In Death's Dream Kingdom is a voyage into the unknown for Houndstooth and all the artists on it.

Booklet report each track's recording location, coordinates and recording time interval (tracks 2, 4 to 6 and 9 are also given with weather), plus an explanation text by the artists.
Comes in transparent jewel case, 10 stickered green dots pointing an imaginary map on front.

A winged photograph flutters out from an archaeologist's hands, fixed to the frequencies of analog synthesist Kaitlyn Aurelia Smith. A sled glides over ephemeral ice-fantasias, underscored by the cascading keys of composer Bing & Ruth. The French Alps cave from the weight of dusty constellations, set to the tender melancholy of New Zealand band Yumi Zouma. Flashes of imagined worlds are captured, cataloged, and kept oscillating inside S&S Presents: Dreams, a double LP compilation and 20-page gatefold book. Both a retrospective and an introduction, the release presents an ongoing project that has been steadily murmuring below the din of online music culture for half a decade. Eighteen original sound compositions, handmade collages, and written vignettes — creative exchanges between musicians and New York-based website Stadiums & Shrines — preserved, sequenced, and released in collaboration with Cascine. Dreams began in 2012, as the formative era of “music blogging” — a staple medium of the mid-2000s DIY movement — was shifting towards a more industry-centric ecosystem. On the fringes of this evolution, rather than accelerate with it, S&S chose to slow down, to navigate from a different vantage, alongside creators and listeners. Founder Dave Sutton and visual artist Nathaniel Whitcomb envisioned an open-ended multimedia series, inviting artists to musically interpret black-and-white collages, cut from a 1950s tourism book and recomposed into pieces of physical and video art. First, they asked friends: former Ponytail guitarist Dustin Wong, who’d actualize vastly layered and sparkling sonic fabrics for his track ‘Japan’ (later appearing on his 2013 LP with Thrill Jockey). Jordan Lee of Mutual Benefit, who rendered a rustling windswept piece for ‘Bali’ which in turn became the first notes to his breakout album, Love’s Crushing Diamond. Once the sound compositions came back, Sutton, along with Matthew Sage (who has previously collaborated with Whitcomb on his album A Singular Continent), wrote collaborative narrative prose poems conversing with both the sound and the image, completing each of these shared reveries. This writing fixates on the spellbinding proprioceptive trickery that the dream world offers us, and the spatial logic that defies our constrictive reality. Ultimately Dreams’ texts feature enchanting narratives, however elusive, that invite readers to ponder, doubt, and dwell in. These exercises were deemed “Dreaming” because they invoked places these collaborators would never step foot in; terrain defined in large part by the imagination, far outside the confines of any canonized cultural history or accuracy. Each Dream determines its norms, its own fleeting universe. Distinct logic and location appear bent and blurred, slightly uncanny, but eventually recognizable, much like the activity in the subconscious mind. The collection splays out like a playlist traversing expansive locales. As listeners engage the expanding and collapsing worlds conjured by the collaborators, they are ushered through lush and dynamic audio accompaniment. Julie Byrne, with Eric Littmann, swoons and slides across the revolving horizon in Spain, her voice, and synthesizers flowing in like the dry wind above dusty cobblestones, marked by rustic acoustic plucking. M. Sage’s song for Sweden rattles like a rickety sea of plunderphonic orchestration lapping at the rocky borders of the morning. Cuddle Formation and Emily Reo take to bobbing and wiggling like fruit ripe for reptilian plucking in Bermuda’s forest, with a sweet organic electronic bounce that sways and clicks like rare flowers and twigs in a subequatorial breeze. The sequence throughout the four sides of vinyl — selected from over three hours of recorded Dreams — drifts from warm washes of texture and melody (Sea Oleena, Ricky Eat Acid) to meditative bedroom-folk (Julia Lucille) to exploratory electronica (Sound of Ceres, Teen Daze) to feverish drone (Megafortress & Noah Wall). The record closes under the stringed shadows of Gem Club, wallowing within, as the Dream text suggests, "the morose well of teary eyes at twilight." Never staying locked into one mood or mode, like the strange turns we are prone to taking in strange dreams, this collection is a journey, comprised of music, images, and text, and assembled with collaborative enthusiasm and concise curation, extended to listeners for exploration, interpretation, and contemplation. The double LP and gatefold book, with three digital bonus tracks, is available from Cascine in June 2017.

Geographic North present an expertly curated, horror-themed compilation of exclusive aces from Félicia Atkinson, Pinkcourtesyphone, Ka Baird, Suzanne Kraft, CV & JAB, Jefre Cantu-Ledesma, Eluvium, Clarice Jensen, Arp, Ilyas Ahmed, Algiers and many more, all right in time for Samhain 2018
Mantled in reference to the seminal Nicolas Roeg flick, ‘Don’t Look Now’ [1973], Geographic North’s 2nd collection of Halloween music shares much in common with the titular film’s classical scenery and unsettling psychology, with each contributor preferring inference and shadowplay over anything explicitly gory or sh*t-the-bed scary.
Bookended by prologue and epilogue from Sweden’s Arp, the set runs to 21 pieces in total, amounting to induce a nervously furtive state of mind fleeting between clammy anxiety, pensive midnight romance, and unshakeable uncanniness. It’s testament to Geographic North’s fine-tuned ears that the whole thing works so well, holding our attention by a silk thread for its feature-length 90 minute duration.
Like a movie, it’s best consumed in one go, but it’s worth pointing to key scenes such as Ka Baird’s nest of shivering keys in ‘Clearing’, and the cool tension between spiralling rhythms and tranquil chords in Felicia Atkinson’s ‘Little Things’ as crucial to the sequence, especially when contrasted with the more dread-filled nooks such as Robert Donne’s crushing dedication to Mika Vainio in ‘Rakkauslaulu’, the carmine seep of Jefre Cantu-Ledesma’s viscous organ wooze in ‘O Virtus Sapiente’, and the starkly sepulchral dynamic of ’Stabbing’ by Suzanne Kraft.
For our money comps rarely work, but much like PAN's Mono No Aware, Geographic North prove that with the right curation you can sometimes end up with something much more weighty then the sum of its parts, in this case an engrossing narrative full of darkness and light.

“I Could Go Anywhere But Again I Go With You” is a new compilation from Posh Isolation. Expressed in 24 ways, and to be taken in many more, the manifold of faces and identities are familiar yet changed. Some have been here before; look again, they are like new in a way.

是什么样的地方 孕育出陈志远这样的音乐人?
台湾，小小三万六千平方公里上，我们有热带、亚热带、温带、寒带四种天气。这样的土地，这样的天气，孕育出勇敢 - 有时甚至接近大胆 - 的我们。台湾的流行音乐，因此有了像我们的地貌、我们的气候一样多变的成绩。
陈志远(1950年-2011年3月16日)，一个自学出身的音乐人，就像这块土地长出的强韧杂草一样没有包袱，标签，没有教条；什么都听，什么都编，什么都写，没有什么主流非主流，也没有什么独立不独立；你说他是天才、快手、教父，其实他也是流氓、怪咖、变形金刚。面对音乐，他不划地自限，也从不害怕。从刘文正、凤飞飞的时代生长却一手掀起校园民歌编曲配器的质感进化，再到滚石、飞碟时代的全面主打，国语歌坛的盛世，他参与到民国一百年，但他留下的影响，恐怕还要好几世代。
很多人会想找一个字形容台湾，其实很难找到，就跟如果要找一种风格形容陈志远一样困难。也许，这就是台湾的生命力，丰富、混乱、难以归类，但自信坚强，永远在最小的篇幅里寻求最大张力，就像短短一首歌要迸发无穷力量。
陈志远，用一生做到。
「如果有一天我不在，树在 音乐人陈志远 Made In Taiwan」双DVD收录了2011年12月10日于台北国际会议中心，流行音乐界献给陈志远唯一一场音乐会「如果有一天我不在，树在－音乐人陈志远纪念演唱会」现场实况，这场由吴楚楚及陈若葵(陈夫人)担任制作人，陈复明担任音乐总监的音乐会，是民国一百年最重要的演唱会之一，歌手张清芳、杨芳仪、徐晓菁、王海玲、李建复、苏芮、曹俊鸿、金智娟、李宗盛、蔡琴、黄莺莺、陈国华、伍思凯、姚可杰、杨培安、赖铭伟、卓义峰、叶欢、潘越云、钮大可、钟镇涛、曾宝仪、黄磊、张惠妹、姜育恒及星光歌手李佳薇、徐佳莹、梁一贞、黄捷、舞思爱、黎谦，温暖参与，并有鼓手黄瑞丰、欧阳伶宜、萧东山、倪方来、杨振华、陈宗成、樱井弘二、黄中岳、黄治评、刘思捷、韩贤光、阮德君、谢华洲、黄宣铭、李守信、李兆雄、马毓芬、林美璊、谢文德、徐千黛、王婉如、洪敬婷、魏百谦及陈宗成弦乐团等，多位流行音乐界顶尖乐手共襄盛举，近七十人演出阵容盛况空前。
演唱会演唱经典曲目时间的滋味、再别康桥、秋蝉、忘了我是谁、「民歌组曲 - 乡间小路、恰似你的温柔、归人沙城」、渔樵问答、天天天蓝、一样的月光、跟着感觉走、迷失、就在今夜、结束、最后一夜、留不住的故事、「向阿伯致敬组曲 - 心痛的感觉、台北的天空、一剪梅、心情、相思已是不曾閒、错误的别离、是不是这样、酒矸倘卖无」、张三的歌、我的未来不是梦、天天想你、永远不回头、放我的真心在你的手心、孤单、我是一棵秋天的树、感恩的心、舍不得、少了你该怎么办、空中的梦想家、谁爱我、爱的痕跡、如果有一天我不在树在、拥抱 等都是陈志远编曲及作曲的代表作。
陈志远曾以「搭错车」电影原声带获第20届(1983)金马奖最佳原著音乐、「最后一夜」获第21届(1984)金马奖最佳电影插曲、「天天天蓝」获民国72年(1983)金鼎奖最佳编曲、「日安 我的爱」获民国78年(1989)金鼎奖优良唱片、「时间的滋味」获第14届(2003)金曲奖最佳编曲人奖、更获颁第19届(2008)金曲奖「特别贡献奖」。陈志远曾自评创下编曲数量最多、速度最快、独创以A4简谱编写全部乐器、现场编曲即刻现场演奏等多项纪录。
陈志远是当代华语流行音乐界作曲、编曲、演奏大师，也是台湾领导华人地区、创作流行音乐奇迹的幕后重要推手。双DVD也收集陈志远作品记录，简谱手稿，精彩语录，音乐人专访及祝福，演唱会幕后花絮。

Artwork – George Tourlas
Compiled By – The Fissure Family
Mastered By – Philippe Vandal

Statement from the band:
Tiny Changes - A Celebration of The Midnight Organ Fight
To celebrate the 10 year anniversary/birthday of The Midnight Organ Fight we wanted to avoid the usual approach of just repressing the vinyl or rereleasing the same record with different artwork or putting out demos that were never meant to be heard by anyone other than the band and maybe our parents. We came up with the idea of asking some pals to record their own interpretations of the songs on the album. It felt like a good way to celebrate everyone who had been a part of the last ten years of the band and we didn't have to do any work ourselves! Every single person on Tiny Changes has been a part of our lives and Frightened Rabbit in a special way over the last ten years. We've shared studios, vans, bars, dressing rooms and probably even underwear with some of these people and that's why this record is so special to us.
Scott was a vital part of bringing this album together and it's something he was very excited about and worked hard to bring to life. He listened to and approved every track on there with us and he had already started preparing the artwork which you'll see on there (if you buy it). This is a celebration of a record that connected thousands of people to Scott and connected thousands of people to each other and ten years on it is still managing to do it. Scott would probably have put in some joke here about when the album hits puberty and starts rebelling by smoking weed and getting things pierced. We're not that funny so instead let's just raise a glass, blow out the candles and make a wish.
Grant, Andy, Simon and Billy x

In Brazilian political history, 1985 marks a turning point, the year a 21-year-old dictatorship gave way to the Nova República. In his liner notes for Outro Tempo II: Electronic And Contemporary Music from Brazil, 1984-1996, the London-based DJ John Gómez points out that young, middle-class musicians who came of age during this period could no longer identify with the social messages of the then-dominant MPB (AKA música popular brasileira), a style of music from the '60s that pulled from bossa nova, samba, baião and other traditional genres, often using lyrics for a political twist. The Brazilian cultural historian Marcos Napolitano writes that, by hiding in plain sight within the atmosphere of censorship and suppression in '70s Brazil, MPB helped "to build a meaning for the social experience of resistance to the military regime," using a "poetic-musical synthesis." Gilberto Gil, one of MPB's most recognizable artists, was imprisoned by the regime in 1969 without reason, presumably for the latent political content of his music. The liberalization of the regime and its eventual fall in 1985 provided a respite from these cultural battlegrounds, and the art of encoded resistance gave way to more explicit modes of counter-cultural expression. At first glance, it seems like the new social order sent artists in two directions: into the jungle, to explore the ideas and sounds of the country's indigenous cultures, and into the cities, where they had access to new electronic equipment and imported records from around the world.
Spanning 20 tracks across two LPs, Outro Tempo II is the second compilation of rare Brazilian music from Gómez and the Amsterdam label Music From Memory. Rather than picking up where the first instalment left off, it begins and ends a few years later. (The first Outro Tempo spans 1978 through 1992.) Overlapping in both era and influences, Outro Tempo II widens the scope of the type of projects that were sprouting from Brazil's fertile underground scene, while also acknowledging the interconnectedness of seemingly independent sounds.
Although Gómez writes that the music on Outro Tempo II signifies a "drifting away from the rainforest and into the pulsating heart of Brazil's immense and overpowering cities," he acknowledges that much of it still indicates "a pull towards the environment." The compilation does well not to pit these two absolutes against each other, instead revealing the mix of artists and movements drawing from urban centers and forest fringes who could freely exchange ideas and drift between genres.
The first track, May East's "Maraka," is a synth pop jam situating the album firmly in the middle of São Paulo's nascent electronic music scene. Originally from her debut album, Remota Batucada, it features keyboard synthesizers, drum machines and a catchy chorus. Akira S serves up more indelible '80s synth sounds on "Tokei," though there's a relationship between the two artists that goes beyond sonic similarity. Akira S played a central role in producing May East's second album, Tabaporã, which focused more explicitly on indigenous cultures and brought both artists' respective takes on '80s electrónica into the forest. Although no tracks from this album feature on Outro Tempo II, the presence of the two collaborators points to the multitude of unique identities forming in these circles.
Akira S appears again on Outro Tempo II playing the surdo, a large bass drum used in samba, on "Samba Do Morro" by the one-hit-wonder band Chance. Synthesizers add a darkly modern twist to accompanying maracas and shakers. It's a melancholic take on the traditional rhythms that first rose to national prominence in the '60s and '70s. This song isn't quite a bottom-of-the-crate find, as it's been included on at least two compilations put out by European labels in the past. In fact, Não Wave: Brazilian Post Punk 1982-1988 and The Sexual Lives Of Savages: Underground Post-Punk from São Paulo, Brazil, both released in 2005, overlap sonically with Outro Tempo II. They present a narrower definition of underground music from that period, but are good resources for those who want to hear more from the explicitly no wave-influenced scene.
Just as no wave and contemporary art went hand in hand in '70s and '80s New York, São Paulo's art scene fostered projects at the most experimental end of the spectrum. The electronic duo Dequinha E Zaba would perform in gallery spaces, uttering monotone incantations over synthesizers in a way that brought together poetry, music and shamanism. Gómez highlights the importance of context for some of these musicians' live performances. Fausto Fawcett, who features twice on Outro Tempo II, would perform from his album of "porno-futuristic opera" music to the accompaniment of video art.
Outro Tempo II ends on a joyful note with Tião Neto's "Carrousel." The off-kilter and stuttered sampling of children's voices brings to mind Psychic TV's 1990 cover of "Are You Experienced" by Jimi Hendrix, which featured vocals by Genesis P-Orridge's daughter. That said, "Carrousel" shirks heavy psychedelia for a bouncing kalimba melody. It's a weird and wonderful finale to a compilation that demonstrates the diversity of Brazilian music.
The end of Brazil's military regime didn't mean an end to art with messages of political resistance. It also didn't signify a radical break from the sounds of the past—the influence of boss nova and samba instrumentals are evident in this compilation. Napolitano, the Brazilian cultural historian, described popular music as a field "for reflection on social history." If this is the case, then Outro Tempo II reflects a society seeking to hear sounds previously silenced, from urban noise to indigenous melodies, while establishing an irreverence toward the mores of their past.

The stark, rattling percussion and morbid howls into the ether of ‘Theme 7’ signal not just the return of NAAAHHH but kick start Alter’s fiftieth release with suspense. ALERT dredges the depths of grimy UK bedroom studios, old computer hard-drives and budget lager-soaked gallery sonics in search of presenting a unifying vision of a particular brand of the here and now. Label associates Chain of Flowers take us deep into hypnotic motorik territory, whilst similarly driving new work from Teresa Winter shows a more frantic side to her productions than last year’s LP for Death of Rave. The underground sound of puddle country shines through with contributions from anarcho sample-mulch legends Cru Servers and Night School mastermind Apostille. Fellow Glasgow-based Helena Celle delivers an old-school jack trax style rhythm work out alongside The Modern Institute trying their hand at deranged happy hardcore and the finest Mancunian ambient you’ll hear all year from Space Afrika. One of the most enthralling moments comes from Raime side project Moin, a claustrophobic, tempo-disregarding marriage of sound that makes us feel like we’re lost at sea and seconds away from drowning. Positively unholy.
Each piece on ALERT is bound by a distinctly punk attitude, a form of experimentalism that skirts across genre markers and forces you to sit up and pay attention. Zero coffee house easy listening or functionality here - there’s metallic clanging, skittering drums and screeches, tough as nails gabber compression (check the Acolytes track ‘Feelings’) and dirgey guitar feedback all fighting for space in a surprisingly coherent manner. Sound artist and broadcaster Mark Vernon’s ‘The Object Invoked…’ lulls us into quintessentially British, nightmare-inducing radiophonic territories with terrifying fragmented media chatter, making for one of the highlights of the compilation. If anything, we can agree on the fact that this double LP stands to highlight the fringes of carefree, convention defying abstract electronics that currently permeate our little island in an illuminating and necessary way.

KRO Records/Sony Masterworks will release a soundtrack album for the horror thriller The Turning. The album features the new song Mother performed by Courtney Love (to be released tomorrow), as well as tracks by Lawrence Rothman, Empress Of, Mitski, Soccer Mommy, Warpaint , girl in red & others. The full soundtrack will be released on January 24, 2020 and is now available for pre-order on Amazon. The Turning is directed by Floria Sigismondi and stars Mackenzie Davis, Finn Wolfhard, Brooklynn Prince and Joely Richardson. The movie is set at a mysterious estate in the Maine countryside and follows a nanny who is charged with the care of two troubled orphans and discovers that both the children and the house are harboring dark secrets and things may not be as they appear. The DreamWorks Pictures production will be released in theaters nationwide on January 24 by Universal Pictures. Visit the official movie website for updates.