{"title":"Shopify email list","description":"","products":[{"product_id":"miaux-never-coming-back","title":"MIAUX - Never Coming Back","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003e\"Miaux\u003c\/b\u003e\u003cspan\u003e presents new LP \u003c\/span\u003e\u003ci\u003eNever Coming Back\u003c\/i\u003e\u003cspan\u003e on Viernulvier Records. The Belgian composer's LP is inspired by the new film score she wrote for 1962 cult film \u003c\/span\u003e\u003ci\u003eCarnival Of Souls\u003c\/i\u003e\u003cspan\u003e. Directed by American filmmaker \u003c\/span\u003e\u003cb\u003eHerk Harvey\u003c\/b\u003e\u003cspan\u003e, this enigmatic ghost film influenced contemporary directors like \u003c\/span\u003e\u003cb\u003eDavid Lynch\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGeorge A. Romero\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLucrecia Martel\u003c\/b\u003e\u003cspan\u003e. Miaux meticulously crafted the score in her home studio, relying solely on her two hands and a single synthesizer during the spring and summer of 2022. The inaugural performance of this renewed score with film unfolded at Videodroom\/Film Fest Gent 2022 in Ghent, Belgium. The compositions were subsequently unraveled, rewritten into full-fledged songs, and assembled into a new record entitled \u003c\/span\u003e\u003ci\u003eNever Coming Back\u003c\/i\u003e\u003cspan\u003e, bearing Miaux's unmistakable signature.\" - Viernulvier.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Viernulvier","offers":[{"title":"LP","offer_id":45865378021595,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/VIERNULV005LP_CU.jpg?v=1721333587"},{"product_id":"chbb-chbb","title":"CHBB - CHBB","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eCHBB\u003c\/b\u003e\u003cspan\u003e was a project by \u003c\/span\u003e\u003cb\u003eBeate Bartel\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eMania D.\/Matador\u003c\/b\u003e\u003cspan\u003e) and \u003c\/span\u003e\u003cb\u003eChris Haas\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eDAF\u003c\/b\u003e\u003cspan\u003e) that developed from their collaboration in 1981, while working on the self-titled album \u003c\/span\u003e\u003ci\u003eLiaisons Dangereuses\u003c\/i\u003e\u003cspan\u003e. They released their music only on four limited cassettes. This compilation presents the complete works of CHBB, including all recordings from their original cassettes alongside previously unreleased tracks produced by both artists.\" - Soulsheriff.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Soulsheriff","offers":[{"title":"Double LP","offer_id":45872111747291,"sku":"","price":41.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SSLP007LP_CU.jpg?v=1721519627"},{"product_id":"morley-michael-pushed-streets","title":"MORLEY, MICHAEL - Pushed Streets","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOver the last ten years, \u003c\/span\u003e\u003cb\u003eMichael Morley\u003c\/b\u003e\u003cspan\u003e has embraced the acoustic guitar as the means of channeling the darkest threads that have run through his work since the early 1980s. While he largely made a name for himself as a maverick of primitive electric guitar and electronics in \u003c\/span\u003e\u003cb\u003eThe Dead C\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eGate\u003c\/b\u003e\u003cspan\u003e, Morley's love of song form has never been far from the surface. In recent years, chance discoveries of Spanish and classical guitar records languishing in the discount and free bins at junk shops in South Dunedin proved to be a revelation. These records, largely recorded in the 1950s and 60s, began to shift Morley's work and lead him to piece together a new musical language from elements completely removed from the rock and avant-garde underground from which he first emerged. Spanish, Mexican and South American composers such as \u003c\/span\u003e\u003cb\u003eDe Fossa\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePonce\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLauro\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBarrios\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePujol\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAlbéniz\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFalla\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eVilla-Lobos\u003c\/b\u003e\u003cspan\u003e as well as more traditional classical guitar composers like \u003c\/span\u003e\u003cb\u003eSchubert\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eHaydn\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eScarlatti\u003c\/b\u003e\u003cspan\u003e all began to etch themselves into his consciousness. Rather than emulate them, Morley \"channeled the experience of listening to these strange guitar sounds\" as he began to play the acoustic guitar for hours at a time every day as an almost meditative exercise and a way of discovering a new way to play. This new musical language is realized on \u003c\/span\u003e\u003ci\u003ePushed Streets\u003c\/i\u003e\u003cspan\u003e, a suite of 12 songs Morley recorded at home in Kōpūtai\/Port Chalmers, New Zealand. The music is quiet, almost ephemeral. Chords and melodies are traced in a dark atmosphere with Morley's unmistakable voice almost imperceptibly double tracked, words softly sung and stretched, sometimes at a near whisper. There are no amplifiers, no effects, nothing to distract from Morley's words and the tone of his guitar. Recorded with two 1970s guild guitars, an orchestral six string and dreadnaught twelve string, the guitar sound is rich and dynamic, chords and melodic figures are struck with what sometimes seems the gentlest possible gesture, resonating and floating away into the night. The music and voice, the lyrics are all of that dark thread, distilled with frightening clarity. The music is intimate and fragile, unadorned and heartbreaking in a way that recalls the spirit of lonely and world-weary albums by \u003c\/span\u003e\u003cb\u003eSkip Spence\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBill Fay\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLoren Connors\u003c\/b\u003e\u003cspan\u003e; yet against the backdrop of the absolute finality of today's culture, the album's alchemy of Spanish and classical influences with Morley's formative work avant garde work, \u003c\/span\u003e\u003ci\u003ePushed Streets\u003c\/i\u003e\u003cspan\u003e exists in its own hauntingly desolate realm.\" - Thinwrist.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Thin Wrist","offers":[{"title":"LP","offer_id":45911034069211,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/TWXLP_CU.jpg?v=1722294210"},{"product_id":"hennies-sarah-motor-tapes","title":"HENNIES, SARAH - Motor Tapes","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv id=\"description\"\u003e\"\u003cb\u003eSarah Hennies\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e(b. 1979) is a composer and percussionist whose work is concerned with a variety of musical, sociopolitical, and psychological issues including queer and trans identity, psychoacoustics, and the social and neurological conditions underlying creative thought. The booklet for this, her second New World recording, features an extensive and wide-ranging conversation with the composer, wherein Hennies discusses her compositional practice and how these three pieces -- all in some way related to brain activity, specifically mood disorders and circadian rhythm -- represent an important step in the evolution of her work. '[T]hese works do signal a transformation. Up until Clock Dies, for instance, every piece I had written involved a stopwatch. But Talea Ensemble wanted a work with a conductor, and so Clock Dies was the first piece I made where I thought, 'Let's see if I can make chamber music.' So Clock Dies is through-composed; of course there's lots of repetition, there's a form with sections and climaxes -- things happen. There's a more traditional kind of contrast in Clock Dies and really in all three of these pieces. But Clock Dies specifically was the first piece where I challenged myself in a practical way to see if I could make 'normal' music.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMotor Tapes\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis, well, it came about in a similarly practical way, where because of when the commission [from\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eEnsemble Dedalus\u003c\/b\u003e] came and where it was being played, I had a long time to make it. And I really, really wanted to challenge myself to make something with a lot of detail, to work harder on something than I had in the past. There's a Word-doc outline of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMotor Tapes\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ethat's pages long because it got so complicated. And finishing the last 20% was so challenging; it had become so unwieldy that I had to make a to-do list of tasks because I couldn't view it as a totality anymore. And now that it's done and I can see it as a whole, there's a very clear order of events, a script, it follows a very birth-to-death trajectory.'\" - New World.\u003c\/div\u003e\n\u003c!----\u003e","brand":"New World","offers":[{"title":"Double CD","offer_id":45911034429659,"sku":"","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/NW80844CD_CU.jpg?v=1722294348"}],"url":"https:\/\/www.fusetronsound.com\/collections\/shopify-email-list.oembed","provider":"fusetron","version":"1.0","type":"link"}