The package includes space for six 12” vinyls, three CDs and three booklets all neatly
surrounded by a luxurious film laminated slip case. This type of packaging
might be the perfect solution for a unique collection or limited edition you
might be planning. Numero furnishes their own replication and vinyl pressing.
(you can click on the image for an enlargement)
(the CDs are housed in a slot we built into the back of each jacket)
(a close-up of one of the jackets)
(film laminated slip case)
For other great media ideas to increase your revenue, please review some of the other posts on this blog or simply call us. Great solutions for 7”, 10", 12" and disc media.
About the music:
From 1990-1994, New York City's Codeine were making somnambulant waves on a musical landscape reeling from Sub Pop's better known exports. 1991's Frigid Stars LP, 1992's Barely Real, and 1994's The White Birch received much critical praise upon release, but Codeine dissolved before any of that hype would carry Low, Bedhead, and the Red House Painters to international acclaim.
All three albums have been subjected to Numero's notoriously elaborate packaging and detailed liner notes, including essays by Sub Pop's Jonathan Poneman, Love Child's Alan Licht, and the Flaming Lips' Wayne Coyne and Steven Drozd. The albums have been faithfully restored from the original masters, and are accompanied by a plethora of singles, demos, live recordings, and Peel sessions. Each album will be packaged as a double album with a CD of the same material. Additionally, an ultra-deluxe box set of all three albums is available in a limited edition of 1000 copies. The box set features no additional tracks, but does come with a tidy box that holds all three albums National Geographic-style.
Available from Numero Group; retail $80.00
From
Codeine’s first album, “Frigid Stars”, liner notes:
Four
months prior to Sub Pop’s historic Nevermind windfall, the spate of glowing
reviews for Frigid Stars LP made Poneman and Pavitt feel they had found their
next meal ticket. Interview’s rave write-up was the first to use the dreaded
“G” word: “In the mid-80’s, 50 or so bands effloresced like lichens, attempting
to parlay studied whimsy into Velvet Undergroundish grunge. One of these bands
actually got it right.” Now opening for the Smashing Pumpkins, Unrest, and
other heavies among the major-indie elite, and booked for a Euro swing in
support of Grubbs and McEntire’s Bastro that fall, Codeine seemed poised to break
well beyond Sub Pop’s devoted singles club subscribers. But at the time,
glacial tempos performed by men with guitars amounted to a punk provocation.
“People could sometimes be really taken aback by our music,” said Brokaw. “Some
of the people at the shows were very dismayed to discover that we did not sound
like Mudhoney or Soundgarden. It said on all the flyers “Codeine—from Sub
Pop!,” as if Sub Pop were some sort of Island of Grunge.”
In truth, grunge was about to become one very
crowded island. And Codeine’s frigid corner of Sub Pop’s indie cocoon gained
heat, as the nation’s music-buying ears were bent irrevocably toward something
volcanic awakening in Seattle. Judson Picco & Ken Shipley – January 2012
