Suche:new world

With his sophomore full-length album, Born Hot, Chris Farren paired polished, up-beat pop songs with lyrics full of self-examination and insecurity, all while developing a newfound sense of humor when it came to promoting himself. Stereogum called it “a tongue-in-cheek exploration of ideas of confidence and self-loathing," while The Atlantic featured it on their “Best Albums of 2019” list.

On his third full-length album, Doom Singer, Farren injects his latest work with a newfound sense of power and cohesion. Collaborating for the first time with outside drummer Frankie Impastato (Macseal), Farren's songs take on a whole new dimensionality, with Impastato's live drums bringing a fresh spontaneity to the tracks. Doom Singer marks another significant milestone in Farren's career as it is the first time he collaborated with a producer, multi-instrumentalist Melina Duterte (Jay Som, Bachelor, Routine). Her masterful production experience adds a layer of sophistication to Farren's sound, creating a rich and multi- dimensional sonic landscape that takes his music to new heights. With Duterte's keen ear and meticulous attention to detail, the album resonates with a level of clarity and depth that showcases Farren's songwriting and vocal abilities in a whole new light.

Chris Farren’s music has been praised in outlets such as MTV, Stereogum, and The Atlantic, who describes his music as having “bright-eyed hooks, sparkly orchestration, and tight songwriting.” With numerous world tours alongside artists such as Jeff Rosenstock, The Gaslight Anthem, Laura Stevenson, and others, Farren has been building a dedicated following of fans who connect with his introspective lyrics and infectious pop sensibilities.

Emil Amos (Grails, OM and podcaster plus) decommissions pieces originally bound for the KPM library. A personal interpolation of "music for films (& television)" expounds upon diverse sounds: synthy 80s soundtracks, contemporary hip-hop beatmaking, ambient music, and The Hulk"s "Lonely Man Theme". Emil"s dark visions are full of noirish shadows and eerie neon glow - mood music for drug trips spent dreaming up new soundtracks to take drugs to! Emil Amos" forthcoming Zone Black album is a fully inhabitable world, its episodic narrative divided into an improbable balance between morbid ambient anthems and insouciant hip-hop instrumentals. Emil hadn"t heard it done quite this way before, so he took it upon himself. And it sounds real! Straight out of Madlib"s kitchen sink, and with a sense of brooding dread, "Jealous Gods" features throbbing beats, low synth paired with high vocal melody, layered together into something even more impossibly bizarre than the sum of their parts - like say, monks singing from on high, over a battleground littered with remnants of the old guard. Emil warps evocative tones, taking familiar sounds into new dimensions, reaching for the kind of depth and resonance that defines moments with an almost invisible touch.

Reissue

The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. They found their inspiration in the secular music they heard on the radio, and wrote songs that were nothing but stone cold soul.

Starship Troopers is a cult-classic science fiction action film directed by Paul Verhoeven. Set in the 23rd century, the film follows the story of teenager Johnny Rico and his friends as they serve in the military under the Earth world government who are at an interstellar war with an alien species known as the Arachnids. This 2-LP deluxe edition marks the first-ever vinyl release for Basil Poledouris’ score for the film, and features newly commissioned album art evocative of 1960’s pulp science-fiction paperback books. The package comes with a fold-out poster of the cover art, and exclusive new liner notes from Director Paul Verhoeven and musician/daughter of composer Zoë Poledouris. US Import.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.The second and final John and Beverley album, The Road To Ruin
came out in late 1970; it is a mature, fully realised work, and a glimpse of what
would have happened had Island not encouraged John to go back to being a solo
artist. Opener Primrose Hill was later sampled by Fat Boy Slim, and the John-led
Parcels offers a template for what would become his signature style as the
decade progressed. It is one of those rare albums that creates its own
atmosphere, late night intensity, middle age soul.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

Long heralded as one of the heaviest, sickest, and most uncompromising death metal bands in the world, New Jersey's Incantation has forged a legacy of brutality unmatched by any other American group. In 1992, the bands most celebrated lineup entered a then unknown Trax East Studios with a then unproven engineer Steve Evetts and emerged with Onward to Golgotha, the most dark and blasphemous death metal record to date. The combination of the inhuman growl of vocalist Craig Pillard, the ruthlessly savage aural malevolence, and pitiless anti-Christian attack was the ultimate musical sacrilege. Onward... redefined the bounds of brutality and blasphemy for the entire genre of death metal. This is absolute brutality!!!

Raised on Colombia's Caribbean coast and united by its capital, Bogota, Ghetto Kumbé combines the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world. The secret behind their irresistible electronic ritual lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album's co-producer, The Busy Twist, adds all the legacy of UK's Bass scene to the Afrofuturistic sounds of the 3 Colombians. Inspired by the different revolutionary movements emerging all over the world, Ghetto Kumbé will release their first full-length album in July 2020 on pioneering Latin Ameri-can electronic label ZZK. Their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves. Using musical motifs from Africa and Colombia's Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Tech/House, Ghetto Kumbé creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. Their first single to come out, `Vamo a Dale Duro', is a fluorescent criticism of the unjust divide between the poor and the rich, the rising prominence of dirty politicians, and the ethics of the capitalist sys-tem while encouraging people to stand up and fight for a dignified existence. The al-bum's tone fluctuates fluidly between tracks that include ancestral chants, voices both deep and resounding, and anthems to uplift and inspire, as well as features by up-and-coming Réunion island artist Melanie and the Palenque-based folk/hip-hop band Kombilesa Mi. In the Americas, Ghetto Kumbé has become one of the most important alternative groups to come out of Colombia. They've played Barranquilla's world famous Carnival, Bogotá's recent Boiler Room, and have even opened for Radiohead. The ancient yet modern sound of the three powerful musicians has made them a legitimate representative of the new Afrohouse scene burgeoning all over the world.

Seminal NYC multi-reedist Doug Wieselman announces arresting new album of birdsong arranged for clarinet, flute, banjo and piano WA-Zoh, released on Shahzad Ismaily’s figureight records.

Wieselman has performed with superlative greats (including the Lounge Lizards, Lou Reed, Yoko Ono, Bill Frisell, Iron & Wine, Laurie Anderson, Tricky, Martha Wainwright, Antony and the Johnsons, CocoRosie) and contributed significantly to the NYC Downtown scene over the past three decades. He is described, by NYC Jazz Record, as “a vital force in the New York music scene”.

Over the years, Wieselman has taken hours of recordings of birds both from his world travels and outside his window in Brooklyn. His beautiful new album WA-Zoh uses the recorded bird songs and phrases - slowed down and processed - as source material for original compositions, reflecting the astonishing beauty and inherent musicality of the natural world in a wholly unique take on field recording. Incorporating clarinets, flutes, banjo, piano and percussion, all played by Wieselman himself, the new album is marked step forward from his previous solo outings as a clarinet player, though no less accomplished in its composition, dexterity and skill.


The minimalism, patience, and subtlety here is delicately formed from featherlight interweaving lines of soft, virtuosic instrumentation, resulting in an album that sits somewhere between avian chirrup, rainforest prettiness, the refined intelligence of American minimalism, and the undecorated purity of ambient music.

An exciting new Record producer, with a sound that blends elements of Electro, Breaks, and Techno, Doppelbanger is quickly making a name for himself in the underground music circuit.
Drawing inspiration from the pulsing rhythms of the latest Electro sound with artists like Locked Club , Re:drum , Dagga, Manao & Hermeth leading the revolution. He infuses his tracks with a gritty energy that sure gets crowds moving on the dancefloor, but he also brings a modern twist to the genre, incorporating lush synths, intricate percussion, and cleverly manipulated samples to create a sound that is both nostalgic and forward-thinking.

Whether you’re a die-hard Electro fan or just looking for some fresh beats to get your groove on, Doppelbanger is sure to deliver the goods. So tune in, turn up, and let the vibes wash over you!

His first EP has just been released across all streaming platforms, along with the 1st press of Vinyl Records, grab a copy soon, before it is sold out!

Write up for EP: 2020 Vision

Welcome to an Electro-infused sonic journey! This EP captures the essence of a unique musical vision, blending captivating melodies, pulsating beats, and intricate soundscapes. With five tracks that span a range of moods and emotions, you are invited to immerse yourself in this electrifying experience.
From the moment the first track kicks in, you’ll find yourself transported to a world where synths come alive and rhythms intertwine with ethereal soundscapes. Each composition has been carefully crafted to take you on a sonic adventure, weaving together elements of Electro, pulsing basslines, and mesmerizing textures that will leave you craving for more.

Throughout this EP, Doppelbanger has pushed the boundaries of the genre, exploring new sonic territories while staying true to its roots.

The five tracks on this EP are meticulously arranged and mixed to ensure a seamless flow, creating an immersive experience that will keep you engaged from start to finish. Whether you’re looking to lose yourself in the infectious grooves or find solace in the introspective moments, this collection of songs has something for everyone.

SUPERB NEW ALBUM BY STRAWBS. FEATURING DAVID
COUSINS, BLUE WEAVER AND JOHN FORD.
• RADIO COVERAGE, REVIEWS IN NATIONAL PRESS, CLASSIC
ROCK, UNCUT, MOJO, RECORD COLLECTOR AND PROG
MAGAZINES PLUS WEBSITES AND FANZINES.
Vinyl LP edition of ‘The Magic Of It All’ by Strawbs,
recorded in Cape Town and featuring David Cousins, Blue
Weaver, and John Ford from classic 1970s line up joined by
some of the finest musicians and singers in South Africa.
Strawbs were high in the charts with ‘Grave New World’ and
‘Bursting At The Seams’ 50 years ago which coincided with a pivotal
moment in the struggle for freedom in South Africa, when students
and workers launched a new wave of resistance against so-called
“resettlement”. The resistance in South Africa identified with
Strawbs songs, especially ‘Part Of The Union’, ‘Lay Down’, and
‘New World’.
Recognising this, South Africa documentary maker, Niel van
Deventer, approached David Cousins with the idea of producing a
documentary about Strawbs and the band’s influence around the
world. Niel wanted to film while new songs were being recorded in
a Cape Town studio. David Cousins came up with a bunch of his
finest songs; Blue Weaver flew over to produce the sessions and cowrite some of the material, while John Ford joined in with his
contribution to the songs from New York.
Featuring brand-new songs recorded at the Academy Of Sound
Engineering in Cape Town, with engineer Peter Pearlson worked
with Paul Simon when he was recording South African musicians for
the ‘Graceland’ album. The South African musicians on this album
include Mauritz Lotz, Schalk Joubert, Kevin Gibson, Byron
Abrahams, Simangele Mashazi, Marzia Barry and Luna Paige.
Cathryn Craig and Nicole Tee joined the singers from the UK. The
documentary The Magic Of It All will be released later this year.

Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as Elevator Madness (1996). All of these albums came out on vinyl but one of the best was the singular Closed Circuit (2001) which, unfortunately, only came out on compact disc and was somewhat lost to time until now. After Grapefruit released his collection of singles and unreleased songs called Last Ticket Home in 2019, Jefferies mentioned he’d always hoped one of his personal favorite solo albums could someday be heard on vinyl as it was intended. Grapefruit is proud to finally be able to highlight Jefferies’ last album of lyric-based songs by releasing Closed Circuit on vinyl, remastered and with new artwork and insert. This album features all of Jefferies’ signature tense and dark, piano-driven rock and moody balladry, along with themes of personal isolation and domestic ambivalence. It’s a tour-de-force that has remained in the dark too long.

Repress!

First in a series of collaboration albums between Lokkhi Terra (described by songlines as the "probably the world's greatest Afrobeat-Cuban-Bangladeshi band") and Bangladeshi folk legends the Shikor Bangladeshi All Stars. This first outing is a Roots meets Roots affair. "The international power of Reggae" David Rodigan Radio1xtra

Written whilst Lokkhi Terra were on tour in Bangladesh, and recorded between Dhaka and London, the two tracks and corresponding dub mixes on side B reflect the bands long love affair with Roots Reggae. They were first perfromed on Bangladehi TV for a show called "The Bengal Tiger's Revenge", and then showcased at UK"s Womad Festival in 2015.

"should not have worked, but really did. Kishon Khans keyboard and artistic direction allowed the Bangladeshis to meld with his Cuban rhythm section to really fine effect, blending Latin, Afrobeat, Jazz, Dub and all manner of other elements to create something truly exceptional" United Reggae

"Awesome Cross-Cultural Collaboration" London Jazz News

Bringing his worlds of words and music together, Colin MacIntyre’s (aka Mull Historical Society) brand new album ‘In My Mind There’s A Room’ features an all-star cast of literary giants who have penned words about a special room that plays or has played a significant part in their lives. Using these words as the lyrics, Colin has then written the musical arrangements to create a 14 track album of personal and thoughtful songs. Featured authors include Ian Rankin, Nick Hornby, Jacqueline Wilson and Liz Lochhead plus many more. Recorded, fittingly, in a room that means a lot to Colin – his grandfather’s flat above the bank in Tobermory, Mull which has now been turned into a recording studio. The album is released on CD, vinyl and digital on 21st July 2023 on Xtra Mile Recordings. Mull Historical Society will be performing at this year’s Hay Festival, Borders Festival

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

In an era defined by futility, isolation, and precarity, it can be difficult to envision a utopia. But on Skeleten’s thrilling, immersive debut album, Under Utopia, the Sydney musician dares to imagine new ways of being that are not characterized by doom or despair. Across eleven tracks of free-flowing, transcendent, and often euphoric electronic music, Skeleten praises the power of comradery and community; while dreaming of a future that is joyously boundless. 



Skeleten, real name Russell Fitzgibbon, has always been fascinated by the ideas of utopias. He’s thought a lot about how the concept has shifted and morphed throughout history, and how the goal post for a utopia is always moving further and further away. “We're more familiar with the idea of a dystopia in the modern world - that's more close to our consciousness. I think on this album I wanted to explore the importance of imaging and embodying a new world.”

Written before and during the pandemic, the album was born out of a desire to connect with others and to shake the mantle of introspection that had been placed on his previous works. From the opening notes of the otherworldly album opener “Generator”, it's clear that this record prioritises immediate pleasures without forgoing intimacy. The lyrics are also more explicit, reaching outward with inviting choruses and mantra-like melodies. “I think the album came out of the experience of feeling this great desire to reconnect and dreaming of the power of community,” says the musician.

This is especially present in lead single ‘Sharing The Fire’, a song that crackles with optimism. A sprawling dance track with pulsating synths and Fitzgibbon’s gentle, warm vocals, the song is about futures that are full of brightness and bliss. As the artist repeats in the song’s chorus: “for all that you know, summer could be around the corner.” The song is about an “almost frustrated desire to connect with more people and feel that sense of community through shared goals.” The accompanying video clip, shot on 35mm, is similarly invested in ideas of companionship and gathering. Shot in a clinical, drab office space, friends and revelers fill the space with warmth and energy.

Elsewhere, this invocation of paradise is infused in the stripped-back, singular title track “Under Utopia”. The song was significant to Fitzgibbon, as it allowed him to gather all his thoughts and ideas about his new music under one message. “It’s something I wrote when I had this collection of songs and wanted to give it a single voice, which was about seeing the world entirely new, full of hope and beauty, and all of us underneath pushing it upwards.” 

An antidote for gloom presented in Under Utopia is the transformative power of love. There’s “Heart Full Of Tenderness”, a woozy, languorous love song, awash with cloudy vocals and glistening synths; the truncated beats and hypnotic pleading of “Territory Day” and “Right Here It’s Only Love” which explores the icier and ambient side of R’n’B.


Another hallmark that characterizes Under Utopia is Fitzgibbon’s airy and spacious mix, which gives his songs room to sprawl out and simmer; as well as allowing his calming baritone to come to the fore. This is notable in the contemplative, synth-laden “Colour Room”, the funk-tinged “Walking On Your Name,” the previously released “No Drones in the Afterlife,” and the beloved early single “Mirrored,” which speaks of finding yourself through a connection to those around you.

Fitzgibbon has been enmeshed in the Sydney music scene for years. Skeleten emerged out of a need to experiment and make music without worrying about the outcome. “It was just me making music that felt right, and very much focusing on this kind of meditative aspect of exploring without any goal,” says Fitzgibbon. But as the project has evolved, the artist has gained clarity on what he hopes his music will achieve: bringing people together, and creating an atmosphere of elation. Or as Fitzgibbon puts it on Under Utopia’s hallucinatory album closer “We’re gonna get everything we need in the world.”

Limitierte Farbauflage der 2021 remasterten und auf Doppelformat erweiterten Reissue des vierten Studioalbums 'Egyptology' (1997) der britischen Rockband World Party. Mit den Singles 'Beautiful Dream' und 'She's The One', erweitert um Bonus-Liveaufnahmen aus New York 1997. Blaues und goldfarbenes Doppelvinyl im Gatefold.

Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada, Spain, an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with “The Greatest Rock and Roll Band in the World,” featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne. This first-ever reissue includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper’s return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft. The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert. In the wake of his magisterial triptych of early 1970s avant-folk-rock records Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. (1972) the British songwriter, guitarist, and fledgling improviser Mike Cooper retreated to the Costa Tropical of Granada, Spain. With no prospects for touring or recording again, his fiery band the Machine Gun Co. had disintegrated. Cooper sets the scene in his liner notes of the first-ever reissue of his unjustly forgotten next album Life and Death in Paradise (1974): No one came running with offers of fame and riches, and we fell apart, and I left the country and headed for the beach, disillusioned and a bit disorientated musically. I went to Almuñécar in Andalusia, a place I had been going since 1969, because a painter friend from Reading, Rowland Fade who made the collage in the gatefold of my earlier album Trout Steel had moved there in 1968. It was in this synthetic coastal “paradise,” unmoored and adrift, considering retiring from music altogether, that he began tentatively writing new songs. A chance encounter with producer Tony Hall, who offered Cooper a last-ditch record deal on Hall’s nascent Fresh Air label, convinced him to make one last album with the stipulation that he could assemble what he called “The Greatest Rock and Roll Band in the World.” I told Tony that I would do it if I could hire some of my South African jazz musician friends that I had used on my Pye/Dawn albums and some friends from Reading that I still knew and admired. I called up Harry Miller, Louis Moholo, and Mike Osborne, who were in fact a trio at the time … and several local Reading heroes, including the singer-songwriter Terry Clarke. The result, recorded live with minimal overdubbing at Pathway Studios in London, was Life and Death in Paradise, an utterly singular suite of gloaming glam-rock anthems performed with a spiritual jazz trio comprising the inventive South African jazz rhythm section of Moholo and Miller with UK saxophonist Osborne. Unlike anything else in Cooper’s extensive catalog. Fresh Air fizzled, and Life and Death became Cooper’s final record as a songwriter, having pushed the form as far as he could. Drifting north from Spain back to the UK, he fell into the scene of the London Musicians Collective (LMC) including Paul Burwell, David Toop, and saxophonist Lol Coxhill, Cooper’s bandmate in the Recedents and fully embraced free improvisation. He was still, however, interested in singing and lyrics, so, influenced by Tom Phillips, William Burroughs, and Brion Gysin, he began experimenting with text collage and cut-up techniques, arriving at his own hybrid compositional strategy for improvisatory songs. The previously unreleased solo set Milan Live Acoustic 2018 represents Cooper’s return, after more than four decades pursuing free improvisation and electronics, to a new, deconstructed approach to singing, lap steel guitar, and songcraft. Presented here together with Life and Death in Paradise, the two records provide fascinating bookends to Mike Cooper’s long, mercurial, and pioneering practice as a songmaker.

“All in the Golden Afternoon We Glide” (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate.

Preceded by several collaborative undertakings, LATHE 00’s debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, “All in the Golden Afternoon We Glide” meditates on individuality, technology, and new forms of (post-)human existence.

The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. Upon closer inspection, these tracks feel less like standalone pieces of music and more like outtakes of a single but continuously mutating continuum.

LATHE 00’s first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own.

The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalisations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one’s all-too-embodied presence in this world.

Despite being a concept album grounded in a profound theoretical substrate, “All in the Golden Afternoon We Glide” surprisingly relies on wordless communication only. As such, in it, song titles become key vectors of information. Appealing primarily to the listener’s sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital (“Loading of Image Aborted!”), nature (the title track), and ritual (Pouring Blood into the Lake).

The album will be released in digital format alongside a limited-edition printed publication conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga.