Buscar:mean

FEATURING REWORKINGS BY YANN TIERSEN, BILL RYDER-JONES, MALIBU, ELUVIUM and
PETER GREGSON.
140g black vinyl with lacquers cut by Alchemy, printed inner sleeve, limited to 500 copies.
Michael Price has announced a new album, The Hope of Better Weather - part reissue, part reworks - due out onThe Control Room on 15 October 2021.
The new album takes his 2012 EP, The Hope of Better Weather, originally recorded by Price alone in a room with a
piano improvising, and brings it fully to life with the addition of a series of reworkings by Yann Tiersen, Bill
Ryder-Jones, Malibu, Peter Gregson and Eluvium.
He explains, “I wasn't trying to control what anybody else was doing. Everybody that joined in with the project gives
their own little piece of freedom. I was really interested in what freedom we all give ourselves, as well as being
fascinated to see what a little germ of an idea can mean to somebody else.”
Listen to Yann Tiersen’s rework of ‘The Anatomy of Clouds’: LINK
Listen to the original version of ‘The Anatomy of Clouds’: LINK
The five pieces, alongside these new reworkings capture a stark beauty, tenderness and delicacy in their tone. But
they are also wind-like in their shifting, expansive and elemental essence - capturing an exploration of the natural
world. “Nearly 10 years ago when I recorded these improvisations, I felt like I was missing the natural world - things
like the weather, the beach at Scarborough and all those kinds of visceral things.”
When Price revisited the work in recent months - at a time when many of us found ourselves more aware of the
natural world - he reconnected with it in a way that looks to connect with his next artistic steps. “You start off with
listening to 10 year old piano recordings and then you go through the reinterpretations of people looking at that
material now through their own lens. The fixation with weather, coastlines and with people connected with nature, is
really strong all the way through this project. Coming out the other side of it, it's kind of like a Northern weather feeling
- coming out with your collar turned up with a hat on, a bit drizzly and shit outside, but with a kind of determination
that is the route forward.”
Most musicians, if they are lucky, will master one craft or field within their career. For Michael Price, he’s managed
three, with his music spanning across piano, orchestral and soundtrack work. The soundtrack work - for TV shows
such as Sherlock, Dracula, and Unforgotten, and films such as Eternal Beauty, Cheerful Weather and Just Jim - has
seen Price win an Emmy, as well as receive countless nominations (including a BAFTA nomination). His work as a
solo artist takes the form of beautiful improvised piano works, such as Diary (2017), or via lush, grand, hyper-detailed
orchestral work, as heard on critically acclaimed releases via Erased Tapes such as Entanglement (2015) and Tender
Symmetry (2018). His latest release, The Hope of Better Weather, is rooted in the piano world but also exists as a
bridge crossing into new terrain..
The process of putting together the release has been an emboldening and liberating one for Price, and he finds
himself feeling buoyant about the possibilities of what lies ahead – which includes a new solo orchestral album. “It is
super freeing and liberating,” he says. “There's these little green shoots of a freedom emerging.”

In 2020 Sunnyboys will celebrate 40 years since their inception (though a mere 12 years of actual existence) via a new release SUNNYBOYS 40 that brings together the first ever re-release of the band’s much loved 1980 eponymous debut 7” - featuring the original version of the classic Alone With You - alongside four new recordings culled from the archives of chief songwriter Jeremy Oxley.
Recorded over two days in October 1980 and released via independent Sydney label Phantom Records on December 31st the same year, the four songs featured on the EP were essentially the first songs Jeremy Oxley had presented to the band on his arrival in Sydney from Kingscliff just a few months earlier. Alongside Alone With You they included Love to Rule, What You Need & The Seeker.
The debut ‘yellow’ ep was an instant underground smash selling out its initial pressing of 1000 copies in just 2.5 weeks. A further pressing of 1000 would follow but then all further attempts of a repress were quashed when the ep master mysteriously disappeared after band signed to Mushroom Records in February 1981. The tapes having never been recovered these masters have been taken from the cleanest vinyl available and appear here for the first time ever outside the 7” ep format and that limited run of 2000.
Fast forward 40 years (as you do) and Sunnyboys are enjoying a renaissance rarely seen for any band from any era. In truth their popularity now eclipses what it did in 1980-1984 with each successive tour selling more tickets and faster than the tour previous. Why not then give the people new music?
Part 2 of Sunnyboys 40 was recorded between touring commitments in 2018 at Airlock Studios, Brisbane. Overdubs were added over the following twelve months at locations in Sydney & Brisbane and the mixing completed in the summer of 2019 by current in-demand producer Konstantine Kerstin. The idea being to tackle some material Jeremy had written for other projects post-1984 and to complete some unfinished business from back in the band’s original lifespan.

Can’t You Stop is a reworking of a song Jeremy recorded as The Fisherman in 1986. The short-lived trio were Jeremy’s immediate post-Sunnyboys band and the original version was released on the Waterfront label the same year. In this guise Can’t You Stop features an all new arrangement plus those trademark Sunnyboys harmonies.

Lovers (On Another Planet’s Hell) meantime, is a reworking of a track from the Sunnyboys third album Get Some Fun. The original version featuring a 4/4 beat often referred to as the “AC/DC beat” which never sat well with the band. The opportunity to readdress that all these years later proving irresistible. The added keyboards of Alister Spence and brass playing of Eamon Dilworth and young Nico Oxley (Peter’s son) also adding a new dimension to the original.

Strange Cohesion was actually written post-Get Some Fun in 1984 and was performed by the band regularly during their final tour. It would feature on the band’s swansong release, 1984’s Real Live but was never recorded in the studio. 40 gives the track its recorded debut and gives some small hint as to what Sunnyboys album no.4 may have sounded like.

Originally released as a solo recording back in 1991 under the banner Jeremy ‘Ponytail’ Oxley Way After Five shares perhaps the strongest relationship to the ‘40’ concept. Jeremy’s voice at times just a croak - a by-product of the life he has lead for much of last 40 years - adding further poignancy to the songs lyric; and it’s another Oxley classic.

And what better way to celebrate both the new release and the milestone anniversary than by doing what Sunnyboys do best - play live! And so Sunnyboys hit the east coast this February including first time ever shows in Torquay and for Sydney’s Twilights @ Taronga. Special guests Painters & Dockers will join Sunnyboys for the shows in Victoria while garage rockers Rocket Science will join the birthday boys in Sydney.
“We really didn’t think we would ever play again as a band. But wow, we have and we sure are having a bloody great time doing it.” - Peter Oxley

Rhapsodia (2018), 17'

(2 movements and 1 interlude)

Dedicated to Marceline Lartigue

Created in the composer's own studio. T

echnical collaboration: Jonathan Prager


Battements solaires (2008), 17'35

Music for Patrick Bokanowski's film.

Produced in the Kira BM Films studios

Production: Kira BM Films with ARTE France and CNC contributions

Best Film Award, 2009 EXiS Festival Seoul (South Korea)

Michèle Bokanowski's art is one of densities, much like the density of a given colour, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds "be", even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition.

François Bonnet, Paris, 2020

Independent leaders in the UK drum and bass scene, Hybrid Minds have paved their own way to success through operating from left of centre and keeping true to themselves at every step of the way. Their early tracks, ‘Meant To Be’ and ‘Touch’ firmly established them within the circuit, before they went onto amass 25 million streams for the latter, release a popular debut album and set up their own label, Hybrid Music. The huge support from tastemakers in the scene doesn’t stop there, with editorial playlist adds across Spotify and Apple Music, spins on George FM, BBC Radio 1,1Xtra, Kiss FM UK, Kiss Dance, Kiss Fresh, Studio Brussels, FM4, triple j and Capital Dance, UKF backing and a memorable DJ Mag HQ live stream, Bad To Me offered a glimpse of what’s to come from the Drum & Bass duo when they drop the full EP this October. What’s more, a recent release alongside Pendulum for Louder Than Words saw the Australian heavyweights go liquid for the fourth and final track listing on their own EP. Always staying true to their sound and style, Hybrid Minds previous success came from their early tracks, Meant To Be and Touch, before they went on to boast over 1 million monthly listeners on Spotify, remix tracks for Above & Beyond and Tom Walker, and collaborate with the DJ heavyweight, Netsky for the global smash release, Let Me Hold You. More recently, they secured a primetime show on Kiss FM, embarked on a sell-out New Zealand tour and sold out their October ‘Outline’ o2 Academy, Brixton show, six months out!

Green Vinyl

Have you ever wondered what would happen if the Spice Girls smoked crack and joined forces with the Power Rangers on acid? Meet BĘÃTFÓØT. These punk-infused electronic poltergeists and big-beat acid trio are Udi Naor, drummer and founding member of electronic duo Red Axes, Adi Bronicki (who also fronts Israeli garage-punk-folk band Deaf Chonky) and ace of all trades guitarist Nimrod Goldfarb.
The band have been launching warped stoner-acid-pop out of Tel Aviv with maniacal intent and are producing post-punk rave bangers that will scorch every dance floor with a huge lethal smile. BĘÃTFÓØT
are a DIY supergroup who describe themselves as sitting somewhere between Aqua, Beastie Boys and The Prodigy.
Their music endeavours feel akin to being hurtled through a kaleidoscopic waterslide, overflowing with the spirit of 90’s youth culture. The radioactive trio are DJ’s, musicians, songwriters and producers with a diverse range of individual projects and talents, their combined sonics map your journey across the hazy astral spectrum of hip-hop, big beat and rave music. Morph these radioactive pieces with the no New Release Informationnonsense attitude of punk-rock and the venomous spitting flow of golden-era rap and you might just come close to fabricating the freakish sound of BĘÃTFÓØT.
The band’s self-titled debut is set for release on 17th September on Manfredi Romano aka DJ Tennis’ Life and Death. Founded in 2010, the imprint curates soulful dance music with a post-rock aesthetic.
This refreshingly original and experimental LP from BĘÃTFÓØT marks a new direction for Life and Death this year and beyond.
“BĘÃTFÓØT” takes unsuspecting listeners on a wild ride of unprecedented musical madness (firmly without seatbelts). Fizzy synthesiser programming stimulates you effervescently through the album like the welcomed sting of sour sweets, surprising accompaniments appear in the form of manipulated vocal lines and quirky samples, all jovially mixed together in a gummy melting pot of wild conceptualisation and starry eyed rhythms.
Thirteen tracks of unprecedented dancefloor mutations send us triumphantly into the candy-covered kingdom of BĘÃTFÓØT with open arms and infinite imagery of fanciful gutter-glam escapades. This project fulfills the role of a musical bulldozer, flattening all previous conceptions of what it means to belong to a genre and leaving behind a hot mess trail of anarchic musical fragments in its wake. The undying spirit of the nineties.
With fans that include legendary Irish born singer, songwriter and producer Roisin Murphy, BĘÃTFÓØT are a breath of fresh air set to be igniting dancefloors this summer.

An unheard production unit entirely geared towards hi-octane live explosiveness and spine-tingling studio hustle-and-bustle, Hysteria Temple Foundation step up with their anticipated debut platter, "Atrahasis EP" - a four-track EP by way of manifesto, due out for release on September 13 / 21.

Elusive and haunting by nature, skirting Shackleton-esque dub meanders, polyrhythmic folk instrumentation and further left-of-centre sonic divagations, the sound of Hysteria Temple Foundation is one that sheds skins when you expect it least. Scanning out a baroque timeline where no-holds-barred floor traction wildly clashes along deeper sound investigations, "Atrahasis" ushers us into a twirly pit of tribal drums and bow echoes.

Summoning the spirits of Muslimgauze and African Headcharge for a hectic ride in a sandstorm-caught bazaar of processed darbukkahs and further steely industrial tropes, "Annunaki" gets the ball rolling in sheer immersive fashion. Cranking the heat up a notch, "Gamesh" rushes us headlong into ruthless rapids of accelerated ritual drums and mind-expanding acid onslaughts breathing in some squelchy spaciousness into its intricately-woven web of sound.

Flip sides and here's the proper grime-steppish number "Ziuziu" taking over your brainwaves with a fierce unloading of harnessed machine rage and dystopian cybernetics turned into some club-optimised weaponry. Back to a dubby kind of vibe, "Chmanze" raises an army of louder-than-loud kicks, FX-laden percs, sizzling spurts and ankle-snapping breaks, all fit to breeze across the bulkiest sound systems with utmost sangfroid and nonpareil trenchancy.

Best known as Hot Chip's clear-voiced frontman, Alexis Taylor also pursues a solo career as an introspective singer/songwriter, exploring distinct themes and ideas with each record. Today Alexis announces the release of his sixth and strongest solo album to date, Silence,

Partly about silence - and how we intersect with it, observe it, try to record it, and how we feel about it when it’s gone, as we remember it - the record is also about religion, transcendence, giving oneself over to something bigger than you, or beyond this world. “I’m not religious myself,” adds Alexis, “but the songs which deal with the idea of gospel music or religion, look at it from a distance (rather like the shaky hand-held lens through which we follow the action in Pasolini’s ‘Gospel According To Matthew’) and try to uncover its influence on music and on people in desperate circumstances.”
The genesis behind Silence started a few years ago with Alexis ruminating on silence as a subject and making plans to make a record of the sounds you hear in public spaces as people observe moments of silence. He then lost his own personal access to silence as tinnitus began in his right ear in 2019 at a Hot Chip show. As Alexis explains, “I started to think about what it meant to me to lose quietness, solitude, meditative head space - as that was no longer available to me.”
Mostly composed in enforced isolation, Silence is a beautifully rich and unexpected conceptual album that is also Alexis’ most accomplished solo record and one that has seen early comparisons with a notably eclectic range of artists including Mark Hollis, George Michael, Big Star, Epic Soundtracks and Maher Shalal Hash Baz. This record sees the first time Alexis has collaborated with Sam Becker (double bass), Kenichi Iwasa (horn, trumpet) and Rachel Horton-Kitchlew (harp), who due to lockdown had to work in isolation from Alexis. In one case Kenichi recorded musical passages which were then superimposed on songs he had never heard - in effect keeping the songs themselves silent from the playing until the mixes were played to him.

Third album from Pablo Infernal. Altin Asllani, Fabio Schoeni, Flavio Scano and Jan Jossi – four friends from Zurich with Swiss, Albanian, Brazilian and Italian roots, who have been sharing an ardent passion for music for more than a decade. With their third album 'Mount Angeles' they are now setting out to conquer all Rock enthusiasts beyond their country’s borders.
Their mutual love and enthusiasm for the rock music of the 70’s speaks to style-defining bands such as Deep Purple, Frank Zappa and all the progressive rock pioneers. For years, the band’s first choice for retreating and letting the artistic urge flow freely has been a 19th century house in the middle of the Swiss Alps, called Gasthaus Gruenenwald. The former train station and inn situated in Engelberg (which means nothing else than “angel mountain” in German, hence the album name), has become an essential part of the group’s songwriting process.
Mixed by none other than five-time Grammy Award winner Chris Lord-Alge from Los Angeles (Aerosmith, Muse, Foo Fighters, Green Day and many more) and finalized by Bill Skibbe at Jack White’s Third Man Mastering Studio in Detroit, 'Mount Angeles' presents the preliminary zenith of Pablo Infernal’s work.

The Spaceman Reissue Program edition of Let It Come Down promises to give those recordings the fullest spectrum audio and physical treatment they’ve deserved since the original release. It will be the fourth in this series of 180g double albums with the lacquer cut from original sources by Alchemy Mastering, presented in a gatefold jacket adorned by reworked art by Mark Farrow, and available in both a standard black vinyl pressing and limited edition Ivory vinyl, as well as CD.

Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years bringing a full set spanning their entire discography, and new album, III! Recorded at Zebulon in Los Angeles, CA. In Oct 2020 the band released their first album in 5 years, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that is meant to be heard and experienced live, and their Levitation Sessions set is the smoldering slab of heavy psych we’ve all been waiting for, recorded at Zebulon in Los Angeles, CA. Director Joshua Erkman alongside sound engineers Matthew Littlejohn and Mike Kriebel, capture FUZZ’s intense energy backdropped by electric artwork from artist Tatiana Kartomten. “We wanted to create something that felt like more than just a replacement for seeing us live. This is the first time we had played songs from III in the context of a set, and we found new footing on some of the old songs. This led us down avenues we hadn’t seen in rehearsal. To find ourselves in the space right in between ‘lost’ and ‘found’ (aka live) was both alarming and electrifying after having been away from it for so long.” -FUZZ

They have been called, amongst other things, "the best live band in Britain." Their music has graced everything from The Sopranos to The Simpsons, and celebrity fans include Irvine Welsh and the world's biggest selling author, Stephen King. They are undoubtedly the greatest American act the UK ever did produce, and their heady combination of techno and C&W, alongside a proclivity for rock 'n' roll decadence and an acute social conscience means that they are effectively a unique entity in modern music. Exile on Coldharbour Lane is the debut album by Alabama 3, originally released in 1997. The name and cover are references to Exile on Main St. by The Rolling Stones and Coldharbour Lane a major street in Brixton, South London best known for containing several after-hours clubs. Upon its release, the album received favourable reviews, including an 8.9 review from Pitchfork Media. The song "Sister Rosetta" was featured in the film "Barnyard". "Woke Up This Morning" is best known as the opening theme music for the television series, The Sopranos, which used the "Chosen One Mix" of that song.

Bill Gage is a quasi-famous singer with a raw, rock ’n’ roll voice.
Cheater Slicks are an infamous, raw, rock ’n’ roll band. Put the two
together and the resulting album is a stream-of-conscious stew of
wild, fuzz-drenched rock ’n’ roll!
Some history: both Cheater Slicks and Bill Gage’s band BILL
began in Boston in 1987, and it was sometime around then that Gage
first sang with Tom and David Shannon playing guitars, in Gage’s
bedroom in Laconia, New Hampshire. It was an intense and primal
sound that was not forgotten by those involved.
Gage’s singing has been compared to Captain Beefheart, David
Thomas, Damo Suzuki, and Yoko Ono. However, Gage clearly has his
own sound, which includes guttural yells, sweet crooning, and bluesy
meanderings—all seemingly told from a tarpaper shack porch under
the oceans of Mars.
Cheater Slicks have from the start been a brain-melting rock ‘n’ roll
dream / nightmare of a band. Steeped in the wild guitar interplay and
pounding drums of classic noisy underground rock groups (Cramps,
Scientists, Velvet Underground), they have created their own unique
and ever-evolving style that has only gotten deeper and sharper over
the years.
In spring 2018, when Cheater Slicks were presented with the idea
of a collaborative record with Gage, they wasted no time, and began
writing and arranging new songs for the project. Gage traveled to
Columbus to record at the legendary Musicol studios in November of
that year. It was a great session and came together as if it were always
meant to be. After thirty years of performing, is the world finally ready
for Bill Gage—accompanied by the seismic Cheater Slicks?
All profits from this record will benefit the Arts Resources programs
of the National Association for Down Syndrome.

Nanocluster Vol 1. is an album with some serious pedigree. It sees Immersion (aka Malka Spigel and Colin Newman of influential groups Minimal Compact and Wire respectively) collaborating with some of the finest left field artists of our era: Tarwater, Laetitia Sadier, Ulrich Schnauss and Scanner. The project was born out of a Brighton based club night, also called Nanocluster, run by Spigel and Newman alongside writer, broadcaster and DJ Graham Duff, and promoter Andy Rossiter. The club features a range of influential and cutting edge music acts. But the unique aspect of the evenings is that each show climaxes with a one off collaboration between Immersion and the headliners. The songs having been written and recorded in the studio in just three days prior to the performance - or one day in the case of Schnauss. "It could have just been a series of performances." Says Newman.? "But the fact that we had built the tracks in the studio for the performances means we had these recordings." Says Spigel. The recordings have since been developed with Immersion heading up pro- duction duties. The result is a beautiful and unique album.? "I think the really interesting thing is how different everybody is," says Spigel. "Both as people and creatively." - Immersion and Tarwater: The German duo of Ronald Lippok and Bernd Jestram have created an impressive body of work. Yet their involvement with Immersion has opened out their sound, creating a more panoramic soundscape. The opening instrumental 'Ripples' is a gentle breathe of optimism, all purring tones and sun dazzled synths. Meanwhile, 'Mrs. Wood' is a dubby psychedelic shuffle, Lippok's vocal cool and assured over a fat bass line and skybound eastern melodics. It feels like a more spacious take on the Tarwater of albums such as 'Suns, Animals and Atoms'. The four musicians' 3rd collaboration is Nanocluster's most pop moment: with a heartfelt yet unsentimental lyric unfurling over feline rhythms, 'All You Cat Lovers' is a feel-good anthem for cat lovers everywhere. - Immersion and Laetitia Sadier: An original and distinctive presence in contemporary music, Sadier made her name with the inimitable Stereolab, but she's also created several impressive solo works. The instrumental 'Unclustered' sees Sadier's spidery guitar weaving through Immersion's lush web of synths drones. The following 'Uncensored' has a subtle melodic tug with a classic Spigel guitar line underpinning Sadier's sweet yet worldly wise vocal. 'Riding the Wave' is another feel good song, swapping between Newman's plaintive vocal, and Spigel's vocal and Sadier's backing vocals. With its uplifting chorus: 'Things have a way of working out' 'Riding The Wave' feels like it might be the sound of the summer we've all been waiting for. - Immersion & Ulrich Schnauss: A highly respected solo artist, as well as being a member of Tangerine Dream, Schnauss' skill with electronics is legendary. The opening 'Remember Those Days On The Road' skips along on a rimshot rhythm with Spigel's honeyed vocal telling a tale of life on tour. Yet it is far removed from such usual fare. This feels vulnerable and flecked with melancholy. 'Skylarks' opens with a lattice of arpeggios before a gently nag- ging guitar enters and everything takes a turn for the sublime. 'So Much Green' is everything you'd hope a collaboration between Newman, Spigel and Schnauss could be. A constantly spiralling urban-kosmisch, with Spigel's plangent bass anchoring the celestial sounds. The addition of her wordless backing vocals and recordings of real birdsong only serve to elevate the mood further. - Immersion & Scanner: Scanner - aka Robin Rimbaud - is one of the most prolific and diverse artists currently working in contemporary music. Spigel and Newman have of course collaborated extensively with Rimbaud before: alongside Max Franken in the art-pop group Githead. But this is something very different. Their opening piece together: 'Cataliz' is the album's moodiest moment. With its serpentine synth drones it sounds like the soundtrack to a mysterious thriller. The rich pulsing 'Metrosphere' recalls Immersion's early work whilst adding another layer of grainy uncertainty. The closing 'The Mundane and the Profound' opens with a "Rimbaud scanned" recording of an irritated flight attendant but this is eventually subsumed by a simple yet emotive piano figure: a gentle and touching end to a unique collection of songs. Nanocluster Vol.1 is a testament to a remarkable synergy between a diverse assembly of strongly individual talents. The fact that it not only succeeds, but excels should be cause for celebration.

Bosconi welcomes Cosimo D'Amicis aka Cixxx J with his first EP on the tuscany's finest imprint.
The artist explains here the essential meaning of the release with his own words:
"Music gives people the gift of connection by making people mirror into each other. Here the recipe is simple: feed your sequencers all the feelings, and let them become grooves you can dance to. These four psycho-synthetic streams are deeply rooted in italo disco classics, and filtered through that whole culture that originated in Chicago and Detroit and that keeps un-becoming. All the ingredients are carefully selected to bring you to another dimension, because there is no such thing as glorious as love at first BITE"

Originally from Limerick, O’Brien’s work captures the everyday and the inbetween in a way that transcends any genre label. Writing from her own observations, O’Brien’s influences can be found in the realism of Mark E. Smith of The Fall, Patti Smith and The Slits, and the works of literary icons such Frank O’Hara, W.B. Yeats, Joan Didion and Albert Camus. Releases to date have drawn admiration from British and American outlets and radio stations as diverse as The FADER, Stereogum, The Guardian, Loud And Quiet, The Quietus, BBC Radio 1 and BBC Radio 6 Music, and more.

Speaking about the new single, O’Brien explains: “‘Most Modern Painting’ is about the creation and maintenance of ‘the self’ - the most epic task we are faced with in our lives. I wanted to work with structure in an unconventional way, linking the movements together using various voices from the narrative. The lyrics are voiced through a dialogue between the conscious and unconscious, through dream recall, memory, the individual and the ego.”

The accompanying music video for ‘Most Modern Painting’ was shot in a film-like manner on 16mm. Directed by Saskia Dixie, the movements are intrinsically linked to the lyrics; the choreography incorporates physical theatre, dance and elements of daily gestures and habits.

The chorus line on ‘Most Modern Painting’ birthed the title for the EP ‘Drowning In Blessings’ - “The more I said it, the more it meant. It’s an image which I find really cathartic; seeing the weight or build up of things as possibilities and opportunities instead of bearing their burdens. I approached the set of songs on the EP like a short album so the body of work feels full and tells a substantial story. Tracks allude and refer to one another and provide clues and hints to the future and to the past. It’s not only about language and music - it’s about energy, spaces, leaving room for other people to get in.”

A multifaceted artist, O’Brien’s writing has also been published by the esteemed London Magazine whose alumni include T.S. Eliot, Sylvia Plath and William Burroughs. Her unique fusion of spoken lyrics and art rock has piqued the attention of luminaries of both fields, seeing her perform with John Cooper Clarke and The Brian Jonestown Massacre at sold out theatres across the U.K. Playing live with her band and collaborators; Julian Hanson (guitar) and Oscar Robertson (drums), Sinead O’Brien’s transfixing performances are placing her at the forefront of a resurgent wave of independent British and Irish talent.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Portland, Oregon-based musician Graham Jonson started early: playing piano as a toddler, finding the music of J Dilla in fifth grade, and self-releasing singles by age 16. First appearing under the name quickly, quickly in 2017, his project’s profile has since grown fervently with fans in the beats-oriented corners of SoundCloud, YouTube, and Reddit. Some of his early tracks tally north of 10 million plays on Spotify. The figure isn’t meant to flex as much as it is to point out that Jonson’s work has resonated without the traditional industry levers; he is a wunderkind DIY internet success story, but, by his own assessment at the present age of 20, he’s only now getting serious. With The Long and Short of It, his Ghostly International debut, Jonson reinvents his project as a full-fledged

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

A live performance from May of 1970 in Rotterdam, Groupcomposing features a North Sea-crossing ICP lineup of British free improv luminaries Derek Bailey on guitar, Evan Parker on saxophone, and Paul Rutherford on trombone, along with ICP mainstays Han Bennink, his brother Peter, Misha Mengelberg, and Peter Brötzmann. The first side, "Groupcomposing, Part 1" is a nearly all-out assault with the reeds trio and Rutherford's trombone blasting nigh-continuously for the album's first side, culminating in a blistering Peter Bennink bagpipes solo. "Part 2" acts at first as the comedown, beginning with a playful piano and percussion back-and-forth before meandering a dark, brooding, path of trill horns to the album's eventual, tense conclusion.

Recorded just a few years into the ICP's long tenure, it is hard to think of a release more representative of the label's musical principles – or, more broadly, of the power of free group improvisation – than the aptly-named Groupcomposing. This limited reissue marks the first time the album has been in print on vinyl in over forty years.

Making her stage debut in April 2019 and selling out her first
headline show at London’s prestigious Southbank Centre less
than a year later, A.A. Williams hit the ground running. Similarly,
the acclaim for her performances and her music has been
unanimous from the start. After one self-titled EP and a
collaboration with Japanese post-rockers MONO, the Londonbased singer songwriter signed to Bella Union and released her
stunning debut album, ‘Forever Blue’, in July 2020.
 That Southbank show would prove to be the last time she would
take to the stage for a long while as the world struggled to cope
with unforeseen and extreme challenges. Never a musician to sit
still, the classically trained multi-instrumentalist focused her
creativity on arranging - firstly, by stripping back to the most
delicate bones on her ‘Songs from Isolation’ covers record and
now with a complete reimagining of her own material as the four
songs from her debut EP become ‘arco’.
 Not many musicians have the ability - or indeed bravery - to
rework a collection of their own full band ‘rock’ songs into a stringand-voice arrangement. A.A. Williams, however, is not like many
musicians and the minimalism of Arvo Pärt and Gorecki has long
since sat beside Vaughan Williams' folk-inspired classical work as
important influences on her music. Indeed, the intention with the
EP was for Williams to challenge herself by not retaining guitars
and drums, meaning ‘arco’ had to be truly reimagined with a full
string ensemble.
 As Williams describes it: “The main focus of the arrangements is
trying to maintain the authenticity of the original songs that, whilst
embodying some of the more familiar elements of the full-band
settings, draws focus on the voice.”
 Conducting the ensemble of string musicians in the studio, A.A.
Williams has evolved her own compositions with new
instrumentation and arrangements, encapsulating the singular
vision of a unique artist.
 12” pressed on 140g ‘Galaxy White Purple’ vinyl with signed
12”x12” print and digital download code.