Since emerging onto the scene in 2014, Moses Sumney has ridden a wave of word-of-mouth praise, hushed recordings, and dynamic live performances. It's an organic, patient ascent all too rare in today's musical climate. In a voice both mellifluous and haunting, Sumney makes future music that transmogrifies classic tropes, like moon-colony choir reinterpretations of old jazz gems. His vocals narrate a personal journey through universal loneliness atop otherworldly compositional backdrops.
Following the self-release of his debut cassette EP, Mid-City Island, and 2015's 7", Seeds/Pleas, Sumney has performed around the world alongside forebears like David Byrne, Karen O, Sufjan Stevens, Solange, James Blake and more. With his 2016 Lamentations EP, The California and Ghana-raised troubadour widened the spectrum of his heretofore "bedroom" music, incorporating songs that feature more elaborate production and evocative songwriting. Now his inspired ascent continues.
His proper debut album, Aromanticism is a concept album about lovelessness as a sonic dreamscape. It seeks to interrogate the social constructions around romance. The debut will include the devastating, billowing synths of "Doomed,” which in a way serves as the album’s thesis statement, as well as new versions of standouts "Lonely World" and "Plastic.” It’s a deliberate, jaw-dropping statement that can leave you both enlightened and empty.

埃里克·贝内(Eric Benet)自幼钟爱七十年代的灵魂乐，他的第五张专辑便是一番充满怀旧情绪的致敬，而取名"Lost
In Time"(迷失于时空)是最适合不过了。尽管贝内其实从未远离这种音乐风格，但这张专辑的每首歌几乎都有根可寻，
有些甚至能追溯到具体的歌曲上："Paid"来自于"Papa Was A Rolling Stone","Feel Good"的和声进行近似于"The
Best of My Love"。贝内要么向某些经典歌曲敬礼，要么沉湎于马文·盖伊(Marvin Gaye),王子(Prince),斯蒂夫·汪
德(Stevie Wonder)诸位大家的回响中。他试图复制经典柔和灵魂乐(classic smooth soul)的质感，以至不惜损害自
己的旋律。如果这些歌曲能够余音绕梁，那固然好。不过贝内总算是奉上了一张颇诱人的模仿之作，尽管无甚深度，
但也足够悦耳了。