Electro – Page 11 – 7th Level Music

“We Like” Pierre Kwenders’ new single.

Pierre Kwenders, the Congolese-born, Montreal-based musician, songwriter, and DJ whose “every song summons an international midnight” (The New Yorker), returns today with the announcement of Tears On The Dancefloor (out 2/26 on Moonshine), his new EP and first new project since the release of his widely-praised Polaris Music Prize-winning album, the “fluid, immersive” (Rolling Stone) José Louis And The Paradox Of Love. In conjunction, Kwenders presents the EP’s lead single, “We Like” (feat. Poté).

Tears On The Dancefloor is Kwenders’ heartfelt ode to the club, a testament to the power of music as both a sanctuary and a space for self-expression. A shift from the big-picture ambition of José Louis And The Paradox Of Love, the new project is an intimate exploration of human connection, exploring intricate themes of love, vulnerability, and self-discovery. The tracks across Tears On The Dancefloor are a reflection of the personal and collective experiences we all share as we navigate love, joy, fear, and growth, inviting listeners to immerse themselves in the emotions that arise when we connect with others and with ourselves, creating a space where emotional depth and freedom collide.

With mixing and mastering by Pascal Shefteshy (Moonshine, Kroy, Vanyfox, Sébastien Tellier), Tears On The Dancefloor features collaborations with heavyweights of the Afro-electronic music scene, including, Gacci, Poté, Vanyfox, NegoO, and Dogzout. “I’m honored to have collaborated with some of my favorite DJs and producers who have graced countless dance floors,” Kwenders says. “Additionally, the incredible vocals of Pierre Lapointe, Lady Donli, Mopao Mumu, and Pony bring life and depth to this project. Together, we embark on a journey through the dance floor, exploring our innermost selves and emotions until we ultimately reach a place of freedom.”

Lead single “We Like,” which features the St. Lucia-born, Paris-based electronic artist Poté, is a rallying cry for unity— a song for connection and celebration. In Kwenders’ words, the track is “an anthem that resonates with the call for love, comfort, passion, and togetherness—this is a song for freedom! It captures the essence of our shared humanity, inviting us to unite and celebrate our connections. We’re excited to embrace this message and let it inspire us as we navigate life together!”

Listen to “We Like” (feat. Poté)

Born José Louis Modabi in Kinshasa, Democratic Republic of Congo, Kwenders borrows his stage name from his late grandfather, a widely respected businessman and community figure. Following his mother’s footsteps, Kwenders immigrated from Congo to Montreal in 2001. His debut album, Le Dernier Empereur Bantou, was released in 2014, followed by MAKANDA at the End of Space, the Beginning of Time in 2017. Both albums garnered acclaim and earned Kwenders nominations for the coveted Polaris Music Prize. In 2022, Kwenders returned with José Louis and the Paradox of Love, a culmination of the personal growth and musical dexterity he’d honed over the years, converging his strong songwriting capabilities with the bravado he possesses as a DJ. The album was met with widespread praise from the likes of The New York Times, New Yorker, NPR’s All Things Considered, Rolling Stone, The FADER, MOJO, The Guardian, Bandcamp, and beyond, ultimately taking home the Polaris Music Prize for Canada’s Best Album. In 2023, José Louis and the Paradox of Love was shortlisted for the Juno Award for Global Music Album of the Year.

“This journey through sound encourages us to embrace our feelings, celebrate our joys, and confront our fears, reminding us that the dance floor is not just a physical space but a sanctuary for our souls. In every beat and melody, we find an opportunity to reflect, heal, and connect on a deeper level.” — Pierre Kwenders

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Review: Rontronik – Zero Nine

Ron Croudy, otherwise known as Rontronik, has been crafting soundscapes and experimental electronic music for a few years now, and his latest album, Zero Nine blends lush atmospherics with field recordings and even dance beats.

“Zero Nine One” layers birdsongs over day spa synths. “Zero Nine Two” is like being a long tunnel while riding in a neon-accented car driven by a robot. “Zero Nine Three” is like following a falcon in flight over a desert and around a giant red rock formation before it lands to face the rising sun. The rattlesnake beats at the end of it become industrial crunch doubled with throbbing bass on “Zero Nine Four.” It’s jarring at first, but it becomes somewhat hypnotic.

The first half of “Zero Nine Five” continues the industrial feel, but it switches to trip hop in the second half. “Zero Nine Six” is a calm track perfect for meditations with floating, lava lamp synths that take their time to massage you. If that doesn’t work, then the final track, “Zero Nine Seven,” will because it’s over nine minutes of birds singing and a river flowing across smooth rocks that lead into synths that sound like they were recorded in a mountain temple somewhere.

It’s a lush record, and one you’ll probably pull more from with each listen.

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Jaco Jaco announces his new album, “Gremlin,” and releases its first single – “Woman.”

Jaco Jaco — the project of Philadelphia-based musician, visual artist, and former member of beloved indie-rock trio Sports, Jacob Theriot — announces his new album, Gremlin, out March 21st, and shares its lead single, “Woman.” The music Theriot makes as Jaco Jaco straddles genre: a little funk, a little psych, a little dreamy 70s AM rock. The follow up to Jaco Jaco’s 2024 debut Splat, Gremlin is a playful, elegant record that isn’t directly inspired by the movie Gremlins, but honors the movie’s use of kitsch and camp to explore a prevailing mood of irreverence and introspection. “This record came from a somewhat confused and lonely state of mind,” says Theriot, “It’s a journey through reflection and longing for something real—an inner dialogue giving me advice on navigating life when it feels like it’s working against you.”

Following last year’s Brazilian Jazz-funk-inspired “Favorite Kind of People,” “Woman” is anchored by slick, wet bass, bright guitars, and light distortion. The lyrics are abstract, but behind that abstraction, there’s something deeper: an exploration of the complexities and nuances of relationships. It is a meditation on honesty and acceptance, being real with yourself, and being real with your partner.

Recalling the song’s creation Theierot says “‘Woman’ was one of those rare, serendipitous type songs that just kinda happened. Everything fell into place pretty quick, lyrics and all. I played guitar along to some random breakbeat and out came the guitar riff(s). I was big into Black Messiah (D’Angelo) at the time, so that influence may have seeped in a bit, maybe? No comparison though, of course. I just wanna be like Pino Palladino when I grow up.”

Stream “Woman”

Hailing from Tulsa, Oklahoma, Theriot began writing and recording music in grade school with his brother and childhood friend. The musical relationship eventually resulted in the band Sports. After three successful albums and international tours with Sports, Theriot then decided to venture out on his own, using all of the skills he learned as a producer and composer to breathe life into something new.

Gremlin, above all else, is a mature work from an artist who has been perfecting his craft for his entire life. It’s also a visual marvel that is aesthetically inspired by the early ‘90s sitcom “Dinosaurs,” Les Blank docs, and the world of alternative comic books. Theriot is thoroughly enthralled by the extremes of both “absurd cartoons and animatronic puppets,” lending even more of the prevailing feeling of playfulness throughout the artwork. Gremlin is a seductive record, beautiful and meticulously arranged. “It’s written in the third person,” Theriot says, “but really it’s in the first person. It’s a form of therapy. It’s like journaling.”

Stream “Favorite Kind of People”

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The Faint release previously unheard single, “Zealots.”

Before Electroclash and the wave of 00’s Dance-rock there was The Faint, emerging in the late 1990s in Omaha, Nebraska—a place known more for stoic practicality than synth-punk. In that unlikely setting of beige restraint, they pioneered a sound that combined the melodic essence of new wave, the raw edge of post-punk, and the robotic futurism of Detroit electro. Breaking free from indie rock’s humble comfort, they arrived armed with synths, dark eyeliner, and a raw, frenetic energy that dared audiences to actually feel something real, somethingprimal. The late ’90s and early 2000s indie scene was overdue for a shock, and The Faint delivered—not just as a band, but as an invitation to cast off coolness, to sweat, to move, and to live fully in the moment.

Onstage, the band turned every show into a raucous dance party. In a time of understated guitar rock, flannel shirts and torn blue jeans, their DIY foot-controlled lighting rig and all-black wardrobe was eyebrow raising. Behind unironic smoke machine clouds, keyboardist Jacob Thiele’s priest collar lent an eerie vibe while frontman Todd Fink delivered a fractured vision of a hyper-sexed cyber dystopia. The electro-punk beats of his brother Clark Baechle supplied the pulse and energy, and later, death metal guitarist Dapose infused a raw tension with his howling atonal guitar work. It was clear that this was more than a nostalgic nod to the 80’s. It was a spark from theunderground, foreshadowing an era of dance-oriented indie music that is still reverberating in the work of some of today’s most vital emerging artists.

The distinctive, synth-driven sound that brought The Faint to wide acclaim first surfaced on 1999’s Blank-Wave Arcade. The album was raw and daring, striking its own chord between early synth-pop pioneers (The Human League, New Order) and more recent heroes like Fugazi and Sonic Youth. The band’s blend of new wave, and DIY post-punk was trailblazing, and when the new millennium dawned that sound took hold of the zeitgeist, launching the band to new critical commercial peaks. 2001’s now classic Danse Macabre found itself scratching an itch that many indie rockers didn’t know they had. Wet From Birth followed in 2004 with its unusual electro-orchestral arrangements, cementing The Faint’s reputation as pioneers of the indie synth scene.

Today, 25 years removed from its release, The Faint are returning to announce a reissue of Blank-Wave Arcade, and Wet From Birth, which just celebrated its own 20th anniversary. Both reissues will arrive on the band’s longtime label home Saddle Creek on March 14th. This will be the first time that The Faint’s full catalog has been available on vinyl. To mark the announcement the band are sharing an unreleased Wet From Birth-era track entitled “Zealots,” and and accompanying remaster of Wet From Birth track “I Disappear.”

Fink says of “Zealots”:

“This song came from a dream Jacob had (our late keyboard player). In the dream, people were chanting, “You will know we are zealots by our guns,” . The lyrics are about the paradox between Christianity’s core message of love and the obsession with guns among some of its followers.”

In celebration of these reissues, The Faint will be embarking on extensive touring throughout 2025. Full details of those dates can be found below.

Tour Dates

Mar-21 – Santa Barbara, CA @ SoHo

Mar-22 – Las Vegas, NV @ Backstage Bar & Billiards

Mar-24 – Tucson, AZ @ 191 Toole

Mar-25 – Santa Fe, NM @ Meow Wolf

Mar-27 – Tulsa, OK @ The Vanguard

Mar-28 – Kansas City, MO @ Warehouse on Broadway

Mar-29 – St. Louis, MO @ Delmar Hall

Mar-31 – Cincinnati, OH @ The Ballroom at The Taft

Apr-01 – Detroit, MI @ El Club

Apr-03 – Omaha, NE @ The Waiting Room

Apr-04 – Madison, WI @ Majestic Theatre

Apr-05 – Des Moines, IA @ Wooly’s

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Joan Arnau Pàmies brings us a hopeful new single – “Esperança.”

Joan Arnau Pàmies is a composer, producer, and multi-instrumentalist who was born in Catalonia. His career spans fifteen years of highly diverse work, encompassing live electronics, acoustic instruments, unusual forms of music notation, electroacoustic pieces, and free improvisation. An artist who unhesitatingly walks uncharted aesthetic paths, Pàmies has never been comfortable working within the boundaries of specific musical genres and traditions. For him, music is a liberating space where elements of classical and electronic music, free jazz, modernism, noise rock, and experimental music coexist and can be combined to generate unique results.

Today he announces his new album Guidelines/Fonaments, set for release on April 4th via Protomaterial Records, a label he founded in 2022. On the new album, he weaves together influences that have shaped his artistic voice over the years, from classical and modern music to jazz, from glitch to avant-garde pop. It balances structure with freedom, precision with spontaneity, and reflects a commitment to creating music that engages both intellectually and emotionally.

The first single “Esperança” is out today, which features the vocals of Martina Perpinyà, a former student of Pàmies, over heart-beating electronics that provide a comforting backdrop. In Catalan, “esperança” means hope, and “this song is precisely about that,” Pàmies says. Spoken from the perspective of humanity, the words suggest that humanity will prevail.

Listen to the new track on YouTube, and pre-save the album here.

Guidelines/Fonaments represents a significant moment in his artistic journey as a composer and performer, blurring lines of solo piano music, ambient, contemporary classical music, and free improvisation. “It is an intensely personal exploration, inviting listeners into a meditative state to reflect on the synthesis of diverse sound worlds and experience yet-to-be-known aesthetic perspectives,” he says.

Pàmies was introduced to music at a very early age. At home, his father, a professor of Catalan literature, would often play records by Miles Davis, Lester Young, the Academy of St Martin in the Fields, and Glenn Gould. At age three, his mother, a public school teacher, gave him a toy saxophone as a birthday gift. A few years later, Pàmies started learning the piano at a local music school.

His artistic journey has thus far unfolded in three distinct periods: his youth in Boston, where he was shaped by the Second Viennese School and early modernism; his graduate studies in Chicago, where free jazz, improvisation, and extremely demanding music for acoustic instruments informed his approach; and now, a return to his homeland of Catalonia. This current period represents a creative maturity, where he performs his own music and integrates improvisation and electronics into his practice.

He adds some additional background on the new album: “The album’s title, Guidelines/Fonaments, reflects the principles I’ve developed since returning to Catalonia—foundations for what I see as a groundbreaking evolution of my aesthetic. The bilingual title—in English and Catalan—is deeply personal, a reflection of my own life (my wife is American and my kids are dual citizens), and a metaphor meant to express how I see music: a historical product in constant struggle between past traditions and present aesthetic concerns. The pieces that form this record are my “guidelines” as well as my “foundations”: they present ideas that have been important to me for many years but also show new principles upon which to create future music.”

Pàmies performed, recorded, produced, mixed, and mastered Guidelines / Fonaments himself, ensuring that every detail reflected his vision. It was created in the span of four years, during downtimes between parenting, composing, performing, and producing for other artists. The album was recorded in a wide variety of places, from apartments where he had lived to professional recording studios.

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Kinlaw takes a “Hard Cut” out of you on her new single.

Kinlaw is an artist. She’s an opera singer, she’s a choreograhper. She’s a performance artist, she’s a student of psychoacoustics and neuropsychology. She’s not a dancerwho happens to make music. She’s not a composer who happens to have a movement practice. All of her work is connected, completely symbiotic, ruthlessly in conversation with itself, focused on community. She’s been living and working in New York City for over ten years, popping up as a member of several notable musical projects, while earning commissions from institutions like the MoMa Ps1, Pioneer Works, and the New Museum, and working on performance pieces scored by SOPHIE, Caroline Polachek and Dev Hynes among others.

In 2021 she released her first album under the Kinlaw name, an album called The Tipping Scale, which earned comparisons to Jenny Hval, FKA twigs, and Cate le Bon from Pitchfork, and 4 years later she is returning to announce her sophomore LP gut ccheck, which will be released on 3/21 on Bayonet Records. To announce the record she is sharing its first single “Hard Cut” along with its accompanying video.

Kinlaw says of the track:

“The song is about conditions and extremes. It’s about being fed up. Ultimately, it’s a song that’s about aggressively choosing yourself and offering that permission to the listener.”

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Molto Ohm releases “Sponsored #1” from his upcoming album, “FEED.”

Matteo Liberatore, an artist and composer who has become a fixture in New York City’s experimental and intermedia art scenes over the last decade, today announces the debut album from his audio-visual electronic music alias Molto Ohm. After introducing the project with live performances at DIY spaces, art venues, and music clubs—often collaborating in duos with artists like Taja Cheek (L’Rain), More Eaze, and Ka Baird—Liberatore is set to release FEED on March 21 via New Focus Recordings.

On the work, Molto Ohm presents his thesis: “FEED aims to capture the fragmentation and alienation of modern life, an exploration of ambition, consumerism, purpose, intimacy, and self-awareness, juxtaposed with a longing for calm, joy, and human connection.”

Alongside the album announcement, Liberatore is sharing the project’s first-ever released track, “Sponsored #1,”which serves as a captivating entry point into Molto Ohm’s idiosyncratic and concept-driven world. The lead single delves into the commodification of self-care, where the quest for mental well-being is shaped by algorithms and consumer-driven promises of a better you. Beginning as a blissful electronic track overlaid with a voice that sounds dialed in from a meditation or self-help app, the track shifts into uncanny territory, magnified by Liberatore’s video, which splices together footage of faux advertisements for a dentist along with shots of smiling individuals and an unsettling last 20 seconds.

In FEED, Molto Ohm urges us to confront how capitalism’s relentless drive to commodify everything has left many subjugated by the promises of an unattainable life. Advertising, consumer technology, and the culture of self-optimization dangle visions of happiness, peace, and prosperity. Deep down, we know that these promises are often hollow, designed to sustain an economy where alienation and dissatisfaction drive consumption. Yet, the pull remains powerful, leaving many feeling estranged from themselves and their world.

FEED examines the battles between material comfort and bodily alienation; ecstasy and ennui; engagement and weariness by recontextualizing familiar signifiers: heavy dance beats, glitchy effects, connection static, motivational speeches, sales pitches, podcast-like confessions, and (faux) ads. The sonics span EDM and abstraction; snippets of yearning songs flash by, and dissonance interrupts lulls. Commanding synths shimmer and stab, while wavy melodies offset the tension. Wistfulness is ever-present, Liberatore conveying that something is being lost. The music looking to a new paradigm.

As an immigrant that moved to New York from a small village in central Italy, Liberatore experienced the cultural shift of transitioning from a stereotypically quiet and idyllic place to the world capital of art and capitalism. After more than a decade in New York and the absorption in the experimental music world (with albums and countless collaborations with Mark Kelley, Elliott Sharp, Taja Cheek, Gold Dime, Amirtha Kidambi, Ava Mendoza, Brian Chase and many more), Liberatore felt the urge to come to terms with his hybrid existence, reconnect to his lost teenage years overseas, the love of Italian pop music, 90s Eurodance nostalgia, small manual cars, the waveless Adriatic sea, and to make sense of this constant feeling of unrest and race towards an elusive, imagined destination.

Liberatore anchors FEED’s production in a loud, contemporary style that marries hyperpop energy and festival friendliness, complicating it with atonal timbres, environmental sounds, and human voices. The music morphs and shifts. The quiet moments are brief and artificial; soulful warmth flickers; noise bursts through, disrupting the transmission. Maybe we can still push back against the corporate machine and retain a hint of autonomy, imperfection, and organic beauty. The inclusion of a Mark Fisher quote in track nine, “After All (Mark)” is fitting. “After all, what could be more shattering, unassimilable, and incomprehensible, in our hyper stressed, constantly disappointing and overstimulated lives, than the sensation of calm joy.” Like the critic-turned-theorist, Liberatore confronts shattering and incomprehensible dread in our overstimulated lives, where even “calm joy” has been heavily commodified and sold to the willing bidder, leaving no escape for the soul.

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Four Seconds Ago releases “Bump the Lamp” from upcoming album due February 21, 2025.

Four Seconds Ago, the electronic duo featuring Periphery’s Jake Bowen and Misha Mansoor, return with 1000 Needles (February 21, 3DOT Recordings), a continued exploration of analog synths, spacey dynamics and otherworldly ambient melodies.

“Four Seconds Ago, aside from being a fulfilling outlet creatively, is also just a lot of fun,” Mansoor shares. “Jake and I have always had a blast writing together, and our explorations in electronic music are no exception. The sessions often feel like a good hang where songs magically materialize before our very eyes. To some degree we started Four Seconds Ago as an excuse to learn how to make this kind of music. Now I think we are able to use it as a genuine form of expression. We are very proud of this album, and we really hope you enjoy it.”

A preview of the album is available now with today’s release of a two-song digital single featuring “Bump The Lamp” and “Muse” (listen here).

“When we started ‘Bump The Lamp,’ we got momentum,” Bowen explains. “Every album needs a song to set the pace, determine the vibe, and kickstart the writing, ‘Bump The Lamp’ was this song for us.”

Album pre-orders, which include limited-edition vinyl and a 1000 Needles t-shirt, are available now: https://go.mhe.fm/FSA_1000needles.

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Dez Dare shares his new single – “Brutalised Robotics.”

Dez Dare launches into 2025 with a new single, “Brutalised Robotics.” On this track, Dez draws parallels with how humanity exploits technology compared to howt hey treat all living beasts… What is consciousness? What is success for an organism?Dominance or longevity? One day all sentients will eventually pry the foot from their neck.

Dez Dare (AKA Darren Smallman of labels God Unknown, BATTLE WORLDWIDE, Low Transit Industries, and bands Thee Vinyl Creatures, The Sound Platform, Warped) grew up in Geelong, Australia, where he became involved in the local punk and rock scene in1990. Sharing stages with the likes of 5678s, Cosmic Psychos, Fugazi, The Dirty Three. and the Hard-ons, before shifting his focus to running record labels. In the 2020s, we see Dez Dare take form in a spare room in Brighton, UK, where Dez starts building his own studio and producing music and videos that have been described as “sounds like MONSTER MAGNET and DEVO caught in a drug bust… highly unique and highly recommended” by MAXIMUM ROCKNROLL [Nick Odorizzi] to The Wire’s Edwin Pouncey “dynamically armed with a ten-pronged set of lyrical barbs and musical hooks that, once heard, sink deep and hold fast” to Crossfire Metal “minimalistic, electronic, psychedelic, hippie poop, that is only bearable with a hell of a lot of acid, angel dust and LSD”. On this single, Dez is joined by Laura Loriga on backing vocals, expanding on the sound of previous records and adding a new dimension to his trademark weird-n-roll.

Keep an eye on dezdare.com for all the release and touring news for 2025.

‘Brutalised Robotics’ is out 24th January 2025 via God Unknown Records. Listen + pre-save the track + watch the video.

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OHYUNG’s new single is “No Good” (but it’s actually pretty good).

Today, OHYUNG—the solo project of Brooklyn-based musician and composer Lia Ouyang Rusli—announces their new album, You Are Always On My Mind, set for release on March 28 via NNA Tapes & Phantom Limb. A striking work of trip-hop-laced, rave-inspired electronic pop, the album explores Rusli’s gender transition, marking another bold reinvention of their ceaselessly shapeshifting project and their most cohesive, accessible statement to date. In their own words, OHYUNG describes the record as “my trans self and my former self in conversation, from both perspectives.”

You Are Always On My Mind captures their lengthy, complicated, but crucial journey between lives, strewn with both doubt and excitement. It is an ecstatic, pop-oriented shift in direction from an artist primarily known for electronic music, noise, hip-hop, and ambient, but carried with sleek confidence, maturity, and a silvery, hallucinogenic shimmer that reveals Rusli’s expansive sonic background. It is, writes Rusli, “sometimes written from a dark place and other times from a place of happiness.” Throughout, darkness and light rise and fall in layers of phased strings, trip-hop drum production, and earworming vocal lines.

Alongside the announcement, OHYUNG shares the lead single “no good,” which arrives with a video by the rising directorial talent day.The video features OHYUNG in varying forms—the bride, a statuesque scarlet diva, and a rave girl in biker boots performing in an empty warehouse—each echoing the others through choreographed movements. The hazy pop song is an anthem about the contradictory fear of becoming the person you’ve always wanted to be, and an ode to the transformative possibilities of raving. Images of liquid, morphing metal evoke the metamorphosis at the heart of the album, and the video closes with the poem “Do You Think I’m Disco” by Olivia Sio Tse, immersing the viewer into the interstitial and wordless space that the club offers us all: “There before I was there / I wanted you to imagine.”

WATCH/STREAM “NO GOOD”

A film score composer by trade, Rusli’s songwriting craft is meticulous and nuanced. You Are Always On My Mind was, perhaps surprisingly, formed primarily from processed “generic string loops” found in online sample packs—a strange and willfully jarring reminder that what seems to be is not always what is. Recontextualized, these string loops enshadow the simplicity of their origins, revealing a grace and purposefulness perhaps not even imagined by their authors, subtly drawing out euphoria and tension in equal balance.

Rusli also writes about the influence of rave culture central to their transition and the record’s production and themes. “It’s a declaration of love for raves and the dark hazy rooms that helped me to be free and true with myself—seeing other people who are so free and beautiful and thinking that one day that can be me— that’s me in the future.” But there is also a fear and unease present. Lead single “no good” explores “the worst version of myself as a trans person, feeding doubt to my pre-transition self” with its core lyric “anyone can see / I’m no good for you,” delivered over a relentless beat, swooning strings, and glistening synthesis.

A vital and standout voice in the New York City music scene, OHYUNG has consistently pushed boundaries with their work. Their debut album, Untitled (Chinese Man with Flame), released by Deathbomb Arc, and its follow-up, PROTECTOR, released via Chinabot, are extraordinary cross-genre collisions featuring distorted 808s, pitch-shifted rapping, frenetic pop energy, and eclectic electronic loops. In 2022, OHYUNG sidestepped expectations with a monumental two-hour ambient opus titled imagine naked!, which was highly lauded by critics, includingThe Quietus, who described it as a “masterful selection of muscular, shuddering, trembling ambient excursions,” and NPR Music hailing the record as one of the best albums of 2022.

You Are Always On My Mind arrives as Rusli’s prominence as a sought-after film composer continues to rise. Their recent scoring credits include A24’s Problemista and HBO’s Fantasmas by Julio Torres as well as Happyend by Neo Sora (son of the late visionary composer Ryuichi Sakamoto). Elsewhere, Rusli’s film work includes Miles Warren‘s critically acclaimed Hulu film Bruiser and Shatara Mitchell Ford’s Test Pattern, which earned nominations at the Gotham Awards and Independent Spirit Awards. Additionally, Rusli has scored the short film Bambirak and Rest Stop, which won Jury Awards for International Fiction and U.S. Fiction, respectively, at Sundance.

To celebrate the release, OHYUNG will host their New York City album release show at Market Hotel on March 28, joined by Dreamcrusher and Holland Andrews. Find details and tickets here. Listen to “no good” above, pre-order You Are Always On My Mind below, and stay tuned for more updates from OHYUNG coming very soon.

PREORDER ‘YOU ARE ALWAYS ON MY MIND’

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