An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Geogaddi is the second album by Scottish electronic music duo Boards of Canada, released on 13 February 2002 by Warp. It has been described as pursuing a darker variation of the style established on their previous releases; the album received critical acclaim upon release, reached number 21 on the UK album charts. It appeared on 2002 "best of" lists by publications such as Mojo, NME, The Wire; the album was described by group member Michael Sandison as "a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again." Compared to their previous releases, the duo aimed to record a project “with more facets, more detail and a kind of concentrated recipe of chaotic little melodies,” as well as something “more fuzzy and organic.” He claimed that the title is a combination of different words with a particular significance but that they wanted listeners to decide on their own interpretations. The band recorded over 90 tracks for the album choosing 23 based on how well they fit the project.
Sandison stated that much of the album features acoustic instrumentation, though it may not be evident. They received the idea to make the track time total 66 minutes and 6 seconds from Warp Records president Steve Beckett, his reasoning being to joke around with listeners and imply the Devil had created the album; the album has been noted for featuring references to numerology and cult leader David Koresh of the Branch Davidians. The album is available in three formats: Standard jewel case CD packaging, limited edition hardbound book packaged with a CD and extra artwork enclosed, a triple record package. Side F of the vinyl package, with the track "Magic Window", is uncut and contains a visible etching of a nude nuclear family; the artwork of the album carries a distinct kaleidoscopic motif. The limited edition version comes with a 12-page booklet exhibiting artwork. Geogaddi was first released in Japan on 13 February 2002. Geogaddi was released by Warp on 18 February 2002 in Europe, it has been released on compact disc, digital download and as a limited edition compact disc.
Geogaddi holds a score of 84 out of 100 from review aggregate site Metacritic based on 21 critics' reviews, indicating "universal acclaim". Kitty Empire of NME praised it as "easily the electronic album of the year" and “a meeting of the natural with the digital, eerier than before,” as well as "deliciously saturated with the recurring motifs which have marked them out as an individual voice in electronic music." Mark Richardson of Pitchfork wrote that “the Boards have implemented their trademark tools on Geogaddi, but in the service of a gloomier vision,” noting that they “have always had a disorienting cast to their music, but where the warbles once seemed designed to evoke the sensation of strained memory, the distortions now have a disturbing undercurrent.” He called it “a accomplished album packed with great music." Pascal Wyse of The Guardian characterized it as "the band's own reticent blend of electronic melancholy, always organic and beautifully crafted," but noted that the listener’s enjoyment “just depends whether you want to go into that much detail.”It appeared on several end of year "best of" lists by publications such as Mojo, NME, The Wire.
"Beware The Friendly Stranger" is used as the background music for the animated web series Salad Fingers. "Gyroscope" and "You Could Feel The Sky" appeared in the soundrack of the documentary "Until the Light Takes Us" by Aaron Aites. "Gyroscope" was in the end credits of the horror movie Sinister by Scott Derrickson. All tracks written by Mike Sandison. Michael Sandison – performer Marcus Eoin – performer Peter Campbell – cover photograph Michael Sandison – producer, photography Marcus Eoin – producer, photography Geogaddi at the official Warp Records website Geogaddi at MusicBrainz Analysis of the meaning of Geogaddi titles, with quotes
Twoism is the first EP released by Boards of Canada, on their own Music70 record label in 1995. It was a self-financed record distributed privately. Major public releases would not happen until 1996's Hi Scores EP on Skam Records; this album was, the work which got them noticed by Skam Records. In 2002, this EP was reissued on CD by Warp Records. Before Twoism was re-pressed years it was a sought-after item, being pressed only about 100 times, it would be exchanged from one person to the next for around £800. There are differences between "Sixtyniner" on this EP and other releases, as Boards of Canada have re-released early songs on more popular releases, sometimes with changes. On the original Music70 pressing of the record, "Sixtyniner" lasted 5:40, while reissues shortened it to 5:14. Twoism is the only available Boards of Canada release with early third member Chris Horne, credited on the original release. However, his name was omitted on the 2002 Warp re-released version at his own request.
According to credits from Canadian Musical Reproduction Rights Agency he only co-wrote "Melissa Juice". The channels are reversed on the CD reissue compared to the original vinyl EP; this can be noted on the tracks "Seeya Later" and "Smokes Quantity", which have the channels reversed compared to their appearances on Hi Scores and Music Has the Right to Children respectively."Smokes Quantity" includes the hidden track "1986 Summer Fire" at the end. On some pressings, the two tracks are combined; the album cover is taken from the 1980 film The Killings at Outpost Zeta. The first pressing of the CD from Warp Records was on a black CD, similar to original PlayStation discs, included a sticker with the yellow Boards of Canada logo on it; the barcode on the CD's digipack was an removable sticker. About the reissue of "Twoism" Allmusic said: "Excepting only the rigid drum monster "Basefree", Twoism features the same exquisitely spooky, textured emotronica that fans will want to hear, all at as high a level as the brilliant Music Has the Right to Children to boot."
Michael Sandison - production, photography Marcus Eoin - production Chris Horne - production Twoism on Discogs
East Sussex is a county in South East England. It is bordered by the counties of Kent to the north and east, Surrey to the north west and West Sussex to the west, to the south by the English Channel. East Sussex is part of the historic county of Sussex, which has its roots in the ancient kingdom of the South Saxons, who established themselves there in the 5th century AD, after the departure of the Romans. Archaeological remains are plentiful in the upland areas; the area's position on the coast has meant that there were many invaders, including the Romans and the Normans. Earlier industries have included fishing, iron-making, the wool trade, all of which have declined, or been lost completely. Sussex is traditionally sub-divided into six rapes. From the 12th century the three eastern rapes together and the three western rapes together had separate quarter sessions, with the county town of the three eastern rapes being Lewes; this situation was formalised by Parliament in 1865, the two parts were made into administrative counties, each with distinct elected county councils in 1889 under the Local Government Act 1888.
In East Sussex there were three self-administered county boroughs: Brighton and Hastings. In 1974 East Sussex was made a non-metropolitan and ceremonial county, the three county boroughs became districts within the county. At the same time the western boundary was altered, so that the Mid Sussex region was transferred to the county of West Sussex. In 1997, Brighton and Hove became a self-administered unitary authority. East Sussex is divided into five local government districts. Three are larger, districts: Lewes. Eastbourne and Hastings are urban areas; the rural districts are further subdivided into civil parishes. From a geological point of view East Sussex is part of southern anticline of the Weald: the South Downs, a range of moderate chalk hills which run across the southern part of the county from west to east and mirrored in Kent by the North Downs. To the north lie parallel valleys and ridges, the highest of, the Weald itself; the sandstones and clays meet the sea at Hastings. The area contains significant reserves of shale oil, totalling 4.4 billion barrels of oil in the Wealden basin according to a 2014 study, which Business and Energy Minister Michael Fallon said "will bring jobs and business opportunities" and help with UK energy self-sufficiency.
Fracking in the area is required to achieve these objectives, opposed by environmental groups. East Sussex, like most counties by the south coast, has an annual average total of around 1,750 hours of sunshine per year; this is much higher than the UK's average of about 1,340 hours of sunshine a year. The relief of the county reflects the geology; the chalk uplands of the South Downs occupies the coastal strip between Eastbourne. There are two river gaps: Cuckmere; the Seven Sisters, where the Downs meet the sea, are the remnants of dry valleys cut into the chalk. To the east of Beachy Head lie the marshlands of the Pevensey Levels flooded by the sea but now enclosed within a deposited beach. At Bexhill the land begins to rise again where the clays of the Weald meet the sea. Further east are the Pett Levels, more marshland, beyond, the estuary of the River Rother. On the far side of the estuary are the dunes of Camber Sands; the highest point of the Downs within the county is Ditchling Beacon, at 814 feet: it is termed a Marilyn.
The Weald occupies the northern borderlands of the county. Between the Downs and Weald is a narrow stretch of lower lying land; the High Weald is wooded in contrast to the South Downs. Part of the Weald is the Ashdown Forest; the location of settlements in East Sussex has been determined both by its history and its geography. The original towns and villages tended to be where its economy lay: fishing along the coast and agriculture and iron mining on the Weald. Industry today tends to be geared towards tourism, along the coastal strip. Here towns such as Bexhill-on-Sea and Hastings lie. Newhaven and Rye are ports, although the latter is of historical importance. Peacehaven and Seaford are more dormitory towns than anything else. Away from the coast lie former market towns such as Hailsham and Uckfield. Lewes, the County town of East Sussex; this is a chart of trend of regional gross value added of the non-metropolitan county of East Sussex at current basic prices published by Office for National Statistics with figures in millions of British Pounds Sterling.
The Seven Sisters Park is part of the South Downs National Park. Beachy Head is one of the most famed local attractions, along with the flats along Normans Bay. Apart from the physical landmarks such as the Downs and the Weald, East Sussex has a great many landmarks of historical interest. There are castles at Bodiam, Herstmonceux and Pevensey. Battle Abbey, built to commemorate the Battle of Hastings.
Reach for the Dead
"Reach for the Dead" is a song by the Scottish electronic music duo Boards of Canada. It lead single from the duo's fourth studio album, Tomorrow's Harvest. "Reach for the Dead" was premiered on Zane Lowe's programme on BBC Radio 1 on 23 May 2013 and released the same day on Warp Records' official Soundcloud. The single was preceded by "------ / ------ / ------ / XXXXXX / ------ / ------", an exclusive 12" single released on Record Store Day 2013, which contained cryptic clues about Tomorrow's Harvest's release. A music video directed by Neil Krug, a Los Angeles-based photographer, was premiered in Tokyo, a reversed version of the video was released online. Critical reception to "Reach for the Dead" was positive. "Reach for the Dead" was premiered on Zane Lowe's programme on BBC Radio 1 on 23 May 2013. Following the broadcast, it was released on Warp Records official Soundcloud and made available through online digital retailers. A promotional CD single was released in Europe on 17 June 2013, following Tomorrow's Harvest's release.
Critical response to "Reach for the Dead" was positive. Billboard writer Lars Bradle said that "if's followers were hoping for an upbeat treat in the vein of 2005's'Davyan Cowboy,' think again.'Reach for the Dead' finds the act in an experimental, off-key mode. It's a haunting track. There's not a hint of a drum beat until the 2:50 minute mark, but it's unmistakably." He added that "the duo don't make bombastic music but in the world of low-key electronic music, they're arguably the best at what they do." Brock Thiessen of Exclaim! wrote: "much like you'd expect, the track takes a sombre route, hitting those touchstones while adding a whole new layer of updated and wicked-eerie atmospherics to the mix" and The A. V. Club's Marah Eakin noted that "Reach for the Dead" was "for all intents and purposes, a Boards Of Canada single, complete with experimental tones and a complete lack of drums for most of the track." Nick Neyland of Pitchfork Media stated that the song is "much darker than most of their prior material, marrying the mournfulness of Popol Vuh’s soundtrack work with the swell of underground artists producing John Carpenter-indebted electronica."
Tom Breihan of Stereogum described the song as "an ominous, humming instrumental drone-piece with just a few hints of the sad nostalgia that the group used to radiate." He stated that "until the glitchy drums kick in two-thirds of the way through", the song sounds like "something that would be playing on the score of a great ’80s sci-fi movie." The music video for "Reach for the Dead" was directed by Neil Krug, a Los Angeles-based photographer and director who had created an unofficial music video for the Boards of Canada song "In a Beautiful Place Out in the Country". The music video features "hazy imagery of a mid-west desert and its anonymous, bleak ghost-town." Billboard referred to the video as "a precise fit" for "the tune's warm, sweeping sounds." NPR writer Otis Hart praised Krug's direction, comparing his work on "Reach for the Dead" to "In a Beautiful Place Out in the Country" and describing it as "equally beautiful, but way more eerie.""Reach for the Dead"'s music video premiered in Tokyo, Japan at midnight on 23 May 2013.
The video was projected on a large screen, attached to a building in Shibuya, one of the special wards of Tokyo. The video was released on YouTube and Vimeo; the following day, Warp Records published a post on Twitter, "with no context or reason", announced the release of a reversed version of the video. Digital download and European promotional CD"Reach for the Dead" – 4:47 "Reach for the Dead" official music video on YouTube "Reach for the Dead" reversed music video on YouTube
Music Has the Right to Children
Music Has the Right to Children is the debut studio album by Scottish electronic music duo Boards of Canada. It was released on 20 April 1998 in the United Kingdom by Warp and Skam Records and in the United States by Matador Records; the album was produced at Hexagon Sun, the duo's personal recording studio in Pentland Hills, continued their distinctive style of electronica, featuring vintage synthesisers, degraded analogue production, field recordings, hip hop-inspired rhythms, featured on their first two EPs Twoism and Hi Scores. The album received critical acclaim upon its release, has since been acknowledged as a landmark work in electronic music, going on to inspire a variety of subsequent artists, it has been included on various best-ever lists by publications such as Mojo. The members of Boards of Canada, brothers Michael Sandison and Marcus Eoin, had been creating music together as early as 1981, layering synths over cassette recordings of shortwave radio. Throughout the 1990s, the band were members of the Hexagon Sun artistic collective based in Pentland Hills and released self-produced cassettes produced in small quantities and given to friends and family members.
According to Eoin,"We'd been recording in various forms of the band as teens through much of the'80s, had a big collection of our own old crappy recordings that we were fond of. Around 1987 or 1988, we were beginning to experiment with collage tapes of demos we'd deliberately destroyed, to give the impression of chewed up library tapes, found in a field somewhere; that was the seed for the whole project. In those days, everyone used to have drawers full of unique cassettes with old snippets from radio and TV, it's kind of a lost thing now, sadly. To me, it's fascinating and precious to find some lost recordings in a cupboard, so part of it was an idea to create new music that felt like an old familiar thing."In 1996, the band completed their first wide release, the Hi Scores EP, began sending it out for record labels to hear. Sean Booth of Autechre heard the EP, suggested that the band get in touch with SKAM Records, whose first release had been Booth's LEGO Feet album in 1991. SKAM released Hi Scores, invited the band to produce a full-length follow-up.
At the same time, the band established a relationship with Warp Records, who wished to release an album by the band. As a compromise, the album would be jointly released by both labels; the album was recorded in the band's studio in Pentland Hills. Although their studio has been described as a "bunker" by various media publications, they described this as "just an exaggeration on the part of the record label," in one interview around the time of the album's release; the band utilized analogue equipment such as samplers, de-tuned vintage synthesisers, drum machines, a reel to reel tape recorder. It features a wide variety of samples, including several from the children's television program Sesame Street in songs such as "The Color of the Fire" and "Aquarius". During the song "Rue the Whirl," the studio's window was left open, the sound of birds was accidentally recorded into the track; the band decided that the music was enhanced by the natural sounds, left it on."Smokes Quantity" first appeared on Twoism in 1995, several other tracks appeared on the group's 1996 limited release Boc Maxima, albeit in different forms.
"The Color of the Fire" first appeared in a shorter form on A Few Old Tunes as "I Love U". The short songs appended to the end of "Triangles and Rhombuses" and "Sixtyten" predate the album and were featured on the compilation Random 35 Tracks Tape, where they are separate tracks; the track "Happy Cycling" includes the sound of seagulls from La Fête Sauvage by Vangelis. The track was mistakenly left off 500 copies of the initial North American release of the album despite the artwork indicating that the song was included. In interviews, the band has identified Devo, Wendy Carlos, DAF, TV and film soundtracks, Jeff Wayne, Julian Cope, My Bloody Valentine, 1980s pop music, Seefeel," as influences for the album's sound. According to Eoin, the band was uninterested in the styles of electronic music that were popular at the time of the album's creation, that creating dance music was not a priority for them. According to the band, the album's titles contain "cryptic references that the listener might understand or might not," many of them personal to the band.
"Our titles are always cryptic references which the listener might not. Some of them are personal, so the listener is unlikely to know what it refers to. "Music Has The Right To Children" is a statement of our intention to affect the audience using sound. "The Color Of The Fire" was a reference to a friend's psychedelic experience. "Kaini Industries" is a company, set up in Canada, to create employment for a settlement of Cree Indians. "Olson" is the surname of a family we know, "Smokes Quantity" is the nickname of a friend of ours.""Pete Standing Alone" shares its name with the main character of the documentary Circle of the Sun directed by Colin Low and released by the National Film Board of Canada. The album cover is a modified version of a family photo taken at Banff Springs in Canada. According to Sandison,“If there's sadness in the way we use memory, it's because the time you're focusing on has gone forever… It's a theme we play on a lot, that bittersweet thing where you face up to the fact that certain chapters of your life are just Polaroids now.”
The original CD was released in a traditional jewel case, while the 2004 re-release was packaged in digipak format. The vinyl record was released in a gatefold sleeve with a sticker that w
Boards of Canada
Boards of Canada are a Scottish electronic music duo consisting of brothers Michael Sandison and Marcus Eoin. Signing to Skam and Warp Records in the 1990s, the duo received recognition following the release of their debut album Music Has the Right to Children in 1998, their subsequent albums, such as Geogaddi and Tomorrow's Harvest, have received critical praise. They have remained reclusive giving interviews or performing live; the duo's music incorporates elements such as vintage synthesisers, analogue production methods, hip hop-inspired breakbeats, samples from 1970s public broadcasting programmes and other outdated media. In 2012, FACT called them "one of the best-known and best-loved electronic acts of the last two decades." Growing up in a musical family, brothers Michael Sandison and Marcus Eoin began playing instruments at a young age. They experimented with recording techniques at around the age of 10, using tape machines to layer cut-up samples of found sounds over compositions of their own.
In their teens they participated in a number of amateur bands. However, it was not until 1986 when Marcus was invited to join Mike's band that Boards of Canada was born, naming themselves after the educational TV program distributor National Film Board of Canada, which they watched as children. By 1989, the band had been reduced to Eoin. In the early 1990s, a number of collaborations took place and the band put on small shows among the "Hexagon Sun" collective. In 1995, the band made the EP Twoism. Like earlier Music70 releases, it was produced in a self-financed limited run and was distributed to friends and labels. Unlike previous releases, however, a small number of copies were released to the public through a mailing list. Though not a widespread commercial release, it was considered of sufficient quality and worth to be subsequently re-pressed in 2002; the band made another release in 1996. Boards of Canada's first commercial release occurred after attracting the attention of Autechre's Sean Booth, of the English label Skam Records, one of many people who were sent a demo EP.
Skam issued what was considered Boards of Canada's first "findable" work, Hi Scores, in 1996. The debut studio album, Music Has the Right to Children, was released in April 1998; the album consists of longer tracks mixed with song vignettes. It includes one of the duo's most popular songs, "Roygbiv". Music Has the Right to Children received widespread acclaim upon release, it featured at #35 on Pitchfork's "Top 100 Albums of the 1990s" list. It was ranked #91 in Mojo's 100 Modern Classics list. John Peel featured Boards of Canada on his BBC Radio 1 program in July of that year; the session featured two remixes from Music Has the Right to Children — "Aquarius" and "Olson" — along with the tracks "Happy Cycling" and "XYZ". Excluding "XYZ", the set was released on a Warp Records CD titled Peel Session TX 21/07/1998. Though never an touring band, Boards of Canada did perform a handful of shows. Early shows saw them supporting Warp labelmates Autechre in a handful of UK dates, they participated in a few festivals and multi-artist bills including two Warp parties: Warp's 10th Anniversary Party in 1999 and The Incredible Warp Lighthouse Party one year later.
They made their most prominent showing in 2001 as one of the headliners at the Tortoise-curated All Tomorrow's Parties. They have not performed a live show since; the band released a four-track EP, In a Beautiful Place Out in the Country, in November 2000, their first original release in two years. The 12" edition was pressed on sky blue vinyl, their second studio album, was released in February 2002. Like Music Has the Right to Children, this album consists of longer tracks mixed with song vignettes, it presents a darker sound than its predecessor. Geogaddi received universal acclaim from music critics, it was described by Sandison as "a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again."Their third album for Warp Records, The Campfire Headphase, was released on 17 October 2005 in Europe and 18 October 2005 in the United States. The album featured fifteen tracks, including "Peacock Tail", "Chromakey Dreamcoat," and "Dayvan Cowboy".
Two versions of "Dayvan Cowboy" — the original and a remix by Odd Nosdam — are on the six-track EP, Trans Canada Highway, released on 26 May 2006. In late 2009, the Warp20 compilation featured two BoC covers, one by Bibio of their song "Kaini Industries" and one by Mira Calix of "In a Beautiful Place Out in the Country". Warp20 is part of the larger Warp20 boxed set, which includes two unreleased Boards of Canada tracks, "Seven Forty Seven" and a 1.8 second sample of "Spiro". On Record Store Day 2013, a vinyl record containing a short clip of music, believed to be the work of Boards of Canada surfaced at the New York record store Other Music. Shortly after the release, Warp Records vouched for the record's authenticity; the record contained a short clip of audio followed by a voice reading six digits similar to that of a numbers station. The record revealed what was to become one of six unique numbers that were part of a type of alternate reality game, used to promote the release of their next studio al