Ted Davis
While it hardly comes across as careless, The Road To Hell Is Paved With Good Intentions flaunts a genre-averse attitude that allows his range to shine.
2y
Expanding from a duo to a four-piece, the left-field electronic veterans pull off sonic and structural changes in a seamless way.
2y
On the buzzy UK band’s second album in six months, they explore new strains of rock while staying true to their scuzz.
2y
On Colours of Air, the off-putting noisiness of his formula is cast in the gentle glow of Morgan’s hospitable quietude. The album is lush and oblique—an approachable standout in two daunting catalogs.
3y
Sleek but not too sleek for slap bass, the Brooklyn quartet’s third album is a dispatch from the gray area between stoicism and comedy.
3y
Trading his customary piano for a mostly electronic palette, the Berlin composer conjures an air of stillness and solitude. The results are both meditative and, at three hours long, sprawling.
3y
Following the dissolution of the group’s lineup, founding member John Rossiter plays alone for the first time, working up an intimate set of songs using just mic, laptop, and field recordings.
3y
This is a relatively low-key offering, compared to the prolific synth musician’s psychedelic standards, but it still abounds with a wealth of crunchy textures and trippy atmospheres.
3y
A Tiny House is best when listened to passively, and it takes two or three active listens to pinpoint the elements that feel phoned in.
4y
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