Los Thuthanaka sounds like nothing else. It's joyous, jagged, and sounds like it's being blasted out of a broken Bluetooth speaker in your neighbor's backyard - it's glorious.
David Bellion spent over a decade in top-flight football, playing for clubs like Manchester United and Sunderland, before becoming Red Star FC's creative director, focusing on brand development and cultural connections.
Lachlan Turczan's practice sits in the space between physics, optics, and environmental art, as he works with lasers, water, mist, and custom-built lenses to produce sculptures made entirely from light.
Guests on Lavender Networks include Zola Jesus, Brothertiger, Naliah Hunter, Lipsticism, and Angel Marcloid's wife, Liverfire, and sister Sling Beam. A more off-piste guest, Americana singer Jennifer Holm, also features.
Tone Freq Studios captures pristine acoustics and emphasizes analog warmth, creating a tactile space that values collective experiences over the convenience of digital recording methods.
Her slowly shifting synthesizer compositions and quiet, meditative pieces for acoustic instruments continue to inspire a deep immersion in their audiences, and her recordings and writings have influenced multiple generations of musicians worldwide.
Galen Buckwalter, a 69-year-old research psychologist and quadriplegic, participated in a brain implant study to contribute to science that aids those with paralysis. The six chips in his brain decode movement intention, allowing him to operate a computer and feel sensations in his fingers again.
People all saw that there is something new is being attempted here that you've just got to see. I think that is its own reward. In an era where New York's storied Met Opera has faced layoffs, pay cuts, postponed productions, and a controversial financial agreement with Saudi Arabia, forward-thinking artistic direction becomes essential for survival.
R&B in the 21st century has been in a constant state of flux, tugged between safe traditionalism and blurry attempts at progression. For the last decade-plus that "progression" has seen R&B music become more indebted to trap records and the moody atmospherics of alternative bands like Radiohead, Coldplay, or My Bloody Valentine.
Tim Zha is looking for the soul in the machine. While some might hear Auto-Tune as masking a singer's humanity, the London-based artist filters his vocals to highlight technology's inseparability with our notions of self. This is ground well-trodden by Afrofuturist techno pioneers, Atlanta trappers, and PC Music hyperpoppers; for Zha, Auto-Tune represents what he calls the "coincidence of human subjectivity and the networked machine system."
I recently had the pleasure of interviewing Laurie Spiegel for the site. As preparation for the interview, I spent a lot of time over the last couple of weeks revisiting Spiegel's records, most notably The Expanding Universe, her 1980 masterpiece that blends synth experimentalism with early examples of what would eventually be called ambient music, and algorithmic composition techniques. It's a marvel that sounds both nostalgic and cutting-edge at the same time.
Paradessence draws its title from a portmanteau of "paradoxical" and "essence," coined by author Alex Shakar. Per Visible Cloaks, the word embodies the oppositional-but-coexisting concepts they're trying to explore with the new album. "Instead of creating pieces that function horizontally as environments, we wanted to conceptualize them as living material changing in space, continually in flux," Doran shared in a press statement.
Take the title of The Spiritual Sound as a kind of syllabus, and you'll find a heady list of musical reference points that Agriculture aim to exalt. The jarring intros of black metal songs that make you feel like a portal to Hell has opened inside your headphones. The sound design on later Scott Walker arrangements meant to conjure a Biblical plague. The slow, majestic build of post-rock epics that hold back their climax for maximum transcendence.
The work behind "Waiting for You" by Monotronic spanned two years and several geographic mindsets. Its songs were built in the contained spaces of an East Village apartment and the open humidity of Tulum, initially seeming like disparate projects with no clear direction. Only in retrospect did their shared disposition come into focus. This is an album about the slow work of self-knowledge, which here looks less like an epiphany and more like the gradual acceptance of a particular signal,
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