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supported by 76 fans who also own “Spisbah”
“Do you still dream in water?” she asks. He nods—“only when it rains inside.” Their words drift, slow like signal loss,, soft clicks between heartbeats. A drone hums overhead, its shadow stroking their faces. “Are we free now?” she whispers. He laughs, small, broken. “We’re just less afraid.” They share one headphone, listening to the city’s pulse— loops of breath, echoes of what could’ve been “Hold me,” she says. “I am,” he answers, “in the static.”
go to albumsupported by 72 fans who also own “Spisbah”
Incredible sampling, a dark twist on fast tempo electro
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Everywhere at the end of time
by The Caretaker
supported by 72 fans who also own “Spisbah”
This is my absolute favorite album of all time, words can not even begin to describe how much I love it. It nails the concept of dementia as an album perfectly 100/10. I don't know if I could find anything better than this.
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FAUST III AKT I
by Pilocka Krach
Minimalist, post-punky electronic music from Germany with stern vocals and coldwave-y synths.
go to albumThe Parisian duo temper blunt post-punk rhythms with stunning, moody coldwave synths—like new wave, but more disheveled.
go to albumThe Bristol duo's debut smashes together acid beats, punishing hardcore, and harsh now into songs that are deliberately overwhelming and intense.
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Promises
by Floating Points, Pharoah Sanders & The London Symphony Orchestra
supported by 68 fans who also own “Spisbah”
Even at 80 years old, Pharoah Sanders played his tenor sax with the conviction of a gospel preacher. Every second of this album is arrestingly beautiful. As far as I'm concerned, this is essential listening for anyone who considers themselves a fan of music.
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