Album lore

Grace Acladna’s 2015 release Songs of the Subconscious, issued by Hometown Records, offers a compact set of four tracks that blend indie pop with electronic and R&B inflections. The record leans towards a jazzy, tribal jazz feel, evident in rhythms and textures that suggest a subtle pulse beneath the surface. “Where Everything Ends,” the featured track, exemplifies this interplay between electronic beats and organic instrumentation.The modest tracklist—London, Where Everything Ends, Afterlife, and Losing It—draws a modest but dedicated following, with over 6,500 listeners and just shy of 20,000 scrobbles on Last.fm. There’s a measured restraint throughout, favoring moods that skirt the edges of alternative pop without fully committing to any one genre’s conventions. As an artifact, it occupies a quiet niche for those attuned to hybrid forms within the mid-2010s indie and electronic milieu.

Album lore

Grace Acladna’s 2015 release Songs of the Subconscious, issued by Hometown Records, offers a compact set of four tracks that blend indie pop with electronic and R&B inflections. The record leans towards a jazzy, tribal jazz feel, evident in rhythms and textures that suggest a subtle pulse beneath the surface. “Where Everything Ends,” the featured track, exemplifies this interplay between electronic beats and organic instrumentation.The modest tracklist—London, Where Everything Ends, Afterlife, and Losing It—draws a modest but dedicated following, with over 6,500 listeners and just shy of 20,000 scrobbles on Last.fm. There’s a measured restraint throughout, favoring moods that skirt the edges of alternative pop without fully committing to any one genre’s conventions. As an artifact, it occupies a quiet niche for those attuned to hybrid forms within the mid-2010s indie and electronic milieu.