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  • Yes It's True Yes It's True Quick View

    $19.99
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    Yes It's True

    Yes, It's True is the first proper studio album by The Polyphonic Spree since 2007s The Fragile Army.


    "The songs here are from many different periods in the last few years," frontman Tim DeLaughter explains. "This record feels like a collection of "songs" rather than a long listening piece which we've done previously in the Spree stylistically. It's kind of refreshing."


    The album was recorded in stages and produced by The Speekers alongside Eric Drew Feldman (PJ Harvey, Captain Beefheart) with mixing done by Tim Palmer (Pearl Jam, U2).

    1. You Don't Know Me
    2. Popular by Design

    3. Hold Yourself Up
    4. Carefully Try
    5. You're Golden
    6. Heart Talk

    7. Blurry Up the Lines
    8. Let Them Be
    9. Raise Your Head
    10. What Would You Do?
    11. Battlefield
    The Polyphonic Spree
    $19.99
    Vinyl LP - Sealed Buy Now
  • Psychphonic Psychphonic Quick View

    $16.99
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    Psychphonic

    Rock choir Polyphonic Spree return with Psychphonic, an LP that pays homage to frontman Tim DeLaughter's cinematic experience by taking the innovation of the band's most critically acclaimed album to date, Yes, It's True, and remixing it towards a more atmospheric sound.


    "I always enjoy a date with my Linn drum machine. Once I set the mood and tone I go from there in terms of songwriting," said DeLaughter in a press release.


    Twenty-two members strong, Polyphonic Spree orchestrates an album that's ambient without being dull, rhythmic without being repetitive. It's fitting, since DeLaughter's first instrument was drums: he says his first set was an assembly of empty Baskin-Robbins containers. In more recent work, he's focused on drums as an underpinning for more integrated orchestral sounds. Violins, baritone sax, and piano accelerate the melodies on Psychphonic rather than accenting their own self-conscious solos.


    - Julia Cook (Paste Magazine)

    1. Heart Talk (Miyamigo Remix)
    2. Raise Your Head (Rachel Boyd Remix)

    3. Carefully Try (Little People Remix)
    4. Let Them Be (Still Current Remix)
    5. Battlefield (K-Conjog Remix)
    6. You're Golden (Candy Claws Remix)
    7. Popular By Design (Sunglitters Remix)
    8. What Would You Do? (Scott Hendy Remix)
    9. Hold Yourself Up (Miaou Remix)
    10. Blurry Up The Lines (Jel Remix)
    11. You Don't Know Me (Set In Sand Remix)
    The Polyphonic Spree
    $16.99
    Vinyl LP - Sealed Buy Now
  • Holidaydream: Sounds of the Holidays Vol. One (Awaiting Repress) Holidaydream: Sounds of the Holidays Vol. One (Awaiting Repress) Quick View

    $19.99
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    Holidaydream: Sounds of the Holidays Vol. One (Awaiting Repress)

     


    This year, to celebrate the 10th year of the Holiday Extravaganza, the band will finally release their first volume of holiday songs, titled Holidaydream. Tim DeLaughter (founder of The Polyphonic Spree) says Holidaydream can be played all year round: "We wanted to make a record that has the sentiment of the holidays without the melodic connotation telegraphing the obvious. We took many of the standards that we all knew and loved as kids and rewrote the music and melody to give them a 'new' life while leaving others somewhat true to form."


    Holidaydream: Sounds of the Holidays Vol. One is not your typical, by-thenumbers holiday collection. The music within is magical, otherworldly, and at times somber. The songs captivate as they float by. A few of the songs have alternate melodies and truncated lyrics but maintain the timelessness and sentimentality of the song.


    Kirtland Records have partnered with Good Records Recordings to release the 13-song collection on limited edition LP. The album includes 10 standards, two original compositions, and a cover of the always timely "Happy Xmas (War Is Over)" by John Lennon & Yoko Ono.

    1. A Working Elf's Theme
    2. Winter Wonderland
    3. The Christmas Song (Chestnuts Roasting On An Open Fire)
    4. Happy Xmas (War Is Over)
    5. Sildent Night
    6. Silver Bells (ft. School of Seven Bells)
    7. Do You Hear What I Hear?
    8. Carol of the Drum (Little Drummer Boy)
    9. White Christmas
    10. Let It Snow
    11. It's the Most Wonderful Time of the Year
    12. Silver Bells (Reprise)
    13. Holidaydream
    The Polyphonic Spree
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Born On Fire Born On Fire Quick View

    $21.99
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    Born On Fire

    BORN ON FIRE - the 5th studio album from critically acclaimed rocker & raconteur Ike Reilly. Produced by Ike Reilly with help from long time band mate Phil Karnats (The Secret Machines, Polyphonic Spree). Recorded with long time band The Assassination in Chicago & Libertyville, IL, the album features the soulful vocals of The Assassinettes, highlighting the R&B/Soul influences on much of the album. BORN ON FIRE features Tom Morello on guitar ("Paradise Lane") and will be a co-venture with Morello's newly launched Firebrand Records
    Ike Reilly
    $21.99
    Vinyl LP - Sealed Buy Now
  • Actor Actor Quick View

    $22.99
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    Actor

    Actor is the highly anticipated new album by St. Vincent (Annie Clark), and the follow-up to her first album Marry Me, one of the most acclaimed debuts of 2007. Actor was co-produced by Clark and John Congleton (Modest Mouse, Polyphonic Spree etc.) and features eleven new songs, all written and arranged by Clark. The new album takes the ambitious compositional and sonic underpinnings of Clark's debut as a starting point and never looks back. The arrangements are more masterful, the songwriting grander, the performances ever more confident and inspired. Clark sings and plays guitar, bass and keys on Actor, with woodwind contributions from Hideaki Aomori (Sufjan Stevens) and Alex Sopp (Bjork, Phillip Glass), and additional rhythm section work by McKenzie Smith and Paul Alexander of Midlake. Other musicians on the album include Mike Atkinson (French horn, score consultant), Daniel Hart (violin, sarongi), William Flynn (bass) and percussionists Jeff Ryan, Matthias Bossi and Aynsley Powell. Before recording as St. Vincent, Annie Clark was a member of The Polyphonic Spree and Sufjan Stevens' touring band, and performed with Glenn Branca's guitar orchestra.
    1. The Strangers
    2. Save Me From What I Want
    3. The Neighbors
    4. Actor Out Of Work
    5. Black Rainbow
    6. Laughing With A Mouth Of Blood
    7. Marrow
    8. The Bed
    9. The Party
    10. Just The Same But Brand New
    11. The Sequel
    St. Vincent
    $22.99
    Vinyl LP - Sealed Buy Now
  • St. Vincent St. Vincent Quick View

    $22.99
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    St. Vincent

    Annie Clark, better known by her stage name, St. Vincent, is an American singer-songwriter and multi-instrumentalist. She began her music career as a
    member of The Polyphonic Spress and was also part of Sufjan Stevens' touring band before forming her own band in 2006. Annie currently resides in
    Manhattan.


    Her debut album was Marry Me, and was followed by Actor (2009). Her third album Strange Mercy was released on September 13, 2011.
    Clark has opened shows for such acts as Television, Arcade Fire, Andrew Bird, Jolie Holland, John Vanderslice, Death Cab for Cutie and Grizzly Bear.


    Teased late last year in a series of cryptic status updates, the forthcoming self-titled album from St. Vincent is one of the most anticipated of 2014.


    The album was produced by John Congleton and features Dap-Kings drummer Homer Steinweiss and Midlake's McKenzie Smith on percussion. I knew the groove needed to be paramount, Annie Clark said in a press release. I wanted to make a party record you could play at a funeral.

    1. Rattlesnake
    2. Birth in Reverse
    3. Prince Johnny
    4. Huey Newton
    5. Digital Witness
    6. I Prefer Your Love

    7. Regret
    8. Bring Me Your Loves
    9. Psychopath
    10. Every Tear Disappears
    11. Severed Crossed Fingers
    St. Vincent
    $22.99
    Vinyl LP - Sealed Buy Now
  • Secrets Secrets Quick View

    $34.99
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    Secrets

    Secrets (1976) is a Jazz-Funk fusion album by acclaimed keyboard player Herbie Hancock. Following up on his previous album Man-Child, the album again features Paul Jackson on bass, and reedist Bennie Maupin continued to provide most of the solos alongside Hancock. Man-Child had seen the addition of electric guitar to Hancock's sound, and Secrets saw the guitar's place in the arrangements rise to crucial importance throughout. The flamboyant rhythm guitar contributions of top Motown session musician Wah Wah Watson are a particularly notable feature of the album.


    Where Man-Child was evenly divided between up-tempo and laid-back tracks, Secrets emphasised the more mellow, softly rounded mood. Even the more up-tempo tracks, Doin' It and Cantaloupe Island, are suffused with a relaxed Caribbean influence, and overall the album tends towards restrained, rolling grooves rather than overtly high-energy Funk. Appropriately, Hancock spent much of his time using the mellow tones of the Rhodes piano, and took advantage of the new polyphonic synthesizers to contribute thick pads, foreshadowing ambient music.

    1. Doin' It
    2. People Music
    3. Cantelope Island

    4. Spider
    5. Gentle Thoughts
    6. Swamp Rat
    7. Sansho Shima
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Joy One Mile Joy One Mile Quick View

    $21.99
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    Joy One Mile

    Stellar OM Source's new album, Joy One Mile, marks a certain and spirited departure
    into worlds unknown. A faithful leap into the infinite beat, Joy One Mile is the most
    forward-reaching effort by Stellar OM Source yet.
    Stellar OM Source originated from Christelle Gualdi's desire to unhinge from her
    academic musical upbringing. A double bassist in the Konigin Katharina Stift
    Schulorchester and a student of music theory at UniversitÉ Paris VIII, Gualdi
    completed her studies in electro-acoustic composition at the Conservatoire de Paris
    after earning an architecture degree.


    The process of Gualdi's "unlearning" began in experimental ensemble settings,
    and it became more recognizable as she moved toward solo performance.
    Stellar OM Source's name is fittingly inspired in part by the pathway to higher
    consciousness and cosmos via one's own voice.


    Gualdi was also inspired by-and also an integral member of-the late aughts
    DIY synthesizer community. Alongside Oneohtrix Point Never, Emeralds and James Ferraro,
    Stellar OM Source's stream of self-released CDRs defined a zeitgeist of artists
    trending away from their noisy roots via polyphonic escapism.


    Based many miles away from her US counterparts in The Hague, South Holland,
    Gualdi received a prophetic sign in 2010 when a regional eBay seller offered her
    a mint Roland TB-303 for a mere €25-or $33. The instantly identifiable sounds of
    the analog bass synthesizer began appearing in Gualdi's studio and live practices.
    By virtue of her many aspirations and the array of hardware that Gualdi brought
    to the table, Joy One Mile took shape in chaos. Where this disorder might cripple
    others, Gualdi's response was energetically and emotionally charged.


    The freedom from form that Gualdi sought with Joy One Mile was ultimately
    obtained, but the severe surge of the finished recordings left her over stimulated.
    Striking a dialogue with Gunnar Wendel (aka Kassem Mosse), Gualdi realized an
    objective opinion and arrangement know how would allow clarity and an even
    greater freedom-that from her own music.


    The singularity of Gualdi's compositions, when pulled back and recalibrated even
    slightly, resemble early era Warp Records, and, by that admission, the wayward
    electro of early-90s Detroit. The abstractions in Gualdi's programming and mutant
    melodies is what keeps Joy One Mile perfectly relegated to outsider status, akin to
    the primitive techno of Esplendor Geometrico and Chris & Cosey

    Side A
    1 Polarity
    2 Par Amour


    Side B
    1 The Range
    2 Trackers


    Side C
    1 Elite Excel
    2 Fascination


    Side D
    1 Natives/Most Answers
    Never Unveiled

    Stellar Om Source
    $21.99
    Vinyl LP - Sealed Buy Now
  • Liital Liital Quick View

    $19.99
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    Liital

    Senegalese griot Aby Ngana Diop was famous for her taasu, a form of oral poetry spoken to the rhythmic accompaniment of sabar and tama drums. Taasu is typically created and performed by griot women (a class of poets, storytellers and/or musicians), with a lead taasukat (practitioner of taasu) performing her distinct style of heightened, rhythmically declaimed speech in call-and-response with a small chorus of female vocalists. (Taasu is seen by some to be a predecessor to rap.) Throughout the 1980s and 1990s, Diop developed a reputation for being one of the most sought-after taasukats in Dakar, performing with her backup singers, dancers and drummers at parties, weddings and baptisms of the Dakar elite, including government officials and dignitaries. Aby Ngana Diop was undisputedly the best taasukat of her generation.


    In 1994, the Dakar diva released her one and only studio cassette recording, Liital, to the Senegalese market. Liital was groundbreaking in the history of Senegalese music because it was the first commercial recording to feature a traditional female taasukat performing to the modern accompaniment of mbalax, Senegal's quintessential pop genre. The combination of Diop and her backup vocalists with their powerful taasu, along with the driving, complex rhythms of the sabar and tama drums, mixed with key elements of mbalax (such as the syncopated, polyphonic marimba sounds played on the Yamaha DX7 keyboard) was something the Senegalese public had never heard before. But it wasn't only because of the fusion of taasu with mbalax; unlike in other mbalax tunes, the musical arrangements on this cassette are instead peculiarly minimalist and almost trance-like, with static harmonies and melodic figures
    playing more of an atmospheric role. The cassette became a huge hit, propelling Diop to a new level of superstardom. It could be heard blasting from taxis and from loudspeakers at house parties, weddings and baptisms for years to come. Liital bridged the gap between the more traditional taasu and the modern mbalax sound, thus appealing to all generations of the Senegalese public - and they simply couldn't get enough of it.


    When Aby Ngana Diop died unexpectedly on July 4, 1997, the country mourned her passing, but continued to celebrate her music. Other artists such as Cheikh Lô, Thio Mbaye and Lamine TourÉ released recordings based on some of Diop's taasu and accompanying drum phrases, paying further tribute to her musical legacy. Although this cassette has caught the attention of some African music aficianados who have stumbled upon it in recent years, it remains largely unknown to the wider world. Hopefully this re-release from Awesome Tapes From Africa will change that.

    1. Dieuleul-Dieuleul
    2. Ndame
    3. Yaye Penda Mbaye
    4. Liital
    5. Sapaly
    6. Ndadje
    Aby Ngana Diop
    $19.99
    Vinyl LP - Sealed Buy Now
  • An Evolutionary Music (Original Recordings: 1972 - 1979) An Evolutionary Music (Original Recordings: 1972 - 1979) Quick View

    $30.99
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    An Evolutionary Music (Original Recordings: 1972 - 1979)

    An Evolutionary Music (Original Recordings: 1972 - 1979) compiles
    unreleased recordings from the archives of multiversal artist Ariel Kalma.
    Concerned as much with musicality as spiritual facility, Kalma's work
    vibrates aside fellow travelers along the great rainbow in curved air of
    the 1970s avant-garde.


    Ariel Kalma's boundary-blurring electronic music is heard here in
    radiant detail across a selection of work spanning his early free-jazz
    and spoken word trips to his infinite modular synthesizer and primitive
    drum machine meditations. Kalma's story is one of world travel, musical
    discovery and ego-abandonment. Yet for an artist who often discarded
    public recognition in favor of the ascetic truths in music making, An
    Evolutionary Music offers the imprint of an outright auteur.


    Born in France, but rarely in one place for long, Ariel Kalma's 1970s
    migrations took flight through the decade's furthest spaces of musical
    and spiritual invention. As a hired horn for well-known French groups,
    the young musician toured as far as India, a place where Kalma would
    learn circular breathing techniques enabling him to sustain notes without
    pause against tape-looping harmonies configured through his homemade
    effects units.


    Those effects evolved from Kalma's loyalty to a beloved dual ReVox
    set-up- two tape machines "chained" together to form a primitive delay
    unit. Over looped saxophone melodies, Kalma would mix in all shades of
    polyphonic color, synthesizing fragments of poetry with ambient space or
    setting modal flute melodies to rippling drum machine patterns and starlit
    field recordings.


    In France during the mid-1970s, Kalma was staffed as a technician at
    Pierre Henry's legendary Institut National Audiovisuel, Groupe de Recherches
    Musicales (INA GRM) studios - the same music concrÉte laboratory that
    spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard
    Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma's
    relationship to sound was both formal and non-hierarchical. To Kalma, all
    music existed as related universal patterns, in perfect harmony with the
    people, places and environments it was created.


    Kalma's recorded output of the 1970s culminated in the now scarcely-available Les Temps des Moissons (trans. The Time of Harvest) in 1975,
    and a masterpiece of birdsong exploration with Osmose in 1978. Osmose
    is double album featuring sculptor Richard Tinti, who had supplied Kalma
    with hours of field recordings from the rainforests of Borneo.


    An Evolutionary Music harvests uncatalogued music made between
    Kalma's private press records and onward through the many small-batch
    cassette releases Kalma would tender. With this collection of musical
    hybridity and distinct genre-corrosion, Ariel Kalma's righteous bucking of
    both popular music trends and the academic tenets of the avant-garde
    falls squarely in the spirit of other renegades of sacred new-music such as
    Terry Riley, La Monte Young, and Charlemagne Palestine.

    1. Almora Sunrise
    2. Ecstasy Musical Mind Yoga
    3. Echorgan
    4. Sunset Inside
    5. Chase Me Now
    6. Enuej Elleiv
    7. Sister Echo
    8. Les Mots de Tous Les Jours (Rêves Etranges)
    9. Rainy Day
    10. What Would You Say
    11. Les Etoiles Sont AllumÉes
    12. Voltage Controlled Wave
    13. Montparnasse Morocco
    14. Head Noises
    15. Asalam Yamarek
    16. Love and Dream
    17. Yogini Breath
    Ariel Kalma
    $30.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Those Who Didn't Run EP (On Sale) Those Who Didn't Run EP (On Sale) On Sale Quick View

    $19.99 $13.99 Save $6.00 (30%)

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    Those Who Didn't Run EP (On Sale)

    To say Colin Stetson has come into his own in 2011 would be an understatement. February of 2011 saw the release of Colin's highly acclaimed solo album New History Warfare Vol. 2: Judges broadly received as a sonic, conceptual, compositional and technical tour de force. Thanks to his trajectory as a session and guest player with a diverse crop of iconoclastic pop/rock practitioners (Tom Waits, Laurie Anderson, TV On The Radio, Arcade Fire) as well as his own tenure in bands like Sway Machinery and Bell
    Orchestre, Stetson was poised to bridge the gap between contemporary rock and more rarified currents of avant jazz. With the Judges album, he did just that, garnering high praise from the both the jazz and pop/rock worlds.


    Colin's astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stetson is equally at home in the avant jazz tradition of players who have pushed the boundaries of the instrument through circular breathing, embouchure, etc. (i.e. Evan Parker, Mats Gustafsson) and at the nexus of noise/drone/minimalist music that encompasses genres like dark metal, post-rock and contemporary eletronics (i.e. Tim Hecker and Ben Frost both of whom have mixed or remixed Stetson recordings).


    Stetson's non-stop gigging at SXSW 2011 (on the NPR, Pitchfork and Pop Montreal stages) led to hundreds of dropped jaws and just as many superlatives about the man's mind-altering, heart-rending music: how it defies both genre boundaries and the physical boundaries of what one person can sonically generate in live performance with a single acoustic instrument, without recourse to looping pedals or other effects.


    Through the 30-odd solo performances delivered in the wake of the Judges release in the Spring of 2011, Colin continued delving into new compositions and especially more long-form trance/transcendental explorations. Having premiered a couple of these new songs at a small art gallery show in Montreal in May of 2011, Constellation was duly blown away and encouraged Colin to record them while still in their raw, staminatesting glory. He agreed and brought in good friend (and now Grammy-winning engineer) Mark Lawson (Arcade Fire, Islands) to help capture the performances in Stetson's own basement rehearsal/studio space.


    The two pieces on this new EP both clock in at 10 minutes and are documented in direct fashion, using a handful of mic positions and, as usual, no looping or overdubbing of any sort. They are brilliant single-take performances that showcase Stetson's love for minimalism, a subtle pop sensibility, and a mesmerising, mantric, time-warping technical ability.


    Those Who Didn't Run EP is an amazing addition to what will no doubt be an expanding Colin Stetson discography in coming years; a wonderfully realized portrait of Colin's solo playing before he embarks on a year's worth of touring as part of Bon Iver's live band.


    Those Who Didn't Run EP is available as a 10 pressed on heavyweight audiophile vinyl and comes in a screenprinted jacket by Repetitive Press in Montreal, featuring an illustration by Nadia Moss.

    1. Those Who Didnt Run
    2. The End of Your Suffering
    Colin Stetson
    $19.99 $13.99 Save $6.00 (30%)
    10 Vinyl LP - Sealed Buy Now
  • New History Warfare Vol. 3: To See More Light New History Warfare Vol. 3: To See More Light Quick View

    $29.99
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    New History Warfare Vol. 3: To See More Light

    Colin Stetson established himself as an intensely original solo composer and performer in 2011 with the release of the widely acclaimed New History Warfare Vol. 2: Judges. Judges ended up on countless year-end lists and emphatically proved that Stetson's approach to solo saxophone transcends niche or genre; a unique and emotionally resonant instrumental music with influences as wide-ranging as jazz, metal, pop, soul, drone, industrial, minimalism, electro-acoustic and modern contemporary.


    Remarkably, Stetson channels these manifold musical strains into a singularly identifiable and personal sound as a polyphonic soloist who doesn't rely on looping/layering or multi-track/overdubs technologies. Anyone who has seen Stetson in solo performance can attest to the stunning physicality of his circular-breathing technique and capacity to produce a seemingly impossible palate of multiple voicings simultaneously in real time - making his already beautiful and evocative compositions all the more enrapturing and viscerally human.


    New History Warfare Vol. 3: To See More Light is the final installment in a trilogy of solo albums and is Stetson's most ambitious song cycle to date, again recorded live in single takes with a wide array of microphone positions and again mixed by groundbreaking producer Ben Frost. Colin's membership in Bon Iver over the past two years has also led to vocal contributions from Justin Vernon for this record, who appears on four songs, with a diverse approach on each, and whose voice constitutes the only overdubbing on the album.


    The record's 15-minute centerpiece, title track To See More Light, is the longest piece Stetson has yet recorded and possibly the heaviest: a tour de force of swirling arpeggiation, continuous breathing, pumping valves and vocalizations through the reed of the horn that gives way to a tremendous, screaming, sea-sawing dirge through the song's final movement. This latter stretch conjures a sort of saxophonic sludge metal, and the album's heaviosity references other sub-genres of metal as well, most notably in the hardcore blast of Brute (abetted by Vernon's cookie monster barking) and the ambient grindcore throb of Hunted. In other instances, the album is soulful and even hymnal, especially where Vernon's vocals play a lead role: opener And In Truth (featuring Vernon's most instantly recognisable contribution, of massed, multi-tracked harmonies), the cover of Washington Phillips' gospel tune What Are They Doing In Heaven Today, and Who The Waves Are Roaring For where Vernon delivers one of the more tender and honest vocal performances we've heard from him in any context.


    New History Warfare Vol. 3: To See More Light is the most cohesive and fully realized of Stetson's solo albums to date. It should reliably stand as the apotheosis of the New History Warfare trilogy, and certainly signals the full flourishing of Stetson's unique talents as both composer and performer, pressing his arsenal of virtuosic techniques into the service of vivid, impassioned and conceptually astute songcraft.

    1. And In Truth
    2. Hunted
    3. High Above A Grey Green Sea
    4. In Mirrors
    5. Brute
    6. Among The Sef (Righteous II)
    7. Who The Waves Are Roaring For (Hunted II)
    8. To See More Light
    9. What Are They Doing In Heaven Today?
    10. This Bed Of Shattered Bone
    11. Part Of Me Apart From You
    Colin Stetson
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Follow The Rainbow (Speakers Corner) Follow The Rainbow (Speakers Corner) Quick View

    $34.99
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    Follow The Rainbow (Speakers Corner)

    The fusion movement has a lot in common with a tropical storm: it rages fiercely in its early phases but becomes less wild later on, yet still blows a gale. In the eye of the storm that tore its path through the various musical styles and genres as from 1960 is George Duke, who entered into creative and stormy partnerships with such artists as Frank Zappa, Miles Davis and Jean-Luc Ponty. The rainbow colours with which Duke chose to tint this album are taken less from the paintpots of fusion jazz and rock, and rather more from the black, natural colours of rhythm and blues. Next to a relaxed love groove (Say That You Will) we find a polyphonic vocal number with solos (Sunrise), which conjures up the nostalgic atmosphere of Motown, now on the decline. Then there is snappy funk in all manner of variations, such as Party Down, which swings trendily along but then comes over unfiltered and dry as a bone.
    In Follow The Rainbow, genial musicianship, expert arrangements and a special feeling for resonance amalgamate to create a tightly-knit sound which is ever fresh and easy-going.



    Musicians:



    • George Duke (vocal, keyboard)

    • Larry Williams (tenor saxophone, flute)

    • Eric Culver (trombone)

    • Charles Icarus Johnson (guitar)

    • Byron Miller (bass)

    • Leon 'Ndugu' Chandler (drums)

    • Sheila Escovedo (percussion, vocal)

    • Napoleon Murphy Brock (vocal)




    Recording: 1979 at Westlake Recording, Los Angeles, by Kerry McNabb and Electric Lady Studios, New York, by Dave Palmer

    Production: George Duke





    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. Party Down
    2. Say That You Will
    3. Funkin' For The Thrill
    4. Sunrise
    5. Festival
    6. I Am For Real (May The Funk Be With You)
    7. Straight From The Heart
    8. Corine
    9. Pluck
    10. Follow The Rainbow
    George Duke
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tyranny And Mutation (Speakers Corner) Tyranny And Mutation (Speakers Corner) Quick View

    $34.99
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    Tyranny And Mutation (Speakers Corner)

    Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.


    After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?

    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal, keyboards)

    • Albert Bouchard (drums, vocal)



    Recording: 1972 at Columbia Studios, New York City, by Tim Geelan

    Production: Murray Krugman and Sandy Pearlman




    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. The Red & The Black
    2. O.D.'d On Life Itself
    3. Hot Rails To Hell
    4. 7 Screaming Diz-Busters
    5. Baby Ice Dog
    6. Wings Wetted Down
    7. Teen Archer
    8. Mistress Of The Salmon Salt (Quicklime Girl)
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Crossings (Speakers Corner) Crossings (Speakers Corner) Quick View

    $34.99
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    Crossings (Speakers Corner)

    In the 1970s, Herbie Hancock's Crossings was to be found on every IKEA record shelf in the student pads of jazz-fusion fans. The cover, with its psychedelic touch, also contributed significantly to its popularity - although it was unclear where the crossing was going to take us


    Nevertheless, the excellent trumpeter Eddie Henderson - often underestimated as an improviser and composer, and Benny Maupin - who like Hancock had grown up under Miles Davis's wing, present a wide range of sound-generating instruments - as was all the rage in those days. Synthesizer and Mellotron (a polyphonic tape replay keyboard and as such practically the prototype of the sampler) were permanent members of the group - and even produce here melodic arches of sound! Whether Bennie Maupin's Quasar launches the group and us into extraterrestrial territory (as stated in one review) is a moot point.


    This LP is a contemporary historical document, though it certainly doesn't sound antiquated. That's why younger listeners too will find pleasure in this experiment from the previous millennium.


    Musicians:



    • Herbie Hancock (electric-piano, piano, mellotron, percussion)

    • Bennie Maupin (soprano saxophone, flute, bass clarinet, piccolo flute, percussion)

    • Eddie Henderson (trumpet, flugelhorn, percussion)

    • Julian Priester (trombonbe, percussion)

    • Patrick Gleeson (synthesizer)

    • Buster Williams (bass, percussion)

    • Billy Hart (drums, percussion)



    Recording: February 1972 at Pacific Recording Studios, San Mateo, CA., by Patrick Gleason

    Production: David Rubinson



    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. Sleeping Giant
    2. Quasar
    3. Water Torture
    Herbie Hancock
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Strauss: Elektra (Speakers Corner) Strauss: Elektra (Speakers Corner) Quick View

    $69.99
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    Strauss: Elektra (Speakers Corner)

    Richard Strauss was filled with doubt as to whether he would be capable of expressing in music the crazed revenge of Elektra after writing his opera Salome with its shocking story. It is quite understandable that he had trouble in composing the work, although such difficulties are not in the least evident during the course of the drama or in the musical flow. Drawing on natural sources, the forceful melodies make use of polyphonic, complex motifs and extreme dissonances. Here and there, Strauss's typical chordal harmonies gleam through, though hardly audible, taking the harsh dissonances and chromaticism to the very extremes of atonality.




    Sir Georg Solti, whose outstanding Strauss interpretations constitute the focus of his life's work, leads the enormous orchestra through the highly complex score and provides his singers with a powerful but finely chiselled sound. Birgit Nilsson personifies an icy-cold Elektra consumed with hatred, and her counterpart Regina Resnik as Clytemnestra is no less extreme in her role. Gerhard Stolze, one of the greatest singers of his time, masters the exhausting role of Aegistheus, and Tom Krause is highly convincing as the determined Orestes. The phenomenal acoustics of Vienna's Sofiensaal provided an ideal recording venue, and the audible quality of the sung text is excellent - although the final bloodbath can scarcely be expressed in words.




    Recording: June, September and November 1966 at Sofiensaal, Vienna, by Gordon Parry and James Brown

    Production: John Culshaw and Christopher Raeburn



    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.


    A Part 1: Wo Bleibt Elektra?

    B Part 2: Was Willst Du?
    C Part 3: Oresti! Orest Is Tot!

    D Part 4: Nein, Du Sollst Mich Nicht Umarmen
    Richard Strauss
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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