Independent label Harmonic Resonance Recordings est. 1995 operated by Greg Kyryluk known in the music world as artist Alpha Wave Movement, Subtle Shift (ambient dub formerly Within Reason), Open Canvas,Thought Guild and the recent ambient project Biome. Releasing home grown ambient, ambient/dub tech, New Age, Progtronica (progressive rock meets electronica) and ethnic/world flavored electronic music.
Subtle Shift (formerly known as Within Reason) is an electronica minimal ambient dub side project of Alpha Wave Movement of which there has been two releases on the US based Anodize/Periphery label and Harmonic Resonance Recordings).
My music has been used in Grand Theft Auto 4 and various underground indie short films as well as radio-play over the years on the syndicated space music show Hearts of Space, Soma.fm and Radiospiral(U.K.).

My tastes vary, as well as my mixing styles. Sometimes deep and thoughtful - other times dirty funky and a bit raw. Frequency can heal and create change. Music and deep community are the way.  Love.

Mark Lacas (LMG - Lick My Grooves - SEA) Mark is a veteran electronic music composer, producer, musician, and technologist. Mark (AKA DjML) is also known for spinning vinyl in headliner slots in the Seattle underground dance scene, as well as producing highly regarded DJ mixes.

DjML has been a Seattle staple in the Burning Man arena, as well as warehouse parties, and local clubs such as Marcus', where he held residency for 2 years. Other residencies include: Sea Sound Lounge, ToST, Premier and Club 722.

Mark's original music spans many genres but generally in the fusion of electronic and rock. 

As DjML he has crafted an eclectic and progressive European sound with a mix of House, Techno, Trance and Break Beats. His mixes have an epic quality that excite and inspire. DjML has played the West Coast from Vancouver to California and Hawaii.

Tait is a positive force who’s woven into the fabric of Seattle's underground music community. A builder of creative alliances, beautiful spaces and tough beats, Tait’s evolution as an artist flows with the story of the growth of the burgeoning dance music metropolis. 

As a key player in Uniting Souls, Tait’s current house sound represents a hard, edgy sound true to his punk rock and drum & bass roots. In the early days with the crew, he helped bridge the house-heavy roster with the city’s finest drum & bass talent, and with his drive to create more avenues for the music that moved him, ignited other nights around the city. 

Tait’s role with the now-legendary epicenter that was Electric Tea Garden was a labor of love that signified a growth point for him as a DJ and promoter, hustling for all the various crews who ran their regular and one-off nights at the venue. 

He’s passionate about pushing the edges of DJ performance and building alliances to create memorable experiences, including the beloved summertime Cascadia festival and the city’s newest dance venue NightJar.

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.

TOUR DATES: https://www.thisispolica.com/live

The Brown Album Expanded | Out Now
https://orbitalband.lnk.to/brownalbumSD

Music researcher looking for ways to actually feel something again and hoping that writing music will help me on this journey. I'm inspired by so much but have a fondness for electronica of 90's, experimental music and cinematic & classical pieces. 

if you like what you hear follow and leave a comment I really do appreciate it!

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