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Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it.The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. 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Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it.The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. LSD on Sunset Boulevard drifts into a hazy, instrumental soul journey psychedelic, warm, and disorienting, like a late-night hallucination of the city itself. The Big Nowhere (Part I \u0026amp; II) expands the narrative into a slow-burning, atmospheric descent, unfolding like a two-act crime saga. Welcome to the Land of Vacation and Probation hits with kick-ass, uptempo crime-funk madness, urgent and relentless in it's propulsion, while White Jazz is a mood of suspended, noir-infused jazz tension cool, shadowy, and unresolved. Together, the tracks map Los Angeles as a fractured yet hypnotic landscape suspended between glamour and violence, beauty and decay, myth and realityBorn in Milan in 2007 with the mission of excavating the golden age of Italian film music Morricone, Piccioni, Trovajoli, Calibro 35 have spent nearly two decades transforming that initial obsession into a singular artistic language. 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Before\/after is her most incisive record to date, confronting the gripes of being an artist and weaving self-excavation with cultural commentary. Sofie may have gone from lo-fi producer to a bona fide pop musician who's opened for Lana Del Rey, Air and LCD Soundsystem, but she still doesn't know where she fits in. She pulls no punches when critiquing the music industry - \"I'm too pop for the art world, too indie darling for the mainstream\" - but saves her biggest swings for herself. Over 12 catchy pop songs, Royer wonders if conflicts between past and future aren't just battles with our own selves. \"We are constantly in a battle with the 'pre' and 'post' states of time,\" she explains. \"There is a preoccupation with these two tenses; yet by remaining entangled in these states, we are often our own greatest obstacle to overcome. 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This album was primarily an exploration about how love and intimacy knock the wind out of you, can take your legs out from under you.\" She has also had multiple viral moments, including in the run up to writing I Don’t Know How But They Found Me!, when McRae posted a solo verse and chorus online, little more than a piece of a demo, and it took off. Covers, duets, and an avalanche of new fans followed (including the likes of Justin Bieber, Stormzy, and Dan Nigro to name a few); the song was the beginning of \"Massachusetts\", which would become her first Dead Oceans release.\u003c\/p\u003e\r\n\u003cp\u003eMcRae ventured to North Carolina to record I Don't Know How But They Found Me! with Brad Cook (Waxahatchee, Suki Waterhouse, Bon Iver), also enlisting the help of Hippo Campus's Nathan Stocker on guitar, Bon Iver's Matthew McCaughan on drums, and her younger brother, Holden McRae, on keys. \"It felt like summer camp. 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Recorded with longtime friend and engineer Jonathan Kirchner and featuring appearances from Jerry Douglas, Lindsay Lou, Trey Hensley, and more, Cover To Cover reinvents tunes by the likes of Sheryl Crow, Bob Dylan, Nitty Gritty Dirt Band, and Emmylou Harris, offering up a fresh perspective on the American roots canon.\u003cbr\u003e\u003cbr\u003eThe songs are delivered with joy and reverence here, several are drawn from the band’s earliest days playing bars and cafes around Santa Cruz. The arrangements are dynamic and spacious, with plenty of room for dazzling solos and lush harmonies. Add it all up and you’ve got a love letter from AJ Lee \u0026amp; Blue Summit to the songs that shaped them, a whirlwind journey through the last century of American roots music delivered by some of the brightest young torchbearers of their generation. 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