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CHAPTERHOUSE

Five rail-thin longhairs from Reading, England, Chapterhouse was first linked to the space rock likes of Spacemen 3 and Loop, the connection with the former being inextricable during the band's youngest months, thanks in part to vocal support from Sonic Boom. Early on, the two bands also shared the same management and gigged together. As the years transpired, Chapterhouse would eventually be identified as a shoegaze band, thrown in with the so-called "Scene That Celebrates Itself," as alternately championed and ridiculed by the U.K. press. Until their unfortunate slip into an overambitious, ill-fitting, increasingly dance-reliant sound with unconvincing gospel references, Chapterhouse could switch from bliss to dread in an instant, with steady downpours of guitars and buried vocals that were either phased into haunting drones or ecstatic rushes of melodic noise

"WHIRLPOOL"

1991    LP+12"     DEDICATED RECORDS      DEDLP 001S

MADE IN ENGLAND    ORIGINAL PRESSING

[Printed on rear sleeve: Made in England.

Printed on LP labels: Made in Germany.]

LIMITED EDITION with FREE 12" SINGLE SIDED

[Round white sticker attached to front cover states: 

'THIS ALBUM INCLUDES FREE 12" SINGLE DIE DIE DIE (Previously unreleased) DEDLP 001S'.]

SINGLE COVER + INNER SLEEVE

Barcode and Other Identifiers

Barcode: 5 020752 000405

Label Code: none

LABEL: DEDICATED - BLUE (LP) & BLACK (12") LABEL w/'CAT' PHOTO on TOP - WHITE/YELLOW TEXT

Catalog on cover:  (spine & rear) DEDLP 001S
Catalogue on inner sleeve: DEDLP 001-8

Catalog on LP labels: DEDLP 001 A / DEDLP 001 B

12" Single label: DED 002 C

LP Matrix / Runout (Side A, Stamped): 103 DM F-1847 A-1 C
Matrix / Runout (Side B, Stamped): 103 DM F-1847 B-1 C

12" Matrix / Runout (Side A, Stamped): DED 002 A - 2 J - 1 - 1
Matrix / Runout (Side B, Stamped): LP F B 12   (Scratched out): 3

On all labels: rim text reads "All rights....prohibited"

? & © dedicated 1991

(on LP only): Made in Germany

produced by chapterhouse (except*)

all songs copyright control

the copyright in these sound recordings is owned by dedicated

(on 12", Side A only): produced by chapterhouse   mixed by john fryer

copyright control

the copyright on this sound recordings is owned by dedicated

On LP Inner Sleeve: Credits + Tracklist

On 12" Inner Sleeve: British Patent No.1072844 & 1125555   563R  MADE IN GREAT BRITAIN    10/90

On Back Cover: ? & © dedicated 1991.....

 made in england.   distributed by rough trade in the uk

tracklisting

LP Side A: BREATHER* - PEARL* AUTOSLEEPER - TREASURE

Side B:  FALLING DOWN - APRIL - GUILT - IF YOU WANT ME - SOMETHING MORE*

12" Side A: DIE, DIE, DIE

Side B: none

grading
RECORDS EX but (please, read above description)
SLEEVE VG+ but (please, see pictures and read above description)

Victim of a double whammy -- caught in the already building backlash to the shoegazer scene at home and completely ignored in the States, as was just about anything else British -- once Nevermind and Ten hit the charts Chapterhouse's album debut could have, and should have, won a bigger name for itself. At once more dance-flirting and garage-punky than most recordings by other My Bloody Valentine obsessives that emerged in the early '90s, though suffering the same underplaying in the vocal department, Whirlpool builds nicely on the three earlier EP releases with a similar sense of "what the hey -- if it works, try it." As an album, it doesn't per se connect as a unified piece -- the final track listing comes from a variety of recording sessions with a large number of producers and remixers, including Robin Guthrie, Stephen Hague, John Fryer, and Ralph Jezzard. As a collection of mostly killer tracks, though, this is mighty fine. "Breather" kicks it off with a rushing shudder that mixes its acoustic and electric guitars well, while "Pearl" throws in trancey beats, John Bonham samples, and some fine art-glazed feedback riffs to create as perfect a nugget of the era as any. "Falling Down" has similar heavy-groove action to it, Madchester as played by Loop. Other highlights are more strictly rocky, like the slow-build/rave-up/freak-out/repeat "Autosleeper" and "April," with a big guitar wash up and out through the length of the song. A gentler version of early track "Something More" closes the album well; the overall effect is strong promise for whatever would come next...(AllMusic)