IDM and general experimental electronic artist Lusine’s latest release,Ā The Waiting Room, has officially released today! Ghostly International is among my favorite labels because their role seems to extend beyond just the music – it’s a genuine art house! The Ghostly brand is world renowned with creative director Michael Cina at the helm of countless Ghostly album covers and other pieces of artwork.Ā However, I digress…Ā The Waiting RoomĀ has revealed to be a very luminous and contradistinctive release with half of the tracks containing guest vocalists and among them Jeff McIlwain’s wife, Sarah McIlwain.Ā The Waiting Room flirts between Detroit techno, with album closer “February” not sounding out of place within a nightclub setting, and electro-pop with songs such as “Another Tomorrow” and “By This Sound” instilling an infectious beat within your conscience and these soulful, otherwordly, vocals in juxtaposition which just make you WANT to hit the club. I think I’ve got my point across though. For only $2 more at checkout, you can get the super limited edition gray 2xLP over the $20 regular black 2xLP. Check out “Another Tomorrow” below.
Limited edition Grey vinyl is exclusive to The Ghostly Store and limited to 250 units
2 x 12" standard weight black vinyl
Vinyl is inserted into white paper dust sleeves
Includes an 11ā x 11ā insert with a matte stock finish
2-panel art sleeve printed jacket with a 5mm spine on a matte stock finish
Includes download card w/ vinyl and download
Artwork and design by Michael Cina, photography by Lusine
Seattle-based producer Jeff McIlwain's work has long inhabited the fertile border zone between electronic pop and experimental electronic music ā it's a place that's home to music that has both a brain and a heart, and McIlwain's been exploring its boundaries for the best part of a decade now.
The Waiting Room is his third full-length release for Ghostly International under the moniker Lusine, and his first album since 2009's A Certain Distance. As with all McIlwain's work as Lusine, this is a record that's characterized by both diversity and coherency. Its tracks traverse a variety of sonic landscapes, from the widescreen atmospherics of appropriately-titled opening track "Panoramic" through the digital soul arrangement of Electronic's "Get the Message" and the club-friendly bounce of "First Call" to the slow-building Detroit-inflected closer "February".
But for all The Waiting Room's eclecticism, it's also notable that it plays out as a coherent whole, with McIlwain's deft production creating the sense of a single, logical journey ā an album, rather than a simple collection of tracks. It also continues the excursions into vocal-led tracks that characterized A Certain Distance ā exactly half of The Waiting Room's ten tracks employ vocalists, most notably the aforementioned "Get the Message," wherein guest vocalist and wife Sarah McIlwain makes Bernard Sumner's words her own: "I don't know where to begin / Living in sin," she sings calmly, "How can you talk? / Look where you've been."
As a whole, this is an album that's both cerebral and visceral, a record that's both rewarding of a serious headphone session and also warm and melodic enough to make listening as engaging in an emotional sense as it is in an intellectual one. Many artists flirt with these two extremities of electronic music; few tie them together as well as McIlwain does.
- Maybe Buy
- Not My Style
- Too Expensive