Bonobo – “Distance in Static” review

Bonobo is a 50 year old downtempo producer from Brighton, East Sussex, England, United Kingdom who made his full-length studio debut at the turn of the millennium with the widely praised Animal Magic preceding him signing to the London indie label Ninja Tune. Dial ‘M’ for Monkey as well as Days to Come & Black Sands all received similar reception despite The North Borders, Migration & Fragments respectively leaving people divided. The teasers building up towards his 8th & most likely final studio LP right here made for some of his most promising material in a long time & I had to find out whether or not those expectations were met.

After the “Dawn” intro, the opening composition “Cycles” lays out the stall quite well for what’s to come cooking up a house instrumental with some live strings in the fold whereas the 2nd single “Fire on the Water” by Arooj Aftab takes a more downtempo approach singing about a fire being set in the water. The 3rd single “Drift” was conceived after he was messing with a 70’s synthesizer feeling like a cross between Trentmøller & Moby while “Talk to Me” by Nicole Miglis blends UK garage, progressive breaks & 2-step to sing about loneliness.

“Uncasually” comes through with a powerful cross between house & techno remembering a friend of Bonobo’s who had passed away a few years ago just before “Always on Your Side” by Joy Crookes reaches the halfway point singing about feeling overwhelmed by the negativity in this world. “Youth’s Fountain” by Nilüfer Yanya hooks up a prominent acoustic guitar looking to do anything because this person’s too far to save her while “Shokoufeh” interestingly builds itself around sampling an Iranian caltax performer of the same name.

Aanya Martin takes the microphone for “Can’t You See” admitting that she hasn’t been herself while “ID700” pulls out the titular Buchla modular synth for one of my favorite tracks here largely in part of the psychedelic vibes. “Me & You” samples “Mother, I Will Reveal” by Amai Ndinlule for a passable deep tech & stutter house lead single but once “Equinoctial” layers some textual Japanese vocals performed by Ichiko Aoba over an ambient instrumental, “Mercury” enlists guitarist Kanako Yamamoto for a guzheng outro ending the album the way it began.

Closing the book on the traditional sense of what a Bonobo full-length is, this new era of mini-projects including extended plays going forward kicks off with a varied collection of material that’s mostly average compared to his other stuff. I can commend the electronic, downtempo, future garage, deep tech, deep house, new age, chamber folk, progressive house, trip hop, UK garage, progressive breaks, 2-step, stutter house, ambient & techno production searching for pieces of intimacy in something transcendentally vast even if Distance in Static feels equally safe as it’s predecessors for over a decade.

Score: 3/5

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Button Masher – “Super Button Masher” review

Baltimore, Maryland chiptune & jazz fusion producer Button Masher making his full-length studio debut. Since the turn of the decade, he’s dropped a total of 10 extended plays & 4 mixtapes including the Tracker Vision series. One of the most iconic names in the entire LA beat scene Flying Lotus signed him to Brainfeeder Records distributed by Ninja Tune earlier this summer & it was more than enough for me give the Super Button Masher a listen so I could get a better understanding of who he is artistically.

“Pastel Roses” beautifully sets the tone of what’s to come with this 3 minute intro blending jazz fusion & 16-bit whereas the lead single “Magic Dragon Ride” comes through with a tribute to 菊田裕樹 that feels reminiscent of the soundtrack to the iconic SNES RPG Chrono Trigger. “Tower Climb” brings saxophonist Nicole McCabe into the picture for another 16-bit/jazz fusion crossover further incorporating some wavy synth melodies & after the 2nd single “House Party” featuring Amanda Barise instrumentally treads funkier waters, “The Space Between Worlds” takes it back to the combination of jazz fusion & 16-bit reminding me of something outta the earlier Sonic the Hedgehog games.

Kicking off the 2nd half of his debut, “Dance of the Twin Bees” retains those 2 styles I had mentioned earlier for a colorful composition until “Hidden Power” hits us with a rush of synthesizers emphasizing the 16-bit side of things. The 3rd & final single “Tallinn Massage Chair” featuring nu jazz duo Sungazer was conceived after coming across a weirdly shaped massage chair at a hotel in Tallinn, Estonia when they were touring but once “EDBM” featuring drummer Dana Hawkins & bassist Evan Marien for a jazz fusion cut, the closer “Pause Menu for the Broken Hearted” finishes the Button Masher’s inaugural LP with 1 last 16-bit track.

The soundtrack to what many including myself would the greatest Mario game of all-time Super Mario World has been universally accepted as the pinnacle of 16-bit, so for FlyLo to bring an artist in that vein on board the Brainfeeder roster was an exciting move & Super Button Masher definitely encapsulates Button Masher’s growth over the years. He essentially produced a half hour’s worth of jazz fusion & 16-bit mixtures taking us back to simpler times in the midst of merging nostalgia with all he’s learned throughout his career up until this point.

Score: 4/5

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長谷川白紙 – 「素直な気持ち」レビュー

Here is the 4th studio LP from Tokyo, Japan singer/songwriter Hakushi Hasegawa. Making their full-length studio debut in 2019 with Air Ni Ni following their first couple of extended plays iPhone 6+ & Sōmoku Hōdō, the sophomore effort I’m Dead! would come out in 2023 & impressed the Los Angeles, California producer Flying Lotus so much to the point where he signed them to Brainfeeder Records distributed by Ninja Tune. Mahōgakkō has since become some of the label’s greatest material ever recorded & have returned 25 months later to give their Honest Feeling.

“Little Briar Rose” takes inspiration from the fairy tale of the same name singing about a century-long dream being fun to have & after the 40 second “Gettinhereroute” intermission, “Nausea” continues the glitchy jazz vibes assuring the story will always stick with you no matter where one goes. “Boss-Moire-FS” takes a more chaotic approach for the musical equivalent of a panic attack layering these spoken word bits & saxophone while “We the Ominous Warriors” abstractly sings about being in a messy kiss state.

We have Hakushi on “Why the Hell Do I Have to Say Everything From 1 to 10 Each Time Each Time Each Time Each Time?” manically explaining that anyone who doesn’t have a thumb buddy is a nobody just before the lead single “The Owner of Sweetness” blends shimokita-kei, indie rock, glitch pop, deconstructed club, pop punk, noise rock, slacker rock & noise pop singing about hopes of returning to an ungastropodish place. “Grace” later combines glitch pop, art pop, electro-industrial, deconstructed club, avant-garde jazz, epic collage, electro-industrial, industrial rock, experimental rock & tearout brostop for an eclectic 3rd & final single.

“Thief Cat Thief” after “The-End-FS” intermission embraces a quirkier sound singing about Don Planta’s book not being here because they already replaced it while “Suffocation Diary” after the “Permanent-Trompe l’Oeil-FS” interlude fuses indietronica, alt-pop, alternative R&B, neo-psychedelia, glitch pop & alté shouting out the late SOPHIE amongst others including Arca. “Witchkeeper” dabbles with spoken word for a few minutes over these strumming acoustics & once “Vanilla Value” colorfully suggests their ending would be a suitable finale, “Never Lack Nothing” sends off Hakushi’s boldest statement yet singing about being the decorators of the blackout curtain.

Honest Feeling further validates Hakushi Hasegawa as one of the most exciting artists in on Brainfeeder & could very likely become the imprint’s strongest release this year. Their glitch pop, experimental, art pop, avant-garde jazz, glitch, deconstructed club, avant-prog, nu jazz, jazz-rock, indietronica, alt-pop, alternative r&b, neo-psychedelia, glitch pop, alté, shimokita-kei, indie rock, pop punk, noise rock, slacker rock, noise pop, electro-industrial, industrial rock, experimental rock & tearout brostop feels more expansive than Mahōgakkō in time for the season of flutter arriving thanks to her new live band Haha & the Hairpins.

Score: 4/5

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Thundercat – “Distracted” review

Los Angeles, California musician, singer/songwriter & producer Thundercat returning for his 5th studio LP. Emerging in the 2000s as the bassist for Suicidal Tendencies, he would subsequently sign to Brainfeeder Records & make his full-length debut The Golden Age of Apocalypse nearly a week before I started high school. He would follow it up with the sophomore effort Apocalypse a couple summers later & his debut extended play The Beyond / Where the Giants Grow a month succeeding my graduation became popular due to the inclusion of his most lauded single “Them Changes”. It would eventually be included on Drunk, which is his most cohesive musical statement & an essential within the Brainfeeder discography. It Is What It Is mourned the loss of his friend Mac Miller & he’s having Greg Kurstin produce most of Distracted.

“Candlelight” gets things going with this smooth R&B intro singing about a lighting burning at both ends whereas “No More Lies” co-produced by Tame Impala fuses psychedelic soul, neo-psychedelia, boogie, synth-funk & synthpop suggesting he’s better off staying on his own. “She Knows Too Much” by Mac Miller blends funk, neo-soul, pop rap, jazz rap, jazz-funk & disco rap to talk about a woman out of his league leading into “I Did This to Myself” featuring Lil Yachty hops over a Flying Lotus instrumental combining neo-soul, funk, nu disco & disco rap to discuss relationships.

A$AP Rocky appears on “Funny Friends” rapping & singing about being homies until the very end just before the yacht rock-tinged “What’s Left to Say?” courtesy of Kenny Beats assures this person that the can spend their whole lives trying to figure out how they feel inside even if it’s a lie. “I Wish I Didn’t Waste Your Time” goes for a psychedelic neo-soul vibe with hints of jazz fusion & synth-funk addressing an ex-girlfriend of his while “Anakin Learns His Fate” compares himself to Darth Vader from the original Star Wars trilogy.

“Walking on the Moon” calmingly kicks off the 2nd half singing about a woman who takes him higher while “This Thing We Call Love” featuring Channel Tres tells their partners to take their time since it’s only them. “ThunderWave” featuring Willow Smith experiments with neo-soul, neo-psychedelia, tribal ambient, nature recordings, chillout & new age yearning for their lovers to hold them until reaching shore while “Pozole” suggests maybe he’s out of touch & only showing this person exactly who he is.

The song “A.D.D. Through the Roof” embraces a neo-soul sound talking about his attention deficit disorder going insane while “Great Americans sings over 1 last FlyLo beat about everything he does being a learned behavior of it’s own & landing on his feet every time he continues to fuck up. The self-produced closer “You Left Without Saying Goodbye” concludes the album clarifying that he hasn’t lost his sense of humor, hinting at posting his feet on OnlyFans being his new side hustle.

Exactly 6 years to the day since his previous full-length, Distracted could be my least favorite installment in Thundercat’s discography although there are some tracks I see myself revisiting & enjoyed it top to bottom slightly less than Big Mama last month. Greg Kurstin’s production culminates in psychedelic soul, neo-soul, alternative R&B, progressive soul, pop soul, jazz rap, nu jazz, synth-funk, jazz-funk, smooth soul, neo-psychedelia, boogie, synthpop, funk, pop rap, jazz fusion, disco rap, funk music, nu disco, tribal ambient, nature recordings, chillout, new age & yacht rock capturing the tensions between overstimulation & introspection.

Score: 3.5/5

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Flying Lotus – “Big Mama” review

Flying Lotus is a 42 year old producer, DJ, rapper, songwriter & filmmaker from Los Angeles, California who made his debut 2 decades earlier with the positively received 1983. He would later sign to Warp Records, dropping a string of acclaimed follow-ups from Los Angeles & Cosmogramma to Until the Quiet Comes & You’re Dead! throughout the course of my adolescence. Of course I’d be remised to forget the underrated DU∆LITY mixtape he dropped under the Captain Murphy alias. Flamagra in the spring of 2019 was the last time we heard FlyLo secularly, coming off the Yasuke & Ash soundtracks to drop his 7th extended play through his own label Brainfeeder Records in tandem with Ninja Tune.

The title track begins with this 36 second intro that will likely be used during an [adult swim] bumper at some point within the near future whereas “Captain Kernel” goes for a glitchier vibe instrumentally working in some additional synthesizers. “Antelope Onigri” throws it back to the IDM sound that defined Los Angeles & Cosmogramma over a decade earlier leading into “In the Forest: Day” hooking up some psychedelic synth melodies that feel like an acid trip.

“Brobobasher” continues the final leg of Big Mama blending elements of drum & bass as well as glitch and house music for almost a couple minutes while “Horse Nuke” starts off by heading for an ambient direction for the opening minute or so until combining IDM, wonky & techno for the remaining 102 seconds. “Pink Dream” however sends off the EP by cooking up an animated beat that would remind some people of the 3rd generation of video games 4 decades earlier.

Considering that he’s signed a handful of artists I’ve liked in the past such as Kamasi Washington or Hiatus Kaiyote & Thundercat, it makes me happy to hear Flying Lotus making an independent return to his electronic roots over the course of Big Mama’s brief runtime & only a month away from Distracted. His production takes an experimentally maximalist approach to IDM, glitch hop, wonky, glitch, nu jazz, ambient, chiptune, drum & bass & techno almost like a machine malfunctioning right in front of our very eyes.

Score: 4/5

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Ami Taf Ra – “The Prophet & The Madman” review

Moroccan born albeit Los Angeles, California raised singer/songwriter Ami Taf Ra making her full-length studio debut. Her husband Kamari Washington has become the most revered saxophonist of the past decade, dropping the crown jewel of Brainfeeder Records’ entire catalog with The Epic during my senior year of high school. However, she’s signing to Flying Lotus’ independent imprint distributed by Ninja Tune herself & introducing the world to who she is artistically through The Prophet & The Madman.

After the “Speak to Us” intro, the 2nd single “How I Became a Madman” begins with Ami & her husband taking inspiration from “Packard Goose” by Frank Zappa for a spiritual vocal jazz opener whereas the 4th & final single “The Prophet” asks herself how can she go in peace without sorrow. “God” goes for a Parliament-Funkadelic vibe continuing to depict themes of spirituality just before the soulfully jazzy “Love” yearns to be spoken to of affection.

“My Friend” incorporates some jaw-dropping guitar work from Brandon Coleman likening herself to a garment she wears rather than what she sees while “Children” sings over acoustics suggesting to give your children your love instead of your thoughts. “Gnawa” comes through with a passionate love letter to her Moroccan roots & after “Gibran” compositionally enhances the spiritual jazz fusions, final song “Khalil” ahead of the “Speak to Us” outro sends off the LP with a powerful 10 minute vocal jazz closer.

The Epic remains my favorite jazz album of the 21st century, so I was all on board the idea of Kamasi Washington returning to the label he dropped it under to help his wife produce her own debut & I think Ami Taf Ra can reach that point of making something as equally groundbreaking a few years from now. The Prophet & The Madman is basically her take on the spiritual jazz/jazz fusion sound her husband has become known for except she’s putting a vocal soul jazz twist to it confronting topics like duality, healing & ancestral memory.

Score: 4/5

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Salami Rose Joe Louis – “Lorings” review

This is the 6th studio LP from San Diego, California singer/songwriter & producer Salami Rose Joe Louis. Coming up almost a decade ago off her full-length debut Son of a Sauce!, the subsequent sophomore effort Zlaty Sauce Nephew caught the attention of Flying Lotus & he wound up signing her to Brainfeeder Records distributed by Ninja Tune. Her debut for the label Zdenka 2080 would become the most revered entry of her entire catalog, coming off Chapters of Zdenka & Akousmatikous to invite us all on a personal exploration of her own through Lorings.

“Inside” begins with a 2nd single fusing elements of neo-psychedelia, art pop, indietronica & space ambient singing about being lost inside this person’s love whereas “Motorway” finds Flanafi bringing in a guitar & some percussion to express hope of those roaming the unfamiliar streets having mercy on her. “That Must Be Hard for You” sticks out to me as a least favorite of mine & it has to do with the repetition than the subject matter until the 5th & final single “A Sauna Sized Pill” sings about Michael Caine hiding under a rock in plain sight.

Meanwhile on “I Dunno Ways”, we have Lindsay spending 72 seconds repeatedly singing about her being unable to play the game because she doesn’t know the way while the minimalistic “I’ll Never Say” finds herself refusing to show this person what’s really deep inside of her mind. “Crow, Friendship” sings about carrying a loaf of rye on here trying to befriend a group of birds she regularly sees outside of her apartment leading into “Hobbies” opening up regarding her stepfather telling her to find a pastime, which I’d have to assume is music.

“Basketball” ends the 1st half with this 2 & a half minute composition that feels bittersweet just before the lead single “Arm Fell Asleep” blends neo-psychedelia, art pop, indietronica & ambient pop sings about an experience she had when going boat sailing. The 4th single “Fill the Void” kinda reminds me of Toro y Moi in a way explaining that she likes to ride on faith until “Upstairs” relies itself upon its dreamy instrumentation.

One of my favorite tracks would be “Wet Log” simply because of the raw emotion packed into only a minute & a half while “Dribs & Drags” sings about getting up off the ground & wanting to see the person she’s addressing being content with life. After the melancholic “A Pool to Cry In”, the final song “Farewell” preceding the “ Fill the void // house by the lake // coda” outro ties up all loose ends confessing that she wants to start a family in addition to making her family proud & wanting her partner to be more stable.

Compared to Zdenka 2080 & Akousmatikous, I’m a bit disappointed to say Lorings could be the weakest opus of the 3 she’s dropped since signing to Brainfeeder since I’d rank it above it’s predecessor & place Zdenka 2080 above it. I have no issue with the vulnerably introspective approach to indietronica, neo-psychedelia, art pop, ambient pop, bedroom pop & glitch pop carving out her personality over the course of 43 minutes. That said: There are a handful of moments where it feels like I’m listening to half baked demos due to the amount of ideas that sound incomplete.

Score: 3/5

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Black Country, New Road – “Forever Howlong” review

Black Country, New Road is an experimental rock band from Cambridge, England, United Kingdom consisting of bassist/vocalist Tyler Hyde, saxophonist/flautist/vocalist, Lewis Evans a.k.a. Good With Parents, violinist/vocalist Georgia Ellery, keyboardist/vocalist May Kershaw, drummer Charlie Wayne & guitarist Luke Mark. Signing to Ninja Tune, the band’s debut For the 1st Time & the sophomore effort Ants From Up There have both quickly become the most important post-rock & art-rock albums of the current decade receiving universal acclaim. Taking 3 years off, they’re returning for their 3rd studio LP.

“Besties” blends progressive pop, chamber pop, baroque pop, sunshine pop & soft rock dealing with unrequited love for a best friend whereas “The Big Spin” dabbles with country singing about a restrictive domestic life unwillingly enforced on a person. “Socks” gives off progressive pop & art rock vibe explaining our lives hold a light no life has held before while “Salem Sisters” finds Tyler singing about happily being in a tree with a fire biting beneath him.

The country influences once again on “2 Horses” asking if Georgia found a man she can finally lean on leading into “Mary” heading for a minimal direction in terms of general sound taking the lyrics from diary entries followed by “Happy Birthday” crossing over progressive pop, baroque pop, art rock, folk rock, piano rock, chamber pop, indie rock & neo-canterbury teaching us privilege doesn’t bring happiness.

“For the Cold Country” carries over the progressive folk, art rock, chamber folk, progressive rock, choral, post-rock & neo-canterbury elements focusing on a journey of self-reflection while “Nancy Tries to Take the Night” tells a tragic tale ending in suicide. The title track returns to a minimalistic flare with a winding approach to the songwriting & “Goodbye (Don’t Tell Me)” finishes with an acoustic ballad admitting to Georgia falling in love with a feeling.

The modern day experimental rock trailblazers reemerge with a meticulously detailed album that includes everything from folk to prog via baroque pop & touches of alt-rock yet all the while retaining that unmistakably unique sound that only this combination of musicians can come up with. Although hugely varied & expansive, Forever Howlong also feels deeply cohesive & focused as it takes 3 distinct voices & styles & seamlessly intersperses them into a new collective sound.

Score: 4.5/5

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Kit Sebastian – “New Internationale” review

Kit Sebastian is a neo-psychedelic Turkish pop duo from London, England, United Kingdom consisting of producer Kit Martin & singer/songwriter Merve Erdem. Dropping their only extended play Passionate Objects in the summer of 2016, their full-length debut Mantra Moderne & the subsequent sophomore effort Melodi would both become well received enough to have Flying Lotus sign them to Brainfeeder Records distributed by Ninja Tune. Needless to say, their 3rd full-length album was going to be something special.

“Faust” sets the tone with this neo-psychedelic Anatolian rock lead single & intro incorporating additional elements of psychedelic Turkish pop confessing to turning this man into a total liar whereas “Camoflauge” was conceived a year prior to Mantra Moderne, singing about the relatable paranoia & anxiousness a lot of us have been feeling regarding the state of the world & Merve’s relationship insecurities. “Ellerin Ellerimde” embraces the love they have for ’60s Turkish & Latin music singing about a woman who’s always on the verge of insanity while “Göç / Me” leans heavier on the Turkish side of things admitting that she’s been in a strange mood lately.

Merve finds herself singing in English again on the 3rd single “The Kiss”, reaching the halfway point singing to her lover that she’ll kill all of his pain no matter what he’s been through leading into “Metropolis” singing about someone projecting hope onto a new place can call home. The 4th & final single “Bul Bul Bul” taking it’s cues from neo-psychedelic Turkish pop & gamelan to describe a relationship where they’re romantic alone & apathetic in public.

“Mechanics of Love” nears the conclusion of New Internationale going full tropicália poignantly singing about the time to move on coming when the sunshine reveals the rust of memories while “Odyssey” provides only 2 brief verses wanting one to sing their prophecy to her under their wings until letting it compositionally speak for itself during the final minute. The title track officially wraps things up hooking some keys reminiscent of Stereolab asking if this is an adamant march toward catastrophe or an overture to the age of revolutionary action.

New Internationale has been widely considered by fans who’ve been around since the Mantra Moderne era to be a huge improvement above the latter & being a fan of Flying Lotus since my adolescence, it’s right behind Hiatus Kaiyote’s 4th album Love Heart Cheat Code & 長谷川白紙’s 3rd album 魔法学校 for a spot amongst the top 3 Brainfeeder releases of 2024. In fact: I’d put it on the same pedestal as Ross from Friends’ sophomore effort Tread or Genevieve Artedi’s 3rd album Forever Forever & Louis Cole 4th album Quality Over Opinion as some the label’s greatest output of this ongoing decade. Secondary influences of Anatolian rock, Turkish pop, psychedelic rock, Tropicália & yé-yé make their way through them quantizing the neo-psychedelic pop style they’ve become known for both parties are at their most precise.

Score: 4/5

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長谷川白紙 – 「魔法学校」レビュー

Hakushi Hasegawa is a 25 year old singer/songwriter from Tokyo, Japan who made their full-length studio debut in 2019 with Air Ni Ni following their first couple of extended plays: iPhone 6+ & Sōmoku Hōdō. The sophomore effort I’m Dead! would come out in 2023 & impressed the Los Angeles, California producer Flying Lotus so much to the point where he signed them to Brainfeeder Records distributed by Ninja Tune. Coming off a handful of teasers, they’re ready to make their official debut as part of the Brainfeeder roster with their 3rd album.

“Departed” begins fusing glitch pop, nu jazz, art pop, speedcore, breakcore, jazzstep & breakbeat singing about wanting to think that she’s gone whereas “Gone” featuring Kid Fresino goes full Japanese hip hop taking inspiration from experimental hip hop, experimental rock, glitch pop, math rock, industrial hip hop, abstract hip hop, flashcore, brutal prog, speedcore, avant-garde jazz & breakcore so they can compare themselves to ninjas in broad daylight.

Glitch pop, nu jazz, art pop, batucada & hard drum all collide on the lead single “Mouth Flash (Kuchinohanabi)” wanting a tricky person to confess their ways to them while “The Blossom & The Thunder” after the “Repeal (Tekkai)” interlude remixes KAF’s most popular single “Thunder in Bud”, which Hakushi was featured on. The 5th & final single “Kyōfunohoshi” ends the 1st half combining glitch pop, avant-garde jazz, nu jazz, art pop, deconstructed club, jazz fusion, breakcore & jazzstep singing about showing this person the light if they do the same.

After the “NENNEKOKOROMI” interlude, “Forbidden Thing (Kimmotsu)” gives off a neo-psychedelic chamber folktronica vibe explaining that the best season of sleep has come because it’s dark while “Boy’s Texture” after the “MAHO-Interview” skit explores folktronica, neo-psychedelia, freak folk, sound collage, indietronica & trip hop heavily relying on the usage of adlibs. The final song “Outside (Soto)” succeeding the “Enbami” interlude finishes the LP taking elements of deconstructed club, glitch & sound collage expressing a desire to explore the spacious outsides because they love the way the colors change during seasons.

Air Ni Ni still remains Hakushi Hasegawa’s most acclaimed body of work to date, but Mahōgakkō lands right behind it without a shadow of a doubt & I’m confident of their future under Brainfeeder Records will help give them wider exposure to the American independent music audience in the long run. Their production predominantly has a glitchy art pop vibe to it secondarily taking inspiration from nu jazz, deconstructed club, folktronica, neo-psychedelia, hardcore EDM, experimental music & progressive pop.

Score: 4/5

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