Lindsay Powell, recording as Fielded, has a new album shaped by two specific obsessions: financial scam culture and Japanese cyberpunk cinema. Powell started as an experimental noise artist, shifted toward R&B, and has never stopped mutating the form across releases including 'Ninety-Thirty-Thirty', 'Boy Angel', and 2020's 'Demisexual Lovelace'.
The full interview at The Verge traces exactly how those two unlikely sources translate into sound, and the lineage matters. Each album Powell has made represents a distinct formal rupture, from '80s synth-pop and saxophone solos to saw-wave electronics and layered vocal stacks. Understanding where the new record sits in that sequence requires reading the reasoning behind it.
The Verge interview is worth reading for the specifics of Powell's process and influences, not just the genre label. If you follow artists who treat R&B as a framework to break rather than inhabit, this is the profile you need this week.
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