The Mall World and Backrooms of Music
At first, the shock of recognition of Mall World and Backrooms music is slightly sickening, yet ultimately Proustian-ly satisfying in its uncanny familiarity.
At first, the shock of recognition of Mall World and Backrooms music is slightly sickening, yet ultimately Proustian-ly satisfying in its uncanny familiarity.
Call it the Reverse Eno: beloved ambient-chill guy CFCF finds glam-pop success, but refuses to sell out his emotions along the way.
Alexander Noice creates layers of sound and interlocking melodies, blending jazz, improvisation, and tightly wound compositional lines, with modern technology.
Under the Mukqs moniker, Max Allison keeps topping himself. Juckport is another wild sonic ride from the forward-thinking Hausu Mountain label.
Partisan Ship, is a jarring yet highly welcome shift that showcases Phillip Golub’s far-reaching keyboard approach and his ensemble arrangements.
Often imitated but rarely duplicated, SUSS’ “ambient country” sound is unmistakable, and with their latest album, they haven’t slowed down a bit.
Matt Evans takes listeners on a journey that includes light, darkness, quiet, and loudness. It’s a holistic experience, deserving of deep contemplation.
Oceanine is where Jolanda Moletta truly shines, allowing other deeply talented artists to collaborate on the process. It’s warm, enchanting and dreamlike.
If Animal Collective records translated density into exhilaration, Croz Boyce work in the opposite direction, pulling things apart and seeing what remains.
Seefeel are less interested in constructing songs than sustaining a shifting field of texture, where familiar signposts dissolve as quickly as they emerge.
Bristling with ideas and formations, Stephen Emmer’s latest work is so malleable to interpret precisely because the tones and timbre are so universal.
ITERAE sees two trailblazing musician-composers, Joseph Branciforte and Jozef Dumoulin, experiment with keyboards and electronics.