In Album experimental News

Experimental musician John MOuse releases album The Goat





John MOuse
has released his new album ‘The Goat’ via digital platforms followed by a physical vinyl release Keep Me In Your Heart Records. It is preceded by the lead single ‘Le Pigeon’.

When lockdown commenced John MOuse seized the opportunity to create a new album.  The concept behind The Goat, was to write, record and release a song on a weekly basis. Each song, accompanied by its own artwork was then uploaded to bandcamp.

Social distancing meant that the music for the album was created Lincolnshire by long term collaborator Phil Pearce and then sent to John in Cardiff who worked on the lyrics and vocal melody for each track. The result is a typically idiosyncratic and heart on its sleeve, electronic pop album, heavy on spoken word content and catchy chorus hooks, these songs possess musical hints of everyone from Adian Moffat, Momus to early Pulp.

The lyrical subject matter is varied ranging from fleeing from a pigeon on urgent first single ‘Le Pigeon’ (loosely based on Suskins novella The Pigeon) with its vivid stream of consciousness and chirruping synths. To fragments of bittersweet memories, witty imagery, despair not salved by defunct technology and Anne Summers parties. 

Ten tracks were completed and are now set for official digital and physical release on Keep Me In your heart records

“The Goat” is John’s fifth full-length album and his first since last year’s limited digital release of The Fen Sessions and 2018’s warmly received ‘Replica Figures’  which was described as "In turns touching, hilarious and heart-breaking" by Buzz Magazine and as "powerful stuff. Rentokil wouldn’t have a clue how to deal with any of this." Louder Than War. While 2014’s ‘The Death of John MOuse’  was praised by The Line of Best Fit and its brilliant lead single ‘I was a Goalkeeper’ featured Gareth from Los Campesinos, prompted Steve Lamacq to pronounce it ‘my new favourite football song’.   

John MOuse, real name John Davies has been described as ‘A Welsh Beck,’ under his previous incarnation JT Mouse he worked with Sweet Baboo (aka Steven Black) while in 2010 he scored a cult hit with a song about a gay romance with another duet, this time with TV presenter Steve Jones lifted from the acclaimed album ‘Humber Dogger Forties’. John MOuse has received airplay support from Huw Stephens on BBC Radio 1, Mary Anne Hobbes, Steve Lamacq, Stuart Maconie, Gideon Coe and Tom Robinson on BBC 6 Music and Adam Walton & Bethan Elfyn on BBC Radio Wales.




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In EP News

Experimental synth band share new EP



Dutch wave imprint Knekelhuis proudly presents De Ambassade's new 7” EP, ‘Standhouden’. On the Amsterdam band's third consecutive 7" for Knekelhuis, De Ambassade showcase their darker side, undoubtedly influenced by these current times.

These two anxious tunes - full of metal clanking, eerie synths, and rolling basslines - willingly veer into industrial territory, albeit with avant-pop leanings. De Ambassade will firmly hold their ground in the dead of night until the smoke clears and the agony of daylight returns.


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Premiere: Donor Lens shares ‘Shelves Stacked High’ from upcoming album, “Midnight Store”



Donor Lens is a duo of Thom (Love in Dust, Wichita LimeWire) and Jay (Kid Neon, Timeshare 94). They make both sample-free and sampled music across a variety of vaporwave and vw-adjacent styles.

Donor Lens return with the follow-up to their debut album Miracle Lounge.

On 25th March 2020, during the Covid-19 epidemic, the UK government ruled that off-licences were considered 'essential retailers'. "Midnight Store" is inspired by a real-life cornershop in Cardiff where the pair (along with MPF Co-founder Enzo) pick up their weekend beers. The music portrays an increasingly hazy evening, punctuated by return trips to the shop to pick up supplies.

The album blends UK dance rhythms with ambient works, eccojams and vapor-pop, sung by guest vocalists Jana Tyrrell, Azeem Shah and DATAGIRL. Field recordings collected in the Midnight Store and convenience shops across Britain, Hong Kong & Taiwan run throughout, lending a cinematic and documentary aspect. The record observes patterns of repetition in behaviour and branding, and the universal nature of our escapist rituals.

The album will be released on July 31st 2020 via UK-based vaporwave label My Pet Flamingo. It will be available on limited edition vinyl, cassette, MiniDisc and also a super-limited edition run of ZX Spectrum Next playable SD Cards - the first album to be released on this format. It was mastered by Angel Marcloid (Fire-Toolz, MindSpring Memories), and the art is by Tropical Virtual.

Enjoy the first listen of ‘Shelves Stacked High’ from “Midnight Store” and read on to get to know more about the masterminds behind the art.


What was your first entry into music appreciation? And music production?

Thom: As a kid, I studied classical clarinet and jazz drums, while also producing in toy DAWs (eJay, Magix & MTV Music Generator) and learning how to use a small collection of synths (Juno, SH-101) & Electribe grooveboxes that still feature in our productions today.

Jay: I started learning classical guitar when I was 5. I pretty quickly ditched that in favour of heavier tones - I mostly wanted to emulate the stuff I’d heard on the soundtracks to skateboarding video tapes. I was obsessed with rock/metal/emo for most of my teenage years, but was also learning Indian Classical music on sitar. I produced psytrance and drum n bass under the name Lysergic Pig before making synthwave/retrowave as Kid Neon (which I still produce as), followed by my vaporwave project Timeshare ‘94, which me and my brother Enzo (van Baelen) created in 2017.

What led you to the styles and sounds you work with today?

J: We take direct inspiration from the different genres we listen to and are involved in. For example, you can hear traces of metal/emo in my guitars, alongside more jazz fusion-y harmony from Thom. We keep an open mind and open ears. We’ll include whatever we think serves the track. Ideas can come from anywhere.

T: Vaporwave is a natural fit for us - it’s all about collaging disparate elements and challenging the audience to uncover references/make sense of it. I came across the genre as it was emerging in the early 2010s, largely through writers like Mark Fisher, David Keenan and Adam Harper - vaporwave sounds great when written about as there is so much potential for interpretation. Under the name Love in Dust, I made ambient/experimental productions that were referential and conceptual (essentially vaporwave), but mainly sat on hard drives and private Soundcloud pages. I hadn’t really thought to identify with vaporwave and broadcast the music to that audience until linking up with Jay and starting Donor Lens.

What key pieces of gear/software are you using to define your sound?

T: We work remotely between London and Barry in Wales, so software-wise, we’re very dependent on WeTransfer and Google Drive to send parts back and forth. It is an open secret that producers use YouTube-to-MP3 converters to pull sounds from obscure corners of the internet too. The Donor Lens sound is melding this modern ‘sound of file sharing’ (which we explore more ideologically in our Wichita LimeWire and Timeshare 94 side projects) with fairly traditional session musician skills. We both play guitar, drums and keys to a decent standard and like to blend original elements into a sample-heavy genre. We’re interested in capturing the sound and spirit of great records we’ve heard before, whilst hopefully contributing something new to the form.

J: Along with sampling and warping techniques, we almost always play keys, live guitars with occasional singing & sitar. We regularly collaborate with other musicians too, including Jana Tyrrell (vocalist) and Alister Wedderburn (fretless bassist).

How has your arsenal of equipment changed since you first started?

T: When we formed Donor Lens, I was building a small project studio and Jay was moving to Wales. Now we’re more settled, we’re able to make more use of bulkier hardware such as a Dave Smith Prophet. We like granular/micro-looping devices from Red Panda and Chase Bliss that can manipulate pitches and time in a way that is totally off-grid and playful. The iZotope Iris plugin is also incredible for sculpting improbable sounds - we’ve carved hidden messages or drawn shapes into waveforms before for no reason other than nobody else will have used that exact sound.

J: I’ve upgraded my studio since the first album. My main toys are a Korg M1, A MicroKORG and a Juno Boutique. I use a tele for guitar parts and there’s a Yamaha bass and beautiful sitar on hand. That said, a lot of tracks were sketched out on a laptop while riding National Express coaches from London to Barry. Looking ahead, we plan to incorporate our acoustic instruments (winds, drums, sitar) more into our sound and work occasionally in professional studio spaces.

What inspires you outside of music?

T: Most vaporwave music seems to be inspired by the internet or a mythologised past. Our music is about quite dumb/mundane things, as well as a few more profound ideas, all real-life and contemporary. We have tracks like ‘Zamoo’ and ‘Complimentary Buffet’ that are inspired by a Bethnal Green kebab shop with a bounteous salad bar. ‘One Stop Shop’ on “Midnight Store” reels off a list of cheap lagers we select from before watching Spurs games (we’re both big fans). But we’ve also got tracks about the alienation felt from conducting our lives through video conferencing software (‘Distant’), and the glamour/trudge of travel & commuting (‘Talking Alone’). I don’t think music inspired by boredom is inherently boring.

J: It’s a mixture of serious/silly with Donor Lens. Our new album is about an off licence round the corner from me where we buy beers from on the weekend, but it’s not a straight-up party record. For each new project, we build a world where all the sounds, lyrics and ideas fit the concept - a common fixation seems to be strange buildings and a sense of limbo/being in between places. 

We both have solo projects as outlets to explore ideas we wouldn’t normally in Donor Lens. Thom released an amazing album as Wichita LimeWire about breaking the family computer with illegal downloads in the 2000s. I make more plunderphonic sample stuff as Timeshare. Perhaps inevitably, some of these ideas and attitudes have since fed back into Donor Lens.

When you compose and produce tracks, do you make music for yourself or do you make it with others in mind?

T: When we made “Miracle Lounge”, we were unsure how it would be received and if it would be accepted ‘as vaporwave’. It’s since built up a small following and those listeners all have different favourites. It’s not possible to predict what our audience will latch on to - the only certainty is they want to be taken to unexpected places. “Midnight Store” introduces new elements such as harsh breakbeats, self-sampling plunderphonics, and pop ballads sung by guest vocalists Jana Tyrrell and DATAGIRL. Our focus when writing was purely on the world of ‘the midnight store’ - a surreal 24 hour shop, stocked with essentials and intoxicants. Now that’s it done and due for release, we can start thinking about the fans. We really hope they buy into this vision.

J: We work quickly and with a sense of urgency. Quite often, there’s an idea that needs to be immediately recorded. We’re constantly sending each other little ideas and snippets, and we’re always working on the next album or release. It’s often happening so fast we’re not thinking of much else, but I like the idea that people will listen to our music and feel something.

What is the best or strangest reaction you’ve had to your music this far?

T: We introduced our first track on the My Pet Flamingo podcast, a while before “Miracle Lounge” was released, and piqued the interest of a committed vapor fan from Crimea. When we released the record on Bandcamp, we sat watching copies fly off to Taiwan, Japan, Australia, Lithuania etc. on the homepage ticker. It was surreal to see, and apt given the record was about an inter-connected, international network.

J: We’ve nearly sold out of all formats of “Miracle Lounge”. It blows my mind that people are willing to invest in physical products when we’re told constantly that music isn’t worth anything any more.

What is your opinion on the ever-expanding genre tree? How do you navigate categorizing your creative output?

J: I think that people get too bogged down with trying to put music into different boxes. Just stop worrying about it and enjoy it.

T: That said, I think the fact there is a clear, identifiable community around vaporwave is one of its big strengths and proves it’s more than a trend or meme. The genre is able to accommodate wildly disparate artists like Winterquilt who makes MIDI black metal music, and kawaii future funkers like Strawberry Station. Vaporwave has largely resisted exploding into a genre tree unto itself, though we accept it’s a pretty niche branch to begin with. The parameters are determined by the community and it’s a massively broad church, with a few gatekeepers who try to shut down exciting new voices. They should be ignored. 

Do you consider the Internet and social media as fundamental in building a career in music today, and what is your personal relationship with the new technology at hand?

T: For our kind of music, definitely. Our workflow hasn’t been interrupted by the Covid-19 lockdown as we were already set up to work remotely and pitch our music to a very geographically diverse audience. Of course, there is something romantic about mysterious, anonymous producers like Burial/Zomby or early vaporwave producers with Unicode and Wingdings Bandcamp pages. But most musicians who fit this profile go completely unheard, and the success stories are reliant on huge strokes of luck or someone else doing social media promotion for them. It’s easy to rag on social media, but there’s an argument that to be truly DIY, you have to master it yourself.

J: Fans feel a lot closer to the artists and artists interact with each other as fans. There are
downsides to social media (and I miss my flip phone!), but it allows us to do what we do.

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

T: Well the big thing is the release of “Midnight Store”, our second album. Following that, we have a load of collaborations with other artists in the scene, and we have the mammoth task of scoring Nobody Here: The Story of Vaporwave, which is a feature-length documentary about the genre.

J: Yeah that is going to be our main focus for the foreseeable future. There’s a pop single out with Jana called ‘Negotiable Instruments’ and we’ve got ideas for our next album but more about that soon.


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In Album News Synthwave

Rising synthwave artist HYMR shares album news



Rising electronic artist HYMR is soon to release his latest anthemic, intimate, and powerful electronic album “Artificial Intelligence.” The twelve-track electronic release contains driving basslines, groovy beats, and atmospheric melodic elements. From the minimalistic and energy-filled “Polluted Planet” to the

emotion-packed, dark “The Dawn of A.I.”, HYMR delivers melodic bliss combined with ear-gracing instrumentation. Each track off the album will tell its own story and captivate listeners around the world. “Artificial Intelligence” highlights the inevitable path towards such technology. Through the music and tones, HYMR spotlights how it can help the human race, or destroy it. All in all, the album will put listeners in a state of trance with its organic sounds, dark tones, and melodies. HYMR fuses electronic, synthwave, and trance elements to make one perfect record. Through this grand, and message-filled album, HYMR continues to prove why he is a force to be reckoned with in the music scene.

“Artificial Intelligence” is set to release in all digital stores on August 1, 2020.




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In Album music video News

Band Korine share new striking music video for song ‘Fate’



Korine is a Philadelphia based electronic pop duo comprised of members Morgy Ramone and Trey Frye. The pair blends new wave nostalgia with a modern pop sensibility, contrasting upbeat rhythms against sullen, emotionally evocative lyrics. Following a self-released EP 'Corsage' in 2017, Korine debuted their first full-length record 'New Arrangements' in 2018 on Philadelphia label Born Losers Records which helped land the band multiple nationwide tours and two sold out vinyl pressings. Following this release were two acclaimed singles ‘’Uncrossed’’ and ’’To You’’ which were specially released on a limited 7” vinyl in the Fall of 2019, and marked a stylistic evolution for the band - a departure from the familiar 80s era influence to incorporate a more contemporary pop awareness. Korine’s forthcoming September 2020 release “The Night We Raise” shows the band growing even further into their own, both the songwriting and musicality more assured than ever, and will be released 9/4/20 jointly by Born Losers Records (US) Data Airlines (FR) and Other Voices (RU).


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In News Song

Experimental musician Lapalux share new music



Stuart Howard aka Lapalux returns on Brainfeeder with “Esrevoinma”, a six-track EP of “post-apocalyptic Eurorack mayhem”. The fruits of a couple months or so of “tinkering”—as Howard rather modestly describes his creative process—this sextet arrives as an extension of Lapalux’s latest album “Amnioverse”, a record that revolved around notions of fluidity; that birth, life, death, and rebirth is a never ending continuum. Described as an artist who “has always felt ahead of the curve” (Clash), “Amnioverse” was hailed as a “fluid, escapist gem” (The Line of Best Fit), and as the British producer’s “crowning glory and one of Brainfeeder’s most essential bodies of work.” (London In Stereo).

Introducing “Esrevoinma” is ‘51 Endless Pulses’—a cyclone of modular chaos that slowly builds, then whips past, faltering, before almost collapsing in on itself. It’s a stunning example of Howard’s highly textured, maximal electronica, and makes up one of the three brand new tracks on the EP alongside ‘Nebula’ and ‘Unfold’. Elsewhere Howard showcases a storming live rework of ‘Earth’ and alternate versions of album cuts ‘The Lux Quadrant’ and ‘Amnioverse’.

“Esrevoinma” is out on 3rd July on Brainfeeder. A video for ‘Earth (Live Version)’ will also be released that day.

A statement from Lapalux:

As a person that is white I have been afforded great opportunities to thrive in the music industry. I was given opportunities by black and ethnically diverse people to become somebody and have a voice. It is abhorrent that racism still exists in our society and the simple fact that opportunities that have been afforded to me may not be the same for someone else purely based on the colour of their skin or racial background is absolutely disgraceful.

Today I am announcing an EP called “Esrevoinma” there’s a couple of tracks that didn’t make the latest album alongside some alternate versions of tracks off of “Amnioverse”. Its release was planned many months ago. I don’t feel like it’s the right time to release anything in such a volatile landscape and I have personally stepped away from all social media for the past several months for my own mental health reasons but it’s a very important time in history and a time for us as a people to change and make a difference.

In light of the recent events all profits made on Bandcamp from this EP and ALL of my previous albums and EP’s on the 3rd of July will go to the various charities that are among some of the most prominent voices in the fight against racism and the fight for equal rights to people of colour. A list of charities I will be donating the money to are listed here: https://blacklivesmatter.com/partners/ I’ll also be donating some of the funds to the Stephen Lawrence trust here in the UK.





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In Album News

Experimental wave artist Discovery Zone releases debut album




New York born, Berlin based musician and film maker JJ Weihl released her debut solo record as Discovery Zone on May 22nd via cult Berlin label Mansions and Millions.

Her album Remote Control, with its palette of chimes, chirps and shimmers, is a glowing meditation on our contradictory moment in history. In her hands, the limitations of the default setting form a territory of unbounded experimentation, from the system-notification synth funk of “Dance II” to the trance incantations of “Blissful Morning Dream Interpretation Melody.”

There are bits of sound collage and a lot of operatic robot choirs woven through tight emotional electronic pop.

Weihl implements drum machines, vocoder, sound collage, theremin and electric guitar, creating a small laboratory both in the studio and on stage. The experimental aspects of Weihl’s music are reflected in the spectrum of playful aesthetics, maintaining a strong focus on emotional and accessible pop melodies. Nostalgia is mixed into more synthetic sound worlds, each song dipping into past and future sonic landscapes.

Live visuals and music videos are a big part of Discovery Zone. Presenting a wild curation of green screen, found footage, and original material, the visual palette is one of digital bricolage – weaving narratives out of youtube videos, personal beach vacation footage, television commercials, early computer animations, and 3d renderings. Utilizing sci-fi and lo-fi aesthetics in the deep web, the sonic and lyrical themes of nostalgia, paradox, love, physics and philosophy are further explored and enhanced by visual journeys through second life and the fun house mirror of the internet.

When music attempts to evoke the cutting edge, it tends to reach for newly synthesized tones, impossibly glossy, surreal, alien. But the future into which we have arrived is built of mass-produced sensors and microprocessors, the endlessly proliferating plastics that link us together in a superhuman web of communication and surveillance. Ubiquitous copies define our world as much as marvels of innovation do; the keyboard preset and drum machine default have just as much claim to being the sound of cybernetic pop as the algorithmic virtual instrument and the AI song writing tool. On Remote Control, Weihl lovingly reshapes these humble sonic elements with the assistance of producer ET and Fenster bandmate Lucas Ufo, a/k/a WORLD BRAIN.

At the midpoint of Remote Control, Weihl provides an instrumental backing to a dialogue between a siri-like robot named Sophia and one of her creators. We share with Sophia a certain existential uncertainty as we move through time. Like Sophia, we are confronted with the question of whether our mediated encounters with the world leave us the same as we were before, remake us, or leave us somewhere in between – still ‘Sophia’, yet “Sophia Again.” Do our expressions of wonder truly emerge from us, or are they programmed responses?

The cover of Remote Control is adorned with a holographic key. A fitting image for an album that plays with the idea and definition of what it is to be real. A holograph is both less and more than it seems. A mere surface containing the space it represents, at once illusion and real reproduction.

Influences and inspiration include Art of Noise, Laurie Anderson, Kraftwerk, Arthur Russsel, Mamman Sanni and Alice Coltraine.

Weihl is also a founding member of experimental pop band Fenster.

Track list:

1 Nu Moon

2 Dance II
 (2. Single - Focus Track, Mai)
3 Come True

4 Fall Apart

5 Sophia Again

6 Blissful Morning Dream Interpretation Melody
 (1. Single - 07. April)
7 Remote Control

8 Time Zone

9 Come Slow
10 Tru Nature

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In Album Ambient News

Multi-instrumentalist Frythm releases ethereal album, Flow

Image: Alex Casillas   

Los-Angeles multi-instrumentalist Frythm has released his album, Flow via SXN (a.k.a soulfulxnature). The producer has performed as support for musicians like Svdden Death, Slushii, Deorro, Daedelus, Great Dane, Sonnymoon, Huxley Anne, Astronautica, and Eureka The Butcher. His previous appearance at the Neon Desert Music Festival 2017, saw him performing with acts such as Migos, Foster The People, Khalid, Mija, and J Balvin.

Frythm speaks about the new album, "I spent weeks reading into the philosophy of "flow" after coming off a few months of writers block I entered a deep meditative state. I came back with a repeated voice inside of my head telling me to look within and let my body take full control of the creative process. I instantly began writing the record, just moving naturally not giving much deep thought or logic to the process of things, and just allowing it to just happen. This was the easiest time I've ever had writing a record and felt like everything came to be so naturally, The "Flow" album is conglomerate of my subconscious’s natural actions."

Frythm lets his creativity loose in his new LP, creating a fresh sound that is not clouded by fear of standing out.

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In music Music Producer New Song

Music producers Bing & Ruth release new song and music video 'Live Forever'



Bing & Ruth has released a second single, 'Live Forever', from forthcoming new album Species (out 17 July). 'Live Forever' is a kind of sonic meditation. At 13 minutes, it is the longest composition on Species, but a series of three rising notes at the end of each phrase suggests something like a song form at work - albeit one that has been greatly stretched out.

Bing & Ruth’s ringleader, David Moore writes, “depending on how you’re registering time ‘Live Forever’ tends to be either the longest or shortest track on Species. It is a very peaceful song for me, and lately, that seems to be what I’m most in need of. I hope you can find something in it for yourself.”

‘Live Forever’ is available today alongside visuals created by Derrick Belcham, who also directed the first Species single ‘I Had No Dream’. He says, “For Live Forever, I created a kind of light playground that David would have control over by placing a set of projectors in a large, empty, black room filled with haze, and creating a set of parameters that would change aspects of the light streaming from the projectors to cut three-dimensional figures in the haze. These parameters were then tied to a control interface that David could use to "play" the song visually as he listened to playback on the album track. I placed a camera in the light environment to give a POV, and David performed takes of the visual accompaniment which were then inverted and colour shifted to feed to a monitor in front of David and finally recorded live to the computer. The music video is an unaltered visual performance of the song with David at the controls of the system.”



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In experimental music New Song

Music producer ford. releases new song ‘Living, Breathing’



Foreign Family Collective affiliate ford. marks his first solo release of 2020 with single ‘Living, Breathing’, out May 14th.

A departure from previous releases, ‘Living, Breathing’ sees ford. shift towards a more complex electronic sound - while losing none of the understated emotional power that makes his music so special.

"This track came together last year when I was on the road with Maribou State. Fortunately, I got a couple of off-days near the end of the run in Seattle and was able to utilize FFC’s studio for a few days”, says ford. “I remember messing with a synth and laying down a bunch of random messy ideas, stretching sounds out, and trying a bunch of sample processing things I had never done before. After consistently being on the move, it felt so good to be able to wind down for a minute, take a step back from the shows, and just feel like I could sonically explore. That doodling eventually turned into what is ‘Living, Breathing’ today”, he adds.

Born in Paris to American parents, raised in Frankfurt, Switzerland, Singapore and now residing in Utah, 20-year-old ford.’s eclectic upbringing has been instrumental in shaping his musical perspective. Since signing with Foreign Family Collective in 2018, he has amassed over 25 million streams on debut album (The) Evening, secured spots on the Spotify Global Viral Charts and US New Music Friday, played Coachella and been hailed by Billboard as an artist to watch out for.

The release of ‘Living, Breathing’ comes during an exciting year for ford. His remix for  ‘SWIM’ by Mild Minds received a Grammy nomination for ‘Best Remixed Recording’. ford. also released an EP with GOOD COMPANY, a collaborative project with sonn and Hanz. Fellow producers that met in a Soundcloud Facebook group and became friends, the trio came together for the first time at ODESZA / Foreign Family Collective’s studios in Seattle to create an EP in just seven days.

Shifting his sound towards a new creative direction, ‘Living, Breathing’ is a sign of things to come for ford. Through his life experiences connecting with different cultures, ideas, languages, and people are felt deeply through ford.’s music -- a sound which even the most passive of listeners can hear and feel an emotive connection resonating throughout his music.


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