Sacred Bones HHV Records 249 Items

BEEP BEEP! Bumper sticker featuring exclusive art by Robert Beatty, produced in celebration of the new Mort Garson album "Journey to the Moon and Beyond".

January 20, 2020 saw the surprise release of David Lynch's short What Did Jack Do? on Netflix. If you watched the grainy, police procedural over the last few days, you most likely found yourself saying aloud `who is Jack Cruz and how can I get more of his music?' Sacred Bones is announcing the release of the short's featured original song "True Love's Flame" by the primate star crooner of yesteryear; Jack Cruz. Not much is known about Cruz's career prior to his involvement with Lynch, but fortunately, we have not just one song, but two: 'Dancin' in the World of Love' is the B-side to the short's single_uncovered recently and an excellent example of Cruz's emotional prowess and magical, gold-dipped vocal cords. Both songs were written by Lynch and Dean Hurley with artwork carefully crafted by Lynch himself.

11x17 riso printed poster with artwork by Taylor W. Rushing. Released in celebration of the 8-track label Sacred 8's!

Music Sounds Better on Tape

Monument is a fitting title for the third album by Belarusian trio Molchat Doma. Indeed, it stands as a monument to everything they've achieved in their short time as a band, from whispered-about unknowns, to enigmatic underground icons, to legitimate viral sensations with hundreds of thousands of TikTok videos using their music. Monument sees them return as conquering heroes, expanding on the minimalist greatness of S Krysh Nashikh Domov and Etazhi to fully realize a more maximalist vision of their crystalline post-punk sound.Written and recorded while the band was quarantined in their hometown of Minsk during the COVID-19 pandemic, Monument is a conscious step up in songwriting and fidelity, and it reveals a band preternaturally comfortable in its own skin. Whether playing to the dancefloor, as they do on the synthpop anthem "Discoteque," or working more introspectively on pre-pandemic live favorites "Otveta Net" and "Ne Smeshno," Molchat Doma are in complete control. 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. They've greatly expanded the scope of their music while retaining everything that made them great in the first place.

When S Krysh Nashikh Domov The Debut Album By Molchat Doma, Was Released In 2017, It Announced A Bold New Voice In Underground Music. The Album Found A Passionate Audience On Bandcamp And Other Streaming Services And Was Released On Cd And Cassette. Sacred Bones Records Is Proud To Present The Album On Vinyl For The First Time. Molchat Doma (Translated As "Houses Are Silent"), Founded In 2017 In Minsk, Belarus, Stands At The Intersection Of Post-Punk, New-Wave And Synth-Pop. Dark Yet Danceable, And With A Heavy Dose Of Goth Ethos, Their Music Is Reminiscent Of The Masters That Predate Them, But Make No Mistake: Molchat Doma Creates A Sound And Meaning That Is Immediately Recognizable As All Their Own. The Band Is Comprised Of Egor Shkutko, Who Sings The Russian Lyrics In His Deep Monotone, Roman Komogortsev On Guitar, Synths, And Drum Machine, And Pavel Kozlov On Bass And Synths.Riyl: Depeche Mode, New Order, Drab Majesty, Black Marble

Beautiful embroidered Patch with iron on back. Exclusive art by Robert Beatty for the new Mort Garson album "Journey to the Moon and Beyond".

Spec: 3 inch (approx. 7.6 cm) diameter, black twill, heat-cut border, iron-on backing

"Ghost of Love" is backed with "Imaginary Girl," originally released via CD single in 2006 are now finally seeing their vinyl and digital release for the first time in celebration of Inland Empire's 2022 theatrical re-release. Both are signature cinematic Lynchian classics that feature Lynch on guitar and vocals, accompanied by his long-time collaborator and Sacred Bones staple Dean Hurley on bass. In the late 90's and early aughts, internet video capabilities like Real Video and Quicktime were expanding, proving the early prophecy that `anyone would be able to have their own television channel on the internet' was indeed coming true. After the critical success of Mulholland Drive, director David Lynch doubled down on the medium, funneling virtually all of his time into personally animating, filming, and scoring content for his own internet destination: davidlynch.com. It was fertile and limitless ground for a creative like Lynch, allowing him to return to the days of his experimental film roots, where it was actually possible for him to have his hands on every element of the process. It was out of this newfound digital freedom that the early seeds of Inland Empire were born, evolving and fissuring from an internet-bound experiment itself, into something much more expansive. The film collated a variety of ideas and working methods that the recent web paradigm had nurtured in Lynch, one of which was an increased frequency of his own solo music productions. Having finished constructing his own personal recording studio in 1998, he was no longer tethered to the scheduling and high premiums of rented studio time and was free to accelerate his musical experimentation without constraint. As a direct result of this was a unique shift in Lynch's musical trajectory; a shift that would eventually bear multiple albums and a short film featuring a lounge-crooning monkey. In the first weeks of 2005, Lynch would record a blues instrumental and instead of getting someone else to sing on the song, he would sing, via a formant and pitch-altering piece of equipment known as the Boss Vt-1. It was because of the davidlynch.com animated series "Dumbland" that the director had discovered the device that would enable him to be `any character he needed.' With "Ghost of Love," Lynch was experimenting with bringing those `characters' into his own musical compositions. In true Lynch fashion, it's difficult to know which inspired which: did "Ghost of Love" birth a scene in Inland Empire, or did the film's ideas birth the song? Just as "In Heaven" had served to encapsulate Eraserhead, "Ghost of Love" managed to encapsulate Inland Empire allowing its listener to close their eyes and immediately channel the film's images and mood onto the screen of the mind.

Scottish synth pop sensations Chvrches have a history of commissioning remixes for each of their chart topping albums. Given the cinematic concept of their latest Screen Violence they wanted to get a composer involved who worked in that universe. Singer and percussionist Lauren Mayberry said that the master of horror John Carpenter was the top of their wish list elaborating that "His films and music have been so impactful on us over the years, and without the stories he created I am not sure that the concept of Screen Violence (and female narratives within the album) would exist in the way they do." They decided to reach for the stars and contact Carpenter's team and to their delight Carpenter was excited by the idea. Lauren continues "As horror fans, we know that John Carpenter is the godfather and the gold standard and we're so excited to get to work with him in any capacity... we never really thought he'd reply, let alone that he'd send back something better than the original." Carpenter's remix of the Chvrches song "Good Girls," created alongside his creative partners Cody Carpenter and Daniel Davies, enhances the depths of the song's already infectious synthesizer melodies and adds his signature slightly sinister swagger and groove.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

Limited to 500 copies.

Six years before the release of his landmark Mother Earth's Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn't You Hear? While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn't You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn't You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best-known album is Mother Earth's Plantasia, a 1976 Moog album designed to be played "for plants and the people who love them." Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson's catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

If you purchased a snake plant, asparagus fern, peace lily, or what have you fromMother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattressfrom Sears) in 1976, you also took home Plantasia, an album recorded especiallyfor plants. Subtitled "warm earth music for plants_and the people that lovethem," it was full of bucolic, charming, stoner-friendly, decidedly unscientifictunes enacted on the new-fangled device called the Moog.Before Brian Eno did it, Mort Garson was making discreet music. Julliardeducated and active as a session player in the post-war era, Garson wrote loungehits, scored the 1969 moon-landing and plush arrangements for Doris Day, andgarlanded weeping countrypolitan strings around Glen Campbell's "By theTime I Get to Phoenix."But as his daughter Day Darmet recalls: "When my dad found the synthesizer, herealized he didn't want to do pop music anymore." Garson encountered RobertMoog and his new device at the Audio Engineering Society's West Coast convention in 1967 and immediately began tinkering with the device."My mom had a lot of plants," Darmet says. "She didn't believe in organizedreligion, she believed the earth was the best thing in the whole world. Whatevercreated us was incredible." And she also knew when her husband had a good song.Novel as it might seem, Plantasia is simply full of good tunes.This release marks the first official re-issue of the long sought-after cult classic.Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the greenthumb that made everything flower around him. "My dad would be totallypleased to know that people are really interested in this music that had nopopularity at the time," Darmet says of Plantasia's new renaissance. "He would befascinated by the fact that people are finally understanding and appreciating thispart of his musical career that he got no admiration for back then." Garson seemsto be every...

Këkht Aräkh is the Ukrainian project founded in 2018 by Dmitry Marchenko. Originally released on the Finnish label Livor Mortis in 2021, Pale Swordsman goes to even greater extents in building a bold and atmospheric sonic palette, and it's now seeing a worldwide reissue via Brooklyn label Sacred Bones.For the sound design of the album, Dmitry was inspired by The Stooges' Raw Power to deliver a more soft sounding album, decisively less "metal". Traditional black metal song structures still persist in songs like "Night Descends" and "In The Garden". However, their rawness and fast tempos is quickly cut through by dark ambient passages in "Amor" and "Intro" and softly played desolate ballads like "Nocturne" and "Lily".The crown jewel is the album closer "Swordsman", a track that displays a superb gothic sensibility, a poem recited over a deeply melancholic piano melody. "The Christian concept of a person ridding themselves of evil to find inner peace or to be able to leave this world safely has become the core inspiration for the song." Dmitry explains "However, this is not the only reading possible. I purposely avoid specifics in my lyrics so that the listener can always give the song their own meaning."The inspiration for the concept of the album also came from David Bowie's The Rise and Fall of Ziggy Stardust and the Spiders from Mars. "I really enjoy it when an album tells a story about some character so I came up with one." says Dmitry when explaining the origin of the Pale Swordsman. The character is portrayed on the striking album cover art - a figure sitting aloof with a sword and a rose in each hand - and clearly symbolises the romantic juxtaposition of belligerence and fragile beauty that permeates the album's sound and atmosphere.Pale Swordsman delivers a foreboding yet bittersweet melancholy through poetic lyrics, soft interludes, raw and distorted guitars, eerie drums and harsh vocals - a fragile yet potent mix that successfully amplifies the ambience.

Këkht Aräkh is the Ukrainian project founded in 2018 by Dmitry Marchenko. The debut album Night & Love was initially released on the Finnish label Livor Mortis in 2019 and it's now seeing a worldwide reissue via Brooklyn label Sacred Bones.Dmitry's intent to experiment with standard black metal canons previously seen at play in Through the Branches to Eternity EP (2018) solidify further on Night & Love, he mentions "back then I had an idea of combining Darkthrone's Transilvanian Hunger type of black metal with early Internazionale or Croatian Amor vibe."Described as ambient or atmospheric black metal, this debut presents Këkht Aräkh's signature dichotomy of harsh traditional early Norwegian black metal and the more ethereal and delicate melodies. On the other hand the lyrics are romantic and melancholic, clearly influenced by a stark Gothic imagery, and serve as an extra layer of mystery to the already suggestive body of work. The album beings with a soft acoustic intro in "As the Night Falls_" before descending into the raw and raucous "Elegy for the Memory of Me" and "Den Venstre Hånd På Den Hoyre", both songs that are drenched in the more traditional black metal style of raspy, high-pitched vocals, dense, tremolo- picked riffs and fast paced drums. It is however songs like "Night" and "Love" that really set this album apart. "Night" is a softly spoken word ambient track that with a beautiful piano synth work that permeates throughout it aids in the romantic delivery and conjuring of imagery of the night. "Love" is a spellbinding and melancholic song, equal in its romanticism but one that displays a deeper sorrow and tenderness supported by calming field recordings of trickling water.The intertwining of black metal, dark folk and ambient repeats itself, culminating in a quietly hummed outro "...And Never

The horror master John Carpenter is back with his Halloween franchise collaborators Daniel Davies and Cody Carpenter for their infectious new soundtrack to the 2022 adaptation of Stephen King's Firestarter. This marks the first official soundtrack that the team has composed together outside of the Halloween franchise and their inspiration and evolution as a creative team is on full display. The film is a new take on the thriller examining a girl with extraordinary pyrokinetic powers and her fight to protect her family and herself from sinister forces that seek to capture and control her. The film releases theatrically on May 13th, 2022 and stars Zac Efron, Sydney Lemmon, Ryan Kiera, is directed by Keith Thomas (The Vigil) and created by the producers of The Invisible Man. The story has become a classic and the intense nature of the film creates a canvas for a dynamic soundtrack. The Firestarter soundtrack utilizes some of the best elements of Carpenter's famous musical repertoire and charts exciting new territory. The tracks range from fist pumping sci-fi anthems to slow reverb drenched piano ballads and each utilizes a variety of sonic applications. Skulking beats, skittering synths, crushing guitars and an ever-lurking echo come together to create an album that is atmospheric and also deeply melodic, cohesive and eclectic. These three musicians are all working in the peak of their individual and collaborative creativity and this soundtrack further solidifies them as masters of the craft.

"Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that." Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. 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. While arranging the score the composers consulted musician and ethnographer Poul Hoxbro 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. There's no risk of that happening when you only have a few primary instruments to draw upon." Robin remarked. They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn't have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. "One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances." Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

"Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that." Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. 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. While arranging the score the composers consulted musician and ethnographer Poul Hoxbro 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. There's no risk of that happening when you only have a few primary instruments to draw upon." Robin remarked. They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn't have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. "One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances." Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

One of Alan Vega's greatest talents was his ability to bring the past and the future together into a suspended place of timelessness. His groundbreaking duo Suicide was often seen as future primitivism and most of his musical output has exemplified this blending of the primordial human condition and visionary thinking. With Invasion b/w Murder One, the next release from the now infamous Vega Vault following 2021's Mutator, we see this innate power in full effect. The two tracks "Invasion" and "Murder One" were recorded two decades apart from one another in New York City. "Invasion" was recorded toward the end of the 2012-2015 studio sessions for the posthumous album IT and was one of his last recordings, while "Murder One" was recorded in 1997-1998, (after the Mutator sessions) and is part of a cluster of material that was recorded but never mixed prior to the sessions for his album 2007, released in 1999. Pairing these two songs together as a release illustrates the timelessness of the 30 plus years of unreleased material that he deemed the Vega Vault.

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.

It's been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood's great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green's trilogy of Halloween reboots. With Lost Themes IV: Noir, they've struck gold again, this time mining the rich history of the film noir genre for inspiration.Since the first Lost Themes, John has referred to these compositions as "soundtracks for the movies in your mind." On the fourth installment in theseries, those movies are noirs. Like the film genre they were influenced by, what makes these songs "noirish" is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.The trio's free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine_the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John's own Christine. It's a chemistry that's helped power one of the most productive stretches of John's creative life, and Noir proves that it's nowhere near done yielding brilliant results.

- Reissue of the breakthrough sophomore album by the rising Belarussian post-punk/synthpop band//The second LP by Belarussian trio Molchat Doma, Etazhi, meaning "Floors", was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they've reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. Molchat Doma (translated as "Houses Are Silent"), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own. The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.RiYL: Depeche Mode, New Order, Drab Majesty, Black Marble

"Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that." Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. 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. While arranging the score the composers consulted musician and ethnographer Poul Hoxbro 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. There's no risk of that happening when you only have a few primary instruments to draw upon." Robin remarked. They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn't have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. "One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances." Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

The Mort Garson Plantasia "Plant Your Face" Tee is equipped with the following features:
• rib crew neck with interior tape
• Plantasia "Plant Your Face" artwork printed on front
• regular fit
• 100% cotton single jersey

The Mort Garson Plantasia Tote Bag is equipped with nice signature graphic art printed on front as well as two handles. 100% cotton.

The Mort Garson Journey to the Moon and Beyond Tote Bag is equipped with nice signature artwork screen-printed on front as well as two handles. 100% cotton canvas.

Reissue of the breakthrough sophomore album by the rising Belarussian post-punk/synthpop band - Previous vinyl pressings have sold out instantaneously // The second LP by Belarussian trio Molchat Doma, Etazhi, meaning "Floors", was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they've reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. Molchat Doma (translated as "Houses Are Silent"), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own. The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths. RiYL: Depeche Mode, New Order, Drab Majesty, Black Marble

Sacred Bones Logo T-Shirt's features include:
• rib crew neck with interior tape
• golden SB logo artwork printed on front
• regular fit
• 100% cotton single jersey

T-shirt with two color screenprinted design on tan Gildan soft style shirts. Taylor W. Rushing. Released in celebration of our 8-track label Sacred 8's!

The Sacred Bones Sacred 8's Tee is equipped with the following features:

• rib crew neck with interior tape
• Sacred Bones SBXV artwork screen-printed on front
• regular fit
• 100% cotton single jersey

The Boris W Tee is equipped with the following features:
• rib crew neck with interior tape
• W artwork printed on front
• regular fit
• 100% cotton single jersey

Have You Ever Felt Like You're Being Watched? Have You Felt Unseen Eyes Staring At You, Monitoring Your Every Move? Composer And Guitarist Daniel Davies Reflects On This Familiar Paranoia On His New Ep, Spies. Across Its Five Stirringly Atmospheric Tracks, The Frequent John Carpenter Collaborator Evokes The Tingle You Get On The Back Of Your Neck When You Sense You're Under Surveillance - A Feeling Some Psychologists Have Dubbed The "Psychic Staring Effect."The Songs For Spies Were Composed In The Fall And Winter Of 2020, In The Depths Of Pandemic Lockdown. Working In Isolation In His L.A. Studio, Davies Composed The Five Tracks Entirely Alone. With No Collaborators, His Gaze Turned Inward, And The Songs Feel Intimate And Intense. Yet At The Same Time, They Would Become The Most Sonically Expansive Material He's Ever Put On A Solo Record. His Guitar And Synthesizer Are Bolstered By Double Bass, Cello, Viola, And Violin, Adding A New Depth To The Music.As He Did For His 2020 Full-Length Signals, Davies Teamed Up With Acclaimed Visual Artist Jesse Draxler For The Artwork. The Stark, Black-And-White Piece That Draxler Contributed For The Cover Of Spies Perfectly Captures The Mood Of The Record. Eyes Are Cut Out, Disassociated From Faces, Their Gazes Made Inscrutable. Yet They Seem To Fix On The Listener. Have You Ever Felt Like You're Being Watched? Maybe You Are.