Björk – Vespertine
Label: |
One Little Independent Records – TPLP101 |
|---|---|
Format: |
|
Country: |
UK & US |
Released: |
|
Genre: |
Electronic |
Style: |
Ambient |
Tracklist
| A1 | Hidden Place | |
| A2 | Cocoon | |
| A3 | It's Not Up To You | |
| B1 | Undo | |
| B2 | Pagan Poetry | |
| B3 | Frosti | |
| C1 | Aurora | |
| C2 | An Echo, A Stain | |
| C3 | Sun In My Mouth | |
| D1 | Heirloom | |
| D2 | Harm Of Will | |
| D3 | Unison |
Companies, etc.
- Licensed To – One Little Independent Records
- Licensed To – Polydor Ltd.
- Phonographic Copyright ℗ – Björk Overseas Ltd.
- Phonographic Copyright ℗ – One Little Independent Ltd.
- Copyright © – Björk Overseas Ltd.
- Phonographic Copyright ℗ – One Little Independent Ltd.
- Pressed By – The Vinyl Factory
Credits
- Contractor [Choir Fixed By] – Jenny O 'Grady*
- Contractor [Orchestral Sessions Fixed By] – Isobel Griffiths
- Coordinator [Olympic Studio Sessions] – Siobhan Paine
- Coordinator [Orchestra And Choir Sessions] – Stuart Green
- Costume Designer [Swan Dress] – Marjan Pejoski
- Engineer [Air Lyndhurst, Assisted By] – Rikky
- Engineer [Air Lyndhurst] – Geoff Foster
- Engineer [Astoria, Assistant] – Damon Idins*
- Engineer [Avatar, Assistant] – Rory*
- Engineer [Bygosh Music Recording Studios, With Help From] – Bobby Gosh
- Engineer [Bygosh Music Recording Studios] – Erik Gosh
- Engineer [Magic Shop, Assistant] – Juan Garcia
- Engineer [Pro Tools Engineering On Mix By, Assistant] – Matt Fields
- Engineer [Pro Tools Engineering On Mix By] – Jan <Stan> Kybert*
- Engineer [Quad Studios, Assistant] – Ricardo Gary Walker
- Engineer [Sear Sound, 2nd Assistant] – Adrian Dawson
- Engineer [Sear Sound, Assistant] – Aarron Franz*
- Orchestrated By [Strings and Choir] – Vince Mendoza
- Other [Arrangement Of Transfer To Music Box By] – Jack Perron
- Other [Music Boxes Supplied By] – James Sault And Porter Music Boxes
- Other [Pro Tools Back-Up And Assistance From] – Digi Design
- Sleeve – M/M <Paris>*
Notes
Glossy gatefold sleeve. Includes printed inner sleeves.
Unison misspelt as "Unisona" on back cover.
The copyright in the sound recordings owned by Björk Overseas Ltd. under licence to One Little Independent Records and is exclusively licensed to Polydor, Ltd. for the world excluding the UK, North America and Iceland.
℗ 2001 Björk Overseas Ltd/One Little Independent Ltd.
© 2001 Björk Overseas Ltd/One Little Independent Ltd.
LC 03275.
TPLP101
All rights reserved. Made in . LC 03275.
Thomas Knak appears courtesy of Hobby Industries.
Matthew Herbert appears courtesy of Magic and Accident.
Matmos appear courtesy of Matador Records.
Console is part of Payola.
[C3]: The lines from < I will wade out till my thighs Are steeped in burning flowers >
© 1925, 1953 © 1991 by the trustees for the E.E. Cummings Trust.
© 1976 by George James Firmage.
from: Complete Poems: 1940-1962 by E.E. Cummings.
Edited by George J. Firmage.
Used by permission of Liverlight Publishing Corporation.
[D3]: Contains a sample from Aero Deck, a track on the >Systemisch< album by Oval on Thrill Jockey Records. Thanks to Markus & Bettina.
All songs published by Universal Music, except:
[D2]: Harmony Korine, copyright control.
[B1, A2]: Thomas Knak, copyright control.
[D1]: Martin Console, published by Flirt 99 Music Publishing.
[D2, C2]: Guy Sigsworth, published by Universal Music.
Studios
El Cortijo, San Pedro, Spain.
Magic Shop, New York, USA. Thanks to Steve Rosenthal.
Astoria, New York, USA.
Avatar, New York, USA.
Sear Sound, New York, USA. Thanks to Walter Sear.
Thule Studios, Reykjavik, Iceland. Thanks to Finn, Snorry and Thule.
Greenhouse Studios, Reykjavik, Iceland.
Quad Studios, New York, USA.
Looking Glass Studios, New York, USA. Thanks to Kara Biloff
The Loft on Lafayette Street, New York, USA.
Music Box recorded at Bygosh Music Recording Studios
Strings and Choir
Recorded at Air Lyndhurst Studios.
Unison misspelt as "Unisona" on back cover.
The copyright in the sound recordings owned by Björk Overseas Ltd. under licence to One Little Independent Records and is exclusively licensed to Polydor, Ltd. for the world excluding the UK, North America and Iceland.
℗ 2001 Björk Overseas Ltd/One Little Independent Ltd.
© 2001 Björk Overseas Ltd/One Little Independent Ltd.
LC 03275.
TPLP101
All rights reserved. Made in . LC 03275.
Thomas Knak appears courtesy of Hobby Industries.
Matthew Herbert appears courtesy of Magic and Accident.
Matmos appear courtesy of Matador Records.
Console is part of Payola.
[C3]: The lines from < I will wade out till my thighs Are steeped in burning flowers >
© 1925, 1953 © 1991 by the trustees for the E.E. Cummings Trust.
© 1976 by George James Firmage.
from: Complete Poems: 1940-1962 by E.E. Cummings.
Edited by George J. Firmage.
Used by permission of Liverlight Publishing Corporation.
[D3]: Contains a sample from Aero Deck, a track on the >Systemisch< album by Oval on Thrill Jockey Records. Thanks to Markus & Bettina.
All songs published by Universal Music, except:
[D2]: Harmony Korine, copyright control.
[B1, A2]: Thomas Knak, copyright control.
[D1]: Martin Console, published by Flirt 99 Music Publishing.
[D2, C2]: Guy Sigsworth, published by Universal Music.
Studios
El Cortijo, San Pedro, Spain.
Magic Shop, New York, USA. Thanks to Steve Rosenthal.
Astoria, New York, USA.
Avatar, New York, USA.
Sear Sound, New York, USA. Thanks to Walter Sear.
Thule Studios, Reykjavik, Iceland. Thanks to Finn, Snorry and Thule.
Greenhouse Studios, Reykjavik, Iceland.
Quad Studios, New York, USA.
Looking Glass Studios, New York, USA. Thanks to Kara Biloff
The Loft on Lafayette Street, New York, USA.
Music Box recorded at Bygosh Music Recording Studios
Strings and Choir
Recorded at Air Lyndhurst Studios.
Barcode and Other Identifiers
- Barcode: 5016958046019
- Label Code: LC 03275
- Other (On label Side A): TPLP101﹒A
- Other (On label Side B): TPLP101﹒B
- Other (On label Side C): TPLP101﹒C
- Other (On label Side D): TPLP101﹒D
- Matrix / Runout (Side A - etched): TPLP 101 A-2
- Matrix / Runout (Side B - etched): TPLP 101 B-2
- Matrix / Runout (Side C - etched): TPLP 101 C-2
- Matrix / Runout (Side D - etched): TPLP 101 D-2
- Other (On inner sleeve): TPLP101DMM - A/B
- Other (On inner sleeve): TPLP101DMM - C/D
Other Versions (5 of 132)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
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Recently Edited
|
Vespertine (CD, Album, Stereo) | Elektra | 62653-2, 62653-2F | US | 2001 | ||
| Vespertine (CD, Album) | Polydor | 589000-2 | Europe | 2001 | |||
|
Recently Edited
|
Vespertine (CD, Album, Limited Edition, Gatefold) | One Little Indian | TPLP101CDL | UK | 2001 | ||
|
Recently Edited
|
Vespertine (2×LP, Album) | Polydor | 589 000-1 | Europe | 2001 | ||
| Vespertine (2×LP, Album, 180g) | One Little Indian | TPLP101 | UK | 2001 |
Recommendations
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2018 CanadaVinyl —LP, Album, Reissue, Stereo -
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Reviews
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Amazon has this on sale, right now, I wasn’t 100% sure which pressing I was getting, but rolled the dice after reading some wide ranging reviews.
Either I lucked out, and won the quality control lottery, or the poor reviewers may be over looking some issues.
Giving a first listen now after a quick dust off with the carbon fiber brush.
Thoughts:
1. The record sleeves that hold the discs within feel like card stock with kind of rough interiors. When I first removed the discs I buckled the sleeve (one hand on sleeve pressed against my torso, other hand carefully handing disc) so I could remove the discs without them brushing the inside. Pretty sure the sleeves are scratching the records as people remove them. There was a decent about of paper dust/debris inside my sleeves.
2. Read lots of complaints about sibilants, especially on cocoon. There are a lot of S sounds sung close to a mic. This track might just be a good test to tell if it’s time for a new stylus or your cartridge is misaligned. My copy is handling the S sounds great. (My Suzanne Vega record, Tom’s Diner, sibilants drive me mad, hard to listen to)
3. This is gonna sound condescending, but album, as recorded, has a lot of weird noises that sound like crackles. Couple tracks in particular. Not trying to question anyone’s fandom, even I had to listen to a few tracks on streaming to make sure my copy wasn’t severely damaged, I just forgot what those tracks sounded like, and they sound very much like a very damaged record.
This album really does sound insanely incredible. I bought on Amazon in case I got a dud and needed to return it.
Edit: as I was writing this I got one skip in my otherwise flawless copy, near the end of Sun in my mouth. But I think I can clean it out. -
I’m guessing this needs yet another (*sigh*) entry - because this is currently the only entry with the “One Little Independent” label name change, but most noticeably, the inner sleeves on mine don’t have the circle cutout on one side exposing the LP label, and read “TPLP101-A/B” / “TPLP101-C/D” (instead of “TPLP101DMM-A/B” / “TPLP101DMM-C/D”).
Beyond these two differences, I have no way of knowing how these two compare, and am not confident in my ability to definitively say whether or not the other is also DMM, but if anyone else can, I’d very curious and would love to know. Like others have noted previously, it does appear to have some scratches that had me quite concerned, but fortunately, like a portion of the other comments have mentioned, I’ve lucked out and have been pleasantly surprised that somehow they don’t seem to have an audible impact on playback. On the contrary, I’m happy to be able to report that after a few playthroughs (listening especially closely during those few odd couple scratched sections): it sounds absolutely wonderful! So much so, that I almost don’t want to know whether it’s still DMM or not…
Anyways, I suspect these differences are significant enough to warrant a new entry, and plan on re-adding my copy to that once it’s been created (by someone more experienced than I, because there are probably other, less obvious yet important differences, which I don’t trust myself to catch.) In the meantime, if you’re buying/selling, make sure to your copy matches this entry - because I almost didn’t notice, and I’m pretty sure I’m not the only one!
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can confirm pressing had light scratches new. disappointing. however it doesn't affect the sound directly. get a different pressing. -
It seems to me that I have got a bad copy from all the positive reviews I'm reading, but the sibilance is insane and ruins some songs for me, especially Cocoon. The instruments sound amazing though. -
I was surprised to see the vinyl was full of scratches and marks but they had no effect on the sound of the pressing. Her voice pops out really well on this press and it creates a beautiful atmosphere all around. The little electronic sounds are really nice and clear. Not a PERFECT pressing but a very very good one. -
yall.. this is not that great as everyone is saying.
the sibilance on this is crazy, cocoon being the worst offender (and it’s one of my faves 😞). sun in my mouth, pagan poetry, it’s not up to you sound more annoying than pleasant. maybe i got a bad copy but damn i do NOT recommend.
the instruments however do sound spectacular. this is what i imagine listening to electric insects while laying in an icy woodland bed feels like haha. anyway b careful purchasing this -
Edited 8 months agoReviewing every record in my collection:
I have mix feelings about this press, as I do with every single pressing of her first four albums issued the last few years. The sleeve was poorly glued and it Split, I had to stick it back together myself, not a big deal but we were off to a bad start. The sound itself is really good, silent pressing all things considered, and I did notice some details I hadn't before, but I can't help but feel it could sound a bit better. There's a lot of Runnout Groove Space, so they could've easily made a 45RPM record (like Medúlla for example) and it'd have been glorious. Out of the repressing s of the first four albums, this one is the best by far, I give it a 8/10 -
Heaven. Amazing press that is just amazing to listen too. Almost no noise at all and it is just heavenly -
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