So, those of you who didn't pre-order this from Under The Spire have two options.
Either order from Boomkat (available now) or Norman Records (available shortly).
Oh, and there's a third option: Miss out!

Here's what Boomkat had to say:

As with Chihei Hatakeyama's magnificent August long-player, this latest release on the Under The Spire label is a handcrafted, hand-numbered package that's limited to just 100 copies. Dag Rosenqvist seems able call upon an endless reserve of steady-handed drone pieces that blur all dividing lines between digital electronic precision and warm, acoustic signal generation. Spread across two quarter-hour long discs, Jasper TX's Lungs incorporates three live sets: the first CD combines a 2008 recording from Brussels with a Gothenburg set from April 2009, while the second is constituted from another Gothenburg gig recorded a month later. Going back to that first three-incher (titled 'The Golden Afternoon'), we find Rosenqvist opening proceedings in a gratifyingly familiar fashion, setting down a bed of deep-set textural noises glided over by quiet, string-like drones that convey a certain Angelo Badalamenti-like quality. As these brighter timbres die out, wordless vocal sustains (reminiscent of those heard on recent Xela outings) commandeer the mix, occasionally peaking with searing levels of distortion - no matter how lulling and subdued the temperament may be, you always get the feeling that you're only ever a hair's breadth away from something far darker and more chaotic. Eerie room sounds and field recordings rattle around in the background, breathing space into the piece before saturated organ drones lend an ecclesiastical, faintly doom-tinted hue to the final moments. Disc two (labelled as 'White') offers a more sparsely decked out palette, whose first four minutes or so seem to be made up of whatever the sonic equivalent of shadows might be. From there in, crackling tones and faint humming only adds to the air of mystery, before a surge in electricity ratchets up the volume to arrestingly high levels. If it didn't sound so nice you'd swear something had just gone horribly wrong. Once the processed feedback and faulty connections subside we're immersed back into a gentle, minor-key tonal drift before (echoing the previous disc) the reverberant shimmer of vocals enter into the piece, this time interspersed with more primal hollerigns and exclamations, building up to a sonorous and heavily distorted finally that sees the return of those vicious feedback tones from earlier on. It's an unexpectedly severe parting gesture from the sensitive Swede, but it's good that he's keeping us on our toes.


As always, you know what to do.

Take care.


Dag