Description
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Seattle-based electronic music producer Jeff McIlwain, known by his stage name Lusine, celebrates twenty years with Ghostly International with his ninth full-length album, ‘Long Light’. Over the years, Lusine has become a major influence for various electronic artists, such as Loraine James, thanks to his unique blend of techno, pop, and experimental composition. His recent works have seen him lean towards more collaborative and song-oriented compositions, and ‘Long Light’ is no exception. This album features vocal contributions from Asy Saavedra, Sarah Jaffe, Vilja Larjosto, and Benoît Pioulard, and yet maintains the minimalist, dynamic looping patterns and textures that are Lusine’s signature style.
The album title, ‘Long Light’, is drawn from a lyrical phrase penned by Benoît Pioulard for the title track. McIlwain interprets the phrase as a metaphor for navigating through an age of high anxiety and distractions, akin to finding one’s way through a fun house mirror maze. The recording process of the album also reflected this cyclical nature, reminiscent of the changing seasons. McIlwain’s approach to music making requires immense patience and a willingness to wrestle with the creative process. ‘Long Light’ serves as a testament to the rewards that lie beyond the struggle, beyond the noise, and at the end of the figurative tunnel.
The album showcases McIlwain’s ability to identify a core sonic element, whether it be a vocal cut or a simple beat sequence, and build an entire track around it. The opener, “Come And Go,” features a celestial choir created by multiplying a vocal take from Vilja Larjosto, a technique reminiscent of their previous collaboration on “Just A Cloud.” The single “Zero to Sixty” features the cool and pliable vocals of Sarah Jaffe, which Lusine intricately maps around a curving bass hook. Asy Saavedra’s vocals on “Dreaming” are kept intact by McIlwain, who subtly tweaks the timbre and texture as the track progresses. The title track, “Long Light,” features Lusine’s percussive mood-building, samples from drummer Trent Moorman, and tender poetry from Benoît Pioulard. The album strikes a balance between vocal pop motifs and some of Lusine’s strongest instrumental compositions, from the ambient foreshadowing of “Faceless,” “Plateau,” and “Rafters,” to the hypnotic rhythms of “Cut and Cover” and “Transonic.”
It is a rare feat to produce a landmark work two decades into one’s career, but through repetition, refinement, and patience, Lusine has achieved just that with ‘Long Light’. This album stands as an essential addition to his discography, showcasing a laser-focused artist who has reached a satisfying level of clarity and immediacy in his work.
