Stars of the Lid & Their Refinement of the Decline Stars of the Lid
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After the near symphonic exercise of engaging the void that was Tired Sounds of Stars of the Lid in 2001, it was hard to believe there was anything left to do. Wrong. Brian McBride and Adam Wiltzie emerged from the studio in early 2007 with the equally huge And Their Refinement of the Decline. The notion of symphonic here is, without doubt, still present, but not in any normal way. Over two very differently themed discs, and three LPs, Stars of the Lid engage long conceptual ideas from a place one can only call micro-minimalism. An obsession with drones fading in and out on all kinds of instruments is what takes precedent here, whether that be a string section, a solo cello, harp, trumpet or a children's choir. (Yes, all of them are here, and more.) Don't worry, all this deep fixation with drones and classical music doesn't mess up Stars of the Lid's sense of humor. The titles are still hilarious in places (the set opens with a piece titled "Dungtitled (In a Major)"). The sound of drones is prevalent on disc one, though the drones change and are actually held notes. Whether they are played live or simply articulated and then manipulated by electronics doesn't matter. The feeling of being washed over, being gently pulled under water to someplace where language no longer makes sense, feelings get all folded together and an overwhelming calm takes over - especially at loud volumes - as single notes are held by the strings for as long as five minutes. The aforementioned piece is like this, as are "The Evil That Never Arrived," and "Apreludes (In C Major)," which moves through one note for minutes at a time with an ever increasing dynamic and textural array of sounds and instruments and begins to feel like the opening theme of 2001: A Space Odyssey. Yet the real bottom line in these pieces, and to a lesser but no less relevant extent, is that these cuts feel like a part of an opening whole that is also at the end of something, like quiet exits from a long-form work, with the feelings of being finished, exhausted, lulled by the lack of energy and motion. It's impossible to say, but when engaging disc two, it feels almost as if it is a mirror image to Gavin Bryars' magnificent "The Sinking of the Titantic" (the second version). Here, where melody dissipates and disappears or never even arrives, as in "The Daughters of Quiet Minds," or the in-and-out of the ether feel in "That Finger on Your Temple Is the Barrel of My Raygun," where actual oceanic and perhaps ship sounds can be heard washing through the mix; and the piece is merely three notes in scale. The sense of drama and restless experimentation are portrayed in back to back pieces ("Humectez la Mouture" and "Tippy's Demise") where on the former a voice in French speaks out of an indescribable series of spaces and noises, and on the latter a cello harmonically plays with the all but absent "orchestra" who have disappeared into the actual feel of the piece rather than remained in it's mechanical parts. The set's final cut, "Hunting for Vegetarian Fuckface" begins with voices, muted yet telling, washed into the emerging sound, where chords express themselves, shift and change shape, color and dimension, becoming both something more and something less in the process. At over 17 minutes, more instruments are added, they emerge louder and are more "present" but remain under the guise of absence, as that thing that has already been wiped away. The single- and two-note lines that emerge from the slow, turtle-like pace of the track never move toward anything else even though they assert the theme in various dynamic ways on occasions before re-entering the shadow world of sound. Everything here is rounded. There are no edges on either disc, it's all fuzzy and yet brilliant to hear at the same time. It's music of such quiet and devastating power it can silence a room in five minutes without the volume knob on the stereo being manipulated. There are detractors - or better yet, cynics - who wonder why, and how, music like this. Stars of the Lid & Their Refinement of the Decline Stars of the Lid Click here to see description ShippingAll domestic packages are shipped for Free (Unless other shipping method was selected during the checkout)
- We ship within two business days of payment, usually sooner
- Standard FREE shipping takes between 3-5 business days
- Expedited shipping takes between 2-3 business days
- Overnight shipping takes between 1-2 business days
We do not accept P.O. BOXES - PLEASE PROVIDE A PHYSICAL ADDRESS
We Ship Globally using ebay's GSP, the item is sent to a logistic center in KY and shipped from there to the rest of the world.
- International customers are responsible for all duties and taxes
- Contact your local authority for questions related to the amount of duties or taxes you will be responsible for
In the event that you would like to return your purchase, we allow returns that are processed within the defined return date (the return date is to be found in the return policy/shipping and handling section)
Please contact us for a return authorization and the return shipping address. Please contact us for a Return Merchandise Authorization (RMA) number. We advise you to use a reputable carrier service when returning your goods. Please pack all returns appropriately.
- We ship globally Via eBay's global shipping program (GSP). Thus we don't cover returns for items shipped globally. Buyers returning such items will be refunded ONLY for the item's cost and not for the shipping.
- please check the Voltage information and make sure it matches the one in your country. In case it's not stated in the description, do ask us.
PayPal is our preferred method of payments it's the quickest, easiest and most secure way to pay for your goods or services online. PayPal offers buyer and seller protection should there be a problem.
If you do not have a PayPal account, to get started and buy your first item with us is very easy. Simply click on the 'Buy It Now' button and follow the eBay checkout steps. Select PayPal as the payment method you then will be given the chance to enter your card details in to PayPal's secure checkout in order to pay for your order. Once the payment has been made, you will then be given the opportunity to make your own PayPal account to make paying for your items in the future very easy.
Should there be a problem with payment please do let us know.
FeedbackCustomer satisfaction is very important to us. If you have any problem with your order,please contact us and we will do our best to make you satisfied, please do not leave a negative feedback before we resolve your problem.
We guarantee that your issue will be solved quickly.
As long as you are happy with your purchase of , please leave us a positive feedback.
Your feedback is very important to us it affects our search placement on eBay. We will leave a positive feedback for you in return automatically once we receive your feedback.
If you have any queries, please contact us via ebay. We usually respond within 24 hours on weekdays.
Thank you for visiting our ebay store!
After the near symphonic exercise of engaging the void that was Tired Sounds of Stars of the Lid in 2001, it was hard to believe there was anything left to do. Wrong. Brian McBride and Adam Wiltzie emerged from the studio in early 2007 with the equally huge And Their Refinement of the Decline. The notion of symphonic here is, without doubt, still present, but not in any normal way. Over two very differently themed discs, and three LPs, Stars of the Lid engage long conceptual ideas from a place one can only call micro-minimalism. An obsession with drones fading in and out on all kinds of instruments is what takes precedent here, whether that be a string section, a solo cello, harp, trumpet or a children's choir. (Yes, all of them are here, and more.) Don't worry, all this deep fixation with drones and classical music doesn't mess up Stars of the Lid's sense of humor. The titles are still hilarious in places (the set opens with a piece titled "Dungtitled (In a Major)"). The sound of drones is prevalent on disc one, though the drones change and are actually held notes. Whether they are played live or simply articulated and then manipulated by electronics doesn't matter. The feeling of being washed over, being gently pulled under water to someplace where language no longer makes sense, feelings get all folded together and an overwhelming calm takes over - especially at loud volumes - as single notes are held by the strings for as long as five minutes. The aforementioned piece is like this, as are "The Evil That Never Arrived," and "Apreludes (In C Major)," which moves through one note for minutes at a time with an ever increasing dynamic and textural array of sounds and instruments and begins to feel like the opening theme of 2001: A Space Odyssey. Yet the real bottom line in these pieces, and to a lesser but no less relevant extent, is that these cuts feel like a part of an opening whole that is also at the end of something, like quiet exits from a long-form work, with the feelings of being finished, exhausted, lulled by the lack of energy and motion. It's impossible to say, but when engaging disc two, it feels almost as if it is a mirror image to Gavin Bryars' magnificent "The Sinking of the Titantic" (the second version). Here, where melody dissipates and disappears or never even arrives, as in "The Daughters of Quiet Minds," or the in-and-out of the ether feel in "That Finger on Your Temple Is the Barrel of My Raygun," where actual oceanic and perhaps ship sounds can be heard washing through the mix; and the piece is merely three notes in scale. The sense of drama and restless experimentation are portrayed in back to back pieces ("Humectez la Mouture" and "Tippy's Demise") where on the former a voice in French speaks out of an indescribable series of spaces and noises, and on the latter a cello harmonically plays with the all but absent "orchestra" who have disappeared into the actual feel of the piece rather than remained in it's mechanical parts. The set's final cut, "Hunting for Vegetarian Fuckface" begins with voices, muted yet telling, washed into the emerging sound, where chords express themselves, shift and change shape, color and dimension, becoming both something more and something less in the process. At over 17 minutes, more instruments are added, they emerge louder and are more "present" but remain under the guise of absence, as that thing that has already been wiped away. The single- and two-note lines that emerge from the slow, turtle-like pace of the track never move toward anything else even though they assert the theme in various dynamic ways on occasions before re-entering the shadow world of sound. Everything here is rounded. There are no edges on either disc, it's all fuzzy and yet brilliant to hear at the same time. It's music of such quiet and devastating power it can silence a room in five minutes without the volume knob on the stereo being manipulated. There are detractors - or better yet, cynics - who wonder why, and how, music like this. Stars of the Lid & Their Refinement of the Decline Stars of the Lidprice rating
