
Tim Hecker Expresses the Beauty and Terror of Modern Life
In this short collection of soundtrack work, Tim Hecker scours away the surface noise to find something more intimate and human.
In this short collection of soundtrack work, Tim Hecker scours away the surface noise to find something more intimate and human.
Caroline Shaw is best known these days for being a modern classical music composer, which is why Ken Burns drafted her for his Leonardo da Vinci documentary.
Umberto is a master of creating moods that may be unfamiliar and alien but, like the best ambient music, are eventually welcoming in their own way.
Tying in his legacy to a new short film trilogy, legendary Public Enemy/Bomb Squad producer Hank Shocklee traces the line from his classic grooves to our modern sound.
End of the Day is purposefully quiet and forms a distinct meditative contrast with Courtney Barnett’s established indie rock oeuvre.
Composed by Sufjan Stevens, the Reflections soundtrack is virtuosic and a pleasant listen but on its own the album feels indistinct and largely forgettable.
An otolaryngologist by training, Oscar-winning, Madrid-based Jorge Drexler uses his new album to examine love through a variety of lenses.
Boy Harsher chose to fill dark times by creating a film and soundtrack. The Runner, a sharp 30-minute horror, unfurls tantalizingly ambiguous events at a stately place.
As an Explosions in the Sky album, the lack of indulgent edge is one of the few things you can say about Big Bend (An Original Soundtrack for Public Television.
Yann Tiersen integrates synth elements, redefining his piano arrangements and giving each piece otherworldly layers on Kerber.
Joe Wong, the composer behind Netflix's Russian Doll and Master of None, articulates personal grief and grappling with artistic fulfillment into a sweeping debut album.
Having composed for blockbuster films and ballet, Ilan Eshkeri discusses how powerful emotional narratives and the opportunity for creative freedom drew him to triple-A video game Ghost of Tsushima.