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  • Murmur Murmur Quick View

    $24.99
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    Murmur

    Ranked 197/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    R.E.M. developed a strangely subdued variation of their trademark sound for their full-length debut album, Murmur by de-emphasizing the backbeat and accentuating the ambience of the guitars. Even though it's firmly rooted in the tradition of American folk-rock, post-punk, and garage rock, Murmur sounds eerily timeless, as if it appeared out of nowhere. Part of the distinctiveness lies in the atmospheric production, which exudes a detached sense of mystery, but it also comes from the remarkably accomplished songwriting. R.E.M. went on to produce a few albums that may have been on par with Murmur, but they never made anything that sounded quite like it. Reissued here on audiophile quality 180g vinyl with original packaging.



    Album of the Year (1983)

    - Rolling Stone

    - Village Voice

    - Melody Maker

    - Sounds

    - NME


    500 Greatest Albums of All Time (2003) - Rolling Stone


    Top 100 Favorite Records of the 1980s (#5 - 2002) - Pitchfork

    1. Radio Free Europe
    2. Pilgrimage
    3. Laughing
    4. Talk About The Passion
    5. Moral Kiosk
    6. Perfect Circle
    7. Catapult
    8. Sitting Still
    9. 9-9
    10. Shaking Through
    11. We Walk
    12. West Of The Fields
    R.E.M.
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Heart Murmurs Heart Murmurs Quick View

    $19.99
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    Heart Murmurs

    2014 release, the fifth album from the Minneapolis-based Indie singer/songwriter. Heart Murmurs is the follow-up to his 2012 album paper Moon. Features the single 'Tourniquet'.
    1. It's Only Dancing
    2. Tourniquet
    3. Bridges
    4. Steve
    5. Ghost
    6. Heidi
    7. I Want To Be Your One Night Stand
    8. You'll Only Break His Heart
    9. Bubblin'
    10. Hitman
    11. Someday, Someone
    Jeremy Messersmith
    $19.99
    Vinyl LP - Sealed Buy Now
  • Reckoning Reckoning Quick View

    $24.99
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    Reckoning

    Whereas Murmur had been complex and painstakingly deliberate, the bands Bill Berry, Peter Buck, Mike Mills and Michael Stipe, along with producers Mitch Easter and Don Dixon, saw Reckoning as a chance to turn up the volume, tear up the rule book, and capture instead R.E.M.s on-stage mojo. Features the chart hit So. Central Rain and the college radio anthems Pretty Persuasion, (Don't Go Back To) Rockville and Time After Time (Annelise). Reissued here on audiophile quality 180g vinyl with original packaging.


    1. Harborcoat
    2. 7 Chinese Bros.
    3. So. Central Rain
    4. Pretty Persuasion
    5. Time After Time (Annelise)
    6. Second Guessing
    7. Letter Never Sent
    8. Camera
    9. (Dont Go Back To) Rockville
    10. Little America
    R.E.M.
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Reissue - Sealed Buy Now
  • Ghost Tropic Ghost Tropic Quick View

    $17.99
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    Ghost Tropic

    The sound movement on GHOST TROPIC will seem sudden to some; without warning. To others, it'll seem a very logical step in a very foreign direction. On its fifth proper full-length, Songs: Ohia has stepped outside the box and has delivered its most subtle record of fantastic depth to date. Indeed this is the most cohesive and album-like Songs: Ohia has ever been. The eight songs on the record sprawl out into one another, telling one long sonic tale, allowing very little room for chapter breaks or piss stops. In this regard, Lou Reed's moody classic BERLIN comes to mind as a worthy fore-bearer. But it's the strange ethnic flavor in which GHOST TROPIC is steeped that makes it stand apart from its predecessors, albums which were all received as crossing guards for the Great American lost highway. Surely this album will leave those expecting such fare scratching their heads. Blending the electro-acoustic minimalism of the David Bowie and Brian Eno Trilogy with the percussive worldliness of Tom Waits' SWORDFISHTROMBONES, the group seems to hop the globe from a British Isles folk rock influence to an Ennio Morricone-like Spaghetti Western feel to the faintest echoes of the Chinese Classical ringing like a death murmur in the distance. And the songs, they build in a slow, unconscious manner, pulsing with an intensity, but never betraying their most simple core with too much instrumentation or calculated progression. Yea! GHOST TROPIC is the first album which reveals Songs: Ohia's own Tropicalia Blues in full bloom.
    Lightning Risked It All
    Body Burned Away
    No Limits on the Words
    Ghost Tropic
    Ocean's Nerves
    Not Just a Ghost's Heart
    Ghost Tropic
    Incantation
    Songs: Ohia
    $17.99
    Vinyl LP - Sealed Buy Now
  • A Creature I Don't Know A Creature I Don't Know Quick View

    $21.99
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    A Creature I Don't Know

    A Creature I Dont Know is British singer/songwriter and guitarist Laura Marlings third album and first for Ribbon Music. Since her emergence onto the London music scene in 2007 Laura Marling has steadily secured her position as one of the most exciting musical talents of her generation. By the age of 21 she has already won a BRIT award and been nominated for the UK Mercury Music prize twice.


    Recorded with producer Ethan Johns (who also helmed her acclaimed sophomore album I Speak Because I Can), A Creature I Dont Know is a boldly accomplished and endlessly impressive album. 10 original compositions of intricate and captivating story-telling, buoyed by Marlings rich voice, evocative lyrics and the precise, confident instrumentation on every track. Marlings delivery is pitch perfect, her voice going from delicate whisper to brooding murmur and rousing wail, sometimes all in the very same sentence.


    Johns production of A Creature I Dont Know is the perfect showcase for her remarkable gifts, pulling back to give a stark spotlight to her stunning voice before surging forth with a rollicking live band feel. Fans of Marlings previous recordings will recognize her mesmeric tales and soaring melodies in what is ultimately an incredibly intimate album.

    1. The Muse
    2. I Was Just A Card
    3. Dont Ask Me Why
    4. Salinas
    5. The Beast
    6. Night After Night
    7. My Friends
    8. Rest In The Bed
    9. Sophia
    10. All My Rage
    Laura Marling
    $21.99
    Vinyl LP - Sealed Buy Now
  • Get Lonely Get Lonely Quick View

    $18.99
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    Get Lonely

    Get Lonely is every bit as assured as its predecessor, The Sunset Tree, but the mood is entirely different. Sunset chronicled the fraught, violent relationship between John Darnielle and his stepfather and derived its power from an unblinking exorcism of personal demons, while Get Lonely is the haunted aftermath. It's a reflective, intimate record. The mood is one of bittersweet resignation rather than cathartic release. It's a quiet triumph, murmuring with a modest but entirely surefooted confidence. An uncannily coherent and subtly redemptive record which will come to be seen as Mountain Goats' most resonant, assured, and magical collection of songs so far.
    1. Wild Sage

    2. New Monster Avenue

    3. Half Dead

    4. Get Lonely

    5. Maybe Sprout Wings

    6. Moon Over Goldsboro

    7. In The Hidden Places

    8. Song For Lonely Giants

    9. Woke Up New

    10. If You See Light

    11. Cobra Tattoo

    12. In Corolla
    The Mountain Goats
    $18.99
    Vinyl LP - Sealed Buy Now
  • Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Quick View

    $34.99
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    Beethoven: Concerto for Violin and Orchestra (Speakers Corner)

    Beethoven's only violin concerto is certainly one of the most lovely works ever written for this instrument. The symphonically conceived work is admired for its highly lyrical and expressive character and as such belongs in the repertory of all great violinists. Numerous performances, often all too sentimental or exaggerated, are available on record - but this Deutsche Grammophon production from 1962 is a refreshing exception. With a tender, serene timbre and perfect intonation, the soloist Wolfgang Schneiderhan allows the spirit of the score to breathe throughout. The captivating and poetic music is further enhanced by the Berlin Philharmonic who play with a sonority that has yet to be equalled. The strings with the swell and subsidence of their carpets of sound, the subtle and finely balanced woodwinds, the double basses which murmur darkly at the very bottom of their register - all effuse a feeling of consecration and peaceful transfiguration in this concerto, a concerto which has never seen its like in two centuries.



    The balance engineers achieved a remarkable feat when documenting this epoch-making work, for this recording is certainly one of the very best to come from Deutsche Grammophon in the Sixties.



    Recording: May / July 1962 at the Jesus-Christus-Kirche, Berlin by GÜnter Hermanns / Production: Wolfgang Lohse



    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.

    Beethoven: Concerto for Violin and Orchestra
    Wolfgang Schneiderhan and the Berlin Philharmonic Orchestra conducted by Eugen Jochum
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Afterglow Afterglow Quick View

    $54.99
    Buy Now
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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

    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
  • Avalon Avalon Quick View

    $29.99
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    Avalon

    Flesh + Blood suggested that Roxy Music were at the end of the line, but they regrouped and recorded the lovely Avalon, one of their finest albums. Certainly, the lush, elegant soundscapes of Avalon are far removed from the edgy avant-pop of their early records, yet it represents another landmark in their career. With its stylish, romantic washes of synthesizers and Bryan Ferry's elegant, seductive croon, Avalon simultaneously functioned as sophisticated make-out music for yuppies and as the maturation of synth pop. Ferry was never this romantic or seductive, either with Roxy or as a solo artist, and Avalon shimmers with elegance in both its music and its lyrics. More Than This, Take a Chance with Me, While My Heart Is Still Beating, and the title track are immaculately crafted and subtle songs, where the shifting synthesizers and murmured vocals gradually reveal the melodies. It's a rich, textured album and a graceful way to end the band's career.

    Stephen Thomas Erlewine (All Music Guide)

    1. More Than This
    2. The Space Between
    3. Avalon
    4. India
    5. While My Heart Is Still Beating
    6. The Main Thing
    7. Take A Chance With Me
    8. To Turn You On
    9. True To Life
    10. Tara
    Roxy Music
    $29.99
    Vinyl LP - Sealed Buy Now
  • The Complete Village Vanguard Recordings, 1961 The Complete Village Vanguard Recordings, 1961 Quick View

    $99.99
    Buy Now
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    The Complete Village Vanguard Recordings, 1961


    4 LP Box Set Pressed On 180 Gram Vinyl


    Includes 12 Page Booklet


    Ranked time after time as one of the best live jazz recording sessions in history, and yielding two of Evans' most classic albums (Waltz for Debby, Sunday
    at the Village Vanguard), The Complete Village Vanguard Recordings, 1961 represents the pinnacle of spontaneous musical communication: three men
    breathing as one on a tiny bandstand.


    This box set is the ultimate collectible item for any jazz fan. Pressed on 180-gram vinyl, this four-LP set comes with a 12-page booklet, complete with
    new liner notes by reissue producer Bill Belmont, as well as the original liner notes by the producer of the original recordings,Orrin Keepnews.
    Reproductions of session notes and photographer Steve Schapiro's proof sheets from the performances add vintage context to the packaging. Also
    included in the box is a stunning metallic and black poster of the famous cover - Evans, in profile, deep in concentration at his piano.


    Everything Bill Evans, Scott LaFaro, and Paul Motian had been working on for the previous 18 months led to this moment on June 25, 1961. The little-known pianist and his trio performed afternoon and evening sets that Sunday to a small audience that unknowingly sat through what would become a very
    famous - and final - set by the trio as a whole. The 25-year old LeFaro died tragically in a car accident just ten days later. The performances on these
    LPs demonstrate a new and more interactive approach to playing as a trio, one in which all instruments carry melodic responsibilities and function as
    equal voices. Contrapuntal dialogues take place between Evans's poetic piano and LaFaro's bass, with Motian's sustained riveted ride cymbal providing a
    carpet of stars. These recordings provide something of a sonic time capsule: sequenced in the original order of the five sets; the audience's murmurings
    and applause peppered throughout; even an interrupted take is left intact.


    This box set is the definitive keepsake for audiophiles, Bill Evans fans and jazz collectors, alike, and, in its limited run, will go quickly.

    LP 1
    1. Spoken Introduction
    2. Gloria's Step (Take 1, Interrupted)
    3. Alice In Wonderland (Take 1)
    4. My Foolish Heart
    5. All Of You (Take 1)
    6. Announcement And Intermission


    LP 2
    1. My Romance (Take 1)
    2. Some Other Time
    3. Solar
    4. Gloria's Step (Take 2)
    5. My Man's Gone Now
    6. All Of You (Take 2)


    LP 3
    1. Detour Ahead (Take 1)
    2. Discussing Repertoire
    3. Waltz For Debby (Take 1)
    4. Alice In Wonderland (Take 2)
    5. Porgy (I Loves You, Porgy)
    6. My Romance (Take 2)
    7. Milestones


    LP 4
    1. Detour Ahead (take 2)
    2. Gloria's Step (Take 3)
    3. Waltz For Debby (Take 2)
    4. All Of You (Take 3)
    5. Jade Visions (Take 1)
    6. Jade Visions (Take 2)
    7. ...A Few Final Bars

    Bill Evans Trio
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • Respighi - Birds - Brazilian Impressions (Speakers Corner) Respighi - Birds - Brazilian Impressions (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Respighi - Birds - Brazilian Impressions (Speakers Corner)

    It was Respighis fascination with ancient dances and songs that inspired him to write his bird suite. His great love for such music makes itself felt in every single movement of this work. While Respighi imbued each of the bird portraits with his very own sound colouring typical of his time, there is an original masterpiece by a Renaissance or Baroque composer lurking in the background.



    The marchlike 'Intrada', based on a piece by Bernardo Pasquini (1637-1710), is further refined by a gradual building-up of the instrumental apparatus and comes to a final climax full of pomp and glory in which the brass are given prominence.



    Ornithological elements are easily identified in the movements which follow: the doves cooing and billing is are underlined by a sighing, rhythmic base; the hen is heard clucking with a characteristic motif, and the song of the nightingale is brought to us by the flute over a mysterious murmuring on the low strings. The cuckoo is then heard, followed by a repeat of the initial theme, thus bringing to perfect completion 'Gli Ucelli' ('The Birds'), a colourful bird show which knows no rival in modern music.



    The 'Impressioni brasiliano' ('Brazilian Impressions') is also a seldom heard jewel in both the concert hall and on record. Although the three-movement work has a subtle rhythm which runs throughout the work, it is far removed from the well-known 'Europeanised' samba adaptations which are so often heard. The suite is remarkable for its tender, impressionistic colouring which demands to be heard time and time again.




    Recording: July 1957 in Watford Town Hall, London, by C.R. Fine

    Production: Wilma Cozart and Harold Lawrence




    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.



    Antal Dorati with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hug Of Thunder Hug Of Thunder Quick View

    $25.99
    Buy Now
    x

    Hug Of Thunder

    "I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.

    They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.

    Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."

    Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.

    "He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."

    As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."

    Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"

    Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.

    The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.

    The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".

    Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."

    But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.

    "The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."

    Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"

    That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.

    "My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"

    So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."

    1. Sol Luna
    2. Halfway Home
    3. Protest Song
    4. Skyline
    5. Stay Happy
    6. Vanity Pail Kids
    7. Hug of Thunder
    8. Towers and Masons
    9. Victim Lover
    10. Please Take Me With You
    11. Gonna Get Better
    12. Mouth Guards of the Apocalypse
    Broken Social Scene
    $25.99
    Vinyl LP - Sealed Buy Now
  • Verdugo Hills Verdugo Hills Quick View

    $16.99
    Buy Now
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    Verdugo Hills

    Five years ago, Caroline Lufkin made ripples across the Japanese pop music scene when she famously walked away from a lucrative major label contract that virtually guaranteed the same kind of bright-light super-stardom that made her sister Olivia a household name in Tokyo. Instead, Caroline took the long way; a slow, creatively fulfilling path where she writes, performs and records her own songs and owns her every success or failure, while taking pride in both.



    Verdugo Hills builds upon the same minimalist, angelic pop that made her debut album, Murmurs, so striking. Having spent the past several years as a full-time member of the small musical army that is Mice Parade, Caroline has mastered the art of mingling a dozen or more distinct sounds to form miniature symphonies for the soul that can turn from an icy chill to a warm glow in the span of a few breaths. Her lyrical delivery and subject matter have matured enormously, exposing new depths to her emotional range to accompany the deceptively subdued mix of acoustic and electronic instrumentation.



    Ultimately Verdugo Hills succeeds emphatically in giving electronic music a comforting heartbeat and a contemplative soul, feats Caroline were unlikely to accomplish had she taken the straight road to overnight fame and fortune. She has become an intriguing and understated figure in the world of electronic pop music, accelerating the genre with startling, unexpected beauty while leaving lasting impressions on all of us who are along for the ride.

    1. Balloon
    2. Swimmer
    3. Sleep
    4. Seesaw
    5. Words Flutter
    6. Pink Gloom
    7. Waltz
    8. Lullabye
    9. Snow
    10. Gone
    Caroline
    $16.99
    Vinyl LP - Sealed Buy Now
  • Vivaldi: The Four Seasons Vivaldi: The Four Seasons Quick View

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    Vivaldi: The Four Seasons

    Tacets tube-only recording technique, renowned for their crystal clarity and spaciousness, score another triumph here. How should Vivaldis Four Seasons be played? How should it be heard? As an onomatopoeic animal show and weather report? As an emotional Baroque violin concerto? Or simply as a musical »contest between harmony and invention« as the composer himself put it? Countless violinists have attempted to answer these questions with countless new versions and different performance styles of this timeless work. And so we stand, quite at a loss, faced with a myriad of recordings, which range from flamboyant, symphonic readings to ethereal chirruping, and even trendy disco versions.


    That the work can be beautifully performed without resorting to venturesome experiments is shown by the PCPO and soloist Daniel Gaede, who focus on authenticity and straightforwardness in their reading, without pledging themselves to a scholastic performance practice as preached by some Baroque gurus. The colourful constant change from good-humoured playing together to 'contesting' with one another is filled with the sheer joy of music-making that is free of mannerisms and whims. These performers demonstrate just how smoothly a four-wheeled Baroque motor can run: it purrs, sings, murmurs, accelerates and slackens without juddering in the least. This recordings forte is found in the light-hearted simplicity and naturalness of the playing and the finely balanced analogue sound recording.

    Side 1

    Concerto No. 1 La Primavera / Spring
    1. Allegro
    2. Largo e Pianissimo
    3. Allegro


    Concerto No. 2 L'Estate / Summer
    4. Allegro ma non molto
    5. Adagio
    6. Presto


    Side 2
    Concerto No. 3 L'Autunno / Autumn
    1. Allegro
    2. Adagio molto
    3. Allegro


    Concerto No. 4 L'Inverno / Winter
    4. Allegro non molto
    5. Largo
    6. Allegro

    Antonio Vivaldi
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Don't Want To Let You Down Don't Want To Let You Down Quick View

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    Don't Want To Let You Down

    Sharon Van Etten has never needed much room to make a grand statement. With four albums during the
    last six years, she's become one of music's most astute new cartographers of the heart, able to capture
    emotional trials and triumphs with incisive lines and a voice that loses nothing in the translation and
    transmission of feelings. Her second record, epic, needed only seven tracks to live up to its title. 2012's
    Tramp and last year's Are We There, went longer, but Van Etten managed still to squeeze enormous
    sentiments into especially small spaces. From start to rising stardom, Van Etten has forever understood the
    impact of economy


    It should come as no surprise, then, that the five-song EP I Don't Want to Let You Down offers documents
    of surrender and disappointment, admission and longing in only 22 minutes. Produced by Van Etten and
    Stewart Lerman, who also helmed Are We There, these songs are as sophisticated as anything Van Etten has
    ever done. Supported by a string section during "I Always Fall Apart," Van Etten's voice rises alongside her
    piano. Her prismatic harmonies betray the terror of the song's central admission and one of the new lyrical
    cornerstones of her catalogue: "You know I always fall apart/It's not my fault/It's just my flaw/It's who I am."
    During the title track, she slowly pushes her voice past an introductory murmur, as if scanning her
    surroundings for the resolve to be stronger and more steadfast than she knows she has been. Building across
    four minutes, the desperation of the title is expressed through guitars that get bigger, harmonies that get
    broader. The chorus is a sing-along commandment, an indelible promise Van Etten makes to be better. The
    War on Drugs' Adam Granduciel and David Hartley join Antibalas' Stuart Bogie, Peter Broderick and
    Heather Woods-Broderick for "Pay My Debts." The longest song here, it's a cinematic number that smolders
    like shoegaze before climaxing into an inescapable seesaw refrain.


    The EP ends with a live rendition of "Tell Me." A demo from Tramp, but backed here by her four-piece
    touring band, the tune becomes a kind of battle cry for respect and a charged pronouncement of Van Etten's
    cultivated powers. It's a map of the singer's progression from an acoustic songwriter to a bona fide
    bandleader, a reminder of the poignancy and efficiency her work has long paired.

    1. I Don't Want To Let You Down
    2. Just Like Blood
    3. Always Fall Apart
    4. Pay My Debts
    5. Tell Me [Live]
    Sharon Van Etten
    $14.99
    Vinyl EP - Sealed Buy Now
  • Falling Faster Than You Can Run (Awaiting Repress) Falling Faster Than You Can Run (Awaiting Repress) Quick View

    $18.99
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    Falling Faster Than You Can Run (Awaiting Repress)

    Well, it doesn't take long for Falling Faster Than You Can Run to reveal that Nathaniel Rateliff isn't in a very good place. His deep funk is revealed very quickly on the opening track 'Still Trying': "If you roll in it long enough/your shit won't even smell" sings Rateliff, in between crying out, unaccompanied, "I don't know/I don't know/a god damned thing".


    And that's the feeling that sticks throughout this, often very fine, new record from Denver, Colorado's Missouri-born Rateliff. On his second full-length album (dropping the & the Wheel from his name) loneliness is writ large: not the kind of loneliness from actually being along, but the kind that comes from being constantly surrounded by people yet unable to shake the feeling of complete isolation. Rateliff has toured with many, many acts over the past few years and most recently has spent time with Dr Dog and fellow Denver act (and friends) The Lumineers. Thankfully, Rateliff rarely sounds like his friends (you might say I'm not a fan) and instead writes and plays music with a lot of heart and soul. It's often his voice that's the star of the show thanks to the subtly-arranged instrumentation: part matured Kurt Wagner burr and part throat-ravaged bluesman ( a bit The Tallest Man on Earth) it's a voice you could listen to all day. But good voice is nothing without good songs, and Rateliff comes with plenty of ammunition on Falling Faster Than You Can Run.


    "Still Trying" is an arresting opener; while Rateliff's heart-wrenching roars are the highlight, the backing isn't too shabby either - acoustic guitar and bass drum battle for the spotlight on a ragged country song, and it sounds authentic, like Rateliff has lived what he's singing. And things get better quickly: "I Am" is mostly just Rateliff and his guitar, as broaches his isolation singing: "you'll never know what's buried there / less you dig around". The music swells as he sings the title over and over, following a similar pattern to the album opener. But before things get too familiar, Rateliff picks up the pace with a couple of full band numbers that could almost be considered jaunty, if we were to ignore the lyrics. "Don't Get Too Close" is fine enough and ticks over nicely like a quickstep, but "Laborman" is even better. Like Wilco at their poppiest, it flies off on crunchy and bright electric guitars which belies the lyrical content: "I got a feelin' / a sleepin' depression / that somebody's gonna get hurt", sings Rateliff, followed by "you got the harness/so where you gonna drag me now?" You can see a pattern developing here; Rateliff's stuck somewhere he doesn't want to be, lonely, but how does he get out of it? Take another look at that album cover too - a couple share a bed, an arm reaches out yet it doesn't touch the other person. It's basically a visual encapsulation of what's being sung about.


    The epic electric storm of "Forgetting Is Believing" leads a trio of great closing tracks, ending with the Lambchop-murmur of the title track. Rateliff's baritone is exposed and dusty as he sings "leave me alone/you can see me fall/faster than you can run", ending as he started the record - alone and isolated.


    Falling Faster Than You Can Run feels, through the dirt, the shit and the whisky, and despite the loneliness, like a hard-earned triumph for Nathaniel Rateliff.


    - Andrew Hannah (The Line Of Best Fit)

    1. Still Trying
    2. I Am
    3. Don't Get Too Close
    4. Laborman
    5. How To Win
    6. Nothing To Show For
    7. Right On
    8. Three Fingers
    9. Forgetting Is Believing
    10. When Do You See
    11. Falling Faster Than You Can Run
    Nathaniel Rateliff
    $18.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
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