Lopatin's music has spanned genres and mediums, with the composer filling various roles, but its through line is its sense of the uncanny and Lopatin's understanding of how warping sonic textures can tap into surreality.
Tone Freq Studios captures pristine acoustics and emphasizes analog warmth, creating a tactile space that values collective experiences over the convenience of digital recording methods.
When the band split, I just needed a break. I took five years but I got pulled back into music. It's been a struggle. That's the main thing. I want it to be great, but I've got the pressure of having been in R.E.M. and it's a high bar, because I want this to be as good as that, and that's near impossible.
Laurie Anderson, the performance artist, told Paul Simon about me and said, 'You should get Adrian to play on your record. He always comes up with interesting sounds that I'm sure you could use.' That's me, the man with the interesting sounds.
Vernon's upbringing in Surrey was typical of many children born in the mid-1940s: he sang in his church choir, listened to the jazz and show tune LPs his parents owned and was bowled over by the arrival of rock'n'roll, responding most strongly to the likes of Little Richard, Fats Domino and Larry Williams.
The unit can run on three AA batteries (a set is included) or on the included USB-A to DC adapter (you'll need your own wall charger). The included instruction manual helps you make sense of what the heck all the knobs, levers, buttons, and lights mean.
quicksand is about staying rooted in yourself and not trying to fit into something that isn't yours. This powerful message reflects Simone's artistic philosophy of authenticity and self-identity, central to her songwriting approach and musical identity as an emerging artist navigating the international music landscape.
It's purely a creative space. There are no deadlines. There are no have-to's. It's just something I do for me. When you design a recording studio, the first thing you want to do is treat the room to make sure the sound is good, so you're getting an accurate depiction of the music as it was played or recorded.
Dave Grohl was an early influence, and some of the first songs Very learned to play came from Nirvana's catalog. "I wasn't one of those guys that got to start playing when I was like six years old, got lessons out the gate," he told the podcast Drummers On Drumming in 2022. "It took me a little while to kind of find my identity. I instantly knew that this was something I was going to be doing for a long time."
London R&B singer Ella Mai broke out in 2018 with the sleeper hit "Boo'd Up," which employed its chorus, mimicking a heartbeat, to channel the kind of easygoing romance that puts a skip in your step. "There Goes My Heart," a highlight from her new album, Do You Still Love Me?, captures the more demanding somatic rhythms of a love that brings your defenses crashing down.
Henry Russell Walter, better known as Cirkut, has won the Producer of the Year, Non-Classical award at the 2026 Grammys. The producer-who assisted on Lady Gaga's Mayhem and the Weeknd's Hurry Up Tomorrow-took the prize ahead of five-time nominee and one-time winner Dan Auerbach of the Black Keys, who released an album last year, in addition to his production for the likes of Miles Kane and Hermanos Gutiérrez; Dijon, who supplemented with work on Justin Bieber's ; three-time nominee Blake Mills, whose recent credits include Perfume Genius, Japanese Breakfast, and Lucy Dacus; and Sounwave, the co-producer of Kendrick Lamar's .
John sang the song (or rather, his voice was louder in the mix) because the song was melodic and Anthony was/is tone-deaf (ie- he can't hear pitch). At any rate, John essentially wrote the song, including the melody, so it wasn't entirely inappropriate for him to song it (plus he somewhat idolized Hillel).
Before the holiday, we were talking a lot about A.I. music. And then when I was listening to the new Bruno Mars song, all I could think about was A.I. It's called I Just Might. It is a rich and lustrous homage to the soul pop of the early 1970s. Obviously, you're thinking about the Jackson 5. It's gloss. It's note-perfect.
What started as a casting call for a supposed background performance on Outer Banks quietly morphed into something much bigger: a full-fledged band, a Prime Video series, and a growing touring act with sold-out shows ( get tickets here while you can!). Zendé Murdock of The Runarounds recently spoke with Kyle Meredith about the long game behind the project - one that saw five young musicians unknowingly audition for their own TV show, then spend years becoming a real band
Native Instruments and Ableton have had incredible success with their custom MIDI controllers that integrate with their DAWs (digital audio workstations), Maschine and Live, respectively. Native Instruments' Maschine (yes, it's the name of the hardware and the software) and Ableton's Push are pretty much the gold standard for integration between music-making software and hardware. Serato is hoping it can capture even a sliver of that magic with its pairing of Slab and Serato Studio.
I was in a band in Hull called Akrylykz. When the Beat came to play at the Welly club we gave them a demo tape. Then they invited us to tour with them. Later, after they split up, Andy Cox and David Steele were looking for a singer for a new band and they remembered me. Fine Young Cannibals felt right straight away. After The Tube filmed us doing Johnny Come Home, we just took off.
Her previous releases have been featured on BBC Radio 1's Alternative Show. In the studio, she has worked with Carlos de la Garza (Paramore, Best Coast), Ken Andrews (Paramore, M83), Micah Tawlks (Hayley Williams, Noah Kahan, Ashe), and her longtime producer, Stephen Laurenson. When she's not making music, Mel can usually be found playing World of Warcraft or getting lost in fantasy novels.
Until I was 12 I was in the French school system, where theatre was Moliere, Corneille, Racine. Going to the theatre meant The Sound of Music or My Fair Lady. Then it was decided I would switch to school in England. So, at 13, I arrived at Westminster school. It was 1968, and the world opened up. I went to see a school production of Waiting for Godot in French in a small room with a little stage, and I was sitting at the back.
"I'm nervous. The record is vulnerable in a way that my music perhaps hasn't been before-certainly not over the course of a whole album. I've tried to document my life in a new city and the events that led me to where I am in my life now. At the same time, I've used shared experiences as the basis for songs which try to delve into why we humans behave as we do,"
On a bright afternoon in late August, I met Kevin Parker, the polymath behind the psych-pop project Tame Impala, at a hotel bar in the Los Feliz neighborhood of Los Angeles. Parker was dressed in baggy pants, flip-flops, and sunglasses. His hair is the kind of shaggy that suggests abject neglect more than overpriced Hollywood coiffure. We ordered a round of mezcal cocktails, which, when they arrived, were conspicuously pink and garnished with tiny orchids.
