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  • The Physical World The Physical World Quick View

    $24.99
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    The Physical World

    Produced by D. Sardy (Red Hot Chili Peppers, LCD Soundsystem, Wolfmother, Oasis), The Physical World comes a full ten years after the release of the band's universally acclaimed debut album, You're A Woman, I'm A Machine, which made Jesse F. Keeler (bass, synths, backing vocals) and Sebastien Grainger (vocals and drums), an underground /over ground sensation.
    1. Cheap Talk
    2. Right On, Frankenstein!
    3. Virgins
    4. Always On
    5. Crystal Ball
    6. White Is Red
    7. Trainwreck 1979
    8. Nothin' Left
    9. Government Trash
    10. Gemini
    11. The Physical World
    Death From Above 1979
    $24.99
    Vinyl LP - Sealed Buy Now
  • Sebastien Grainger And The Mountains Sebastien Grainger And The Mountains Quick View

    $15.99
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    Sebastien Grainger And The Mountains


    A muscular and smart rock record that will surprise people expecting him to relive his past. Best known as singer and drummer for Canadian dance-punk duo Death From Above 1979, whose decadently catchy anthems took the world by storm, Grainger is soon to be better known as a singer/songwriter of sophisticated distinction with delicately layered folk-rock ruminations rich with energetic arrangements and deep melodic undercurrents.
    1.Love Can Be So Mean
    2.Who Do We Care For?
    3.By Cover of Night (Fire Fight)
    4.I'm All Rage [Live '05] - (live)
    5.I Hate My Friends
    6.(Are There) Ways To Come Home?
    7.Niagara
    8.(I Am Like a) River
    9.Love is Not a Contest
    10.American Names
    11.Meet New Friends
    12.Renegade Silence
    Sebastien Grainger
    $15.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Three Worlds: Music From Woolf Works Three Worlds: Music From Woolf Works Quick View

    $35.99
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    Three Worlds: Music From Woolf Works

    Following the success of SLEEP, Max Richter reveals his latest recording project - a new album entitled Three Worlds: music from Woolf Works. It's drawn from his music to Wayne McGregor's award-winning Royal Ballet production Woolf Works - inspired by the works of Virginia Woolf - and will be released on Deutsche Grammophon.


    Just like the ballet, Richter's new album has a three-part structure, built around themes from three of Woolf's novels: Mrs. Dalloway, Orlando and The Waves. Fragments from her letters, diaries and other writings are woven into the work, with spoken words from Gillian Anderson, Sarah Sutcliffe and even Virginia Woolf's own voice, reading the essay 'Craftsmanship' from a 1937 BBC recording.


    Max Richter explains: "When we began to discuss making the ballet, I hunted around for material of all kinds, photographs, memoirs, biographies. I never expected to find a recording of Virginia Woolf - this is the only one to survive. It's like a tremendous time machine which allows you to hear her voice and wonderful use of language. I've used spoken-word elements quite often in my work, so to come across Virginia Woolf reading her own words was like a Christmas present. That lit the fuse for the musical language of the ballet's first act, based on Mrs. Dalloway, and the piece grew from there."


    Richter's new album, which stems from his longer score for Woolf Works, features a vast palette of sounds - from solo instrumental and orchestral episodes, to electronic textures and music for wordless soprano. It opens with the chime of Big Ben, whose unmistakeable sound can still be heard above the noise of London traffic from the distance of Gordon Square in Bloomsbury, where Virginia Woolf lived before her marriage to Leonard Woolf.


    Woolf's suicide note, her heart-rending farewell letter to her husband, read by Gillian Anderson, sets the contemplative atmosphere for 'Tuesday', the album's final and longest track. The piece develops from the sound of breaking waves into a plaintive solo melody, constantly repeated yet ever-changing, and grows to become a dream-like meditation on life and death. "My approach goes back to the aesthetic pleasure of simple, well-made things," Richter observes. "I believe 'Tuesday' connects to minimalism in painting and architecture; within the realm of what people call spirituality, it connects to Zen Buddhism. All those things flow together in the striving for the maximum from the minimum."


    Max Richter and Wayne McGregor are frequent collaborators. Richter wrote the scores for McGregor's ballets Infra and The Future Self, while McGregor staged Richter's recomposition of Vivaldi's The Four Seasons and directed his chamber opera, Sum. Woolf Works was met with outstanding critical acclaim on its premiere in 2015, winning the Critics' Circle Award for Best Classical Choreography and the Olivier Award for Best New Dance Production.

    1. Words (Mrs Dalloway)
    2. In The Garden
    3. War Anthem
    4. Meeting Again
    5. Memory Is The Seamstress (Orlando)
    6. Modular Astronomy
    7. Entropy
    8. Transformation
    9. Morphology
    10. The Tyranny Of Symmetry
    11. The Explorers
    12. Presistence Of Images
    13. Genesis Of Poetry
    14. Possibles
    15. Love Songs
    16. Tuesday (The Waves)
    Max Richter
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Lover, Beloved: Songs From An Evening With Carson McCullers Lover, Beloved: Songs From An Evening With Carson McCullers Quick View

    $18.99
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    Lover, Beloved: Songs From An Evening With Carson McCullers

    When Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.


    "I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."


    The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.


    But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.


    Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.


    In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."


    Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."


    "12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.


    With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis

    1. Carson's Blues
    2. New York Is My Destination
    3. Instant of the Hour After
    4. We of Me
    5. Annemarie
    6. 12 Mortal Men
    7. Harper Lee
    8. Lover, Beloved
    9. The Ballad of Miss Amelia
    10. Carson's Last Supper
    Suzanne Vega
    $18.99
    Vinyl LP - Sealed Buy Now
  • Two Hands Two Hands Quick View

    $18.99
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    Two Hands

    Since 2008, the Bristish riff-ragers have melted minds with their signature brand of punk rock fury. Their live rituals are the stuff of legend: sound-tracked by the red hot fuzz of crackling speakers & overloaded channels.
    After wrapping up a successful last year, which included headlining Live Nation's 'Download Freezes Over' tour as
    well as crushing stages with Royal Blood & Death From Above 1979, the quartet are set to unleash 2nd album 'Two Hands' & excitement in the camp is infectious
    1. Invisible Hand
    2. Rabbits Foot
    3. Solid Gold
    4. American Mirrors
    5. Toy Memaha
    6. Nine Lives
    7. Good Hand
    8. MK Ultra
    9. Twelve Houses
    10. Rich Gift

    11. Pale Horse
    Turbowolf
    $18.99
    Vinyl LP - Sealed Buy Now
  • BLack On BLonde (On Sale) BLack On BLonde (On Sale) On Sale Quick View

    $19.99 $15.79 Save $4.20 (21%)

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    BLack On BLonde (On Sale)

    Nettwerk Records is excited to announce the two-disc release from the award-winning and incredibly talented Canadian hip-hop artist k-os. The double album is a cohesive collection of two records; one of rock tunes and the other of old-school hip hop jams.


    Recorded at Hayden Christensen's deserted Laurel Canyon mansion, BLack on BLonde is the most personal and revealing album of his career. "My friends say this is the record I've been waiting my whole life to make, there's a confidence now," says k-os. "People don't generally want to take things too far. And I felt trapped by my birth into the music industry as a hippy or folk hip-hop singer; I'm over that feeling. It was time to delve deep and write an album (or two) that truly reflects all facets of myself. This album is a celebration of that."


    BLack on BLonde features exciting collaborations from a varied array of guests, including Black Thought (The Roots), Travie McCoy (Gym Class Heroes), Emily Haines (Metric), Corey Hart, Sebastien Grainger (Death From Above 1979), Juno Award-winning Canadian rock singer/songwriter Sam Roberts and many others. Always innovative, provocative and fearless, k-os showcases said versatility by singing and playing drums, guitar and bass throughout the album.

    LP 1
    1. Like A Comet (We Rollin') feat. Corey Hart
    2. Diamond Sky
    3. NYCE 2 Know Ya
    4. C.L.A. feat. Travis McCoy
    5. Nobody Else
    6. One Time feat. Haines Vox
    7. Mojo On
    8. Try Again feat. Black Thought
    9. MTV
    10. Spraying My Pen feat. Saukrates and Shad


    LP 2
    1. The Dog Is Mine
    2. Don't Touch feat. Sam Roberts
    3. Alone In My Car
    4. Put Down Your Phone!
    5. Billy Bragg Winners feat. Jay Malinowski
    6. Surf's Up feat. Sebastien Grainger
    7. Play This Game
    8. Wonder Woman (As My Guitar Gently Streets)
    9. BLondes

    k-os
    $19.99 $15.79 Save $4.20 (21%)
    Vinyl LP Picture Disc - LPs Sealed Buy Now
  • Double Diamond Double Diamond Quick View

    $32.99
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    Double Diamond

    Includes Bonus 7 LP


    Founding member of Carcass and former Napalm Death guitarist Bill Steer is back with the latest offering from his main passion Firebird. Double Diamond, the bands sixth studio album, is by far the most hard-hitting yet.
    Moving on from the Humble Pie/Small Faces inspired blues and boogie rock of previous outings, Double Diamond takes in more classic metal elements bringing to mind the likes of Thin Lizzy, Budgie and Diamond Head. Certainly their heaviest outing to date; theres no stopping Mr. Steer when it comes to effortlessly delivering the goods in true organic style!

    1.Soul Saviour
    2.Ruined
    3.Bright Lights
    4.For Crying Out Loud

    5. Farewell
    6.A Wing & A Prayer

    7.Pound Of Flesh
    8. Arabesque
    9.Lose Your Delusions
    10. Pantomime
    Firebird
    $32.99
    Vinyl LP - Sealed Buy Now
  • With The Dead With The Dead Quick View

    $37.99
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    With The Dead

    Import


    Supergroup is such an erroneous term - images of bored playboys pissing on their legacy spring to mind - but the members of With The Dead have a history of creating criminally good records as long as your arm. They've all served hard time in the subterranean worlds of Doom and the heaviest forms of Metal and have now reconvened to surpass previous projects. They're back - and this time the aim is To maim.


    With The Dead were formed by the founding rhythm section of occultist Doom overloads Electric Wizard: guitarist/bassist Tim Bagshaw and drummer Mark Greening, a pair once notorious for the sheer brute heaviness of their bowel-shaking sound and early extra-curricular activities that involved excess, injury and low-level criminality (arrests for the theft of a crucifix from a church roof and drunkenly robbing an off-licence to name but two). Both have also played together in Ramesses.


    Completing the triangle is frontman Lee Dorrian, co-founder of Doom pioneers Cathedral, former frontman with grindcore legends Napalm Death and owner of Rise Above Records, the UK's finest independent purveyors of all sounds heavy and underground, whose stable of bands include Ghost, Uncle Acid & The Deadbeats, Lucifer, Blood Ceremony and Witchcraft. Having been in business since 1988, Rise Above is also one of the most enduring.


    Existing doom-heads will already know that the longstanding relationship between Rise Above and Electric Wizard is one that was fractious and fraught. Much mud has been slung between band, label and former members in recent years, but the With The Dead trio are of the opinion that big words meant little - it's the action that truly counts. And as the fire that is Electric Wizard peters out, With The Dead burn with eyebrow-singeing intensity. With The Dead are heavy. No - scratch that. With The Dead are heavy. H.E.A.V.Y!!! They are a band with teeth and talons.


    Like the product of some sort of alchemical alignment or a diabolical modern demon summoned by a whispered incantatory spell, With The Dead formed on All Hallow's Eve 2014. They worked quickly and the result is a six-track, self-titled debut broadside
    that draws on the members' rich musical legacy but without ever taking a backward step. Rising like a fecund creature from the fetid bogs of old England, With The Dead is a malevolent beast that lurches and staggers, flattening everything in its path. Guitars moil and curdle, bubbling up through the loam like black tar, while existing fans will surely welcome the return of Dorrian's distinctly hateful vocals.


    Any listener will be left battered on the floor, bludgeoned into submission by With The Dead's musical brutality. A new era is upon us.

    1. Crown of Burning Stars
    2. The Cross
    3. Nephthys
    4. Living With the Dead
    5. I Am You Virus
    6. Screams From My Own Grave
    With The Dead
    $37.99
    Vinyl LP - Sealed Buy Now
  • In Memoriam In Memoriam Quick View

    $29.99
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    In Memoriam

    As with a choice few truly great bands, the first self- financed cassette recording by Cathedral - made available in October 1990 - was a pioneering underground masterpiece in its own right; the sound of a young band exploring its newfound chemistry, finding confident variations on a flawless list of influences and cultivating a sound and style that would prove hugely inspirational throughout the 1990s and beyond, being a major influence on everyone from Electric Wizard through to Reverend Bizarre.


    Where most demos are little more than a dry run for the first album, 'In Memoriam' still has its own distinct and important identity in the Cathedral canon. The debut LP that followed, 'Forest Of Equilibrium', has a sombre, devout, melodic and mystical grandeur all of its own - but 'In Memoriam' has a far murkier, earthier, more deathly intent.


    Creepy, cryptic and bowel- looseningly heavy, it represents the first time that the doom metal stylings of Trouble, Saint Vitus, Pentagram and Witchfinder General had been rendered in a new, more extreme metallic form.


    At the beginning of the new decade, it was really only Cathedral who were proud to assert the influence of true doom metal - a perennially unfashionable genre, but especially in a turn-of-the-decade metal scene so obsessed with speed, technicality, brutality and modernity.

    Demo 1990
    1. Mourning of a New Day
    2. All Your Sins
    3. Ebony Tears
    4. March


    Live Holland/Belgium 1991
    1. Comiserating the Celebration
    2. Ebony Tears Neophytes For Serpent Eve
    3. All Your Sins
    4. Mourning of a New Day

    Cathedral
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Horrible Night Horrible Night Quick View

    $37.99
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    Horrible Night

    Recorded during the summer and autumn of 2012 at Hampshire's Earth Terminal and London's Earthworks studios, Horrible Night is the sound of MOSS emerging from its cocoon a much more savage, intelligent and all the more terrifying beast. While no longer obsessed with extremity for its own sake - with weirdly infectious riffs, eccentric vocal melodies and no song over 12 minutes - MOSS remain heavier-than-thou, broadening their horror beyond any imposed 'scene' expectations. This mastery of the craft is evident from the opening moments of first track Horrible Nights - written back in 2010 it sets the course for the album, taking the twisting death-crawl of MOSS mini-epics such as Tombs of the Blind Drugged and administering a lethal dose of addictive melody, cooked up by the colossal riffs of Dominic Finbow and the Ozzy-via-seance vocalisations of Olly Pearson. Cuts such as The Coral of Chaos and Dark Lady expand further upon this potent formula, dragging the Black Sabbath blueprint to its most nightmarish conclusion and ushering MOSS further into their newest dark age.


    With 6 tracks, MOSS proves more than ever why this English cult band is regarded exactly as such. While still no easy pill to swallow for the uninitiated, over its duration Horrible Night will demand complete mind control. Nonsense prefixes such as stoner, sludge or drone do not apply here; this is pure DOOM METAL, a celebration of horror, the arcane and the unknown.

    1. Horrible Night
    2. Bleeding Years
    3. Dark Lady
    4. Dreams From The Depths
    5. Coral of Chaos
    6. I Saw Them That Night
    Moss
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Apex Predator - Easy Meat Apex Predator - Easy Meat Quick View

    $22.99
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    Apex Predator - Easy Meat

    Having just wrapped up a tour through Japan, UK Grindcore pioneers NAPALM DEATH are now launching the cover artwork and the tracklisting for their upcoming 15th studio album. Entitled Apex Predator - Easy Meat, the album will be released via Century Media Records.


    The album's striking artwork, which can be seen above, was created by Danish designer Frode Sylthe / Friktion.com, who has previously worked on NAPALM DEATH's latest album Utilitarian as well as with bands such as At The Gates, The Haunted or Burst. NAPALM DEATH checked in to comment about the artwork as follows:


    There are many meanings that you could grab from the new album artwork, I think. But one is the representation of how our natural and most basic needs for happiness and communication are being stripped away by materialism and pre-packaged garbage - crap that we don't need, filtered to us through the media via the megacorporations with the goal to maintain the bloated bottom line of profit. It's all just stuff that will be obsolete in 6 months time. And behind the scenes of course, modern day slavery is alive, well and obscured by this facade. It's all an exercise in deceit to shower us with fake fulfilment, while the poor and underprivileged fall further by the wayside. - Shane Embury / NAPALM DEATH


    Across the albums, we have had some very complex and interconnected artwork. This time we wanted to keep it more simple - strip it down perhaps to a single image that would sharpen the focus. I loved the idea of the supermarket-style packaging as soon as I saw it, as when you go into one of those places with nourishment in mind and you're greeted with some miserable, artificially-enhanced foodstuff contained in a bleak little receptacle of industrial plastics, it doesn't exactly inspire you. To then fill that plastic tray with the dregs of meat production, well, that is the 'easy meat' in the title - representing the people who suffer for burgeoning consumption degraded and dumped in the most pitiful way. - Mark 'Barney' Greenway / NAPALM DEATH

    1. Apex Predator - Easy Meat
    2. Smash A Single Digit
    3. Metaphorically Screw You
    4. How The Years Condemn
    5. Stubborn Stains
    6. Timeless Flogging
    7. Dear Slum Landlord...
    8. Cesspits
    9. Bloodless Coup
    10. Beyond The Pale
    11. Stunt Your Growth
    12. Hierarchies
    13. One-Eyed
    14. Adversarial / Copulating Snakes
    Napalm Death
    $22.99
    Vinyl LP + CD - Sealed Buy Now
  • Twin Peaks: Fire Walk With Me Soundtrack Twin Peaks: Fire Walk With Me Soundtrack Quick View

    $45.99
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    Twin Peaks: Fire Walk With Me Soundtrack

    Director Approved Artwork


    Composer Approved Audio


    Sleeve Notes By Film Critic Mark Kermode (Approved By David Lynch And Angelo Badalamenti)


    Vinyl Re-Master By Tal Miller At Warner Archives


    Laquers Cut By David Cheppa At Plush Vinyl


    2 X 180-Gram Cherry Pie Vinyl


    425gsm Gatefold Sleeve Housed Inside A Bespoke Black Die Cut Outer Jacket With Black Spot Varnish Finish, Complete With Obi Strip


    Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it's not hard to see why- it's dangerous, and bursting with smokey jazz thanks to Jimmy Scott. We went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.


    From the brooding opening bars of the main Fire Walk With Me Theme, Angelo Badalamenti's gorgeous, eerie score introduces us to a cinematic experience which significantly begins with the smashing of a television screen. Just as the Main Title from Blue Velvet echoed the Hitchcockian hues of Bernard Herrmann, so here we have just the slightest touch of Taxi Driver, as Jim Hynes' plaintive, keening trumpet soars above a landscape of melancholy keyboards, drawing us into a world which is at once alien and familiar.

    LP 1
    1. Theme From Twin Peaks - Fire Walk With Me
    2. The Pine Float
    3. Sycamore Trees
    4. Don't Do Anything (I Wouldn't Do)
    5. A Real Indication


    LP 2
    1. Questions In A World Of Blue
    2. The Pink Room
    3. The Black Dog Runs At Night
    4. Best Friends
    5. Moving Through Time
    6. Montage From Twin Peaks - Girl Talk / Birds In Hell / Laura Palmer's Theme / Falling
    7. The Voice Of Love

    Angelo Badalamenti
    $45.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Murder Was The Case Soundtrack (Explicit) Murder Was The Case Soundtrack (Explicit) Quick View

    $19.99
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    Murder Was The Case Soundtrack (Explicit)

    he soundtrack to an 18-minute film inspired by Snoop Doggy Dogg's Murder Was the Case provides more thrills than the average hip-hop release. Again, Dre relies on his standard production tricks and crew, introducing a couple of new members to the mix. But the result sounds anything but stale -- it ranks alongside The Chronic, Doggystyle and Above the Rim in terms of quality. In fact, various-artist compilations like Murder Was the Case are the ideal vehicle for Dr. Dre -- they show his versatility. Murder has the harrowing title track from Snoop Dogg, as well as the smooth funk of Warren G and the chilling hardcore of Natural Born Killaz, the first track from Dre's collaboration with Ice Cube. At some point, Dre will need to find some new tricks, but Murder Was the Case finds him at the top of his game.


    - Stephen Thomas Erlewine (All Music Guide)

    1. Murder Was The Case (Remix) - Snoop Doggy Dogg
    2. Natural Born Killaz - Dr. Dre & Ice Cube
    3. What Would You Do? - The Dogg Pound
    4. 21 Jumpstreet - Snoop Doggy Dogg & Tray Deee
    5. One More Day - Nate Dogg
    6. Harvest For The World - Jewell
    7. Who Got Some Gangsta Shit? - Snoop Doggy Dogg Featuring Tha Dogg Pound, Lil' Style & Young Swoop
    8. Come When I Call - Danny Boy
    9. You Better Recognize - Sam Sneed
    10. Come Up To My Room - Jodeci
    11. Woman To Woman - Jewell
    12. Dollars & Sense - DJ Quik
    13. The Eulogy - Slip Capone & CPO
    14. Horny - B-Rezell
    15. Eastside-Westside - Young Soldierz
    Various Artists
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Unknown Pleasures Unknown Pleasures Quick View

    $21.99
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    Unknown Pleasures

    Formed in 1977, Joy Division (guitarist Bernard Albrecht, bassist Peter Hook, drummer Stephen Morris, and vocalist Ian Curtis) helped usher in the Post-Punk movement with their haunting melodies and melancholy lyrics. By incorporating synthesizers into their music, they paved the way for an entire generation of bands who would soon follow in their footsteps. The band released two classic albums, 1979's Unknown Pleasures and 1980's Closer as well as several singles, before Curtis' suicide on the eve of their first American tour. Following Curtis' death, Albrecht (now Sumner), Hook, and Morris formed the band New Order, and would continue to record over the next twenty-five years.


    It even looks like something classic, beyond its time or place of origin even as it was a clear product of both - one of Peter Saville's earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all Unknown Pleasures was, it wouldn't be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to Unknown Pleasures can be heard through every note, with Martin Hannett's deservedly famous production - emphasizing space in the most revelatory way since the dawn of dub - as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, minimal keyboard lines add to an air of looming disaster - something, somehow, seems to wait or lurk beyond the edge of hearing. But even though this is Hannett's album as much as anyone's, the songs and performances are the true key. Sumner redefined heavy metal sludge as chilling feedback fear and explosive energy, Hook's instantly recognizable bass work at once warm and forbidding, Morris' drumming smacking through the speakers above all else. Curtis synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect - as Candidate plaintively states, I tried to get to you/you treat me like this. Pick any song, the nervous death dance of She's Lost Control, the harrowing call for release New Dawn Fades, all four members in perfect sync, the romance in hell of Shadowplay, Insight and its nervous drive towards some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect - one of the best albums ever.

    1. Disorder
    2. Day Of The Lords
    3. Candidate
    4. Insight
    5. New Dawn Fades
    6. She's Lost Control
    7. Shadowplay
    8. Wilderness
    9. Interzone
    10. I Remember Nothing
    Joy Division
    $21.99
    Vinyl LP - Sealed Buy Now
  • Angels & Devils Angels & Devils Quick View

    $29.99
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    Angels & Devils

    It's after the end of the world, don't you know that yet...


    With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin's sonic predictions of dystopian London that were set out on 2008's London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there's no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.


    The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.


    The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can's Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.


    With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is Void. Followed by contributions from ex Hype Wiliams half copeland (Fall), the blissed out patois of touring partner Miss Red (Mi Lost), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on Save Me. It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...


    Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with The One. Roll Deep's Manga steps up next with the instant Bug classic Function, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with Fuck A Bitch. Flowdan & Justin Broadrick come back for the cinematic death crawl of Fat Mac. Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for Fuck You, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts dirty, fuck that murky....


    The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.


    Utopian/dystopian, black/white, complexity/singularity, negative/positive... Angels/Devils.

    1. Void (Featuring Liz Harris)
    2. Fall (Featuring copeland)
    3. Ascension
    4. Mi Lost (Featuring Miss Red)
    5. Pandi
    6. Save Me (Featuring Gonjasufi)
    7. The One (Featuring Flowdan)
    8. Function (Featuring Manga)
    9. Fuck a Bitch (Featuring Death Grips)
    10. Fat Mac (Featuring Flowdan)
    11. Fuck You (Featuring Warrior Queen)
    12. Dirty (Featuring Flowdan)
    The Bug
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Die Screaming Die Screaming Quick View

    $32.99
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    Die Screaming

    Something sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.


    Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.


    With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.


    This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.


    Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.

    1. Thumper's Theme
    2. Instruments of Hellfire

    3. Curse of the Corpse
    4. Black Souls
    5. Show Me Your Skull
    6. One By One
    7. Lucifer Lives
    8. Die Screaming
    Satan's Satyrs
    $32.99
    Vinyl LP - Sealed Buy Now
  • Prokofiev: Romeo And Juliet (Speakers Corner) Prokofiev: Romeo And Juliet (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Romeo And Juliet (Speakers Corner)

    Dimitri Mitropoulos was certainly not one of the recording industry's favourites. His repertoire was far too modern and was judged too risky by record companies since it did not guarantee a commercial success. This was very probably the reason that he was replaced by the charismatic Leonard Bernstein as Principal Conductor of the New York Philharmonic Orchestra. But his audiences loved him all the more, perhaps because they wanted to be challenged when listening to his music-making.



    Just how worthwhile such a challenge can be is proved by this recording from his New York period: Prokoviev's Ballet Suites with their richly orchestrated music are totally effective even when not staged. From the carefree gaiety of a Folk Dance, then to the lyrical sweetness of the Love Theme, right up to the Death Of Tybalt with Prokofiev's hard, grim orchestral vehemence, Mitropoulos gets his New York Philharmonic to pull out all the stops. Not only is the stereophonic sound truly excellent for the technical standard of its day: the superb recording technique and heartfelt artistic dedication have resulted in a recording which possesses all that is needed to underline the legendary greatness of this Greek maestro.




    Recording: November 1957 at St George Hotel, Brooklyn, NY, by Fred Plaut/ Stan Tonkel

    Production: Howard H. Scott




    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.

    Serge Prokofiev: Romeo And Juliet Ballet, Op. 64 (Excerpts) - The New York Philharmonic Orchestra conducted by Dimitri Mitropoulos
    Sergei Prokofiev
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner) Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner)

    As is widely known, ballet suites are the 'little sisters' of large ballet compositions that have been compiled by the composer mostly at a later date for performance in the concert hall. Prokofiev's Romeo and Juliet is another story however. Strangely enough, his two Suites were given their first performance before the premiere of the complete Ballet. The applause can still be heard echoing through the world of music. This music is one of the pillars of a good record collection - and with good reason! Both Suites contain a wealth of delightful melodies that are given substance by colourful harmonic writing. Just how Prokofiev can ideally sound is brought to us by Stanislaw Skrowacziewski and the Minneapolis Symphony Orchestra. In the first Suite he lets his musicians sweep with Élan through the Burlesque, the splendour of the Love Theme is full of lyrical intensity, and rises to a forceful climax filled with sharp dissonances in Death of Tybalt.



    The Second Suite, too, is of the very highest standard, both from an artistic and recording point of view. The characteristic themes and motifs are well contoured and brought to the fore while embedded in a fresh and natural carpet of sound which is sometimes filled with immense warmth.
    It is clearly noticeable that all participants have given much time and thought to this first-rate production. And the listener will certainly enjoy giving over a good portion of his leisure time to this delightful music.




    Recording: April 1962 at Northrop Memorial Auditorium, Minneapolis, USA,

    by C.R. Fine and Robert Eberenz / Production: Wilma Cozart




    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.



    Stanislaw Skrowaczewski with Minneapolis Symphony
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Carmen Suite - Ansermet (Speakers Corner) Carmen Suite - Ansermet (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Carmen Suite - Ansermet (Speakers Corner)

    The 19th-century suites with their collection of favourite songs and instrumental excerpts from operas are the clear forerunners of today's 'Best-Of' culture. The Carmen Suite was assembled after Bizet's death and brought the operatic masterpiece into the concert hall. The overture is fresh and rousing, the toreador theme marches in proudly and purposefully, followed by the destiny motif in the minor key which burns itself into ones ear and mind. With every bar it becomes obvious that this suite is not so much a series of excerpts but rather the true substance of its creator's musical ideas.



    All that remained of the five-act play L'ArlÉsienne after its unsuccessful premiere was Bizet's incidental music, which he himself orchestrated lavishly and premiered with success. Similar to Carmen, popular melodies are treated with the composer's own unique style to make them ageless, and Ernest Ansermet and his orchestra stages them delightfully for all eternity.



    Recording: April and May 1958 at Victoria Hall, Geneva (Switzerland), by Roy Wallace

    Production: James Walker



    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. Carmen Suite
    2. L'Arlesienne Suite
    Georges Bizet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Berlioz: Symphonie Fantastique - Argenta (Speakers Corner) Berlioz: Symphonie Fantastique - Argenta (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Berlioz: Symphonie Fantastique - Argenta (Speakers Corner)

    Behind the mysterious title Symphonie fantastique is to be found what was undoubtedly one of the most powerful musical compositions of its day. The highly controversial discussions which this autobiographical, extraordinary work provoked are quite understandable when one considers that Beethoven and Schubert had just put down their quills for the last time and that Wagner had only just left his childhood behind him. In commenting upon the daring cyclical structure of the work, one French music critic said, "In Berlioz's Symphony we believe that we have seen the prelude to a revolution in instrumental music".



    In spite of being acknowledged and praised as a composer, Berlioz was never given the professorship he coveted at the Paris Conservatoire, and it might appear as if the renowned Conservatoire Orchestra was making its apologies for this in the present excellent recording. The various scenes of the intoxicating programme music are approached with daring; dreadful, macabre ideas are presented in a low, gloomy and dark timbre until finally a heroic attitude comes to the fore, accompanied by thundering drum rolls, when the death sentence is pronounced. Fantastique!





    Musicians:



    • Paris Conservatoire Orchestra

    • Ataúlfo Argenta (conductor)




    Recording: November 1957 at Maison de la MutualitÉ, Paris by Ken Cress

    Production: James Walker




    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. First Movement: Reveries, Passions

    2. Second Movement: Un Bal
    3. Third Movement: (Sceneaux Champs)
    4. Third Movement: (Sceneaux Champs)
    5. Fourth Movement: Marche Au Supplice
    6. Fifth Movement Song D'Une Nuit De Sabbat
    Ataulfo Argenta
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sings the Blues (Speakers Corner) Sings the Blues (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Sings the Blues (Speakers Corner)

    In both her public and private life, Nina Simone was adamant about one thing, namely, what she simply would not tolerate. She sometimes complained about the miserable erotic prowess of her lovers, while at other times her audience were a target for her tongue. Sometimes she cancelled her performances at short notice and held a tirade against show business as such. In her music, rooted in gospel, she sought a path which took her down a middle course between jazz and pop, thus earning her the title of High Priestess Of Soul (as in the LP title) with her rock fans in the Sixties.



    The present blues album was recorded during what was undisputedly her most productive phase. It is a recording which does not swim with the tide of the times in that it does not employ massive forces or seek the twang of electrification. Instead Nina Simone's wonderfully sleek contralto voice bathes in the gentle timbre of an organ and a pithy, pulsating - but by no means stomping - rhythm. The cool, unemotional number "Sings The Blues" guarantees riveting tension and the authenticity of the genre which is, of course, the be all and end all of music for every black artist. Surely no compilation, no matter how carefully conceived, could possibly mark the diva's 70th birthday in February and sudden death in April 2203 better than this re-release.



    Musicians:



    • Nina Simone (piano, vocal)

    • Rudy Stevenson, Eric Gale (guitar)

    • Ernest Hayes (organ)

    • Bob Bushnell (bass)

    • Bernard Purdie (drums)





    Recording: 1967 by Ray Hall and Mickey Crofford at RCA Victor's Studio B, New York

    Production: Danny Davis




    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. Do I Move You
    2. Day And Night
    3. In The Dark
    4. Real Real
    5. My Man's Gone Now
    6. Backlash Blues
    7. I Want A Little Sugar In My Bowl
    8. Buck
    9. Since I Fell For You
    10. The House Of The Rising Sun
    11. Blues For Mama
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner)

    In spite of the varying degrees of popularity of Mozart's numerous piano concertos, no one would seriously consider ranking them by quality. It would certainly prove an impossible task, for each and every one of these intense yet often playful compositions could be considered the most perfect of its genre. In view of this, one should concentrate on each work's highly individual character and this can hardly be more contrasting than in the present two pieces. Thanks to the joyous, energetic disposition of No. 19 in F major, K. 259, it appears to be filled with the exuberant spirit of Mozart's Viennese period - a time when he amazed audiences with his dexterity at the keyboard. As a contrast, the mood of the late No. 27 in B flat major, K. 595, which was performed in a small circle, is introvert and mellow. The old adage that Mozart's final concerto was a gesture of farewell and filled with a premonition of death is certainly not substantiated by Haskil and Fricsay's performance. Through the subtle and flowing clarity of her piano part under the tense and elastic opposition of the orchestra, the soloist banishes the question of the end of time into the background and so pays hommage to the relaxed and self-assured mastery of the Salzburg composer.





    Musicians:



    • Clara Haskil (piano)

    • Bayerisches Staatsorchester

    • Ferenc Fricsay (conductor)




    Recording: September 1955 at Jesus-Christus-Kirche, Berlin, by Harald Baudis and May 1957 at Herkules Saal, Munich by Werner Wolf

    Production: Wolfgang Lohse / Otto Gerdes




    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. Concerto for Piano and Orchestra No. 19 F major, K. 459
    2. Concerto for Piano and Orchestra No. 27 B flat major, K. 595
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Bach Keyboard Concertos (Speakers Corner) The Bach Keyboard Concertos (Speakers Corner) Quick View

    $95.99
    Buy Now
    x

    The Bach Keyboard Concertos (Speakers Corner)

    The attempts that have been made to describe Glenn Gould's complex personality are endless in number, as are his surprising and often eccentric interpretations. Whether he is considered to be a sensitive maniac, neurotic individualist or uncompromising genius - Gould polarises, provokes and fascinates us long after his death in 1982. As early as 1964 the Canadian pianist ceased to give concerts, since he found appearing before an audience completely unacceptable and preferred to concentrate on studio recordings.



    Way in front of composers of the Viennese Classical era, which he did not take particularly seriously - although his performances keenly reflect Beethoven's rhythmicity - comes his personal deity: Bach. Gould's notorious strictness gives form to the minutest of figure in the score. He weaves his way through Bach's music and thereby articulates its tightly knit and multi-facetted depths. No lecturing keyboard proponent this, but a creative co-composer who imbues the spirit of the music with life and sonority. Upon the release in 1980 of the 80th Birthday Edition with its wealth of visual and tonal material, the music journalist Werner Theurich wrote that »no one had ever played more raptly, or more intensively. That Gould's performances are nothing but heavenly can be seen and felt. The rest is pure music.«




    Recording: April 1957, May 1967 and February 1969 at Columbia 30th Street Studio, New York City, by Fred Plaut

    Production: Andrew Kazdin




    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.

    The Bach Keyboard Concertos J. S. Bach: Keyboard Concertos Nos. 1-5 and 7
    L. v. Beethoven: Piano Concerto No. 1 - Glenn Gould, the Columbia Symphony Orchestra conducted by Vladimir Golschmann and Leonard Bernstein
    Glenn Gould
    $95.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • Bartok: Concerto for Piano and Orchestra Nos. 2 and 3 (Speakers Corner) Bartok: Concerto for Piano and Orchestra Nos. 2 and 3 (Speakers Corner) Quick View

    $34.99
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    x

    Bartok: Concerto for Piano and Orchestra Nos. 2 and 3 (Speakers Corner)



    Bartók wanted his Second Piano Concerto to be understood as a contrast to his harsh and - for the orchestra - extremely difficult First Piano Concerto. But notwithstanding its more easily understandable theme, this work too was composed using strict classical sonata form. With a bright atmosphere, fired on by the sound of trumpets, the theme of the first movement forges ahead and sets the course for the whole work. Lively exuberance and a committed interplay between the soloist and orchestra result in a work that is wholly positive throughout and which remains full of energy yet bell-like and accessible right up to the final movement.


    Bartok composed his third and final piano concerto in the year of his death -1945. However, the work in no way possesses a mood of demise but breathes a worldly-wise, cheerful, and mellowed atmosphere. Delightfully audible melodies, with a chorale-like grandeur in the middle movement, are woven into a rhythmically lively but well-rounded and flowing movement structure.
    With these two piano concertos, GÉza Anda and the RSO Berlin led by the legendary Ferenc Fricsay, complete their great artistic achievement, which began with the recording of Bartók's Rhapsody op. 1 and his First Piano Concerto (DGG 138 708). For anyone who possesses just one of these two LPs, the other is absolutely essential.




    Musicians:



    • GÉza Anda and the Radio Symphonie Orchester Berlin

    • Ferenc Fricsay (conductor)





    Recording: September 1959 at Jesus-Christus-Kirche, Berlin, by Werner Wolf

    Production: Hans Weber & Otto Gerdes





    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. Piano Concerto No. 2 - Allegro
    2. Piano Concerto No. 2 - Adagio - Presto - Adagio
    3. Piano Concerto No. 2 - Allegro Molto
    4. Piano Concerto No. 3 - Allegretto
    5. Piano Concerto No. 3 - Allegro Religioso
    6. Piano Concerto No. 4 - Allegro Vivace
    Bela Bartok
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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