Name: A Series Of Sneaks
Brand: Spoon

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2020-08-14

Format multiplier

Catalogue number

5190981

UPC / Barcode

191401149112

5190982

191401149198

Artist

Spoon

Label EU

Matador

Genre EU

Alternative / Modern

U.S. independent label based in NYC; for company roles and copyrights please consider [l390562] for the USA, [l=Matador Records Ltd.] for the UK company division and the generic company profile relating to either legal entities [l=Matador Records (2)] 
[b]Note that while some Matador releases are exclusive to North America or Europe, they use one numbering system for all releases, so it is not necessary to enter them under separate labels.[/b]

The Matador label began in 1989 when [a=Chris Lombardi] dragged the Austrian duo H.P. Zinker into Wharton Tiers’ Fun City studio to record OLE-001, ...and there was light. Run out of Chris’ New York apartment, Lombardi added artists such as the Dustdevils, Railroad Jerk and Superchunk to the initial roster. Joined by longtime Homestead Records manager Gerard Cosloy in 1990, Matador experienced its first taste of crazed media attention & big sales with the North American release of Teenage Fanclub’s debut long-player, A Catholic Education. Over the years, the label has moved from shoebox sized offices to larger and larger complexes, the staff has grown from 2 to 24, and the roster has simply exploded. As well as functioning as the North American home to Pavement, Liz Phair and The Jon Spencer Blues Explosion, Matador has helped artists such as Yo La Tengo, Cat Power, Cornelius, Solex, Pizzicato Five, Helium and the Arsonists reach audiences worldwide.

Matador has also served as the North American licensee for a number of exceptional international acts, including Belle & Sebastian, Mogwai, Boards of Canada, Red Snapper, Arab Strap and others. Since 1996, Matador has maintained separate offices and staff in London. In addition to supervising the promotion, sales and marketing of Matador titles on the continent, Matador Europe has also licensed recordings from some of North America’s most acclaimed new artists, M. Ward, Sleater-Kinney, Modest Mouse, and Superchunk to name a few.

While Matador has often been characterized (not by the label itself) as an underground or "indie" rock label, over the years, the label’s musical direction has grown, to the point where many hip hop, electronic and experimental acts play as prominent a role in the label’s sound & future as any number of singer/songwriters and rock bands. Sometimes all of the above converge.

During the 1990s, Matador entered into partnerships with [l=Atlantic] and [l=Capitol Records]. In 1999, Lombardi & Cosloy purchased back Capitol's 49% share of the label, and in 2002, [l613604] purchased 50% of the legal entities behind the Matador label / imprint [l390562] and [l291335] and took over Matador's worldwide marketing.

American rock band Spoon was formed in 1993 in Austin, Texas. The brainchild of Britt Daniel (vocals, guitar) and Jim Eno (drums), the band has been a consistent force in the music industry.
With their unique sound and captivating performances, Spoon has gained a loyal fan base over the years. Their music blends elements of indie rock, post-punk, and pop to create a distinctive style that sets them apart from other bands.
Known for their catchy hooks and introspective lyrics, Spoon's discography includes critically acclaimed albums such as "Ga Ga Ga Ga Ga" and "They Want My Soul." Their songs have been featured in popular TV shows and movies, further solidifying their status as influential musicians.

Newest Listed Items

If there was one sound guaranteed to shock in British jazz during 1966 it was that of the Spontaneous Music Ensemble, the free-improvising collective centred around drummer John Stevens which that year helped establish London’s Little Theatre Club as a stronghold of the ‘new wave’. Although the avant-garde were slow in gaining a toe-hold on British jazz tastes, every so often a grass roots jazz club would take a chance on the new style, such as the night in June 1966 when the SME alighted on Greenwich’s Prince Albert pub, eager to deliver their message to fresh ears. This CD set contains all the music played that night plus a 30 minute Q&amp;A session, creating what must surely be one of the most important early documents of British ‘free’ jazz. CD2 also adds a studio-taped session from later that year. Both sets are previously unissued and both are essential listening for those interested in the course of modern jazz development within the UK.

A Series Of Sneaks

Music EU