Music Releases 05-30-25
Six years after her critically acclaimed album forevher, Shura is back with her highly anticipated third studio album I Got Too Sad For My Friends. A pastoral blend of chamber pop, sixties folk and campfire Americana, it builds Shura’s introspective songwriting out into a vast landscape more tranquil than the soulful bounce of forevher, and more rustic than the brooding synth-pop of her 2016 debut Nothing’s Real. Though it’s an album rooted in themes of depression and loneliness, I Got Too Sad For My Friends is far from downcast. Instead, it stays fully present in its feelings and plunges its fingers into the earth – even when it can be painful to do so. Produced by Luke Smith (Foals, Shygirl, Depeche Mode) and featuring collaborations with Cassandra Jenkins, Becca Mancari and Helado Negro, it retains Shura’s usual crystalline sound and precision while introducing a different kind of warmth and earthiness.
Nominated for 10 Academy Awards, including Best Original Score, and shot in the glorious, vintage VistaVision format, Brady Corbet’s The Brutalist stands as a monumental achievement in filmmaking. Opening with a mesmerizing and continuous 10-minute overture, composer Daniel Blumberg’s music sets the stage for the film’s epic narrative, which spans multiple decades and follows fictional Hungarian architect László Toth (played by Adrien Brody) as he rebuilds his life in post-war America.
Encompassing large-scale brass orchestrations, intimately lyrical piano melodies and freewheeling, improvisational jazz, The Brutalist’s score is as ambitious and broad in scope as the film itself. Envisioning the score as slabs of sound – rich and resonating while also measured and restrained – the music developed into the sonic embodiment of the Brutalist design aesthetic, where imposing scale and raw textures meet values of simplicity and economy. To craft its singular sound, Blumberg worked with a cast of boundary-pushing musicians and improvisers, traveling across the UK and Europe with a custom-built remote recording setup to capture his players on location. Exploiting the tension between the fluidity of improvised music and the meticulous precision of film scoring, Blumberg coaxed out beautifully rich and resonant performances from his collaborators, including avant-garde innovators Axel Dörner (trumpet), Evan Parker (saxophone), Sophie Agnel (piano), and John Tilbury (piano), to name a few.
For the film's frenetic and intoxicating jazz club scene, Blumberg assembled a jazz quartet (comprised of Pierre Borel on saxophone, Simon Sieger on piano, Joel Grip on bass, and Antonin Gerbal on drums) to perform improvised versions of his themes live on set, resulting in one of the film’s most electrifying numbers, as well as additional period-specific pieces that appear throughout the soundtrack. For the film’s 1980s-set Epilogue, Blumberg traveled to New York to work with synth-pop pioneer Vince Clarke (Depeche Mode, Erasure), deconstructing and rebuilding the film’s main theme into a redemptive, synth and drum machine-driven dance track befitting of the new era.
The score was mixed and co-produced by longtime Scott Walker collaborator Peter Walsh, who also worked on Blumberg’s past three records.
Pressed on 180-gram vinyl, the 2-LP release from Milan Records features printed sleeves housed in a gatefold package designed by The Brutalist title designer Sebastian Pardo in close collaboration with Daniel Blumberg.