Lamorn is bringing his unique spin on electronic dance music on a nationwide tour next month, coming off the heels of successful collaborations with rave legends like deadmau5 and SHAED. Striking the balance between “the thrill of the future” and “potent nostalgia” in his music, Lamorn eschews the expected, beat-drop-centered trappings of modern EDM. Lamorn’s compositions seek to go above and beyond the perceptions of the kind of music he makes, which is especially evident in the singles taken from “Forever.”
Six tracks have teased Lamorn’s first-ever full-length release since 2022, kicking off with the atmospheric “Who We Are.” Reminiscient of the creative beginnings of early 2010s electronic, Lamorn takes the sounds bouncing off of neon-colored nightclub walls and runs with them. Looping samples overlap with bright beats to create a distinctive introduction to the album. Each single’s artwork communicates a low-fidelity, hazy aesthetic, which speaks to his personal, homegrown style of EDM.
“Armed” is a slow-burning, introspective romp, stringing together emotional lyrcism with heart-thumping rhythm. “All I find,” he croons, “is mental pictures of the things I know I’ve missed.” Similarly, “To Be Alive” is a thoughtful journey with to bouncy backdrop, describing: “I’ve been waiting for this moment and I started to cry / I’m living for the memories that keep passing me by.” Songs like these prove Lamorn is far more than a original beatmaker, as he is able to thread his potent songwriting into his plethora of bangers.
Sales of Lamorn’s first-ever major tour went up April 7, and tickets for the D.C. show are still available here. Be sure to look out for his highly anticipated LP “Forever,” available June 2 via mau5trap.
You can find Lamorn’s latest single with Molly Otto, “Sonic” on the Alchemical Records Multigenre Mixture playlist on Spotify.
Cameron Landry is a former journalism student at The George Washington University, and a current writer for Alchemical Records. He’s shared a passion for music journalism for several years, and focused much of his reporting as an undergraduate on how independent music venues have been impacted by the COVID-19 pandemic. Based in Washington, DC, Cameron can often be found at local concerts (and record stores!) in the district.
Flow-bending artist aSanTIS discusses art, culture, and whether sound can solve the world’s problems in celebration of Hispanic Heritage Month.
My interview with Amy Santis aka aSanTIS began in the most unexpected way. The Maryland-based flow-bending artist and lyrical storyteller came prepared to engage in conversation around questions I had posed – and she also brought one or two of her own thoughtful prompts based on her curiosities around my view of learning.
This practice of taking in her surroundings deeply through observation and inquiry has come naturally to aSanTIS ever since she was a young child. In terms of her early starts in music, she notes that she began as a discerning listener. “Just listening to music from my mom, on the radio, just being a consumer in the world of sound. But I think mainly, my mom has always loved dancing and listening to music, so that was sort of like second nature. We play music at gatherings, we play music in the car, and these songs are sort of like diaries that take us into a specific place.”
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