Fever Ray, the alias of The Knife’s Karin Dreijer for her solo project, has announced the release of Live at the Troxy, which was recorded during Dreijer’s March 2018 performance at Troxy in London, England. It will be released on August 2nd via her label Rabid Records and Mute.
The performance was in support of 2017 sophomore album, the compelling Plunge. The 16-track set comprises songs mostly from her second LP, alongside a smattering of other tracks, including haunting standouts “When I Grow Up” and “If I Had a Heart” from her excellent self-titled 2009 debut.

Star Horse是来自瑞典斯德哥尔摩的独立乐队，由主唱兼吉他手Maja Thunberg和Andreas Ryberg主导，以自赏、梦幻、流行为乐队的标志性风格。
在Star Horse温暖乐声之中，仿佛在空旷房间回荡的铃鼓声与美妙跃动的节奏相互交织，与此同时，合成器声中透出的微光将听众包围在深邃而忧郁里。
乐队起先由Maja与Andreas于2011年早期组建，随着成员的多次更换，最终稳固下现有阵容。
跳跃的鼓点与旋律贝斯在Star Horse原本的自赏风格构想之上蒙上90年代独立流行的影子。2011的12月，他们制作了包含6首demo的自制专辑，让他们自己都感到惊喜的是，作品一经发出便收到了全球各地的网络电台、博客还有的Shoegazer的认可与赞赏。
“Stranger”自那时起就成为了一首热门单曲。（这首歌后来重新录制且收录在乐队第二张EP《Lust》中。）“How to Fall”很快成为了主流音乐圈的最爱，而“Knocking”成为了Indie Darkroom在好几个月的时间里占据着收听量榜单的前十。
随后乐队便着手于EP的录制，也释出了他们的“三张EP”计划，《Crush》便是他们的第一张EP。事实上，乐队这几年间一直未发行过全张专辑，全都是以EP或是单曲的形式发布新歌，但这并不妨碍粉丝对于他们的热情。在今年的2月15日，乐队终于发布了生涯中第一张全长专辑《You Said Forever》。在这张作品中乐队延续了清新的噪响调和他们一直以来擅长的对于悦耳旋律的捕捉，以细腻的人声诉说着爱情的美好与落寞。

Credits
Arranged By [Horn Arrangements By] – Per Texas Johansson*
Arranged By [String Arrangements By] – Josefin Runsteen, Leo Svensson
Arranged By [Vocal Arrangements By] – Mariam Wallentin
Baritone Saxophone [Baritone Sax] – Mats Gustafsson
Bass Clarinet, Contrabass Clarinet – Christer Bothén
Bass, Electric Bass – Johan Berthling
Cello – Leo Svensson
Clarinet [Bb Clarinet], Alto Saxophone – Isak Hedtjärn
Conductor [Conductions By] – Mats Gustafsson
Design [Cover Design By] – Kim Hiorthøy
Drums – Andreas Werliin
Executive-Producer – Rune Grammofon
Keyboards – Tomas Hallonsten
Mastered By – Andreas (Lupo) Lubich*
Mixed By – Andreas Werliin
Oboe, Bass Clarinet, Contrabass Clarinet – Per Texas Johansson*
Producer [Produced By] – Andreas Werliin
Recorded By – Micke Herrström
Trumpet – Susana Santos Silva
Violin – Anna Lindal, Josefin Runsteen, Katt Hernandez
Voice – Mariam Wallentin, Sofia Jernberg
Notes
arrival is created as a collective effort by the fire! orchestra, where basic ideas and motifs, arrangements and transformations are developed together in an ongoing and mutual process
recorded january 7 - 9th 2019 at atlantis studio, Stockholm
mixed february 2019 at puttarna
mastered february 27th 2019, berlin

Building on twenty years of creating some of the most epic, emotive and inventive heavy music unleashed on the world, there is no denying that Cult Of Luna‘s A Dawn To Fear is a monster of a record. An album comprised of eight tracks running seventy-nine minutes, it embodies everything the band’s faithful have come to expect from them while covering new ground. “Going into the process, we knew the album we wanted to make, an antithesis of what we’ve done before,” says vocalist/guitarist and lead songwriter Johannes Persson. “For pretty much every album there’s been a very concrete theme. We’ve known from the start the kind of story we wanted to tell, and I didn’t want that to be the case. I’ve seen a lot of subtle changes and patterns in my own behavior and my own thinking the last couple of years, and I wanted this to be a completely spontaneous process. I just wanted to see what came out of me, and ‘A Dawn To Fear‘ is the result of that.”
Admitting he is perhaps still too close to the record to objectively describe the sound of A Dawn To Fear, Persson believes that it has a more organic feel to it, largely achieved through the use of organs and other acoustic instruments in place of electronic keyboards, and that it is perhaps a more melancholic collection. It is also arguably heavier than their last full-length, 2013′s Vertikal and their 2016 collaboration with Julie Christmas, Mariner, both in terms of the sheer density of the music and its tone. When it came to tracking the album, the band opted to work at Ocean Sound Recordings in Norway, which, as the name suggests, is located right by the coast, far from the nearest town. For eleven days the band lived at the studio, and enjoyed the process of constructing the record. With the finished product running to the length of a double CD, there was some discussion of cutting a track, but this did not get far. “We sat down and looked at that song list and we couldn’t. It would make it easier for us and everyone involved to cut one song, making it no problem when it comes to LPs and CDs, but we just couldn’t see the album any other way. These songs are the songs that make sense. If we cut this song or that song, it would screw up the whole dynamic of the record.”

暌违四年后，这位瑞典靓嗓终于要发声了。第二张大碟来啦。

Sacro Bosco (“Sacred Grove”) is the starting point for Anna von Hausswolff’s new album All Thoughts Fly, incoming on Southern Lord on 25th September.
Sacro Bosco (“Sacred Grove”) is the starting point for Anna von Hausswolff’s new album All Thoughts Fly, incoming on Southern Lord on 25th September. Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination. All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music.
The accompanying video for the first single "Sacro Bosco" is, just like the music, an interpretation of the park with an imaginary twist.
Directed by Gustaf and Ludvig Holtenäs
Anna summarises, “Sacro Bosco in Bomarzo is a creation carved out from one man’s head. A frozen thought lasting throughout time and touching people across generations. All thoughts fly, Ogni Pensiero Vola, is about this: the importance of sharing for surviving, creating space and evolving. Once you’ve shared your words they are not only yours anymore."

I met Elin Engstrom and JJ Ulius in February this year. They had played in London the night before and I had really enjoyed the gig. The following day I decided to go out and maybe buy some records. It was in Low Company (a now defunct and much missed record shop in Hackney Downs) that I met them preparing to head for the airport and back home to Gothenburg. We were introduced and I said how much I had liked the show, and straight back, almost without blinking, JJ Ulius said, ’What did you like about it?’ I wasn’t simply being polite; I did really enjoy what they did. But I guess I was blithely expecting the conversation to follow the path of least resistance, and all of a sudden it wasn’t. He had a look in his eye like the question was serious but also not, teasing me slightly, but also wanting more than a platitude in reply. At the time I think I half-arsed something about Elin’s use of contact mics and the way the songs seemed to appear out of noise and clatter when you weren’t expecting it. This seemed to serve as a place-holder and the conversation petered out in a friendly way. Then they went home and so did I.
So what do I really think? I’ve been lucky enough to live with this new LP for a couple of weeks now and it’s still unpacking itself, revealing new angles and facets all the time. The thing I tried<span><span class="bcTruncateEllipsis">...</span></span><span class="bcTruncateMore" style="display:none"> to articulate about catchy songs coming together out of chaos still holds. This record seems more together than the last one, more song orientated, and slightly more benevolent. But I still get the feeling of process, tiny scraps of melody and loops of found sound, sometimes building into full songs, and sometimes not. The songs themselves have the same quality: speaking becoming singing, melody here, then gone, leaving a trace of feeling that sticks fast. The method of working is very much intended to be present in the finished product. This builds on a rich history of a certain kind of pop music. The best bits of early Felt, Painted-Word-era TVPs or Comet Gain’s Realistes appear and disappear as I listen. I can hear the speculative traces left by any number of bedroom synth-pop dreamers, Neo-folk fantasists and crusty punks in their quieter moments. There’s a dub element too, the space the music moves into is made explicit by rattling echoes, bass rumbles, and vocals left hovering in empty rooms.&nbsp;
But that isn’t quite it. What really gets me about this stuff is the sudden moments of heart-wrenching familiarity. The places where the music makes an abrupt left turn, from somewhere studied and deliberately cool, to dredge up, for me anyway, a highly emotional childhood encounter with music. Out of a smokey squat bedroom or a communal art school kitchen and straight into listening to my first walkman in a hospital bed or spacing out during a Christmas carol service. On The last record it was a two-note lift from Berlin’s Take My Breath Away and here it’s a too-brief detour into Silent Night. Maybe, finally, it’s this direct route to wide-eyed listening before knowing that colours this music for me, and that, to answer the question, is what I like about it. — Jack Rollo,

Influences like Grave, Autopsy, and Vomitory spring to mind but essentially Kaamos have produced a terrorizing slab of extreme music that will stand tall as one of the best debuts in years. Candlelight Records. 2002.