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extratone/musicbox.json

Created June 11, 2025 00:03
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musicbox.json
This file has been truncated, but you can view the full file.
{
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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. I had a weekend of listening to Bicep and Aphex Twin, just having that on in the background while I was making bread, and I wanted to get back in the studio and do something a bit nostalgic with the vocal pads and 303—that sort of ’90s, Bicep-y, Moby, 808 State sound.”<br />\n<b>“Cosmic Waves”</b>\n“For this track, I need to shout out my Roland SH-101—a nice, bright red, limited-edition one. I’ve got a lot of synths in the studio that I’ve built up over the years, and everything is MIDI’d together, so you just turn it on, fire it into your DAW, and start making music. But the SH-101 isn’t MIDI, so I don’t use it a lot. But I had recently watched Mathew Jonson talking about his favorite synths, and the way he was playing the SH-101 was really how you’d imagine a guitarist or drummer playing their instrument, so I fired it up and spent some time with it. ‘Cosmic Rays’ is sort of a tip to the Mathew Jonsons of the world—my interpretation of performing with the SH-101, just mucking around with the arpeggiators and the decay and creating a journey through the whole track.”<br />\n<b>“Came Home” (feat. Catrin Vincent)</b>\n“I very rarely listen to upbeat dance music unless I’m going through promos or getting ready to play a show. My personal time is spent listening to different stuff. Radiohead is one of those key groups I’m always listening to. I had made the basis of this track, the bones and the beats, and it sounded like Thom Yorke, his Atoms for Peace stuff or solo records—those mad, sporadic drum patterns. I knew that Catrin was a big fan of Thom Yorke and Radiohead, and her voice is incredible. She’s got a very distinct sound. I sent it over, and she absolutely smashed it. With some of these collaborations throughout the lockdown period, I was quite lucky to work with some of these people. I just don’t think it would have happened in normal circumstances.”<br />\n<b>“Closing In” (feat. Lawrence Hart)</b>\n“We had so much fun working together on ‘Warning Signs,’ I wanted to do something else with Lawrence. Getting two vocal tracks from Lawrence on the album, it sort of brings it all together. Once you hear ‘Warning Signs,’ if you’re into it, it’s a nice surprise to have him come back again towards the end. Both tracks were mastered at Abbey Road, which is incredible, too—that’s a little cherry on top.”<br />\n<b>“Unite”</b>\n“I originally wanted to have this track performed by a full orchestra, but the logistics of getting 60-odd people in a room together in the middle of the pandemic was impossible. So, I basically shelved the track, but then I came across the Charlie Chaplin vocal, and it stopped me in my tracks. The meaning of the vocal, it just hit home for the times we’re in. It seemed like the perfect way to bring the album to a close.”\nThe arty NYC trio return with their first album in nine years.\nAn emotive debut ready for both the club and quiet reflection.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.",
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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. I had a weekend of listening to Bicep and Aphex Twin, just having that on in the background while I was making bread, and I wanted to get back in the studio and do something a bit nostalgic with the vocal pads and 303—that sort of ’90s, Bicep-y, Moby, 808 State sound.”<br />\n<b>“Cosmic Waves”</b>\n“For this track, I need to shout out my Roland SH-101—a nice, bright red, limited-edition one. I’ve got a lot of synths in the studio that I’ve built up over the years, and everything is MIDI’d together, so you just turn it on, fire it into your DAW, and start making music. But the SH-101 isn’t MIDI, so I don’t use it a lot. But I had recently watched Mathew Jonson talking about his favorite synths, and the way he was playing the SH-101 was really how you’d imagine a guitarist or drummer playing their instrument, so I fired it up and spent some time with it. ‘Cosmic Rays’ is sort of a tip to the Mathew Jonsons of the world—my interpretation of performing with the SH-101, just mucking around with the arpeggiators and the decay and creating a journey through the whole track.”<br />\n<b>“Came Home” (feat. Catrin Vincent)</b>\n“I very rarely listen to upbeat dance music unless I’m going through promos or getting ready to play a show. My personal time is spent listening to different stuff. Radiohead is one of those key groups I’m always listening to. I had made the basis of this track, the bones and the beats, and it sounded like Thom Yorke, his Atoms for Peace stuff or solo records—those mad, sporadic drum patterns. I knew that Catrin was a big fan of Thom Yorke and Radiohead, and her voice is incredible. She’s got a very distinct sound. I sent it over, and she absolutely smashed it. With some of these collaborations throughout the lockdown period, I was quite lucky to work with some of these people. I just don’t think it would have happened in normal circumstances.”<br />\n<b>“Closing In” (feat. Lawrence Hart)</b>\n“We had so much fun working together on ‘Warning Signs,’ I wanted to do something else with Lawrence. Getting two vocal tracks from Lawrence on the album, it sort of brings it all together. Once you hear ‘Warning Signs,’ if you’re into it, it’s a nice surprise to have him come back again towards the end. Both tracks were mastered at Abbey Road, which is incredible, too—that’s a little cherry on top.”<br />\n<b>“Unite”</b>\n“I originally wanted to have this track performed by a full orchestra, but the logistics of getting 60-odd people in a room together in the middle of the pandemic was impossible. So, I basically shelved the track, but then I came across the Charlie Chaplin vocal, and it stopped me in my tracks. The meaning of the vocal, it just hit home for the times we’re in. It seemed like the perfect way to bring the album to a close.”\nThe arty NYC trio return with their first album in nine years.\nAn emotive debut ready for both the club and quiet reflection.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.",
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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. I had a weekend of listening to Bicep and Aphex Twin, just having that on in the background while I was making bread, and I wanted to get back in the studio and do something a bit nostalgic with the vocal pads and 303—that sort of ’90s, Bicep-y, Moby, 808 State sound.”<br />\n<b>“Cosmic Waves”</b>\n“For this track, I need to shout out my Roland SH-101—a nice, bright red, limited-edition one. I’ve got a lot of synths in the studio that I’ve built up over the years, and everything is MIDI’d together, so you just turn it on, fire it into your DAW, and start making music. But the SH-101 isn’t MIDI, so I don’t use it a lot. But I had recently watched Mathew Jonson talking about his favorite synths, and the way he was playing the SH-101 was really how you’d imagine a guitarist or drummer playing their instrument, so I fired it up and spent some time with it. ‘Cosmic Rays’ is sort of a tip to the Mathew Jonsons of the world—my interpretation of performing with the SH-101, just mucking around with the arpeggiators and the decay and creating a journey through the whole track.”<br />\n<b>“Came Home” (feat. Catrin Vincent)</b>\n“I very rarely listen to upbeat dance music unless I’m going through promos or getting ready to play a show. My personal time is spent listening to different stuff. Radiohead is one of those key groups I’m always listening to. I had made the basis of this track, the bones and the beats, and it sounded like Thom Yorke, his Atoms for Peace stuff or solo records—those mad, sporadic drum patterns. I knew that Catrin was a big fan of Thom Yorke and Radiohead, and her voice is incredible. She’s got a very distinct sound. I sent it over, and she absolutely smashed it. With some of these collaborations throughout the lockdown period, I was quite lucky to work with some of these people. I just don’t think it would have happened in normal circumstances.”<br />\n<b>“Closing In” (feat. Lawrence Hart)</b>\n“We had so much fun working together on ‘Warning Signs,’ I wanted to do something else with Lawrence. Getting two vocal tracks from Lawrence on the album, it sort of brings it all together. Once you hear ‘Warning Signs,’ if you’re into it, it’s a nice surprise to have him come back again towards the end. Both tracks were mastered at Abbey Road, which is incredible, too—that’s a little cherry on top.”<br />\n<b>“Unite”</b>\n“I originally wanted to have this track performed by a full orchestra, but the logistics of getting 60-odd people in a room together in the middle of the pandemic was impossible. So, I basically shelved the track, but then I came across the Charlie Chaplin vocal, and it stopped me in my tracks. The meaning of the vocal, it just hit home for the times we’re in. It seemed like the perfect way to bring the album to a close.”\nThe arty NYC trio return with their first album in nine years.\nAn emotive debut ready for both the club and quiet reflection.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. 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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. I had a weekend of listening to Bicep and Aphex Twin, just having that on in the background while I was making bread, and I wanted to get back in the studio and do something a bit nostalgic with the vocal pads and 303—that sort of ’90s, Bicep-y, Moby, 808 State sound.”<br />\n<b>“Cosmic Waves”</b>\n“For this track, I need to shout out my Roland SH-101—a nice, bright red, limited-edition one. I’ve got a lot of synths in the studio that I’ve built up over the years, and everything is MIDI’d together, so you just turn it on, fire it into your DAW, and start making music. But the SH-101 isn’t MIDI, so I don’t use it a lot. But I had recently watched Mathew Jonson talking about his favorite synths, and the way he was playing the SH-101 was really how you’d imagine a guitarist or drummer playing their instrument, so I fired it up and spent some time with it. ‘Cosmic Rays’ is sort of a tip to the Mathew Jonsons of the world—my interpretation of performing with the SH-101, just mucking around with the arpeggiators and the decay and creating a journey through the whole track.”<br />\n<b>“Came Home” (feat. Catrin Vincent)</b>\n“I very rarely listen to upbeat dance music unless I’m going through promos or getting ready to play a show. My personal time is spent listening to different stuff. Radiohead is one of those key groups I’m always listening to. I had made the basis of this track, the bones and the beats, and it sounded like Thom Yorke, his Atoms for Peace stuff or solo records—those mad, sporadic drum patterns. I knew that Catrin was a big fan of Thom Yorke and Radiohead, and her voice is incredible. She’s got a very distinct sound. I sent it over, and she absolutely smashed it. With some of these collaborations throughout the lockdown period, I was quite lucky to work with some of these people. I just don’t think it would have happened in normal circumstances.”<br />\n<b>“Closing In” (feat. Lawrence Hart)</b>\n“We had so much fun working together on ‘Warning Signs,’ I wanted to do something else with Lawrence. Getting two vocal tracks from Lawrence on the album, it sort of brings it all together. Once you hear ‘Warning Signs,’ if you’re into it, it’s a nice surprise to have him come back again towards the end. Both tracks were mastered at Abbey Road, which is incredible, too—that’s a little cherry on top.”<br />\n<b>“Unite”</b>\n“I originally wanted to have this track performed by a full orchestra, but the logistics of getting 60-odd people in a room together in the middle of the pandemic was impossible. So, I basically shelved the track, but then I came across the Charlie Chaplin vocal, and it stopped me in my tracks. The meaning of the vocal, it just hit home for the times we’re in. It seemed like the perfect way to bring the album to a close.”\nThe arty NYC trio return with their first album in nine years.\nAn emotive debut ready for both the club and quiet reflection.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.",
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"editorialNotesStandard": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. I had a weekend of listening to Bicep and Aphex Twin, just having that on in the background while I was making bread, and I wanted to get back in the studio and do something a bit nostalgic with the vocal pads and 303—that sort of ’90s, Bicep-y, Moby, 808 State sound.”<br />\n<b>“Cosmic Waves”</b>\n“For this track, I need to shout out my Roland SH-101—a nice, bright red, limited-edition one. I’ve got a lot of synths in the studio that I’ve built up over the years, and everything is MIDI’d together, so you just turn it on, fire it into your DAW, and start making music. But the SH-101 isn’t MIDI, so I don’t use it a lot. But I had recently watched Mathew Jonson talking about his favorite synths, and the way he was playing the SH-101 was really how you’d imagine a guitarist or drummer playing their instrument, so I fired it up and spent some time with it. ‘Cosmic Rays’ is sort of a tip to the Mathew Jonsons of the world—my interpretation of performing with the SH-101, just mucking around with the arpeggiators and the decay and creating a journey through the whole track.”<br />\n<b>“Came Home” (feat. Catrin Vincent)</b>\n“I very rarely listen to upbeat dance music unless I’m going through promos or getting ready to play a show. My personal time is spent listening to different stuff. Radiohead is one of those key groups I’m always listening to. I had made the basis of this track, the bones and the beats, and it sounded like Thom Yorke, his Atoms for Peace stuff or solo records—those mad, sporadic drum patterns. I knew that Catrin was a big fan of Thom Yorke and Radiohead, and her voice is incredible. She’s got a very distinct sound. I sent it over, and she absolutely smashed it. With some of these collaborations throughout the lockdown period, I was quite lucky to work with some of these people. I just don’t think it would have happened in normal circumstances.”<br />\n<b>“Closing In” (feat. Lawrence Hart)</b>\n“We had so much fun working together on ‘Warning Signs,’ I wanted to do something else with Lawrence. Getting two vocal tracks from Lawrence on the album, it sort of brings it all together. Once you hear ‘Warning Signs,’ if you’re into it, it’s a nice surprise to have him come back again towards the end. Both tracks were mastered at Abbey Road, which is incredible, too—that’s a little cherry on top.”<br />\n<b>“Unite”</b>\n“I originally wanted to have this track performed by a full orchestra, but the logistics of getting 60-odd people in a room together in the middle of the pandemic was impossible. So, I basically shelved the track, but then I came across the Charlie Chaplin vocal, and it stopped me in my tracks. The meaning of the vocal, it just hit home for the times we’re in. It seemed like the perfect way to bring the album to a close.”",
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"editorialNotesStandard": "The thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.",
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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. 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"editorialNotesStandard": "Like many of the best things in life, the genesis of London producer Fred again..’s debut album lies in a chance meeting on a night out. “I met a guy called Carlos in a bar in Atlanta,” the London producer born Fred Gibson tells Apple Music. “And he just had the most joyous spirit. I had some videos on my phone from the night, and when I got back to the hotel, I dragged them into Logic and began to make a song out of them.” Soon, this became a key element of his working process, and one he dubbed “Actual Life.” “Why write a song about an experience when you can just make the song out of the experience?” he says. He began trawling old videos on his phone and recording phone conversations and ended up releasing tracks featuring snippets of friends.<br />\nAfter working on tracks by artists including FKA twigs, Romy, Ed Sheeran, and Burna Boy, collaborating with Headie One on the <i>GANG</i> project, and being named Producer of the Year at The BRITs in February 2020, he spent much of the rest of the year focused on turning his Actual Life concept into his first full-length album. “It’s called <i>Actual Life (April 14 - December 17 2020)</i> because I want every album I make to be a kind of diary entry of the time it was made,” he says. “I like to try and shine a light on the things that otherwise seem unglamorous.” With Gibson citing a friend falling seriously ill and the upheaval of lockdown as two key influences on the record, <i>Actual Life</i> demonstrates his knack for creating an unshakable hook and is at times heart-wrenching and melancholic but always imbued with a healthy sense of optimism and the joy of life. “I went through some tough things this last year, but I often think the most optimistic people are those doing it in the face of adversity,” he says. “Hopefully that comes across in the music.” Here, he talks us through some key tracks on the album.<br />\n<b>“Kyle (I Found You)”</b>\n“This was the first tune I made for the project, and the vocal is from Kyle Tran Myhre, a poet I found on Instagram who goes by the name of Guante. The sample is him reading at an open-mic night, and he has such a beautifully nervous but lovable spirit. Musically, it’s quite influenced by a few nights I spent in [Berlin techno club] Berghain at the start of [2020]. You wouldn’t think it from the chords and vocal of the track, but the drums underneath have that very reverb-heavy sound you’d get on a techno record.”<br />\n<b>“Julia (Deep Diving)”</b> \n“I found Julia [Michaels] on Instagram too, and she’s a singer-songwriter. She has the most infectiously joyful tone to her voice and there’s a real innocence to her speaking tone. She’s got a beautiful singing voice too, but her speaking voice is just so special to me. I think this track really captures the joy of falling in love with someone.”<br /> \n<b>“Big Hen (Steal My Joy)”</b> \n“I made this track at 5 am on a beautiful summer’s day in August [2020]. I decided to get up really early to work on music and this just came together so quickly. The drums obviously have a garage influence. It’s a really hopeful and joyful song.”<br /> \n<b>“Angie (I’ve Been Lost)”</b> \n“The interlude just before this track is a reprise of a lot of the memories and samples on the record, and then the track kind of concludes the record. It’s funny because it feels like it ends on a positive note, but really it’s me trying to say I don’t know what’s going on and how I’m feeling. The sample is from Angie McMahon, an amazing singer I saw play to, like, 20 people in a basement a while back. When she says, ‘I’ve been lost, I’ve been lost, but I’m really trying,’ I think you can take that sentence in a few different ways.”<br />\n<b>“Marea (We’ve Lost Dancing)”</b> \n“So this features Marea Stamper, aka The Blessed Madonna. I met Marea initially in Palestine at a trip for songwriters organized by [creative group] Block9 and Banksy. She’s such an open book and a real bastion of the human spirit, and we’ve been good friends since. This sample came from a conversation we were having on Zoom about what’s happened to our industry this year and hopefully what will come next. She’s such a natural orator and a great example of someone who’s optimistic in the face of adversity. This song’s almost like a bonus track, as it looks ahead to what’s coming next.”",
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"editorialNotesStandard": "In early 2021, Tom and Ed Russell were working on a mix for the iconic London club fabric. They knew they wanted a particular tune included, but simply couldn’t find the track anywhere or remember its name. Faced with a deadline and an endless dig through disc logs, the pair changed their approach: They would themselves write the song they could hear. The track became June 2021 single “So U Kno”—an insidious, addictive banger that’s a cornerstone of the Russells’ debut album as Overmono.\n\nIt’s an anecdote that reveals a great deal about the brothers’ practical mindset and prodigious abilities. Veterans of the UK dance scene (Tom, the elder Russell, released techno as Truss, while Ed put out drum ’n’ bass as Tessela), the Welsh-raised producers combine for something special here. <i>Good Lies</i> is an extraordinary electronic record: a genre-defying set glistening with purpose, poise, and dance-floor delirium. \n\n“The main anchor for the album isn’t genre-based, it’s an emotional place,” Ed tells Apple Music. “It’s a particular emotional sense that we try and achieve with a lot of our music—depending on what mood you’re in on that day, you could interpret that state in a few different ways.” Tom is able to pinpoint the origins to that “emotional ambiguity.” “I think our formative experiences of partying in the Welsh countryside had a massive impact on us,” he says. “When you have the sun going down and the sun coming up, and those emotions of somewhere between euphoria, slight sadness that the night’s coming an end but a real sense of optimism that you’re going into a new day. These sorts of weird crossover points are what we try and find in how we put our music together.” Read on for the brothers’ track-by-track guide.\n\n<b>“Feelings Plain”</b> \nEd Russell: “It was originally going to close the album. We wanted to see if we could make a sort of plainsong piece of music—13th-century church music, where someone would be singing one note over and over and then someone else joins in, and everyone’s singing these cyclical things. But when it all comes together, they start cycling differently and you get this big wash of voices. But we wanted to try and do a sort of R&B take on plainsong—it was one of the songs that had a more conceptual start to it.”\nTom Russell: “It was the furthest we’d gotten in terms of direct new avenues that we might explore. It’s a bold statement of intent to start.” \n\n<b>“Arla Fearn”</b> \nER: “When did you first write this bassline, Tom?”\nTR: “About 1976. No, I think it was about 15 years ago.” \nER: “I would tell Tom it’s the best thing he’d ever written. It’s got so much mood and character and just sounds so satisfying to me.” \nTR: “I know Ed meant it as a compliment but I kept on taking it as a bit of a diss really. But I finally gave in.”\nER: “We spent ages processing the drums and then Tom sampled the Geovarn vocal and came up with the insane outro. The track is at 135 BPM, and by the end it’s at 170 BPM, but you never really notice it’s changed—it just flips the vocal into a different spot. We really wanted the album to be a place where tracks would often morph into something completely different. That it’s bubbling over with ideas.” \n\n<b>“Good Lies”</b>\nER: “We went through a phase of trying not to sample every Smerz song because they just had so many good hooks. They’re incredible at writing these top lines that sound straight off early-2000s garage records, but not in a pastiche way. We had the vocal from [2018 Smerz track] “No harm” and spent a lot of time chopping it into the phrasing we wanted and creating a hook out of this little section that had jumped out at us. The demo for the instrumental then came together in a day, but there was an 18-month, almost two-year period from writing the demo to coming back and starting to really chip away at it.” \n\n<b>“Good Lies (Outro)”</b>\nTR: “When we were writing the ‘Good Lies’ instrumental, we thought we’d see if we could flip it and turn the vibe on its head into something moodier. It’s always going back to that ambiguity with us. There’s something of that in the <i>Good Lies</i> title. What constitutes a good lie?” \n\n<b>“Walk Thru Water” (feat. St. Panther)</b>\nTR: “Ed was at my studio in February [2022], and we were battening down the hatches for Storm Eunice.”\nER: “It was this quite nice feeling of, ‘All right, there’s a storm coming, we’ve got loads of snacks and a few drinks, the place to ourselves, and we can’t go anywhere.’ Tom had written these really beautiful chords and I’d kept saying I wanted to do something with them. We got really stoned while the rain was coming down, listening to these chords, and we came across the St. Panther vocal.”\nTR: “I then started doing the beat on the Pulsar—which is a drum machine that’s quite difficult to tame but on certain things it just works beautifully.” \n\n<b>“Cold Blooded”</b> \nTR: “This started out as something quite different. It dawned on us that we’d written this massive IDM tune.”\nER: “It was a bit too nice, wasn’t it?” \nTR: “It was this late-’90s breakdance thing—not really the vibe we should be going for.”\nER: “I had this Kindora sample that I’d wanted to use for ages, and then Tom sent me this slowed-down version of ‘Cold Blooded’ with the new drums and I realized it’d be fucking killer. It then became a month of last-minute adjustments, which we sometimes get ourselves into a bit of a hole with. Tweaking everything until the last.” \n\n<b>“Skulled”</b>\nER: “We had the Kelly Erez sample put away into our sample folder. And then we built a drum machine—a copy of a ’70s drum machine called the Syncussion, made by Pearl, the drum kit manufacturer. It [the Syncussion] was meant to sound like a normal drum kit, and it sounds so far away from real drums it’s insane. We spent a couple of weeks trying to make our version sound like we’d soldered it not quite right. It has this weird, sort of dry, alien, ’80s vibe to it. Like with all our stuff, it’s processed so heavily.”\nTR: “Ed has come up with this mad compression chain, which you can basically put any sort of drums into and you get this massive wall of noise.”\nER: “I said earlier the best thing Tom has written was the bassline on ‘Arla Fearn,’ but I’ve changed my mind now: It’s the piano outro to ‘Skulled.’ We both loved the idea of the song ending like a classic ballad—a Céline Dion tune.” \n\n<b>“Sugarushhh”</b> \nTR: “We liked the idea of trying to shoehorn in a screaming 303 to the album somewhere.” \nER: “Tom’s good at doing these quite irregular things that you don’t immediately notice. This, if you actually count it out, is in some weird time signature and it’s cycling every nine bars. It was also really important that we had this abrasive, aggressive 303 line being offset completely with a really beautiful vocal.”\n\n<b>“Calon”</b>\nER: “Tom played me the first iteration of this in the back of a van on the way to a festival in Minehead. We’ve sampled Joe Trufant a few times before and we liked the idea of there being a few familiar voices on the album.” \nTR: “We then hired a studio in Ibiza and Ed had the idea of making the beat much slower. It became this big, slowed-down house tune—it dropped to something like 110 BPM.”\nER: “We were in a US club sound-checking and played through some tunes from the album. Hearing it on the club system we were like, ‘Fuck me!’ It’s this sneaky banger.” \n\n<b>“Is U”</b> \nER: “We’ve both been massive Tirzah fans since the start, and one day the ‘All I want is you’ line from ‘Gladly’ just jumped out of the speaker at us. We then spent ages trying to make the beat on this mono machine we have, which has all these really shit ’80s drum samples. We just mangled them until we had the beat, and then chopped up the vocal to get what we felt was a really strong and more confrontational delivery. Tom then put these lush chords in the breakdown and it opens the track up, like the sun coming out from behind a cloud.” \nTR: “It’s amazing when a track starts to take on a life of its own. Playing this out and seeing the reaction gives me goosebumps every time.” \n\n<b>“Vermonly”</b>\nER: “A lot of our tracks will be written on just one piece of gear and we see what you can do with it. I had bought Tom a synth for his birthday, but when I gave it to him he said he wasn’t going to be in the studio for a few days, so I asked if I could take the synth I had just given him. I sent him a really rough 16-bar loop with the main melodic ideas, and he did the rest, really.” \nTR: “Tracks like this are really important to us. They might get lost on an EP. It’s not always about writing dance-floor bangers.”\n\n<b>“So U Kno”</b>\nER: “We were doing this mix for fabric and we both knew we wanted a very particular tune in the mix but couldn’t find it. So we basically just thought, ‘Fuck it, it’ll be quicker to write something ourselves.’ I had a chopped-up vocal and a rough beat going, played it to Tom, who went straight over to a Jupiter-6 synth and immediately played the bassline before doing the same with the chords.” \n\n<b>“Calling Out”</b>\nTR: “Ed had suggested to try and sample something by slowthai and I managed to find this little [section] I really liked from quite an obscure track called ‘Dead Leaves.’ I loved the line ‘I’m like the sun, I rise up and then gone.’ Then we combined it with a CASISDEAD and d’Eon sample and it really started to make sense. I have a tendency to overcomplicate things, but Ed is often able to say, ‘We don’t need that,’ or ‘Change a snare from there to there.’ A tiny idea or decision can make such a huge difference.”\nER: “I remember when Tom sent me the chords for the end and I felt like it reminded me of old Radiohead—the perfect way to close the album.”",
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"notes": "- [Overmono: Good Lies](https://pitchfork.com/reviews/albums/overmono-good-lies) - *Pitchfork*\n\n“Functional” is a dirty word in dance music. No one wants to be merely functional, nor find themselves on the receiving end of utilitarianism. You don’t want to be invited to a “function,” either—you want to go to a party. Yet culture has been tacking in the direction of the functional for a while now. Music is composed to study or sleep or chill to. Algorithms anticipate our desires. Any creative act can be made into content, which computers then sell ads in front of. There are brand “activations,” which is just another word for functions. All this matters rather a lot for the state of dance music, which, at its core, is meant to serve a specific purpose. Even its name issues a command: Dance.\n\nBut the best dance music knows all this and blithely ignores it. Instead, it deftly undercuts function with surprise, or pairs it with emotion in [sweet harmony](https://www.youtube.com/watch?v=RW4YfSxBeAw). The brothers [Overmono](https://pitchfork.com/artists/34228-overmono/) have garnered a reputation as both virtuosos of the functional (see the Pavlovian hooks of 2020’s “[Everything U Need](https://overmono.bandcamp.com/album/everything-u-need)” or the following year’s “[Bby](https://overmono.bandcamp.com/track/bby)”) and explorers of what lies beyond it (just listen to those plush plucks disintegrate on 2019’s “[Le Tigre](https://overmono.bandcamp.com/album/poly011)”). Occasionally these two modes meet, and deliver something like the heart-bursting [“I Have a Love” remix](https://overmono.bandcamp.com/track/i-have-a-love-overmono-remix). It’s in these moments, when Overmono bridge the gap, that you grasp what they’re all about. The pair grew up on either side of the same small Welsh town, Monmouth, 10 years apart in age, split between separated parents but tethered by a shared upbringing in music—under their dad’s professional tutelage, in the choral and mining band traditions of Wales, and then digging through record bins and banging out rave tapes in the woods. *Good Lies*, their debut album, inhales the vapors of dance music’s countercultural emergence and steers against the functional course in search of transcendence.\n\nThere’s something almost unnerving about the precision with which Overmono operate: The scant palette they draw from—globular basslines, glassy percussion, an array of disembodied vocals—is unerringly clean. Even seeing two brothers teaming up after successful solo careers (Tom Russell as techno titan [Truss](https://pitchfork.com/artists/32874-truss/), younger Ed as breaks magician [Tessela](https://pitchfork.com/artists/31687-tessela/)) feels uncannily symmetrical. But there’s grit, too, and the tension between the rough-edged and the machine-tooled makes the whole exercise all the more vivid and enveloping. It’s in the straining vocal chops and bit-by-bit build of “So U Kno,” and the glossy, luminous, [Frank Ocean](https://pitchfork.com/artists/29508-frank-ocean/)-on-acid swirl of “Walk Thru Water.” Not a drop of [Smerz](https://pitchfork.com/artists/smerz/)’s syrupy, breathless delivery is wasted on the title track as it rattles along with all the tumult of falling in love. They’re happy to take things slow, too. “Vermonly”—one of a handful of more sedate tracks here—sits like a mottled antique mirror in the midst of the album’s energetic closing run, as if inviting you to pause and take a more considered look.\n\nThe most abiding moments on Good Lies come when the Russell brothers set aside their laser guides. Closer “Calling Out” sounds like it’s happening in reverse, all hollowed-out kicks and retracting synth stabs. The hiss and stray wind chimes that periodically cut through the tight swing of “Cold Blooded,” and the in-and-out float of its stringy vocal, make it feel like chancing upon a new favorite song as you scroll across the radio dial or drift between Room 1 and Room 2. There are missteps—“Sugarrushhh” is a little aimless; “Skulled” is the sort of love letter to hardcore rave that ~[Burial](https://pitchfork.com/artists/4806-burial/)~ has done better—but none so big as to lead them off course.\n\nThe Russell brothers haven’t been shy about their ambitions to take this show to the big stages; the sky-touching chord progressions would have given it away if they hadn’t. At times, you can almost picture the confetti cannons going off—never more than when they flip ~[Tirzah](https://pitchfork.com/artists/31578-tirzah/)~’s bluesy register into an ecstatic swoon on “Is U.” But Good Lies makes clear that Overmono haven’t sacrificed intimacy or immediacy to the prospect of festival slots and pyrotechnics. Just as the pair’s name conceals a certain domesticity (Overmonnow is a suburb of Monmouth), fuzzy tracks like “Calon”—Welsh for heart—and the undulating “Arla Fearn” offer a sense of grounding that helps the big emotional swings hit. Good Lies toes a fine and, yes, functional, balance. There’s beauty in all this precision too—like an Eames chair, a perfectly weighted spoon, or the cone of a 15-inch subwoofer pushing air out of the bass scoops.",
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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. I had a weekend of listening to Bicep and Aphex Twin, just having that on in the background while I was making bread, and I wanted to get back in the studio and do something a bit nostalgic with the vocal pads and 303—that sort of ’90s, Bicep-y, Moby, 808 State sound.”<br />\n<b>“Cosmic Waves”</b>\n“For this track, I need to shout out my Roland SH-101—a nice, bright red, limited-edition one. I’ve got a lot of synths in the studio that I’ve built up over the years, and everything is MIDI’d together, so you just turn it on, fire it into your DAW, and start making music. But the SH-101 isn’t MIDI, so I don’t use it a lot. But I had recently watched Mathew Jonson talking about his favorite synths, and the way he was playing the SH-101 was really how you’d imagine a guitarist or drummer playing their instrument, so I fired it up and spent some time with it. ‘Cosmic Rays’ is sort of a tip to the Mathew Jonsons of the world—my interpretation of performing with the SH-101, just mucking around with the arpeggiators and the decay and creating a journey through the whole track.”<br />\n<b>“Came Home” (feat. Catrin Vincent)</b>\n“I very rarely listen to upbeat dance music unless I’m going through promos or getting ready to play a show. My personal time is spent listening to different stuff. Radiohead is one of those key groups I’m always listening to. I had made the basis of this track, the bones and the beats, and it sounded like Thom Yorke, his Atoms for Peace stuff or solo records—those mad, sporadic drum patterns. I knew that Catrin was a big fan of Thom Yorke and Radiohead, and her voice is incredible. She’s got a very distinct sound. I sent it over, and she absolutely smashed it. With some of these collaborations throughout the lockdown period, I was quite lucky to work with some of these people. I just don’t think it would have happened in normal circumstances.”<br />\n<b>“Closing In” (feat. Lawrence Hart)</b>\n“We had so much fun working together on ‘Warning Signs,’ I wanted to do something else with Lawrence. Getting two vocal tracks from Lawrence on the album, it sort of brings it all together. Once you hear ‘Warning Signs,’ if you’re into it, it’s a nice surprise to have him come back again towards the end. Both tracks were mastered at Abbey Road, which is incredible, too—that’s a little cherry on top.”<br />\n<b>“Unite”</b>\n“I originally wanted to have this track performed by a full orchestra, but the logistics of getting 60-odd people in a room together in the middle of the pandemic was impossible. So, I basically shelved the track, but then I came across the Charlie Chaplin vocal, and it stopped me in my tracks. The meaning of the vocal, it just hit home for the times we’re in. It seemed like the perfect way to bring the album to a close.”\nThe arty NYC trio return with their first album in nine years.\nAn emotive debut ready for both the club and quiet reflection.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.",
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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. I had a weekend of listening to Bicep and Aphex Twin, just having that on in the background while I was making bread, and I wanted to get back in the studio and do something a bit nostalgic with the vocal pads and 303—that sort of ’90s, Bicep-y, Moby, 808 State sound.”<br />\n<b>“Cosmic Waves”</b>\n“For this track, I need to shout out my Roland SH-101—a nice, bright red, limited-edition one. I’ve got a lot of synths in the studio that I’ve built up over the years, and everything is MIDI’d together, so you just turn it on, fire it into your DAW, and start making music. But the SH-101 isn’t MIDI, so I don’t use it a lot. But I had recently watched Mathew Jonson talking about his favorite synths, and the way he was playing the SH-101 was really how you’d imagine a guitarist or drummer playing their instrument, so I fired it up and spent some time with it. ‘Cosmic Rays’ is sort of a tip to the Mathew Jonsons of the world—my interpretation of performing with the SH-101, just mucking around with the arpeggiators and the decay and creating a journey through the whole track.”<br />\n<b>“Came Home” (feat. Catrin Vincent)</b>\n“I very rarely listen to upbeat dance music unless I’m going through promos or getting ready to play a show. My personal time is spent listening to different stuff. Radiohead is one of those key groups I’m always listening to. I had made the basis of this track, the bones and the beats, and it sounded like Thom Yorke, his Atoms for Peace stuff or solo records—those mad, sporadic drum patterns. I knew that Catrin was a big fan of Thom Yorke and Radiohead, and her voice is incredible. She’s got a very distinct sound. I sent it over, and she absolutely smashed it. With some of these collaborations throughout the lockdown period, I was quite lucky to work with some of these people. I just don’t think it would have happened in normal circumstances.”<br />\n<b>“Closing In” (feat. Lawrence Hart)</b>\n“We had so much fun working together on ‘Warning Signs,’ I wanted to do something else with Lawrence. Getting two vocal tracks from Lawrence on the album, it sort of brings it all together. Once you hear ‘Warning Signs,’ if you’re into it, it’s a nice surprise to have him come back again towards the end. Both tracks were mastered at Abbey Road, which is incredible, too—that’s a little cherry on top.”<br />\n<b>“Unite”</b>\n“I originally wanted to have this track performed by a full orchestra, but the logistics of getting 60-odd people in a room together in the middle of the pandemic was impossible. So, I basically shelved the track, but then I came across the Charlie Chaplin vocal, and it stopped me in my tracks. The meaning of the vocal, it just hit home for the times we’re in. It seemed like the perfect way to bring the album to a close.”\nThe arty NYC trio return with their first album in nine years.\nAn emotive debut ready for both the club and quiet reflection.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.\nThe thing about Freddie Gibbs’ music is that you know it when you hear it but can imagine him almost anywhere: alongside DJ Paul on some throwback Southern trap (“PYS”) or over a lounge-y Alchemist beat (“Blackest in the Room”), next to newcomers like Moneybagg Yo (“Too Much”) or pioneers like Raekwon (“Feel No Pain”). Were his voice weaker or his writing less sharp, his workingman’s kingpin persona might get washed out, but they aren’t. And over the course of 45 minutes, he confirms that his stylistic flexibility isn’t creative indecision so much as proof of his gift for bridging hip-hop’s past with its ever-evolving present. After 2019’s underground-leaning Madlib collaboration <i>Bandana</i> and the self-consciously classic sound of 2020’s Alchemist-produced <i>Alfredo</i>, <i>$oul $old $eparately</i> sounds like Gibbs locking in his niche: the rapper’s rapper that a general audience can understand.",
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"editorialNotesStandard": "“I’ve always been into very futuristic sounds,” Nick Douwma, aka Sub Focus, tells Apple Music. “But on this album, there’s a thread of nostalgia running through it too. I grew up in the ’90s and I wanted to reference some of the sounds that had a formative influence on me, whether that’s things I was into like The Chemical Brothers or breakbeat and jungle, or things like happy hardcore which I just absorbed by osmosis through friends who were into it at the time.”\n\nOn his third full-length solo album (and fourth album when counting <i>Portals</i>, the 2020 collaborative effort with Wilkinson), the UK producer simultaneously finds himself pushing his music into new shapes and dimensions while drawing on what brought him to dance music in the first place. “I’ve been finessing my sound and working out the other genres and sounds that I suit beyond drum ’n’ bass,” he says of the album, which encompasses guests ranging from house hitmakers CamelPhat to elusive D’n’B adventurer Jonny L. “I’m enjoying making music more than ever, and I hope that comes across on this album.” Read on for his track-by-track guide to <i>Evolve</i>.\n\n<b>“Trip”</b>\n“I wanted to have a big intro song to kick off the record, and this track definitely feels like you’re at the start of a journey. I got really into using modal keys—different musical keys which are neither major or minor. This tune’s in a Mixolydian key and it sits weirdly somewhere between major and minor and has a slightly trippy feel to it. Myself and [London producer] Metrik have been big fans of each other’s work for a while, and this was the perfect idea to work on together.”\n\n<b>“Calling for a Sign” (feat. Kelli-Leigh)</b>\n“Kelli is an incredible vocalist and writer and has strong opinions but is very economical with her ideas. We worked on a few tracks, but the vocal for this was an idea she’d written and sung over my track ‘Solar System.’ It really inspired me to write something new for the vocal. One thing I love on this track is how we hold back all the chord changes until much further into the build, so the song evolves really nicely.”\n\n<b>“Fine Day”</b>\n“I’ve wanted to do something with this sample for a very long time. 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I made this instrumental the night before our session, played it to them, and they immediately came up with the vocal idea and explained to me what to do to record all the takes. They’re so quick at assembling their sound. It’s a really interesting process.”\n\n<b>“It’s Time”</b>\n“I love spoken-word verses on house tracks, and Gene [Farris] is one of the iconic voices of the genre. There’s a bit of a Chemical Brothers feel to the track too. I love that feeling of chaos and mayhem you get in a Chemical Brothers set when you watch them live, with all these different styles, voices, and pitches going on at the same time before it all comes back together for the drop. I was trying to emulate that.”\n\n<b>“Ready to Fly”</b>\n“Myself and Dimension unexpectedly had quite a big hit with our track ‘Desire’ in 2018, and this is the follow-up. We wrote it in the run-up to our set at Arcadia in Glastonbury in 2022, and it starts with a vocal Rob [Etheridge, Dimension] brought in which we sped up. We took some influence from my youth and my mates’ happy hardcore records, and people seem to go absolutely crazy for the 4/4 drop in it.”\n\n<b>“Alarm” (feat. MC ID)</b>\n“Myself and MC ID have been performing together for over 10 years, so it’s great to finally make a track together. The track has been an in-demand dub from my sets for years, and I was just looking for the right vocal for it. It’s got a bit of a dub reggae influence, but it was mostly designed as a track with a smoother bass sound which I could mix into other tracks easily.”\n\n<b>“Off the Ground”</b>\n“I wrote this track with Poppy Baskcomb—a really talented songwriter and vocalist who’s really on fire at the moment. I premiered it at my first solo Printworks [London club and venue] show and it was a massive moment. The clips of it really seemed to go viral and it felt like a really organic start to the album campaign.”\n\n<b>“Waiting” (feat. Kelli-Leigh)</b>\n“Pola & Bryson are one of the most talented drum ’n’ bass acts around right now. They’re known for more melodic, liquid drum ’n’ bass, and that’s the feel of this track. We worked on the track together in the morning, then Kelli came to the studio in the afternoon and wrote the hook straight away. There’s a magic to when a track comes together really quickly, and we felt great about it straight away.”\n\n<b>“I Found You” (feat. Hayla)</b>\n“I wrote this track with Becky Hill just before the first lockdown. Then [UK singer-songwriter] Hayla came in and did an amazing job on the vocal, and it was a really big moment when I played it at my Wembley show [in March 2023]. It’s another liquid drum ’n’ bass track in a major key. I tried to cover all the different bases and variations of drum ’n’ bass on this album, and I wanted to make it a bit of a journey through all the subgenres.”\n\n<b>“Secrets” (feat. Rhodesy)</b>\n“I remixed a track for CamelPhat a while back and we just stayed in touch and kept sending each other ideas back and forth. They sent me this track ‘Secrets,’ which felt like a slightly different vibe for them. I loved it but wasn’t sure what to do with it. Then I thought it would fuse really well with an idea I’d been working on with Culture Shock. Since <i>Portals</i>, I’ve figured out which other genres outside of drum ’n’ bass I can bring to the table, and something like this with a slower breakbeat tempo really works.”\n\n<b>“Overcome” (feat. Frances)</b>\n“I love the almost gospel feel of Frances’ vocals here. She’s a great singer and songwriter who’s been around for a while and has done a lot of work with SG Lewis. 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"notes": "Alan Fitzpatrick’s <i>Machine Therapy</i> represents multiple milestones for the UK techno mainstay. It’s his first LP in more than a decade, and his first for Anjunadeep. In fact, Fitzpatrick tells Apple Music, “<i>Machine Therapy</i> feels like my first proper album,” period. Where 2010’s <i>Shadows in the Dark</i> collected the kinds of club tracks he was DJing back then, \"This one really feels like a complete, fully rounded album,” wrapping up a wide range of electronic styles into a single, cohesive experience. The album’s ideas began to take shape in 2019, just prior to COVID lockdown. But that time away from clubbing, ironically, gave Fitzgerald the freedom to pursue the sorts of songs that he wouldn’t normally play in his DJ sets, like the drum ’n’ bass of “Bourgeois Imagery” or the ambient of “Berlin Morning Calm.” And with musicians around the world looking for ways to fill their days, collaboration became unexpectedly seamless. “The pandemic allowed me to work with people that I wouldn’t normally have worked with,” he says. “A lot of the time, you’re ships passing in the night.” Fitzgerald and drum ’n’ bass icon High Contrast finally got around to whipping up a song that finds common ground between their styles. Kele Okereke from Bloc Party, one of Fitzpatrick’s idols, turned up in his DMs. And the search for new sounds beyond his house and techno wheelhouse led him to rising talents like Lawrence Hart, Lowes, and Another Sky’s Catrin Vincent, all of whom inspired Fitzpatrick to explore unexpectedly songful territory, closing the gap between his habitual sound and Anjunadeep’s soulful, melodic signature. Here, he walks Apple Music through each of the album’s songs.<br />\n<b>“Berlin Morning Calm”</b>\n“This reminds me of walking through Berlin in the cold morning after leaving a gig. It’s that feeling of stillness after coming out of a crazy nightclub when your ears are ringing, and your eyes are flashing from the lights. You’ve been in there for what feels like an eternity, and you’re coming back to the real world, feeling a mix of emotions—euphoria and happiness but also calm. It’s just a reset.”<br />\n<b>“Something Wonderful”</b>\n“This was a tip to the old rave days. When I was a kid, I’d go down to Bournemouth, to the opera house—that was one of my first clubbing experiences. I was around 15. They used to have a second room in the club that was more breakbeat and drum ’n’ bass, rave-y stuff. I’d always end up wandering into that room, just to hear something different. We used to get a coach back from the nightclub, and on the radio, around 4 or 5 am, you’d have the Fabio & Grooverider show. This track reminds me of those times—just staring out the coach windows, listening to drum ’n’ bass, reminiscing about the night you’ve just had.”<br />\n<b>“Warning Signs” (feat. Lawrence Hart)</b>\n“This is one of my favorites that I’ve ever written—it still gives me goose bumps. Lawrence’s vocal is amazing. I heard one of his tracks with George FitzGerald, “Call It Love (If You Want To),” and immediately wanted to work with Lawrence. He wrote a story about two people who can’t be together but also can’t be apart. Making this track really drove home for me that this album was going to be something special.”<br />\n<b>“W.A.I.S.T.D.” (feat. Kele)</b>\n“The title is an abbreviation of the lyric, ‘What am I supposed to do?’ I’ve been a Bloc Party fan for years. It was a dream to work with Kele. I’d been badgering him via DM, asking if he’d be interested in doing something together. Then randomly, in the pandemic, he came back to me and was like, ‘I’m a big fan of the music—let’s do something.’ Which was pretty incredible. The track had a festival vibe and a big, banger-type hook like I did on ‘We Do What We Want.’ But I thought it needed a topline. So, I sent it to Kele, and he ran with it.”<br />\n<b>“Bourgeois Imagery” (feat. High Contrast)</b>\n“I’ve known Lincoln Barrett, High Contrast, for many years. We’re from different worlds—he’s drum ’n’ bass and I’m more techno and house—but we’d always end up in the same shuttles at festivals, or we’d bump into each other at the hotel reception. It was in London when we last saw each other, and I was like, ‘Right, let’s finally get some ideas over to each other.’ The pandemic hit, and we were like, ‘Well, let’s do it.’ It was a completely remote session, bouncing stems back and forth. We haven’t ever actually been in the studio together at all.”<br />\n<b>“A Call Out for Love” (feat. Lowes)</b>\n“I had the core of the track, but I really wanted a vocal on it. Then I heard Lowes on the radio—they did that track with CamelPhat, “Easier”—and I thought they could work really well. Evie, the lead singer, sent me a big folder of ideas back, and ‘A Call Out for Love’ just seemed to fit perfectly. It’s one of those moments where I’d been working on something for so long, hearing so many different vocals on it, and I dropped Lowes’ in, pressed <i>play</i>, and was like, ‘Finally.’”<br />\n<b>“The Sweeper”</b>\n“This is probably the closest track on the album to my DJ sets: high energy, techno beats, rave vibes. Very heady, clubby stuff. I put this track on the album three quarters of the way into the process, actually, because I had a moment where I was like, ‘I know clubs aren’t open and I’m trying to explore my musical abilities and push boundaries, but this album should also represent something from my bread-and-butter sound.’ It kicks quite hard, coming out of the other ones. But I think the record needs that in the middle—sort of a shake-up.”<br />\n<b>“Acid Changes Everything”</b>\n“I was spending quite a bit of time cooking in the kitchen or painting with the kids—domestic lockdown activities. That’s all you could do, just to take your mind off stuff. 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"editorialNotesStandard": "Is there anything to be done with carols like “God Rest Ye Merry Gentlemen” and “Joy to the World” that hasn’t been done in the past 300 years? If there is, Grammy-winning pianist, composer, and producer Robert Glasper is the kind of artist to do it. “I like covering songs that people know well,” Glasper tells Apple Music. “That’s what I’ve done throughout my whole career.” It’s true: As a jazz pianist, he’s obviously learned his way around making classics his own, whether they were written by Mongo Santamaría or Kurt Cobain. But, he says, “The biggest challenge in making a holiday album was trying to do it in a way that feels festive but at the same time feels real and not corny.” \n\nHe succeeds on both fronts on <i>In December</i>, his Apple Music exclusive that mixes classic carols with a set of originals, and which was recorded in Spatial Audio. Part of what keeps it credible is the fact that Glasper’s hip-hop/R&B/jazz fusion is done on a compositional level instead of just a cosmetic one (no collages of sampled sax solos and drum loops here). The covers reveal a lot about his musical worldview: Sung by Tony winner Cynthia Erivo (<i>The Color Purple</i>), “God Rest Ye Merry Gentlemen” is turned into dark, airy neo-soul, while “Joy to the World”—sung by Alex Isley—feels like a Stevie Wonder ballad. But the originals reveal even more. “The intention for this album was less about Christmas songs and more about songs that feel good during the holidays,” Glasper says. “I stayed away from thinking too much about Christmas and its traditional lingo, and concentrated on real things people go through during the holiday season.” Here, Glasper walks us through <i>In December</i>, track by track.\n\n<b>“Fireside (Intro)”</b>\n“‘Fireside’ is an intro to the album that sets the tone and the vibe. I wanted people to get the feeling they were sitting by the fire while I played the piano.”\n\n<b>“God Rest Ye Merry Gentlemen / Carol of the Bells” (feat. Cynthia Erivo)</b>\n“We did two songs in one. When Cynthia got to the studio, we landed on two different Christmas carols and figured out a way to mix them and make them into one. It was really fun and Cynthia is amazing.”\n\n<b>“Make It Home” (feat. PJ Morton & Sevyn Streeter)</b>\n“‘Make It Home’ is about what couples go through during the holidays. We tried to make this about real-life situations instead of the glossy, happy stories that are painted during Christmastime. We tried to have a fine balance on the album for the real stuff.”\n\n<b>“Memories With Mama” (feat. Tarriona “Tank” Ball)</b>\n“Tank from Tank and the Bangas wrote this song. I wanted to have spoken word on here to mix it up and bring a different vibe. I lost my mother in 2004, and I always think of her during the holidays. I’m glad Tank was able to create this to remind people what it felt like growing up and remind you what your mother would do and say that set the tone for the holidays in your own house.”\n\n<b>“Joy to the World” (feat. Alex Isley)</b>\n“‘Joy to the World’ was fun because it's one of the most well-known Christmas songs and I had a blast remaking this with Alex Isley. She is incredible. I tried to keep the integrity of the song while making it modern.”\n\n<b>“December” (feat. Andra Day)</b>\n“Andra and I co-wrote the song ‘December.’ It concentrates on real life and real feelings during the holidays. Some things aren't always happy and people feel alone, they feel anxiety and all kinds of things during the holidays. So we wanted to touch on those feelings and let people know you're not alone.”\n\n<b>“Little Drummer Boy” (feat. The Baylor Project)</b>\n“'Little Drummer Boy' was fun because Marcus Baylor is a drummer, so it fit them perfectly. It’s such an open tune that gives you room to do whatever you want. I wanted to keep the integrity of the tune while at the same time give it more of a gospel feel.”",
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