℗ 2024 Caroline Shaw, under exclusive license to Nonesuch Records Inc.
Released | April 2, 2024 |
Duration | 44m 06s |
Record Label | Nonesuch |
Genre | Alternative |
Rectangles and Circumstance
Caroline Shaw, Sō Percussion
Available in MQA and 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
1.1
|
Rectangles and Circumstance
Caroline Shaw; Sō Percussion |
2:55 | |||
1.2
|
Sing On
Caroline Shaw; Sō Percussion |
3:48 | |||
1.3
|
Silently Invisibly
Caroline Shaw; Sō Percussion |
4:08 | |||
1.4
|
And So
Caroline Shaw; Sō Percussion |
5:27 | |||
1.5
|
The Parting Glass
Caroline Shaw; Sō Percussion |
5:44 | |||
1.6
|
Slow Motion (feat. Ringdown)
Caroline Shaw; Sō Percussion; Ringdown |
4:01 | |||
1.7
|
Who Turns Out The Light
Caroline Shaw; Sō Percussion |
5:24 | |||
1.8
|
Like A Drum
Caroline Shaw; Sō Percussion |
3:58 | |||
1.9
|
This
Caroline Shaw; Sō Percussion |
2:45 | |||
1.10
|
To Music
Caroline Shaw; Sō Percussion |
5:56 |
Rectangles and Circumstance is an album of ten songs co-written and performed by Caroline Shaw and Sō Percussion. The album follows their Grammy-winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021’s Let the Soil Play Its Part, with Shaw on vocals backed by Sō—Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy Award–winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil… and Rectangles and Circumstances.
Sliwinski says in the new album’s liner notes, “After a few years of touring Let the Soil Play Its Simple Part together, with a pandemic in between, we came to record our second album, Rectangles and Circumstance, as a road-tested band who knew each other’s strengths, weaknesses, and tendencies intimately.” He continues, “Most of the songs started with instrumental pieces or fragments of pieces from Jason or Eric.
“As both a songwriter and a classical composer, Caroline is accustomed to writing lyrics as well as setting them. Going over texts with her is like working on music: I collect a handful of poems and send them over to her, waiting to see if anything catches her interest, then I modify my search based on her feedback. For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped its expressive mode [and] ended up using verses by Christina Rosetti, Emily Brontë, Emily Dickinson, Gertrude Stein, and William Blake … The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson.”
- Adam Sliwinski
96 kHz / 24-bit PCM – Nonesuch Studio Masters
Tracks 1-10 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
Tracks 1-10 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -0.44 -1.29 to -0.20 | -14.86 -18.58 to -13.04 | -12.12 -15.00 to -10.20 | 8 7 to 11 | |
1 | Rectangles and Circumstance | -0.39 | -14.63 | -12.2 | 8 |
2 | Sing On | -0.39 | -13.04 | -10.2 | 7 |
3 | Silently Invisibly | -0.39 | -14.19 | -11.6 | 9 |
4 | And So | -0.39 | -14.82 | -11.8 | 7 |
5 | The Parting Glass | -0.39 | -14.30 | -11.5 | 8 |
6 | Slow Motion (feat. Ringdown) | -0.36 | -13.67 | -11.3 | 8 |
7 | Who Turns Out The Light | -0.20 | -15.64 | -12.9 | 9 |
8 | Like A Drum | -0.20 | -13.90 | -11.4 | 8 |
9 | This | -1.29 | -18.58 | -15.0 | 11 |
10 | To Music | -0.39 | -15.83 | -13.3 | 9 |