Colin Stetson - All This I Do for Glory - VINYL LP
Reviews coming soon
About this product
All this I do for glory is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the Greek tragedies. As a narra- tive, it exists temporally somewhere between 2015's InchNever were the way she wasInch (with Sarah Neufeld) and the 1st volume of the NHW Trilogy. With this, his first solo outing since 2013's InchTo See More LightInch, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percus- sive elements. There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal InchIn the clinchesInch recalls (or presages) echoes of songs like InchJudgesInch, though now feeling like one has fallen down the bell of Stetson's ancient bass sax- ophone itself. InchSpindriftInch, crystalline and serene, calls to mind the ambient works of Aphex Twin, while InchBetween Water and WindInch with it's InchImmigrant SongInch swagger, relentlessly carves it's way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album's six tracks. Engineered and mixed by Stetson himself, this album represents a decidedly i
Specifications
- GenreDance and electronicDescriptionAll this I do for glory is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the Greek tragedies. As a narra- tive, it exists temporally somewhere between 2015's InchNever were the way she wasInch (with Sarah Neufeld) and the 1st volume of the NHW Trilogy. With this, his first solo outing since 2013's InchTo See More LightInch, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percus- sive elements. There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal InchIn the clinchesInch recalls (or presages) echoes of songs like InchJudgesInch, though now feeling like one has fallen down the bell of Stetson's ancient bass sax- ophone itself. InchSpindriftInch, crystalline and serene, calls to mind the ambient works of Aphex Twin, while InchBetween Water and WindInch with it's InchImmigrant SongInch swagger, relentlessly carves it's way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album's six tracks. Engineered and mixed by Stetson himself, this album represents a decidedly iArtistColin StetsonTitleAll This I Do for GloryFormatVINYLLabel52HZ
Reviews
This product doesn't have any reviews yet.
Compare similar products
All this I do for glory is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the Greek tragedies. As a narra- tive, it exists temporally somewhere between 2015's InchNever were the way she wasInch (with Sarah Neufeld) and the 1st volume of the NHW Trilogy. With this, his first solo outing since 2013's InchTo See More LightInch, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percus- sive elements. There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal InchIn the clinchesInch recalls (or presages) echoes of songs like InchJudgesInch, though now feeling like one has fallen down the bell of Stetson's ancient bass sax- ophone itself. InchSpindriftInch, crystalline and serene, calls to mind the ambient works of Aphex Twin, while InchBetween Water and WindInch with it's InchImmigrant SongInch swagger, relentlessly carves it's way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album's six tracks. Engineered and mixed by Stetson himself, this album represents a decidedly i
Vinyl LP pressing. 2017 album from the saxophonist and multireedist. All This I Do For Glory is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the Greek tragedies. With this, his first solo outing since 2013's To See More Light, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough mic'ing of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percussive elements. There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.
![Daemonicus - Host of Rotting Flesh - COMPACT DISCS [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/9cb7cf09-6711-4750-bb98-e27f2ae53e98.jpg;maxHeight=422;maxWidth=264?format=webp)
Daemonicus captures perfectly the raw feeling which death metal that was created in Sweden 1988-1991, and has had the good taste to back it up with a soundstage that breathe the feel of wicked demos and albums from that period of time rather than a digital and InchmodernInch production. The primary thing however, is that Daemonicus succeed with something that too many bands today have forgotten in their hunt for the perfect sound, the tight most blast beats and the most complicated riffs. Daemonicus can write songs, real songs. Pieces that you sing along with in the chorus already in the second round the first time you hear them and do not consist of boring nonsense. Death metal when it is allowed to be only death metal!
Colin Stetson is a Canadian-American saxophonist, multireedist, and composer based in Montreal. 2024 JUNO Award instrumental album winner - 2023 ASCAP Screen Music Award for The Menu. Best known for his soundtrack work, eg. The Menu, Hereditary, Texas Chainsaw Massacre. Known for collaborations with Tom Waits, Arcade Fire, TV on the Radio, Feist, Bon Iver.
Specs
Be the first to ask a question.
We’ll try to get your question answered within 24 hours by a Best Buy customer or brand representative.