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  • Summer House Summer House Quick View

    $16.99
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    Summer House

    Summer House is the debut album from Gold Motel, the new project from Greta Morgan (The Hush Sound) and members of This is Me Smiling. The ten tracks herewithin are snapshots of dreaming, transient youth in constant motion, driving down desert highways, watching fireworks from the boardwalk, wandering the city in an endless summer but in the end always searching for the safety of home, friends and love. Beneath tight pop hooks and warm melodies, Gold Motels songs are infused with joyous exuberance as well as sweet melancholy.
    1. We're On The Run
    2. Perfect (In My Mind)
    3. Safe In L.A.
    4. Stealing the Moonlight
    5. Fireworks After Midnight
    6. Don't Send the Searchlights
    7. Make Me Stay
    8. The Cruel One
    9. Who Will I Be Tonight?
    10. Summer House
    Gold Motel
    $16.99
    Vinyl LP - Sealed Buy Now
  • Hush Or Howl Hush Or Howl Quick View

    $16.99
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    Hush Or Howl


    Red Translucent Vinyl


    Black Pistol Fire is a Canadian Rock and Roll duo that splits time between Toronto, Ontario and Austin, Texas. Their wild and energetic rock-and-roll sound has been described as a mix of classic southern rock and garage punk, garnering comparisons to early Kings of Leon, Creedence Clearwater Revival, The White Stripes, and Clutch. The band features Kevin McKeown on Guitar/Lead Vocals and Eric Owen on Drums. The two have been friends since kindergarten and began playing music together when they discovered a shared passion for rock and roll music in high school.


    While playing a local Austin hotspot, Producer Jim Diamond (The White Stripes, The Von Bondies, Jon Spencer Blues Explosion) approached the band about recording their 2011 record. They have supported the likes of Weezer, BRMC, Band of Skulls, State Radio, Shonen Knife, and Lucinda Williams. The band recorded their 2nd LP in the early 2012 with producer Michael Rocha in Toronto. This album, Big Beat 59, was released in August 2012, with songs with the album being put into rotation on major taste-making radio stations KEXP, KCRW, KUTX, and KDHX.


    The band gained further momentum during SXSW 2013 where The Huffington Post called the band 'the next big thing' and 'the most energetic and musically versatile of all the bands playing the festival'.


    Hush or Howl was again recorded with Michael Rocha, this time in Austin, TX.

    1. Alabama Coldcock
    2. Dimestore Heartthrob
    3. Baby Ruthless
    4. Your Turn to Cry
    5. Hipster Shakes
    6. Run Rabbit Run
    7. Honeydripper
    8. Blue Eye Commotion
    9. Hush
    10. Show Pony
    11. Grease My Wheel
    Black Pistol Fire
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • The Other The Other Quick View

    $24.99
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    The Other

    King Tuff has announced The Other, the follow-up to his 2014 LP Black Moon Spell. The self-produced album features contributions from Ty Segall, Jenny Lewis, Mikal Cronin, the Hush Sound's Greta Morgan, and more.
    1. The Other
    2. Raindrop Blue
    3. Thru the Cracks
    4. Psycho Star
    5. Infinite Mile
    6. Birds of Paradise
    7. Circuits in the Sand
    8. Ultraviolet
    9. Neverending Sunshine
    10. No Man's Land
    King Tuff
    $24.99
    Vinyl LP - Sealed Buy Now
  • Herman's Hermits: Their Greatest Hits Herman's Hermits: Their Greatest Hits Quick View

    $19.99
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    Herman's Hermits: Their Greatest Hits


    First Time On 180 Gram Clear Vinyl


    Their Greatest Hits gathers some of the Hermits' most memorable moments as part of ABKCO's Clearly
    Classic Vinyl Series. Featuring their most popular Top 40 hits, "Can't You Hear My Heartbeat," "Silhouettes," "(What A) Wonderful World," "Just A Little Bit
    Better," "Listen People," "Dandy," "There's A Kind Of Hush," and more.


    With his thick British accent and schoolboy good looks, singer Peter Noone carried Herman's Hermits through a string of 1960's hits bringing an
    undeniable charm to songs like Mrs. Brown You've Got A Lovely Daughter," the swooning romanticism of There's A Kind Of Hush, to the upbeat pop
    sound of I'm Into Something Good, to the quirky novelty of I'm Henry VIII, I Am.

    LP 1
    1. Mrs. Brown You've Got A Lovely Daughter
    2. No Milk Today
    3. End Of The World
    4. This Door Swings Both Ways
    5. Just A Little Bit Better
    6. I'm Henry The VIII, I Am
    7. There's A Kind Of Hush All Over The World
    8. Silhouettes


    LP 2
    1. I'm Into Something Good
    2. Can't You Hear My Heartbeat
    3. Dandy
    4. (What A) Wonderful World
    5. Hold On
    6. Listen People
    7. Leaning On A Lamp Post
    8. A Must To Avoid

    Herman's Hermits
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Planetarium Planetarium Quick View

    $29.99
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    Planetarium

    Planetarium is a concept album that occasionally gives way to ambient interludes and majestic brass chorales, buttressed by a percussive drive that keeps the momentum skyward. In spite of all the experimentation in sound and style, Sufjan's vocals provide a clear and coherent center of gravity. The album includes some of his most diverse vocal performances to date (from soft hush to guttural scream), and whether he's singing through effects pedals, vocoders, auto-tune or not, his voice delivers an ambitious flight map through the cosmos. Planetarium is an album co-composed by four musicians: Bryce Dessner, James McAlister, Nico Muhly, and Sufjan Stevens.


    Flanked by a string quartet and a consort of seven trombones, this unique collaborative ensemble has assembled an expansive song cycle that explores the Sun, the Moon, the planets and other celestial bodies of our solar system (and beyond) through soundscape, song, science and myth. The result of this creative alliance is a musical and aesthetic journey as far-reaching as its subject: from lush piano ballads to prog-rock political anthems, curious electronic back-beats to classical cadenzas, the vast musical styles seek to explore the diversity and mystery of our cosmos. The subject of the album is not just the wilderness of outer space, but the interior space of human consciousness and how it engages.

    LP 1
    1. Neptune
    2. Jupiter
    3. Halley's Comet
    4. Venus
    5. Uranus
    6. Mars
    7. Black Energy


    LP 2
    1. Sun
    2. Tides
    3. Moon
    4. Pluto
    5. Kuiper Belt
    6. Black Hole
    7. Saturn
    8. In The Beginning
    9. Earth
    10. Mercury

    Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Good News For Modern Man Good News For Modern Man Quick View

    $16.99
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    Good News For Modern Man


    First Time On Vinyl For This 1999 Solo Album From Ex Husker Du Drummer/songwriter!


    No one has to ask what the hell happened to Grant Hart? anymore. When last heard from in 1994, he was releasing his second LP with Nova Mob. His absence since was perhaps atypical, but here he is again, resuming his solo career for the first time in ten years. The good news is that Good News doesn't sound like Nova Mob or 1991's visceral Last Days of Pompeii, nor does it repeat his more introspective 1989 solo LP Intolerance or 1988's accomplished 2541 EP. Production-wise, this is the most pleasant Hart has come across. A sugar rush is added to his pronounced hooks, adding warmth without robbing the attack of vitality. It's hard to describe -- the first thought might be the exuberance of Cheap Trick on Surrender, only not so thumping. Songs such as Nobody Rides for Free and Seka Knows are not traditional power pop as much as vaguely restrained, crunchy-under-the-surface melodic rock songs with slight '60s influence. This steady, understated exhilaration is consistent with Hart's affable personality. You see it most on the lightest selection, Run Run Run to the Centre Pompidou, a jaunty pop romp to nowhere in gay Paris. But it's just as prevalent in the slower, demure tracks such as You Don't Have to Tell Me Now and, most unique of all, the Chills-like New Zealand hush of Teeny's Hair. Hart's control now is as impressive as when he was contrarily blistering the night with such incredible intensity behind the drums in 1984. His best LP since he parted company with Bob Mould and Greg Norton? Very likely!


    - Jack Rabid (All Music Guide)

    1. Little Nemo
    2. Think It Over Now
    3. Nobody Rides For Free
    4. Run Run Run To The Centre Pompidou
    5. You Don't Have To Tell Me Now
    6. Teeny's Hair
    7. A Letter From Anne Marie
    8. In A Cold House
    9. Seka Knows
    10. Remains to Be Seen
    11. Let Rosemary Rock Him, Laura-Louise
    Grant Hart
    $16.99
    Vinyl LP - Sealed Buy Now
  • Trans-Millenia Music Trans-Millenia Music Quick View

    $29.99
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    Trans-Millenia Music

    Otherworldly and anomalous, hushed and hallucinatory, Pauline Anna Strom's unique style of inner space music reaches across time to futures and pasts far from our own. Trans-Millenia Music compiles 80 minutes of Strom's most evocative work, composed and recorded between 1982 and 1988 across seven albums released in minimal vinyl and cassette editions. Strom's heightened sensitivity to sound and spirited sensibility with the primal synthesizer tools of her trade elevates this music beyond the catch-all containers of New Age and ambient music into a realm of its own. RVNG's double LP collection features original artwork by visionary Karma Moffett, printed inner sleeves, and a booklet with extensive liner notes scribed by Britt Brown.
    LP 1
    1. Freedom At the 45th Floor
    2. Virgin Ice
    3. In Flight Suspension
    4. Bonsai Terrace
    5. Energies
    6. Mushroom Trip
    7. Cruising Altitude 36,000 Feet


    LP 2
    1. Spatial Spectre
    2. Warriors of the Sun
    3. Rain On Ancient Quays
    4. Morning Splendor
    5. The Unveiling
    6. Gossamer Silk

    Pauline Anna Strom
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Buena Vista Social Club Buena Vista Social Club Quick View

    $29.99
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    Buena Vista Social Club

    Mastered by Bernie Grudman from the Original Analogue Master Tapes


    Includes 20 Page Booklet


    Ry Cooder's name has helped bring attention to this session, but it's the veteran Cuban son musicians who make this album really special. Reminiscent of Ellington in its scope and sense of hushed romanticism, Buena Vista Social Club is that rare meld of quietude and intensity; while the players sound laid-back, they're putting forth very alive music, a reminder that aging doesn't mean taking to bed. Barbarito Torres's laoud solo on El Cuarto de Tula is both more blinding and more tasteful than any guitar showcase on any recent rock album; a quote from Stormy Weather and some very distinct parallels to Hawaiian styles remind us of why it's called world music. --Rickey Wright

    1. Chan Chan
    2. De Camino A La Vereda
    3. El Cuarto De Tula
    4. Pueblo Nuevo
    5. Dos Gardenias
    6. Y Tu Que Has Hecho
    7. Veinte Anos
    8. El Carretero
    9. Candela
    10. Amor De Loca Juventud
    11. Orgullecida
    12. Murmullo
    13. Buena Vista Social Club
    14. La Bayamesa
    Buena Vista Social Club
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Folksy Nina (Pure Pleasure) Folksy Nina (Pure Pleasure) Quick View

    $34.99
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    Folksy Nina (Pure Pleasure)

    Pianist and singer Nina Simone defied categorization by blending classical, jazz and popular music into an unconventional and highly personal idiom: over four decades, she galvanized audiences with albums and performances replete with deep passion and keen attention to emotion.
    Fiercely honest, Simone was admired for her eccentricity and individualism. She was known for her spirited personality on and off the stage, which included flirting with audience members and voicing her opinions about social topics of the time.



    Like the 1963 LP Nina Simone At Carnegie Hall (Pure Pleasure SCP 455), this was recorded in front of a devoted and enthusiastic live audience at Carnegie Hall on May 12, 1963. It isn't just unworthy leftovers, but a strong set in its own right, concentrating on material that could be seen as traditional or folk in orientation. It's not exactly strictly folk music, in repertoire or arrangement (which includes piano, guitar, bass, and drums, though not every tune has all of the instruments); Twelfth Of Never certainly isn't folk music. However, there was also an uptempo piano blues, Leadbelly's Silver City Bound; covers of the Israeli Erets Zavat Chalav and Vanetihu which served as further proof that Simone's eclecticism knew no bounds; and the stark, moody, spiritually shaded ballads at which she excelled (When I Was a Young Girl, Hush Little Baby). Lass Of The Low Country is as exquisitely sad-yet-beautiful as it gets.



    Musicians:



    • Nina Simone (piano, vocal)

    • Alvin Schackman, Phil Orlando (guitar)

    • Lisle Ackinson (bass)

    • Montego Joe (drums)




    Recording: May 1963 at Carnegie Hall, New York, by Dick Alderson

    Production: Jack Lewis



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Silver City Bound
    2. When I Was a Young Girl
    3. Erets Zavat Chalav
    4. Lass of the Low Country
    5. The Young Knight
    6. Twelfth of Never
    7. Vanetihu
    8. You Can Sing a Rainbow
    9. Hush Little Baby
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Slowmotionary Slowmotionary Quick View

    $18.99
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    Slowmotionary

    Ethan Gruska's solo debut, the luminous Slowmotionary, embraces a range of sounds and styles, with influences from jazz and folk to ambient and alternative, Slowmotionary integrates everything into a whole that is original, idiosyncratic and embraces its own imperfections. I really tried to let that humanity in and to not only leave these quirky blemishes in, but to highlight them, says Gruska. I didn't want perfect. I wanted true. I wanted honest. He made room for a little serendipity in his creative process, sensing that too calculated an approach would diminish the impact of the music. That spontaneity provided a wonderful counterpoint to his thoughtful and revealing lyrics. Showcasing Gruska's hushed vocals and subtle arrangements, these songs resonate with the intimacy of an internal monologue, as though we're sharing in his darkest worries.


    The goal was to have it be like a sound collage that I had made. It was really exploratory, with a lot of sampling and reversing-techniques I had tried in the past but had never gotten to fully explore. The results are beautifully minimalist: songs as whispered confidences, with what Gruska calls an arctic sound, windswept and cold, befitting lyrics that depict moments frozen in time. I didn't want to hide behind anything. That's why it's produced and arranged the way it is. It's very barren at certain moments. These songs slow down time for me, which is why I called it Slowmotionary. I needed to put myself out there musically and lyrically.


    And that meant not making it perfect. It meant making these songs sound like the results from something other than a studio. It meant conveying the sense of music that is being written at the same moment you hear it. A lot of the record is mysterious, even to me. It's not something you always tap your foot to. You're listening to my thought process.

    1. The Valley
    2. Me Who Wasn't Trying
    3. Reoccurring Dream
    4. Short Film
    5. Rather Be
    6. Crowded City Street
    7. Grand Lies
    8. Neighbors
    9. What Are You Thinking Of?
    10. Time Is The Healer
    11. The Egotist
    12. Illuminate
    Ethan Gruska
    $18.99
    Vinyl LP - Sealed Buy Now
  • Afterglow Afterglow Quick View

    $54.99
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    Afterglow

    200-Gram Double LP 45 Rpm Gatefold Reissue From Analogue Productions


    Mastered By Bernie Grundman


    Plated And Pressed At Quality Record Pressings!


    Features Fallen, Stupid And World On Fire


    The Analogue Productions/QRP pressing reissue treatment delivers sonics and luxury packaging second to none for discerning collectors. Now we've given three titles by Canadian songstress Sarah McLachlan this premier makeover and you reap the benefits: Solace, Mirrorball and Afterglow.


    McLachlan's rebellion is hushed on Afterglow, her first studio album since 1997's Surfacing. At times even the piano chords at the heart of the sound are tucked neatly beneath layer upon layer of strings and overdubbed voices. Listen to what's being sung within this soothing aural bed, though, and hear the just-before-sleep murmurings of the quietest riot grrl: I'm a train wreck waiting to happen.... a wildfire born of frustration, How stupid could I be.... you're no good for me, but you're the only one I see, I have to push just to see how far you'll go. The latter song (Push) resolves itself with the assurance, You complete me. Ultimately, McLachlan fans will be comforted again by what turns out to be her reliably untroubled aesthetic. -Amazon.com


    This title is not eligible for discount.

    1. Fallen
    2. World On Fire
    3. Stupid
    4. Drifting
    5. Train Wreck
    6. Push
    7. Answer
    8. Time
    9. Perfect Girl
    10. Dirty Little Secret
    Sarah McLachlan
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • I Believe I Believe Quick View

    $24.99
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    I Believe

    Translucent Orange Colored Vinyl

    Limited Edition - 1000 Copies

    The third album, I Believe, was released in 2001, after which Haden took an extended break from the band, recording a solo album for Dreamworks Records (later released on his own Diamond Soul Recordings).


    "Strip most music of its fashionable, genre-specific accoutrements and there's precious little left. Except country, perhaps. It's with this in mind that Los Angelenos Spain go about their lovelorn business. There are no frills, no zeitgeist nods here, just the simplicity of the strum, the slide and the hushed confessions of Josh Haden - son of jazz bassist Charlie and disciple of the songwriter's old skool.


    "Three albums in, 'I Believe' is a substantial offering awash with humble entreaties and doe-eyed, lounge affectations. Sure, the moniker may flirt outrageously with Monsieur Schmaltz, but there really are some sweet, sweet sounds lurking beneath the initially perceived pretence. The slow-mo beauty of 'Mary' showcases Haden's almost electronic, pitch-perfect coo (and with all genre gimmicks gone, the voice has to be exact), while the self-explanatory, nu-prairie hum of 'You Were Meant For Me' betrays a romantic absolutism that Nick Cave would be proud of.

    1. She Haunts My Dreams
    2. Born To Love Her
    3. You Were Meant For Me
    4. Do You See The Light
    5. Mary
    6. Make Your Body Move
    7. I Believe
    8. Oh That Feeling
    9. If We Kissed
    10. Long Time Ago
    Spain
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ugly But Honest Ugly But Honest Quick View

    $15.99
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    Ugly But Honest

    Formed in 1995 by Mat Brooke and Jenn Ghetto, Carissa's Wierd spent the better part of a decade crafting intricate, melancholic music with hushed harmonies, heartrending lyrics, and sweeping string movements. While Brooke and Ghetto formed the core of the group, various incarnations of the band also included Sera Cahoone, Ben Bridwell, Sarah Standard, and Jeff Hellis, amongst others. Upon the dissolution of Carissa's Wierd, former members of the band went on to form Grand Archives, S, Sera Cahoone, and most notably, Band of Horses. The widespread success of these projects in many ways legitimizes the humble beginnings of Carissa's Wierd and the promise of their sound.


    Following the release of the retrospective compilation, Theyll Only Miss You When You Leave: Songs 1996-2003, Hardly Art is reissuing all three of the Carissas Wierd full-lengths. Long out of print, Ugly But Honest is the first record in the Carissas Wierd trilogy, originally released on CD by Brown Records in 2000. It is now being released on vinyl for the first time via Hardly Art. The vinyl version comes on opaque blue double vinyl and is housed in a full-color gatefold jacket with download code.

    1. Heather Rhodes
    2. Drunk w/ the Only Saints I Know
    3. Lazy Eyelids
    4. To Be There Now
    5. One Night Stand
    6. Sitting in the Smoking Lounge of an Airport With a Broken Heart
    7. Blankets Stare
    8. Flourescent Lights
    9. A Bathtile Green
    10. Some Days Are Better Than Others
    11. Alphabet on the Manhole
    Carissa's Wierd
    $15.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • You Should Be At Home Here You Should Be At Home Here Quick View

    $15.99
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    You Should Be At Home Here

    Formed in 1995 by Mat Brooke and Jenn Ghetto, Carissa's Wierd spent the better part of a decade crafting intricate, melancholic music with hushed harmonies, heartrending lyrics, and sweeping string movements. While Brooke and Ghetto formed the core of the group, various incarnations of the band also included Sera Cahoone, Ben Bridwell, Sarah Standard, and Jeff Hellis, amongst others. Upon the dissolution of Carissa's Wierd, former members of the band went on to form Grand Archives, S, Sera Cahoone, and most notably, Band of Horses. The widespread success of these projects in many ways legitimizes the humble beginnings of Carissa's Wierd and the promise of their sound.


    Following the release of the retrospective compilation, Theyll Only Miss You When You Leave: Songs 1996-2003, Hardly Art is reissuing all three of the Carissas Wierd full-lengths. Long out of print, You Should Be at Home Here is the second full-length record in the Carissas Wierd trilogy, originally released on CD by Brown Records in 2001. It is now being released on vinyl for the first time via Hardly Art. The vinyl version comes on opaque brown double vinyl and is housed in custom dust sleeves with a download code.

    1. Brooke Daniels Tiny Broken Fingers
    2. The Color That Your Eyes Changed With the Color of Your Hair
    3. Halfway Spoken Heart That Feels Comfort in Everything Until it Disappears and Then Its Gone
    4. A Loose Hair Falls Into a Glass of Water Without Ice
    5. Fear Not My Friend for Tonight We Ride
    6. Blessed Arms That Hold You Tight, Freezing Cold and Alone
    7. All Apologies and Smiles, Yours Truely, Ugly Valentine
    8. The Ghost of a Dead Hummingbird Flying Around the Room
    9. The Part About the Vine Thats Growing Through the Window and Reaching Towards My Bed
    10. You Should Be at Home Here
    Carissa's Wierd
    $15.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Songs About Leaving Songs About Leaving Quick View

    $13.99
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    Songs About Leaving

    Formed in 1995 by Mat Brooke and Jenn Ghetto, Carissa's Wierd spent the better part of a decade crafting intricate, melancholic music with hushed harmonies, heartrending lyrics, and sweeping string movements. While Brooke and Ghetto formed the core of the group, various incarnations of the band also included Sera Cahoone, Ben Bridwell, Sarah Standard, and Jeff Hellis, amongst others. Upon the dissolution of Carissa's Wierd, former members of the band went on to form Grand Archives, S, Sera Cahoone, and most notably, Band of Horses. The widespread success of these projects in many ways legitimizes the humble beginnings of Carissa's Wierd and the promise of their sound.


    Following the release of the retrospective compilation, Theyll Only Miss You When You Leave: Songs 1996-2003, Hardly Art is reissuing all three of the Carissas Wierd full-lengths. Long out of print, Songs About Leaving is the third and final record in the Carissas Wierd trilogy, originally released on CD by Sad Robot in 2002. It is now being released on vinyl for the first time via Hardly Art. The LP version of this release comes on marbled light green wax and housed in a custom dust sleeve with a download code.

    1. You Should Be Hated Here
    2. Silently Leaving the Room
    3. So You Wanna Be a Superhero
    4. September Come Take This Heart Away
    5. Ignorant Piece of Shit
    6. The Piano Song
    7. Theyll Only Miss You When You Leave
    8. A New Holiday (November 16th)
    9. Farewell to All These Rotten Teeth
    10. Sofisticated Fuck Princess Please Leave Me Alone
    11. Low Budget Slow Motion Soundtrack Song for the Leaving Scene
    12. It Was Probably Green (March 19th, 1983)
    Carissa's Wierd
    $13.99
    Colored Vinyl LP - Sealed Buy Now
  • New Bermuda (Deluxe) New Bermuda (Deluxe) Quick View

    $27.99
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    New Bermuda (Deluxe)

    Limited Edition Deluxe 2 LP Set with Embossing & Foil Stamp


    San Francisco's Deafheaven found massive critical success when their 2013 album Sunbather was an unexpected crossover hit, earning the band a 92/100 Metacritic score and ending the year as the best reviewed album of 2013. No one could have anticipated a band that drew from equal parts Weakling and My Bloody Valentine ascending to such heights, and that incomprehensibility added to the band's singularity and allure.


    Two years later, founding members George Clarke and Kerry McCoy began working on their ANTI debut, New Bermuda, with a new perspective. Says Clarke: "Sunbather yearned for something better. New Bermuda focuses on the idea of false promise, achieving something and wondering if it's what you really wanted in the first place." McCoy shares that sentiment: "Sunbather sounds like people who have nothing but are satisfied with life. There's an uplifting quality to it. But New Bermuda is a very tense record." McCoy cites death metal demigods Dissection and Morbid Angel, the blackened death pioneers Behemoth, and Cliff Burton-era Metallica as influences on the new album.


    As New Bermuda progresses, Deafheaven travels further outside of their comfort zone, feasting on other niches of underground metal and offsetting the blunt force of their feral rage with more complex and nuanced beauty. A sophisticated and subdued pop element kicks off "Baby Blue", before the band abruptly shifts into an amalgam of NWOBHM's anthemic urgency and thrash metal's racing chugs. There's a brief comedown where the band veers into the musique concrete soundscapes and hushed melodrama of early Godspeed You! Black Emperor before "Come Back" resumes the band's merciless assault of stampeding drums and vitriolic guitar harmonies, only to shift mid-song into the somber territories of 4AD's early catalog. Which is not to say that Deafheaven have softened their approach; New Bermuda offers the most punishing music of the band's career in the wake of their greatest success.

    1. Brought to the Water
    2. Luna
    3. Baby Blue
    4. Come Back
    5. Gifts for the Earth
    Deafheaven
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • New Bermuda New Bermuda Quick View

    $21.99
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    New Bermuda

    San Francisco's Deafheaven found massive critical success when their 2013 album Sunbather was an unexpected crossover hit, earning the band a 92/100 Metacritic score and ending the year as the best reviewed album of 2013. No one could have anticipated a band that drew from equal parts Weakling and My Bloody Valentine ascending to such heights, and that incomprehensibility added to the band's singularity and allure.


    Two years later, founding members George Clarke and Kerry McCoy began working on their ANTI debut, New Bermuda, with a new perspective. Says Clarke: "Sunbather yearned for something better. New Bermuda focuses on the idea of false promise, achieving something and wondering if it's what you really wanted in the first place." McCoy shares that sentiment: "Sunbather sounds like people who have nothing but are satisfied with life. There's an uplifting quality to it. But New Bermuda is a very tense record." McCoy cites death metal demigods Dissection and Morbid Angel, the blackened death pioneers Behemoth, and Cliff Burton-era Metallica as influences on the new album.


    As New Bermuda progresses, Deafheaven travels further outside of their comfort zone, feasting on other niches of underground metal and offsetting the blunt force of their feral rage with more complex and nuanced beauty. A sophisticated and subdued pop element kicks off "Baby Blue", before the band abruptly shifts into an amalgam of NWOBHM's anthemic urgency and thrash metal's racing chugs. There's a brief comedown where the band veers into the musique concrete soundscapes and hushed melodrama of early Godspeed You! Black Emperor before "Come Back" resumes the band's merciless assault of stampeding drums and vitriolic guitar harmonies, only to shift mid-song into the somber territories of 4AD's early catalog. Which is not to say that Deafheaven have softened their approach; New Bermuda offers the most punishing music of the band's career in the wake of their greatest success.

    1. Brought to the Water
    2. Luna
    3. Baby Blue
    4. Come Back
    5. Gifts for the Earth
    Deafheaven
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I Thought It Was Us But It Was All Of Us I Thought It Was Us But It Was All Of Us Quick View

    $25.99
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    I Thought It Was Us But It Was All Of Us

    Inlcudes Art Print Poster


    New Project Led By Montreal Cellist Rebecca Foon

    (ESMERINE, SILVER MT ZION, SET FIRE TO FLAMES)

    • Features Jamie Thompson (UNICORNS) and Guest Players from LITTLE SCREAM, PATRICK WATSON BAND
    and BELL ORCHESTRE

    • Recorded and Mixed by Grammy-Winning Engineer
    Mark Lawson (ARCADE FIRE)


    Saltland is the new project led by Montreal-based cellist Rebecca Foon, best
    known as a founding member of contemporary chamber group Esmerine and a former
    member of Thee Silver Mt. Zion and Set Fire To Flames. Foon began composing solo
    work in 2010, featuring multi-layered cello and hushed vocals at the intersection of
    drone, no-wave, improv, dream-pop and minimalism. Joined by Jamie Thompson
    (Unicorns, Esmerine) on miniature percussion, programming and signal processing,
    Foon's live performances in Montreal and abroad over the past two years have seen
    her sound progress towards gently rhythmic and electronic territory as well. She has
    transfixed audiences with this new music while sharing the stage with Mary Margaret
    O'Hara, Julia Kent, Nat Baldwin and Sam Amidon, among others. As her largely homerecorded debut album began taking shape throughout 2011, with numerous guests
    contributing to various pieces, Foon adopted the Saltland moniker for this work.


    I Thought It Was Us But It Was All Of Us is a beautifully restrained debut
    album that telescopes the directness and economy of Foon's compositional and vocal
    styles into lush, twilight atmospheres aglow with luminescent tendrils and flickering
    particles. Foon sings of childhood innocence lost, of tender utopic reveries and
    downcast dystopic horizons, and the search for soft, stoic strength in a darkening,
    devolving world. Foon's voice is discreet but defined, drifting on buoyant currents of
    sound sourced from her plucked and bowed cello lines, in most cases propelled by
    Thompson's bespoke percussion and understated programming/processing, with
    touches of guitar, bass, horns, woodwinds, strings and backing vocals added by a cast
    of supporting players. The record unfurls like a gauzy flag in a restless breeze at dusk:
    a delicate, resolute sentinel set against the fading light.


    The album's ambience also owes much to the work of Mark Lawson, the awardwinning engineer (Arcade Fire) who collaborated closely with Foon to record and mix
    these songs at Six Saint V, her apartment studio in Montreal. Lawson, along with
    friend and percussionist Thompson, helped to forge a balance between lo-fi intimacy
    and shimmering breadth with these recordings, remaining faithful to the all-anologue
    instrumentation of the source material while judiciously deploying signal processing
    strategies to subtly refract, saturate and expand the sonic landscape. With
    contributions from Laurel Sprengelmeyer and Jess Robertson (Little Scream), Mishka
    Stein (Patrick Watson), Colin Stetson (Bon Iver), Sarah Neufeld and Richard Reed Parry
    (Arcade Fire) among others, Saltland offers up an unassumingly immersive debut
    album of searching songs that blend several core influences into a distinctively
    naturalistic sound. Saltland stakes out an unaffected, meditative, clear-eyed and
    earnest space where minimalism, dream-pop, drone, shoegaze, confessional folk,
    modern chamber and ambient/electronic coexist and coalesce.

    1. Golden Alley
    2. I Thought It Was Us
    3. Treehouse Schemes
    4. Unholy
    5. But It Was All Of Us
    6. Colour The Night Sky
    7. ICA
    8. Hearts Mend
    Saltland
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dreamsville (Pure Pleasure) Dreamsville (Pure Pleasure) Quick View

    $34.99
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    Dreamsville (Pure Pleasure)

    Vocalist Stacey Kent may or may not be »the greatest ballad singer in half a century«, as her PR claims, but her straightforward renditions of these by-request ballads are not at all generic. What makes them consistently delightful is her unique sound and delivery. There's a certain brassiness, a trumpet-like pointedness, in her voice, as well as a host of endearing idiosyncrasies. Kent knows how to make every tune fit her own musical persona. Dreamsville includes a number of seldom-heard gems, particularly You Are There by Johnny Mandel and Dave Frishberg, You're Looking at Me by Bobby Troup, and the ever-stunning title track by Henry Mancini. She also presents perennial favorites like Polka Dots and Moonbeams and Thanks for the Memory (the latter not exactly a ballad). And although this is Kent's hour all the way, her band provides expert backing and more than a few surprises. The singer's husband, Jim Tomlinson, takes a break from tenor sax to play a sumptuous clarinet solo on Polka Dots. And in the midst of Rodgers & Hart's Little Girl Blue, pianist David Newton, bassist Simon Thorpe, and drummer Jasper Kviberg fall away, entering again only after Tomlinson and Colin Oxley perform a hushed tenor/guitar duet chorus.




    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (tenor saxophone, clarinet, flute)

    • Colin Oxley (guitar)

    • David Newton (piano)

    • Simon Thorpe (bass)

    • Jasper Kviberg (drums)




    Recording: June 2000 at Curtis Schwartz Studios, Ardingly, UK, by Curtis Schwartz

    Production: Jim Tomlinson



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. I've Got A Crush On You
    2. When Your Lover Has Gone
    3. Isn't It A Pity?
    4. You Are There
    5. Under A Blanket Of Blue

    6. Dreamsville
    7. Polka Dots And Moonbeams

    8. Hushabye Mountain
    9. Little Girl Blue
    10. You're Looking At Me

    11. Violets For Your Furs

    12. Thanks For The Memory
    Stacey Kent
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Chuck Mangione Quartet (Speakers Corner) The Chuck Mangione Quartet (Speakers Corner) Quick View

    $34.99
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    The Chuck Mangione Quartet (Speakers Corner)

    Now - in which pigeonhole that the innumerable self-proclaimed jazz critics like to create does this release from 1971 fit? Jazz-rock, jazz-fusion, soul-jazz-rock-fusion, electro-fusion-pop? Perhaps we can all agree that we should just enjoy these quartet recordings!


    These recordings, all of them absolutely fantastic numbers, have been made by flugelhornist Chuck Mangione with his marvellous quartet without a piano in a sort of 'jam session'. The band members are absolutely top notch with Ron Davis on drums, Joel DiBartolo on the double bass, and Gerry Niewood (still underestimated and mostly known as a sideman) on the soprano saxophone and flute (which is his foremost instrument although the more hushed one). On this LP, which has long been out of print, Chuck Mangione comes into the limelight in wonderfully melodic and mellow solos such as Land Of Make Believe and Little Sunflower - and the latter certainly needs not fear a comparison with the original by Freddie Hubbard! And Manha De Carnival, composed by guitarist Luis Bonfá is especially worth listening to for the amazing improvisations which have been set down for all times. Mercury's recording technology was of the very best in the Seventies, and that makes itself heard when listening to this recording on a new high-end vinyl LP instead of the original pressing.

    Musicians:



    • Chuck Mangione (fluegel horn, electric piano, percussion)

    • Gerry Niewood (flute, soprano saxophone, tuba, guiro)

    • Joel Di Bartolo (bass)

    • Ron Davis (drums, conga, percussion)




    Recording: 1971 at Mercury Sound Studio, New York, by Chuck Irwin

    Production: Chuck Mangione




    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. Land of Make Believe
    2. Self Portrait
    3. Little Sunflower
    4. Floating
    5. Manha de Carnival
    Chuck Mangione
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Devil And God Are Raging Inside Me (Black Vinyl) The Devil And God Are Raging Inside Me (Black Vinyl) Quick View

    $42.99
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    x

    The Devil And God Are Raging Inside Me (Black Vinyl)

    Import


    Black Vinyl Version


    When Brand New released Deja Entendu in mid-2003, it caught a lot of their fans off guard. It found the band taking a stylistic leap forward from the clever (albeit cookie-cutter) pop-punk of their 2001 debut, exploring expanded sonic textures and indie rock overtones, their urgent choruses tempered by acoustic musings and softer introspections. It all seemed very deliberate yet completely natural all the same, and the record was an underground smash. Something even more substantial was definitely brewing beneath the band's emo façade, and as a result, Brand New's follow-up was hotly anticipated for the three years it took the band to release it. The resulting The Devil and God Are Raging Inside Me is the completion of their pop-punk molting process and one of the best surprises -- that isn't really a surprise at all -- to come out of 2006. Even when they were playing straightforward pop-punk ditties, Brand New had an edge to them that made them seem smarter than their peers; now they sound even older and stronger (and like they've been listening to a lot of '90s college and indie rock). This record is dark and dense, yet accessible, a shadowy air permeating every crevice where Jesse Lacey's plaintive and often tortured lyrics aren't already residing. He draws listeners in with vulnerable ruminations and questions of love, death, self, and religion, and his vocal inflections bring as much meaning to the table as his carefully chosen words. The opening Sowing Season ebbs and flows steadily, moving along under light guitar before exploding with percussion, Lacey ably switching from a hushed delivery into an anguished cry of emotion before falling back down again effortlessly. With it, Brand New sets up the somber intensity of the record straightaway. Textural and sonic layers unfold at every turn -- punching drums and trembling guitars here, aching vocals and subtle touches of string there -- and the album moves with a directed force that seems so naturally powerful and uncontrived, it's almost ridiculous to think that the band cut its teeth with poppy anthems like Jude Law and a Summer Abroad. The Devil and God is not an album of hooks; the excellent percussive stomp of The Archers Bows Have Broken is the most immediate here, but songs get stuck in the brain nonetheless and demand repeated spins. Old fans especially smitten by Deja's Play Crack the Sky have no excuse not to love everything about this record, as even lengthy tracks (like the near-eight-minute Limousine or the chill-inducing beauty of Jesus) are completely compelling. People who were ready to discount Brand New into the emo/TRL heap of the 2000s better rethink their stance; Brand New seems to know exactly what they're doing and this record is a testament to their ability to stay true to themselves. Whether they want to stay underground or fully break into the mainstream, this album has the potential to do either. Either way it doesn't really matter -- whatever happens, there's no denying how excellent this record is.

    - Corey Apar (All Music)

    1. Sowing Season
    2. Millstone
    3. Jesus
    4. Degausser
    5. Limousine (MS Rebridge)
    6. You Won't Know
    7. Welcome to Bangkok
    8. Not the Sun
    9. Luca
    10. Untitled
    11. The Archers' Bows Have Broken
    Brand New
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Grace & Lies Grace & Lies Quick View

    $15.99
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    Grace & Lies

    On the surface, the two concepts Grace and Lies couldn't seem more different. One of them restores, the other ruins. One of them forgives, the other deceives. But to hear Kim Krans, frontwoman for Family Band, tell it, the two aren't opposed, they're intertwined. Grace and Lies are two characters I envisioned last summer, she says, by way of explaining the haunting title track on the group's second record. I couldn't get them out of my head. I saw them in a field behind our cabin, singing and slow dancing, like ghosts, sort of. They're the rulers of beauty and false promises. And we all fall for them from time to time."


    And therein lies the beautiful dichotomy of Family Band. A collaboration between visual-artist-turned-singer Kim Krans and her husband, onetime heavy-metal guitarist Jonny Ollsin (Children, S.T.R.E.E.T.S.), the merging of the couple's sensibilities makes for music that's simultaneously elegant and visceral. Their songs are as stark as bare trees in winter, Krans' baleful alto swooping mournfully over Ollsin's glimmering guitar like a black crow against a grey sky.


    As its title implies Grace & Lies is equal parts light and shadow, evoking the mystery and terror of early Cat Power, the ghostly aura of Warpaint, with whom Family Band toured in 2011, and the hushed longing of prime-era Cowboy Junkies. Though they explored similar territory, both sonically and lyrically, on their self-released debut, Miller Path, on Grace their canvas is wider, the greys lusher, the blacks deeper. Assisted by bass and lapsteel player Scott Hirsch (Hiss Golden Messenger), the couple has made a record that boldly confronts life's darker questions.


    Miller Path was recorded mostly at our cabin upstate, while Jonny was busy with his metal band and I was focused on my visual arts career, Krans explains. It was my first time recording music and I didn't know how to steer the wheel. I didn't even know what the wheel was. But with Grace & Lies, we all decided what the overarching atmosphere and mood of the record should be. I made big drawings of each song in the control room, with all the parts and changes illustrated, and we built those visions with sound.

    That meticulous planning is evident throughout. Night Song revolves around a single, dazzling guitar riff that spirals like stars in the night sky; Ride builds steadily to an ominous, spectacular finale, timpanis booming and guitars gathering like storm clouds in a clear sky; and Again, which boasts production and instrumental work by Dan Rossen of Grizzly Bear, surges forward, a roaring river beneath a sheet of ice. Grace & Lies is a document of a band staring down life's larger riddles: love, death, loss and deceit.

    1. Night Song
    2. Lace
    3. Moonbeams
    4. Ride
    5. Your Name
    6. Again
    7. Grace & Lies
    8. Keeper
    9. Rest
    Family Band
    $15.99
    Vinyl LP - Sealed Buy Now
  • Good Mood Fool Good Mood Fool Quick View

    $17.99
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    Good Mood Fool

    In 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
    2. Katie
    3. Florida
    4. Those Kids
    5. Jessica Brown Findlay
    6. Sue
    7. Terrified Witness
    8. Love Won't Receive
    9. Hardest Working Self Made Mexican
    Luke Temple
    $17.99
    Vinyl LP - Sealed Buy Now
  • Total Strife Forever Total Strife Forever Quick View

    $22.99
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    Total Strife Forever

    The lead single, and the accompanying video, from East India Youth's debut album Total Strife Forever really tells you all you need to know about the record. 'Looking For Someone' opens like a familiar, albeit electronic, ballad with East India Youth (otherwise known as William Doyle) emoting directly into camera in a way reminiscent of Sinead O'Connor. Then he begins to ascend, the London skyline now whizzing past Doyle as the elevator he's in climbs the Heron Tower. Almighty, booming drums signalled the ascension; humming synths join the journey to the top before the music is stripped away and the camera pans away, twisting as the elevator descends. We are then shown a vertigo-inducing journey back to street level and a trip through the shaft of an elevator. Abrasive synthesisers and what sounds like a distorted church organ are the soundtrack for this dizzying descent. It's no longer a simple plea to a lost lover, but a rallying cry against loneliness in the midst of huge, anonymous monuments.


    Total Strife Forever is a brutal electronic album, but one that still retains a very humanistic core - this juxtaposition is a thematic thread which runs throughout the album. Doyle then sculpts and defines the music in order to create tension between these two disparate elements, or else uses their differences in order to surprise and engage the listener. This is done within individual songs and across the record: over 11 tracks you'll hear acid beats, euphoric electronic pop, ambient passages, drone, krautrock and more. What's incredible is how East India Youth has managed to bring all of these elements together and construct a cohesive record.


    The album opens with 'Glitter Recession'. Soft piano meets a twinkling keyboard melody and then heavy bass stabs. The piano becomes louder and deeper, the keyboard softer, and swirling synths enter the mix. It's a beautiful, optimistic opening, the instruments all layered so that they never feel like they are jostling for attention, but rather adding details and intricacies to make the piece more alive. 'Glitter Recession' is followed by the first of four 'Total Strife Forever' pieces, this one built around a steady sawtooth bass line that grows in intensity as a pounding kick drum appears and echoing synths wash in and out of audible range. It feels like it is building towards heavy electronic noise, of the kind bands like Fuck Buttons are renowned for. But instead 'Total Strife Forever I' is more restrained as sustained chords create a stunning euphoric ending.


    The third track 'Dripping Down' is the first to feature vocals. If you've previously heard the singles leading into this album, or the Hostel EP from last year, you might be surprised by the fact that Total Strife Forever is largely instrumental, yet it makes the rare appearance of vocals all the more effective. 'Dripping Down's harmonies are beautiful, particularly in the closing moments of the track when they sound as though they've been recorded in a grand cathedral (most of this album was in fact recorded at home over the course of three years).


    With clear percussion and shimmering synthesiser riffs, 'Dripping Down' is the first dance track on the album, yet what follows takes things up a notch. 'Hinterland' is an out and out acid track. It starts with an echoing, sonar-like melody, ambient chords and a quick snare/kick beat. The bass drops and we're given an infectious, shuffling four-to-the-floor beat; what follows deserves to be a staple in any self-respecting DJ's club mix. 'Hinterland' is phenomenal, yet somehow East India Youth manages to go beyond that on the next track.


    'Heaven How Long' is easily the album's highlight and arrives just around the mid-point of the album. It's euphoric electronica at its best, and features one of the record's most delicate sections in the second verse. Doyle's vocals, hushed during the verses, soar for the chorus and the whole song ends with a krautrock inspired instrumental, marrying looped synthesisers to heavy bass guitar riffs.


    The second half of the Total Strife Forever is just as strong and rewarding as the first half. There's the aforementioned lead single 'Looking For Someone', as well as three more 'Total Strife Forever' pieces. The second of those tracks, which immediately follows 'Heaven How Long', is easily one of the most meditative tracks on the album, solely comprising an organ, haunting choral vocals and a deep electronic buzzing. In many ways it's similar to Tim Hecker's most recent work which used church organs and filters to blur the lines between what's real and what's synthetic. Meanwhile, 'Midnight Koto' is perhaps the album's most atmospheric track. Distant loops, heavily distorted and sounding like a terrifying rush of traffic, play under the koto melody. It's heavily inspired by Brian Eno, particularly his work with Bowie on tracks like 'Moss Garden'.


    Whilst these references are clear, at no point does it seem like East India Youth is just trying to replicate his idols. Total Strife Forever pulls together these influences and creates something truly extraordinary. This is an album firmly rooted in a decade where technology blurs the lines between fact and fiction, where we 'socialise' with brands and it's possible to feel hopelessly alone amidst the towering skyscrapers of a city. The final track 'Total Strife Forever IV' opens with static that eventually fades away to reveal grand synthesiser melodies before disintegrating once more. The beauty of those melodies is only enhanced by their temporary nature. Amidst the machinery there's a realisation that whilst the buildings, the brands and digital world might live on, it's reality and our fellow human beings that are truly beautiful and deserving of our attention.


    - Robert Whitfield (The 405)

    1. Glitter Recession
    2. Total Strife Forever I
    3. Dripping Down
    4. Hinterland
    5. Heaven, How Long
    6. Total Strife Forever II
    7. Looking For Someone
    8. Midnight Koto
    9. Total Strife Forever III
    10. Song For Granular Piano
    11. Total Strife Forever IV
    East India Youth
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
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