Maria Chiara Argirò x Closer

"Such a forceful collection of parts woven together that you kind of feel like you can just float on it" NPR 

“[Closer] wraps existential concerns of inner peace and connecting with one's surroundings inside of a tense, gentle ascendent ballad.” The FADER

“super chill and kinda takes you on this dreamy journey” BBC

Maria Chiara Argirò’s Closer is an album to get lost in. The rising electronic luminary and classically trained pianist presents a journey of self-exploration, and a manifestation of her profound connection with music. Rooted in an indescribable feeling that compelled her to create, the album transcends boundaries and tranverses the spectrum of electronic music with unparalleled depth and clarity. On the album, Maria says: 

“It is about a feeling, a dreamlike feeling in motion, a feeling that we cannot describe, a dream I’m sort of walking through. Emotions/dreams/feelings that sometimes you can just imagine, a dreamlike world where we walk through to get to the core of ourselves a bit more, even if things are completely undefined and blurry. While working on the music there was this strong feeling - at times blurry and at times more defined - of getting, with every single note, closer and closer to the person I want to be. Free. Curious and consequently Aware, Connected and Closer to the people I love. There is so much noise in this world, I think being direct, gentle, light, open and connected is the key.”

Argirò has been a central figure in the UK electronic, jazz and classical worlds since she moved to London from Rome over a decade ago. A skilled pianist since childhood, she’s collaborated with everyone from These New Puritans to Jono McCleery to Jamie Leeming alongside output with Moonfish. Closer comes as the follow up to her stunning electronic jazz-fusion record Forest City, which received widespread critical acclaim across the globe and earned her fanship from Four Tet and Gilles Peterson, with the latter describing her music as “absolutely crazy good”. 

The result of this journey, both sonic and personal, can be keenly felt on Closer. While it is definitely not a concept album, the record does mirror the path of inner self-exploration that Argirò has been on. Albeit moving in unpredictable ways, as it traverses the spectrum of electronic music spanning ambient to dance music, while also retaining light touches of jazz with a leaning towards experimental pop via Argirò’s more central and up-front vocals. 

Closer sees its release alongside a new official video for album centerpiece “Time”. The live performance was filmed at The Cross London (King's Cross) and was directed by frequent collaborator Raoul Paulet

Purchase / Stream Closer

Read more about the album on Line of Best Fit


Allah-Las x Right On Time

Los Angeles’ Allah-Las have dropped a new single, the sparkling and stutter--stepped “Right On Time.”  The song is another tease of the band’s forthcoming new album Zuma 85 which will be released on October 13 via the band’s own label, Calico Discos, in partnership with Innovative Leisure, which released earlier defining statements from the band including the eponymously named Allah-Las (2012) and Worship The Sun (2014). 

Like the album as a whole, “Right On Time '' represents a new chapter for the band as they embrace the influences of late-era Lou Reed and John Cale, the ‘70s mutant pop of Peter Ivers and early Eno and Roxy Music.  Allah-Las self-produced video for the single pays homage to the classic plug-and-play video shoots of the early MTV era, shot in a few hours on a white backdrop with minimal planning and a few rolls of 8mm film, the second video release from the forthcoming album "Zuma 85" captures spontaneous moments of absurdity, along with a few properly synched video clips.

Allah-Las confirmed Summer and Fall Tour dates including headline shows and festival dates across the US and Europe.  The Zuma 85 Tour kicks off August 8 in Boston, MA and runs through November 18 with the last show in San Francisco, CA with more dates to be announced.  Along the way they will play at New York City’s Rockaway Beach on August 4 at the Rockaway Beach Hotel and at Lodge Room in Los Angeles on November 15 (with Mirror Tree and Kolumbo as support) and November 16 (with Tim Hall and Sam Burton as support).  All announced shows are listed below and tickets are available here.

Read more about it on Line of Best Fit.

The Stuff x Video


On October 13, Los Angeles’ Allah-Las will release their new album, Zuma 85

They have teased the album with lead single “The Stuff” (b/w the "Zuma 85" title track) and now share the official video for the track.  Upon release, the single was supported by Line of Best Fit, Under The Radar, Brooklyn Vegan and MXDWN, among others.  Austin Town Hall noted, “"You can’t deny that the band still have the effortless cool locked in here" and Buzzbands LA said, “They’re calling it a reinvention, and one only needs to hear ‘The Stuff,’ to hear their songwriting engine change gears."  The captivating video was directed by Sam Kristofski who captures the band as they traverse through their native Los Angeles, from a cigarette stand in North Hollywood to the LA river. The video poignantly juxtaposes the nostalgia of the analog era with the pulsating energy of the digital age, reflecting on  the evolution of the music industry.

Dates & tickets for Allah-Las upcoming shows are available at this link.

Allah-Las x The Stuff

Los Angeles’ Allah-Las have announced the October 13 release of their new album, Zuma 85. Today they share the first taste of the new album via the lead single and LP opener, “The Stuff,” b/w the title track “Zuma 85.” The glammy and electronic strut “The Stuff” signals the start of a new era for Allah-Las, and finds the band reinventing itself in defiance of the algorithmic categorization and robotic sterility. Showing another side of the album the instrumental “Zuma 85” features field recordings with chimes that precede Manuel Göttsching (Ash Ra)-style guitars, which drift aquatically over a motorik rhythm and hazy synths.  

Sharing a name with “Zuma 85” is a photo of an abandoned house by California photographer John Divola. Selected by Correia, the band’s resident photography head and album art designer, it juxtaposes a visage of man-made chaos against the natural beauty of the West Coast. It served as an unspoken reference point for the album, a symbolic totem indicative of a new era. 

“‘The Stuff’ is a tongue-in-cheek ode to rock tropes and nostalgic sentiments in the music world, including stereotypes of musicians and various trends in music,” says the band. 

Allah-Las have confirmed Summer and Fall Tour dates that include headline shows and festival dates across the USMexico and Europe. The tour kicks off June 15 in OsloNO and concludes November 18 in San FranciscoCA. Along the way they wll play at New York City’s Rockaway Beach on August 4 at the Rockaway Beach Hotel and at The Lodge Room in Los Angeles on November 15 and November 16

 Zuma 85 is being released via the band’s own label, Calico Discos, in partnership with Innovative Leisure, which released earlier defining statements from the band including the eponymously named Allah-Las (2012) and Worship The Sun (2014).   

The pandemic induced downtime of 2020-2022 opened up space for the band members to focus on their own lives and interests, and the time to re-envision what creative processes could look like. When it came time to reconvene, a sense of looseness proved pivotal. Instead of bringing finished songs to the studio, they entered the picturesque Panoramic House recording in Stinson Beach with sketches, ideas, and riffs. Working with co-producer Jeremy Harris (White Fence, Devendra Banhart, Ty Segall) they shaped and crafted the new songs in real time over three sessions, which were then mixed in Los Angeles by frequent collaborator Jarvis Taveniere (Woods, Avalanches, Purple Mountains).

It was clear from the get go the bucolic environment—observed through picture windows overlooking Stinson Beach and Bolinas Bay—would be conducive to creating the first statement from Allah-Las 2.0. “We got in real late that first night of the first session,” Michaud says. “It was around midnight. We had a quick intro and Jeremy had a bottle of wine. We had a little and he said, ‘You wanna start recording?’”

They did. And when the group reassembled the following morning to listen back, they found the sparkling and stutter--stepped “Right On Time” mostly done. It was unlike anything the band had ever recorded but felt entirely natural. “Everything just worked,” Michaud says. “That studio just pulls it out of you.”

Zuma 85 finds the Allah-Las departing familiar territory and embracing the influence of late-era Lou Reed and John Cale, the ‘70s mutant pop of Peter Ivers and early Eno and Roxy Music, and textures borrowed from Japanese pop and loner-folk obscurities. There are kosmische zones, like the Popol Vuh-evoking “Hadal Zone,” anthemic and electronic boogies like “The Stuff” and “Sky Club,” and arch prog on tunes like “GB BB” and “Smog Cutter.” 

 For the last 15 years, Allah-Las have alchemically melded surf rock washes with folk rock jangle and rock, building up their lauded music podcast, Reverberation Radio, and record label, Calico Discos, in the process. A lot has changed since the group first bonded over psych rock vinyl in the back room at Amoeba Records in the late aughts and Zuma 85 finds the quartet facing a new world with a wealth of new sounds.  

Allah-Las are Matthew Correia (drums/vocals), Spencer Dunham (bass, guitar, vocals), Miles Michaud (guitar, organ, vocals), and Pedrum Siadatian (guitar, synth, vocals).

Pre-order the album and stream the lead tracks here.

Read more about it on Line of Best Fit.


“Detroit experimentalist and texture king Jimmy Edgar is the kind of producer that opens a doorway in your mind” - BILLBOARD

“evokes a thrilling future of club music without borders”  - PITCHFORK

“One of electronic music's most diverse producers” MIXMAG     

Announced alongside not one, but two blistering new tracks “SLIP N SLIDE” and “STATIC (FT BANSHEE)”, Jimmy Edgar’s upcoming album LIQUIDS HEAVEN (out on November 11) is a psychedelic canvas of future R&B, euphoric bass, mutant tear-the-club-up rap, foundation-splintering noise, and gossamer soul. On a surface level, it is a starburst of avant-garde fusion, collecting a diverse cast of eccentric geniuses and re-configuring them into an anthology of nü musique concrete. But as with all his work, there is a deeper and subversive intent. Edgar unleashes two mind-melting, genre-bending tracks into the ether, blending funky electronic motifs, futuristic soul, and techno to sublime effect. 

Signed to Warp Records as a teenage electronic music prodigy, Edgar has recorded for the world’s most respected imprints (Warp, K7, Hotflush and his own New Reality Now). Raised in Detroit, with stints in Berlin, Atlanta, Los Angeles, and New York, his list of close collaborators includes Hudson Mohawke, Danny Brown, SOPHIE, DAWN, Mykki Blanco, Vince Staples, and Machinedrum (as one half of their duo J-E-T-S). LIQUIDS HEAVEN’s early gestation spawned from Edgar’s explorations of “material” in the digital world, and is part of his broader ambition to change belief and intention in the digital realm – a pseudo-invisible way to summon novel realities by infusing his ultra-sleek aesthetic into transformative conceptual art. LIQUIDS HEAVEN is the ultimate culmination of the idea of “phases of matter.”

LIQUIDS HEAVEN is not merely a technicolor dream of ethereal abstractions, however. It bangs as hard as anything to ever bump from a subwoofer. But for all the high energy propulsion, there is a counter-balance of melancholic beauty, and in a career of fascinating left-turns, it would be more surprising if LIQUIDS HEAVEN wasn’t surprising. The genius of it is that for all its cerebral intent, it remains replete with raw and visceral emotion. Out of sadness comes courage. Water, liquid, and light evaporate, become transparent, disappear peacefully. Nothing less than the sound and look of liquid are transmuted into powerful new sculptures – which are best experienced at a high volume on the far side of the sky.