Seiji is a professional flute player, pianist, composer and classical music theorist.
Tori is a keyboardist and sound designer experimenting with synthesizers and occasionally doing hard BDSM things to the music theory.

Along with the band activity we are creating game music, movie soundtracks and BGM.
Feel free to contact us!

- Tori, Seiji
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Please follow Gravity's Embrace on Spotify and listen to their singles. Add the songs to your playlists if they have found a place in your heart!

Hannyta is a UK based singer, songwriter and music producer. She has a pro production team for many genres, the production may include the music, lyrics or accompanying music videos.

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Citybox - electronic dance music project consisting of two producers (Eugene and Alex aka "Mechanical Pressure"), who have about 15 years of music production and searching for their own recognizable sound. At the moment, guys are confidently moving in the direction of breakbeat/breaks music and are not going to stop and are only gaining momentum in this matter. Their tracks often made it into the top 100 beatport releases and were released on various top breaks labels such as Elektroshok and Distortion Records. Their music was supported by famous artists such as The Crystal Method, Aggresivnes, Destroyers, Under This, Sunsha, Orebeat and many others. The Citybox project is still being improved and in the future you will find many unexpected musical experiments and cool releases in digital and vinyl records.


504 Productions
Distorsion Records
Viper Recordings
Elektroshok Records
Rune Recordings
You So Deep
Banana Club
Raveart Records
ElectroBreakz
Samay Records
Architektur Records

Tokyo-based experimental pop duo and creators of Buddhagaya TV. If you'd like to be on the next episode, get in touch! 

This space is for demos and rough tracks. A bit about us in Tokyo Weekender:
https://www.tokyoweekender.com/2021/01/santa-dharma/?fbclid=IwAR2KtemX45Z7GaFxUA_I7VL-a0YsyMCDrQvEoh-Bkkim9TiWdGOa2J2boJE

Songwriter, mix master record and play all my own stuff. But a dream within a dream…

80s POP & POP ROCK

FOR FANS OF:
A-ha, Bryan Ferry, Billy Idol, Bronski Beat, Culture Club, Classix Nouveaux, Depeche Mode, Duran Duran, Dire Straits, Dead or Alive, Eurythmics, Kajagoogoo, Midge Ure, New Order, Orchestral Manoeuvres in the Dark, Prince, Red Box, Roxy Music, Simple Minds, Spandau Ballet, Sting, Talk Talk, Tears for Fears, The Human League, The Police, Thompson Twins, Ultravox, Visage, Yazoo

With my lovely friend 💝 De Mode 👑🪩✨🎶🎧

soundwaves in discopia
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solo project
still, hit me up for collabs

Gravity&#x27;s Embrace is following

Gravity's Embrace is following