{"title":"Ghostly International","description":"","products":[{"product_id":"patricia-maxyboy","title":"PATRICIA - Maxyboy","description":"CATALOGUE NO. GI358LP \u003cbr\u003eFORMAT - 10th Jul 2020 \u003cbr\u003eRELEASE DATE 10th Jul 2020 \u003cbr\u003eGenres - Experimental\/Electronic\u003cbr\u003e\u003cbr\u003eTrack Listing\u003cbr\u003eA1. Dew Point\u003cbr\u003eA2. Myokymia\u003cbr\u003eB1. Dripping\u003cbr\u003eB2. Triune Brain\u003cbr\u003eB3. Julia Set\u003cbr\u003eC1. Downlink\u003cbr\u003eC2. Dr Oetker's Ristorante\u003cbr\u003eD1. Crushed Velvet\u003cbr\u003eD2. Turtle Funk\u003cbr\u003eD3. Ctenophora\u003cbr\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":35062085615772,"sku":"GI358LP","price":23.38,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/CS783452-01A-BIG_93bcb4a7-29fb-47c5-be30-1ad23f20a1ad.jpg?v=1594891947"},{"product_id":"brijean-feelings-cd","title":"Brijean - Feelings [CD]","description":"\u003cp\u003eRelease date: 26th February 2021\u003cbr data-mce-fragment=\"1\"\u003eFormats: CD \u003cbr data-mce-fragment=\"1\"\u003eLabel: Ghostly International\u003cbr data-mce-fragment=\"1\"\u003eCatalogue Number: GI378CD \u003cbr data-mce-fragment=\"1\"\u003eBarcode: CD: 804297837826 \u003cbr\u003eGenre: indie-folk\/indie-rock\u003c\/p\u003e\n\u003cp\u003e“Do you feel what I feel too?” Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of char- ismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the “Day Dreaming” lyric doubles as an invitation and a state- ment of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they’ve manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call “romancing the psyche.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGrowing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland’s diverse music scene and one of indie’s most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. “We improvised on different feels for hours,” says Murphy. “Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage.”\u003cbr\u003e\u003cbr\u003eAforementioned album opener “Day Dreaming” is a dynamic celebra- tion of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. “Wifi Beach” drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group impro- vised the track’s intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: “I want to be \/ Deep in love \/ I want to be \/ Say you love me too \/ I want to be \/ Honey.” The stanzas cut between “reflective moments of wants and being overwhelmed by feelings of the present,” she explains. “A lot of the ‘love songs’ I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff.”\u003cbr\u003e\u003cbr\u003eThough there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On “Ocean,” Brijean’s anodyne lyrics, remi- niscent of Astrud Gilberto’s airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, “In this gentle space we lay” — among the album’s propensity for movement, tracks like “Ocean” stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming “Hey Boy” a “psychedelic guide — the exploration of finding what feels good — through sorrow, anxiety, apathy.” This mentality ap- plies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self.\u003cbr\u003e\u003cbr\u003e• Debut full length\u003cbr\u003e• Follow-up to mini-LP Walkie Talkie (2019)\u003cbr\u003e• Features contributions from Chaz Bear (Toro Y Moi), Tony Peppers, Hamir Atwal\u003cbr\u003e• Previous tours with U.S. Girls, Poolside, Toro Y Moi\u003cbr\u003e• Limited edition lava lamp vinyl (blue + pink swirl)\u003cbr\u003e• RIYL: Stereolab, Astrud Gilberto, Little Dragon, Poolside\u003c\/p\u003e\n\u003cp\u003eTracklisting:\u003cbr\u003e01. Day Dreaming\u003cbr\u003e02. Softened Thoughts\u003cbr\u003e03. Pepe\u003cbr\u003e04. Wifi Beach\u003cbr\u003e05. Feelings\u003cbr\u003e06. Ocean\u003cbr\u003e07. Paradise\u003cbr\u003e08. Lathered in Gold\u003cbr\u003e09. Chester\u003cbr\u003e10. Hey Boy\u003cbr\u003e11. Moody\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/sYBOFnwD_a8\" height=\"341\" width=\"606\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":36814893973660,"sku":"GI378CD","price":11.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/Brijean-Feelings.jpg?v=1605111057"},{"product_id":"brijean-feelings-lp","title":"Brijean Feelings [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eRelease date: 26th February 2021\u003cbr data-mce-fragment=\"1\"\u003eFormats: LP \u003cbr data-mce-fragment=\"1\"\u003eLabel: Ghostly International\u003cbr data-mce-fragment=\"1\"\u003eCatalogue Number: GI378LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: LP: 804297837819 \u003cbr data-mce-fragment=\"1\"\u003eGenre: indie-folk\/indie-rock\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Do you feel what I feel too?” Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of char- ismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the “Day Dreaming” lyric doubles as an invitation and a state- ment of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they’ve manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call “romancing the psyche.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGrowing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland’s diverse music scene and one of indie’s most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. “We improvised on different feels for hours,” says Murphy. “Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAforementioned album opener “Day Dreaming” is a dynamic celebra- tion of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. “Wifi Beach” drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group impro- vised the track’s intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: “I want to be \/ Deep in love \/ I want to be \/ Say you love me too \/ I want to be \/ Honey.” The stanzas cut between “reflective moments of wants and being overwhelmed by feelings of the present,” she explains. “A lot of the ‘love songs’ I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThough there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On “Ocean,” Brijean’s anodyne lyrics, remi- niscent of Astrud Gilberto’s airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, “In this gentle space we lay” — among the album’s propensity for movement, tracks like “Ocean” stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming “Hey Boy” a “psychedelic guide — the exploration of finding what feels good — through sorrow, anxiety, apathy.” This mentality ap- plies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e• Debut full length\u003cbr data-mce-fragment=\"1\"\u003e• Follow-up to mini-LP Walkie Talkie (2019)\u003cbr data-mce-fragment=\"1\"\u003e• Features contributions from Chaz Bear (Toro Y Moi), Tony Peppers, Hamir Atwal\u003cbr data-mce-fragment=\"1\"\u003e• Previous tours with U.S. Girls, Poolside, Toro Y Moi\u003cbr data-mce-fragment=\"1\"\u003e• Limited edition lava lamp vinyl (blue + pink swirl)\u003cbr data-mce-fragment=\"1\"\u003e• RIYL: Stereolab, Astrud Gilberto, Little Dragon, Poolside\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003e01. Day Dreaming\u003cbr data-mce-fragment=\"1\"\u003e02. Softened Thoughts\u003cbr data-mce-fragment=\"1\"\u003e03. Pepe\u003cbr data-mce-fragment=\"1\"\u003e04. Wifi Beach\u003cbr data-mce-fragment=\"1\"\u003e05. Feelings\u003cbr data-mce-fragment=\"1\"\u003e06. Ocean\u003cbr data-mce-fragment=\"1\"\u003e07. Paradise\u003cbr data-mce-fragment=\"1\"\u003e08. Lathered in Gold\u003cbr data-mce-fragment=\"1\"\u003e09. Chester\u003cbr data-mce-fragment=\"1\"\u003e10. Hey Boy\u003cbr data-mce-fragment=\"1\"\u003e11. Moody\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/sYBOFnwD_a8\" height=\"341\" width=\"606\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/www.youtube.com\/embed\/sYBOFnwD_a8\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":36814897479836,"sku":"GI378LP","price":25.18,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/Brijean-Feelings_8a340303-3152-4ec2-99b6-a8cf027ba754.jpg?v=1605111077"},{"product_id":"brijean-feelings-lava-lamp-vinyl","title":"Brijean Feelings [lava lamp vinyl]","description":"\u003cp data-mce-fragment=\"1\"\u003eRelease date: 26th February 2021\u003cbr data-mce-fragment=\"1\"\u003eFormats: LPC1\u003cbr data-mce-fragment=\"1\"\u003eLabel: Ghostly International\u003cbr data-mce-fragment=\"1\"\u003eCatalogue Number: GI378LPC1\u003cbr data-mce-fragment=\"1\"\u003eBarcode: LPC1: 0804297837833\u003cbr data-mce-fragment=\"1\"\u003eGenre: indie-folk\/indie-rock\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLPC1 FORMAT DETAILS: lava lamp vinyl (blue + pink swirl)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Do you feel what I feel too?” Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of char- ismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the “Day Dreaming” lyric doubles as an invitation and a state- ment of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they’ve manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call “romancing the psyche.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGrowing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland’s diverse music scene and one of indie’s most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. “We improvised on different feels for hours,” says Murphy. “Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAforementioned album opener “Day Dreaming” is a dynamic celebra- tion of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. “Wifi Beach” drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group impro- vised the track’s intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: “I want to be \/ Deep in love \/ I want to be \/ Say you love me too \/ I want to be \/ Honey.” The stanzas cut between “reflective moments of wants and being overwhelmed by feelings of the present,” she explains. “A lot of the ‘love songs’ I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThough there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On “Ocean,” Brijean’s anodyne lyrics, remi- niscent of Astrud Gilberto’s airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, “In this gentle space we lay” — among the album’s propensity for movement, tracks like “Ocean” stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming “Hey Boy” a “psychedelic guide — the exploration of finding what feels good — through sorrow, anxiety, apathy.” This mentality ap- plies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e• Debut full length\u003cbr data-mce-fragment=\"1\"\u003e• Follow-up to mini-LP Walkie Talkie (2019)\u003cbr data-mce-fragment=\"1\"\u003e• Features contributions from Chaz Bear (Toro Y Moi), Tony Peppers, Hamir Atwal\u003cbr data-mce-fragment=\"1\"\u003e• Previous tours with U.S. Girls, Poolside, Toro Y Moi\u003cbr data-mce-fragment=\"1\"\u003e• Limited edition lava lamp vinyl (blue + pink swirl)\u003cbr data-mce-fragment=\"1\"\u003e• RIYL: Stereolab, Astrud Gilberto, Little Dragon, Poolside\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003e01. Day Dreaming\u003cbr data-mce-fragment=\"1\"\u003e02. Softened Thoughts\u003cbr data-mce-fragment=\"1\"\u003e03. Pepe\u003cbr data-mce-fragment=\"1\"\u003e04. Wifi Beach\u003cbr data-mce-fragment=\"1\"\u003e05. Feelings\u003cbr data-mce-fragment=\"1\"\u003e06. Ocean\u003cbr data-mce-fragment=\"1\"\u003e07. Paradise\u003cbr data-mce-fragment=\"1\"\u003e08. Lathered in Gold\u003cbr data-mce-fragment=\"1\"\u003e09. Chester\u003cbr data-mce-fragment=\"1\"\u003e10. Hey Boy\u003cbr data-mce-fragment=\"1\"\u003e11. Moody\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/sYBOFnwD_a8\" height=\"341\" width=\"606\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/www.youtube.com\/embed\/sYBOFnwD_a8\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":36814900625564,"sku":"GI378LPC1","price":26.98,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/Brijean-Feelings1.jpg?v=1605111094"},{"product_id":"com-truise-in-decay-too-black-vinyl","title":"Com Truise - In Decay, Too [Black Vinyl]","description":"\u003cp\u003eFormat: 2LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI372LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297837215\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 4th December 2020\u003cbr data-mce-fragment=\"1\"\u003eGenre: Electronic\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING: \u003cbr\u003e01. Zeta\u003cbr\u003e02. Compress—Fuse\u003cbr\u003e03. Chemical Legs\u003cbr\u003e04. Reciprocity\u003cbr\u003e05. She Melts\u003cbr\u003e06. Trying Times for the Indirect\u003cbr\u003e07. I Dream (for You)\u003cbr\u003e08. Surf\u003cbr\u003e09. Galactic Melt\u003cbr\u003e10. Post Hawaii\u003cbr\u003e11. Peach (6809)\u003cbr\u003e12. False Ascendancy\u003cbr\u003e13. Constant Fracture\u003cbr\u003e14. Trajectory\u003cbr\u003e\u003cbr\u003eLP FORMAT DETAILS: Black vinyl 2xLP packaged in matte jacket with black dust sleeves\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMuch like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer’s legion of fans. To accomplish such a feat, the Com camp tapped\u003cbr\u003ethe Internet’s foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley’s musical output since his earliest Komputer Cast (Haley’s podcast mix series) days. Polychora’s vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley’s singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. \u003cbr\u003e\u003cbr\u003eFollowing the smeared introductory tones of “Zeta,” the album locks into its first robotic groove on “Compress— Fuse,” a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright “False Ascendancy,” which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into “Constant Fracture.” The track pushes to the point of stress, reaching the album’s apex with a punishing series of blows before fading to relief, where the beatless and contemplative “Trajectory” awaits. \u003cbr\u003e\u003cbr\u003eIn 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what’s still yet to come.\u003cbr\u003e\u003cbr\u003e• Collection of Com Truise rarities available on vinyl for the\u003cbr\u003efirst time\u003cbr\u003e• RIYL Toro y Moi, TOBACCO, Gold Panda\u003cbr\u003e• The last EP went #10 on Billboard's Hot Top Dance\/Electronic Albums\u003cbr\u003e• Was opening for TYCHO on the last tour.\u003cbr\u003e\u003cbr\u003eOTHER ACTIVITY: https:\/\/ghostly.com\/ \u003cbr\u003e\u003cbr\u003eSOCIALS: https:\/\/twitter.com\/comtruise?s=20 \/ https:\/\/www.instagram.com\/comtruise\/ \/ https:\/\/www.facebook.com\/comtruise\/ \u003cbr\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":36834556018844,"sku":"GI372LP","price":17.98,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/ComTruise-InDecay_Too.png?v=1605209060"},{"product_id":"com-truise-in-decay-too-coloured-vinyl","title":"Com Truise - In Decay, Too [Coloured Vinyl]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat:\u003cspan data-mce-fragment=\"1\"\u003e 2LPC1\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.:\u003cspan data-mce-fragment=\"1\"\u003e GI372LPC1\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eBarcode:\u003cspan data-mce-fragment=\"1\"\u003e 804297837208  \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 4th December 2020\u003cbr data-mce-fragment=\"1\"\u003eGenre: Electronic\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING:\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e01. Zeta\u003cbr data-mce-fragment=\"1\"\u003e02. Compress—Fuse\u003cbr data-mce-fragment=\"1\"\u003e03. Chemical Legs\u003cbr data-mce-fragment=\"1\"\u003e04. Reciprocity\u003cbr data-mce-fragment=\"1\"\u003e05. She Melts\u003cbr data-mce-fragment=\"1\"\u003e06. Trying Times for the Indirect\u003cbr data-mce-fragment=\"1\"\u003e07. I Dream (for You)\u003cbr data-mce-fragment=\"1\"\u003e08. Surf\u003cbr data-mce-fragment=\"1\"\u003e09. Galactic Melt\u003cbr data-mce-fragment=\"1\"\u003e10. Post Hawaii\u003cbr data-mce-fragment=\"1\"\u003e11. Peach (6809)\u003cbr data-mce-fragment=\"1\"\u003e12. False Ascendancy\u003cbr data-mce-fragment=\"1\"\u003e13. Constant Fracture\u003cbr data-mce-fragment=\"1\"\u003e14. Trajectory\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLPC1 FORMAT DETAILS: Synthetic Storm Coloured Vinyl variant has red, blue, and yellow marbled vinyl.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMuch like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer’s legion of fans. To accomplish such a feat, the Com camp tapped\u003cbr data-mce-fragment=\"1\"\u003ethe Internet’s foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley’s musical output since his earliest Komputer Cast (Haley’s podcast mix series) days. Polychora’s vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley’s singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFollowing the smeared introductory tones of “Zeta,” the album locks into its first robotic groove on “Compress— Fuse,” a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright “False Ascendancy,” which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into “Constant Fracture.” The track pushes to the point of stress, reaching the album’s apex with a punishing series of blows before fading to relief, where the beatless and contemplative “Trajectory” awaits.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what’s still yet to come.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e• Collection of Com Truise rarities available on vinyl for the\u003cbr data-mce-fragment=\"1\"\u003efirst time\u003cbr data-mce-fragment=\"1\"\u003e• RIYL Toro y Moi, TOBACCO, Gold Panda\u003cbr data-mce-fragment=\"1\"\u003e• The last EP went #10 on Billboard's Hot Top Dance\/Electronic Albums\u003cbr data-mce-fragment=\"1\"\u003e• Was opening for TYCHO on the last tour.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOTHER ACTIVITY: https:\/\/ghostly.com\/\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSOCIALS: https:\/\/twitter.com\/comtruise?s=20 \/ https:\/\/www.instagram.com\/comtruise\/ \/ https:\/\/www.facebook.com\/comtruise\/\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":36834557591708,"sku":"GI372LPC1","price":28.78,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/ComTruise-InDecay_Too_d6543364-1eef-429a-b737-b576b7784396.png?v=1605209083"},{"product_id":"matthew-dear-preachers-sigh-and-potion-lost-album-cd","title":"Matthew Dear - Preacher's Sigh And Potion: Lost Album [CD]","description":"\u003cp\u003eRelease date: 25th June 2021\u003cbr data-mce-fragment=\"1\"\u003eFormats: CD\u003cbr data-mce-fragment=\"1\"\u003eLabel: Ghostly International\u003cbr data-mce-fragment=\"1\"\u003eCatalogue Number: GI382CD \u003cbr data-mce-fragment=\"1\"\u003eBarcode: CD: 0804297838229 \u003cbr\u003eGenre: Minimal\/Tech House\u003c\/p\u003e\n\u003cp\u003eTwenty-plus years into his career, producer\/vocalist\/songwriter\/DJ Matthew Dear remains artistically unpredictable in pursuit of his prescient strain of electronically-formed, organically-delivered indie pop. His work traverses myriad musical worlds, belonging to none. But these fluid moves have not been without a few forks in the road, decisive turns, and what-ifs. Most notable is the pivot-point following Dear’s acclaimed 2007 avant-pop LP, Asa Breed, in which he broke away from the 4\/4 grid of his techno\/house debut Leave Luck To Heaven and into something much more wild and idiosyncratic. Traveling between his adopted Detroit and his home state of Texas throughout 2008 and 2009, Dear amassed a set of personal, playful, looping guitar-centric recordings he’d consider for his next album. Given the new momentum of the hybrid electronic pop of Asa Breed which led to an opening slot for Hot Chip and remixes for ‘00 heroes like Spoon and Postal Service, Dear decided to shelf the material. He moved ahead to work on his watershed 2010 album, Black City, a steely noir set which earned him a Best New Music on Pitchfork and a worldwide tour with a besuited band. This “lost album” had a sound, a spirited country romp in the techno barn, and it had a rough title, a scribble on one of the CD-Rs passed to Ghostly label founder Sam Valenti IV, Preacher’s Sigh \u0026amp; Potion. He never fully walked away from it, and merely kept moving down the road, waiting for the audience to catch up. Over a decade later, that time is now.\u003c\/p\u003e\n\u003cp\u003ePreacher’s Sigh \u0026amp; Potion finds Dear unknowingly at an intersection in his young run, a burgeoning songwriter at his most freewheeling and unaffected. In hindsight, there were hints of Preacher’s sound on Asa Breed, but the set still registers endearingly out of step with his eventual direction. This was the first time Dear tapped so directly into his late father’s influence as a fingerpicking guitar player in the 1960s and ‘70s and a gateway to the music of John Prine, Townes Van Zandt, and Emmylou Harris.\u003cbr\u003e\u003cbr\u003eFrom the twang and tambourine stomp of album opener “Muscle Beach,” to the metronome-like pulse of “Hikers Y” complete with an unmistakable Matthew Dear dryly dismissive mantra, to the gloomy carnival-leaving-town pomp of “Gutters and Beyond,” Preacher’s Sigh \u0026amp; Potion is filled with the reckless notions of an artist dashing the history of pop and rock, the twang of country, the build and release of techno. Dear is an auteur, and in retrospect, so many of his signatures crop up in these relics from his former self. Dear remembers him well: “It’s crazy how music memory exists in a very deep and indescribable tangibility. I know the person who made all these, and remember glimpses of the desk, or studio set up for each recording. I know who wrote these lyrics, and where they were mentally during that process.” Revisiting this material now also has Dear thinking about his father’s legacy:\u003cbr\u003e“He also showed me that anyone can play, and perform for people, regardless of having albums or not. He was a very controlled and skilled guitar player but made it look natural and smooth. He had hundreds of songs in his repertoire and would play them nightly for us in the living room. He lived for music, and I hope I can pass that along to his grandkids.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e- Unearthed Matthew Dear album originally recorded after his acclaimed album Asa Breed (2007)\u003cbr data-mce-fragment=\"1\"\u003e- RIYL: Beck, Bill Callahan\/Smog, Bibio\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTracklisting:\u003cbr\u003e01. Muscle Beach\u003cbr\u003e02. Sow Down\u003cbr\u003e03. Hikers Y\u003cbr\u003e04. Never Divide\u003cbr\u003e05. All Her Fits\u003cbr\u003e06. Supper Times\u003cbr\u003e07. Crash And Burn\u003cbr\u003e08. Heart To Sing\u003cbr\u003e09. Eye\u003cbr\u003e10. Head\u003cbr\u003e11. Gutters And Beyond\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":39575848288412,"sku":"GI382CD","price":11.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/MatthewDear-Preacher_sSighAndPotionLostAlbum.jpg?v=1617717583"},{"product_id":"matthew-dear-preachers-sigh-and-potion-lost-album-lp","title":"Matthew Dear - Preacher's Sigh And Potion: Lost Album [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eRelease date: 25th June 2021\u003cbr data-mce-fragment=\"1\"\u003eFormats: LP \u003cbr data-mce-fragment=\"1\"\u003eLabel: Ghostly International\u003cbr data-mce-fragment=\"1\"\u003eCatalogue Number: GI382LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: LP: 0804297838212\u003cbr data-mce-fragment=\"1\"\u003eGenre: Minimal\/Tech House\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTwenty-plus years into his career, producer\/vocalist\/songwriter\/DJ Matthew Dear remains artistically unpredictable in pursuit of his prescient strain of electronically-formed, organically-delivered indie pop. His work traverses myriad musical worlds, belonging to none. But these fluid moves have not been without a few forks in the road, decisive turns, and what-ifs. Most notable is the pivot-point following Dear’s acclaimed 2007 avant-pop LP, Asa Breed, in which he broke away from the 4\/4 grid of his techno\/house debut Leave Luck To Heaven and into something much more wild and idiosyncratic. Traveling between his adopted Detroit and his home state of Texas throughout 2008 and 2009, Dear amassed a set of personal, playful, looping guitar-centric recordings he’d consider for his next album. Given the new momentum of the hybrid electronic pop of Asa Breed which led to an opening slot for Hot Chip and remixes for ‘00 heroes like Spoon and Postal Service, Dear decided to shelf the material. He moved ahead to work on his watershed 2010 album, Black City, a steely noir set which earned him a Best New Music on Pitchfork and a worldwide tour with a besuited band. This “lost album” had a sound, a spirited country romp in the techno barn, and it had a rough title, a scribble on one of the CD-Rs passed to Ghostly label founder Sam Valenti IV, Preacher’s Sigh \u0026amp; Potion. He never fully walked away from it, and merely kept moving down the road, waiting for the audience to catch up. Over a decade later, that time is now.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreacher’s Sigh \u0026amp; Potion finds Dear unknowingly at an intersection in his young run, a burgeoning songwriter at his most freewheeling and unaffected. In hindsight, there were hints of Preacher’s sound on Asa Breed, but the set still registers endearingly out of step with his eventual direction. This was the first time Dear tapped so directly into his late father’s influence as a fingerpicking guitar player in the 1960s and ‘70s and a gateway to the music of John Prine, Townes Van Zandt, and Emmylou Harris.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom the twang and tambourine stomp of album opener “Muscle Beach,” to the metronome-like pulse of “Hikers Y” complete with an unmistakable Matthew Dear dryly dismissive mantra, to the gloomy carnival-leaving-town pomp of “Gutters and Beyond,” Preacher’s Sigh \u0026amp; Potion is filled with the reckless notions of an artist dashing the history of pop and rock, the twang of country, the build and release of techno. Dear is an auteur, and in retrospect, so many of his signatures crop up in these relics from his former self. Dear remembers him well: “It’s crazy how music memory exists in a very deep and indescribable tangibility. I know the person who made all these, and remember glimpses of the desk, or studio set up for each recording. I know who wrote these lyrics, and where they were mentally during that process.” Revisiting this material now also has Dear thinking about his father’s legacy:\u003cbr data-mce-fragment=\"1\"\u003e“He also showed me that anyone can play, and perform for people, regardless of having albums or not. He was a very controlled and skilled guitar player but made it look natural and smooth. He had hundreds of songs in his repertoire and would play them nightly for us in the living room. He lived for music, and I hope I can pass that along to his grandkids.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e- Unearthed Matthew Dear album originally recorded after his acclaimed album Asa Breed (2007)\u003cbr data-mce-fragment=\"1\"\u003e- RIYL: Beck, Bill Callahan\/Smog, Bibio\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003e01. Muscle Beach\u003cbr data-mce-fragment=\"1\"\u003e02. Sow Down\u003cbr data-mce-fragment=\"1\"\u003e03. Hikers Y\u003cbr data-mce-fragment=\"1\"\u003e04. Never Divide\u003cbr data-mce-fragment=\"1\"\u003e05. All Her Fits\u003cbr data-mce-fragment=\"1\"\u003e06. Supper Times\u003cbr data-mce-fragment=\"1\"\u003e07. Crash And Burn\u003cbr data-mce-fragment=\"1\"\u003e08. Heart To Sing\u003cbr data-mce-fragment=\"1\"\u003e09. Eye\u003cbr data-mce-fragment=\"1\"\u003e10. Head\u003cbr data-mce-fragment=\"1\"\u003e11. Gutters And Beyond\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":39575848812700,"sku":"GI382LP","price":25.18,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/MatthewDear-Preacher_sSighAndPotionLostAlbum_6db2a37d-6d27-49aa-8fdd-0fb4f694a050.jpg?v=1617717593"},{"product_id":"matthew-dear-preachers-sigh-and-potion-lost-album-limited-edition-colored-vinyl","title":"Matthew Dear - Preacher's Sigh And Potion: Lost Album [Limited edition colored vinyl]","description":"\u003cp data-mce-fragment=\"1\"\u003eRelease date: 25th June 2021\u003cbr data-mce-fragment=\"1\"\u003eFormats: LPC1\u003cbr data-mce-fragment=\"1\"\u003eLabel: Ghostly International\u003cbr data-mce-fragment=\"1\"\u003eCatalogue Number: GI382LPC1\u003cbr data-mce-fragment=\"1\"\u003eBarcode: LPC1: 0804297838236\u003cbr data-mce-fragment=\"1\"\u003eGenre: Minimal\/Tech House\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFormat Details:\u003cbr data-mce-fragment=\"1\"\u003eLPC1: Limited edition colored vinyl limited to 2100 copies worldwide; features yellow + black marbled vinyl. Vinyl is housed in an uncoated sleeve inserted in to a matte jacket.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTwenty-plus years into his career, producer\/vocalist\/songwriter\/DJ Matthew Dear remains artistically unpredictable in pursuit of his prescient strain of electronically-formed, organically-delivered indie pop. His work traverses myriad musical worlds, belonging to none. But these fluid moves have not been without a few forks in the road, decisive turns, and what-ifs. Most notable is the pivot-point following Dear’s acclaimed 2007 avant-pop LP, Asa Breed, in which he broke away from the 4\/4 grid of his techno\/house debut Leave Luck To Heaven and into something much more wild and idiosyncratic. Traveling between his adopted Detroit and his home state of Texas throughout 2008 and 2009, Dear amassed a set of personal, playful, looping guitar-centric recordings he’d consider for his next album. Given the new momentum of the hybrid electronic pop of Asa Breed which led to an opening slot for Hot Chip and remixes for ‘00 heroes like Spoon and Postal Service, Dear decided to shelf the material. He moved ahead to work on his watershed 2010 album, Black City, a steely noir set which earned him a Best New Music on Pitchfork and a worldwide tour with a besuited band. This “lost album” had a sound, a spirited country romp in the techno barn, and it had a rough title, a scribble on one of the CD-Rs passed to Ghostly label founder Sam Valenti IV, Preacher’s Sigh \u0026amp; Potion. He never fully walked away from it, and merely kept moving down the road, waiting for the audience to catch up. Over a decade later, that time is now.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreacher’s Sigh \u0026amp; Potion finds Dear unknowingly at an intersection in his young run, a burgeoning songwriter at his most freewheeling and unaffected. In hindsight, there were hints of Preacher’s sound on Asa Breed, but the set still registers endearingly out of step with his eventual direction. This was the first time Dear tapped so directly into his late father’s influence as a fingerpicking guitar player in the 1960s and ‘70s and a gateway to the music of John Prine, Townes Van Zandt, and Emmylou Harris.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom the twang and tambourine stomp of album opener “Muscle Beach,” to the metronome-like pulse of “Hikers Y” complete with an unmistakable Matthew Dear dryly dismissive mantra, to the gloomy carnival-leaving-town pomp of “Gutters and Beyond,” Preacher’s Sigh \u0026amp; Potion is filled with the reckless notions of an artist dashing the history of pop and rock, the twang of country, the build and release of techno. Dear is an auteur, and in retrospect, so many of his signatures crop up in these relics from his former self. Dear remembers him well: “It’s crazy how music memory exists in a very deep and indescribable tangibility. I know the person who made all these, and remember glimpses of the desk, or studio set up for each recording. I know who wrote these lyrics, and where they were mentally during that process.” Revisiting this material now also has Dear thinking about his father’s legacy:\u003cbr data-mce-fragment=\"1\"\u003e“He also showed me that anyone can play, and perform for people, regardless of having albums or not. He was a very controlled and skilled guitar player but made it look natural and smooth. He had hundreds of songs in his repertoire and would play them nightly for us in the living room. He lived for music, and I hope I can pass that along to his grandkids.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e- Unearthed Matthew Dear album originally recorded after his acclaimed album Asa Breed (2007)\u003cbr data-mce-fragment=\"1\"\u003e- RIYL: Beck, Bill Callahan\/Smog, Bibio\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003e01. Muscle Beach\u003cbr data-mce-fragment=\"1\"\u003e02. Sow Down\u003cbr data-mce-fragment=\"1\"\u003e03. Hikers Y\u003cbr data-mce-fragment=\"1\"\u003e04. Never Divide\u003cbr data-mce-fragment=\"1\"\u003e05. All Her Fits\u003cbr data-mce-fragment=\"1\"\u003e06. Supper Times\u003cbr data-mce-fragment=\"1\"\u003e07. Crash And Burn\u003cbr data-mce-fragment=\"1\"\u003e08. Heart To Sing\u003cbr data-mce-fragment=\"1\"\u003e09. Eye\u003cbr data-mce-fragment=\"1\"\u003e10. Head\u003cbr data-mce-fragment=\"1\"\u003e11. Gutters And Beyond\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":39575849336988,"sku":"GI382LPC1","price":22.93,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/unnamed_1_c1a063c8-a47c-4922-99e1-5c13cd0c5448.jpg?v=1617717602"},{"product_id":"mary-lattimore-silver-ladders-silver-vinyl","title":"MARY LATTIMORE - SILVER LADDERS [Silver Vinyl] [ONE PER PERSON]","description":"Format: limited silver vinyl LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI370LPC5\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 12th March 2021\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":39960619024540,"sku":"GI370LPC5","price":19.87,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/unnamed_1_3b0e36fb-b7c6-4199-96e1-c54f2c4724a1.jpg?v=1621957705"},{"product_id":"hana-vu-public-storage-cd","title":"Hana Vu - Public Storage [CD]","description":"\u003cp\u003eFormat: CD\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI386CD\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297838625 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 05 Nov 2021\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie \/ Alternative\u003c\/p\u003e\n\u003cp\u003eStorage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.\u003cbr\u003e \u003cbr\u003eVu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock\/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.\u003cbr\u003e \u003cbr\u003ePublic Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.\u003c\/p\u003e\n\u003cp\u003eVu opens the album fixed on a force that recurs throughout. She explains, “I am not religious but when writing these songs I imagined a sort of desolate character crying out to an ultimately punitive force for something more.” The first sounds we hear are charming: isolated piano keys cycle into warm strums and self-harmonies on “April Fool,” as Vu’s protagonist dismisses her surroundings and ability to communicate. The soft amber glow diffuses into the album’s title track, a darker, murkier, louder place. Vu rips through “Public Storage’’ with a series of defiant rejections (failure, family, magic) and cathartic demands. It’s a rare and powerful display of vulnerability from a lyricist who favors the abstract over autobiographical.\u003cbr\u003e \u003cbr\u003eBuilt on a disco synth pattern and grooving bass stabs, “Aubade” has the bright bounce of its morning namesake, cleverly at odds with its downbeat subject. The contrast continues on “Keeper,” a pulsating new wave cut, replete with soaring dreamy synths and a cooly snarling narrator, again challenging that force. “Gutter” returns to the grungy lowlight, with muscular guitar riffs striating above a bed of feedback, swelling alongside orchestral strings to a roaring finish.\u003cbr\u003e \u003cbr\u003eThe back half of Public Storage features some of its most striking moments: the rhythmic, hook-heavy “Everybody’s Birthday” speaks to the evil absurdity of the present, the end of times. The night is red, the mood is blue, and her character’s shame is painted gold. Vu saves “Maker” for last, a final go at the existential. That long-lost trinket, enormously meaningful, buried at the bottom of a box at the back of the unit. Tender banjo plucks and piano keys serve as the base for Vu’s escalating harmonies, overcome by remorseful exhalations, the song culminates on the lines: “save me oh my angel \/ are you angry \/ cos I’m not stronger and I crumble \/ oh that’s my nature \/ just like you.” In that address, in finding something lost along the way in too many shuffles from place to place, Vu finds a tarnished token of solace and a logical conclusion for Public Storage: we are all fucked up, scattered, prone to getting lost, and whoever, whatever made us is fucked up, scattered and lost too.\u003c\/p\u003e\n\u003cp\u003eTracklisting:\u003cbr\u003e01. April Fool\u003cbr\u003e02. Public Storage\u003cbr\u003e03. Aubade\u003cbr\u003e04. Heaven\u003cbr\u003e05. Keeper\u003cbr\u003e06. Gutter\u003cbr\u003e07. My House\u003cbr\u003e08. World’s Worst\u003cbr\u003e09. Anything Striking\u003cbr\u003e10. Everybody’s Birthday\u003cbr\u003e11. I Got\u003cbr\u003e12. Maker\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":40692676198556,"sku":"GI386CD","price":11.81,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_380aa491-46f9-4bf3-a504-32307d16cf6f.jpg?v=1629298897"},{"product_id":"hana-vu-public-storage-lp","title":"Hana Vu - Public Storage [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI386LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297838618 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date:\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e05 Nov\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e2021\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie \/ Alternative\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStorage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eVu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock\/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublic Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVu opens the album fixed on a force that recurs throughout. She explains, “I am not religious but when writing these songs I imagined a sort of desolate character crying out to an ultimately punitive force for something more.” The first sounds we hear are charming: isolated piano keys cycle into warm strums and self-harmonies on “April Fool,” as Vu’s protagonist dismisses her surroundings and ability to communicate. The soft amber glow diffuses into the album’s title track, a darker, murkier, louder place. Vu rips through “Public Storage’’ with a series of defiant rejections (failure, family, magic) and cathartic demands. It’s a rare and powerful display of vulnerability from a lyricist who favors the abstract over autobiographical.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBuilt on a disco synth pattern and grooving bass stabs, “Aubade” has the bright bounce of its morning namesake, cleverly at odds with its downbeat subject. The contrast continues on “Keeper,” a pulsating new wave cut, replete with soaring dreamy synths and a cooly snarling narrator, again challenging that force. “Gutter” returns to the grungy lowlight, with muscular guitar riffs striating above a bed of feedback, swelling alongside orchestral strings to a roaring finish.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe back half of Public Storage features some of its most striking moments: the rhythmic, hook-heavy “Everybody’s Birthday” speaks to the evil absurdity of the present, the end of times. The night is red, the mood is blue, and her character’s shame is painted gold. Vu saves “Maker” for last, a final go at the existential. That long-lost trinket, enormously meaningful, buried at the bottom of a box at the back of the unit. Tender banjo plucks and piano keys serve as the base for Vu’s escalating harmonies, overcome by remorseful exhalations, the song culminates on the lines: “save me oh my angel \/ are you angry \/ cos I’m not stronger and I crumble \/ oh that’s my nature \/ just like you.” In that address, in finding something lost along the way in too many shuffles from place to place, Vu finds a tarnished token of solace and a logical conclusion for Public Storage: we are all fucked up, scattered, prone to getting lost, and whoever, whatever made us is fucked up, scattered and lost too.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003e01. April Fool\u003cbr data-mce-fragment=\"1\"\u003e02. Public Storage\u003cbr data-mce-fragment=\"1\"\u003e03. Aubade\u003cbr data-mce-fragment=\"1\"\u003e04. Heaven\u003cbr data-mce-fragment=\"1\"\u003e05. Keeper\u003cbr data-mce-fragment=\"1\"\u003e06. Gutter\u003cbr data-mce-fragment=\"1\"\u003e07. My House\u003cbr data-mce-fragment=\"1\"\u003e08. World’s Worst\u003cbr data-mce-fragment=\"1\"\u003e09. Anything Striking\u003cbr data-mce-fragment=\"1\"\u003e10. Everybody’s Birthday\u003cbr data-mce-fragment=\"1\"\u003e11. I Got\u003cbr data-mce-fragment=\"1\"\u003e12. Maker\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":40692733214876,"sku":"GI386LP","price":20.14,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_dda0a743-4da1-4d57-9e9f-f87654022ab3.jpg?v=1629299011"},{"product_id":"hana-vu-public-storage-clear-white-marble-effect","title":"Hana Vu - Public Storage [Clear \u0026 White Marble Effect]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: Vinyl, Clear \u0026amp; white marble effect\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI386LPC1\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297838632\u003cbr data-mce-fragment=\"1\"\u003eRelease Date:\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e05 Nov\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e2021\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie \/ Alternative\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStorage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eVu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock\/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublic Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVu opens the album fixed on a force that recurs throughout. She explains, “I am not religious but when writing these songs I imagined a sort of desolate character crying out to an ultimately punitive force for something more.” The first sounds we hear are charming: isolated piano keys cycle into warm strums and self-harmonies on “April Fool,” as Vu’s protagonist dismisses her surroundings and ability to communicate. The soft amber glow diffuses into the album’s title track, a darker, murkier, louder place. Vu rips through “Public Storage’’ with a series of defiant rejections (failure, family, magic) and cathartic demands. It’s a rare and powerful display of vulnerability from a lyricist who favors the abstract over autobiographical.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBuilt on a disco synth pattern and grooving bass stabs, “Aubade” has the bright bounce of its morning namesake, cleverly at odds with its downbeat subject. The contrast continues on “Keeper,” a pulsating new wave cut, replete with soaring dreamy synths and a cooly snarling narrator, again challenging that force. “Gutter” returns to the grungy lowlight, with muscular guitar riffs striating above a bed of feedback, swelling alongside orchestral strings to a roaring finish.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe back half of Public Storage features some of its most striking moments: the rhythmic, hook-heavy “Everybody’s Birthday” speaks to the evil absurdity of the present, the end of times. The night is red, the mood is blue, and her character’s shame is painted gold. Vu saves “Maker” for last, a final go at the existential. That long-lost trinket, enormously meaningful, buried at the bottom of a box at the back of the unit. Tender banjo plucks and piano keys serve as the base for Vu’s escalating harmonies, overcome by remorseful exhalations, the song culminates on the lines: “save me oh my angel \/ are you angry \/ cos I’m not stronger and I crumble \/ oh that’s my nature \/ just like you.” In that address, in finding something lost along the way in too many shuffles from place to place, Vu finds a tarnished token of solace and a logical conclusion for Public Storage: we are all fucked up, scattered, prone to getting lost, and whoever, whatever made us is fucked up, scattered and lost too.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003e01. April Fool\u003cbr data-mce-fragment=\"1\"\u003e02. Public Storage\u003cbr data-mce-fragment=\"1\"\u003e03. Aubade\u003cbr data-mce-fragment=\"1\"\u003e04. Heaven\u003cbr data-mce-fragment=\"1\"\u003e05. Keeper\u003cbr data-mce-fragment=\"1\"\u003e06. Gutter\u003cbr data-mce-fragment=\"1\"\u003e07. My House\u003cbr data-mce-fragment=\"1\"\u003e08. World’s Worst\u003cbr data-mce-fragment=\"1\"\u003e09. Anything Striking\u003cbr data-mce-fragment=\"1\"\u003e10. Everybody’s Birthday\u003cbr data-mce-fragment=\"1\"\u003e11. I Got\u003cbr data-mce-fragment=\"1\"\u003e12. Maker\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":40692739801244,"sku":"GI386LPC1","price":22.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/GI-386_02.jpg?v=1629299024"},{"product_id":"hana-vu-public-storage-red-marble-effect","title":"Hana Vu - Public Storage [Red Marble Effect]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: Vinyl, Red marble effect\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI386LPC4\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297838663\u003cbr data-mce-fragment=\"1\"\u003eRelease Date:\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e05 Nov\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e2021\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie \/ Alternative\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStorage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eVu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock\/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublic Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVu opens the album fixed on a force that recurs throughout. She explains, “I am not religious but when writing these songs I imagined a sort of desolate character crying out to an ultimately punitive force for something more.” The first sounds we hear are charming: isolated piano keys cycle into warm strums and self-harmonies on “April Fool,” as Vu’s protagonist dismisses her surroundings and ability to communicate. The soft amber glow diffuses into the album’s title track, a darker, murkier, louder place. Vu rips through “Public Storage’’ with a series of defiant rejections (failure, family, magic) and cathartic demands. It’s a rare and powerful display of vulnerability from a lyricist who favors the abstract over autobiographical.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBuilt on a disco synth pattern and grooving bass stabs, “Aubade” has the bright bounce of its morning namesake, cleverly at odds with its downbeat subject. The contrast continues on “Keeper,” a pulsating new wave cut, replete with soaring dreamy synths and a cooly snarling narrator, again challenging that force. “Gutter” returns to the grungy lowlight, with muscular guitar riffs striating above a bed of feedback, swelling alongside orchestral strings to a roaring finish.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe back half of Public Storage features some of its most striking moments: the rhythmic, hook-heavy “Everybody’s Birthday” speaks to the evil absurdity of the present, the end of times. The night is red, the mood is blue, and her character’s shame is painted gold. Vu saves “Maker” for last, a final go at the existential. That long-lost trinket, enormously meaningful, buried at the bottom of a box at the back of the unit. Tender banjo plucks and piano keys serve as the base for Vu’s escalating harmonies, overcome by remorseful exhalations, the song culminates on the lines: “save me oh my angel \/ are you angry \/ cos I’m not stronger and I crumble \/ oh that’s my nature \/ just like you.” In that address, in finding something lost along the way in too many shuffles from place to place, Vu finds a tarnished token of solace and a logical conclusion for Public Storage: we are all fucked up, scattered, prone to getting lost, and whoever, whatever made us is fucked up, scattered and lost too.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003e01. April Fool\u003cbr data-mce-fragment=\"1\"\u003e02. Public Storage\u003cbr data-mce-fragment=\"1\"\u003e03. Aubade\u003cbr data-mce-fragment=\"1\"\u003e04. Heaven\u003cbr data-mce-fragment=\"1\"\u003e05. Keeper\u003cbr data-mce-fragment=\"1\"\u003e06. Gutter\u003cbr data-mce-fragment=\"1\"\u003e07. My House\u003cbr data-mce-fragment=\"1\"\u003e08. World’s Worst\u003cbr data-mce-fragment=\"1\"\u003e09. Anything Striking\u003cbr data-mce-fragment=\"1\"\u003e10. Everybody’s Birthday\u003cbr data-mce-fragment=\"1\"\u003e11. I Got\u003cbr data-mce-fragment=\"1\"\u003e12. Maker\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":40692752777372,"sku":"GI386LPC4","price":21.58,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/GI-386_09.jpg?v=1629299062"},{"product_id":"mary-lattimore-collected-pieces-2015-2020-cd","title":"Mary Lattimore - Collected Pieces: 2015-2020 [CD]","description":"\u003cp\u003eFormat: CD\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI390CD\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297839059 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 14 Jan 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/p\u003e\n\u003cp\u003eIn the afterglow of her acclaimed 2020 album Silver Ladders (a year-end favorite of NPR, Pitchfork, The New Yorker, and others), Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015-2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017 tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette\/digital version brings more of Lattimore’s archives together for the first time. Lattimore has described the process of arranging these releases as akin to “opening a box filled with memories,” and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within.\u003cbr\u003e \u003cbr\u003eOpening the cassette version is “Mary, You Were Wrong,” which mirrors an author’s bout with a broken heart. “It’s about how you have to keep on going even if you make some mistakes,” she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal.\u003cbr\u003e \u003cbr\u003eUnreleased track “Sleeping Deer” came together during Lattimore’s artist residency on a cattle ranch in Wyoming. She remembers, “a small deer whose mother I think had been run over by a car would hang out in the yard. I called him Lollipop and would leave vegetable scraps out.” Lollipop returned daily to eat, rest, and wait for more. The music this vision inspired is patient and droning, with light plucks giving way to deeper, vibrating tones, permeating with a sense of anticipation.\u003c\/p\u003e\n\u003cp\u003eNext is a newer single, “We Wave From Our Boats,” which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. “I would just wave at neighbors I didn’t know in a gesture of solidarity and it reminded me of how you’re compelled to wave at people on the other boat when you’re on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural.” The heart of the track is a somber loop, over top which Lattimore’s synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days.\u003cbr\u003e \u003cbr\u003eAlso recorded in 2020, “What The Living Do” is inspired by Marie Howe’s poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. “Princess Nicotine (1909)” scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton’s surreal silent film Princess Nicotine; or, the Smoke Fairy. She adopted the same approach for “Polly of the Circus,” explaining it was the name of one of the old silent films discovered in permafrost in the Yukon [featured in the documentary Dawson City: Frozen Time], “the only copy that survived and it kind of warped in the aging process.”\u003cbr\u003e \u003cbr\u003eA trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. There’s the one about the American astronaut’s homecoming (“For Scott Kelly, Returned To Earth”), the Charlie Chaplin-like character who lost their glasses (“Be My Four Eyes”). Like her most affecting work, these songs showcase Lattimore’s gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance.\u003c\/p\u003e\n\u003cp\u003eTracklisting:\u003cbr\u003eA1. Wawa by the Ocean\u003cbr\u003eA2. We Wave From Our Boats\u003cbr\u003eA3. For Scott Kelly, Returned to Earth\u003cbr\u003eB1. Your Glossy Camry\u003cbr\u003eB2. Be My Four Eyes\u003cbr\u003eC1. Pine Trees (Home Recording)\u003cbr\u003eC2. We Just Found Out She Died\u003cbr\u003eC3. What the Living Do\u003cbr\u003eD1. Polly of the Circus\u003cbr\u003eD2. The Warm Shoulder\u003cbr\u003eD3. Mary You Were Wrong\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":40755738837148,"sku":"GI390CD","price":14.38,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_0d211d3f-ad00-43fb-aebf-fa9028de3fb0.jpg?v=1629900694"},{"product_id":"mary-lattimore-collected-pieces-2015-2020-lp","title":"Mary Lattimore - Collected Pieces: 2015-2020 [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI390LP \u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297839011 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 14 Jan 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the afterglow of her acclaimed 2020 album Silver Ladders (a year-end favorite of NPR, Pitchfork, The New Yorker, and others), Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015-2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017 tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette\/digital version brings more of Lattimore’s archives together for the first time. Lattimore has described the process of arranging these releases as akin to “opening a box filled with memories,” and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOpening the cassette version is “Mary, You Were Wrong,” which mirrors an author’s bout with a broken heart. “It’s about how you have to keep on going even if you make some mistakes,” she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eUnreleased track “Sleeping Deer” came together during Lattimore’s artist residency on a cattle ranch in Wyoming. She remembers, “a small deer whose mother I think had been run over by a car would hang out in the yard. I called him Lollipop and would leave vegetable scraps out.” Lollipop returned daily to eat, rest, and wait for more. The music this vision inspired is patient and droning, with light plucks giving way to deeper, vibrating tones, permeating with a sense of anticipation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNext is a newer single, “We Wave From Our Boats,” which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. “I would just wave at neighbors I didn’t know in a gesture of solidarity and it reminded me of how you’re compelled to wave at people on the other boat when you’re on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural.” The heart of the track is a somber loop, over top which Lattimore’s synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlso recorded in 2020, “What The Living Do” is inspired by Marie Howe’s poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. “Princess Nicotine (1909)” scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton’s surreal silent film Princess Nicotine; or, the Smoke Fairy. She adopted the same approach for “Polly of the Circus,” explaining it was the name of one of the old silent films discovered in permafrost in the Yukon [featured in the documentary Dawson City: Frozen Time], “the only copy that survived and it kind of warped in the aging process.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. There’s the one about the American astronaut’s homecoming (“For Scott Kelly, Returned To Earth”), the Charlie Chaplin-like character who lost their glasses (“Be My Four Eyes”). Like her most affecting work, these songs showcase Lattimore’s gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTracklisting:\u003cbr data-mce-fragment=\"1\"\u003eA1. Wawa by the Ocean\u003cbr data-mce-fragment=\"1\"\u003eA2. We Wave From Our Boats\u003cbr data-mce-fragment=\"1\"\u003eA3. For Scott Kelly, Returned to Earth\u003cbr data-mce-fragment=\"1\"\u003eB1. Your Glossy Camry\u003cbr data-mce-fragment=\"1\"\u003eB2. Be My Four Eyes\u003cbr data-mce-fragment=\"1\"\u003eC1. Pine Trees (Home Recording)\u003cbr data-mce-fragment=\"1\"\u003eC2. We Just Found Out She Died\u003cbr data-mce-fragment=\"1\"\u003eC3. What the Living Do\u003cbr data-mce-fragment=\"1\"\u003eD1. Polly of the Circus\u003cbr data-mce-fragment=\"1\"\u003eD2. The Warm Shoulder\u003cbr data-mce-fragment=\"1\"\u003eD3. Mary You Were Wrong\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":40755744047260,"sku":"GI390LP","price":23.02,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_9f2f2231-9c96-4ba4-b592-300382e7bb11.jpg?v=1629900725"},{"product_id":"drama-dance-without-me","title":"DRAMA - Dance Without Me","description":"\u003cp\u003eFormat: LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI355LP\u003cbr\u003eBarcode: 0804297835518\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 14 Feb 2020\u003cbr data-mce-fragment=\"1\"\u003eGenre: Pop\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA1 7:04 AM\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA2 Years\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA3 Forever And A Day\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA4 Hold On\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA5 Gimme Gimme\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA6 Good For Nothing\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eB1 People Like You\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eB2 Days And Days\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eB3 Lifetime\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eB4 Nine One One\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eB5 Dance Without Me\u003c\/span\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41059259973788,"sku":"GI355LP","price":11.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_184c0c3e-3004-446d-acad-dccd0f8b7b7e.jpg?v=1633872381"},{"product_id":"recondite-dwell","title":"RECONDITE - 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Proof","description":"Format: 12\" Vinyl\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI368LP\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 10 Jul 2020\u003cbr data-mce-fragment=\"1\"\u003eGenre: Deep House","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41059328426140,"sku":"GI368LP","price":17.98,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/GalcherLustwerk-Proof.jpg?v=1633875023"},{"product_id":"mary-lattimore-hundred-of-days","title":"Mary Lattimore - Hundred of Days","description":"Format: LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI317LP\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 18 May 2018\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41059332456604,"sku":"GI317LP","price":18.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_cb5ef087-6240-4af8-8548-e6daa968bbd2.jpg?v=1633875163"},{"product_id":"galcher-lustwerk-information-blue-marbled-vinyl","title":"Galcher Lustwerk - Information [Blue Marbled Vinyl]","description":"\u003cp\u003eFormat: Vinyl, Blue Marbled\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI351LPC1\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 22 Nov 2019\u003cbr data-mce-fragment=\"1\"\u003eGenre: Deep House\u003c\/p\u003e\n\u003cp\u003eTracklist\u003cbr\u003eSide 1\u003cbr\u003e1. \"Left In The Dark\" (2:00)\u003cbr\u003e2. \"I See A Dime\" (2:00)\u003cbr\u003e3. \"Another Story\" (2:00)\u003cbr\u003e4. \"Overpay, Overstay\" (2:00)\u003cbr\u003e5. \"Plainview\" (2:00)\u003cbr\u003e6. \"Bit\" (2:00)\u003cbr\u003eSide 2\u003cbr\u003e1. \"Thermonics\" (2:00)\u003cbr\u003e2. \"Cig Angel\" (2:00)\u003cbr\u003e3. \"Fathomless Irie\" (2:00)\u003cbr\u003e4. \"Been A Long Night\" (2:00)\u003cbr\u003e5. \"Speed\" (2:00)\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41059333111964,"sku":"GI351LPC1","price":12.96,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_0546662c-96d6-40ce-9381-5daefda1a6f1.jpg?v=1633875217"},{"product_id":"various-artists-ghostly-swim-2","title":"Various Artists - 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Minecraft Volume Alpha","description":"\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eFormat: LP, Green Vinyl\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI243LPC2\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 00804297824338\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 21 Aug 2015\u003cbr data-mce-fragment=\"1\"\u003eGenre: Soundtrack\u003c\/p\u003e\n\u003cp\u003eBack in: 18 Apr 25\u003c\/p\u003e\n\u003cp\u003eA1 Subwoofer Lullaby 3:28\u003cbr\u003eA2 Living Mice 2:57\u003cbr\u003eA3 Moog City 2:40\u003cbr\u003eA4 Haggstrom 3:24\u003cbr\u003eA5 Minecraft 4:14\u003cbr\u003eA6 Clark 3:11\u003cbr\u003eB1 Mice On Venus 4:41\u003cbr\u003eB2 Dry Hands 1:08\u003cbr\u003eB3 Wet Hands 1:30\u003cbr\u003eB4 Sweden 3:35\u003cbr\u003eB5 Cat 3:06\u003cbr\u003eB6 Danny 4:14\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41142019063964,"sku":"GI243LPC2","price":30.38,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/item.png?v=1734944996"},{"product_id":"c418-minecraft-volume-beta","title":"C418 - 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Beings of Light [Clear Vinyl]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: LP, UK exclusive Clear Vinyl\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI387lp-c2\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297838748\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 11 Feb 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Deep House\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfter a run of critically-acclaimed singles and EPs, British producer Michael Greene, aka Fort Romeau, returns to the full-length format with Beings of Light, the long-awaited follow-up to 2015’s Insides and his second LP on Ghostly International. While a prolific DJ who orients many of his productions for the dancefloor, Greene still sees the album as the ultimate statement of intent, “a space to stretch out, to speak in full paragraphs rather than stunted sentences.” He has explored several stylistic fragments in recent years (including the summer 2018 anthem “Pablo,” hailed a Best New Track by Pitchfork), but when faced with the extended pause to the dance community in 2020, Greene felt compelled to focus on a larger body of work. Embracing a back-to-basics mentality, he amassed over a dozen hours of sounds, asking himself throughout the sessions: “Does the music move you? Is it honest?” He came out the other end with Beings of Light, an expressive collection traversing rainy day ambient, moonlit disco, and dream-like techno in pursuit of the power found within our subconscious.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLike previous Fort Romeau records, Greene’s foundational inspiration for Beings of Light is imagery. Specifically a work by Steven Arnold, a Dalí protégé known for constructing otherworldly, tableau vivant set designs from found objects until his death in 1994 amid the AIDS crisis. Arnold’s 1984 photograph Power of Grace (featured as the album art and lending a title to one of its tracks) spoke to Greene immediately: “It’s transcendent in the most potent and direct manner, imagination untethered by material, elegance without riches. For me it represents, among other things, a radical class politics. Imagination always wins over resource.” The visual, as well as the surrealist idea that dreams allow us to create a better reality, led Greene to shape his most ambitious and complete record to date, a love letter to dance music coded with a message of hope. The album title comes from his belief that people can facilitate change by first imagining the way we want things to be, and not letting cynicism block that light.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe urgency is felt right away, as album opener “Untitled IV” ushers in a sprinting tempo in its exploration of the human voice, a recurring device in the Fort Romeau project. Greene uses it as a compositional layer, disembodied with its context often opaque or reduced to a single phrase. Here the voice is scattered in percussive twitches, colliding with a kick drum to induce a near state of hypnosis as horns sound off in the distance.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePropulsive standout “Spotlights’’ is Greene’s ode to the romanticised New York City that lives in our hearts, nocturnal and carefree. A vocal snippet repeats the title with a breezy poise, reminiscent of classic house cuts. “Ramona’’ honors the beloved Robert Johnson club in Offenbach, Germany. Hazy, spacious, and sustained, Greene designed the beat with their system in mind, “also with a strong nod to the more modern lineage of exceptional minimal house music from Frankfurt,” he says. Two ambient pieces surround the track, “(In The) Rain” sets the scene and “Porta Coeli” (a Latin phrase which loosely translates to “heaven’s gate”) soundtracks the comedown. It’s these sequential choices that reflect Greene’s desire to reach beyond the formulaic demands of the dancefloor for something less tangible, a middle space. “One that relates to the immediacy of precision frequency soundsystem music but also connects to us with\u003cbr data-mce-fragment=\"1\"\u003ethe complication and ambiguity that is required of human emotion,” he explains.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNo better example than the album’s closer, the title track. An arc constructed with atmospheric textures, euphoric swings of percussion, and a well-placed piano refrain, “Beings of Light” is adaptive; one could imagine it reverberating from a club, scoring the emotional apex of a film, or radiating through the realm of dreams. That is where Greene sees us having real impact. “The dream world is our most potent weapon against the status quo - realities cannot exist without first being imagined. It is the job of power to limit the scope of the imagination. We must resist it always and fully.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003eA1. Untitled IV\u003cbr data-mce-fragment=\"1\"\u003eA2. The Truth\u003cbr data-mce-fragment=\"1\"\u003eA3. Power of Grace\u003cbr data-mce-fragment=\"1\"\u003eA4. (In The) Rain\u003cbr data-mce-fragment=\"1\"\u003eB1. Spotlights\u003cbr data-mce-fragment=\"1\"\u003eB2. Ramona\u003cbr data-mce-fragment=\"1\"\u003eB3. Porta Coeli\u003cbr data-mce-fragment=\"1\"\u003eB4. Beings of Light\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41232265740444,"sku":"GI387lp-c2","price":20.14,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_54cdf27e-607b-4d05-a72c-ea954e48e482.jpg?v=1637219022"},{"product_id":"fort-romeau-beings-of-light-silver-hallide-gray-black-marble-vinyl","title":"Fort Romeau - Beings of Light [Silver hallide (gray + black marble) vinyl]","description":"\u003cp\u003eFormat: LPC1,  Silver hallide (gray + black marble) vinyl\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI387lp-c1\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297838731 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 11 Feb 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Deep House\u003c\/p\u003e\n\u003cp\u003eAfter a run of critically-acclaimed singles and EPs, British producer Michael Greene, aka Fort Romeau, returns to the full-length format with Beings of Light, the long-awaited follow-up to 2015’s Insides and his second LP on Ghostly International. While a prolific DJ who orients many of his productions for the dancefloor, Greene still sees the album as the ultimate statement of intent, “a space to stretch out, to speak in full paragraphs rather than stunted sentences.” He has explored several stylistic fragments in recent years (including the summer 2018 anthem “Pablo,” hailed a Best New Track by Pitchfork), but when faced with the extended pause to the dance community in 2020, Greene felt compelled to focus on a larger body of work. Embracing a back-to-basics mentality, he amassed over a dozen hours of sounds, asking himself throughout the sessions: “Does the music move you? Is it honest?” He came out the other end with Beings of Light, an expressive collection traversing rainy day ambient, moonlit disco, and dream-like techno in pursuit of the power found within our subconscious.\u003cbr\u003e \u003cbr\u003eLike previous Fort Romeau records, Greene’s foundational inspiration for Beings of Light is imagery. Specifically a work by Steven Arnold, a Dalí protégé known for constructing otherworldly, tableau vivant set designs from found objects until his death in 1994 amid the AIDS crisis. Arnold’s 1984 photograph Power of Grace (featured as the album art and lending a title to one of its tracks) spoke to Greene immediately: “It’s transcendent in the most potent and direct manner, imagination untethered by material, elegance without riches. For me it represents, among other things, a radical class politics. Imagination always wins over resource.” The visual, as well as the surrealist idea that dreams allow us to create a better reality, led Greene to shape his most ambitious and complete record to date, a love letter to dance music coded with a message of hope. The album title comes from his belief that people can facilitate change by first imagining the way we want things to be, and not letting cynicism block that light.\u003c\/p\u003e\n\u003cp\u003eThe urgency is felt right away, as album opener “Untitled IV” ushers in a sprinting tempo in its exploration of the human voice, a recurring device in the Fort Romeau project. Greene uses it as a compositional layer, disembodied with its context often opaque or reduced to a single phrase. Here the voice is scattered in percussive twitches, colliding with a kick drum to induce a near state of hypnosis as horns sound off in the distance.\u003cbr\u003e \u003cbr\u003ePropulsive standout “Spotlights’’ is Greene’s ode to the romanticised New York City that lives in our hearts, nocturnal and carefree. A vocal snippet repeats the title with a breezy poise, reminiscent of classic house cuts. “Ramona’’ honors the beloved Robert Johnson club in Offenbach, Germany. Hazy, spacious, and sustained, Greene designed the beat with their system in mind, “also with a strong nod to the more modern lineage of exceptional minimal house music from Frankfurt,” he says. Two ambient pieces surround the track, “(In The) Rain” sets the scene and “Porta Coeli” (a Latin phrase which loosely translates to “heaven’s gate”) soundtracks the comedown. It’s these sequential choices that reflect Greene’s desire to reach beyond the formulaic demands of the dancefloor for something less tangible, a middle space. “One that relates to the immediacy of precision frequency soundsystem music but also connects to us with\u003cbr\u003ethe complication and ambiguity that is required of human emotion,” he explains.\u003cbr\u003e \u003cbr\u003eNo better example than the album’s closer, the title track. An arc constructed with atmospheric textures, euphoric swings of percussion, and a well-placed piano refrain, “Beings of Light” is adaptive; one could imagine it reverberating from a club, scoring the emotional apex of a film, or radiating through the realm of dreams. That is where Greene sees us having real impact. “The dream world is our most potent weapon against the status quo - realities cannot exist without first being imagined. It is the job of power to limit the scope of the imagination. We must resist it always and fully.”\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING\u003cbr\u003eA1. Untitled IV\u003cbr\u003eA2. The Truth\u003cbr\u003eA3. Power of Grace\u003cbr\u003eA4. (In The) Rain\u003cbr\u003eB1. Spotlights\u003cbr\u003eB2. Ramona\u003cbr\u003eB3. Porta Coeli\u003cbr\u003eB4. Beings of Light\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41232266526876,"sku":"GI387lp-c1","price":20.14,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_90610a82-c00b-4dc3-9f36-914bf5c8c365.jpg?v=1637219050"},{"product_id":"launder-happening-cd","title":"Launder - Happening [CD]","description":"\u003cp\u003eFormat: CD\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI393CD\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297839325 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 15 Jul 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie Pop\u003c\/p\u003e\n\u003cp\u003eAfter nearly three years and sixty demos, Launder’s full-length debut is Happening. In 2019, Orange County-raised, Los Angeles-based musician John Cudlip signed to Ghostly International to build his recording project, developed out of casual sessions with friends Jackson Phillips (Day Wave), Soko, and Zachary Cole Smith (DIIV). Launder’s music had seen unexpected attention, with Stereogum placing it “somewhere at the intersection of ‘90s lo-fi and shoegaze,” and Gorilla vs. Bear noting Cudlip’s “serious knack for the kind of wistful, soaring choruses that immediately make you feel like you’ve known these songs forever.” With live shows paused in 2020, he immersed fully into writing and arranging an overflow of ideas. Cudlip also embraced sobriety, redirecting his once-destructive addictive tendencies into studio craft — all his thoughts consumed by melody and texture, all his resources lobbed into gear, every buzz, hiss, and hum of this record became his entire world. The resulting set sprawls across a double LP release; it’s a considered beast of a debut and he’s proud of it, living with it, finally. Through its thirteen songs, Happening is timeless, grappling with something bigger than just melody, the cathartic and the tender, indebted to indie rock greats while informed by modern and prudent self-reflection.\u003cbr\u003e \u003cbr\u003e“I feel like I’ve evolved into a much more self-reliant writer compared to the EP and 7-inch releases but I couldn’t have made this record without the band,” he says. “The songs came to life in the rehearsal space with them, it was like a light switch went on.” To record the album, Cudlip and collaborators — including Chase Meier (bass), Bryan DeLeon (drums), Nathan Hawelu (lead guitar) — joined co-producer, engineer, and mixer Sonny DiPerri (My Bloody Valentine, Nine Inch Nails, DIIV) at New Monkey Studio, the vintage analog\/modern digital recording studio in Van Nuys, California once owned by Elliott Smith. Cudlip mapped out his dream setup; alternate-tuning a fleet of Fenders to facilitate his left-handed playing, experimenting with different amps (a late ‘70s Marshall JMP carried much of the sound), and getting the vocals just right on Smith’s old Neumann U48 microphone and Fairchild compressor. With each nuanced adjustment and improved take, they’d joke, “it’s happening.” The sort of phrase you say to keep the vibe light — but there was some gravity behind it — as the group was forced to wait to be safely in the same space again. It was apparent to them that something magnetic was shaping this record.\u003cbr\u003e \u003cbr\u003eWhere debuts often feel full of rough-hewn potential, Launder has crafted a deeply honed collection that is happening right now. A process-oriented album, the work of a person maturing with their art, the sound of a songwriter pushing through their limits with thrilling and anthemic outcomes.\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING\u003cbr\u003e01. Unwound\u003cbr\u003e02. Intake\u003cbr\u003e03. Blue Collar\u003cbr\u003e04. On a Wire\u003cbr\u003e05. Become\u003cbr\u003e06. Beggar\u003cbr\u003e07. Rust\u003cbr\u003e08. Withdraw\u003cbr\u003e09. Lockwood\u003cbr\u003e10. Harbour Mouth\u003cbr\u003e11. Chipper\u003cbr\u003e12. Parking Lot\u003cbr\u003e13. Lantern\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41578057891996,"sku":"GI393CD","price":8.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_2d8c6e75-1abb-42c6-84a5-c4bcb61908b2.jpg?v=1649777080"},{"product_id":"launder-happening-2lp","title":"Launder - Happening [2LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: 2 x LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI393LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297839318 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 15 Jul 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie Pop\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfter nearly three years and sixty demos, Launder’s full-length debut is Happening. In 2019, Orange County-raised, Los Angeles-based musician John Cudlip signed to Ghostly International to build his recording project, developed out of casual sessions with friends Jackson Phillips (Day Wave), Soko, and Zachary Cole Smith (DIIV). Launder’s music had seen unexpected attention, with Stereogum placing it “somewhere at the intersection of ‘90s lo-fi and shoegaze,” and Gorilla vs. Bear noting Cudlip’s “serious knack for the kind of wistful, soaring choruses that immediately make you feel like you’ve known these songs forever.” With live shows paused in 2020, he immersed fully into writing and arranging an overflow of ideas. Cudlip also embraced sobriety, redirecting his once-destructive addictive tendencies into studio craft — all his thoughts consumed by melody and texture, all his resources lobbed into gear, every buzz, hiss, and hum of this record became his entire world. The resulting set sprawls across a double LP release; it’s a considered beast of a debut and he’s proud of it, living with it, finally. Through its thirteen songs, Happening is timeless, grappling with something bigger than just melody, the cathartic and the tender, indebted to indie rock greats while informed by modern and prudent self-reflection.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I feel like I’ve evolved into a much more self-reliant writer compared to the EP and 7-inch releases but I couldn’t have made this record without the band,” he says. “The songs came to life in the rehearsal space with them, it was like a light switch went on.” To record the album, Cudlip and collaborators — including Chase Meier (bass), Bryan DeLeon (drums), Nathan Hawelu (lead guitar) — joined co-producer, engineer, and mixer Sonny DiPerri (My Bloody Valentine, Nine Inch Nails, DIIV) at New Monkey Studio, the vintage analog\/modern digital recording studio in Van Nuys, California once owned by Elliott Smith. Cudlip mapped out his dream setup; alternate-tuning a fleet of Fenders to facilitate his left-handed playing, experimenting with different amps (a late ‘70s Marshall JMP carried much of the sound), and getting the vocals just right on Smith’s old Neumann U48 microphone and Fairchild compressor. With each nuanced adjustment and improved take, they’d joke, “it’s happening.” The sort of phrase you say to keep the vibe light — but there was some gravity behind it — as the group was forced to wait to be safely in the same space again. It was apparent to them that something magnetic was shaping this record.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhere debuts often feel full of rough-hewn potential, Launder has crafted a deeply honed collection that is happening right now. A process-oriented album, the work of a person maturing with their art, the sound of a songwriter pushing through their limits with thrilling and anthemic outcomes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e01. Unwound\u003cbr data-mce-fragment=\"1\"\u003e02. Intake\u003cbr data-mce-fragment=\"1\"\u003e03. Blue Collar\u003cbr data-mce-fragment=\"1\"\u003e04. On a Wire\u003cbr data-mce-fragment=\"1\"\u003e05. Become\u003cbr data-mce-fragment=\"1\"\u003e06. Beggar\u003cbr data-mce-fragment=\"1\"\u003e07. Rust\u003cbr data-mce-fragment=\"1\"\u003e08. Withdraw\u003cbr data-mce-fragment=\"1\"\u003e09. Lockwood\u003cbr data-mce-fragment=\"1\"\u003e10. Harbour Mouth\u003cbr data-mce-fragment=\"1\"\u003e11. Chipper\u003cbr data-mce-fragment=\"1\"\u003e12. Parking Lot\u003cbr data-mce-fragment=\"1\"\u003e13. Lantern\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41578058154140,"sku":"GI393LP","price":25.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_f536d71c-b9ac-4911-986c-b2fbdb4adc6b.jpg?v=1649777091"},{"product_id":"launder-happening-pink-noise-double-lp","title":"Launder - Happening [Pink noise double LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: 2 x LP, Pink Noise\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI393LPC1\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297839332\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 15 Jul 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie Pop\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfter nearly three years and sixty demos, Launder’s full-length debut is Happening. In 2019, Orange County-raised, Los Angeles-based musician John Cudlip signed to Ghostly International to build his recording project, developed out of casual sessions with friends Jackson Phillips (Day Wave), Soko, and Zachary Cole Smith (DIIV). Launder’s music had seen unexpected attention, with Stereogum placing it “somewhere at the intersection of ‘90s lo-fi and shoegaze,” and Gorilla vs. Bear noting Cudlip’s “serious knack for the kind of wistful, soaring choruses that immediately make you feel like you’ve known these songs forever.” With live shows paused in 2020, he immersed fully into writing and arranging an overflow of ideas. Cudlip also embraced sobriety, redirecting his once-destructive addictive tendencies into studio craft — all his thoughts consumed by melody and texture, all his resources lobbed into gear, every buzz, hiss, and hum of this record became his entire world. The resulting set sprawls across a double LP release; it’s a considered beast of a debut and he’s proud of it, living with it, finally. Through its thirteen songs, Happening is timeless, grappling with something bigger than just melody, the cathartic and the tender, indebted to indie rock greats while informed by modern and prudent self-reflection.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I feel like I’ve evolved into a much more self-reliant writer compared to the EP and 7-inch releases but I couldn’t have made this record without the band,” he says. “The songs came to life in the rehearsal space with them, it was like a light switch went on.” To record the album, Cudlip and collaborators — including Chase Meier (bass), Bryan DeLeon (drums), Nathan Hawelu (lead guitar) — joined co-producer, engineer, and mixer Sonny DiPerri (My Bloody Valentine, Nine Inch Nails, DIIV) at New Monkey Studio, the vintage analog\/modern digital recording studio in Van Nuys, California once owned by Elliott Smith. Cudlip mapped out his dream setup; alternate-tuning a fleet of Fenders to facilitate his left-handed playing, experimenting with different amps (a late ‘70s Marshall JMP carried much of the sound), and getting the vocals just right on Smith’s old Neumann U48 microphone and Fairchild compressor. With each nuanced adjustment and improved take, they’d joke, “it’s happening.” The sort of phrase you say to keep the vibe light — but there was some gravity behind it — as the group was forced to wait to be safely in the same space again. It was apparent to them that something magnetic was shaping this record.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhere debuts often feel full of rough-hewn potential, Launder has crafted a deeply honed collection that is happening right now. A process-oriented album, the work of a person maturing with their art, the sound of a songwriter pushing through their limits with thrilling and anthemic outcomes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e01. Unwound\u003cbr data-mce-fragment=\"1\"\u003e02. Intake\u003cbr data-mce-fragment=\"1\"\u003e03. Blue Collar\u003cbr data-mce-fragment=\"1\"\u003e04. On a Wire\u003cbr data-mce-fragment=\"1\"\u003e05. Become\u003cbr data-mce-fragment=\"1\"\u003e06. Beggar\u003cbr data-mce-fragment=\"1\"\u003e07. Rust\u003cbr data-mce-fragment=\"1\"\u003e08. Withdraw\u003cbr data-mce-fragment=\"1\"\u003e09. Lockwood\u003cbr data-mce-fragment=\"1\"\u003e10. Harbour Mouth\u003cbr data-mce-fragment=\"1\"\u003e11. Chipper\u003cbr data-mce-fragment=\"1\"\u003e12. Parking Lot\u003cbr data-mce-fragment=\"1\"\u003e13. Lantern\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41578058907804,"sku":"GI393LPC1","price":26.64,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_d3d64ed2-ee90-4f80-a25d-b64c298906bc.jpg?v=1649777118"},{"product_id":"launder-happening-blue-double-lp","title":"Launder - Happening [Blue double LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: 2 x LP, Blue\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI393LPC2\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297839349\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 15 Jul 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie Pop\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfter nearly three years and sixty demos, Launder’s full-length debut is Happening. In 2019, Orange County-raised, Los Angeles-based musician John Cudlip signed to Ghostly International to build his recording project, developed out of casual sessions with friends Jackson Phillips (Day Wave), Soko, and Zachary Cole Smith (DIIV). Launder’s music had seen unexpected attention, with Stereogum placing it “somewhere at the intersection of ‘90s lo-fi and shoegaze,” and Gorilla vs. Bear noting Cudlip’s “serious knack for the kind of wistful, soaring choruses that immediately make you feel like you’ve known these songs forever.” With live shows paused in 2020, he immersed fully into writing and arranging an overflow of ideas. Cudlip also embraced sobriety, redirecting his once-destructive addictive tendencies into studio craft — all his thoughts consumed by melody and texture, all his resources lobbed into gear, every buzz, hiss, and hum of this record became his entire world. The resulting set sprawls across a double LP release; it’s a considered beast of a debut and he’s proud of it, living with it, finally. Through its thirteen songs, Happening is timeless, grappling with something bigger than just melody, the cathartic and the tender, indebted to indie rock greats while informed by modern and prudent self-reflection.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I feel like I’ve evolved into a much more self-reliant writer compared to the EP and 7-inch releases but I couldn’t have made this record without the band,” he says. “The songs came to life in the rehearsal space with them, it was like a light switch went on.” To record the album, Cudlip and collaborators — including Chase Meier (bass), Bryan DeLeon (drums), Nathan Hawelu (lead guitar) — joined co-producer, engineer, and mixer Sonny DiPerri (My Bloody Valentine, Nine Inch Nails, DIIV) at New Monkey Studio, the vintage analog\/modern digital recording studio in Van Nuys, California once owned by Elliott Smith. Cudlip mapped out his dream setup; alternate-tuning a fleet of Fenders to facilitate his left-handed playing, experimenting with different amps (a late ‘70s Marshall JMP carried much of the sound), and getting the vocals just right on Smith’s old Neumann U48 microphone and Fairchild compressor. With each nuanced adjustment and improved take, they’d joke, “it’s happening.” The sort of phrase you say to keep the vibe light — but there was some gravity behind it — as the group was forced to wait to be safely in the same space again. It was apparent to them that something magnetic was shaping this record.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhere debuts often feel full of rough-hewn potential, Launder has crafted a deeply honed collection that is happening right now. A process-oriented album, the work of a person maturing with their art, the sound of a songwriter pushing through their limits with thrilling and anthemic outcomes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e01. Unwound\u003cbr data-mce-fragment=\"1\"\u003e02. Intake\u003cbr data-mce-fragment=\"1\"\u003e03. Blue Collar\u003cbr data-mce-fragment=\"1\"\u003e04. On a Wire\u003cbr data-mce-fragment=\"1\"\u003e05. Become\u003cbr data-mce-fragment=\"1\"\u003e06. Beggar\u003cbr data-mce-fragment=\"1\"\u003e07. Rust\u003cbr data-mce-fragment=\"1\"\u003e08. Withdraw\u003cbr data-mce-fragment=\"1\"\u003e09. Lockwood\u003cbr data-mce-fragment=\"1\"\u003e10. Harbour Mouth\u003cbr data-mce-fragment=\"1\"\u003e11. Chipper\u003cbr data-mce-fragment=\"1\"\u003e12. Parking Lot\u003cbr data-mce-fragment=\"1\"\u003e13. Lantern\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41578134765724,"sku":"GI393LPC2","price":33.3,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_58535930-c5bd-43f7-8e90-ed8c79d6ea98.png?v=1649778624"},{"product_id":"kaitlyn-aurelia-smith-emile-mosseri-i-could-be-your-dog-i-could-be-your-moon-transparent-blue-vinyl","title":"Kaitlyn Aurelia Smith \u0026 Emile Mosseri - I Could Be Your Dog \/ I Could Be Your Moon [Transparent Blue Vinyl]","description":"\u003cp\u003eFormat: LP, Transparent Blue Vinyl\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI404LPC1\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297840420\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 27 May 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/p\u003e\n\u003cp\u003e“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’soriginal 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\u003cbr\u003e inspiration, a celebration of the human spirit and its will to surrender to the currents of life.\u003cbr\u003e \u003cbr\u003e Early into their correspondence, Smith and Mosseri realized they were neighbors in Los Angeles and met up for a few hikes. Their conversations led to a musical exchange over email. The exercise became a sketch, the start of their first song together, “Log In Your Fire,” with Mosseri finding flourishes in Smith’s cathartic synth lines to intonate and harmonize alongside. Lyrically, it’s a beautiful, open-ended sentiment. “Being a log in someone’s fire, to me, means letting go, and surrendering to that feeling,” says Mosseri. From there, the pair composed a series of musical foundations, trading files from afar, nurturing the eventual expansion as the remote days of 2020 set in. Smith likens the collaborative experience to the exciting uncertainty of starting a garden, “doing what I can to facilitate growth while enjoying the process of being surprised by what will actually grow.”\u003cbr\u003e \u003cbr\u003e In the summer of 2021, the duo finished work on the sequel, I Could Be Your Moon, expanding their musical language as the first part reached its September release. Songs from these more recent exchanges find them even more synced, forging into percussive and harmonic experiments, leaning further into their “unused musical muscles,” as Smith and Mosseri put it. A unified vocal presence emerged. “As the friendship grew I think we both learned how to support each other more and musically that was communicated through singing together,” adds Smith.\u003cbr\u003e \u003cbr\u003e Now taken as a full album set, I Could Be Your Dog \/ I Could Be Your Moon moves fluidly from track to track, panning through textural vi- gnettes. 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. “I’m so grateful that my musical ideas could dance with hers with some grace and harmony,” says Mosseri. Smith adds that this experience helped her “remember that mu- sic can be a connecting layer of friendship, especially in a time when the usual ways were out of reach.”\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING\u003cbr\u003e 01. Log In Your Fire\u003cbr\u003e 02. Moon In Your Eye\u003cbr\u003e 03. Brush\u003cbr\u003e 04. I Could Be Your Dog\u003cbr\u003e 05. Glendora\u003cbr\u003e 06. Blink Twice\u003cbr\u003e 07. Moonweed\u003cbr\u003e 08. Green To You\u003cbr\u003e 09. Amber\u003cbr\u003e 10. Standing In Your Light\u003cbr\u003e 11. Shim Sham\u003cbr\u003e 12. Golden Cow\u003cbr\u003e 13. Radio Replacement\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41588387381404,"sku":"GI404LPC1","price":22.32,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_125d0474-9fdd-4711-a3d7-65475331003a.jpg?v=1650149336"},{"product_id":"kaitlyn-aurelia-smith-emile-mosseri-i-could-be-your-dog-i-could-be-your-moon-lp","title":"Kaitlyn Aurelia Smith \u0026 Emile Mosseri - I Could Be Your Dog \/ I Could Be Your Moon [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI404LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297840413 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 27 May 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“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’soriginal 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\u003cbr data-mce-fragment=\"1\"\u003einspiration, a celebration of the human spirit and its will to surrender to the currents of life.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEarly into their correspondence, Smith and Mosseri realized they were neighbors in Los Angeles and met up for a few hikes. Their conversations led to a musical exchange over email. The exercise became a sketch, the start of their first song together, “Log In Your Fire,” with Mosseri finding flourishes in Smith’s cathartic synth lines to intonate and harmonize alongside. Lyrically, it’s a beautiful, open-ended sentiment. “Being a log in someone’s fire, to me, means letting go, and surrendering to that feeling,” says Mosseri. From there, the pair composed a series of musical foundations, trading files from afar, nurturing the eventual expansion as the remote days of 2020 set in. Smith likens the collaborative experience to the exciting uncertainty of starting a garden, “doing what I can to facilitate growth while enjoying the process of being surprised by what will actually grow.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the summer of 2021, the duo finished work on the sequel, I Could Be Your Moon, expanding their musical language as the first part reached its September release. Songs from these more recent exchanges find them even more synced, forging into percussive and harmonic experiments, leaning further into their “unused musical muscles,” as Smith and Mosseri put it. A unified vocal presence emerged. “As the friendship grew I think we both learned how to support each other more and musically that was communicated through singing together,” adds Smith.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNow taken as a full album set, I Could Be Your Dog \/ I Could Be Your Moon moves fluidly from track to track, panning through textural vi- gnettes. 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. “I’m so grateful that my musical ideas could dance with hers with some grace and harmony,” says Mosseri. Smith adds that this experience helped her “remember that mu- sic can be a connecting layer of friendship, especially in a time when the usual ways were out of reach.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e01. Log In Your Fire\u003cbr data-mce-fragment=\"1\"\u003e02. Moon In Your Eye\u003cbr data-mce-fragment=\"1\"\u003e03. Brush\u003cbr data-mce-fragment=\"1\"\u003e04. I Could Be Your Dog\u003cbr data-mce-fragment=\"1\"\u003e05. Glendora\u003cbr data-mce-fragment=\"1\"\u003e06. Blink Twice\u003cbr data-mce-fragment=\"1\"\u003e07. Moonweed\u003cbr data-mce-fragment=\"1\"\u003e08. Green To You\u003cbr data-mce-fragment=\"1\"\u003e09. Amber\u003cbr data-mce-fragment=\"1\"\u003e10. Standing In Your Light\u003cbr data-mce-fragment=\"1\"\u003e11. Shim Sham\u003cbr data-mce-fragment=\"1\"\u003e12. Golden Cow\u003cbr data-mce-fragment=\"1\"\u003e13. Radio Replacement\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41588387643548,"sku":"GI404LP","price":20.88,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_25f0fca1-b8d8-4155-9fd5-5bd1e40317cd.jpg?v=1650149351"},{"product_id":"adult-resucitation","title":"ADULT. - Resucitation","description":"\u003cp\u003eFormat: 2 x LP, red and black marbled vinyl\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI171LPC1\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 804297817132\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 24 Jun 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Coldwave\/Synth\u003c\/p\u003e\n\u003cp\u003e“We’ve wanted to re-release this album for some time,” says ADULT.’s Adam Lee Miller, “but we weren’t ready until now. We have some new material in the pipeline, and we thought this would be a nice way to reintroduce ourselves.”\u003cbr\u003e \u003cbr\u003e It is indeed a nice way for the hugely respected Detroit duo to herald their return to the world of music, especially for anyone who missed out on Resuscitation the first time around — the album was never available digitally until the 2012 re-release and vinyl pressing on Ghostly International. The reissue thus presented the chance to own one of the more influential records of the early 2000s: either on double 12” LP or, for the first time, as a digital release. Now, in 2022, the vinyl is available for the first time in a new red and black marble colorway.\u003cbr\u003e \u003cbr\u003e When it first dropped in 2001, Resuscitation served as a de facto introduction to the duo, collecting a bunch of songs on CD that had only previously been available on hard-to-find singles and EPs. Eleven years later, it does the same thing, except this time around, we can see just how influential its creators’ work has been — and ADULT.’s music only sounds more remarkable with the benefit of hindsight.\u003cbr\u003e \u003cbr\u003e At the time, Resuscitation’s combination of crisp beats, squelch-laden synths and Nicola Kuperus’ detached monotone sounded like a broadcast from the future, steeped in the analog synth sounds of forebears like Kraftwerk but possessed\u003cbr\u003e of an ultramodern sheen all its own. The duo’s visual aesthetic was just as important — Kuperus’ photography adorned all their album packaging (including this re-release), and their live shows drew on a sense of what a reviewer once called “detached intrigue.”\u003cbr\u003e \u003cbr\u003e Echoes of ADULT.’s aesthetic can be heard today in everything from today’s surfeit of analog synth-toting minimal wave bands to the highly stylized divas who dominate the pop charts. But really, in 2022 Resuscitation still sounds like no-one else.\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING\u003cbr\u003e 01. Lost Love\u003cbr\u003e 02. Hand To Phone (Cordless Mix)\u003cbr\u003e 03. Minors At Nite (Still Sick)\u003cbr\u003e 04. New Object (Edit)\u003cbr\u003e 05. Contagious\u003cbr\u003e 06. Mouth To Mouth\u003cbr\u003e 07. Nausea (Restructured)\u003cbr\u003e 08. Pressure Suit\u003cbr\u003e 09. Dispassionate Furniture (Reupholstered)\u003cbr\u003e 10. Human Wreck (Radio Edit)\u003cbr\u003e 11. Side-Swiped (Extended Mix)\u003cbr\u003e 12. Your Lies\u003cbr\u003e 13. Skinlike (Equation Mix)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/STJiD7E3nFw?list=OLAK5uy_lsnVSWNNk7YRHyfa8xQ8TD595p8yqdqjc\" height=\"286\" width=\"602\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41683336429724,"sku":"GI171LPC1","price":25.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_1d9598a8-ea21-4ece-bd92-0a2cdd699b06.jpg?v=1654596276"},{"product_id":"kaitlyn-aurelia-smith-let-s-turn-it-into-sound-neon-pink-vinyl","title":"Kaitlyn Aurelia Smith - Let’s Turn It Into Sound [Neon Pink Vinyl]","description":"\u003cp\u003eFormat: LP, Neon Pink Vinyl\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI406LPC2\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297840642\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 26 Aug 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/p\u003e\n\u003cp\u003eAcclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.\u003cbr\u003e \u003cbr\u003e “Art is awe, art is mystery expressed,” writes Kaitlyn Aurelia Smith. “Art is somatic, even if it is experienced cerebrally. It is felt.” \u003cbr\u003e \u003cbr\u003e 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\u003cbr\u003e do we translate our experience of the world into something that someone else can understand?\u003cbr\u003e \u003cbr\u003e 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.\u003c\/p\u003e\n\u003cp\u003e“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.\u003cbr\u003e \u003cbr\u003e 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.\u003cbr\u003e \u003cbr\u003e 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.\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING\u003cbr\u003e 1. Have You Felt Lately?\u003cbr\u003e 2. Locate\u003cbr\u003e 3. Let it Fall\u003cbr\u003e 4. Is it Me or is it You?\u003cbr\u003e 5. Check Your Translation\u003cbr\u003e 6. Pivot Signal\u003cbr\u003e 7. Unbraid: The Merge\u003cbr\u003e 8. Then the Wind Came\u003cbr\u003e 9. There is Something\u003cbr\u003e 10. Give to the Water\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41712287678620,"sku":"GI406LPC2","price":23.72,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_2bd803bf-aae5-49cc-ad0c-53f24d986770.jpg?v=1656004291"},{"product_id":"kaitlyn-aurelia-smith-let-s-turn-it-into-sound-lp","title":"Kaitlyn Aurelia Smith - Let’s Turn It Into Sound [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI406LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297840611 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 26 Aug 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAcclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Art is awe, art is mystery expressed,” writes Kaitlyn Aurelia Smith. “Art is somatic, even if it is experienced cerebrally. It is felt.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe 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\u003cbr data-mce-fragment=\"1\"\u003edo we translate our experience of the world into something that someone else can understand?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor 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.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis 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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOver 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.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e1. Have You Felt Lately?\u003cbr data-mce-fragment=\"1\"\u003e2. Locate\u003cbr data-mce-fragment=\"1\"\u003e3. Let it Fall\u003cbr data-mce-fragment=\"1\"\u003e4. Is it Me or is it You?\u003cbr data-mce-fragment=\"1\"\u003e5. Check Your Translation\u003cbr data-mce-fragment=\"1\"\u003e6. Pivot Signal\u003cbr data-mce-fragment=\"1\"\u003e7. Unbraid: The Merge\u003cbr data-mce-fragment=\"1\"\u003e8. Then the Wind Came\u003cbr data-mce-fragment=\"1\"\u003e9. There is Something\u003cbr data-mce-fragment=\"1\"\u003e10. Give to the Water\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41712287776924,"sku":"GI406LP","price":22.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_f9aeea74-7620-4250-9782-3c84a1df0b54.jpg?v=1656004313"},{"product_id":"kaitlyn-aurelia-smith-let-s-turn-it-into-sound-cd","title":"Kaitlyn Aurelia Smith - Let’s Turn It Into Sound [CD]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: CD\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI406CD\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297840628 \u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 26 Aug 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAcclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Art is awe, art is mystery expressed,” writes Kaitlyn Aurelia Smith. “Art is somatic, even if it is experienced cerebrally. It is felt.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe 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\u003cbr data-mce-fragment=\"1\"\u003edo we translate our experience of the world into something that someone else can understand?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor 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.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis 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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOver 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.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e1. 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Give to the Water\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41712287973532,"sku":"GI406CD","price":12.13,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/2_004c7f1f-9d2c-4f00-9d56-5576b8e86958.jpg?v=1656004351"},{"product_id":"kate-bollinger-look-at-it-in-the-light-ep-blue-colour","title":"KATE BOLLINGER - LOOK AT IT IN THE LIGHT EP (BLUE COLOUR)","description":"\u003cp\u003eFormat: LP, Blue Colour\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI402LPC3\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297840246\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: Aug 2022\u003cbr data-mce-fragment=\"1\"\u003eGenre: Indie\/Alternative\u003c\/p\u003e\n\u003cp\u003eTracklist\u003cbr\u003eSide 1\u003cbr\u003e1. \"I Found Out\" (2:55)\u003cbr\u003e2. \"Why Am I But Someone\" (2:43)\u003cbr\u003e3. \"Look At It In The Light\" (2:45)\u003cbr\u003eSide 2\u003cbr\u003e1. \"Yards\/Gardens\" (2:22)\u003cbr\u003e2. \"Lady In The Darkest Hour\" (4:36)\u003cbr\u003e3. \"Connecting Dots\" (4:35)\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":41833219653788,"sku":"GI402LPC3","price":19.13,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_e8bbad0e-4f3c-4de2-8cca-4dbdabace9cf.jpg?v=1660061849"},{"product_id":"emeralds-solar-bridge-lp","title":"Emeralds - Solar Bridge [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFormat: LP\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCatalogue No.: GI407LP\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBarcode: 0804297840710\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRelease Date: 30 Sep 2022\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGenre: Experimental\/Electronic\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEmeralds — 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 remastered Solar Bridge LP release on Ghostly International.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Midwest leaves an indelible mark on Emeralds’ sound; their debut characteristically vibrates as if from a ghost mall or some other relic of the rust belt. Side A, “Magic,” finds the three young musicians summoning by way of analog synthesis and processed guitar motifs. Though it could be loosely called “drone,” this miasmic wall of melody ripples through dynamics; pulses ebb and flow in and out in a way where every edge disappears. Like any good magic trick, there is something invisible at play here.\u003cbr data-mce-fragment=\"1\"\u003eOn Side B, “The Quaking Mess,” oxidized squeals and shuddering mechanical whines commingle with square and saw wave pads and flickering guitar details to create a post-industrial parking lot tableau. Eventually, the ground swells up, and a massive firmament trembles below the wobbling synths and rickety electronics. There is a power at the heart of Emeralds’ sound that displays a kind of egalitarian psychedelia, a working-class kosmische, a proletariat trip zone. Everyone is welcome to watch the world fold in on itself as they are pulled into the portal.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Photosphere,” a previously unreleased recording included as a digital exclusive, affords a look at a more serene stretch from the same session. A demure guitar loop wafts above slowly shifting tectonic synthesizer drones; the tremendous restraint the trio shows here hints at part of the unique place they would carve out for themselves, both together and respectively, in the annals of American DIY experimental music. Elliott, McGuire, and Hauschildt are known now for being tuned into a mutual vocabulary as Emeralds. They are players that exercise a kind of profound listening. Slowness, as a kind of punk ethos. As the static sputters into the right channel around the twelve-minute mark, the scene becomes selfaware, and we are released into the ether.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEmeralds 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003eA1. Magic\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eB1. 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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 remastered Solar Bridge LP release on Ghostly International. \u003cbr\u003e\u003cbr\u003eThe Midwest leaves an indelible mark on Emeralds’ sound; their debut characteristically vibrates as if from a ghost mall or some other relic of the rust belt. Side A, “Magic,” finds the three young musicians summoning by way of analog synthesis and processed guitar motifs. Though it could be loosely called “drone,” this miasmic wall of melody ripples through dynamics; pulses ebb and flow in and out in a way where every edge disappears. Like any good magic trick, there is something invisible at play here. \u003cbr\u003eOn Side B, “The Quaking Mess,” oxidized squeals and shuddering mechanical whines commingle with square and saw wave pads and flickering guitar details to create a post-industrial parking lot tableau. Eventually, the ground swells up, and a massive firmament trembles below the wobbling synths and rickety electronics. There is a power at the heart of Emeralds’ sound that displays a kind of egalitarian psychedelia, a working-class kosmische, a proletariat trip zone. Everyone is welcome to watch the world fold in on itself as they are pulled into the portal. \u003cbr\u003e\u003cbr\u003e“Photosphere,” a previously unreleased recording included as a digital exclusive, affords a look at a more serene stretch from the same session. A demure guitar loop wafts above slowly shifting tectonic synthesizer drones; the tremendous restraint the trio shows here hints at part of the unique place they would carve out for themselves, both together and respectively, in the annals of American DIY experimental music. Elliott, McGuire, and Hauschildt are known now for being tuned into a mutual vocabulary as Emeralds. They are players that exercise a kind of profound listening. Slowness, as a kind of punk ethos. As the static sputters into the right channel around the twelve-minute mark, the scene becomes selfaware, and we are released into the ether. \u003cbr\u003e\u003cbr\u003eEmeralds 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. 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EPOCH [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: GI279CD\u003cbr\u003eBarcode: 0804297827926\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 20 Jan 2017\u003cbr data-mce-fragment=\"1\"\u003eGenre: Balearic\/Downtempo\u003c\/p\u003e\n\u003cp\u003e1 Glider 4:53\u003cbr\u003e2 Horizon 4:10\u003cbr\u003e3 Slack 4:12\u003cbr\u003e4 Receiver\u003cbr\u003e5 Epoch 5:45\u003cbr\u003e6 Division 3:59\u003cbr\u003e7 Source 4:19\u003cbr\u003e8 Local 2:54\u003cbr\u003e9 Rings 4:09\u003cbr\u003e10 Continuum 1:45\u003cbr\u003e11 Field 2:40\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":42421082914972,"sku":"GI279CD","price":9.41,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/products\/1_54c9e6ef-ef82-4534-b6df-61fae4680f1c.jpg?v=1680018526"},{"product_id":"tycho-awake-cd","title":"TYCHO - AWAKE [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: GI208CD\u003cbr\u003eBarcode: 0804297820828\u003cbr\u003eRelease Date: 12 Mar 2014\u003cbr data-mce-fragment=\"1\"\u003eGenre: Balearic\/Downtempo\u003c\/p\u003e\n\u003cp\u003e1 Awake 4:43\u003cbr\u003e2 Montana 5:26\u003cbr\u003e3 L 4:37\u003cbr\u003e4 Dye 5:17\u003cbr\u003e5 See 5:18\u003cbr\u003e6 Apogee 4:20\u003cbr\u003e7 Spectre 3:46\u003cbr\u003e8 Plains 3:17\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":42471225458844,"sku":"GI208CD","price":9.41,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/1_fa03da90-0e6d-4ecc-affe-a70e2f2ee9d2.jpg?v=1682439464"},{"product_id":"helios-espera-cd","title":"Helios - Espera [CD]","description":"\u003cp\u003eFormat: CD\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI425CD\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297842523\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 11 Aug 2023\u003cbr data-mce-fragment=\"1\"\u003eGenre: Leftfield\u003c\/p\u003e\n\u003cp\u003eThe catalog of American composer Keith Kenniff spans over a dozen releases as Helios and nearly as many as Goldmund since 2004. Kenniff’s music deals with subtlety, and the variance between these projects loosely follows a few signifiers; Goldmund favors post-classical piano, Mint Julep, a project with his partner Hollie, is shoegaze pop, while the lines around his Helios project are intentionally hazier. Within the alias, Kenniff glides between minimal ambient electronics and more robust instrumentation, all run through his mini-cassette recorder for a distinct wobble. 2018’s Veriditas, his first Helios LP on Ghostly International, found Kenniff shaping verdant landscapes of harmonic sound, focusing on texture over structure. He followed it up in 2020 with Domicile, an even quieter synth-toned ode to the indoors. Now he returns to the electro-acoustic movement that marked much of his earlier output; the music of Espera is lush, livelier, and perhaps the most singular in his run. Titles are telling in Kenniff’s work, and Espera, a Spanish word meaning “wait,” speaks to the producer’s patient and cinematic craft. The record balances engagement and contemplation with a billowing accessible lightness, and reveals Helios at a compelling intersection, composing songs as vivid and three-dimensional as they are characteristically modernist and understated. \u003cbr\u003e \u003cbr\u003e “Patience is something I aspire to in my life and profession,” says Kenniff, who recorded Esperaat night, his preferred mode, when life is uncluttered and unrushed. While the Helios project has fit neatly into the beat-less category in recent years, Kenniff felt a natural pull to pivot for these sessions, embracing downtempo percussion, both acoustic and electronically rendered. Arrangements also swelled with layers of guitar and piano, made familiar with his usual tape treatment giving the material a warmer, closer feel, homemade yet expansive, vibrant yet peaceful. “The textural aesthetic of the instruments was as important as the melody, harmony, or rhythm itself,” he adds. \u003cbr\u003e \u003cbr\u003e The album opener, “Fainted Fog,” reintroduces this fuller, panoramic version of Helios. Woozy synths give way to a propulsive drum pattern as the track’s characteristics populate in the haze. A piano plays between the beat, and another synth solos overtop, ascending towards the peak with an exhale of live kicks and looping guitar. For every bold moment on Espera, there are more muted, counter-balancing stretches; “Intertwine” offers one of the most meditative. Strums mingle with keys in the front half before the beat returns to deliver a hypnotic nod. \u003cbr\u003e \u003cbr\u003e Kenniff sees each song as integral to the whole — “if you took one out, it would be like tearing a page from a book,” he says — but still functional independently, like a series of self-contained epics. “All The While” best represents this intention; a song in three equal parts constructed on a resonant drum sequence. Shimmering synth notes surface first, then pastoral guitar and piano flutters, converging at the end to evaporate into the ether. \u003cbr\u003e \u003cbr\u003e Nearly 20 years in, Kenniffs has mastered the signature slow-building emotional arc. Take the golden-hued “Lineoa,” which blooms from a simple guitar phrase to a fully symphonic, climactic closing scene. Ever curious, he welcomes new sounds across the album, like the sinuous flute on “A Familiar Place” and the divine, digitized vocal presence on “Emeralds.” These production choices keep the Helios project from receding into the background, even if the artist himself is private, and the ambient space in which he thrives is often uniquely tied to other activities in our lives. On Espera, Kenniff is a producer and multi-instrumentalist leaning into the rich details, and the vistas he’s surveyed are wider and more captivating than ever.\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING\u003cbr\u003e 1. Fainted Fog\u003cbr\u003e 2. Intertwine\u003cbr\u003e 3. All The While\u003cbr\u003e 4. Every Time\u003cbr\u003e 5. Impossible Valleys (CD\/Digital Only)\u003cbr\u003e 6. Lineoa\u003cbr\u003e 7. A Familiar Place\u003cbr\u003e 8. Lowland\u003cbr\u003e 9. Well Within\u003cbr\u003e 10. Emeralds (ft. Hollie Kenniff) \u003cbr\u003e 11. Rounds\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"Helios - Intertwine (Official Audio)\" src=\"https:\/\/www.youtube.com\/embed\/yVz6QZ3BV3U\" height=\"360\" width=\"640\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":42535178436764,"sku":"GI425CD","price":11.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/unnamed_6b6455c7-90cd-441b-9591-6caaa9edd4af.jpg?v=1687449416"},{"product_id":"helios-espera-lp","title":"Helios - Espera [LP]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: LP\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI425LP\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297842516\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 11 Aug 2023\u003cbr data-mce-fragment=\"1\"\u003eGenre: Leftfield\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe catalog of American composer Keith Kenniff spans over a dozen releases as Helios and nearly as many as Goldmund since 2004. Kenniff’s music deals with subtlety, and the variance between these projects loosely follows a few signifiers; Goldmund favors post-classical piano, Mint Julep, a project with his partner Hollie, is shoegaze pop, while the lines around his Helios project are intentionally hazier. Within the alias, Kenniff glides between minimal ambient electronics and more robust instrumentation, all run through his mini-cassette recorder for a distinct wobble. 2018’s Veriditas, his first Helios LP on Ghostly International, found Kenniff shaping verdant landscapes of harmonic sound, focusing on texture over structure. He followed it up in 2020 with Domicile, an even quieter synth-toned ode to the indoors. Now he returns to the electro-acoustic movement that marked much of his earlier output; the music of Espera is lush, livelier, and perhaps the most singular in his run. Titles are telling in Kenniff’s work, and Espera, a Spanish word meaning “wait,” speaks to the producer’s patient and cinematic craft. The record balances engagement and contemplation with a billowing accessible lightness, and reveals Helios at a compelling intersection, composing songs as vivid and three-dimensional as they are characteristically modernist and understated.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Patience is something I aspire to in my life and profession,” says Kenniff, who recorded Esperaat night, his preferred mode, when life is uncluttered and unrushed. While the Helios project has fit neatly into the beat-less category in recent years, Kenniff felt a natural pull to pivot for these sessions, embracing downtempo percussion, both acoustic and electronically rendered. Arrangements also swelled with layers of guitar and piano, made familiar with his usual tape treatment giving the material a warmer, closer feel, homemade yet expansive, vibrant yet peaceful. “The textural aesthetic of the instruments was as important as the melody, harmony, or rhythm itself,” he adds.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album opener, “Fainted Fog,” reintroduces this fuller, panoramic version of Helios. Woozy synths give way to a propulsive drum pattern as the track’s characteristics populate in the haze. A piano plays between the beat, and another synth solos overtop, ascending towards the peak with an exhale of live kicks and looping guitar. For every bold moment on Espera, there are more muted, counter-balancing stretches; “Intertwine” offers one of the most meditative. Strums mingle with keys in the front half before the beat returns to deliver a hypnotic nod.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eKenniff sees each song as integral to the whole — “if you took one out, it would be like tearing a page from a book,” he says — but still functional independently, like a series of self-contained epics. “All The While” best represents this intention; a song in three equal parts constructed on a resonant drum sequence. Shimmering synth notes surface first, then pastoral guitar and piano flutters, converging at the end to evaporate into the ether.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNearly 20 years in, Kenniffs has mastered the signature slow-building emotional arc. Take the golden-hued “Lineoa,” which blooms from a simple guitar phrase to a fully symphonic, climactic closing scene. Ever curious, he welcomes new sounds across the album, like the sinuous flute on “A Familiar Place” and the divine, digitized vocal presence on “Emeralds.” These production choices keep the Helios project from receding into the background, even if the artist himself is private, and the ambient space in which he thrives is often uniquely tied to other activities in our lives. On Espera, Kenniff is a producer and multi-instrumentalist leaning into the rich details, and the vistas he’s surveyed are wider and more captivating than ever.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e1. Fainted Fog\u003cbr data-mce-fragment=\"1\"\u003e2. Intertwine\u003cbr data-mce-fragment=\"1\"\u003e3. All The While\u003cbr data-mce-fragment=\"1\"\u003e4. Every Time\u003cbr data-mce-fragment=\"1\"\u003e5. Impossible Valleys (CD\/Digital Only)\u003cbr data-mce-fragment=\"1\"\u003e6. Lineoa\u003cbr data-mce-fragment=\"1\"\u003e7. A Familiar Place\u003cbr data-mce-fragment=\"1\"\u003e8. Lowland\u003cbr data-mce-fragment=\"1\"\u003e9. Well Within\u003cbr data-mce-fragment=\"1\"\u003e10. Emeralds (ft. Hollie Kenniff)\u003cbr data-mce-fragment=\"1\"\u003e11. Rounds\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"Helios - Intertwine (Official Audio)\" src=\"https:\/\/www.youtube.com\/embed\/yVz6QZ3BV3U\" height=\"360\" width=\"640\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/www.youtube.com\/embed\/yVz6QZ3BV3U\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Ghostly International","offers":[{"title":"Default Title","offer_id":42535179190428,"sku":"GI425LP","price":23.76,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/1_0a939738-c58a-42fd-86d2-ac2d48dfdc79.jpg?v=1687451381"},{"product_id":"helios-espera-beryl-colored-vinyl-is-a-blue-beige-marble","title":"Helios - Espera [Beryl colored vinyl is a blue \u0026 beige marble]","description":"\u003cp data-mce-fragment=\"1\"\u003eFormat: LP, Coloured\u003cbr data-mce-fragment=\"1\"\u003eCatalogue No.: GI425LPC\u003cbr data-mce-fragment=\"1\"\u003eBarcode: 0804297842530\u003cbr data-mce-fragment=\"1\"\u003eRelease Date: 11 Aug 2023\u003cbr data-mce-fragment=\"1\"\u003eGenre: Leftfield\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe catalog of American composer Keith Kenniff spans over a dozen releases as Helios and nearly as many as Goldmund since 2004. Kenniff’s music deals with subtlety, and the variance between these projects loosely follows a few signifiers; Goldmund favors post-classical piano, Mint Julep, a project with his partner Hollie, is shoegaze pop, while the lines around his Helios project are intentionally hazier. Within the alias, Kenniff glides between minimal ambient electronics and more robust instrumentation, all run through his mini-cassette recorder for a distinct wobble. 2018’s Veriditas, his first Helios LP on Ghostly International, found Kenniff shaping verdant landscapes of harmonic sound, focusing on texture over structure. He followed it up in 2020 with Domicile, an even quieter synth-toned ode to the indoors. Now he returns to the electro-acoustic movement that marked much of his earlier output; the music of Espera is lush, livelier, and perhaps the most singular in his run. Titles are telling in Kenniff’s work, and Espera, a Spanish word meaning “wait,” speaks to the producer’s patient and cinematic craft. The record balances engagement and contemplation with a billowing accessible lightness, and reveals Helios at a compelling intersection, composing songs as vivid and three-dimensional as they are characteristically modernist and understated.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Patience is something I aspire to in my life and profession,” says Kenniff, who recorded Esperaat night, his preferred mode, when life is uncluttered and unrushed. While the Helios project has fit neatly into the beat-less category in recent years, Kenniff felt a natural pull to pivot for these sessions, embracing downtempo percussion, both acoustic and electronically rendered. Arrangements also swelled with layers of guitar and piano, made familiar with his usual tape treatment giving the material a warmer, closer feel, homemade yet expansive, vibrant yet peaceful. “The textural aesthetic of the instruments was as important as the melody, harmony, or rhythm itself,” he adds.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album opener, “Fainted Fog,” reintroduces this fuller, panoramic version of Helios. Woozy synths give way to a propulsive drum pattern as the track’s characteristics populate in the haze. A piano plays between the beat, and another synth solos overtop, ascending towards the peak with an exhale of live kicks and looping guitar. For every bold moment on Espera, there are more muted, counter-balancing stretches; “Intertwine” offers one of the most meditative. Strums mingle with keys in the front half before the beat returns to deliver a hypnotic nod.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eKenniff sees each song as integral to the whole — “if you took one out, it would be like tearing a page from a book,” he says — but still functional independently, like a series of self-contained epics. “All The While” best represents this intention; a song in three equal parts constructed on a resonant drum sequence. Shimmering synth notes surface first, then pastoral guitar and piano flutters, converging at the end to evaporate into the ether.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNearly 20 years in, Kenniffs has mastered the signature slow-building emotional arc. Take the golden-hued “Lineoa,” which blooms from a simple guitar phrase to a fully symphonic, climactic closing scene. Ever curious, he welcomes new sounds across the album, like the sinuous flute on “A Familiar Place” and the divine, digitized vocal presence on “Emeralds.” These production choices keep the Helios project from receding into the background, even if the artist himself is private, and the ambient space in which he thrives is often uniquely tied to other activities in our lives. On Espera, Kenniff is a producer and multi-instrumentalist leaning into the rich details, and the vistas he’s surveyed are wider and more captivating than ever.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRACKLISTING\u003cbr data-mce-fragment=\"1\"\u003e1. Fainted Fog\u003cbr data-mce-fragment=\"1\"\u003e2. Intertwine\u003cbr data-mce-fragment=\"1\"\u003e3. All The While\u003cbr data-mce-fragment=\"1\"\u003e4. Every Time\u003cbr data-mce-fragment=\"1\"\u003e5. Impossible Valleys (CD\/Digital Only)\u003cbr data-mce-fragment=\"1\"\u003e6. Lineoa\u003cbr data-mce-fragment=\"1\"\u003e7. A Familiar Place\u003cbr data-mce-fragment=\"1\"\u003e8. Lowland\u003cbr data-mce-fragment=\"1\"\u003e9. Well Within\u003cbr data-mce-fragment=\"1\"\u003e10. Emeralds (ft. Hollie Kenniff)\u003cbr data-mce-fragment=\"1\"\u003e11. 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