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“Mentored by Sufjan Stevens, who signed Stith to his Asthmatic Kitty label, DM Stith has released a debut album which is arcane and esoteric from the off, a record that knows more than it's letting on. Stith's music, made with cellos and pianos but also the creaking of wooden doors, has the uncomfortable intimacy of Antony and the Johnsons (to whom he is often compared), but also the baroque strangeness of Bowie in his Brechtian Baal phase.”-Independent
Heavy Ghost Appendices, which comes out May 25 on Asthmatic Kitty, revisits this secret world and adds to its cartography a series ofhidden coves, unexplored forests, and new landscapes. Heavy Ghost was also mystifying and intertwined to David when he wrote it; the Appendices are a means to sort the thing out in his mind. They physically collect the digital trilogy of EPs released over the course of the summer and fall of 2009 into a beautifully packaged limitededition double-disc set.
"Inlets will please the hoards of music fans who have grown to love the floral and somewhat progressive folk championed by Grizzly Bear and Beach House. Less grandiose than the first and sunnier than the latter, Inlets' songs are instantly gratifying and more soothing...we predict that this record will be one of the soundtracks of this summer."
-The Deli
"Think the weariness of a bedroom troubadour, a folkie with mild classical tendencies...It's really great stuff."
-Stereogum
A worrier, childhood choir member, and unfocused student of many instruments, Sebastian Krueger marries the darker ornaments of baroque pop with lo-fi intimacy. Far from his Wisconsin roots and perfunctory piano lessons, he works out of a small Brooklyn apartment as Inlets, incubating songs over the course of months and creating short, dusty suites. Inlets' debut full-length, Inter Arbiter, creates an elegant high drama. Framed by eclectic layers of clustered woodwinds, brass, and percussive guitars, the record captured a personal and raw enterprise.
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Starting making her own music around 2001, Silje began by recording on 4-track demo software through a tiny inbuilt microphone on her laptop. Though she’d previously studied classical piano, when she started recording, she did so with guitars and instruments she had no previous experience of playing. In this she was simply guided by the sounds she loved, and the excitement of discovering new instruments and sounds without learned conventions. Starting out by working purely instrumentally, she made use of whatever equipment she could get hold of - guitars and an old synth, a cello, a drum kit, a laptop, as well as loop pedals to build layers of her own playing. Little by little she also found ways of including her own voice in the mix, both as texture and song, and her music has organically evolved from there.
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