Catastrophic Deliquescence (Music from Fortitude 2015-2018) is a collection of Frost’s work for Sky Atlantic's Fortitude series, available here for on vinyl for the first time with brand new artwork. Over three seasons, Frost’s glacial compositions accompanied the critically acclaimed crime drama and this collection of work stands up as a release in its own right, entirely separate to the series. Frost has said “Only a few short years later it’s easy to forget how revolutionary Fortitude was when it first appeared - A head on collision of real-world science and environmental horror. The multi-national cast and a cacophony of accents and ideas. And it was a punch in the fucking face. And I am so proud to have been a small part of it.”

Ben Frost’s soundtracks and collaborations have seamlessly worked alongside his own solo releases and at times have informed his album releases, such as on 2014’s debut for Mute, A U R O R A, which took inspiration from elements of his travels to the DR Congo with collaborators Richard Mosse and Trevor Tweeten during work The Enclave. Frost’s scores for film, television and performance include Sleeping Beauty (Dir. Julia Leigh, 2011), the score for renowned choreographer Wayne McGregor’s FAR (2010), Music for Solaris (2010) co-written with Daniel Bjarnason, commissioned by Unsound festival and inspired by Tarkovsky’s Solaris and in 2013 he directed and wrote the opera interpretation of Iain Banks’ cult novel The Wasp Factory which premiered at the Royal Opera House, London. Ben released his most recent studio album, The Centre Cannot Hold, in 2017 and is currently working on a new opera The Murder of Halit Yozgat which premieres in Hannover in 2020.

“…a molten core shines through providing just enough fire to keep the shadows from overwhelming the light” – CRACK MAGAZINE
“… sonic shades cloak and flicker with resonant depth, ingesting recent orchestral pursuits for something colossal” – NPR
“moving from heroic vistas into a garbled, snow-blinded melee. Distant choral pads, a glistening upper-register sheen, submerged piano, and groaning harmonies all stack up into a geologic crescendo that extends into infinity.” – Pitchfork
“…compelling” Echoes & Dust
“…engrossing… from first hammer blow to last squeak” – The 405
“…shows off a more compositionally direct Frost” – The Wire
“…massive…” DJ

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