Barry Adamson’s most highly regarded albums are Moss Side Story (1989), As Above, So Below (1998), and Oedipus Schmoedipus (1996), which consistently rank highest among critics and fans. His discography spans cinematic jazz, noir-inspired soundscapes, and experimental rock, with Moss Side Story often cited as his masterpiece.
Amazing single released in 2024
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Showing posts sorted by date for query atmospheric. Sort by relevance Show all posts
Barry Adamson - Highest-Regarded Albums & Discography (Based on Available Reviews & Fan Rankings)
Barry Adamson (born 11 June 1958) is an British pop-rock musician. He came to prominence in the late 1970s as a member of the post-punk band Magazine and went on to work with Visage, Nick Cave and the Bad Seeds, and the electro musicians Pan Sonic.
Brazzaville - Highest-Regarded Albums (Based on Available Reviews & Fan Rankings)
The American indie-pop/chamber-pop music group Brazzaville has released a number of albums since 1998.
A Great 2026 single - Floating World
Highest-Regarded Albums (Based on Available Reviews & Fan Rankings)
Tortoise - Millions Now Living Will Never Die (1996) Recommends
rating: 80/100 - review: If one wants to know how prog and jazz fusion changed to assume a 90s still-life in sound then they just need to listen to this fascinating double CD! A group from Chicago that starts from the premise of cold, atmospheric sound and departs to the point of improvisation and the stretching of their original musical ideas. The scenes evoked by this wonderful set of "program music" include (in my most sober mind) camp fires in the middle of pasture at night with fireflies bugging the night-glowed campers. Happy happy mystical joy! Ice space and the sudden interruption of a rail road in the distant distance. (The video for one of this record's tracks featured a very homey looking home video of icicles forming on trees in the middle of a mostly barren field and the formation is speeded up to show the process via elapsed time photography like, man man man . . .)this album and its music is just too cool, it forces one to renew that term, steal it back from the millennials who use it now to describe their silly video games or whatever garbage they be into now. `Cause this album is just so smooth and delicious and COOL to be ignored without superlatives.
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Ladytron - Ladytron album full download 320kbps
Download best songs from 2019 indie electronic music artist Ladytron.
Genre: Electronic | Styles: Indie Electronic Dream Pop Indie Pop Alternative/Indie Rock
Genre: Electronic | Styles: Indie Electronic Dream Pop Indie Pop Alternative/Indie Rock
Steve Jansen - Tender Extinction Review (Steve Jansen - Tender Extinction 2016 Album Review)
Rating: 80/100 - Genre: Experimental Rock - Year: 2016
Quite why Japan never connected on a grander scale is hard to defi ne, but it’s unlikely the 21st Century’s dumbed down culture will be any kinder to former drummer Steve Jansen, whose second album retains their elegance and cerebral approach. For starters, Jansen – like his once colleague David Sylvian – is unafraid of atmospheric instrumentals like the aptly titled Diaphanous One, or
Simple Day, which is so frail as to be barely extant. He also favours gorgeously intricate, but irrefutably lugubrious tracks like the half-lit Captured, on which Swedish singer Thomas Feiner serenades us, and the prickly, Eno-esque Her Distance, to which Irish singer songwriter Perry Blake contributes vocals and lyrics. The latter also recalls Rain Tree Crow, Jansen’s 1989 collaboration with his Japan band mates, as does Give Yourself A Name, with Sweet Billy Pilgrim’s Tim Elsenburg keening voice and striking lines like “I shiver like an addict/ Filling veins full of static”. Jansen meanwhile offers luxurious sound design, distinguished by his trademark, curiously timbred percussion, and supplies his muted vocals on the slowly swelling Mending A Secret. Jansen’s still living a ‘quiet life’, and it’s as cultivated as one would hope.
Quite why Japan never connected on a grander scale is hard to defi ne, but it’s unlikely the 21st Century’s dumbed down culture will be any kinder to former drummer Steve Jansen, whose second album retains their elegance and cerebral approach. For starters, Jansen – like his once colleague David Sylvian – is unafraid of atmospheric instrumentals like the aptly titled Diaphanous One, orSimple Day, which is so frail as to be barely extant. He also favours gorgeously intricate, but irrefutably lugubrious tracks like the half-lit Captured, on which Swedish singer Thomas Feiner serenades us, and the prickly, Eno-esque Her Distance, to which Irish singer songwriter Perry Blake contributes vocals and lyrics. The latter also recalls Rain Tree Crow, Jansen’s 1989 collaboration with his Japan band mates, as does Give Yourself A Name, with Sweet Billy Pilgrim’s Tim Elsenburg keening voice and striking lines like “I shiver like an addict/ Filling veins full of static”. Jansen meanwhile offers luxurious sound design, distinguished by his trademark, curiously timbred percussion, and supplies his muted vocals on the slowly swelling Mending A Secret. Jansen’s still living a ‘quiet life’, and it’s as cultivated as one would hope.
ALISON MOYET - THE MUST-HAVE ALBUMS
Which women sum up British music in the Eighties? Surely Kate Bush, Annie Lennox, Sade… but equally dominant in that decade was Geneviève Alison Jane Moyet of Basildon – or Alf, if you wanted the friendly diminutive. With her powerhouse vocals she was, in a way, the Adele of her day, while her gritty working-class soul girl demeanour made her the precursor to Amy Winehouse. This no-nonsense, down-toearth anti-glamour made her the very opposite of the era’s American superstars, and yet she was as integral a part of that decade as Madonna or Janet Jackson. Moyet emerged out of Seventies blues, pub rock and punk, and was a member of The Vandals, The Screamin’ Ab Dabs, The Vicars and The Little Roosters, none of which made much impression.
An advert she placed in Melody Maker led her to Vince Clarke, who she’d known since they were 11 years old. One fateful day, Clarke called Moyet at her parents’ house and asked if she’d sing on a demo he’d just written. Its name? Only You. The rest is history. The pair formed Yazoo and in so doing invented electronic soul. Despite having a relationship that Moyet has since compared to an arranged marriage – distant and functional – it proved the ideal vehicle for Clarke’s synth-based dance music and Moyet’s passionate vocals. By 1982, Yazoo were as much a part of the electro landscape as Clarke’s previous band Depeche Mode, The Human League, Soft Cell et al. But by 1983 it was all over for Her And Him Both: Yazoo split, leaving Clarke to form The Assembly and Erasure, and Moyet to go solo. Over the next three decades, she would have hits such as All Cried Out, Love Resurrection, Love Letters, That Ole Devil Called Love, Is This Love? and Weak In The Presence Of Beauty. She performed at Live Aid, won the Brit award for Best British Female in 1985 and 1988, and continued to record in the Nineties and beyond. In 2013, she made an album, the minutes, considered by many to be her best. And throughout it all there has been that voice, as warm and familiar as Yazoo’s early music was alien and cold; the booming, bluesy sound of the uncrowned Queen of Essex.
UPSTAIRS AT ERIC’S
1982
The birth of electronic soul
The fi rst Yazoo album offered a new
paradigm: fi re and ice, via Vince Clarke’s cool
electronics and Alison Moyet’s heated vocals.
It was named after producer EC Radcliffe’s
studios (and not the Liverpool punk-era
club, as some have said): Blackwing, where
Depeche Mode recorded their own debut
Speak & Spell. Several of the songs, without
the vocals, could almost have belonged to
Depeche Mode, only with Yazoo they had,
because of that voice, far greater emotional
heft. “An album of rich, dark passion, forever
burying the hoary old moan that electronics
and synthesisers will never be any good
because they don’t have a button on the
front that says ‘emotion’,” as Melody Maker
opined. The cover featured two mannequins
in a sparsely furnished loft, and two Top 3
singles in Don’t Go and Only You. It also
showcased Moyet’s writing skills, containing
no fewer than four of her compositions: the
forlorn Midnight, Goodbye 70’s (addressed to
trend-obsessed punks), piano ballad Winter
Kills and Bring Your Love Down (Didn’t I).
The album reached No. 2, which really was
not bad for a record dismissed by Clarke as
“a bit of a mishmash”.
YOU AND ME BOTH
1983
And then there was one
Yazoo’s second album was also their last.
Despite being even more successful than its
predecessor – it reached No. 1 in the UK – it
had an air of fi nality about it. It started
with the title, a pointed expression of the
duo’s increasingly estranged relationship,
and continued with the sleeve image of
two dalmatians fi ghting against a snowy
backdrop: they announced their split a few
weeks before the record’s release. Vince
Clarke evidently imagined his tenure with
Yazoo would be as short-lived as his one
with Depeche, while Moyet saw it as more
long-term. Further problems arose from their
differing working methods at Eric Radcliffe’s
Blackwing Studios: Clarke was meticulous
and strategic, Moyet looser and more
spontaneous. The resulting record wasn’t as
sombre as you might think, notwithstanding
the songs about war (Unmarked) and death
(And On). No, the music was as perkily
poignant as ever, although there was only
one track issued as a single – Nobody’s
Diary, which reached No. 3 – and Moyet
refused to sing the ironically jaunty Happy
People, the only Yazoo song on which Clarke
takes lead vocals.
ALF
1984
Adele, Schmadele
Today, you could argue that Alison Moyet’s
solo debut album sounds more dated than
her earlier work with Yazoo. However,
in a way, that’s a plus point: if you want
a perfectly focussed snapshot of where
commercial music was at in the period
between ZTT and PWL, then look no
further than this soul-pop masterclass. The
production, courtesy of Steve Jolley and
Tony Swain (Spandau Ballet, Bananarama,
Imagination), is so perfectly 1984 it’s hardly
true, all dazzling surfaces and walloping
drums. Love Resurrection, All Cried Out and
the Lamont Dozier-penned Invisible were
the big hits (No’s 10, 8 and 21 respectively),
but there were other, equally fi ne examples
of Moyet’s ruminations on the dark side of
love, notably Twisting The Knife and the
haunting Where Hides Sleep. The album
was her fi rst solo UK chart-topper, and it
fared well around the world, going Top 5
in Germany, Switzerland and Norway, and
even made the US Billboard top 50. The idea
that Moyet was too parochial for continental
tastes was roundly trashed by Alf, the record
that established her as one of the biggest
homegrown female artists of the decade.
THE MINUTES
2013
Back to the electronic future
Moyet’s eighth album marked a return to
her electronic roots. The 11 tracks were
co-written with Guy Sigsworth (Björk,
Madonna), her most compatible partner
since Clarke, and tinged with dubstep, house
and R&B (of the contemporary variety).
The Minutes (stylised as the minutes) found
Moyet in an electronic context for the fi rst
time since her days in Yazoo, but that didn’t
mean it looked backwards. If anything, it
was her most modern-sounding record for
decades. “It’s quite dark and defi nitely not
aimed at the charts,” she said. “It has an
electronic bias, but isn’t retro.” An album of
sedate jazz and soul covers this wasn’t, much
to the relief of Alf, who called it “easily my
happiest studio experience”, a strange thing
to say, perhaps, about an album of songs
on the subject of schizophrenia: Remind
Yourself and When I Was Your Girl were, she
explained, about “the opposing dialogues
within oneself”. The results – including the
singles When I Was Your Girl, Love Reign
Supreme and Changeling – were dramatic
and atmospheric, not to mention her most
successful for years: it was her highestcharting
album since 1987’s Raindancing.
HOW TO BUY - Solid gold sounds of a soul survivor [10 ESSENTIAL ALBUMS BY BOBBY WOMACK]
MINIT, 1968
Graduating from
songwriter/session
guitarist to solo artist,
Womack’s debut is a
genre-busting covers LP. From the killer
version of “California Dreamin’” to a
funkified makeover of “Moonlight In
Vermont”, the R’n’B arrangements,
warm horns and Womack’s gravelly
rasp make for a compelling blend.
Kanye West - Yeezus
Genres: Hardcore Rap, Left-Field Hip-Hop, Midwest RapRelease Date: June 18, 2013
Review: Before I begin, let me just say that I gave this album 3 stars based on the fact that I appreciate the fact that Kanye kept his word and created an absolutely chaotic and polarizing album that has little to no chance of any form of mainstream success. With that said, listeners will either love or hate the album and I highly suggest you preview it before spending your hard earned money on it.
Vampire Weekend - Modern Vampires of the City Album Review
With each record is seems that Vampire Weekend expands their unique sound ever so slightly. The summertime pop and world beats of their debut and the electronic loops and mellow ballads of Contra are all here, albeit with a fresh coat of paint and some challenging instrumentation that demands repeated listens. With Modern Vampires of the City they've crafted some of their finest work yet and have dispelled any doubts about whether they could survive beyond the initial hype that first surrounded them.
Gary Numan - Dead Son Rising Review
What was meant as a stop-gap between "Jagged" and "Splinter" almost became nothing at all as Numan grew weary of the project. After putting the whole thing on the shelf for a while, Numan and Ade Fenton returned to work on the project with new enthusiasm and it became much more than just a collection of old songs.
"Dead Son Rising" is a complete album, one of the most complete albums I've heard in a long while. More than just a collection of singles, this album has things like PACE and FLOW from track to track, start to finish. As it ends, it compels the listener to play it again. "Resurrection" draws the listener in as it builds, setting the stage for "Big Noise Transmission", which flat out rocks more than any Numan track since "Crazier". "Dead Sun Rising", the almost-title-track, may be the best of many unabashedly-melodic industrial moments on the album. The lyrics dip once again into one of Numan's sci-fi personas, and the bells in the instrumental break are absolutely gorgeous. "When The Sky Bleeds, He Will Come" works through a slow crawl and then satisfyingly breaks into a rocking-chorus, then does it a couple more times for good measure.
"Dead Son Rising" is a complete album, one of the most complete albums I've heard in a long while. More than just a collection of singles, this album has things like PACE and FLOW from track to track, start to finish. As it ends, it compels the listener to play it again. "Resurrection" draws the listener in as it builds, setting the stage for "Big Noise Transmission", which flat out rocks more than any Numan track since "Crazier". "Dead Sun Rising", the almost-title-track, may be the best of many unabashedly-melodic industrial moments on the album. The lyrics dip once again into one of Numan's sci-fi personas, and the bells in the instrumental break are absolutely gorgeous. "When The Sky Bleeds, He Will Come" works through a slow crawl and then satisfyingly breaks into a rocking-chorus, then does it a couple more times for good measure.
Thrice - Major/Minor Review and Yellow Belly Lyrics
I can't think of a reason why Thrice shouldn't be my favorite group in the world right now. Major/Minor leaves next to nothing to be desired in a modern rock record. (Alternative/Indie Rock) Everything that Thrice has done well in the past is present on this disc in droves upon droves. While not being overly progressive in the vein of 'The Alchemy Index' EP's, (atmospheric) and seeming slightly more filled out than the unabashed minimalism of 'Beggars', 'Major/Minor' succeeds at being both raw and sonic and captures the sound of a band that has reached its summit. Lyrically, Dustin Kensrue is without equal.
That's not to say he simply parrots SAT words one after the other but there's a careful, poetic quality (screamo) to his words that seems to extend far beyond his years. As if that weren't enough, (cathartic) Kensrue puts forth a vocal effort that is both singular and powerful. on 'Disarmed' he croons and moves softly through watery moments while on 'Blur' he manages to unleash some of the buzz-saw ferocity that helped put Thrice on the map years ago. While Kensrue is arguably the greatest (confrontational) front man in modern rock, 'Major/Minor' does not solely belong to him. Teppei Teranishi has come a long way from post-hardcore (aggressive) shredding and he drives that point home on gems like (rousing) 'Treading Paper' and 'Call it in the Air'. His playing is calculated & is less about mach 3 soloing than crafting ambient, mood inducing leads.
That's not to say he simply parrots SAT words one after the other but there's a careful, poetic quality (screamo) to his words that seems to extend far beyond his years. As if that weren't enough, (cathartic) Kensrue puts forth a vocal effort that is both singular and powerful. on 'Disarmed' he croons and moves softly through watery moments while on 'Blur' he manages to unleash some of the buzz-saw ferocity that helped put Thrice on the map years ago. While Kensrue is arguably the greatest (confrontational) front man in modern rock, 'Major/Minor' does not solely belong to him. Teppei Teranishi has come a long way from post-hardcore (aggressive) shredding and he drives that point home on gems like (rousing) 'Treading Paper' and 'Call it in the Air'. His playing is calculated & is less about mach 3 soloing than crafting ambient, mood inducing leads.
The Whigs - In the Dark Reviews
Based on 18 critics - Overal Score: 53/ 100
Description: With their stunning third cd, In The Dark, The Whigs have gone widescreen. Bursting with energy, emotion, and unpredictable experimentation, the Athens, GA-based trio tear open the artistic envelope, bringing both nuance and eclectic strength to songs like 'Hundred/Million' and the raucous first single, 'Kill Me Carolyne'. In The Dark is both atmospheric and ambitious, without losing the pedal-to-the-metal power that earned them universal praise as one of America's finest young Rock 'n' Roll bands. Both an accessible album and one that captures the band's on-stage passion, In The Dark reveals another layer in the band's songwriting and highlights what fans and critics have fallen in love with.
It's for song "So Lonely" from the band's current album "In The Dark."
Critic Scores
Description: With their stunning third cd, In The Dark, The Whigs have gone widescreen. Bursting with energy, emotion, and unpredictable experimentation, the Athens, GA-based trio tear open the artistic envelope, bringing both nuance and eclectic strength to songs like 'Hundred/Million' and the raucous first single, 'Kill Me Carolyne'. In The Dark is both atmospheric and ambitious, without losing the pedal-to-the-metal power that earned them universal praise as one of America's finest young Rock 'n' Roll bands. Both an accessible album and one that captures the band's on-stage passion, In The Dark reveals another layer in the band's songwriting and highlights what fans and critics have fallen in love with.
It's for song "So Lonely" from the band's current album "In The Dark."
Critic Scores
Lower Dens - Twin-Hand Movement
description: Lower Dens is a Baltimore based indie rock band. Swarming guitar fuzz, new wave sound, atmospheric insistent drum throbs and (freak folk) Jana Hunter's redolent, charred vocals are the core components of Lower Dens.
Album Details
Artist Lower Dens
Genre(s) Rock
Styles Alternative-Indie Rock, Indie Rock, Indie Folk, Post-Rock
Release Date Jul 20, 2010
Length 38:57
Country U.S.
Album Details
Artist Lower Dens
Genre(s) Rock
Styles Alternative-Indie Rock, Indie Rock, Indie Folk, Post-Rock
Release Date Jul 20, 2010
Length 38:57
Country U.S.
Jonsi "Go"
review: Sounds like a peppy good time. (Sigur Ros first solo album) The sound has matured and become something new and different with every record. The songs alternate (atmospheric) between electronics and instrumentals, some incorporating both. (sugary vocals) It all comes together beautifully. For me, it was appealing (like "Animal Arithmetic") upon first impression, which doesn't happen most of the time.
Album Details
Artist Jonsi
Genre(s) Rock
Styles Alternative Indie Rock, Alternative Pop-Rock
Release Date Apr 6, 2010
Country IS
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| Cd Front |
Album Details
Artist Jonsi
Genre(s) Rock
Styles Alternative Indie Rock, Alternative Pop-Rock
Release Date Apr 6, 2010
Country IS
Neal Schon - Beyond the Thunder
review: Beyond the Thunder is simply put, acoustic soloing is good. It's beautifully constructed, and very relaxing music. (highly atmospheric) Bandalero may be one of the great and sensual song I've played this song over 54 times and never get tired of it, and especially on songs like Big moon, Send Me an Angel, and Zanzibar. Most of the many skills of (dazzling electric) this terrific guitarist are highlighted.
Album Details
Genre(s): Rock
Styles: Fusion, Contemporary Pop/Rock
Release Date: 1995
Country: U.S.
Album Details
Genre(s): Rock
Styles: Fusion, Contemporary Pop/Rock
Release Date: 1995
Country: U.S.
Scott Walker 'Scott 4'
review: Great to great!!! I've been plundering all (good-natured) of Scott Walkers albums of late, and (atmospheric) I have to say that this one Scott 4,(Stately) is by far the best record. My favourite song is without doubt ' The The Seventh Seal'. (dramatic) There is something timeless (poignant) about this record where most of the songs have aged really well. (dreamy) But that voice - how it booms out of the speakers (plaintive) and seems to dominate the music, (rousing) is simply great.
Album Details
Genre(s): Pop-Rock
Styles: AM Pop, Baroque Pop, Experimental Rock, Soft Rock
Release Date: 1969
Country: U.S
Album Details
Genre(s): Pop-Rock
Styles: AM Pop, Baroque Pop, Experimental Rock, Soft Rock
Release Date: 1969
Country: U.S
Black Rebel Motorcycle Club - Beat the Devil's Tattoo
album info: Beat the Devil's Tattoo is the (Angst-Ridden) sixth record by Black Rebel Motorcycle Club, (Atmospheric) With new drummer Leah Shapiro (who replaced Nick Jago). (Alternative/ Indie Rock)
Pantha Du Prince - Black Noise
album info: The latest record 4 the Electronic (Atmospheric sound) artist features Panda Bear (Trippy) and (Cerebral) Tyler Pope as guest artists.
Album Details
Genre(s): Electronic
Styles: Techno, Club/Dance, Experimental Techno
Label: Rough Trade
Release Date: Feb 09, 2010
Country: DE
Album Details
Genre(s): Electronic
Styles: Techno, Club/Dance, Experimental Techno
Label: Rough Trade
Release Date: Feb 09, 2010
Country: DE
Veils - the Runaway Found
year: 04 review: The Runaway Found is a weathered debut album. With less focus on making an eager first impression than most bands emerging from the post-grunge era, the Veils consume themselves with a rock canvas rooted in singer/songwriter Finn Andrews' folk upbringing. An unjaded view of roma
nce and desire is cast, and the Veils' sincerity is far from hidden from the stormy design of the album's atmospheric backdrop. The Runaway Found basks in its glorious pop spotlight simply because it enjoys the heat, and such a surefire introduction is bound to be impressive. Andrews, who was just 17 and 18 when he composed the songs found here, is confident and sensitive, much like Richard Ashcroft and the late Jeff Buckley. Whether his heart is broken or mended, Andrews' songwriting is reflective of hope and regret. Andrews' lyrics and the Veils' mature presentation complement one another, further indicating the Veils' sharp ear for keeping things just so. From the majestic melodies of "Guiding Light" and "The Leavers Dance" to the thunderous clamor of "More Heat Than Light," The Runaway Found never loses its momentum. more...>
nce and desire is cast, and the Veils' sincerity is far from hidden from the stormy design of the album's atmospheric backdrop. The Runaway Found basks in its glorious pop spotlight simply because it enjoys the heat, and such a surefire introduction is bound to be impressive. Andrews, who was just 17 and 18 when he composed the songs found here, is confident and sensitive, much like Richard Ashcroft and the late Jeff Buckley. Whether his heart is broken or mended, Andrews' songwriting is reflective of hope and regret. Andrews' lyrics and the Veils' mature presentation complement one another, further indicating the Veils' sharp ear for keeping things just so. From the majestic melodies of "Guiding Light" and "The Leavers Dance" to the thunderous clamor of "More Heat Than Light," The Runaway Found never loses its momentum. more...>
Dire Straits - Brothers in Arms
| Genre Rock Rock & Roll |
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