My music is a lot like that I think – you have to grasp intuitively, rather than try to understand it from a rational viewpoint. I wanted to make an album about remembrance and remains – both in a sense of people and things that were, stories of lives that were lived, the life that filled places before us, about urban shadows and leftovers of the things that were. Polish friends confirmed what Google translate had to say- so I am very grateful and very proud and feel very reassured about my music.

But what sets the Wombats apart from those acts is the lechery and squalor just beneath the surface. These cookies gather your browsing habits, they help us to understand which products, services and offers interest you.Dziesięć kompozycji składających się na krążek tworzą spójną opowieść dźwiękową, w której miasto jawi się jako miejsce niemalże magiczne – mające swoje życie, pilnie strzeżone tajemnice, jasne i mroczne strony. I hope that through Notown I am able to reach new people with my music that probably haven’t heard of me before, and that’s just wonderful. The other big touchstone for Dust in particular is his close friend and fellow producer, Gold Panda.

His interest in costume and set design took him first to the Royal Ballet and then to the Coliseum in 1968 to work on a production of DON GIOVANNI. On Dust, the newest LP from Berlin-based producer Till Rohmann, Glitterbug transcends the personal to evoke phantom cityscapes. Thanks to Simon Jay Catling first and foremost for a wonderful article, and also the long, interesting conversation we had about my music.

But during the period of producing my first album, ‘Supershelter‘, I realised that the only person I can be is actually myself (radical realization, I know…), and that I also can’t change who I am when I am making music.