Cerca:complex

Anna B Savage has always asked questions in her music, but on new album in|FLUX answers are no longer her quest. Vulnerability and curiosity have consistently been operative words to describe her work and on her second album she ruminates on the complexities and variables of humanity, the pain or pleasure of love, loss and earthly connection, capturing it all in devasta- ting, elating and powerful ways. The key difference between this and previous releases: she’s not anxious about what’s on the other side. She’s come to appreciate staying afloat - basking even - in the open ended, uncertainty of the grey area.

Anna B Savage‘s new album features the singles „The Ghost“ & in|FLUX“ and will be released on 17th February on City Slang.

160-gram heavyweight Vinyl LP with gatefold jacket displaying the painting series that inspired the music, and the story of Newtok. Newtok is a remote Alaska Native village situated on the Ningliq River, near the west coast of Alaska. Although a very remote and quiet place, Newtok has come face-to-face with climate change. Due to a combination of thawing permafrost, low levels of sea ice, and strong storms, the coastal land of Newtok is eroding dramatically. In 2016, Chicago visual artist Jennifer Cronin embarked on a trip to Newtok to document this changing environment. Upon returning, she spent the next several years developing a series of paintings and screen prints titled Seen and Unseen that captured this eroding landscape. In 2019, Cronin and musical Artist Patrick Mitchell (a/k/a Dusty Patches) began discussing the project after Cronin asked him to perform at the Gallery opening for the series. As a result, Mitchell created this album, Newtok - inspired by Cronin's Seen and Unseen series and the story of Newtok, Alaska. Mitchell is a multi-instrumentalist songwriter and producer from Chicago who has led numerous past projects in the Chicago DIY community including De Triomphe, New Color, and Whiskey Wise. He dove headfirst into synths in 2017 and adopted the electronic alias Dusty Patches. Dusty Patches released his debut project Filthy Four Track Machine: Volumes I & II (2018, Sooper Records), largely made with the Teenage Engineering Pocket Operators and OP-1. In 2020, he released Nocturnal Emissions from the Dablatory, his first project fully realized with modular synthesis. In approaching Newtok, Mitchell composed all of the constituent musical elements of the work and then recorded and live mixed the album during a single live performance on modular synthesizer. The album draws heavily on sprawling ambient synths, electric and acoustic post-punk guitar motifs, cryptic vocal sampling, vintage drum machines, and modular patches that often sound like birds or the sea. The subject matter of the album, the complexity of its arrangement, and its execution as a single live recorded performance makes Newtok a unique musical experience. About Newtok, Mitchell says: This record was an exploration of themes. When faced with the immense canvases Jen Cronin produced upon her return from the village of Newtok, one can't help but feel awe. With the sheer size of the works towering above you, you are compelled. There is overwhelming beauty, desolation, a sense of urgency, and a sense that it is, in fact, far too late. These visual themes, and the emotions they evoke, were connected to the sounds and compositions of this record. There is a coldness to the digital soundscape, but organic sounds of nature and humans tether and steer the album through a journey of musical storytelling. Newtok is a journey of musical storytelling about the tragedy of the Anthropocene in the age of climate change. FOR FANS OF: Mother Earth's Plantasia, Black Moth Super Rainbow, Boards of Canada, Bibio

The past few years have found Sean McBride, the artist behind Martial Canterel, in a state of flux, ebbing back and forth between material displacement and musical aestheticism. His expert pedigree in electronic sound and arrangement bridges the gap created by an undecidability between life at home and abroad His new album, Lost At Sea, is an attempt for the artist to locate this elusive common ground.The album's introductory track, Giving Up, has all of the hallmarks that Martial Canterel has utilized in the past_melodic chorus, upbeat rhythm and classic sequential dynamism. Where the song diverges is in its core theme of nature: nature's return to a period of restoration after the failures and recklessness of humankind.The slower pace of songs like Scampia and Puszta yearn for McBride's complex love affair with far flung destinations. Re-evaluating the political strife and social unrest in these historical locations, McBride delves deeper into political and geological reference points creating symbolic representations using mechanized percussion, white noise and various sine waves.The conceptual nature of Lost at Sea reaches even deeper depths within the waveforms of Astralize, a track based upon academic Donna Haraway's pre-civilized theories of human neglect after the `azstralization'.

Is Cory Okay? Opening on pads that sounds like a warm LA sunrise and bubbling with the characteristic dorky, oddball mawkishness that is Tungz 101, ‘Is Cory Okay?’ blossoms into a sugar-glass 80s pop ballad for the masculine mental health crisis. Quincy Jones guitars chip away at the soft underbelly of synth, shaping and modelling until sleek lines are established and the entire track becomes effortlessly aerodynamic. The lyric explores male anxiety disorder from the point of view of friends looking to alleviate the psychological distress of a protagonist who outwardly rejects the value of the support but internally begs for it to continue as he can see the light at the end of the tunnel. It’s yet another example of Tungz multi-dimensional approach to song writing, asserting theirs as an essential voice in 2023. Album: Dripping with licks so richly sophisticated they ought to have their own Beverly Hills postcode, Tungz debut album ‘A Good Dream’ mixes the emotional downer of chillwave with the rhapsody of disco and hits perfection. Across 11 tracks, Tungz access a dancefloor utopia, where a French house aesthetic lives out an opulent psych-pop fantasy; beautifully simple yet sneakily complex. Brimming with confidence, the collection not only fulfils the promise of Tungz early EPs, but asserts their multidimensional approach to song writing, confirming them as an idiosyncratic prospect within alternative music.

Under the alias The Rodeo, French artist Dorothée has been curating her discography since 2010. An exercise in self-exploration that her fourth album, Arlequine, refines and reveals with the confidence of someone who has cast doubt aside. With these nine baroque, complex and catchy French pop tracks, the singer-songwriter reveals her many faces. Truly multi-faceted, she is as much a performer on stage as she is an artist in real life. She toys with appearances instead of falling victim to them. Backed by a group of loyal virtuoso musicians, Arlequine marries melancholy and melodic clarity, anger and orchestral density, loss and pop idealism, in ambivalent songs with powerful choruses that paint a portrait of "a battle-hardened woman with a smile (...), a woman warrior with makeup" ("Arlequine"): resilient, resolute, reborn. The Rodeo has played all over the world (Europe, USA, Canada, Brazil, South Korea, Taïwan) and shared the stage with many artists (Salif Keita, Stereophonics, Villagers, Nada Surf, The Do, Kazu...). She"s involved in the European program Keychange for increased parity in the music industry.

Pals FM: Floor Materials Vol.2 is the second dance music compilation from WALLS AND PALS. The aim is to share various ideas of dance floors instead of lingering on a certain genre or style, and while being DJ Friendly, it also serves as an exchange ground where production techniques of artists co-exist. All four tracks in Vol.2 correspond with the common purpose of bringing out ‘Floor Materials’, keeping distinct identity from each musician. In ‘Cofrica’, rapper and producer Simo of Y2K92 injects his long-time affection of Detroit flavor into a minimalistic form. Conversely, DOTT from the Thai label More Rice brings intricate and complex rhythms centered around the step sequencer in ‘Antibody Movement’, walking a fine line between House and Techno while the essence of Tech House is preserved . And in ‘Pump It Up’, ACIDWORK demonstrates what the outcome would be when Electro runs through digital instruments and samplers. Last but not least, Seo John, who put out his first EP DIVE last year from the label GODDEZZ, follows up with ‘miQro’, creating a different side of Trance that is more adequate for clubs or concrete spaces rather than outdoor raves or festivals. In the same manner with the preceding release Pals FM: Floor Materials Vol.1, Vol.2 is a compilation executed by fellow Asian musicians across the region. Beyond the reopened borders, and just like the excitement and stimulus at unusual events, this compilation serves to contribute to the dancefloor as an interesting ‘Material’ than simply as a ‘Tool’.

Here it is; the second release on Hell’s Recordings

Known for their dynamic sound and complex song structures, De Beren Gieren deliver an extravagant blend of polyrhythmic soundscapes and elitist twists, showing an ability to change mood in a way that constantly holds the listener’s attention. They effortlessly shift from more rigidly styled compositions to improvised sections and thus reveal the pulsating and ominous futuristic sound of a new world.

Produced by Dijf Sanders and Frederik Segers, ‘Less Is Endless’ is an ode to a universe teeming with life. Seen as an extension to the critically acclaimed 2017 album ‘Dug Out Skyscrapers’, it searches for vents through which life can emerge and evolve. The secret of communicating creativity can be found in the cultivation of the unfinished; the missing piece of the puzzle tickles the imagination more than the perfect end result.

From the psychotropic opener ‘A Funny Discovery’ and off-kilter piano rhythms of ‘Animalcules’ to the impressionist melodies and harmonic soundscapes of ‘Tuin’, De Beren Gieren give the music the space to breath and grow with every unexpected twist and turn. Elsewhere, ‘Guggenheim House’ is a lesson in the avant-garde, while ‘Gentse Leugentjes’ is a far cry from the traditional piano-bass-drum set-up, before the affecting ‘Moments Never a Moment’ and 18-minute ‘A Random Walk’ is an adventure in improvisation and electronics that defies any logical convention.

Forming in 2009, Fulco Ottervanger (piano, fx, synths), Lieven Van Pée (double bass, electric bass) and Simon Segers (drums, fx) quickly built a reputation across the Benelux region with their ‘must-see’ live shows and have since taken their transcendental live energy across Europe, Morocco and Japan and have performed at North Sea Jazz, Jazz Middelheim, Trondheim Jazzfestival, Ljubljana Jazz Festival, Moers Festival, Gent Jazz, Kanazawa Jazz Street and Eurosonic.

The trio’s breakthrough came with second album ‘A Raveling’ (2013) which received rave reviews, and the following year, a live recording with Portuguese trumpet player Susana Santos Silva was released as ‘The Detour Fish’ (2014) on the Clean Feed label, gaining De Beren Gieren further widespread recognition. Their 2015 release ‘One Mirrors Many’ was lauded by Dutch magazine Jazzism and signalled the beginning of their electronic quest, finding its maturity in ‘Dug Out Skyscrapers’ (2017). In 2019, they celebrated their 10th anniversary, releasing the limited edition ‘Broensgebuzze EP’.

De Beren Gieren have collaborated with renowned jazz artists including Louis Sclavis, Ernst Reijseger, Joachim Badenhorst, Marc Ribot, Jan Klare and Jean-Yves Evrard.

Did you know Micheal "Eyedea" Larsen - one half of the progressive hip hop duo Eyedea & Abilities - once released a solo project under the moniker Oliver Hart? Fresh on the heels of winning three of the most notable MC Battles of the time - Scribble Jam (1999), Rocksteady MC Battle (2000) and the nationally televised HBO Blaze Battle (2000) - and the release of his debut album with musical partner DJ Abilities, First Born, Eyedea was inspired, intent, insatiable. He used most of his earnings from those MC battles and the group's rigorous touring schedule to build himself a home studio and teach himself how to record and mix records, and in less than a year's time, he returned to share the fruits of his labor. Originally released in 2002, The Many Faces of Oliver Hart or How Eye One The Write Too Think was written, produced, recorded and engineered by a 20-year old Eyedea (aka Oliver Hart). Featuring the songs "Weird Side", "Here For You", "Step By Step" and "Bottle Dreams", which Complex named as #11 on a list of the best songs ever released on Rhymesayers Entertainment, the album was a diverse body of work that demonstrated Eyedea could not be easily defined, nor should he be.

I Tried Words began with words, mostly words. Moriah Bailey laid the lyrics out on several pages. The words were crafted over many months with feedback from Bailey’s sister and input from the growing melodies and body of music that began to take shape around those words. The contributing musicians, Sarah Reid (violin), Ryan Robinson (percussion), and Ricky Tutaan (guitar), recorded their own parts and sent them to Bailey. The result is lush, intricate arrangements that complement a solid base of harp and vocals. The album explores dualities: yes/no, future/past, darkness/light, giving/taking, masculinity / femininity, wants/needs. It is in part about Moriah Bailey’s struggle to learn healthy boundaries but also about the harmfulness, complexity, and entanglement of many social boundaries. With I Tried Words, Bailey relies less on experimental sounds, and instead, lyrically focuses on her struggles to understand and make sense of definitions and expectations of femininity. It explores these themes through an intimate narrative of losing oneself in a relationship and struggling to find a way out of the relationship. The album ends with a triumphant goodbye and joyous new beginning in “Not Staying”. She sings: “I contorted my body and stretched myself thin to form a bridge between now and when. So, as I'm gathering my strength to say goodbye, please quit saying I should've tried

Utter presents the extraordinary audio-visual project 'SuperEverything*' by multi-media artists The Light Surgeons.

'SuperEverything*' is a live cinema performance piece that explores identity, ritual and place in relation to Malaysia’s past, present and future. Commissioned by The British Council in 2011, it was created in collaboration with a group of Malaysian audio and visual artists. Over the past decade, the project has toured to various film and new media arts festivals internationally.

'SuperEverything*' is a fusion of music, field recordings, documentary filmmaking and real-time moving image manipulation that together transports its audiences through a series of universal narratives; exploring themes of tradition and modernity, globalisation and development, race and national identity, to consumer culture and belief.

'SuperEverything*' surveys our human condition to reveal what unites and divides us. It weaves together a rich kaleidoscope of stories, sounds, images and smells live on stage. It is a truly immersive, cross disciplinary performative artwork that reflects on how our complex identities are formed through ritual in relation to our rapidly evolving physical and psychological environments.

'SuperEverything*' poses many questions about how people form a sense of identity in a world increasingly dominated by information networks and fast changing social and economic landscapes.

This limited edition vinyl and digital album features the nine original tracks that make up the musical score to this groundbreaking live cinema project, fusing traditional South East Asian instruments with field recordings, electronica and western classical string instruments.

Accompanying the record is a 24 page full colour booklet and double-sided poster, housed in a gatefold sleeve. The booklet contains quotes from the narrative interviewees whose voices are interwoven throughout the performance. These quotes accompany images from the production and performances to help illustrate the musical journey and allow you to contemplate the themes and ideas explored in this work. The poster design features a collection of filmstrips taken from the video material in the show with a single striking album image photo on the reverse.

The release is also accompanied by a previously unavailable film of the full live cinema performance recorded at Hackney Empire in collaboration with The Barbican in 2013.

WOLF PACK” is Livigesh's fifth album and his first album to be pressed onto vinyl. From the 2 years of making “WOLF PACK” Livigesh feels he grew as an electronic music producer and performer. To Livigesh, “WOLF PACK” seems like his first album. His drum programming has evolved into something more complex, and his use of musical elements have started to become more diverse and creative. These developments made “WOLF PACK” something that sounds familiar and alien at the same time.

Celebrating its one hundredth release, Black Truffle is honoured to present a major archival discovery: a stunning document of the only performance by the trio of Tony Conrad, Arnold Dreyblatt and Jim O’Rourke. Across a two-night programme organised by David Weinstein at legendary New York experimental venue Tonic in January 2001, Conrad, Dreyblatt and O’Rourke presented individual projects before performing a collaborative set each night, the first with members of Dreyblatt’s ensemble and the second the trio heard here. As Dreyblatt points out in the wonderfully informative and reflective liner notes written for this release, this was a collaboration across generations, reflecting the profound impact of Conrad’s pioneering minimalism on Dreyblatt and O’Rourke. Both Dreyblatt and O’Rourke came to this collaboration armed with a deep appreciation of Conrad’s music and the just intonation principles at its core, Dreyblatt having first encountered the incredible power of Conrad’s precisely tuned violin chords during his tenure as an archivist for La Monte Young in 1975, while O’Rourke had performed with Conrad in various settings since the mid-1990s (as well as admiring, reissuing, and performing Dreyblatt's music). The flyer for the concert promised ‘massive, ecstatic, pulsating overtones’, and the trio certainly delivered. From the moment this keening stream of bowed strings begins, it is clear, as Dreyblatt writes, that we are in ‘Tony’s sonic universe’, as massively amplified, slowly shifting combinations of precisely chosen pitches fill the room with complex beating patterns and ghostly difference tones. For more than twenty-five minutes, the music operates at a level of intensity comparable to classic recordings such as Conrad’s Four Violins, until the texture thins out slightly in the performance’s final quarter, allowing for the listener’s first recognition of the individual voices that make up this enormous, overwhelming harmonic edifice. The constant stream of bowed tones is broken by a beautifully rich pizzicato from Conrad on monochord, the sliding low tones and metallic shimmer of the other strings taking the set's final moments on an unexpected detour into spacious pastoral psychedelia.

Though produced by three individuals known for their own distinctive bodies of the work, this is egoless music, the perfect expression of Conrad's desire 'to move away from composing to listening', to 'working "on" the sound from "inside" the sound'. Historically important and overwhelming in sonic impact, this release also serves as a moving tribute to Tony Conrad from two musicians profoundly marked by the example set by his art and life.

As one of the three co-founders of Washington D.C. production and DJ trio Black Rave Culture, James Bangura is no stranger to situating electronic music within its most purposeful and potent contexts. With this new duo of tracks, however, Bangura taps into a deep, personal internality, metabolising visceral experiences and personal transitions into unexplored phases of his musical life.

The bass-forward “Harrar” is a complex organism which operates on two planes: a sweat-drenched 150pm symphony of synth pulses, fidgety percussion, shimmies and distorted vocals, that falls into lockstep with a
meditative, dubby bass tone that calmly swells and recedes. Emerging out of Bangura’s high intensity hardware jam sessions with friends and collaborators, both the depth and energetic fizz of “Harrar”’ are signified by its name, borrowed from Harrar Coffee & Roastery--a beloved Ethiopian coffee house and community meeting place in Washington D.C. that radiates warmth and familiarity.

“Witness Dub” occupies less of the senses, exploring a state of liminality through a contemplative deep house signature. Having emerged from an extended period of active duty in the military, Bangura had to navigate civilian life for the first time, causing him to process multiple culture shocks that stretched across culture, language, communication and identity. “Witness Dub” finds Bangura at this crossroad, juxtaposing the steady propulsion of kicks and drums with pensive minor key chords, as he begins to explore the other side of the self, letting the energy guide the music.

Scottish jazz trumpeter Malcolm Strachan releases his second solo album "Point Of No Return" on Haggis Records on 27th January 2023. A follow-up to his debut album "About Time" from March 2020 (also on Haggis Records), which received great critical acclaim and strong radio support across the globe. Once again, Malcolm delivers an album of original music written by himself and featuring material covering a broad spectrum of jazz styles. From modal jazz grooves to Brazilian samba beats, Latin rhythms to cinematic soundtrack vibes, and along the way, some beautiful ballads.

If the first album nodded slightly to mid-late 1960s classic Blue Note Records type jazz, this one is more reminiscent of the jazz fusion albums that Malcolms's jazz trumpet hero Freddie Hubbard recorded for the legendary CTI Records label in the early-mid 1970s. The same groove-based jazz where soul and funk beats are at the heart of the arrangement. Rock solid rhythms that allow complex horn parts and improvisation to float over the top with ease. The ensemble playing is strong and the leader's trumpet solos show why he's been one of the most in-demand session musicians in the UK for the last 20 years.

He's recorded and toured with the likes of Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jess Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds, Abstract Orchestra and Blue Note Records jazz saxophone legend Lou Donaldson. Of course, he's also a founder and existing band member of the UK funk kings The Haggis Horns.

The core band on "Point Of No Return" are musicians that Malcolm has known and worked with for over two decades, often in The Haggis Horns, and most appeared on the debut album. Those musicians making a welcome return are Atholl Ransome (tenor sax/flute), George Cooper (piano), Danny Barley (trombone), Courtny Tomas, (double bass), and Erroll Rollins (drums). Newcomers this time are longtime Haggis Horns guest percussionist Sam Bell plus special guest vocalist UK jazz singer Jo Harrop, who adds non-verbal Flora Purim style vocals on tracks one and three. Three tracks feature strings, arranged by Phil Steel, with all the strings played by Richard Curran. One of the tracks is the beautifully poignant ballad for strings and trumpet "The Last Goodbye" which could easily have come from a film soundtrack and where Malcolm digs deep into his love for jazz ballads in his solo.

"Point Of No Return" by Malcolm Strachan will definitely appeal to lovers of contemporary acoustic jazz with a classic jazz feel. For those who love the music of Blue Note Records and CTI Records and trumpeters Freddie Hubbard, Donald Byrd, Lee Morgan, Art Farmer, and Miles Davis. Without a doubt, it will be one of the standout UK jazz releases of 2023.

Hailing from Baltimore, Punjabi-American sitar player, songwriter and ambient musician Ami Dang unites the disparate worlds of Indian classical music and dreamy synth-infused song composition on beguiling new album The Living World’s Demands.

Envisioned as a lament to the challenges to which humanity has subjected the world and itself, Ami Dang’s newest album builds on the floating, blissful ambience of 2019’s Parted Plains and the vocal-led, pop structures of 2020 collaborative release Galdre Visions (a bona fide ambient supergroup also featuring Green-House and Nailah Hunter). The Living World’s Demands is an immensely evocative and expressive collection, just as complex, nuanced and precious as the living world in its title. Within are themes of trauma, survival, resistance, desperation and righteous vitriol, responding to greed, fear and injustice, yet the music is often euphoric, disarming and breathtakingly beautiful. Lilting sitar lines sparkle about an unpredictably broad spectrum of synthesis; Indian classical percussion rattles and snakes through its drum programming. And atop, Ami’s astonishing singing voice - with lyrics of English and Punjabi - deftly weaves her two worlds together with silken threads of both contemporary and traditional textures.

box-set clear / vinyl / 180 gr

The Stone Techno Series returns with another exciting compilation. This time alongside a new festival that celebrates forward thinking artists from 9th to 10th of July at Europe's biggest coal mine complex under the UNESCO World Heritage Zollverein. The project is exceptional at its core, bringing back excitement and inventiveness to the genre.

The project functions as a multidisciplinary ever-evolving experiment that brings different aspects together. Sampling, creating and releasing music made out of million years old inorganic materials which shaped and defined the Ruhr Area like nothing else. "Auf Kohle geboren - born on coal" stands for this region and the so-called "German Wirtschaftswunder".

The Stone Techno project wants to embrace the history of "the Ruhrpott" while looking into the future as well. Techno Music stands for upheaval and modernity, while coal is the symbol of the Ruhr Area. This unique project will lend audibility to the ongoing process of transformation in the cultural and natural history of this region. Science and museums crossing paths with contemporary electronic music culture.

The Stone Techno project is not shy of its obvious significance. World-famous Ruhr Museum and The Third Room collective mark a first of its kind of long-lasting collaborations between a techno brand and a cultural institution.

This time the project is conceptually going one step further: Before the final backfilling of the mine at Zeche Zollverein, the acoustic atmos

green vinyl / printed sleeve / 180 grams
Hadone's nine-track LP shares a first glimpse of his immersive 'Things We Never Did' concept.

November 2022 sees the inception of not only Hadone's first ever feature LP but also his artistically driven and expansive label project 'Things We Never Did'. Marking the first release on the imprint, 'What I Was Running From' spans nine individually unique records, including a special collaboration with friend and fellow French producer Askkin. One of the standout breaks tracks on the LP, it was the first track they made together.

A culmination of all things influential in modern underground techno, blending 4x4 raw techno tracks with more spirited melodic pieces, Hadone's debut LP is a telling celebration of several immersive sub-genres combined with his renowned sonic despondency. The result: a careful balance of richly electronic emotional cuts and racy industrialised techno with a gritty minimalist feel. "Not only the music is destined to evolve, but the whole environment that goes with it will be rethought on a recurring basis" adds Jeremy.

Title track 'What I Was Running From' was made after he finally found inspiration after the pandemic and was written in an hour. "I think my best tracks are made fast, as they don't reply in any intention but feelings only, therefore they are natural and reflect my true style" adds Jeremy.

Its fast paced bassline and jittery stabs, give the track a choppy break beat influenced vibe opening the album with true intent. 'What I Was Running from' offers a transcendental eye through the looking glass at a project that incorporates music, a digital interactive universe, a fashion collaboration with precocious
Parisian footwear brand Phileo. A creative collaboration which has resulted in a limited collection of 2 styles, available on both TWND's digital universe and Phileo direct.

For the 1st year designs, graphism by Raphael Clerget "leverages the power of art to underline the importance of saving our relation to time and improve focus." Raphael brings his vision of complexity and darkness through refined aesthetics carried out for the digital universe, label and merchandise.

Jonah David has been creating and releasing music as Fantasy Camp since 2012, when he began producing and making beat tapes at age 16 in small-town Pennsylvania. Now based in Wilkes-Barre, and 10 years older, David has built Fantasy Camp into a gothic dream pop powerhouse, celebrating his first label release with Casual Intimacy on Memory Music.

The record comprises seven tracks of bedroom-produced, universe-sized dream pop, lo-fi R&B, indie rock, and electro-pop that document the aftermath of a long-term relationship’s dissolution, and the complexities of dating outside of the parameters of traditional, long-haul partnership. Casual Intimacy captured that weirdness.

David grew up in Hamburg, Pennsylvania, and started Fantasy Camp as a faceless project to put out a massive collection of mixtapes and production work. Over the years, he built up confidence and desire for a different pace, and by 2018 started adding vocals to his work. Initially, he would record on his phone’s voice memos function and clean it up on his computer, but over the years he collected equipment to outfit a basic bedroom studio setup.

BLK ODYSSY seamless fuse Alternative soul with elements of 70s Rock & Roll into a new fresh sound. Front man, singer-songwriter & producer Sam Houston & Guitarist Alejandro Rios bring two opposite ends of the Music spectrum to one stage to deliver a sanctifying musical experience. Growing up in the urban city of Plainfield New Jersey, Sam was exposed to Neo-Soul, Funk as well as the Life lessons that brought this music about early on.