{"title":"Shadow World","description":null,"products":[{"product_id":"lattice-of-memory","title":"Lattice Of Memory","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLattice of Memory is the debut collaboration between Eamon Ivri and JQ. \u003c\/span\u003e\u003cspan\u003eThe duo began work on the album while touring Ireland and the UK in 2023, with the process continuing both in person and remotely into a work inspired by the perpetration of nostalgia and augmentation of digital memory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe album spools outwards in different directions from its origins as field recordings, audio ripped online, acoustic instrumentation and improvisation. The result aims to extrapolate the source material into music that is both tactile and gestural, creating a form of digital folklore. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEamon Ivri has recorded under many aliases, including Lighght and Mineral Stunting. He has recently released his debut solo album under his own name In The Red Eye of The Evening on Phantom Limb and Come Rain Come Shine on Drift Ritual. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJQ is a multi-instrumentalist from south London who has released albums with Green, Post-Geography, Métron, Salmon Universe, Lo Recordings and New Atlantis. He is a member of Forgiveness, and has held residencies on NTS and Noods. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Shadow World","offers":[{"title":"CD","offer_id":56235485299019,"sku":"R7283-8288","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a3304017700_16.jpg?v=1767652056"},{"product_id":"artemisia","title":"Artemisia","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Artemisia by Foundling, is an answer to a deep place of crisis, a response made of gentleness meant to hear and echo, soften the shadows and calm aching hearts.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e‘Artemisia’ is the new album from Foundling, the project of Canadian-born, Berlin-based vocalist, bassist and harpist Erin Lang. Artemisia unfurls from the final moment of their previous album ‘Equilibria’ whose serene tropical nights culminate with a gently imploring request to ‘believe for a while”. Artemisia begins in this delicate place, weaving a serene fantasy landscape over a shadowy underworld. It marks a departure for Foundling, being primarily instrumental, with two spoken word pieces, the album moves into a more experimental, ambient and improvised realm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFoundling’s leader, Erin Lang came to the harp in recent years and in the winter of 2024 felt something more like a need than a desire to turn all her focus to the instrument and explore another musical landscape with it. The harp felt both exciting and new but also deeply familiar, and the concentration needed to produce new music with an instrument that the hands are just getting to know was an integral part of Artemisia’s intensity and formation. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Artemisia by Foundling, is an answer to a deep place of crisis, a response made of gentleness meant to hear and echo, soften the shadows and calm aching hearts.”\u003c\/p\u003e\n\u003cp\u003e‘Artemisia’ is the new album from Foundling, the project of Canadian-born, Berlin-based vocalist, bassist and harpist Erin Lang. Artemisia unfurls from the final moment of their previous album ‘Equilibria’ whose serene tropical nights culminate with a gently imploring request to ‘believe for a while”. Artemisia begins in this delicate place, weaving a serene fantasy landscape over a shadowy underworld. It marks a departure for Foundling, being primarily instrumental, with two spoken word pieces, the album moves into a more experimental, ambient and improvised realm.\u003c\/p\u003e\n\u003cp\u003eFoundling’s leader, Erin Lang came to the harp in recent years and in the winter of 2024 felt something more like a need than a desire to turn all her focus to the instrument and explore another musical landscape with it. The harp felt both exciting and new but also deeply familiar, and the concentration needed to produce new music with an instrument that the hands are just getting to know was an integral part of Artemisia’s intensity and formation.\u003c\/p\u003e\n\u003cp\u003e‘It (Artemisia) was made at a moment when I deeply needed to completely lose myself into something. The very nature of the harp and all the fantasy worlds of my upbringing that had been defined by its sound, I found both comforting and escapist. I cocooned myself in a very focused healing place transforming the realities of the outside into the world of Artemisia. It’s made as a gentle and soothing balm for troubled hearts.”\u003c\/p\u003e\n\u003cp\u003eThe plant Artemisia is known for its healing properties and in a magical realm is a lunar herb deeply connected with dreaming and the continuous renewal that is found in the cycles of being. Erin and Samuel Hall (percussion) shared an intimate connection to the album as it became an expression of their relationship as partners coming undone, and the last threads binding them. The album was a place where Erin and Samuel could still be together and make something in one of their fundamental places of connection, without words or the complications of the outside world.\u003c\/p\u003e\n\u003cp\u003eWith the harp at the album’s core Peter Hanson (saxophone, flute) created the playful and intertwingling flute parts that sometimes support and sometimes lead the melodies with their often-birdlike voices. David Georgos (synths, programming) brings the shimmering synth pads and processing, sending sections through granular synthesisers and broadening the album’s views and horizons. Along with Samuel, Constantine Karlis added percussion with its implied rhythms keeping the spirit of the record floating rather than attaching it to seconds or minutes passing.\u003c\/p\u003e\n\u003cp\u003eArtemisia is for knowing the dark places, honoring connections that are as deep as roots or fine as threads and moving towards healing like moths to the light. \u003c\/p\u003e","brand":"Shadow World","offers":[{"title":"LP - Aqua Blue in Yellow","offer_id":56536498241867,"sku":"R7426-7295","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/SW021LP_Foundling-Artemisia-1LP.webp?v=1771338401"},{"product_id":"hollow-land","title":"Hollow Land","description":"\u003cdiv\u003e\n\u003cem\u003eHollow Land\u003c\/em\u003e captures a fleeting-but-resonant moment in early 2025, when two long-time friends found respite at a small cottage in the South Downs: a pause from the noise; a return to something elemental. Daniel Elms and Adam Blyth each speak through distinct musical languages: personal dialects shaped over more than two decades of composing, performing, and listening. Their bond, however, runs deeper than sound: both grew up in the northern coastal city of Hull in East Yorkshire, and were shaped by the post-industrial landscapes and the rites of passage that accompany life on England’s working edges.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eTheir shared past carries the ghosts of what William Blake so acutely branded ‘these dark satanic mills’: those vast monuments of former industry that still dominate the valleys of West Yorkshire. Like the Pyramids of Giza or the Colosseum in Rome, these hulking structures loom disproportionately over the modest infrastructures that have grown around them. They are unromantic ruins, weathered carcasses of industry; symbols of labour and poverty, ambition and decline; reminders of the strange beauty found in the post-industrial pastoral.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eWith \u003cem\u003eHollow Land, \u003c\/em\u003eElms and Blyth wander through these visual contradictions. It is programmatic music that manifests an autofictional Yorkshire; a wilderness superimposed upon by magical realism. This becomes a metaphor for their collaboration: a map drawn by two players who explore the unknown terrain between their individual musical languages.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe result is a work that is deliberate, primordial, yet pastoral; a meditation on friendship, distance, and return. \u003cem\u003eHollow Land \u003c\/em\u003eis a record of two artists finding their shared territory; a landscape marked by sound, memory, and play.\u003c\/div\u003e","brand":"Shadow World","offers":[{"title":"Tape","offer_id":56870731219275,"sku":"R5157-4477","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a0265182337_10.jpg?v=1774308235"},{"product_id":"life-day","title":"Life Day","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e19 April 2026 is my fifth \"Life Day.” Each year, I celebrate surviving a shockingly random “unprovoked” massive bilateral pulmonary embolism and cardiac arrest that occurred on the evening of April 19, 2021. After being resuscitated, I was unconscious in the ether for several days, eventually surfacing in intensive care where I narrowly evaded being placed on life support. During my long recovery, a lot of people messaged to ask if I’d had visions of an afterlife. A fair question, considering my history of writing and making art about paranormal culture. Really, I’d say, my only focus was staying rooted to life in the present. Anything that may or may not occur after death was irrelevant. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEvery April 19th since, I've made a point to spend time in my home studio recording new music. The tracks that form Life Day - my third release on Shadow World - came out of those sessions. This reflective process of gratitude became an essential part of my coming to terms with the initial event and the permanent impacts it’s had on my life in the form of a rare blood clotting disorder and anoxic brain injury. I’ve had a ton of support from my partner and countless friends along the way. And whenever my doctor hears me complain, he reminds me that almost no one survives what I went through – then he tells me to “Go on and live your miraculous second life!” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs for instrumentation, there are the electronics and processed field recordings (many from the hospital) that have always been core to my practice. But on each track, I also set a rule to weave in the long-abandoned analog instruments I played in my youth - a challenging but also freeing undertaking, since, due to the brain injury, I’d largely forgotten how to play them. You'll hear raw improvised layers of fiddle, accordion drones, processed voice, and sawmill-tuned banjo. I have always been shy about playing these things live, especially my fiddle which is a temperamental instrument used by my great grandfather at rural Canadian square dances in the 1930s-40s. It resists standard tuning, preferring to live in drop-key \"Dead Man's Tuning,\" which is pretty apt, given the LP's theme.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMiles Whittaker, as usual, did an incredible job on the mastering, as he has done on my other LPs, McClintic Chorus and Strung Figure\u003c\/span\u003e\u003c\/p\u003e","brand":"Shadow World","offers":[{"title":"CD","offer_id":57036688359755,"sku":"R1862-8699","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2026-04-15at07.52.37.png?v=1776235973"}],"url":"https:\/\/shop.roughtrade.com\/fr\/collections\/shadow-world.oembed","provider":"Rough Trade","version":"1.0","type":"link"}