“A butterfly was seen by a glider pilot at 11,000 feet. They may fly higher...”

Losers began as an idea with two kindred spirits in the countryside studio of one of the noughties most interesting and underrated bands, The Cooper Temple Clause. The idea pupated, other musicians became involved, two kindred spirits became three and a butterfly emerged, beautiful, ready to take to the wind. 

Two albums into their career, they moved to Berlin, to be more inspired and signed a publishing deal with BMG. The idea pupated once more and the butterfly that emerged was darker, but much more powerful. 

The beauty and power of Losers has been acknowledged by some of the most beautiful and powerful TV shows for the Netflix generation. Game Of Thrones, The Blacklist, Reign, Black Sails, just part of a long list of epic and often groundbreaking television series that have used Losers music. 

The momentum that the band garnered in their Berlin studio under the production gaze of multi-instrumentalist Tom Bellamy was breathtaking and saw their music also used by high impact films like Hercules and Upgrade (from the director of the Saw franchise). 

But things don’t always go the way you want them to. The darkness of the Brandenburg forest, the isolation of the studio deep in that forest and the consequent downward spiral of all three members of the band saw the toughest couple of years imaginable and an album, ‘How To Ruin Other People’s Futures’, which reflected this pain and despair. 

Through their pain, Losers found an opportunity to grow, to transform and for them, the only way out was up. What emerged was the most spectacular butterfly the band could have ever envisaged and a journey ahead that continues to be unstoppable. With Paul Mullen’s soaring vocals taking them ever higher,

Losers decided to galvanize the live band into a two piece which is where they find themselves today. More focused, free and poised for anything that gets in their way. 

Thanks to long time collaborators like Damian Taylor (Björk, UNKLE, The Killers, Arcade Fire and Austra), and Dan Austin (Doves, Massive attack) Losers music sounds more expansive than ever. There is a balance that was missing before. The rage has turned to wisdom and the despair to hope. Their songs now look less within themselves and more at the world around them, a world in balance, with joy and sadness, with clarity and confusion, with contrast and with color. 

Losers are about to fly, and this time, they may never come down.

> Exclusive Premieres / Reposts : goo.gl/h2MFz4

Genres : Deep House / Melodic House / Dance / Pop / Tropical House / Tropical Pop / Future House / Future Bass

Sharing the alternative way of music

Helping  unknown artists to get the recognition they deserve!! 

Official Soundcloud page of the alexrainbirdMusic YouTube channel. Follow for monthly indie playlists, weekly reposts and more!
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Hello,
This a music page, made to disclose unknown bands or barely known.

Let's make them be heard, don't stop spreading good music because what Sounds New Sounds Good. 

If you have some cool music of yours that you would like to share with us, please do!
We'd love to publish it in our page so we could spread your awesomeness to the world!
Don't worry, all your rights and pages will be also attached to your song!
Please email us to "SoundsNewSoundsGood@outlook.pt"

Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

Welcome to my little corner on Soundcloud! This is where I repost little gems I find on here and of course the songs I've uploaded on my youtube channel. And hey, since you are reading about this channel, why don't you give it a quick peek? ;)

✘ For submissions or other inquiries contact me here: MistifiedMusic@gmail.com ✘

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