Invada 黑胶唱片和CD

Review: Oliver Coates is a composer, cellist and producer who has worked with notable bands lie Radiohead and artists such as Mica Levi. He turns out some of his best work here on the score for Significant Other which is dark and dense, unsettling and absorbing. The movie follows some rather sinister happenings that blight a young couple on a trip backpacking through the forest of the Pacific Northwest. This edition comes on nice blue vinyl and with a download code as well as a double-sided printed inset. It's a real collector's edition for sure.

Review: Talk to anyone about Stranger Things and it will only be a matter of minutes before the sensational soundtrack is mentioned. The future retro synths of Kyle Dixon and Michael Stein have a huge impact on deepening the occult feelings you experience when watching the show and that continued through Series 3. Now you can grab the accompanying tracks on neon pink vinyl, which features the vulnerable "You're A Fighter", celebratory 80s synth pop stomps of "Starcourt" and meditative charms of "The Ceiling Is Beautiful" amongst other nuggets of gold. The producers themselves have said this is less a score and more a series of cues, and it certainly got us thinking.

Review: There's no doubt that the brilliant, synthesizer-heavy soundtrack played a key part in the success of Netflix's deliciously odd thriller, Stranger Things. Written and performed by Survive members Kyle Dixon and Michael Steen, it got the right balance between John Carpenter style creepiness, Vangelis-like melodiousness, and the cinematic feel of classic movie soundtrack material. Happily, the streaming behemoth has decided to release two volumes of musical highlights from the series, beginning with this first volume. It's testament to the quality of the Texas-based duo's work that those who've not seen the series should still enjoy it. This is atmospheric, clandestine electronic music of the highest order.

Review: Hot on the heels of volume one, Kyle Dixon and Michael Stein present a second selection of tracks composed for the soundtrack of Netflix's acclaimed weirdo-thriller, Strangest Things. As with the first edition, the 39 highlighted compositions are built around the duo's obsession with vintage analogue synthesizers and drum-computers, including the Granddaddy of the lot, the pioneering Fairlight "computer musical instrument" (check the woozy CMI choral samples on "I Know What I Saw"). Even if you've not seen the series, the music stands on its own; for proof, check out the ghostly ambience of "Crying", the tightly-wound creepiness of "Danger Danger", and the glistening, sun-kissed bliss of "Talking To Australia".

Review: This is a black vinyl version of the latest musical accompaniments to Stranger Things. in contrast to the soundtrack full of 80s pop hits a-la Kate Bush, Siouxsie & The Banshees, and The Cramps, this Invada release of Kyle Dixon and Michael Stein's original soundtrack to Stranger Things' fourth series takes a different approach. While the pop songs that scoured the series tended to be upbeat and of the best curatorial quality, Dixon and Stein's original motifs come in two versions of moodier and more dramatic intent. Volume 1 contains all manner of moody arpeggiations, atmospherics and top-notch darkwave stylings.

Review: Contrasting with the already-released soundtrack vinyl (full of 80s pop hits a-la Kate Bush, Siouxsie & The Banshees, and The Cramps), this Invada release of Kyle Dixon and Michael Stein's original soundtrack to Stranger Things' fourth series takes an obviously different approach. While the pop songs that scoured the series tended to be upbeat and of the best curatorial quality, Dixon and Stein's original motifs come in two versions of moodier intent. Volume 2 is obviously more climactic, as the music increases to a crescendo to complement the season's latter half.

Review: We thought they didn't make them like this anymore. Then they made four seasons like this, and we all remembered what it meant to combine fantasy, horror, coming of age, and stick the lot in the most nostalgic decade for many people aged between mid-20s and late-50s. An age that, even if memories are hazy or you weren't even born ye, still manages to reflect the way the world was and had been for some time. The culmination of half a century's progress in mechanics and engineering, the final hurrah before the tech revolution got underway and changed our lives for good.

A key part of what makes Stranger Things so evocative is the music itself. Each instalment is littered with great chart tracks from the year in which they are set - not least this time round, with Kate Bush rocketing to the top of the charts with 'Running Up That Hill' thanks to its use in the show. Nevertheless, the finest sounds on offer are the original tracks, which come in the form of these synth heavy masterpieces, which should be longer, but instead opt for a 'keep them wanting more' philosophy.

Review: It can often take months or even years of therapy to even begin to start addressing the real reason you're in the room talking to a trained professional. For Gazelle Twin, it has taken three albums - and more than a decade - to get to a point where it feels comfortable enough to turn her razor sharp songwriting gaze inwards. So, whereas before we heard observations on outward looking subject matter, here we take a turn for the insular. The result is an altogether darker experience, musically and thematically. There's a constant sense of drama and tension to this art-pop odyssey, and subjects such as childhood trauma - and its impact on our adult selves - are never off the table. Almost operatic, while there's plenty here to challenge, not least the universal expectation that later in life things get less scary, ultimately Black Dog is also about overcoming and confronting our most existential fears.

Review: Jonny Greenwood is of course best known for his work with Radiohead, but like all members of that particular band he has side projects. The latest was soaring the music for the film The Power of the Dog. The result is a dark, absorbing and disturbing listen to accompany Jane Campion's Western with Benedict Cumberbatch in the lead as a difficult cowboy in early 20th-century Montana. It is Greenwood's third movie soundtrack this year alone with Pablo Larrain's "Spencer" about Princess Diana already out and next up Paul Thomas Anderson's "Licorice Pizza" arrives before the end of the month.

Review: The KVB's forthcoming album Tremors, marks a significant return for the coldwave duo. Described as 'dystopian pop,' the album promises a fusion of industrial-tainted synths with post-punk percussive patterns, capturing the warped energy of their live performances. Lead single 'Labyrinths' offers a visceral experience, with sloping bass-lines and imposing production delivering unbridled aggression reminiscent of the band's early releases. The album represents a culmination of the duo's evolution, blending emotive impact and pop hooks within a uniquely shadowy atmosphere. As pioneers in atmosphere mastery. A cinematic journey through themes of loss, resistance and inevitable change, making it their most complete album to date.

Review: This is the original soundtrack for Canadian comedy series The Pentaverate, created by and starring comedian Mike Myers, and whose OST was commissioned for electronic music legends Orbital (brothers Paul and Phil Hartnoll). The soundtrack features a brand-spanking 50 new motifs by Orbital, which - through its many Lynchian, hybrid-jazz-synthpop-orchestral twists and turns - reflects the series' story of a secret conspiracy of five individuals, who since the Black Plague of 1347, have been surreptitiously, insidiously working to influence world events.

Review: TVAM first crept onto the radar in 2018 with a self-released debut which split the difference between Suicide and Boards of Canada, but since then his sound has broadened to incorporate a shred of pop nous and anthemic grandeur best captured on new single 'Costasol'. If that track has a deceptively gentle, dreamy demeanour, there's plenty more space for murkiness and claustrophobia elsewhere on the EP, as the one-man-band indulges his industrial and lounge tendencies in strange, compelling new mutant forms. 'Ephemerol' in particular stands out as the perfect misfit foil to the lead track's poised bombast, fuelling the dualistic intrigue of an artist who never misses.