For a quarter-century, the Canadian chamber ensemble has made hold music for awaiting a revolution. Suddenly, on their seventh album, they sound hopeful it could come.

this, this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy – we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat. (context as follows:) 1. UNDOING A LUCIFERIAN TOWERS – look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen- the wind is whistling through all 3,000 of its burning window-holes! 2. BOSSES HANG – labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also – the proud illuminations of our shortened lives! also – more of us than them! also – what we need now is shovels, wells, and barricades! 3. FAM / FAMINE – how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. with the dull edge of an arbitrary meritocracy. neglect, cancer maps, drone strike, famine. the forest is burning and... more releases September 22, 2017 PERSONNEL Aidan Girt: Drums David Bryant: Electric guitar, MG-One Efrim Manuel Menuck: Electric guitar, organ, OP-1 Karl Lemieux: 16mm film projections Mauro Pezzente: Electric bass Michael Moya: Electric guitar Sophie Trudeau: Violins, organ Thierry Amar: Contrebasse, electric bass Timothy Herzog: Drums GUESTS ON TRACK ONE Bonnie Kane (saxophone, flute, electronics) Craig Pederson (trumpet) Recorded by Greg Norman at Hotel 2 Tango and The Pines. Mixed by Greg Norman and GYBE at Hotel 2 Tango. Masted by Harris Newman at Greymarket.

'Asunder, Sweet and Other Distress' is the forthcoming fifth studio album by Canadian post-rock band Godspeed You! Black Emperor, to be released on 31 March 2015. The album marks the group's first single LP-length release since their debut, F♯ A♯ ∞. The album was recorded with Electrical Audio engineer Greg Norman in studios in North Carolina and Montreal. The album was announced on 24 February 2015; the group also shared an excerpt of "Peasantry or 'Light! Inside of Light!'" on SoundCloud. On March 24, 2015, Constellation Records streamed the album on their SoundCloud.

We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form. Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography. We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension. * * * Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience. To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile. But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth. Truly, thanks for being open to hearing it.

'U.X.O. is unexploded ordnance is landmines is cluster bombs. Yanqui is post-colonial imperialism is international police state is multinational corporate oligarchy. Godspeed You! Black Emperor is complicit is guilty is resisting. The new album is just music.' Recorded by Steve Albini at electrical audio in Chicago. Mixed by Howard Bilerman and Godspeed You! Black Emperor at the Hotel2tango in Montreal. Stubborn tiny lights vs. clustering darkness forever ok? Gatefold sleeve. Constellation Records. 2002.

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In 1995, Mauro Pezzente moved into a loft with his then-girlfriend in the Mile End of Montreal. Pezzente used the flat as a performance venue, dubbing it the Gallery Quiva. Around 1996, fumes from the mechanic's garage below the loft forced them to vacate it. Shortly after their departure, Efrim Menuck moved into the space and established Hotel2Tango, serving both as a recording studio and practice space. There, in 1997, the original recording of F♯ A♯ ∞ took place. By this time, the band had reached an unwieldy 15 members. In preparation of the album, they trimmed their numbers to ten. The culmination of material spanning back to 1993 resulted in two lengthy songs, each about 20 minutes in length. After the record's release, the band became interested in touring the United States. In order to make headway, they sent a copy of their album to the Chicago-based record label Kranky. Impressed by the recording, Kranky offered to re-release the album on compact disc. The band quickly returned to the studio and re-recorded the album, which was released in June 1998. Changes to the album included the addition, subtraction and reorganization of material, resulting in three tracks and slightly over an hour of music. All of the tracks feature a number of field recordings and sampled sounds, once referred to by David Keenan of The Wire as "eschatological tape loops." Therefore, the overall theme of the album is often pinned as apocalyptic. Indeed, English director Danny Boyle was heavily inspired by the album during the making of 28 Days Later. During an interview with The Guardian, he explained, "I always try to have a soundtrack in my mind [when creating a film]. Like when we did Trainspotting, it was Underworld. For me, the soundtrack to 28 Days Later was Godspeed. The whole film was cut to Godspeed in my head." Co-founder and bassist Mauro Pezzente performing with Godspeed You! Black Emperor in London, England in November 2000. The opening track, "The Dead Flag Blues", begins with an ominous introduction which originates from an unfinished screenplay by guitarist Efrim Menuck. Backed by a string melody, the speaker describes a derelict city, where the government is corrupt and the inhabitants are drunks. The introduction is followed by the sounds of a train and high-volume suspended noise. This eventually develops into a Western-themed melody, and is capped off by an upbeat section which includes glockenspiel, violin, and slide guitar. The second track, "East Hastings", is named after East Hastings Street in Vancouver's blighted Downtown Eastside. It begins with bagpipes reprising the theme of "The Dead Flag Blues" and backing the shouts of a street preacher. The sermon slowly quiets, and is replaced with the movement "The Sad Mafioso...", an edited version of which appeared in the film 28 Days Later. The movement also contains a brief portion where the band quietly sings in a rare occurrence of vocals.[α] The track concludes with a series of electronic noises and buzzing until throbbing bass takes over. The final track, "Providence", is considerably longer than the first two, coming in around 30 minutes in length. James Oldham of NME described it as "part The Good, the Bad and the Ugly and part Spiritualized drone freakout."The introduction features a vox pop interviewee who references "A Country Boy Can Survive" by Hank Williams Jr.[β] The speaker is quickly replaced with a cello piece accompanied by glockenspiel, violin, and horn. Percussion is added to the melody which peaks, and is continued by a distorted singing woman performing Hazel Dickens' Gathering Storm. A quasi-military tune follows and is eventually taken over by the sung phrase "Where are you going? Where are you going?" The voice is sampled from the song "By My Side," from the 1970 musical Godspell. A collage of sounds and drones then round off the track. After a period of silence, a brief coda named for the American musician John Lee Hooker is performed.