Jon Hopkins' next album, Singularity, will see release via Domino on May 4th. Singularity is influenced by the UK producer's experiences with meditation and trance states, the label says. It embraces a wide stylistic range that spans "rugged techno to transcendent choral music, from solo acoustic piano to psychedelic ambient."
How I Live Now is the big screen adaptation of the award-winning young adult novel by Meg Rosoff, directed by acclaimed Academy Award winning director Kevin McDonald (The Last King Of Scotland, Marley). The original soundtrack is scored by Jon Hopkins, composer, producer and longterm collaborator of Brian Eno and Coldplay. Featuring some of his darkest, most nihilistic work to date, the score is built from two contrasting elements - atonal, sub-terrestrial drones with a backbone of pounding rhythms, and sublimely pastoral acoustic piano. These two opposing musical forces guide the viewer through the film, by turns disturbing and beautifully meditative. The centrepiece of the score is the track The Hawk, a timeless and heartbreaking theme that recurs throughout the film.
Jon Hopkins is the creator and curator of sonic witchcraft. A musician skilled enough to create melodies that evoke images in the mind’s eye is a rare thing indeed, but to fully transport a listener’s consciousness into a dark, mystical dimension of other is nothing short of genius; borderline black magic. The audio warlock who conjures up these tangible fabrics of parallel lands brings forth his Midas touch in the score for independent low budget feature length horror Monsters. And if the film, for some, smacks somewhat of cheese, Hopkins’ soundtrack does not. Instead it draws listeners (and viewers) in as it does into an enhanced and lucid existence, opening portals into alternate worlds, stirring hearts and very souls…
39 sleazy late night tunes with Milk & Sugar, Dub Pistols, Moloko, Deepest Blue, Elbow, Fatboy Slim & more
Brian Eno brings the first album in three and a half years. This Japanese edition features SHM-CD format, and includes four pieces of art prints and a 8-page booklet. Special packaging. Special Feature - a bonus track for Japan. The Ship marks Brian Eno's first ambient album since 2012's Lux. Work on the album began as a 3-D sound installation in Stockholm, but altered to stereo when Eno realized he could sing in a low C, The Ship's root note. The Ship contains two works, the 21-minute title track, and the three-part "Fickle Sun." The title piece, a reflection on the sinking of the Titanic, recalls a moment in his distant past: he released Gavin Bryars' Sinking of the Titanic on his Obscure Music label in 1975.
Norwegian violinist Mari Samuelsen’s debut for the Yellow Label is entitled simply MARI and is set for international release on May 31 via Deutsche Grammophon/Universal Music Canada, the country’s leading music company. Recorded with the Konzerthausorchester Berlin and conductor Jonathan Stockhammer, the album explores the contradictions of contemporary life – the fact that, despite the excitement of city life and the convenience of instant communication and express travel, many of us still feel a need to ground ourselves in the peace and quiet of the natural world. Mari herself was born in rural Norway and goes back to the family farm as often as her schedule allows. She was keen, therefore, to choose a selection of music echoing the conflicting pulls on our time and energy.
With the DIY video for her 2017 track “Pretty Girl,” Clairo became the premier case study for how the internet can instantly blow up homespun artists. But with her full-length debut album, the Massachusetts indie-pop phenom betrays a bold artistic vision that can no longer be contained by her bedroom walls. Co-produced by the artist with ex-Vampire Weekender Rostam Batmanglij, Immunity achieves just the right balance of focus and fuzz, expanding Clairo’s sonic vocabulary with neo-soul vibes, jazzy piano lines, and boom-bapped drum breaks while framing her most brutally honest tracks—like the breakup lament “Bags” and same-sex-love anthem “Sofia”—with gritty intensity and blown-out distortion. Throughout the album, Clairo tries to reconcile her desire for independence with her need for intimacy, an emotional tug-of-war that reaches its zenith on the momentous closer “I Wouldn’t Ask You,” a stark, defiant piano ballad that cedes to the warm embrace of its ecstatic chillwave outro.
Lightnin’ Hopkins is arguably the greatest Texas blues star of the 1960s era. A country bluesman of the highest caliber, his career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. His style, strong rhythms punctuated by his flowing but compact lead lines, created a stinging and heart-tearing evocative sound.