320 kbps | 110 MB | LINKS
2018 marks the 15th anniversary of Great Lake Swimmers. Over seven albums, multiple EPs, live broadcasts, and reissues, the Toronto-based project led by singer-songwriter Tony Dekker has established itself as a beloved indie folk act in their native Canada and beyond. The CBC has called them “a national treasure” while their music has taken them around the world, sharing a sound that is at once familiar and distinct, using the tools of folk music as the starting point to delve deeper.
It’s this contrast and evolution that brings them to their latest release, The Waves, The Wake – a metaphor for the future ahead, and the past trailing behind. Abandoning the acoustic guitar, this new collection of songs sees the group branching out to include new sounds such as harp, lute, pipe organ, woodwinds, congas and marimbas, alongside the more familiar flecks and chimes of the banjo, piano, and 12-string electric guitar. The stunning acoustics of the historic, 145 year old Bishop Cronyn Memorial Church in London, Ontario lend the atmospheric touch to the album, under the guidance of co-producer Chris Stringer (Union Sound). This record is about the songs, first and foremost, and was made with many of Toronto’s most talented players, including arrangements by Drew Jurecka and electric guitar appearances both atmospheric and spirited by Kevin Kane (Grapes Of Wrath). Long time collaborators Erik Arnesen (banjo, guitar), Bret Higgins (bass), and Josh Van Tassel (percussion) also contribute their considerable musicianship.
“The Talking Wind” opens the album solely with woodwinds and vocals, setting the tone with its scaled back, minimalist approach. Similarly sparse arrangements on “Falling Apart” pair a meditative, layered piano with an appearance by renowned harpist Mary Lattimore alongside Dekker’s haunting, plaintive vocals. Bridging the album to the group’s past work, the lonely jangle of “Alone But Not Alone” is a study in song-craft; “Side Effects” matches lyrical substance to musical motifs with its expressive vibraphone, tempo variations, and vocal effects.
320 kbps | 52 MB | LINKS
n 1965, a young Tim Hardin left New York City for the ‘California Dreamin’ of Los Angeles. Like many singer/songwriters of the time, he landed at the folk den of the famed music venue, The Troubadour. Holding court there was noted hot L.A. record producer, Jim Dickson. A staff producer for such labels as World Pacifc, Elektra and Warner Bros Records, Jim had access to the World Pacific Recording Studio. The studio where the likes of Sam Cooke, the Beach Boys, Ravi Shankar, Byrds, etc, first recorded. Jim pursued Tim to lay down some of his songs at the studio, providing a back up group with Tim on piano. Recorded on 1/2″, 3 track tape, these recordings have never been heard since they were recorded and three of the four Tim Hardin songs have never been copyright or published until now. The 180 gram vinyl records were pressed at Hand Drawn Pressings in Texas on the newly designed and manufactured ‘WarmTone’ automated presses. Packaged in a limited edition numbered silver foil jacket.
SIDE ONE 1. I Don’t Want It, Take My Love 2. It’ll Never Happen Again
SIDE TWO 1. My Leading Lady 2. Blues (I Need You Like A Soft Breeze)
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![Opeth - Orchid [Japanese Edition] (1995)](http://lossless-galaxy.ru/uploads/posts/2018-08/thumbs/1534090073_00.jpg "Opeth - Orchid [Japanese Edition] (1995)")
![Opeth - Morningrise [Japanese Edition] (1996)](http://lossless-galaxy.ru/uploads/posts/2018-08/thumbs/1534090211_00.jpg "Opeth - Morningrise [Japanese Edition] (1996)")
