It’s 2012, and Prince Rama has made the Top Ten Hits of the End of the World. Conceived as a pseudo-compilation album, the Brooklyn duo invented ten different pop bands that died during the apocalypse, channeling the ghosts of each one to perform the various songs. Spanning genres and stylistic eras from across the globe, Top Ten Hits explores pop music’s relationship to memory, nostalgia, and the spirit world. Incorporating influences as disparate as cosmic disco, motorcycle rock, new-wave, grunge, tribal goth, Arabic pop, and ghost-modern glam, Prince Rama filters each sound through the destroyed lens of a post-apocalyptic future looking back at the wonders of its sonic past. It’s 2012, and Prince Rama has made the Top Ten Hits of the End of the World. Conceived as a pseudo-compilation album, the Brooklyn duo invented ten different pop bands that died during the apocalypse, channeling the ghosts of each one to perform the various songs. Spanning genres and stylistic eras from across the globe, Top Ten Hits explores pop music’s relationship to memory, nostalgia, and the spirit world. Incorporating influences as disparate as cosmic disco, motorcycle rock, new-wave, grunge, tribal goth, Arabic pop, and ghost-modern glam, Prince Rama filters each sound through the destroyed lens of a post-apocalyptic future looking back at the wonders of its sonic past. Tracking began with Tim Koh in Ariel Pink’s Haunted Graffiti’s studio and was then completed and mixed with producer Scott Colburn (Animal Collective, Sun City Girls, Arcade Fire) at Gravelvoice in Seattle. Top Ten Hits of the End of the World isn’t just a pop album, it’s a retrospective requiem of all pop albums ever made. Nothing like this has ever been attempted by a single band, and its residual echoes will continue to haunt this world and the next.