With Singularity, electronic composer Jon Hopkins uncovers a joyful sense of connection at the center of all things. "The idea of singularity is the idea that every atom in the universe exists in the same place, this infinitely small point," he says.
Melkbelly splices insanely supercharged punk energy with noise-band drums and super catchy pop melodies. It's a bewildering, intoxicating sound which has caught the attention of underground Chicago audiences. We ask singer Miranda Winters how it works.
Australian songwriter Zoë Randall of Luluc has been listening to her favorite albums, over and over, for decades. Her own new one Passerby is so effortlessly lovely that you can likewise imagine yourself putting it on again this year and next year and the one after that.
PopMatters talks to Protomartyr's frontman Joe Casey about his band's working class roots, the pros and cons of making music in Detroit and his fascination with spinning cultural flotsam into surreal narratives.
Zachary Cale may know everything you'd want to know about the fingerings and folk-picking styles of artists like Mississippi John Hurt and Blind Willie McTell, but he's not interested in recording historical artifacts.
In third album as Oneohtrix Point Never, electronic composer Daniel Lopatin works in a palette of sounds that are almost, but not quite recognizable, with structures that are nearly, but not really songs. "I'm interested in things that are on the edge of becoming real," he says. "I was thinking about that a lot."
A Wim Wenders documentary on fashion got CFCF's Michael Silver thinking about everyday objects -- bowls, rings, cameras -- and the intangible feelings they evoke. His Music for Objects works on an intimate scale to examine the resonance and emotional weight of the ordinary items that surround us.
Sonny Smith might be the West Coast's best, least predictable songwriter, but don't try to pin him down. He followed up his 100 Records performance art project with first a country album and now a synthy, whimsical, sci-fi exploration of the afterlife. "I didn't have it all mapped out," he says. "I thought it would be fun to take a left turn ... and then another one."
Josh Rouse discusses his latest album, The Happiness Waltz, and the elusive magical moments in music: the balance between family and career, his long-time partnership with producer Brad Jones and what really makes a good song tick.