This week’s New Music Friday features new album releases from Beth Orton, The Comet Is Coming, Maya Hawke, The Wonder Years, and Nils Frahm. Happy listening!
“Lonely” by Beth Orton
Album: Weather Alive
Description:
“While her true and proper debut, Trailer Park, came out in 1996 when she was only 25 years old, 2022’s Weather Alive sees the Norwich-bread folk artist having lived another quarter century since then, her art now grown and evolved in fascinating ways over the decades.“
– pop matters
“PYRAMIDS” by The Comet Is Coming
Album: Hyper-Dimensional Expansion Beam
Description:
“This is the sound of a band at their most confident, capable of still pushing the boundaries they seemingly reimagined years ago without overwhelming audiences with their own love for endless improvisation. There are no lyrics on this album, but it feels like you can hear these three musicians louder than ever. Their mission is ongoing, this electric journey through the atmosphere still skyrocketing.”
– NME
“Crazy Kid” by Maya Hawke ft. Will Graefe
Album: MOSS
Description:
“Lyrically, MOSS is simultaneously raw and eloquent, Hawke’s words youthfully forward, while maintaining a certain literary tone. Sung in hushed breaths, her tales of desire, heartache, and personhood at times resemble ghost stories, the album’s lo-fi indie folk style lending many tracks a haunting atmosphere. “
– Under The Radar
“Lost It In The Lights” by The Wonder Years
Album: The Hum Goes On Forever
Description:
“If the Wonder Years put anything less than their bloody, bleeding hearts into their music, none of it would work. But they do, so it does. The Hum Goes on Forever finds the Wonder Years doing what they do best and doing it a bit better each time, all while raising the emotional stakes to make each record feel newly important. The longer this band keeps it up, the more inspiring it is to watch them do it.”
– exclaim!
“Stepping Stone” by Nils Frahm
Album: Music for Animals
Description:
“Frahm began recording Music for Animals during the first year of the pandemic, when lockdowns put much of daily life on hold, and he seems to have found inspiration in the solitude. His tempos are uniformly slow, his track lengths long—four songs run more than 20 minutes apiece—and his patterns repetitive; he’s clearly in no hurry to get anywhere.”
– Pitchfork
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