Vertical's Currency

Available in Audiophile 88kHz/24bit & 44.1kHz/16bit

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Album Name Length Format Sample Rate Price
Vertical's Currency 46:10 $17.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 A Small Map Of Heaven 5:15 $2.49 Buy
2 Shadow Song 4:53 $2.49 Buy
3 Smiles And Grins 2:27 $2.49 Buy
4 Two Heartedly - To The Other Side 3:09 $2.49 Buy
5 Chances Are Good 5:01 $2.49 Buy
6 Make Love 2 4:32 $2.49 Buy
7 One Casual Song - After Another 3:07 $2.49 Buy
8 Intimate Distances 7:17 88/24 Album only
9 Describing It To Yourself As Convex 1:37 $2.49 Buy
10 What Do You Think That This Mountain Was Once Fire 1:57 $2.49 Buy
11 Dark 1:03 $2.49 Buy
12 Against The Light 5:52 $2.49 Buy

Price as configured: $17.98

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Deeply informed by soul ballads, Vertical’s Currency was designed to be our “Smokey Robinson” record, or so I swore. With the bottom rhythmic structure shifted from moving hand drum rhythms to the more familiar (and comfortable for most of the pop world) trap drum rhythms, Vertical’s Currency was designed to be our “commercial” record, or so Steve Swallow swore. With the songs (the music, and the record, as a presented story) worked out, written, and written out, before we even entered the studio, it was going to be our “professional” record. With the surface of the music cleaned up, with less cross talking and emotional (acoustic) busyness, it was structured to be our “accessible” record. Jack, who had long experience with knowledge of “accessible”, “commercial”, and for that matter, Smokey Robinson, laughed. I don’t know how serious Steve and I were when we wrote the music in Steve’s Connecticut house during the winter of 1983- 1984, but we had fun inventing the plan for a pop record, using standard pop form and rhythm, but reinventing it in an image that intrigued us and kept our interest, and was in the form of what we understood, and understand, as truthful emotions. We dropped standard verse/chorus form as a beginning rule (without just going into blues form) , for the challenge of reinvention. I worked with song word form without resorting to rhymes, an easy trick. And we enjoyed the music as it emerged. Jack loved it too, but laughed at the traces of naivety in Steve and my ambitions. Ignacio was just thrilled to work on the closest to a straight American pop record he’d likely to be playing on while remaining in intense art. Yeah, the trap drum rhythms. There are real points to highlight: Arto Lindsay and Peter Scherer working with each other for the first time and conceiving of “Ambitious Lovers” during the sessions; David Murray, part of the same generation as I am, got to play with, play against, play through, the standard pop form we grew up with, using some of the language we loved in, say, King Curtis, or Motown, but using his own voice. Yeah, we described pop with our own voices. And yeah, in that Winter setting was a calm among us. It was a pop record we always wanted to make, and always wanted to hear. -Kip Hanrahan

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