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Rather, it is the soundtrack to a short film, also entitled ‘The Runner’. The film, written, produced, and directed by the duo, is a searching horror film, attached to a meta-style “documentary” about Boy Harsher’s recording process. The album includes several distinct components: cinematic arrangements, vocal features, and of course classic Boy Harsher dark pop.\u003cbr\u003e\r\nBoth the album and short film will be released in January 2022.\u003cbr\u003e\r\n\u003cbr\u003e\r\nLast year, in the midst of the obvious chaos (the global pandemic), but additionally with Jae’s MS diagnosis, Augustus started working on moody, cinematic sketches. It was uncertain what these pieces would become, other than catharsis. In Jae’s period of convalescence, she kept thinking about this sinister character: a woman running through the woods. Together, they developed this idea further into a film. They were unable to tour, a drastic (and isolating) shift in their career, and making ‘club music’ did not feel right. But there was so much they needed to get out. The next Boy Harsher release would be a reconciliation of this time. The album processes feelings of universal anxiety and the confrontation of at home illness. A necessary expulsion during a time of unrest.\u003cbr\u003e\r\n\u003cbr\u003e\r\n‘The Runner (Original Soundtrack)’ is exactly what’s in the name: a soundtrack. At first the shape of the release was nebulous - yet once realized the album is dynamic. It serves as the story of the running figure and her musical accompaniment. 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CD+DVD Digipack with 12-track album on CD, and visual album on DVD. (All Region DVD.) Vinyl. Yellow\/mustard vinyl with printed inner sleeve with lyrics. Immediate digital download with vinyl purchase. LP+CD+DVD bundle. This is the LP bundled with the CD+DVD package. Immediate digital download with purchase. Recorded by Ernest Greene and Cole M.G.N at Dead Homies Studio in Los Angeles \/ Mixed by Cole M.G.N \/ Mastered by Dave Cooley at Elysian Masters in Los Angeles \/ Cover and art direction: Ernest Greene \/ Design and layout: Jeff Jank \/ Management: Constant Artists \/ Inlay photo: Alexandra Gavillet\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eReleased: 08\/11\/2017\u003c\/li\u003e\n\u003cli\u003eFormat Detail: LP bundled with the CD+DVD package. 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That was the version that transformed Grease into a phenomenon -- it was a runaway box office success, and then became a TV, cable, and video favorite. The soundtrack rivaled its film counterpart as a pop culture perennial, and it's not hard to see why -- its good-natured pastiche of doo wop and early rock \u0026amp; roll is infectious and charming, due in no small part to John Travolta and Olivia Newton-John's charismatic, engaging performances. They sing the majority of the originals -- \"Summer Nights,\" \"Hopelessly Devoted to You,\" \"You're the One That I Want,\" \"Sandy,\" \"Greased Lightnin'\" -- which were the reason why the film and soundtrack became blockbusters. 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As a solo producer, LTO has since attracted attention with three albums.\u003cbr\u003e\r\n\u003cbr\u003e\r\nLTO's ambition to create ever more ambiguous and far-reaching sonic environments, whilst retaining something of the familiar and physical, have led him to take inspiration from imagined landscapes of the folklore of his Welsh ancestry and of the planet Mars. Both images of enchanted forests battling enraged giants from the underworld and unimaginably hostile planetary events guide this work of great magnitude.\u003cbr\u003e\r\n\u003cbr\u003e\r\nIn 'Daear', LTO explores an expansive sound pallet of swelling synths and noise, ambiguous string instruments, thunderous percussion, unearthly voices and his signature sound the piano, mostly processed beyond recognition. 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As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. Originally self-released in 2013, Minecraft Volume Beta was C418's longest batch of music to date at nearly 140 minutes. The collection features tracks that were \"silently\" added to Minecraft during it's music updates and a few that never officially entered the game. Rosenfeld's unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. 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Given that it has been 11 years since the release of her last solo album, 2010 cult-favorite Anika, the artist suddenly found herself with a lot to say. \"This album had been planned for a little while and the circumstances of it's inception were quite different to what had been expected. This colored the album quite significantly. The lyrics were all written there on the spot. It's a vomit of emotions, anxieties, empowerment, and of thoughts like-How can this go on? How can we go on?\"Recorded at a time when literally everyone in the world was being forced to take stock, rethink, and reimagine their own place in the cosmos of things, Anika provides the wisened perspective of an outsider. It's a perspective that is not lost on the British ex-pat and former political journalist. \"'Sand Witches' is about England. My old home,\" she says. \"I gave up my UK passport when I moved to Berlin 10 years ago. Now I am a foreigner in both lands, belonging to neither. Sometimes I find it hard to recognize the place I came from.\"Despite the subject matter and the circumstances around it's creation, Change itself is ultimately a treatise on optimism. The title track presents the album's message writ large: I think we can change, we all have things to learn, about ourselves and about each other. To end the record on such a sanguine note might be one of Change's most revolutionary gestures. \"Another book that affected the brain of this album was Hannah Arendt's The Banality of Evil,\" explains Anika. \"In the context of the Trump era, it was interesting to see how 'evil' was put on trial after his downfall. When evil loses, how is it put on trial? How do those who actually held the hand of evil during the evil, sneak into the seat of judge and Jury during the trial, booing with the crowd as if they had no involvement and were not cashing in on the evil's wild rampage. 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Kirkwood's musical style was unique from his contemporaries, falling less in-line musically with the medieval, subterranean dread of his peers and more with artists like Mort Garson (Plantasia, Atraxia's The Unexplained, etc.). Kirkwood incorporated a far more diverse palette of influences such as the Berlin School (Tangerine Dream, Kraftwerk, Klaus Schulze, etc.) of electronic music, John Carpenter's synth-driven soundtrack compositions, and, perhaps most importantly, a spiritual foundation akin to the New Age cassette culture of the 1980's, albeit much darker.\u003c\/p\u003e\r\n\r\n\u003cp\u003eKirkwood's immense body of work functioned as an aural adaptation, thematically centered around the works of J.R.R. Tolkien (The Lord of the Rings), Michael Moorcock (The Elric Saga), Neil Gaiman (Sandman), Celtic Mythology, and the Norse Poetic Edda. With singular vision and unmatched dedication, Kirkwood released two dozen full-length cassettes from 1990-1996 to virtually no audience but himself and his closest confidants. As such, this original run of recorded material languished in total obscurity before being rediscovered by underground fans in the last decade, resulting in the sudden, long-overdue recognition of the genius of Jim Kirkwood.\u003c\/p\u003e\r\n\r\n\u003cp\u003eFirst discovering The Hobbit at the age of 13, his rabid consumption of the seminal works of fantasy author J.R.R. Tolkien can be considered the impetus for Kirkwood’s musical career. Perhaps in an effort to sustain the sense of magical escapism of experiencing The Lord of the Rings trilogy during idyllic British summers, Kirkwood’s solo musical journey began in Middle Earth with Where Shadows Lie (1990, oos-204\/DEI-001). 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