Trace Monument “Hollow Land”. Out today in local record stores and on Bandcamp. Thanks to everyone who preordered a cassette.
To the friends who have asked: Bandcamp and a limited physical release both respect the nature of this long-form album – they encourage what streaming overlooks. Thanks for treading upon the Hollow Land.
Hollow Land is here 🌀🙏🏼
Congratulations to Trace Monument ( @danielelmsmusic and @dunwich_child ) for such a meticulously realised and heavyweight work. Listen to this monolith today at your favoured spot (apart from you know where).
Listen at home, or on headphones in some fresh air, then come back and tell us how it made you feel
We’re excited to be working on some live dates for the lads at the moment, details coming up in the next week or two.
Special thanks to our collaborators @niall_greaves and @plotkinworks
Available only in good record shops on tape worldwide via @state51
Absolutely buzzing with excitement over here for today's double celebration of Life Day!! 🐝
1) April 19 2026 marks 5 years since surviving a massive bilateral pulmonary embolism, full cardiac arrest, and other not so fun domino effects. This is a HUGE milestone. I'm working on a piece about life post-PE, so will save the details, but I need to state the essential: Man, am I glad to be here!! Much love to Bernie, a rock of support through it all. Many other friends, family, colleagues as well.
2) April 19 2026 *also* marks the meaningfully timed release of my third LP with Shadow World, Life Day. Each April 19, I work very intentionally in the studio, and these tracks are a roadmap of healing, a manifestation of processing well... everything. I'm so grateful to have had the support of George at SW, whose unwavering ethics, authenticity, and care have allowed me to release music on my own terms, eschewing the traditional expectations of the industry. Many pals were also core in this LP as early listeners, and Miles Whittaker of DDS, as always, totally nailed the mastering. Bernie did the gorgeous album cover. And damn, the coverage in the Quietus, The Wire, and radio play has been so affirming and appreciated. xo, KG.
@thequietus ALBUM OF THE WEEK:
‘Gallerneaux has described herself as being “contaminated” by her research, and that contamination is audible here. Sound doesn’t simply represent, but vibrates with a spooky resonance: where frequency and meaning don’t align. Life Day doesn’t resolve these ambiguities, but leaves the listener suspended within them, between life and death, and whatever continues after.‘
@thewiremagazine :
‘… while the sounds and themes are familiar - particularly to fans of High Static and also her 2021 debut album Strung Figures - the clear emotional weight of this collection provides a forward propulsion and resolute clarity that her previous sound works do not.
Though still recognisable as a trademark Gallerneaux rummage through the uncanny shadows, the fact that it’s also a celebration of her still being with us makes it doubly enjoyable.’
Congratulations to @k_gallerneaux on the release of LIFE DAY today.
Unanimous critical praise pouring in, KG’s latest work is part of the continued celebration of gratitude and shock of survival from a life-changing event, viewed through the lens of Kristen’s particular world view, explorations of ‘hauntogical’ spaces, soundscapes and instrumentation resulting in an increasingly familiar world building her fans are repeatedly resonating with each subsequent album.
Do not miss LIFE DAY this year. Celebrate!
CD/DIG out everywhere now! 🌀
FRIENDS!
A beautiful version of LIFE DAY opener EVERY DAY by @k_gallerneaux , live.
Preorders have shipped and the release goes live tomorrow - APRIL 19th
Thanks so much to all the heads that have offered a little of their attention, love and support. Documenting Kristen’s work is a true privilege for me, the current glut of reviews are a humbling bonus we do not take for granted 🌀❤️
Completely blown away to wake up and see my new LP is Album of the Week in @thequietus ! Joel Stern's words very much resonate (no pun intended) & it's such an honor to have my work in the hands of a fellow sound culture obsessive. Beautiful writing, filled with potent moments. So grateful for this coverage and to have tQ's support for this incredibly personal project. Can't wait for the full release to drop this Sunday! @sternjoel@shadowworldarchive
Life Day FM, a very special edition of Key Grips, airs TOMORROW on CAMP Radio!
We're celebrating the imminent release - this Sunday on Shadow World! - of Kristen's third album, Life Day, by bookending this month's show with two previously unheard jams from the record. AND we're filling the space in between with some tracks that were ever present in the studio as Kristen worked to finish up the album and prepare for its release. SIDENOTE: Kristen talks more in this episode than she ever has before!
Tune in Thursday via LISTEN.CAMP: 1 PM Detroit / 6 PM UK / 7 PM CEST
✌️🌷✌️
LIFE DAY - APRIL 19 - link in bio
‘On the evening of 19 April 2021, Canadian artist, museum curator and sonic researcher Kristen Gallerneaux experienced a massive bilateral pulmonary embolism and cardiac arrest. She was then resuscitated and then “unconscious in the ether” for several days, before spending time in intensive care. During the subsequent period of recovery, she was asked if the experience had revealed any evidence of an afterlife, an unsurprising question, she concedes, given the vast array of paranormal arcania covered in her work.
For example, Gallerneaux’s 2018 experimental film The Hum explores the unexplained low frequency drones heard worldwide, while 2024’s The McClintic Chorus treks through a West Virginian landscape to connect TNT-poisoned soil with the red-eyed cryptid known as the Mothman. It would be a reasonable assumption, then, that Life Day - a collection of pieces inspired by this traumatic event and worked on each anniversary since - might be a similarly otherworldly affair, something like her 2018 book High Static, Dead Lines: Sonic Spectres & The Object Hereafter, in which the hinterland between life and death is examined via telephone calls from the dead and spirits decanted via FM radios.
Yes and no. The album opens with “Every Day”, a-slowly strengthening affirmation of atmospheric hiss and birdsong whose combination is so vivid and strange that it feels as though it could have leaked from those haunted telephones or radios. “Sun To Sun” and “Second Life” are similarly affecting, replacing birdsong with processed voices and melting accordion in a way that feels like signal interference from some earlier time.
However, while the sounds and themes are familiar - particularly to fans of High Static and also her 2021 debut album Strung Figures - the clear emotional weight of this collection provides a forward propulsion and resolute clarity that her previous sound works do not.
Though still recognisable as a trademark Gallerneaux rummage through the uncanny shadows, the fact that it’s also a celebration of her still being with us makes it doubly enjoyable.’
Spenser Tomson, the Wire 507, May 2026
The return of @k_gallerneaux is now. As we circle five years of Shadow World, KG releases her third album…
April 19 is LIFE DAY.
CD and digital. Preorders are up.
Link in bio 🌀
