Post Malone’s highly anticipated album Beerbongs & Bentleys has been finally released.
Eagerly waiting fans of Post Malone, have been finally treated to an eighteen-track album that features singles ‘Rockstar’ and ‘Psycho’. Malone’s latest album looks to climb the Billboard charts and join the previous success his album ‘Stoney’ had which hit the 4th place on the Billboard Top 200 chart.
‘Beerbongs & Bentleys’ marks the second album released by the hip-hop wonder Post Malone and looks to become the most successful yet.
The album is available to be streamed and downloaded via all major digital stores and has been released via Republic (Universal).
A short horror film Stay Safe directed by Christopher Stewardson is looking to raise money for production.
Stay Safe is a ghost story inspired by the tales of M.R. James. Young surgeon, Oscar, has had an awful day, one he wishes his mind would let him forget. Despite the comforting words of a friend and fellow surgeon, Toby, Oscar is plagued by how crushing the day has been. Heading home, he’s forced to head through the woods to get there. Something is waiting for him in those woods. At first, Oscar can shake the feeling that something is watching him, until it’s too close to deny.
The beloved Sound Selection is back with more great music for your playlists.
Jeffrey Piton ‘On My Own’
The first song to enter our Sound Selection is ‘On My Own’ by the terrific Jeffrey Piton. In his latest single Piton showcases a splendidly warm vocal that takes over the song with its rawness and authenticity. Piton is a tour de force when it comes to performance and is a must-listen artist in the world of music.
Penguin ‘Get Me Out’
Another great song to enter our Sound Selection is ‘Get Me Out’ by Penguin. In their latest dynamic single Penguin take us on quite a journey from quietly starting intro to a storm-driven hook that will keep with you for weeks and months to come. One for the playlists for sure.
Inwards ‘When She Flashes Her Smile On Me’
By changing our frequencies, we have ‘When She Flashes Her Smile On Me’ by Inwards who present us with a wave of modular synth sounds with a mix of unfussiness, calmness and vivacity. ‘When She Flashes Her Smile On Me’ is a truthfully exceptional piece that deserves recognition for its positive drug-like power.
Airium ‘Our Lives Together’
It is the afternoon, we are driving on the roads, and we hear ‘Our Lives Together’ by Airium, the day could not be better. Airium’s latest journey-filled, soul-driven experience named as ‘Our Lives Together’ is a magical heap of satisfaction that deserves every praise possible and a must for any playlist curator looking to expand their horizons.
Soleima ‘Pacify Me’
Switching us to the commercial sphere we have ‘Pacify Me’ by the pulsating and tremendously dynamic, Soleima. As part of her latest EP ‘Bulldog’, the Danish singer-songwriter has selected ‘Pacify Me’ as the lead song, and this is to no surprise as it surpasses the world around us with its colossal zing and simply textbook feel.
Makeness ‘Who Am I To Follow Love’ feat. Nancy Andersen
Makeness latest collaboration with Nancy Andersen in one word could only be described as a voyage. As part of the album ‘Loud Patterns’, the acclaimed Makeness has join forces with the superb Nancy Andersen to give us a song with a seamless structure and spring romance filled atmosphere.
Jasima Karimova ‘Little Love’
Thundering in with a heavy pounding drum, and crystalline-like vocal we have Jasima Karimova’s ‘Little Love’. In her latest single, Karimova displays to us just why she is the name to track in the world of music with enormous energy and genuineness. A true gift for the soul.
Masserne ‘Le Vide’
Switching up the vibe, we have ‘Le Vide’ by Masserne, who combines serene and enigmatic sounds of Deep House to take us on a journey of mystery. With this single released, we are sure to hear more great things in the coming months from Masserne, who looks to grow rapidly in the world of music.
Lion Sphere ‘Alice at Once’
The final song to enter this Sound Selection is ‘Alice at Once’ by the exciting Lion Sphere who bring out a wave of light-listening groove and vibrancy through their exciting and exhilarating song. This song is one for the playlists.
Born in Poland in 1984, Bartosz Beda relocated to the UK in 2008. After graduating with a MA in Fine Art in 2011, he was selected for the 2012 Catlin Art Guide as one of the most promising emerging artists in the UK. In 2012, Beda was short-listed for Saatchi New Sensations exhibition in London for most exciting graduate students in the IK, and won the esteemed Towry Award for the Best of North of England, as well as a six-month scholarship to Academy of Fine Arts in Dresden, Germany. Beda had solo exhibitions at Galleria Liebre, Spain (2013), BAC Gallery, Colombia (2015), Jackson-Teed, England (2016), Rosemary Duffy Larson Gallery, USA (2017) and received a fellowship from Fondazione perl’Arte in Rome, Italy in 2016.
This summer you will join an artist-in-residency program at Goggle Works in Reading, PA. Do you have any plans for what you will paint there? Would you tell us what your expectations for the residency are?
The residency will begin in June and will end in August. The residency will be for me a time to focus on something new, and I am hoping that I can push my boundaries in painting. I will also explore printmaking and its use for my painting. I do not want to become a printmaker, but I definitely think that there is something in the printmaking medium that can be directly used in painting in the way that nobody had ever thought about. I am going to find out if there is anything for me in this new to me medium.
Residency is a refreshment for the soul. My expectation is to learn something new about painting and the city I will stay in for ten weeks.
Why does Art Matter?
Why should art matter in the first place? This question reminds me of George Carlin, an American comic, who makes fun of American culture. Maybe we should do the same with art. We created in our society something of sort of religion from art that we try to celebrate no matter what. Maybe art shouldn’t matter, and then the importance would increase in value again.
What’s the nature of aesthetic intelligence, and how does it relate to other sorts of intelligence?
I would be interested to know what other people think of aesthetic intelligence and then form my own opinion about it. If the intuition is enough to follow the nature of our senses, then do we need another definitions and phases to understand the higher performance for art and other things? I think that we are performing every time we do something, and it is a work in progress. Answering this question is a form of using my aesthetics with all senses I have, and I perform now believing I bring something valuable to the culture and arts. If there is something in it that relates to other sorts of intelligence, then maybe we should ask those who explore it more, as I feel not in a position to talk about it.
Should we recognize a difference between fine art, commercial art, and other forms of art?
Yes, to distinguish what’s bad in art. No, to make sure that we do not create differences between academical artists and commercial artists who are exposed to high end collectors and private investors who make some art important with their money. It’s like a question about which peanuts are better in taste or which are healthier. Too much of them make us sick and perhaps the same with art.
Do you try to communicate emotions? How central is emotional communication to the nature of your art?
I keep emotions in the studio with the artwork I make. In that sense, I communicate emotions within myself and the work I produce. Once paintings leave the walls of my studio, I try to keep it open to some degrees of interpretations and emotions that comes with works. This question brings me back to aesthetic intelligence. I think that emotion is a state of mind that can be changed. What appears to be emotional now, has a different performance of aesthetics tomorrow. That is why it’s so difficult to communicate emotions in the art, as if I set a specific communication in the piece of art that, for instance, will refer to positivity, that does not necessarily have to be a depiction of positivity in the eyes of other people. I think that there is a very thin layer between the nature of art and emotional communication.
“The philosophy of my art comes from my origin as a Polish. I have that certain type of genes in my blood that create different forms of life and aesthetic”
1 of 9
Bad Boys Have a Nice Beard I, oil on canvas, 51x41cm (20x16"), 2017
For Warmth and Drama II, oil on canvas, 51x51cm (20x20"), 2017
For Warmth and Drama, oil on canvas, 51x51cm (20x20"), 2017
Nun (Triptych), oil on canvas, 2017
Nuns (Congenial Talk) I, oil on canvas, 76x76cm (30x30"), 2017
Nuns (Congenial Talk), oil on canvas, 76x76cm (30x30"), 2017
Nuns (Coordinated) I and II, oil on canvas, 59x48cm (23x18"), 2017
Ten Starts From One V (John White), oil on canvas, 184x254cm, 2017
Ten Starts From One VI, oil on canvas, 183x190cm, 2017
How closely is your artistic expression and meaning tied to culture? To cultural ideas and philosophy? To cultural “forms of life”?
I made all my way to the United States starting from Poland then through Germany, England and then Italy. It has been an adventure for the search of perfect momentum for my life, where I expose myself to carpe diem, stoicism, and interpretation of my dreams. My life is influenced by great philosophers that I came across reading, and they became influencers for my subconscious.
I grow up in a culture that is a part of my expression and meaning in painting. The philosophy of my art comes from my origin as a Polish. I have that certain type of genes in my blood that create different forms of life and aesthetics. This baggage is confronted with every new thing and culture I am exposed to. It is nice to know that my point of view to this world is not only based on one culture, but on a combination of all aspects of life.
Figurative art can represent the real world in a totally distorted manner or be reinterpreted subjectively by you the artist, how is your world view as an artist that has painted in many different countries, does this influence the art you produce?
I always thought that it is important to choose a city that we want to live in no matter what will happen to the world. The place where I live influence me and definitely influence my art. We present the reality that surrounds us in the work we do. I reflect it in my paintings. Everything has its place and origin, and nothing is wasted. We come from energy, and we go back to the same source of energy. I recently talked to my friend about life in different cities. She mentioned something very simple, but very important to how we perceive ourselves. She said that young people get easily bored with the city where they live in and where they explored everything. If there are no many opportunities to grow, then there is a natural need to leave and move elsewhere. It has its origin since man lived in the cave. We immigrate, as we have expectations that there is something that fulfills us and our subconscious. Whether there is something for us to fill fulfilled, that’s another story. Answering the question, yes, countries, cities, and people influence my art.
Sample Magic has once again not disappointed, this time with their Jazz Melodics and Hooks sample pack.
If you are looking for samples for your Hip-hop beat or the next Jazz-inspired Pop song, then this pack might be just for you. Sample Magic’s ‘Jazz Melodics and Hooks’ is a terrifically produced pack that includes a range of sounds from instruments like guitar, piano and even brass. Its masterful range and vintage-like resemblance will fit a range of projects that need more dynamic expansion or just a subtle jazzy-touch.
The pack includes over a 100+ euphonious samples that even include numerous MIDI files for those want to customise further without having the hassle of recreating the notes by ear. With this sample pack released, we are sure that Sample Magic hold the range of sample pack for the everyday music producer.
‘Jazz Melodics and Hooks’ is a tour de force when it comes to Jazz sample packs, and one we must praise.
Czech-born director Milos Forman known for his Academy Award-winning films ‘Amadeus’ and ‘One Flew Over the Cuckoo’s Nest’ has passed away at the age of 86.
Forman, a respected figure in the cinema redefined the world of film with this two films ‘The Loves of a Blonde’ and ‘The Firemen’s Ball’ during the peak of the Czechoslovak New Wave in the 1960s. Both of the films received an Academy Award nomination for Best Foreign language film and put Forman on the map of cinema forever. But this was only the beginning for the fresh Czech who later moved to the US to direct Academy Award-winning films ‘Amadeus’ and ‘One Flew Over The Cuckoo’s Nest’. Both claiming the award for Best Picture.
As a director, Forman brought out terrific performances from several of the greatest actors like Jack Nicholson, Louise Fletcher and F. Murray Abraham, all who landed an Academy Award win for Best Acting. His films have become iconic to many filmgoers and look to stand the test of time with their ferocious stories and characters.
Forman passed away on Friday in the US after a short illness, his wife, Martina, told Czech news agency CTK.
Agata Pankowska an illustrator based in Poland created a fantastic series of prints done in offset lithography based on the tale of the Mice King.
The artist has brilliantly merged the graphic aesthetic of printmaking with an organic drawing style. Manifesting a technique that has the best of both worlds, graphic and organic. Wisely placed within hinting compositions, the illustrations make a perfect addition to the narrative.
Mice king
Also, you can follow Agata’s Instagram page and Artstation to keep up with her latest work.
In a house overlooking London’s Highgate Cemetery, amongst the beautiful architecture of the dead, Our Culture sat down with directors Jeremy Dyson and Andy Nyman to talk about their upcoming chiller,Ghost Stories. It is a deeply unsettling film, one which forces the audience into the dark, into the places where unnatural things tread.
In speaking with these directors, one is immediately hit with their palpable affection for horror; both directors throwing out classic horror references left and right, from Night of the Demon to Amicus Productions. It truly makes you excited for their film because you’re aware of the deep love of film from which it spawned.
The following is a complete transcription of that conversation. Warning, swearing is contained in this interview.
First of all, I’d like to say thank you ever so much to both of you for talking to Our Culture.
Jeremy: It’s our pleasure!
Andy: We’re delighted! Thank you!
To start, I’d love to know how the film got off the ground. Once the decision was made to go from stage to screen, how did you guys go about that?
Jeremy: Well it was, you know, it was quite a long journey that began when, in the very first week of us writing the play, we sensed as we came up with the story, that it had cinematic potential. But, we were quite disciplined at that time, saying “well yeah but we’re doing this play so all our focus will remain on the play and we’ll just park that as a thought” And then when it transferred into the West End, and there was a lot of, you know, heat and noise around it, we had a Hollywood offer from a major studio. That caught us by surprise but we wouldn’t have been allowed to direct it. It would have been to write the script and then hand it over, and we knew that that wasn’t…
Andy: It just didn’t feel right.
Jeremy: Didn’t feel right, yeah. It wasn’t going to satisfy us. It wasn’t the spirit that we’d set out to do the play in. And then there was another offer after that.
Andy: By then, we’d decided that we wanted to write it, we wanted to direct it, and I wanted to play [Professor] Goodman. We were sort of unshakeable on that because we’d decided that we wanted to retain as much of the spirit of the play as we could, including its British-ness. So then there was another very lovely American offer that came through and we spoke to them and they were onboard for us to do that, but the harsh reality of that was that there would have been a lot of forces outside of our control.
Jeremy: We would have had to give up quite a bit.
Andy: Yes, and we just went away from that whole experience thinking, “it’s not like we’re going to get paid £2 million each”, you know. The realities of writing a small, independent film are that you’re not going to get much money. And those offers were somewhere between not much money and fuck-all money.
Jeremy: [Laughs]
Andy: So, you sort of think, “well, if we’re going to get paid fuck-all, we might as well just do it ourselves, and write it ourselves, and try and pick the people we want to make it with” And I should say as well that those offers, it’s not like anyone’s going out to shaft you, it’s just the way it all works.
Jeremy: There’s just not that much money in low-budget films!
Andy: So, that’s what we decided to do, and we took eighteen months, because it’s not like we’re not doing anything. We’re both doing our own stuff. We took eighteen months on unpicking it and working, and one thing I’ve really learnt from Jeremy is he’s got the most amazing worth ethos and discipline, but also, you know, something he says a lot is “trust the process” and taking that time pressure away from you and just being able to let solutions find themselves in your subconscious has actually been a really exciting and useful way to work.
Jeremy: So, all the way through to completing the film and post-production, the principle was always trying to go for absolute authenticity of what we felt was the right way to go with it on every creative decision. And not out of any self-aggrandising arrogance, just that that felt like the best way of achieving what we’d set out to do. It was the same thing on the play, and historically, things always come out better when I’ve done that in my own career.
Andy: And also, the films that we love, especially within the genre where there’s an opportunity to see people demonstrate their personalities in the extreme, all of the films that have touched us most are films where you feel you’re getting to know what the filmmaker’s like, you know, be that John Landis, be that Tobe Hooper, Eli Roth.
Jeremy: Well it’s interesting, it goes back to Amicus Productions. They were informed by that spirit. You know, the Amicusses, [Milton] Subotsky was a complete genre freak. He adored the stuff. And Max Rosenberg was a businessman, but of course, he had the brains to let Subotsky take the creative side of it. It’s brilliant to know that they had a similar spirit that informed the things that we loved, historically.
Martin Freeman stars as Mike Priddle, a man haunted by something ghastly.
In watching the film, one gets an unmistakable air of M.R. James and, in particular, stories like Whistle and I’ll Come to You. How much of an influence was M.R. James on the film?
Jeremy: Well it was the adaptations that were the influence, you know, the Lawrence Gordon Clark ones. There’s another genius! How brilliant that somebody like that emerged out of the BBC just because that’s how the BBC operated in the seventies! It was, “as long as you don’t spend too much money, you can go and do what you want!”
Andy: [Laughs]
Jeremy: And he was a documentary maker! But he had a passion for those stories that went back to him being told them by his father at Christmas, I think.
Andy: And those versions, you know, are some of the greatest ghost stories ever put on film.
Jeremy: That’s no hyperbole, that’s for sure!
A Warning to the Curious is still utterly frightening!
Andy: Oh my God, yeah! And Lost Hearts!
Jeremy: And, you know, you look at how he achieved it and there’s so many clues how to go about it yourself. He had no money, so it meant intense creativity, but he cast it brilliantly, you know, and the locations do so much work. And then, they’re beautifully shot. And all those things don’t have to cost money.
Andy: And the sound as well! And the editing, I mean, honestly, they are remarkable. You think about the end of The Treasure of Abbott Thomas. Oh my God! That trick’s almost just edit and sound, and it just makes you go cold.
Jeremy: Well it’s timed like a joke.
Andy: It is.
Jeremy: It’s timed like a piece of comedy. He had grand aspirations, Lawrence Gordon Clark, he’s quite open about it. He thought he loved Hitchcock and he thought of himself as Hitchcock and how would Hitchcock do this? In A Warning to the Curious, you’ve got that great shot of the spade on the suitcase.
Andy: Yes, absolutely!
Jeremy: You know, brilliant cinematic storytelling! Telling you who this character is through dynamic camera work!
Andy Nyman stars as Professor Goodman.
And in films like Night of the Demon…
Jeremy: Which we share a passion for!
…there’s such an emphasis on the power of suggestion.
Jeremy: Yeah! But the fascinating thing about Night of the Demon is that it has this dual thing of one, it’s the power of suggestion, but two, it couldn’t be more balls-out with its monster! And for years, people were sniffy about it, but you know, I love the hutzpah of showing that demon!
That shot where it’s coming out of the smoke is horrifying to this day!
Andy: It is! We watched it again recently and we were like “…fuck” That is something!
Jeremy: It’s brilliantly done! So yeah, go on, sorry!
So, why do you think that the power of suggestion is so scary?
Jeremy: [Chuckling] Because you’re weaponising the audience’s imagination against themselves! We looked into it a lot when we were staging the play and there’s so much of it that’s neurobiology. A lot of what that feeling is when you’re scared by something in a film, or indeed in a theatre, is the prey response. It’s a very old circuit in the brain, and you’re accessing that bit of the audience’s brain and putting them into that ancient response that goes back to, you know, us being crustaceans!
Andy: And we’re not snobby about the period of horror films at the moment. We think there’s been a brilliant golden age, we think there’s been some absolutely fantastic genre films over the past fifteen, twenty years. I mean, amazing, but one of the things that kind of comes and goes that is something that maybe Get Out really tapped into so brilliantly…
Get Out was brilliant!
Jeremy: Oh yeah!
Andy: …is a sense of wrong. It’s a sense of the real world.
Jeremy: Oh so the moral element!
Andy: No, more so meaning…
Jeremy: Oh you mean…
Andy: …off-kilter!
Jeremy: Off-kilter, yeah!
Andy: There is just something…wrong.
Jeremy: But what’s interesting is that that “something wrong” resonates with the moral aspect.
Andy: One hundred percent.
Jeremy: It’s the one allied to the other.
Andy: Exactly.
Jeremy: And Night of the Demon does the same thing, you know, one of the secret weapons of Night of the Demon is Niall MacGinnis’ performance, and it’s in the script, when he’s talking to his mother and saying “you like how we live, well it came at a price, and that price is fear” And it’s brilliant! It’s saying something profound about corruption!
Andy: [Chuckles] At the risk of being political, that could be a sentence to come out of the mouth of, you know, a President…or a Prime Minister…or the head of a massive global company.
Jeremy: So, you know, when that monster comes out of the darkness, and it’s coming to get you, it means something. And that’s why you feel it. It’s not just a technical thing, it’s a story thing, it’s narrative.
Emily Carding is fantastically frightening in GHOST STORIES.
Yeah, absolutely! One of the most horrifying aspects of Ghost Stories, with regards to the off-kilter feeling, is how real it all feels. Could you tell us a bit about the practical effects element of the film?
Andy: Absolutely! We both love magic, conjuring, and always have done. And I’ve worked extensively in that world as a sort of parallel career to my acting. And there’s something really interesting about my own experience of watching films where there’s lots of CGI, and I’m sure it’s a sort of universal experience, which is that there’s a disconnect because it doesn’t hit you on an emotional level. You’re so au fait to seeing anything happen that it just negates it. And as a magic trick, it becomes null and void. If you think about The Spy Who Loved Me, with that ski sequence at the beginning, your stomach when he goes off the cliff…you can’t believe what you’re seeing.
Jeremy: And the same in Moonraker! I showed it to my kids and it was the same thing. They are jumping out of a plane! And that is for real!
Andy: So, the difference between that and when you see the CGI version of that where it has no impact other than sort of “oh it’s a moment in a film”, they’re very, very different things. And so as a magic trick, you’re conditioned, you know what’s real and what isn’t. This is aside from the benefits of doing it live because it’s cheaper and the benefits of doing it live because of the performances of an actor, I’m purely talking about the audience experience of seeing it. And so, it was really important to us. We knew we could do it eight times live on stage with bits of string and sellotape and there’s no reason why you can’t transfer that to film. We used to have this expression which was “Buster Keaton filmmaking” which is, you know, we’ve used techniques that are…
Jeremy: [Chuckles] that go back to George Méliès!
Andy: Yeah! And so one of the exciting things about that when you’re dealing with a story which is about not quite knowing what’s real and what isn’t real, is that if you can put the audience in the same shoes as someone experiencing it on the screen, that’s a really useful technique. And there are moments I look at, and I promise I don’t mean this in an arrogant way, where I think “I wish I didn’t know that was coming” because it’s so exciting to know that what an audience thinks they’re looking at is not what they’re looking at and you can’t wait for them to have revealed to them what they’re actually looking at!
Well, thank you ever so much Andy and Jeremy for sitting down with me. It’s been an absolute pleasure!
Andy: Thank you so much, and thank you for your support!
Jeremy: Yes, thank you!
Ghost Stories is released in the UK on the 6th of April and in the United States on the 20th of April.
Special thanks must be given to Lionsgate for their help in arranging this interview.
German music producer KLANGPLANET is back and this time with a highly anticipated album ‘Eternity’
Acclaimed and respected music producer KLANGPLANET is back, but this time with a bigger release than ever.
Having released numerous tracks with great success amongst the indie critics, the German music producer has recently announced his latest project ‘Eternity’, which includes eight equally stunning Deep House tracks that combine sounds soul, nature and beautiful chill-out melodies that have become partnered with KLANGPLANET style throughout all of his discography. This album looks to mark the great work of KLANGPLANET, and might be the beginning of what we hope is going to be a long and successful career in the world of music.
Sound Selection is back and this time with more great music to share for your playlists.
Raina Sokolov-Gonzalez ‘Unarmed’
The first song to enter our Sound Selection is ‘Unarmed’ by the amazing Raina Sokolov-Gonzalez who grips us in with her exciting and dynamic vocal that drives this song into this week’s Sound Selection with its beautiful soul and mysterious feel. A must-listen.
Gus ‘Roses’
Another great song to enter our Sound Selection is by the young and talented Gus, who debuts with ‘Roses’. A single that perfectly introduces this artist into the world of music, with a great commercial feel and perfectly fitting vocals that will surely shoot him straight to the stars in the years to come.
ATFC & David Penn ‘Hipcats’
Moving over to club music, we have a fun and exhilarating single ‘Hipcats’ by the fun ATFC & David Penn who bring us in with a wave of groovy and electrifying sounds. If you are looking for great music to flavour up your Spring, this one will be for you.
KLANGPLANET ‘You’
Previously featured KLANGPLANET is back and this time with another beautiful song ‘You’. In this latest single KLANGPLANET showcases just why we adore his music so much. ‘You’ grows with each bar and progression and its serene and delicate sound that so many are eager to hear.
Attaque ‘Don’t Leave Me’
Furthermore, we have another splendid song ‘Don’t Leave Me’ by Attaque who combines gripping lead synths with phenomenal melodies to make a raw and authentic single. This one will keep with us for weeks and months to come, for sure.
Mona Vale ‘Settle Down’
Switching our frequencies, we have Mona Vale who utilises roaring electronic sounds, with thickly layered vocals to give us a melancholy-driven hit ‘Settle Down’. With this song released, we are sure to hear more great things from Mona Vale, who bring great energy time and time again.
Clement Bazin ‘Catch Me’
Clement Bazin’s single ‘Catch Me’ is another terrific single to enter this Sound Selection with its dynamic production and commercially-driven vocals that make this song a true jam for those that love well-produced and vibrant radio-ready tunes.
Alexander Vincent ‘I Won’t’
The final song to enter this Sound Selection is by Alexander Vincent named ‘I Won’t’. This single is driven by the serene vocals of Vincent and minimal-urban electronic production, that makes this song a must-listen and one for the playlists.
