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  • Nautilus Cartridge Nautilus Cartridge Quick View

    $3,999.99
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    Nautilus Cartridge

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Here is the micro-manufacturing reality:


    Although most entry level cartridges from all manufacturers are machine made, ours are hand made. Even so, the reality is that when you are manufacturing something so tiny, that has to perform so well, all of them are NOT the same. If you don't see this statement from other manufacturers, then this is a secret they don't want to share, and quite understandably so.


    So.....what does Soundsmith do??


    We carefully hand build each and every cartridge, test them, and keep accurate records by serial number of their performance. Those that meet or exceed specifications are sold. But, there are always a few that don't measure well. What do we do with them? We don't sell them. We break them down and re-use some parts that can be used again. Does this cost real money ? You bet. But what it does do is this.....the ones that DO pass our stringent testing out-perform many cartridges selling for two, three, four, or even five times the price. Are we unabashedly proud of our hand-made cartridges??


    YES.


    Some ask:

    Moving Iron Cartridges better?? I thought that moving COIL types are the best??


    Our cartridges overturn the myth that moving coil cartridges are the only path towards perfection. After all, what is the accepted "advantage" of moving coil cartridges? Low effective moving mass, right? Well, we've got less. Much less. And if you understand EFFECTIVE moving mass, Less IS more. Why is that good? Because when you lower the moving system mass, it's easier to control. If it's easier to control, the stylus can stay in better contact with the groove walls. That's good, because if you can't stay in contact with the groove walls, you can't hear what's on the record.


    Phono Cartridge Rebuilding and Stylus Retipping Services Available - Please inquire.

    Sound-Smith
    $3,999.99
    Nautilus Cartridge Buy Now
  • Helios Cartridge Helios Cartridge Quick View

    $7,999.95
    Buy Now
    x

    Helios Cartridge

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Here is the micro-manufacturing reality:


    Although most entry level cartridges from all manufacturers are machine made, ours are hand made. Even so, the reality is that when you are manufacturing something so tiny, that has to perform so well, all of them are NOT the same. If you don't see this statement from other manufacturers, then this is a secret they don't want to share, and quite understandably so.


    So.....what does Soundsmith do??


    We carefully hand build each and every cartridge, test them, and keep accurate records by serial number of their performance. Those that meet or exceed specifications are sold. But, there are always a few that don't measure well. What do we do with them? We don't sell them. We break them down and re-use some parts that can be used again. Does this cost real money ? You bet. But what it does do is this.....the ones that DO pass our stringent testing out-perform many cartridges selling for two, three, four, or even five times the price. Are we unabashedly proud of our hand-made cartridges??


    YES.


    Some ask:

    Moving Iron Cartridges better?? I thought that moving COIL types are the best??


    Our cartridges overturn the myth that moving coil cartridges are the only path towards perfection. After all, what is the accepted "advantage" of moving coil cartridges? Low effective moving mass, right? Well, we've got less. Much less. And if you understand EFFECTIVE moving mass, Less IS more. Why is that good? Because when you lower the moving system mass, it's easier to control. If it's easier to control, the stylus can stay in better contact with the groove walls. That's good, because if you can't stay in contact with the groove walls, you can't hear what's on the record.


    Phono Cartridge Rebuilding and Stylus Retipping Services Available - Please inquire.

    Sound-Smith
    $7,999.95
    Helios Cartridge Buy Now
  • Shake It Up (On Sale) Shake It Up (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Shake It Up (On Sale)

    Sonically Spectacular LP Half-Speed Mastered from the Original Tapes!


    1981 Album a Return to Pop and a New-Wave Landmark


    A return to form after the departure that was 1980s muddled Panorama, the Cars Shake It Up bursts forth with a rich assembly of synthesizers, drum machines, electronic blips, and catchy melodies that make it an early 80s pop staple. Known the world over, the famous title track proves the bands arrangement skills were in perfect shape and set the stage for a record overflowing with memorable hooks and complementary rock riffs.


    Shake It Up also plays witness to primary songwriter/vocalist Ric Ocaseks increased cynicism and biting wit. While the Cars never took a rosy-eyed view of romance, the songs here impart a newfound sense of sympathy, regret, limbo, and reservation. The beauty of the Carsand all ten tunes hereis that the music suggests something else entirely. Such subliminal emotions and dynamic contrasts act as a magnet, and the band plays as if its in on the secret.


    They've always cultivated a dark side--girls make boys want to end it all even after the boys have grown up. They've always basked in the shadow of Roxy Music, too. But they've never been so stylishly nightmarish--except for the title cut, even the fast ones don't aim for fun. Robert Christgau, The Consumer Guide


    Apart from the party vibe of the title cut, the Cars aim for deeper targets and smarter undertones. Shake It Up is defined by an urban edginess and modern feel that comes alive on tunes such as Cruiser and circular Im Not the One, a pop gem laded with stacked vocals and keyboard lines that double as a horn section. The bands arrangements have never been betteror more involved. Absent the cheesiness that would mar the groups late-period work, the songs ride on the strength of keyboard-heavy lines and layered harmonies. You will not be disappointed.


    Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP focuses on the myriad pitch changes that control the musical directions. Recorded at the bands Synchro Sound studios by famed Queen producer Roy Thomas Baker, the album takes advantage of electronic textures and varying timbres in immersing the listener in accessible albeit abstract washes of sound. MoFis engineers made sure to capture every note and nuance; this marks the first time that Shake It Up has been remastered in any way, let alone from the original tapes.


    This title is not eligible for further discount.

    1. Since You're Gone
    2. Shake It Up
    3. I'm Not the One
    4. Victim of Love
    5. Cruiser
    6. A Dream Away
    7. This Could Be Love
    8. Think it Over
    9. Maybe Baby
    The Cars
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Haxel Princess Haxel Princess Quick View

    $19.99
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    Haxel Princess

    Pressed On Translucent Red Colored Vinyl


    Society would deem a prodigious girl can't be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clementine Creevy, a 19-year-old teen Queen, dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path.


    Back in 2014, much-loved Cali imprint Burger Records released Cherry Glazerr's intoxicating debut Haxel Princess. The New York Times called Grilled Cheese one of their Top Songs of 2014 alongside heavy hitters such as BeyoncÉ, Taylor Swift and Future. The band toured across the country and abroad, between Clementine's acting responsibilities on the award-winning show Transparent, and gained fans everywhere with their wild lives shows. On their upcoming sophomore album, Apocalipstick, the band worked with rock'n'roll wizard Joe Chicarelli (White Stripes, The Shins, The Strokes) and Carlos de la Garza (Bleached, M83, Tegan and Sara). With their help and the band's newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.

    1. Cry Baby
    2. Grilled Cheese
    3. Haxel Princess
    4. Glenn The Dawgg
    5. All My Friends
    6. Bloody Bandaid
    7. Sweaty Faces
    8. Teenage Girl
    9. White's Not My Color This Evening
    10. Trick Or Treat Dancefloor
    Cherry Glazerr
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Dunes Dunes Quick View

    $17.99
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    Dunes

    Over the past three years,the Santa Barbarian comrades that make up Gardens &Villa -Chris Lynch,Adam
    Rasmussen, Levi Hayden, Shane McKillop, and Dusty Ineman - went from playing local bills to being
    veterans of the road.After releasing their self-titled debut on Secretly Canadian in 2011, they pushed their
    van's odometer into the six-digit range, zigzagging North America and Europe with over 350 shows in just 2
    years. Gardens & Villa emerged a wiser, crystallized version of themselves.


    Those experiences planted the seeds for the band's new batch of cohesive, personal, and beautifully layered
    pop songs - homegrown in the confines of the band's beach side practice space. When it came time to
    record, they searched out acclaimed producer Tim Goldsworthy (Cut Copy, DFA Records, LCD
    Soundsystem, Hercules & Love Affair) and these five surf-town natives found themselves traveling to the
    unlikely locale of Benton Harbor, MI (pop. 10,040) in January. There they landed at the Key Club, located
    deep in the recesses of a converted locksmith's building where they would record what would become their
    second full-length, Dunes.


    Gardens &Villa burrowed into the Key Club's retro-themed studio and living space, only leaving the facility
    five times over the next month. The disconnect between Santa Barbara's familiar sunny beaches and
    Michigan's snow-covered lake shore led to the group's creative unraveling in the studio. The band lost track
    of the hours, days, and weeks as blinking analog machines captured the intense journey. In the process,
    Dunes was poured through Sly Stone's original custom-built Flickinger recording console.


    With just a week left before deadline, Gardens & Villa sought a brief refuge from the studio where their
    progress had stalled. They went on a trip,traversing winding roads past frozen tundra and barren trees and
    into the wilderness of the nearby state park's tall dunes. The group climbed to the top and collapsed into a
    combination of sand and snow.Simultaneously reminded of home as well as their distance from it,their jaws
    dropped as they turned to see Lake Michigan's majestic and surreal expanse stretching toward the horizon.


    Supported by Goldsworthy's guidance, the band went back to the studio and ultimately emerged with a
    record beaming with dystopian energy, subconscious lyrics, and uncompromising sincerity. Lynch has
    seamlessly integrated his bansuri flutes and Rasmussen has fleshed out his looming synths alongside shades
    of '80s cult films soundscapes that lurk just underneath the songs in an unnoticeable-yet-omnipresent
    fashion.Like the awe-inspiring clarity of sitting atop Michigan's dunes,the band's forthcoming record shares
    a clear and evocative vision of where Gardens & Villa's members have traveled, what they've learned, and
    what lies ahead.

    1. Domino
    2. Colony Glen
    3. Bullet Train
    4. Chrysanthemums
    5. Echosassy
    6. Purple Mesas
    7. Avalanche
    8. Minnesota
    9. Thunder Glove
    10. Love Theme
    Gardens & Villa
    $17.99
    Vinyl LP - Sealed Buy Now
  • Secret Treaties (Speakers Corner) Secret Treaties (Speakers Corner) Quick View

    $34.99
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    Secret Treaties (Speakers Corner)

    Back in the days of hard rock and surrounded by fierce competitors with such great names as the Doors, Black Sabbath and the Rolling Stones, a band had to attract attention with far more than histrionic pathos, biker boogie, an adept lead guitarist and a sharp-tongued singer. The band Blue Öyster Cult, founded on Long Island in 1971, possessed all this and much more, relating short scenarios in their lyrics, which conjured up people's imagination. Rolling Stone magazine enthused that it was »like listenin' to Hitchcock and Kubrick swap stories about their wet dreams«, and that the group »mix aesthetics and ass-kicking rock to such good advantage«.



    In their third studio album Secret Treaties, BÖC reached the pinnacle of their musical evolution with such memorable songs as Career Of Evil, Subhuman and Astronomy. The lyrics have literary value but are certainly not intended for sensitive souls - the phrases are direct and intentionally drily articulated. The music is as blatant and extroverted as the lyrics: the guitar sound is steely and straightforward, occasionally padded out with a see-sawing Hammond groove, and topped again and again by wonderfully rough string solos that speak the language of hard, merciless and full-bodied rock.



    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar, synthesizer)

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

    • Joe Bouchard (bass, vocal)

    • Albert Bouchard (drums, vocal)



    Recording: 1974 by Tim Geelan and Jerry Smith

    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. Career of Evil
    2. Subhuman
    3. Dominance and Submission
    4. ME 262
    5. Cagey Cretins
    6. Harvester of Eyes
    7. Flaming Telepaths
    8. Astronomy
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed 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
  • Tactile Galactics Tactile Galactics Quick View

    $21.99
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    Tactile Galactics

    Delivered from its celestial womb to the human world for inevitable elevation, Tactile
    Galactics is the new album by Secret Circuit and first full length release from Beats In Space
    Records.


    Secret circuit is the guise of Eddie Ruscha Jr., a sometimes sage known and beloved
    throughout the Los Angeles creative community. Amongst his earliest musical endeavors,
    ruscha co-founded Medicine, an overlooked four piece whose sinister, snarling take on
    shoegaze landed them as the first American signing to Creation Records.
    After leaving Medicine without a bad taste in his mouth, ruscha's focus shifted from his
    shoes to the endless array of LA music stores housing analog synthesizers, drum machines
    and effect units forsaken at the advent of digital technology. While establishing his Secret
    circuit identity through various self-releases, ruscha was a wingman in notable projects with
    Thomas Bullock (Rub 'N' Tug) as Laughing Light of Plenty and with DJ Harvey as Food For Gods.
    ruscha likens his studio obsession to "striving for alien sound or rhythm that feels natural."
    Between 2011 and 2012, ruscha released no less than four albums, a 12" for Prins Thomas'
    Internasjonal Spesial label, a handful of blazing mixes on the Cosmic Papers cassette tape
    series, and his debut for Beats in Space records, the Nebula Sphynx / Parascopic Rope 12".


    Ever the unsettled settler, ruscha consciously crafted the bulk of Tactile Galactics' tracks at
    120 beats per minute. ruscha played with the equalizing value of this boilerplate dance
    music BPM in much the same way a DJ might - to set a clear course for transcendence.
    Tactile Galactics is derived from a dance lineage promoting feel over form; rhythmically
    explored without abandon - or audience - in mind by the krautrock fringe, put to the
    slow motion disco test at Daniele Baldelli's cosmic club, jacked into a House format via the
    chicago imprint TRAX and honored today via peer psychonauts like Hieroglyphic Being and
    Lindstrøm.


    Tactile Galactics unleashes the lysergic choir of voices in ruscha's head against a dance
    grid, but makes sure it stays in soulful step. For the first time on a Secret circuit recording,
    these voices are quite literally present via ruscha's own vocals, added when "the song
    called for them." it's by this same regard of the powerful unknown that makes Tactile
    Galactics Secret circuit's most incomprehensibly detailed and stunning release to date.

    1. Higher Heights
    2. Escargot
    3. Nebula Sphynx
    4. Afterlife
    5. Deep Stations
    6. Sync Or Swim
    7. Words In Transit
    8. Parascopic Rope
    9. Mountains
    10. Rogue Unit
    11. Exalter
    12. Milk
    Secret Circuit
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Road Runners The Road Runners Quick View

    $24.99
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    The Road Runners

    After the Kings Verses album flips your wig and sends you stumbling out of the garage, the haunted fuzz and ghostly Farfisa of the Road Runners - the second half of Fresno's devastating one-two punch - will turn what's left of your brains to Malt-O-Meal. Results of secret marketing surveys assure us that this unreleased gem is running neck-and-neck with the Watchband, the Standells and the Music Machine in the '66 Punk Hall Of Fame Marathon.
    1. Nighttime Love
    2. Goodbye
    3. I Got To Get Away
    4. Little Miss Love
    5. I'll Make It Up To You
    6. Tell Her You Love Her

    7. Sleepy Friend
    8. 2120 South Michigan Avenue (Live)
    9. Goodbye (Live)
    10. The Train Kept A Rollin' (Live)
    11. I'll Make It Up To You (Live)
    12. Don't Let Me Be Misunderstood (Live)

    13. Baby Please Don't Go (Live)
    14. Don't Bring Me Down (Live)
    The Road Runners
    $24.99
    Vinyl LP - Sealed Buy Now
  • Lost In The Dream (Awaiting Repress) Lost In The Dream (Awaiting Repress) Quick View

    $21.99
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    Lost In The Dream (Awaiting Repress)

    Lost In The Dream is the third album by Philadelphia band The War on Drugs,but in many ways,it feels
    like the first. Around the release of the 2011 breakthrough Slave Ambient,Adam Granduciel spent the
    bulk of two years on the road, touring through progressively larger rock clubs, festival stages and late night television slots. As these dozen songs shifted and grew beyond what they'd been in the studio, The War on Drugs became a bona fide rock 'n'roll band.


    That essence drives Lost In The Dream, a 10-song set produced by Granduciel and longtime engineer Jeff
    Zeigler. In the past, Granduciel built the core of songs largely by himself. But these tunes were played
    and recorded by the group that had solidified so much on the road: Dave Hartley, (his favorite bassist
    in the world), who had played a bit on The War on Drugs' 2008 debut Wagonwheel Blues, and pianist
    Robbie Bennett, a multi-instrumentalist who contributed to Slave Ambient. This unit spent eight
    months bouncing between a half-dozen different studios that stretched from the mountains of North
    Carolina to the boroughs of New York City. Only then did Granduciel-the proudly self-professed
    gearhead, and unrepentant perfectionist-add and subtract, invite guests and retrofit pieces. He
    sculpted these songs into a musical rescue mission, through and then beyond personal despair and
    anxiety. Lost In The Dream represents the trials of the trip and the triumphs of its destination.


    "I wanted there to be a singular voice, but I wanted it to be a project of great friends. Everyone in the
    band cares about it so much,"he says."That is the crux of it-growing up,dealing with life,having close
    friends, helping each other get by. That is what the record's all about.


    As such, these tunes reveal a careful and thrilling reinvention of the sound that's become The War on
    Drugs' trademark. The signature meld of long tones and scatter shot layers still stands, with phantom
    drum machines and organ lines dotting the musical middle distance all across Lost In The Dream.Note
    the way the keys whisper against the guitar's growl as the tempestuous"An Ocean in Between the Waves"
    approaches pentecostal heat. Hear how,when a sharp and hard riff cuts into the inescapable chorus of
    "Red Eyes," synthetic strings and baritone saxophone shape a soft, infinite bed beneath it. But there's a
    new found directness to these tunes, too. Granduciel's voice steps out from behind its typical web of
    effects-louder now, with more experiences to share and more steel from having survived them. He
    sounds less like a prismatic reflection of a rock bandleader, more like the emboldened actualization of
    that idea. With its crisp, unencumbered delivery, "Eyes to the Wind" becomes the album's centerpiece
    and the group's new anthem.This is Granduciel's to-date triumph and the exact moment where Lost In
    The Dream moves from a tale of confusion to one of resolve. Throughout most of the record, grips
    loosen and senses fail, memories are mourned and expectations are abandoned. But after the Rolling
    Thunder lift of "Eyes to the Wind," Granduciel finds new contentment and direction. Anguish
    sublimates into deliverance. Backed by his bros, Granduciel becomes a preacher in a new pulpit.

    1. Under The Pressure
    2. Red Eyes
    3. Suffering
    4. An Ocean In Between The Waves
    5. Disappearing
    6. Eyes To The Wind
    7. The Haunting Idle
    8. Burning
    9. Lost In The Dream
    10. In Reverse
    The War On Drugs
    $21.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Fragrant World Fragrant World Quick View

    $19.99
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    Fragrant World

    Yeasayer's third album, Fragrant World, is a hulking beast of a record. Keyboards clank and wheeze, tiny claps stumble against busted drum machines, and there's very little obvious guitar. It's an album that grapples with the schizophrenia of the modern world by gathering piles of electronics and molding them into something huge and often gorgeous.
    1. Fingers Never Bleed
    2. Longevity
    3. Blue Paper
    4. Henrietta
    5. Devil and the Deed
    6. No Bones
    7. Reagan's Skeleton
    8. Demon Road
    9. Damaged Goods
    10. Folk Hero Shtick
    11. Glass of the Microscope
    Yeasayer
    $19.99
    Vinyl LP - Sealed Buy Now
  • All Harm Ends Here All Harm Ends Here Quick View

    $14.99
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    All Harm Ends Here

    The Early Day Miners Good Time Band is back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here Early Day Miners have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, EDM take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place. While the album is filled with death and ghosts of all sorts, its unifying theme is the individual's ability to escape the death and ghosts. Even the making of the album (which was done just outside of the band's hometown of Bloomington, Indiana, on the outskirts of Hoosier National Forest) was plagued by ghosts and phantoms. Recorded at the Old Mt. Gilead Church - recently revamped into a recording studio and still immediately surrounded on three sides by a dozen acres of 150-year old cemetery - principal tracking for All Harm Ends Here was halted for days at a time on multiple occasions when inexplicable flutter infected the reels of tape, almost requiring EDM to relocate its principal tracking altogether. Mixing and overdubbing was done at Burton's own Grotto Home Studio in an effort to evade those ghosts in the machine which possessed Old Mt. Gilead. While the Early Day Miners don't make flashy music, their layered music rewards the repeat listener. If you listen closely enough, in fact, you can hear ghosts in the distance.
    Errance
    Townes
    The Union Trade
    Comfort/Guilt
    All Harm
    Precious Blood
    We Know in Part
    The Way We Live Now
    The Purest Red
    Early Day Miners
    $14.99
    Vinyl LP - Sealed Buy Now
  • Slave Ambient Slave Ambient Quick View

    $19.99
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    Slave Ambient


    Philadelphias The War on Drugs, the vehicle of Adam Granduciel, frontman, rambler, shaman, pied piper guitarist and apparent arranger-extraordinaire, returns with Slave Ambient. On their debut, the life-affirming Wagonwheel Blues, and the follow-up EP, Future Weather, The War on Drugs seemed obsessed with disparate ideas, with building uncompromised rock monuments from pieces that may have seemed like odd pairs. Folk-rock marathons come damaged by drum machines. Electronic and instrumental reprises precede songs theyve yet to play, and Dr. Seuss becomes lyrical motivation for bold futuristic visions. Now, Granduciel has done it again, better than before: Slave Ambient, their proper second album, is a brilliant 47-minute sprawl of rock n roll, conceptualized with a sense of adventure and captured with seasons of bravado.


    Slave Ambient features a team of Philadelphias finest musicians, including multi-instrumentalists Dave Hartley and Robbie Bennett, and drummer Mike Zanghi. Recorded throughout the last four years at Granduciels home studio in Philly, Jeff Zieglers Uniform Recording and Echo Mountain in Asheville, NC, the album puts the weirdest influences in just the right places. Synthesizers fall where you might expect more electric guitars (and vice versa); country-rock sidles up to the warped extravagance of 80s pop.


    Instant classic Baby Missiles is part Spingsteen fever dream, part motorik anthem. Original Slave might sound like a hillbilly power drone, but City Reprise #12 suggests Phil Collins un-retiring to back Harmonia. I Was There is Harvest rebuilt by some selection of psychedelic all-stars, while the shuffling, sleepy opener Best Night offers a band with too many ideas to be in a hurry. During the mid-album centerpiece Come to the City, Granduciel howls and moans, All roads lead to me/I've been moving/Ive been drifting. Indeed, however unlikely that might seem, all these sounds arrive cohesively in one unmistakable place. Every song on Slave Ambient is instantly identifiable and infinitely intricate, a latticework of ideas and energies building into mile-high rock anthems.

    1. Best Night

    2. Brothers
    3. I Was There
    4. Your Love Is Calling My Name
    5. The Animator
    6. Come To The City
    7. Come For It
    8. It's Your Destiny
    9. City Reprise #12
    10. Baby Missiles
    11. Original Slave
    12. Black Water Falls
    War On Drugs, The
    $19.99
    Vinyl LP - Sealed Buy Now
  • Apocalipstick Apocalipstick Quick View

    $19.99
    Buy Now
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    Apocalipstick

    Society would deem that a prodigious girl can't be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem Creevy, a 19-year-old teen Queen dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path.


    Back in 2014, much-loved Cali imprint Burger Records released their intoxicating debut Haxel Princess and Suicide Squeeze released the Had Ten Dollaz 7-inch.


    On Apocalipstick, the band worked with "rock'n'roll wizard" Joe Chicarelli [White Stripes, The Shins, The Strokes] and Carlos de la Garza [Bleached, M83, Tegan and Sara]. With their help and the band's newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.

    1. Told You I'd Be With The Guys
    2. Trash People
    3. Moon Dust
    4. Humble Pro
    5. Nuclear Bomb
    6. Only Kid On The Block
    7. Lucid Dreams
    8. Sip O' Poison
    9. Nurse Ratched
    10. Instagratification
    11. Apocalipstick
    Cherry Glazerr
    $19.99
    Vinyl LP - Sealed Buy Now
  • ...And Star Power ...And Star Power Quick View

    $20.99
    Buy Now
    x

    ...And Star Power

    Foxygen have joined Star Power.

    It is a punk band, and you can be in it, too.

    Star Power is the radio station that you can hear only if you believe.

    We're all stars of the scene.


    FOXYGEN AND STAR POWER is the new DOUBLE ALBUM from Foxygen, a CINEMATIC
    AUDITORY ADVENTURE for the speedy freaks, skull krunchers, abductees, and misfits...Made by
    Foxygen at Dream Star Studios in their Secret Haunted House with the UFOs flying around in the sky.


    A gaggle of guest stars. Roman-numeraled musical suites.Vocals recorded on a shoddy tape machine at The
    Beverly Hills Hotel and Chateau Marmont. A svelte 82-minute run time of psych-ward folk, cartoon
    fantasia, songs that morph into each other, weaving in and out of the head like UFO radio transmission
    skullkrush music. ADHD star power underground revolution. Soft-rock indulgences, D&D doomrock and
    paranoid bathroom rompers. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile
    one. Rock and roll for the skull...*


    *From Patti Smith's 1973 CREEM review of Todd Rundgren's A Wizard, A True Star. The section concludes
    Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation.

    1. Star Power Airlines
    2. How Can You Really
    3. Coulda Been My Love
    4. Cosmic Vibrations
    5. You & I
    6. Star Power I: Overture
    7. Star Power II: Star Power Nite
    8. Star Power III: What Are We Good For
    9. Star Power IV: Ooh Ooh
    10. I Don't Have Anything/The Gate
    11. Mattress Warehouse
    12. 666
    13. Flowers
    14. Wally's Farm
    15. Cannibal Holocaust
    16. Hot Summer
    17. Cold Winter/Freedom
    18. Can't Contextualize My Mind
    19. Brooklyn Police Station
    20. The Game
    21. Freedom II
    22. Talk
    23. Everyone Needs Love
    24. Hang
    Foxygen
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Call Me (Speakers Corner) Call Me (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Call Me (Speakers Corner)

    What connects celebrity chefs and pop stars is their fine nose for ingredients, especially when hot and spicy ones are mixed with milder elements to create an aromatic result. A combination of 'sweet' and 'funky' is the secret of Al Green's gloriously sentimental and sensual pop songs, which in the sexually free Seventies were often referred to as »songs to make love by«. What swings along gently is, however, Al Green's subtly controlled falsetto, which he can tone right to the threshold of audibility. But watch out! This music belts out some fiery sounds right from the very first number. The sinuous, swinging request in the brilliant hit single Call Me, the relaxed and groovy Stand Up, with its sharp wind interjections which demand one's unerring attention, are typical for Green's style, just as is his almost disturbing capability to gain comfort from loneliness (I'm So Lonesome, I Could Cry). This rhythmically powered music can best be described as light, intensive, dynamic but never flashy (Your Love Is Like The Morning Sun). It finds its earthly culmination in soul (I'm Waiting) and spiritual depth.



    Musicians:



    • Al Green (vocal)

    • James Mitchell (bassoon, arranger)

    • Andrew Love (tenor sax)

    • Jack Hale (trombone)

    • Wayne Jackson (trumpet)

    • Mabon Hodges (guitar)

    • Charles Hodges (keyboards)

    • Archie Turner (piano)

    • Leroy Hodges (bass)

    • Howard Grimes (drums)

    • The Memphis Strings



    Recording: 1973 at Royal Recording Studios, Memphis, TN, by Willie Mitchell

    Production: Al Green and Willie Mitchell




    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. Call Me (Come Back Home)
    2. Have You Been Making out O.K.
    3. Stand Up
    4. I'm So Lonesome I Could Cry
    5. Your Love Is Like the Morning Sun
    6. Here I Am (Come and Take Me)
    7. Funny How Time Slips Away
    8. You Ought to Be with Me
    9. Jesus Is Waiting
    Al Green
    $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
    Buy Now
    x

    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
  • Aretha With The Ray Bryant Combo (Speakers Corner) Aretha With The Ray Bryant Combo (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    Aretha With The Ray Bryant Combo (Speakers Corner)

    As is well known, early relationships are not always blessed, and it is certainly no secret that the collaboration between Aretha Franklin and Columbia's record producer John H. Hammond did not last long. Hammond's later attempts to candy Franklin's irrepressible natural voice with sugary arrangements and studio gimmicks did not go down well with the public. On the first Franklin disc from Columbia, however, it was honeymoon all the way. With a successful mix of pop and jazz standards, the super talent - Aretha had just turned 18 years old - brought her vocal chords to vibrate. Fired on with youthful Élan, these evergreens sound so fresh, new and intoxicating that the question of their genre is quite irrelevant. From a seesawing R & B (Won't Be Long) via bell-like waves of melody (Over The Rainbow) right up to the freely styled, jazzy Gershwin classic It Ain't Necessarily So - everything is right there! The Ray Bryant Trio - augmented with winds - proves itself a formidable ensemble with true presence yet unobtrusive accompaniment. If you compare the mature performances of Aretha Franklin in her subsequent years with Atlantic, you will soon recognize that the later 'First Lady of Soul' was in full command of her profession right from the very beginning.


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


    Musicians:

    Aretha Franklin(vocals, electric piano)

    Quentin Jackson, Tyree Glenn (trombone)

    Al Sears (tenor saxophone)

    Ray Bryant (piano)

    Lord Westbrook, Skeeter Best (guitar)

    Milt Hinton, Bill Lee (bass)

    Belton Evans, Sticks Evans, Osie Johnson (drums)


    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. Won't Be Long
    2. Over The Rainbow
    3. Love Is The Only Thing

    4. Sweet Lover

    5. All Night Long

    6. Who Needs You?

    7. Right Now

    8. Are You Sure

    9. Maybe I'm A Fool

    10. It Ain't Necessarily So

    11. (Blue) By Myself

    12. Today I Sing The Blues
    Aretha Franklin
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • My Human Wears Acedia Shreds My Human Wears Acedia Shreds Quick View

    $17.99
    Buy Now
    x

    My Human Wears Acedia Shreds

    Limited Edition 10 paste-on sleeve

    Exclusive artwork by Dimlite


    If Dimlites recent Prismic Tops EP served as a stunning
    reintroduction to one of electronic musics most underrated talents,
    then My Human Wears Acedia Shreds is a warning to listeners and
    peers alike: keep up or be left behind. This quartet of songs finds the
    Swiss producer creating wide-eyed and progressive music that
    synthesises free jazz, prog- and kraut-rock, and much more. There is
    no one else quite on his level, no one who inhabits a world so
    complete and unique.


    While he built his reputation with a string of pioneering releases on
    Germanys Sonar Kollectiv label that took hip-hop as their starting
    point, these days Dimlite is more Soft Machine than drum machine, a
    kindred spirit of purveyors of avant-pop such as Panda Bear, and the
    playful prog giants of the past. This quartet of songs contains a
    richness that makes these his most satisfying compositions yet. Just
    check Metal Snake Rider, an expansive opus packed into just over
    three minutes of non-stop invention.


    At times its even pretty, though Dimlite seems uneasy about the
    beauty he creates, never allowing anything too perfect to take shape
    before clipping its wings or trampling it back into the dirt. Its this
    tension in his music that makes it so captivating: a constant tussle of
    wills between the dreamer and the cynic, the traveller and the
    trapped. Just check Loins, in which long-time collaborator
    Misel Quitnos drums thump out a brutish ode to Can while
    Dimlites celebratory harmonies are taunted by the anxious
    squall that lurks beneath. Though ask its creator and hell tell you
    simply, its about loins and using them properly.


    By the time you have adjusted to the dream-world of My Human
    Wears Acedia Shreds Dimlite will pull the plug, dropping you
    back into your monochromatic doldrums. Its OK though. As you
    unravel the secret code in EP closer Gone-O-Tron, youll know
    its not forever.

    1. Kitty Cradle Fog

    2. Gone-O-Tron
    3. Metal Snake Rider with Richard Eigner
    4. Loins
    Dimlite
    $17.99
    Vinyl LP - 10 Sealed Buy Now
  • Mezzo Cartridge Mezzo Cartridge Quick View

    $4,999.99
    Buy Now
    x

    Mezzo Cartridge

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Here is the micro-manufacturing reality:


    Although most entry level cartridges from all manufacturers are machine made, ours are hand made. Even so, the reality is that when you are manufacturing something so tiny, that has to perform so well, all of them are NOT the same. If you don't see this statement from other manufacturers, then this is a secret they don't want to share, and quite understandably so.


    So.....what does Soundsmith do??


    We carefully hand build each and every cartridge, test them, and keep accurate records by serial number of their performance. Those that meet or exceed specifications are sold. But, there are always a few that don't measure well. What do we do with them? We don't sell them. We break them down and re-use some parts that can be used again. Does this cost real money ? You bet. But what it does do is this.....the ones that DO pass our stringent testing out-perform many cartridges selling for two, three, four, or even five times the price. Are we unabashedly proud of our hand-made cartridges??


    YES.


    Some ask:

    Moving Iron Cartridges better?? I thought that moving COIL types are the best??


    Our cartridges overturn the myth that moving coil cartridges are the only path towards perfection. After all, what is the accepted "advantage" of moving coil cartridges? Low effective moving mass, right? Well, we've got less. Much less. And if you understand EFFECTIVE moving mass, Less IS more. Why is that good? Because when you lower the moving system mass, it's easier to control. If it's easier to control, the stylus can stay in better contact with the groove walls. That's good, because if you can't stay in contact with the groove walls, you can't hear what's on the record.


    Phono Cartridge Rebuilding and Stylus Retipping Services Available - Please inquire.

    Sound-Smith
    $4,999.99
    Mezzo Cartridge Buy Now
  • Sotto Voce Cartridge Sotto Voce Cartridge Quick View

    $2,999.99
    Buy Now
    x

    Sotto Voce Cartridge

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Here is the micro-manufacturing reality:


    Although most entry level cartridges from all manufacturers are machine made, ours are hand made. Even so, the reality is that when you are manufacturing something so tiny, that has to perform so well, all of them are NOT the same. If you don't see this statement from other manufacturers, then this is a secret they don't want to share, and quite understandably so.


    So.....what does Soundsmith do??


    We carefully hand build each and every cartridge, test them, and keep accurate records by serial number of their performance. Those that meet or exceed specifications are sold. But, there are always a few that don't measure well. What do we do with them? We don't sell them. We break them down and re-use some parts that can be used again. Does this cost real money ? You bet. But what it does do is this.....the ones that DO pass our stringent testing out-perform many cartridges selling for two, three, four, or even five times the price. Are we unabashedly proud of our hand-made cartridges??


    YES.


    Some ask:

    Moving Iron Cartridges better?? I thought that moving COIL types are the best??


    Our cartridges overturn the myth that moving coil cartridges are the only path towards perfection. After all, what is the accepted "advantage" of moving coil cartridges? Low effective moving mass, right? Well, we've got less. Much less. And if you understand EFFECTIVE moving mass, Less IS more. Why is that good? Because when you lower the moving system mass, it's easier to control. If it's easier to control, the stylus can stay in better contact with the groove walls. That's good, because if you can't stay in contact with the groove walls, you can't hear what's on the record.


    Phono Cartridge Rebuilding and Stylus Retipping Services Available - Please inquire.

    Sound-Smith
    $2,999.99
    Sotto Voce Cartridge Buy Now
  • Norma Cartridge Norma Cartridge Quick View

    $1,999.99
    Buy Now
    x

    Norma Cartridge

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Here is the micro-manufacturing reality:


    Although most entry level cartridges from all manufacturers are machine made, ours are hand made. Even so, the reality is that when you are manufacturing something so tiny, that has to perform so well, all of them are NOT the same. If you don't see this statement from other manufacturers, then this is a secret they don't want to share, and quite understandably so.


    So.....what does Soundsmith do??


    We carefully hand build each and every cartridge, test them, and keep accurate records by serial number of their performance. Those that meet or exceed specifications are sold. But, there are always a few that don't measure well. What do we do with them? We don't sell them. We break them down and re-use some parts that can be used again. Does this cost real money ? You bet. But what it does do is this.....the ones that DO pass our stringent testing out-perform many cartridges selling for two, three, four, or even five times the price. Are we unabashedly proud of our hand-made cartridges??


    YES.


    Some ask: Moving Iron Cartridges better?? I thought that moving COIL types are the best??


    Our cartridges overturn the myth that moving coil cartridges are the only path towards perfection. After all, what is the accepted "advantage" of moving coil cartridges? Low effective moving mass, right? Well, we've got less. Much less. And if you understand EFFECTIVE moving mass, Less IS more. Why is that good? Because when you lower the moving system mass, it's easier to control. If it's easier to control, the stylus can stay in better contact with the groove walls. That's good, because if you can't stay in contact with the groove walls, you can't hear what's on the record.


    Phono Cartridge Rebuilding and Stylus Retipping Services Available - Please inquire.

    Sound-Smith
    $1,999.99
    Norma Cartridge Buy Now
  • New Groove (Pure Pleasure) New Groove (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    New Groove (Pure Pleasure)

    Clarinetist Pee Wee Russell's career on record stretched all the way from the 1920s, when he played with musicians such as Jack Teagarden and Bix Beiderbecke, to the 1960s, when he appeared with Thelonious Monk at Newport and made albums that included compositions by modernists such as Ornette Coleman and John Coltrane.



    Although he was pegged as being Dixieland by some and trumpeted as an elder hero of the 60s avant-garde by others, Russell remained a school unto himself. Jazz writer Whitney Balliett said that Russell played with an incomparable daring and nakedness and intuition. He had discovered some of the secrets of life and his improvisations were generally successful attempts to tell those secrets in a new, funny, gentle way.



    After Russell died, his friend and musical cohort Ruby Braff, told Nat Hentoff, »Like Louis Armstrong, Pee Wee will always be contemporary.«




    Musicians:



    • Pee Wee Russell (cl)

    • Marshall Brown (tb)

    • Russell George (b)

    • Ron Lundberg (dr)




    Recording: December 1962

    Production: Frank Driggs




    About Pure Pleasure



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



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



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



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



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



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



    1. My Mother's Eyes
    2. Chelsea Bridge
    3. Red Planet
    4. Pee Wee's Blues
    5. Moten Swing
    6. 'Round Midnight
    7. Good Bait
    8. Old Folks
    9. Taps Miller
    The Pee Wee Russell Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Metafather Metafather Quick View

    $18.99
    Buy Now
    x

    Metafather

    Metafather was recorded in summer 2011 during the final days of Bush House, as the building was undergoing the process of decommission. The duo pulled tape machines from the wreckage of abandoned studios and set to work to create a new set of radiophonic song-smithery and quarter-inch tape works. Situated in Aldwych, central London, Bush House was the BBC World Service hub for over 70 years. With its Orwellian architecture and labyrinthine corridors, this historic building served as the perfect location to tap into London's hidden ley lines and unlock its sonic secrets. As the city erupted into riots and warehouses blazed outside, Imbogodom plugged into the heart of the disquiet to create a varied collection of brooding tape work anthems for a dystopian Albion.


    From 2006 to 2011, Imbogodom made use of Studio 6, located deep underground in the bowels of the building, to conduct their nighttime experiments. While London slept, Beban and Tucker put the neglected studio equipment to work, creating phantom-like transmissions and sound pieces out of tape machine loops, foley sound effects and vintage mixing desks. Invoking the spirit of radiophonic and library music from the past, the duo brings a distinctly modern voice to their work.


    Bringing their individual songwriting skills to the table, Imbogodom trade roles as tape and mixing desk operators, players and sound manipulators. The balance between song and abstract sound weave together Beban and Tucker's love of psychedelic song writing, improvisation, composition, and outsider music.


    As the last fragments of magnetic tape dust are vacuumed from the deserted studio floors, Imbogodom release Metafather, conjuring the ghosts of Bush House and concluding their trilogy.

    1. Imbosoundsystem
    2. Soaked Into Walls
    3. The Living Creatures
    4. Voices of Lists
    5. Marchpane
    6. Mirror Dust
    7. Laudanum Husk
    8. Behold the Whirlwind
    9. Soaked Into Walls (Slight Return)
    10. Other Animals
    11. Summer Fungus
    Imbogodom
    $18.99
    Vinyl LP - Sealed Buy Now
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