This series on music began with Primus (which, in case you were wondering, means ‘First’ in Latin, hence it being the first entry), and Tool will follow. Mastodon, Enya, Meshuggah and Nile continue the opening sequence, with the names below offering further starting points for the series. This preview brings together 42 entries, each with a hundred words towards a longer article. I want room in those articles to return to individual recordings, consider the people making them and follow the ways their music enters my own imagination.
The series will eventually bring together 101 artists, bands and musical partnerships. Each of Quantumyth's 101 stories is a tribute to one of them. For now, I will leave it to the audience to decide which story honours which artist. I will disclose the correspondences later, as the collection continues to unfold.
The boundaries between my series are gentle. Here, the attention falls on music itself, whether an album, a performance, a film score or the sounds that make an interactive world familiar. Some entries gather a band and a related solo practice, allowing their connections to remain visible while giving each its own character.
As with all my lists, these names carry no ranking. The numbers simply follow the sequence of an expanding series. Tame Impala, Led Zeppelin and Daft Punk were influential enough that I mentioned them twice while putting this preview together. Each appears once here, but that repetition belongs to the story too. I will keep adding names I choose myself as more of the collection takes shape.
001 Primus
Primus opened Music because their songs give an eccentric imagination a convincing physical form. Les Claypool's bass can sound like a character entering the room, while guitar and drums make the surroundings increasingly difficult to predict. Pork Soda and Tales from the Punchbowl offer strange inhabitants, uneasy humour and grooves that remain compelling through all their distortions. My first article begins with that combination of personality and musical invention. I want to return to the way a Primus song can suggest an entire scene, allowing a voice, a rhythm and an unexpected noise to make a world feel immediately particular.
002 Tool
Tool follows Primus through the capacity of a song to change the listener's sense of duration. A repeated figure gathers pressure, another instrument shifts its emphasis, and the eventual release feels earned through the time spent approaching it. Lateralus and Fear Inoculum give me different ways to explore that patient construction. I am interested in the relationship between the band's rhythmic detail and the larger emotional movement of a piece. Their article will consider how music can invite concentration without surrendering its physical force, and how returning to a familiar passage can reveal another pattern working quietly within its shape.
003 Mastodon
Mastodon brings a formidable combination of musical ambition, mythology and emotional depth into this collection, with compositions that move between crushing heaviness, intricate progressive structures and moments of extraordinary beauty. Across Leviathan, Blood Mountain, Crack the Skye and Hushed and Grim, the band has constructed elaborate musical worlds shaped by imagination, grief and the sheer physicality of sound. Brann Dailor’s astonishing drumming, Troy Sanders’ commanding vocals, Bill Kelliher’s muscular guitar work and the late Brent Hinds’ unmistakable playing have given Mastodon a singular identity. I want to explore the interplay between technical virtuosity and emotional expression, including the instinctive chemistry that allows four musicians to transform enormous, labyrinthine compositions into something profoundly human. Mastodon’s article will trace the evolution of a band whose creative imagination has consistently expanded the possibilities of heavy music.
004 Enya
Enya makes a recorded voice feel capable of holding a landscape. The layers of singing, keyboards and carefully sustained harmony create distances within the music, allowing a melody to seem both near and far away. Watermark and Shepherd Moons offer clear starting points for the longer article. I want to consider the work behind that apparent ease, including the collaboration through which the recordings acquire their particular sound. Her influence concerns the possibility of creating spaciousness through arrangement, and the way a piece of music can give an imagined place its weather before I have decided what might happen there.
005 Meshuggah
Meshuggah changes the relationship between a pulse and the body trying to follow it. A riff can keep moving across the beat until its return feels almost architectural, with each instrument contributing to the pressure of the whole. Nothing and obZen give me ways into that disciplined musical language. I want to explore how repetition produces uncertainty, and how the band's precision allows enormous weight to remain mobile. Their article will stay close to the experience of listening, including the moment a pattern that seemed impossible to locate becomes something I can feel continuing beneath the surface of the song.
006 Nile
Nile makes technical death metal suggest a world of enormous age and hostile grandeur. The speed and density of the playing coexist with an atmosphere drawn from ancient Egypt, giving the songs a setting that reaches beyond their immediate violence. In Their Darkened Shrines offers a strong place to begin. I want to explore the relationship between that historical imagination and the practical construction of the music, including how an arrangement makes room for scale within relentless motion. Nile's article will consider the discipline required to make complexity feel purposeful, and how a sound can imply ruins, ritual and distance.
007 Tame Impala
Tame Impala makes the recording process part of a song's emotional life. Across InnerSpeaker, Lonerism and Currents, Kevin Parker allows a voice or an instrument to acquire a different character through distortion, repetition and the space around it. The songs can remain intimate while their surfaces keep shifting. I want to explore that relationship between private uncertainty and the expansive pleasures of psychedelic pop. Tame Impala's article will consider how a familiar feeling becomes newly audible through a particular sound, and how an arrangement can carry the movement of a thought that has not yet settled into its final form.
008 Fleet Foxes
Fleet Foxes gives the human voice a sense of company without making every feeling easy to resolve. Harmonies gather around Robin Pecknold's singing, while the arrangements leave room for shifts in light, pace and perspective. Helplessness Blues and Shore offer different starting points for the article. I am interested in how the songs hold questions about work, belonging and the shape of a life within music that rewards close listening. Their place here concerns the possibility of building an atmosphere through many voices, allowing individual uncertainty to remain audible within the beauty of people finding their way through something together.
009 Prince Rama / Taraka
Prince Rama makes music feel connected to an entire imaginative practice, with performance, images and speculative ideas extending the life of a song. Taraka and Nimai Larson's work together opens into the separate possibilities of Taraka's solo recordings. I want to follow that continuity while allowing each project its own character, from Xtreme Now to Welcome to Paradise Lost. The article will explore how an artist gives sound a surrounding world, and how that world changes as the person making it changes. Their influence concerns the freedom to let music carry a larger experiment in how life might be imagined.
010 Led Zeppelin
Led Zeppelin makes scale depend on the relationships between the musicians. A guitar phrase, a bass movement, a vocal line or a drum accent can change the force of everything around it. The distance between a quiet acoustic passage and a full electric entrance becomes part of the storytelling. I want to explore that range through Led Zeppelin IV and Physical Graffiti, listening to how the arrangements preserve a sense of movement. Their article will consider the imaginative possibilities of an ensemble whose sound remains recognisable while allowing individual songs to inhabit very different kinds of space, tension and atmosphere.
011 Black Sabbath / Ozzy Osbourne
Black Sabbath gives a riff the gravity of an event. The opening records make darkness tangible through the relationship between Tony Iommi's guitar, the rhythm section and Ozzy Osbourne's unusually direct vocal presence. Ozzy's solo work extends that voice into another musical setting, with its own collaborators and forms of drama. I want to keep both histories visible in the article, following the continuity without collapsing their differences. Their influence concerns the emotional possibilities of heaviness, including the vulnerability that remains audible within it, and the way a memorable phrase can give an imagined world an immediate sense of danger.
012 David Bowie
David Bowie makes a change of sound feel connected to a change in the person addressing us. A voice, a character or a recording method can open another perspective without dissolving the intelligence guiding the work. Low and Blackstar offer very different ways to begin that discussion. I want to explore the relationship between invention and continuity across his music, including the collaborators who helped each record acquire its shape. Bowie's article will consider how a body of work can remain open to transformation, allowing earlier songs to gather new meanings as later ones alter the world around them again.
013 Jethro Tull
Jethro Tull gives a song the restless intelligence of a storyteller who keeps noticing another detail. Ian Anderson's voice and flute move through arrangements where acoustic intimacy, electric force and rhythmic play can occupy the same piece. Aqualung and Thick as a Brick offer different ways into that range. I want to explore how character and musical structure work upon one another, including the humour that unsettles an apparently serious declaration. Their article will consider the pleasure of a band whose songs can keep changing direction while retaining a distinctive manner of speaking, as recognisable as a particular person's company.
014 Daft Punk
Daft Punk makes a carefully constructed recording feel immediate enough to enter through movement. Discovery and Random Access Memories approach that pleasure through different relationships between sampling, electronic sound and live performance. The voices and grooves keep a human presence audible within the precision of the production. I want to explore how the duo's visual identity supports that experience, giving the music a world without exhausting its possibilities. Their article will consider the patience behind a sound that seems instantly inviting, and the emotional life a repeated phrase can acquire when its smallest changes receive the right amount of attention.
015 John Williams
John Williams gives an imagined person or place a musical identity that can return changed by experience. Star Wars, Jaws and Jurassic Park offer very different examples of how a theme prepares an audience to recognise something before it fully appears. I want to explore the detail within that familiarity, including orchestration and the relationship between a melody and its dramatic circumstances. His article will consider how film music becomes part of the way a story is remembered. Williams's influence reaches into the possibility of giving separate encounters a shared emotional history through sounds that continue to recognise one another.
016 Howard Shore
Howard Shore makes a fictional world's history audible through the relationships between its musical ideas. In The Lord of the Rings, the sound of a place can persist through a journey, gathering loss, uncertainty or renewed hope as the story moves elsewhere. I want to explore how that continuity works alongside the extraordinary detail of his orchestration. Shore's article will consider the listening involved in giving Tolkien's cultures different musical identities without breaking the coherence of the whole. His influence concerns the sense that a landscape has memories, and that music can allow those memories to accompany someone leaving home.
017 Gojira
Gojira makes heaviness feel connected to the physical world, including the pressure human lives place upon it. From Mars to Sirius and Magma give me different ways to approach the relationship between force, grief and environmental imagination within their music. The playing has a bodily clarity that allows a repeated figure to become an event with consequences. I want to explore how that directness coexists with the scale of the band's concerns. Their article will consider the emotional range available within an extreme sound, and how a song can carry an idea through the weight and movement of its arrangement.
018 Behemoth
Behemoth gives a performance the concentrated intensity of a constructed ceremony. The music, imagery and physical presentation work together, allowing an album such as The Satanist to acquire a recognisable atmosphere across its different forms. I want to examine the decisions behind that coherence, including the relationship between an individual song and the larger imaginative setting around it. Their article will explore how theatricality changes the experience of extreme metal, and how a band can make visual collaboration part of its musical identity. The interest for me lies in the precision with which an entire presentation directs an audience's attention.
019 Cradle of Filth
Cradle of Filth makes language part of the architecture surrounding a song. Dani Filth's voice moves through arrangements whose speed, keyboards and shifts in atmosphere give Gothic storytelling a physical expression. Dusk and Her Embrace and Cruelty and the Beast offer different starting points for the article. I want to explore the relationship between that literary imagination and the practical construction of the music, including how a dramatic setting survives within an intense performance. Their influence concerns the possibility of giving an album a world that remains recognisable through its words, its artwork and the changing movement of its sounds.
020 blink-182
blink-182 gives apparently straightforward songs room for embarrassment, longing and the uneasy comedy of growing up. The energy of Enema of the State sits within a larger catalogue that keeps finding different emotional possibilities in the band's direct musical language. I want to explore how a melody or a vocal exchange makes those feelings legible without slowing the momentum. Their article will consider the relationship between humour and vulnerability, including the changes that become audible as familiar voices grow older. Their place here concerns the lasting imaginative presence of songs that can make an ordinary personal difficulty feel briefly shared.
021 Limp Bizkit
Limp Bizkit makes rhythm central to the personality of its sound. The guitar, bass, drums and turntables create a setting in which a voice can speak, provoke or erupt without losing the underlying movement. Significant Other gives me a starting point for considering how those parts fit together. I want to explore the musicianship within the band's abrasive public manner, paying attention to the decisions that make a riff immediately recognisable. Their article will follow the relationship between tension and release, including the way a seemingly simple passage can acquire force through timing, texture and the musicians listening around it.
022 Linkin Park
Linkin Park gives emotional uncertainty a musical form that can move between several kinds of expression. Singing, rapping, electronic detail and heavy guitars share space in arrangements that make the transitions feel purposeful. Hybrid Theory and Meteora offer starting points for the article, with later recordings opening further directions. I want to explore how contrasting voices can inhabit the same feeling, and how production shapes the intimacy of that exchange. Their influence concerns the possibility of allowing a song to contain conflicting impulses without forcing an immediate resolution, giving an audience different ways to recognise what it struggles to express.
023 Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart gives musical relationships the immediacy of people responding to one another. In opera, a change of rhythm or harmony can reveal a character's intention before the words have settled it; the instrumental music finds equally vivid possibilities without a staged story. The Magic Flute and the piano concertos offer starting points for the article. I want to explore the dramatic intelligence within his apparent clarity, listening to how an idea changes as another voice answers it. His place here concerns music that remains alive through interaction, allowing wit, unease and tenderness to develop within a balanced form.
024 Felix Mendelssohn
Felix Mendelssohn makes orchestral colour suggest movement through an imagined place. A Midsummer Night's Dream and The Hebrides offer different ways to hear that capacity, from quick, delicate activity to the gathering motion of a landscape. I want to explore how those impressions arise through specific musical relationships, including the care with which a texture changes around a returning idea. His article will consider the connection between imagination and formal judgement. Mendelssohn's influence concerns the possibility of evoking a world without describing every part of it, giving a listener enough detail to feel something continuing beyond the music's immediate frame.
025 Ninja Sex Party
Ninja Sex Party gives an extravagant fictional persona songs strong enough to carry its adventures. Dan Avidan's singing and Brian Wecht's keyboard writing make room for absurdity while remaining attentive to the pleasures of melody and performance. I want to explore that relationship between comic invention and musical commitment, including the warmth that can emerge when a ridiculous situation touches a recognisable feeling. Their article will consider how characters acquire a continuing life across songs and videos. Their place here concerns the freedom to take an unlikely imaginative premise seriously enough to develop its musical possibilities with care and affection.
026 Immortal
Immortal gives black metal a fictional landscape with its own recurring weather and scale. Blashyrkh extends through the songs as a realm of winter, conflict and imagined distances, while the riffs give that setting a force independent of explanation. I want to explore the history shared by Abbath, Demonaz and the musicians who helped develop the band's sound, keeping its different periods distinct. Their article will consider how an invented place gains continuity across recordings. Immortal's influence concerns the relationship between atmosphere and musical discipline, including the clarity required to make speed and density suggest a world beyond the performance.
027 AC/DC
AC/DC gives a small musical vocabulary an extraordinary range of physical expression. The relationship between the guitars and rhythm section makes a riff feel like something happening among people, with timing and space carrying much of its force. Highway to Hell and Back in Black provide different starting points for the article. I want to explore the discipline within that apparent simplicity, including how a vocal phrase changes the character of the groove around it. Their place here concerns the imaginative possibilities of directness, and the pleasure of musicians who understand exactly how much room a strong musical idea needs.
028 Queen
Queen gives an individual song permission to develop its own theatrical scale. A voice can become a chorus, a guitar part can suggest another character, and a sudden change of style can feel entirely at home within the arrangement. A Night at the Opera offers a clear starting point for the article. I want to explore how the band's individual writing voices coexist with such a recognisable collective sound. Their influence concerns the confidence to follow an idea through its most elaborate possibilities while preserving an audience's connection to the human performance carrying it, whether intimate, extravagant, playful or vulnerable.
029 C. W. Stoneking
C. W. Stoneking makes an invented tale sound as though it has been carried through years of telling. His voice and arrangements draw upon older blues, jazz and popular music while giving the songs an unmistakable personal character. Jungle Blues and Gon' Boogaloo provide different starting points for the article. I want to explore how instrumental colour supports the storytelling, and how a performance can make an improbable event feel close enough to overhear. Stoneking's place here concerns the imaginative life of a song's narrator, including the humour, uncertainty and confidence through which a stranger becomes memorable company for me.
030 Jack White / The White Stripes
Jack White makes the limitations of an arrangement part of its expressive force. With Meg White in The White Stripes, the space around guitar, drums and voice becomes active, giving each entrance a particular weight. His solo recordings and work through Third Man extend that interest into other forms of musical production. I want to explore the connection between those activities without losing the character of the individual songs. The article will consider how a recording retains the feeling of a physical event, and how a recognisable artistic judgement can keep finding new possibilities within familiar instruments and musical languages.
031 Coheed and Cambria
Coheed and Cambria gives an ongoing fictional universe a life within songs that remain inviting on their own. The Amory Wars connects albums and comics, while Claudio Sanchez's voice carries the immediate feelings of an individual passage. I want to explore that relationship between a narrative structure and the concentrated experience of listening to a song. Their article will consider how the music makes room for both, allowing a chorus to communicate before the surrounding mythology is understood. Their influence concerns the possibility of developing a world across different forms while giving each encounter with it its own emotional completeness.
032 Koji Kondo
Koji Kondo makes a place recognisable through music that remains responsive to the pleasure of being there. His work on The Legend of Zelda and Super Mario gives movement, discovery and repeated actions a musical identity that can persist across years. Ocarina of Time offers a rich starting point, with melodies becoming things the player actively uses within the world. I want to explore the relationship between that practical function and the emotional memory the music acquires. Kondo's article will consider how a brief theme can make an imagined place feel familiar before its story has fully begun to unfold.
033 Nobuo Uematsu
Nobuo Uematsu gives a long adventure an emotional continuity that survives changes of place, character and circumstance. His Final Fantasy music can make an arrival feel momentous, a familiar town reassuring or a departure unexpectedly painful through the return of a melody. I want to explore how that clarity works across different musical forms, including the movement between intimate passages and larger dramatic gestures. His article will consider the relationship between a game's unfolding journey and the audience's memory of its people. Uematsu's influence concerns the way music allows separate experiences to become parts of a life we remember together.
034 Haute & Freddy
Haute & Freddy gives theatrical pop an emotional world inhabited by outsiders looking for company. Big Disgrace places vivid voices and synthesizers within a presentation that treats costume and performance as parts of the music's identity. Their song Shy Girl also helped shape Mike Flanagan's television adaptation of Carrie, creating another connection between their sound and a fictional character's experience. I want to explore that passage between song and story without losing the duo's own personality. Their article will consider how an invented appearance can make room for personal feeling, and how an audience finds itself within an extravagant performance.
035 Big Business
Big Business makes a compact ensemble sound capable of moving an enormous weight. Jared Warren's bass and voice and Coady Willis's drumming give the music a concentrated physical presence, with the parts continually changing the pressure around one another. Head for the Shallow and The Beast You Are offer starting points for the article. I want to explore the detail within that impact, including the turns that keep a heavy passage mobile. Their place here concerns the imaginative possibilities of musicians who leave space for each other, allowing a small number of sounds to produce an expansive sense of movement.
036 Baroness
Baroness makes an album feel connected through the movement between its different emotional temperatures. Red Album and Blue Record allow heavy passages, melodic detail and quieter intervals to shape one another, while John Dyer Baizley's artwork gives the recordings another visual life. I want to explore the relationship between those forms, keeping close to the songs and the people playing them. Their article will consider how an ensemble develops a recognisable language while leaving room for change. Their influence concerns the possibility of making intensity feel richly coloured, with an arrangement holding several kinds of experience within a musical world.
037 Wolfmother
Wolfmother gives a riff the excitement of something arriving at full physical scale. Andrew Stockdale's voice and guitar carry a sound whose force depends on the response of the musicians around them, with changes in texture giving the songs room to breathe. I want to begin with the debut album and follow the character that remains audible through later recordings. Their article will consider how a band inhabits an inherited musical language through performance. Their place here concerns the immediacy of heavy rock, and the capacity of a phrase to make an imagined scene suddenly acquire movement, confidence and size.
038 Faith No More
Faith No More gives musical unpredictability a remarkably coherent personality. A shift in voice, rhythm or instrumental colour can make a familiar passage seem newly unstable, while the song keeps moving with conviction. The Real Thing and Angel Dust offer different ways into that language. I want to explore the relationship between the band's collective sound and the changes Mike Patton can introduce within a single vocal performance. Their article will consider how humour, unease and emotional directness occupy the same arrangement. Their influence concerns the freedom to follow an unexpected musical idea far enough to discover its particular logic.
039 Giorgio Moroder
Giorgio Moroder makes repetition feel like an invitation into a future that the body can already understand. His work with Donna Summer, including I Feel Love, gives electronic patterns an immediacy shaped by voice, production and the smallest changes in emphasis. His film music opens further ways to consider the relationship between a sound and an imagined world. I want to explore that continuity across his work as a composer and producer. Moroder's article will consider how a distinctive musical texture becomes part of a wider culture's imagination, allowing a simple sequence to keep suggesting new possibilities through its motion.
040 A. R. Rahman
A. R. Rahman gives a song room to move between musical traditions while preserving the particular feeling at its centre. Roja, Bombay and Dil Se offer starting points for exploring how voices, acoustic instruments and electronic production meet within his film music. I want to consider the relationship between those arrangements and the dramatic circumstances surrounding them, alongside the life the songs acquire beyond the screen. His article will follow the imaginative choices that make a melody feel both intimate and expansive. Rahman's influence concerns the possibility of allowing many musical languages to share a space without losing their individuality.
041 Animal Collective / Panda Bear
Animal Collective makes a familiar musical pleasure feel newly discoverable through the ways it is assembled. Voices, loops and unexpected textures create arrangements whose strangeness can coexist with a direct emotional appeal. Panda Bear's solo work offers another route into that shared imaginative territory, with Noah Lennox's singing giving repetition a distinctive intimacy. I want to explore the relationship between the group and the individual practice without making either stand for the other. Their article will consider how a repeated sound changes as its surroundings change, and how an apparently unstable musical environment can become somewhere a listener recognises home.
042 The Mars Volta
The Mars Volta makes a song feel capable of opening into another kind of experience at almost any moment. De-Loused in the Comatorium and Frances the Mute give their narratives a musical setting full of sudden changes, extended passages and physical momentum. I want to explore the relationship between Omar Rodríguez-López's musical direction, Cedric Bixler-Zavala's voice and the collaborators who give those ideas their final shape. Their article will consider how an arrangement sustains attention through uncertainty. Their influence concerns the freedom to let a piece keep developing until its emotional logic becomes apparent through the journey of listening itself.
This preview will keep growing. The longer articles will make room for the musical details these introductions can only begin to approach, and for the connections that emerge as I return to the recordings. For now, these are the next places I want to explore in Music.
Sources and further listening
Recording details and project credits are linked below. These sources include official artist websites, label catalogues, composer profiles and interviews. The discussion of the music reflects my own response to it.
Primus: Official band website; Published Music Entry 1.
Tool: Official band releases; Sony Music album history.
Amason: Official band website; Official music catalogue.
Enya: Official artist website; Rhino Watermark credits.
Meshuggah: Official band biography; Official discography.
Nile: Official band discography; Napalm Records artist profile.
Tame Impala: Sony Music artist profile.
Fleet Foxes: Official band discography; Official Helplessness Blues recording.
Prince Rama / Taraka: Carpark Prince Rama history; Taraka's official recordings.
Led Zeppelin: Official band discography.
Black Sabbath / Ozzy Osbourne: Tony Iommi's Paranoid credits; Official Ozzy Osbourne website.
David Bowie: Official Low album archive; Official Blackstar album archive.
Jethro Tull: Official band discography; Official Thick as a Brick history.
Daft Punk: Official artist website; Official Random Access Memories archive.
John Williams: Boston Symphony Orchestra composer profile; Official agency biography.
Howard Shore: Official composer biography; The Lord of the Rings Symphony.
Gojira: Official From Mars to Sirius recording; Official band album archive.
Behemoth: Nuclear Blast artist profile; The Satanist album profile.
Cradle of Filth: Official band discography.
blink-182: Official band discography.
Limp Bizkit: Official band website.
Linkin Park: Official band biography; Official music catalogue.
Wolfgang Amadeus Mozart: Mozarteum Foundation life and works; London Symphony Orchestra composer guide.
Felix Mendelssohn: Mendelssohn House composer biography; Los Angeles Philharmonic Hebrides notes.
Ninja Sex Party: Official band website; Official collaborator biography.
Immortal: Official band history.
AC/DC: Official band music archive; Official Highway to Hell album page.
Queen: Official band website; Official A Night at the Opera release.
C. W. Stoneking: Official artist biography; Official recordings.
Jack White / The White Stripes: Official Jack White website; Official White Blood Cells album page.
Coheed and Cambria: BOOM! Studios Amory Wars catalogue; Official publicity profile.
Koji Kondo: Nintendo Ocarina of Time sound interview; Nintendo Zelda Symphony history.
Nobuo Uematsu: Wayô Records composer biography; PlayStation Final Fantasy interview.
Haute & Freddy: Official duo website; Television Academy interview on Carrie.
Big Business: Official band recordings; Official booking biography.
Baroness: Official band recordings; Relapse Records catalogue.
Wolfmother: Official band music catalogue.
Faith No More: Official band recording archive; Warner Music album collection.
Giorgio Moroder: Official composer and producer biography.
A. R. Rahman: Official composer website; Los Angeles Philharmonic artist profile.
Animal Collective / Panda Bear: Domino Animal Collective profile; Domino Panda Bear profile.
The Mars Volta: Clouds Hill De-Loused album history; Official band recording.
