Today, Fire Talk Records debuts set dressing, a new side project from Mandy, Indiana, “one of the decade’s best new bands” (Bandcamp). set dressing expands upon Mandy, Indiana’s “transfixing blend of violence and transcendence” (Pitchfork), translating the “visceral and strange” (The Quietus) industrial palette for one of swathing instrumentals.
set dressing is not credited to any individuals and is represented only by an avatar. The debut single “class valedictorian” sets a deeply atmospheric introduction and soundtracks a venture into the dark unknown. Written, recorded and produced by set dressing, the instrumental “class valedictorian” is haunted by droning synths that instantly transport listeners somewhere uncanny and preternatural. It’s an extension of the distinct world building displayed across i’ve seen a way — Mandy, Indiana’s acclaimed debut, named one of 2023’s best albums by The New York Times, Pitchfork, Guardian, Loud & Quiet, Crack, DIY, UPROXX, Line of Best Fit and more — and marks the beginning of an unsettling journey.
set dressing will make their live debut in Manchester on April 12th at 𝐏𝟑𝑨𝒏𝒏𝒊𝒉𝒊𝒍𝒂𝒕𝒊𝒐𝒏𝑬𝒗𝒆 {formerly 𝑶! 𝑷𝒆𝒔𝒕𝒆𝑫𝒆𝒔𝒕𝒓𝒐𝒚𝒆𝒅} (Basement), followed by a performance at Sounds From the Other City Festival in Salford on May 4th. Be on the lookout for more from set dressing this year via Fire Talk.
set dressing Tour Dates Sat. April 12 – Manchester, UK @ 𝐏𝟑 𝑨𝒏𝒏𝒊𝒉𝒊𝒍𝒂𝒕𝒊𝒐𝒏 𝑬𝒗𝒆 {formerly 𝑶! 𝑷𝒆𝒔𝒕𝒆 𝑫𝒆𝒔𝒕𝒓𝒐𝒚𝒆𝒅} (Basement) Sun. May 4 – Salford, UK @ Sounds From the Other City Festival
Keep your mind open.
[You’ll be a valedictorian in my eyes if you subscribe.]
Today Lust For Youth and Croatian Amor share a second look at their forthcoming collaborative album ‘All Worlds’, which is set for release on March 7th via Sacred Bones. Lust For Youth have also announced tour dates across Europe, including a UK run in March.
In June 2023, Lust For Youth and Croatian Amor shared the stage at the iconic Sydney Opera House during the Vivid Live Festival. This encounter reignited their creative partnership, laying the foundation for ‘All Worlds’.
Loke Rahbek, who used to be a member of Lust For Youth, left the group to focus on his solo project Croatian Amor and the Posh Isolation record label. His departure coincided with the release of Lust For Youth’s self-titled album in 2019. With ‘All Worlds’, Rahbek’s collaboration with Lust For Youth marks a poignant reunion for the band’s core creative forces, where the differing sonic palettes of the Lust For Youth and Croatian Amor projects meet again in the form of a full-length album.
Drawing inspiration from the Golden Record sent into space as humanity’s message to the unknown, ‘All Worlds’ mirrors this longing for connection and understanding. Each track captures a fragment of emotion, culture, or memory, offering a kaleidoscopic view of the human experience.
Following the release of first single “Dummy” – a pivotal track borne of the creative spark set between the three in Australia – today they share a second look at the album with new track “Kokiri“. Taking it’s name from the forest in video game series The Legend of Zelda, “Kokiri” builds layers of luminous, earthy atmospherics and samples to an energised, heady, beat-based crescendo.
Along with the original version of the track, they also share an ethereal remix by Fatshaudi, commenting: “Rachel had made a cover/version of Armida, that she posted on her social media. We really liked her version and asked if she was into make something for All Worlds. She gave back this stripped down and beautiful version of Kokiri.”
Lust For Youth have also confirmed new European tour dates, taking in the following shows:
March 11th @ La Station, Paris France March 12th @ The Lexington, London UK March 13th @ Lubber Fiend, Newcastle upon Tyne UK March 14th @ The Flying Duck, Glasgow UK March 26th @ Rust, Copenhagen Denmark April 16th @ Hus 7, Stockholm Sweden April 18th @ Plan B, Malmö Sweden May 28th @ Rote Fabrik, Zürich Switzerland May 30th @ Stream Festival, Linz Austria
The new album’s title ‘All Worlds’ reflects the idea of collecting fragments from disparate places, feelings, and stories. Each song unveils a unique “world,” contributing to overarching themes of exploration and introspection. These “worlds” represent the inner landscapes we carry, shaping our identities. The title also gestures toward connection—as if these worlds float through space, waiting to be discovered and understood. Ultimately, ‘All Worlds’ embodies the quest for belonging and meaning.
Through a sonic journey of isolation, resilience, and wonder, introspective lyrics intertwine with lush, evocative soundscapes. Retaining the dreamy atmospheres characteristic of both Lust For Youth and Croatian Amor, the album’s reverb-drenched production lends it an ethereal, nostalgic quality. While themes of melancholy and longing are central, energetic beats and uplifting arrangements introduce a bittersweet harmony that oscillates between vulnerability and euphoria.
The album marks a shift in tone, moving away from Lust For Youth’s synth-driven post-punk roots. Instead, ‘All Worlds’ embraces a dance-oriented aesthetic, weaving pulsating rhythms and techno-inspired motifs with layered vocal samples. The result is a textured soundscape—an exploration of emotional fragility through shimmering production and introspective melodies.
Celebrating twelve years since their 2013 ambient-industrial album ‘Pomegranate’, ‘All Worlds’ reflects the evolution of Lust For Youth and Croatian Amor. This album serves as both a response to their earlier work and a progression informed by a decade of growth and change. It deepens their exploration of sound and meaning, speaking directly to the present moment.
Like the Golden Record adrift in space, ‘All Worlds’ is a collection of moments waiting to connect with those who choose to listen.
Berlin-based producer and DJ Barker (aka Sam Barker) announces Stochastic Drift, his new album out April 4th via Smalltown Supersound, and presents its lead single, “Reframing.” Following 2023’s Unfixed EP and his first full-length release since his 2019 debut album Utility, Stochastic Drift builds on Barker’s singular process to capture life’s chaos and reflect on just how much has changed. If his previous records showcased the artist “using ambient materials to remake techno” (Pitchfork), Stochastic Drift pushes Barker’s approach even further into harmonic chaos and dreamy freeform float.
Utility, the fullest expression of the beatless techno experimentation Barker excavated on his cult classicDebiasing EP, arrived to critical fanfare from The Quietus, DJ Mag, Resident Advisor, and Mixmag (who named it their Album Of The Year). The years since the release of Utility have been marked by intense unpredictability: Barker’s own shifting attitudes towards production, moments of professional transition and, not least, a global pandemic, necessitated somewhat of a reinvention.
Stochastic Drift sees Barker creating tracks with a fresh deftness and appreciation for the unexpected. “I’d been working with an approach that was quite deliberate and goal-oriented before, but I realised this wasn’t so helpful in the context of uncertainty. Being suddenly unemployed and stuck at home for an indefinite amount of time, with one disruption after another, it was like the target kept moving and I didn’t know what to aim at,” Barker reflects. “I noticed this unpredictability starting to creep into what I was making, and tracks were ending up a long way from the intentions they started with. So the challenge for this record was to try to embrace that process, to let go of expectations.” The serotonin-spiking lead single “Reframing,” titled after psychological technique for reinterpreting a situation in a positive way, unfolds like a brittle reimagining of Sasha’s eternal prog trance standard “Xpander” until it begins to drift through uncharted territory.
Throughout Stochastic Drift, Barker dives deeper into the world of mechanical instrumentation. Barker explains: “My interest in mechanical instruments is not to replace a human performer, but to explore the tool in a different way, maybe dehumanize it a little bit and look for the potential outside of what humans have already perfected.” Addressing anxiety about the influence of automation in music making head on, Barker emphasizes that, regardless of the technology implemented and how this might enable the artist, machines of all sorts, be they robots, synths or instruments, are simply tools. It’s the creative act that remains resolutely human.
“I wanted to explore the link between my internal and external realities, between the chaos of the time and how that was manifesting in my music and ideas,” Barker says of Stochastic Drift. “It’s a transition between lots of shifting realities, describing a process in a window of time that was full of change.” As though finding comfort in unpredictability, the artist pieces together a new sound and in so doing finds a salve for uncertainty.
Barker Tour Dates Sat. Mar. 15 – Dublin, IE @ The Complex (Live) Sun. Mar. 23 – Berlin, DE @ Berghain Panorama Bar (DJ) Sat. Apr. 5 – Amsterdam, NL @ Paradiso (Live) Sun Apr. 13 – Berlin, DE @ Berghain Panorama Bar (Live) Fri. May 2 – Basel, CH @ Sudhaus Basel (Live) Thu. June 5 – Barcelona, ES @ Primavera Sound (Live) Sun. June 29 – Berlin, DE @ Berghain Panorama Bar (DJ) Sat. July 19 – Berlin, DE @ Berghain Panorama Bar (DJ) Sun. Sep. 7 – Berlin, DE @ Berghain Panorama Bar (DJ) Sat. Nov. 1 – Berlin, DE @ Berghain Panorama Bar (DJ)
Ron Croudy, otherwise known as Rontronik, has been crafting soundscapes and experimental electronic music for a few years now, and his latest album, Zero Nine blends lush atmospherics with field recordings and even dance beats.
“Zero Nine One” layers birdsongs over day spa synths. “Zero Nine Two” is like being a long tunnel while riding in a neon-accented car driven by a robot. “Zero Nine Three” is like following a falcon in flight over a desert and around a giant red rock formation before it lands to face the rising sun. The rattlesnake beats at the end of it become industrial crunch doubled with throbbing bass on “Zero Nine Four.” It’s jarring at first, but it becomes somewhat hypnotic.
The first half of “Zero Nine Five” continues the industrial feel, but it switches to trip hop in the second half. “Zero Nine Six” is a calm track perfect for meditations with floating, lava lamp synths that take their time to massage you. If that doesn’t work, then the final track, “Zero Nine Seven,” will because it’s over nine minutes of birds singing and a river flowing across smooth rocks that lead into synths that sound like they were recorded in a mountain temple somewhere.
It’s a lush record, and one you’ll probably pull more from with each listen.
Joan Arnau Pàmies is a composer, producer, and multi-instrumentalist who was born in Catalonia. His career spans fifteen years of highly diverse work, encompassing live electronics, acoustic instruments, unusual forms of music notation, electroacoustic pieces, and free improvisation. An artist who unhesitatingly walks uncharted aesthetic paths, Pàmies has never been comfortable working within the boundaries of specific musical genres and traditions. For him, music is a liberating space where elements of classical and electronic music, free jazz, modernism, noise rock, and experimental music coexist and can be combined to generate unique results.
Today he announces his new album Guidelines/Fonaments, set for release on April 4th via Protomaterial Records, a label he founded in 2022. On the new album, he weaves together influences that have shaped his artistic voice over the years, from classical and modern music to jazz, from glitch to avant-garde pop. It balances structure with freedom, precision with spontaneity, and reflects a commitment to creating music that engages both intellectually and emotionally.
The first single “Esperança” is out today, which features the vocals of Martina Perpinyà, a former student of Pàmies, over heart-beating electronics that provide a comforting backdrop. In Catalan, “esperança” means hope, and “this song is precisely about that,” Pàmies says. Spoken from the perspective of humanity, the words suggest that humanity will prevail.
Listen to the new track on YouTube, and pre-save the album here.
Guidelines/Fonaments represents a significant moment in his artistic journey as a composer and performer, blurring lines of solo piano music, ambient, contemporary classical music, and free improvisation. “It is an intensely personal exploration, inviting listeners into a meditative state to reflect on the synthesis of diverse sound worlds and experience yet-to-be-known aesthetic perspectives,” he says.
Pàmies was introduced to music at a very early age. At home, his father, a professor of Catalan literature, would often play records by Miles Davis, Lester Young, the Academy of St Martin in the Fields, and Glenn Gould. At age three, his mother, a public school teacher, gave him a toy saxophone as a birthday gift. A few years later, Pàmies started learning the piano at a local music school.
His artistic journey has thus far unfolded in three distinct periods: his youth in Boston, where he was shaped by the Second Viennese School and early modernism; his graduate studies in Chicago, where free jazz, improvisation, and extremely demanding music for acoustic instruments informed his approach; and now, a return to his homeland of Catalonia. This current period represents a creative maturity, where he performs his own music and integrates improvisation and electronics into his practice.
He adds some additional background on the new album: “The album’s title, Guidelines/Fonaments, reflects the principles I’ve developed since returning to Catalonia—foundations for what I see as a groundbreaking evolution of my aesthetic. The bilingual title—in English and Catalan—is deeply personal, a reflection of my own life (my wife is American and my kids are dual citizens), and a metaphor meant to express how I see music: a historical product in constant struggle between past traditions and present aesthetic concerns. The pieces that form this record are my “guidelines” as well as my “foundations”: they present ideas that have been important to me for many years but also show new principles upon which to create future music.”
Pàmies performed, recorded, produced, mixed, and mastered Guidelines /Fonaments himself, ensuring that every detail reflected his vision. It was created in the span of four years, during downtimes between parenting, composing, performing, and producing for other artists. The album was recorded in a wide variety of places, from apartments where he had lived to professional recording studios.
Ben Lukas Boysen decided to change things up a bit on his new album, Alta Ripa. He wanted to reconnect with the countryside of his youth, but also embrace Berlin-inspired dance music. So, he combined ambient electro with EDM as well as jazz and classical sounds his father often played for him as a kid. He took those elements and grew an album more than he designed it.
“Ours” starts with soft synths that evoke images of birds gliding over meadows and then landing atop the Tyrell Corporation’s replicant factory as the electro-beats drop. The choppy synths of “Mass” remind me of a string quartet playing fast, low-end notes, and then the bass drop adds an interesting sense of danger to the whole thing.
“Quasar” builds to what you think is going to be a good-sized bass drop, but instead takes the mellow approach and keeps the song soothing. The title track is even more hypnotic and will be a great addition to your mediation playlist.
The bumping bass of “Nox” makes you want to put on dark sunglasses and matching trenchcoat and then find the nearest goth dance club. “Vineta” is synthwave bliss suitable for floating in a zero-gravity pool of saltwater. “Fama” pulses and snaps like a grumpy robot doing a spin bike workout. The album ends with “Mere” – which floats you along a slow river while android birds sing to you and warm winds drift through ancient ruins.
This album will take you to another place, possibly one you’ve been craving for a while.
English electronic musician and producer Jon Hopkins presents a new single/video, “Forever Held,” in collaboration with NASA. A full orchestral piece with string arrangements by Icelandic multi-instrumentalist Ólafur Arnalds, “Forever Held” is an emotive and deeply peaceful piece of cinematic music which touches on themes of our Earth and its context within space. “Forever Held” was created in collaboration with NASA & Erica Bernhard.
NASA JPL collaborated with Hopkins to compose “Forever Held” for Space for Earth,which isNASA’s first immersive experience open to the public, commissioned by NASA and located at NASA Headquarters in Washington, D.C. The song was inspired by letters written by NASA Creative Director and artist Erica Bernhard during the creation of the installation. These letters, love letters from Earth to Space, ended with the phrase “Forever enveloped in your gravity.” From this, “Forever Held” was born. It has continued to evolve, grow, and live outside of the installation. The song, stills from its music video, the original letters and pieces of the Space for Earth installation, have been engraved and encoded onto a NanoFiche disk which will be sent to the moon as part of the Lunar Codex via NASA CLPS.
In discussing the music, Hopkins says:“I took this opportunity to create a full orchestral piece. I wanted to make something timeless that would transmit the feeling of being ‘held’ by the Earth. I was thinking about the fragility and power of our planet, and of the human race’s role in its own destiny.”
The music video for “Forever Held”, created and directed by Erica Bernhard, displays the range of her art-science studio COVALENT Collaboratory. It is a visual evolution of the love letters between Space and Earth – humans being an inextricable part of these interconnected systems. It poetically envelops NASA imagery and data onto two motion-captured dancers: the ‘Space’ character comprised of NASA James Webb Space Telescope while the ‘Earth’ character is wrapped in NASA satellite imagery of the Earth at night, as they perform their eternal dance.
Bernhard adds: “Space is not merely the backdrop to human existence, but a living, breathing dimension. There are invisible communications happening between Earth and the NASA satellites that observe our planet. The view from space offers a profound shift in perspective – astronauts call this the overview effect. Hopkins’ compositions capture that shift – infusing sound with the expansiveness of space while grounding us in the essence and rhythms of life on Earth. His soundscapes act as a bridge between these realms, translating the awe and wonder of space and Earth into a sonic and immersive journey that asks us to consider our place in the universe and our responsibility to the planet.”
Ahead of today’s single release, Coldplay used“Forever Held” to open their new album Moon Music and their Pyramid-headlining slot at this year’s Glastonbury. Hopkins also featured on the latest iteration of Charli XCX’s Brat, contributing to “I might say something stupid” with The 1975 on Brat and it’s completely different but also still brat.
Jon Hopkins recently released his latest studio album RITUAL,a 41-minute ceremonial epic built from cavernous subs, hypnotic drumming and transcendent melodic interplay. Having premiered the album at collective immersive audio listening experiences around the globe ahead of its release, Hopkins is pleased to present the first large-scale event at London’s EartH Theatre next month which has already sold out. There will be a live piano performance and a Q&A with Hopkins and his collaborator 7RAYS.
Additionally, Hopkins will perform at London’s Southbank Centre with Aaron and Bryce Dessner of The National on December 6thas part of the London premiere of All of This Unreal Time featuring actor Cillian Murphy. They will also perform at Manchester’s Aviva Studios on December 7th. Hopkins and The Dessners composed the soundtrack for All of This Unreal Time, which was written by Max Porter and directed by Aoife McArdle.
RITUAL is available to buy on DomMart-exclusive double clear vinyl (with artwork print and etching on one side of the vinyl), standard double vinyl, CD and digitally.
About NASA’s Space for Earth installation: The interactive physical exhibit is located in the east lobby of NASA Headquarters in Washington DC, where visitors are invited to see Earth as NASA astronauts see it from space. Open M-F, 8:30AM – 5:30PM. https://earth.gov/
Today Merope announce details of their forthcoming new album ‘Vėjula’, which is set for release on November 5th via STROOM, and have shared new track “Namopi” featuring Laraaji and Shahzad Imsaily.
There’s a sense of spontaneity and playfulness hanging in the air around Merope’s fifth album that’s palpable from the very beginning. The duo of Lithuanian singer and kanklės player Indrė Jurgelevičiūtė and guitarist/producer Bert Cools, Merope are kissed by the winds of change on ‘Vėjula’, a self-styled musical rebirth that confidently fosters their ongoing narrative. It’s their most experimental and open-minded full-length to date, spreading its arms to embrace collaborations with like-minded artists Shahzad Ismaily, Laraaji and Bill Frisell. And while ‘Vėjula’still roots itself in Lithuanian folk forms, it sprouts out spiritedly from that point into unfamiliar landscapes, muddling ancient themes with contemporary philosophies, concepts and technologies.
Following previously shared tracks “Aglala” and “Koumu Lil”, today they share “Namopi” – a collaboration with legendary American multi-instrumentalist Laraaji and the band’s old friend Shahzad Ismaily, a versatile Pakistani-American player, composer and producer who’s spent the last couple of decades traveling the world and working with artists such as Arooj Aftab, Laurie Anderson, Marc Ribot and Sam Amidon.
Together, Ismaily, Laraaji and Merope find harmony in their fusion of not-so-distant worlds. Ismaily plays moog, bass, drums and adds backing vocals that drape around Laraaji’s unmistakable zither chimes and transcendent synth bleeps, while Jurgelevičiūtė and Cools provide the track’s adhesive, conducting a modest ensemble that breathes with warmth.
Speaking on the track, Merope comment “Searching for a common ground, a place we can call home, music is a place like that.Besides playing with our dearest friend Shahzad Ismaily, we were very happy to meet Laraaji. Namopi was a beautiful first meeting.”
Merope emerged over a decade ago in 2012, hitting their stride in 2018 when they released the nocturnal ‘Naktės’.Since then, they’ve developed a considerable reputation for their whimsical fusion of folk and ambient music; their last album, ‘Salos’, released on Belgium’s STROOM imprint and recorded with Vilnius-based chamber choir Juana Muzika and conductor Vaclovas Augustinas, received universal acclaim, described by Boomkat as “effortlessly enchanting” and supported by none other than Björk.
‘Vėjula’ moves their music forward by examining its beating heart, weaving delicate instrumental sequences and ethereal vocals into a rich tapestry of subtle synth work, evocative field recordings and enigmatic processes. Dazzlingly modest, the album strips down Merope to their essence, rediscovering the joy in creation and collaboration.
‘Vėjula’ is an album that reaches into the unknown without losing its tight grip on the past. Merope are in a new creative phase of their career, and they’ve never sounded quite so universal, or so vital.
‘Vėjula’ track list: 1 Koumu Lil – stream 2 Namopi feat. Laraaji and Shahzad Ismaily stream 3 Lopšinė feat. Bill Frisell 4 Vija 5 Spindulė 6 Aglala – stream 7 O Underhill feat. Shahzad Ismaily 8 Rana
Merope live dates: 08/11 – Le Guess Who? – Utrecht, NL 20/11 – Viernulvier (Ruiskamer) – Gent (double bill with Alex Zhang Hungtai) 23/11 – Explore The North – Leeuwarden, NL 28/11 – BRAND! – Mechelen, BE 29/11 – Het Bos – Antwerpen 01/12 – Bozar – Brussel
Today, the Nashville-based guitarist/composer William Tyler releases his new single “Flight Final” via Psychic Hotline, his first piece of new music since last year’s lauded collaboration with Four Tet’s Kieran Hebden. Written after Tyler left Los Angeles for Nashville in the confused hurry of early 2020, where he left behind most of his recording rig, Tyler rendered new musical sketches with an iPhone and an old tape machine he found while cleaning out his late grandfather’s Mississippi office. He leaned into this admixture of distortions new and old, welding guitar and electronics to connect past echoes to the present.
Tyler’s new single “Flight Final” explores these liminal spaces, with time and tone bending until the whole world blurs. Samples and sequences first spell out a counting game, pulses and numbers phasing into a Steve Reich fantasia for one. But sighing steel guitar and wistful country licks confuse the chronology even more, pulling the seconds apart until they seem to stretch toward forever, an endless horizon of confusion and wonder. This is a soundtrack to realizing that moving forward never entirely means escaping what is behind you. “Final Flight” is also a tease; expect more music from Tyler, exploring these same deep veins, in 2025.
Fuzzzel, the world’s first artist-driven white noise app, has launched today with six exclusive soundscapes from a formidable lineup of independent music visionaries.
The initial release of Fuzzzel boasts exclusive pieces from Academy Award-nominated composer Owen Pallett, ambient music icon Eluvium, industrial hip-hop theorists clipping., genre-hopping harp journeywoman Mary Lattimore, mind-bending experimental pianist Kelly Moran and legendary wildlife recordist Chris Watson. Their longform explorations of static, drones, fuzz, wind and spectrum-filling oblivion make Fuzzzel not only a utilitarian sound-making device but a one-of-a-kind creative platform.
Fuzzzel was created by software developer and veteran music journalist Christopher R. Weingarten (New York Times, Rolling Stone), rerouting the demand for white noise into the hands of professionals, sound artists and creatives. Every piece on Fuzzzel is a lengthy, exclusive ambient journey created with the pulse of a human being and the ear of a gifted musician. Each piece — together totaling more than two hours of new music — loops indefinitely alongside a unique video provided by each artist.
Although white noise, brown noise and pink noise are traditionally marketed as tools for self care, Fuzzzel offers no preference or aesthetic suggestions on how you appreciate these works. All of them are equally appropriate for background noise, sleep aid, meditation, concentration, home atmosphere, deep listening, party accompaniment or your everyday music rotation.
“One of my core beliefs about experimental music is that there’s no ‘correct’ way to listen to it,” says Weingarten. “I’ve intentionally left Fuzzzel abstract. Play these pieces quietly or loudly. Use them for daydreaming or for focusing. Use them as ambient noise or as your favorite jams. These are open spaces for the user’s own wants and needs.”
The musicians on Fuzzzel comprise some of today’s most forward-thinking and acclaimed artists, all blurring lines between independent rock, modern classical composition and avant-garde sound art. Over the course of more than two hours of original sound, their drones run the gamut from the delicate to the thunderous. Mary Lattimore creates a fragile soundworld from harp, Moog and copper handbells, while Eluvium summons wave upon wave of churning analog seastorms. Owen Pallett’s piece recalls the wind-battered plains of a Cormac McCarthy novel, while Kelly Moran’s Prophet synthesizer culls the cosmic woosh of classic kosmische. Clipping.’s piece is constructed of the “outer space” backgrounds of their Hugo-award-nominated 2016 sci-fi concept album Splendor & Misery — each ambience represents a different room inside the interstellar vessel where the album’s story takes place. Chris Watson, whose field recordings can be heard on David Attenborough’s beloved Life series of BBC documentaries, provides a blustery audio snapshot of the Spanish peninsula of Cap de Creus, where you can surround yourself in wind gales and birdsong.
“When I started approaching these artists, many of them would tell me that they had already concocted bespoke white noise solutions for their own lives,” says Weingarten. “I’m psyched to bring these personal pieces to the world, and allow people to connect with them in their own ways.”
Keep your mind open.
[Float over to the subscription box while you’re here.]
