Nils Frahm’s work lives in the gray area between ambient, neoclassical, and other gossamer styles of experimental music. The Berlin-based composer and producer’s output tends to recall Philip Glass and Aphex Twin in equal measure, but he has released everything from dubby downtempo to theater scores.
Nils Frahm’s new album, entitled Music For Animals, marks the composer and musician’s first new studio material since 2018’s All Melody and its follow-up All Encores. Recorded at LEITER Studio in Funkhaus Berlin, the three-hour long release sees Frahm move away from his signature piano arrangements, leaning more into electronic compositions.
Channel Tres has shared the second single from his debut studio LP, Real Cultural Shit. “No Limit” drops two-and-a-half months ahead of the album’s scheduled December 8 release via GODMODE, and two months behind the project’s announcement and the arrival of its lead single, “Just Can’t Get Enough.”
We Are Scientists is an American indie rock band featuring Keith Murray and Chris Cain. They formed in 2000 in Claremont, California, United States. Their name was inspired by an awkward conversation with a U-Haul employee who was inspecting a van that the band had rented. The U-haul employee, attempting to make polite conversation, asked the three bespectacled band members if they were scientists. They told him that they were musicians, not scientists.
Set for release on 20th January via 100% Records, We Are Scientists have announced their new album ‘Lobes’. Featuring latest single ‘Operator Error’, the band have also announced that they’ll be heading out on a UK and European tour next year!
For an artist like Meechy Darko, who has achieved both critical acclaim and commercial success as one-third of Brooklyn hip-hop group Flatbush Zombies, getting more personal was a fait accompli decided for him by external forces.
Gothic Luxury, is the rapper’s debut album after numerous LPs, EPs and mixtapes with his group. Meechy Darko is well aware that the “crazy shit, crazy-colored hair and psychedelics” of his group “are imprinted in the brains of many fans.” But on Gothic Luxury, drawn-out piano intros and laid-back funk meld with dark mini-symphonies that complement the album’s intensely candid themes; as a result, the album comes off as far more a solo album than an offshoot of the group.
Deft, sophisticated and yet also strangely ominous, Riders On The Storm is unquestionably one of the best Doors songs of all time. The final track the band recorded with Jim Morrison, it closed out their sublime LA Woman album and also rose to No.14 on the US Billboard singles chart in the period immediately following Morrison’s death – becoming the singer’s suitably haunting swansong more by accident than design.
Over the last 30 years, Beth Orton has resisted easy categorization, writing rich, sensitive songs that match her acoustic affinities and world-weary voice with bubbling electronic textures. This resistance has always been a confident feature of her music.
Weather Alive is Orton’s first album in six years, following 2016’s Kidsticks. She issued the latter shortly after returning to England from Los Angeles, where she’d lived for a harried two year. She thought she was through with the music industry for good, until she bought a charming old piano at London’s Camden Market. Its resonant tone beckoned her to write again, chasing nothing but her own satisfaction.
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