The Way Things Fall â€“ the band’s first full length since 2007’s Why Bother? â€“ is a record that sounds both focused and coherent, flowing with a conceptual ease. "[The album] flowed efficiently and agreeably for us," says Miller. "We have never worked better together. We believe this is because we exorcised all of our demons through our past records, we have no baggage, we started anew. We left behind the self-conscious adolescents." And indeed, ADULT. have never sounded so self-assured, so poised, and so vital.
Beacon's debut album The Ways We Separate both consolidates and develops these ideas. The album focuses, as the title suggests, on the idea of separation — both within the context of relationships and in a more intimate, psychological sense. As Thomas Mullarney explains, "The narrative contained inside The Ways We Separate deals with two kinds of separation: one where two entities grow apart, and the other where we grow apart from ourselves. Over the course of a relationship, the two sometimes happen together, one being the result of the other."
For much of the Brooklyn duo's career, Beacon has worked with a kind of effervescent, forward-looking R&B that evokes out-of-body experiences, but with their new L1 EP, the music is anchored assuredly to your flesh, bone, and physical senses. The brawny synth timbres which open lead track "Fault Lines" and the stomping beats bolstering gauzy falsettos on confident songs like "Minor Structure" set the tone for a new phase in Beacon's evolution, one geared toward the movements and magnetism of human bodies. As producer Jacob Gossett puts it, "Our records have often been described as moments after the night has given way, a 'comedown after the club.' Hopefully, this record inspires people to go back out for one more."
Beacon’s third full-length record enters sight as a work of meticulous revision and refraction. Returning home to New York in 2016, four years and several tours since the duo's first release with Ghostly International, Thomas Mullarney III and Jacob Gossett knew the next direction would be dierent. Together they embarked on open-ended sessions, adopting a more linear style of songwriting compared to their previous loop and texture-driven method. They fundamentally constructed demos from piano chords and guitar phrases with vocal melodies, editing iterations almost ad infinitum, looking through each from a multitude of angles. Compositions expanded, while others pared back to where they began. Like the bending of light, this abstractive and patient process outlines a space and scale in which seemingly separate colors — minimalist ballads, elaborate pop spirituals, and four-on-the-floor dance sequences — can coexist at dierent speeds, fanning out with spectral cohesion. A prismatic collection Beacon call Gravity Pairs.
Thomas Mullarney III and Jacob Gossett are unstoppable. The New York artists, collectively known as Beacon, have been on a productive hot streak since 2012, and their efforts continue to pay off. "When we weren't writing," Mullarney starts, "we hit the road and didn't really look back. We toured the US five times since The Ways We Separate came out, building this project the old-fashioned way." And Beacon's natural, time-tested process has brought us Escapements, their sophomore album for Ghostly. Whereas the duo's debut was more streamlined and defined, Escapements thrives on an amorphous, free-flowing nature. "We went into this feeling liberated," continues the singer/producer, and Gossett seems to echo his thought: "This record is in part our attempt to formulate what Beacon is going to look and sound like going forward."
Minecraft - Volume Alpha is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft's voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing," and The Guardian has compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."
Having been inspired by everything from experimental electronic music to Danish '80s and '90s pop, to modern hip-hop and R&B to techno and westcoast slow jams, Choir of Young Believers' Jannis Noya Makgrigiannis had made a new, imaginary band in his head called Grasque to reflect those influences. He quickly recorded both "GrÃ¦ske" and "Face Melting" with Aske Zidore, who had also produced Rhine Gold, and when Choir of Young Believers reconvened to tour with Depeche Mode, he wrote a few guitar-based songs to play live. Gradually, he realized all of his new ideas and music could melt together with Choir of Young Believers.
The result is an album that is confident and expansive, incorporating an encyclopedia of styles while still maintaining the essential elements of Choir of Young Believers' DNA. It’s pop music, put through a kaleidoscopic filter.
"For years, I've imagined the work I do in music, photography, and video all coming into one space," says music-tech guru Christopher Willits from his home in San Francisco, "I believe that art has an ability to awaken our connection to everything." And that is exactly what he has set out to do with OPENING, the veteran Ghostly artist's immersive new audio-visual project.
After building a library of footage and images from his travels around California, Hawaii, Japan, and Thailand, Willits will unveil for the first time a portion of his videos as an abstract film, the seven scenes of which each correspond with a song and photo from the album. The 45-minute piece uses music and a first-person perspective to tell what Willits calls "a very ambiguous story," much in the vein of ground-breaking experimental films Koyaanisqatsi and Baraka. Taken as a whole, OPENING is unlike anything Willits has accomplished before, and maybe that's because the audio-visual project is about expanding one's mind to become something new. Or, as Willits puts it, "OPENING is about transformation, the experience of changing oneself to be more of who you know you can be, and, ultimately, the joy that comes with that change."
EP follow-up to Com Truise’s highly successful 2011 full-length, “Galactic Melt.” Also features guest vocals from Joel Ford.
Opening with a skating sheet of synthesizer before easing into a steady, walloping beat, Silicon Tare moves Haley and the fictional Com Truise even deeper into the cosmos, discovering new lands along the way and offering a glimpse of where he may travel in the future. And if the characters at the center of his ongoing story may be in peril, Haley himself is in control. Tare also sets the stage for the final chapter in Seth Haley's Com Truise saga, which will be the first official follow-up to Galactic Melt. It's not only the perfect prelude to that finale, but the perfect representation of Haley's ever-expanding universe of sound.
"Repetition is a form of change," reads one of Brian Eno's Oblique Strategies. Seth Haley knows the concept well, and his style of technicolour synth-wave takes the mantra as a challenge. Six years after Galactic Melt introduced the cosmic story of Com Truise, Iteration now concludes his sprawling saga. True to its name, the album is built on Com Truise hallmarks: neon-streaked melodies, big drums, robotic grooves, bleary nostalgia. But Iteration is also the most elegant and streamlined that Haley's singular music has ever sounded. At the album's heart is an elaborate narrative, one full of longing, hope, anxiety, and triumph. Iteration illustrates the last moments Com Truise spends on the perilous planet Wave 1, before he and his alien love escape its clutches to live in peace. "...Of Your Fake Dimension" launches the interstellar drama with its anthemic swells and widescreen sound design, before lovesick songs like "Dryswch" and "Propagation" outline scenes wrought with cybernetic pathos. Later, the frantic rhythms of "Syrthio" conjure images of panicked flight as Haley's gorgeous synth melodies gild the action in quiet heartbreak. Then comes the resounding "When Will You Find The Limitâ€¦", when Iteration's pain and sadness finds liberation in the vast unknown. The closing title track ends it all in a gush of majestic revelry. So goes the winding story that Iteration tells, and yet there's more behind its telling. "I try hard not to write from my personal life, but it's inevitably going to seep into the music," Haley explains. "It's basically like I'm scoring this film in my head, but that film I'm scoring is also somehow my life." There are glimpses of the difficult time the East Coast native spent adjusting to a new life in Los Angeles, fighting homesickness and burnout while also touring the world. It was a time full of uncertainty, transition, and self-realization. After a year and a half of living in California, Hayley finally recaptured his creativity by finding new excitement in his work. "I put more air, more breathing room in the music-- that was the big change," he says. And once that clicked, the album just poured out of him. "It was like an information dump. I feel like I finished the record in two weeks." Such a clear refinement of the Com Truise sound took time to develop, but Iteration is well worth the patience and perseverance it cost. Some of Haley's smartest, catchiest work is here, from the weightless pop of "Isostasy" to "Ternary"'s lush synth-funk. A song like "Vacuume" somehow balances massive bass drops and smashing drums with angelic gasps, and "Usurper" gracefully pairs subtle poignancy and uplifting dance beats. "For me, it feels like change," Hayley says of his second album, and yes, this is Com Truise like never before. By embracing the music's inherent nature and peerless qualities, Iteration finds new avenues of expression in its vivid, familiar surroundings.
In August 2017, Ghostly International will reissue Com Truise's Cyanide Sisters EP in premium 12" jacket. The first official Com Truise release - originally a digital download through AMDISCS in 2010, remastered and expanded by Ghostly in 2012 - Cyanide Sisters was an electrifying introduction to a prodigious new talent. At the time Seth Haley was a designer by trade, making music out of his bedroom in Princeton, New Jersey with a collection of analogue equipment. While many of his contemporaries were mining nostalgia as an end unto itself, Haley recombined older musical forms as a means of expressing something deeper and more ambitious, building a carefully conceived picture of the artist’s vibrant inner world.
On Two/Three, the second Dabrye album for Ghostly International, Tadd Mullinix brought together a formidable crew of local and national rap talent to make the statement he’d always intended.With Two/Three Dabrye placed himself at the forefront of hip-hop's mid-2000s new wave and threw a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact.
When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International - 2001's One/Three and its 2006 follow-up Two/Three - with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas.
All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Guests include indie rap legend DOOM, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.
Dabrye is Tadd Mullinix's hip-hop wildstyle, a captivating collage inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Ummah-era Jay Dee, and the calculated subtlety of Detroit dance music. Re-issued on double vinyl for the first time, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between Slum Village and the beats of today.
Made possible after a beat tape swap between Prefuse 73 and Dabrye after the pair shared the stage in Detroit, Instrmntl is a continuation of the beat experiments Tadd Mullinix began with One/Three and a bridge to the diverse textures that would define Two/Three four years later.Instrmntl offers a snapshot of a time when potentials seemed infinite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.
Nearly 20 years after the first Dabrye beats burst out of Mullinix's home computer, Ghostly International is compiling reissues of all three Dabrye albums - One/Three, Two/Three, and Instrmntl - with the third chapter in the Dabrye album trilogy, the long-awaited Three/Three album, in an exclusive limited edition numbered box set. Time hasn’t dulled Mullinix's sonic throw-ups, if anything the blur between digital and physical, hip-hop and electronic, subtlety and ruggedness that his music always implied is even more relevant today, especially in a world where students of his style are among the biggest names in the game. Like the city it looked to for inspiration, Dabrye's sound was built to last.
Fort Romeau continues to roll out consistently tight productions for Ghostly in 2013. In March, the London-based producer released the Chicago-house influenced SW9 on Ghostly's sub-label Spectral Sound. It was immediately followed up by July's release of JetÃ©e / Desire on Ghostly and showed his versatile house rhythms. He continues to forge a masterful hand of house on this four track EP titled Stay / True. The 12" version comes with an exclusive track ("Trust Me") and does the digital version ("And Now"). 2014 will see his debut album for Ghostly, following up his 100% Silk release, Kingdoms.
Like many others, Ghostly became enamored with Fort Romeau's idea of "slow listening," the concept of enriching relationships with music through careful attention and focus. His understated take on deep, groove-friendly house started pushing this practice three years ago, when the producer's debut LP, Kingdoms, appeared via 100% Silk. The native Londoner, born Mike Greene, has evolved considerably since then, finessing his sound over the course of three breezy 12"s, one EP, and lengthy DJ sets at some of the best clubs in Europe - not the least of which were Berlin's famed Panorama Bar, London hotspot Plastic People, and Robert Johnson in Frankfurt. Those years Greene spent immersed in his craft and new inspirations have generously informed the eight stunning productions which comprise Insides, Fort Romeau's long-awaited sophomore album.
His patient methods are a central component to the billowy house music on Insides, though this isn't an indulgent album of gratuitous buildups and tiresome breakdowns. Each production is pointed and purposeful, as the artist crafts every second of analog electronics with rich detail, nuance, and refinement.
Ask Will Wiesenfeld to contrast his project Baths with the music made under his Geotic alias, and you'll get a simple response: Baths is activelistening, Geotic is passive listening. But behind this straightforward duality exists two projects that are equally poignant yet starkly distinct,reflective of the emotional complexities of its creator. Don't mistake passive listening for anything remotely resembling apathy.Over the course of nine self-released albums plus a handful of singles & EPs (all released on Bandcamp), Wiesenfeld has certainly proved thecontrary. With Abysma, his first release for Ghostly, Wiesenfeld solidified this notion as Geotic makes his label debut in tandem with the projectsfirst ever physical oering. In 2018, Wiesenfeld presents his second full-length for Ghostly: Traversa.Part of Wiesenfeld's inspiration comes from his own domestic situation. A native of the San Fernando Valley of Los Angeles, the classically trainedmusician has settled on the Westside, inhabiting an apartment a short ride from the ocean. "It's a relaxing and slightly displaced vibe thatinforms the project. It's full of art everywhere, all my comics, an amazing media set up," Wiesenfeld says. "It's all the stuff that I've saved for andwanted to have in my life but didn't feel comfortable [setting up] until I moved in here. We nested the shit out of this place.""So much of dance music is about partying and going out and having a really hardcore social experience," Wiesenfeld says. "Dance music has never been that for me. So much of my experience listening to music is being by myself - at home or in my car. Those feelings are especially apparent on the tracks that comprise Abysma: songs that feel lived-in and comfortable - imbued with feelings that cant be faked or compartmentalized.