Listening to in Dolby Atmos Streaming, via Tidal/Apple/Amazon

[GOS]

 

[M-K]

There are some broken remnants of DT albums left in Atmos on TIDAL. I think Scenes from a Memory is complete and from a bunch of other albums, only some songs are left. I listened to them a while ago, they sounded abysmal. I'm sticking to the fan-made 5.1 mixes from the multitracks.

Agree, Atmos sounds not good at all. 5.1 fan-made mixes? No idea that those exist. But anyway Scenes from a Memory is their masterpiece.

 

[humprof]

Feature story on NPR:
https://www.npr.org/2025/01/24/g-s1-44473/fka-twigs-new-album-eusexua

Featured review--an increasing rarity--in the Times:
https://www.nytimes.com/2025/01/23/arts/music/fka-twigs-eusexua-review.html

 

[Oldschoolsoundengineer]

Great sounding album this one. Alex Gamble (https://www.audiogamble.com/) did the atmos mix. I am hoping IAA will be able to provide this album as an MKA download as they did with the previous one, Caprisongs, which also sounds excellent. Keep us updated Jonathan/@sjcorne!

 

[Stupy]

I didn't realise this was up; may have missed it... but as someone who has had my fair share number of walks on Vulture Street...

https://tidal.com/browse/album/312378830?u

[The Odyssey Number 5 album has been on streaming atmos for a while:]

https://tidal.com/browse/album/236532725?u

 

[SomethingAnything]

Featured review--an increasing rarity--in the Times:
https://www.nytimes.com/2025/01/23/arts/music/fka-twigs-eusexua-review.html

Behind a subscription wall.

 

[olgitnorm]

 

[dabl]

Agree, Atmos sounds not good at all. 5.1 fan-made mixes? No idea that those exist. But anyway Scenes from a Memory is their masterpiece.

I was trying to piece together which from the the Dream Theater 5.1 mixes Richard Chycki did had 600 tracks? Did he do the Parasomnia atmos mixes?

I know this should probably be in a separate thread.

 

[humprof]

Behind a subscription wall.

Sorry, man. I know the Times is an expensive sub, but it's not possible for me to "gift" every article I cite. (Bing AI tells me you can still read 5 articles per month for free.)

Consolation prize: Quietus album of the week:
https://thequietus.com/quietus-reviews/album-of-the-week/eusexua-fka-twigs-album-of-the-week-review/

 

[theCharm]

Lindsey Buckingham contributed to a new track

 

[Infomas]

Behind a subscription wall.

I got some spare gifts. Here ya go: https://www.nytimes.com/2025/01/23/...e_code=1.sU4.zSbp.dYs1Ap0Mle8P&smid=url-share

 

[humprof]

C - D:
I wasn't wowed by many of the albums with Atmos mixes in this segment of the alphabet: I'm not enough of a poptimist to make much time for Chappel Roan or Charli XCX; Christian McBride & Edgar Meyer's two-bass album is a worthy project but a one-and-done listen (and not well-suited to Atmos); Clairo's breathy indie-pop is pleasant but slight; and I never cared for The Cure and still don't. DIIV serves up generic doomy/downtempo indie rock, and while I liked Dua Saleh's acting in Sex Education, their music, more conventional than it's made out to be, doesn't grab me. As always: YMMV.

Carly Pearce's Hummingbird is smart, catchy "New Country" with a serviceable mix, more 5.1 than Atmos:

Octogenarian tenor saxophonist Charles Lloyd's The Sky Will Still Be There Tomorrow is one of the year's most moving records, I think, though it's mixed in that minimalist-Atmos Blue Note house style:

And Doechii's Alligator Bites Never Heal is the one real knockout of this bunch.

Otherwise, the albums I'm gonna return to from this batch are stereo only: Caleb Klauder & Reeb Willms's Gold In Your Pocket; Caroline Shaw & So Percussion's Rectangles & Circumstance; Cassandra Jenkins's My Light, My Destroyer; Chanel Beads' Your Day Will Come; Chris Potter's Eagle’s Point; Church Chords' elvis, he was Schlager; Clarissa Connelly's World of Work, the Devin Daniels Quintet's LesGo!, Dummy's Free Energy.

I'm gonna keep going with this, even if I'm just talking to myself at this point. (Sorry for the extra bit of scrolling if you're finding the whole thing tedious.)

E - F:
I spot a pattern. Once again, many of the albums with Atmos mixes didn't make much of an impression on my jaded ears. Ella Langley does the sort of "New" Country (slick, redneck) that sounds same-old, same-old. Emily D'Angelo is a Joan Baez-y classical-crossover vocalist for a certain segment of the NPR set. Fabiana Palladino is not quite my kind of neo-soul, even if she's more Prince-like than most, while FLO is just garden-variety contemporary R&B. Fontaines D.C.: okay indie rock, otherwise I'm not seein' what all the fuss is about. And I'm hardly the first or the only one to find that Future and Metro Boomin's guest-star-studded We Don't Trust You doesn't live up to the hype. (Also: the Atmos mixes on all of the above are pedestrian at best.) Here are the ones that did impress, at least a little more.

English Teacher, This Could Be Texas. Jangly, neo-new-wavy indie rock. I'm not completely sold, but I'd willingly take it for another test drive. (Fair warning: the Atmos mix has next-to-nothing up top.)

Ethan Iverson, Technically Acceptable. I like him partly because he's so wry and brainy. And if you know me, you know my feelings about the Blue Note approach to Atmos.

Ezra Collective, Dance, No One’s Watching. Good-but-not-great (mostly) instrumental funk + Afrobeat, with a correspondingly good-but-not-great Atmos mix.

Father John Misty, Mahashmashana. I gather people love him or hate him. I love him. He's the kind of singer-songwriter Rufus Wainwright wishes he was, and this is one of my favorite albums of the E-F segment. (But once again, the Atmos mix is reverbs-only up top.)

Another pattern continues: some of the best albums are only in stereo, like Fievel Is Glauque's Rong Weicknes, Francine Thirteen's Psalm of Thiamat, Fred Thomas's Window In the Rhythm, and Friko's Where We’ve Been, Where We Go From Here.

 

[IMachine]

The Father John Misty album is great!

 

[PurpleMoustache]

The jam band Goose has their upcoming studio album in Atmos. One track up now: