11 5 18 2 5 18 makes it sound like Yann Tiersen has been dabbling in deeply abstract instrumental synthesizer mood music for decades. Yes, he pulls it off.
Thirty-five years later, twin albums of demos and outtakes from cheeky British synthpop duo I Start Counting have surfaced, and they’re not without their pleasures.
Lee Ranaldo’s In Virus Times is a lockdown project through and through. Its sound, execution, and overall aesthetic stem from uncertainty and isolation.
Phew’s voice on New Decade is an instrument often disconnected from lyrics. Its job is supplemental to the amorphous tones she invokes from electronics.
Even when José González is strumming chords, he holds the spaces between strokes to create drama and nuance. There’s always something going on beneath the music.
“It’s really simple,” Yann Tiersen explains. “There is no inspiration out of [the location], there is no deeper meaning than to just juxtapose music and places.”
What makes The Neon Remixed so successful as a remix LP is the artists reshaping Erasure’s tunes didn’t dissect the sturdy compositions to their skeletal origins.
The founder of Mute Records and his brilliant production collaborator have crafted countless masterpieces together over the years, but their long-in-the-works Sunroof project didn’t get around to releasing their debut album until 2021. This is their story.
Visionist’s A Call to Arms is a success. Louis Carnell has dialed down on the noise and written the most straightforward, emotionally-charged work of his career.