KLO whets appetites for her upcoming Depeche Mode tour support slots with an LP.8 addendum, again sensitively produced by Norwegian noise wrangler Lasse Marhaug
Resulting from a creative relationship akin to Helge Sten & Susanna, but perhaps coarser and more pop than folk, ‘LP.8.2’ expands on Owens’ acclaimed 2022 album in four parts of ambient noise and techno pop benefiting from the biting point sensuality of Marhaug’s minimalist but powerful production.
The London-based artist has really found her foil in prolific, revered Oslo artist Marhaug, who variously frames her shapeshifting from shivering choral presence to ambient noise siren on ‘Rituals’, and underlines her icily plangent vocal melody with quaking bass on ‘Moebius’, before rendering her starkest and closest to Susanna’s melodramas in ‘The First Song’, or puckered like a Scandi ambient-pop-star around the growling bass and electrostatic patina of ‘Find Our Way’.
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KLO whets appetites for her upcoming Depeche Mode tour support slots with an LP.8 addendum, again sensitively produced by Norwegian noise wrangler Lasse Marhaug
Resulting from a creative relationship akin to Helge Sten & Susanna, but perhaps coarser and more pop than folk, ‘LP.8.2’ expands on Owens’ acclaimed 2022 album in four parts of ambient noise and techno pop benefiting from the biting point sensuality of Marhaug’s minimalist but powerful production.
The London-based artist has really found her foil in prolific, revered Oslo artist Marhaug, who variously frames her shapeshifting from shivering choral presence to ambient noise siren on ‘Rituals’, and underlines her icily plangent vocal melody with quaking bass on ‘Moebius’, before rendering her starkest and closest to Susanna’s melodramas in ‘The First Song’, or puckered like a Scandi ambient-pop-star around the growling bass and electrostatic patina of ‘Find Our Way’.
KLO whets appetites for her upcoming Depeche Mode tour support slots with an LP.8 addendum, again sensitively produced by Norwegian noise wrangler Lasse Marhaug
Resulting from a creative relationship akin to Helge Sten & Susanna, but perhaps coarser and more pop than folk, ‘LP.8.2’ expands on Owens’ acclaimed 2022 album in four parts of ambient noise and techno pop benefiting from the biting point sensuality of Marhaug’s minimalist but powerful production.
The London-based artist has really found her foil in prolific, revered Oslo artist Marhaug, who variously frames her shapeshifting from shivering choral presence to ambient noise siren on ‘Rituals’, and underlines her icily plangent vocal melody with quaking bass on ‘Moebius’, before rendering her starkest and closest to Susanna’s melodramas in ‘The First Song’, or puckered like a Scandi ambient-pop-star around the growling bass and electrostatic patina of ‘Find Our Way’.
KLO whets appetites for her upcoming Depeche Mode tour support slots with an LP.8 addendum, again sensitively produced by Norwegian noise wrangler Lasse Marhaug
Resulting from a creative relationship akin to Helge Sten & Susanna, but perhaps coarser and more pop than folk, ‘LP.8.2’ expands on Owens’ acclaimed 2022 album in four parts of ambient noise and techno pop benefiting from the biting point sensuality of Marhaug’s minimalist but powerful production.
The London-based artist has really found her foil in prolific, revered Oslo artist Marhaug, who variously frames her shapeshifting from shivering choral presence to ambient noise siren on ‘Rituals’, and underlines her icily plangent vocal melody with quaking bass on ‘Moebius’, before rendering her starkest and closest to Susanna’s melodramas in ‘The First Song’, or puckered like a Scandi ambient-pop-star around the growling bass and electrostatic patina of ‘Find Our Way’.
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KLO whets appetites for her upcoming Depeche Mode tour support slots with an LP.8 addendum, again sensitively produced by Norwegian noise wrangler Lasse Marhaug
Resulting from a creative relationship akin to Helge Sten & Susanna, but perhaps coarser and more pop than folk, ‘LP.8.2’ expands on Owens’ acclaimed 2022 album in four parts of ambient noise and techno pop benefiting from the biting point sensuality of Marhaug’s minimalist but powerful production.
The London-based artist has really found her foil in prolific, revered Oslo artist Marhaug, who variously frames her shapeshifting from shivering choral presence to ambient noise siren on ‘Rituals’, and underlines her icily plangent vocal melody with quaking bass on ‘Moebius’, before rendering her starkest and closest to Susanna’s melodramas in ‘The First Song’, or puckered like a Scandi ambient-pop-star around the growling bass and electrostatic patina of ‘Find Our Way’.