Name: Long Light
Brand: Lusine

Bonus disc

Bonus disc: No

Catalogue number

GI427LP

Colour

Black

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2023-12-01

Signed copies

Signed copies: No

Supplier GB

Tax rate GB

Standard:20

UPC / Barcode

0804297842714

Total Cap

Black LP

GI427LPC1

Brown

Transparent Tan and Black

Extended format: Yes

2023-09-29

0804297842738

Brown LP

GI427CD

0804297842721

Artist

Lusine

Genre GB

Electronic

Label GB

Ghostly

Jeff McIlwain, better known by his stage name *Lusine*, is a Texan artist who has been producing ambient/experimental techno since the late 1990s. His music draws inspiration from the classic early-'90s British techno scene, which itself was influenced by American sources in Detroit. With a highly melodic yet abrasive sound, Lusine released his self-titled debut album in 1999 on the Isophlux label.

Lusine's music is characterized by its intricate melodies and experimental approach to techno. He creates immersive sonic landscapes that transport listeners to otherworldly realms. Drawing influences from artists such as *Kettel*, *Ochre*, and *Proem*, Lusine's unique style sets him apart in the electronic music scene.

Over the years, Lusine has gained recognition for his captivating live performances and innovative studio productions. He continues to push boundaries with his music, exploring new sounds and techniques while staying true to his signature style. With an extensive discography and collaborations with renowned artists like *Telefon Tel Aviv* and *Plaid*, Lusine remains at the forefront of the electronic music genre.

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Seattle-based producer Jeff McIlwain, aka Lusine, returns with his 9th full-length record, Long Light, marking twenty years since he first joined the Ghostly International roster. A cited influence for myriad electronic artists including London’s Loraine James and others, Lusine is known for visceral, kinetically-curious music that fuses techno, pop, and experimental composition. In recent years, McIlwain has pushed his craft skyward with more collaborative, song-forward work. Long Light shines the throughline; his signature looping patterns and textures are dynamic yet minimalist as ever. Structurally straightforward, tight, and bright, the material radiates as the most direct in his catalog, featuring vocal contributions from Asy Saavedra, Sarah Jaffe, and Sensorimotor collab- orators Vilja Larjosto and Benoît Pioulard. Lusine found his sound early on, but he’s never stopped pushing and pulling at its potential, patiently deconstructing the distractions and solving the puzzles. With Long Light, a laser-focused, process-driven artist reaches an exceptionally satisfying level of clarity and immediacy.&nbsp;

McIlwain sees the title, taken from the lyrical phrase “long light signaling the fall again,” written by Benoît Pioulard for what became the title track, as a guiding device that reflects several meanings. “There’s this sort of paranoia where you don’t know what is real, it’s an age of high anxiety and there are all these distractions,” McIlwain explains. “It’s like a fun house mirror situation.” Following the long light is the only true way through, and he holds that metaphor to the album’s recording, which also carried a cyclical nature akin to seasons. Like the start of fall, the album completes a period of cultivation; “Music making is a struggle and you have to have a ton of patience.” Long Light is proof that what lies beyond the noise, at the end of the figurative tunnel, is worth all the work it’s taken to get there.&nbsp;

Across the collection, McIlwain identifies the core sonic element, a vocal cut or a simple beat sequence, from which to build everything else off. On the opener “Come And Go,” he multiplies a vocal take from longtime collaborator Vilja Larjosto into a celestial choir, evoking their Sensorimotor standout “Just A Cloud.” It’s the bass hook on the single “Zero to Sixty,” curving around the voice of Sarah Jaffe, whose pliable range and cool delivery provide the source for Lusine’s unmistakable mapping. The chorus is Jaffe’s (“cold-blooded”) line repeated in step with melodic synth pulses and the buzzing deep bass. “I feel like I am dreaming / You make me feel like I am walking on a cloud / I don’t ever want to feel the ground,” sings Asy Saavedra (of Chaos Chaos) on “Dreaming.” This time McIlwain keeps the phrase intact, making subtle tweaks to the timbre and texture as chimes, clinks, and snaps oscillate. “Long Light” has it all: Lusine’s percussive mood-building, rendered with samples from drummer Trent Moorman, and a contortion of tender poetry, courtesy of friend Thomas Meluch, aka Benoît Pioulard (Morr Music, Kranky).&nbsp;

The album balances vocal pop motifs with some of Lusine’s strongest instrumental expressions, from ambient-minded foreshadowing (“Face- less,” “Plateau,” “Rafters”) to hypnotic head-nodders like “Cut and Cover” and “Transonic.”&nbsp;

It is rare to arrive at a landmark work two decades into one’s craft, but through repetition, refinement, and patience, Lusine extends a defining moment, an essential piece to his discography.

Long Light 

Music GB