Search:to the grave

Visceral yet inherently soulful, 'Hardly The Same Snake' is the sound of the Johannesburg-born, Doncaster-raised artist Doya Beardmore finally finding his voice – both literally and figuratively. In practical terms, that involved finding the courage to foreground his gravelly baritone in these gloriously genre-agnostic productions. But it also meant branching out beyond his safety net to figure out the artist he truly wanted to be. As Skinny puts it today, “This album is what I would have created the first time round had I rated my own voice.” The idea of forging your own path – and shedding skin, so to speak – is integral to 'Hardly The Same Snake'. Begun pre-pandemic and completed in the spring of 2021, it’s a defiantly outward-looking record contemplating family, religion and major life milestones, from parenthood to death. Where previously Skinny relied on dream diaries as his primary lyrical resource, this time he took notes at design exhibitions, using these unfiltered observations as a jumping off point for songs. If this superb second album proves anything, it’s that it doesn’t matter how much Skinny errs on the side of self-deprecation – he remains one of the UK’s most fearlessly original voices. Skinny Pelembe's second album 'Hardly The Same Snake' is out on April 28th on Partisan Records.

Koudlam returns to civilization with “Precipice Fantasy”, an abnormal album once again. The Album is made up of 2 very different parts which will be released separately, with a first part which shells 12 songs like so many flamboyant mutations and a second contemplative instrumental part halfway between uneasy yoga music and trance from the lowlands of Kathmandu. Inspired by the hallucinated stories of mountain pioneers and conquistadores, the artist delivers here the soundtrack of peaks and precipices. Or rather that of the path between the two, winding, vertiginous, always on the edge of the blade.

'Nicolò's music was born in the foggy winter of the Adriatic coast, and raised in the dusty grooves of Milford Graves LPs. It travelled to London and Berlin, where it collected sweat from crowds dancing in dark basements, leaving it with an organic hue and rhythmic patterns both broken and free.
This is bass-driven music from outer space. RRRing The Alarm!'

Produced and Mixed by Nicolò.
Mastering and lacquer cut by Kassian Troyer at Dubplates & Mastering.
Art by Paolo Bazzana.
Photo insert by Flavia Serrão.
Design by P.Bazzana & F. Serrão.

Nach der weltweit erfolgreichen Veröffentlichung des Studioalbums "The Mars Volta" bringt die Band das Album auch als harmonische Akustikalbum mit dem Titel "Que Dios Te Maldiga Mi Corazon" heraus.

The Mars Volta bleibt sich dabei treu: Es ist subtil subversiv - unendlich erfinderisch, aber nie auf Kosten des Songs. Viele der Werte, die die früheren Alben von The Mars Volta so bahnbrechend und hochgelobt gemacht haben, sind auch hier noch vorhanden, aber sie werden auf andere, geschickte Weise eingesetzt.
Die karibischen Rhythmen, die ihre früheren Alben angetrieben haben, florieren immer noch auf Que Dios Te Maldiga Mi Corazon - sie stehen jetzt nicht mehr im Vordergrund, aber sie hörbar in jedem dieser Tracks.

Ebenso sind die großen Rockbewegungen und die proggigen Komplexitäten ihrer wegweisenden Veröffentlichungen einer größeren klanglichen Subtilität, Unmittelbarkeit und Direktheit gewichen. Aber auch wenn The Mars Volta sich von Grand-Guignol-Ausschmückungen fernhält, bleibt es ein düsterer, kraftvoller und ergreifender Hörgenuss, ausgereift und zutiefst befriedigend in seiner
Zurückhaltung.

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Oliver Cherer is back with a new Gilroy Mere record which follows on from his other much lauded Clay Pipe releases (The Green Line, Adlestrop and last year’s D Rothon collaboration, Estuary English).

Over the last two decades Ollie has released numerous collections of music in an ever shifting array of modes, from folktronic, singer-songwriter styles through psychogeographic electronica to jazz-tinged, confessional ghost-pop and most recently, the “guitar tainted machine rock disco” of Aircooled.

Gilden Gate is an album of two halves. Side 1 ‘Rising’ celebrates the sun-drenched beaches, pastures and heaths of rural Suffolk, whereas Side 2 ‘Falling’ explores the underwater world of the lost city of Dunwich and its five church spires.

Oliver says:-

“A few years ago I discovered the lost city of Dunwich. I’d made a trip to Suffolk to shoot a short film about Sizewell Nuclear Power Stations and stayed in the old Coastguard’s Cottage on Dunwich Beach within sight of Minsmere Nature Reserve and the power plants. It’s a wild, sleepy place of pines and heath and North Sea winds and a strangely mysterious air – Sutton Hoo is nearby and Eno’s reference to the very beach that I was staying on made perfect sense. In the small museum at Dunwich I learned that this tiny hamlet had once been a major medieval city of international trade. It seemed unlikely and even now, knowing Dunwich as a small village, I find putting what I know about the place into perspective as a city a certain kind of impossible.

It seems that over a period under the influence of the weather, natural erosion and market rivalry the thriving harbour port was inundated by the North Sea and eventually slipped into and under it. The city of churches was lost and all the spires engulfed and toppled. What remains are the few houses, and the ruin of Greyfriars crumbling inexorably down the cliff and exposing the bones of buried monks as the graveyard follows the building’s stones into the sea.

There are local legends surrounding the site including stories of fishermen hearing the bells of lost churches and seeing the ghostly, lighted city beneath their boats as they return to the shore.
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

The Stripped Sessions adds to Wage War’s already impressive and numerous career highlights including over 580 total million streams; hitting high marks on Billboard Charts and earning press raves from Revolver, Loudwire, Kerrang!, Alternative Press, Rock Sound, Modern Drummer, and 2021 covers from Kerrang! and UPSET.

Sublime Frequencies is honored to release the third LP from Baba Commandant and the Mandingo Band. Sonbonbela was recorded in the beginning of 2022 in the Republic of Burkina Faso. The group continue to hone their trademark fusion of Mandingue and afro-beat styles. The Mandingo Band are a hit machine, sculpting seven new tracks of near Beefheart/Magic Band dynamics, Fela inspired groovers dusted out in the Sahel zone, rather than the humidity and sweat of Lagos, creating one of the most original and propulsive musical statements to come from the contemporary West African cultural juggernaut. As with previous releases, the band features the legendary guitar pyrotechnics of Issouf Diabate, truly one of the greatest West African (or Earth for that matter) guitarists of the last forty years. The band is completed by a near bottomless barrel of artistry from the Ouagadougou and Bobo Dioulasso musical talent pool. On bass guitar, Wendeyida Ouedraogo, on drums Abbas Kabore, and on percussion and balafon, Nickie Dembele. Leading the charge again is the captain himself, Mamadou Sanou on the Doso Ngoni featuring one of the most distinctive voices of the modern era. The opposite of the banal trends of auto-tune that have pervaded most of West African popular music, Baba’s voice still impresses with its gravel and grit, showcasing a range that is ancient and defiant in equal measure. This LP is a non-stop hit parade of afro-beat bangers destined to light dance floors and living rooms ablaze!!! This album is dedicated to the memory of Massimbo Taragna, the bass player extraordinaire who was an integral part of the Mandingo Band’s trance stun musical power. He passed away in early 2022. RIP TRACKLIST: Side A: CHASSER LES SACHETS, KAMELEBA, AFRO MANDINGO, SEMAYALA Sida B: SEREJUGU, SONBANBELA, WARIKO

Erstmalige Veröffentlichung des 2005 in Sao Paulo vor einem frenetischen Publikum aufgenommenen legendären Livealbums auf Vinyl.
Das 27 Songs umfassende Konzert bietet nicht nur sämtliche Klassiker sondern auch selten live gespielte Stücke und zählt bis heute zu den absoluten Sternstunden in der erfolgreichen Karriere der Band.
Einmalige limitierte Auflage eines 4 LP Box Sets mit Poster und von Chris Boltendahl handsigniertem Zertifikat.

Nach der Veröffentlichung von "Acoustic Adventures -
Volume One", besteht der Großteil des zweiten Kapitels
aus schnelleren Stücken wie 'Black Sheep', dem
Allzeit-Live-Klassiker 'FullMoon' und 'Flag In The Ground'.
Aber SONATA ARCTICA wären nicht SONATA ARCTICA,
wenn sie auf Nummer sicher gehen würden: 'San
Sebastian' oder der Abschlusstrack 'Victoria's Secret'
schaffen es, ein völlig neues, erfrischendes Gefühl beim
Hörer zu verbreiten; ein Gefühl, das man natürlich am
besten vor einer Bühne erleben kann! Um diese
besondere Saga zu vollenden und endlich den
Startschuss für ihre nächste, mehrfach verschobene
"Acoustic Adventures"-Tour zu feiern, um die
Corona-geschüttelten finnischen und europäischen
Festland-Gemüter zu erheben. Aber erst einmal: Kommt
ins Wohnzimmer, lehnt euch zurück und folgt SONATA
ARCTICA auf ihrer abgespeckten, aber nicht minder
spannenden Reise in die Welt der akustischen Musik...!

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

With this release the label celebrates the return to the ranks of the founder Worg. A triumphant homecoming comparable to that of Jason, the main character of the Argonautica, who travelled in search of the Golden Fleece (Il Vello d'Oro) aboard the ship Argo. After many vicissitudes, the hero returned to Iolco, his homeland, to reclaim the throne usurped by his half-brother Pelias.

This new chapter in the Lykos saga focuses on the deeds of Jason and the Argonauts, but also on a key figure who was indispensable to the success of this quest, Medea. Thanks to her and her magical skills, the fellowship of heroes succeeded in grabbing the Golden Fleece. Through careful sound design, hinted melodic cells and complex rhythms, Il Piano di Medea by Worg, sums up details and facts related to this extraordinary legend. Starting from the prophecies of the Oracles, to the tragic and bloody ending of the epic poem, which took place with the death of King Pelias by his own daughters, hypnotized and manipulated by Medea's magic.

The narrative begins with the track Oracolo, characterized by a syncopated groove, nebulous atmospheres and the presence of a dark anthropomorphic synth, which alludes to the solemn, grave and authoritative voice of an entity. A prophetic spirit that warns the listener of the dangers that lurk for those who dare to enter this new sonic adventure. In order to foretell the future and to spread their word, the gods took possession of the bodies of priests who had fallen into ecstasy, using them as intermediaries. In his reinterpretation of Oracolo Neel, the grand Maestro of techno, in a similar way uses musical elements such as a harsh and acid bass line or a tight rhythm to lead the listener into a psychic state of suspension and mystical elevation.

In the music piece Il Vello d'Oro, Worg draws attention to the rare preciousness of this magical relic, rumored to have the power to heal all wounds and for this reason longed by Jason. To evoke the purity of the golden mantle, the artist uses shimmering percussion, radiant textures and the omnipresence of an FM synth bass, full of brilliant harmonics. All enhanced by sound details scattered throughout the arrangement.

Eryx, the record's final track, has a fluid and sinuous flow, with sound elements that recall water, a natural element, protagonist of the Argonauts' journey to the remote Colchis. A melody echoes in the distance, disappears and resurfaces to then collide, like waves on the rocks, with the complex and jagged rhythms that mark the gradual evolution of the
track.

In the world of heavy music, few bands embrace dynamics and negative
space like Kowloon Walled City - Since forming 15 years ago, the band
has increasingly refined its deconstructed approach to noise rock, math
rock, and doom.Now, with Piecework (Neurot Recordings/Gilead Media),
the band's fourth album and first in six years, Kowloon Walled City
reaches new levels of restraint
Songs are bleak and slow, but also shorter and more concise. (Seven songs clock
in at about 30 minutes.) There are stretches of near silence. While the band has
always operated under the MO that less is more, it has doubled down on that
ethos for Piecework. Singer/ guitarist Scott Evans and guitarist Jon Howell, the
main songwriters, self- imposed restrictions to push themselves creatively
"restraining ourselves into oblivion," as Howell put it. Songs are written in more
straightforward time signatures. Evans and Howell also changed their guitar rigs
to sound more "clean and clanky."
With the gristle stripped away, bone and muscle remain: drums decaying in a
room, bass strings rattling, a lonely guitar chord. Sometimes, it's almost
uncomfortably barren. But the negative space also amplifies the ruptures of
heady aggressiveness that anchor Piecework. Angular guitar notes from Howell
skew off the neck, dissolving into space. Ian Miller's bass lines churn in the muck.
Drums and cymbal smashing by Dan Sneddon punctuate dead air. (Sneddon,
formerly of Early Graves, makes his recording debut with the band five years after
joining.) There's sadness and anger in Evans' shouted vocals, but also a desire for
something better.
Through the resignation and regret, Piecework also hints at perseverance and
hope. Pressed on Milky White color vinyl.

Highly topical with their upcoming sophomore full-length album, "Peace
And Conflict", through The Sign Records
- Reissue of the critically acclaimed self-titled debut album, from 2019.Produced
by Ola Ersfjord (Lucifer, Primordial, Dead Lord). - The album got massively hyped
worlwide, taking the band all over Europe in three separate head-line tours around
France, Germany, Spain, Switzerland and Sweden. - Sweden Rock Magazine,
Sweden's leading Rock magazine described the album as - "Glowingly performed
and with a clear direction towards future great deeds. You can't ask for more from
this fully- fledged debut album" - The vinyl reissue is pressed on Black/ White
Splatter vinyl, and Purple vinyl, each limited to 500 copies. - For fans of early
Rush, Thin Lizzy, Spiders, Blues Pills, Graveyard, MaidaVale, and Swedish Rock!

Progressive Swedish rock trio Time Dwellers is the
brainchild of guitarist Martin Fairbanks (formerly
from the doom metal band The Graviators) and
multi-instrumentalist and singer Kristofer
Stjernquist.
Started in 2017, Time Dwellers blend anything
from rock to prog, funk and jazz to compose a
potpourri of songs that are still coherent and
cohesive.
The band’s debut album, ‘Novum Aurora’,
showcases a musical landscape with influences
from mostly 60s and 70s music, filled with
mellotron, 12-string guitar, synthesizers, grooving
rhythms, thrilling guitar solos and imaginative
existential lyrics delivered from a whisper to a
lion’s roar.
In a world that’s growing more cynical by the
minute - where popular music, at the same rate, is
getting saturated and bland - Time Dwellers set out
to put a blanket around you and soothe your
aching soul, while not fearing any musical limits or
borders.
For fans of Beardfish, Opeth, Death Meadow,
Camel, Needlepoint, The Flower Kings, Gentle
Giant, Graveyard, Jethro Tull, Kadavar, Caravan,
Black Mountain, All Them Witches, Barclay James
Harvest, Earthless.
LP pressed on clear vinyl.

Directed by Isao Takahata, "Grave of the Fireflies" is now available in the analogue edition series of the popular ""Studio Ghibli"" works! !



Image album collection and soundtrack collection of the movie

"Grave of the Fireflies" released in 1988, two titles

A precious analogue board with the latest remastering and a complete reprint of the jacket, obi,

commentary, roundtable discussion, score, script (excerpt), etc.



Grave of the Fireflies Soundtrack Collection (Original LP release date 1988.6.25) All 20 tracks

Music: Yoshio Mamiya

Yoshio Mamiya is in charge of the music for the main part of the movie.

This album is literally a soundtrack board that contains not only the music but also

the dialogue and sound effects of the movie. Select and record famous scenes.

* Saddle-stitched 16 liner notes (includes the script of the part recorded on the LP) included.

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

Actress Stephanie Hunt (Friday Night Lights, Californication) presents her
debut collection of sublime indie pop
Produced and engineered by Matt Pence at Echo Lab (Jason Isbell, Midlake, Sara
Jaffe), with contributions from Kelsey Wilson (Wild Child, Sir Woman), Dancy
Jenkins (Texas Gentlemen), and Shakey Graves, Ambitions of Ambiguity features
the single Life not On My Terms, and a faithful duet of Redd Stewart's Country
chestnut Which One Of Us Is To Blame? sung with Shakey Graves.

In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe. This brought the band to the attention of the wider music industry, and after multiple offers (including one from a major label) the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch,sold out several runs. Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful, widescreen reimagining of the band’s sound - Dawn of the Dead to its predecessor’s Night of the Living. Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail.

Wau Wau Collectif's second album, Mariage, is instilled with a newfound sense of purpose. Expanding upon the inspirational themes of their acclaimed 2021 debut, Yaral Sa Doom (Educate The Young), this long distance collaboration from musicians in Senegal and Sweden's Karl Jonas Winqvist is an even more stylistically expansive affair. Joyful children's songs collide with fuzzy guitar solos and thumping hip-hop beats. Shimmering synths lift off from the plunky percussion of the balafon and versatile sounds of the 22-string kora. Familiar voices from the first album return with more explicitly political lyrics, while the music feels both rhythmically dense and sonically weightless, flowing from one spellbinding moment to the next. For Mariage, band members from each country were inspired to include a wider array of instrumental flourishes unique to their cross-continental collaboration. "Yay Balma" revolves around the cycling riffs of Jango Diabaté's xalam guitar, as this song's fuzzy tones and soaring sax solos open side two with a bang. "Pitchi Goubidi" provides a stark contrast, with the kora played like a harp and Gilbert Badji's gravelly lyrics about "the bird of the night" disappearing into dubbed-out chamber pop. Winqvist's omnichord hovers back into focus on "Yonou Natangue," a free-floating jam that maintains the messages of Wau Wau Collectif's debut, promoting youth education to address the social issues facing contemporary Senegal: "Peace is the better wealth / The way to wander."

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

White / Blue Vinyl

The mysterious Void Settler is back with a brand new album: Given In Vigil!

Over the past decade, Vienna-based Florian Stöffelbauer – also known as Heap, has built a consistent reputation as a skilled DJ, producer and Neubau’s label head.

Isla is proud to present his latest effort “False Hope” which explores the intersections between industrial, electro and dark wave – all with a leftfield twist.

As diverse as it is powerful, the 7 tracks featured here almost feel like nocturnal tales, chalking out Heap’s observations wandering through the streets of a silent city, with cigarette smoke permeating the air and sirens ringing in the distance.
The cinematic essence of the release emerges from the very beginning, with the atmospheric beauty “Diall” transporting us straight into some late-80s scenery of Kraftwerkian nostalgia. In “Jetzt Oder Nie” a sharp knit of drums is placed on top of the grave frequencies of the bass: it’s indeed “now or never”, the moral imperative of the release, requiring us to take action.
Throughout the whole album, hypnotic sounds punctuate the dark space, bouncing between the polyrhythmic and uplifting energies of “Inner peace” and “No Palm Too Big”, a sneaky slow-burner with a nocturnal groove and Gayna Rose Madder’s robotic voice reciting the stream of consciousness of this urban wanderer.

“Trist” rises slowly yet powerfully thanks to its mystical synths covering the ground and preparing us for what comes next.
The title track “False Hope” holds the unique charm of a creature effortlessly floating in between dualities. As obscure as it is airy, as delicate as it is forceful, this hybrid composition is rich in details and plot twists.

At the end of this journey, “Losing time” reminds us of the urgency to take action expressed at the beginning of the album. In a rarefied canvas, an off-kilter solitary sound comes in, starting off as insistent as a car horn in rush hour, and evolving into a beautiful instrument arpeggiating the melody.

Here Heap concludes his narrative for now. We like to imagine him walking away, a shadow fading in the smoke of the city as the first lights of the day appear.

Hate Propaganda's far too overlooked 2019 debut EP "World War 666" sees a much needed reissue on vinyl, remastered and enhanced by brand new artwork commissioned for the purpose by Xerox master P. Van Trigt. When it was first released on cassette tape back in 2019 by War Arts Productions, this war-torn debut offering of primeval warnoise by the mysterious Portuguese war criminals stood out immediately as a crown jewel debut for the genre and as one of the year's most definitive and underrated manifestations of extreme metal's most hateful and berserk fringe. Packing in nineteen minutes of absolute hatred, the annihilating MLP manifests as a nightmare hallucination of complete violence and negativity, evoking eons of perennial apocalyptic global planetary war and terror on the wings of its nefarious design of achieving maximum annihilation in the shortest amount of time possible. To harness this bleak pantheon of ruin, the Portuguese conquerors have assembled a weaponized and uncontrolled sonic chain reaction where grindcore, black metal, death metal and hardcore punk are all accelerated and instigated into an inescapable payload of death aimed straight at the vital sinews of humanity. A sonic maelstrom churned into shape by an onslaught of obscure violent riffs, psychotic leads and ominous laughter which, parallel to a pulverizing drum performance, emanates from oblivion with an antediluvian, negative aura. Comparisons to bands like Diocletian, Heresiarch, Tetragrammacide and Nuclearhammer will run abound, yet these would be only easy superficial conjectures as this is a manifestation of sonic extremism which dwells on a plain of excellence entirely its own. Its uniqueness transpires particularly in the maniacal drumming which underlines the band's hardcore and punk influences, and is exalted further by an unusually crystalline production and by a masterful onslaught of uber-audible riffs hiding behind nothing and seemingly going in the opposite direction of the homogenous and indiscernible sensorial smothering the genre usually opts to go in. Tracklisting: 1. World War 666 2. Neverending Mass Graves 3. Violent Nature of Human Annihilation 4. Welcoming the Nuclear War With Open Arms 5. Let the Sirens Signal the End of Times

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

How many hardcore, let alone metal, bands exceed all previous efforts on their third LP? Some might argue that ‘Feel The Darkness’ was Poison Idea’s prime. You could present ‘Master Of Puppets’ and ‘Reign In Blood’, if you’re so inclined. Let’s face it, these are a dying breed of exceptions to the rule. And yet, like an icepick in the eye socket of logic, here stands Foreseen with ‘Untamed Force’. In the landmine ridden field that is crossover, where bands can all too easily get it so wrong, Foreseen not only survive the death sentence of their sophomore record “Grave Danger” (2017), but head out on a blunt force killing spree. ‘Untamed Force’ indeed. Rarely has a record title been more fitting. Vocalist Mirko Nummelin sounds more pissed off than ever, 12 years on. Drummer Mårten Gustafsson’s arms and feet generate enough power to make Finland energy self-sufficient. And finally, pushing the band over the edge, separating Foreseen from us feeble bastards, we have new member Ville Valavuo joining Jaakko Hietakangas to form what is arguably the scene’s deadliest six string tag-team. Foreseen’s power is untamed but at the same time borne from hard work, a love for the craft and their musical community, and absolutely no excuses. Dig in, endure, stomp out, shoot to kill. Foreseen are for headbangers who haven’t been brainwashed by click tracks and digital recordings. Foreseen are for punks who can deal with a synth intro and harmonised solos. In 2022, ‘Untamed Force’ is the guiding principle that can inspire, but not be replicated, by the Kings of Hardcore Thrash.

1. Soldier's Grave 2. Birthright 3. Tolerance of Abuse 4. Suffocating Routine 5. Oppression Fetish 6. Cold Comfort 7. Serve Your Purpose 8. Desensitized 9. Untamed Force

The renowned trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return to Black Truffle with their 11th release, “Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” Demonstrating once again their commitment to continual experimentation in instrumentation and approach, the record begins with a long-distance collaboration made in response to a commission from New York’s Issue Project Room in 2021 during widespread lockdowns and travel limitations. A unique piece in the trio’s extensive body of work, this side-long epic finds Haino performing on metal percussion, O’Rourke on electronics and Ambarchi on gongs and bells. Initially dominated by rapid patterns on resonant, high-pitched tuned percussion, the piece sets Haino’s dynamic and dramatic performance against a calm backdrop of cycling electronics, thrumming gong strikes and hanging bell tones. The performance develops a heightened, intensely concentrated atmosphere reminiscent of Haino’s classic Tenshi No Ginjinka or his Nijiumu project; when Haino moves to clashing hand cymbals in its second half, the piece’s ritualistic energy suggests aspects of the music of Tibetan Buddhism.

The remainder of the double LP documents the trio live at Tokyo’s SuperDeluxe (the location of all but their very first recording) in a wide-ranging set recorded in December 2017. The concert opens, in another first for the trio, with Haino on drums, O’Rourke on Hammond organ and Ambarchi on his signature Leslie cabinet guitar tones. Haino’s explosively untutored approach to the drumkit will be familiar to some listeners from the radical duo iteration of Fushitsusha heard on Origin’s Hesitation. Setting flurries of rapid activity against moments of silence, his drumming here at times suggests Milford Graves in its tumbling toms and thudding kick-drum propulsion. Accompanied by O’Rourke’s organ and Ambarchi’s guitar, which in their shared use of long tones and shifting modulation speeds almost blend into a single voice, the opening sections of this performance are some of the most magical music the trio has committed to tape thus far.

After an interlude of spoken vocals in both Japanese and English, Haino makes a dramatic entrance on guitar. Against O’Rourke and Ambarchi’s increasingly intense electronic backdrop, Haino unleashes a stunning passage of slowly moving chromatic melodies and sudden shrieking explosions bathed in distortion and reverb. By the time we reach the third side, the guitar/bass/drums power trio is established and lurches into a passage of massive, lumbering rock that threatens to fall apart at every beat, O’Rourke’s strummed chordal work on six string bass creating a harmonic density equivalent to a second guitar. An abrupt edit throws the listener in media res into a frantic locked groove grounded by fuzzed out bass patterns and caveman drums. As Haino moves through a variety of approaches, from massive edifices of stuttering fuzz to ominous swarms of feedback, the trio eventually stumble into a kind of Harmolodic military tattoo, Haino’s guitar weaving and slashing across the rhythm section’s irregular accents. Moving through an epic opening duet for O’Rourke on Hammond and Haino’s wailing guitar, the fourth side eventually ramps up into a frenetic finale of mad bass riffing, crackling snare hits and guitar squall.“Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” is a testament to the continuing power and invention of this trio, who continue to seek out new terrain after over a decade working together. 2LP set presented in a lavish gatefold sleeve on heavy stock along with inner sleeves containing live pics by Tsuyoshi Kamaike. Photography by Jim O’Rourke, design by Lasse Marhaug and translation by Alan Cummings.

"Ich muss sagen, dass ich dies für den großen vergessenen Zyklus der Klaviermusik des 19. Jahrhunderts halte. Vielleicht sind das große Worte, aber ich empfinde das so", sagt der Pianist Leif Ove Andsnes über seine neueste Veröffentlichung bei Sony Classical. Auf diesem Album präsentiert er die umfangreichste Klaviersammlung des großen romantischen Komponisten Antonín Dvorák - die zu Unrecht vernachlässigten Poetischen Tonbilder. Dem norwegischen Pianisten zufolge zeigen diese unentdeckten Perlen eine ganz andere Seite des für seine Sinfonien und Streichquartette bekannten Komponisten. Ich liebe diese Musik und niemand scheint sie zu spielen", sagt Andsnes, der sich 2017 mit der Veröffentlichung "Sibelius" auch für die selten gespielten Klavierwerke von Jean Sibelius einsetzte. Die 13 Postkarten für Klavier, aus denen sich Dvoráks poetische Tonbilder zusammensetzen, wurden im Frühjahr 1889 geschrieben und signalisieren eine Stilverschiebung von einem Komponisten, der sich von formalen Konstruktionen weg zu einer freieren, inspirierten Ästhetik bewegt. Zu diesen bezaubernden Stücken gehören Beschwörungen von Magie und Geheimnissen ("Das alte Schloss"), ländliche Tänze ("Furiant" und "Bauernballade"), nostalgische Stimmungsstücke ("Dämmerungsweg") und tragische Reminiszenzen ("Am Grab eines Helden"). Die Werke reichen von tiefgründig bis verspielt, von heiter bis wütend - "ich spüre in ihnen eine sehr starke, wunderbare Erzählung", sagt Leif Ove Andsnes, der fest daran glaubt, dass Dvorák die Stücke dieses "außergewöhnlichen" Sets als einen Zyklus konzipiert hat, der zusammen gespielt werden soll.Sur son nouvel album, Leif Ove Andsnes présente la plus importante collection pour piano du grand compositeur romantique Antonín Dvorák - les Poetic Tone Pictures, injustement négligés. Selon le pianiste norvégien, ces joyaux méconnus montrent une toute autre facette du compositeur connu pour ses symphonies et ses quatuors à cordes. « J'adore cette musique et personne ne semble la jouer », déclare Andsnes. Les 13 cartes postales pour piano qui composent l'oeuvre Poetic Tone Pictures de Dvorák ont été composées au printemps 1889, et signalent le changement de style d'un compositeur s'éloignant des constructions formelles vers une esthétique plus libre et inspirée. Parmi ces charmantes pièces, on trouve des évocations de magie et de mystère (In the Old Castle), des danses rustiques (Furiant et Peasants' Ballad), des pièces d'ambiance nostalgiques (Twillight Way) et des réminiscences tragiques (At the Hero's Grave). Les oeuvres vont de la profondeur à l'espièglerie, de la légèreté à la fureur - « Je sens en elles un récit très fort et merveilleux », dit Leif Ove Andsnes, qui croit fermement que Dvorák a conçu les pièces de cet ensemble « exceptionnel » comme un seul cycle à jouer d'un coup. L'un des pianistes les plus éminents du monde, Andsnes a eu l'idée de jouer de la musique tchèque lorsqu'un nouveau professeur est arrivé de Prague à son conservatoire de Bergen, en Norvège. Alors âgé de 12 ans, son énorme fascination pour les Tableaux de tons poétiques l'a conduit à présenter une partie du répertoire lors d'un concours pour jeunes pianistes. Des années plus tard, alors que la pandémie de Covid-19 frappait le monde, Andsnes a profité de ce temps d'arrêt pour se plonger plus profondément dans les tableaux de tons poétiques et communier avec leurs histoires. Il a trouvé des oeuvres d'un charme infaillible et de nombreux exemples de Dvorák déployant une largeur de couleur orchestrale à partir du piano - en plus de son utilisation excitante de rythmes croisés et de syncopes, à la manière des danses folkloriques tchèques.

LTD Edition!

Anna Calvi hat den kompletten Soundtrack für die 6 Staffeln von BBC One's Peaky Blinders geschrieben und eingespielt, einer der größten TV-Momente der letzten Jahre für das Königreich. Auch hierzulande hat die Serie viele Fans. Am 6.5.2022 kündigte Anna Calvi nun ihre neue EP ‚Tommy‘ an, auf der vier neue Songs sind, eine Coverversion von "Red Right Hand" - dem Peaky Blinders-Titelsong von Nick Cave & The Bad Seeds, eine Coverversion von Bob Dylans "All The Tired Horses" und zwei eigens für die Serie geschriebene Songs, "Ain't No Grave" und "Burning Down". "Ain't No Grave" wurde zum ersten Mal in der 5. Staffel von Peaky Blinders gespielt, ist aber der musikalische Dreh- und Angelpunkt der 6. Staffel, der in allen sechs Episoden auftaucht und mit seiner schwungvollen Präsenz das Drama auf dem Bildschirm unterstreicht. Kurz nachdem Calvi mit der Arbeit an der Musik zu Staffel 6 begonnen hatte, wurde sie mit ihrem ersten Kind schwanger. Aufgrund der anhaltenden Pandemie musste sie jedoch einen neuen Weg finden, um mit anderen Musikern unter strengen Auflagen in London aufzunehmen. Außerdem beschlß sie, ihren langjährigen Kollaborator Nick Launay, der ihr drittes Studioalbum ‚Hunter' sowie von Alben von Nick Cave and the Bad Seeds, Yeah Yeah Yeahs, Grinderman und IDLES produziert hatte, ins Boot zu holen. Anna arbeitete bis zur Nacht vor der Geburt ihres Sohnes Elio im November 2021 an die Komposition und machte sich auch danach schnell wieder an die Arbeit, um den Soundtrack fertigzustellen. Als die erste Folge der Staffel ausgestrahlt wurde, war sie noch in den ersten Zügen ihrer Mutterschaft und musste sich in ihr neues Leben erst hineinfinden. Die Fertigstellung der Filmmusik ist ein enormer Erfolg für Anna und zeigt, dass sie als Komponistin und Künstlerin immer noch dabei ist, ihr ganzes Können zu entfalten und zu zeigen.
Über den Prozess sagt Calvi: "Ich lebe nun schon seit Jahren in der Rolle des Tommy Shelby, nachdem ich die fünfte und letzte Staffel von Peaky Blinders vertont habe. Die einzige Möglichkeit, für diese Serie zu schreiben, besteht darin, sich in seinen Kopf hineinzuversetzen - ich habe monatelang jede Nacht von ihm geträumt, und wenn ich meine Gitarre in die Hand nehme, versuche ich, seine inneren Gedanken nachzuspielen. Meine Gitarre ist seine Wut und meine Stimme ist seine Hoffnung. Ich hatte immer das Gefühl, dass er einen Song haben sollte, der ihn auf den Punkt bringt - er ist der ultimative Antiheld - mörderisch, kalt, furchteinflößend, und doch hat er eine tiefe Liebe zu seiner Familie und eine naive, kindliche Hoffnung, dass er sich eines Tages über all das erheben wird. Ich wollte glauben, dass "Aint No Grave" der Song ist, der in seinem Kopf herumschwirrt, während er in Zeitlupe durch sein Leben geht. Ich glaube, Tommy wird für immer ein Teil von mir sein!"

Der Schöpfer von Peaky Blinders, Steven Knight, fügt hinzu: "Eine neue Anna Calvi-Single ist immer ein Grund zum Feiern, und ich möchte mich in die Liste derer einreihen, die sie loben. Ich möchte Anna auch für die ganze Arbeit danken, die sie für den Soundtrack der sechsten Staffel von Peaky Blinders geleistet hat.“