Christina Vantzou - No4 - VINYL LP
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Vinyl LP pressing. 2018 . Belgium-based composer Christina Vantzou's fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the album she speaks of focusing particular attention on the effects of the recordings on the body, and of Inchdirecting sound perception into an inner space.Inch No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs de Klerck, and members of Belgium's Echo Collective. During the creation process Vantzou wanted to Inchblur lines of hierarchy,Inch and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells. A mindset of premeditated exploration informs the album's emotive textural intuition, with hushed drones and delicate gestures eliding in the periphery of the mix. Vantzou cites sleep and Inchthe loosening of timeInch as two formative practices in her private and professional life, which manifests in the quietly hallucinatory properties of her music. No. 4 feels both endless and ephemeral, immersive and immaterial. It's a music of horizon lines and half-light, mapped with feeling and foresight.
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- GenreRockDescriptionVinyl LP pressing. 2018 . Belgium-based composer Christina Vantzou's fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the album she speaks of focusing particular attention on the effects of the recordings on the body, and of Inchdirecting sound perception into an inner space.Inch No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs de Klerck, and members of Belgium's Echo Collective. During the creation process Vantzou wanted to Inchblur lines of hierarchy,Inch and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells. A mindset of premeditated exploration informs the album's emotive textural intuition, with hushed drones and delicate gestures eliding in the periphery of the mix. Vantzou cites sleep and Inchthe loosening of timeInch as two formative practices in her private and professional life, which manifests in the quietly hallucinatory properties of her music. No. 4 feels both endless and ephemeral, immersive and immaterial. It's a music of horizon lines and half-light, mapped with feeling and foresight.ArtistChristina VantzouTitleNo4FormatVINYLLabelKranky
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Vinyl LP pressing. 2018 . Belgium-based composer Christina Vantzou's fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the album she speaks of focusing particular attention on the effects of the recordings on the body, and of Inchdirecting sound perception into an inner space.Inch No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs de Klerck, and members of Belgium's Echo Collective. During the creation process Vantzou wanted to Inchblur lines of hierarchy,Inch and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells. A mindset of premeditated exploration informs the album's emotive textural intuition, with hushed drones and delicate gestures eliding in the periphery of the mix. Vantzou cites sleep and Inchthe loosening of timeInch as two formative practices in her private and professional life, which manifests in the quietly hallucinatory properties of her music. No. 4 feels both endless and ephemeral, immersive and immaterial. It's a music of horizon lines and half-light, mapped with feeling and foresight.
While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as Incha moment of focusInch-a specific vision for the sprawl of raw recordings she'd been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the Inchreductive processInch of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to Nº5 as Inchalmost like a first album.InchDrawing on sessions staged in February 2020, Vantzou's editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as Inchone who joins thingsInch is here both plumbed and proven; Vantzou describes Nº5 as Incha letting go,Inch a place of Inchsoft borders,Inch unfixed and undefinable.
ALLOCATED AND STOCK DEPLETED (180g Heavy Vinyl). Elton John and Ray Cooper's 1977 performance at London's historic Rainbow Theatre, on vinyl for the first time. Curated by Elton himself, the tracklist features his favorite and most memorable songs from that night. Aside from InchI Feel Like a Bullet (In the Gun of Robert Ford),Inch which appeared on the 1990 'To Be Continued...' CD set, the rest of this concert has never been officially released. This LP is pressed on 180g black vinyl, mastered at Lurssen Mastering and cut at the iconic Abbey Road Studios, exclusively for Record Store Day 2025.
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Since the 1960's, the Allen-Martin Studio in Louisville was the place to record for most of the bands in the region. In 2006 when Ray Allen and Hardy Martin retired, the studio closed, a group of music lovers (Jay Petach, Marvin Maxwell & Ed Amick) stepped in to rescue the tapes for the all of bands who had recorded there over the last forty-plus years.After a careful down select process, we chose these 18 previously unreleased tracks as the best representation of the over 100+ songs we sorted through.
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