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The sprawling 71-track soundtrack, recorded at Valve Studios in Dallas, TX with Casey di Iorio (Andre 3000, Slayer, Marvel Studios), synthesizes the band's legendary electronic origins with their fuzzed out garage rock present, while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi, delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans alike. Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. The World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there, the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite-featured hit, \"Miku\"), and later develop the intricately soundscaped compositions displayed across their second album, [USA], but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases. 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Recorded by Kerekes in his home studio in Tole- do, then mixed by Tom Lorde-Alge (U2, Weezer, Blink182), the record taps into the urgency and ferocity of Citizen's early albums while embracing the epic scope and undeniable hooks of their more recent work. 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It all comes to a head in downtown Los Angeles. What will happen and who will live to tell the tale? Such is the storyline of Cathedral, the thrilling new album and terrifying graphic novel from director and musician John Carpenter, based on a dream Carpenter had in 2024. \u003cbr\u003e\u003cbr\u003eCathedral has all the drama, dark atmosphere, and frenetic pacing of a classic heavy metal record. Especially designed as the soundtrack to the graphic novel, each track corresponds to a specific section of the book. The liner notes included with the album packaging feature prompts for each track, creating a fully interactive experience. Combined with the graphic novel, it’s the closest thing to a new John Carpenter film in years. \u003cbr\u003e\u003cbr\u003eThe music on Cathedral retains all the eerie atmosphere and sinister propulsion of the epochal scores Carpenter created for his films Halloween, The Fog, and Assault on Precinct 13, but this is a much heavier, riff-driven enterprise. 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A gruesome murder. A powerful supernatural entity living in the catacombs. It all comes to a head in downtown Los Angeles. What will happen and who will live to tell the tale? Such is the storyline of Cathedral, the thrilling new album and terrifying graphic novel from director and musician John Carpenter, based on a dream Carpenter had in 2024. \u003cbr\u003e\u003cbr\u003eCathedral has all the drama, dark atmosphere, and frenetic pacing of a classic heavy metal record. Especially designed as the soundtrack to the graphic novel, each track corresponds to a specific section of the book. The liner notes included with the album packaging feature prompts for each track, creating a fully interactive experience. 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That’s what we want you to do.” \u003cbr\u003e\u003cbr\u003eDaniel Davies’ soaring, snaky guitars take center stage on opener “Primeval,” “Elevator,” and the metal masterpiece “Lord of the Underground” while John Carpenter and Cody Carpenter’s synths take the lead on the ominous “Desolation in the Underworld,” the plaintive “Death of the Mapmaker,” and even converge with strings on “Abandoned Cathedral.” \u003cbr\u003e\u003cbr\u003eWhereas the Lost Themes albums were written as scores to movies of the mind, Cathedral scores the first original graphic novel written by Carpenter, his wife and long-time creative partner, producer and editor Sandy King, and writer Sean Sobczak, published by Storm King Comics. As with all of Carpenter’s musical forays of the last decade-plus, the album will be released by Sacred Bones. \u003cbr\u003e\u003cbr\u003eCathedral awaits. 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Hit single \"Walking on Thin Ice\" is now available to stream everywhere for the first time.One of Pitchfork's Top 200 albums of the 1980s, Season of Glass was released in June 1981, just seven months after the senseless murder of Ono's husband and creative partner, John Lennon. Full of songs about love, loss, anger and fear, the album reflected Ono's experience in stark detail, creating almost a companion piece to Ono and Lennon's 1970 Plastic Ono Band \"primal scream\" albums. \"Season of Glass was really just being me, I suppose,\" Ono told Newsweek in 1982. \"Sort of, it was like a primal scream in a way; you know, something happened in my life, and I just had to say it. And I think it was therapeutic for me more than anything else.And I was pretty honest, I suppose.\" Ono's fifth studio album, Season of Glass was also the artist's most commercially successful to date, cracking the Top 50 on Billboard's Album Chart, but it was not without controversy. The album's cover was a photograph of Lennon's blood-soaked glasses, just as they were returned to Ono from Roosevelt Hospital after his murder. Though David Geffen, the head of Geffen Records, who had released Ono and Lennon's Double Fantasy in November 1980, and released the original version of Season of Glass, implored Ono to change the cover, Ono stood her ground.\"The record company called me and said the record shops would not stock the record unless I changed the cover,\" Ono wrote in the liner notes to ONOBOX. \"I didn't understand it. Why? They said it was in bad taste. I felt like a person soaked in blood coming into a living room full of people and reporting that my husband was dead, his body was taken away, and the pair of glasses were the only thing I had managed to salvage - and people looking at me saying it was in bad taste to show the glasses to them.\"\"I'm not changing the cover,\" Ono recalled telling Geffen. \"This is what John is now.\" Backed by the same band that had played on Double Fantasy, the sound of Season of Glass sits in alignment next to that album, which at the time was already considered an artistic triumph for Ono, who was inspiring young artists like the B-52s and Sonic Youth.In the years since it's release, the honest, loving, sometimes harrowing nature of the songs on Season of Glass have meant that it has only gained in stature. Nowuniversally embraced as a powerful artistic statement about grief and loss, it is considered a landmark release, and among Ono's best works; a fully realized artisticstatement. 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