Misticeti Dials in on Influence and Attitude with Signals EP

Authored by Alyssa Barnhill

nspired by the songs of baleen whales migrating through the pacific coasts of Columbia, Juan Manuel Vasquez’s Misticeti project mirrors the pulse and breath of his marine counterpart. His debut EP, Signals, is a 4-track record takes listeners on an enchanting journey through a blend of mesmerizing melodies, incorporeal atmospheres, and pumping rhythms. Released through the widely acclaimed Loci Records label, this hypnotic collection of songs showcases Misticeti's iterative artistic vision, his Latin roots, and the rich tapestry woven between them.

Loci Records · Misticeti - Signals

“Mirage” opens the EP with a delicate balance of pulsating electronic beats and lush, ambient layers. The subtle progression of the track evokes movement and anticipation, while the meticulous percussion layers show off a notable attention to detail and flavor. “Hybrid Feelings”  flips the script with gentle syncopation and generous low end, edging the composition further and further towards a rapacious hypnosis. “Whale Spirit” is characterized by its warm, swirling textures and dancing vocal samples that echo throughout the composition. Replete with swells of delay and reverberant tails, it’s an apt ode to the music of Vasquez’s baleen companions.

A fitting conclusion to the EP, “Now I See” invites the listener to reflect on the resonate journey they’re only just returning from. The track is a masterful blend of introspective melodies and gentle rhythms, evoking a sense of nostalgia and longing.  Intricate production shines through, as Misticeti skillfully balances the organic and electronic elements, leaving a lasting impression on the listener. This beautifully crafted track feels like a cathartic release. From the opening track to the closing notes, the EP takes listeners on a transcendental journey, evoking a range of emotions and painting vivid sonic landscapes. 

The EP's most notable strengths is its cohesive sonic palette with tracks flowing seamlessly into each other, creating a sense of continuity and allowing the listener to fully engage with the overarching narrative of Signals. Misticeti's attention to detail is his clear watermark of professionalism, and with so much ground covered across just this grip of tracks, we’re positively curious to see where his sound and style go from here.

FOLLOW Misticeti: Soundcloud / Bandcamp / Spotify

Exploring New Perspectives on Music and Photography with SMYAH

Across the pond, the pensive and surefooted Bulgarian creative Yavor Zografski has spent the last several years tightening the reigns around both his own musical project SMYAH, and the wider Sound in Picture label under his purview. A few weeks ago, we had the opportunity to premiere the track “Labyrinths” ahead of the full release of SMYAH’s Narratives LP. Exploring a marriage between stoic rhythms and airy composition, “Labyrinths” was just a taste of the wider Narratives arc, scratching the surface of a much deeper project that fuses compositions and photography into a multi-disciplinary artform.

Sound in Picture · SMYAH - Narratives [SIP 010]

Narratives covers a variety of styles and genres, with notable influences from IDM, jazz, downtempo, trip-hop, and ambient film audio. It’s a meticulous blend of intricate audio design and pastel colorways of sound that bend, morph, and break apart to create a collaged, emotive LP. Be it “Spirits”, featuring the washed, reverberant vocals of Desy atop a ghostly, slow-rolling instrumental, or the gradual swell of sporadic, fractured artifacts in “Time Dispersion”, there’s a clear musical command that reaches through a number of unique territories and influences. Accompanying each track is a poignant photograph, provided in this case by the photographer 8MIN. Pairing each respective song and visual backdrop brings a clarity to the moving themes in Narratives, but also connects the album back to Yavor’s other focus; the Sound in Picture label.

Founded in 2018, Sound in Picture features dozens of individual releases, all paired together with accompanying photographic art. Under that same umbrella, it hosts purchasable prints, a podcast, and expansive profiles on some of the in-house talent responsible for this duality in vision. It’s a testament to the timeless marriage of visual and aural design, and places the label in a squarely multimedia space, allowing it to function somewhere in between a traditional musical outlet and a zine, making sure to put the focus on both ends of its fused artistic approach.

Given the expansive scope of both Yavor’s personal musical output, and the approach to his particularly curated label, The Rust felt an immediate necessity to sit down with this affluent artist and discuss the genesis and direction of his dovetailing projects.

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The Rust: You've got your plate full as both the owner/operator of your label Sound in Picture, as well as through your own creative project. Where did that dual road start? What's your musical background like?

Yavor Zografsky: It all started with music first - more out of curiosity; I got my first MIDI keyboard and FL Studio about 15 years ago. I am self taught from the time before all this knowledge and these tutorials flooded the internet, so I was just practicing and figuring stuff out on my own and as I went. I didn’t study music, I graduated in the Netherlands with [a degree in] Media and Entertainment, but more on the video production side. None of my friends did music back then, so I was on my own in that endeavor during my first 10 years, but this didn’t discourage me at all. It started getting serious about 5 years ago, and Sound in Picture was coincidentally born then too, back in 2018. Back then, I was going through some photo magazines and listening to music and I said to myself, why shouldn’t I make a platform where you could do both at the same time, where the images and sounds are telling the story together, and the musician gets not one, but a whole series of artworks. After thorough research, I discovered that nobody has done that yet so it didn’t take me much to act on it. I’ve always wanted my own label, so this was the perfect opportunity. 

Back then, I was working as a video editor and also did some directing and shooting, so the synergy between both worlds has never been foreign to me and it’s all coming together naturally.

The Rust: How would you categorize your musical influences? Your recent "Narratives" LP showcases a number of styles and disciplines.

Yavor: My musical influences come from a variety of fields, mainly the sound system culture, film soundtracks and the UK electronic scene. Artists like Massive Attack and Calibre are definitely some of the names I admire. When I get to create, I don’t really think about genres (unless it’s a commercial project, but that’s different) and I just go with the flow. That’s when it works out the best and that’s why I make music in the first place - to feel total freedom without any boundaries.

I feel that when you make an album, it’s good to have a balance between action, tension and moments to breathe, so that’s why you can hear some ambient tracks next to beats, autonomic and half time music. Some of my favorite music to listen to in my free time is drum and bass and dubstep, and I also have tunes in these styles, but I will put out separate EPs with them as they didn’t really fit here. For this album, it was important to tell a story that transcends genres. I feel what propels the story is the sound design and the overall atmosphere, which is similar despite the stylistic variety. I’d characterize some of the tracks as ‘cinematic beats’.

Of course, we have to give credit to Merian Nikolova, 8MIN, who shot a whole series of photos dedicated to the album and they definitely make the whole project more impactful.

The Rust: Where's home plate for you, stylistically? What are the rhythms that drew you to production and composition in the first place?

Yavor: If we have to start from the very beginning, my first musical discoveries as a child were in hip-hop and r’n’b - both from Bulgaria and from all around the world. I was making some mixtapes recording tracks from the radio. Then, during my first couple of years in secondary school, I was listening to mostly death and thrash metal and that’s when I first started making music. I was just playing some melodies and even then, I was watching a ton of films and got inspired by their soundtracks. I learned the piano part from The Matrix theme and some other songs from bands like Cradle of Filth and Children of Bodom. Shortly after I got into producing, I discovered drum and bass and later on dubstep and grime, and that’s when I felt music which really connected with me, way deeper than the other genres. So I guess if we have to sum it up, those rhythms, mixed in with some world and indigenous motifs (also super important for my music) are the main drawing force. I feel the indigenous and tribal sound really close to me and I feel really drawn to the jungle - I can’t explain why since I’ve grown up in Sofia, which is a totally different type of jungle. Maybe it has to do with a past life.

The Rust: How, if at all, does your personal musicianship inform your decisions as a label head?

Yavor: I will sign anything I like. I have a soft spot for dub and dubstep, so this is a prevalent but not exclusive stylistic choice. We’ve done beats, halftime, ambient and IDM, sometimes even jazzy stuff. The most important thing is the vibe and the quality of the sound. The cinematic sound is also a big “yes”. I usually invite musicians I admire and follow as a fan, as well. 

The Rust: What's the genesis point for Sound in Picture? Did you always envision a relationship between aural and visual art?

Narratives LP Release Party, photographed by Gully Wabbit

Yavor: SiP’s core action is releasing music dressed in a series of photos, and the idea came shortly before realising it. Before that, I have always paid attention to soundtracks in films and other types of art but the idea of Sound in Picture wasn’t planned, and it's the product of a sudden, blissful moment of realization. But even back then, I knew that the scope could allow many other types of activities and that potential really motivated me to invest my time into growing it. By other types, I mean events, creating physical items, a podcast, licensing material and other offshoot activities. 

The Rust: The chosen visual pieces that accompany each of the label's releases are often very syncretic with the themes and tones in the accompanying music. What's the process for those pairings? Do you source art for music you intend to release, or do the artists source that themselves? 

Yavor: It all happens organically; we usually start off with the music and based on its atmosphere, I am reaching out to photographers who I feel can best illustrate it based on their overall visual perspectives. I am very particular about the visual styles and their consistency when I am searching, but the photographers have the full creative freedom to interpret the story their way. We pay equal attention to both sides of the collaboration and it’s important for them to have fun too and express their side. I feel that this way, the photographers manage to put out the best of themselves, and I can compare it similarly to the process of music production.

I believe that if you know what you’re looking for as a curator, it’s really not that hard to match the right people who will produce something organically, and there’s art to this process too.

The Rust: Do you envision Sound in Picture as a strictly digital media label? Do you have any stake or interest in physical media regarding the label?

Yavor: Of course. It’s important for SiP to exist in the physical dimension - the main goal for the platform is not to depend on social media for reaching out to people. Our home base is the website, but we’ve produced some physical items as well - we have a photo book where you can find some of the best photography we’ve published, plus some thought provoking quotes from our artists, and we have a second edition on the way this year.

Apart from that, we adapted some artworks as t-shirt designs, and on the musical side, we put out a tape of the album release we did with Valance Drakes & Ivan Shopov, featuring photography by Zlatina Tochkova.  

My aim for the near future is also some vinyl releases and we’ll see how it goes.

Another physical aspect of SiP is the events we do on a monthly basis here in Sofia, Bulgaria, where I live. The nature of the platform allows for a wide scope of events and we do music parties, exhibitions, bazaars, and lectures with artists from different fields who share their experience in an open talk. That’s a great way to form a community and I hope we do an event somewhere abroad soon!

The Rust: What's the future like for Sound in Picture? What do you see over the horizon line as you continue to run the label?

Yavor: Something I am working on is getting into the sync licensing business, which wouldn’t be an easy step but it’s definitely something worth pursuing, especially with such a catalogue that is literally sound for pictures. Apart from that, I will keep the podcast going, we have 2 episodes out and you can hear/watch them here: https://biglink.to/SiPcast 

And of course, more quality releases on a regular basis.

The Rust: What's the future look like for your own project? Have you considered your next move after Narratives?

Yavor: I am currently composing music for an American feature film. Being a film composer is my dream job, so I am working hard towards it and that’s where I intend to put my focus more.  In terms of releasing SMYAH music, I plan to put out a dubstep and a drum & bass EPs later down the year. 

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It’s clear that both Yavor’s vision and execution of his artistic gait develop in tandem, and benefit immensely from his salt-of-the-earth approach and perspective to multimedia art. Be it his own SMYAH project, Sound in Picture, or any of the other creatives hosted and put in the spotlight through his platform, every tendril crawls back to the well of influence that he both pulls and dispenses from, creating a vibrant ecosystem of opportunity and curation in musical and visual art. Be sure to stay up to date with Sound in Picture’s latest exploits, and keep your eyes and ears peeled for more developments from the distinct imagination of Yavor Zagrofsky.

FOLLOW SMYAH: SoundCloud / Bandcamp / Spotify / Facebook

FOLLOW Sound in Picture: SoundCloud / Instagram / Youtube / Official

SMYAH - Labyrinths [EXCLUSIVE PREMIERE]

Yavor Zografski, aka SMYAH, is a multidisciplinary artist based in Sofia, Bulgaria. He boasts a career as a music production teacher at Sound Ninja Academy, and the owner of the Sound In Picture multimedia label. With such a complimentary rolodex of skills, it's no wonder that his latest incoming release, Narratives, is such a significant and wide-reaching collection of tracks. As such, The Rust is incredibly excited to premiere the song "Labyrinths” ahead of the full Narratives release.

The Rust Music · SMYAH - Labyrinths [EXCLUSIVE PREMIERE]

The percussion-driven backbone of “Labyrinths” creates a sense of urgency and motion, while the ethereal synths and atmospheric sounds transport the listener to a surreal and otherworldly realm. The track's intricate and evolving textures are layered with precision, creating a complex sonic landscape that reveals new elements with each listen. Use of subtle melodies and organic sounds, such as bird chirps and rustling leaves, add a touch of naturalism to the otherwise electronic composition, creating a timeless combination of organic and digital elements. The intricate interplay between these elements creates a sense of fluidity and cohesion throughout the track, allowing it to flow effortlessly from downtempo motifs to autonomic breakdowns and back again. If you're as impressed by “Labyrinths” as we are, be sure to check out the full Narratives LP on April 21, 2023, available through Sound in Picture on all major platforms.

FOLLOW SMYAH: SoundCloud / Bandcamp / Spotify / Sound in Picture

5AM Enhances Growing Catalog with Aperture EP

Amassing a reputation and a fan base that answers first and foremost to quality, Sam Andrus has developed the 5AM project into a high-fidelity multi-tool; from the live solo performances and evolutionary 3-piece band, to the numerous sound design and composition workshops, his pronounced graphic design skill set, and his modest catalog of studio release, he's a veritable jack of all trades and a remarkable powerhouse amongst the wider field of his contemporaries. Earlier this week, he gave eager listeners the next taste of that developing discography; the Aperture EP.

~5AM~ · Aperture

Aperture is a pronounced, mesmerizing journey through the modern inflections of electronic music, showcasing the 5AM penchant for weaving together electronic production and live instrumentation. Rich and dynamic, the three track EP opens with “Intangible,” a jam-inspired and atmospheric track that features ethereal vocals and juicy low end synthesis. Crescendoing into a glitched-out, percussive breakdown, the recurrent focus on vocoder lines and driving guitar chops bears the hallmarks of the evolving 5AM sound. “Feeling”, by contrast, is the predominantly soulful highlight of the compilation. Featuring the vocal chops of lyricist Maya Elise, churning bass lines give way to her impassioned lines and bed of lush keys and skittering horns. Melting away just long enough to engender a choice bridge and solo, courtesy of Keith Wadsworth, the track matures several musical motifs that have dotted numerous 5AM Trio performances in recent years. The EP’s title track, “Aperture", features the widest range of textures and effects to create a vivid landscape of sound. The track’s driving beat and underbelly are augmented by an array of manipulated and distorted vocal samples, cuts of modulated synthesis and choice, overdriven guitar lines. The track builds to a thrilling climax, with everything from the dynamics to tension flexing into novel and charismatic forms.

Overall, Aperture showcases 5AM’s ability to blend jazz, fusion, funk, bass music, and futuristic compositions into thrilling sonic experiences. The EP is a testament to both Andrus' individual strides and that of his numerous frequent collaborators and band mates. With a slew of recent trio and solo performances recently under his belt, as well numerous upcoming appearances, fans new and old are sure to be treated to a few lasting variations of these three salacious tracks.

FOLLOW 5AM: SoundCloud / Spotify / Bandcamp / Facebook

Kuhlin - Beat Machine Broken [EXCLUSIVE PREMIERE]

With a penchant for head-nod sensibilities and palatable grooves, the Colorado-based producer Kuhlin has gradually developed his sound and style in a particular flavorful lane. Taking inspiration from golden-era hip-hop and contemporary production and synthesis, he's a beatsmith with a pronounced songwriting attitude that sinks its teeth with ease. Ahead of the release of his Downhill EP, The Rust is excited to premiere the titular track, "Break Machine Broken".

The Rust Music · Kuhlin - Break Machine Broken [EXCLUSIVE PREMIERE]

With a tight grouping of pulsing melodies, shuffled percussion, and a pocketed acid bass line, "Beat Machine Broken" carries itself across a swung arrangement, with subtle sound design and glitch flairs spotting the track's runtime. Coupled with shoulder-swaying low end and infectious inflections of delay, there's an immediate draw to such a smooth instrumental interplay packaged with just the right ingredients. If you're digging what Kuhlin's got to offer through "Beat Machine Broken", be sure to keep your ears peeled and tune in to the full Downhill EP release when it breaks daylight.

FOLLOW Kuhlin: SoundCloud / Bandcamp / Facebook

Conversations on Community and Musical Exploration with Murkury

Authored by Alyssa Barnhill

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North Carolina’s Asheville is an unparalleled jewel nestled on the East coast of the United States. Stretching from the Atlantic coast to the rolling Appalachian mountains, The state stands separated from the busy upper east coast by sprawling, mineral-rich hills and a warm blanket of Red Magnolias and Dogwood trees, and the city likewise feels like an enclave nestled in the deep woods. Over the past few years, the Asheville music community has become a hotbed for psychedelic and low-end centric electronic music. One such producer, Alec Seifart is making waves not only through his Murkury project, but through his work with multidisciplinary organization The Undergrowth in the local Asheville scene in tandem.

Murkury · Murkury mEDITations: Volume 1

Named after the god of commerce, eloquence, and divination, Murkury’s catalog hits the sweet spot between low-slung, weighty bass music and more free-flowing, meditative experiences; beyond just his dance-centric DJ sets, Alec has been recognized for his distinct “sound baths”, both within and separate from his traditional performances. Taking his musical and communal efforts both on and off the stage into account, The Rust Music was delighted to have an opportunity to speak with Alec about where his Mukury project began, his experience with The Undergrowth, and the total vision for his musical journey.

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Alyssa : Where does the Murkury project ultimately begin? In Ashville?

Alec: I am currently based in Asheville, NC, right outside the city, but the Murkury project started in Boone, NC; a couple of hours deeper into western North Carolina, the heart of the Appalachian mountains. I have always been drawn to these mountains. Something about the landscape really resonates with me. I love Colorado and the west coast, those mountains are really awesome, but the rolling hills and just how calm everything is — How lush it is. So, I definitely attribute my surroundings to putting me in an external environment that led me to explore the frequencies that I have. I feel like, with the Murkury project, they went hand and hand somehow.

Alyssa : Are you from Boone originally?

Alec : I am from Charlotte originally. I grew up in there, but moved to Boone to go to college. That's where I started DJing house parties and stuff like that. I've always been drawn to the art of DJing and was doing that for several years before I started to produce. Then it became time to finally making some edits and bootlegs for live shows, and I have never stopped doing that. I feel like there’s two sides of me that are playing back and forth: There's the serious side that does the more emotionally driven art, the stuff that makes me cry in the studio. Then there's a side of me that just wants to turn up in the club. I was able to explore both of those angles in that college town. The environment gave me the setting to dive deep into more psychedelic and spiritual modes of thought. It just suited me. I felt comfortable in those kinds of depths, but then you could switch to bopping around the town. It was within arms reach of Asheville and we went to shows at the Orange Peel back in the day, so college was very foundational. 

Alyssa: So when did you start the Undergrowth?

Alec: After college, I spent an extra year in Boone and I got the bug to move to a bigger city to do venues. So I moved to Asheville, but had trouble finding anyone that would book me or where to get into the scene and meet people. There were a few people that gave me opportunities but they were few and far between. Because they were like, “Have you played a venue yet?”

“No, I haven't.”

“Well we can't let you play at the venue.”  Everyone gets to that point.. I found that there were other artists that were in the same predicament in Asheville. I thought to myself, “What if we created an entity where it could help put people on and it didn't even matter if you'd played or whatever?” It would just be a resource. Maybe it could give someone a step in the right direction, or sharing some sample packs or tunes, or connecting with people — Collaborating.

Alyssa: It seems like it's worked though, right? I see a lot of The Undergrowth talent on lineups. You have gotten some ground under you now.

Alec: It's definitely been wild to see. The growth of everyone and how it's sort of interwoven through our musical journeys. It's gonna be interesting to see where it goes from here because, for me, I am one of the co-founders, but I am the only one that’s still active. More or less every artist on there is on their journey right now. Nobody is necessarily signed with or defined by The Undergrowth. It's just a tool in everyone's tool belt for them to use, or for promoters to utilize. We want to get all these artists together and apply the Undergrowth concept. I will say the longer I've been steering the ship, I have noticed that running a collective can be tough because you get so attached to people. You get so interwoven with everyone. People will come to me with their situations, to help me or to sort of to do the right thing.

Alyssa: Yeah, the interpersonal connections can make things tough. 

Alec: I have so much on my plate with just Murkury that I am getting to a place that I might not be as active with the operations of The Undergrowth, but I will be preserving it and utilizing it as best as I can to help the other artists that I can, but my goal…I think that right now, I can do almost everything that I want to do, particularly by focusing inward on myself and my mental health and just kind of letting everything like come from that corner. When you spend so much time being a community resource, you end up pouring out more from your cup…It's possible to get to a point when you are pouring from an empty cup, right?

Alyssa: Absolutely. 

Alec: My main goal with Murkury is to get to the point where I can curate entire lineups — That's the dream, right? To get to the point where you can put the homies on. It’s the best thing I get to do in this industry. It's very rare right now. There have been some occasions where I get to call up some homies and ask them, “Hey, what are you doing on this day?”  

Then ask them if they “want to do this thang”, here’s how much they might be able to get, that kind of stuff. Making those kinds of calls has been the best. I just want to keep going towards that goal. I feel like I maybe haven't given the Murkury project as much of a shot as I could. I feel like I am just starting to begin to tap into that, and if I give more of my focus to that, maybe people will listen to me when I say, “You should book Mcwavy, you should book Pathwey, or Audiogoblin.” That's where I am at right now. 

Alyssa: In 2022, I got to see you in Canada at Shambhala, and again at the Black Box here in Denver. How’d you feel your Canada experience?

Alec: This year has been crazy. Sometimes you find yourself in a situation you could have only hoped for. Shambhala was something I had as like a bucket list thing. Maybe eventually in like 10 years, or something like that, I'll hit that mark. It was very unexpected. I was trying to do the best I can for that set. You get there and it really becomes set in stone. You get to one hill and you always end up at a valley of another. 

Alyssa: One completed challenge to another. The set was incredible, man. What did you like most about it?

Alec: It was during the day at like 5 or 6pm, but it was PERFECT. It was a perfect time for us. We were just lucky to be there at all. But it definitely hit me that I have so much more to grow. A very literal unlimited amount of doors you can open. So it's not really about the destination. 

Alyssa : What made you start to lean towards more meditative, pensive music?

Alec: The short story is that it basically comes from a place of trying to heal my own trauma. I was in the backseat of a car wreck, 2015. Glass busted out of the window across from me and ruptured my globe and destroyed the retina on my right eye. They did emergency surgery on me. They were able to save my eye. I went back for a second surgery. In the second surgery they woke me up because apparently I sort of freaked out waking up the first time. The second time they woke me up and said, “Hey, just to let you know everything went fine. You are on surgical ketamine. Let it wear off, ease up.” 

Alyssa: That stuff is intense. 

Alec: Yeah. I was like, “alright.” They brought me back to the hotel that the hospital owns and I happened to have my computer with me. I opened up Ableton, still had the bandages on my eyes, but I could see out of my right eye. Ever since I started producing, if I am going through something, if I just need to destress, I would turn on a loop of sub bass and I would put headphones on. I’d just keep that loop going for hours, and in that situation, sitting with all the pain and emotions and stuff, things just started to happen. 30 minutes, later I had “Singularity”. All of the other meditations, originals, and edits since then have kind of come from that catalyst. My eye has healed so much since then and I’m incredibly grateful for that experience, modern medicine, my family and friends, and music. I would love to see what other producers are doing with this concept and hope it becomes more present in the culture.

Alyssa: There is definitely something about what you’ve tapped into with that direction that has a tangible effect.

Alec: People ask me whether or not the frequencies are intentional or like 432hz and that kind of stuff, but all frequencies are relative. All of them are sacred, and so none of them are some type of duality. I feel like I just go by my ear and do what feels good to me, and what the song is trying to say to me. If it needs this thing or that — More pulsation on the sub, or something else entirely. Essentially, all a sound bath is, in my little world, like an ambient song with no drums but with sub bass throughout the whole song, or at least most of it. Having the mantras and that style of sampling and instrumentation overtop. Take it to a new place. 

Murkury · Live Recordings & Guest Mixes

Alyssa: I was at a sound bath you did in 2021 at Infrasound. It was intense, powerful. I think it is a beautiful way to begin your sets.

Alec: That's good to hear. I am really glad people resonate with them. For years, I never shared them. I never really let anyone listen to them. I was insecure about, you know, you go to a show and it's all about dancing and getting hype and whatever. Those were so personal to me, and then something happened. I feel like some of my roommates and girlfriend at the time were encouraging me to do it, to release them. I definitely want to work on more of them. I have some in the works right now but I just want to see more producers experiment with that style. Some people come up to me after shows and get upset if I don’t do one! 

Alyssa: I can imagine some people need that at times. I wish more people would explore this sound, too.

Alec: Yeah, because I know they could take it further. Or think differently about it than I would. That's what I love about this music. 

Alyssa: You recently released that Retrograde vinyl. How was that process? Self-producing and releasing a vinyl is hard work.

Alec: Absolutely. I have been able to fund that vinyl completely through NFT sales. I didn't have to do a fundraiser type thing or crowd funding type thing for this one. Hopefully I can take some of the proceeds from this and put it towards another record I am working on. Keep going with the limited vinyl. I am very excited about Retrograde. 

Alyssa: What’s on the horizon for Murkury?

Alec: A lot of collaborations with regional artists here in the south east, too many to name honestly. I am going to be stepping up the release rate this year. I have already got another EP in the works. 

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Even with his recent release of the Retrograde EP in early January, Murkury has no plans to slow down in 2023. In April alone, he is scheduled for Quasar Festival in Page, TX, UnKnown pHestival in Nashville, TN, and Wub N’ Dub in Willard, NC. He’s also recently been signed to Denver’s own Sub.Mission, putting him in the field amongst a roster of notable contemporaries. Wielding his own project in one hand, and the reigns of an artistic collective in the other, he’s managed to find a balance that has put him on track to cement a personal legacy and impact in a community that has buoyed his creativity and well-being. We’re keeping our ears to the ground for more exciting news about projects and performances from Murkury and his crew at The Undergrowth, and we highly encourage our fans to do the same.

FOLLOW Murkury: SoundCloud / BandCamp / Official / The Undergrowth

Thought Process Leans into Constant Evolution with Always In Changing Form EP

Authored by Wes Mateo Johnson

Thought Process · Always in Changing Form

Coming off of another milestone year in an ever-blossoming career, Joseph Rich continues to stoke the flame of his musical alias, Thought Process. Having found a home amongst friends and fellow hip hop conesures in the all:Lo collective, Rich and company having been constantly cooking up new ways bridge the gap between the music of their upbringings with the sounds of tomorrow. One of the keys to Rich’s rise is his relatively sparse offerings of previously released music. While Rich tends to release music on a yearly basis, typically via one of his annual mixes, his growing fanbase knows that the best way to stay current is to see him live and experience the sound the way it’s meant to be heard. Two years following the release of his last EP, Thought Process treats his fans with his most recent project, “Always in Changing Form”, proving to be another clearcut example of Rich’s continual prodigious talent spread across six tracks, including a collaboration with his fellow all.Lo contemporary pheel. 

The first track off of his first 2023 release is an introspective head-nod tune called “Corduroy Moon”; alongside tracks like “The Fate that Remain” and “Forever Winter”, these compositions bring you into the dream-like soundscape, as playful synths are draped over rhythmic and layered bass lines, all propped up against a signature drum break reminiscent of 90’s hip-hop. Embodying what all:Lo records is about is the second track, “Study Hall” brings to life a sound system demolisher with the help of fellow label-mates pheel. & Brother Nature. The tune begins with a slow and eerie intro before coming to life at the same moment Brother Nature hops on the mic and brandishes bar after bar with effortless ease. As his first verse ends, Thought Process and pheel. take the reins and unleash a series of bass notes that have rocked several systems in the last few months and will surely continue to punish systems through the coming years. With the help of newest addition to the 5AM Trio and longtime member of Wax Future, Keith Wadsworth, the EP even receives an injection of electro-funk through their collaborative track “To Pursue”. Taking a step in a bold new direction is the tune “Cocoon”, where Rich demonstrates his clear progression in songwriting ability while offering his take on house music infusing the piece with worldly percussion and serene violin melody lines courtesy of Alicia Kiah. With all these ingredients firmly boiling in the pot, it's no wonder this release feels so particularly dialed in.

The release of Always in Changing Form confirms to the listener that while the sound of Thought Process gestates and matures, he’s still carving out a lane that is entirely his own. High-fidelity sound design and stoic riffs used in conjunction with outstanding DJ fundamentals create the inectious grooves and the truly emotive music his fans have grown so accustomed to. Adding to the excitement of this EP's landfall, The Rust chose to tap Rich's keen ear and tastes for our latest Rusty Selects Playlist on Spotify, covering ground from his inspirations to his contemporaries and back again, giving fans a chance to get further acquainted with the man behind the mission. As he ventures into the remainder of the year with a head full of steam, we’re keeping our eyes on Thought Process and making sure that Always in Changing Form stays in rotation until the next coveted release graces our airwaves.

FOLLOW Thought Process: SoundCloud / Bandcamp / Spotify / Facebook

Visages Showcases Their Expansive Style in Debut LP

Authored by Wesley Mateo Johnson

1985 | Music · From Lead to Gold

Hailing from southern France, the quartet of producers by the name of Visages have gained the respect of both the dubstep and drum and bass communities across their stint in the studio thus far. Since their inception, the group has honed their own sound through a rapidly growing discography, with each release feeling fresher than the last. Having a veritable home with the globally-admired 1985 Music crew, the group is perpetually plugged into the nexus of their distinct flavors and motifs. Brandishing their well-regarded midas touch for their lengthiest release to date, the From Lead to Gold LP showcases an undeniable style over the span of eight-tracks, including the group’s first ever collaboration with their label-head Alix Perez.

The first track of the group’s final release of 2022 is a larger than life dubstep tune entitled “MK Ultra” This track sets the tone of the album with a dark and foreboding sample referencing the highly controversial CIA experiment before blasting through rippling bass lines and snarling synths over air-tight percussion. The next tune, “Sheitan”, continues the foreboding theme at pace. The track picks up the tempo, showcasing rock-solid low end in combination with dashes and elements of breakcore. Following up the darker duo, the collaboration with Alix Perez, “Black Katana”, channels every facet of 1985’s legendary appeal and design, brimming with scintillating synthesis across sauntered downbeats. The final arc of the record showcases the soulful side of Visages, including a refreshing liquid drum and bass tune “Emotional Software”, before dropping into the high energy “Ace of Spades” collaboration with fellow 1985 label-mate Monty.

The aptly-named From Lead to Gold puts everything on the table, from high-fidelity mixdowns to the breadth of sound design, percussive programming, and sheer groove. Continuing on their journey into the depths of system music, we’re keeping our ears perked up for any future movements from this fantastic production quartet, and keeping From Lead to Gold repeat until then. Make sure you stay up to date with Visages, as well as their veteran labelmates on 1985 Music wherever good tunes find a home.

FOLLOW Visages: SoundCloud / Bandcamp / Spotify / Facebook

SPS 001 - The all:Lo Gentlemen

The Rust Music is incredibly excited to announce the next major project by our publication: The Submersion Podcast Series.

The Rust Music · SPS 001 - The all.Lo Gentlemen

In the wake of Submersion Festival 2022, we’ll be releasing monthly episodes throughout the rest of this year, including interviews conducted and recorded on-site at Submersion, as well as conversations recorded over the airwaves in its aftermath. For our very first episode of the Submersion Podcast Series, we’ve chosen to release our conversation between our staff and three of the principle all:Lo operators and artists; pheel., parkbreezy, and Thought Process.

Please enjoy the earnest dialogue and honest riffing between these incredibly talented and well-received producers, and be sure to stick around for the ending announcements, where we’ve left a few tasty breadcrumbs of incoming event information for our fans.

FOLLOW all:Lo: SoundCloud / Bandcamp / Official / Instagram

Conversations and Afterthoughts on Sunsetting the Craftal Project

Authored by Alyssa Barnhill

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With nearly a decade of considerable effort under his belt, the multifaceted producer Ian Mckenna recently announced the retirement of his storied Craftal moniker. As a musical entity, he’s an embedded Denver staple, and widely respected across a sea of contemporary acts and producers. Much to the surprise of his longtime fans and collaborators, McKenna recently publicized the resounding decision to seek out new musical horizons, and announced the closing chapter of the Craftal project. 

Craftal’s range stretches across a slew of tempos and rhythms under the permeable glitch music umbrella, and has maintained and massaged a particular appeal towards the audiophile scene. With the project at the height of its impact, a clear call to another slice of the musical pie has pushed McKenna to sunset the Craftal experiment indefinitely. To fans, Ian’s last release was suspiciously sweet, aptly named This Was All A Test. One can’t help but speculate if he had been mulling over the decision to change projects for a while. Was it all a test? And if so, for what? The framing raises a few poignant questions.

Craftal · This Was All A Test

The grand farewell for Craftal is set for December 15th at The Black Box night club here in Denver. The highly anticipated show will feature other psychedelic favorites such as Base2, Sylph, and Wij. Accompanying a “most righteous” sonic lineup, the event will also feature a full A/V presentation through every performance, provided by the artistic anarcho-collectivist project neuro.studio, in order to amplify the immersive visual experience. In a statement provided to us by its members, neuro.studio stated that “2022 is our first year involving ourselves in this space as a collective since the launch of neuro.studio. We are incredibly proud of what our team has accomplished so far in such a short amount of time, and will be continuing to aim for setting the bar higher with each iteration of our involvement in the music scene. As for Craftal's last show at the Black Box on 12.15, we are simply ecstatic to be involved in celebrating Ian's last set as Craftal & will have a unique VJ pairing for each musical act.”

Consequently, The Rust publication team felt it as necessary as it is enticing to sit down with Ian Mckenna for an exclusive one on one discussion about the future of his music and what his Craftal project really was all about. 

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Alyssa: What did the Craftal project mean to you?

Ian: To me, I mean, I made up the name and the whole project when I was 20. When I learned how to make digital music and was really getting into everything. I was falling in love with psychedelic bass music culture and the art scene and everything. Now, I am just kind of finding myself falling out of love with it. 

Alyssa: Any particular reason?

Ian: I am trying not to be jaded,  but I am definitely falling out of love. It also represents my 20’s in a weird way. I am going to be 30 in April. Not looking forward to it. 

Alyssa: So are you looking to find something more fitting of this time in your life?

Ian: Yeah, that and honestly I am just feeling like the bass music scene, at least from where I am sitting, is kind of like an overripe peach. I am just not having as much fun going to shows and honestly I don't fully understand the drug choices of everybody. People doing drugs isn't ruining my time, it's just one part of why I am just not as inspired by the scene anymore. 

Alyssa: I understand that. The music has always been a huge draw for me.

Ian: I really love the inherently abstract and fundamental nature of dance music. And what I mean is music without words in general, because music transcends language. Abstract expressions can be very beautiful. You don't want to preach to people, you don't want to commit to saying something that is outdated, but you want to reach people. 

Alyssa: Completely, where do you find yourself leaning now?

Ian: I find myself more interested and inspired by artists that are trying to say something. Trying to say things. Risking being preachy, and risking saying the wrong thing. And I don't know, I am finding that more interesting. I am still going to keep doing weird sounds, sound design, and electronic music because I love it…  I just want to try doing something different in my 30s. 

Alyssa: What is the name of the newest project? What are you going for?

Ian: I have been trying to brainstorm for a couple of months now, and nothing is really sticking.  A friend of mine told me that marketing is an art. The more you are overthinking it, the farther you are getting away from the relatability of your thing. I will probably end up using my real name, honestly. I don’t know yet, it’s all kinda meh. I don't mind sticking with my real name, that's fine.

Alyssa: So, I asked you about “This is all a test”, the last time we spoke for The Rust. Does that feel like a thread of truth from before? You used it as the title of the latest compilation you just put out.

Ian: I thought that it was kind of a funny coincidence that I named that song that, what, two years ago now?

Alyssa: Yeah something like that.

Ian: Yeah, I thought that was a funny way to tie it all up in a bow. 

Alyssa: I thought so too. Would you say making music as Craftal was like an incubation phase for you?

Ian: I sure hope so. Yeah, I hope that everything I make is the incubation for the next thing. 

Alyssa: Do you think similar elements of sound design will always be a theme in your music?

Ian: Probably always. I love music made with passion and heart, you know? I am hearing some really interesting stuff being made by, like, kids. You know, people born like 2000 and later, they are just like smashing everything together. It’s interesting. I would like to expand beyond the sonic palette that I have been comfortable with the past few years. But that's going to take some time. The new stuff will have me singing so that will be different.

Alyssa: That’s very exciting, I think a lot of people share that want for a little more passion, and I am excited to hear what it sounds like. When can we expect more from you?

Ian: I am a slow worker, so I don't have any dates. But definitely next year for sure. This was a good year, I played Tipper and Friends. 

Alyssa: I know, I missed that one entirely. How was it?

Ian: Oh, that was amazing. That was a bucket list item. The whole team there treats all their artists better than any event that I have ever been to in the last nine years, or played at in the last nine years. Yeah, that was just an amazing time. 

Alyssa: That's amazing. I am glad you are not going anywhere. I am sure I will still see you out. 

Ian: Yeah, I am not going anywhere. Just looking to do something different.

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Where Ian goes from here is anyone’s guess; music reflects the most exploratory and inquisitive part of ourselves. When we feel something different that has a magnetic quality, it’s extraordinarily human to answer the call of that attraction. Ian’s adventurous ideas, conversations in creativity, and motifs within his music remind us that creativity and expression live and grow with us daily. It’s the kind of perspective that transcends scenes and subcultures, even if it often incubates within them. Regardless of what sonic landscape Ian’s journey takes him on, or where it takes him for that matter, we’ll be in lock-step right behind him for the curious resolution to this next transition.

GRAB TICKETS for the final Craftal performance on 12.15 HERE

FOLLOW Craftal: Soundcloud / Bandcamp / Spotify

Shambhala 2022: Looking Back on Community at the Salmo River Ranch

Authored by Alyssa Barnhill

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Driving off a modest Canadian highway and onto the Salmo River Ranch, 2 years after the pandemic-induced break, was the first time anyone in the “farm-ily” had laid eyes on the newest version of the globally-beloved grounds. The festival organizers outwardly expressed their devotion to fans through their exhaustive work; additions included impressive woodworking decorations and large-scale additions to The Village stage, cosmetic upgrades to the event grounds and paths that showcased the craftsmanship and devotion of the stage crews and volunteers. The teams that worked on the buildout wanted to honor a festival they have incubated since its infancy, and challenge the limits of their decades-long labor of love. In the professional fashion that their reputation is built around, they took every opportunity possible to give patrons the chance to experience the best parts of what Shambhala Music Festival is, and to show what they are inspired to do moving forward. Shamabala 2022 was the people falling in love with the music and the culture all over again. 

When arriving at the Shambhala grounds, you’re met with massive, looming trees, the cascading West Kootenay Mountains, and strong, mint-green rivers.  A tangible energy can be felt in the breeze as you inch closer and closer to the entrance. The greeting from volunteers was simply, “Welcome. You have made it.” Whether traveling from the US, other parts of Canada, or from across the pond, no one escapes the nomadic trek out to this remote enclave in British Columbia . Remotely placed, about 2 hours from the city of Nelson and equidistant to the closest airport, performers, volunteers, staff, and attendees must ultimately burn rubber, or kick dust for those feeling especially adventurous, to get anywhere near the event. For each and every traveler, that journey ends in the undeniable charm that Shambhala has cultivated since its inception. It has nothing to do with hype, nor fanfare towards the culturally relevant.  The only focus is you, at your most comfortable, immersed in sound and community. 

The Village by day. Photo courtesy of Digital Anthill Photography.

With every difficulty the wooded lands and remote location must present, on property that simultaneously functions as an active family farm, the individuality and scope of each stage is breathtaking. The craftsmanship of the decorations, the murals, and the complexity of it all is notably intentional, adorning the remote woodland with familiar and fantastic trinkets like carved speaker boxes and hand-painted signs. Each stage pays a unique homage to the movers and shakers of the electronic music scene, bringing internationally renowned acts in house, system music, and psychedelic bass music directly to revelers with discerning precision.  Shambhala’s organizers make a firm point of showcasing diverse acts on multiple stages, affording patrons the choice of lush, quality experiences at each stage, while often centering attention during prime-time hours to names that may be unfamiliar to wider audiences. 

When given a chance to walk through The Village during its quietest moments, one can’t help but get the impression that it is a kind of church devoted to sound. The new additions to the area include towers that soar at over 100ft, with intricate wood-carved embellishments and bright, multihued LED housings. The surrounding dance-floor was larger than life, intertwined with staircases and cat walks, allowing listeners to venture to whatever vantage point they so desired. The center of emphasis during the weekend’s opening ceremony, professional acrobats and fire spinners captivated early revelers with a stirring performance, regaling a mystifying origin story of the first moments dance met music. Visually powerful  and emotionally moving, these interpretations  set the tone for a transformative weekend steeped in the natural bond between sound, body, and movement. 

The Grove by night. Photo courtesy of Shambhala Music Festival Official Facebook page.

If The Village is a church to sound, then The Grove is the garden; Naturally decorated with native old-growth trees, and surrounded by masterful murals, it is a calming space to center the headspace and nap among the hammocks. With the only Funktion-One rig, The Grove’s environment provides an ambiance that encourages and suffuses the dynamic range of the system across the scope of the installation. Light and heavy, deep and expressive, The Grove masterfully blends set and setting to provide a listening and unwinding experience that is both climactic and serene. Sitting casually in my hammock along the treeline, I could not have asked for more of an honest example of music catered to its environment. 

Inspired by asian architecture, The Pagoda is a three-story layered tower that houses a stage on the large front egress, as if a party exploded on the front lawn of an ancient fortress. The Pagoda was created to be an after-dark delight. Stationed right outside the main entrance and easily accessible, it is one of the first stages fans meet when entering the venue, introducing new faces and old to the first of many artistic veneers superimposed over the property. Walking past in the daylight, the stoic building seemingly illuminates with neon white against the treeline. Once the sun sets, 3D-rendered figures cascade and transform across the grooves and trusses featured on the forward face of the stage, shifting and evolving with the long arc of the night. Cutting edge visual art, projection mapping, and laser performance have become a staple of The Pagoda’s image, making it Shambhala’s primary one-stop shop intersection of top tier musicians and visual masterminds.  

The Pagoda by night. Photo courtesy of Shambhala Music Festival Official Facebook page.

In talking to the staff members, we learned that there has never been a time across the last 25 years that Shambhala or the family farm has accepted corporate sponsorship; handmade with love and compassion, that ardent and head-strong grassroots ethic bleeds through to the audience. The brainchild of the stage curators and the vision of the volunteers, the festival was built from the ground up by the people who love it most. These people, some of whom have attended for 15 plus-years, echo every positive sentiment about the event and the property in tandem. On the other side of the coin, the audience at Shambhala comes with an eager readiness to be moved by the music, by the experience, and the collective catharsis found in this nook of the West Kootenay Mountains. It's in those moments that our relationships feel most resonant, with the focus not on the tickets we buy, nor the wristbands we collect, but the times in which we fall in love with being people all over again. 

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FOLLOW Shambhala Music Festival: Facebook / Instagram / Official

Submersion Festival 2022: Discerning Sound for Discerning Soundheads

The Submersion logo against the backdrop of Paradise Lake during sunrise.

On October 6th, nestled in the verdant, bristly Pine Barrens, years of careful positioning came to fruition at the reimagined Submersion Festival. Hosted at the idyllic Paradise Lakes Campground, this year’s rendition came as an expansion from the single-day event that took place last year in Philadelphia. In addition to being three days long, the revelers at Paradise Lakes were also treated to two deliberately curated stages that showcased global and domestic producers and DJ’s across a panoply of disciplines, such as KOAN Sound, Emancipator, Luke Vibert (along with his Wagon Christ alias), Mike Wallis, Nu:Tone, Ultrasloth, and over 70 other acts. The weekend that ensued was a celebration of the dueling forces of sound system culture and electronic music that have dovetailed across the span of the last 20 years.  

Entering the grounds after turning off Route 206, attendees were treated to stunning views of autumnal pines draped in crisp auburn and bright green foliage. A single road runs from the entrance of the grounds to the camping section nestled in the rear, with the property’s waterfront extending throughout the length of the fairgrounds. On that warm, breezy afternoon, the fanfare of early arrivals, staff, and artists settling in the for the weekend was as evident as the apparent marathon at hand; with two insular stages running well until the morning sunrise on the focal nights of the weekend, and a seemingly endless rolodex of expectation-defying acts, there was a distinct flavor to the approaching fall air.

The view from above at the height of the weekend.

To the left of the main road upon first arrival was the Beach stage, which bolstered an impressive Danley Sound Labs BC218 rig, provided by the team at The Sound LIVE. Directly across from the Beach Stage was the vendor row, offering a range of cuisines catering to all dietary lifestyles, as well as a 24/7 cafe which provided hot caffeinated beverages essential to those late-night adventurers raging against their own circadian rhythms. Parallel to the Shakedown, the vibrant visual arts hub organized and overseen by Andrew Croz drew a consistent stream of onlookers and potential collectors, and felt right at home against the pristine backdrop of the lake’s meditative surface. Moving further down the main road, a quick 3 minute stroll would put you face-to-face with both the DanceSafe on-site hub and the One-Source Productions’ time-tested Funktion-one EVO7 rig at the Woods Stage. Just another quaint walk ahead, and you’d reach the natural boundaries of the festival, capped off with the chill-out zone often frequented and operated by TheLilyPad crew and attendees looking to shake off the adrenaline for a passing moment. The intimate size and layout of the event created a natural orbit between two adjacent, independent stages and the wider campgrounds, defeating any chance of sound bleed through careful zoning and placing all campers in close proximity to the action. 

Picturesque sunsets made appearances everyday as the light settled over the horizon, scattering the remaining sunshine throughout the now iridescent treeline. The road connecting the Beach and the Woods stages came to life in the night as colored lights and hidden lasers illuminated the canopy above. The general atmosphere of the grounds was like that of a playground; smiles and laughter were in fervent abundance, and with the festival’s modest patronage, you were seemingly one degree of separation from any single stranger around you. There’s a tangible, familial sort of glue at the center of earnest fandoms, and for The Rust Music and Aspire Higher, friends and fans are often one and the same. It’s that cultivated relationship between the organizers, their production teams, and their respective supporters that made the largest impact across the weekend.

The view from across Paradise Lake, showcasing the Beach Stage.

The community at large is the quintessential ingredient that makes these curated and personal experiences possible. The degree of comfort achievable when seasoned know-how, determined muscle, abundant moxie, and a heaping dash of luck collide is the goal of every professional and artistic endeavor as a business, but the cascading sea of bright eyes and brighter attitudes allows the paradigm to transcend business altogether. This year’s principle organizers, Jesse Boyer and Ryan Karolyi, put the duality of their friend-based following and industry experience on clear display. Like threading a needle, every aspect of site operations churned away with velvet smoothness, working in the background of an event designed to run front to back with minimal downtime for roughly 72 hours. That specificity and consistency directly translates back into the comfort at the center of any choice festival experience, smoothing over any potential snags in the road before you have the chance to trip.

Winding through a weekend of programming stuffed to the gills with heavy hitters and venerated songwriters can often feel arduous, deciding where you’re sacrificing time and for what gain. Submersion’s traversable design and meticulous stage curation was envisioned to help alleviate those decisions, placing like-minded groups of appreciators front and center with their preferred flavors of electronic production for extended blocks of time. The negligible distance and proper directional channeling made swapping the vibe seamless and inviting, providing a constant balance that kept the event swinging with pendular determination. The headlining acts of the weekend put on stellar displays of musical forte; Koan Sound rocked the house at the height of Saturday night, only to subsequently ring out the final notes of the weekend during a emulsified sunrise performance. The dnb legends Chase & Status and Nu:Tone brought deep dives through decades-spanning catalogs and rare cuts, contrasting with the effervescence of acts like Emancipator and Entangled Mind putting the focus on the interplay of melody and harmony. From the low-riding rhythms of Bogtrotter and DRRTYWULVZ via their BogDogg project, to the lunar serenades of MALAKAI and Lusine, to the Thought Process Gabagool Remix extravaganza, or any of the other salacious underground talent across the lineup, every palate eventually met its most succinct match, allowing Submersion to deliver on the promise of discerning sound for discerning soundheads, in an environment ripe for enjoyment and poised for audacious revelry.

An action shot from within the pit at the Woods Stage.

Writing about our own events is something we often eschew; our focus is traditionally on highlighting and chronicling the living history of this audio-social phenomenon we find ourselves mutually steeped in, and that often entails keeping our gaze outward in order to spotlight the lion’s share of our peers. Breaking away from tradition, we felt it necessary to chronicle this incredible weekend both in service of Submersion’s ongoing rise and evolution as an events series, but also as a thank you to the wonderful grip of fans, friends, artists, staff, volunteers, and world-wide wellwishers, without whom this would not have been possible. The magic of Submersion Festival is in the relationships that serve as its foundation, and those relationships include all of you, too. 

With just a few waning months left in 2022, planning has already spun up to full speed in designing the next iteration of Submersion Festival for 2023, and between now and then, there’s a slew of content under preparation for public consumption. If you’re looking to relive the bliss this stellar weekend, your fix is well on its way, and if you’re just tuning in and wondering what all the fuss is about, stay tuned for the various audio and visual recaps poised for steady release.

FOLLOW Submersion Festival: Instagram / Facebook / Twitter / Official

FOLLOW Aspire Higher: SoundCloud / Instagram / Facebook

Emancipator and Lapa Hit Their Uptempo Stride in 11th Orbit LP

With well over a decade of history as collaborators on and off the stage, Doug Appling and Ilya Goldberg have defined the Emancipator sound as a veritable rolodex of vivacious music. Of his own accord, Appling has already released two LP’s and two EP’s across the last two years under the Emancipator moniker, continuing his solo production work alongside a cast of other musicians and instrumentalists. Goldberg’s last full-length LP, Spirit Vessel, released through his individual Lapa project four years ago and expanded upon the soft-spoken motifs found in his debut Meeting Of The Waters LP. Now, pushing into lightly-trodden territory at full speed, the Emancipator and Lapa projects have met in the middle for the collaborative, dance-floor centric LP 11th Orbit.

Emancipator · 11th Orbit

Moving across tempos and temperatures in composition has engendered a vast studio catalog spanning a variety of rhythms, modes, and attitudes that have made Emancipator not just a mainstay veteran of instrumental electronica, but a malleable force onstage in virtually any context. Uptempo grooves have always been part and parcel of either musician’s compositional gait, but 11th Orbit is a quintessential house album with a potent infusion of world music and classic Emancipator hallmarks. Hitting it’s stride out of the gate, “To Infinity”, “Mamba”, and “Vortex Cortex” all set the major flavors of the record, introducing steady-beat cocktails of spacious and pocketed arrangements made with footwork in mind. Maintaining it’s cruising altitude at variable speeds, tracks like “Leopard Shepard”, “Crow Nebula”, and the closing song “Hailo” bring the energy down to subtler pace, showcasing more effusive musical tangents and rhythmic interplay that record has to offer without cutting the overall vibe and tone set from the jump. From start to finish, 11th Orbit paints a clear and potent picture of the dance-friendly side to the Emancipator and Lapa mindsets, adding yet another grab bag of hearty ingredients to future Emancipator performances.

In a modern paradigm currently dominated by brackish, full-throttle sound design and unrelenting downbeats, Emancipator and Lapa continue to suffuse a palatable and organic approach to electronic music across an ever-growing swell of appreciators, curious revelers, and unsuspecting new fans. With the addition of 11th Orbit to the available arsenal, the rest of 2022’s Emancipator performances are sure to include a host of uptempo choices and surprises, keeping the package as fresh as it’s ever been. If you’re feeling a dire need to scratch the itch left in the wake of this lush new LP, check out the Submersion Festival tab in our websites header above for ticketing information and the full weekend lineup!

FOLLOW Emancipator: Soundcloud / Bandcamp / Spotify / Official

FOLLOW Lapa: Soundcloud / Bandcamp / Spotify / Instagram

Kalaha + Hilal Kaya and the Aurhus Jazz Orchestra - Ince Ince [Exclusive Premiere]

The Rust Music · Kalaha - Hilal Kaya And The Aurhus Jazz Orchestra - Ince Ince [EXCLUSIVE PREMIERE]

Rolling out riveting blends of Anatolian rock, contemporary synthesis, orchestral swells, and Turkish folk music, the Danish supergroup Kalaha has become a frequent flier on The Rust’s radar and the global listening bandwidth. Their 2021 record Mystafa was a nose dive into a blend and flavor of traditional and contemporary Turkish music, spiced up and retrofitted with the brain power of both Kalaha’s Rumpistol and Spejderrobot, combined with the Aurhus Jazz Orchestra and numerous vocalists. After leaving behind a soaring impression, they’ve returned with A.J.H. in toe, as well as the addition of vocalist Hilal Kaya, to press their latest LP, Tutku. In anticipation of the LP’s landfall, The Rust is incredibly honored to host the premiere of the focal track "Ince Ince".

The track wastes no time ramping up to speed, with the burly riffs and horn lines that open "Ince Ince" chugging in throaty syncopation. The infusion of Hilal Kaya's legato vocal lines overtop the classic A.J.H. brew of brass gives the song an earthen intensity, elevating the composition with dashes of a rock opera's traditional tension. At the height of the ride, the spotlight shines for only so long a dizzying synth solo, bringing together every disparate part of the Kalaha ethos in a mad dash to the song's conclusion. Far beyond the usual cut of our catalog, "Ince Ince" is a pristine slice of the contemporary fusion music, putting a new twist on the possibilities when stirring together a world's worth of influence into one simmering pot.

FOLLOW Kalaha: SoundCloud / Bandcamp / Spotify / Official

Seppa - Warn [EXCLUSIVE PREMIERE]

The Rust Music · Seppa - Warn [EXCLUSIVE PREMIERE]

Swinging back around with another bevy of tracks for 2022, Seppa is continuously preparing visceral servings of low end grooves for discerning consumers of brackish bass music. With several upcoming appearances loaded in the chamber, the forthcoming release of the Elision EP is poised to take priority on the stage. In anticipation of the full EP's touchdown, The Rust is honored to host the premiere of "Warn".

Departing from the slowed, brackish churn of half-time and neuro, "Warn" cranks up the rhythm to a breakbeat modality, introducing the Seppa brand of Newtonian sound design to tech-heavy shuffles and pulsing downbeats. It's got the feel and the roar of his traditional catalog, suffusing glitches, turnarounds, and weighty chugs in a speaker-shredding package, all juxtaposed against the magnetic backdrop of kinetic phrasing and staccato drum lines. With the rest of Elision right around the corner, "Warn" should be more than enough to satiate even the hungriest sound heads and groove junkies in the meantime.

FOLLOW Seppa: SoundCloud / Bandcamp / Spotify / Facebook

Nimbo Shows Off Tactile Songwriting in Shapes EP

Nimbo · Shapes

Continuing the 2022 pattern of upstart producers hitting their stride, Nashville's Nimbo has shown up with a particularly nimble blend of tracks in the form of the Shapes EP. Putting on a succinct display of production prowess and maturity in arrangement, the EP pushes thoroughly polished frequencies through a creative sift that leaves behind the faintest residue.

Shapes begins with the pensive and interpolative synthesis of "Adrift”, showing off the flexible phrasing and broken rhythms that will come to dominate the EP. Likewise, Nimbo maintains a solid palette of tones and patches that will define each tracks runtime, threading the release together through the tasteful use of up-cycled characteristics. "Mind Raiser" and "Cypher" offer this generous blend alongside a fistful of moxie, showcasing the heavier hand of Nimbo's compositional style. Bringing the EP to a close, "Self Expel" fuses these various hues into a notable egress, diffusing the tension and impact with a gradual bell curve.

Nimbo's brief time as a public-facing creative has already yielded ripened fruit, with all signs pointing plainly at a studious songwriter and producer. Through a mix of know-how and gumption, the Shapes EP bares all the hallmarks of the brightest releases of 2022, and that puts Nimbo squarely on the radar for The Rust and beyond. If you're looking to spice up your personal listening catalog, this collection of tactile tunes should be your next impending purchase.

FOLLOW Nimbo: SoundCloud / Bandcamp / Spotify / Facebook

An Interstellar Expedition with Brassell and Ace On Earth

Ace On Earth · Intergalactic Rhodes EP - Brassell & Ace On Earth

With airline prices escalating faster than a midwestern dad on his first beer of a long weekend, many of us have found ourselves traveling winding roads by car and on foot, hunting a feeling of wanderlust through more terrestrial exploration. With that same sense of exploration in mind, the New England producers Brassell and Ace On Earth have curated a light and feathery 4 track EP that fleshes out local adventures in the mental terrain.  For those looking to kick back and roll down the windows, Intergalactic Rhodes is a must have for the voyages to the near and far.  

Self released on July 13th 2022, Intergalactic Rhodes features both artists following a melodious interstate of their own architecture and engineering. The duo take inspiration from modern Lofi, 90’s club dance tunes, and summer day beach music to create this elegant, warm, and inviting listening experience that’s laced with plenty of flavor. Even at its heaviest, this EP remains an insightful combination of both harmonious, fluorescent moments and titillating melodies. Casually and with style, the dynamic duo invites the listener to splash through sonic rest stops and envelope themselves in expeditious inquisition. 

Recently featured at Nocturnal Funktion in Tolland, Massachusetts, both Ace On Earth and Brassell have made an impactful presence on stage. Audiences with the fortune to catch them live have been invited to tune in and turn on to their poignant and satisfying sonic escapes. Intergalactic Rhodes is an artful tribute to the more amenable styles within beats music and should be a must-have grab for any discerning head’s next digital crate dive.

FOLLOW Brassell: SoundCloud / Spotify / Facebook
FOLLOW Ace On Earth: SoundCloud / Facebook / Official

Nowfeel Explores the Space Between Style and Impact through Kin LP

Nowfeel is the artistic alias of Ben Rissin, a Canadian producer and songwriter whose watermark is a distinctly fluid brand of electronic music. Fusing contemporary, innovative arrangements with driving sound design inspired by the UK's love affair with sine compression, Nowfeel captures the precision of modern engineering principles alongside impeccable phrasing and pace. It's both a difficult balance to achieve and a difficult position to maintain, and it invariably sets Rissin's work apart from the veritable pack. Expounding on the motifs and breakthroughs of his Spectrum LP in 2019, Rissin has achieved terminal velocity once again through his latest release, the kin LP.

nowfeel · kin

kin wastes no time hitting its stride, with the opening track "reach through me" dancing wide spectrum percussion across earthy reese bass and spatial harmonies. It lays out an audio topography that will endure across the rest of the album, elucidating the positive relationship an album can have with a strong, relatively singular hand of tones, patches, and drum programming. In general contrast to his contemporaries, Rissin avoids the rat race of constant, invariable change in the timbre of an album or EP, and instead flexes that singular hand in the way a live band can channel visceral changes in energy without necessarily changing its core sound throughout an entire evening. Moving through the rest of the LP, the dynamic movement between tracks at half time and full time breathes an extra pulse of life into the release, with rhythms stretching from downtempo to midtempo, drum and bass, and variations on drumstep motifs. It's an ideal spread of the vibe, avoiding the trap of lingering too long in one discipline of songwriting or another, and it positively tees up kin for a place amongst some of the best albums and EPs to come to light so far in 2022.

The Nowfeel project has only been planting roots for a short few years, but the distance gone in both composition and design speak volumes about his otherwise frugal catalog. Rissin's ample control over the trajectory of his craftsmanship will undoubtedly continue to pay off with even more visceral musical moments, but in the meantime, there's plenty stuffed within the grooves of kin to keep even the most ferocious appetites satisfied.

FOLLOW Nowfeel: SoundCloud / Bandcamp / Spotify / Facebook

Shambhala Returns to the Fold in 2022

Shambhala, in concise language, is a transformative music and art festival in the dense woods of Canada’s steep Rocky Mountains. 30 minutes outside Nelson, British Columbia on the banks of the Salamo River; this considerably massive event is held on a fully functioning, picturesque, 500 acre family farm. Over the past 23 years, for 6 days every summer, Shambhala has evolved into the largest town for 400 miles, with an estimated 15,000 people in attendance. Some festivals are a community; this is closer to a municipality.

The Bundschuh Family Land

In the height of the 90s rave scene, a young Jimmy Bundschuh approached his parents with an idea: throw a music festival on their family’s land – not just any run of the mill show, but a large curated festival that would attract some of the best musicians and artists to their little sanctuary in BC. Beginning in 1998, Jimmy and his family set off to capture the communal vibe that attracted them to music so much in the first place. This goal has now stretched over two decades, and has regular patrons from every corner of the world. The festival is run by the children of the land, Jimmy, Corrine, and Anna Bundschuh. Shambhala has never had any type of corporate sponsorship, and is rightfully proud to be completely self-sustained by the family farm and ticket sales. The team of visionaries go above and beyond to incorporate the local township into their dream. Donating regularly to local infrastructure, food banks, and local soup kitchens, their ethics and follow-through are a shining demonstration of community-centric mutual aid. There is even a performance hall at Selkirk College, in Nelson, BC that proudly wears the Shambhala name, espousing the indelible ties that the Bundschuh family has curated with their surrounding neighbors across the stretch of their grand experiment. 

Shambhala has been a consistent epicenter for those looking for more than just a good time. Touting five independently curated stages with associated and thematic decorations, these impressive dance floor environments would be non-existent without the artist, volunteer, and musician contributions.The unique, one of a kind stages and sound systems have long been the core destinations inside the festival, for both music producers and music lovers. As a standing rule, the musicians are offered an open invitation to drop the pressures and expectations of modern industry and asked to play their best sets; performances that speak to their artistic dream and vision. All but one stage features full arrays of high quality PK Sound cabinets, with the Grove Stage featuring a full-service Funktion One system. This year, the AMP stage is packing a particular punch, featuring acts such as Amon Tobin, Truth, and many more to set your watch to. 

Credit: ConcertSocks

Additionally, the Shambhala team have been unapologetically spearheading the use of cutting-edge harm reduction techniques, such as free substance testing, for many years. Ankors, the free drug testing facility, boasts a massive list of substance testing and accountability practices. Information on safer sex, partying, and harm reduction is avaliable at the onsite at the Option tent as part of Canada's largest non-profit provider of sexual health services. These safe, non judgemental spaces are a calm oasis from the bright lights and excitement, and provide helpful information to anyone who asks. The original  “Safe Space” was first designed as a space for women only, but has now opened up to all genders and non-binary travelers looking for a moment or two of reprieve. The facilities carry free condoms, staffed stations for helpful information, and offer emergency contraceptives for those in need. After all, the overarching mantra to Shambhala is “We care about people.”

After basking in the sun and all the glory that is Shmabala, artists, patrons, and musicians are asked to contribute year after year and to bring their best selves back again and again. Shambhala is to some a tradition, to others a bucket-list destination, and to a select few – a pilgrimage home. This magical event is a refuge for the different and the strange, where one is accepted no matter their differences or how weirdly they dance, and we’re incredibly excited to return to the fold for 2022’s guaranteed weekend of iridescent festivities. 

FOLLOW Shambhala Music Festival: Official / Facebook / Instagram

Shredding the Infinite With Duffrey Behind the Wheel

Within the American bass scene, Duffrey has proven himself in the studio and on the stage with a revolving door of tracks and projects; his solo work has had its own prolific impact on the developing sound of his contemporaries, and he simultaneously brings innovative collaborations and raucous dance floor rollers as ⅓ of the producer supergroup, Ultrasloth. With the returning tide of drum and bass to the forefront of young palettes across the country, he’s been a keen player in pushing that resurgence, mingling his own time-tested production toolkit with a significant tempo ramp, and the release of his Shred the Infinite EP leaves nothing on the cutting room floor.

Duffrey · Shred the Infinite

The EP is driven by a masterful control of low end, with potent synthesis ranging from subtle and rounded to brackish and full-throated. Throughout the release, his keen ability to build a carefully concocted symphony of delightful chaos is on full display, with four tracks that will afford listeners the experience of world class production with a particular focus on all things frenetic. “Shred the Infinite”, “Yesterday Tomorrow”, and “Bring ‘Em In” each push a varied take on high-powered, full-time rhythms, cutting between brooding and manic at a dizzying pace. After three full servings of pedal-to-the-metal impact, “Feel You” rounds out the release with a more liquid approach that forgoes the heavy infusion of grizzled bass design, and instead features ethereal synth tones and keys churning together for an emotive ending to a journey through infinity. It’s a choice formula for injecting a new bevy of choice tracks into an already thoroughly polished catalog, and signals a significant page turn for the overall sound of Duffrey.

It’s never a dull moment with Duffrey’s compositions coming through the speakers; his discography has grown to cast a wide net across numerous genres and disciplines, all the while finding clever and nuanced ways to further showcase his specific blend of sonic ingredients. With a smattering of appearances on the horizon, it’s a surefire chance we’ll hear this material in its proper format, but until then, Shred the Infinite is available across all major outlets and streaming services for your discerning enjoyment.

FOLLOW Duffrey: SoundCloud / Bandcamp / Spotify / Official