Kayo Dot - Blasphemy - VINYL LP

Norwegian indie rock duo Tape Trash's new album EDEN was written in the aftermath of losing faith. It reflects on the years spent inside Christianity and the disorienting ambivalence that follows when stepping into the secular world outside of EDEN. The songs move between freedom and grief, where moments of beauty and ecstasy are closely tied to confusion.Across ten songs written by the band and recorded in Oslo with co-producer Jørgen Smådal Larsen (drummer of Norwegian indie legends Lukestar), EDEN embraces emo as instinct rather than genre. If something felt true, they didn't overthink it. The process was fast and intuitive, and some songs came together in a single day.Musically, the album explores the tension between the two members' backgrounds. Frontman Anders Magnor Killerud comes from a singer-songwriter tradition shaped by Elliott Smith, Judee Sill, and Sufjan Stevens. Kristofer Staxrud brings the intensity and urgency of his teenage years in hardcore bands, grounding the songs in sharp rhythms and heavy guitars.The album opens with RAPTURE BOY, a restless indie-punk track that echoes early 2000s records like Frengers and Silent Alarm. SINCE 94, the lead single, is a blast of fuzz-heavy shoegaze-punk, while WE WILL COLLIDE leans into dreamy '90s fuzz-pop.Although they're a duo, Tape Trash wanted EDEN to carry a communal spirit. Inspired by how they first bonded over the musical collective Broken Social Scene, Anders and Kristofer invited friends into their rehearsal space to record gang vocals after nights out in Oslo.Tape Trash set out to make something heartfelt and sincere in a musical landscape that often feels shaped by cynicism and ironic distance. They chose openness and emotional risk instead. With EDEN, they have arrived at something more focused, more fearless, and more like themselves.1. RAPTURE BOY2. SINCE 943. DAZZLE & DECEIVE4. HORROR LIFE5. 176

2CD book (hardcover, 18x18cm, 48 pages) with enhanced artwork, a full chapter of the novel that serves as the album's thematic basis, and feat. The 6-track bonus CD InchPurityInch with renditions of InchBlasphemyInch tracks by Wet Math. Kayo Dot, the endlessly eclectic project, spearheaded by composer and producer Toby Driver, was formed in 2003 by the members of the legendary aethereal metal band, Maudlin of the Well, marking a giant-inspired evolutionary leap. Since then, Kayo Dot's muse has shown it's face through slow and massive cascades of guitars and violins, and soundscapes spanning from InchBi**hes BrewInch-inspired tripped-out goth fusion to hyper-fast, angular and atonal suicidal black metal. Kayo Dot's members and collaborators come from a huge range of backgrounds; DIY punk kids to the most erudite conservatory-educated New York performing musicians. Driver's list of collaborators includes names like Randall Dunn (Wolves In The Throne Room, Myrkur, Sunn 0))), Secret Chiefs 3 (Trey Spruance of Mr. Bungle), John Zorn, and G. Stuart Dahlquist (Burning Witch, Asva), among many others. The diversity of musicians feeds Kayo Dot's ability to wind, twist, and leave you wanting with no ceiling on how it will evolve, while creating sounds that are both timeless and contemporary. Now fifteen years on, Kayo Dot's new album, InchBlasphemyInch, is once again based on an allegorical story by Jason Byron. It explores greed, especially politically, and surrounds three characters on their search for treasures; only to be destroyed by the very treasure they sought - a sleeping girl with terrible power named Blasphemy. Produced by Randall Dunn (who helmed Kayo Dot's InchHubardoInch, InchCoyoteInch, and InchBlue Lambency DownwardInch), is Kayo Dot's most forthright statement ever; directly confronting the world at-hand, foregoing the encouraged escapism found ubiquitously thr

Vinyl LP pressing. Ella Fitzgerald virtually invented the live album. Her performances were so consistently great that almost any live show was special enough to as a record. For Ella Fitzgerald, every night was The Moment of Truth. In the summer of 1967, Ella Fitzgerald was in the middle of a three-year touring and recording collaboration with Duke Ellington and was incorporating hit pop songs of the late-60s into her concert repertoire - two of which are presented here for the first time on record.