#karin-dreijer

#karin-dreijer

The collaboration marries Yener's distinctive vocals with the punchy sound of Madrigal, resulting in a contemporary track that resonates with emotional complexity.

Butterfly unfolds across four unique versions of the same song, each exploring different genres and emotional depths while maintaining a cohesive melody and lyrics.

"Sing Your Sorrow is a heartfelt expression of a desire to shoulder the burdens of others, specifically written for my daughter, Lydia."

Her slowly shifting synthesizer compositions and quiet, meditative pieces for acoustic instruments continue to inspire a deep immersion in their audiences, and her recordings and writings have influenced multiple generations of musicians worldwide.

Some of the stories I have regarding love are giving myself into the impossible. It doesn't matter if I have to move overseas if I have that intuition in my heart. That spirit of stepping into the unknown runs through A Danger to Ourselves, the latest album from the Colombian-born composer and sound artist.

Formed in 1998 to celebrate the 25-year anniversary of ABBA winning Eurovision with 'Waterloo', teens Amit Paul, Dhani Lennevald, Marie Serneholt and Sara Lumholdt entered A*Teens as an ABBA tribute group. But after their slew of ABBA covers reached the top 40 around the world - 'Mamma Mia' hit number one in their homeland - the group decided to stick about for a bit, releasing original hit singles.

The work behind "Waiting for You" by Monotronic spanned two years and several geographic mindsets. Its songs were built in the contained spaces of an East Village apartment and the open humidity of Tulum, initially seeming like disparate projects with no clear direction. Only in retrospect did their shared disposition come into focus. This is an album about the slow work of self-knowledge, which here looks less like an epiphany and more like the gradual acceptance of a particular signal,

When director Emerald Fennell needed to hire a musician to score her Wuthering Heights adaptation, only one person came to mind: Charli XCX. Not only did the British pop star accept the offer, but she used her soundtrack to capture love in all of its grandiose, moody, and elusive ways. As she described the soundtrack on her Substack, it's a "dive into persona, into a world that felt undeniably raw, wild, sexual, gothic, British, tortured and full of actual real sentences, punctuation and grammar."

"I just make stuff until it sounds right," said Norwegian experimental musician Gaute Granli in a 2021 interview, when asked about his creative intentions. His answer is both evasive-what would it mean, when crafting deliberately confrontational art, to release something you think sounds wrong?-and an accurate description of a practice shaped by enigmatic instincts. Granli's curious new album Rosacea has a nebulous atmosphere all its own.

A teenage Björk, in defiance of her stuffy music schooling, had studied not only Cage but also the radical turn-of-the-century composer Arnold Schoenberg, whose early operas developed a voice that flickered, glissando-style, between boisterous singing and speech. Schoenberg called the technique sprechstimme, but when you hear it performed now-even if not in Björk's own, meagerly bootlegged rendition of his Pierrot Lunaire-the style has arrived in the timeless preserve of the Björkian.

DJ-Kicks is a series that shaped how I think about DJing and listening. I played the DJ Koze mix an unhealthy number of times, to the point where it basically lives in my DNA now. Those mixes taught me that the best ones aren't about showing off; they're about taking people on a journey. They move, twist and surprise you. They give you goosebumps when you least expect it.