Alex G releases dévoile son nouveau clip "Immunity"
1st March 2023
Alex G annonce une nouvelle salve de date pour sa tournée estivale nord-américaine aux côté d’Alvvays. Parallèlement à cette annonce, Alex partage le nouveau clip de son titre "Immunity", réalisé par Zev Magasis.
Le nouvel album d'Alex G, God Save The Animals, est déjà disponible. Alex G se produira aux festivals américains Coachella et Bonnaroo, et assurera la première partie de Caroline Polachek à Denver. Le mois prochain, il entamera une tournée anglaise et européenne puis reviendra sur le vieux continent cet été pour jouer aux festivals Wide Awake et Primavera Sound.
ALEX G EN CONCERT EN FRANCE
05.04 - LE GRAND MIX, TOURCOING
06.04 - LE TRABENDO, PARIS - COMPLET
Retrouvez toutes les date des tournées US/UK/EU ICI.
Alex G God Save The Animals
Album | 23rd September 2022
“God” figures in the ninth album from Philadelphia, PA based Alex Giannascoli's LP’s title, its first song, and multiple of its thirteen tracks thereafter, not as a concrete religious entity but as a sign for a generalized sense of faith (in something, anything) that fortifies Giannascoli, or the characters he voices, amid the songs’ often fraught situations.
Beyond the ambient inspiration of pop, Giannascoli has been drawn in recent years to artists who balance the public and hermetic, the oblique and the intimate, and who present faith more as a shared social language than religious doctrine.
As with his previous records, Giannascoli wrote and demoed these songs by himself, at home; but, for the sake of both new tones and “a routine that was outside of my apartment,” he asked some half-dozen engineers to help him produce the “best” recording quality, whatever that meant. The result is an album more dynamic than ever in its sonic palette.
Alex G God Save The Animals
Album | 23rd September 2022
“God” figures in the ninth album from Philadelphia, PA based Alex Giannascoli's LP’s title, its first song, and multiple of its thirteen tracks thereafter, not as a concrete religious entity but as a sign for a generalized sense of faith (in something, anything) that fortifies Giannascoli, or the characters he voices, amid the songs’ often fraught situations.
Beyond the ambient inspiration of pop, Giannascoli has been drawn in recent years to artists who balance the public and hermetic, the oblique and the intimate, and who present faith more as a shared social language than religious doctrine.
As with his previous records, Giannascoli wrote and demoed these songs by himself, at home; but, for the sake of both new tones and “a routine that was outside of my apartment,” he asked some half-dozen engineers to help him produce the “best” recording quality, whatever that meant. The result is an album more dynamic than ever in its sonic palette.
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