one, in upstate New York. The snow fell quietly. He had frozen blueberries and bread and eggs and Coors Original. He sang and drank and played and drank and ate and shoveled snow and when the snow melted and the roads cleared he had his friends. Eliot Kirmsky (Glass Ghost) and Mike Johnson (Dirty Projectors) dug into Luke's hut and together they built a fire. Luke called it Good Mood Fool.
Originally from Cape Anne, Massachusetts, Luke moved to the North West, sleeping rough in the woods,
working in a candy store and as a janitor at a suburban mall. While in Seattle Luke met some people headed down the coast. All of his aimlessness lasted a year and half before Luke had had enough. He enrolled in school of the Museum of Fine Arts and spent five years painting portraits, after which Luke moved to New York and worked as a muralist and plasterer. As painting drifted from the foreground little songs started to emerge. He tried them out at the famous Sidewalk CafÉ Monday open mic and the people there liked it.
After recording two critically acclaimed albums for Mill Pond, to little commercial reception, Luke was at the point of quitting a career in music. In 2008, feeling free in his new state, he made what would become the first Here We Go Magic album, forming the band and releasing the self-titled debut in 2009. Positive critical and commercial response to the record kept Luke busy with Here We Go Magic through touring and recording two more full lengths and an EP. Since Here We Go Magic's 2012 release, A Different Ship, Luke has returned to his original solo ideas.
In a sense Good Mood Fool is an extension of the first self-titled Here We Go Magic record. It was recorded with the same sense of freedom and joy. The meat of the record finds Luke taking a sharp turn in order to keep himself interested. First single Katie is a prime slice of mid-80s intelligent pop, almost So-era Peter Gabriel in its rhythms and sound. Meanwhile, Florida is a blue-eyed soul hit, a lazy sunny evening of summer beauty. Good Mood Fool draws from myriad influences, from the hushed soulful wail of Curtis Mayfield to the dense
harmonies of Gill Evans and the Bulgarian Women's Choir. It is meant to be clear in production and in content, hiding nothing.1. Hard Working Hand
4. Those Kids
5. Jessica Brown Findlay
7. Terrified Witness
8. Love Won't Receive
9. Hardest Working Self Made Mexican$17.99Vinyl LP - Sealed Buy Now
ColoursAshley Eriksson (darling to many for her work with LAKE) has achieved a status few artists ever know: her song Island Song can be hummed by almost any teenager in the United States (a surprising discovery she made while teaching Portland's
Rock Camp for Girls last summer). Used as the closing theme for Cartoon Network's cult sensation Adventure Time, Island Song has over a million views on Youtube and has generated dozens of cover videos, making Ashley Eriksson the equivalent of a household name to the youth of America.
Now Ashley Eriksson has recorded Colours [KLP245], her inspired solo debut on K, and a collection of piano pieces, ballads and songs for her fans around the world. Tucker Martine (producer of LAKE, Decemberists) planted the idea that Ashley should make a solo record after they worked together in 2011, but it wasn't until returning from a trip to Sweden that Ashley was motivated to create Colours, and her vision for a solo piano album quickly evolved to include songs with her beloved '70s style of instrumentation and pop sensibility (most strikingly her cover of Ett Stilla Regn a song by the tragic Swedish pop team Ted and Kenneth GÄrdestad, adapted in the style Me and My Arrow by Harry Nilsson). Because Ashley engineered and recorded the album herself (using the same 8-track she's been recording with since she was a teenager), she was able to capture her collection of songs in a variety of old haunts, including favorite grange halls and churches, her tiny shed in northern Sweden, friends' houses, and in the Whidbey Island studio-trailer where she lived with husband (and LAKE collaborator) Eli Moore.
It's the emotional space Ashley reserved for herself while recording Colours that makes it such a personal and vivid statement. Of writing the beautiful, lead ballad Why Are You So Helpless?" Ashley says "I dreamt this song while I was sleeping in the little shed behind my dad's house in northern Sweden. I was in a record store and a John Lennon song came on I'd never heard before. It was a 70's 'super group' album, like the Band or CSNY or something like that. When I woke up I was anxious
to capture the song. I recorded the demo on my phone and sang with an acoustic guitar I had with me." In a similar way, all the songs on Colours are collected from her dreams, expanded by graceful piano notes and the peaceful echoes of fire-lit
evenings.01. March of the Conch
02. Why Are You So Helpless?
03. West of the Mountain
05. Ett Stilla Regn
06. Good Storm
08. Bury the House
09. Mother Nature's Promise
11. Humming in the Dark
12. Organ Music
13. In The Stubborn Eyes of a Demon$18.99Vinyl LP - Sealed Buy Now
The Boy With The Arab StrapThis highly anticipated album from Belle and Sebastian arrives with every hope satisfied. Each song is a cunning short story that wraps itself around you like a cozy couch throw. The loose theme running through this 12-song reverie is seduction. It plays out in both the drowsy sexual hopes of principal songwriter Stuart Murdoch's idle protagonists and the giddiness of bandmate Stevie Jackson's Seymour Stein and Chickfactor, which document his bewitchment by the city of New York and its beautiful girls and florid pitchmen. The complex arrangements favor a whimsical diversity best experienced in Sleep the Clock Around, which features synthesizer bloops, trumpets, and bagpipes! If you haven't figured out that this Scottish eight-piece deserves every iota of hype it's receiving, it's time to have your ears checked and your record collection gone over by a certified professional. --Lois Maffeo1. It Could Have Been A Brilliant Career
2. Sleep The Clock Around
3. Is It Wicked Not To Care?
4. Ease Your Feet In The Sea
5. A Summer Wasting
6. Seymour Stein
7. A Space Boy Dream
8. Dirty Dream Number Two
9. The Boy With The Arab Strap
11. Simple Things
12. The Rollercoaster Ride$22.99Vinyl LP Buy Now