as per usual another masterpiece, cool mix too

one of the songs added in is Weapons, But what was the other one at the end? I can't place it! I can't understand quite what he's saying. Lift me up lift me over-?

strings

Pan's Labyrinth Lullaby

Kyoudai

78'ere

12541 To Each His Own

Produced by Jim James & DMM
Recorded & Mixed by Kevin Ratterman
Additional Recording by DMM
Mastered by Joe Lambert
Photos & Videos Captured by Michael Wilson
Design by Dusty Summers

Dan Dorff, Jr. – Piano, Organ & Keyboards
Dave Givan – Drums & Percussion
Alana Rocklin – Bass
Zak Appleby – Bass
Scott Moore – Violin
Charlie Patton – Cello
Jim James – Guitar & Vocals
Joan Shelley – Vocals
DMM – Piano, Guitar & Vocals

Golden Age

Nadia Reid - Listen To Formation, Look For The Signs comes out Nov. 27 on Scissor Tail (U.S.) and Spunk (New Zealand).

Pitchfork -
Love is sold on the promise that it's better than any solitary satisfaction, so you might as well bet everything on it, time and time again. On "Call the Days", New Zealand songwriter Nadia Reid cuts to the heart of this deception: "I was happy on my own," she sings in a plainspoken lilt. "I would call the days as they were known." Yet there's no trace of vengeance in her deep, capable voice, and the surface of her gorgeous song remains steady, as a raga-like drone anchors rolling acoustic guitar and languid cello. Instead, like Laura Marling or Joan Shelley, the self-assurance Reid had once cultivated acts as its own safe harbor, turning the event into a meditation rather than a rupture. For a new artist, her confident grace is all the more remarkable.

NPR - 
Love is knowing what's best for yourself. We grasp at straws trying understand what that is, but even in that knowledge, we betray our best intentions to get stupid about another person. On "Call the Days," New Zealand folk artist Nadia Reid sings, "I was happy on my own / I would call the days as they were known" with a knowing yip, against a droning backdrop of closely mic'd acoustic guitars and longing cello. It's a heartbroken song, but made self-assured by Reid's warm, marbled alto.

Phoebe Mackenzie and Emily Berryman direct this beautifully shot video for "Call the Days," as the characters Nadia and Ross travel through New Zealand roads, forests and countrysides. Its muted palette is in keeping with the song's calm, yet gray skies; they betray the days ahead.

Nadia Reid - "Call The Days" (album excerpt)

Doctor Who Series 6 Disc 1 Track 31 - Melody Pond

Let Go (Andrew Judah Remix)

Bleach-Will of the Heart.

From the start, Son Lux has operated as something akin to a sonic test kitchen. The Academy Award® and BAFTA-nominated band strives to question deeply held assumptions about how music is made and reconstruct it from a molecular level. What began as a solo project for founder Ryan Lott expanded in 2014, thanks to a kinship with Ian Chang and Rafiq Bhatia too strong to ignore. The trio strengthened their chemistry and honed their collective intuition while creating, releasing, and touring six recordings, including Brighter Wounds (2018) and triple album Tomorrows (2021). The result is a carefully cultivated musical language rooted in curiosity and balancing opposites that largely eschews genre and structural conventions. And yet, the band remains audibly indebted to iconoclastic artists in soul, hip-hop, and experimental improvisation who themselves carved new paths forward. 

Distilling these varied influences, Son Lux searches for equilibrium of raw emotional intimacy and meticulous electronic constructions. Son Lux scored A24’s Best Picture winner Everything Everywhere All at Once for which they were nominated for two Academy Awards and a BAFTA. The full score album features new collaborations with Mitski, David Byrne, Randy Newman, and Moses Sumney, among others.

Let Go (Andrew Judah Remix)

Son Lux*

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