Mbr/Mcs Split - Mbr/Mcs Split - VINYL LP

Melbourne-via-Tasmanian four-piece Quivers first released their 2018 debut We'll Go Riding On The Hearses as hand-made cassettes. The album dealt with singer Sam Nicholson's loss of his brother in a freediving accident, and Inchtrying to not think about that, and often coming back to ghosts, benders, water, and pissing in the snow.Inch When demand for the album grew, it received a vinyl and led Quivers to tour the US, film a KEXP session, and be selected by NPR Music for both the Austin 100 SXSW preview and as a InchSlingshotInch artist to watch. Their life-damaged but hopeful jangle pop has only sharpened since then, and while 2021 follow-up Golden Doubt conjures up REM or The Clean, there is a lyrical directness that sets this record apart as always it's own. Golden Doubt is carried by shimmering guitars and the harmonizing vocals of members Holly Thomas and Bella Quinlan. Elevated by the production of Matthew Redlich (Holy Holy, Husky, Ainslie Wills), the record explores what comes after grief, and how one throws oneself back into love. As Nicholson explains, the album tries to bottle Inchthe rush of feelings and fears when you give in to falling for someone. It's also an album in love with other albums, and the other bands around us.Inch Before each take at Woodstock and The Aviary studios in Melbourne, Australia, the band would imagine a scene together (a waterhole for InchLaughing WatersInch, an overgrown carpark for InchVideostoresInch) and then dive in to capture live group takes. Quivers need to get words on the page and sounds out to keep moving on. Both Nicholson and Thomas lost their brothers in the same year, and through that shared vulnerability they all have together that runs deep. Golden Doubt is also a love letter to playing music as a band and processing it all together rather than just carrying it as a weight. The cancellation of a 21-date US tou

From the depths of personal reckoning to the forefront of the UK's alternative scene, Split Chain have spent the past two years transmuting raw emotion into sound. Their debut album, motionblur, out soon on Epitaph Records, is a thunderous statement of intent-an electrifying fusion of shoegaze, grunge, and nu-metal that surges with both nostalgia and forward momentum.Sonically, motionblur captures a distinctive aesthetic, steeped in the melancholic haze of early 2000s alt-rock yet sharpened by the intensity of modern hardcore. Guitars drenched in chorus and distortion crash into ethereal, hook-laden vocals, forging a sound that's at once crushingly heavy and deeply immersive.Following a string of self-released singles that organically amassed millions of streams, Split Chain's signing with Epitaph catapulted them further into the spotlight. Their first tag-backed single pushed their streaming numbers past the 15-million mark, earning them accolades as AltPress' Breakout Artist of the Month and Revolver's 'Badass Rising Band to Know.' With nods from Stereogum, The Needle Drop, BrooklynVegan, and Metal Injection, the buzz around Split Chain is undeniable.With motionblur, Split Chain aren't just making an album-they're making a moment. And if their trajectory so far is any indication, this is only the beginning. Album Tracks 1. Under the Wire 2. Bored. Tired. Torn 3. I'm Not Dying to Be Here 4. Rookie 5. Who Am I? 6. Spit 7. Greyintheblue 8. The Space in Between 9. Subside 10. Headway 11. My Mistake

A veritable discovery from the Italian High Baroque. The flute sonatas by Domenico Maria Dreyer (ca. 1680 - ca. 1740), a contemporary of Antonio Vivaldi. The Swiss recorder player with an Indian background Isaac Makhdoomi will interpret them together with Sebastian Bausch on the harpsichord. In this integral compilation, the works are recorded on an album for the first time. Very little information has survived about Domenico Maria Dreyer. His life is closely linked to that of his younger brother, Giovanni Filippo Dreyer, a castrato, impresario and composer of operas. The two were active for a long time at the courts of Moscow and St. Petersburg, and later in Italy. Only six oboe sonatas and two recorder sonatas have survived from Dreyer's oeuvre. The oboe sonatas are excellently suited for adaptation on the alto or soprano recorder. This was quite common in the Baroque period, when works for wind instruments were repeatedly performed on the violin or on instruments from the same family. Dreyer's sonatas are of great musical beauty and stylistically belong to the Venetian High Baroque. They are believed to have been composed around 1725. Dreyer's teacher could be Ludovico Erdmann, a famous oboist who was active in Florence and Venice and who also maintained contact with Antonio Vivaldi there. This in turn suggests that Dreyer knew the works of the Italian and even consciously adopted Vivaldi's idiom in his sonatas. In addition, it can certainly be assumed that Dreyer also had contact with the greatest oboist of the time, Giuseppe Sammartini, and that Sammartini's music also left it's mark on Dreyer's works.