Your basket is empty

Categories :

Similar artists

Albums

From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released May 25, 2018 | Glassnote Entertainment Group LLC

Hi-Res
Chvrches influenced mainstream pop with The Bones of What You Believe and Every Open Eye, and on Love Is Dead, mainstream pop returns the favor. As distinctive as their heartfelt electro-pop is -- and how well they do it -- Lauren Mayberry, Iain Cook, and Martin Doherty recognized they needed some variety on their third album. Instead of self-producing Love Is Dead, they opened their creative process to collaborators who reflect the roots of their sound as well as its place in the 2010s. Dave Stewart, whose mastery of emotive synth pop stretches back to his Eurythmics days, served as Chvrches' mentor, while Greg Kurstin, who's straddled the line between alternative and mainstream pop since the '90s, co-wrote and co-produced many of the album's tracks. Not surprisingly, this is the band's biggest-sounding album yet, and the stakes in their songs have never sounded higher. Love Is Dead lives up to its dramatic title, delivering anthems about seizing the moment in the face of loss; on songs like "Wonderland," the contrast between their dark lyrics and neon sounds is especially sharp. Similarly, the album's glossy production provides the perfect foil for Lauren Mayberry's vocals, which haven't sounded this direct or empathetic since The Bones of What You Believe. The way she sings "I've been waiting for my whole life to grow old/And now we never will" on "Graffiti" deftly blends heartache and joy, while "Deliverance" reaffirms that she's second to none at holding the subjects of her songs accountable for their actions. She sells many of Love Is Dead's poppiest moments, adding an extra dash of charisma to "Forever" and "Graves," both of which find Chvrches dancing on their troubles with a few new moves. However, not all of their changes are this successful. As they widen and narrow their sound, their music suffers when they go too far to one extreme or the other. Compared to its poignant verses, "Get Out"'s choruses are massive but thin, and "Miracle"'s distorted vocals and stomping beats are late-2010s pop trends that make Chvrches sound interchangeable with too many other acts. Conversely, the interlude "ii" feels like an unnecessary bid for artistic credibility, and when Mayberry isn't the focus (as on "God's Plan" and the Matt Berninger duet "My Enemy") the album loses momentum. Fortunately, "Really Gone" -- which is so affecting that it should have been the closing track -- provides a better respite from Love Is Dead's pop anthems. Meanwhile, "Heaven/Hell" cleverly questions what is real and what is fake, a pointed topic for a group that blurs the boundaries between indie cred and pop accessibility as skillfully as this one does. The few stumbles that the band makes on Love Is Dead are almost refreshing; they reaffirm that Chvrches aren't androids designed to craft perfect synth pop. Indeed, the most impressive thing about the album might be that as big as its sound gets, the band never loses touch with the humanity that's at the core of their music. © Heather Phares /TiVo
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released September 25, 2015 | Glassnote Entertainment Group LLC

Hi-Res
Chvrches' impact on the pop landscape made itself known almost immediately after the release of The Bones of What You Believe -- in the years that followed, artists big and small were borrowing the Scottish trio's flair for heart-on-sleeve lyrics wrapped in soaring, synth-laden choruses. Even if the sensitive synth-pop field was more crowded at the time of Every Open Eye's release than it was in 2013, Chvrches distinguish themselves by continuing to do this sound better than just about anyone. Rather than expanding on their debut's combination of hooks and huge soundscapes, they streamline the formula that made songs like "Recover" and "The Mother We Share" so beloved. "Never Ending Circles," with its staccato verses and sweeping choruses, might be the quintessential Chvrches song. This isn't to say that Every Open Eye is predictable. The band makes some subtle adjustments, opting for a bright, punchy approach inspired by Quincy Jones' work with Michael Jackson on Off the Wall and Thriller, where the producer made a handful of elements sound massive. Sometimes the '80s influence is understated, adding a more urgent bounce to songs like "Keep You on My Side" and "Bury It;" sometimes it's more blatant, with the synth tones on "Make Them Gold" evoking the theme song to St. Elmo's Fire, and the giddy arpeggios on "Clearest Blue" echoing Depeche Mode's "Just Can't Get Enough." But even if Every Open Eye is cheerier-sounding than The Bones of What You Believe, its emotions are just as complex. As on their debut, it's Lauren Mayberry who brings Chvrches' skyward sounds back down to earth. On songs such as "Empty Threat" and "Playing Dead," she's vulnerable yet clear-eyed, open to letting people into her heart and strong enough to let them go if and when the time comes. Martin Doherty sings one of the album's most disillusioned songs, the Twin Shadow-esque "High Enough to Carry You Over" and shines on "Down Side of Me," a mournful duet with Mayberry that delivers one of the album's stand-out moments and proves the band's dark side is alive and well. It's another example of how Chvrches give fans what they want without rehashing their debut on Every Open Eye, an almost uncannily well-crafted second album. © Heather Phares /TiVo
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released September 24, 2013 | Glassnote Entertainment Group LLC

Hi-Res
Arriving after a year's worth of anticipation that included plenty of blogger appreciation, several EPs, and inclusion in the BBC's Sound of 2013 shortlist, Chvrches' debut album, The Bones of What You Believe, surpassed the significant hype surrounding it. Many of these songs already appeared on those buzz-building EPs, most notably "The Mother We Share," "Gun," and "Recover," all of which exemplify the Glasgow trio's way with frosty synths and poignant melodies. Within the album's context, though, they reveal a band not nearly as arty or aloof as seemingly like-minded contemporaries. With their ready hooks and fondness for grand gestures, Chvrches bring pop with a capital P back to synth pop. As their early EPs hinted, a large part of their appeal comes from Lauren Mayberry's voice. There's something about her bright, slightly raspy soprano that grabs ears and hearts, even though she spends most of the album telling off those near and dear to her. On "Lungs," she sings "All the things you tell yourself offer no resolution" to a melody so sweet that it just sharpens the sting of her words, and the way she delivers the refrain "I'll be a thorn in your side" on "We Sink" sounds more like a promise than a threat. While keyboardist/vocalist Martin Doherty's lead turns on "Under the Tide" and the dreamy album-closer "You Caught the Light" offer pleasant respites from Mayberry's intensity, his tracks take the band in a direction that sounds more like a synth-driven version of Frightened Rabbit or the Twilight Sad (in fact, Doherty was a touring member of the latter band). Like those bands, as well as their '80s influences, Chvrches embrace big sounds and feelings without a trace of irony, whether it's "Tether"'s massive drums or Mayberry's pleas to "make me blind so I don't ever look back" on the slow-building "Night Sky." This combination of disarming emotional directness and huge melodies makes The Bones of What You Believe a fine introduction to one of the bands who helped shape the sound of the 2010s © Heather Phares /TiVo
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released September 20, 2013 | Glassnote Entertainment Group LLC

Hi-Res
Arriving after a year's worth of anticipation that included plenty of blogger appreciation, several EPs, and inclusion in the BBC's Sound of 2013 shortlist, Chvrches' debut album, The Bones of What You Believe, surpassed the significant hype surrounding it. Many of these songs already appeared on those buzz-building EPs, most notably "The Mother We Share," "Gun," and "Recover," all of which exemplify the Glasgow trio's way with frosty synths and poignant melodies. Within the album's context, though, they reveal a band not nearly as arty or aloof as seemingly like-minded contemporaries. With their ready hooks and fondness for grand gestures, Chvrches bring pop with a capital P back to synth pop. As their early EPs hinted, a large part of their appeal comes from Lauren Mayberry's voice. There's something about her bright, slightly raspy soprano that grabs ears and hearts, even though she spends most of the album telling off those near and dear to her. On "Lungs," she sings "All the things you tell yourself offer no resolution" to a melody so sweet that it just sharpens the sting of her words, and the way she delivers the refrain "I'll be a thorn in your side" on "We Sink" sounds more like a promise than a threat. While keyboardist/vocalist Martin Doherty's lead turns on "Under the Tide" and the dreamy album-closer "You Caught the Light" offer pleasant respites from Mayberry's intensity, his tracks take the band in a direction that sounds more like a synth-driven version of Frightened Rabbit or the Twilight Sad (in fact, Doherty was a touring member of the latter band). Like those bands, as well as their '80s influences, Chvrches embrace big sounds and feelings without a trace of irony, whether it's "Tether"'s massive drums or Mayberry's pleas to "make me blind so I don't ever look back" on the slow-building "Night Sky." This combination of disarming emotional directness and huge melodies makes The Bones of What You Believe a fine introduction to one of the bands who helped shape the sound of the 2010s © Heather Phares /TiVo
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released September 25, 2015 | Glassnote Entertainment

Hi-Res
Chvrches' impact on the pop landscape made itself known almost immediately after the release of The Bones of What You Believe -- in the years that followed, artists big and small were borrowing the Scottish trio's flair for heart-on-sleeve lyrics wrapped in soaring, synth-laden choruses. Even if the sensitive synth-pop field was more crowded at the time of Every Open Eye's release than it was in 2013, Chvrches distinguish themselves by continuing to do this sound better than just about anyone. Rather than expanding on their debut's combination of hooks and huge soundscapes, they streamline the formula that made songs like "Recover" and "The Mother We Share" so beloved. "Never Ending Circles," with its staccato verses and sweeping choruses, might be the quintessential Chvrches song. This isn't to say that Every Open Eye is predictable. The band makes some subtle adjustments, opting for a bright, punchy approach inspired by Quincy Jones' work with Michael Jackson on Off the Wall and Thriller, where the producer made a handful of elements sound massive. Sometimes the '80s influence is understated, adding a more urgent bounce to songs like "Keep You on My Side" and "Bury It;" sometimes it's more blatant, with the synth tones on "Make Them Gold" evoking the theme song to St. Elmo's Fire, and the giddy arpeggios on "Clearest Blue" echoing Depeche Mode's "Just Can't Get Enough." But even if Every Open Eye is cheerier-sounding than The Bones of What You Believe, its emotions are just as complex. As on their debut, it's Lauren Mayberry who brings Chvrches' skyward sounds back down to earth. On songs such as "Empty Threat" and "Playing Dead," she's vulnerable yet clear-eyed, open to letting people into her heart and strong enough to let them go if and when the time comes. Martin Doherty sings one of the album's most disillusioned songs, the Twin Shadow-esque "High Enough to Carry You Over" and shines on "Down Side of Me," a mournful duet with Mayberry that delivers one of the album's stand-out moments and proves the band's dark side is alive and well. It's another example of how Chvrches give fans what they want without rehashing their debut on Every Open Eye, an almost uncannily well-crafted second album. © Heather Phares /TiVo
From
HI-RES$4.49
CD$2.99

Alternative & Indie - Released November 16, 2018 | Glassnote Entertainment Group LLC

Hi-Res
For many bands, it's a rite of passage to release acoustic renditions of their songs, and it's one that Chvrches undergoes with the Hansa Session EP. During their tour in support of Love Is Dead, the trio took the opportunity to record unplugged versions of some of the album's songs at Berlin's famed Hansa studio, which has hosted David Bowie, Depeche Mode, and Nick Cave, among others. While many acts bring in the acoustic guitars and strings to add more emotional weight to their songs, the Love Is Dead songs Chvrches chose to remake on Hansa Session were already among the most moving on the album. "Graffiti" remains a wide-eyed highlight, while the hushed original version of "Really Gone" foreshadowed this release and sounds equally poignant here. The band takes the opportunity to experiment on "Heaven/Hell," which features a string arrangement that opens up the song and gives it more movement. However, the EP's most transformed song has to be "Miracle"; without the original version's heavy breakdowns, it feels searching instead of defiant. Though it's missing the magic that happens when Lauren Mayberry's voice combines with Iain Cook and Martin Doherty's synths, Hansa Session is still a nice change of musical scenery for Chvrches and their fans. © Heather Phares /TiVo
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released September 25, 2015 | Glassnote Entertainment Group LLC

Hi-Res
Chvrches' impact on the pop landscape made itself known almost immediately after the release of The Bones of What You Believe -- in the years that followed, artists big and small were borrowing the Scottish trio's flair for heart-on-sleeve lyrics wrapped in soaring, synth-laden choruses. Even if the sensitive synth-pop field was more crowded at the time of Every Open Eye's release than it was in 2013, Chvrches distinguish themselves by continuing to do this sound better than just about anyone. Rather than expanding on their debut's combination of hooks and huge soundscapes, they streamline the formula that made songs like "Recover" and "The Mother We Share" so beloved. "Never Ending Circles," with its staccato verses and sweeping choruses, might be the quintessential Chvrches song. This isn't to say that Every Open Eye is predictable. The band makes some subtle adjustments, opting for a bright, punchy approach inspired by Quincy Jones' work with Michael Jackson on Off the Wall and Thriller, where the producer made a handful of elements sound massive. Sometimes the '80s influence is understated, adding a more urgent bounce to songs like "Keep You on My Side" and "Bury It;" sometimes it's more blatant, with the synth tones on "Make Them Gold" evoking the theme song to St. Elmo's Fire, and the giddy arpeggios on "Clearest Blue" echoing Depeche Mode's "Just Can't Get Enough." But even if Every Open Eye is cheerier-sounding than The Bones of What You Believe, its emotions are just as complex. As on their debut, it's Lauren Mayberry who brings Chvrches' skyward sounds back down to earth. On songs such as "Empty Threat" and "Playing Dead," she's vulnerable yet clear-eyed, open to letting people into her heart and strong enough to let them go if and when the time comes. Martin Doherty sings one of the album's most disillusioned songs, the Twin Shadow-esque "High Enough to Carry You Over" and shines on "Down Side of Me," a mournful duet with Mayberry that delivers one of the album's stand-out moments and proves the band's dark side is alive and well. It's another example of how Chvrches give fans what they want without rehashing their debut on Every Open Eye, an almost uncannily well-crafted second album. © Heather Phares /TiVo
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released September 25, 2015 | Glassnote Entertainment Group LLC

Hi-Res
From
HI-RES$12.99
CD$8.99

Film Soundtracks - Released May 13, 2016 | EA Music

Hi-Res
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released May 25, 2018 | Glassnote Entertainment Group LLC

Hi-Res
From
HI-RES$14.99
CD$9.99

Alternative & Indie - Released September 25, 2015 | Glassnote Entertainment Group LLC

Hi-Res
From
CD$0.99

Alternative & Indie - Released May 1, 2020 | Glassnote Entertainment Group LLC

From
HI-RES$1.49
CD$0.99

Alternative & Indie - Released January 31, 2018 | Glassnote Entertainment Group LLC

Hi-Res
From
HI-RES$4.49
CD$2.99

Alternative & Indie - Released March 25, 2013 | Glassnote Entertainment

Hi-Res
"The production might have a glassy sheen, but raging waters churn below the surface in the lyrics of love and hope, sung by petite frontwoman Lauren Mayberry..." © TiVo
From
HI-RES$4.49
CD$2.99

Alternative & Indie - Released July 27, 2018 | Glassnote Entertainment Group LLC

Hi-Res
From
HI-RES$4.49
CD$2.99

Alternative & Indie - Released November 19, 2013 | Glassnote Entertainment

Hi-Res
From
HI-RES$4.49
CD$2.99

Alternative & Indie - Released November 16, 2018 | Glassnote Entertainment Group LLC

Hi-Res
From
CD$1.49

Film Soundtracks - Released November 4, 2014 | Hunger Games 3 - Mockingjay

From
HI-RES$1.49
CD$0.99

Alternative & Indie - Released November 17, 2014 | Glassnote Entertainment

Hi-Res
From
HI-RES$1.49
CD$0.99

Dance - Released December 18, 2015 | Glassnote Entertainment Group LLC

Hi-Res