Classical Music Vinyl 315 Items

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

Wavy grave rave for better tomorrow.

We no longer present Piotr Ilitch Tchaïkovski and his music. However, we offer you here to rediscover his work in a easy way with its greatest classics played by the greatest orchestras.

Info coming soon.

"How to begin? No beginning... never ending reverberation," Antoine Beuger writes in the accompanying notes to Leo Svirsky's River Without Banks. Dedicated to his first piano teacher Irena Orlov, River Without Banks is a mesmerizing, emotional collection of pieces that are simultaneously complex and fluid. The title River Without Banks comes from a chapter of musicologist Genrikh "Henry" Orlov's profound work Tree of Music. In said chapter, Orlov traces the history of sacred music from the Western and Eastern tradition and how the forms (of the chant, raga etc.) sought to eliminate the division between the physical and the spiritual - the bank and the river.

Arranged for two pianos with accompaniment from strings, trumpet, and electronics, this is Svirsky's deepest dive yet into the instability of listening and its transformation of musical semantics and affect. Like Wolfgang Voigt's Gas project, Svirsky overlays romantic musical gestures to create a lush unfamiliarity. No sooner than each track begins the next moment unfurls beneath it, cascading time and blurring perception of past and present. River Without Banks is less an album of songs than songs of a singular, unlocatable album. Performed by the composer with assistance from Britton Powell, Max Eilbacher, Leila Bordreuil, Tim Byrnes, and recorded by Al Carlson.