Three Berry Icecream - Three Berry Icecream - VINYL LP

Limited double red colored vinyl LP pressing. In late October 2019, following a successful UK tour ending in a sold-out concert at the mythical Roundhouse in London, SUNN O))) entered studio 4 of the BBC Maida Vale on invitation to record a live session for Mary Anne Hobbs to be broadcast on Samhain via her excellent radio show on BBC6. To enter the legendary John Peel studios was to enter a temple of music and experimentation, liberty in ideas and sound. The band was nearing the end of a long touring year around the Life Metal and Pyroclast albums. SUNN O))) had developed the compositions extensively, embracing the formative concepts of the Life Metal album conceptually and emotionally, but actualised and evolved into vast, open and bright hyper-saturated arrangements. Particularly the pieces the band chose to perform on this recording Troubled Air and Pyroclasts. The former enriched into a total aspect of the band's ethos and form in many ways, and Pyroclasts had evolved to become all-inclusive radiation of O))).

Vinyl LP pressing. 2019 , the second album by The Berries. Over the course of a year, songwriter Matt Berry demoed countless versions of every song that would end up being on Berryland by himself in his room, but the world refused to stay outside during the process. Berryland sounds like a record designed for good times at first glance - from the psychedelic opening riff of InchMakes Me SickInch to the gigantic chorus of lead single InchFruit,Inch there are moments that feel made for driving down the highway with the windows down. But each song on Berryland has a deeper meaning than what's on the surface - a constant theme of heartache, hopelessness and feeling as if the end of the world could be any day now permeates on standout tracks like InchPassing SceneInch and the fast & furious InchFeral Eyes.Inch This seeming contradiction makes The Berries' album feel vital for today's world - an attempt to grasp at good times while living in end times.

The fifth of Schubert's nine numbered symphonies was written in 1816 and was performed in October, a month after it's composition, at the house of Otto Hatwig, a violinist in the Burgtheater orchestra. The musicians concerned were otherwise amateurs from the group that had been accustomed to meet at the house of Schubert's father. The music is in the tradition of what Schubert in his diary that year described as the magic sound of Mozart, the immortal. It is scored for flute, pairs of oboes, bassoons and horns, with strings, while the Unfinished Symphony was to make use of a larger orchestra that included clarinets, trombones, trumpets and drums. The first movement leads us through the charm of it's principal melodic material to an excursion into stranger keys, until a recapitulation that opens with the first theme in the key of E fiat, before the original key of the movement is restored. There follows a slow movement that is in that essentially Viennese operatic idiom of which Mozart was the greatest exponent, succeeded by a lively Minuet and Trio in the keys of G minor and G major respectively. The symphony ends with a finale that contains all the dramatic contrasts that the customary form encourages. Rosamunde, Fuerstin von Zypern, was staged at the Theater an der Wien in 1823. The play, by the blue-stocking Helmina von Chezy, was hastily written and was a dramatic disaster, receiving only two performances, it's name remembered only because of the association with Schubert, who, with equal haste, provided music for it. The full score included choral items, which were well enough received by audiences. The Overture was borrowed from an earlier work, Alfonso and Estrella, although the so-called Rosamunde Overture was borrowed from Schubert's opera Die Zauberharfe. It is, however, the entr'acte and ballet music that have won lasting popularity. The Rosamunde theme was