{"title":"Mt. Brings Death","description":null,"products":[{"product_id":"joshua-same-day-walking","title":"Joshua \/ Same Day Walking","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eToday, guitarist Mason Lindahl — whose “unabashedly beautiful\"(Aquarium Drunkard) sound \"balances the romantic dynamics of flamenco and the meticulousness of Windham Hill with the unguarded qualities of improvised music\"(Pitchfork) — releases a pair of new albums: \u003cem\u003eJoshua \/ Same Day Walking\u003c\/em\u003e via Mt. Brings Death. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThough packaged together, \u003cem\u003eJoshua\u003c\/em\u003e and \u003cem\u003eSame Day Walking\u003c\/em\u003e chart distinct worlds. Recorded in northern California and produced by Robby Moncrieff (Dirty Projectors, Zach Hill), \u003cem\u003eJoshua\u003c\/em\u003e is woolier and warmer, evoking haze, humidity, and overgrown Spanish moss. Meanwhile, \u003cem\u003eSame Day Walking \u003c\/em\u003e— recorded in Iceland and produced by Moncrieff alongside two-time Grammy-winning composer \/ sound designer Sam Slater (Joker, Chernobyl) — is, appropriate for its icier climes, windswept and beholden to the vast emptiness of harsh landscapes. As a pair, they provide a thorough portrait of  \u003c\/span\u003e\u003cspan\u003eLindahl's singular and versatile playing. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAmid Lindahl's purely evident virtuosity, close listeners can savour wonderful imperfections freckled throughout\u003cem\u003e Joshua \/ Same Day Walking\u003c\/em\u003e: buzzing strings, minimal electronic ambience, soft undulations of tempo. Lindahl isn’t here to pageant his craft; he's adventuring within, uncovering fresh avenues of sound and emotive gesture. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Mt. Brings Death","offers":[{"title":"LP - Black","offer_id":53165487653195,"sku":"R3114-1893","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2025-08-12at17.04.55.png?v=1755014715"},{"product_id":"2000-meters-to-andriivka","title":"2000 Meters to Andriivka","description":"\u003cp\u003eBrand new OST '2000 Meters to Andriivka' by Grammy Award-winning composer, sound designer, and score composer Sam Slater. Featuring an 8-page photography booklet, field recordings of the Ukrainian Frontlines, and a liner-note essay about the record and its context.\u003c\/p\u003e\n\u003cp\u003eThe documentary film, from Oscar winning filmmaker and Pulitzer Prize-winning AP journalist Mstyslav Chernov, integrates frontline documentary footage from Ukraine with immersive spatial sound design. Quiet yet powerfully affecting, the piece foregrounds listening as a means of bearing witness; an approach emblematic of Slater’s interest in the consonance of sound and story.\u003c\/p\u003e\n\u003cp\u003eSlater says of the music, “The score for Mstylsav Chernov's new documentary 2000 METERS TO ANDRIIVKA demanded an energy-driven score — blunt, visceral, and aligned with its predominantly first-person perspective. Built around a dry funereal drum feeding back into itself, the score is volatile and relentless. Jakob Vasak’s snarling Kobophon and Kai Whitson’s spectral walkie-talkie textures hover anxiously above it. Voices and strings emerge warped and restless until the closing Mysteria ritual, where Hildur Guðnadóttir, Simon Goff, and Maria W Horn briefly resolve into mournful harmony, grounding us in grief as fallen soldiers’ names are summoned into the air.”\u003c\/p\u003e\n\u003cp\u003eSam Slater is a composer and producer working at the intersection of experimental music, sound design, and contemporary storytelling. A two-time Grammy Award winner, his work has shaped critically acclaimed projects including Joker, Chernobyl, and Battlefield 2042. He has also received the SCL Award for Battlefield 2042, the Icelandic Music Award for Producer of the Year, and the Filmfare Award for Best Original Soundtrack for Netflix’s The Railway Men. Across forms and media, Slater treats sound not merely as accompaniment but as a structural and emotional anchor, constantly probing its potential to reshape attention, space, and narrative. \u003cbr\u003e\u003c\/p\u003e","brand":"Mt. Brings Death","offers":[{"title":"LP - Black","offer_id":53288875688267,"sku":"R9811-2417","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/MBD_LP004V_SamSlater-2000MeterstoAndriivka_OriginalMotionPictureSoundtrack_-1LP.webp?v=1756724485"},{"product_id":"kissing-rosy-in-the-rain","title":"Kissing Rosy in the Rain","description":"\u003cp\u003eMason Lindahl is a guitarist and composer based in New York City. His finger-picking style is largely influenced by minimalism and classical music. He grew up listening to folk and country music in Northern California, where he was first taught to play the guitar by his father.\u003c\/p\u003e\n\u003cp\u003eKissing Rosy in the Rain was recorded in Oakland, California and Brooklyn, NY with Lindahl's longtime friends - Jay Pellici (Dilute, 31 Knots, Natural Dreamers) Robby Moncrieff, and Ben Greenberg (Uniform\/Hubble).\u003cbr\u003e\u003c\/p\u003e","brand":"Mt. Brings Death","offers":[{"title":"LP - Black","offer_id":53289466298699,"sku":"R4183-0978","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/MBD001_MasonLindahl-KissingRosyintheRain-1LP.webp?v=1756734240"},{"product_id":"lunng","title":"Lunng","description":"\u003cp\u003eLoaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on. Having spent a lifetime in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained.\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eLunng\u003c\/em\u003e, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision. Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.\u003c\/p\u003e\n\u003cp\u003eHis last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations. Working to explore the tension between the divergent practices of his collaborators—\u003cem\u003eLunng\u003c\/em\u003e was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.\u003c\/p\u003e\n\u003cp\u003eSlater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases. But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.\u003c\/p\u003e\n\u003cp\u003eThe weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience— shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present. In this record Slater focuses on pure energy, color, and mood. \u003cem\u003eLunng\u003c\/em\u003e distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.\u003c\/p\u003e","brand":"Mt. 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