Iron & Wine Discography – Download Albums in Hi-Res – Qobuz

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
List prices may not necessarily reflect the product’s prevailing market price. Promise what you will — Digipak case with custom printed CD sleeve. Around the Well. Beautiful soothing music.
 
 

 

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Listen to Iron & Wine in unlimited on Qobuz and buy the albums in Hi-Res 24 bits for an unequalled sound quality. Subscription from $/month. Escute Iron & Wine em streaming ilimitado na Qobuz e compre os álbuns em Hi-Res 24 bits para uma qualidade de som inigualável. Assinatura a partir de R$

 
 

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Poneman considered releasing them both, but instead slimmed the set down to 12 songs and released it in September as The Creek Drank the Cradle. It was Beam’s full-length, Our Endless Numbered Days, that signaled his arrival on the indie pop scene. Recorded in Chicago with producer Brian Deck, the album was resolutely hi-fi, but the addition of a full band only illuminated Beam’s deft lyricism and intimate vocal delivery, resulting in one of the most critically acclaimed albums of the year.

The politically charged Shepherd’s Dog, Beam and company’s most diverse — and most listenable — record to date, was released in Over the next few years, Beam stayed busy working with other artists. It was produced by Beam in stripped-down fashion using mostly live takes and minimal overdubs. Fittingly, the return to the way he used to make records was matched by a return to the band’s old label, Sub Pop.

They issued Beast Epic in August of During the tour that followed, the same band took a couple days at a Chicago studio to record a handful of songs written for Beast Epic that didn’t make the final cut. The trio were joined by a number of musicians for five days of sessions in Nashville at Sound Emporium studios. Years to Burn was issued in June of by Sub Pop. A flood of singles, EPs, and albums, each wit Iron and Wine’s debut record, The Creek Drank the Cradle, is written, produced, and performed by Sam Beam and features only Beam’s voice, a gently str This EP takes over where ‘s album Beast Epic left off: and that’s because its six tracks come from the same recording session.

Sam Beam had said t Fifteen years after its first release in March , Our Endless Numbered Days has re-emerged in all its splendour, this time in Deluxe edition.

In The Creek Drank the Cradle was a lo-fi melancholic gem of a record that drew apt comparisons to classic Categories: All Back. See entire Jazz catalogue. See entire Classical catologue. See the entire Electronic catalogue. See the entire Country catalogue. See the entire Metal catalogue. See the entire Blues catalogue. See the entire latin catalogue. See entire Soundtrack catalogue. See entire library of World music. Qobuz is also the leader in worldwide download in Hi-Res Bit.

His deeply burnished vocals, keen melodic sensibility, and introspective, free-flowing lyrical viewpoint combine to give him a singular artistic vision. No matter the approach, Beam’s vocals and songs have remained strong, and the records he’s made have both challenged and comforted listeners. All along he had been writing songs, and once a friend lent him a four-track he began recording them in his bedroom. He sent demos to friends, a song ended up on a compilation, and his music caught the ear of Jonathan Poneman, co-owner of Sub Pop Records.

He requested that additional material be sent to the label for submission, and Beam responded by sending two CDs in the mail — both of them full-length albums. Poneman considered releasing them both, but instead slimmed the set down to 12 songs and released it in September as The Creek Drank the Cradle.

It was Beam’s full-length, Our Endless Numbered Days, that signaled his arrival on the indie pop scene. Recorded in Chicago with producer Brian Deck, the album was resolutely hi-fi, but the addition of a full band only illuminated Beam’s deft lyricism and intimate vocal delivery, resulting in one of the most critically acclaimed albums of the year.

The politically charged Shepherd’s Dog, Beam and company’s most diverse — and most listenable — record to date, was released in Over the next few years, Beam stayed busy working with other artists. It was produced by Beam in stripped-down fashion using mostly live takes and minimal overdubs.

Fittingly, the return to the way he used to make records was matched by a return to the band’s old label, Sub Pop. They issued Beast Epic in August of During the tour that followed, the same band took a couple days at a Chicago studio to record a handful of songs written for Beast Epic that didn’t make the final cut.

The trio were joined by a number of musicians for five days of sessions in Nashville at Sound Emporium studios. Years to Burn was issued in June of by Sub Pop. A flood of singles, EPs, and albums, each wit Iron and Wine’s debut record, The Creek Drank the Cradle, is written, produced, and performed by Sam Beam and features only Beam’s voice, a gently str This EP takes over where ‘s album Beast Epic left off: and that’s because its six tracks come from the same recording session.

Sam Beam had said t Fifteen years after its first release in March , Our Endless Numbered Days has re-emerged in all its splendour, this time in Deluxe edition.

In The Creek Drank the Cradle was a lo-fi melancholic gem of a record that drew apt comparisons to classic Categories: All Back. See entire Jazz catalogue. See entire Classical catologue. See the entire Electronic catalogue.