‘Hello’ is taken from the new album, 25, out November 20
02. Send My Love (To Your New Lover)
03. I Miss You
04. When We Were Young
06. Water Under The Bridge
07. River Lea
08. Love In The Dark
09. Million Years Ago
10. All I Ask
11. Sweetest Devotion
Archive for Preorder
BERBERIAN SOUND STUDIO SOUNDTRACK
RELEASED JANUARY 8, 2013 ON WARP RECORDS
Peter Strickland’s Berberian Sound Studio has emerged as one of the most critically acclaimed indie films of the year, gaining comparisons to the mastery of David Lynch and Francis Ford Coppola with Time Out London saying the “stylistically ambitious, morally radical, thematically complex work…deserves the highest praise”. This turns out to also be an apt description of the film’s sublime soundtrack, composed by Broadcast (aka Trish Keenan and James Cargill), before Trish’s untimely passing last year.
Initially conceived as the soundtrack to The Equestrian Vortex, the film-within-a-film (watch opening credits here: http://youtu.be/H7zIfUwwoQ0) around which Berberian Sound Studio unfolds, it would eventually spill outwards to encapsulate the entire world Strickland had created and populated with eccentric, magnetic characters. On it’s own, the music sets a sinister and atmospheric tone that still exists well within Broadcast’s sonic universe.
The film’s plot, which involves a British sound recordist’s slowly degenerating mental state while working in an Italian film studio, has clearly been one driving force behind the music as has the work of pioneering Italian composers such as Ennio Morricone and Bruno Nicolai. Working closely with Strickland as well as the film’s supervising sound editor Joakim Sundstrom, Cargill wove in sound effects, screams and snatches of dialogue in order to bring elements of the film back into the soundtrack. The outcome is the rare piece of film music that not only enhances the visual, but exists on it’s own as an independent work, and one that is an invaluable edition to Broadcast’s inimitable history.
01 A Breeze Through the Burford Spur
02 The Equestrian Vortex
03 Beautiful Hair
04 Malleus Maleficarum
05 Mark of the Devil
06 Confession Modulation
07 Monica’s Fall
08 Teresa’s Song (Sorrow)
09 The North Downs Dimension
10 Collatina is Coming
11 Such Tender Things
12 Teresa, Lark of Ascension
13 Monica’s Burial (Under the Junipers)
14 Found Scalded, Found Drowned
15 Monica (Her Parents Have Been Informed)
16 The Fifth Claw
17 Saducismus Triumphatus
18 The Gallops
19 They’re Here, They’re Under Us
20 Collatina, Mark of Damnation
22 A Goblin
23 The Equestrian Library
24 The Serpent’s Semen
25 Burnt at the Stake
26 All Chiffchaffs
27 The Curfew After the Massacre
28 Poultry In Mind
29 The Sacred marriage
30 Valeria’s Burial (Under the Fort)
31 Edda’s Burial (Under the Clumps)
32 The Game’s Up
33 It Must’ve Been the Magpies
34 The Dormitory Window
35 Anima di Cristo
36 His World is My Shed
37 Collatina’s Folly
38 Here Comes the Sabbath, There Goes the Cross
39 Our Darkest Sabbath
Broadcast – The Equestrian Vortex (taken from Berberian Sound Studio, out January 7/8)
Broadcast – Berberian Sound Studio trailer – Original Soundtrack out January 7/8
Within the big bunch of electronic releases in the field of the world wide spreading new beat maker scene, “A Contemporary Witness” by J. Baracuz could be one of the highlights this year. Baracuz is, which sets him apart from many of his peers, able to combine his sound design skills on controller and mpc with delicate arrangements and a good sense for song structures.
The opening track of the EP, “The Overture”, juggles with string and piano samples while it is underlined by percussive and driving beats. The tune is as much “on point” as the impulsive second track “One Way Ticket”. Regardless of the moderate tempo, the song is straight forward, includes vocal shreds and synth sounds und even manages to switch over to a Sci Fi Dub part in the middle. Next up, “Jazzy Conqueror”, clocking in at 6 minutes, is the longest piece on the EP. In this track, J. Baracuz proves one more time his talent for structure and arrangement. It is primarily based on organic samples, while being equipped with some glitches here and there. The last song, “Everyone’s the Same” concludes the EP in an enjoyable way with its expressive Soul Folk Electronica vibe.
After a creative break Baracuz has spent with studying, travelling and digging for records, “A Contemporary Witness” is a big step forward for him. The whole EP impresses with detailed and meticulous production, while it still seems to be done with the greatest of ease. Being the 5th EP on Equinox.Digital, the sublabel of the Berlin based Electronica label Equinox Records, it successfully follows the previously released works by Deckard, David Vangel and 2econd Class Citizen.
Artist: J. Baracuz
Title: A Contemporary Witness
Format: Digital EP
Release Date: October 28, 2011
(01) The Overture
(02) One Way Ticket (Stream Below)
(03) Jazzy Conqueror
(04) Everyone´s The Same
About J. Baracuz:
J. Baracuz is an electronic music producer/beatmaker from Berlin. His debut album “Lasergun Romances”, released in late 2006, has already given proof of his talents and his sense for complex sample-based compositions somewhere between instrumental hip-hop and electronica.
“Lasergun Romances” also was the reason Equinox Records got in touch with him and licensed a couple of his tracks to be released on the “One Year & A Day” series alongside artists such as Free The Robots, Deckard or Emynd. J. Baracuz’ music can be described best as a progressive, interesting blend of shredded obscure samples, heavy mpc-soaked drums and modern synthetic sounds refined with some glitches here and there. The sampling approach behind all of his tracks is based on the idea of giving rise to not just beats but entire songs out of a “pile of broken dreams”.
These new Burial mixes of previously unreleased Massive Attack track ‘Four Walls’ and Heligoland favourite ‘Paradise Circus’ are available exclusively as limited vinyl edition of only 1000 copies worldwide.
Pressed on heavyweight 180g 12” vinyl housed in a stunning, hand numbered, gold glitter screen-printed sleeve designed by Massive Attack’s Robert Del Naja (3D), this edition has been crafted by The Vinyl Factory, and is sure to become a highly coveted collectors item.
As you’d expect from these two acts these are no ordinary remixes and Burial has completely rebuilt both tracks in his own unique style providing a masterclass in production. Listen to ‘Four Walls’ below
At around 12 minutes each, both ‘Four Walls’ and ‘Paradise Circus’ have been given the time and space to evolve and develop going way beyond the scope of normal remixes, with the end result two highly original, in every sense of the word, pieces of music.
A. Massive Attack vs. Burial – Four Walls (11.57)
B. Massive Attack vs. Burial – Paradise Circus (12.32) Listen HERE
* Both tracks exclusive to this limited edition
* 1000 copies worldwide
* Artwork by Robert Del Naja
* Screen-printed cover with gold glitter
* 180-gram heavyweight vinyl
* Each edition hand numbered
SIGUR RÓS INNI
the definitive live experience. out november 7th 2011.inni
The new sigur ros live film and double album, will be released november 7th. It is now available to pre-order in 5 different formats, including a special edition exclusive to this site, on the sigur-ros.co.uk frontpage.
‘inni’ is either the first-ever sigur rós live album, or second live film (and follow up to 2007’s acclaimed iceland tour film heima). in fact, it is both: a 75-minute film and 105-minute double live album of the band captured in full flow at the close of their last tour in november 2008, here housed within one single fat package.
filmed at alexandra palace over two nights by director vincent morisset (arcade fire’s ‘miroir noir’), the movie ‘inni’ could best be described as the anti-‘heima’. whereas that film took a band about whom the world knew little, and placed them in the cultural, social and geographical context of their homeland, (with winning and humanising results); the new film strips away everything save the raw performance of the four musicians themselves. where ‘heima’ was widescreen and open, ‘inni’ is close and single focussed.
this is intentional. for while ‘heima’ was successful at “explaining” sigur rós, it was less so at conveying what it feels like to actually watch sigur rós play. that is the job of ‘inni’. in order to accomplish this goal, morisset has taken his time and employed a number of different analogue post-production techniques to create an emotional understanding of being in the room with the band and going ‘inside’ the music. (“inni” literally means “inside”).
unlike many concerts, watching sigur rós is seldom a communal experience; it is instead intensely personal. by almost entirely removing awareness of the crowd and any sense of place, morisset brings you closer than ever to the players, using multiple camera angles to reveal in sometimes minute close up the concentration and effort involved in delivering such a powerful rock show.
originally filmed on hd digital, ‘inni’ was first transferred to 16mm film and then projected and re-filmed once, sometimes through glass and other objects to give a strong impressionistic look, a feat accomplished with the help of godspeed you! black emperor visual collaborator karl lemieux. the film was then meticulously pieced together by ‘heima’ editor nick fenton, who chose to break up the flow with unexplained archive footage, including interview and concert material from before the band’s exposure to the wider world at the tail end of the last century.
it’s worth mentioning also that the film has only one song in common with ‘heima’ (the closing ‘popplagið’) and that it draws for the most part on the darker end of the band’s material. the double live album by contrast, covers the entire sigur rós spectrum over its hour-and-three-quarters, the songs played in the same order as on the night. mixed by sigur rós house engineer birgir jon birgisson, ‘inni’, the live album, stands as the definitive sigur rós live recording.
the performance captures the band playing as a stripped down four-piece for the first time since they were joined by string section amiina at the start of the decade. this fundamental ‘boiling down’ makes ‘inni’ a more forceful and primal proposition, much at odds with the popular misconception of the band as purveyors of instant emotional heft for film-makers in need.
the album features 15 tracks, with songs taken from all five sigur rós studio albums. there is also the bonus of an unreleased studio track in the form of ‘lúppulagið’, which is used both over the credits of the film and as the final non-live track on the album. the dvd/blu-ray, meanwhile, also includes four extra songs from the night.