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  • That's The Way Of The World (Speakers Corner) That's The Way Of The World (Speakers Corner) Quick View

    $34.99
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    That's The Way Of The World (Speakers Corner)

    Ranked 493/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    OK, so it's disco sound, but it's really good. Whoever says that today must have been pretty lively on their feet in the 70s and 80s and in the days of their youth they will definitely have noticed that the commercial fusion music they listened to on a Saturday night was buzzing with energy and excitement. Earth, Wind & Fire considered their amazing mix of Latin, Gospel, Soul, Funk and dynamic horn section as being of existential importance. This was the album that would either make or break the band: either they would establish themselves or they would sink into oblivion like so many other rhythm and blues acts.



    The basic recipe - finely chiselled Latin beat, meaty bass grooves and sizzling funky improvisations, spiced with the sound of exotic instruments - works perfectly. Furthermore, crowned with a beautifully airy falsetto and relaxed harmonious singing, the band created a big-band sound that the magazine Rolling Stone described as »innovative yet popular, precise yet sensual, calculated yet galvanizing«. Almost two decades later, and with more than three million albums sold in the USA alone, the editorial team voted the LP into their list of the '500 Greatest Albums of All Time'. And about time too! At last today's ravers and rappers also get the opportunity to experience the great rhythms to which their daddies danced.



    Musicians:



    • Maurice White (vocal, percussion, drums)

    • Verdine White (vocal, bass, percussion)

    • Philip Bailey (vocal, conga, percussion)

    • Larry Dunn (piano, organ, synthesizer)

    • Al McKay (guitar, percussion)

    • Ralph Johnson (drums, percussion)

    • Johnny Graham (guitar)

    • Fred White (drums, percussion)




    Recording: 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Wittig

    Production: Maurice White





    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.



    1. Shining Star
    2. That's The Way Of The World
    3. Happy Feelin'
    4. All About Love
    5. Yearnin', Learnin'
    6. Reasons
    7. Africano
    8. See The Light
    Earth, Wind, & Fire
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sun Song (Awaiting Repress) Sun Song (Awaiting Repress) Quick View

    $30.99
    Buy Now
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    Sun Song (Awaiting Repress)

    Import


    Manufactured in Germany on 180gr. vinyl.

    1. Brainville
    2. Call For All Demons
    3. Transition
    4. Possession
    5. Street Named Hell
    6. Lullaby For Realville
    7. Future
    8. Swing A Little Taste*
    9. New Horizons
    10. Fall Off The Log
    11. Sun Song


    *Bonus Track

    Sun Ra
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Second Annual Report The Second Annual Report Quick View

    $23.99
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    The Second Annual Report

    Pressed On Limited Edition White Colored Vinyl


    Mute are delighted to announce a special white LP
    reissue of The Second Annual Report, the landmark
    1977 debut from industrial music pioneers Throbbing
    Gristle.


    The Second Annual Report is considered to be
    influential within electronic music, being one of the first
    industrial music albums.


    Recorded in their rehearsal space and at various grubby
    gigs onto a Sony cassette recorder in a defiantly lo-fi
    manner in 1977, the music alternately chugged along
    like a squelchy, crude cop of the Velvet Underground,
    or stretched out into malingering new age, like a
    syphilitic Tangerine Dream. The music is relentless,
    grinding distortion, only occasionally leavened by vocal
    samples and percussion.


    Michael Bonner of Uncut described the music as "a
    dystopian churn of smoke and asbestos dust" and
    "queerly hypnotic". The Vinyl Factory's Anton Spice
    acknowledged the role of the album with its provocative
    subject matter in establishing Throbbing Gristle's
    reputation as a transgressive figure in underground
    electronic music.


    The album that established Throbbing Gristle's
    reputation as perverse noiseniks with an unseemly
    interest in the seedy side of life, The Second Annual
    Report is still a difficult listen today, but it set the tone
    for the entire Throbbing Gristle mission: the endless
    binding of clean and unclean.

    1. Industrial Introduction
    2. Slug Bait - ICA
    3. Slug Bait - Live At Southampton
    4. Slug Bait - Live At Brighton
    5. Maggot Death - Live At Rat Club
    6. Maggot Death - Studio
    7. Maggot Death - Southampton
    8. Maggot Death - Brighton
    9. After Cease To Exist - The Original Soundtrack Of The Coum Transmissions Film
    Throbbing Gristle
    $23.99
    Colored Vinyl LP - Sealed Buy Now
  • La Folia De La Spagna (Speakers Corner) La Folia De La Spagna (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    La Folia De La Spagna (Speakers Corner)

    First mentioned around 1500 in Portugal, no forms or melodies have come down to us for the Folia. Described by historians as a noisy dance which was performed by masked and disguised figures who leapt about as though they had lost their reason, a tranquil, sarabande-like form asserted itself in Europe in the early 17th century.



    GrÉgorio Paniagua, director of the Atrium Musicae de Madrid, demonstrates once again his virtuosity in his treatment of historical material. His arrangements are not confined to medieval and baroque instruments but also employ a whole arsenal of percussion, such as various small drums, triangle, tambourine, castanets and xylophone. As the title of the LP suggests, the ensemble adds spice to the airy variety of timbres with a small touch of madness here and there. Unbelievably, a jazz solo is heard which recalls the Pink Panther Theme, and the Orient is conjured up by two Indian tunes (ragas) in which the sitar chirps passionately to the powerful plop-plop-plop of tabla rhythms.



    With its high resolution sound which places a high demand on hi-fi equipment in order to get the best reproduction, this record is both cult and legend.




    Musicians:



    • The Atrium Musicae de Madrid conducted by Dr. Don GrÉgorio Paniagua Rodriguez




    Recording: June 1980 by Jean-François Pontefract

    Production: Eva Coutaz




    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.



    1. Fons vitae/Dementia praecox angelorum Supra solmamirevt

    2. Extravagans/Laurea minima/In vitro
    3. Oratio pro-folia/Fama volat Citrus - Hesperides
    4. Principalis. Fermescens/Inica exacta Adverso flumine
    5. Parsimonia aristocraciae
    6. Subtilis/De profundis - Extra muros
    7. Vulgaris - Sine populi notione Vagula et blandula
    8. Nordica et desolata/Aurea mediocritas
    9. Nobilissima/Degradans et corruptae
    10. De pastoribus/Mathematica dies irae /Crepuscularis/Sine nomine/Tristis est anima mea/Equites fortis armaturae/Audaces fortuna juvat/Sine praeputium/Ecclesiastica
    11. Theatralis et hipocritae/Ruralis Alter indica perfecta
    12. De Tolerentia aetherea/Fuga ficta et carrus triumphalis
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Motion Motion Quick View

    $29.99
    Buy Now
    x

    Motion

    Just as Michael Jackson was the King of Pop, Calvin Harris is the Emperor of EDM, with Motion, his fourth album, serving to express the glory of the empire, not revolutionize it. While Ellie Goulding, Gwen Stefani, and John Newman enliven their respective Vegas club staples, and Summer contains one of the year's most grandiose synth crescendos, it's the curveballs that steal the show here. The opalescent Pray to God sounds more like a Haim song spiced up by Calvin Harris than vice versa, and Dollar Signs, featuring vocals by R&B young turk TinashÉ, is a clever funk-EDM hybrid. Open Wide, featuring Big Sean, sucks the air out of the room with clobbering bass.
    1. Faith
    2. Under Control (w/ Alesso Feat. Hurts)
    3. Blame (feat. John Newman)
    4. Love Now (feat. All About She)
    5. Slow Acid
    6. Outside (feat. Ellie Goulding)
    7. It Was You (w/ Firebeatz)
    8. Summer
    9. Overdrive (w/ Ummet Ozcan)
    10. Ecstacy (feat. Hurts)
    11. Pray To God (feat. Haim)
    12. Open Wide (feat. Big Sean)
    13. Together (feat. Gwen Stefani)
    14. Burnin (w/ R3hab)
    15. Dollar Signs (feat. Tinashe)
    Calvin Harris
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Cow / Chill Out, World! (Awaiting Repress) Cow / Chill Out, World! (Awaiting Repress) Quick View

    $33.99
    Buy Now
    x

    Cow / Chill Out, World! (Awaiting Repress)

    Being pioneers with a new album created in no more than 6 months, THE ORB are bound to be exposed to fan expectations running high, while quizzical questions about little fluffy clouds and the good old times take over. It's especially jarring as the duo of accomplished soundsmiths Alex Paterson and Thomas Fehlmann has become known for its genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats. The funny thing is, though, that whatever the context, you know a track from THE ORB when you hear it. Case in point: COW / CHILL OUT, WORLD!, their latest full-length offering - a masterful ambient album that branches out in many directions, but unmistakably sounds like THE ORB in either ear (and probably to your third ear, too).


    The idea was simply to make an ambient album, Dr Paterson explains, we didn't look back and study earlier recordings, but wanted a more spontaneous approach, a focus on THE ORB today, our vibe in 2016. In contrast to their much-acclaimed previous full-length MOONBUILDING 2703 - which took years to prepare and finetune -, the new album was produced over the course of only five sessions in six months, directly following the like-minded ALPINE EP: it got so spontaneous that a track like 9 ELMS OVER RIVER ENO (CHANNEL 9) consisted only of material collected at North Carolina's Moogfest in May - second-hand records from local stores, field recordings, live samples from gigs that we liked, and of course an excursion to the Eno River, which actually exists. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much.


    Herr Fehlmann sees the duo's relentless gigging schedule as a formative influence on the new album: the countless performances we've played in the last years - probably up to 300 - have brought us closer as a musical unit. The spice of our concerts is improvisation - a fertile process that we've brought to the studio, where we operate with very simple rules of engagement (in this case ambient) and go wherever the flow takes us. It's an approach that one might expect from traditional acoustic instrumentation, not necessarily an electronic set-up, but for THE ORB it works wonders: we're quite happy and also a little bit proud that we've reached this level of unscripted levity with purely electronic means. We're finessing ourselves, sort of, always looking for the next sonic surprise that leaves us rubbing our eyes about how the heck we got there.


    Once more, THE ORB's trademark playfulness is on full display on COW / CHILL OUT, WORLD!, and it doesn't limit itself to the multi-layered sampling and psychedelic sound composites that the duo has become known for - you'll find it in the album title as well. The simple invitation (or order?) to chill out (relax? Calm the eff down?) is converted into an acronym - and the cow that you might expect to find on a Pink Floyd cover or with iconic UK chill-out/dance pranksters The KLF. It's not so much an obscure trope coming full circle as a perfect example for THE ORB's multitimbral approach to sound and meaning - a compelling, immersive journey to diverse places and impressions. Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious. But the greatest feat of THE ORB's latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists' sonic vitality and cheerful nosiness. Chill out world! and treat yourself to an outstanding new ambient experience from THE ORB.

    1. First, Consider The Lilies
    2. Wireless Mk 2
    3. Siren 33 (Orphee Mirror)
    4. 4 Am Exhale (Chill Out, World!)
    5. 5th Dimension
    6. Sex (Panoramic Sex Heal)
    7. 7 Oaks
    8. Just Because I Really Really Luv Ya
    9. 9 Elms Over River Eno (Channel 9)
    10. The 10 Sultans Of Rudyard (Moo-Moo Mix)
    The Orb
    $33.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • True Romance True Romance Quick View

    $21.99
    Buy Now
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    True Romance

    Over the past few years, Charli has released a series of singles and mixtapes, toured the globe supporting the likes of Coldplay, Santigold, Sleigh Bells and Justice and garnered champions from practically every tastemaker blog and magazine on both sides of the Atlantic. She's had 2.5 million views on YouTube, 470k views of new video for 'You (Ha Ha Ha)' (in one month) and over 630k total plays on Soundcloud. It's hard to believe someone so young could achieve so much. Through it all her main focus has always been on making the best possible album she could. This was made possible by working with some fantastic collaborators who helped hone her vision for a dark, emotional pop record including Ariel Rechtshaid (Usher, Major Lazer, Solange), Patrik Berger (Lana del Rey, Robyn) as well as hotly tipped blog favourites Blood Diamonds and J£zus Millions.


    As well as being an artist in her own right, Charli has written and featured on one of the biggest global breakthrough hits of 2012 for Icona Pop. I Love It created an absolute frenzy stateside, having blown up all over the world.


    True Romance shares its title with an unbelievably well-cast 1993 movie written by Quentin Tarantino, who was reassembling cultural detritus way before mash-ups and microblogging. Charli XCX's approach to pop is similarly postmodern (how 90s does that sound?), pulling from moody 80s synth-pop, sassy turn-of-the-millennium girl groups, and state-of-the-art contemporary producers to create something distinctive and immediately memorable. She clearly understands the internet, having shared two original mixtapes and two influences mixtapes before her official full-length, but this carefully pruned set is no data dump. And there you'll see a glimmer of True Romance's most throwback aspect: its evident pop ambition, an overriding sense of an imagined mass audience for music that's radio-ready yet outsider-friendly. It's almost like Napster-- and the filler-crammed album sales model that preceded it-- never happened.


    In fact, by the time Charli XCX was a teenage electro-house devotee, illegal file-sharing's early free-for-all had already given way to iTunes and other legal download services. Robyn had already released her self-titled comeback album. So it might be only natural that Charli XCX would keep the pre-bubble faith that people will pay for emotionally direct, bubblegum-catchy, yet stubbornly left-of-center songs about falling in and out of love. But the generous hooks on the previously released singles here, such as the gospel-kissed prechorus of the yearning Stay Away or the Santigold-savvy lilt of love-and-the-bomb brooder Nuclear Seasons, are extraordinarily welcome just the same. Even better are newer singles such as the gorgeously bitter You (Ha Ha Ha), which inhabits its cloud-rappy Gold Panda sample like they were made for each other, and the almost-as-gorgeously blissful What I Like, which recounts a still-young relationship with the cheeky frankness of Lily Allen or the Streets, and the sing-songy near-rapping of the Spice Girls.


    The several songs on True Romance that hadn't previously surfaced in videos or other releases aren't quite as strong, but they're effective enough to suggest Charli XCX's best work might still be ahead of her. The Todd Rundgren-sampling So Far Away, with the sun-dappled lushness of the Avalanches, is a clear highlight; Charli XCX's vocals are usually plain-spoken, but the anguished break-up plea Set Me Free proves she can reach for Jessie Ware-like dramatics when appropriate. The pitch-shifting no one is forever intro added at the start of opener Nuclear Seasons probably should've been given its own track-- and later on the album it is, when the same backing vocal forms the base of the cloudy, broken-hearted Grins. Elsewhere, the haunted confession How Can I, while solid enough, is a reminder that Charli XCX's lyrics so far tend to fall relatively flat; when, on swooning finale Lock You Up, she sings, It hits me like a ton of bricks, she leaves the clichÉ untweaked.


    And then there's Cloud Aura, a lovelorn, engagingly laid-back bit of groove that lets Grimes' Genesis video co-star Brooke Candy rap horribly about Chris Brown. Candy's guest verse previously appeared on 2012's uneven Super Ultra mixtape, and it was near-universally panned. It isn't any better now. But in an era when too many up-and-comers are all too eager to please, this stubborn refusal to back down displays another quality in short supply: genuine irreverence. The songwriting and production credits on True Romance include Usher's Climax co-conspirator Ariel Rechtshaid and I Love It collaborator Patrick Berger, among others, who also share some credit (and blame). But like 90s pop stars turned 10s pop sophisticates Justin Timberlake and BeyoncÉ, Charli XCX stamps her personality across the entire project, and True Romance suggests she'll be worth following for a while.
    - Marc Hogan, Pitchfork

    1. Nuclear Seasons
    2. You (Ha Ha Ha)
    3. Take My Hand
    4. Stay Away
    5. Set Me Free (Feel My Pain)
    6. Grins
    7. So Far Away
    8. Cloud Aura
    9. What I Like
    10. Black Roses
    11. You're the One
    12. How Can I
    13. Lock You Up
    Charli XCX
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Cars (Awaiting Repress) The Cars (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    The Cars (Awaiting Repress)

    Ranked 282/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Let the Good Times Roll: Half-Speed Mastered LP Sounds Amazing!


    The Cars Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple


    My Best Friend's Girl, Just What I Needed, You're All I've Got Tonight Among the Tunes on the Hit Parade


    One of the most successful and enjoyable debuts in history, The Cars self-titled album doubles as a greatest-hits collection. Thats because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became Americas most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: Youre All Ive Got Tonight. Good Times Roll. Just What I Needed. Moving in Stereo. My Best Friends Girl. Dont Cha Stop. If youre a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.


    Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orrs low, understated singing and Ocaseks cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accentscountry-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.


    The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. Its impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Bakers stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Bakers trademark touches with harmony vocals abound.


    And now, The Cars sounds better than it has in any previous incarnation. Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP allows the musics oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners senses and hold them at bay. Mobile Fidelitys unparalleled pressing epitomizes the sensation of moving in stereo!


    This title is not eligible for discount.

    1. Good Times Roll
    2. My Best Friend's Girl
    3. Just What I Needed
    4. I'm in Touch With Your World

    5. Don't Cha Stop
    6. You're All I've Got Tonight
    7. Bye Bye Love
    8. Moving in Stereo

    9. All Mixed Up
    The Cars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Rock of Ages Rock of Ages Quick View

    $49.99
    Buy Now
    x

    Rock of Ages

    The Band's Ultimate Live Album Recorded at Its Career Peak!


    Legendary Live Set Features Horn Arrangements by Allen Toussaint


    Incredible Sound and Virtuosic Performances


    The Last Waltz gets bigger billing, but The Band's 1972 live album Rock of Ages is actually the better representation of a live Band album. Recorded at the tail end of the group's Cahoots tour and over the course of four nights at New York's Academy of Music at the end of December 1971, the incendiary concert set bookmarks the close of the first phase of the collective's career.


    Rather than follow the lead of most other live records made at the time (and many since), The Band resists any temptation to improvise or extend its material. Instead, the group plays with an intensity, chemistry, and spirit that's nearly unrivaled by any other live album. The quintet also draws on a secret weapon: One Allen Toussaint, who tailors expert horn arrangements for multiple songs, a move that spices renditions of classics such as "Don't Do It" and "Chest Fever." To top it all off, the horn charts are performed by the Rock of Ages Horn Section-a five-piece ensemble that includes legendary trumpeter Snooky Young (Count Basie, Lionel Hampton) and saxophonist Joe Farrell (Charles Mingus, Elvin Jones).


    "I felt very much at home with The Band. You could tell in their music they know where they're coming from and they know where they're going. Each one had an extremely special interest in what they were doing." -Toussaint, as told to Rob Bowman


    Do they ever. Unencumbered by the myriad guests and grandiose sense that define The Last Waltz, and energized by Toussaint's invaluable work, Rock of Ages is the sound of a great band pulling out all the stops. Robbie Robertson's guitar solos take "Unfaithful Servant" to a higher ground; "The W.S. Walcott Medicine Show" kicks with raunchy R&B abandon; Garth Hudson delivers a show-stealing performance on "The Genetic Method," a thrilling organ piece that incorporates elements of Anglican church music, folk, classical, and pop-as well as "Auld Lang Syne," due to its being recorded on New Year's Eve.


    After various inferior editions and reissues, Rock of Ages is finally presented on an immaculate-sounding 180g 2LP set from Mobile Fidelity that lets Toussaint's contributions, horn section's energy, and the Band's feverish interplay shine like never before. Mastered from the original tapes, the open, airy, natural, and balanced sound will have you returning to Rock of Ages again and again.


    This title is not eligible for discount.

    1. Introduction / Don't Do It
    2. King Harvest (Has Surely Come)
    3. Caledonia Mission
    4. Get Up Jake
    5. The W.S. Walcott Medicine Show
    6. Stage Fright
    7. The Night They Drove Old Dixie Down
    8. Across The Great Divide
    9. This Wheel's On Fire
    10. Rag Mama Rag
    11. The Weight
    12. The Shape I'm In
    13. Unfaithful Servant
    14. Life Is A Carnival
    15. The Genetic Method
    16. Chest Fever
    17. (I Don't Want To) Hang Up My Rock And Roll Shoes
    The Band
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • A Fallen Temple A Fallen Temple Quick View

    $25.99
    Buy Now
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    A Fallen Temple


    Remastered Re-release Of Septicflesh's 1998 Classic Album


    Includes Four Rare Bonus Tracks


    Adorned With A Brand New Cover Artwork Designed By Septicflesh Frontman Seth "Siro" Anton.


    "The Last Time" is a PARADISE LOST cover which was previously only available on a long sold-out tribute album to one of the Greek demons' biggest influences, and the last three bonus tracks come from the 1998 'The Eldest Cosmonaut' EP.


    With Ophidian Wheel (originally released 1997) SEPTICFLESH took a bold step away from the classic Death Metal formula they had established with their two earlier albums Mystic Places of Dawn (1994) and Esoptron (1995). This third full-length fully explored and experimented with the possibilities offered by classic Gothic Metal as defined by PARADISE LOST's eponymous album. Gothic (1991) is an obvious influence for Ophidian Wheel with its amalgamation of harsh Death Metal, dark Gothic atmospheres and contrasting beautiful female vocals. To this recipe the Greek demons added their trademark spices like the singing guitar sound and classical elements. For the first time SEPTICFLESH featured the exceptionally talented soprano Natalie Rassoulis on Ophidian Wheel for stunning impact.


    The band was founded in Athens in 1990 by brothers Christos and Spiros Seth Antoniou joined by guitarist Sotiris Vayenas. The Greeks quickly released the Temple of the Lost Race EP (1991), which was followed by their cult first full-length Mystic Places of Dawn. Both have already been re-released jointly by Season of Mist. This was followed by the reissue of SEPTICFLESH's second album Esoptron with new artwork and bonus tracks, on which the Greeks already expanded their sonic realm with hints of Gothic flavour and a heavy infusion of TYPE O NEGATIVE.


    SEPTICFLESH cemented their reputation for experimental and intelligent Metal music with A Fallen Temple (1998), Revolution DNA (1999) and Sumerian Daemons (2003). Yet in October 2003 the band members decided to go separate ways. Continuous demand of their large and loyal following finally led to a reunion in 2007, after which SEPTICFLESH firmly established themselves as a leading force of symphonic Dark Metal with critically acclaimed masterpieces Communion (2008) and The Great Mass (2011).

    1. Brotherhood Of The Fallen Knights
    2. The Eldest Cosmonaut
    3. Marble Smiling Face
    4. Underworld Act 1
    5. Temple Of The Lost Race
    6. The Crypt
    7. Setting Of The Two Suns
    8. Erebus
    9. Underworld Act 2
    10. The Eldest Cosmonaut [Dark Mix]
    11. The Last Time
    12. Underworld Act 3
    13. Finale
    14. The Eldest Cosmonaut [Single Version]
    Septicflesh
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Solid Gold Heart Solid Gold Heart Quick View

    $20.99
    Buy Now
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    Solid Gold Heart

    The words and primary voice are those of Jad Fair, that
    enduringly idiosyncratic artist revered in discerning pockets of
    the global indie rock underground for decades. Danielson's
    Daniel Smith has long admired Fair, drawing inspiration from
    Half Japanese (the band Fair formed with his brother in the '70s)
    on through to his prolific career today. Their discussions of
    collaborating finally came to fruition when Joyful Noise
    Recordings designated Fair its "Artist In Residence" for 2014
    and Danielson was tapped as one of 4 artists (including R. Stevie
    Moore; Teenage Fanclub's Norman Blake; and Strobe Talbot) to
    record separate respective albums with him for a boxed-set
    limited release. "Flattered and honored" is how Smith sums up
    his feelings about the project -- and grateful to get a game-plan
    for what always seemed a complementary pairing.


    Sounds Familyre will be doing their own non-limited release of
    Solid Gold Heart in June, on CD, digital and gold vinyl. The 11
    tracks of sweet collaboration collected under said title sound like
    what you might expect, given the respective artists: gleaming
    tunes of sincere sing-speak, resplendent with sparkling back-up
    vocals and warmly melodic, inventive instrumentation; a
    sunshine-bright outlook of positive encouragement to keep
    "rockin' on the side of gooood" -- because, after all, "We
    deserve chocolate cake/ We deserve apple pie/ Enjoy your life
    ..."


    The collaborative process commenced with Fair sending Smith
    his unique vocal demos of recited lyrics with articulated mouth-sound musical qualities (some bits remain in the final mixes).
    Smith then wrote music for each chosen track, eventually getting
    Fair and drummer Gilles Rieder into his Clarksboro, NJ studio
    to record their parts during a few hours break from touring.
    Aside from Smith's own guitar-playing and singing throughout
    the album, there were contributions made by his brothers David
    and Andrew on percussion, and sisters Rachel and Megan along
    with wife Elin on vocals. Spicing things up at Fair's behest were
    members of Texas art-polka band Brave Combo: Carl Finch on
    accordion and keys; Jeffrey Barnes on sax and woodwinds; and
    Danny O'Brien on trumpet. Bringing things full-circle was
    Kramer (Shockabilly, Bongwater, B.A.L.L. et al.) on bass, who
    also co-mixed and mastered the album.


    The result is a beguiling blend that builds off each participant's
    strengths, truly a fresh sum that is greater than its parts. "The
    goal was to make 3-minute pop songs, as accessible and fun and
    immediate as possible," notes Smith. And that's what you'll
    hear, each track an uplifting, mutually enhanced concoction.


    Anyone who ever had a Solid Gold Heart -- wouldn't they want
    to turn around and share it? Of course they would. Jad Fair and
    Danielson are happy to offer up theirs.

    1. Go Ahead
    2. Rockin On The Good Side
    3. Ready Steady
    4. Here We Stand
    5. Solid Gold Heart
    6. With The Knowledge
    7. Apple Apple
    8. Not No
    9. On And On
    10. You Got Me In A Spin
    11.Here's Our Time
    Jad Fair & Danielson
    $20.99
    Vinyl LP - Sealed Buy Now
  • Dvorak: String Quintet In G Major (Speakers Corner) Dvorak: String Quintet In G Major (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Dvorak: String Quintet In G Major (Speakers Corner)

    A perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvoák's Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions.


    Here, the insistent, broad theme is presented in snappy cascades of sound. The cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvoák's distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.


    The Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvoák won an important prize for his Quintet.

    Recording: June 1971 at Boston Symphony Hall by GÜnter Hermanns
    Production: Thomas Mowrey



    Musicians:



    • Joseph Silverstein (violin)

    • Max Hobart (violin)

    • Burton Fine (viola)

    • Jules Eskin (cello)

    • Henry Portnoi (bass)



    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.

    1. Allegro Con Fuoco
    2. Intermezzo. Andante Religioso. Molto Adagio
    3. Scherzo. Allegro Vivace - Trio. L'Istesso Tempo, Quasi Allegretto
    4. Poco Andante

    5. Finale. Allegro Assai
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aerial Ballet (Speakers Corner) Aerial Ballet (Speakers Corner) Quick View

    $34.99
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    x

    Aerial Ballet (Speakers Corner)

    To define in a nutshell the music of Harry Nilsson in accordance with his personality can easily become a fiasco. The American singer-songwriter might well share his reputation as a multi-talented eccentric with a number of other musicians. However, his highly unusual style and his »satirical catchy pop songs [composed] with the sparkling eye of a cynic and the tearful eye of a nostalgic« (rororo Rock Lexicon) cannot be pigeonholed. Nilsson packaged derisive lines, spiced with a pinch of self-irony, in suspiciously pleasing yet carefully selected tunes. His cultivated and astonishingly supple voice basked to the full in bittersweet phrases, aided by elaborate, melting, slushy arrangements with strings and winds. Several of the wonderfully fresh numbers from Aerial Ballet reached top places in the charts. Everybody's Talkin' became world-famous through its use in the film Asphalt Cowboy and brought Nilsson his first Grammy award. The song One soared to the top ten of the charts. The other light and airy songs now invite you to create your very own hit list. Every single number makes great listening!


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.


    Musicians:



    • Harry Nilsson (vocal)

    • Plas Johnson (woodwinds)

    • Dennis Budimir (guitar)

    • Al Casey (guitar)

    • Michael Melvoin (harpsichord, organ, piano)

    • Larry Knechtel (bass, piano)

    • Jim Gordon (drums)

    • Milt Holland (percussion)




    Recording: 1967 and 1968 in RCA Victor's Music Center Of The World, Hollywood

    Production: Rick Jarrad





    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.

    1. Daddy's Song
    2. Good Old Desk
    3. Don't Leave Me
    4. Mr. Richland's Favorite Song
    5. Little Cowboy
    6. Together
    7. Everybody's Talkin'
    8. I Said Goodbye To Me
    9. Little Cowboy
    10. Mr. Tinker
    11. One
    12. The Wailing Of The Willow
    13. Bath
    Harry Nilsson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Breakfast At Tiffany's (Speakers Corner) Breakfast At Tiffany's (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Breakfast At Tiffany's (Speakers Corner)

    Long nights, dizzy parties, a variety of men-friends, and breakfast standing before the window display of the famed jewellery company govern the life of the dazzling Holly Golightly, who has in reality a very ordinary name and poverty-stricken background. All the more rich is the musical carpet that Henry Mancini lays beneath the feet of the exotic, wealthy-husband-seeking socialite. The tender, plaintive worldwide hit Moon River apart, Mancini and his Hollywood musicians mix a sugar-sweet sound with enough acrid elements to glaze over the capricious lady's character. The cool big band sound is spiced with a bold trumpet solo (The Big Blow Out) and mellow violins with a suspiciously tame male choir (Breakfast At Tiffany's). As is well known, there is a great deal of dancing in the film, including a number with a Latin-American rhythm (Latin Golightly), and a grooving mambo (Loose Caboose). At the end of the film even the Moon River swells to become a bubbling cha-cha, as though to say that a 'happy end' must in no way sound sentimental.



    A further Mancini mix -The Pink Panther soundtrack (RCA LSP 2795) - is also available from Speakers Corner.



    Musicians:



    • Henry Mancini (arranger, conductor, p) & orchestra



    Recording: 1961

    Production: Dick Pierce





    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.


    1. Moon River
    2. Something for Cat
    3. Sallys Tomato
    4. Mr Yunioshi
    5. The Big Blow Out
    6. Hub Caps and Tail Lights
    7. Breakfast at Tiffanys
    8. Latin Golightly
    9. Holly
    10. Loose Caboose
    11. The Big Heist
    12. Moon River Cha Cha
    Henry Mancini
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Uptown Special Uptown Special Quick View

    $21.99
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    x

    Uptown Special

    Uptown Special, the fourth album by producer-songwriter-musician Mark Ronson, is a tale of several cities, a wide range of collaborators, and a road trip deep into the American South. However the story of Ronson's latest project really starts back when he was New York's hottest DJ.


    In the late 1990s into the early 2000s the New York club scene was percolating with booming hip-hop and glitzy R&B. In those days before he emerged as a multi-talented musical force Ronson manned the turntables of many great parties. "It was a fun time to be playing music," he says. "At clubs like Cheetah you didn't have to play a hip hop record until 1a.m. You could play early '80s classics by Chaka Khan, Boz Scaggs and Michael Jackson and rock the crowd. I'd play Steely Dan's 'Black Cow' at 11:30 and it world work. Then, at 1am you'd play 'Hypnotize' by Biggie and the crowd would go wild. I come back to those memories."


    This mix of vintage R&B and pop with contemporary hip-hop is what made Ronson a star DJ. "I never get tired of hearing records like Earth, Wind & Fire's 'Can't Hide Love' next to 'Rock the Boat' by Aaliyah," says Ronson. "I wanted this record to feel like hearing that kind of musical mix on great New York club night."


    Uptown Special has all of the flavor of a night with Mark rocking the ones and twos with funk, soul, and psychedelic pop in a style that echoes classic productions by Quincy Jones and Steely Dan, and funneled through its creators sophisticated understanding of arrangement and melody. Of his three previous albums Mark feels like Uptown Special is closest in spirit to his 2003 debut, Here Comes the Fuzz, which came directly out his DJ experience. "The difference," Mark says "is I was reaching for things musically I wasn't quite ready to execute. With all the experience I've gained over the years I had the maturity and knowledge to really pull this together."


    The first single, "Uptown Funk," features GRAMMY® award-winning superstar Bruno Mars on vocals and drums, who sings with passion and plays drums with fire that will bring funk back on the radio. Joining Mars on the track is Mark on guitar, Mars' bassist Jamareo Artis and Jeff Brasker on keys. Mark produced Mars' massive hit single, "Locked Out of Heaven," where they developed a close musical kinship. "As a live performer no one out here now puts on a show like Bruno," says Mark. "This record has that same intensity. When you hear him sing you are always aware of how much he puts into a performance." Mark was so taken with the single's power that it inspired the album's title.


    Though Ronson is now based out of London, most of Uptown Special was recorded in the United States with stops in Los Angeles, Memphis and Mississippi. Most of the music was recorded with live musicians with Mark anchoring the sessions on guitar, while surrounded by a complimentary mix of gifted young players and R&B vets. Several musicians, who worked with Mark on his historic production of Amy Winehouse's multi-platinum Back To Black and his own breakthrough album, 2007's Version, rejoined him for this album, including drummer Homer Steinweiss, bassist Nick Movshan and guitarist Tommy Brenneck. Also making guest appearances on 'Uptown Special' are bassist Willie Weeks (who played on Stevie Wonder's classic Innervisions) guitarist Carlos Alomar (who created the familiar guitar riff on David Bowie's "Fame") and drummer Steve Jordan (member of the John Mayer Trio).


    Mark Ronson's Uptown Special is a unique blend. It's an album with a serious literary pedigree matched to down home greasy funk. It features a progressive pop vocalist from Australia and one reared in Mississippi, the spiritual root of American music. Hot young contemporary players dominate while some tracks are spiced with legendary musicians. It's a mix that reflects the musical taste and life experience of its creator.

    1. Uptown's First Finale
    2. Summer Breaking
    3. Feel Right
    4. Uptown Funk
    5. I Can't Lose
    6. Daffodils
    7. Crack In The Pearl
    8. In Case Of Fire
    9. Leaving Los Feliz
    10. Heavy And Rolling
    11. Crack In The Pearl pt. II
    Mark Ronson
    $21.99
    Vinyl LP - Sealed Buy Now
  • Feats Don't Fail Me Now Feats Don't Fail Me Now Quick View

    $21.99
    Buy Now
    x

    Feats Don't Fail Me Now

    One of those bands that perfectly epitomized so many things about the 1970s, Little Feat created a strangely smooth and sexy pastiche of Southern-spiced blues-rock. Main man Lowell George's undulant slide guitar marked the group's early recordings. His vocals, meanwhile, were distinctive in the manner in which he toyed with vowels as if they were yo-yos, tossing them up and down, this way and that.


    The albums recorded prior to George's 1979 death reflected a jazz influence (albeit one that would grow more pronounced as his influence in the band waned). Being based in Los Angeles also gave them a certain patina they may have lacked if they had been based in, say, Memphis. Feats Don't Fail Me Now features visiting guests Bonnie Raitt and Emmylou Harris and a collection of tight, wryly observant songs. Don't Fail Me's 1973 predecessor, Dixie Chicken, is generally seen as Little Feat's must-have outing, but this album, too, holds up a stunningly strong demonstration the appeal of the band's rock-blues-jazz hybrid. --Lorry Fleming

    1. Rock & Roll Doctor
    2. Oh Atlanta
    3. Skin it Back
    4. Down the Road
    5. Spanish Moon
    6. Feats Don't Fail Me Now
    7. The Fan
    8. Medley: Cold Cold Cold/Tripe Face Boogie
    Little Feat
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aspera Hiems Symfonia (Out Of Stock) Aspera Hiems Symfonia (Out Of Stock) Quick View

    $35.99
    x

    Aspera Hiems Symfonia (Out Of Stock)


    • 180 Gram Blue Vinyl


    • 1000 Only Limited Edition


    Aspera Hiems Symfonia is the debut studio album by Norwegian avant-garde metal band Arcturus


    Arcturus was one of the first Norwegian black metal bands to incorporate a large dose of symphonic keyboards to their music, leaving behind the rawness and brutality of their contemporaries at an early stage of their career (there are four re-recorded songs from 1994's Constellation EP in here). In fact, their approach to the newly-born (by that date) symphonic black metal sound is less aggressive and more melodic than the one of Emperor, Dimmu Borgir, Limbonic Art and similar bands, having some similarities with atmospheric black metal instead.


    The music is mostly mid-paced, with blast-beats only being present briefly on the first track. The keyboards are at the forefront of the music, using symphonic arrangements and/or atmospheric effects. The guitar work is varied enough, playing melodic lines along with the keyboard ones, sometimes being more of a rhythmic instrument, playing either mid-tempo riffs or tremolo-picked ones, and with many songs featuring neoclassical-influenced guitar leads and blistering solos (like the ones on 'To Thou Who Dwellest in the Night' or 'Fall of Man'), where the guitars have their moments to shine.


    The drumming is technical and precise, and even though the rhythms are quite basic, Hellhammer spices them up with his characteristic use of cymbals and double bass (to prevent the songs from sounding plodding and slow). Garm hadn't quite developed his charismatic baritone vocal style, and for most of the time in here, he goes for full-on harsh vocals. Actually, his best harsh vocal performance ever is on this record, surpassing (by little) even the one on Ulver's Nattens Madrigal. His screams sound passionate yet spiteful and angry, like the one on 'Raudt og svart', or the THROUGH THE WOOOOOAAAAADDDSSSSS!!!!!!!!!! section of 'Wintry Grey', to name a few. Nevertheless, his clean vocals are still present, but on choral, spoken or whispered sections, and doesn't sound as strong as the ones of posterior works.


    Other feature of the record that makes it different from its contemporaries is the progressive approach to songwriting, something that can be evidenced in the frequent time signature shifts and the frequent changes in the structure of the songs, as well as some unusual sounds (like the reversed vocals of 'Whence & Whither Goest the Wind') and odd, quirky (yet not blatantly carnivalesque like the ones on 'La masquerade infernale') melodies, which give it an experimental edge that would be explored with more depth in the subsequent releases of the band.


    The thin production (with the airy keyboards, the razor-blade guitars, the metallic, thumping drums, and the echoey vocals) gives the record a cold feeling, and it has this sort of winternight-esque atmosphere, like being in a forest while snowing, contemplating the northern lights (yes, like the ones on the cover) and the stars. This cosmic winter atmosphere gives the music a contemplative, calm and mellow feeling.


    The glorious symphonic arrangements, the soaring guitar lines, the emotional but not straightforward or standard songwriting, and the atmosphere are the things that make Aspera Hiems Symfonia so special and one of the most remarkable achievements in the realm of symphonic black metal, an album that manages to be accessible enough to draw new listeners to the genre, but at the same time is one of their most forward-thinking and intriguing works.


    - greywanderer7 (The Metal Archives)

    LP 1
    1. To Thou Who Dwellest In The Night
    2. Wintry Grey
    3. Whence And Whither Goest The Wind
    4. RaudtOgSvart
    5. The Bodkin & The Quietus
    6. Du Nordavnid

    7. Fall Of Man
    8. NaarKulda Tar (FrostnettenesProlog)


    LP 2
    1. The Deep Is The Skies (bonus track)
    2. Cosmojam (bonus track)
    3. RaudtOgSvart (taken from Constellation promo CD)

    4. Icebound Streams And Vapours Grey (taken from Constellation promo CD)
    5. NaarKulda Tar (taken from Constellation promo CD)
    6. Du Nordavind (taken from Constellation promo CD)
    7. My Angel (taken from My Angel 7 EP)
    8. Morax (taken from My Angel 7 EP)

    Arcturus
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
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