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Alternative & Indie - Released March 25, 2020 | Dead Oceans

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Alternative & Indie - Released March 11, 2020 | Dead Oceans

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Alternative & Indie - Released March 4, 2020 | Dead Oceans

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Rock - Released February 27, 2020 | Dead Oceans

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Alternative & Indie - Released February 11, 2020 | Dead Oceans

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Alternative & Indie - Released February 7, 2020 | Dead Oceans

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Defying easy definitions, Houston's Khruangbin (Thai for "airplane," or more literally, "engine fly") soar through influences as diverse as Thai pop, Morricone westerns, dub reggae and surf guitar with a constant undercurrent of 70s American soul. The result is an original hybrid awash in cutting edge psychedelia and atmospheric in the extreme—otherworldly instrumental "world" music expertly alloyed by the considerable talents of Laura Lee (bass), Mark Speer (guitar) and Donald "DJ" Johnson (drums). Their artistry lies in being an incredibly tight band making music that sounds loose and jammy. And until now, the only voices heard on their records were repeated individual words, random conversational snippets and Lee’s soaring wordless vocals. Enter fellow Texan Leon Bridges, the guitarist and retro soul singer who shares Khruangbin's defining impulse to seek new horizons. Bridges’ well-recorded, confident vocals are front and center in a broad and detailed sonic image, adding welcome new energy to the band’s usual chill moodiness. The closing refrains of the ballad "Conversion" has more than a whiff of Stevie Wonder and he lays his smooth vocals over a repeated, gentle guitar figure on "Midnight." A heavier, more full steam groove powers the EP's standout track, "C-Side," where Johnson’s synthesizer provides body and Chase Jordan's vibes add a piquant touch. This is a low key but promising collaboration that begs the question, why just an EP? © Robert Baird / Qobuz
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Alternative & Indie - Released January 31, 2020 | Dead Oceans

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The most astonishing thing about this thirteenth album from Destroyer is its transformation. Strangely, from the first few notes of Crimson Tide, it seems to evoke Suicide Demo For Kara Walker from Kaputt, and even The Laziest River that appears on its vinyl version. There are drawn out notes, luminous progressions and synths which are more pop than ambient. Unsurprising as production was done by John Collins, bassist and member of The New Pornographers who worked on and added elements to the project like a collage after receiving the demos from Dan Bejar (the man behind Destroyer had originally only used GarageBand). The saxophone from Kaputt thus makes a comeback. The band’s pop ambitions may reach their pinnacle with the metallic decadence of Cue Synthesizer, the 1980s-style ballad The Man in Black’s Blues or the kitsch piano of The Raven, but the post-punk melancholy, characteristic of the Canadian musician is apparent on the rest of the tracks. His nasal voice is always present, its poetic prose seeming to scorn a wasted world, accompanying intimate and nebulous melodies which are filled with flowing layers (The Television Music Supervisor, Foolssong). You could think that it may become tiring, but Dan Bejar’s talent is such that he manages to refresh the opus while remaining true to himself. Beautiful. © Charlotte Saintoin/Qobuz
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Soul - Released January 29, 2020 | Dead Oceans

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Pop/Rock - Released January 17, 2020 | Dead Oceans

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Often reduced to a cliché of the missing link between Bob Dylan and Nick Drake, Bill Fay has become something of a cult figure, despite a less than plentiful discographic production: a single in 1967 (Some Good People), two albums in 1970 (Bill Fay) and 1971 (Time of the Last Persecution) then radio silence for four decades followed by a comeback in 2012 (Life Is People) and Who Is The Sender? in 2015. Venerated by younger stars (Ed Harcourt, The War On Drugs, Wilco, Okkervil River, Marc Almond and A.C. Newman worship the bearded Englishman and have all covered his songs), Fay is a master of concocting sublime miniatures. His songs are overall quite simple, rarely baroque or flamboyant, but yet they shine through their crepuscular toned-down gospel flair. The Brit carries the melodies with his faded but poignant voice and a refined piano accompaniment. These stylistically timeless moments are once again brought to the forefront on Countless Branches which is composed of songs written over the past 40 years, thus bringing some unfinished songs back to see the light of day with new melodies and lyrics on Fay’s favourite themes of nature, family, the cycle of life and the unimaginable scale of all of it… Music which moves the heart. © Marc Zisman/Qobuz
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R&B - Released January 15, 2020 | Dead Oceans

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Alternative & Indie - Released January 8, 2020 | Dead Oceans

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Pop - Released January 7, 2020 | Dead Oceans

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International Pop - Released December 12, 2019 | Dead Oceans

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Pop - Released December 5, 2019 | Dead Oceans

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Alternative & Indie - Released December 4, 2019 | Dead Oceans

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Alternative & Indie - Released November 20, 2019 | Dead Oceans

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Pop - Released November 13, 2019 | Dead Oceans

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Christmas Music - Released November 8, 2019 | Dead Oceans

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Alternative & Indie - Released October 25, 2019 | Dead Oceans

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Alternative & Indie - Released October 23, 2019 | Dead Oceans

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Dead Oceans in the magazine
  • Shame on you!
    Shame on you! The Qobuzissime debut album from five frustrated guys, experts in post-punk...