Writing the music for a film that takes place in ancient times or—as in the case with Dune—in a distant and fictional civilisation, is often an opportunity for a composer to ask the question: what would the music of their people sound like? Hans Zimmer (Interstellar, Gladiator...) thought that the human voice would be the common denominator of these far-flung peoples. This is why one of the musical hallmarks of Dune is a guttural vocal line that punctuates several scenes in the film (Gom Jabbar). In addition to its dramatic interest (it personifies the "Voice of Command"), it also contributes to the spiritual aspect that Zimmer wanted to give to Denis Villeneuve's images: "We agreed that the music would need to have a spirituality to it...a sanctified quality...that would elevate the soul and have the effect that only sacred music can", said the filmmaker. To refine this idea, the composer used two types of strings: oriental timbres and synthesizers. This combination is also an effective way of conveying the strangeness of this fascinating and dangerous desert. Finally, the music is an essential part of the immersive spectacle in this new adaptation of Frank Herbert's SF novel series. This is made possible by, among other things, Dolby Atmos technology, which gives the listener the feeling of being enveloped by the music. This allows for more depth and flexibility in placing the various instruments and voices in the sound-space. Once again, Zimmerian emotion is combined with an insatiable curiosity for technological advances. © Nicolas Magenham/Qobuz

Caroline Polachek's latest album, Desire, I Want to Turn Into You, has been one of the most highly anticipated albums of the year, arriving on Valentine's Day to the delight of fans around the world. After the success of her debut album, Pang, Polachek's path to this latest project has been a long and winding one, with the artist dropping singles along the way, like breadcrumbs leading us to this pop paradise.As a singer-songwriter and producer, Polachek's unique take on pop music is often described as experimental, but it's her tasteful approach that truly sets her apart. With Desire, I Want to Turn Into You, Polachek invites us onto her island, surrounded by love and masterfully crafted sonic ideas that offer a much-needed palette cleanser in the saccharine-sweet buffet of pop music we are all constantly fed.The album is a mishmash of influences from all genres and eras, creating a sound that feels both timeless and forward-thinking. Each track is a building block, from the opening notes of "Welcome to My Island" to the closing chords of "Billions." On "Pretty In Possible," Polacheck channels the '80s hit "Tom's Diner" by Suzanne Vega, giving it a 2023 makeover, while "Bunny is a Rider" delivers a breakbeat, radio-ready hit that's sure to get you moving. Meanwhile, the Spanish guitars on "Sunset" transport us to a world of sun-kissed beaches and endless summers.While some critics might argue that Polachek's abstract lyrics and varied influences create a lack of throughline to the album, the counterpoint could be that this lack of consistency was intentional. By viewing the album as the soundtrack to her world, we can fully immerse ourselves in the sonic experience and discover the beauty in the chaos.  The journey takes the listener from the modern club banger "I Believe" to the ethereal "Butterfly Net," which offers a moment of respite from the chaos. The church bells and swaying harmonies of "Blood and Butter" feel like looking out over the ocean, while the Trinity Children's Choir singing "I never felt so close to you" on the closing track "Billions" brings us full circle on this island of love.Desire, I Want to Turn Into You is passionate, curious and seductive (it could be an alternative soundtrack for the television show White Lotus). While it's hard to predict what she'll do next, one thing is for sure: this is Caroline Polacheck's world, and we're all just living in it. © Jessica Porter-Langson/Qobuz

The English duo have gone on a strange journey with their last two albums. Typhoons, released in 2021, which strongly favored electro and danceable rhythms à la French Touch, divided their original fanbase all while garnering a new, wider audience. Everyone expected the group to fully own their U-turn and throw themselves into new experiments in sound, but instead, we’re faced with a record that’s more rock, and unavoidably calls back to the two first albums spawned by Royal Blood. However…although everything starts off strong with massive, stoner rock (“Mountains at Midnight” as the opener, “Tell Me When It’s Too Late”), Back to the Water Below still possesses a certain sense of pop melody, notably on the vocals, which prevents this new release from being simply classified as a step backwards.     What remains constant is their amazing way of getting into the groove on every riff. Fun fact: although it’s hard not to compare certain songs from the first (or even the second) album to the work of the legendary Queens of the Stone Age, the parallel is, in a way, still valid, as the new tracks evoke again and again the atmosphere Josh Homme’s group have developed since their album …Like Clockwork. What may be missing is that little twist that hooks you in, which at times fails to transform certain melodies into real anthems, and fight against the monolithic side that’s in the group’s nature as a “mere” duo of bass and drums.Back to the Water Below is hardly lacking in more mainstream songs, as the two companions don't hold back from trying to give a little bit of The Beatles on songs like “There Goes My Cool,” which, like a number of the other tracks on the album, features a piano discreetly placed in the background. It goes to show it sometimes takes just a few more musicians to fill out a track. Doubling back to a sound that’s a bit more rock, Royal Blood nevertheless try to change things up, turning toward different sources of inspiration. Perhaps the real transition album is actually this one and not Typhoons, which, all of a sudden, seems more like a parenthesis. © Chief Brody/Qobuz

In 2002, the members of Coldplay were still in the midst of their ascent, riding the breakthrough success of their sleepy debut, which established wide-eyed vulnerability and earnestness as an indelible part of their image. Soft and soothing, the precious Parachutes set them up for a lifetime of inaccurate comparisons to Radiohead, even though the similarities started and ended with The Bends. And just like Radiohead, they quickly evolved into another beast altogether: plugging in the guitars, amplifying the bombast, tattooing their hearts on their sleeves, and shooting for the arena rafters in a fashion more similar to U2. Their sophomore effort, A Rush of Blood to the Head, made the message clear within the first seconds of the intense opener "Politik." As Will Champion's drums crash, Jonny Buckland's guitar swells, and Guy Berryman's bass churns, frontman Chris Martin bursts through the Wall of Sound, jolting listeners awake with the desperate cry, "Open up your eyes!" Angsty and urgent, songs like "Politik" and the title track introduced fresh elements into the Coldplay repertoire, expanding their emotional palette and showing critics that they could really rock when they wanted to. This was the sound of a new Coldplay, one that developed confidence, a voice, and a budding imagination to separate themselves from the Travises and Elbows of the world. The aggressive wallop of "God Put a Smile upon Your Face" -- a live staple and fan-favorite single -- typified the trademark sound of the era, combining Champion and Berryman's groove with Buckland's outer-space noodling, a style that they'd blast into the stratosphere on the follow-up effort, X&Y. Along with "Daylight" and "A Whisper," the track helped establish Coldplay as an arena rock presence, pulling them out of the indie-dwelling bedroom and onto the big stage. From that platform, Coldplay also delivered three of their most enduring and beloved singles: the sparkling "In My Place," the weepy ballad "The Scientist," and the piano-kissed showstopper "Clocks." With A Rush of Blood to the Head, Coldplay pulled back the curtains to reveal a robust and energized unit, one that would soon conquer the mainstream with a steady evolution into the world of pop. At this moment -- before issuing the two highest-selling albums in the world in 2005 and 2008 and becoming an international stadium sell-out presence -- Coldplay were coming to grips with their music's power and possibility, a young band hungry, bright-eyed, and primed for stardom.© Neil Z. Yeung /TiVo

Bon Jovi had perfected a formula for hard pop/rock by the time of New Jersey, concentrating on singalong choruses sung over and over again, frequently by a rough, extensively overdubbed chorus, producing an effect not unlike what these songs sounded like in the arenas and stadiums where they were most often heard. The lyrics had that typical pop twist -- although they nominally expressed romantic commitment, sentiments such as "Lay Your Hands on Me" and "I'll Be There for You" worked equally well as a means for the band and its audience to reaffirm their affection for each other. The only thing that marred the perfection of this communion was Jon Bon Jovi's continuing obsession with a certain predecessor from his home state; at times, he seemed to be trying to re-create Born to Run using cheaper materials.© William Ruhlmann /TiVo

Everyone professionally involved with the creation of Kanye West's sixth solo effort was sworn to secrecy, and with no preorders allowed, plus the news that producer Rick Rubin was still tinkering with tracks seven days prior to the drop, this instant, no-singles, anti-hype album got pre-release hyped on an Olympic scale. Think of the roll-up as a revolutionary blow against the empire or the supernova ego of West in full effect, and while it's probably a little of both, Yeezus the album is a lot of both, with good taste and bad taste both turned up to 11. This aggro-industrial earthquake with booming bass and minimal synths balances groundbreaking hip-hop lyrics ("New Slaves" is a bizarre, layered concept clash where high fashion, slavery, and "I'd rather be a dick than a swallower" all collide) with punkish, irresponsible blast-femy (during the draggy, trap track "I'm in It," West's melodious and melancholy voice shouts its dreams to the multitude, pleading "Your titties, let 'em out, free at last/Thank God almighty, they free at last" as if civil rights and booty calls were equally noble quests), and it all works in an astonishing, compelling manner. It's as if West spent the last year listening exclusively to Death Grips and Chief Keef and all the political, social, and musical contradictions became his muse, inspiring moments like the Keef and Bon Iver meet-up that fuels the mile-high hangover number "Hold My Liquor." "Blood on the Leaves" is recklessly bold as it uses Nina Simone's performance of "Strange Fruit" under its snide tale of ex-girlfriends, groupies, and date rape drugs; then there's the obviously volatile "I Am a God" ("Hurry up with my damn massage!/Hurry up with my damn ménage!"), which still outdoes its provocative title with a swelled-head manifesto plus an unexpected, Magic-Mike-meets-Aphex-Twin boom production courtesy of Daft Punk. The closing beauty called "Bound 2" finds veteran singer Charlie Wilson reuniting with that Gap Band bassline but in chilly, new wave surroundings, but the most spellbinding juxtaposition on the album comes on first as claustrophobic electro-clasher "On Sight" offers "Black dick all up in your spouse again/And I know she like chocolate men/Got mo' n*ggas off than Cochran" -- stunning because Kanye is family now with the OJ Simpson trial's "Dream Team," seeing as how he's dating Kim of the Kardashian family and the couple welcomed a child three days before the album's release. Coming from the man who jumped on-stage and grabbed Taylor Swift's VMA award, or called the American President a racist during a nationally televised charity event, this angry, cathartic, and concise album (punkishly running 40 minutes), and its unconventional road to release seems like a personal quest for the next provocative, headline-making, and unforgettable fix. That's an unfathomable thing for most and irritating for many, but it's Kanye's unbelievable reality, so complaining about Yeezus being unrelatable is like complaining the sky is untouchable. At least he has decided to indulge his giant hunger with the help of art, and if anything, this is the moment he becomes a swashbuckling Salvador Dali figure, chopping down all that's conventional with highly imaginative work and crass, attention-grabbing attitude. Unlike Dali's separate delivery of the two, Yeezus is an extravagant stunt with the high-art packed in, offering an eccentric, audacious, and gripping experience that's vital and truly unlike anything else.© David Jeffries /TiVo

Having built up a considerable reputation thanks to So Tonight That I Might See, Mazzy Star reappeared after three years with Among My Swan, only to receive widespread indifference. It's a touch surprising -- unlike, say, fellow 1993 breakthroughs the Cranberries, David Roback and Hope Sandoval didn't rapidly descend into self-parody crossed with delusions of grandeur. Instead, they kept on keeping on, proffering the same combination of psych, blues, folk, and art-pop touches that made their earlier releases so captivating. That said, though, at base Among My Swan just isn't as quietly involving as the earlier records, that magical fusion of styles somehow coming across as a little been-there, done-that here. There's nothing quite as immediate as "Fade Into You," nothing as awesomely delicate as "Five String Serenade," as woozy and powerful as "Mary of Silence." There are plenty of songs that try for that, though, and even if Among My Swan won't raise the dead or heal the sick, it's still pleasant enough listening, and sometimes the secret of success is in the details. Keep an ear out for the soft chimes that punctuate "Happy," for instance, or how William Reid from the Jesus and Mary Chain's guest guitar helps turn "Take Everything" into the slow-burning monster it is. Sandoval's singing is as drowsily intoxicating as before, while Roback's ability to create atmospheres is equally fine. Among the better moments: "Rhymes of an Hour," which carefully balances a quieter arrangement with sudden moments that almost but don't quite lead to a full-band jam; the acoustic-based mood-out "All Your Sisters," suggesting such earlier guitar/violin efforts as "Into Dust"; and the soft-landing conclusion, "Look on Down from the Bridge," a bit of a church hymn in its own way, thanks to the organ-led melody.© Ned Raggett /TiVo

Fans who discovered Incubus and their album Make Yourself through their massive radio hit "Drive" may be surprised that the band released a follow-up album so quickly. Yet the reality is that Make Yourself was a definitive sleeper hit, never peaking past the Top 50 of Billboard's album charts, but staying on those same charts for close to two years and in the process shifting over two million units. With each successive single that was released, the band gradually moved away from the nu-metal/Ozzfest crowd they had been initially lumped into and revealed the solid songwriting and talent for a good melody underneath the layers of surging guitars. The lessons learned from Make Yourself have definitely been applied to Morning View. While there is still a fair share of aggressive numbers ("Circles," " "Blood on the Ground," and " "Under My Umbrella" arguably the strongest of the harder tracks), the ratio of softer and mellower numbers have increased dramatically, to the point where hardcore fans of earlier material may be bewildered. For the most part, the transition works. "Mexico" is a sparsely arranged acoustic ballad that gives lead singer Brandon Boyd an opportunity to demonstrate his formidable vocal range. "Are You In" is an upbeat, funky tune reminiscent of Sugar Ray (and that's meant in a good way). The most offbeat track is the album closer, "Aqueous Transmission," a tranquil, exotic-sounding ballad that sees the band successfully experimenting with Middle Eastern string arrangements. Not all the experiments gel ("Echo"), and there is a tendency, especially in the middle third of the album, for the songs to sound too similar in sound and tempo, but on the whole, Morning View is a fine follow-up to Make Yourself and a natural progression in the band's musical evolution. While it may not appeal to fans of the harder material, music lovers who like their rock a little less aggressive and a little more ambitious and, well, sensitive should give Morning View a spin.© Deren Svendsen /TiVo

Will to Power is the tenth studio album from Swedish power metal outfit Arch Enemy. Produced by bandmembers Michael Amott and Daniel Erlandsson, the five-piece deliver a selection of brutal, riff-heavy metal tracks with vocalist Alissa White-Gluz's uncompromising guttural growl.© Rich Wilson /TiVo

Bon Jovi had perfected a formula for hard pop/rock by the time of New Jersey, concentrating on singalong choruses sung over and over again, frequently by a rough, extensively overdubbed chorus, producing an effect not unlike what these songs sounded like in the arenas and stadiums where they were most often heard. The lyrics had that typical pop twist -- although they nominally expressed romantic commitment, sentiments such as "Lay Your Hands on Me" and "I'll Be There for You" worked equally well as a means for the band and its audience to reaffirm their affection for each other. The only thing that marred the perfection of this communion was Jon Bon Jovi's continuing obsession with a certain predecessor from his home state; at times, he seemed to be trying to re-create Born to Run using cheaper materials.© William Ruhlmann /TiVo

There are plenty of examples where bands have attempted a comeback and it’s been an absolute flop. Bands which, for some unknown reason, try to come back from the dead and end up making an album that’s just way too much. Fear not - The Symbol Remains doesn’t fall into that category. Not even close. Coming 19 years after their last studio album but still staying true to their sound, Blue Öyster Cult run hot and cold on this album, alternating between dark, heavy tracks and pop-like ritornellos that wouldn’t stand out in Billy Joel’s discography. The brains behind the band haven’t changed either: Eric Bloom (guitar, vocals) takes charge of the dark side while Donald “Buck Dharma” Roeser brings a light, airy side to the album.The 14 tracks on The Symbol Remains are rather heart-warming. Bloom’s darker tracks (such as the opener That Was Me or the brilliant The Alchemist) create threatening atmospheres that bring Megadeth to mind, but they never cloud over the lighter ambiences found on tracks like Box In My Head, Tainted Blood (the album’s hit song, composed and sung by their youngest member: guitarist Richie Castellano) and Florida Man.On these overtly soft tracks, the listener is guided between melodies destined for Californian radios and harder Toto-esque rock. The duality is brilliant. It’s as exciting as eating out the jam jar, knowing that judging eyes could appear at any moment. Sounding close-ish in spirit to the sublime Fire of Unknown Origin (1981), The Symbol Remains is one hell of a comeback. 19 years is a long, long, long time. It takes talent to come back well. Luckily enough, Blue Öyster Cult have lots of it! © Charlélie Arnaud/Qobuz

Eight years have passed since the Californians of Cypress Hill’s last album yet the band are still all over the scene, both with solo projects and collaborations. Cypress Hill’s energy on stage is unparalleled, which guarantees them a place at most festivals around the world. The promise of this new album, “Elephants on Acid”, is primarily based on the return of DJ Muggs, their brilliant producer, who is picking up right where he left off, between sixties psychedelics, blazing breakbeats and smoky mysticism. Just like on the very detailed gothic album cover, Muggs unearths a monster buried deep underground and resurrects the legend of “Temple of Boom”, the band’s labyrinth album released in 1995. Between drugs and spirituality, B-Real, the main rapper, reinterprets Cypress Hill’s rather dark repertoire, halfway between Los Angeles Latino culture and hallucinating fantasy à la H.P. Lovecraft. With a few more recreational tracks like “Crazy” or “Oh Na Na”, which make the group sound like a mutant gypsy marching band, Cypress Hill are revitalised, though slightly removed from the saturated guitars of their earlier releases. Ending on “Stairway To Heaven” which is reminiscent of the ethereal soul of Portishead or Massive Attack, “Elephants on Acid” is a multi-layered journey around the mind, in which listeners can both lose and find themselves. © Aurélien Chapuis/Qobuz