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Alternative & Indie - Released October 11, 2019 | 4AD

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Less than six months after releasing their highly acclaimed third album, U.F.O.F., the Brooklyn indie-folk band Big Thief returns with Two Hands. While its Irish twin sounds incredibly controlled and labored over, the majority of Two Hands are one-take recordings (tracked live in the middle of a Texas desert) with no overdubs, capturing the arresting beauty of their live performances. Lead single "Not" is the loudest and most intense Big Thief song to date. Frontwoman Adrianne Lenker’s croon is pushed to a panting rasp during the track’s teetering climax, and its second half is overtaken by a gangly, drawn-out guitar solo gracelessly deconstructing into ringing noise. However, despite the crashing drum fill that kicks off the record, "Not"’s striking diversion from their signature serenity is the album’s only moment of its kind. The main difference is that here, Big Thief sound looser and less concerned with painstaking prettiness. Instead, they let the tape roll and see what happens. Perhaps the most commendable aspect is that even without the benefit of studio wizardry, this band can still make magic happen. © Eli Enis / Qobuz
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Alternative & Indie - Released September 20, 2019 | 4AD

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R&B - Released August 30, 2019 | 4AD

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The new pretender to the throne of experimental and indie R&B Jeremy Nutzman, a.k.a. Velvet Negroni, is the perfect representative of his time. With an ambient synth piano, downtempo percussion and a captivating voice, the African-American from Minneapolis, who was adopted by a family of white evangelical Christians, split his formative years between classical piano lessons and late night jam sessions. This duality has clearly influenced Neon Brown, a record that looks as much to contemporary urban soul as it does to indie rock. Following a tour with his friend Bon Iver and a single released on the New York label b4 in 2018, Velvet Negroni saw his work sampled by Kanye West and Kid Cudi on their joint album Kids See Ghosts. On i,i, Bon Iver invited him to sing on the track iMi and sampled from his track Waves. This time, for his debut album, Nutzman surrounds himself with producers Psymun (Young Thug, Juice WRLD, The Weeknd) and Elliott Kozel a.k.a. Tickle Torture and reveals songs that sweep away stereotypes. The harmonies of his gentle R&B blend into each other over intense rhythms. Soft dub follows electro soul. And his androgynous voice makes the tracks all the more mysterious. Merging the influence of Prince in the 80’s, The Weeknd’s futuristic R&B and Bon Iver-style electro folk, Velvet Negroni enchants us with the eclecticism of this brilliant album. © Max Dembo/Qobuz
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Alternative & Indie - Released May 17, 2019 | 4AD

Hi-Res Distinctions 4F de Télérama
This eighth album from The National is refreshingly different, somewhat modifying the well-oiled mechanics of this American band. First and foremost, this is achieved through the presence of several female singers who support the leader Matt Berninger on most of the tracks. The most memorable are the performances of Gail Ann Dorsey (David Bowie’s bassist) on Had Your Soul With You, as well as the particularly poignant performances of Lisa Hannigan and Mina Tindle on So Far So East and Oblivions respectively, the latter being especially moving. Why this sudden feminine presence for an exclusively male band? It’s likely because the album was conceived after filmmaker Mike Mills asked The National to put his short film I Am Easy to Find into song form - a film which happens to be centred around a woman. It’s this relationship to images that has somewhat upended the Brooklyn band’s pop formula. There are a few references to some classics of cinema, chiefly Roman Holiday by William Wyler (1953). But apart from the new cinematic release, fans of The National will still find the legendary melancholy of the group in both the lyrics and the music. The presence of heart-wrenching strings on all the tracks (with the exception of the staccato violins on Where Is Her Head) as well as a recurring introspective piano (notably in the beautiful Light Years) will particularly be remembered. Bryan Devendorf’s singular rhythms plays on contrasts, occasionally making striking jerks (Rylan, The Pull of You) as well as adding a sensual flair (Hairpin Turns, I Am Easy to Find). © Nicolas Magenham/Qobuz  
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Alternative & Indie - Released May 3, 2019 | 4AD

Hi-Res Distinctions Pitchfork: Best New Music
UFO we understand. But UFOF? The additional F is for Friends according to Big Thief. UFOs and friends then? The band’s singer Adrienne Laker gives us a loose explanation: “Making friends with the unknown… All my songs are about this” With the guitarist Buck Meek, the bassist Max Oleartchik and the drummer James Krivchenia, Laker releases her third album. The Brooklyn quartet’s music is a sort of folk mixed with indie rock. Without sounding too much like them, this 2019 album sometimes contains the DNA of Sonic Youth (such as on Jenni). The result is alluring, almost shimmering. But upon a closer look, “UFOF” is a bizarre and strange, almost abnormal record. And like the late Elliot Smith (Laker’s idol that one recalls on Betsy), the beautiful melodies and tremendously artisanal guitars hide an evident melancholy and unusual, unnerving situations. Perhaps that would explain the UFOs? A less ‘polished’ and luxurious record than Masterpiece (2016) and Capacity (2017), UFOF shows a group ready to question itself and evolve its art. © Marc Zisman/Qobuz
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Alternative & Indie - Released April 26, 2019 | 4AD

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The element of surprise has inevitably been lost but the magnetism remains; this girl is unstoppable. Hannah Toop aka Aldous Harding reinterprets a tried and tested formula. Accompanied again by John Parish, PJ Harvey’s producer, the New-Zealander favors eccentric harmonies that are as rugged as they are stirring to create a sublime sound that distinguishes her from other songwriters. After her breakup with Marlon Williams, Aldous delivers a painstakingly melancholic opus that, at times, exhibits a darker side (Pilot) as well as lighter tones (The Barrel) through tracks that are packed with raw emotion despite the blunt and unfiltered lyrics. After an eponymous first album and the revelatory Party released on 4AD, Harding has realized a third success with the very succinct Designer. © Charlotte Saintoin/Qobuz
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Alternative & Indie - Released April 19, 2019 | 4AD

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Alternative & Indie - Released March 1, 2019 | 4AD

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Alternative & Indie - Released February 1, 2019 | 4AD

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Zach Condon quickly realized that he wasn’t always going to be able to wander through the subway carriages with his brass band. That even his hardcore fans would eventually grow tired of him and stop handing him their spare change... On his 2015 album No No No, the brain behind Beirut beautifully transformed his experience in the Balkan folk/Mexican scene into brilliant high-flying pop tracks. He sculpted a more artisanal sound and renewed himself while keeping the dreamy, magical singularity of his universe that’s dominated by brass and percussion.Condon is a true citizen of the world: he was born in Albuquerque, lives in Berlin and writes in New York as well as in Puglia, Italy. It is there that one finds Gallipoli, a coastal city that lends its name to this fifth album. Condon has a voice that’s characterised by a wistful lyricism, giving his songs an undeniably melancholic feel. Sat behind his Farfisa organ or his Korg synthesizer, and surrounded by Nick Petree on drums, Paul Collins on bass, Ben Lanz on trombone and Kyle Resnick on trumpet, Condon builds his songs like Russian dolls. There’s a playful side which is largely amplified by the Farfisa. And through his world music and lo-fi melodies, Gallipoli covers the entire range of everything that Beirut has generated in just over ten years. © Marc Zisman/Qobuz
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Alternative & Indie - Released October 31, 2018 | 4AD

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4AD in the magazine
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