Tycho shares a track from his upcoming album, 'Dive.' Release details: ghostly.com Artist Bio: ghostly.com While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since." As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future. That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at <b>...</b>

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The David Mullett-directed video for "My Cabal" matches the song's woozy lilt with a new take on the usual band-performance video. In the clip, School of Seven Bells play in an equipment-stuffed soundstage as a single camera captures the action through a fisheye lens. The video's gorgeously saturated colors and disorienting, constantly-shifting camera angle create the sense of watching the band while sitting in a tiny, smoothly calibrated rollercoaster. Director: David Mullett ghostly.com

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1st single taken from 'Work (work, work)': ghostly.com artist info: ghostly.com HTRK's Ghostly International debut Work (work, work) is a flat-lined study of desire and submission, sentimentality and dysphoria. The London by way of Berlin and Melbourne art-rock duo (pronounced "Hate Rock") finished the album's production while grieving the sudden loss of founding member and bassist Sean Stewart to suicide in March '10. And while that tragedy has certainly found its way into the music's bottomless sonic void, Work (work, work), written from 2006-10 in Berlin and London, is about much more than abject darkness. Much, much more. On Work (work, work), HTRK craft a stark soundscape: achingly slow 808 beats, eerie synth arpeggios, vaporous guitar noise, and Jonnine Standish's androgynous, detached vocals, dripping with reverb. And yet it's the careful way the pair combine those elements—organizing and juxtaposing them with a minimalist's attention to detail—that makes their music so emotionally devastating. "Ice Eyes Eis" starts things off by enveloping you in a slippery erotic zone, in which a German sex TV babe splays herself over a molasses-slow beat and clouds of dry-ice atmosphere. The creeping "Eat Yr Heart" embodies HTRK's touch with sonic unease, showcasing a high-pitched horror-movie synth obligato that flits like a swarm of bats around Standish's declarations of longing ("glucose, cellulose, saccharine"/ "you fill me up then make me starve, eat yr heart"). Late-album <b>...</b>

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Incorrigible self-mythologizer Seth Troxler keeps his image and his music consistent, mixing sexpot rhythms, technological mastery, and batshit irreverence with a wink and a smirk. "Hurt," Troxler's collaboration with Matthew Dear (from Troxler's Panic, Stop. Repeat! 12"), brings out the best in both eccentric producers. Troxler rubs bone-dry drum machines against his and Dear's wispy, pitch-shifted murmurings of "hurt ya" (as well as something about Huey Lewis in the rain), a giant tribal drum, and a moment of sparse, jazzy keys. When Troxler and Dear put their heads together, the result is dance music distilled to its humid essence. theghostlystore.com

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Almost a year after the release of Matthew Dear's monochromatic opus, Black City, the album's swansong single, "Slowdance," gets a video. San Diego filmaker Charles Bergquist was tasked with transforming the undulating piece of goth romanticism into a video. He received, basically, creative autonomy, and set about trying to decipher a track that is, in his words, "about the disruption of memory, at it's visual core." The result is a fluid, heady, almost voyeuristic collage of urban landscapes, visual effects, and unsubtle shots of a certain ingenue. "In the song's build and layering of memories of her," he says, "She, the environment shared, and the unknown becomes blended, fractured and infinitely heaped together." It does look like thinking backwards feels—uncertain, romantic, bizarre." "The lyrics drove the photography and the sound drove the texture and slices," Bergquist says. "For most of the edit and post-production work, I let the track dictate the visuals." That means slightly regimented cuts—timed to beats sometimes, but not always—a complete lack of color, aqueous imagery, and a microscopic attention to detail. And with that, the final piece of the Black City puzzle has fallen into place. Director : Charles Bergquist Produced : Charles Bergquist ______ Director Of Photograhy : Charles Bergquist & Mark Shonka Starring : Nicole Lively ______ Hair and Make Up : Chantall Northrop Stylist / Wardrobe : Katrina Adair Production Assistants : Andrew Martin Tommy McAdams <b>...</b>

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What do you call musicians like Com Truise? He seems easy enough to pin down—throw out some words like "nostalgia," "synth-wave," "eighties," and "electro-funk" and you'll scrape by—but to be truly insightful about his music is tough, because art that is so blatantly referencing certain things in a certain way while also making them weird and new and unique is confusing. How do you classify something that is so obviously both vintage and current but is too fun to call postmodern? Release details here: ghostly.com

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Video for Twine's "Endormie". From the album Violets. Video by: Chad Mossholder ghostly.com http

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Scott Pagano's video for the Christopher Willits song "Colors Shifting," from the Surf Boundaries Addendum EP (Ghostly International).

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Release info: ghostly.com Artist bio: ghostly.com For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart by billowing wind the next. Ambient music—if we can generalize unnecessarily for a second—is rarely so sonically challenging. Jacaszek's latest album, Glimmer, is marked by a noticeable tug between melancholy and beauty, like it's hovering in some gaseous grey area between both, at once both insular and extroverted. "I tried again to create some fragile beauty glimmering behind the veil of reality," he says. "I built a kind of curtain out of dirts and fuzzes, and used pure sound of clarinet and harpsichord playing beautiful melodies as a contrast to its harshness." This winking, push-and-pull tension runs deep and constant throughout the 40-odd-minute journey to the end.

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Britta Johnson (video director for Andrew Bird, among others) brings Lusines gorgeous new single Two Dots to life, illustrating the songs relationships-as-trigonometry analogy in an intricately animated video. In the clip, a pair of marbles—one blue, one yellow—engage in the timeless dance of seduction on a horizontal plain, mapping the ups and downs of a courtship through pencil-drawn geometric principles. Like Two Dots, Johnsons video lives in the middle ground between technology and humanity, emotional immediacy and obsessive detail. ghostly.com theghostlystore.com

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"I think beat-making is really the study of every kind of music," says Brian Lindgren, the artist known as Mux Mool. On Skulltaste, Lindgrens full-length debut on Ghostly International, the producer was determined to explore every corner of his beat-steeped psyche, and the resulting document is a masterpiece of eclectic cohesion: chunky instrumental hip-hop sits next to new-wave anthems and dubby dancefloor bangers, which abut skittery slices of DnB and made-up video-game soundtracks. Skulltaste may cover a lot of ground, but Mux Mool pulls it off. He even makes it look easy. Skulltaste is an old-fashioned epic, and its diversity—both track-to-track and within the songs themselves—is hard to measure. Lindgrens taste roams all over the map, but its this attention-deficient approach that makes Skulltaste such a smorgasbord of an album, tempting the listener with one tidbit after another. Opener The Ballad of Gloria Featherbottom hits a quintessential balance between giddily spiraling samples cooled by monstrous slabs of ice-water synth; later, Get Better John has a teary-eyed uplift, conjuring a mood somewhere between 90s R&B and the Chrono Trigger soundtrack; and the entertainingly titled SFW Porn pairs a boom-clap beat to clear-blue keys and a lazily scribbled guitar line. On Skulltaste, Mux Mool tirelessly doles out 20 tracks in 80 minutes, with not a moment of filler. Lindgrens stylistic blast zone is so wide, that one might think he was pandering, trying to be all <b>...</b>

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"Next Summer," the second single from Choir of Young Believers' Ghostly debut This Is for the White in Your Eyes, is an exercise in larger-than-life musical gestures and classical drama. Employing high-altitude violins, booming orchestral percussion, and a steady procession of winsome melodies, Jannis Makrigiannis and his band shout the chorus bittersweet warning ("Next summer, I will return / I'll be there / I'll break your heart") with terrifying conviction. As always, Jannis' silvery tenor is the centerpiece, and when he whispers, "you're so dramatic when you call," its unclear whether he's referencing the songs central romantic conflict, or his own talent for eliciting exquisitely heightened emotions. ghostly.com theghostlystore.com

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The Original version of "Deny This" is available on Stone Breaker, due May 17th. Release details here: ghostly.com

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The Sight Below Further Away Filmed at Deception Pass, WA Summer 2008 All Rights Reserved ghostly.com

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While many of Audion's 2009 singles showcase a newfound obsession with restraint, understatement, and barely-there dynamics, "Push" runs in the exact opposite direction and never looks back. A classic Audion track in the "Mouth to Mouth" mold, the aptly named "Push" traffics in unapologetically anthemic builds, precision calibrated to make'em go crazy on the dancefloor. Relentlessly chugging rhythms, buoyant blips of keyboard, room-swallowing low-end swells, and wave after wave of ecstatic climax. Sometimes, a great track is as simple as that. theghostlystore.com

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In School of Seven Bells music, a human element lurks behind a veil of technology and noise; Toby Holbrooks video for the Brooklyn trios Half Asleep follows suit, depicting real-life twin vocalists Alejandra and Claudia Deheza as earthbound beauties, while complicating their image through sped-up film, gauzy overlays, and brightly colored, weather-like disturbances. The clip conjures a sad, surreal feeling that sticks with you long after the images fade. ghostly.com

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From the album Asa Breed on the Ghostly International label, this video premiered on MTV2's subterranean, 10.22.08. Directors Judy Welfare and Jeremy Hollister capture much of the song's fervent busyness by using a special 5 camera rig splayed out in a semi-circle and attached to the bed of a truck. With Dear literally hanging out over the street, they used mirrors to create a layered effect, similar to the vocals on Don and Sherri, except these shots were achieved for real, in-camera.

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In Simeon Tennant's video for Solvent's single "Loss for Words" (from Subject to Shift, 2010), a pair of romantically entwined shapes watch helplessly as their relationship dissolves. Both the gray square and his fluffy, pink girlfriend seem at a "Loss for Words" as they drift into their respective solitudes. Tennant's lo-fi computer animation fits perfectly with Solvent's analog-synth pop melancholy, striking a touching balance between technology and emotion.

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The third single from Deastro's Moondagger harnesses Randolph Chabot's positive outlook, hiding a humble plea for a better world inside a bright synth-rock anthem with macabre undertones. "Toxic Crusaders" envisions a world in which cyclops babies are born from broken families, the symbol of their sins etched in genetic mutation; Chabot plays the hopeful soothsayer, positioning himself as a "prophet of how things should be." But while "Toxic Crusaders" features some of Deastro's headier lyrical feats, musically its all muscle, featuring stutter-step guitars, blazing synthesizers, and hard-hitting drums, with an unforgettable whistle-while-you-work hook in the chorus. ghostly.com theghostlystore.com

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The hypnotic video for Syntaks' "Blue Sunshine" -- a gorgeously lumbering standout from the Danish duo's Ghostly International debut, Ylajali -- is an all-to-appropriate analog to the pair's approach to music-making: a wash of color, fleeting glimpses of half-remembered imagery both heavenly and apocalyptic, and vertiginous shifts in scale superimposed over its creators' faces. Syntaks' Jakob Skott directed the clip, and his clear love of its subject matter (his musical collaborator and romantic partner, Anna Cecilia) is apparent throughout.

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Syntaks' Jakob Skott created this video for the song "Twentytwohundred" (from his group's full-length Ylajali), in which the parallels between the Danish artist's visual and aural sensibilities are on full display. Warm, saturated colors and dreamy, abstract imagery fill the clip with a sense of nostalgic wonder, echoing the music's romantic mingling of the real and unreal.

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When talking about the music of Com Truise (one of the many pseudonyms of New Jersey designer/musician Seth Haley), the nostalgia bit inevitably comes up, so let's get that out of the way. Yes, his songs tap classic sci-fi and proto-electro in a way that is distinctly early eighties in scope. But they're also remarkably weird—stutter-step proggy and intoxicatingly psychedelic, like those classic touchstones got drunk on lava lamp juice inside a pinball machine. After his well-received Cyanide Sisters EP, a grip of remixes for artists like Twin Shadow, Neon Indian, and, uh, Daft Punk, and a few floating MP3s, Truise's first LP, Galactic Melt, will finally enter brainspaces this summer. Release details here: ghostly.com Find it in the Ghostly Store: theghostlystore.com

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Stoplight is the fourth installment in Audion's tantalizingly slow showcase of his new tracks. And new it is—Audion has never been as spry as he is on Stoplight, which skips along like an adding machine in heat. Amid all the clicks and clatter, a bulbous bass melody lends a touch of funk, and Matthew Dear's wild-eyed vocal sample sends tendrils of delay dancing into the night air. Stoplights relentless forward push barely provides any relief—halfway through, the bass drops out, only to come back in twice as strong. By the end, the hypnotic keyboards have faded, the beat sputters to a halt, and the listener is left in a spotty-eyed daze. theghostlystore.com

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The title track from Audion's It's Full of Blinding Light EP, the third installment in his slow drip of new music, is a playground game of kick-the-can gone horribly wrong. The beat—a polyrhythmic mishmash of clicks, clacks, and distant childrens voices—moves at a clip until a fleet of synthesizers swoop in, bombarding the track with wave after wave of brain-draining electronic noise. What doesnt kill you makes you stronger, though, and by the time the track reaches its conclusion, Its Full of Blinding Light shines like a New York City sunrise. theghostlystore.com

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Having flexed their synth-pop muscles on releases for DFA (the acclaimed Boy Trouble EP) and Visionquest (the lovelorn Where The Freaks Have No Name EP), DC duo Benoit & Sergio return to Spectral Sound for a victory lap around the dancefloor. And "Let Me Count the Ways" is just that, sounding every bit the perfect, hands-in-the-air final anthem of the evening. Tireless hi-hats push the beat onward and dreamy synthesized strings saturate the stereo space as Sergio intones, "let me count the ways / the ways that I've loved." As the line repeats, its meaning bends to fit the song's tone of endless, time-suspended romance: it's not the loves that matter in the end, but the ways; it's not the destination, but the journey. Release details here: ghostly.com Find it in the Ghostly Store: theghostlystore.com

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It's not often mentioned, but Todd Osborn is building a hovercraft. "I just enjoy the process of making it," he says, "how it evolves from nothing." That sense of discovery infuses the Hovercrafting EP's four tracks, beginning with the extended mix of "Wait a Minute," whose irresistible Rhodes-based hook and ubiquitous talkbox noodles segue into Frankfurt producer Arto Mwambe's remix, which squishes "Wait a Minute's" exuberance into a understated slice of handclap-house. On Fire, Osborne spins scratchy lite-funk guitars and violins into an elegantly arranged disco number. "The Count" closes things out on a high note, with fat 'n' dirty techno tones that are decidedly of-the-moment, even as its title references an icon of Todd Osborn's childhood: an eccentric cast member of Detroit-area American Bandstand homage The New Dance Show, who dressed as a vampire. On The Count, as in all of his tracks really, Osbornes choice of stylistic costume is never an end unto itself, but a means for the multi-faceted producer to express his pure love of dance music. ghostly.com theghostlystore.com

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In this, the second video introduction to Danish orchestral-pop collective Choir of Young Believers, filmmaker James P. Morse focuses on bandleader Jannis Noya Makriggianis and his cellist Ceciele Trier in an intimate live performance in New York City. Jannis and Ceciele perform "Action/Reaction" (from the upcoming full-length This Is for the White in Your Eyes) as a duo, stripping the original's bombast down to its stunning, harmony-filled essence. More on Choir of Young Believers: ghostly.com

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ghostly.com A customizable music-discovery application and radio station for the iPhone and iPod Touch featuring songs from the Ghostly International and Spectral Sound catalogs.

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Music Video for Mobius Band's "The Loving Sounds of Static" the title single for their album by the same name. Check out www.mobiusband.com or www.ghostly.com for more.

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***PROPERTY OF GHOSTLY INTL./COM TRUISE*** This is a video I made a long time ago, but refused to post because SynthesiaeFilms posted a video for it the same day I was going to post this. Here it is. Com Truises' Facebook: www.facebook.com Ghostly International website: ghostly.com Visuals by: Father Longlegs Love, The Woozy Tribe

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The amazing video for the song "Disco Rout" that Legowelt put out for Ghostly on Disco Nouveau

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Kai Zhang's video for the Lusine song "Ask You" off the album Serial Hodgepodge

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The iconic BoyCatBird characters created by Michael Segal for Ghostly International appear in their very first animated short. This short was originally made to accompany the free Ghostly Swim compilation from Ghostly International and [adult swim]. Music: Michna: Triple Chrome Dipped Mux Mool: Night Court Directed by Daniel Garcia (SuperFi)+ Jessica Milazzo ghostly.com http

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Alpinisms is an electronically enhanced pop record of dizzying highs and claustrophobic lows, whose painstaking conception shows in its detail-laden crevices. On the albums best tracks, Benjamin Curtis constructs layers of shoegazing, moire-patterned guitars, while sisters Alejandra and Claudia Deheza intertwine their near-identical voices like the fingers of praying hands. Throughout, the whole heavenly affair is tethered to the ground with a glitchy, tribal thwomp. In Alpinisms, technology collides with cryptic religious imagery and airtight songcraft; knowledge begets action; and School of Seven Bells master an alien climate with effortless artistry. ghostly.com

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From 2009's compilation "Ghostly International Presents Moodgadget".

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Hot on the heels of the release of Michna's debut, Magic Monday, Ghostly brings you a in-depth look at a "day in the life" of the producer/DJ. Video by: Surealphobia ghostly.com

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As the third single released in anticipation of Scott Hansens long-awaited full-length as Tycho, Coastal Brake may be the best yet—a sweet slice of dream-beat that glides over the ocean surface like a high-speed waverider. Coastal Brakes vintage synthesizers set the pointillistic scene, blipping and popping around a near-Balearic rhythm like melancholy drops in a river, rising and falling and building to a shimmering climax. Its not quite dance music—more like Tychos soft-focus take on the escapist beauty of house music. theghostlystore.com

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For his debut release on Spectral Sound, Subb-an offers the dark, devastating single "The Lovers Night." The A-side features vocal incantations from Beckford which drift through eight-plus minutes of sharp, propulsive tech-house. Potent, melodic synth lines slice through a miasma of echo-drenched atmosphere on that and the Dub Version, but the star of the show is the unique quality of "The Lovers Night"—like some of the best drum 'n bass of yore—of perfect synergy between uptempo percussion and a languorous, enveloping low-end, making BPMs an afterthought. Learn more at: ghostly.com

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In this video introduction to Spectral Sound artist Bodycode, filmmaker Shai Levy follows Alan Abrahams (aka Bodycode) as he prepares for a live set in Berlin. As the camera looks on, Abrahams gathers his gear and drives through the colorful streets of Berlin; all the while, the producer ruminates on his love of his native sounds and the changing nature of electronic music. Look closely and youll see labelmates Matthew Dear and Ryan Elliott.

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To celebrate the release of Osborne's Self-titled album, Ghostly International presents a look into his music, hobbies and personal life. ghostly.com http

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The Chap perform "Proper Rock" at State51. March '08 Filmed and Edited by Lisa Cazzato-Vieyra at State51 HQ. Recorded by Robin Proper-Shepherd.

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Ghostly takes an in-depth look at Spectral Sound's first lady of techno, Kate Simko. In this artist profile, Kate lets you in on her beginnings as a musician, her family and friends and her musical hopes for the future. ghostly.com http

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The Chap perform "Fun & Interesting" at State51. March '08 Filmed and Edited by Lisa Cazzato-Vieyra at State51 HQ. Recorded by Robin Proper-Shepherd.

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This 'Black City' video trailer is a striking, Metropolis-influenced montage of images and includes music from Matthew Dear's new album of the same title. Now is Matthew Dear's moment, and it sounds like nothing else. Album is available August 17, 2010 worldwide.

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Nobuko Hori's video for the Christopher Willits song "Saturn," from the Surf Boundaries Addendum EP (Ghostly International).

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There's a beating heart buried in the wintry landscape of Glider, a warm 4/4 pulse that enervates the album's echoing, looped drones and pulls the listener swiftly through the snow. By pinning barely-there electronic beats to his wisps of guitar melody, the Seattle-based producer turns ambient music into a hybrid strain of breathtakingly intimate, small-scale dance music. With Glider, The Sight Below has created a work of vertiginous sonic depth and exquisite melancholy: techno music for a dark winters night. ghostly.com theghostlystore.com

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Video shot and created by Christopher Willits 2009-2010. "Flowers Into Stardust" is the last piece (CD and digital version) on the album "Tiger Flower Circle Sun" (2010) theghostlystore.com

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The Chap perform "Caution Me" at State51. March '08. Filmed and Edited by Lisa Cazzato-Vieyra at State51 HQ. Recorded by Robin Proper-Shepherd.

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