https://ffm.to/mum-child-cardinal-sine-wave.bio

"Lo-wave" ?

This is my “if lofi and synthwave had a baby” song. I stumbled on this fusion of styles I love accidentally when I pulled up a synth bass patch that had the steady arpeggio - reminding me immediately of the iconic Drive film soundtrack. Bringing the analog, retro flavor alongside the crunchy, rawness of Mum Child lofi beats.

Cardinal Sine Wave

Stream/download the album: http://smarturl.it/elskavon-reveal

Written and produced by Chris Bartels.

All instruments played by Chris Bartels.

Cover photo by Anton Novoselov. 
________________

Released by Anthem Falls Music.

For licensing, publicity, and booking inquiries, email chris@anthemfallsmusic.com

anthemfallsmusic.com/elskavon

Anda

Migration Sun

Gleamer Skies is a blend of creative free-for-all and experimenting, blended with the audio/sonic structures and strengths I’ve developed over the years. I wanted that to be conveyed also in the mood of it - a balance of somber/melancholy and summery, laid back joy. 
-Mum Child

https://ffm.bio/mumchild

Gleamer Skies

Shimmer Wings - Mum Child

Following the growing momentum of Listening—which has landed on notable indie folk playlists and been highlighted by outlets like Purple Melon and Indie Folk Central—Dellwood returns with We Could Awake, a cinematic indie folk track layered with ghostly vocoder harmonies and raw introspection.

Blurring the lines between organic warmth and ethereal textures, We Could Awake explores the tension between staying in the comfort of the past and stepping into something unknown. The refrain—"Like digging for gold, am I made to break, or face it?"—poses the central question: Do we fold under the weight of fear, or do we find the courage to awaken? The song captures the quiet wrestling between doubt and purpose, between clinging to familiarity and embracing the risks of growth.

Set against flickering fireplace embers and fleeting memories of Minneapolis flights, the lyrics paint an intimate portrait of longing, uncertainty, and the hope that waking up—to life, to love, to purpose—is worth the risk. If Listening was a quiet confessional, We Could Awake is the moment of reckoning.

We Could Awake

"See Your Face" captures the quiet, introspective moments after a breakup, weaving raw vulnerability with a nostalgic beauty that resonates deeply with listeners. Fusing intricate folk storytelling with cinematic ambient production, the track creates an organic soundscape that is both intimate and expansive—perfect for anyone seeking a reflective journey through sound.

See Your Face

The MySpace Top 8 was never meant to change the music industry. Chillwave was never meant to be a genre—it started as a blogosphere joke. And Bora York was never meant to be a band—it began as a school project. Yet all three took on a life of their own, shaping an era of indie electronic music built on hazy nostalgia, warm synths, and melodic escapism. Now, after six years away, Bora York returns with "Melting on the Moon," a shimmering sonic love letter to the chillwave movement that first inspired them.

"I think I needed to distance myself from it for a while," says songwriter Chris Bartels, who also writes music as Elskavon, Dellwood, and Hi-Fi Cali. "I was trying so hard with this, in my head, being my ‘main’ project, hoping for so much with it. I was putting so much emotional stock into it that it was probably even sucking some of that original creative magic out of it. Bora York was essentially an accident—it started as a school project and turned into something exciting and unique. Then for a while, I tried to keep recreating that. Stepping back for a few years and only writing as I felt led creatively allowed me to let go—to just let it be."

While writing, Chris started curating a playlist he facetiously called "Chillwave Revival," letting himself become fully immersed in and inspired by the sun-faded synths and woozy nostalgia of Toro y Moi, Washed Out, MGMT, and Neon Indian. Before long, that feeling took over. "Melting on the Moon" is the result—a track that embraces the fuzzy textures and dreamlike melodies of early chillwave, yet with an undeniable modern pulse. It’s laced with Chris and Rebekah’s signature vocal chemistry and an irresistible post-chorus synth hook that lingers long after the first listen.

With past syncs in Netflix’s To All the Boys, Mr. Robot, The Middle, Criminal Minds, Target, Honda, and more, Bora York’s music has resonated far and wide. Press accolades from Clash Magazine, Neon Gold, Indie Shuffle, and Earmilk hailed their sound as “sublime,” “summertime radness,” and “impossible not to get swept up in.”

Now, Bora York embraces a new chapter—one that taps into the playfulness, freedom, and MySpace-era nostalgia of their earliest influences while letting the music just be.

Melting on the Moon

When you've been through hell and back... but, you've had your person there with you the whole time. That's what this one's all about.
//
Follow Dellwood → https://dellwoodsongs.com/
//
PRESS RELEASE:
Dellwood returns with his sixth single, Lovelights, a slow-burning summer folk meditation that blends his signature intimate fingerpicking, layered harmonies, and spacious vocals. 
The song lives in that tender space between bittersweet reflection and quiet hope — a "peaceful wrestling" with the emotions of life. Set against the backdrop of a warm summer evening, Lovelights captures the feeling of sitting with close friends under fading twilight, digging into the hard questions of life and love, while still finding comfort and calm in the togetherness.

The arrangement carries Dellwood’s unmistakable blend of warmth and atmosphere: detailed fingerpicked acoustic guitars float beneath soft vocal layers, while subtle ambient textures suggest the distant sounds of a city winding down for the night. Lovelights embodies that rare stillness where life slows down just enough to breathe, feel, and ultimately, choose peace — even when things hurt.


• Lyrics:

Last night was a long night
When you said, “It’d be alright"

The blades stuck to my window
The frost was yet another signal
We had it coming

The shivering, the watercress
Drifting deep in my chest
We had it coming

Last night was a long night
When you said, “It’d be alright"
Last night was a long night
But we faced that tide
Made up our minds

Oh, we looked inside, knew it’d be alright
In our lovelights, in our lovelights 
Oh, in our lovelights, in our lovelights

///

#indiefolk #indiefolkmusic

Lovelights

Rainglass

Rainglass (feat. Sonant)

Stream → https://www.submithub.com/link/bora-york-sunlight

∎ THE SONG ∎

Bora York’s single “Sunlight” is a fuzzy, fun, and distorted synthpop ode to resilience, nostalgia, and the glow of fleeting moments. Built from chopped-up field recordings and warped voice memo fragments Chris stumbled across late one night on his couch, the track blossoms into something far bigger than its lo-fi beginnings—a shimmering slow-burn with the pulse of early-aughts DIY MySpace electronic, wrapped in the duo’s signature dreamy indie-pop atmosphere.

Lyrically, “Sunlight” drifts between memory and motion—birthday highways, September nights, and the quiet reassurance of someone reminding you to slow down, don’t let it pass, love. It’s an anthem of grounding and escape all at once: nostalgic in tone, but fully alive in the present.

Produced and written by Minneapolis husband-wife team Chris and Rebekah Bartels, who continue to push Bora York’s sound between the nostalgic and the new, “Sunlight” serves as a bridge between eras—happy and upbeat in spirit, yet drenched in warped synths, heartfelt vocals, and cinematic moodiness. It feels equally at home in the lineage of Bora York’s earlier synth-dream anthems (Melting on the Moon, Glow Hover) as it does in the duo’s evolving, fuzzier future.
For fans of Blood Cultures, STRFKR, Goth Babe, Goldensuns, Wild Ones, Pink Skies, and Toro y Moi, “Sunlight” channels that specific warmth of a relationship carried through chaos: imperfect, nostalgic, and deeply human.


∎ LYRICS ∎

I was hoping, I was hoping, I was hoping that night
I was seeing, I was dreaming, I was living that ride
I was hoping, I was hoping, I was hoping that night
That I was finding, I was deciding, I was living that life

And you say

Slow down, don’t let it pass, love
Let’s fall here, swimming in gravity
Slow down, don’t let it pass, love
Let’s fall here, drowning in rhapsody 

On the highway, on a Friday, it was your birthday that night
Do you remember, under the weather, but you came out despite
And on the way home, out of my bones, I finally left that year’s plight
And I’ll remember, that September, we were living that life

And you say

Slow down, don’t let it pass, love
Let’s fall here, swimming in gravity
Slow down, don’t let it pass, love
Let’s fall here, drowning in rhapsody

And you say

Slow down, don’t let it pass, love
Let’s fall here, swimming in gravity

∎ PRESS ∎

"Bubbling, intimate, and sincere, Bora York’s album ‘Emotion Vertigo’ is a passionate pop affair ripe with love and heartbreak." - Atwood Magazine

"Experimental, warm and soothing rhythm meets benevolent groove that truly lives up to its name." - All Things Go

"Sublime piece of indie pop overlaid with billowing electronics." - Clash Magazine

∎ SOCIAL + MORE MUSIC ∎
http://facebook.com/borayork
http://instagram.com/borayork
https://www.tiktok.com/@borayork
http://borayork.com

∎ CONTACT ∎
borayork@gmail.com

Sunlight

Video: https://youtu.be/MeWthM0aqig
Stream 'It's Alright' → https://song.link/us/i/1865547637

Press Release:

With It’s Alright, Dellwood offers his most compassionate and grounding release to date — a song written not as reassurance from a distance, but as presence inside the weight of real life.

The song emerged unintentionally while Chris Bartels was walking alongside a close friend enduring a prolonged season of loss: broken relationships, family fractures, and the creeping temptation to give up on music entirely. Drawing subtle inspiration from themes in his friend’s own songwriting, It’s Alright became a quiet act of solidarity — not saying “everything will be fine,” but offering something more honest: you’re allowed to breathe again, even here.

Built around intimate Rhodes and Pianet T layers, warm rubber-bridge acoustic fingerpicking, and hushed, breath-forward vocals, the track unfolds slowly and deliberately. There’s no rush to resolution. Instead, the song sits with heartbreak, anxiety, and emotional exhaustion — acknowledging the mess without trying to soften it.

Lyrically, the song moves between elemental imagery and human fragility — rain, waves, sand, dirt — tracing a shared arc of breaking down and slowly mending. The repeated refrain “It’s alright” is not a dismissal of pain, but a grounding statement: a reminder that hope can exist alongside grief, not after it.

“This song wasn’t written to fix anything,” says Bartels. “It was written to sit with someone in the hardest stretch of their life — to say, this is brutal, and you’re not wrong for feeling it. But you’re still here. You still matter. There’s still something ahead of you.”

It’s Alright continues Dellwood’s evolving cinematic-folk language — restrained, emotionally present, and deeply human — favoring honesty over polish and closeness over scale. It’s a song about staying, breathing, and holding space when easy answers aren’t available.

For fans of Sufjan Stevens, Bon Iver, Hazlett, Novo Amor, RY X, Phoebe Bridgers.

///

Press Highlights for Dellwood (Year One):

• “Soul-stirring indie-folk… raw and intimate strums wonderfully juxtaposed with cinematically produced vocal layering.” – Up To Hear Music

• “Delicate harmonies radiate raw emotion and soul… a hauntingly personal atmosphere.” – Caesar Live N Loud

• “Explores the weight of family through a haunting narrative… lyrics ache with unspoken words.” – Purple Melon

• “An intimate slice of folk… emotional power and sincerity reminiscent of early Bon Iver.” – We All Want Someone To Shout For

• “A warm, atmospheric soundscape… tackling life’s challenges and finding solace in shared vulnerability.” – Purple Melon

///

LYRICS

In the rain, the body break
When you need to run away
At least promise me
You may see the final frame
Let the healer take away
At least try to breathe

From the sea and the sand
To the dirt we all land
It’s alright, it’s alright
In the waves, you can mend
Before the mysteries end
It’s alright, it’s alright, it’s alright

In the thick it left you low
With a vow the rhythm stole
In the everwoods
Laughing is the medicine
But you’re free to breathe again
In the fur-brewed clay

From the sea and the sand
To the dirt we all land
It’s alright, it’s alright
In the waves, you can mend
Before the mysteries end
It’s alright, it’s alright, it’s alright

You’re alright
You’re alright

It's Alright

• 'Origins' out now on @western_vinyl: https://lnk.to/elskavon-origins
• 'Origins Remixes' feat. Hammock, Goldmund, and more: https://lnk.to/originsremixes

• Email List: http://eepurl.com/dyYeVj

• Ambient playlist I'm curating: http://smarturl.it/dreamingdriving

Here are my other music projects:
• @borayork
• @anthemfallsmusic
• @chrisbartels

CONTACT
chris@anthemfallsmusic.com
http://anthemfallsmusic.com

Anda

elskavon

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