#dawn richard and spencer zahn

[sinceileftyoublog]

Dawn Richard & Spencer Zahn Album Review: Pigments

(Merge)

BY JORDAN MAINZER

For the past 10 years, Dawn Richard has been a shapeshifter, releasing a trilogy of art pop albums, a traditional R&B record, and a New Orleans fusion collection, not to mention countless stellar remixes. Now, the former Danity Kane and Dirty Money member has found a true creative complement in multi-instrumentalist Spencer Zahn. Though they previously collaborated on Zahn’s first record People of the Dawn, on Pigments, their debut collaborative LP, they find a common compositional voice, resulting in Richard’s strongest statement yet as a singer-songwriter and newfound instrumental depth for Zahn. Structured in two movements, with segues between the tracks, Pigments is a seamless assembling of dreamlike, self-empowered words and hopeful instrumentals.

As if to set the stage for Richard, Pigments begins without her, on the trickling and peaceful “Coral”, shining with Doug Wieselman’s clarinet, Mike Haldeman’s guitar, and Zahn’s scratchy synths. By the time Richard starts singing on second track “Sandstone”, you can hear the richness of her vocals fusing with Zahn and company’s playing. “Dreamer / I wanna love like you / I wanna see the world through your eyes,” she sings in a statement of oneness. On “Vantablack”, her pronouncements of Black self-love intertwine with Jas Walton’s tenor sax and Zahn’s bendy upright bass; “I wanna get lost in your brown skin,” she coos.

It’s not all tranquil. The second half of Pigments offers Richard an opportunity for expressive confession. “Are you hurting like you’re hurting me?” she asks on the glassy “Cerulean”, alongside distorted, doomy electric guitars and swirling saxophone. Even the instrumentals become questionable in mood, from the stark, crystalline “Opal” to the stunning “Sienna”, whose plaintive subdued clarinet, weepy strings, and guitars are threatened by an eerie undercurrent of chirping synthesizers and vibraphone. Pigments generally succeeds as a feeling: Romantic and inexplicably heartbreaking, “Saffron” sees Richard repeating, “Can you save me the last dance?”, Zahn’s upright bass and piano conjuring images of smoky rooms and desperation. Richard pleads on the thumping climax “Crimson”, asking, “Can you wait for me?” You feel for her.

Ultimately, closer “Umber” is the sound of waking up, a day anew, chugging but gentle. “Imma climb this mountain,” Richard declares, “And I’m never gonna stop.” Traversing different visual, sonic, and emotional hues, Pigments finds its way.

[radiophd]

dawn richard / spencer zahn -- quiet in a world full of noise

[iamlisteningto]

Dawn Richard And Spencer Zahn’s Pigments

[knightofleo]

Dawn Richard & Spencer Zahn | Breath Out

[samusique-concrete]

My fav albums of 2022!

I’m trying to at least squeeze in this post in January 2023, hehe :p 

I’ll go from last to first. Let’s go!

10: Dawn FM - The Weeknd

I’ll be honest, i’m not in love with the entirety of this record. I think it has some of the best pop songs that’ve dropped recently (back to back even!), but after track 7 it’s not quite the same (am i alone in this?? let me know!!). It’s a shame too, because at 16 tracks total, the “great” part ends up being less than half of the album. Sooo why is it on my top 10 at all? Well, because i did still play it and replay it tons of times. Those first songs on it... man. Immaculate vibes. Though after Out of Time ends i almost always turn it off 😅

Side tangent regarding Out of Time, btw: I’ve always liked OPN, and getting the chance to listen to his production on big artists like this is kind of a treat. When i heard OoT though i was like “Damn! They arranged this?! This is really precise and detailed and far beyond the scope of what i thought they were capable of...” So then when i learned that the backing track was actually sampled from Tomoko Aran’s 1983 song Midnight Pretenders i was really disappointed (i’d even listened to that album AND song before, i just didn’t remember it). We’ll leave the discussion of how i feel about covers/sampling in general for another day though!

Fav song on it: Gasoline

09: The Ruby Cord - Richard Dawson

I’m telling you man, that Hermit song? Those 41 minutes go by reeeal quick. Don’t be scared of pure beauty! On top of it there are also some other banging tracks as well. The Fool’s soundscape is another highlight for me, for example.

Fav song on it: The Hermit

08: Fawn - Foxtails

I like heavy shit, although i’m not usually into screamo stuff... but i’m kinda slowly changing that. This record was great for me in that regard cuz it’s not all entirely sung in that style. Great entry point if you wanna get attuned with that general sound, probably. I didn’t know this band prior to hearing this, and now i can say i’m a fan! These tunes rule. They sound younger than me though, and i’m still trying to cope with that LOL

Fav song on it: Space orphan

07: Tropical Dancer - Charlotte Adigéry & Bolis Pupul

Brilliant dance/club/techno/house from these two. I would say “biting social commentary” if 1) it wasn’t the most clichéd phrase ever and 2) if it wasn’t at least the baseline """wokeness""" society should just operate at nowadays, honestly. It’s also charming and funny. And danceable AF. Great great great record; not many like it.

Fav song on it: Reappropiate

06: Super Champon - Otoboke Beaver

Punk! Heavy! Fast! Fun!

Fav song on it: First-class side-guy

05: Ants From Up There - Black Country, New Road

Lmao, speaking of musicians that’re younger than me. This album’s a certified instant classic, and you probably know that already. You don’t need to hear it from me again. You can listen to it again, though!

Fav song on it: Haldern

04: Renaissance - Beyoncé

Not much i can add to the discussion of this album, or Beyoncé in general... Well, actually, one thing that comes to mind is how this record comes off as extremely pro-capitalist and individualistic on her part. Idk i admit i don’t usually listen to her, so idk if that’s her usual spiel. It makes sense tho, with her being a gajillionare and having a completely different lifestyle than any of the people who listen to her. This album’s whole aesthetic is money. Even in the sound! It sounds like it was very expensive to make and like every single little beep and/or boop on it was analyzed and tested by a large team of specialists in order to fit perfectly in a song. I will say, though, it sounds fucking amazing. Really pristine production. Bop after bop. I’ve danced to this album a lot.

Fav song on it: Virgo’s Groove

03: Pigments - Dawn Richard & Spencer Zahn

I loooove the concept of this album. It reminds me of 2021′s Promises by Floating Points, Pharoah Sanders & The London Symphony Orchestra in how a musical motif is introduced at the start and how it gets developed across the whole runtime of the record. I don’t wanna compare these two albums though; they’re very different. This one’s also really groovy at times! Love the composing, arranging, instrumentation, singing and everything else in this. And also, little details like the naming of the songs after... well, pigments, and having those pigments in order of appearance on the cover go a long way to making an album feel like a holistic, thought out experience for me. Love it!

Fav song on it: Crimson

02: Hellfire - Black Midi

Insane. Go listen to it if you haven’t already listened to it like 500 times like me. Or! Better yet, if you’ve heard it 500 times go and listen to it again. Insane! These kids really are pushing the whole jazz rock/prog rock/alt&art rock in general scene forward. I also love how each story (i.e. song) on this feels like a very different but still very tangible depiction of a hellish experience.

Fav song on it: Dangerous Liaisons

01: Motomami - Rosalía

Motomami’s an excellent record. That’s just how it is. It’s also special to me specifically because it dropped right around the time when i moved away from home, and i had it constantly on repeat on my new place. However, the real reason it’s on my #1 spot is because it kinda changed things, culturally speaking. It was a force of nature to be reckoned with, upon release. You see, i live in a natively Spanish speaking region, and over here this album was some sort of a cultural reset. I think that’s bigger than me or anyone else’s preferences, and it’s more than enough to warrant the top spot. I also just happen to love it!

Fav song on it: Diablo

Anyway. Have some honorable mentions as well, in no particular order:

Until next year!

[groovesnjams]

gRººv333S,,,n,,,J▲M§ ▬|s|!|O|!| ❤︎|!|t|!|y|▬{{mmxxii}}  

..................number3 ....................of50

“Crimson” by Dawn Richard and Spencer Zahn

DV:

The heartbreak in “Crimson” comes not just from the lyrics themselves but from the metatext around them. Dawn Richard has built a solo career out of songs that could as easily relate to her relationship to art as they could to a romance; Blackheart in particular is populated entirely by songs where partnership and commerce and Art are commingled and conflated. And she’s built a career of sounding iconoclastic, streets ahead, in an league entirely her own. So to hear her lamenting “Can you wait for me? I'm not where I need to be,” is to hear a multi-layered tragedy. If Dawn can’t figure out where she belongs, what hope do the rest of us have? This bold explorer, begging someone or something or like, the concept of music itself for an indulgence. “Crimson” is the year’s most striking tragedy, a brilliant encapsulation of Dawn Richard’s ability to turn a handful of precisely-written lines into an epic narrative, and a new step in the bold, unmatched saga of her life’s ongoing art project.

MG:

We’re almost a decade into Dawn Richard’s sustained peak, one that has seen her work flex from EDM-tinged dance pop to New Orleans’ funk, and yet it’s still surprising to hear her strip away all pretense of a past and deliver a radically different prism for her creativity. On “Crimson” she’s without vocal trills and bouncy melodies, nearly the whole song passes without a beat. She’s unrecognizable here, which makes it yet another quintessential entry in her catalog. Spencer Zahn provides a smoky, earthy production with instruments close-miked and hushed. The whole of “Crimson” is intimate and vulnerable and when the beat finally does drop, it feels like those emotional risks are paid off.  

[beneaththebrim]

Brim’s favorite albums of 2022

In reverse order. First EPs, then LPs.

EPs:

10. A Sterling Murmuration | Zoon

Hazy shoegaze, nostalgic and soothing.

9. My Bestfriend’s House | Blue Hawaii

Dance-worthy! Was pleasantly surprised by the disco track at the beginning.

8. graves | Purity Ring

Standard Purity Ring fare, squealing croons atop haunting, euphoric synths.

7. SICK! | Earl Sweatshirt

A return of the meandering depressedcore hip hop we love. Dizzy and ephemeral soundscapes flit in and out like thoughts through an anxious mind.

6. La Ciudad de Dejamos | Fin del Mundo

Liquid guitars against balmy drumwork make for some really nice 90s-nostalgia shoegaze. Music like a cool summer night.

4 & 5. Kris, Perfect Order | KÅRP

Good ole dark Scandinavian synthpop. What would we do without you.

3. Ninety Three | Taylar Elizza Beth

Low key, lush hip-hop featuring Taylar Elizza Beth’s whispery vocals that float between rap and croon.

2. Raving Dahlia | Sevdaliza

Sevdaliza’s back with her signature inexorable smoky ballads. These tracks are a little dancier, a little heavier than those of her most recent album, though, while retaining her unique style.

1. Bloodline | Gabriels

(December 2021) Gabriels singlehandedly bringing back The Blues in the year of our lord 2021, why not? Meticulously vintage, with the agonized, raw-yet-finely-tuned vocal stylings of Jacob Lusk—one of the absolute best vocalists of our age, seriously. Southern gothic sin, baby.

Full albums:

27. Arkhon | Zola Jesus

It’s a Zola Jesus record, which means I like it. But I find myself never getting into any particular moment. Maybe it’ll take more time to sink in, maybe it’s just lacking stand-out tracks to anchor the album. Music like spelunking.

26. Entropy is the Mainline to God | The Veldt

The Veldt comes back rocking and rolling. I was hoping for something more shoegazy like their old stuff rather than the psychedelia-tinged 80’s metal sound they’ve got going here, but hell, it’s groovy!

25. Arrangements | Preoccupations

Previous album was a little one-note, but this one veers into some interesting spaces as it pushes and pulls with the distortion. Jaunty.

24. The Silence in Between | Bob Moses

Bouncin introspective dance music. It’s not original but it’s full of bops!

23. Loom | Uèle Lamore

Earthy yet ethereal blooms of instrumentation. Lovely to listen to, but for some reason lacks memorability.

22. Black Radio III | Robert Glasper

An eclectic tour de force featuring a stellar variety of guest spots atop Glasper’s production. Although a lot of tracks are fantastic, the album doesn’t quite cohere as a whole for me.

21. Once Twice Melody | Beach House

Beach House made a Beach House record, and it’s great. The same subdued, affectionate, dreamy sound we love.

20. 11 | Sault

The only Sault album I liked of the six they released this year ¯\_(ツ)_/¯ It’s excellent though, love the down-tempo jamminess of the instrumentation and the thoughtful, murmuring vocals.

19. Broken Hearts Club | Syd

Vaped torch songs for your local lesbian fuckboy to play in the background while getting down. Syd comes through once again.

18. Only After You Have Suffered | Jamire Williams

(December 2021) Contemplative, choppy jazz with phenomenal hip hop and operatic interludes. “Pause in His Presence” in particular is something else.

17. Kanawha Black | Nechochwen

Indigenous-made atmospheric folk/black metal. Expansive melodies invoking the Appalachian forests meld with the harsh vocal texture to create a space of reverence and awe.

16. EBM | Editors

Delivering on that punchy aughts-nostalgia stadium rock. Head boppin rhythms and gushy pop-punk hooks.

15. Laurel Hell | Mitski

Mellow sounds that swirl around the main maelstroms of the album, cracking at the seams and letting the rawness soak through.

14. Plastic Estate | Plastic Estate

Slick and infectious 80s-nostalgia new wave that you just gotta sing along to. Very special when the singer sinks into a baritone.

13. Cool It Down | Yeah Yeah Yeahs High-energy-yet-dreamy punky indiepop. Some great anthems on this one.

12. Too Much to Ask | Cheekface Cheeky pop-punk that’s like scrolling through a quality twitter funnyman’s feed. Hilarious and full of bops.

11. Exister | The Soft Moon

A cold counterpoint from the California goth scene, starts off slow before cranking up an onslaught of noise that thrums between industrial and darkwave. Angry and cathartic.

10. Ravage | Emilie Levienaise-Farrouch

Haunting and disturbed sounds from the French pianist/composer. A melding of dark ambient that wouldn’t be out of place in a horror movie, with crashing, harsh piano work.

9. Twenty Twenty Twenty Twenty One | Spencer Krug One of the best lyricists of the day, imo, reminiscent of Leonard Cohen. Every tug of Krug’s voice strains with emotion, and every turn he takes with the instrumentation on different albums is a welcome surprise, finding different ways to express his agonized sentimentality.

8. Giving the World Away | Hatchie Earnestly saccharine power-dreampop. Great album with some real bangers.

7. We’ve Been Going About This All Wrong | Sharon Van Etten Warm and husky, sad and poignant folk songs. Van Etten’s voice soars with transcendant emotion.

6. The Runner (Original Soundtrack) | Boy Harsher

Spooky and sleek darkwave, punctuated by a sparkly disco banger. Boy Harsher at the top of their form.

5. Angels & Queens - Part 1 | Gabriels

Jacob Lusk delivering that wonderful vintage, Nina Simone-esque vocal quality, with the opening tracks fast-forwarded from last year’s bluesy EP to some funky 70’s soul. Gorgeous and blue.

4. Ever Crashing | SRSQ

Gushy dark California gothy dreampop. Infectiously synthy, powerful vocals. Lush songs for a heart that’s itching for summers long past.

3. Stay Close to Music | Mykki Blanco

A humble confessional, at times diving back into the idiosyncratic rapping style of Blanco’s more dance-y earlier releases, at times plunging into an ethereal wash of sound.

2. Semblance | MorMor

There is something magical about MorMor’s tissue-paper-delicate voice. Gentle, sensitive, cathartic. Music for letting go when you so want to hold on.

1. Pigments | Dawn Richard & Spencer Zahn

Lovely. Sublime. Spacey. Sprawling. Meandering and melancholy pockets of plaintive yearning. Music that takes you on a journey and leaves your heart aching for more.

[o-the-mts]

Album of the Week: Pigments by Dawn Richard and Spencer Zahn

Album of the Week: Pigments by Dawn Richard and Spencer Zahn

This will be my last Album of the Week of 2022 (and possibly, ever, but more on that later) as I won’t have time to listen to new albums and do them justice, but I do hope I can do a round up of some of the best albums I missed before the year’s end.   Album: Pigments Artist: Dawn Richard and Spencer Zahn Release Date: October 21, 2022 Label: Merge Records Favorite…

[hybridreviews]

Decibel Boost Album Roundup (MAK MUSIC Edition): OCTOBER

Welp, my thoughts on albums in October are here and ready! Also, now I can link my Bluesky and Threads accounts!

OK, got a couple more of these things to do this year but we made it to October and hey, it was my birthday month! Also, spooky month and well, all of that is gone now and what I got left is the albums I listened to in October… even though there isn’t much for me to talk about. I mean, there’s one album that came out that I hope the review is up by now but most of the stuff that came out happened…

[filth-thezine]

Dawn Richard and Spencer Zahn - Cerulean

[sonicziggy]

"Breath Out" by Dawn Richard, Spencer Zahn https://ift.tt/fVSY6rn

[1000-year-old-virgin]

Dawn Richard & Spencer Zahn - Traditions

[onenakedfarmer]

Currently Playing

Dawn Richard & Spencer Zahn PIGMENTS

[luuurien]

Dawn Richard & Spencer Zahn - Pigments

(Ambient Pop, Chamber Jazz, Post-Minimalism)

Built on dreamy chamber jazz but colored with everything from ambient pop to post-minimalist electronica, Dawn Richard and Spencer Zahn's new collaborative album is transformative to the fullest extent. Pushing both artists into new territory, Pigments is a daring and enormous statement for them as individuals and as a team.

☆☆☆☆☆

Pigments sounds absolutely nothing like the music Dawn Richard nor Spencer Zahn have released in the past, yet it's such a clear and natural progression for them both. It's this flow of energy and ease of movement Pigments sinks itself into, Richard and Zahn melting into one another across 11 marvelous pieces that never settle down even as they build some of the most beautiful ambient jazz atmospheres in recent years, their respective musical histories blooming in electrifying new ways where it seems like both Richard’s futuristic R&B and Zahn’s pensive modern classical were heading towards the same destination all along. As a result, Pigments feels both deeply innovative and remarkably natural, the duo fully assured in their vision along with the seven other instrumentalists behind Richard and Zahn helping to make their world a reality, each slyly psychedelic arrangements and the duo’s willingness to step back and let the music guide itself keeps the album at a gradual pace while holding an iron grip on your heart the whole way through. Zahn’s arrangements are the backbone of Pigments and bring out his best work in years, still within the elegant classical realm of his previous releases but stretched out into dreamy electronica and chilly chamber jazz as his and Richard’s cleansing new age world comes to life. With his nine-piece orchestra comprised of clarinet/bass clarinetists Stuart Bogie and Doug Weiselman, guitarists Mike Haldeman and Kirk Schoenherr, cello/viola/violinist Malcom Parson, drummer Dave Scalia, flute/tenor saxophonist Jas Walton, vocalist Dawn Richard, and Zahn himself, Pigments largely eschews darker textures in favor of light and agile compositions that aren’t bogged down with the weight of heavy bass brass or electronics and can take flight whenever he needs them to: Sandstone starts off quiet and mysterious before Richard’s manipulated vocals cast a neon sheen atop Zahn’s electronics and soft woodwind accompaniment, but quickly expands into a soaring rapture of heavenly strings, brisk acoustic guitar and Zahn’s velvety vibraphone arpeggios; Vantablack creates a border of shuffling drums and thick bass clarinet for Richard’s voice to drift in and out of; the gentle bass drum pulse and minimal instrumentation in Umber help bring the album to a soft but utterly gorgeous finish. Richard’s voice isn’t the leading force it tends to be in her solo work - rather, it’s another instrument she and Zahn use to create Pigments’ rich hues, slathering it in reverb or autotune to give it just the right feel for Cerulean’s cavernous romance or Saffron’s glowing hopefulness, the album’s three-movement classical structure and otherworldly sound palette working to benefit Richard’s sumptuous vocals and Zahn’s wildest dreams as a composer. It’s a perfect combination, and not once does the magic fade. That three movement structure never seems to stop the album from smoothly transitioning from one piece to another, either, instead splitting the album up into three moods you can dig into for specific feelings - these songs aren’t named after colors for no reason, after all. The first movement, starting at opener Coral and closing out with Vantablack, offers up the album’s bolder and more ethereal tones, the former track setting the stage with clear woodwind tones and delicate strings that seamlessly move into Sandstone’s wintry chamber jazz, the spacious interlude Indigo after it a bold but quick delight before Vantablack’s patient vocals and dark, earthy tones bring the first movement to a marvelous finish. In contrast, the second movement is much warmer with a greater emphasis on electronics and ambiance: Cerulean is almost entirely guided by Zahn’s synth programming before swelling into a celestial explosion of improvised saxophone and searing strings - there’s even a guitar solo thrown in for good measure - and the five-minute Sienna forgoes Richard’s vocals entirely, the most fragile Pigments ever gets with its icy synth tones and ever so gentle instrumentation. That’s not even to mention Opal and Saffron, their inclusion of prominent acoustic guitar adding a pastoral touch to Zahn’s expansive dreamspace before a gentle groove and crossroads of saxophone and upright bass dance around one another. The final three tracks, then, strive for a luminosity and elegance in both their titling and sound, Crimson’s angelic lead vocals bolstered by rumbling bass and golden strings, as rich in hue as the color of its title but with the sharp edge of each syllable leaving your lips. Cobalt, though another interlude, is one of the album’s loveliest, the soft yet handsome blue of its color found in each new wave of clarinet and the glistening synths that sit behind them - a perfect way to lead into the album’s spotless finale, Umber. The only track with something close to a solid groove all the way  - though it’s little more than a constant kick drum about halfway in - Richard and Zahn cease the moment to embrace meditation rather than a huge, unforgettable finish. Richard’s backing vocals float about like a lingering memory; bass clarinet and synth wrap around one another to fill the lower side of the mix; Zahn’s ambient electronics keep the song heading further and further up into the clouds. It’d be easy to grow into something huge and inhuman, the profound energy of Cerulean dipped in molten lava, but Pigments isn’t that kind of album. It’s slow and willing to linger, and it’s all the better for it. Like many left-field jazz and electronic albums in recent years, Pigments succeeds not simply because of its transcendent sound and mystical energy, but also in spite of them, staying remarkably grounded and in touch with the human spirit even as Richard and Zahn approach levels of ambient bliss that could only ever materialize on an ice planet hiding a tropical forest under the surface, mercurial in sound yet entirely unified in its search for peace and stability. The combined wonders of their music as individuals merge into one story and one feeling, Pigments as much about their history as artists as it is the shared understanding of the world that drives their music, in constant pursuit of captivation and new energy wherever it may be hiding - it's a blessing these magnificent chamber jazz pieces were where the moment took them. Pigments manages to mesmerize through its sheer commitment to peerless songcraft and atmospheres that are both alien and tactile at once, a delicate world Richard and Zahn imbue with unspeakable beauty and eternal love in every moment.

This review is part of the ALL I MISSED: 2022, where I review all the albums I didn't get to from last year.

[rhapsodynew]

#updating playlists of new items

ERIC CLAPTON "MEANWHILE" (EPC Enterprises/Surfdog) 2024

electric blues/ adult pop

Against the background of news about Clapton's age-related health problems, many (including me, for example) we have already got used to the idea that the living god is preparing to retire. The more surprising is the appearance of a new product, which Eric even decided to release a few months earlier than planned. The content is as predictable as possible, but therefore does not lose its charm: This is old-fashioned companionable blues mixed with vintage covers like "Moon River" (featuring the late Jeff Beck). If it turns out to be a farewell, it will remain a pleasant memory.

COLDPLAY "MOON MUSIC" (Parlophone) 2024

pop rock, lyrical pop

Moon Music": the album demonstrates what this music would be like if it didn't jump out of your pants to get on the radio. Just like that: sincere, soft and even a little vulnerable.

Rufus Du Sol – «Inhale / Exhale»11.10.2024

Inhale/Exhale is the fifth album by the Grammy–winning Australian electronic band Rufus Du Sol. This time they touched on the eternal themes of "romance, heartbreak, euphoria and despair." This is also a new stage in the band's career: now they strive to "just enjoy the process" and "create in the moment." Three singles "Inhale / Exhale" entered the top 40 of the Billboard dance/electronic songs chart: "Music Is Better", "Lately" and "Break My Love".

Sam Abbo - Add To The Noise (2024)

alternative | freak-folk | avant-honky-tonk I singer songwriter | uk

Sam has created several projects on the Brighton experimental scene. some even got to the BBC ;)) Abbo owns a piano, guitars of all stripes, including a Clarophone (Clarophone Banjo), from here it grew-the idea to play his own honky tonk adventure broke through;)) it turned out to be very thoughtful even;))

VanWyck - Dust Chaser (2024)

americana | alt-folk | alternative | acoustic | singer-songwriter | amsterdam

Hello there. let's try to get into a rut... meanwhile, VanVik is already on the air;))

Joose Keskitalo & The Mystic Revelation of Teppo Repo - Tähdet palaavat paikoilleen (2024)

"When the stars return to their places,

The original shadows of delusion will disappear

And they will begin to gain wisdom."

gloomy Sami romantics return the stars to their places, and when they come into contact with the music of this miraculous creative symbiosis, sensitive and sensitive listeners have an irresistible desire to reach the heavenly bodies together;)) turn it on, enjoy, stretch;))

P.s..And the music is beautiful! ... and they take care of the silence)

DAWN RICHARD AND SPENCER ZAHN "QUIET IN A WORLD FULL OF NOISE" (Merge) 2024

ambient pop, pop soul

Soul vocalist Dawn Richard has never been content with pure style. Instead, she uses R&B as a starting point to find some new intonations, techniques, and sound. In 2022, this led her to work with pianist Spencer Zahn. Their first album together, "Pigs", seemed to connect two worlds: chamber jazz and art soul. The sequel goes even further: now it's practically ambient based on frozen R&B, the music of silver snowflakes. Insinuating and very beautiful.

Seventeen – "Spill the Feelings" on October 14th

The return of Seventeen is one of the main k-pop groups of our time. Their previous releases "FML" (2023) and "Seventh Heaven" (2023) set records for millions of pre-orders. There is no doubt that "Spill the Feelings" will be among the top bestsellers of 2024. Seventeen's new album promises to showcase the band's creative evolution and show their individual sides. And also to tell a fascinating story that is close to everyone.

The album "Tension" (2023) became, perhaps, the most successful in the late discography of Kylie Minogue. The hit "Padam Padam" not only returned the 55-year-old singer to the chart, but also took second place in her career"The Grammys." "Tension II" is the sequel to "Tension", its "high-energy, high-octane version". In general, the legend of pop music has prepared another release with dance hits of the highest standard. It featured Sia, Bibi Rexa, Tove Lu, Diplo and The Blessed Madonna.

Pixies – «The Night the Zombies Came»25.10.2024

In 2024, bassist Paz Lenshantin left Pixies and was replaced by Emma Richardson. How well she knows the instrument can be assessed on the band's new album "The Night the Zombies Came". Pixies frontman Black Francis described it as "fragments connected and juxtaposed with other fragments in other songs." According to Francis, the album is a collection of tracks reminiscent of a movie. The producer of the material was Tom Dalgety, who has been working closely with Pixies for several years now

The authors of the hit "Pompeii" Bastille present an unusual project: "&" are not just songs, but stories about interesting people. In "Eve & Paradise Lost" Bastille sings about the biblical Eve, and in "Leonard & Marianne" – about Leonard Cohen and his muse Marianne Ihlen. Maybe the band's new tracks don't sound as hit as their early work, but it's interesting to listen to them and read the lyrics. Frontman Dan Smith certainly has a talent for storytelling.

Underworld – «Strawberry Hotel»

the 25th of October