
In a surprising turn of events, Taylor Swift’s latest record has become an unexpected sensation thanks to an accidental inclusion of tracks from iconic electronic duo Cabaret Voltaire. Reactions to the mix-up have been divided, with some dubbing it “fire” and finding themselves captivated by the eerie yet enticing sound. Hunter, a fan of Swift, confesses, “I was initially creeped out, but once the beat kicked in, I was totally vibing with it.”
Stephen Mallinder, co-founder of Cabaret Voltaire and currently part of Creep Show, shares an amusing anecdote about his kids in Australia informing him of the unusual collaboration. “They told me, ‘Dad, you’re on a Taylor Swift record, and this girl looks really distraught about it.'” Mallinder chuckles at the thought, finding it all quite entertaining.
The compilation responsible for this unexpected musical fusion was released on Above Board, a label helmed by Dan Hill, and curated by Ed Cartwright and Leon Oakey. Cartwright expresses his delight, stating, “It’s incredibly charming. The music selection couldn’t have been more perfect for this mysterious occurrence.” Mallinder adds humorously, “This might just be the most subversive thing we’ve ever done.”
The question on everyone’s mind is, how did this happen? And why does it appear to be a unique and enigmatic case thus far? Cartwright speculates, “We assumed it was a batch issue, but no other instances have surfaced.” Research suggests that nearly half of the vinyl records purchased remain unplayed, leaving room for the possibility that more copies with this unexpected blend exist, unbeknownst to their owners.
The initial pressing of Happy Land consisted of 500 copies, but the exact number of these “misplaced” records that found their way onto Taylor Swift’s albums remains unknown. Swift’s label has acknowledged the situation, stating, “We are aware that there are an extremely limited number of incorrectly pressed vinyl copies in circulation and have addressed the issue.” The mishap seems to have occurred during the manufacturing process at the French plant MPO, although they have yet to comment on the matter.
Cartwright chuckles at the unintended consequences, noting, “What’s amusing is the number of people now following in Rachel’s footsteps.” He refers to fans who are flocking to Taylor Swift’s UK web store, hoping to order the orchid triple vinyl in the hopes of snagging this extraordinary anomaly.
Examples of this vinyl frenzy are not hard to find. Hill exclaims, “These records are going to be like gold dust! I’ve purchased two, and everyone in my office has bought one. Even people I know who never buy records are desperately trying to get their hands on a copy. It’s brilliant. You have Taylor Swift fans who are being exposed to electronic music, and then you have the entire Discogs-digging culture eagerly seeking out these faulty Taylor Swift records, something they would never normally consider purchasing.”
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