Classic black vinyl pressing back in stock, note new price. The iconic 1991 album. An album with 250K+ sales since its debut. I first heard Slint before they were called that, but the difference between them and their contemporaries was already in concrete. From the outset they made music to suit themselves, not an audience, and their dogged pursuit of the sound of their imagination is still utterly unique. Tendrils of continuity between the doom of heavy metal, the drama of modernist classical music, and the rude musk of punk may not be apparent at first glance, but they glow like a web when illuminated by the fire of Slint’s muse. Nobody thinks about their music, or music itself, like Slint. Love this fucking band. Steve Albini, 2014. Produced by Brian Paulson at River North Recorders in Chicago and released by Touch and Go Records in April of 1991, the six songs on Spiderland methodically mapped a shadowy new continent of sound. The music is taut, menacing, and haunting; its structure built largely on absence and restraint, on the echoing space between the notes, but punctuated by sudden thrilling blasts of unfettered fury. It is a sound that no one had heard before and that no one will ever forget. The eerie, now-iconic black and white cover photo of the four-band member’s heads breaking the surface of the water was taken by their friend Will Oldham. Spiderland spawned a whole new genre, frequently called PostRock, and came to be regarded as one of the most important and influential records of the past thirty years. SLINT broke up shortly before Spiderland was released. Band members went on to play in Tortoise, the Breeders, Palace, The For Carnation, Papa M, Evergreen, Interpol, and the Yeah Yeah Yeahs.

* TOP 100 ALBUMS OF THE 1990s – SPIN *

** 100 BEST ALBUMS – NME **

*** 100 GREATEST ALBUMS 1985-2005 – PITCHFORK.COM ***