Lux Prima
In the last five years alone, Danger Mouse has worked with everyone from Parquet Courts to Run the Jewels, while Karen O's recent CV includes the soundtrack to kids film Where the Wild Things Are and an industrial cover of Led Zeppelin's "Immigrant Song" in the company of Trent Reznor and Atticus Ross. The two of them have become serial collaborators, and they have done so many different things that it is near-impossible to accurately predict what they might sound like together.
On their new record Lux Prima, they appear to revel in the possibility of a blank slate. O said of making Lux Prima that "when you create from a blurry place you can go places further than you've ever been," while Danger Mouse talked of "looking for a place rather than a sound." Listening to the results, I imagine that place to be Paris 1969, Detroit 1964 or Bristol 1995, a blend of Serge Gainsbourg's orchestral grace, Motown pop hustle, and the packed and dusty sound of '90s trip hop.
In the last five years alone, Danger Mouse has worked with everyone from Parquet Courts to Run the Jewels, while Karen O's recent CV includes the soundtrack to kids film Where the Wild Things Are and an industrial cover of Led Zeppelin's "Immigrant Song" in the company of Trent Reznor and Atticus Ross. The two of them have become serial collaborators, and they have done so many different things that it is near-impossible to accurately predict what they might sound like together.
On their new record Lux Prima, they appear to revel in the possibility of a blank slate. O said of making Lux Prima that "when you create from a blurry place you can go places further than you've ever been," while Danger Mouse talked of "looking for a place rather than a sound." Listening to the results, I imagine that place to be Paris 1969, Detroit 1964 or Bristol 1995, a blend of Serge Gainsbourg's orchestral grace, Motown pop hustle, and the packed and dusty sound of '90s trip hop.
