Lisa / Liza - Shelter Of A Song - VINYL LP

From the shadows of Slovenia, Shadow Universe is an instrumental music project, creating breathtaking cinematic soundscapes from post-rock, neoclassical/ambient and post-metal elements. This is their third album. Formed in 2017 by Peter Dimnik and Zan Sebrek, Shadow Universe merge contrasting textures of shimmering ambient soundscapes and heavy anxious darkness to portray the diversity of nature and life on earth and beyond.Opening track Organism, which portrays the coherence of forming organisms; from a vast universe itself down to the tiniest building particles of it, sets the tone with it's slow, tense build to crushing, exhilarating peaks, Don't Look at It and You'll See It evokes free-flowing spontaneity through beautiful cascading piano and emotive violin, towering guitars, and soaring synths. Masterfully harnessing both the quiet and the loud, Hymn for the Giants glorifies our almighty and precious trees, with moments of calm cut apart by vast swathes of brutal, yet considered, cacophony, Losing Home's portentous, droning synths and trumpet ratchet up the suspense, while on Antares Goes Supernova the band carve out layer upon layer of affirming and effecting riffs, each one more powerful than the last. Season of Eternal Maze wraps up the album with a meditative piano and harmonium, wide guitar driven melodies and guides you to your inner maze.001. Organism 002. Don't Look at It and You'll See It 003. Hymn for the Giants 004. Losing Home 005. Antares Goes Supernova 006. Season of Eternal Maze

Eliza Carthy & Wayward Band - Big Machine [VINYL LP] Gatefold LP Jacket, 180 Gram date 03/24/2017

On her sophomore album InchGerm in a Population of BuildingsInch, upsammy moves through her surroundings with thecuriosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments inconstant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-basedartist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopicand gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material intovibrating electro-acoustic rhythms and unstable, psychedelic textures.upsammy's debut album, 2020's critically-acclaimed InchZoomInch, was praised for it's careful reimagining of IDM, evolvingvignettes that nodded towards the dancefloor without being shackled to it's rigid set of rules. On InchGerm in a Populationof BuildingsInch her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped inamber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in manyways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholysynths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass crackingunderfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph intoeach other, demolishing what came before and building on top of the ornamental wreckage.On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstractingexpectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops anddisrupts the structure. And when discernible rhythms subside into the background, like on the album's