{"title":"Ghostly Int'l \/l\/","description":null,"products":[{"product_id":"finds-you-well-purple-clear-vinyl-purp","title":"Finds You Well - Purple [Clear Vinyl] (Purp)","description":"\u003cp\u003eSince debuting his Khotin project in 2014, Edmonton's Dylan Khotin-Foote has fine-tuned an impressionistic, dream-like style of music that straddles multiple sonic worlds. His output often sways from gentle synthesized atmospherics to hypnotic, dance-minded frameworks. His self-released 2018 LP, Beautiful You, offered a study on melody and memory; the album's nostalgia-nudging use of passing environments, voices, and abstractions captivated a cult following, a rare 4.5 review in Resident Advisor and the attention of Ghostly International, who pressed the cassette on vinyl for wider circulation in 2019. Now, Khotin reveals his first collection of new material since the signing. The album is a fluid continuation of his blissful and melancholic songcraft, extended humbly and warmly, Finds You Well. As tongue-in-cheek as the title may appear, the phrase has haunted the producer for some time. Most often seen at the start of correspondence, the words \"I hope this email finds you well\" can land with varying levels of sincerity, depending on context and mood. Khotin-Foote started to read the line more ominously during the onset of the pandemic. So, this set of music winks at both possibilities, mixing a platitude's opaque optimism with lurking uncertainty. Finds You Well can be heard in near-symmetrical halves: it's 10 tracks represent the selections from a bounty of demos that, with less modes- ty, could have filled two records, one active and the other ambient. The resulting set isn't an even split but it's close. The A-side centers on the album's steadiest sequence of beat-centric material. \"Ivory Tower\" is inextricably tied to benchmarks set by late '90s downtempo forerunners, spilling lucious and narcotic synth modulations across a sprinkler's spray of breakbeats. Khotin's sprightly melodic noodling brings that touchstone sound into vogue, bubbling up in free-form spurts. The sequence contin- ues through the propulsive \"Heavyball,\" into \"Groove 32,\" which begins with a funky bit-clipped drum and bongo boogie. A tight bass-line plugs into place, building a grid for square-wave pads, shimmering melodic textures, and stuttering vocal samples to percolate in. Khotin's tone stabilizes on the B-side, balancing decidedly bucolic terrain with suspiciously eerie melancholy. Voices wander in the sprawling fre- quency sweeps. Organic textures sizzle and sputter in the clouds. \"WEM Lagoon Jump\" references local West Edmonton folklore, the time a kid jumped from a shopping mall's second-floor balcony into the main pa- vilion's fountain. After the splash, we land in the record's most satisfying stasis, \"Your Favorite Building.\" A brittle clave and muffled kick hover in a wobbly mist of organ chords; the building is gorgeous, but seen at night, and empty, and from this angle, those shadows seem to crop up more of those subdued tremors, those nostalgic creeps, those droll musings. From behind a wall of melody, a kid peeks their head and softly sings, \"you must love the world because it's wonderful,\" the vocal snippet comes courtesy of Khotin-Foote's sister, Amaris. For much of Finds You Well's second half, Khotin dabbles in a dusty and slightly detuned piano sound, revealing an artist unafraid to change shapes but maintain course. This set of chimeric visions sidesteps the subdued bombast that fills the A-side; instead, it suggests a counterpoint emphasizing the uncanny overlap between well wishes and empty promises.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eProcessing\u003c\/li\u003e\n\u003cli\u003eIvory Tower\u003c\/li\u003e\n\u003cli\u003eHeavyball\u003c\/li\u003e\n\u003cli\u003eGroove 32\u003c\/li\u003e\n\u003cli\u003eOutside In The Light\u003c\/li\u003e\n\u003cli\u003eLucky Egg\u003c\/li\u003e\n\u003cli\u003eWEM Lagoon Jump\u003c\/li\u003e\n\u003cli\u003eYour Favourite Building\u003c\/li\u003e\n\u003cli\u003eShopping List\u003c\/li\u003e\n\u003cli\u003eMy Toan\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 304297837142\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Ghostly Int'l\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.25.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Khotin","offers":[{"title":"Default Title","offer_id":45455629910214,"sku":"8131","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4219754-2985292.jpg?v=1768498618"},{"product_id":"dissolvi-cd","title":"Dissolvi [CD]","description":"\u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 804297832029\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Ghostly Int'l\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.3.18\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Steve Hauschildt","offers":[{"title":"Default Title","offer_id":45455681847494,"sku":"33814","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3802206.jpg?v=1768499342"},{"product_id":"west-coast-blk-colored-vinyl-wht","title":"West Coast (Blk) [Colored Vinyl] (Wht)","description":"\u003cp\u003eSome called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, \"the missing link between The Cure and Lindstrom,\" Pitchfork heard Durutti Column and Can, as the duo's story became swept up in a loosely developing scene - adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) - and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside. West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afro-beat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet's record of it's initial impact is all but fossilized from a bygone blog era, while it's sound is simply untraceable to any one moment in music. Outside of three 7\" releases, they'd keep the music to themselves for several more years. In 2005, Hägg remembers, \"We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.\" In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early '80s European live DJ sets from the likes of Beppe Loda, DJ Mozart, and Baldelli as reference points. \"The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,\" says Hägg. \"But there's so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.\"In the afterglow of the record's 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. \"It's easy to wish we would have done some proper recordings of our own instead,\" Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. 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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.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\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.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\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\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\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 somber loop, over top which Lattimore’s synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\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.”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\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. 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While titles released under her given name on Hyperdub tend toward IDM-influenced, vocal-heavy collaborations, James reserves her Ghostly International-signed alias, Whatever the Weather, for an inward gaze that explores innate \"emotional temperature\" and environment (shown in degree-based track titling). Her second full-length is a markedly warmer outing compared to it's predecessor, as signaled by the shift from LP1's arctic cover photo to LP2's desert climes. Common to both albums is the mastering work of friend and collaborator Josh Eustis (aka Telefon Tel Aviv), who lends his keen ear to James' complexities to craft a strikingly three-dimensional sonic experience. Flowing from hypnotic atmospheres to mottled rhythms to processed collages of diaristic field recordings, Whatever the Weather II is a compelling union of organic and human elements from one of electronic music's most imaginative talents.The lead single and closing track to Whatever the Weather's (Loraine James) new LP, \"12°C\", drifts from bustling human spaces into a concrete groove, weaving melody and texture into a truly unusual, soul-stirring fullness. In it's final moments, a languid acoustic guitar and gentle, finger-tapped beat join her pitch-shifted voice. 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Ranging from homespun folk songs to warmly rendered psychedelic rock-like early Rolling Stones as fronted by Hope Sandoval-the resulting album can feel like flipping through your coolest friend's record collection, finding a new favorite song with each discovery.In order to summon this majestic blend of styles, Bollinger spent years cultivating material, challenging herself to work with new collaborators while moving across the country from her native Virginia to California. Evolving the hermetic approach of her early EPs and solo performances, she arrived at a fuller sound based on intuitive responses and in-the-moment energy. \"I came to this realization that most of my favorite music is the result of friends, or players who have known each other a long time, coming together and playing live in the room,\" she observes. Armed with endless hooks and wildly shifting textures, Bollinger can seem as much like a songwriter as an art-house auteur, crafting the soundtrack and scenery for a non-existent movie. (Fittingly, Bollinger studied film in college, and she also directed the striking music video for Jessica Pratt's recent single \"World on a String.\")Several highlights from the record were co-written with Spacebomb Records mastermind Matthew E. White, such as the jangle-pop gem \"Any Day Now\" and the theatrical \"I See It Now.\" After months of writing in Richmond and Los Angeles, Bollinger traveled to upstate New York to record with producer Sam Evian (Big Thief, Blonde Redhead, Cass McCombs), with whom she developed a similar kinship. Alongside her longtime friend and drummer Jacob Grissom, she formed a group of tight-knit collaborators able to match her wide-ranging inspiration, spanning from '60s icons like Françoise Hardy and the Velvet Underground to '90s touchpoints like No Doubt and Pavement. \"In some way, this album feels like my musical debut. I feel that I've finally been able to express all sides of myself in one record.\"For Bollinger, the connective tissue between this disparate material is often unspoken but always deeply felt. \"Songwriting is kind of like dreaming,\" she explains. \"They both tend to reveal to me what I don't yet consciously know. I thought of the album title before most of the songs were written, but it became a self-fulfilling prophecy in a way that tends to happen in a lot of my music.\" As a lyricist, Bollinger expresses herself through subtle imagery and surrealist stream-of-conscious narratives, allowing listeners to arrive at their own interpretation. 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A gravity had seeped in; resulting material shifts between bleakness and sublime suspense, awe at the expanse of existing, in looking back and letting go. \"It's a sort of sad smile and a wave goodbye but at the same time hello, a 'welcome to your life' moment,\" Haley says. Take the storm pattern sequence from \"Gaussian\" to \"Ultrafiche of You\": a queasy, contemplative vignette rests on a single soft-synth cloud before the latter's percussion ripples across the sky. With trademark stutters and swells, the composition conjures the sensation of searching in the afterglow. \"It's a love song, and I don't write many of those.\" That duality - melancholy + optimism, then + now - permeates this widescreen collection. \"Existence Schematic\" takes flight at night, \"looking down at the landscape,\" explains Haley, \"seeing the lights in a schematic sort of way, wondering who or what is looking back up at me wondering the same things I am, the impact of a single existence, the end, the beginning, where it's gone and going.\" These are observations from this existential Persuasion System, and Haley hopes the music yields more, for others, that listeners may search for their own tension and release.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWorldline\u003c\/li\u003e\n\u003cli\u003ePersuasion System\u003c\/li\u003e\n\u003cli\u003eGaussian\u003c\/li\u003e\n\u003cli\u003eUltrafiche of You\u003c\/li\u003e\n\u003cli\u003eKontex\u003c\/li\u003e\n\u003cli\u003eExistence Schematic\u003c\/li\u003e\n\u003cli\u003eLaconism\u003c\/li\u003e\n\u003cli\u003ePrivilege Escalation\u003c\/li\u003e\n\u003cli\u003eDeparture\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 804297833712\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Ghostly Int'l\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.17.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Com Truise","offers":[{"title":"Default Title","offer_id":45456580640966,"sku":"461992","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3909970.jpg?v=1768510951"},{"product_id":"galactic-melt-import","title":"Galactic Melt [Import]","description":"\u003cp\u003e2011 release from Com Truise, one of the many pseudonyms of New Jersey designer\/musician Seth Haley. 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For nearly a decade, Byrne has moved through the world as a characteristically private artist largely outside the public eye. A self-taught musician that has committed her life to her work, she now emerges from a deeply trying and generative period with the most powerful, lustrous, and life-affirming music of her career, \u003c\/span\u003e\u003cem\u003eThe Greater Wings\u003c\/em\u003e\u003cspan\u003e. While they hold the plasticity of grief and trauma, the songs are universally resonant, unbridled in their devotion and joy, held up by the love and alliance of a chosen family. Byrne leans further into atmospheres both expansive and intimate; the lush, evocative songcraft flows between her signature fingerpicked guitar, synthesizer, and a newly adopted piano, made wider by flourishes of harp and strings. 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Ranging from homespun folk songs to warmly rendered psychedelic rock-like early Rolling Stones as fronted by Hope Sandoval-the resulting album can feel like flipping through your coolest friend's record collection, finding a new favorite song with each discovery.In order to summon this majestic blend of styles, Bollinger spent years cultivating material, challenging herself to work with new collaborators while moving across the country from her native Virginia to California. Evolving the hermetic approach of her early EPs and solo performances, she arrived at a fuller sound based on intuitive responses and in-the-moment energy. \"I came to this realization that most of my favorite music is the result of friends, or players who have known each other a long time, coming together and playing live in the room,\" she observes. Armed with endless hooks and wildly shifting textures, Bollinger can seem as much like a songwriter as an art-house auteur, crafting the soundtrack and scenery for a non-existent movie. (Fittingly, Bollinger studied film in college, and she also directed the striking music video for Jessica Pratt's recent single \"World on a String.\")Several highlights from the record were co-written with Spacebomb Records mastermind Matthew E. White, such as the jangle-pop gem \"Any Day Now\" and the theatrical \"I See It Now.\" After months of writing in Richmond and Los Angeles, Bollinger traveled to upstate New York to record with producer Sam Evian (Big Thief, Blonde Redhead, Cass McCombs), with whom she developed a similar kinship. Alongside her longtime friend and drummer Jacob Grissom, she formed a group of tight-knit collaborators able to match her wide-ranging inspiration, spanning from '60s icons like Françoise Hardy and the Velvet Underground to '90s touchpoints like No Doubt and Pavement. \"In some way, this album feels like my musical debut. I feel that I've finally been able to express all sides of myself in one record.\"For Bollinger, the connective tissue between this disparate material is often unspoken but always deeply felt. \"Songwriting is kind of like dreaming,\" she explains. \"They both tend to reveal to me what I don't yet consciously know. I thought of the album title before most of the songs were written, but it became a self-fulfilling prophecy in a way that tends to happen in a lot of my music.\" As a lyricist, Bollinger expresses herself through subtle imagery and surrealist stream-of-conscious narratives, allowing listeners to arrive at their own interpretation. 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Ranging from homespun folk songs to warmly rendered psychedelic rock-like early Rolling Stones as fronted by Hope Sandoval-the resulting album can feel like flipping through your coolest friend's record collection, finding a new favorite song with each discovery.In order to summon this majestic blend of styles, Bollinger spent years cultivating material, challenging herself to work with new collaborators while moving across the country from her native Virginia to California. Evolving the hermetic approach of her early EPs and solo performances, she arrived at a fuller sound based on intuitive responses and in-the-moment energy. \"I came to this realization that most of my favorite music is the result of friends, or players who have known each other a long time, coming together and playing live in the room,\" she observes. Armed with endless hooks and wildly shifting textures, Bollinger can seem as much like a songwriter as an art-house auteur, crafting the soundtrack and scenery for a non-existent movie. (Fittingly, Bollinger studied film in college, and she also directed the striking music video for Jessica Pratt's recent single \"World on a String.\")Several highlights from the record were co-written with Spacebomb Records mastermind Matthew E. White, such as the jangle-pop gem \"Any Day Now\" and the theatrical \"I See It Now.\" After months of writing in Richmond and Los Angeles, Bollinger traveled to upstate New York to record with producer Sam Evian (Big Thief, Blonde Redhead, Cass McCombs), with whom she developed a similar kinship. Alongside her longtime friend and drummer Jacob Grissom, she formed a group of tight-knit collaborators able to match her wide-ranging inspiration, spanning from '60s icons like Françoise Hardy and the Velvet Underground to '90s touchpoints like No Doubt and Pavement. \"In some way, this album feels like my musical debut. I feel that I've finally been able to express all sides of myself in one record.\"For Bollinger, the connective tissue between this disparate material is often unspoken but always deeply felt. \"Songwriting is kind of like dreaming,\" she explains. \"They both tend to reveal to me what I don't yet consciously know. I thought of the album title before most of the songs were written, but it became a self-fulfilling prophecy in a way that tends to happen in a lot of my music.\" As a lyricist, Bollinger expresses herself through subtle imagery and surrealist stream-of-conscious narratives, allowing listeners to arrive at their own interpretation. 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Her new LP Romanticism furthers that sentiment as a coming-of-age work that mourns the impermanence of youth and searches for meaning. The acclaimed LA-born songwriter's been making music since high school, with a full-length debut and several EPs behind her of glowy, brooding anthems of abstraction and emotion. With previous work, Vu welcomed feedback as she went, but while crafting Romanticism, she shielded herself from outside opinion to preserve a singular vision. The result is a unified collection of songs aching with depth and intimacy. Lush and loud, the songs can feel both reminiscent of guitar-heavy late-aughts indie rock, and expansively futuristic in it's layered synth bass. They pulse with meaning and jolt with playfulness, anchored by her powerful, sonorous voice and underscored by the record's Romantic era-inspired artwork. \"I'm just trying to convey my perspective as boldly as possible. 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West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afro-beat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet's record of it's initial impact is all but fossilized from a bygone blog era, while it's sound is simply untraceable to any one moment in music. Outside of three 7\" releases, they'd keep the music to themselves for several more years. In 2005, Hägg remembers, \"We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.\" In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early '80s European live DJ sets from the likes of Beppe Loda, DJ Mozart, and Baldelli as reference points. \"The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,\" says Hägg. \"But there's so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.\"In the afterglow of the record's 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. \"It's easy to wish we would have done some proper recordings of our own instead,\" Hägg reflects. 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A producer and songwriter quietly to be found connecting artists, genre and UK subculture. His credits range from Carly Rae Jepsen, Ben Howard, Nilüfer Yanya and Avalon Emerson's breakout album \u0026amp; The Charm to records for Westerman and Joviale. Bullion's celebrated solo releases, meanwhile, have run parallel on Young, The Trilogy Tapes, Jagjaguwar and his own DEEK Recordings. It's a creative red-thread Bullion ties together on his surprise new album, Affection - a warm, occasionally off-kilter and beautifully realised pop record that's bold enough to step from behind-the-scenes and show affection in public. Affection started life upon Nathan's move back to London from Lisbon, where he relocated in 2018. Back then, the comfort of the crowd suited him: self-confessedly passive and faltering by nature, the opportunity to exist somewhere without any personal history proved liberating. Returning home, Nathan increasingly found himself reflecting on his place in the world, seeking affection in place of cynicism. Bullion's music has always been difficult to pin down, but entirely distinctive - and on Affection, it's rich pleasures are in hearing how this uncompromising approach is strengthened, in part, by softening. The album wonders-aloud about the meaning of intimacy, in relationship to others and the self. Masculinity and other contemporary concerns are punctuated by old-world charms, found in the 'hat stands and watches' of World_train. Influences stretch from morning swims to adolescent fears and a book of poems his Dad wrote as a young man, in songs that are tender if not always true of Nathan himself. Affection ultimately asks how we understand people, but in being more vulnerable at least attempts to care a little less about what they think, too. Taking your own advice is integral to Bullion's latest album, where Nathan applies what he's encouraged fellow artists to do in the studio for years: be open to adventure. Affection steps into a more emotionally-present, often playful space, with collaborators Carly Rae Jepsen and Charlotte Adigéry gracing songs that prioritise feeling over fixed meaning. Rare, for instance, emerged during sessions for Jepsen's recent album in Toronto: high energy turning coy to express some- thing 'deep in the heart'. World_train, meanwhile, is an eccentric and brilliantly odd angle on Bullion's love of pop, it's locomotive power summoning a lost past amidst the uncertainties of the everyday. 'I can hardly understand what it takes to be a real man', Bullion sings. '... and nobody can', Adigéry confirms. Still, connections - missed, imagined, or still possible - cocoon much of Affection, with Panda Bear actually met. For Bullion, the willingness to allow others into his songwriting process is as much about opening up the world of the album as it is about bettering the work and the person. In blurring the observational with the introspective, Affection's avant-pop touch abandons categorisation. The albums lyrics are as unguarded and devotional as they are inquisitive of alternative ways of being, signing off with 'being still is hard to do'. Nathan has mastered his sound, but life - in it's expectations, contradictions, impulses and desires - remains impossible to control. 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Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed \"evil TOPS,\" says Penny. \"We're always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.\" Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStars Come After You\u003c\/li\u003e\n\u003cli\u003eWheels at Night\u003c\/li\u003e\n\u003cli\u003eICU2\u003c\/li\u003e\n\u003cli\u003eOutstanding in the Rain\u003c\/li\u003e\n\u003cli\u003eAnnihilation\u003c\/li\u003e\n\u003cli\u003eFalling on my Sword\u003c\/li\u003e\n\u003cli\u003eCall You Back\u003c\/li\u003e\n\u003cli\u003eChlorine\u003c\/li\u003e\n\u003cli\u003eMean Streak\u003c\/li\u003e\n\u003cli\u003eYour Ride\u003c\/li\u003e\n\u003cli\u003eStanding at the Edge of Fire\u003c\/li\u003e\n\u003cli\u003ePaper House\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 804297847030\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Ghostly Int'l\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.22.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Tops","offers":[{"title":"Default Title","offer_id":45457158045894,"sku":"26318877","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4437589-3408471.jpg?v=1768518066"},{"product_id":"mount-crystal-electric-periwinkle-lp","title":"Mount Crystal [Electric Periwinkle LP]","description":"\u003cp\u003eJoviale makes music that feels like a show; drama lies in the tension between pop impulse and something more cerebral and sensorial. A multidisciplinary artist from North London, they came up as a theater kid and now harness their prismatic creative expression across mediums, fusing components of visual art, performance, and recording into a singular world. In 2021, following their Hurricane Belle EP, which caught the attention of Pitchfork and Crack Magazine, they quietly receded from view in an effort to learn and evolve. In 2025, out from behind the curtains comes Mount Crystal, their full-length debut on Ghostly International, an ascendent conceptual album that reintroduces Joviale’s point of view. Songs are electric and soulful, dashed with jazzy experimentation, rhythmic rock, and vibrant sound design, all realized alongside co-producers John Carroll Kirby and Jkarri and a cast of collaborators, including Sam Wilkes, Carter Lang, and Will Miller, among others. Initially imagined as a play, Mount Crystal brims and bursts with life — peril, humor, and the buzz of the human spirit — conjuring a metaphysical climb that transcends the audio format. With plans to further manifest the vision as a live set and more, Joviale sets the course:\u003c\/p\u003e\u003cp\u003e“Mount Crystal's lore is driven by the embodiment of desire, danger, and desperation. A mirrored dimension in a distant reality where nothing is left unsaid. 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Since 2020, across a catalog of acclaimed releases via the scene-creating Los Angeles imprint, Leaving Records, the duo has pursued a curiosity in environments, reaching for innate and faraway spaces by way of organic and synthetic instrumentation, high-definition sound design, and \"idiosyncratic melodies crafted with the patient and methodical hand of a gardener,\" writes Pitchfork. Green-House doesn't fit neatly into any single category. Ardizoni and Flanagan aren't aligned with New Age ideologies or spirituality, and the ambient tag feels increasingly limited given all that's going on in their songs, which skew closer to the realms of IDM or even modern classical on their new album. 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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 Limit…\", 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. 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A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she’d ask to master the album), HTRK (whose singer Jonnine Standish features on \u003c\/span\u003e\u003cem\u003eNothing\u003c\/em\u003e\u003cspan\u003e), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe titling on \u003c\/span\u003e\u003cem\u003eWhatever The Weather\u003c\/em\u003e\u003cspan\u003e works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as “free-flowing, stopping when I felt like I was done,” allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment — the location feels fixed while the conditions vary.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe album opens at “25°C,” a sun shower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James’ proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, “0°C,” its isolated synth line traversing a hailstorm of steely beats and static. 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The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones’ Chino Moreno and American Football’s Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhatever The Weather\u003c\/em\u003e\u003cspan\u003e closes at “36°C,” while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. 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After several releases garnered a die-hard fandom in niche circles of internet\/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I'm Here was it. Artistically, the album is a definitive statement; this is to say it was crafted by heads for heads, a genuine article and a profoundly deep listen, but the mainstream dove in too. Pitchfork acknowledged the rarefied nature of the album's electricity with a \"Best New Music\" rating. This crossover success is a result of the tracks' potency and wonderfully engineered and succinct structures. It's dialed in. Still creating their distinct yawning cosmic sound, Elliott and Hauschildt shower the stereo spectrum with shimmering arpeggios, dusty, melodically dynamic swells, rippling FM textures, and canyon-wide waveshapes. McGuire's signature guitar playing echoes emotive new age pathos and cascading astral space rock trance states. Their previous albums found many tracks hovering past the ten-minute mark, but these new songs were short, potent. \"Candy Shoppe\" opens the album with polished elegance; Emeralds' throbbing synthetic sound made bite-sized, an incandescent morsel wrapped in waxed paper. On \"Goes By\" the languid electric guitar strums and swooning synth pads peel apart into enveloping sheets of synth gargling and soaring leads. Both tracks are entire worlds kept neatly under five minutes. If previous albums like Solar Bridge and What Happened were lysergic sprawls, Does It Look Like I'm Here presents itself as a tin holding a series of psychonautic blasts. This is all to say, the album lived up to the hype. A twelve-song expedition across a dusty and shimmering dreamscape, Does It Look Like I'm Here, with it's iconic cover presenting the aesthetic, was a radiant tube tv left humming, collecting space-dust in a darkened room, grandma's vase filled with oil-dinged polypropylene flowers. The album seems aware of the cultural flood\/void that the internet was then and would only further create, and yet there is a beauty here, an embracing of the past, both authentically and through a kind of tripped-out kitsch, as a way to find a new ecstatic present. Hallowed pioneers - think Tangerine Dream, Ash Ra Temple, Kraftwerk, Can - had felt legendarily out of reach across time and culture; a star-pocked thing of the distant misty past. Emeralds took that sound and made it contemporary, made it punk, made it American-outsider. Thus, an entire wave of American DIY ambient music was heralded into mid-if-not-mainstream attention; Emeralds, and the acts that followed their lead after, dared the experimental and noise community to embrace more melody and structure, and too invited the quasi-academic world of deep ambient to become crusty and home-spun. DIY venues would suddenly need to make space between droves of scuzzy indie acts or punishing no-input mixer debacles so the ambient zoners could astral project while Emeralds, or groups following Emeralds' lead, created soundscapes on piles of synths and pedals. Listening to it now, 13 years after it's original release on Editions Mego, the album sounds however timeless, still immediate. There is a wide-pupiled and cotton-mouthed awe sewn into these radiant folds of sound; for those newly into this sort of thing, let this reissue serve as an initiation, a history lesson, and a heroic dose. 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Developed and recorded in several studios during and around the edges of tour - Chicago, Los Angeles, New York, Tbilisi, and Brussels - this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales. Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener \"Cloudloss\" permeates the mix with an unsettling smog, which reappears and all but engulfs \"A Planet Left Behind.\" On cuts like \"Attractor B\" and \"Subtractive Skies,\" pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations. The album's title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. \"Reverse Culture Music\" casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. 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His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R\u0026amp;B, funk, soul, and hip-hop - Resident Advisor dubs it \"soulful, cross-genre dance music.\" This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and it's complex cultural history. \"Most Black kids in DC don't ever get to this point,\" he says. \"This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day.\" A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: \"a steady combination of confidence, creativity, and calmness.\" He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences - the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters - and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022.The first side, released as Part I, opens on the blurred beats of \"El Dorado,\" which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. \"This song is a chant that keeps me moving towards the places I want to be. My journey mostly digs into my love (sometimes a lack of) for self and allowing myself that space to grow.\"\"Complicated\" is the slow jam, delivered smoothly from a Saturday night crossroads. Dreamcastmoe is contemplative and committed - gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson - but also willing to let something go, \"acknowledging that everything in life IS NOT easy.\"\"RU Ready\" takes off from the jump as a tribute, challenge, and promise to his partner and his city (\"The times you sat with me when I needed you the most \/ Told me the things that I needed to see \/ Young black man, really trying to be what I can be \/ And I'm really from DC). In it's potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. \"Cloudy Weather, Wear Boots\" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. Lyrics land in a dream state; the club is heaven's gate, and Bryant is shaking the clouds from his back. \"Sometimes we just need to hit the dancefloor and let go of everything.\"The album's flipside opens on \"Much More,\" the first of two synth-and-beat ballads co-produced by ZDBT. Bryant sees the track as a pledge - \"to myself that 'I'm much more' and whoever I'm with deserves more. We both deserve the best version of myself. The best version of each other.\" Later on \"Long Songz,\" he claims, \"I'm not writing love songs no more,\" prioritizing the vibe with \"all my day ones.\" He calls it \"a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way.\"He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, \"Take A Moment\" and \"Make Ya Mind\" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both \"wake \u0026amp; bake jam\" and a \"dance floor bomb.\" His parting line: \"Action \/ You got to show me action \/ Reaction.\"The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. 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Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her latest full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. \"I guess in one sentence, this album is my expression of love and appreciation for electricity,\" says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, what Smith calls \"a visual language\" stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as she says, \"as a reference for how frequencies can be visualized,\" much like a mosaic. Smith describes her first encounters with this mosaic; \"the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other... My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday... into something else. This album has gone through about 12 different versions of itself.\" As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith's signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. \"The Steady Heart\" quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. Other tracks stray into more ruminative physical realms. \"Carrying Gravity\" is built around string-like pads that expand and contract like a solar plexus, becoming taught and then loose. As the breath interacts and is focused upon, suddenly, the nervous system engages, delicate arpeggios cascade, akin to becoming aware of the transmission of energy happening between muscles and the mind. If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called \"Expanding Electricity.\" Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith's voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. 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The Brooklyn-born, South London-based artist approaches Warlord of the Weejuns, his first LP on Ghostly International, after years of acclaimed self-releases with the same mentality. Borrowing the album title from a magazine headline once placed upon Mile Davis (given how well he wore the iconic Weejun loafers), here he channels not just that storied style from the king of cool but an artistic ingenuity and timeless sensibility, redefining his recording project with rich, full-band arrangements. Goya outfits his flow between London's new jazz generation and New York City's hip-hop storytelling legacy, a shared musicality that welcomes various players and guests, including Fatima, lojii, Seafood Sam, Yaya Bey, and many others. 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