Westerman - An Inbuilt Fault - VINYL LP
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Limited transparent yellow colored vinyl LP pressing. Westerman's highly anticipated second LP An Inbuilt Fault is a complex and endlessly rewarding collection of layered songwriting. The album's nine songs took shape throughout the depths of the pandemic, in near total lockdown in Italy and the ensuing isolation following his move to Athens. It's the soundtrack of Westerman's reckoning with two years of intense loneliness, heartbreak, and dread. In spite of the dark beginnings of the album, An Inbuilt Fault emerges as a living, breathing transitional document that's both thrillingly alive and deeply human. The record that ultimately emerged from these early solo experiments sounds wholly unlike what the description might suggest. An Inbuilt Fault is visceral and live-sounding, full of the sound of breath and the idiosyncratic gestures of acoustic instruments. The creative shift in the album came after a chance meeting between Westerman and Big Thief's James Krivchenia at a show in London, inspiring Westerman to take a leap of faith and collaborate with the drummer and an extended crew of Los Angeles associates to flesh out his new songs. Once in LA, his demos became jump-off points for jams which, in imaginatively edited forms, pushed the songs into new realms; sometimes, the mood became more sinister, sometimes more triumphant. The result is music that is heavier and more sonically daring than Westerman's previous releases. The album's opening drum salvo sets the tone Krivchenia's percussion on InchGiveInch sounds hyper-real rather than natural, blown-out and compressed, integrating sounds of smashed glass, cracking wood, and what sounds almost like fists on flesh. The primary musical dialogue in many of these songs is between the wall of percussion and Westerman's vocals-rawer and drier in the mix than ever before, reinforced by bursts of rich three-or-four-part v
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- GenreRockDescriptionLimited transparent yellow colored vinyl LP pressing. Westerman's highly anticipated second LP An Inbuilt Fault is a complex and endlessly rewarding collection of layered songwriting. The album's nine songs took shape throughout the depths of the pandemic, in near total lockdown in Italy and the ensuing isolation following his move to Athens. It's the soundtrack of Westerman's reckoning with two years of intense loneliness, heartbreak, and dread. In spite of the dark beginnings of the album, An Inbuilt Fault emerges as a living, breathing transitional document that's both thrillingly alive and deeply human. The record that ultimately emerged from these early solo experiments sounds wholly unlike what the description might suggest. An Inbuilt Fault is visceral and live-sounding, full of the sound of breath and the idiosyncratic gestures of acoustic instruments. The creative shift in the album came after a chance meeting between Westerman and Big Thief's James Krivchenia at a show in London, inspiring Westerman to take a leap of faith and collaborate with the drummer and an extended crew of Los Angeles associates to flesh out his new songs. Once in LA, his demos became jump-off points for jams which, in imaginatively edited forms, pushed the songs into new realms; sometimes, the mood became more sinister, sometimes more triumphant. The result is music that is heavier and more sonically daring than Westerman's previous releases. The album's opening drum salvo sets the tone Krivchenia's percussion on InchGiveInch sounds hyper-real rather than natural, blown-out and compressed, integrating sounds of smashed glass, cracking wood, and what sounds almost like fists on flesh. The primary musical dialogue in many of these songs is between the wall of percussion and Westerman's vocals-rawer and drier in the mix than ever before, reinforced by bursts of rich three-or-four-part vArtistWestermanTitleAn Inbuilt FaultFormatVINYLLabelPartisan Records
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Limited transparent yellow colored vinyl LP pressing. Westerman's highly anticipated second LP An Inbuilt Fault is a complex and endlessly rewarding collection of layered songwriting. The album's nine songs took shape throughout the depths of the pandemic, in near total lockdown in Italy and the ensuing isolation following his move to Athens. It's the soundtrack of Westerman's reckoning with two years of intense loneliness, heartbreak, and dread. In spite of the dark beginnings of the album, An Inbuilt Fault emerges as a living, breathing transitional document that's both thrillingly alive and deeply human. The record that ultimately emerged from these early solo experiments sounds wholly unlike what the description might suggest. An Inbuilt Fault is visceral and live-sounding, full of the sound of breath and the idiosyncratic gestures of acoustic instruments. The creative shift in the album came after a chance meeting between Westerman and Big Thief's James Krivchenia at a show in London, inspiring Westerman to take a leap of faith and collaborate with the drummer and an extended crew of Los Angeles associates to flesh out his new songs. Once in LA, his demos became jump-off points for jams which, in imaginatively edited forms, pushed the songs into new realms; sometimes, the mood became more sinister, sometimes more triumphant. The result is music that is heavier and more sonically daring than Westerman's previous releases. The album's opening drum salvo sets the tone Krivchenia's percussion on InchGiveInch sounds hyper-real rather than natural, blown-out and compressed, integrating sounds of smashed glass, cracking wood, and what sounds almost like fists on flesh. The primary musical dialogue in many of these songs is between the wall of percussion and Westerman's vocals-rawer and drier in the mix than ever before, reinforced by bursts of rich three-or-four-part v
Limited double vinyl LP pressing of the debut album from the British Rock/R&B diva and gossip column favorite. Frank achieved fantastic critical and commercial acclaim. Production for the album took place during 2002 to 2003 and was handled by Winehouse, Salaam Remi, Gordon InchComissioner GordonInch Williams, Jimmy Hogarth and Matt Rowe. It's title alludes to the nature and tone of Winehouse's lyrics on the album as well as one of her influences, Frank Sinatra. Upon it's , Frank received generally positive reviews from most music critics and earned Winehouse several accolades, including an Ivor Novello Award. Includes 'Stronger Than Me, Take The Box,' and 'F**k Me Pumps.'
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Aleksandra Brejza is a graduate of the Department of Composition and Theory of Music of the Feliks Nowowiejski Academy of Music in Bydgoszcz in the composition class of Prof. Franciszek Wozniak. She participated in the Young Composer Courses organized by the Polish Composers' Union (1988) and in the International Composers' Courses held as part of the Bartók Seminar in Szombathely, Hungary (1992). Her output includes mainly chamber pieces (especially piano pieces and songs), choral compositions, larger vocal and instrumental forms as well as compositions for children. Aleksandra Brejza's pieces have been performed in, among others, Poland, Germany, France, the USA, Russia, the Czech Republic, Hungary, Ukraine, Latvia, and Lithuania. Her works have been conducted by, Michal Nesterowicz, Anna Szostak, Andris Vecumnieks, and Kinga Litowska. The composer was twice awarded in the Tadeusz Baird Competition for Young Composers of the Polish Composers' Union for her String Quartet (1989) and Ultima moriar for great symphony orchestra (1993). She also received the 1st honorable mention and the Award of the Mayor of the City of Gdansk in the International Composers' Competition 'Pomorski Siew sw. Wojciecha' for Kantyczki for mixed choir (1996). She is also a finalist of the New London Choir Choral Composition Prize 2000 (for Psalm Iudica me! For mixed choir) and winner of the 2nd prize in the National Psalmodic Competition in Katowice (2002).
Limited blue colored vinyl LP pressing. Brazil Classics, Vol. 4 The Best of Tom Zé - Massive Hits is a compilation album by Brazilian singer-songwriter Tom Zé. This 1990 album was Tom Zé's first on Luaka Bop after being discovered by David Byrne and was the first introduction of Zé's music to a wider U.S. audience. Music critic Robert Christgau has named it among his 10 best albums from the 1990s.
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