{"title":"Electronic CDs","description":"","products":[{"product_id":"alison-goldfrapp-flux-cd","title":"Flux [CD]","description":"\u003cp\u003eALISON GOLDFRAPP'S COSMIC RETURN: FLUX ARRIVES AUGUST 15 ON AG RECORDS Alison Goldfrapp's return isn't just a next chapter-it's an artistic rebirth. With the arrival of her second solo album Flux on August 15, the pop icon charts a shimmering new path: bold, vulnerable, and wholly her own. Backed by a legacy of critically acclaimed releases and global acclaim, Flux is poised to be another high-water mark in one of pop's most visionary careers.. Built with sonic architect Richard X and synth-pop mastermind Stefan Storm, Flux pushes beyond 2023's The Love Invention into something more expansive and emotionally resonant. \"There's a lot of light and shade, \" Alison says. \"Some songs are romantic or ethereal. Others are tougher and sensual.\" That tension shines on lead single \"Find Xanadu\"-a sugar-rush synth anthem already making waves. Goldfrapp has over 400M Streams and 200K sales. Alison Goldfrapp has over 15M streams and 10K in sales. - 89k Instagram \/ 19k YouTube \/ 20k TikTok followers Critics are tuned in, too. Billboard dubbed \"Reverberotic\" one of it's \"Queer Jams of the Week.\" BrooklynVegan called it a favorite. Queerty, Prelude Press, and 101X have all spotlighted Alison's latest as a must-hear summer release. Her voice-once layered and ethereal-now cuts with intimacy and clarity, pulling the listener into sonic worlds both fantastical and raw. Tracks like the 80s-tinged \"Cinnamon Light\" and glittering house-inflected \"Play It (Shine Like A Nova Star)\" marry dancefloor energy with personal revelation. On \"Hey Hi Hello, \" she sings of letting go with bittersweet hope, while \"Reverberotic\" blends strings and synths into something cinematic and sensual. \"I love things that simmer, \" Alison says-and this album simmers, soars, and stuns. Flux also represents a physical shift. Written partially in Stockholm, Alison channeled the city's serene energy into her most grounded work yet. \"Every day I'd look out at a church, hear the bells ring, and then head to the studio. It was peaceful, and that inspired the songs.\" Her artistic evolution continues live this summer as she supports Scissor Sisters on their UK arena tour-her biggest solo shows to date. And with Flux, she offers a soundtrack not just to the dancefloor, but to transformation. For record stores, Flux is a rare gem: a legacy artist in her prime, releasing vinyl\/CD through her own label, with critical and streaming momentum that practically demands shelf space. Alison Goldfrapp has always made pop for the bold and the curious. Flux is no exception-it's the sound of an icon in motion. 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It marks a shift toward a more roots-oriented sound while remaining firmly grounded in the electro-dub genre.The album opens with Echo-Logik, a warrior-like chant followed by a driving bassline that makes you want to move-DJ Twelve's scratches laid over the groove offer a brilliant showcase of the band's talent. The title track, Bass Température, follows-perhaps the least striking piece, though that's only relative given the strength of the rest. Worth noting are the mystical vocal samples in Train to Transylvania, evoking vampires and devils, while N°1 Station brings a heavy psych sound, a more energetic beat, and moments that border on hard-tek. 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The album's artwork was created in collaboration of M\/M, Jesse Kanda and James Merry and reflects the records sonic direction; optimism, lightness, utopia. The album is written by Björk with five of the 14 songs co-written by Arca and one of the songs co-written by Sarah Hopkins. All of the songs except one is coproduced by Arca. One of the songs is co-produced by Rabit. Björk formed a twelve piece Icelandic female flute orchestra, which she arranged for and conducted. She also wrote an arrangement for Hamrahlíðarkórinn, a choir conducted by Þorgerður Ingólfsdóttir. The album was edited and structured by Björk on Protools. It was engineered by Bergur Þórisson, Bart Migal and Chris Elms. It was mixed by Heba Kadry and Marta Salogni and mastered by Mandy Parnell. The album cover was created by Jesse Kanda, in collaboration with Björk, James Merry and makeup artist Hungry. The rest of the album artwork will feature new digital illuminations and typography from MM Paris. Of the album she explained to Dazed this Summer that, ““Maybe that’s why it became a utopian theme – if we’re gonna survive not only my personal drama but also the sort of situation the world is in today, we’ve got to come up with a new plan, If we don’t have the dream, we’re just not gonna change. 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It is, however, neither an anomaly nor entirely ambient. This is not a side project. From his numerous dance scores for New York City Ballet to instrumental albums such as Enjoy Your Rabbit, Aporia, and The BQE, Stevens spends at least half his working life making largely instrumental music, as he has for decades. And though the first ten pieces, dubbed \"Meditations,\" unfurl as gorgeous states of reflective new-age grace, this is by no means an ambient enterprise. Stevens invokes the lessons of Morton Subotnick, Maryanne Amacher, Christian Fennesz, Brian Eno, and Wolfgang Voigt here. As musically erudite as it is emotionally experienced, Convocations can be dissonant, vertiginous, rhythmic, repetitive, urgent, or calm-that is, all the things we undergo when we inevitably live through loss, isolation, and anxiety. Indeed, Convocations moves like a two-and-a-half-hour requiem mass for our present times of difficulty, it's 49 tracks allowing for all these feelings to be felt. The album is divided into five sonic cycles, each replicating a different stage of mourning. \"Meditations\" work toward acceptance and resolution, of coming to terms with the day's news even if it stings. The subsequent \"Lamentations\" slink, sputter, and sometimes grind, as sadness transmutes to anger and back again. The rhythmic drift and glitchy strata of \"Revelations\" allow for confusion and catharsis, of asking just why the world or the heavens have wronged us. With it's bright tones, occasional sweeps of strings, and scrambled voices, \"Celebrations\" offers furtive bits of fondness, though the nostalgia is never far removed from the news that prompted it. The final nine \"Incantations\" are lessons for those of us who remain, gorgeous and galvanizing reminders that our time here is as limited as the possibilities for how we spend it are infinite. Convocations occasionally soothes and sometimes hurts; when it's done, you're left with a renewed sense of wonder for being here at all.In fact, Stevens made Convocations in response to (and as an homage to) the life and death of his father, who died in September last year, two days following the release of The Ascension. It is, then, ultimately an album about loss, and an album that reflects a year in which we have all lost so much. One could easily compare this project to Stevens' album Carrie \u0026amp; Lowell, which he wrote following his mother's death. But this is something entirely different. A new time, a new season, a new life lost, a new reckoning, a new kind of isolation, grief, despair, frustration, confusion, and the search for happiness and hope for the future. This is not a personal record, but a universal one. 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Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her latest full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. \"I guess in one sentence, this album is my expression of love and appreciation for electricity,\" says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, what Smith calls \"a visual language\" stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as she says, \"as a reference for how frequencies can be visualized,\" much like a mosaic. Smith describes her first encounters with this mosaic; \"the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other... My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday... into something else. This album has gone through about 12 different versions of itself.\" As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith's signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. \"The Steady Heart\" quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. 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