Thank You!

Soundscapes will be closing permanently on September 30th, 2021.

Open every day between Spetember 22nd-30th

We'd like to thank all of our loyal customers over the years, you have made it all worthwhile! The last 20 years have seen a golden age in access to the world's recorded music history both in physical media and online. We were happy to be a part of sharing our knowledge of some of that great music with you. We hope you enjoyed most of what we sold & recommended to you over the years and hope you will continue to seek out the music that matters.

In the meantime we'll be selling our remaining inventory, including thousands of play copies, many of which are rare and/or out-of-print, never to be seen again. Over the next few weeks the discounts will increase and the price of play copies will decrease. Here are the details:

New CDs, LPs, DVDs, Blu-ray, Books 60% off 15% off

Rare & out-of-print new CDs 60% off 50% off

Rare/Premium/Out-of-print play copies $4.99 $14.99

Other play copies $2.99 $8.99

Magazine back issues $1 $2/each or 10 for $5 $15

Adjusted Hours & Ticket Refunds

We will be resuming our closing sale beginning Friday, June 11. Our hours will be as follows:

Wednesday-Saturday 12pm-7pm
Sunday 11am-6pm

Open every day between September 22nd-30th

We will no longer be providing ticket refunds for tickets purchased from the shop, however, you will be able to obtain refunds directly from the promoters of the shows. Please refer to the top of your ticket to determine the promoter. Here is the contact info for the promoters:

Collective Concerts/Horseshoe Tavern Presents/Lee's Palace Presents: shows@collectiveconcerts.com
Embrace Presents: info@embracepresents.com
MRG Concerts: ticketing@themrggroup.com
Live Nation: infotoronto@livenation.com
Venus Fest: venusfesttoronto@gmail.com

We apologize for any inconvenience this may cause. Thank you for your understanding.

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2. SARAH HARMER - Are We Gone
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Sunday
Apr252010

CARIBOU - Swim

The term polymath is something that we tend to use to describe the dead, past masters whose deft skills in a number of disciplines rendered them above the fray of mere mortals: Da Vinci; Al-Razi; Benjamin Franklin. Perhaps it's because we're so much more comfortable canonizing those whose lives are done, especially with a term that rings with such intellectual regality. Even after his death, Dan Snaith (a.k.a. Caribou), will likely never be called a polymath. But as both a master mathematician and musician, he's definitely anything but ordinary. And as someone who utilizes IDM traditions and computer composition techniques to engage, not shun, pop music, he is a true trailblazer as well.

His previous record, 2007's Andorra, was a high watermark for Snaith. Its Zombies-inspired sunshiny psych pop was his most direct foray into actual songs yet. Leaving his beatscape, mash-up sound sketches behind, it opened its arms wide to embrace not only a larger audience, but the 2008 Polaris Prize as well. Swim is equally as trippy as its predecessor, but it is consumed by a distinct darkness. This is the nighttime to Andorra's day, where fear and regret replace love, nightclub techno replaces AM-pop, and slippery texture replaces crisp definition. Snaith as been widely quoted as wishing to make "liquid dance music" this time out, and in this respect, Swim is a masterpiece. The record shifts its visual colours like a melting kaleidoscope (see the excellent "Sun" for a perfect example of this)—even for someone as pan-happy and beat-shifty as Caribou, it's new territory. It also sees him slink slightly away from the 'songs' of Andorra, a move that will no doubt disappoint some. But that doesn't stop a track like opener "Odessa"—with a sample hook that sounds like a Muppet mating call from Fraggle Rock—or the gently-pulsing "Leave House" from making immediate impressions. In short, Caribou has earned the right to have your trust, and that trust remains in good hands. Meticulous, tuneful, surprising, and always finding a deep groove, Swim is yet another brilliant work by a true master.

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