“AMC knows the show is something special; so do we” The Guardian
“Any well-produced period piece can recreate bygone days. “Halt” lets you see them as the cusp of bracing change.” New York Times
“Intelligent eighties drama is essentially Mad Men for techno-geeks.” Telegraph
“An incredibly sexy, high-octane drama about all of the genius and ego behind the (‘80s) tech boom that changed the world.” Paste
AMC’s hit series ‘Halt And Catch Fire’ captures the rise of the PC-era during the early 80s and the technology revolution. Nominated by Vox as the best show in 2016, it’s “a potent look back at the earliest days of the internet that also glimpsed, through some hazy curtain, the world we live in right now.”
Acclaimed for its exceptional soundtrack by former Tangerine Dream musician and award winning composer, Paul Haslinger has created a period-appropriate synth score that admirably sets the mood and tone of the bygone era.
Revisiting his time in the pioneering electronic band during the mid-80s, the Austrian composer writes with a uniquely knowledgeable yet less overtly nostalgic ear that keeps the show’s current audience in mind.
Acknowledging the time in which the series itself has been created alongside when the show is set, Haslinger’s bold and innovative scores have seen his Hollywood career escalate over the last two decades.
The man behind the music for Blow, Resident Evil and Death Race has become one of the industry’s most sought after composers.
Tracklisting: 1. Golden Gate 2. A Wolf In Unix 3. The Scenic Route 4. First Day On The Job 5. It Speaks 6. Reverse Engineering 7. Security Is A Myth 8. The Morning After 9. Rooftop Fireworks 10. I Need A Little Time 11. Western Arrivals 12. The Slingshot 13. 10broad36 14. The Way In 15. Run Time 16. Last Nerve 17. Gordon Steals A Cabbage Patch 18. The Cost Of Doing Business 19. Joe's Truth 20. Go Get The Bike 21. The End Of Donna's Day 22. It's Not Right 23. MacMillan Utility
LP Single sleeve printed inner but note no download card. CD Single CD in a 20 page DVD sized book.
‘The Time Has Come’ is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favorite record of all time.’ Ryley Walker.
"I've never written songs, regularly, because I never considered myself a song-writer. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music.” Anne Briggs
Offering some of her first original compositions, ‘The Time Has Come’ was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki.
The result is that her vocals are not submerged, but heightened - the plucked strings providing the perfect foil for her crystalline inflection. ‘The Time Has Come’ is a mix of Anne’s own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne’s playing, with sounds ranging from the breezy ‘Clea Caught A Rabbit’ to the terrible beauty of ‘Wishing Well’ - each song typifying the bouzouki or guitar style.
To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.
Tracklisting: 1. Sandman's Song 2. Highlodge Hare 3. Fire and Wine 4. Step Right Up 5. Ride, Ride 6. The Time Has Come 7. Clea Caught A Rabbit 8. Tangled Man 9. Wishing Well 10. Standing On The Shore 11. Tidewave 12. Everytime 13. Fine Horseman
"Jim is a great guitarist and a tremendous, empathetic listener." Richard Thompson
Drawing from British folk, avant-rock, and jazz traditions alike, Wintres Woma-- Old English for "the sound of winter"-- is James Elkington's debut solo record, but you've likely heard his masterful guitar playing and arranging, even if you didn't realize it.
Elkington (an Englishman living in Chicago) is an inveterate collaborator who brings his lyrical compositional and improvisational sensibilities to any group. He has toured, recorded, and/or collaborated with Jeff Tweedy, Richard Thompson, Steve Gunn, Michael Chapman, Joan Shelley, Nathan Salsburg and Brokeback, to name just a few of his many enthusiastic admirers.
His assured album, recorded at Wilco's Loft, is baroquely detailed and beautifully constructed, featuring both his baritone vocals and some of Chicago's finest, including Tomeka Reid. Elkington was brought up in England during the ’70s and ’80s—a time when traditional and acoustic music was largely shunned in favor of the new wave (to which his largely-destroyed copy of The Fall’s Perverted By Language will attest)—but found after his first forays into songwriting that some semblance of the folk music vernacular had crept in and wouldn’t leave. Elkington’s music, however, is anything if retroactive, and anything if folk music: “It’s not folk music,” he asserts. “I may use the mechanics of folk music to put across my own ideas at times, but it really doesn’t fall into any specific community or songwriterly tradition.
The album’s lyrics do seem to have a preoccupation with unseen powers at work and other dimensions, both of which seem to show up in traditional English music, but it’s based on my own experience and understanding, not anyone else’s.” Wintres Woma was recorded at Wilco’s studio, The Loft, in a five-day sprawl with engineer Mark Greenberg.
Elkington played and arranged all the instruments, with the exception of upright bass from Nick Macri, percussion from Tim Daisy, and string performances from Macie Stewart and Tomeka Reid, all of whom are veterans of Chicago’s collaborative improvised music milieu. At times the results conjure Kevin Ayers delivering a Dylan Thomas or Gerard Manley Hopkins poem over a Bert Jansch song, all the while speaking in Elkington’s singular voice, and shot with indelible melodies.
Each of these songs wrangles with memory, and even prophecy, in its knotty language and elegant, unpredictable progressions, drawing on the uncertain past—both personal and historical—in order to negotiate the uncertain future. In that sense, despite James’ protestations, perhaps it is folk music.
RIYL: Steve Gunn, Michael Chapman, Kevin Ayers, Bert Jansch, Ryley Walker, Jim O'Rourke, Scott Walker, Talk Talk.
Tracklisting: 1. Make It Up 2. Hollow in Your House 3. Wading the Vapors 4. Grief Is Not Coming 5. When I Am Slow 6. The Parting Glass 7. The Hermit Census 8. Greatness Yet to Come 9. Sister of Mine 10. My Trade in Sun Tears 11. Any Afternoon
Lifetime of Love is the debut album by Moon Diagrams, the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Gradually pieced together over a ten-year period, it finds Archuleta processing various stages of love, loss and regeneration via forlorn outsider pop, minimal techno and warm, weightless experimentation.
Hymnal opener “Playground” has echoes of Eno and Grouper; lengthy workouts such as “The Ghost and the Host” recall long-lost Harmonia outtakes, or something from one of Warp’s Artificial Intelligence compilations; the bitter pill pop of “End of Heartache” has the scratchy guitar of New Order circa Brotherhood and the square pegness of Dazzle Ships-era OMD. Several songs are instrumental, while “Bodymaker” features Sian Ahern (Eaux, Sian Alice Group).
Subtly grandiose and quietly epic, Lifetime of Love really does live up to its title: a hopeful and curious beginning makes way for a morose middle, before a bittersweet, optimistic end.
Tracklisting: 1. Playground 2. Moon Diagrams 3. Nightmoves 4. Blue Ring 5. The Ghost and the Host 6. Magic Killer 7. Bodymaker 8. End of Heartache