:.......Musical shapes from the idea spacE.......:


Cameo Culture swirls and warbles across dusty electronic planes, blowing through the town of secrets and pluralisms; singing of sass and fragility, love and loss, jazz and drum machines. Float through this town and take in the starlit fairground, bounce off the cobblestone streets as sweet melodies wash over you. Close your eyes and dance. Let your soul shake it loose. The percussion was grown in a garden amidst the radish bongos and rosemary rainsticks. The vocals fell off a distant star and landed in a gr­ainy polaroid. The trumpets are bitching. The harmonies glide over your goosebumps like snowdrift over miniature moguls. 

Cameo Culture is the work of Dave Robertson, who devotes his life to crafting warm soulful house music, washed-out indie, and slow jams that make your ventricles sing and your soul salivate. Throwing all of these influences into the blender, Robertson makes a sonic smoothie that energizes his production style and aesthetic. His music tells a story of love, fear, warm baths, and mud wrestling. His music speaks to the shapes we create on a dance floor at 5 a.m. A self-proclaimed gear junkie, he seamlessly balances his technical skill as an audio engineer with his passion for real music with depth and soul – a constant commingling of the acoustic with the electronic – that makes his music stand apart.



Bookings and promos:: cameoculture@gmail.com

self-titled is a music magazine that has nothing to do with music. At least not in the traditional sense of self-important ‘criticism’ and profiles that read like regurgitated press releases. Yes, we print reviews and thought-provoking features, but we also pride ourselves on answering the questions others don’t ask. Find out what some of those questions are by reading our daily site or one of the back issues below.

For more information, or to request our one sheet for prospective advertisers and creative/event partners, please feel free to contact one of our editors:

Editor/Publisher, Andrew Parks, aparks@self-titledmag.com
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Sonidero / Documentación / Audiovisión
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o b s c u r e f u t u r i s m
c a s s e t t e t a p e s
v i n y l c r a t e s
m i x e s .





Send your sounds or another awesome thing to: goldframe.rec@gmail.com

✓ [GFR004] Herr Johann
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✓ [GFR002] No Light
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Gold Frame Records, est. 2014.

AAuu(radio)

Nuestros gustos musicales son un lenguaje en sí mismos.

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CDMX, México

Peder Mannerfelt splits the difference between playful immediacy and daring experimentation. You’re as likely to find him premiering a live show at Berlin’s Atonal festival as pulling apart fabled techno meccas from Berghain to Fabric with synapse-frying precision. One minute he’s being asked to remix Björk, and the next he’s dropping EPs of non-conformist techno for Karenn’s Voam label. 

As a prolific collaborator throughout his career, Mannerfelt has veered from the orchestral tension of Roll The Dice (with Malcolm Pardon) to the anything-goes maximalism of Aasthma (with Pär Grindvik). As a producer, he’s worked on every one of Fever Ray’s acclaimed albums and live shows, as well as projects from alt music heavyweights such as Smerz, Blonde Redhead and Glasser. His Peder Mannerfelt Produktions label has become another outlet for his singular approach, presenting his work alongside similarly experimental operators like Sissel Wincent, Machine Woman, Klara Lewis and Hodge. 

More recently, his PM+ series celebrates the immediacy of club-focused tracks, and Mannerfelt thrives on the energy and community of contemporary club music. What makes him different is his response to that energy, as he pushes the music’s possibilities in wild, unpredictable directions.

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