Iris North writes about ambient, electronic, and music-video work — anything where sound design and image do half the storytelling.
“Silence is also production.”
Paul McCartney’s “Ripples in a Pond” is a warm, late-career love song built around one of his most enduring strengths: making a small emotional gesture feel universal. Rather than chasing spectacle, the track leans into melody, gratitude, and romantic steadiness, turning the image of ripples spreading across water into a tender reflection on love’s lasting reach.
Charli xcx reimagines the Spring/Summer 2026 fashion season as the end of the world — a cold, deadpan, deliberately anti-climactic art-pop piece where the empty space and the runway film do half the storytelling.
“Berghain,” the lead single from ROSALÍA’s 2025 album Lux, is a collision staged inside a cathedral, a nightclub, and a fever dream at the same time — orchestral, ritualistic, dangerously glossy, and excessive enough to argue with.
Tara Clerkin Trio’s “Somewhere Good,” the title track of their June 2026 World of Echo release, is a weather-system of a song — minimalist jazz, dub, trip-hop, and avant-pop assembled out of breath, wood, and circuitry.
Strategy’s “COMPUTER ROCK” is a hard-edged electronic tribute to Kase2 and the creative resistance captured in Style Wars. Built from bass weight, urban pressure, and cultural memory, it feels less like nostalgia than a transmission from the walls themselves.
