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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Sunday
Sep192010

THE WALKMEN - Lisbon

When The Walkmen released You & Me two years ago, it signified a profound moment of freedom for the group. Freedom from what, you ask? Their hit song, 2004's "The Rat". Propulsive and pissed off, it registered with listeners immediately, slaying everything in its path—including, unfortunately, the band's own catalogue. While 2006's underrated One Hundred Miles Off played it sloppier and dirtier (even dipping into hardcore tempos for a couple tracks), its drunken bang and clatter fell victim to cries of "Where's 'The Rat II'?", and audiences fell away. Even if this was merely the inevitable process of shedding fairweather fans, it had to have hurt a little.

So the band did exactly what bands should (but rarely) do—they stuck to their guns and made a record that defiantly turned the other cheek. You & Me was the first album by The Walkmen to fully commit to their unsung counterpoint to the "The Rat"s careening brawler: the doomed but resilient romantic. Even that record's magnificently wailed single, "In The New Year", was more about tender hope than bitterness. With a slow burn that nicely matched You & Me's pacing, listeners of a different kind now flocked to the band—the kind well won over by a full album's merits rather rather than those of a single song.

All of this brings us to Lisbon, an album that is as sunny and at ease with itself as the vibe of its namesake city. The Walkmen may have worked very hard making this record (by some accounts around 30 songs were considered for the LP), but it sounds anything but laboured. I suspect that's because The Walkmen are now in a position where they truly understand how to best utilize their talents. The patience and atmosphere they mastered on You & Me blossoms here into a wonderfully concise set that is immediately worth revisiting as soon as it concludes. The band just sounds so in control, so expressive—even the wild rush of "Angela Surf City" is perfectly balanced, hurtled forward by Matt Barrick's humming engine of a drum part. And whether live or on record, singer Hamilton Leithauser has never sounded as good as over the last few years. For all of the hell-raising fury that he is capable of, he's often best wrapping his pipes around a whisky waltz or bleary group-hug of a shanty. Like a dropped ripe peach, he's tender and sweet, but sticky, bruised and prickly. When he and his formidable band are in the intoxicating throes of cataloguing their regrets, their dreams, their loves and their losses, it's a real treat.

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