- Come and Go (feat. Vilja Larjosto)
- Zero to Sixty (feat. Sarah Jaffe)
- Dreaming (feat. Asy Saavedra)
- Long Light (feat. Benoît Pioulard)
- Cut and Cover
- Double Take
A cited influence for myriad electronic artists including London’s Loraine James and others, Lusine is known for visceral, kinetically-curious music that fuses techno, pop, and experimental composition.
In recent years, McIlwain has pushed his craft skyward with more collaborative, song-forward work. 'Long Light' shines the throughline; his signature looping patterns and textures are dynamic yet minimalist as ever. Structurally straightforward, tight, and bright, the material radiates as the most direct in his catalog, featuring vocal contributions from Asy Saavedra, Sarah Jaffe, and Sensorimotor collab- orators Vilja Larjosto and Benoît Pioulard. Lusine found his sound early on, but he’s never stopped pushing and pulling at its potential, patiently deconstructing the distractions and solving the puzzles.
With 'Long Light', a laser-focused, process-driven artist reaches an exceptionally satisfying level of clarity and immediacy. Across the collection, McIlwain identifies the core sonic element, a vocal cut or a simple beat sequence, from which to build everything else off. On the opener “Come And Go,” he multiplies a vocal take from longtime collaborator Vilja Larjosto into a celestial choir, evoking their Sensorimotor standout “Just A Cloud.” It’s the bass hook on the single “Zero to Sixty,” curving around the voice of Sarah Jaffe, whose pliable range and cool delivery provide the source for Lusine’s unmistakable mapping. The chorus is Jaffe’s (“cold-blooded”) line repeated in step with melodic synth pulses and the buzzing deep bass. “I feel like I am dreaming / You make me feel like I am walking on a cloud / I don’t ever want to feel the ground,” sings Asy Saavedra (of Chaos Chaos) on “Dreaming.”This time McIlwain keeps the phrase intact, making subtle tweaks to the timbre and texture as chimes, clinks, and snaps oscillate. “Long Light” has it all: Lusine’s percussive mood-building, rendered with samples from drummer Trent Moorman, and a contortion of tender poetry, courtesy of friend Thomas Meluch, aka Benoît Pioulard (Morr Music, Kranky).
The album balances vocal pop motifs with some of Lusine’s strongest instrumental expressions, from ambient-minded foreshadowing (“Face- less,” “Plateau,” “Rafters”) to hypnotic head-nodders like “Cut and Cover” and “Transonic.”