{"title":"Sacred Bones (Label)","description":null,"products":[{"product_id":"the-men-mercy-cd","title":"Mercy [CD]","description":"\u003cp\u003e\u003cspan\u003eNew York band The Men have always been genre-morphic and unpredictable, but on their eighth album Mercy they have truly done something new as a band. For the first time since forming, they have now created three straight records with the same lineup, and the result is a sound that feels developed and continuous despite running the gamut of mood, in true Men fashion. Having this lineup stability has allowed the band to deepen and finesse the sounds they were exploring on 2017's Drift and produce tracks that have a unique and distinct voice. Mercy was recorded live at Serious Business studio to 2\" tape with Travis Harrison. The band did minimal overdubs, contributing to the urgent feel of the recording. The album is simply the sound of a band that has a deep and unjaded passion for songwriting and creation, working at the peak of their collaborative connection. Founding guitarist and vocalist Nick Chiericozzi described the band's process by way of an anecdote borrowed from Jeff Daniels about his time working with Robert Altman: \"Daniels said, 'Altman will tell you, 'Now walk through that doorway,' but what he doesn't tell you is that he's got three people walking through the door from the other direction.' Doesn't that sound like a Men record? We've got 'Children All Over the World' saying hello to something like 'Fallin' Thru'. Mercy has a place next to Drift and it's now a distant neighbor to New Moon, Devil Music and the others. It's a wholly contained universe that shares the ash, the birth and the memory; the things motion takes with you after bumping into someone. We hope you enjoy the record and what it brings.\" Mercy takes the listener on a cinematic journey throughout it's seven tracks, beginning with the soothing but lonesome country rock opener \"Cool Water.\" This track, like many on the record, feels timeless, illustrating the band's ability to write songs you are convinced you've heard before on the B-side of your favorite record from the '70s. You are then pulled into it's longest song, the 10-and-a-half minute psychedelic blues rock opus of \"Wading in Dirty Water.\" The band explore some new territory on Mercy, and they also revisit the Suicide-style sound they have been working on for a while through Drift and also with one of their side projects Dream Police, resulting in the highlight \"Children All Over the World,\" a song that could stand next to any classic rock hit but with The Men's unique artistic savvy. It wouldn't be a contemporary Men record without a total fuzzed-out stomper a la their Open Your Heart-era sound, and this record's offering, \"In the Breeze,\" shows the band's complete command of this urgent and pulverizing style.\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCool Water\u003c\/li\u003e\n\u003cli\u003eWading in Dirty Water\u003c\/li\u003e\n\u003cli\u003eFallin' Thru\u003c\/li\u003e\n\u003cli\u003eChildren All Over the World\u003c\/li\u003e\n\u003cli\u003eCall the Dr\u003c\/li\u003e\n\u003cli\u003eBreeze\u003c\/li\u003e\n\u003cli\u003eMercy\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 843563122761\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.14.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Men","offers":[{"title":"Default Title","offer_id":58253761511505,"sku":"10388","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3767662-2532565.jpg?v=1759465976"},{"product_id":"exploded-view-summer-came-early-ep-vinyl","title":"Summer Came Early EP [Vinyl]","description":"\u003cp\u003e\u003cspan\u003eExploded View is: Annika Henderson, Martin Thulin, Hugo Quezada and Amon Melgarejo. After finishing the songs that became their self-titled debut LP for Sacred Bones, Exploded View decided to go back into the studio and record some more. Mixed in with some of the outtakes of the first record, such as \"Mirror of the Madman,\" the songs on Summer Came Early signal a step forward for the band, revealing more clarity and focus than the first, yet retaining a certain messy experimentalism that gives them the freedom they crave.\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSummer Came Early\u003c\/li\u003e\n\u003cli\u003eForever Free\u003c\/li\u003e\n\u003cli\u003eMirror of the Madman\u003c\/li\u003e\n\u003cli\u003eYou Got a Problem Son\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 616892516248\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.10.17\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Exploded View","offers":[{"title":"Default Title","offer_id":58253769506897,"sku":"16452","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3734640.jpg?v=1759466062"},{"product_id":"lathe-of-heaven-aurora-blue-colored-vinyl","title":"Aurora (Blue) [Colored Vinyl]","description":"\u003cp\u003eLathe of Heaven return with their second full-length album Aurora, a boldexpansion of their sonic and thematic palette that unfolds like a series of vivid,emotional vignettes.Aurora is an iteration of Lathe of Heaven's sound previously unexplored, one thatoffers a delicate balance of their punk roots with captivating new-wave and 80spost-punk aesthetics, incorporating influences from mid 80s British and Finnishpost-punk, combined with subtle nuances from 90s and contemporary underground pop. Recorded with Ben Greenberg at Circular Ruin and masteredby Brad Boatright, the album sonically is inspired by The Cure's melodic rock,Musta Paraati's gothic post-punk synth and intense drumming, and A Flock ofSeagulls' art pop vocals and guitar riffs.Lyrically, Aurora doesn't shy away from heavy themes. Envisioned as a collectionof sci-fi short stories, it is deeply influenced and lyrically driven by themes ofanti-colonialism, diversity, and equality. These stories are inspired by Ursula K. leGuin, Octavia Butler, Greg Egan, and Peter Watts' novels, leading listeners tomythical, bold, and somewhat unnerving realities. The title track, \"Aurora,\" is setin a dystopian future where Earth is long abandoned due to nuclear fallout - it explores themes of loss, love, and devotion. \"Oblivion\" delves into the phenomenonof semantic satiation - say a word enough times and it begins to lose it's meaning.\"Exodus\" reimagines Theseus' Ship Paradox, narrating the experience of transferring consciousness into a new, perfect body. Elsewhere, \"Portrait of a ScorchedEarth\" stands as a direct act of resistance. One of the most emotionally raw songson the album, it breaks from the band's usual lyrical abstraction as an unflinchingreckoning with the horrors of modern warfare and displacement, rooted in thelived tragedy of Gaza.Lathe of Heaven hope Aurora elicits a vast spectrum of emotions, and inspiresdeeper reflection on the state of our reality and humanity. It is literary withoutbeing pretentious, political without preaching, and emotional without flinching.Every song holds a piece of a shattered mirror and what emerges is a prismatic,wounded beauty, staring back with a thousand faces. 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This is the first time Alan Vega's big hit \"Jukebox Babe\" has been reissued, and it will be backed with an early unreleased version of one of Alan's favorite tracks, \"Speedway.\"\u003cbr\u003e\u003cbr\u003eJukebox Babe b\/w Speedway\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJukebox Babe\u003c\/li\u003e\n\u003cli\u003eSpeedway (First Mix)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 843563146873\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.23.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 7\" Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Alan Vega","offers":[{"title":"Default Title","offer_id":58253798113361,"sku":"37331","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4065878-2795734.jpg?v=1759466383"},{"product_id":"thou-a-primer-of-holy-words-transwavy-gold-lp","title":"A Primer Of Holy Words [Transwavy Gold LP]","description":"\u003cp\u003eThou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022. All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press European compilation; Ginger Quail, an obscure New Orleans punk band from the late 90s; and so on. Regardless of their standing in the civilian world, all of these bands and songs have had a strong imprint on Thou- much more so than \"sludge\" or metal in general or \"the swamp\" of New Orleans. New Noise Magazine described some of the tracks saying \"They've got a Black Sabbath 'Sweet Leaf' cover that they've dirtied up to the point where it sounds like a High on Fire original, a blackend-sludge version of Born Against's 'Well Fed Fuck,' a bewitched version of Pearl Jam's 'Spin the Black Circle,' and an appropriately gross and desperate cover of Shellac's 'Prayer to God.' It's as good or better than their Nirvana album imho.\" And while the mentioned tracks will be on the vinyl version sans \"Sweet Leaf\" it will have a different track list from 2020's digital release including a cover of the Yeah Yeah Yeah's iconic track \"Maps\". 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Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMelodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson’s San Francisco. ‘Somewhere’ opens in sombre herald, before dropping into a fast freeway tempo; the glassy synths and crisp beats cut through the anxious moods on ‘Bodies’ and ‘Try’ sits in a lineage with cult bands like Asylum Party. ‘The Garden’ is a journey through a post-apocalyptic cityscape, earthed by the pulse of a drum machine whereas ‘Ship To Shore’ could be a lost Oppenheimer Analysis B-side, and the album’s closer ‘Brighter and Bigger’ catches a sentiment like The Dadacomputer has learned to feel emotions. He captures the loneliness of Ray Bradbury’s atomic-era sci-fi and the apocalyptic but revolutionary spirit of Godard’s Sympathy for the Devil, as in ‘Preoccupation’, the beating heart of the album, which conjures ambivalent scenes of an empty world and the comfort to be found in a shared humanity.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEmerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. 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Now, on her tenthofficial full-length record, New Radiations, she returns with a raw, intimate,and breathtaking collection of eleven otherworldly songs.From the first note, Nadler's lush voice and intricate fingerpicking are frontand center. She layers Everly Brothers-style harmonies over dreamlike, lonesome soundscapes-fuzzed-out distortion, Hammond organ, and ominoussynthesizers-that elevate her warm vulnerability with texture and atmosphere. Each track unfolds like a vignette of a life lived, delivering emotionalweight that resonates with quiet intensity.Lyrically, she shape-shifts through time and space-inhabiting charactersin an airborne Cessna, a spaceship, a getaway car, and alternate dimensions.Her storytelling is cinematic in scope and deeply personal in impact and thecontrast between sweet, catchy melodies and dark, visceral lyrics runs deep.Whether singing from the first-person narrative or channeling these otherpeople, the album taps into the universality of love and loss with gravitas andempathy.Produced by Nadler herself and mixed by Randall Dunn (Earth, Sunn O)))),New Radiations features subtle arrangements from longtime collaboratorMilky Burgess-woozy slide guitar, hypnagogic synthesizers, and grittyriffs. Genre-bending yet quintessentially her own, this album freezes theworld's noise in a moment of beauty and solemnity. 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Chrystia Cabral spent the summer of 2018 in her Berkeley studio reflecting on the thresholds of human progress and longing for a new and better tomorrow. She was struck by the way the same technologies that have given humans the ability to achieve utopian dreams of discovery have also brought the world to the precipice of dystopic global devastation. Despite the darkness of this reality, Mazy Fly is defiantly optimistic. It is a celestial voyage into the unknown, piloted by Cabral. Mazy Fly musically traverses the spaces between languid, honey-soaked vocals and distant angelic whispers, from thumping 808 club beats to crunching tape loops, and from silky, smooth R\u0026amp;B to whirling organ sonatas. Cabral became enamored by the idea of flight as a harbinger of both progress and apocalypse, and that was expressed in the textures and compositional techniques she utilized. 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High on endorphins, \"Push Ups\"-which featuresvocals from Jehnny Beth-is pure muscle music, fortified by hoover bass andfleshed out by synths that hammer as hard as lumps of hail on a glass roof.But behind the slogans, sass, and monster dance energy lies an intimacy that canonly be found from opening up about painful, life-altering events. \"Hospital\" and\"Soggy Newports\" reflect Scaduto's harrowing experience in a New York state-runfacility after a near-fatal accident. \"Resist\" tackles abortion rights, while \"PennyRose\" explores US education, AI, and future generations. Scaduto's elastic vocalsshine throughout, from the razor-sharp synths of \"S is For\" to the trance-popheights of \"Kids,\" featuring Izzy Glaudini from Automatic.yes, please. Is an action-packed dance record stuffed with wild, heady roof-raisersbut is in the same breath a testament to living, and never looking back. 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Recorded live to tape at Berlin's legendary Hansa Studios, the album captures raw energy with minimal overdubs, resulting in a visceral and urgent 10-track journey fueled by intense emotions. The recording process, done in just a few days with a live band, emphasizes immediacy, offering a sound that's both physical and direct. Abyss reflects Anika's desire to create a space where people can unite and feel free to express themselves amidst the chaos of the world. With influences ranging from 90s grunge and Courtney Love to Patti Smith and Genesis P-Orridge, the album is driven by a rebellious spirit. Tracks like \"One Way Ticket\" critique the rise of fascism, while \"Hearsay\" takes on the divisiveness of fake news, revealing Anika's determination to confront the complexities of our current moment. The album's raw, emotional power is matched by it's physicality. Anika's goal is to take listeners out of their heads and back into their bodies, offering a release through the music and live performances. This is a space to reclaim the connection between mind and body-something she feels is increasingly lost in today's world. Her desire to create that energy on stage is reflected in Abyss's dense, pounding rhythms, which build on the energy of 90s alt-rock. Abyss also delves into the intense tensions between the left and right in contemporary society, exploring the complexities of human imperfection and healthy debate. From the thrashing intensity of \"Oxygen\" to the melancholic \"Buttercups,\" the album refuses to shy away from uncomfortable truths. Anika boldly confronts her own raw emotions, as exemplified in the candid lyrics of \"Walk Away,\" where she reflects on discontent with herself and the world. 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Gripped by wanderlust while suddenly housebound at the start of the pandemic in2020, Nadler escaped into writing, and came back with a stunning set of songs about metamorphosis, love, mysticism, and murder. Blurring the line between reality and fantasy and moving freely between past and present, these11deeply personal, self-produced songs find Nadler exploring new landscapes, both sonic and emotional.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNadler tracked the skeletons of the songs at home and then sent them to some choice collaborators, including experimental harpist Mary Lattimore and Simon Raymonde, the Cocteau Twins bassist and her Lost Horizons collaborator. Multi-instrumentalist Milky Burgess, having recently worked on the soundtrack to the film Mandy, adds intricate melodic power throughout the album. Jesse Chandler, Nadler’s piano teacher (as well as a member of Mercury Revand Midlake), plays winding woodwinds and plaintive piano to luminous effect. Fellow singer-songwriter Emma Ruth Rundle contributes a slinky guitar solo on “Turned Into Air,” while Black Mountain’s Amber Webber steps in as a vocal foil to Nadler, a ghostly apparition in the distance of “Elegy.” Seth Manchester, known for his work with Lingua Ignota, Battles, and Lightning Bolt, mixed the album at Machines with Magnets in Pawtucket, Rhode Island. Manchester added dimension to the songs’ atmospheric beauty with screeching feedback and distorted guitars. 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It is an album about \"seeing things from above-almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground.\" Prompted by an urge to find a different kind of language to express what she was feeling, the songs on Love unfurl like an interior dialogue involving several voices. Friends and collaborators Vivian Wang, Laura Jean Englert, and Felicia Atkinson surface on various tracks, via contributed vocals or through bits of recorded conversation, which further posits the record itself as a kind of ongoing discourse. \"The last thing I wrote, which was my new book, had quite an angry voice,\" says Hval, \"The voice of an angry teenager, furious at the hierarchies. Perhaps this album rediscovers that same voice 20 years later. Not so angry anymore, but still feeling apart from the mainstream, trying to find their place and their community. With that voice, I wanted to push my writing practice further, writing something that was multilayered, a community of voices, stories about both myself and others simultaneously, or about someone's place in the world and within art history at the same time. I wanted to develop this new multi-tracked writing voice and take it to a positive, beautiful pop song place... 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Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement: \"Devour\" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at \"balancing feedback\", within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief - nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. \"ABOUT THE SHALLOWNESS OF SANITY\"... 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From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada's guitar-driven psych rock, and reached it's apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial. Says Yamada: \"We have changed, the nature of our collaboration has changed, the world has changed, and we wanted the new music to reflect that.\" Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience - love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration - rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos. Taking disco as it's groove-oriented departure point, Stars Are the Light shimmers with elements of '70s funk and '90s rave. Johnson's signature guitar sound is at it's most languid and refined, while Yamada's synths and oneiric vocals are foregrounded to create a spacious percussiveness that invites the body to move with it's mesmeric rhythms. With Sonic Boom (Spacemen 3, Spectrum) at the mixing desk in Portugal's Serra de Sintra, (known to the Romans as \"The Mountains of the Moon\") the area's lush landscape and powerful lunar energies exerted a strong influence on the vibe and sonic texture of the album. On embracing disco as an inspiration, Yamada says, \"It's something we hadn't referenced in our music before, but it's core concepts really align with what we were circling around as we made the album. Disco is dance music, first and foremost, and we were digging our way into the idea of this endless dance of bodies in nature. 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There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that's already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it's also a gift, because once it's opened, once you're inside of it, it can show you the truth. Zola Jesus's new album, Arkhon, finds new ways of loosing this submerged, stalled pain. On previous albums, Danilova had largely played the role of auteur, meticulously crafting every aspect of Zola Jesus's sound and look. This time, she realized that her habitual need for control was sealing her out of her art. Arkhon sees Zola Jesus's first collaboration with producer Randall Dunn (Sunn O))), Earth, Mandy soundtrack, Candyman soundtrack) and with drummer and percussionist Matt Chamberlain, whose prior work appears on albums by Fiona Apple, Bob Dylan, and David Bowie. Arkhon runs the spectrum from songs whose weight lies in their bare simplicity, like \"Desire,\" an elegiac piano composition about the end of a relationship that was recorded acoustically in a single take, to towering, groove-oriented tracks like \"The Fall\" and the tight, interlocking percussion and samples of a Slovenian folk choir in \"Lost,\" which propel narratives of collective despair and mutual comfort in kind. Through these turns, Arkhon reveals itself as an album whose power derives from abandon. Both it's turmoils and it's pleasures take root in the body, letting individual consciousness dissolve into the thick of the beat. Despite the darkness curled inside reality, there is power, too, in surrendering to what can't be pinned down, to the wild unfurling of the world in all it's unforeseeable motion. 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They set up shop, begin printing leaflets, hold gatherings and start growing their ranks through recruitment. Jeremiah and the Children are not necessarily an odd addition to Redding in 1974. Since the 1930s, psychonauts and spiritual seekers have been drawn to this area in Northern California under the shadow of the dormant volcanic cone of Shasta. By 1974, urban California hippies worn down by direct political engagement with state security forces have started drifting North and the towns along the border with Oregon state are filled with ad-hoc spiritual organizations, commune builders and lost souls. Jeremiah and the Children fit right in. A few years prior to assembling his flock, Sand had self produced and released an album of psych-folk that was unremarkable in almost every way, save for the unrelenting vanity and egoism on display in the lyrics. This early album is one of the only existing documents of Sand. The commercial failure of the album became the catalyst for Sand to leave Southern California and settle in a place where his \"truth\" would be \"received by pure and open hearts\". By mid 1974, the Children have grown in rank and Jeremiah becomes obsessed with recording \"his masterpiece\"... a musical message to the world, communicating a \"Truth\" that only he has been given spiritual access to. This project becomes the central focus of the Children. His lieutenant Brother Swann overhears that there is a small recording studio just North of the city. He arrives one day at the reception with a large gym bag full of cash and instructs the owner to cancel all sessions on the books. The studio will now focus on one thing and one thing only: helping Jeremiah realize his vision. Tents and rough structures appear on the surrounding property as the Children make the studio and it's grounds their new home. They hold recruitment meetings where Jeremiah evangelizes in between endless recording sessions. The owner and his staff begin to feel as though they're being held hostage but the money is good and the Children keep paying. Overpaying. This goes on for years. New members drift into the sessions. A disgraced professor from the Electro Acoustic Music program at Evergreen state arrives with a full Buchla system he's \"liberated\" from the university, Jeremiah is entranced by it and for a few weeks the only sounds coming from the studio are blasts of atonal, corroded noise underpinned by ominous chanting. The mood changes. The town begins to turn against the Children. A few people have gone missing. Some teenagers. A studio engineer. By the Spring of 1977, the entire session has broken down into hallucinogen and cocaine fueled chaos. Bad vibrations. One night in early March, after a particularly grueling mixing session, the producer and owner of the studio is startled awake by by an extremely agitated looking Brother Swann. Swann is sweating and wild eyed, casually holding a gun, explaining to the producer that \"plans have changed\" and that Jeremiah has \"heard a calling and a Great Summons\". They are leaving. All of them. That night. Swann directs the producer to put the existing reels in a lock box along with a short 16mm film, lyrics, album art and scribbled notes. Swann tells the producer Jeremiah will be back to finish his masterpiece. It all goes in the box and it's not to be opened until the Children return. They never do. In 2018, wildfires rip through Redding, CA and burns it to the ground. Over a thousand homes are incinerated. One rough structure north of the city is partially saved. There's a massive concrete basement filled with smoke and water damaged recording equipment and in the back... a lockbox. No one knows who originally took the tapes out of the charred ruin of the studio but in a few months, a very strange album is making the rounds in the more esoteric circles of the underground. A long and confusing chain of custody ensues. A lost artifact of the transitional period between the late 60s and late 70s. A flawed and malignant sounding unfinished thing, clearly the product of a psychotically inflated ego and hubris. The album is by turns: amateurish, haunting, deranged, ridiculous and (for those attuned to these things) filled with crackling negative psychic energies. So much so that Light In The Attic flat out refuses to reissue it. 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Their greatest strength has always been their songwriting, and they've only gotten better.As the band's arrangements have grown more sophisticated, so too have the sounds they use to bring them to life. Roman Komogortsev and Pavel Kozlov's gear arsenal has grown to include an extensive range of synthesizers and drum machines, all of which they deploy with precision. Egor Shkutko's vocals move fluidly between his familiar deadpan monotone and an expressive croon, his beautifully delivered Russian lyrics at turns bleak and romantic. Shkutko has often been compared to Ian Curtis, but here, he outgrows the comparison. With Monument, Molchat Doma have done one of the hardest things to do as a band. 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They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous, sonic tableaux that places the listener right in the center of the film.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. 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Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. 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