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Ltd","offers":[{"title":"Default Title","offer_id":51734727262439,"sku":"98886292","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0625\/2481\/7639\/files\/418467308958_1000.png?v=1768878107"},{"product_id":"poly-math-something-deeply-hidden-cd","title":"Poly-Math - Something Deeply Hidden [CD]","description":"\u003cstrong\u003e\u003ca href=\"https:\/\/monumentsinruin.com\/blogs\/podcast\/mir318\" target=\"_blank\" style=\"background-color:#d3d3d3;\"\u003e🎵 As heard on Monuments in Ruin - Chapter 318 | Music Podcast\u003c\/a\u003e\u003c\/strong\u003e\n\n\u003cp\u003eFor fans of all things progressive, POLY-MATH is an instrumental band from Brighton and London, UK, blending Ethio jazz, classic prog, post-rock, and math rock.Formed in 2013, POLY-MATH has produced several EPs and albums, as a three, four, and five-piece band, including a crowd-funded double album, and two remotely written and recorded lockdown digital releases. POLY-MATH was an early favorite at UK avant-garde festival, ArcTanGent, performing between 2013 and 2018, with a main stage appearance in 2018 with a triple drum kit setup.POLY-MATH's music is expansive and broadly varied from album to album, drawing upon influences like early King Crimson, Mulatu Astatke, Omar Rodriguez-Lopez, Juan Alderete, Ill Considered, and Ukandanz. Something Deeply Hidden is the band's 5th album, delving more deeply into Jazz and Prog and away from the heavier instrumentation of previous albums. The new record is expansive and diverse, focusing on complex instrumentation and abstract poly-rhythms. The album title and track names are inspired by American theoretical physicist, Sean M. 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Building off the strengths of their existing oeuvre, the band has developed their signature approach to grim mythmaking and scythe-swinging aggression in bold new directions, offering up a new body of songs that strike one as equal parts natural, undeniably of this world, and phantasmal.\u003c\/p\u003e\u003cp\u003eThe band's vision has grown substantially, pushing well past the tales of peasants and serfs that stood as allegories for contemporary alienation in their previous work: on this newest offering, Their previous stories of toil and dispossession are revealed to be but one chapter etched upon a bleaker tapestry, one populated by spirits traversing sunless deserts and wilted hillsides, demonic torture objects limning the edges of the psyche, bodies transfigured into Luciferian snakes, Sadean prisoners bound to the screaming silence of abandoned castle towers. 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To meet the greater sonic demands of Hymns From the Hills, however, mastermind Mac Kennedy relocated to a private practice space, retiring from his previous routine of squeezing in tracking sessions around the rare moments that the band’s shared practice space happened to be vacant. “Having added time to breathe and really get things right felt crucial this time,” he remarks. “The stress of having to work quickly and at chaotic intervals used to feel productive in a lot of ways, in that it instilled a sort of rough, energetic ethos into the recordings, but I also started to realize that those working habits were becoming an easy way to let myself off the hook from pursuing certain ideas that required a more measured, methodical approach.” To best serve the record’s grander ambitions, the band enlisted the mixing prowess of Jonah Falco (Fucked Up, Career Suicide) and the mastering of Arthur Rizk (Power Trip, Trapped Under Ice, Cavalera, Integrity), who helped to elevate the record’s teeming variety of sounds to new heights of self-assured fidelity. Kennedy lent a second hand to the mixing process, splicing in grittier tape recorded segments in order to maintain a certain tonal continuity with the band’s previous work, creating a rich structure of unconventional frictions, crystalline flashes of polish ripping through abysses of hissing low end only to shatter against the whipping sting of rusted chains moments later.\u003c\/p\u003e\u003cp\u003eLyrically, Hymns From The Hills extends both the cynicism and the defiant bravado of POISON RUIN's established fantasy aesthetics. While the record continues POISON RUIN'S tradition of employing medieval-inflected fantasy imagery, Kennedy does not intend for these figures to be read as historically accurate: “I’m not interested in the actual facts of medieval culture, and I’m not trying to draw a sort of literal comparison between peasant life and the political realities of today. 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