Recorded, produced and mixed by Elliott Frazier
except “The Fires” mixed by Mark Gardener
Mastered by Mark Gardener at OX4 Sound, Oxford, UK
Cover Illustration by Jari Johannes

Over the course of their first two albums, ‘Cosmovore’ and ‘Providence’, Ulthar carved out a unique niche on the spectrum of underground metal, forging a grotesquely elegant hybrid of Technical Death Metal alchemy and Black Metal’s stinging blizzard winds, all with the acerbic color of the absurdist’s brush. Nearly 3 years on from ‘Providence’, a burst of deadly creativity has resulted in TWO new albums, to be released simultaneously.

Where its sister album ‘Anthronomicon’ presents an 8 piece puzzle of labyrinthine tumult, ‘Helionomicon’ takes those elements and creates two towering 20 minute monoliths of radiant avant-garde immensity. Each track, appropriately titled ‘Helionomicon’ and ‘Anthronomicon’, transports the listener on a vast journey of psycho-cerebral spectacle where hitherto unimagined landscapes take shape and strange intangible structures pierce the disintegrating firmament. Despite the substantial length of these two tracks, it’s never a tedious ride; each visits countless new vistas and perspectives across time. In essence ‘Helionomicon’ becomes a synthesis of all Ulthar’s recorded output to this point across two climactic, ambitious epics.

Having reached albums three and four concurrently, and having many other bands and albums under their collective... more
credits
released February 17, 2023

Steve Peacock - Bass / Vocals
Shelby Lermo - Guitars / Vocals
Justin Ennis - Drums

Recording April 2022 at Developing Nations in Baltimore, MD by Kevin Bernsten
Mastered by Adam Tucker at Signaturetone in Minneapolis, MN

Artwork by Ian Miller

The Portland trio's first album for Sub Pop. A much more riff-heavy affair, this album finds the band pushing their sonic/compositional boundaries, while maintaining their identity. The limited edition version (25,000) comes with a bonus DVD featuring five performances of new songs recorded live in Portland.

BIG|BRAVE, the elemental ensemble of guitarist/vocalist Robin Wattie, guitarist Mathieu Ball, and drummer Tasy Hudson, harness an earthen heaviness composed of distorted and textural drones, austere bombast, and Wattie’s heart-rending voice. Like recent collaborators The Body, BIG|BRAVE is at the forefront of reconfiguring the landscape of heavy music. The trio brandish sparseness and density like weapons, cast tense atmospheres with languid tempos and mutate feedback into eruptions of enveloping tempests. nature morte sharpens BIG|BRAVE’s ferocity and expansive sound into emotional elegies for the disenfranchised, wringing abstracted textures and pure fervence into songs of unfathomable mass.
The title nature morte is the French term for still life paintings whose literal translation is “dead nature.” BIG|BRAVE color the songs of nature morte with unease, creating an air of beauty in decay, chords suspended in contemplative stillness. Wattie’s experiences structuring lyrics and song forms on The Body & BIG|BRAVE’s Leaving None But Small Birds informed her work on nature morte, creating stories that, like many folk tales, are at once specific and universal. Wattie’s voice manages to be commanding and vulnerable with impressive range and intimacy. Even her gasps carve their way through the tidal crash of Ball’s distortion wail and the pummel of Hudson’s drums. “the fable of subjugation” conveys pain through strained drones free of time, an aching minimalism that withers slowly before bursting in an outright roar. nature morte is an excavation of dark inner chasms of feelings both ineffable and visceral. The album tackles the folly of hope, the consequences of trauma, often centers on the subjugation of femininity in all its pluralities. “It is violent and terrible. It is crushing and alarming. It is common and basic,” says Wattie. “It is catastrophic and disheartening.”
The momentum of nature morte conjures the image of a beast collapsing beneath its own weight before resiliently staggering upright to thunder onward. BIG|BRAVE convey heft from silence as deftly as they do from swaths of feedback and distortion to cathartic ends. “Distortion is key,” notes Ball. The three members recorded primarily live over the course of a week at Machines with Magnets with Seth Manchester, pushing the potential of their instruments beyond expectations. For each song the trio’s songwriting and attention to detail deliver its simple but devastating emotional power. On “the parable of trusting” Hudson’s cymbal clangs reverberate through Ball’s guitar, stirring out a hauntingly hollow texture. On “my hope renders me a fool,” plumes of low growl and crooning feedback dissolve into clean pensive chords. Opener “carvers, farriers, and knaves,” one of the most relentless and bracing pieces in their oeuvre, deliver with the soar of guitar and voice twisting atop Hudson’s bouldering percussion creating an imposing terrain. Across the album’s six pieces BIG|BRAVE create a tension between immediacy and patience, invoking the essence of disquiet, while conveying anguish through inventive arrangements and nuanced performances. nature morte captures BIG|BRAVE at their heaviest and their mournful fury is at its zenith, an album where each moment is so immense and consuming that it possesses its own gravitational pull.

拉丹娜·安卓莉安·蓋恩斯，藝名唐娜·桑瑪，生於美國麻薩諸塞州波士頓，著名流行樂歌手，曾五度獲得《葛萊美獎》，有「迪斯可女皇」之稱

The Well & The Gentle, two of the major works of Pauline Oliveros, are presented here in a first time reissue on double vinyl in a gatefold sleeve with extensive liner notes.
If Oliveros had followed a more conventional path she may have, all social obstacles aside, been considered among the major composers of her time. However, Oliveros approached composition in a more egalitarian manner. She wrote music for musicians to interact with or, in the composers words, she wished to create "an inclusive and interdependent and unfolding world of relationships."
Oliveros' propensity towards inclusion is part of what makes this work so remarkably distinctive. The Well & The Gentle is carefully crafted, allowing performers to participate in the creation of the work. Players are asked to collaborate, focus, react and make imaginative choices. Only then can the performers "pass through stages of awakening to the possibilities inherent in making music, working together, leading to the essence of what can shape musical impulses and individual freedom simultaneously."
Unlike most major composers of the era, Oliveros' work focuses on collaboration and improvisation. For Oliveros, the processes involved in making music are as fundamental as the music itself. Oliveros creates, as Arthur Sabatini put it so eloquently in the liner notes,
"A world in which sound and the practices entailed in making music merge; become, at once, source and atmosphere, energy and essence, presence and dynamic."
Pauline Oliveros was an electronic music pioneer, accordionist, composer and educator who resided in Kingston, New York. Her instrument was tuned in Just Intonation and she often included it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations.
A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, Steve Reich and Anthony Martin), which was the resource on the U.S. West coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvised with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings.

If you like the mysterious and morbid atmospheres evoked by the charming witches as in Blood Ceremony, Devil's Blood, Jex Thoth, Mourn or Hands Of Orlac, high distortion in classic heavy doom with an American touch à-la-Acid King, Windhand is for you.

True Blue is the third studio album by American singer-songwriter Madonna, released on June 30, 1986, by Sire Records. She co-wrote and produced the entire album with Stephen Bray and Patrick Leonard.

40th Anniversary Edition Of The Classic Album!

1965's Whipped Cream & Other Delights transformed Herb Alpert & The Tijuana into bonafide superstars, spending an incredible 8 straight weeks at the top of the charts. The album was not only memorable for its music, but for the iconic cover art which featured model Dolores Erickson strategically swathed in whipped cream. The original twelve tracks revolve around the theme of food and include such classics the triple Grammy-winning hit, "A Taste of Honey" and the Dating Game theme "Whipped Cream." This special 40th Anniversary edition features two studio bonus tracks along with a 20-page booklet and a collector's poster.

Each album in the Herb Alpert Signature Series features meticulously remastered sound, deluxe packaging, detailed liner notes, and an intro by Herb Alpert containing personal recollections and anecdotes.

The techno DJ and leftfield beatmaker pivots to Balearic dream pop on her debut album. The tone is disarming and sweet, using nostalgia as a foil for spiritual fatigue.

Elizabeth “Connie” Converse disappeared in 1974, leaving behind a haunting body of recorded music that would remain virtually unheard for the next 35 years.