The Tortured crew grew up in Australia’s much despised capital city of Canberra. A nicely manicured and overly planned city full of politicians can only lead to two things - a wasted life, or a life of getting wasted. These guys decided to have the best of both worlds - rotting their lives away playing extreme metal while getting wasted with the walking un-dead. In 2011 Tortured released their debut full length album, A Lesson in Holocaust on Grindhead Records. The album contains ten tracks of extreme metal and features shocking lyrical themes and a custom disc design that you’ll want to hide from the authorities.
Calenture is the fourth studio album by Australian rock group The Triffids, it was released in November 1987 and saw them explore themes of insanity, deception and rootlessness—the title refers to a fever suffered by sailors during long hot voyages. It reached No. 32 on the Australian Kent Music Report Albums Chart. In November 1987, it reached No. 24 on the Swedish Albums Chart, in May 1988 it peaked at No. 25 on the New Zealand Albums Chart. The album spawned three singles, "Bury Me Deep in Love" (1987), "Trick of the Light" and "Holy Water" (both in 1988). The latter track was recorded with American producer Craig Leon.
As he proved with his recording of A London Symphony – Record of the Year, Gramophone Awards 2001 – Richard Hickox was a Vaughan Williams specialist. This reissue of an original 1995 recording features such lesser known works from the composer as Household Music and Flos Campi. Alternating between the passionate and the tortured, between long-breathed lyricism and moments of obvious pain, Flos Campi has never really found itself in the mainstream concert repertoire, maybe because of its title, misleadingly suggesting jolly music. Household Music has equally suffered from its title, rather an off-hand one for pieces that at their best show the composer’s brilliance as an arranger. Riders to the Sea, however, is a masterpiece, seen as the finest as well as the most concentrated of Vaughan Williams’s works for the stage, conjuring up multiple layers of emotional response to the natural world, a losing battle with the sea, and the God which rules it, for the islanders in the North Atlantic.