premiere – lostodyssey

– featured image courtesy of the artist – 

jameson williams’ solo output is about as far removed from the the thrash and technical death metal bands he cut his teeth on in the pacific northwest.  as lostodyssey, the eugene-based musician crafts cinematic electronic soundscapes that are bucolic and meditative to the nth degree.

on june 22nd, williams will release his third extended play, the first with seattle’s hush hush records, dont mind me.  its five cavernous, downtempo tracks swirl with intricate production and more prominent vocal treatments, ones that particularly excel at melding themselves into already-rich, substantive textures.  case in point is closing number “good god,” its static field recordings dissolving into a lush dreamscape populated by manipulations of the titular phrase, williams marveling at his auditory surroundings.

taken with the rest of dont mind me, “good god” is a finale full of catharsis, a wide-open expanse of pastoral impressions that nestle comfortably in ear canals.  the track is premiering today, right here on the dimestore; listen to “good god” below.

hana vu – “cool”

– featured image courtesy of alexandra adcock –

count us among those intrigued by hana vu, the los angeles-based songwriter behind “crying on the subway,” one of this year’s most enduring singles.  after dropping off the aforementioned track and its accompanying music video in january, vu caught the attention of the folks at luminelle recordings; the fat possum offshoot will release her debut extended play later this summer.

“cool,” featuring languid production and an elastic guest verse from fellow angeleno satchy, is a second glimpse into vu’s aural cocoon, her melismatic delivery of the titular word enveloping the sparse soundscape around her.  equal parts murky, aqueous, and warm, the exterior of “cool” is an invitation to bear witness to the solitude vu prefers to explore as she descends deeper into the track’s cavernous depths.

vu’s seven-song collection, how many times have you driven byis due out june 29th.  disappear inside “cool,” below.

premiere – shelf nunny

– featured image courtesy of daniel glynn –

christian gunning’s production as shelf nunny has always been methodically downtempo, a gorgeously chilly tapestry with pelagic undertones fitting for a project in close proximity to the puget sound.  next friday, gunning will release little time we have, his sophomore extended play, that ventures to an outpost on the hazy border between electronic and pop music.

for a primer, enter “washed out.”  the extended play’s third track (and, consequently, its centerpiece) is one of two offerings to feature toronto-based audioopera on vocals, a partnership spurned by a previous, positive collaborative experience.  his airy, ethereal falsetto nestles somewhere in the middle of the texture, right alongside a sparse rhythm section and flittering snippets of melody, an initially hesitant union that blossoms into something spectacular during the song’s second half.

little time we have is out september 29th via hush hush records.  take a listen to “washed out,” which premieres here on the dimestore, below.

interview – see you at home

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The prescient arrival of the future’s here & it’s terrible was hard to ignore.  2016 had already registered as an extraordinarily bleak year, but the ep – the second from dream-pop duo see you at home – came on the cusp of a defeating and volatile summer, one that’s still in full-swing.  see you at home confronts that bleakness head-on titularly and attempts to reconcile with it sonically, crafting intimate sketches that pulse slowly, allowing for ample introspection amidst sparse guitar soundscapes.  we recently caught up with the duo to talk about their nascent project and longstanding friendship.  check out the transcript below.

see you at home is a relatively new project, at least from a consumer’s perspective.  could you detail a bit of history behind the band?  how long have you two been making music together?

we’ve been playing music for quite a long while now; both of us have known each other since we were four years old, and we’ve been making music together since we were fourteen.  we had another band before this, but eventually that broke apart when some of us went to uni and got jobs.  see you at home kind of spawned when my (josh’s) uni timetable gave me a day off in the week and i decided to try and make some lo fi songs in a bathroom.  it was literally just a guitar and an 808 drum for the beat, and we liked the sound of it so we decided to expand on the idea.

your songs are incredibly intimate and feel effortless in their execution, the byproduct of what must be a very fruitful collaboration.  can you speak a bit on your songwriting process, and if you notice any clear benefits to working as a duo?

thank you so much!  the effortlessness is a product of layers and layers of obsessive production on my (josh’s) end, haha, and then the cool, calm-headed musical ear of arthur.  i would spend hours trying to get certain sounds to come through in the mix properly (to the point of insanity) and then arthur comes in to fix any doubts.  that’s definitely the main benefit for me for working in a duo; it’s hard to tell if a song is good or terrible having worked on it for so long, like when you hear a word too much and it doesn’t sound like a real word anymore. 

a lot of the collaboration and musicality comes from us knowing each other for basically our whole lives, i think.  when we jam out our songs we can usually get into a pretty cool flow quite easily because we share a similar mindset musically.  in terms of our songwriting process, i think it’s quite muddled.  we’ll usually stitch together thoughts and lyrics we’ve had at various points in our life that have a similar theme to try and create coherent songs from honest, sometimes scattered emotions.

titularly, the tone of your two eps couldn’t be more different.  was your collective headspace noticeably different while writing the material for the future’s here & it’s terrible than it was for everything is okay?

definitely.  there was a big shift in our collective emotions going through both eps.  i guess for the first ep we had just left uni and the world felt free and open and we were, to an extent, positive.  the second ep, a few months later, was a shift in tone when we realized the stark reality of real life, haha.  that said, a lot of the underlying themes in everything is okay were still quite sorrowful, but i feel like the way we handled those feelings was with a more optimistic outlook than the second ep.

what five songs would constitute the perfect see you at home mixtape?

ooh, that is a tough question.  there are so many songs that we’d love to put on the mixtape, haha.  i’d say that we’d go for the following eclectic mix, some of which we’ve drawn on for inspiration, and others which have resonated with us at various times in the last couple of years.

deptford goth – “feel real”
la dispute – “nine”
bon iver – “holocene”
brand new – “jesus christ”
julien baker – “sprained ankle”

at the rate you’ve been releasing music, a new ep could potentially surface before the year’s end, but that expectation is admittedly presumptuous.  are there any concrete plans for more see you at home material at this time?

at the moment we’re trying to sort out our live set, as we’d love to do some gigs, but we absolutely want to put out as much music as possible.  while there’s no definitive timeline, we are busy trying to make some skeleton tracks and demos.

both everything is okay and the future’s here & it’s terrible are available to stream and purchase from see you at home’s bandcamp page.  both actions are highly recommended; the duo’s compact catalogue serves as a much-needed refuge from life’s unsavory portions.  indulge.

premiere – y!kes

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what was once just a burgeoning electronic scene in eau claire, wisconsin has now blossomed into a vibrant movement, with various subcultures happily coexisting alongside one another.  towards the end of the introspective spectrum lies caleb kamrath’s creative outlet, y!kes; today, he’s releasing a brand new ep, and its lead single premieres below.  on “water,” kamrath is joined by the nascent baby blanket, the result a syrupy union of assured, downtempo production and increasingly forlorn vocals.  take a listen to the entire ep here, and stream “water” directly below.

 

michl – “die trying”

Michl
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mysterious entity michl is three-for-three in the singles department.  after a resounding debut with “kill our way to heaven” and its follow-up “when you loved me least,” michl returned yesterday with “die trying,” another moody, down-tempo piece that pits his stunning, impassioned falsetto against a throbbing subterranean bass presence.  take a listen below.

lyloh – “here”

LYLOH X5
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inland empire-based singer lyloh occasionally pushes pause on her pursuit of a law degree to offer up single servings of warm, enveloping pop.  on “here,” lyloh’s crystalline alto floats atop a technicolor soundscape, deftly navigating unexpected harmonic resolutions while gradually absorbing a massive arsenal of fluttering synth motifs.  it’s a resulting aesthetic that is somehow as soothing as it is anthemic, a dual-strength antidote for long work weeks and grueling term papers.  listen to “here” below.

listen to a new song from neon bunny

neon bunny
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south korean singer-songwriter neon bunny drew influence from jazz pillars like dinah washington and ella fitzgerald for her new single, “romance in seoul,” an atmospheric, downtempo approximation of a trajectory in which the genre could have convincingly invested.  pillowy vibraphone tones rest gently beneath neon bunny’s ethereal contour, providing crucial, guarded counter-melodies in tandem with plucked strings that dictate the track’s breath-taking peaks and introspective valleys.  “romance in seoul” is out today via cscn, the singles sub-label of cascine; take a listen below.

listen to a new song from elohim

elohim
photo courtesy of chase o’black

elohim surged to prominence in may with “she talks too much,” a massive electro-pop introduction to the los angeles songwriter that has since been repurposed by dimestore favorites gosh pith, among others.  as elohim prepares to release her debut 12″ on friday via b3sci records, she’s teased the other component of the aa-side record.  “xanax” is a syrupy comedown track, its slow synth swells the perfect contrast to the more frenetic tendencies of “she talks too much.”  take a listen to “xanax” below.

listen to a new song from teen daze

photo courtesy of landon speers

teen daze released his a world away ep back in january, a six-track effort that has served as an adequate place-holder for his impending full-length album.  the ep is slated for a march 18th release in japan via plancha records, and the physical copy will double the content with six bonus tracks.  “lights in the palm trees” is a liquid, pensive cut included amongst the six new songs, and plancha has teased the track in anticipation of the ep’s release overseas.  take a listen to a particularly pastoral incarnation of teen daze below.