The soundtrack to Nicolas Winding Refn's ‘Drive’ needs no introduction, and is hailed one of the greatest and most iconic film scores of recent times.

The soundtrack features original music by Cliff Martinez (‘The Lincoln Lawyer’, ‘Traffic’) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (‘Nightcall’), The Chromatics (‘Tick of the Clock’), Desire (‘Under Your Spell’), College featuring Electric Youth (‘A Real Hero’), and Riziero Ortolani featuring Katyna Ranieri (‘Oh My Love’).

‘Drive’ was a smash hit upon release and peaked at #35 on the Billboard Top 200. Accolades came rolling in, such as Spin Magazine, who listed it as one of the Top 40 Movie Soundtracks That Changed Alternative Music.

As Martinez notes, “The words ‘hit’ and ‘soundtrack’ seldom appear in the same sentence. The score to ‘Drive’ is the closest I’ve ever come to having anything of the sort. And I wish I knew the recipe for its success as no one is more eager than me to repeat the experience.”

TRACK LISTING

Nightcall
Under Your Spell
A Real Hero
Oh My Love
Tick Of The Clock
Rubber Head
I Drive
He Had A Good Time
They Broke His Pelvis
Kick Your Teeth
Where's The Deluxe
Version?
See You In Four
After The Chase
Hammer
Wrong Floor
Skull Crushing
My Name On A Car
On The Beach
Bride Of Deluxe

The Midwich Cuckoos is based on the 1957 science fiction novel by John Wyndham, and tells the story of an English village where the women become mysteriously pregnant. Hannah Peel‘s score is described as a unique and intricately produced soundscape, working in harmony with the sound design of Sky’s adaptation. With analogue synthesisers recreating the horror of the ‘Hive Mind’, tape manipulations, drones, woodwind and melodies echoing the song of the cuckoo bird, Peel creates a score that perfectly balances the organic instrumentations and melodies, juxtaposed with an increasingly dark electronic ‘invasion’. Peel explains, “Creating the score was a constant endeavour to find the balance between darkness and light, fear and beauty. It was a very fine and intricate equilibrium between the normal sunlit logical world as we know it, and a subversive unfamiliar musical language.”

TRACK LISTING

Hive Mind
Cuckoo
Help Me
Ward 300
Hive Scream
Seen
Underground
Midwich School
Midwich Cuckoos
The Blackout
Awakenings
Pregnant
Scared
The Keys
If And When
No Leaving
Waking
A Pattern
Come Out
It's Over

The mystery series ‘1899’ was created by Baran bo Odar and Jantje Friese (‘Dark’), and streamed on Netflix worldwide. A migrant steamship heads west to leave the old continent. The passengers are a mixed bag of European origin, united by their hopes and dreams for the new century and their future abroad. But their journey takes an unexpected turn when they discover another migrant ship adrift on open sea. What they will find on board will turn their passage to the promised land into a horrifying nightmare.

Ben Frost is a composer, producer, sound artist and director. His work includes the studio albums ‘Theory of Machines’ (2007), ‘By The Throat’ (2009), ‘A U R O R A’ (2014) and ‘The Centre Cannot Hold’ (2017), and spans an array of other forms including installations, live performance, scores for dance, theatre and various studio collaborations. He has composed several scores for film, including the Palme d’Or nominated ‘Sleeping Beauty’, the TV series ‘Fortitude’ and ‘Dark’. Most recently he composed the score for ‘Raised By Wolves’ with director Ridley Scott and wrote and directed ‘The Murder of Halit Yozgat’, an opera for the Hannover Staatsoper. He also recently scored ‘Broken Spectre’, a new installation piece made with long term artistic collaborators Richard Mosse and Trevor Tweeten, which premiered at the National Gallery of Victoria in October.

TRACK LISTING

CD
Wake Up!
Ellas Están Escuchando
Les Secrets De L'Univers
Kapitän
Reality, Or A Construct Of One
Mainframe
Djævlen Kalder På Dem
At Hjælpe Hendes Sjæl På Vej
Wirus Się Rozprzestrzenia
This Can't Be Real
Nína
ƈ

Blanck Mass (Fuck Buttons, Benjamin J Power, The Editors) scored the new Amazon Prime series ‘The Rig’, staring Iain Glen and Emily Hampshire.When the crew of the North Sea stationed Kinloch Bravo oil rig is due to return to the mainland, a mysterious fog rolls in and cuts off communication with the outside world. The crew are then driven to the limits of their endurance and loyalties are forced into a confrontation with forces beyond their imagination.

“With ‘The Rig’ being the first TV show I have scored, I feel lucky to have worked with the team behind the show on a score which to my mind is my most concise and unified palette-wise in recent memory,” says Power. “The setting of the physical oil rig presented a very specific visual and sonic identity for me. The creaks and groans of the giant metal sculpture and how it is in a constant battle with the nature fed itself into the scoring process. This score is perhaps my most elemental to date and it was a joy to work on.”

TRACK LISTING

The Rig (Main Titles)
Wake Up
Omen
Fossils Digging Fossils
Flesh Meets Floor
Vision
Ghost
Helideck
S.B.V Lights
Body, Rejecting
Circles
Leck
Search For Hutton
Spiderdeck
Alwyn / Discovery
Surrender
No Fire Without Flare
We’ll Bring Him In
Survivors, Arriving
Person Unknown
Don’t Let Him Out Of Your Sight
ROV
The Altar
Fissures Spread
Sleep Tight
The Charlie
Rose Takes Control
Bigger Than All Of Us
It’s Quitting Time
System Priming
Life Remains In Life
The Wave
The Rig (End Credits)

Critically acclaimed Teesside agitators Benefits return with their much-anticipated debut album ‘Nails’. In their four years of existence, much has changed for Benefits. Over lockdown they morphed from spirited guitar-led punks into overwhelmingly brutal harsh noise-wielders, whose furious, eviscerating music garnered them the kind of word of mouth following most artists can only dream of. Frontman Kingsley Hall’s spoken (and screamed) vocals acting as a righteous rebuke to the divisive, xenophobic, poisonous rhetoric coming from elsewhere, spread by those who stand to profit from the fallout, that had all but overwhelmed our public discourse.

Every time one of the band’s bracing polemics arrived it would spread rapidly across social media like an antidote to that disease and gather more to Benefits’ cause. High profile fans like Steve Albini, Sleaford Mods and Modeselektor were among those on board from the off. Effusive coverage from the likes of NME, The Quietus, Loud & Quiet and The Guardian and more soon followed.

Now, however, they are stepping things up a level, signing to esteemed indie imprint Invada who will release their debut album ‘NAILS’ on April 21. “We could have released a record at any point over the last couple of years but held back because I wanted to wait until the right people came along,” Hall says. The label’s co-founder Geoff Barrow of Portishead was one of the many who’d been drawn to the music as it made waves online, and when he came to see the group perform live in his native Bristol was immediately hooked. His faith in the band has been repaid and then some, producing a record that not only confirms the group’s brilliance, but also redefines what you thought was possible. It captures all of that validating rage that established them one of the most exciting acts in the country – skull crushing fan favourites ‘Flag’, ‘Empire’ and ‘Meat Teeth’ are all present and correct – but also pushes their sound into bold new territory, both sonically and emotionally.

Take lead single ‘Warhorse’ for instance. A playful riposte to those whose limited musical horizons have seen them question the band’s ‘punk’ credentials, the band gathered a series of crushing drum fills, and transformed them into a relentless, inherently danceable electro banger. “I love punk, I love cartoon punk, I think it’s brilliant,” Hall says. “Sometimes we get all that ‘you’re not shit, you’re not punk.’ Bullshit! Yes we are.” He also, however, knows that sometimes the best way to deliver his kind of message is to get people moving. “An iron fist in a velvet glove,” he says, hence the intensified focus on pure rhythm.

STAFF COMMENTS

Barry says: A stark, politically charged statement delivered through pummelling percussion and deftly delivered call-to-arms vocals. Moving from sparse, noisy electronics to anything-but-sparse blasts of distortion and hardcore grit. It's a savage, dense beast of an LP, and the ideal Benefits mission statement.

TRACK LISTING

Marlboro Hundreds
Empire
Warhorse
Shit Britain
What More Do You Want
Meat Teeth
Mindset
Flag
Traitors
Council Rust

‘Stranger Things 4 (Original Score From The Netflix Series)’ by Kyle Dixon and Michael Stein, is now available.

Split over two volumes - this is Volume 2.

“A pretty spectacular score from Kyle Dixon and Michael Stein” - Collider

“A stunningly creepy original score by Kyle Dixon and Michael Stein” - Billboard

Score written, performed and produced by Kyle Dixon and Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’, ‘Butterfly’, and their band S U R V I V E).

‘Stranger Things’ has won seven Emmy Awards, and has been nominated for 216 various awards, with 77 wins.

Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown (Eleven), Gaten Matarazzo (Dustin Henderson), among many others

‘Stranger Things 4’ is Netflix’s most-viewed English language series of all time.

STAFF COMMENTS

Barry says: You synth soundtrack fans are ALWAYS in safe hands with Dixon & Stein (aka Survive). With rich oscillator throbs and tense pads akimbo, it's yet another suite of perfectly manicured soundtrackery that's perfect for the series (obviously) and just as good on the home stereo. Lovely.

TRACK LISTING

A Proper Thump
Hiiiiiiiii
Still Dizzy
Reign Fire From Above
Religious American
Surf That Tasty Pie
Follow Me Into Death
Project Nina
Being Different
Undressing
I Want You To Watch
A Realm Unspoiled By Mankind
Four Gates
Sleeping Dracula
Praying Something Will Happen To me
Stained Glass Roses
One
Gates Of Kamchatka
Top Secret Location
You're The Heart
Sleepyhead
Skull Rock
Spellcaster
You Should Go East
Unfortunate Development
Slashing The Tires
Soteria
ELVIS CLONED BY ALIENS
[delicate, Intense Music Playing…]
Demogorgons In Tanks
The Cure
Patient Confidentiality
Stay Calm, Focus On The Game
It’s Time Max
All Evil Must Have A Home
Flashlights, Flashlights
You Have Already Lost

‘Stranger Things 4 (Original Score From The Netflix Series)’ by Kyle Dixon and Michael Stein, is now available.

Split over two volumes - this is Volume 1.

“A pretty spectacular score from Kyle Dixon and Michael Stein” - Collider

“A stunningly creepy original score by Kyle Dixon and Michael Stein” - Billboard

Score written, performed and produced by Kyle Dixon and Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’, ‘Butterfly’, and their band S U R V I V E).

‘Stranger Things’ has won seven Emmy Awards, and has been nominated for 216 various awards, with 77 wins.

Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown (Eleven), Gaten Matarazzo (Dustin Henderson), among many others

‘Stranger Things 4’ is Netflix’s most-viewed English language series of all time.

STAFF COMMENTS

Barry says: You synth soundtrack fans are ALWAYS in safe hands with Dixon & Stein (aka Survive). With rich oscillator throbs and tense pads akimbo, it's yet another suite of perfectly manicured soundtrackery that's perfect for the series (obviously) and just as good on the home stereo. Lovely.

TRACK LISTING

What's The Internet?
I Wouldn’t Remember Me Either.
Teens
Journalistic Instinct
100% Convinced
In The Closet (At Rink O Mania)
Does That Make Us Friends?
My Boobs Hurt.
Unambiguous True Love
Stuck In 1983
Hawkins National Lab
Hellfire Club
Buried Memories
Fancy Bomb
We Are Not Heroes
Nine Feet Tall
Hail Lord Vecna
Powerful Psychic Connection
Ruth, Nevada
Hellfire Isn’t A Cult
I Know What I Saw
Curfew
You’re Regressing Eleven
Letter To Willy
Palm Tree Delight
Musso
Brenner’s Little Pet
Mr. Fibbly
It’s Just A Clock, Right?
Welcome To Kamchatka
A Nightmare Far Worse
Caught A Body At The Munsen Trailer
A War Is Coming To Hawkins
The Elephant
Hurtling Towards A Gruesome Death
Barefoot In The Snow
Kills You In Your Dreams
The Shire Is Burning
Blood Balloons
Burning Baby
Mugshot
There Are Some Things Worse Than Ghosts...
A Memory Within A Memory

Billy Nomates, the project of the Bristol-based songwriter, producer and multi-instrumentalist Tor Maries, releases her much anticipated second studio album, CACTI,via Invada Records.

Recorded at her flat and Invada Studios, CACTI is a huge step up for the artist, who received widespread critical acclaim for her eponymous 2020 debut album, with heavy airplay across BBC Radio 6 Music and support from luminaries such as Iggy Pop, Florence Welsh and Steve Albini.

Though every bit as unrepentant as Billy Nomates’ debut, CACTI comes from a much more exposed place and sees Tor further develop her instinctive, inventive songwriting and production. Unafraid to wade into the traumas of the past two years and the eerie sense of apathy that lingers, alongside heartache and more political themes, the 12-track collection openly confronts uncomfortable truths, as Tor puts it, "70-80% of being bold is about being vulnerable as hell."

Maries said: “Writing CACTI took just over a year. I wrote very intensely and then none at all. (This seems to be the way I work best). I picked up old drum machines, mapped out things in my kitchen with the same small micro keyboard I always use and then raided the cupboards and rooms at Invada Studios, to play and experiment with old synths, an upright piano, this weird organ thing. I hope everyone finds their own narrative in CACTI. I think it's about surviving it all.”

STAFF COMMENTS

Laura says: Ironically, Cacti is a much less, erm, spikey affair than her debut LP. The vocal delivery reminds me of the sort of female singer songrwiters that were filling stadiums in the 90s, but the self produced, sythn led sound keeps things just the right side of pop: rooted in a raw, authentic sound rather than coated in a bland pop sheen, which suits the deeply personal songwriting.

TRACK LISTING

Balance Is Gone
Black Curtains In The Bag
Blue Bones (deathwish)
CACTI
Saboteur Forcefield
Roundabout Sadness
Spite
Fawner
Same Gun
Vertigo
Apathy Is Wild
Blackout Signal

Battlefield 2042 soundtrack pressed on 2 x 'Hazard Zone' (Green w/ Blue Markings) vinyl, exclusive variant outside The Americas.

Includes gatefold sleeve plus printed inner sleeves.

"Guðnadóttir has established her signature sound: a moving fusion of ambient drone and contemporary classical that places an emphasis on her exceptionally controlled tone; she’s capable of conjuring entire worlds out of just a few carefully chosen notes.” pitchfork.com

"We are thrilled to be writing our first video game score for Battlefield 2042, and teaming with Electronic Arts,” … "It was such a deeply creative experience to dive into this world and create a truly unique and disruptive musical environment for the game.” Gudnadóttir and Slater

TRACK LISTING

Orbital
The Observation Of Beautiful Forms
Irreversible
Between The Bows
Wall Jazz
Load Bearing
When Does A Country Stop Being A Country?
5 Degrees Of Warming
Olivine
Hauled Over The Coals
The Long Haul
Hourglass (Inverted)
Wet Bulb
Shipping Forecast
Deploy
Tipping Points
Battlefield 2042

TVAM self-released his much-acclaimed debut Psychic Data in the autumn of 2018, something of a cult-classic, the album joined the dots between Suicide’s deconstructed rock ’n’ roll, Boards of Canada’s irresistible nostalgia and My Bloody Valentine’s infinite noise. Psychic Data spawned an ‘Album Of The Day’ at BBC 6Music whilst signature tune ‘Porsche Majeure’ featured in HBO’s smash-hit ‘Succession’.

Fast forward the VCR to 2022, High Art Lite takes a different tilt to its predecessor by emphasising the immediate and the personal.The colours are blown-out and the brightness is cranked up.TVAM’s take on role models, fictional movie character tropes, and fables of good and evil, are all tackled with the same suspicious cynicism but this time with an urgent belief in the human condition.

A heady mix of Black Mirror’s modern fables, JG Ballard’s gated communities of sun-drenched wealth, and Mulholland Drive’s boulevard of broken daydreams, High Art Lite offers an all-inclusive package of redemption.

High Art Lite is the first-ever Dinked Edition collaboration with Invada Records.

TRACK LISTING

Side A
Future Flesh
Every Day In Every Way
Club Nautico (Part 1)
Piz Buin
Double Lucifer
Shallow Ends
Side B
Semantics
Say Anything
Host
Club Nautico (Part 2)
High Art Lite

Two years in the making Kosmik Musik is a collaboration between artist Joe Currie, writer Ben Wheatley and musical group Beak>, who worked closely with the artists to provide a musical accompaniment for the graphic novel.

The soundtrack is pressed on 10" black vinyl and housed in a spined sleeve.

Ben and Joe met at art school in the 90s where they both were involved in a lot of comic book drawing and reading. It’s taken thirty years to finally get their acts together and create this book. In the meantime Joe has been sculpting and painting. Ben has been writing and directing films.

Kosmik Musik is melting pot of 2000ad, Metal Hurlant, Kirby tech, psychedelic 60s art, Doctor Who, Douglas Adams, Kraut Rock, Star Trek and Star Wars. A UK 70s English childhood basically.

The project comes with a sonic accompaniment by Beak> who have live dates on the horizon including Primavera Sound in LA

ABOUT KOSMIK MUSIK, THE GRAPHIC NOVEL: The galaxy is a big place–but not big enough for Mick and Eve as they are chased across it by cops, inter-dimensional plunderers, rogue artificial intelligences, middle-aged assassins and a third-tier superhero team. Come with us on a rip roaring, planet hopping adventure. Punches will be thrown, tears will be shed and music will be played on vinyl on vintage record players as Mick and Eve try to solve every sentient creature’s fundamental questions like why and what... and eh? Yes, dear reader, Kosmik Musik will unlock some of the more pressing mysteries of the universe. True Fact.

TRACK LISTING

KOSMIK MUSIK (Part 1)
KOSMIK MUSIK (Part 2)
KOSMIK MUSIK (Part 3)
KOSMIK MUSIK (Part 4)
KOSMIK MUSIK (Part 5)
KOSMIK MUSIK (Part 6)
KOSMIK MUSIK (Part 7)

Ben Salisbury and Geoff Barrow are known for their scores for the Ivor Novello Award winning ‘Ex Machina’ and ‘Devs’, along with their work on ‘Annihilation’, ‘Free Fire’, ‘HANNA’ and more.

Inspired by the popular podcast of the same name, ‘Archive 81’ depicts the life of a man who comes across videotapes full of a mysterious woman’s adventures in an even more mysterious apartment building. What seemed to be an ordinary job turns into a nightmare as the strange creature that took the woman’s life in the past seems to have found a way back to him 25 years in the future.

TRACK LISTING

CD
Archive 81 - Titles
The Visser Ritual
Tape Cleaning
Losing Track Of Time
Jess Opens Up
Journey To The Compound
Seizure
Ghost Story / Cracking The Code
Otherside
Mold
Someone In There
Séance
Cameras
The Greenstone Totem
Dan’s Theme
I’m A Spirit Receiver
Church Seizure / The Compound
The Cult Of Kaelego
A Connection Through Time
Tamara’s Opera
Dan’s First Lucid Dream
I Need To Find Her
Pep Talk
Going Rogue
Fucking Smothering Me
The Ritual Space Recreated
Song Of The Otherworld
What Are You Playing?
Stay Out
Archive 81 - Credits

Archive 81 - Titles
The Visser Ritual
Tape Cleaning
Losing Track Of Time
Jess Opens Up
Journey To The Compound
The Greenstone Totem
Dan’s First Lucid Dream
Otherside
Song Of The Otherworld
Someone In There
Séance
Cameras
Dan’s Theme
Tamara’s Opera
I Need To Find Her
The Ritual Space Recreated
Stay Out
Archive 81 - Credits

After selling out on all variants, this score has now been re-pressed on clear vinyl.

Tim Hecker’s incredible score to ‘The North Water’, starring Colin Farrell and Jack O’Connell.

The score is pressed on clear vinyl and housed in a deluxe spined sleeve with double sided printed insert and digital download card.

Features beautiful artwork throughout, using stunning imagery from the film.

“The score for ‘The North Water’ was written just before and during the pandemic in 2020, mostly over arguably one of the darkest winters of some memory in Montreal,” says Hecker.

“The music was an attempt to add depth and texture to a five-hour doomed arctic journey that charts a trajectory from hardened optimism into abject futility. We worked with a primary palette of synthesizers, electronics, and treated cello, in rich live spaces as well as suffocating dead ones. This version of the score is an enhanced mix of some of the material that made its way into the project.”

Adapted from a novel of the same name by Ian McGuire, it tells the story of a disgraced doctor who becomes a medic onboard an Arctic whaling ship.

TRACK LISTING

Seasick
First On Deck
Delirious Hunt
Seasick II
Left On The Ice
Our First Whale
Ice Row
It's A Mistake To Think Too Much
The Warmth Of Drax
Winter’s Coming
Loot
A Breather
Seasick III
Twinkle In The Wasteland
Starting Over Again

Originally available as a digital-only release, Invada Records and Lakeshore Records present the original score by Nick Cave and Warren Ellis to the film La Panthère Des Neiges (AKA The Velvet Queen).

The soundtrack is one of Ellis and Cave’s most heartfelt and haunting film projects. 

High up on the Tibetan plateau. Amongst unexplored and inaccessible valleys lies one of the last sanctuaries of the wild world, where rare and undiscovered fauna lives. Vincent Munier, one of the world’s most renowned wildlife photographers takes the adventurer and novelist Sylvain Tesson (In the Forest of Siberia) with him on his latest mission. For several weeks, they’ll explore these valleys searching for unique animals and try to spot the snow leopard, one of the rarest and most difficult big cats to approach.

Ellis explains how Cave and himself came to be involved : “There is something about the heart of this film that draws you in. I realised after a day, that I wanted to do whatever it took to compose an entire original score. The film deserved to have its own musical voice. I booked five days and asked Nick if he could come in for a day to write a theme song and play some piano. He saw the film and stayed for four days. In the end we made what I think is one of the most beautiful films we have ever worked on. One of my favourite experiences ever working on a project. The stars are the animals in all their wild glory, as we have never seen them before, and man in reverence and wonder.”

TRACK LISTING

L'attaque Des Loups
Les Cerfs
Antilope
La Bête
Les Yaks
Des Affûts Elliptiques
Les Nomades
La Grotte
Les Princes
La Neige Tombe
Les Ours
Un Être Vous Obsède
L’apparition/We Are Not Alone

“The year's indisputable soundtrack pinnacle” - Peter Travers, ABC “The year’s best film score” - The New Yorker

“Greenwood’s latest score - and the one that might be likeliest to finally win him an Oscar” - Stereogum 

Jane Campion’s masterful ‘The Power of the Dog’ is the most honoured film of the year. The critically acclaimed original score by Academy Award and BAFTA-nominated composer Jonny Greenwood has won Best Score at 13 major critics organisations and is now SCL nominated for Outstanding Original Score for a Studio Film.

This incredible score recently received the Academy Award nomination for Best Original Score, BAFTA nomination for Best Original Music, Golden Globe nomination for Best Original Score along with loads of other nominations. As well as the score, the film has been incredibly popular this awards season, picking up many nominations.

TRACK LISTING

1. 25 Years
2. Requiem For Phil
3. So Soft
4. Detuned Mechanical Piano
5. Prelude
6. The Ravine
7. Mimicry
8. West Alone
9. Miss Nancy Arrives
10. Figured It Out
11. Viola Quartet
12. Best Friends
13. Paper Flowers
14. A Lovely Evening
15. They Were Mine
16. West
17. Psalm 22

The score reflects the mood of the lead character, played by Nicolas Cage, with the simple ‘folk’-like colours of the solo violin and acoustic guitars creating a richly mournful tone.

More modern, aggressive electric guitars, distorted colours and drums provide a strikingly ominous, propulsive backdrop to the character’s more intense moments.

Alexis Grapsas says this about the film’s score: “The score was born after lots of trial and error and experimentation under the guidance and vision of the filmmakers, where we tried very original acoustic and electric sounds. In the process of creating an environment that would capture the lead character’s emotional world, we landed on a very unique raw and gritty sound that remains true to the story while being self-aware.”

TRACK LISTING

Hunting
Out Of The Woods
Turquoise
Bottom Of The Ocean
Salted Baguette
Take Me To The City
The Trees Tell You Where To Look
Tell Him Who You Are
Things To Really Care About
Hotel Portland
Wasted Space
Pignapping
See You Thursday

“The score for ‘The North Water’ was written just before and during the pandemic in 2020, mostly over arguably one of the darkest winters of some memory in Montreal,” says Hecker.

“The music was an attempt to add depth and texture to a five-hour doomed arctic journey that charts a trajectory from hardened optimism into abject futility. We worked with a primary palette of synthesizers, electronics, and treated cello, in rich live spaces as well as suffocating dead ones. This version of the score is an enhanced mix of some of the material that made its way into the project.”

Adapted from a novel of the same name by Ian McGuire, it tells the story of a disgraced doctor who becomes a medic onboard an Arctic whaling ship.

STAFF COMMENTS

Matt says: Have you seen The North Water yet? It's amazing - accentuated and enhanced by Hecker's immersive and detailed score. Possibly avoid if, like me, the thought of being trapped in a submarine 3 miles underwater absolutely scares the living shit out of you. Otherwise - you're good!

TRACK LISTING

Seasick
First On Deck
Delirious Hunt
Seasick II
Left On The Ice
Our First Whale
Ice Row
It's A Mistake To Think Too Much
The Warmth Of Drax
Winter’s Coming
Loot
A Breather
Seasick III
Twinkle In The Wasteland
Starting Over Again

Mixing classical and contemporary sound, Mario Batkovic seeks to explore the sonic possibilities of the accordion, without effects or loops, rather through a mutualist symbiotic relationship between man and instrument. Challenging, hypnotic and grandiose; Batkovic’s symphonic vision is unique and he has received widespread critical acclaim, including Rolling Stone magazine who voted his self-titled debut album in the Top 10 ‘Best Avant Albums of 2017’

‘Introspectio’ is a self-questioning, self-examination of society and the meaning of sound. Featuring collaborations with electronic sorcerer James Holden and former BEAK> member Matthew Williams aka MXLX, in addition to drummer Clive Deamer (Radiohead/Portishead/Robert Plant/Roni Size), saxophonist Colin Stetson and concert choir Cantus Domus, Batkovic questions the place of sound, clichés and prejudices, taking the listener on a journey through infinite universes of sound.

Musical contrasts run throughout the album. Sound aesthetics versus compositional ethics play out, it all about creation and destruction as our sound researcher creates his very own macrocosm of music and sound. Whether solo or in collaboration, ‘Introspectio’ invites us on a rhythmically pulsating trip somewhere between dissolution and new beginnings.

TRACK LISTING

SANATIO
REPERTIO (w/ Clive Deamer & MXLX)
CHOREA DUPLEX (w/ James Holden)
QUIS EST QUIS (w/ Colin Stetson)
SURROGATUM
PRIMORDIUM FINALE

Underground coldwave duo The KVB are back with their most potent and immediate record yet. Produced and mixed by Andy Savours (Black Country New Road, My Bloody Valentine, The Horrors) ‘Unity’ represents an exciting development in the band’s sonic journey. Across the album's ten songs, The KVB masterfully pull together their trademark components; radiant guitars, textural synths and an ear for a moody, brooding melody all presented here with a renewed dynamism.

Throughout the album lyrical themes combine double meanings and a sleight of hand is present; Le Corbousier’s brutalist ‘Unité d’habitation’ informs the title track and via the French-to-English translation ‘Unité' becomes ‘Unity’ - a rallying cry to totality on the dancefloor. ‘Unbound’ is informed by the classic shoegaze stylings of Slowdive and Ride but also late-modern poet Keston Sutherland and the idea of recreating a special moment lost to the past . 

TRACK LISTING

Sunrise Over Concrete
Unité
Unbound
Future
Blind
Ideal Living
World Of Fire
Structural Index
Lumens
Omni

Gazelle Twin’s incredible electronic score to horror film “Nocturne”, released as part of the Welcome To The Blumhouse series.

Includes previously released tracks by Gazelle Twin “Unflesh” and “Belly Of The Beast”.

The score is pressed on clear vinyl and housed in a deluxe spined sleeve with digital download card included.

‘The director wanted there to be a strong appearance of feminine rage featuring heavily in the score, building around the classical pieces,’ says Gazelle Twin. ‘She wanted to use some of my existing tracks, “Unflesh” and “Belly Of The Beast”, in a couple of scenes, so I took leave from the vocal style of “Unflesh”, which has a lot of strong chest singing inspired by Bulgarian Folksong. It became a motif that the music editor, Shie Rozow, weaved throughout the film for those especially fierce moments. Then there’s the ‘dread drones’ that haunt the whole score, getting more and more intense.’

TRACK LISTING

1. Moira’s Sacrifice
2. Juliet’s Rage
3. The Book
4. Invocation
5. Belly Of The Beast
6. Assurance
7. Golden Light
8. Purification
9. Triumph
10. Consummation
11. Unflesh
12. Blood Sport
13. Vivian’s Fall
14. Juliet’s Sacrifice

Two new tracks from Beak>.

Pressed on black 7” vinyl with digital download card included.

‘Oh Know’ was originally released as part of NRML Festival in Mexico City as a music video release by Echo Panda Films.

STAFF COMMENTS

Barry says: They do a stunning 7" Beak do, I remember 'Sex Music' getting a hell of a playing in the shop, and this newest outing is sure to go down just as well with a motorik backbeat perfectly laying the foundations for the syncopated groove and echoic vocal squawks. Filthy.

TRACK LISTING

Oh Know
Ah Yeh

A good 10 years after her first solo LP, Annika Henderson of Exploded View fame has created the perfect album. One that is great from start to finish and steeped in the scope of human emotion. Change combines goth disco© (“Critical”, “Rights”) and synth stompers (“Finger Pies”, “Naysayer”) with eerie, haunting songs (“Sand Witches”, “Freedom”) and heartfelt melancholia (“Change”, “Never Coming Back”, “Wait For Something”). The tracks are gloomy yet catchy and with its industrial feel and Anika’s Nico-esque voice the album sounds both moody and empowering. The title track “Change” and my personal favourite “Never Coming Back” in particular have me in awe of her songwriting abilities and pop sensibility. Anika has written an album that contrasts darkness and hope and brilliantly covers a broad range of sentiments. It's an experimental synth pop masterpiece that deserves to be heard by a much wider audience.

STAFF COMMENTS

Mine says: It's been a while! Anika is back and I'm sure everyone who's enjoyed her outings with Exploded View will dig her (equally dark and moody) solo stuff too. Very excited about this one!

TRACK LISTING

1. Finger Pies
2. Critical
3. Change
4. Naysayer
5. Sand Witches
6. Never Coming Back
7. Rights
8. Freedom
9. Wait For Something

Gazelle Twin and Max de Wardener’s score to “The Power”, directed by BAFTA nominated director Corinna Faith.

Taking about the soundtrack, Gazelle Twin expands, “Working on The Power with Corinna and Max didn’t feel much like work. It was a long haul thrill, from our field trip to the derelict wing of Goodmayes Hospital to record squeaky trolleys and smashed pill bottles, to making countless experiments with samples, voice, and electronics, pushing them in every extreme direction we could think of. The results bring me a lot of joy. I hope the collaboration continues.”

Max de Wardener goes on to say, “For this score we tried to match Corinna’s terrifying vision of the dark by creating music that was both as ambiguous as it was frightening. Keeping the palette small to increase the feeling of claustrophobia, this ranged from quiet dusty out of focus sounds, to full blown dense vocal textures with pounding synths to evoke our primal fear of the unknown. Gazelle Twin’s brilliantly inventive approach to vocal music became such an important part of the film.”

Summoning the spirit of classic ghost stories such as Susan Hill’s novel The Woman in Black and the intense psychological atmosphere of Dario Argento’s Suspiria, The Power is set in a crumbling East London Royal Infirmary in 1974.

TRACK LISTING

First Day
Prayer In The Dark
Dream Come True
On Trial
Basement
Intensive Care
Ashes
Dark Won’t Hurt
Possession
Dark Shift
Nothing Happened
Black Pages
Babs’ Eyes
Gail Returns
White Sheets
Rescue
Confrontation
Revelation
Descent
You Will Listen To Us
The Well

Clint Mansell and Clint Walsh’s reimagining of Lou Reed’s 1973 album ‘Berlin’ as a tribute to Mansell’s late partner Heather who passed away in 2014. Mansell is best known as the former lead singer of Pop Will Eat Itself and as a composer for films such as ‘Requiem for a Dream’ and ‘Black Swan’. Walsh is a multi-instrumentalist and founding member of Tweaker and is known for his work with Courtney Love, Gnarls Barkley and many others. Mansell and Walsh worked previously together on the score for ‘Black Mirror’ episode ‘San Junipero’.

TRACK LISTING

Berlin
Lady Day
Men Of Good Fortune
Caroline Says I
How Do You Think It Feels
Oh Jim
Caroline Says II
The Kids
The Bed
Sad Song

The psychological thriller - directed by Ben Wheatley and starring Lily James, Armie Hammer and Kristin Scott Thomas - aired on Netflix on October 21 - one of Netflix’s biggest films of 2020.

Speaking about his score, Mansell says: “Of course the main objective is to serve the film, support the story, and have the music play its role. But aside from that, to be honest, when I approach a new film nothing is sacred, everything is up for grabs. You need to take it apart and then rebuild it to find one’s own voice within it. That said I love to do lots of research on a project before I start writing - it’s my most favourite part of the process. The film I’m scoring has to inform me of what it needs, to what it will respond. So, an intimate knowledge of the work, other interpretations, background, the author, etc. is key to my being receptive to that.”

As well as being one of the founding members of Pop Will Eat Itself, Clint Mansell is one of the most respected contemporary film composers and his hugely successful works include Requiem For A Dream, Moon, The Fountain, Black Mirror: San Junipero, High- Rise, Doom and more.

TRACK LISTING

Last Night I Dreamt I Went To Manderley Again
Une Douzaine D'Huîtres
Côte D’Azur
A Bond In Common
Rebecca Always Rebecca
The Peace Of Manderley
The Shadow Between Us
Do The Dead Come Back And
Watch The Living
The Happy Valley
Rebecca's Room
The Quality Of Insincerity
I Could Fight The Living But I Could Not Fight The Dead
Je Reviens
All Memories Are Bitter
By Night She’d Come
The Second Mrs De Winter
The Wings Of Mercury
I Should Never Be Rid Of Rebecca
Tell Me That You Love Me Now
We Can Never Go Back Again
We Are Both Alone In The World *
Dancing Till Three *
The Tradesman’s Complaint - Trad *
A Phantom In My Mind *
Ghosts Of Manderley *

* = 2LP Only

Multidimensional duo Divide and Dissolve release their third full length studio album ‘Gas Lit’ on Invada Records, produced by Ruban Neilson of Unknown Mortal Orchestra.

Divide and Dissolve members Takiaya Reed (saxophone, guitar, live effects) and Sylvie Nehill (drums, live effects) create instrumental music that is both heavy and beautiful, classically influenced yet thrillingly contemporary and powerfully expressive and communicative. Their music has the ability to speak without words and utilises frequencies to interact with the naturally occurring resonance.

‘We Are Really Worried About You’ presents a formidable saxophone sound giving way to a surge of crushing percussion and heavy guitar riffs. ‘Denial’ is a potent blend of Takiaya’s ominous and unsettling sax that blows wide open into riff city for almost eight glorious minutes. Both tracks encapsulate the message behind the music: to undermine and destroy the white supremacist colonial frameworks and to fight for indigenous sovereignty, black and indigenous liberation, water, earth and indigenous land given back.

For fans of James Baldwin, Osa Atoe, Adrienne Davies, the ocean and freshwater, breath/breathing, Toni Morrison, Octavia Butler, Afro futurism, indigenous futurism, indigenous sovereignty, slavery abolition, resistance, the forest, bodies of water, being submerged, the railroad and Ai Ogawa.

STAFF COMMENTS

Barry says: At no point throughout 'Gas Lit' do you come away with the impression that they're just having a good time. This is a visceral and intense, but entirely enjoyable fusion of neo-classical timbres with metallic heft and shoegazey walls of sound. Towering and impeccably constructed.

TRACK LISTING

Oblique
Prove It
Did You Have Something To Do With It (ft. Minori Sanchiz-Fung)
Denial
Far From Ideal
It’s Really Complicated
Mental Gymnastics
We Are Really Worried About You

Off the back of her critically acclaimed self-titled debut album released last year on Invada Records, Billy Nomates returns with her new EP “Emergency Telephone”, which follows the release of brand new single “Heels” taken from the EP.

TRACK LISTING

Emergency Telephone
Right Behind You
Heels
-
Petrol Fumes

Invada Records release Warren Ellis’ score to ‘This Train I Ride’.

The Australian musician (Dirty Three, Bad Seeds, Grinderman) has scored a number of high-profile films (‘The Assassination of Jesse James by the Coward Robert Ford’, ‘Hell or High Water’, ‘The Road’) and his latest score is for ‘This Train I Ride’, a documentary film directed by Arno Bitschy.

The score is pressed on black vinyl and comes in a deluxe gatefold sleeve with the record itself housed in a double sided printed inner sleeve featuring liner notes by Warren Ellis and Brian Eno. Digital download card included.

“My idea was to record, collate and produce the music on trains, in the spirit of the women in this documentary. Brian was so encouraging with this approach and told me about a train journey he had taken in the 80’s with no fixed destination. Over the next month I sat with my computer, loops, iPhone, Reface DX synthesiser and forgotten ideas and composed the music on the Metro and Eurostar and in various hotels while working on Ghosteen. I would send the pieces to Arno from the train, or wherever I was located, and he edited them into the film.” - Warren Ellis

The film tells the story of women hopping freight trains around America. The film follows the life-journeys of these women living on the fringe in a rapidly changing country, in their quest for identity, freedom and finding their place in the world.

TRACK LISTING

This Train I Ride
Because I Was A Girl
Westbound
The Rules Concerning Men
Airport Train
I'll Hop Trains The Rest Of My Life
Freight Train
Mystery Train

Jeremy Gara, drummer of Arcade Fire, releases his second solo album ‘Passerine Finale’ on Invada Records.

The album was mastered by Helge Sten (Deathprod, Supersilent) and composed, produced and recorded by Jeremy over the last three years. ‘Passerine Finale’ is a varied collection of songs and disparate sounds, from arranged static noise to extended melodic drones, improvised and chiselled at, ignoring form or structure, and completed the moment things ‘felt’ something.

The album comes pressed on silver vinyl and is housed in a heavyweight sleeve with digital download card included, with artwork throughout by Jeremy himself.

Jeremy explains: “‘L_06’ - the visual thing, like the song it accompanies, comes from trying to push really simple objects and figures to a place where they hopefully, somehow, become imprinted with a kind of emotional energy - attempting to entwine single note drones and simple straight lines together tightly enough that they dance a little.”

Originally from Ottawa, Canada, Jeremy has been a member of Arcade Fire since 2004. Outside of the band, he has recently collaborated with bandmate Sarah Neufeld and world-renowned dancer and choreographer Peggy Baker on composing music for a large-scale dance production called Who We Are In The Dark and performed it live at various dance festivals. He’s also been touring and performing his solo material across the world since his first album, ‘Limn’, was released in March of 2016.

STAFF COMMENTS

Barry says: invada obviously have form for this sort of soundtracky full-spectrum mayhem, but i've not heard anything quite as brilliantly punishing and heavy since Ben Frost's 'Theory Of Machines'. Passerine Finale is a gorgeous, genre straddling behemoth, and one that deserves to be absorbed at full volume.

TRACK LISTING

In, Final Note
L_06
Kelpie
Ice Towers
Watching You
CDMX
Passerine Finale
Wraith

Dispatches From Elsewhere (Music From The Jejune Institute) is a meticulously crafted electronic score, composed for the AMC show by Atticus Ross, Leopold Ross & Claudia Sarne. “Music From The Jejune Institute” and “Music From The Elsewhere Society” both represent opposing factions in the series. The score is pressed on black vinyl and housed in a deluxe spined sleeve with printed insert and download card included. Atticus Ross is an English musician and producer who has been living and working in Los Angeles since 2000. His move from records to include working in film started in 2010 with The Book of Eli and The Social Network. Along the way he has won a number of awards including the Grammy, the Oscar, the Golden Globe, the Critics’ Choice and the Ariel. He is also a member of the band Nine Inch Nails.

Leopold Ross is an English composer whose scoring career began with the Hughes Brothers The Book of Eli. He has gone on to score numerous films and TV shows, working with many notable directors including Michael Mann (Blackhat), Harmony Korine (Caput) and more. Claudia Sarne is an English musician, composer and songwriter who lives and works in Los Angeles. Her music is featured on work with leading contemporary female artists such as Tierney Gearon and Polly Borland. She collaborates extensively with Atticus Ross and Leopold Ross. Created by and starring Jason Segel, “Dispatches From Elsewhere” is an original anthology series centered around four ordinary people who feel there’s something missing in their lives, but they can’t quite put their finger on what it is. This diverse foursome is brought together by chance – or perhaps it’s by design – when they stumble onto a puzzle hiding just behind the veil of everyday life.

TRACK LISTING

1. Data Analysis
2. Chocolate Milk
3. Fredwynn Knows
4. Macguffin
5. Those Dark Horses
6. Disillusion
7. The Architect
8. This Is Existing
9. Breaking And Entering
10. Hooded Gathering

This is the original score to Devs by Ben Salisbury, The Insects and Geoff Barrow. It includes all 37 tracks from the stunning score. Ben Salisbury says, "As with all of Alex's projects, we started working on ideas for the music after reading the scripts, and as well as being blown away by the material, we knew the music would need to reflect the strong religious thread that runs through story, and that we would need a number of developing themes that had a warped devotional vibe to them. But the music also needed to work with the thriller and tension side of things and the moments of outright horror, as well as sitting alongside the sheer beauty and scale of the amazing cinematography and set design. Crucially, the score also had to reflect and emphasise the human and emotional aspects of a story that is ultimately about grief and love.”

TRACK LISTING

Plainsong
Stranger Danger
Amaya Corporation
Entering Devs / The Machine
Stealing The Code
Two Concurrent States (Plainsong Part 2)
Tramlines
Were You Listening?
Suffocation
You're Fired
Christ
Sudoku
Amaya's Theme (Version 1)
The Visualisation Chamber
Reporting A Crime
All Possible Worlds
I'm A Tank
Specifically You
Crash No Crash
Stay In My Bed
Object Input
All Buddies Now
Keep Extrapolating
Someone Crazy
Ad Infinitum Ad Nauseam
Aubade
You Were Counting In Russian
Cause And Effect
Aftermath
The Universe Is Deterministic (Plainsong Part 3)
The Day Will Break
The Second Coming
Resurrection
Your System Breaks
This Is Where You Say Goodbye
Predetermined
Amaya's Theme (Version 2)

Billy Nomates, the fierce, funny, outspoken force of nature who hails from Melton Mowbray and now flits between Bournemouth and Bristol, has arrived to rattle cages.

The songs on her debut album all come from a place of defiance. Rebellion against Brexit. Against soul-sapping, dead-end jobs and zero-hours contracts. Against gender inequality, sexual harassment and festivals with obligatory female acts hidden in the small print. Billy’s songs lampoon the same bleak reality satirised by her beloved Scarfolk website and explored so abrasively in the fringe theatre she finds solace in.

Musically, there are snatches of Nick Cave’s rumbling sprechgesang; the “off-the-wall-ness of musicians like Captain Beefheart”; Sleaford Mods’ febrile post-punk; the groovesome lofi art-rock of Sonic Youth; and the brassy Americana of Emmylou Harris. What dominates, though, is a feeling of release. Of letting it all out.

TRACK LISTING

Modern Hart
Hippy Elite
Happy Misery
No
Supermarket Sweep
FNP
Mudslinger
Call In Sick
Fat White Man
Wild Arena
Escape Artist

Invada Records are proud to release Blanck Mass’ score to ‘Calm With Horses’ on vinyl and CD! Black Mass’ first feature length, synth-heavy score was previously released on digital platforms on 13th March.  Blanck Mass is the solo project of Benjamin John Power. The musician, also one half of Fuck Buttons, has been making music under the moniker since 2010 and has released three albums on Sacred Bones, 2015's Dumb Flesh, 2017's World Eater and 2019’s Animated Violence Mild. Calm With Horses, Nick Rowland’s feature film debut, is a raw and beautiful tale of one man’s struggle to navigate both crime and family life in rural Ireland.

TRACK LISTING

Violent Child
The Devers
Jack's Theme
Different Breed
Halfwit
Sleepless
The Cliff
Loyal Skins
Heck Speaks
Descent
That Plank In Your Eye
Manipulation
Prove Yourself
Photograph
Nothing That Cannot Be Turned Back
Leaving
Credits

The soundtrack to Shane Meadows’ ‘The Virtues’, which screened on Channel 4 in May / June 2019, features six original pieces of music by PJ Harvey written for the series and includes tracks used throughout the series, including music by Aphex Twin, MONO, Lisa Hannigan and more.

“I am so happy to have provided the original music for this extraordinary and powerful new drama by a director I have admired and followed all my life. Shane has a unique directness and sensitivity to his work which I am drawn to and aspire to in my own work, so our collaboration was open and trusting. I sent Shane ideas as demos for him to try out as he edited and let him choose what he used and where to the greatest effect. In the end we both loved how the demos worked so left them as they were, adding to the raw beauty of the piece.” - PJ Harvey

STAFF COMMENTS

Barry says: What better combination could there be than Shane Meadows' singular artistic direction and PJ Harvey's keen soundtracking talents? Beautiful ambient sections and orchestral lushness, terse melodies and PJ's instantly recognisable vox. Lovely.

TRACK LISTING

PJ Harvey - The Lonely Wolf
Lisa Hannigan - Flowers
PJ Harvey - Death
Aphex Twin - Gwely Mernans
Micah P. Hinson - Beneath The Rose
PJ Harvey - Submerge
Toydrum - Jesus Song (Rival Consoles Rework)
Gazelle Twin - Cutting Into Flesh
PJ Harvey - Prayer
MONO - The Flames Beyond The Cold Mountain
Ted Barnes - If The Truth Hurts
Set Fire To Flames - When Sorrow Shoots Her Darts
PJ Harvey - Subterranean
PJ Harvey - The Crowded Cell

Invada Records announce the release of Mark Jenkin’s drone-heavy score to UK film ‘Bait’.

Mark Jenkin amazingly directed, edited and composed the score himself for the resolutely DIY yet hugely successful film. ‘Bait’ has since received four British Independent Film Awards nominations for Best Indie Film, Best Director, Breakthrough Producer and Best Editing and is one of the highest grossing and most successful indie films of 2019.

The score is pressed on blue vinyl and comes housed in an extra thick deluxe spined sleeve with double sided heavyweight card printed insert, featuring stills from the film. There is also a digital download card included.

Jenkin: “I started playing around with some drone ideas as a distraction from the editing of the film; something to take my mind off the cutting,” he says. “I was experimenting with delays and reverbs and decay and I began to feel that there was a nautical theme to the sounds that I was making.

“An original drone was created very separate to the film but then I realised it might work as a score. From there I created a set of about 12 drones (eight of which are on the album) which were mostly variations on a theme and I began to place them in the edit to match the score. The drones work very well with the sounds of the sea, which is pretty much omni-present throughout the film and makes it easier to embed a drone without it being a big ‘musical’ statement.”

TRACK LISTING

Polmeor Rising
We're Here Now
Winner Stays On
Ring Bolt Billy
P.L.C.
Another Tuss
You Go Home Now
Polmeor Falling

For the surreal German supernatural thriller, Frost’s dynamic and ominous orchestrations provide a striking backdrop. Says Frost: “Working in this strange and beautiful world of light and shadow has been a gift and an endless source of inspiration”. Ben Frost is an Australian composer and producer based in Iceland. His albums include: Steel Wound (2003), School of Emotional Engineering (2004), Theory of Machines (2007), By the Throat (2009), Sólaris (with Daníel Bjarnason) (2011), Aurora (2014), The Centre Cannot Hold (2017), Fortitude OST (2017, 2018) and more. Dark is set in a German town in present day where the disappearance of two young children exposes the double lives and fractured relationships among four families. The story takes on a supernatural twist that ties back to the same town in multiple time periods.

STAFF COMMENTS

Barry says: Furthering his already prolific output on the soundtrack scene, top-tier noise merchant and ambient god Frost brings out two parts to his superb score for German Netflix outing, 'Dark'. The first cycle is a bit more of a brooding affair (as with Stranger Things) and perfectly soundtracks the rising unease and supernatural strangeness of the whole situation.

TRACK LISTING

Alles Ist Miteinander Verbunden
Ein Mensch - Ein Schmetterling
Die Hölle Ist Leer, Alle Teufel Sind Hier
Tick Tack, Tick Tack
Warum Nicht Waldweg
Apokalypse
Kein DeLorean
Das Ist Nicht Mikkel
Eine Reise Durch Die Zeit
Ich Kann Die Vergangenheit Ändern
Gott Gib Mir Gelassenheit
Wo Ist Übergang

For the surreal German supernatural thriller, Frost’s dynamic and ominous orchestrations provide a striking backdrop. Says Frost: “Working in this strange and beautiful world of light and shadow has been a gift and an endless source of inspiration”. Ben Frost is an Australian composer and producer based in Iceland. His albums include: Steel Wound (2003), School of Emotional Engineering (2004), Theory of Machines (2007), By the Throat (2009), Sólaris (with Daníel Bjarnason) (2011), Aurora (2014), The Centre Cannot Hold (2017), Fortitude OST (2017, 2018) and more. The award-winning mystery series DARK transcended borders and connected with audiences around the world. The second season continues the story of four families and their attempts to change their fate within their tightly knit community. Through eight hour-long episodes, they experience how every decision irretrievably influences the present, the past and the future.

STAFF COMMENTS

Barry says: The second part of Frost's soundtrack for 'Dark' ramps things up a little, with tension and in turn musical intensity building to breaking point through a shadowy and foreboding electronic soundcape. Typically mindblowing work.

TRACK LISTING

Schwarze Materie
Winden 2053
Bootstrap
Alles In Einer Endlosen Schleife
Die Reisenden 1
Du Bist Ein So Guter Mensch
Jeder Bekommt Was Er Verdient
Die Apokalypse Muss Kommen
Wir Haben Keine Zeit Mehr
Die Reisenden 2
Ich Dachte, Ich Haette Mehr Zeit
Folge Dem Signal
Der Weisse Teufel

‘Luce: Original Motion Picture Soundtrack’, featuring original score by Ben Salisbury and Geoff Barrow (‘Annihilation’) stars Naomi Watts, Octavia Spencer, Tim Roth and Kelvin Harrison, Jr. Stacked with amazing performances and adapted from JC Lee’s acclaimed play, director Julius Onah has created an intense, multi-layered and deeply entertaining look at identity in today’s America.

Certain to be one of the most talked-about films of the year, ‘Luce’ is a smart psychological thriller that will leave audiences breathless.

Says Ben Salisbury: “The script for ‘Luce’ had such an impact on us, that we not only jumped at the chance to be involved, but also immediately came up with a theme for Luce himself. This was one of those rare occasions where our very first response, informed by Julius Onah’s incredibly strong vision, ended up being the catalyst for the whole score.

The music is predominately performed on church organ, which seemed the ideal instrument to provide the sort of ‘cold emotion’ that was often required, and could also be used to build tension and contribute to the general sense of unease."

"It was a real privilege to be involved in a film where the drama is so nuanced, and the character allegiances and emotions are constantly shifting. When a film purposefully asks difficult questions, and doesn’t attempt to provide easy answers, you are obliged as composers, to leave the musical ‘sledgehammer’ alone. This is often a very good thing!”

TRACK LISTING

Luce’s Theme
Goodnight Amy
Breakdown Aftermath
Skyhooker
Stephanie
Luce’s Theme (Reprise)
Everything’s Fine
Speech To No-one
You Can’t Run From Blood
Debate
Amy Follows Luce
We Are Done Here
Try Again
Luce’s Theme (Coda)
End Credits (Skyhooker Mix)
Luce’s Theme (St. Mary Redcliffe)
You Can’t Run From
Blood (St. Mary Redcliffe)

All About Eve — Original Music, composed by double Mercury Music Prize-winner PJ Harvey.

The 14-track album contains 10 original pieces of instrumental music, as well as two new songs written by Harvey and sung by Gillian Anderson and Lily James.

The physical release also includes demo versions of ‘The Sandman’ and The Moth’, performed by PJ Harvey.

On composing this score, Harvey says, “I have always loved stories, and so to compose music to support and enhance a story being told is a challenge I enjoy. I also love the freedom that working instrumentally can give me without the constraints of song form.”

“For All About Eve I chose to work with my long-time collaborator James Johnston as he has a soulfulness and sensitivity to his playing that inspires me. I also worked with Kenrick Rowe who has a versatility to his drumming I knew I could experiment with until I found what was right.”

All About Eve is the stage adaption directed by Ivo Van Hove.

STAFF COMMENTS

Barry says: It's become more and more clear that PJ Harvey can easily put her mind to anything she deems necessary, and with great effect. The soundtrack for this adaptation of All About Eve is even more evidence, with perfect cues and touching sentimaentality oozing through every note. A beautifully performed and perfectly written piece. In-situ or not.

TRACK LISTING

Becoming
Shimmer
The Sandman
Waltz
Descending
Lieben
Ascending
Cadenza
The Moth
Träume
Arpeggio Waltz
Change In C
The Sandman (Demo)
The Moth (Demo)

S U R V I V E members Kyle Dixon & Michael Stein's score to Stranger Things 3.

GRAMMY Nominated and EMMY Winning composers Kyle Dixon & Michael Stein's score to 'Stranger Things' is perhaps the show’s secret ingredient. A mixture of icy new-wave hooks, spooky ambient textures and menacing drones which bring a spine-tingling ambience and a hauntingly beautiful nostalgia all at once.

It’s 1985 in Hawkins, Indiana, and summer’s heating up. School’s out, there’s a brand new mall in town, and the Hawkins crew are on the cusp of adulthood. Romance blossoms and complicates the group’s dynamic, and they’ll have to figure out how to grow up without growing apart. Meanwhile, danger looms. When the town’s threatened by enemies old and new, Eleven and her friends are reminded that evil never ends; it evolves. Now they’ll have to band together to survive, and remember that friendship is always stronger than fear.

STAFF COMMENTS

Barry says: Dixon! Stein! Bad-ass kids with super and / or not super powers! Winona! The neverending story! A Mancunian graphic design god! all GREAT things, and all involved in Stranger Things. Bonus points for the hot pink 80's vinyl. Amazing stuff.

TRACK LISTING

Boys And Girls
I Like Presents Too
Starcourt
Blank Makes You Crazy
I Need You To Trust Me
You’re A Fighter
The Ceiling Is Beautiful
The First I Love You
Rats
What Did You Do To Him?
Find The Source
The Silver Cat Feeds
Heather’s
William
Destroying The Castle
In The Void
Tammy
Mirkwood
Portal Drill
Happy Screams
Ruins
It’s Just Ice
The Door Is Opening
Planck’s Constant
She’s Gone Home
Seven Feet
The Week Is Long
Sauna Test
Six Facts
The Trees Are Moving
On Their Tracks
Not Chinese Food
Blueprints
Land Deeds
Not Kids Anymore
Code Red
Feel Safe
He’s Here
Scoops Troop
We Don’t Understand Each Other
Aftermath

Invada Records and Lakeshore Records will co-release ‘Monos: Original Motion Picture Soundtrack’, featuring original music by Ivor Novello Award-winner and Academy Award-nominated Mica Levi (Jackie, Under the Skin).

The London-based composer, music producer and artist creates an indescribably hallucinatory, often menacing backdrop to the survivalist thriller set on a remote mountain in Latin America.

Says director Alejandro Landes: “Mica connected with and understood the spirit of the film: the faces, the colors, the extremeness of the environment, the mash of costumes, the absence of a specific time, place or date. She's classically trained but can be equally as inspired by pop or heavy metal; she can mix synthesizer-driven music with a quartet. All this brings a very particular sensibility, a mixing of instruments, that made for a distinct, emotional and atemporal sound.”

TRACK LISTING

Guerreros
Mensajero
Lobo Y Lady
Aullido
Solos
Funeral
Honguitos
A La Selva
Sin Radio
Castigo
El Regreso De
Patagrande
Pisa Suave
Corre
Helicóptero
Monos

Invada Records and Lakeshore Records announce the release of the soundtrack to Amazon Prime’s ‘HANNA: Season 1’ on vinyl.

Pressed on white double vinyl housed in a deluxe gatefold sleeve.

For the first time, composers Ben Salisbury and Geoff Barrow were able to put together a team of musicians to work together to form a collaborative score for the whole series.

The soundtrack consists of tracks by Karen O and Beak>, plus an original score by Ben Salisbury, Geoff Barrow, The Insects, Simon Ashdown and Yann McCullough.

“Because of the size of the ‘HANNA’ series, we had the opportunity to bring our own team of artists and composers. The producers had already contacted the amazing Karen O whose song ‘Anti-Lullaby’ formed a theme that was continued throughout the series. It was also great to work with our friends The Insects (Massive Attack co writers Bob Locke & Tim Norfolk), Simon Ashdown and music editor turned composer Yann McCullough” - Geoff Barrow

Yeah Yeah Yeahs’ singer Karen-O’s wandering, ominous ‘Anti-Lullaby’ appears on the soundtrack along with her Goth rendition of Smashing Pumpkin’s ‘Bullet With Butterfly Wings’, with Beak>’s ‘Wulfstan II’ appropriately closing the album.

The score for ‘HANNA: Season 1’ features layers of manipulated organic elements which composer Ben Salisbury describes thusly: “The score for the series was mainly inspired by the character of Hanna herself, and her forest upbringing. Even though the music is sometimes processed, it is always based on something real and organic rather than pure electronics. We often used layers of woodwind instruments (including some fairly unusual ethnic flutes and pipes) as a way of linking Hanna to the natural world in which she was brought up, and also to try and capture her fierce animal spirit and her sense of wonder as she experiences the ‘new world’ beyond the forest.” - Ben Salisbury

TRACK LISTING

We Have Heller
Anti-Lullaby (Karen O)
Training
Connections
Escaping The Hotel
The Ghost Of Her Mother
Relentless / Forest
Memories
Bullet With Butterfly Wings (Karen O)
Berlin Night Drive
Always Hunted
Eric's Theme
Sensing Danger
Beyond
A Cornered Animal
Marisa Held Hostage
Eric Leaves Hanna
Nice Paris Life
Runway Ambush
Wulfstan II (Beak>)

Grammy nominated ‘Stranger Things’ composers and S U R V I V E members Kyle Dixon and Michael Stein return to score three part British drama ‘Butterfly’.

Housed in a heavyweight spined sleeve and pressed on 180g black vinyl with digital download card included.

“We had just come off our first project that had established us as these retrosynth/80s producers, and we wanted to do something that helped get us out of that box,” Dixon and Stein said in a press release. “Obviously there are still synths being used, and coincidentally some of them are from the 80s, but hopefully this score won’t be received as such.”

The music to ‘Butterfly’ sustains Kyle Dixon and Michael Stein’s proclivity for locating humanism in their electronics. The signals they send have some sort of uncanny correlation with core feelings. More uncanny is their tonal grasp of what it is to be young and curious.

‘Butterfly’ is the story of 11-year-old Max who identifies as a girl and wants to live her life as Maxine. Her estranged parents Vicky and Stephen attempt to work out how best to cope with and support this huge life decision.

LP includes digital download code.

STAFF COMMENTS

Barry says: AARGH. I always loved the throbbing synths and intense atmospheres in Dixon & Stein's work under their own names (soundtracking Stranger Things for example), and as 'Survive', but this soundtrack takes all of that oscillator knowledge and inject it with a healthy dose of hazy 80's reverie (despite their insistence to the contrary), all saturation and arps. Completely on-board.

TRACK LISTING

Butterfly
Blue Eyes
Taking In Lodgers
Daughters
Comfort
Just Make Up Your Mind
I Don't Know How Happy I Am Anymore
Accusations
School Troubles
Introducing Maxine
Cut Wrists
Tickle Gods
Dress Up
Mermaid
Arrested
Family
Maxine's Groove
Making The Choice
Interrogation
Truths
What Was The Point Of Me?
Dancing With The Girls
A Long Way To Go

‘Spheres’ is a celestially immersive experience focusing on the human connection with the cosmos - with music composed and performed by Kyle Dixon and Michael Stein.

Written and directed by Eliza McNitt (‘Fistful of Stars’, ‘Without Fire’), ‘Spheres’ will be released on the Oculus Rift and is presented by City Lights and Protozoa Pictures. Darren Aronofsky and Ari Handel are executive producers.

Grammy nominated Kyle Dixon and Michael Stein need no introduction as two of today’s most highly regarded film score composers, having worked on ‘Stranger Things’ series 1 and 2 and ‘Butterfly’, as well as being members of S U R V I V E.

STAFF COMMENTS

Barry says: Two D&S scores in one week?! This one is equally as excellent, but a little more geared towards the ambient end of the spectrum, with cavernous echoing reverb and subtly panned swirls of industrial machination, this is equally as superb as their previous work but considerably darker. A perfect flipside to the coin.

TRACK LISTING

Accretion Disk
Solar System
Ecliptic Planes
In The Dark
Birth Of A Star
Auroras
Cosmic Microwave Background
Burning Star Core
Uranus
Planetary Cruise
Black Holes Collide
Spheres
Gravitational Waves
Earth Song

After being completely sold out on vinyl, Geoff Barrow & Ben Salisbury’s "DROKK: Music Inspired By Mega-City One" has been reissued as a special edition on double LP with beautiful new bespoke packaging and bonus material. This incredible new package is designed by Marc Bessant and features a spined ‘sombre grey’ outer sleeve with deboss and die-cut revealing the reverse board inner sleeve and vinyl label.

"DROKK" is a synth heavy score with a relentless darkness, a cold atmosphere where the tension never drops. Although it is a soundtrack of sorts, Barrow and Salisbury instinctively felt that music for MC1 should steer clear of the rich orchestration common to many contemporary film scores. Even for electronica the music is often purposefully stark and spare, with the majority of tracks created exclusively on the Oberhiem 2 Voice Synthesizer with a cameo from Beak>.

STAFF COMMENTS

Barry says: Absolutely one of my favourite synth albums to this day, Barrow & Salisbury's DROKK is finally available again for everyone I constantly recommend it to. Brilliantly restrained atmospheres and dusty synth soundscapes perfectly capture the Dreddian atmosphere better than the original soundtrack could ever hope to (sorry Silvestri). An essential cinematic synth staple.

TRACK LISTING

1. Lawmaster / Pursuit
2. Helmet Theme
3. Titan Bound
4. 301-305
5. Justice One
6. Scope The Block
7. Exhale
8. Council Of Five
9. Puerto Luminae
10. Miami Lawgiver
11. Eagle
12. Clone Gunman
13. Inhale
14. Iso Hymn
15. 2T[FRU]T
16. Dome Horizon
17. End Them
18. Helmet Theme [Reprise]
19. The Men Who Never Learned
20. Heista
21. Cal
22. Dark Judges
23. Fish
24. Justice 1 (Demo)
25. Miami Lawgiver (Alt. Version)
26. Call-Me-Kenneth
27. Scope The Block (Alt. Version)

Thought Forms celebrate the ten year anniversary of their classic self-titled debut album with a reissued version plus a handful of gigs.

Hailing from England’s rural South West, the trio were brought together amongst the ley-lines and ancient vibrations by a shared love of guitar abuse and pedal worship.

Thought Forms are a true band’s band, having toured extensively with Portishead, recording this debut record in Geoff Barrow’s studio and finally releasing it on his label Invada Records 10 years ago.

Thought Forms have also played with Kaiser Chiefs and 65DaysOfStatic and have featured on the Ivor Novello winning score to ‘Ex Machina’.

This most progressive and forward-looking of bands take a rare moment to breathe and reflect on their early days and in particular their classic debut album.

TRACK LISTING

20 Satellites On My Hill
Industry
Dust Magic
Nothing Is As Easy As You Think
Sonny
We Would Be So Happy If
David, 18
Mr Steve Has Eaten Your Dog
Maggie

‘War Machine’ is a new Netflix film, directed by David Michôd and starring Brad Pitt and Tilda Swinton among many others.

Military snares set a sharp cadence beneath the score’s eerie synths and strings, instantly reminiscent of ‘Skeleton Tree’ by Nick Cave & The Bad Seeds and the beautiful ‘Hell Or High Water’ score.

“Together we made a score that was both light and dark, propulsive and meditative at the same time. We developed a kind of ‘spiritual electronics’ that captured both the melancholy and the terrible absurdity of the Afghan war,” Cave and Ellis said in a press release. “It was a great pleasure to work with David Michôd, who is not only an extraordinary filmmaker but a musician too. Our favorite score!”

TRACK LISTING

Ah America
Humble Man
The Bubble
The Civilian Executive
In Liebe Dein (Roedelius)
Badi Basim
Kamee (Roedelius)
The Moon Landing
Our Noise
Fabelwein (Roedelius)
Jeanie
NY Snow Globe (Rachel’s)
Thousands Of Parades, All Over America
Marjah
Staunen Im Fjord (Roedelius)
The Hand Of Helping
Be Lovely
A Page In The History Books
War Machine

The mighty Beak> – made up of Billy Fuller, Will Young, and Geoff Barrow of that band fame – return with their most claustrophobic album yet, chock full of the krautrock grooves, meandering structures and off-kilter melodies that fans of the band have come to expect from them. Having knocked it out of the park with their ‘Sex Music’ single earlier this year, >>> carries on in the same subtle, bass-led vein.
The trio flirt with chaos throughout the album, pushing each instrument through layers of distortion and reverb to the brink of recognisability, and the countless eerie squeaks, sci-fi synths and fucked-with-strings only add to its otherworldly nature. >>> is as mesmerising as it is uneasy, teetering on a tightrope stretched between soft, winding compositions and edgy, no nonsense heft.
Pretty much every song is a highlight. ‘Birthday Suit’ is devastating, all fluttering synths, lo-fi vocals and heartbreak, while ‘Allé Sauvage’ is a dangerously danceable seven-and-a-half-minuter, with blips galore and razor sharp hi-hats driving the song along nicely. ‘RSI’ is a motoric gem. Scratch that – Beak> are a motoric gem.
But ‘When We Fall’ is on another level entirely. First released under the band’s Like easy listening music thrown off a cliff and pieced back together again, >>> is a Frankenstein’s monster of atmosphere, griminess, groove and space. Transcendent.

STAFF COMMENTS

Javi says: You’d be right to judge >>> by its brilliant cover because it’s a brilliant album, and one that’s likely to win 2018 for me. Buy it / play it / love it.

TRACK LISTING

1. The Brazilian
2. Brean Down
3. Birthday Suit
4. Harvester
5. Allé Sauvage
6. Teisco
7. King Of The Castle
8. RSI
9. Abbots Leigh
10. When We Fall

Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait.

TRACK LISTING

1. Above Us
2. On My Skin
3. Only Now Forever
4. Afterglow
5. Violet Noon
6. Into Life
7. Live In Fiction
8. Tides
9. No Shelter
10. Cerulean

Hot Krautrock infused rhythms from this new band featuring Geoff Barrow of Portishead. Beak> were formed in January 2009 by three Bristol musicians, Billy Fuller, Matt Williams and Geoff Barrow. The band have very strict guidelines governing the recording and writing process of their work. The music was recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a twelve-day session in SOA Studio's, Bristol. Sometimes a band can be no more than the sum of it's parts, but Beak> are an equation in which it's impossible to define equivalents or totals. Instead the meeting of three talent's form a foundation from which idea's assimilate and propagate. Those talents are: Billy Fuller. Reared in Bristol, on an aural diet of anything and everything, facilitated later by his time working in the cities top independent record shop Replay Records, and also playing with handfuls of bands – including Invada's first signing: Fuzz Against Funk, as well as Massive Attack, Robert Plant, and Malakai. Billy is Beak>'s thoughtful pulse; his bass a forceful origin for their superlative narrative arcs. Matt Williams. Picked up a Yamaha keyboard aged three and never looked back, as Team Brick creates dissonance that immediately elucidates free forming thought, and impacts heavily on Beak>'s rolling landscape. He enjoys playing air drums whilst cycling, singing lines from a favourite Latin prayer and doesn't understand the music he makes himself. Geoff Barrow. Musician and producer born near Bristol. Best known for forming and producing popular music group Portishead and part owner of the independent record label Invada Records.

Dixon and Stein return for the latest addition to their overwhelming spate of excellence over the past couple years. Following on from the first series waas never going to be easy for anyone involved, with it's 80's buddy-movie hauntology vibe being perfectly accentuated by Survive's less shadowy alter-ego on soundtrack duties, but series 2 has lived up to that expectation in every way. I know, that episode was pretty ridiculous, but you don't have to listen to it do you. 

We kick things off with the haunting melancholy beauty of 'Walkin In Hawkins', perfectly capturing the eerie ambience of the city streets after the discovery of an analogue hell, hidden behind a bit of your local school. It's a moment we're all familiar with i'm sure, but Dixon & Stein manage to make its duality seem alluring, pressing forwards with paddling apreggio's and swelling pads.  Pieces like 'Eulogy' and 'On The Bus' talking things slowly forwards, opening the filters into an edgy benzoed bliss.

As we move onwards, things shift from a resolved optimism, into the inevitable downturn of a threatened society, with pieces like 'Descent Into The Rift' and 'Escape' providing a darker edge to things, moving towards the inevitable crescentic audiovisual finale. It's a brilliant companion to the programme, and just as much a divine pleasure in it's own right. Impeccable. 

STAFF COMMENTS

Barry says: Brilliant pulsing synths, eerie atmospheres and soaring, crackling pads. An equal amount of pastoral, suburban meanderings, and supernatural, hellish drive. Stunning stuff once again.

TRACK LISTING

Walkin In Hawkins
Home
Eulogy
On The Bus
Presumptuous
Eight Fifteen
The First Lie
Scars
I Can Save Them
Descent Into The Rift
Chicago
Looking For A Way Out
Birth / Rescue
In The Woods
Digging
Symptoms
Eggo In The Snow
Soldiers
Choices
Never Tell
She Wants Me To Find Her
Shouldn’t Have Lied
It’s A Trap
Crib
The Return
Escape
We Go Out Tonight
Connect The Dots
The Hub
On Edge
What Else Did You See?
Run
Levitation
To Be Continued

Geoff Barrow and Ben Salisbury return to score Ben Wheatley’s 1970s based epic shoot-out ‘Free Fire’, executively produced by Martin Scorsese.

Compiled by director Ben Wheatley himself, the soundtrack will be released on CD and double LP, featuring the full score by Geoff Barrow and Ben Salisbury, dialogue from the film and licensed tracks (The Real Kids, Creedence Clearwater Revival, John Denver).

‘Free Fire’ sees Barrow and Salisbury take a huge directional curve away from their intense, synth-based Ivor Novello award winning score for ‘Ex Machina’, with the composers curating a prog rock, free jazz, psychedelic journey influenced by bands such as King Crimson, Camel and Magma and tips its hat to the Lalo Schifrin thriller genre scores of that era.

Both the LP and CD will include a digital download card which features the full soundtrack as well as additional unheard bonus material not used in the score.

TRACK LISTING

Where We Going?
Do The Boob (The Real Kids)
I’m I.I.F.M
Sledgehammer Cracks Nut
This Is Ord
Docks Beat
Step Into My Office
Run Through The Jungle (Creedence Clearwater Revival)
Raw Onions
Vern
Come Out
Gorgeous As Ever
Money Count
Nice Teeth
Harlequins Reunion
Steven’s Been Reprimanded
Stevo Apologises
Suck On This
First Shot
Mostly The Suit
Martin Shot
Will Everybody Calm The Fuck Down
Snipers
Good To Go
Free Firing Gunshot Solo
The Phone Rings
Watch And Vern
Crawl Chase
So That’s What A Fucking Brain Looks Like
Lead Lobotomy
Poke Him In The Eye
We Can’t All Be Nice Girls
That’s Why I Appreciate The Arts
Leary
Aiming For The Nose
Oh Fuck
Where Do You Think You’re Going Little Harry
Annie’s Song (John Denver)
A John Denver Story
Justine’s Theme
This Old Guitar (John Denver)

JUPITER-C’s debut release on Invada Records, featuring remixes by legendary film score composer Clint Mansell (‘Requiem For A Dream’, ‘Moon’, ‘Black Mirror’), and by UK electronic musician East India Youth. The East India Youth remix is to be the artist’s final piece of work under this name.

JUPITER-C describe their sound as “ruptured melodies with dissonant noise,” a description presented brilliantly in their debut EP which features heavy drones, saturated guitar melodies and haunting female vocals.

With darkly-hued synths and pulsing drum machines, this project is reminiscent of works by The KVB, The Soft Moon, Siouxsie Sioux, The Cure and Joy Division.

TRACK LISTING

Locust
Pleasure
Critical Mass
Another Place (East India Youth Remix)
Critical Mass (Clint Mansell Remix)

With its pillowy synth-pads and rich textures, the soundtrack to Volume Two seamlessly wanders through the 80s world of ‘Stranger Things’, breeding an unthreatening serenity with a gentle shift toward a darker mood. Floating between sweeter moments which temporarily blossom amidst the danger and decay, Volume Two is the second part of the ‘Stranger Things’ score, reaching climactic highs as the series comes to an end.

This soundtrack is instantly reminiscent of works by John Carpenter (‘Halloween’, ‘The Thing’), Tangerine Dream and Vangelis (‘Blade Runner’), whilst also delving into the ambience of Aphex Twin and more modern composers such as Cliff Martinez (‘Drive’, ‘Solaris’).

STAFF COMMENTS

Barry says: Having been entranced with Stranger Things, reading this tracklist is like a 'skip to the end' recap of the latter half of the series, listening obviously makes it all the more enthralling. Moody synth ambience, throbbing saw waves and eerie sweeps. Unsurprisingly brilliant.

TRACK LISTING

Hopper Sneaks In
I Know What I Saw
Rolling Out The Pool
Over
Gearing Up
Flickering
First Kiss
Crying
Walking Down The Tracks
Where’s Barb?
Speak Of The Devil
Danger Danger
Tribulations
Flashback
Kids Two
Talking To Australia
Night Of The Seventh
See Any Rain?
Coffee & Contemplation
Inside The Black Room
Starts To Rain
Eleven Is Gone
Time For A 187
Something In The House
Still Pretty
Abilities
Tendril
They Found Us
Bad Men
Spiked Bat
Making Contact
What Do You Know
It’s Not My Boy
Something In The Wall
Let’s Go
Leap Of Faith
In Pursuit
Breaking And Entering
Stranger Things (Extended)

Scarlet Rascal release their much anticipated debut album; an ambitious, rough and ready achievement which marries driving guitars with dark, hazy sonic textures and a strikingly deep vocal sound.

Scarlet Rascal unite a distinct concoction of alternative ideas that tap into Joy Division, The Birthday Party and ‘Love’–era The Cult whilst also neatly neighbouring the likes of The Velvet Underground and The Jesus and Mary Chain.

Mixed by Geoff Barrow of Portishead and Craig Silvey (New Order / Baxter Dury / The Horrors), Scarlet Rascal’s debut is a ringing, tense and unique proposition.

TRACK LISTING

Pearl
Woland
Strange
Here I Am
Venus
Sleep Take Me Down
Blood Orange
Last Day

‘Of Desire’ is The KVB’s most fully formed record to date, taking in influences such as Death In Vegas, Scott Walker and Roxy Music to create something that is at once familiar and yet inventive and original.

Steeped in musical history, ‘Of Desire’ is an album that hums with devotion and captures a band ready to emerge from the underground and embrace an ever-growing audience.

This will be The KVB’s second album on Geoff Barrow’s Invada Records label, home to similarly experimental artists such as Anika, College and Barrow’s own Beak>.

The band were invited to Barrow’s Invada Studios to record ‘Of Desire’ using his “wonderful synthesisers” as they began to flesh out ideas from bedroom demos dating back to Wood's earliest recordings.

TRACK LISTING

White Walls
Night Games
Lower Depths
Silent Wave
Primer
Never Enough
In Deep
Awake
V11393
Unknown
Mirrors
Second Encounter

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Ringo Deathstarr are making no hesitations when it comes to checking things off their 2014 To Do List. The Austin, Texas trio will kick off the new year by releasing God's Dream, a 12-inch LP on Invada Records UK. The album is set to be released on 19th April 2014 Record Store Day. arm guitars and pulsing drums combine to form an aggressively atmospheric bubble, encompassing the listener in an infectious cohesive which blends the sounds of an era when Sonic Youth and Jesus and Mary Chain walked the Earth with a forward thinking and creatively stubborn indie darling. Joined by Adam Franklin of Swervedriver on the track "Nowhere" and Jeff Schroeder of the Smashing Pumpkins on "Chainsaw Morning," Ringo Deathstarr has created a flawlessly crafted sound on God's Dream, destined and deserving to exist on vinyl. Thankfully for enthusiasts, that is exactly where God's Dream has ended up. Ringo Deathstarr will release an exclusive run of sunshine yellow vinyl, limited to 500 copies. ingo Deathstarr, a musical trio from Austin, TX, have been putting out records since 2007. Consisting of Elliott Frazier (guitar, vocals), Alex Gehring (bass, vocals), and Daniel Coborn (drums, vocals), their sound is born from a love of melody, a love of guitar, and a hatred of pompous vocals. Finding it to be too much fun, the group has expounded upon the sounds of the masters before them. This desire to play the music they were too young to witness as children has taken Ringo Deathstarr around the globe, performing in places as far flung as Israel, Mexico, Brazil, Japan, Europe, Canada, and the continental USA, supporting favorites like ...And You Will Know Us By The Trail Of Dead, Dean Wareham, The Wedding Present, and The Smashing Pumpkins. With two full length records (Colour Trip and Mauve) and a handful of EPs and singles in the bag, now is the time for a new EP, "God's Dream," which was recorded in Austin and on a ranch in Dripping Springs, TX. For this record, the band reunited with Chris "Frenchie" Smith, who co-produced their debut EP.

TRACK LISTING

SIDE A:
1. ‘Bong Load’
2. ‘God’s Dream’
3. ‘Flower Power’
4. ‘Shut Your Eyes’
SIDE B:
5. ‘Chainsaw Morning’
6. ‘Over There’
7. ‘Nowhere’

There is an accepted music industry strategy, mainly from the mouths of experienced music managers and A&R men, that for a band to get ready to present themselves to the world they should go on tour. In most cases this advice works; the band hone their craft on the road so by the time they get on to ‘Later with Jools Holland’ they can amaze with their slick, tight rock performance. However, this doesn’t always work.

BEAK> formed by Geoff Barrow - Matt Williams - Billy Fuller in 2009 recorded their self-titled debut album in Bristol, created out of 12 days of improv sessions and then edited into song form. Shorty after releasing it on INVADA records UK and Ipecac records U.S., the band went on a successful tour, playing various festival dates across Europe and the U.S.

Buzzing from the tour, Beak> then returned to the studio to start work on ALBUM 2 only to find that the time on the road had taken its toll on the band’s delicately sensitive and creative nature. And, by consequence, had turned them into a truly awful-sounding pub prog-rock band. The magic had gone. It seemed that the band were thoroughly moribund.

Until... One rainy afternoon in Bristol after many tortured, truly terrible recording sessions something changed. It may have been the diesel fumes from the bands tour splitter bus had worn off, others say that the band simply turned their amplifiers down. We will possibly never know the true events of that afternoon but the band began to play and, once again
as before, their bleak, wobbly anti-blue note sound had returned, but this time with added synthesizers.

And so... recorded in one room live (with very few overdubs) Beak>> is upon us.

Invada Records announce the release of Team Brick's debut album "Alogon". Team Brick is vocalist / multi instrumentalist Matt Williams who has over the past couple of years been quietly making a name for himself in the Bristol music scene, not least his involvement last year on Portishead's "3rd" album. Along with Geoff Barrow and Billy Fuller, Williams is also a member of Beak whose debut album will be released on Invada later this year. If you haven't heard or seen this man play out or heard any of his music this is a good a place as any to check him out. The man cant be compared to anybody or anything, but if you're a fan of the following artists... John Zorn, Merzbow, Mr Bungle, Secret Chiefs 3, Steve Reich, Dalek, Cardiacs etc etc you may wish to explore what he has to offer with this album. Making comparisons from Robert Wyatt to Gastr Del Sol to Sunn O))) Wire magazine concluded; 'There are plenty of would-be mavericks currently operating on the fringes of the UK music underground, most of whom are labouring under delusions of adequacy, never mind grandeur. Matt Williams is the genuine article.'

**LONG OVERDUE CD REPRESS**

"Dead in The Water" is compilation carefully edited together by The Heads vocalist and guitar player Simon Price. It was originally released in a micro edition of 100 CD copies on the bands own Rooster label, these copies sold out overnight! The material consists of album outtakes, jams and rehearsal recordings, most of which are improvised. "Dead In The Water" is a lot more space rock than the previous Invada outtakes LP "33", it will appeal to fans of Bardo Pond, Acid Mothers Temple, Faust and Hawkwind!

Huge slabs of monolithic stoner drenched rock!!