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Sam Prekop - Sam Prekop flac

  • Performer: Sam Prekop
  • Album: Sam Prekop
  • Label: Thrill Jockey
  • Catalog #: thrill 061
  • FLAC: 1558 mb | MP3: 2212 mb
  • Released: 1999
  • Country: US
  • Style: Post Rock
  • Rating: 4.0/5
  • Votes: 265
  • Category: Rock
Sam Prekop - Sam Prekop flac

Tracklist

1Practice Twice
Bass – Josh AbramsCornet – Rob MazurekGuitar – Archer PrewittPercussion – Chad TaylorSynthesizer [Synthesized Strings] – Jim O'RourkeVocals, Guitar – Sam Prekop
4:07
2On Such Favors
Backing Vocals – Jim O'RourkeBass – Josh AbramsGuitar – Archer PrewittPercussion – Chad TaylorVocals, Guitar – Sam Prekop
3:40
3So Shy
Electric Bass – Josh AbramsGuitar – Archer PrewittMaracas, Tambourine – John McEntirePercussion – Chad TaylorSlide Guitar – Jim O'RourkeViolin, Viola – Julie PomerleauVocals, Guitar – Sam Prekop
5:19
4Smaller Rivers
Guitar – Archer Prewitt, Sam PrekopPiano – Josh Abrams
2:41
5Faces And People
Bass – Josh AbramsBass [Six-string Bass] – Jim O'RourkeCornet – Rob MazurekGuitar – Archer Prewitt, Sam PrekopPercussion – Chad TaylorTriangle – John McEntire
7:00
6Don't Bother
Bass, Piano – Josh AbramsGuitar – Archer PrewittViolin, Viola – Julie PomerleauVocals, Guitar – Sam Prekop
5:21
7Showrooms
Bass – Josh AbramsGuitar – Archer PrewittOrgan, Backing Vocals – Jim O'RourkePercussion – Chad TaylorViolin, Viola – Julie PomerleauVocals, Guitar – Sam Prekop
4:22
8The Company
Bass – Josh AbramsGuitar – Archer PrewittPercussion – Chad TaylorVocals, Guitar – Sam Prekop
4:17
9A Cloud To The Back
Bass – Josh AbramsGuitar – Jim O'RourkePercussion – Chad TaylorPiano – Archer Prewitt, Sam Prekop
3:56
10The Shadow
Bass – Josh AbramsElectric Piano – Jim O'RourkeGuitar – Archer PrewittPercussion – Chad TaylorVocals, Guitar, Electric Piano – Sam Prekop
4:49

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
THRILL-JP21, HEADZ 42Sam Prekop Sam Prekop ‎(CD, Album)Thrill Jockey, HeadzTHRILL-JP21, HEADZ 42Japan2005
TKCB-71553Sam Prekop Sam Prekop ‎(CD, Album)Thrill JockeyTKCB-71553Japan1999
TKCB-71553Sam Prekop Sam Prekop ‎(CD, Album, Promo)Thrill JockeyTKCB-71553Japan1999
thrill 061Sam Prekop Sam Prekop ‎(LP, Album)Thrill Jockeythrill 061US1999
thrill 061Sam Prekop Sam Prekop ‎(LP, Album, RP)Thrill Jockeythrill 061US2012

Credits

  • Arranged ByArcher Prewitt, Chad Taylor, Josh Abrams
  • Arranged By [Horn Arrangements]Rob Mazurek
  • DesignSheila Sachs
  • Engineer [Assistant Recording Engineer]Phil Bonnet
  • Producer, Recorded By, Mixed By, Arranged By [Band Arrangements, String Arrangements, Horn Arrangements]Jim O'Rourke
  • Written-ByArcher Prewitt (tracks: 4, 6), Chad Taylor (tracks: 4, 6), Jim O'Rourke (tracks: 4, 6), Josh Abrams (tracks: 4, 6), Rob Mazurek (tracks: 6)
  • Written-By, Arranged By, Painting [Cover Painting], DesignSam Prekop

Notes

Basic tracks recorded at Solid Sound, Hoffman Estates. All other recording at Steam Room, Chicago 1998.

℗ 1999 Thrill Jockey. © 1999 Sam Prekop.

Barcodes

  • Barcode: 0 36172 87612 9
  • Matrix / Runout: 1EJR1<0241>THRILL061CD MADE IN CANADA BY AMERIC DISC
  • Mastering SID Code: IFPI L481
  • Mould SID Code: IFPI8108

Companies

  • Recorded At – Solid Sound Studios, Hoffman Estates, IL
  • Recorded At – Steamroom, Chicago
  • Phonographic Copyright (p) – Thrill Jockey
  • Pressed By – Americ Disc

Video

BroWelm
You no doubt recognize Sam Prekop from his full time band Sea & Cake, another post-rock group hailing from the windy city of Chicago. And (laughing) just listening to this toned down breeze laden album, I feel like tossing my hat in the air, Mary Tyler Moore Style and wandering off, imagining the havoc a loose hat in the wind would play with oncoming mid-morning traffic, crashing from one window to another, smacking the occasional pedestrian, before settling on the antenna of a cop car, where it would ride all day long, dreaming of finding its way back to me.There are those who would like to infer that his album is gentle and sublime, I call it absent minded, seamless background filler with elements of funk and jazz, held in check by invincible instrumentations, suggesting music a freeform high school aesthetics dance class would find intoxicatingly flowing, graceful and emancipating. The emotional possibilities of modular synthesis seems to be the predominant ongoing, if not running theme here, and if anyone else suggest that the album is simply divine for a half slumber ride on the Blue Line, I’m gonna go find my hat and smack them with it. Geez, I simply hate obnoxious open-ended contemporary musical commentary that says nothing and goes nowhere, other than to fill the quiet space I was enjoying. Though the worst remarks I’ve ever heard went like this, Simple clean tones bubbling along, redolent of an era when we hoped that technology could save humanity from itself. PLEASE, give me a break, another pretentious visionary, one I would expect to find standing in line at a Woody Allen movie, pontificating on and on about how this music proudly exists as sonic information, music that invites you to mediate on how a simple tone with a halo of white noise pulsing along makes one feel.The album and the contents that lay herein ask no questions, nor do they venture any answers, only undefined ambiguity, late night neat ambient smoothness based only on a listener’s perceptions. Yes, critics are gonna stretch themselves thin to justify this album’s existence, they’re gonna go to great lengths to attempt to explain the intellectual purity here, the importance of just being, though when all is said and done, I say “Have you ever felt the warmth from listening to your steam pipes crackle, where there’s a rhythmic quality to the water pulsing though those ancient circulating coils from the last century, vibrating in syncopation to the traffic on the street below, where the hum of your alarm clock, a sound you once found so annoying, slowly begins to mesh with the babbling water dripping from your sink, and you realize that we’re all innerly connected though sound, and this space right here right now is so beautiful that you never want to open the front door again. Review by Jenell Kesler
Ferri - My name
This sounds like it was written by a bad AI fed a steady diet of Pitchfork reviews...and in fact directly quotes (*cough* plagiarizes) this one: https://pitchfork.com/reviews/albums/20034-the-republic/
Leniga
While you're entitled to your opinion, that this is background music without substance, without any actual musical analysis, your argument carries no weight. I suspect you just don't like it's sound, and in turn the sound of its influences. Or maybe you thought you were reviewing some minimalist ambient record. The objective truth is that the album is rich with melodic, harmonic, and rhythmic details (but I'm not going to waste my time describing them here. One of my curious music students would appreciate and gain something from that, but not the discogs community). I feel bad for you, that you can't enjoy this album, but seem to revel in your own masturbatory criticism. I feel bad for your english teachers, too.
MrRipper
While, I'm sure you enjoyed your keyboarding over this lengthy justification at writing it. But, you seem to have missed the point of this fairly twee, and afternoon spent indoors while its sunny outside listener of an album completely in doing so, and I'm not even sure what album of his you are actively reviewing by the third paragraph. Are you sure it's this one?
Bele
Fantastic pressing! One of my new favorites in my collection.
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