1
C418 - Subwoofer Lullaby
2
C418 - Living Mice
3
C418 - Moog City
4
C418 - Haggstrom
5
C418 - Minecraft
6
C418 - Clark
7
C418 - Mice On Venus
8
C418 - Dry Hands
9
C418 - Wet Hands
10
C418 - Sweden
11
C418 - Cat
12
C418 - Danny
Repress!
Minecraft is a dreamscape, a limitless world where anything is possible. Minecraft is a tool, a means of bringing the imagination to life. Minecraft is a community, a platform on which inventive minds of all ages can share their creations and ideas. Minecraft, of course, is also a game, the most popular and best-selling video game of all time. Created in 2009 by Swedish programmer Markus "Notch" Persson, this cultural phenomenon speaks volumes of our current zeitgeist's love for virtual spaces, but its unprecedented success couldn't be pinned on one factor alone. Countless layers of thoughtful artistry flow through Minecraft's singular experience, not the least of which is its transportive soundtrack. And now for the first time since releasing digitally in 2011, the music of Minecraft will be issued on vinyl and CD by Ghostly International.
Minecraft Volume Alpha, the first installment of a two-part OST, is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft's voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing," and The Guardian has compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."
But for all of the critical praise, C418's crowning achievement has to be his insatiable fan base, the seemingly endless swath of players and listeners who treat his music like gospel. They are exactly who this physical release of the Minecraft soundtrack was conceived for, though Ghostly hopes to bring Rosenfeld's music to a whole new audience as well. As any cursory listen of the touching sounds will reveal, this isn't a record meant solely for lifelong gamers and MineCon diehards; anyone in love with ambient, neo-classical, or minimal music needs to hear Volume Alpha. More
Minecraft is a dreamscape, a limitless world where anything is possible. Minecraft is a tool, a means of bringing the imagination to life. Minecraft is a community, a platform on which inventive minds of all ages can share their creations and ideas. Minecraft, of course, is also a game, the most popular and best-selling video game of all time. Created in 2009 by Swedish programmer Markus "Notch" Persson, this cultural phenomenon speaks volumes of our current zeitgeist's love for virtual spaces, but its unprecedented success couldn't be pinned on one factor alone. Countless layers of thoughtful artistry flow through Minecraft's singular experience, not the least of which is its transportive soundtrack. And now for the first time since releasing digitally in 2011, the music of Minecraft will be issued on vinyl and CD by Ghostly International.
Minecraft Volume Alpha, the first installment of a two-part OST, is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft's voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing," and The Guardian has compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."
But for all of the critical praise, C418's crowning achievement has to be his insatiable fan base, the seemingly endless swath of players and listeners who treat his music like gospel. They are exactly who this physical release of the Minecraft soundtrack was conceived for, though Ghostly hopes to bring Rosenfeld's music to a whole new audience as well. As any cursory listen of the touching sounds will reveal, this isn't a record meant solely for lifelong gamers and MineCon diehards; anyone in love with ambient, neo-classical, or minimal music needs to hear Volume Alpha. More
More records from C418
1
C418 - KI
2
C418 - Alpha
3
C418 - Blind Spots
4
C418 - Mutation
5
C418 - Biome Fest
6
C418 - Aria Math
7
C418 - Taswell
8
C418 - Beginning 2
9
C418 - Moog City 2
10
C418 - The End
11
C418 - Kyoto
12
C418 - Chirp
13
C418 - Mellohi
14
C418 - Stal
15
C418 - Eleven
16
C418 - Far
17
C418 - Intro
Repress!
As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he’s developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the “8-bit” pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack’s second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. The double LP arrives in August 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
Originally self-released in 2013, Minecraft Volume Beta was C418’s longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld’s unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music. More
As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he’s developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the “8-bit” pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack’s second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. The double LP arrives in August 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
Originally self-released in 2013, Minecraft Volume Beta was C418’s longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld’s unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music. More
More records from Ghostly International
1
Studio - Out There
2
Studio - West Side
3
Studio - Origin
4
Studio - Life's A Beach!
5
Studio - Self Service
6
Studio - Indo
The mid-2000s underground stir surrounding Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, feels nearly lost to time. West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afro-beat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.
Presented with a minimalist black circle LP design, the set possessed an uncanny escapist sensibility, underscored by track titles like “Life’s A Beach!” but otherwise entirely on the suggestion of that sound, imagined, displaced, and subconsciously amalgamated. Some called it “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside. Featuring six free-flowed tracks that glide between hypnotic instrumental terrain and anthemic pop architecture, West Coast succeeded in its premise, a trance-inducing, deja vu-like destination instantly identifiable and endlessly replayable. By late 2007, following its expanded CD repackaging as Yearbook 1, the songs were staples of year-end lists, including best album write-ups by Pitchfork, FACT Magazine, and Rough Trade. While Lissvik and Hägg kept busy, Studio’s proper follow-up never came, thus adding to West Coast’s strange allure and legacy. In 2025, the record sees renewed appreciation, remastered and reissued by Ghostly International.
West Coast took shape throughout much of Studio's existence. The earliest recordings trace back to sessions held at Lissvik’s art school and Hägg’s rehearsal space between 2001 and 2004. During this period, Lissvik co-founded the Service label, creating a platform to release music, produce T-shirts, and host events. Service organized large parties, and the art school served as both a club venue and office, in a style reminiscent of Factory Records and Haçienda. Aside from their three initial 7-inch releases on Service, they kept most of their music to themselves for several years. Hägg remembers, "All these recordings were just piled up and we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion." In 2005, they left Service, flirted with breaking up, and then revisited material and wrote two new songs at Hägg's Ferry Terminal Studio and Lissvik's N.47 studio, which he jokingly dubbed the "Beach Ball of Death sessions" due to the slow processing strain put on his Power Mac G4. Hägg continues, "I had started a disco club night with a friend and we went deep down the rabbit holes of Balearics, space rock, and strange leftfield dancefloor stuff. This probably seeped into Studio's output. Around the same time, with Dan slowing drums down to half tempo, finishing ‘No Comply’ and creating ‘Radio Edit’, the B-side of Studio's first 12", a West Coast blueprint was born.”
Soon songs were finalized and sequenced from countless sketches and layers, and the titles clicked into place after being kicked around for a while. The title for the pulsing, guitar-driven “Self Service” was inspired by Lissvik’s visit to the office of the Paris fashion magazine and chosen to mark their newfound independence. Thematically, a larger vision emerged. “Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik. “I was totally immersed in a word bubble and was really struggling with lyrics for one of our potential instrumentals. While walking back to the studio one day after a lunch break, ‘West Coast’ appeared in my mind. I ran back to the studio, wrote down the lyrics for ‘West Side,’ and suddenly ‘Life’s A Beach!,’ ‘Indo’ and the rest of the potential instrumentals all made sense.”
Sonically, the set represented years of developing taste as well. In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, DJ Mozart, and Baldelli as reference points. “The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the ‘90s.”
West Coast is defined by its swing, an ability to lock into loops and beat-grids while still prioritizing looseness and genuine surprises across long passages with layers constantly appearing and fading from the mix. Songs can momentarily fall out of step or change course, like 10 minutes into the hazy opener “Out There” when the bass line suddenly dips back beat for 4 bars and then returns on the beat, giving way for a dubbed-out breakdown and ascendent finish. Or take the 13-minute “Life’s A Beach!” which eases into a soft, tide-changing crescendo just before the 9-minute mark, returning anew on an optimistic bass line as the guitar gets moody above the shimmering wash. Hägg says, “It always transcended very well live, like an implosion. It’s a very tricky song to play, due to strange rounds so it’s such a relief when one gets there, probably what you hear is a big sigh.”
In the afterglow of the record’s 2007 reception, as their oft-mentioned un-Google-able name and Myspace page made rounds and West Coast was cemented as “one of the finest pieces of electronic music you ´ll hear this year,” per The Guardian, Studio receded from view, clouded behind a mountain of remix requests (including belter for Kylie Minogue and Stockholm’s Shout Out Louds) and label bureaucracy. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing.” More
Presented with a minimalist black circle LP design, the set possessed an uncanny escapist sensibility, underscored by track titles like “Life’s A Beach!” but otherwise entirely on the suggestion of that sound, imagined, displaced, and subconsciously amalgamated. Some called it “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside. Featuring six free-flowed tracks that glide between hypnotic instrumental terrain and anthemic pop architecture, West Coast succeeded in its premise, a trance-inducing, deja vu-like destination instantly identifiable and endlessly replayable. By late 2007, following its expanded CD repackaging as Yearbook 1, the songs were staples of year-end lists, including best album write-ups by Pitchfork, FACT Magazine, and Rough Trade. While Lissvik and Hägg kept busy, Studio’s proper follow-up never came, thus adding to West Coast’s strange allure and legacy. In 2025, the record sees renewed appreciation, remastered and reissued by Ghostly International.
West Coast took shape throughout much of Studio's existence. The earliest recordings trace back to sessions held at Lissvik’s art school and Hägg’s rehearsal space between 2001 and 2004. During this period, Lissvik co-founded the Service label, creating a platform to release music, produce T-shirts, and host events. Service organized large parties, and the art school served as both a club venue and office, in a style reminiscent of Factory Records and Haçienda. Aside from their three initial 7-inch releases on Service, they kept most of their music to themselves for several years. Hägg remembers, "All these recordings were just piled up and we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion." In 2005, they left Service, flirted with breaking up, and then revisited material and wrote two new songs at Hägg's Ferry Terminal Studio and Lissvik's N.47 studio, which he jokingly dubbed the "Beach Ball of Death sessions" due to the slow processing strain put on his Power Mac G4. Hägg continues, "I had started a disco club night with a friend and we went deep down the rabbit holes of Balearics, space rock, and strange leftfield dancefloor stuff. This probably seeped into Studio's output. Around the same time, with Dan slowing drums down to half tempo, finishing ‘No Comply’ and creating ‘Radio Edit’, the B-side of Studio's first 12", a West Coast blueprint was born.”
Soon songs were finalized and sequenced from countless sketches and layers, and the titles clicked into place after being kicked around for a while. The title for the pulsing, guitar-driven “Self Service” was inspired by Lissvik’s visit to the office of the Paris fashion magazine and chosen to mark their newfound independence. Thematically, a larger vision emerged. “Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik. “I was totally immersed in a word bubble and was really struggling with lyrics for one of our potential instrumentals. While walking back to the studio one day after a lunch break, ‘West Coast’ appeared in my mind. I ran back to the studio, wrote down the lyrics for ‘West Side,’ and suddenly ‘Life’s A Beach!,’ ‘Indo’ and the rest of the potential instrumentals all made sense.”
Sonically, the set represented years of developing taste as well. In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, DJ Mozart, and Baldelli as reference points. “The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the ‘90s.”
West Coast is defined by its swing, an ability to lock into loops and beat-grids while still prioritizing looseness and genuine surprises across long passages with layers constantly appearing and fading from the mix. Songs can momentarily fall out of step or change course, like 10 minutes into the hazy opener “Out There” when the bass line suddenly dips back beat for 4 bars and then returns on the beat, giving way for a dubbed-out breakdown and ascendent finish. Or take the 13-minute “Life’s A Beach!” which eases into a soft, tide-changing crescendo just before the 9-minute mark, returning anew on an optimistic bass line as the guitar gets moody above the shimmering wash. Hägg says, “It always transcended very well live, like an implosion. It’s a very tricky song to play, due to strange rounds so it’s such a relief when one gets there, probably what you hear is a big sigh.”
In the afterglow of the record’s 2007 reception, as their oft-mentioned un-Google-able name and Myspace page made rounds and West Coast was cemented as “one of the finest pieces of electronic music you ´ll hear this year,” per The Guardian, Studio receded from view, clouded behind a mountain of remix requests (including belter for Kylie Minogue and Stockholm’s Shout Out Louds) and label bureaucracy. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing.” More
1
Shigeto - Dial In (Intro)
2
Shigeto - Ready. Set. Flex. (feat. Zelooperz and Ian Maciak)
3
Shigeto - Runnup On'm (feat. Cleveland Thrasher and Ahya Simone)
4
Shigeto - Nothing Simple (feat. Tammy Lakkis and Cleveland Thrasher)
5
Shigeto - The Punch! (feat. KESSWA)
6
Shigeto - Let’s Talk (feat. KESSWA and Ahya Simone)
7
Shigeto - Can’t Keep Up (feat. KESSWA)
8
Shigeto - BookaMagick (feat. Cleveland Thrasher)
9
Shigeto - Pressure (feat. KESSWA and The Josh Craig)
10
Shigeto - Honey High and Blue (feat. KESSWA)
Cherry Blossom Baby, Shigeto's first full-length statement since 2017, sprouts out from a collective thaw, ambitious, collaborative, and fully realized. The Detroit-based, Japanese-American musician, DJ, Portage Garage Sounds label co-founder, and longtime Ghostly International artist embraces the role of producer and composer. Bold and cultivated with intention, the band-built sound honors traditions in electronic, jazz, R&B, and hip-hop, a fusion that's become his signature, now more vibrant than ever. Zach Saginaw and a group of guests and players present a snapshot in time, a celebration of self-love and an expression of vitality distinctly rooted in Detroit and informed by his family’s cultural history. "I am a cherry blossom baby," he says. "We all are cherry blossom babies, we all are resilient, we all are growing, we all will continue to."
Heritage has been at the heart of Saginaw's recording project from the start; his middle name is Shigeto, a name passed down from his great grandfather, which means "to grow" — it was apt given his premature birth weight of less than a pound, and remains fitting for the evolution of his artistry, now nearly 15 years since he signed to Ghostly. On Lineage (GI-148, 2012), Saginaw grappled with an ancestral story; the artwork contrasted photos taken of his great-grandfather's home in Hiroshima in 1916 and later at the Amache Internment Camp in Grenada, Colorado, where he and his family were sent during the Second World War. The line continues through Cherry Blossom Baby, which finds Saginaw drawing inspiration from the cherry trees that bloom every spring at Hiroshima, an enduring image of hope, resilience, and renewal.
Saginaw's been searching, a simmering introspection that surfaced in recent years as nightlife paused and he began to question the idea of Shigeto, the performer and Michigan fixture. "My identity is always something I've struggled with, not being really considered Japanese, not being considered white. I think Shigeto was a way for me to have this identity, to create one for myself that I can latch onto, and it suddenly didn't exist anymore." The realization pushed him to work on himself, to come back to his craft and his community, laying the groundwork for a record that rises from the figurative ashes anew.
A reaffirmed sense of self, momentum, and maturation is apparent in where Saginaw situates here as a songwriter and producer arranging ideas alongside Detroit's finest, a physical manifestation of his WDET 101.9FM show highlighting “forward-thinking music from the Detroit Diaspora.” Every track is a collaboration, be it with a vocalist or multiple instrumentalists, a tradition forged in his Portage Garage studio sessions. "It's the first time I'm writing this stuff myself and getting these players to make it even better…it's impossible to have made it at this level without them." The production and mix favor a full, throwback quality, eschewing modern compression for more spacious dynamics, a nod to psych and jazz records of the '70s and '80s. "It was on purpose but also subconsciously, playing live with jazz bands and DJing b2b with mentors like Dez Andrés, playing older sounds over the last decade. Sonically I wanted to make this record feel like you could see multiple people in a studio."
The group puts egos aside to pursue the best possible outcomes, like Saginaw's choice to invite drummer Ian Maciak (Machinedrum) for the early standout "Ready. Set. Flex,” which takes off with drum & bass velocity. "Ian's sound is unmatched, I can't play jungle breaks like Ian and I thought, how cool would it be if I could get another drummer to play that track?" Above the breaks and a rolling piano loop, there's Zelooperz, the ascendant rapper and Bruiser Brigade member (as well as Shigeto's partner in 2017 project ZGTO), rattling off a series of cerebral lines, with upright bass from Josef Deas (a Portage Garage alum) and Saginaw's synth flourishes.
"The Punch" dips into an electro-boogie vibe; it's a crew jam featuring rising star vocalist and musician KESSWA, who has worked with Shigeto on previous releases and a 2022 MOCAD museum installation and lights up half of Cherry's ten tracks with her smooth, soulful delivery. Behind the kit, Saginaw provides the percussive punch (as well as synth and glockenspiel), surrounded by the personnel that has comprised his live band and Versions (GI-340, 2019) ensemble, including Ian Finkelstein, Dez Andrés, and later, Marcus Elliot.
The collaborative spirit that runs through Cherry Blossom Baby widens its range. Rapper Cleveland Thrasher brings raspy bars to the hypnotic "Runnup On'm" with harpist Ahya Simone, the trap/breakbeat-wielding "BookaMagick," and across the pop grooves of "Nothing Simple," where he bobs and weaves with producer/DJ Tammy Lakkis. Guitarist Sasha Kashperko riffs through several tracks, giving the material a loungier feel — "I've always wanted a great guitarist on my tracks," says Saginaw. Ahya Simone returns to elevate "Let's Talk" to the cosmos. Her harp parts represent a natural progression for the Shigeto sound; whereas in the past, he might have collaged string elements together, he leans back in the open space and lets it all flow organically.
Expanding on the title's metaphor, Shigeto is pushing forward with the people around him: "A cherry blossom is regrowing, but it's always different too, and I'm speaking to that with all the different musicians on this record, getting everyone involved and honoring their contributions is part of that cherry blossom philosophy.” More
Heritage has been at the heart of Saginaw's recording project from the start; his middle name is Shigeto, a name passed down from his great grandfather, which means "to grow" — it was apt given his premature birth weight of less than a pound, and remains fitting for the evolution of his artistry, now nearly 15 years since he signed to Ghostly. On Lineage (GI-148, 2012), Saginaw grappled with an ancestral story; the artwork contrasted photos taken of his great-grandfather's home in Hiroshima in 1916 and later at the Amache Internment Camp in Grenada, Colorado, where he and his family were sent during the Second World War. The line continues through Cherry Blossom Baby, which finds Saginaw drawing inspiration from the cherry trees that bloom every spring at Hiroshima, an enduring image of hope, resilience, and renewal.
Saginaw's been searching, a simmering introspection that surfaced in recent years as nightlife paused and he began to question the idea of Shigeto, the performer and Michigan fixture. "My identity is always something I've struggled with, not being really considered Japanese, not being considered white. I think Shigeto was a way for me to have this identity, to create one for myself that I can latch onto, and it suddenly didn't exist anymore." The realization pushed him to work on himself, to come back to his craft and his community, laying the groundwork for a record that rises from the figurative ashes anew.
A reaffirmed sense of self, momentum, and maturation is apparent in where Saginaw situates here as a songwriter and producer arranging ideas alongside Detroit's finest, a physical manifestation of his WDET 101.9FM show highlighting “forward-thinking music from the Detroit Diaspora.” Every track is a collaboration, be it with a vocalist or multiple instrumentalists, a tradition forged in his Portage Garage studio sessions. "It's the first time I'm writing this stuff myself and getting these players to make it even better…it's impossible to have made it at this level without them." The production and mix favor a full, throwback quality, eschewing modern compression for more spacious dynamics, a nod to psych and jazz records of the '70s and '80s. "It was on purpose but also subconsciously, playing live with jazz bands and DJing b2b with mentors like Dez Andrés, playing older sounds over the last decade. Sonically I wanted to make this record feel like you could see multiple people in a studio."
The group puts egos aside to pursue the best possible outcomes, like Saginaw's choice to invite drummer Ian Maciak (Machinedrum) for the early standout "Ready. Set. Flex,” which takes off with drum & bass velocity. "Ian's sound is unmatched, I can't play jungle breaks like Ian and I thought, how cool would it be if I could get another drummer to play that track?" Above the breaks and a rolling piano loop, there's Zelooperz, the ascendant rapper and Bruiser Brigade member (as well as Shigeto's partner in 2017 project ZGTO), rattling off a series of cerebral lines, with upright bass from Josef Deas (a Portage Garage alum) and Saginaw's synth flourishes.
"The Punch" dips into an electro-boogie vibe; it's a crew jam featuring rising star vocalist and musician KESSWA, who has worked with Shigeto on previous releases and a 2022 MOCAD museum installation and lights up half of Cherry's ten tracks with her smooth, soulful delivery. Behind the kit, Saginaw provides the percussive punch (as well as synth and glockenspiel), surrounded by the personnel that has comprised his live band and Versions (GI-340, 2019) ensemble, including Ian Finkelstein, Dez Andrés, and later, Marcus Elliot.
The collaborative spirit that runs through Cherry Blossom Baby widens its range. Rapper Cleveland Thrasher brings raspy bars to the hypnotic "Runnup On'm" with harpist Ahya Simone, the trap/breakbeat-wielding "BookaMagick," and across the pop grooves of "Nothing Simple," where he bobs and weaves with producer/DJ Tammy Lakkis. Guitarist Sasha Kashperko riffs through several tracks, giving the material a loungier feel — "I've always wanted a great guitarist on my tracks," says Saginaw. Ahya Simone returns to elevate "Let's Talk" to the cosmos. Her harp parts represent a natural progression for the Shigeto sound; whereas in the past, he might have collaged string elements together, he leans back in the open space and lets it all flow organically.
Expanding on the title's metaphor, Shigeto is pushing forward with the people around him: "A cherry blossom is regrowing, but it's always different too, and I'm speaking to that with all the different musicians on this record, getting everyone involved and honoring their contributions is part of that cherry blossom philosophy.” More
1
Shigeto - Dial (Intro)
2
Shigeto - Ready. Set. Flex. (feat. Zelooperz and Ian Maciak)
3
Shigeto - Runnup On'm (feat. Cleveland Thrasher and Ahya Simone)
4
Shigeto - Nothing Simple (feat. Tammy Lakkis and Cleveland Thrasher)
5
Shigeto - The Punch! (feat. KESSWA)
6
Shigeto - Let’s Talk (feat. KESSWA and Ahya Simone)
7
Shigeto - Can’t Keep Up (feat. KESSWA)
8
Shigeto - BookaMagick (feat. Cleveland Thrasher)
9
Shigeto - Pressure (feat. KESSWA and The Josh Craig)
10
Shigeto - Honey High and Blue (feat. KESSWA)
Sakura Droplet Vinyl!
Cherry Blossom Baby, Shigeto's first full-length statement since 2017, sprouts out from a collective thaw, ambitious, collaborative, and fully realized. The Detroit-based, Japanese-American musician, DJ, Portage Garage Sounds label co-founder, and longtime Ghostly International artist embraces the role of producer and composer. Bold and cultivated with intention, the band-built sound honors traditions in electronic, jazz, R&B, and hip-hop, a fusion that's become his signature, now more vibrant than ever. Zach Saginaw and a group of guests and players present a snapshot in time, a celebration of self-love and an expression of vitality distinctly rooted in Detroit and informed by his family’s cultural history. "I am a cherry blossom baby," he says. "We all are cherry blossom babies, we all are resilient, we all are growing, we all will continue to."
Heritage has been at the heart of Saginaw's recording project from the start; his middle name is Shigeto, a name passed down from his great grandfather, which means "to grow" — it was apt given his premature birth weight of less than a pound, and remains fitting for the evolution of his artistry, now nearly 15 years since he signed to Ghostly. On Lineage (GI-148, 2012), Saginaw grappled with an ancestral story; the artwork contrasted photos taken of his great-grandfather's home in Hiroshima in 1916 and later at the Amache Internment Camp in Grenada, Colorado, where he and his family were sent during the Second World War. The line continues through Cherry Blossom Baby, which finds Saginaw drawing inspiration from the cherry trees that bloom every spring at Hiroshima, an enduring image of hope, resilience, and renewal.
Saginaw's been searching, a simmering introspection that surfaced in recent years as nightlife paused and he began to question the idea of Shigeto, the performer and Michigan fixture. "My identity is always something I've struggled with, not being really considered Japanese, not being considered white. I think Shigeto was a way for me to have this identity, to create one for myself that I can latch onto, and it suddenly didn't exist anymore." The realization pushed him to work on himself, to come back to his craft and his community, laying the groundwork for a record that rises from the figurative ashes anew.
A reaffirmed sense of self, momentum, and maturation is apparent in where Saginaw situates here as a songwriter and producer arranging ideas alongside Detroit's finest, a physical manifestation of his WDET 101.9FM show highlighting “forward-thinking music from the Detroit Diaspora.” Every track is a collaboration, be it with a vocalist or multiple instrumentalists, a tradition forged in his Portage Garage studio sessions. "It's the first time I'm writing this stuff myself and getting these players to make it even better…it's impossible to have made it at this level without them." The production and mix favor a full, throwback quality, eschewing modern compression for more spacious dynamics, a nod to psych and jazz records of the '70s and '80s. "It was on purpose but also subconsciously, playing live with jazz bands and DJing b2b with mentors like Dez Andrés, playing older sounds over the last decade. Sonically I wanted to make this record feel like you could see multiple people in a studio."
The group puts egos aside to pursue the best possible outcomes, like Saginaw's choice to invite drummer Ian Maciak (Machinedrum) for the early standout "Ready. Set. Flex,” which takes off with drum & bass velocity. "Ian's sound is unmatched, I can't play jungle breaks like Ian and I thought, how cool would it be if I could get another drummer to play that track?" Above the breaks and a rolling piano loop, there's Zelooperz, the ascendant rapper and Bruiser Brigade member (as well as Shigeto's partner in 2017 project ZGTO), rattling off a series of cerebral lines, with upright bass from Josef Deas (a Portage Garage alum) and Saginaw's synth flourishes.
"The Punch" dips into an electro-boogie vibe; it's a crew jam featuring rising star vocalist and musician KESSWA, who has worked with Shigeto on previous releases and a 2022 MOCAD museum installation and lights up half of Cherry's ten tracks with her smooth, soulful delivery. Behind the kit, Saginaw provides the percussive punch (as well as synth and glockenspiel), surrounded by the personnel that has comprised his live band and Versions (GI-340, 2019) ensemble, including Ian Finkelstein, Dez Andrés, and later, Marcus Elliot.
The collaborative spirit that runs through Cherry Blossom Baby widens its range. Rapper Cleveland Thrasher brings raspy bars to the hypnotic "Runnup On'm" with harpist Ahya Simone, the trap/breakbeat-wielding "BookaMagick," and across the pop grooves of "Nothing Simple," where he bobs and weaves with producer/DJ Tammy Lakkis. Guitarist Sasha Kashperko riffs through several tracks, giving the material a loungier feel — "I've always wanted a great guitarist on my tracks," says Saginaw. Ahya Simone returns to elevate "Let's Talk" to the cosmos. Her harp parts represent a natural progression for the Shigeto sound; whereas in the past, he might have collaged string elements together, he leans back in the open space and lets it all flow organically.
Expanding on the title's metaphor, Shigeto is pushing forward with the people around him: "A cherry blossom is regrowing, but it's always different too, and I'm speaking to that with all the different musicians on this record, getting everyone involved and honoring their contributions is part of that cherry blossom philosophy.” More
Cherry Blossom Baby, Shigeto's first full-length statement since 2017, sprouts out from a collective thaw, ambitious, collaborative, and fully realized. The Detroit-based, Japanese-American musician, DJ, Portage Garage Sounds label co-founder, and longtime Ghostly International artist embraces the role of producer and composer. Bold and cultivated with intention, the band-built sound honors traditions in electronic, jazz, R&B, and hip-hop, a fusion that's become his signature, now more vibrant than ever. Zach Saginaw and a group of guests and players present a snapshot in time, a celebration of self-love and an expression of vitality distinctly rooted in Detroit and informed by his family’s cultural history. "I am a cherry blossom baby," he says. "We all are cherry blossom babies, we all are resilient, we all are growing, we all will continue to."
Heritage has been at the heart of Saginaw's recording project from the start; his middle name is Shigeto, a name passed down from his great grandfather, which means "to grow" — it was apt given his premature birth weight of less than a pound, and remains fitting for the evolution of his artistry, now nearly 15 years since he signed to Ghostly. On Lineage (GI-148, 2012), Saginaw grappled with an ancestral story; the artwork contrasted photos taken of his great-grandfather's home in Hiroshima in 1916 and later at the Amache Internment Camp in Grenada, Colorado, where he and his family were sent during the Second World War. The line continues through Cherry Blossom Baby, which finds Saginaw drawing inspiration from the cherry trees that bloom every spring at Hiroshima, an enduring image of hope, resilience, and renewal.
Saginaw's been searching, a simmering introspection that surfaced in recent years as nightlife paused and he began to question the idea of Shigeto, the performer and Michigan fixture. "My identity is always something I've struggled with, not being really considered Japanese, not being considered white. I think Shigeto was a way for me to have this identity, to create one for myself that I can latch onto, and it suddenly didn't exist anymore." The realization pushed him to work on himself, to come back to his craft and his community, laying the groundwork for a record that rises from the figurative ashes anew.
A reaffirmed sense of self, momentum, and maturation is apparent in where Saginaw situates here as a songwriter and producer arranging ideas alongside Detroit's finest, a physical manifestation of his WDET 101.9FM show highlighting “forward-thinking music from the Detroit Diaspora.” Every track is a collaboration, be it with a vocalist or multiple instrumentalists, a tradition forged in his Portage Garage studio sessions. "It's the first time I'm writing this stuff myself and getting these players to make it even better…it's impossible to have made it at this level without them." The production and mix favor a full, throwback quality, eschewing modern compression for more spacious dynamics, a nod to psych and jazz records of the '70s and '80s. "It was on purpose but also subconsciously, playing live with jazz bands and DJing b2b with mentors like Dez Andrés, playing older sounds over the last decade. Sonically I wanted to make this record feel like you could see multiple people in a studio."
The group puts egos aside to pursue the best possible outcomes, like Saginaw's choice to invite drummer Ian Maciak (Machinedrum) for the early standout "Ready. Set. Flex,” which takes off with drum & bass velocity. "Ian's sound is unmatched, I can't play jungle breaks like Ian and I thought, how cool would it be if I could get another drummer to play that track?" Above the breaks and a rolling piano loop, there's Zelooperz, the ascendant rapper and Bruiser Brigade member (as well as Shigeto's partner in 2017 project ZGTO), rattling off a series of cerebral lines, with upright bass from Josef Deas (a Portage Garage alum) and Saginaw's synth flourishes.
"The Punch" dips into an electro-boogie vibe; it's a crew jam featuring rising star vocalist and musician KESSWA, who has worked with Shigeto on previous releases and a 2022 MOCAD museum installation and lights up half of Cherry's ten tracks with her smooth, soulful delivery. Behind the kit, Saginaw provides the percussive punch (as well as synth and glockenspiel), surrounded by the personnel that has comprised his live band and Versions (GI-340, 2019) ensemble, including Ian Finkelstein, Dez Andrés, and later, Marcus Elliot.
The collaborative spirit that runs through Cherry Blossom Baby widens its range. Rapper Cleveland Thrasher brings raspy bars to the hypnotic "Runnup On'm" with harpist Ahya Simone, the trap/breakbeat-wielding "BookaMagick," and across the pop grooves of "Nothing Simple," where he bobs and weaves with producer/DJ Tammy Lakkis. Guitarist Sasha Kashperko riffs through several tracks, giving the material a loungier feel — "I've always wanted a great guitarist on my tracks," says Saginaw. Ahya Simone returns to elevate "Let's Talk" to the cosmos. Her harp parts represent a natural progression for the Shigeto sound; whereas in the past, he might have collaged string elements together, he leans back in the open space and lets it all flow organically.
Expanding on the title's metaphor, Shigeto is pushing forward with the people around him: "A cherry blossom is regrowing, but it's always different too, and I'm speaking to that with all the different musicians on this record, getting everyone involved and honoring their contributions is part of that cherry blossom philosophy.” More
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C418 - KI
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C418 - Alpha
3
C418 - Blind Spots
4
C418 - Mutation
5
C418 - Biome Fest
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C418 - Aria Math
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C418 - Taswell
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C418 - Beginning 2
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C418 - Moog City 2
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C418 - The End
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C418 - Kyoto
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C418 - Chirp
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C418 - Mellohi
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C418 - Stal
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C418 - Eleven
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C418 - Far
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C418 - Intro
Repress!
As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he’s developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the “8-bit” pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack’s second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. The double LP arrives in August 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
Originally self-released in 2013, Minecraft Volume Beta was C418’s longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld’s unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music. More
As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he’s developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the “8-bit” pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack’s second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. The double LP arrives in August 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.
Originally self-released in 2013, Minecraft Volume Beta was C418’s longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld’s unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music. More
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Hana Vu - Look Alive
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Hana Vu - Hammer
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Hana Vu - Alone2
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Hana Vu - 22
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Hana Vu - Care
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Hana Vu - How It Goes
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Hana Vu - Dreams
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Hana Vu - Find Me Under Wilted Trees
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Hana Vu - Airplane
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Hana Vu - Play
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Hana Vu - I Draw A Heart
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Hana Vu - Love
Is there anything we like to be sung to about more than youth? A universal and yet elusive time that has a hold over all of us, it’s often evoked by the same platitudes. We’re told it’s a breathless stream of novelty and ecstasy, and we’re told even more often how quickly it ends. Yet we so rarely hear about its embedded grief. If youth’s ephemerality is part of its magic, doesn’t it make sense that an integral part of the experience might be mourning the days piling up behind you? “I was recently so close to childhood,” says Hana Vu, as she eats a piece of candy in her sun-striped Los Angeles apartment. “At the cusp of becoming a more capable and mature person, I feel grief for my naivete.”
This deep duality informs Romanticism, the newest album from Vu. She’s been making music since high school, with a full-length debut and several EPs behind her of glowy, brooding anthems of abstraction and emotion. On Romanticism, her guitar-driven synthy pop and plush contralto fill out the coming-of-age experience with slick and sorrowful precision. These songs pulse with meaning and jolt with playfulness, anchored by her powerful, sonorous voice. Her voice is a low and silky boom on songs like “22,” accompanied by dissonant guitar strums underlining the angst and dissolution of adolescence. It’s a muscular, soaring chant on songs like ‘Hammer,’ which layers clipped guitar and mandolin strums with an ascending, floor-coating bass. An artist aware of the contradictory compulsions of growth and human nature, she leans into that truth in juxtaposition. Romanticism can feel both reminiscent of guitar-heavy late-aughts indie rock, and expansively futuristic in its layered synth bass. Vu adds, “I’m just trying to convey my perspective as boldly as possible. To succinctly crystallize how it feels to be young, but also to be deeply sad.”
“Do you remember getting older / can you tell me what it's about?” Vu sings on “Airplane,” winking at the desire for tangibles in the unknown. With her previous work, Vu welcomed feedback as she went, but while crafting Romanticism, she shielded herself from outside opinion to preserve a singular vision. For over a year she holed up to work on her songs alone, waiting until she felt the album was fully-formed enough to show it as a whole. The result is a unified collection of songs aching with depth and intimacy. “Do you believe in starting over?” “Airplane” continues. “Can you tell me what it’s about?”
“Being young, there's so much that I experience for the first time, all the time. But as I experience more things, I become more desensitized to those things,” Vu explains. “You get wiser–– I feel quite wiser–– but less fervent, less hopeful.” She captures this liminal state poetically. Many of the songs invoke the contradictory feelings of youth directly–– “I'm just getting old / I'm just 22” on “22”; most of them wander into the existential–– “Forever seems like too much time / but I just got here, stay awhile” on “How It Goes”; and all of them are written concisely while providing windows of grand emotion. Most potently, this album somehow captures the luster of impermanence, in all its building wisdom, in all its funneling hope.
“Being a romantic is different from being a romanticist,” Vu clarifies, and Romanticism does have less in common with lovetorn ballads than it does with 1700s Europe, when artists called for heightened emotion over argued reason and sensory details over logical ones. These songs luxuriate in an intensified, distilled picture of the rush of feelings that follow adolescence. “The nexus of this album is indulging in these sad feelings, indulging in the senses,” Vu says as the sun begins to set through her windows. “It's just not commonplace in society that people really can value the beauty of being so sad, of feeling grief and heartbreak.”
And though it may not be stereotypically romantic, there is a powerful thread of sticky, hopeful devotion. “My hands fall off if they’re not holding on / I'll hold a love until it turns to dust,” she sings on “How It Goes.” “When the airplanes fly / over LA and say goodnight / I dream a window seat /across the world for only you and I,” goes the twinkling “Airplane.” And in the aptly-named “Dreams,” there are the ethereal lines, “love doesn't fade away / and everyone stays the same / and no it doesn't hurt to be alive.”
There’s a great sense of seeking that pervades Romanticism. “There is no answer / but I want one anyway,” she probes in “Hammer.” While Vu isn’t religious, she is spiritual, and music and songwriting are a place where she goes to connect with her spirituality. “I do plead with the world, or the universe, in writing,” Vu says of her writing process. “My writing of songs is where I feel inclined to ask questions and look for answers within myself.” But she also delights in the not-knowing, bathing in the process of asking. That’s where great artists linger, and our luck is getting to watch them turn over these questions in their mind. “What kind of person am I? / I don’t know, I don’t know. / What kind of lesson is life?” Vu sings hauntingly on the electric “Find Me Under Wilted Trees.” “I don’t know, I don’t know…” Romanticism is a lush example of how thrilling it can be to look directly at our feelings, to sing their sorrows and praise. Under Vu’s magnetic gaze, soaking up sadness has never felt so alive.
— Kyle Lucia Wu
Track preview: https://www.youtube.com/watch?v=pM9nj3Pddrc More
This deep duality informs Romanticism, the newest album from Vu. She’s been making music since high school, with a full-length debut and several EPs behind her of glowy, brooding anthems of abstraction and emotion. On Romanticism, her guitar-driven synthy pop and plush contralto fill out the coming-of-age experience with slick and sorrowful precision. These songs pulse with meaning and jolt with playfulness, anchored by her powerful, sonorous voice. Her voice is a low and silky boom on songs like “22,” accompanied by dissonant guitar strums underlining the angst and dissolution of adolescence. It’s a muscular, soaring chant on songs like ‘Hammer,’ which layers clipped guitar and mandolin strums with an ascending, floor-coating bass. An artist aware of the contradictory compulsions of growth and human nature, she leans into that truth in juxtaposition. Romanticism can feel both reminiscent of guitar-heavy late-aughts indie rock, and expansively futuristic in its layered synth bass. Vu adds, “I’m just trying to convey my perspective as boldly as possible. To succinctly crystallize how it feels to be young, but also to be deeply sad.”
“Do you remember getting older / can you tell me what it's about?” Vu sings on “Airplane,” winking at the desire for tangibles in the unknown. With her previous work, Vu welcomed feedback as she went, but while crafting Romanticism, she shielded herself from outside opinion to preserve a singular vision. For over a year she holed up to work on her songs alone, waiting until she felt the album was fully-formed enough to show it as a whole. The result is a unified collection of songs aching with depth and intimacy. “Do you believe in starting over?” “Airplane” continues. “Can you tell me what it’s about?”
“Being young, there's so much that I experience for the first time, all the time. But as I experience more things, I become more desensitized to those things,” Vu explains. “You get wiser–– I feel quite wiser–– but less fervent, less hopeful.” She captures this liminal state poetically. Many of the songs invoke the contradictory feelings of youth directly–– “I'm just getting old / I'm just 22” on “22”; most of them wander into the existential–– “Forever seems like too much time / but I just got here, stay awhile” on “How It Goes”; and all of them are written concisely while providing windows of grand emotion. Most potently, this album somehow captures the luster of impermanence, in all its building wisdom, in all its funneling hope.
“Being a romantic is different from being a romanticist,” Vu clarifies, and Romanticism does have less in common with lovetorn ballads than it does with 1700s Europe, when artists called for heightened emotion over argued reason and sensory details over logical ones. These songs luxuriate in an intensified, distilled picture of the rush of feelings that follow adolescence. “The nexus of this album is indulging in these sad feelings, indulging in the senses,” Vu says as the sun begins to set through her windows. “It's just not commonplace in society that people really can value the beauty of being so sad, of feeling grief and heartbreak.”
And though it may not be stereotypically romantic, there is a powerful thread of sticky, hopeful devotion. “My hands fall off if they’re not holding on / I'll hold a love until it turns to dust,” she sings on “How It Goes.” “When the airplanes fly / over LA and say goodnight / I dream a window seat /across the world for only you and I,” goes the twinkling “Airplane.” And in the aptly-named “Dreams,” there are the ethereal lines, “love doesn't fade away / and everyone stays the same / and no it doesn't hurt to be alive.”
There’s a great sense of seeking that pervades Romanticism. “There is no answer / but I want one anyway,” she probes in “Hammer.” While Vu isn’t religious, she is spiritual, and music and songwriting are a place where she goes to connect with her spirituality. “I do plead with the world, or the universe, in writing,” Vu says of her writing process. “My writing of songs is where I feel inclined to ask questions and look for answers within myself.” But she also delights in the not-knowing, bathing in the process of asking. That’s where great artists linger, and our luck is getting to watch them turn over these questions in their mind. “What kind of person am I? / I don’t know, I don’t know. / What kind of lesson is life?” Vu sings hauntingly on the electric “Find Me Under Wilted Trees.” “I don’t know, I don’t know…” Romanticism is a lush example of how thrilling it can be to look directly at our feelings, to sing their sorrows and praise. Under Vu’s magnetic gaze, soaking up sadness has never felt so alive.
— Kyle Lucia Wu
Track preview: https://www.youtube.com/watch?v=pM9nj3Pddrc More
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Recondite - Rise
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Recondite - Leafs
3
Recondite - Still
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Recondite - Riant
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Recondite - Stems
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Recondite - Floe
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Recondite - Abscondence
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Recondite - Clouded
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Recondite - Fey
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Recondite - The Fade
Limited edition "smoky black" vinyl. Download card includes digital bonus tracks. In 2013, following excursions in deep house, acid, and techno that made him "one of Berlin's most compelling artists," per Resident Adviser, Lorenz Brunner brought his Recondite project to Ghostly International for the definitive full-length, Hinterland. The producer looked to his childhood homeland of Lower Bavaria, utilizing field recordings to map the music to the emotions of the region's seasons. Hinterland presented an atmosphere - icy, eerie, melancholic music that crossed intimate melodies with crisp percussion - what would become Recondite's signature. "This is the album that had to come out of Recondite eventually," he said at the time. "It is Recondite." A decade later, the sound remains wholly his own.
More
Tracklist:
1.And Then He Wrapped His Wings Around Me (feat. Meg Baird and Walt McClements)
2.Arrivederci (feat. Lol Tolhurst)
3.Blender in a Blender (feat. Roy Montgomery
4.Music for Applying Shimmering Eye Shadow
5.Horses, Glossy on the Hill 07:09
6.Yesterday's Parties (feat. Rachel Goswell and Samara Lubelski)
Through evocative, emotionally resonant music, Goodbye, Hotel Arkada, the new LP from American harpist and composer Mary Lattimore, speaks not just for its beloved namesake — a hotel in Croatia facing renovation — but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephemeral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore’s decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slowing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements.
“When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency.”
Memories, scenes, and split-second impressions have long filled Lattimore’s musical universe. As one of today’s preeminent instrumental storytellers, she has “the uncanny ability to pluck a string in a way that will instantly make someone remember the taste of their fifth birthday cake," writes Pitchfork's Jemima Skala. Lattimore's impulse to record life as it happens matches her drive to travel and perform, as profiled by Grayson Haver Currin for The New York Times: "Lattimore recognized that being in motion shook loose strands of inspiration, moods she wanted to express with melody. She needed, then, to remain on the go." That sense of fluidity has also made her a prolific collaborator outside of solo work. 2020's Silver Ladders, recorded with Slowdive's Neil Halstead, opened the door for Lattimore to widen the vision of her primary project as well, and its proper follow-up is the natural next scale. “All of these people I asked to contribute have deeply affected and inspired my life.”
For the title and inspiration, Lattimore’s mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water’s edge. “There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to ‘say goodbye to Hotel Arkada, it might not be here when you get back’ and I heard soon after that it was actually going to be renovated in a very crisp, modern way.” Lattimore became fixated on the ingredients that make a place special — for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm — and how when those leave this world, as they inevitably always will, it feels important to memorialize them, “to bottle it for a brief second.”
For the opening track, “And Then He Wrapped His Wings Around Me,” Lattimore looks to two of her closest friends — songwriter Meg Baird, her collaborator on 2018’s Ghost Forests, and accordionist composer Walt McClements, who she’s toured and performed alongside — to surface a core memory. As a kid, Lattimore won a drawing contest through a country radio station and got to see Sesame Street Live! in Asheville. She and her mom were invited backstage, and there the benevolent icon Big Bird “gave me an incredible hug with his scratchy yellow wings.” The trio channel the enveloping warmth of that portrait, the feeling of innocent escape, flying away towards a childhood dream that is just out of reach, surreal, and tinged with sadness. In a rare vocal passage in Lattimore’s library, Baird softly hums with the rolling washes of harp above McClements’ tranquil drone; just for a moment, we are held in a sublime canary yellow embrace.
“Arrivederci” features the synth work of Lol Tolhurst, an original member of The Cure and one of her musical heroes. Lattimore started the song after getting fired from a project because she hadn’t played the harp parts well enough. “So I came home and cried my eyes out and then wrote this song to try to recapture my love of playing the harp with nothing to mess up. I received Lol’s parts on New Year's Eve when I was hosting a party. I secretly went into my room and listened to the song and it felt just so magical to have such an influential musician connecting with a song that I made, especially a song I made when I was feeling like a total failure.”
On “Blender In A Blender,” Lattimore connects with guitarist Roy Montgomery, a pioneer of New Zealand’s underground. First drafted by Lattimore during an artist residency program in UCross Wyoming, the track later evolved over the duo’s pen pal correspondence. Montgomery adds chords that first feel distant, hazed behind a high-drama harp pattern, before thundering into the foreground in a thrilling outro. The title refers to the trend of teenagers blending their cell phones; Lattimore and a friend were joking about all stuff that could be blended, including another blender. Humor is an unsung key to Lattimore’s craft; titles and anecdotes provide unexpected, counterbalancing levity.
The subdued and striking “Music For Applying Shimmering Eye Shadow” is a tribute to the earthly rituals of preparation. “I wanted to make a song for the green rooms,” she says, recalling a moment in the mirror when a tourmate readied herself to go out into the unknown of performance. “It originally was made after googling ‘what does space smell like’ and getting an answer of ‘walnuts and brake pads’ and thinking about the wooziness of space, somehow smelling familiar earth smells in unfamiliar territory. Once I started adding more layers, I started thinking about what I hoped the song would soundtrack and what I wished a song would do.”
In the case of “Horses, Glossy on the Hill,” the narrative is nearly inextricable from the sonics. The percussive clacking resembles hooves in an anxious gate. There’s a storm cloud in the sky; from a car window, Lattimore captures the silvery sheen coming off the horses’ striated shapes as if photographing the scene through sound. Her shimmering strings accelerate and distort under twisting effects as the herd becomes one with the horizon.
There’s a crumbling elegance to the closing track, “Yesterday's Parties,” indebted to the reveries of Julee Cruise and the droning down-tuned strings of The Velvet Underground. We join Lattimore on a midnight stroll through the streets of Brussels; she looks through stained glass windows into quiet apartments and thinks of late nights with her friends who were out of town. Slowdive’s Rachel Goswell sings a wordless hymn as the harp, a special one Lattimore keeps in Brussels, glides with violin from Samara Lubelski. Leaving Lattimore in this place, itself a memory of yearning for connection, is an appropriate end to an album devoted to remembering and manifesting through shared expression. More
1.And Then He Wrapped His Wings Around Me (feat. Meg Baird and Walt McClements)
2.Arrivederci (feat. Lol Tolhurst)
3.Blender in a Blender (feat. Roy Montgomery
4.Music for Applying Shimmering Eye Shadow
5.Horses, Glossy on the Hill 07:09
6.Yesterday's Parties (feat. Rachel Goswell and Samara Lubelski)
Through evocative, emotionally resonant music, Goodbye, Hotel Arkada, the new LP from American harpist and composer Mary Lattimore, speaks not just for its beloved namesake — a hotel in Croatia facing renovation — but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephemeral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore’s decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slowing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements.
“When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency.”
Memories, scenes, and split-second impressions have long filled Lattimore’s musical universe. As one of today’s preeminent instrumental storytellers, she has “the uncanny ability to pluck a string in a way that will instantly make someone remember the taste of their fifth birthday cake," writes Pitchfork's Jemima Skala. Lattimore's impulse to record life as it happens matches her drive to travel and perform, as profiled by Grayson Haver Currin for The New York Times: "Lattimore recognized that being in motion shook loose strands of inspiration, moods she wanted to express with melody. She needed, then, to remain on the go." That sense of fluidity has also made her a prolific collaborator outside of solo work. 2020's Silver Ladders, recorded with Slowdive's Neil Halstead, opened the door for Lattimore to widen the vision of her primary project as well, and its proper follow-up is the natural next scale. “All of these people I asked to contribute have deeply affected and inspired my life.”
For the title and inspiration, Lattimore’s mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water’s edge. “There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to ‘say goodbye to Hotel Arkada, it might not be here when you get back’ and I heard soon after that it was actually going to be renovated in a very crisp, modern way.” Lattimore became fixated on the ingredients that make a place special — for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm — and how when those leave this world, as they inevitably always will, it feels important to memorialize them, “to bottle it for a brief second.”
For the opening track, “And Then He Wrapped His Wings Around Me,” Lattimore looks to two of her closest friends — songwriter Meg Baird, her collaborator on 2018’s Ghost Forests, and accordionist composer Walt McClements, who she’s toured and performed alongside — to surface a core memory. As a kid, Lattimore won a drawing contest through a country radio station and got to see Sesame Street Live! in Asheville. She and her mom were invited backstage, and there the benevolent icon Big Bird “gave me an incredible hug with his scratchy yellow wings.” The trio channel the enveloping warmth of that portrait, the feeling of innocent escape, flying away towards a childhood dream that is just out of reach, surreal, and tinged with sadness. In a rare vocal passage in Lattimore’s library, Baird softly hums with the rolling washes of harp above McClements’ tranquil drone; just for a moment, we are held in a sublime canary yellow embrace.
“Arrivederci” features the synth work of Lol Tolhurst, an original member of The Cure and one of her musical heroes. Lattimore started the song after getting fired from a project because she hadn’t played the harp parts well enough. “So I came home and cried my eyes out and then wrote this song to try to recapture my love of playing the harp with nothing to mess up. I received Lol’s parts on New Year's Eve when I was hosting a party. I secretly went into my room and listened to the song and it felt just so magical to have such an influential musician connecting with a song that I made, especially a song I made when I was feeling like a total failure.”
On “Blender In A Blender,” Lattimore connects with guitarist Roy Montgomery, a pioneer of New Zealand’s underground. First drafted by Lattimore during an artist residency program in UCross Wyoming, the track later evolved over the duo’s pen pal correspondence. Montgomery adds chords that first feel distant, hazed behind a high-drama harp pattern, before thundering into the foreground in a thrilling outro. The title refers to the trend of teenagers blending their cell phones; Lattimore and a friend were joking about all stuff that could be blended, including another blender. Humor is an unsung key to Lattimore’s craft; titles and anecdotes provide unexpected, counterbalancing levity.
The subdued and striking “Music For Applying Shimmering Eye Shadow” is a tribute to the earthly rituals of preparation. “I wanted to make a song for the green rooms,” she says, recalling a moment in the mirror when a tourmate readied herself to go out into the unknown of performance. “It originally was made after googling ‘what does space smell like’ and getting an answer of ‘walnuts and brake pads’ and thinking about the wooziness of space, somehow smelling familiar earth smells in unfamiliar territory. Once I started adding more layers, I started thinking about what I hoped the song would soundtrack and what I wished a song would do.”
In the case of “Horses, Glossy on the Hill,” the narrative is nearly inextricable from the sonics. The percussive clacking resembles hooves in an anxious gate. There’s a storm cloud in the sky; from a car window, Lattimore captures the silvery sheen coming off the horses’ striated shapes as if photographing the scene through sound. Her shimmering strings accelerate and distort under twisting effects as the herd becomes one with the horizon.
There’s a crumbling elegance to the closing track, “Yesterday's Parties,” indebted to the reveries of Julee Cruise and the droning down-tuned strings of The Velvet Underground. We join Lattimore on a midnight stroll through the streets of Brussels; she looks through stained glass windows into quiet apartments and thinks of late nights with her friends who were out of town. Slowdive’s Rachel Goswell sings a wordless hymn as the harp, a special one Lattimore keeps in Brussels, glides with violin from Samara Lubelski. Leaving Lattimore in this place, itself a memory of yearning for connection, is an appropriate end to an album devoted to remembering and manifesting through shared expression. More
Tracklist:
1.Come and Go (feat. Vilja Larjosto)
2.Zero to Sixty (feat. Sarah Jaffe) 04:48
3.Faceless
4.Dreaming (feat. Asy Saavedra)
5.Transonic
6.Plateau
7.Long Light (feat. Benoît Pioulard)
8.Cut and Cover
9.Home
10.Rafters
11.Double Take
Seattle-based producer Jeff McIlwain, aka Lusine, returns with his 9th full-length record, Long Light, marking twenty years since he first joined the Ghostly International roster. A cited influence for myriad electronic artists including London’s Loraine James and others, Lusine is known for visceral, kinetically-curious music that fuses techno, pop, and experimental composition. In recent years, McIlwain has pushed his craft skyward with more collaborative, song-forward work. Long Light shines the throughline; his signature looping patterns and textures are dynamic yet minimalist as ever. Structurally straightforward, tight, and bright, the material radiates as the most direct in his catalog, featuring vocal contributions from Asy Saavedra, Sarah Jaffe, and Sensorimotor collaborators Vilja Larjosto and Benoît Pioulard. Lusine found his sound early on, but he’s never stopped pushing and pulling at its potential, patiently deconstructing the distractions and solving the puzzles. With Long Light, a laser-focused, process-driven artist reaches an exceptionally satisfying level of clarity and immediacy.
McIlwain sees the title, taken from the lyrical phrase "long light signaling the fall again,” written by Benoît Pioulard for what became the title track, as a guiding device that reflects several meanings. “There’s this sort of paranoia where you don't know what is real, it's an age of high anxiety and there are all these distractions,” McIlwain explains. “It's like a fun house mirror situation.” Following the long light is the only true way through, and he holds that metaphor to the album’s recording, which also carried a cyclical nature akin to seasons. Like the start of fall, the album completes a period of cultivation; “Music making is a struggle and you have to have a ton of patience.” Long Light is proof that what lies beyond the noise, at the end of the figurative tunnel, is worth all the work it’s taken to get there.
Across the collection, McIlwain identifies the core sonic element, a vocal cut or a simple beat sequence, from which to build everything else off. On the opener “Come And Go,” he multiplies a vocal take from longtime collaborator Vilja Larjosto into a celestial choir, evoking their Sensorimotor standout “Just A Cloud.” It’s the bass hook on the single “Zero to Sixty,” curving around the voice of Sarah Jaffe, whose pliable range and cool delivery provide the source for Lusine’s unmistakable mapping. The chorus is Jaffe’s (“cold-blooded”) line repeated in step with melodic synth pulses and the buzzing deep bass. For the verse, McIlwain unlocks the loop and she completes the thought, giving the track a sense of tension and relief.
“I feel like I am dreaming / You make me feel like I am walking on a cloud / I don’t ever want to feel the ground,” sings Asy Saavedra (of Chaos Chaos) on “Dreaming.” This time McIlwain keeps the phrase intact, making subtle tweaks to the timbre and texture as chimes, clinks, and snaps oscillate.
The album balances vocal pop motifs with some of Lusine’s strongest instrumental expressions, from ambient-minded foreshadowing (“Faceless,” “Plateau,” “Rafters”) to hypnotic head-nodders like “Cut and Cover” and “Transonic.” The latter jumps out as the rhythmic centerpiece; first McIlwain outlines the track’s silhouette before filling in its details one layer at a time. Stuttering synth hums join the kick, then proliferate a step higher, harmonizing at the peak with sparkled bell sounds and a burst of feedback.
“Long Light” has it all: Lusine’s percussive mood-building, rendered with samples from drummer Trent Moorman, and a contortion of tender poetry, courtesy of friend Thomas Meluch, aka Benoît Pioulard (Morr Music, Kranky). “This track has a sort of melody that I haven’t really messed with before,” says McIlwain. “It’s this very droney, mysterious thing, that I really liked, and focused on, and kind of counter balanced with a nasty wavetable patch. Tom just absolutely nailed the feel of the song.”
It is rare to arrive at a landmark work two decades into one’s craft, but through repetition, refinement, and patience, Lusine extends a defining moment, an essential piece to his discography. More
1.Come and Go (feat. Vilja Larjosto)
2.Zero to Sixty (feat. Sarah Jaffe) 04:48
3.Faceless
4.Dreaming (feat. Asy Saavedra)
5.Transonic
6.Plateau
7.Long Light (feat. Benoît Pioulard)
8.Cut and Cover
9.Home
10.Rafters
11.Double Take
Seattle-based producer Jeff McIlwain, aka Lusine, returns with his 9th full-length record, Long Light, marking twenty years since he first joined the Ghostly International roster. A cited influence for myriad electronic artists including London’s Loraine James and others, Lusine is known for visceral, kinetically-curious music that fuses techno, pop, and experimental composition. In recent years, McIlwain has pushed his craft skyward with more collaborative, song-forward work. Long Light shines the throughline; his signature looping patterns and textures are dynamic yet minimalist as ever. Structurally straightforward, tight, and bright, the material radiates as the most direct in his catalog, featuring vocal contributions from Asy Saavedra, Sarah Jaffe, and Sensorimotor collaborators Vilja Larjosto and Benoît Pioulard. Lusine found his sound early on, but he’s never stopped pushing and pulling at its potential, patiently deconstructing the distractions and solving the puzzles. With Long Light, a laser-focused, process-driven artist reaches an exceptionally satisfying level of clarity and immediacy.
McIlwain sees the title, taken from the lyrical phrase "long light signaling the fall again,” written by Benoît Pioulard for what became the title track, as a guiding device that reflects several meanings. “There’s this sort of paranoia where you don't know what is real, it's an age of high anxiety and there are all these distractions,” McIlwain explains. “It's like a fun house mirror situation.” Following the long light is the only true way through, and he holds that metaphor to the album’s recording, which also carried a cyclical nature akin to seasons. Like the start of fall, the album completes a period of cultivation; “Music making is a struggle and you have to have a ton of patience.” Long Light is proof that what lies beyond the noise, at the end of the figurative tunnel, is worth all the work it’s taken to get there.
Across the collection, McIlwain identifies the core sonic element, a vocal cut or a simple beat sequence, from which to build everything else off. On the opener “Come And Go,” he multiplies a vocal take from longtime collaborator Vilja Larjosto into a celestial choir, evoking their Sensorimotor standout “Just A Cloud.” It’s the bass hook on the single “Zero to Sixty,” curving around the voice of Sarah Jaffe, whose pliable range and cool delivery provide the source for Lusine’s unmistakable mapping. The chorus is Jaffe’s (“cold-blooded”) line repeated in step with melodic synth pulses and the buzzing deep bass. For the verse, McIlwain unlocks the loop and she completes the thought, giving the track a sense of tension and relief.
“I feel like I am dreaming / You make me feel like I am walking on a cloud / I don’t ever want to feel the ground,” sings Asy Saavedra (of Chaos Chaos) on “Dreaming.” This time McIlwain keeps the phrase intact, making subtle tweaks to the timbre and texture as chimes, clinks, and snaps oscillate.
The album balances vocal pop motifs with some of Lusine’s strongest instrumental expressions, from ambient-minded foreshadowing (“Faceless,” “Plateau,” “Rafters”) to hypnotic head-nodders like “Cut and Cover” and “Transonic.” The latter jumps out as the rhythmic centerpiece; first McIlwain outlines the track’s silhouette before filling in its details one layer at a time. Stuttering synth hums join the kick, then proliferate a step higher, harmonizing at the peak with sparkled bell sounds and a burst of feedback.
“Long Light” has it all: Lusine’s percussive mood-building, rendered with samples from drummer Trent Moorman, and a contortion of tender poetry, courtesy of friend Thomas Meluch, aka Benoît Pioulard (Morr Music, Kranky). “This track has a sort of melody that I haven’t really messed with before,” says McIlwain. “It’s this very droney, mysterious thing, that I really liked, and focused on, and kind of counter balanced with a nasty wavetable patch. Tom just absolutely nailed the feel of the song.”
It is rare to arrive at a landmark work two decades into one’s craft, but through repetition, refinement, and patience, Lusine extends a defining moment, an essential piece to his discography. More
TRACKLIST
1.1 THE GREATER WINGS
1.2 PORTRAIT OF A CLEAR DAY
1.3 MOONLESS
1.4 SUMMER GLASS
1.5 SUMMER'S END
1.6 LIGHTNING COMES UP FROM THE GROUND
1.7 FLARE
1.8 CONVERSATION IS A FLOWSTATE
1.9 HOPE'S RETURN
1.10 DEATH IS THE DIAMOND
"My hope for The Greater Wings is that it lives as a love letter to my chosen family and as an expression of the depth of my commitment to our shared future. Being reshaped by grief also has me more aware of what death does not take from me. I commit that to heart, to words, to sound. Music is not bound to any kind of linear time, so in the capacity to record and speak to the future: this is what it felt like to me, when we were simultaneous, alive, occurring all at once. What it has felt like to go up against my edge and push, the love that has made it worth all this fight. These memories are my values, they belong with me."
The first album in over six years from American songwriter Julie Byrne is a testament to patience and determination, the willingness to transform through the desolation of loss, the vitality of renewal, and the courage to rise, forever changed. For nearly a decade, Byrne has moved through the world as a characteristically private artist largely outside the public eye. A self-taught musician that has committed her life to her work, she now emerges from a deeply trying and generative period with the most powerful, lustrous, and life-affirming music of her career, The Greater Wings. While they hold the plasticity of grief and trauma, the songs are universally resonant, unbridled in their devotion and joy, held up by the love and alliance of a chosen family. Byrne leans further into atmospheres both expansive and intimate; the lush, evocative songcraft flows between her signature fingerpicked guitar, synthesizer, and a newly adopted piano, made wider by flourishes of harp and strings. It is the transcendent sound of resource, of friendship that was never without romance, of loyalty that burns from within like a heart on fire, and the life force summoned in unrepeatable moments — raw, gorgeous, and wild.
Byrne has narrowly willed The Greater Wings into existence, honoring the legacy of Eric Littmann, her longtime creative partner, producer, and synth player who, halfway through the album's making, died suddenly at the age of 31. The material was written across several seasons, each its own lifetime: imagery from nights on tour, chord shapes found pre-pandemic. Writing continued through lockdown, the converging traumas of isolation, the long horizon of emergence, and the drives cross-country for the collaborations that would give shape to The Greater Wings. Recording began in Chicago in Eric Littmann's home studio space in the winter of 2020 and continued in New York with harpist Marilu Donovan (LEYA) in the spring of 2021; Littmann, true to form, brought a portable recording set up in his suitcase.
In the early summer, they brought the project to Los Angeles, where violinist Jake Falby composed and recorded the first of his integral string arrangements. Eric died a month later, in late June of 2021; in the cataclysm of his death, the record would not be opened again until January 2022. In the winter of that new year, in the fires of grief, Byrne and her closest collaborators reconvened to finish the record with producer Alex Somers (Sigur Rós, Julianna Barwick), immersing fully into sessions in the Catskills of New York, her first ever at a conventional recording studio. The challenge became a balance in both allowing the sound to expand and trusting her instincts amid irrevocable change, to uphold their original vision for the record. "We worked with intense effort, devotion, and deliberate exploration of how our collaboration with Eric continues, even through death."
Byrne will confess the success of her 2017 LP Not Even Happiness was unexpected; nine gracefully road-worn odes to the fringes of life she assembled without any expectation that they'd travel so far beyond their DIY origins. But its hushed closing track, "I Live Now As A Singer," did forecast an intention. She knew the open space — occupied by Littmann's signature palette of synth tones, Falby's strings, and Byrne's robust, drifting voice — presented something new and thrilling, something they'd develop as a live band touring the world, and what would later be understood as the catalyst for material to come. The Greater Wings builds on this revelatory space at every turn.
The title track presents the alchemy of the album with tender, arresting precision. Byrne outlines its namesake on guitar alongside celestial strings, recalling one of their earliest house shows ("There's music in the walls, you were with the moment with your life across the chord") and their first tours through Europe's underground. "Performing reminds me, time and time again that the stage can be a space to inhabit and feel free in." The intricacy of the guitar propels the "The Greater Wings" even further into its own mythology — the lyrics begin to conjure the stages of a quest: "I feel it, the tilt of the planet, panorama of the valley, measure me by what I've risked." The song travels through peaks and lowlands, pink noise, the surreal nostalgia of moonrise where light seems to come from a different age. Above all, the title track pays homage to what is unseen but deeply felt: "We hold the pact: Forever Underground, Name my grief to let it sing, To carry you up on the Greater Wings."
"Moonless" is an ode to the glistening darkness, partially written on an outlying island of southern Portugal where Byrne was completing an artist residency. "I remember walking through the dune systems on the ocean side of Culatra, the noises of the docks, the scent of tidal flats. The land itself, as a coastal formation, in a constant state of movement between erosion and growth." The hypnotic piano ballad is a portal into the lost, late night with beckoning sensorial detail: voices rising through the smoke, the tactility of names carved in the table, wind moving in off the ocean, across skin. Just as the scene begins to feel eternal, Byrne upends notions of the torch song. "Moonless" does not pine for the return of another but instead speaks to the alleviation of no longer waiting for someone's love. "Something I love about being a songwriter, especially as a queer woman, is being able to have the last word in my work, becoming myself line by line. This is a breakup song, and it's the first song I wrote on piano." Her new instrument fades into pools of eventide. A bare constellation of strings end the story like sparks rising in the darkness, then vanishing into ash.
"Hope's Return" reimagines "Love's Refrain," Byrne's 2020 collaboration with Jefre Cantu-Ledesma, adapted here on guitar in the distinct tuning found across most of the album. For the new arrangement, producer Alex Somers contributes bowed acoustic guitar to the bridge, one of many subtle ideas he helped facilitate. "He was the right person to finish the record with," Byrne says. "He's everything they say, there's almost like a divinity to his kindness, and he's also very silly and playful for all his depth and sophistication, he has such a tender heart. It's an intimate process, and I didn't have to conceal anything."
The statement at the heart of the record is "Summer Glass." A luminous, euphoric synth ballad, unbridled in its portraiture of intimacy, memorial, and deeply personal alliance. The song ignites all at once with Littmann's arpeggiated synth as they approach the zenith of their creative partnership; Byrne's voice casts the spell, "I can't say if it was devotion. I just wanted to feel the sun on my skin." The opening lyrics find her at the water's edge. Transfixing and radiant, Marilu Donovan's harp joins the pulse of the synthesizer in a tidal, interlocking cascade — a synergy that embodies years of collaboration. "Summer Glass" opens wide to encompass a universe of references, turning candid moments of laughter, desire, failure, perseverance, inertia, and emergence into legacy. Falby's strings offer a sweeping, incandescent bridge, a step more urgent at the album's apex, before Byrne returns with a final invocation:
"One day the skin that holds me will be dust
and I'll be ready to travel again
For now I want to go further in,
Into moment, into vision, into you
I swore I'd show myself so I could renew
That's not the same as being new forever
The shape of your hand left in the dust of Summer Glass
I want to be whole enough to risk again." More
1.1 THE GREATER WINGS
1.2 PORTRAIT OF A CLEAR DAY
1.3 MOONLESS
1.4 SUMMER GLASS
1.5 SUMMER'S END
1.6 LIGHTNING COMES UP FROM THE GROUND
1.7 FLARE
1.8 CONVERSATION IS A FLOWSTATE
1.9 HOPE'S RETURN
1.10 DEATH IS THE DIAMOND
"My hope for The Greater Wings is that it lives as a love letter to my chosen family and as an expression of the depth of my commitment to our shared future. Being reshaped by grief also has me more aware of what death does not take from me. I commit that to heart, to words, to sound. Music is not bound to any kind of linear time, so in the capacity to record and speak to the future: this is what it felt like to me, when we were simultaneous, alive, occurring all at once. What it has felt like to go up against my edge and push, the love that has made it worth all this fight. These memories are my values, they belong with me."
The first album in over six years from American songwriter Julie Byrne is a testament to patience and determination, the willingness to transform through the desolation of loss, the vitality of renewal, and the courage to rise, forever changed. For nearly a decade, Byrne has moved through the world as a characteristically private artist largely outside the public eye. A self-taught musician that has committed her life to her work, she now emerges from a deeply trying and generative period with the most powerful, lustrous, and life-affirming music of her career, The Greater Wings. While they hold the plasticity of grief and trauma, the songs are universally resonant, unbridled in their devotion and joy, held up by the love and alliance of a chosen family. Byrne leans further into atmospheres both expansive and intimate; the lush, evocative songcraft flows between her signature fingerpicked guitar, synthesizer, and a newly adopted piano, made wider by flourishes of harp and strings. It is the transcendent sound of resource, of friendship that was never without romance, of loyalty that burns from within like a heart on fire, and the life force summoned in unrepeatable moments — raw, gorgeous, and wild.
Byrne has narrowly willed The Greater Wings into existence, honoring the legacy of Eric Littmann, her longtime creative partner, producer, and synth player who, halfway through the album's making, died suddenly at the age of 31. The material was written across several seasons, each its own lifetime: imagery from nights on tour, chord shapes found pre-pandemic. Writing continued through lockdown, the converging traumas of isolation, the long horizon of emergence, and the drives cross-country for the collaborations that would give shape to The Greater Wings. Recording began in Chicago in Eric Littmann's home studio space in the winter of 2020 and continued in New York with harpist Marilu Donovan (LEYA) in the spring of 2021; Littmann, true to form, brought a portable recording set up in his suitcase.
In the early summer, they brought the project to Los Angeles, where violinist Jake Falby composed and recorded the first of his integral string arrangements. Eric died a month later, in late June of 2021; in the cataclysm of his death, the record would not be opened again until January 2022. In the winter of that new year, in the fires of grief, Byrne and her closest collaborators reconvened to finish the record with producer Alex Somers (Sigur Rós, Julianna Barwick), immersing fully into sessions in the Catskills of New York, her first ever at a conventional recording studio. The challenge became a balance in both allowing the sound to expand and trusting her instincts amid irrevocable change, to uphold their original vision for the record. "We worked with intense effort, devotion, and deliberate exploration of how our collaboration with Eric continues, even through death."
Byrne will confess the success of her 2017 LP Not Even Happiness was unexpected; nine gracefully road-worn odes to the fringes of life she assembled without any expectation that they'd travel so far beyond their DIY origins. But its hushed closing track, "I Live Now As A Singer," did forecast an intention. She knew the open space — occupied by Littmann's signature palette of synth tones, Falby's strings, and Byrne's robust, drifting voice — presented something new and thrilling, something they'd develop as a live band touring the world, and what would later be understood as the catalyst for material to come. The Greater Wings builds on this revelatory space at every turn.
The title track presents the alchemy of the album with tender, arresting precision. Byrne outlines its namesake on guitar alongside celestial strings, recalling one of their earliest house shows ("There's music in the walls, you were with the moment with your life across the chord") and their first tours through Europe's underground. "Performing reminds me, time and time again that the stage can be a space to inhabit and feel free in." The intricacy of the guitar propels the "The Greater Wings" even further into its own mythology — the lyrics begin to conjure the stages of a quest: "I feel it, the tilt of the planet, panorama of the valley, measure me by what I've risked." The song travels through peaks and lowlands, pink noise, the surreal nostalgia of moonrise where light seems to come from a different age. Above all, the title track pays homage to what is unseen but deeply felt: "We hold the pact: Forever Underground, Name my grief to let it sing, To carry you up on the Greater Wings."
"Moonless" is an ode to the glistening darkness, partially written on an outlying island of southern Portugal where Byrne was completing an artist residency. "I remember walking through the dune systems on the ocean side of Culatra, the noises of the docks, the scent of tidal flats. The land itself, as a coastal formation, in a constant state of movement between erosion and growth." The hypnotic piano ballad is a portal into the lost, late night with beckoning sensorial detail: voices rising through the smoke, the tactility of names carved in the table, wind moving in off the ocean, across skin. Just as the scene begins to feel eternal, Byrne upends notions of the torch song. "Moonless" does not pine for the return of another but instead speaks to the alleviation of no longer waiting for someone's love. "Something I love about being a songwriter, especially as a queer woman, is being able to have the last word in my work, becoming myself line by line. This is a breakup song, and it's the first song I wrote on piano." Her new instrument fades into pools of eventide. A bare constellation of strings end the story like sparks rising in the darkness, then vanishing into ash.
"Hope's Return" reimagines "Love's Refrain," Byrne's 2020 collaboration with Jefre Cantu-Ledesma, adapted here on guitar in the distinct tuning found across most of the album. For the new arrangement, producer Alex Somers contributes bowed acoustic guitar to the bridge, one of many subtle ideas he helped facilitate. "He was the right person to finish the record with," Byrne says. "He's everything they say, there's almost like a divinity to his kindness, and he's also very silly and playful for all his depth and sophistication, he has such a tender heart. It's an intimate process, and I didn't have to conceal anything."
The statement at the heart of the record is "Summer Glass." A luminous, euphoric synth ballad, unbridled in its portraiture of intimacy, memorial, and deeply personal alliance. The song ignites all at once with Littmann's arpeggiated synth as they approach the zenith of their creative partnership; Byrne's voice casts the spell, "I can't say if it was devotion. I just wanted to feel the sun on my skin." The opening lyrics find her at the water's edge. Transfixing and radiant, Marilu Donovan's harp joins the pulse of the synthesizer in a tidal, interlocking cascade — a synergy that embodies years of collaboration. "Summer Glass" opens wide to encompass a universe of references, turning candid moments of laughter, desire, failure, perseverance, inertia, and emergence into legacy. Falby's strings offer a sweeping, incandescent bridge, a step more urgent at the album's apex, before Byrne returns with a final invocation:
"One day the skin that holds me will be dust
and I'll be ready to travel again
For now I want to go further in,
Into moment, into vision, into you
I swore I'd show myself so I could renew
That's not the same as being new forever
The shape of your hand left in the dust of Summer Glass
I want to be whole enough to risk again." More
Tracklist:
1.1HV ROAD
1.2LOVELY
1.3HOME WORLD 303
1.43 PZ
1.5COMPUTER BREAK (LATE MIX)
1.6FOUNTAIN, GROWTH (FT. TESS ROBY)
1.7LIFE MASK
1.8UNLIMITED <3
1.9TECHNO CREEP
1.10MY SAME SIZE
1.11SOUND GATHERING TRIP
Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free. More
1.1HV ROAD
1.2LOVELY
1.3HOME WORLD 303
1.43 PZ
1.5COMPUTER BREAK (LATE MIX)
1.6FOUNTAIN, GROWTH (FT. TESS ROBY)
1.7LIFE MASK
1.8UNLIMITED <3
1.9TECHNO CREEP
1.10MY SAME SIZE
1.11SOUND GATHERING TRIP
Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free. More
PINK VINYL!
Tracklist:
1.1HV ROAD
1.2LOVELY
1.3HOME WORLD 303
1.43 PZ
1.5COMPUTER BREAK (LATE MIX)
1.6FOUNTAIN, GROWTH (FT. TESS ROBY)
1.7LIFE MASK
1.8UNLIMITED <3
1.9TECHNO CREEP
1.10MY SAME SIZE
1.11SOUND GATHERING TRIP
Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free. More
Tracklist:
1.1HV ROAD
1.2LOVELY
1.3HOME WORLD 303
1.43 PZ
1.5COMPUTER BREAK (LATE MIX)
1.6FOUNTAIN, GROWTH (FT. TESS ROBY)
1.7LIFE MASK
1.8UNLIMITED <3
1.9TECHNO CREEP
1.10MY SAME SIZE
1.11SOUND GATHERING TRIP
Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free. More
Tracklist:
1.1PARLAY
1.2PUT ON
1.3OUTSIDE THE CLUB
1.4I NEVA SEEN
1.5ENTERPRISE
1.6KAINT
1.7IN THE PLACE
1.8CRICKET'S THEME
1.9FIFTY
1.10DOCKSIDE
1.11LIL BIT O CHOCOLIT
100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."
More
1.1PARLAY
1.2PUT ON
1.3OUTSIDE THE CLUB
1.4I NEVA SEEN
1.5ENTERPRISE
1.6KAINT
1.7IN THE PLACE
1.8CRICKET'S THEME
1.9FIFTY
1.10DOCKSIDE
1.11LIL BIT O CHOCOLIT
100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."
More
Tracklist:
1.1PARLAY
1.2PUT ON
1.3OUTSIDE THE CLUB
1.4I NEVA SEEN
1.5ENTERPRISE
1.6KAINT
1.7IN THE PLACE
1.8CRICKET'S THEME
1.9FIFTY
1.10DOCKSIDE
1.11LIL BIT O CHOCOLIT
100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."
More
1.1PARLAY
1.2PUT ON
1.3OUTSIDE THE CLUB
1.4I NEVA SEEN
1.5ENTERPRISE
1.6KAINT
1.7IN THE PLACE
1.8CRICKET'S THEME
1.9FIFTY
1.10DOCKSIDE
1.11LIL BIT O CHOCOLIT
100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."
More
Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.
Trackliste
1.1MAGIC
1.2THE QUAKING MESS More
Trackliste
1.1MAGIC
1.2THE QUAKING MESS More
1
Kaitlyn Aurelia Smith - Have You Felt Lately?
2
Kaitlyn Aurelia Smith - Locate
3
Kaitlyn Aurelia Smith - Let If Fall
4
Kaitlyn Aurelia Smith - Is It Me Or Is It You?
5
Kaitlyn Aurelia Smith - Check Your Translation
6
Kaitlyn Aurelia Smith - Pivot Signal
7
Kaitlyn Aurelia Smith - Unbraid: The Merge
8
Kaitlyn Aurelia Smith - Then The Wind Came
9
Kaitlyn Aurelia Smith - There Is Something
10
Kaitlyn Aurelia Smith - Give To The Water
Tracklist:
1. Have You Feld Lately?
2. Locate
3. Let It Fall
4. Is It Me Or is It You? (Preview: https://www.youtube.com/watch?v=9LHW7-coLEI)
5. Check Your Translation
6. Pivot Signal
7. Unbraid: The Merge
8. Then The Wind Came
9. There Is Something
10. Give To The Water
"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff [my inner community] wants to communicate but it doesn't have the English language as its form of communication, and so [this album was a form of] giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full. More
1. Have You Feld Lately?
2. Locate
3. Let It Fall
4. Is It Me Or is It You? (Preview: https://www.youtube.com/watch?v=9LHW7-coLEI)
5. Check Your Translation
6. Pivot Signal
7. Unbraid: The Merge
8. Then The Wind Came
9. There Is Something
10. Give To The Water
"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff [my inner community] wants to communicate but it doesn't have the English language as its form of communication, and so [this album was a form of] giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full. More
Neon Yellow Vinyl!
Tracklist:
1. Have You Feld Lately?
2. Locate
3. Let It Fall
4. Is It Me Or is It You? (Preview: https://www.youtube.com/watch?v=9LHW7-coLEI)
5. Check Your Translation
6. Pivot Signal
7. Unbraid: The Merge
8. Then The Wind Came
9. There Is Something
10. Give To The Water
"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff [my inner community] wants to communicate but it doesn't have the English language as its form of communication, and so [this album was a form of] giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full. More
Tracklist:
1. Have You Feld Lately?
2. Locate
3. Let It Fall
4. Is It Me Or is It You? (Preview: https://www.youtube.com/watch?v=9LHW7-coLEI)
5. Check Your Translation
6. Pivot Signal
7. Unbraid: The Merge
8. Then The Wind Came
9. There Is Something
10. Give To The Water
"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff [my inner community] wants to communicate but it doesn't have the English language as its form of communication, and so [this album was a form of] giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full. More
"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.
Tracklist
1.1LOG IN YOUR FIRE
1.2MOON IN YOUR EYE
1.3BRUSH
1.4I COULD BE YOUR DOG
1.5GLENDORA
1.6BLINK TWICE
1.7MOONWEED
1.8GREEN TO YOU
1.9AMBER
1.10STANDING IN YOUR LIGHT
1.11SHIM SHAM
1.12GOLDEN COW
1.13RADIO REPLACEMENT More
Tracklist
1.1LOG IN YOUR FIRE
1.2MOON IN YOUR EYE
1.3BRUSH
1.4I COULD BE YOUR DOG
1.5GLENDORA
1.6BLINK TWICE
1.7MOONWEED
1.8GREEN TO YOU
1.9AMBER
1.10STANDING IN YOUR LIGHT
1.11SHIM SHAM
1.12GOLDEN COW
1.13RADIO REPLACEMENT More
Tracklist:
1.25°C
2. 0°C
3. 17°C
4.14°C
5. 2°C (INTERMITTENT RAIN)
6. 10°C
7. 6°C
8. 4°C
9. 30°C
10. 36°C
Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake. More
1.25°C
2. 0°C
3. 17°C
4.14°C
5. 2°C (INTERMITTENT RAIN)
6. 10°C
7. 6°C
8. 4°C
9. 30°C
10. 36°C
Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake. More
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Outer space or Cyber space, you decide… Fantasy or an urban introduction into the vast possibilities of the internet? Honoring sci fi heroes, citing inspiration, or something more sinister?
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1
Sam Ruffillo & Fimiani - Mediterranea (Party Mix Extended)
2
Tommiboy feat. DM Disco Band - La Sfinge
3
M¥SS KETA & Kapote - Italomania Intermezzo
4
Severino & Giacomo Moras ft. M¥SS KETA - Maledetto
5
Stump Valley feat. Femmina - Non Dire Di No (Extended Version)
6
Munk & Kapote - La Musica (Hot DJ Version)
7
Fimiani & Angeleri - SessoSpaghetti (Extended Version)
8
Kapote - Sono Tropical (Extended Version)
9
Giovanni Damico - Tropica (feat. Martina)
10
Lele Sacchi Feat Elasi - Malamore (Extended Version)
11
Daniel Monaco Band - Milly
2 x 12"
Tracklist:
A1 Sam Ruffillo & Fimiani - Mediterranea (Party Mix Extended)
A2 Tommiboy feat. DM Disco Band - La Sfinge
B1 M¥SS KETA & Kapote - Italomania Intermezzo
B2 Severino & Giacomo Moras ft. M¥SS KETA - Maledetto
B3 Stump Valley feat. Femmina - Non Dire Di No (Extended Version)
C1 Munk & Kapote - La Musica (Hot DJ Version)
C2 Fimiani & Angeleri - SessoSpaghetti (Extended Version)
C3 Kapote - Sono Tropical (Extended Version)
D1 Giovanni Damico - Tropica (feat. Martina)
D2 Lele Sacchi Feat Elasi - Malamore (Extended Version)
D3 Daniel Monaco Band - Milly
Toy Tonics ITALOMANIA Vol. 2 is a compilation dedicated to NEW ITALIAN DISCO. (Not Italo Disco.)
13 young contemporary Italian producers made new organic disco, indie dance, avant pop and house tracks with Italian vocals.
Everything on this compilation has been produced in 2023. Fresh dance music by Italian indie electronic star Myss Keta together with DJ Severino (of Horse Meat Disco) and newcomers Sam Ruffillo, Fimiani, Magou, Tommiboy, Daniel Monaco, Giovanni Damico. And new music by artists Stump Valley (from Dekmantel), Munk (Gomma records), Rodion (Slow Motion Records) and DJ legend Lele Sacchi,
The ITALOMANIA compilation was initiated by Toy Tonics boss Kapote. The idea is to show the status of Italian Disco of today. It’s like a „manifesto“!
Kapote invited the most relevant Italian producers to make new tracks with Italian vocals and show different styles of modern Italian disco, dance and house music.
with Italian vocals. All tracks compiled by Kapote aka Mathias Modica aka Munk. Italo-German producer, DJ, keyboarder and head of Toy Tonics and Gomma records.
Italian Disco is not Italo Disco.
While the last years the slightly trashy pop music of the 1980’s called Italo Disco (with English lyrics) had a big revival. But now also the attention for more quality and organic dance music with Italian language is rising. This compilation is about this Italian Disco,
It’s a fact that not just in Italy but also in France and Germany there are now artists singing in Italian or using Italian words and names - even if they are not Italian.
Let’s not forget: The world’s culture of party, dancing, showbizness and pop music would be unimaginable without the heritage and creativity that Italians contributed.
Italy is not just the country of good food, beautiful beaches and high fashion, but it’s also the original country of dance music. Since almost 3000 years, since the ancient roman times the Italians have been making (dance) music culture, creating popular culture and being the maestros in organizing parties.
Also the disco wave of the 1970ies and the Pop music of the 1980ies has been co-created by Italians (and Italo-americans in New York).
The ITALOMANIA artists & tracklist:
M¥SS KETA
The most famous artist on the compilation is singer M¥SS KETA. The Italian press calls her "the Italian Lady Gaga“. M¥SS KETA is an edgy performer that reached the top of the charts with indie pop songs, but is also well rooted in the Milan art, fashion and LGTB scene.
To create a song for Italomania she teamed up with DJ Severino. The Italian part of London’s Horse Meat Disco DJ collective. Probably the world leading queer DJ team. (M¥SS KETA recently was invited to perform Berghain in Berlin).
Sam Ruffillo
Sam Ruffilo has contributed a new (party) version of his song Mediterranea. A organic disco track with lyrics in Neapolitan dialect. Sam Ruffillo is an upcoming Italian DJ and producer and one of the lead artists of Toy Tonics (along with Coeo, Kapote and Cody Currie). He had a few underground hits combining leftfield disco and Lofi House with Italian vocals creating a new genre that is finding lot of fans right now. One of his songs (Chiamami Subito) made it into the rotation of big Italian radio station M20. On Instrgam you can see his DJ sets where hundreds of Italians sing his songs at Toy Tonics parties.
Munk
Toy Tonics head honcho Kapote reworked the Munk song ‚La Musica‘ for this compilation. Munk is the former producer name of Mathias Modica aka Kapote. The creative mind behind Toy Tonics and Gomma records. ‚La Musica‘ is an Italo house song that he originally released 2010 when he was doing his former label Gomma records. Now there is this new version of this catchy dance song with the Italian hookline that became almost iconic when first released.
It made sense to include a new version of this track on ITALOMANIA because its a blueprint of italian disco and sounds so fresh again now.
Giovanni Damico
The south Italian DJ, producer made „Tropica“. The song is a tribute to the music of the Italian discos of south Italy of the 1980ies. A Balearic session that can be great at a beach in the afternoon, but also for dancing in the early morning. Damico is part of the new Italian disco scene releasing his dance tracks on international labels like Lumberjacks in hell and White Rabbit records since 2013.
Kapote
His new song „Sono tropical“ is an ironic Latin pop song based on a classic salsa piano riff and a strong Latin soul bassline. It reminds the big tunes from the 1970ies New York Salsa Scene (Tito Puente, Willie Colon, Fania All Stars). The vocals performed by Kapote are a mix of Italian and Spanish. The girl’s voice is also performed by Kapote. But transferred into a female voice by an AI. All instruments played by Kapote who before starting to get into the DJ and label business used to to study jazz piano. Before starting Toy Tonics Kapote he released 3 albums under his former name Munk and produced records with big names from the electronic music scene like James Murphy of LCD Soundsystem, Peaches, The Rammellzee and three albums of Danish band WhoMadeWho. Mathias/ Kapote also worked with artists like Franz Ferdinand, The Rapture and Asia Argento.
Lele Sacchi
Lele Sacchi is an Italian DJ legend and host of Italy's most important DJ radio show on RAI national radio. He has been djing all around the world playing from Circoloco Ibiza to Avalon LA. He has Besides being on Italian national radio he has been doing shows on NTS Radio or guest on BBC Six. He produced for labels like Soul Clap, !K7, Internasjonal, Nervous, Snatch, Crosstown Rebels, Poker Flat and his own Stolen Goods imprint.
Sacchi teamed up with young vocalist Elasi, a new talent from Milano that is making waves in Italy for a few songs she released in a indie disco style. Their song is an interpretation of late 70’s cult slow disco pop classic ‘Malamore’ by the underdog Enzo Carella. A mix of slow house and playful pop with a slight touch of acid!
Tommiboy
Tommiboy made a nasty, disco rock song called Sfinge. Only 26 years old he is one of the most hyped up Italian disco diggers and collectors. Originally from Rimini, the capital of discos, he is the son of a father who was a regular dancer in Rimini’s clubs of the 1980is and fed his son with all things disco.
Tommiboy started to do parties and compilations under the name Disco Stupenda three years ago. By now he and his parties are a big thing in Italy and has fans all around the country. He also is DJ for fashion brands like Gucci and he is the guy who re-introduced 1980s stars like Pino D’Angio.
Fimiani aka BPlan
The DJ und producer from Napoli is part of the new, vibrant disco scene from Napoli. (NuGenea, Mystik Jungle, Manny Whodamanny )
His collabo with italian 1980ies crooner Angeleri called SessoSpaghetti is a remake of a song originally released in 1983, but never became famous when it came out. The drums on the song are played by Napoli legend Tullio De Piscopo and the guitar by Lucio Battisti guitar player Massimo Luca.
The new version is a ironic summer disco with sexy vocals and Italian fun rapping about beach life, beautiful girls and sex on the beach. Fimiani also does edits of rare italo disco under the name of BPlan
Daniel Monaco
Daniel Monaco is a multi-talented artist, producer, and bass player DJ, bandleader and producer from Napoli - but has been living for many years in Amsterdam where he hosted show on Red Light Radio released on Labels of the likes of Rush Hour and Bordello a Parigi. Is one of the key figures of the scene due to unique fusion of Italo Disco, Proto House, Obscure Disco, and a captivating tropical touch. His latest EPs came out on Slow Rush Hour records and Periodica Records contributed the song ‚Milly‘ for Italomania. Played with a 5 person band.
Stump Valley
The two DJs, producers and vinyl collector are experts in all things Italo Disco and Balearic music. Before joining Toy Tonics they released an album on Dekmantel records. One of the guys (Brain de Palma) is the favorite DJ of Peggy Gou. He is regularly opening the shows of Peggy as a warm up DJ and releases his solo records on Peggy's label Gudu records. For this compilation they made Non dire di no. An old school piano house track with catchy vocals in the finest tradition of the piano house style that Italians invented in the early 1990ies.
More
Tracklist:
A1 Sam Ruffillo & Fimiani - Mediterranea (Party Mix Extended)
A2 Tommiboy feat. DM Disco Band - La Sfinge
B1 M¥SS KETA & Kapote - Italomania Intermezzo
B2 Severino & Giacomo Moras ft. M¥SS KETA - Maledetto
B3 Stump Valley feat. Femmina - Non Dire Di No (Extended Version)
C1 Munk & Kapote - La Musica (Hot DJ Version)
C2 Fimiani & Angeleri - SessoSpaghetti (Extended Version)
C3 Kapote - Sono Tropical (Extended Version)
D1 Giovanni Damico - Tropica (feat. Martina)
D2 Lele Sacchi Feat Elasi - Malamore (Extended Version)
D3 Daniel Monaco Band - Milly
Toy Tonics ITALOMANIA Vol. 2 is a compilation dedicated to NEW ITALIAN DISCO. (Not Italo Disco.)
13 young contemporary Italian producers made new organic disco, indie dance, avant pop and house tracks with Italian vocals.
Everything on this compilation has been produced in 2023. Fresh dance music by Italian indie electronic star Myss Keta together with DJ Severino (of Horse Meat Disco) and newcomers Sam Ruffillo, Fimiani, Magou, Tommiboy, Daniel Monaco, Giovanni Damico. And new music by artists Stump Valley (from Dekmantel), Munk (Gomma records), Rodion (Slow Motion Records) and DJ legend Lele Sacchi,
The ITALOMANIA compilation was initiated by Toy Tonics boss Kapote. The idea is to show the status of Italian Disco of today. It’s like a „manifesto“!
Kapote invited the most relevant Italian producers to make new tracks with Italian vocals and show different styles of modern Italian disco, dance and house music.
with Italian vocals. All tracks compiled by Kapote aka Mathias Modica aka Munk. Italo-German producer, DJ, keyboarder and head of Toy Tonics and Gomma records.
Italian Disco is not Italo Disco.
While the last years the slightly trashy pop music of the 1980’s called Italo Disco (with English lyrics) had a big revival. But now also the attention for more quality and organic dance music with Italian language is rising. This compilation is about this Italian Disco,
It’s a fact that not just in Italy but also in France and Germany there are now artists singing in Italian or using Italian words and names - even if they are not Italian.
Let’s not forget: The world’s culture of party, dancing, showbizness and pop music would be unimaginable without the heritage and creativity that Italians contributed.
Italy is not just the country of good food, beautiful beaches and high fashion, but it’s also the original country of dance music. Since almost 3000 years, since the ancient roman times the Italians have been making (dance) music culture, creating popular culture and being the maestros in organizing parties.
Also the disco wave of the 1970ies and the Pop music of the 1980ies has been co-created by Italians (and Italo-americans in New York).
The ITALOMANIA artists & tracklist:
M¥SS KETA
The most famous artist on the compilation is singer M¥SS KETA. The Italian press calls her "the Italian Lady Gaga“. M¥SS KETA is an edgy performer that reached the top of the charts with indie pop songs, but is also well rooted in the Milan art, fashion and LGTB scene.
To create a song for Italomania she teamed up with DJ Severino. The Italian part of London’s Horse Meat Disco DJ collective. Probably the world leading queer DJ team. (M¥SS KETA recently was invited to perform Berghain in Berlin).
Sam Ruffillo
Sam Ruffilo has contributed a new (party) version of his song Mediterranea. A organic disco track with lyrics in Neapolitan dialect. Sam Ruffillo is an upcoming Italian DJ and producer and one of the lead artists of Toy Tonics (along with Coeo, Kapote and Cody Currie). He had a few underground hits combining leftfield disco and Lofi House with Italian vocals creating a new genre that is finding lot of fans right now. One of his songs (Chiamami Subito) made it into the rotation of big Italian radio station M20. On Instrgam you can see his DJ sets where hundreds of Italians sing his songs at Toy Tonics parties.
Munk
Toy Tonics head honcho Kapote reworked the Munk song ‚La Musica‘ for this compilation. Munk is the former producer name of Mathias Modica aka Kapote. The creative mind behind Toy Tonics and Gomma records. ‚La Musica‘ is an Italo house song that he originally released 2010 when he was doing his former label Gomma records. Now there is this new version of this catchy dance song with the Italian hookline that became almost iconic when first released.
It made sense to include a new version of this track on ITALOMANIA because its a blueprint of italian disco and sounds so fresh again now.
Giovanni Damico
The south Italian DJ, producer made „Tropica“. The song is a tribute to the music of the Italian discos of south Italy of the 1980ies. A Balearic session that can be great at a beach in the afternoon, but also for dancing in the early morning. Damico is part of the new Italian disco scene releasing his dance tracks on international labels like Lumberjacks in hell and White Rabbit records since 2013.
Kapote
His new song „Sono tropical“ is an ironic Latin pop song based on a classic salsa piano riff and a strong Latin soul bassline. It reminds the big tunes from the 1970ies New York Salsa Scene (Tito Puente, Willie Colon, Fania All Stars). The vocals performed by Kapote are a mix of Italian and Spanish. The girl’s voice is also performed by Kapote. But transferred into a female voice by an AI. All instruments played by Kapote who before starting to get into the DJ and label business used to to study jazz piano. Before starting Toy Tonics Kapote he released 3 albums under his former name Munk and produced records with big names from the electronic music scene like James Murphy of LCD Soundsystem, Peaches, The Rammellzee and three albums of Danish band WhoMadeWho. Mathias/ Kapote also worked with artists like Franz Ferdinand, The Rapture and Asia Argento.
Lele Sacchi
Lele Sacchi is an Italian DJ legend and host of Italy's most important DJ radio show on RAI national radio. He has been djing all around the world playing from Circoloco Ibiza to Avalon LA. He has Besides being on Italian national radio he has been doing shows on NTS Radio or guest on BBC Six. He produced for labels like Soul Clap, !K7, Internasjonal, Nervous, Snatch, Crosstown Rebels, Poker Flat and his own Stolen Goods imprint.
Sacchi teamed up with young vocalist Elasi, a new talent from Milano that is making waves in Italy for a few songs she released in a indie disco style. Their song is an interpretation of late 70’s cult slow disco pop classic ‘Malamore’ by the underdog Enzo Carella. A mix of slow house and playful pop with a slight touch of acid!
Tommiboy
Tommiboy made a nasty, disco rock song called Sfinge. Only 26 years old he is one of the most hyped up Italian disco diggers and collectors. Originally from Rimini, the capital of discos, he is the son of a father who was a regular dancer in Rimini’s clubs of the 1980is and fed his son with all things disco.
Tommiboy started to do parties and compilations under the name Disco Stupenda three years ago. By now he and his parties are a big thing in Italy and has fans all around the country. He also is DJ for fashion brands like Gucci and he is the guy who re-introduced 1980s stars like Pino D’Angio.
Fimiani aka BPlan
The DJ und producer from Napoli is part of the new, vibrant disco scene from Napoli. (NuGenea, Mystik Jungle, Manny Whodamanny )
His collabo with italian 1980ies crooner Angeleri called SessoSpaghetti is a remake of a song originally released in 1983, but never became famous when it came out. The drums on the song are played by Napoli legend Tullio De Piscopo and the guitar by Lucio Battisti guitar player Massimo Luca.
The new version is a ironic summer disco with sexy vocals and Italian fun rapping about beach life, beautiful girls and sex on the beach. Fimiani also does edits of rare italo disco under the name of BPlan
Daniel Monaco
Daniel Monaco is a multi-talented artist, producer, and bass player DJ, bandleader and producer from Napoli - but has been living for many years in Amsterdam where he hosted show on Red Light Radio released on Labels of the likes of Rush Hour and Bordello a Parigi. Is one of the key figures of the scene due to unique fusion of Italo Disco, Proto House, Obscure Disco, and a captivating tropical touch. His latest EPs came out on Slow Rush Hour records and Periodica Records contributed the song ‚Milly‘ for Italomania. Played with a 5 person band.
Stump Valley
The two DJs, producers and vinyl collector are experts in all things Italo Disco and Balearic music. Before joining Toy Tonics they released an album on Dekmantel records. One of the guys (Brain de Palma) is the favorite DJ of Peggy Gou. He is regularly opening the shows of Peggy as a warm up DJ and releases his solo records on Peggy's label Gudu records. For this compilation they made Non dire di no. An old school piano house track with catchy vocals in the finest tradition of the piano house style that Italians invented in the early 1990ies.
More
Metronomy release their third album, 'The English Riviera' on April 11th through Because Music. The follow up to 2008's critically acclaimed 'Nights Out', 'The English Riviera' is a sonic progression of epic proportions and affirms Metronomy front man and producer, Joseph Mount, as a rare British talent.
Since 'Nights Out', the band have swollen to a four piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks
Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalised vision of "The English Riviera", the tone for the album is set by the opening sounds of seagulls, distant waves and a Music Hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of 'We Broke Free' shudders and ushers in waves of layered guitars and synths.
Having produced and remixed everyone from Roots Manuva to Kate Nash and the forthcoming album from Nicola Roberts, this is the first Metronomy album that Mount has taken out of his bedroom and recorded in a proper studio. The results are telling.
Characterised throughout with a sense of warmth and richness, 'The English Riviera' is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount's studio wizardry, the record sounds vibrant and entirely of its time.
Few other albums released this year will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.
Tracklisting:
Side A:
The English Riviera
We Broke Free
Everything Goes my way
The Look
She Wants
Trouble
Side B:
The Bay
Loving Arm
Corinne
Some Written
Love Underlined
More
Since 'Nights Out', the band have swollen to a four piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks
Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalised vision of "The English Riviera", the tone for the album is set by the opening sounds of seagulls, distant waves and a Music Hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of 'We Broke Free' shudders and ushers in waves of layered guitars and synths.
Having produced and remixed everyone from Roots Manuva to Kate Nash and the forthcoming album from Nicola Roberts, this is the first Metronomy album that Mount has taken out of his bedroom and recorded in a proper studio. The results are telling.
Characterised throughout with a sense of warmth and richness, 'The English Riviera' is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount's studio wizardry, the record sounds vibrant and entirely of its time.
Few other albums released this year will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.
Tracklisting:
Side A:
The English Riviera
We Broke Free
Everything Goes my way
The Look
She Wants
Trouble
Side B:
The Bay
Loving Arm
Corinne
Some Written
Love Underlined
More
1
trentemoller - Take Me Into Your Skin
2
trentemoller - Vamp
3
trentemoller - Evil Dub
4
trentemoller - Always Something Better
5
trentemoller - While the Cold Winter Waiting
6
trentemoller - Nightwalker
7
trentemoller - Like Two Strangers
8
trentemoller - The Very Last Resort
9
trentemoller - Snowflake
10
trentemoller - Chameleon
11
trentemoller - Into The Trees (Serenetti Part 3)
12
trentemoller - Moan
13
trentemoller - Miss You
2018 Reissue, 3LP , Gatefold, Complete Tracklisting 1st Time on Vinyl!
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Tracklist:
A1. Take Me Into Your Skin
A2. Vamp
B1. Evil Dub
B2. Always Something Better
C1. While the Cold Winter Waiting
C2. Nightwalker
D1. Like Two Strangers
D2. The Very Last Resort
E1. Snowflake
E2. Chameleon
F1. Into The Trees (Serenetti Part 3)
F2. Moan
F3. Miss You
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Trentemøller's debut album remains one of the few genre-defining and groundbreaking
albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13
instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.
Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl
release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.
More
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Tracklist:
A1. Take Me Into Your Skin
A2. Vamp
B1. Evil Dub
B2. Always Something Better
C1. While the Cold Winter Waiting
C2. Nightwalker
D1. Like Two Strangers
D2. The Very Last Resort
E1. Snowflake
E2. Chameleon
F1. Into The Trees (Serenetti Part 3)
F2. Moan
F3. Miss You
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Trentemøller's debut album remains one of the few genre-defining and groundbreaking
albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13
instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.
Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl
release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.
More
Finally: the long awaited Trentemøller debut album - maybe one of the most anticipated independent albums of the year - is ready to be released in October!The danish producer Anders Trentemøller is one of the hottest artists on the electronic circuit - the man of the moment!His 12“es broke many sales-records and he‘s been voted as the shooting star in 2005 by many reader polls.So the time is right to release his debut album The Last Resort“ - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods, „The Last Resort“ without a doubt contains Trentemøller’s best work to date. Although it’s an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. „Something I couldn’t manage with just electronica“, according to the producer.
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REPRESS OF THE SECOND METRONOMY VINYL RELEASE ON BECAUSE MUSIC
METRONOMY Nights Out 12-track vinyl LP - Metronomy's 2nd studio album, 'Nights Out' is a timely, thrilling, pop album, a future electro-pop classic, comprising a wholly original mashup of electronic, falsetto-laden brilliance, and a thoroughly modern, freakishly danceable record to be listened to from start to finish. Includes the singles 'Radio Ladio', 'My Heart Rate Rapid', 'Heartbreaker' & 'Holiday'
Tracklisting:
1/ Nights Out 2/ The End Of You Too 3/ Radio Ladio 4/ My Heart Rate Rapid 5/ Heartbreaker 6/ On The Motorway 7/Side 2 8/ Holiday 9/ A Thing For Me 10/ Back On The Motorway 11/ On Dancefloors 12/ Nights Outro
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METRONOMY Nights Out 12-track vinyl LP - Metronomy's 2nd studio album, 'Nights Out' is a timely, thrilling, pop album, a future electro-pop classic, comprising a wholly original mashup of electronic, falsetto-laden brilliance, and a thoroughly modern, freakishly danceable record to be listened to from start to finish. Includes the singles 'Radio Ladio', 'My Heart Rate Rapid', 'Heartbreaker' & 'Holiday'
Tracklisting:
1/ Nights Out 2/ The End Of You Too 3/ Radio Ladio 4/ My Heart Rate Rapid 5/ Heartbreaker 6/ On The Motorway 7/Side 2 8/ Holiday 9/ A Thing For Me 10/ Back On The Motorway 11/ On Dancefloors 12/ Nights Outro
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1
Jan Jelinek - Moiré (Piano & Organ)
2
Jan Jelinek - Rock In The Video Age
3
Jan Jelinek - They, Them
4
Jan Jelinek - Them, Their
5
Jan Jelinek - Tendency
6
Jan Jelinek - Moiré (Strings)
7
Jan Jelinek - Do Dekor
8
Jan Jelinek - Drift
9
Jan Jelinek - Moiré (Guitar & Horns)
10
Jan Jelinek - Poren
Repress!
In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth) More
In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth) More
Label:In My Room
Cat-No:imr02lp
Release-Date:24.01.2025
Genre:Alternative/Electronic
Configuration:2LP Excl
Label:In My Room
Cat-No:imr02lp
Release-Date:24.01.2025
Genre:Alternative/Electronic
Configuration:2LP Excl
1
trentemoller - The Mash And The Fury
2
trentemoller - Sycamore Feeling
3
trentemoller - Past The Beginning Of The End
4
trentemoller - Shades Of Marble
5
trentemoller - ... Even Though You‘re With Another Girl
6
trentemoller - Häxan
7
trentemoller - Metamorphis
8
trentemoller - Silver Surfer, Ghost Rider Go!!!
9
trentemoller - Neverglade
10
trentemoller - Tide
We are proud to present ‘Into The Great Wide Yonder’, the second album of Anders Trentemøller and the follow up of the highly succesful ‘The Last Resort’ (2006). Just like his debut, which struck a chord with new audiences all around the world, ‘Into The Great Wide Yonder’ is a truly remarkable album, offering as much depth and soul as it’s predecessor, yet sounding ultimately fresh and different. Above all, the ten tracks show an artist that’s willing to take risks, find in- spiration in new places and move beyond the sound of his previous album. Trentemøller: ‘Of course I didn’t want to make the same record twice. So the album is for me a logic development from ’The Last Resort’’. Instead he just started to collect new ideas, without thinking too much about the direction the music would take him: ‘The only thing I knew was that I’d want the music to sound more organic and analog.’ Compared to the intimate electronic mood pieces of ‘The Last Resort’, the ten tracks on the new album indeed have a more strange, mystic and dramatic vibe, with a lot of dynamics, distorted, driving twang- guitars, real and electronic drums mixed with haunting synths. With ‚Into The Great Wide Yonder‘ Trentemøller is not only exploring new moody and atmospheric universes, but combines his sense for glorious soundscapes with a firm melodic and tonal touch. The original chord progressions and feel for melodies is fundamental to him, and that‘s also the reason why most of the instruments are played by Trentemøller himself on this album. ‚I like the possibility to be surprised that chords and melodies change into something new. The music that I like most lets the themes and sounds come back in different disguises‘. The Danish multi instrumentalist and producer shows an unexpected talent for finding vocalists that fit the mood of his songs. The first single of the album, the beautifully tender ‘Sycamore Feeling’, featuring Marie Fisker, is a typical highlight. In fact, all the vocal tracks are stunning. Trentemøller chose to collaborate with the English artist Fyfe Dangerfield from UK based Guillemots and Danish singers Solveig Sandnes and Josephine Philip from the debuting Danish indie girlduo Darkness Falls. They all manage to add their own sound and flavour to the album, while their voices blend perfectly with Trentemøller’s atmospheric songs. This is an album that keeps growing for a long time, as every track works its way stealthily under your skin. The sound of ‘Into The Great Wide Yonder’ might be one step ahead of his previous work, but we still easily recognize the hand of Trentemøller, in this inspired collection of songs and atmospheres. The sonic richness, sharp contrasts and daring musical colours are vintage Trentemøller. Into The Great Wide Yonder’ might demand more from the listener than ‘The Last Resort’, as it ended up being quite a dramatic album. This album is more noisy, there’s more happening.‘ But getting to know the tracks definitely is a rewarding experience, as the album will keep growing and growing for a long time to come and its safe to say that Anders Trentemøller has managed to create
Tracklisting (Double-Vinyl):
01. The Mash And The Fury
02. Sycamore Feeling
03. Past The Beginning Of The End
04. Shades Of Marble
05. ... Even Though You‘re With Another Girl
06. Häxan
07. Metamorphis
08. Silver Surfer, Ghost Rider Go!!!
09. Neverglade
10. Tide More
Tracklisting (Double-Vinyl):
01. The Mash And The Fury
02. Sycamore Feeling
03. Past The Beginning Of The End
04. Shades Of Marble
05. ... Even Though You‘re With Another Girl
06. Häxan
07. Metamorphis
08. Silver Surfer, Ghost Rider Go!!!
09. Neverglade
10. Tide More
Label:In My Room
Cat-No:imr14lp
Release-Date:23.09.2013
Genre:Alternative/Electronic
Configuration:2LP Excl
Label:In My Room
Cat-No:imr14lp
Release-Date:23.09.2013
Genre:Alternative/Electronic
Configuration:2LP Excl
release: 07 10. 2013 EAN: 4250382419587
Special Remarks: standard version including an mp3 download code.
We’re extremely proud to present “Lost”, the third full-length venture from Anders Trentemøller. “Lost”, much like its predecessor “Into the Great Wide Yonder” (2010), serves not only as a logical continuation of his work, but also as yet another fuck-you to whatever genre you thought you had him boxed into.
The Trentemøller sound is definitely left intact, yet as a whole it really doesn’t sound like anything he’s ever produced before.
Differing from “Into The Great Wide Yonder”, which was a rather bold cinematic landscape, “Lost” is definitely a far more streamlined affair and way more “song structured”. It’s the kind of record one can only produce after endless months of studio isolation. Just where his creativity flourishes best.
2LP tracklist:
01. The Dream (feat. Low) 02. Gravity (feat. Jana Hunter of Lower Dens) 03. Still On Fire 04. Candy Tongue (feat. Marie Fisker) 05. Trails
06. Never Stop Running (feat. Jonny Pierce of The Drums) 07. River Of Life (feat. Ghost Society) 08. Morphine
09. Come Undone (feat. Kazu Makino of Blonde Redhead) 10. Deceive (feat. Sune Rose Wagner of The Raveonettes) 11. Constantinople
12. Hazed More
Special Remarks: standard version including an mp3 download code.
We’re extremely proud to present “Lost”, the third full-length venture from Anders Trentemøller. “Lost”, much like its predecessor “Into the Great Wide Yonder” (2010), serves not only as a logical continuation of his work, but also as yet another fuck-you to whatever genre you thought you had him boxed into.
The Trentemøller sound is definitely left intact, yet as a whole it really doesn’t sound like anything he’s ever produced before.
Differing from “Into The Great Wide Yonder”, which was a rather bold cinematic landscape, “Lost” is definitely a far more streamlined affair and way more “song structured”. It’s the kind of record one can only produce after endless months of studio isolation. Just where his creativity flourishes best.
2LP tracklist:
01. The Dream (feat. Low) 02. Gravity (feat. Jana Hunter of Lower Dens) 03. Still On Fire 04. Candy Tongue (feat. Marie Fisker) 05. Trails
06. Never Stop Running (feat. Jonny Pierce of The Drums) 07. River Of Life (feat. Ghost Society) 08. Morphine
09. Come Undone (feat. Kazu Makino of Blonde Redhead) 10. Deceive (feat. Sune Rose Wagner of The Raveonettes) 11. Constantinople
12. Hazed More
UPC: 5060281618177 - Second (Final) Limited Edition incl 5mm Spine Sleeve with printe innersleeve, Multilevel embossing, + CD
The new album, Love Letters, has a title that speaks volumes about sensations and modes of communication, about things that have always been there, and will always be here.
It's no coincidence either. This is a record that wants to be timeless.
In its execution, Love Letters tries to do fresh things in an old-fashioned way. It takes richer methods of recording and injects them with the shock of the new - of tight electronics, and experiments in sound. It does so not to be retro, but to embrace the quality standards of the past. It also aims to be up there with the greats, reaching for those old stars.
Tracklisting:
1. The Upsetter
2. I'm Aquarius
3. Monstrous
4. Love Letters
5. Month Of Sundays
6. Boy Racers
7. Call Me
8. The Most Immaculate Haircut
9. Reservoir
10. Never Wanted
More
The new album, Love Letters, has a title that speaks volumes about sensations and modes of communication, about things that have always been there, and will always be here.
It's no coincidence either. This is a record that wants to be timeless.
In its execution, Love Letters tries to do fresh things in an old-fashioned way. It takes richer methods of recording and injects them with the shock of the new - of tight electronics, and experiments in sound. It does so not to be retro, but to embrace the quality standards of the past. It also aims to be up there with the greats, reaching for those old stars.
Tracklisting:
1. The Upsetter
2. I'm Aquarius
3. Monstrous
4. Love Letters
5. Month Of Sundays
6. Boy Racers
7. Call Me
8. The Most Immaculate Haircut
9. Reservoir
10. Never Wanted
More
LP 180g, beautiful embossed Chess Board Artwork Print, inner sleeve with artist picture and text by David Elliott, Sounds June 16, 1984
In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
More
In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
More
2023 repress
We are happy and proud to present „The Trentemøller Chronicles“.This new double album is not a new studio album, but an overview of Trentemøller‘s impressive body of work. The Trentemøller Chronicles include Anders‘ personal selection of his best songs and remixes and includes one extremely excellent exclusive track Trentemoellers hymn against global warming: A1: The Blacksmoke Organisation: Danger Global Warming (Trentmøller Remix) * , A2: Trentemøller: The Forest , B1: Mathias Schaffhäuser: Coincidance (Trentemøller Remix) , B2: Jokke Ilsøe: Feeling Good (Trentemøller Remix Chronicles Edit)*, C1: Röyksopp: What Else Is There? (Trentemøller Remix), C2: Trentemøller: Gush , D1: The Knife: We Share Our Mother‘s Health (Trentemøller Remix), D2: Trentemøller: Kink More
We are happy and proud to present „The Trentemøller Chronicles“.This new double album is not a new studio album, but an overview of Trentemøller‘s impressive body of work. The Trentemøller Chronicles include Anders‘ personal selection of his best songs and remixes and includes one extremely excellent exclusive track Trentemoellers hymn against global warming: A1: The Blacksmoke Organisation: Danger Global Warming (Trentmøller Remix) * , A2: Trentemøller: The Forest , B1: Mathias Schaffhäuser: Coincidance (Trentemøller Remix) , B2: Jokke Ilsøe: Feeling Good (Trentemøller Remix Chronicles Edit)*, C1: Röyksopp: What Else Is There? (Trentemøller Remix), C2: Trentemøller: Gush , D1: The Knife: We Share Our Mother‘s Health (Trentemøller Remix), D2: Trentemøller: Kink More