Black Light White Light resonates infectious shoegaze set in swirling psychedelia packed in a Spectorish sound with a modern Scandinavian twist.
Formed in Copenhagen, Denmark 2009 by singer/guitarist Martin Ejlertsen the project grew out of a love for American psychedelic rock, the 60's Swinging London as well as 1990's shoegazers sound from Creation Records and 4AD.
After releasing Infrared Daylight (2011) and Gold Into Dreams (2014), both albums recorded mostly as a three-piece band live in a studio, Ejlertsen changed his point of view in early 2015 and further developed the terms of how Black Light White Light could sound by changing his approach to songwriting over a period of one year to find a new vantage point at his own pace.
The creation of the band's third album Horizons began in early 2015 with Ejlertsen recording demos, melodies and layers late at night in his own home studio in a low-ceilinged cellar in Malmo, Sweden while meanwhile joining forces with a new Swedish drummer, Viktor Höber. Actual recordings for the new album began in late 2015.
With a desire to make a dark pop album with razor-sharp etches the songs slowly unfolded and were finally realized in a basement studio in Copenhagen, Denmark deep underground twisting and turning ideas and sketches in a close co-operation with Danish producer/engineer and fellow musician Christian Ki.
Taking inspiration from Creation Records-era, and with film as a huge inspiration particularly the works of David Lynch and Danish filmmaker Nicolas Winding Refn, Ejlertsen began to experiment in coupling Lynch-ian concepts of duality, visions and dream states with the bloody self-destruction and gallows homour that pervades Refn's work.
Musically Ejlertsen this time around also found great inspiration in George Harrison’s approach on masterpiece ’All Things Must Pass’ - creating art on a clean canvas in a undisturbed, private space.
The final output on Horizons is definitely something else than before.
Introducing undulating keyboards as a new fundamental key element of the sound, the 11 songs on Horizons are breezy yet intrusive with harmonies and chiming delay guitars under attack with fuzz and vibrato on top of groovy rhythm foundation of Bonham'sk drumming and McCartney'sk basslines all enveloped in dark and pervasive, melancholy pop melodies.
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