dystopian electronics

@fireringlabel @rodnictrax @ofarctica

YACHT—Young Americans Challenging High Technology—is a post-pop trio based in Los Angeles. They are neither young nor all American. 

YACHT are new wave radio rejects; perpetual outsiders; canny observers; dreamer-prophets who average seven years ahead of their time. Founded in 2002 in the Pacific Northwest DIY scene, they’ve since released seven full-length albums and dozens of singles and EPs, always supplementing their releases with multimedia projects and high-concept experiments. 

An unplayable compact disc, a philosophical handbook, an eyewear collection, a fragrance, an app, a 62-foot video installation: their ambition to make exceptional things is voracious, playful, and limitless. For YACHT, music is a world and everyone is invited. 

YACHT’s seventh album, Chain Tripping, which was composed in collaboration with Artificial Intelligence, was nominated for a GRAMMY Award for Best Immersive Audio Album in 2020. A feature documentary about YACHT’s work with AI, The Computer Accent, was released in 2024. New Release is the first studio album from YACHT in five years. Recorded at their home in Los Angeles, the album is a slice of sly post-pop, playfully occupying a parallel timeline somewhere between 1983 and infinity.

DJ Koze’s new album Music Can Hear Us, released on April 4, 2025, entered the official German album charts at number 4 and received widespread critical acclaim worldwide. Major publications such as Pitchfork, Rolling Stone, Wall Street Journal, Musikexpress, and many others have celebrated its brilliance. In the music scene, platforms such as Resident Advisor, Musikexpress, Groove, Diffus, MINT, HHV MAG, and BEAT Magazine have all highlighted the album’s magic and Koze’s unique artistic voice. Music Can Hear Us is destined to be one of the year’s most talked-about releases.

“Drone and 80s shoegaze exchange goods here, while guitars immersed in shards of feedback venture to go where drums would never dare.” – Montreal Mirror (7/21/11)

"The music of Montreal’s Aim Low has its basis in the reflexive appropriation of what came to be the more or less standard equipment utilized within the shoegaze subgenre; the trio isn’t as much interested in emulating past forms and compositions as it is in the cunning and selectively resourceful re-appropriation and arrangement of effects pedals, noise, distortion, and whatnot, seemingly with the intent of sonically recreating the sensation of the sublime, in its purest — and most terrible — Burkeian/Kantian iteration." – Tiny Mixtapes (9/13/12)

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