Aurgasm

indie folk // rock

“How long can you disguise what you feel with a song?” is my favorite lyric from one of the more intriguing albums I’ve heard. Infantree‘s Would Work is similar to what a present-day Déjà Vu might be: deeply poetic with louder rock, banjo-fringed folk and baroque styling. Strong lead vocals, each unique to their three songwriting members, and marvelous harmonies stay my attention alongside progressive musical arrangements. Every song is a piece of art; brushstrokes in a surreal painting embodying the band, individually detailed with touching piano, disquieted hallways, or Spanish hue. Infantree is serious yet playful; connected to growth and learning. Unstitched fibers of their being are rooted in sound branching out, forming a companionship that includes you. (thx, Elana)

Poetic timbre.
Infantree – Mourning Glory
Infantree – If She Could
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tropical pop // indie folk

The sunny calypso pop of Jonquil is somewhat of surprise considering the band hails from the decidedly untropical Oxford, England. Geographical location aside, the four-piece’s effervescent indie pop is vibrant, uplifting, and completely infectious. If the horns, keyboards, tropical percussion and uptempo guitars weren’t enough, Hugo Manuel’s falsetto soars through each song with an anthemic flair. “Fighting Smiles” and “Get Up” from their One Hundred Suns EP are a must-have for your summer playlist.

Tropical pop with an English twist.
Jonquil – “Fighting Smiles”
Jonquil – “Get Up”
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chamber folk // singer-songwriter

Danish-born and Berlin-based songstress Agnes Obel possesses a natural sense of tone and melody as well as a truly faultless voice. The beautifully crafted somber folk melodies of her debut album Philharmonics (2010) linger in the air and stir the heart. While Agnes vocal delivery brings to mind the long-time Aurgasm favourite Ane Brun, the album ranges from romantic quirkiness of Joanna Newsom to echoes of Debussy. European readers might recognize the bright melody of “Just So”, as the song was used by German telecommunications company and played all over Northern Europe ever since.

Soft piano and haunting vocals.
Agnes Obel – Just So
Agnes Obel – Riverside
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icelandic composer // contemporary classical

The cinematic nature of Icelandic composer Jóhann Jóhannsson’s work has led him to work on countless soundtracks for documentaries, shorts and feature films. And In The Endless Pause There Came The Sound Of Bees (2010), composed as a soundtrack for Marc Craste’s award winning animated film Varmints, embodies ghostly choirs, gentle strings, lyrical piano, all wrapped in the barely perceptible electronic processing that Jóhannsson is known for. Largely orchestral and choral, it is recommended for those of you, who enjoy the electronic synthesis of Fennesz, Icelandic melancholia of Sigur Rós and ethereal minimalism of Arvo Pärt.

Painfully beautiful.
Jóhann Jóhannsson – City Building (Alternate Version)
Jóhann Jóhannsson – Rainwater(stream only)
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cinematic // vocal orchestral

Woodkid (Yoann Lemoine) is probably best known for his work directing films for artists like Katy Perry and Taylor Swift, but those successes haven’t kept him from expanding his talent into new realms. With booming drums, powerful brass, and fluttering woodwinds, the uncomplicated title track to his premier EP “Iron” (accompanied by an eery and equally beautiful video) makes you feel like you’ve entered an epic battle from which there is no turning back.

Powerful simplicity flush with presence.
Woodkid – Iron

(Words and music provided by snover)
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