Last updated: 5 hours ago
<a href="spotify:artist:7cqwEXtaEnJejVMniNB1Cl">Sam Willis</a> and Alessio Natalizia crossed paths in 2009, when the former’s <a href="spotify:artist:00IfPOabUPLtaQ7Kl026Ye">Allez-Allez</a> remixed a track by the latter’s <a href="spotify:artist:1tfAsvNrxAR2KXkh4iYo5N">Banjo or Freakout</a> project. The pair soon began collaborating as Walls, creating a comforting noise inspired by the ambient end of Krautrock and modern IDM -- à la <a href="spotify:artist:2VAvhf61GgLYmC6C8anyX1">Boards of Canada</a> and <a href="spotify:artist:23MIhFHpoOuhtEHZDrrnCS">the Field</a> and the output of labels like <a href="spotify:search:label%3A%22Morr+Music%22">Morr Music</a> and <a href="spotify:search:label%3A%22City+Centre+Offices%22">City Centre Offices</a>. <a href="spotify:artist:7cqwEXtaEnJejVMniNB1Cl">Willis</a> and Natalizia uploaded a track titled “Burnt Sienna” in October 2009 and were soon signed by Cologne, Germany’s <a href="spotify:search:label%3A%22Kompakt%22">Kompakt</a> label, which issued a self-titled disc in 2010. Although it was only half an hour in length, it was a wholly satisfying debut that incorporated pulsing trance-state IDM, pastoral folktronica, and friction-filled beatless pieces. ~ Andy Kellman, Rovi
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