white.light.monorail (feat. Informatik / Battery Cage members) returns with all new album and singles

We received some good news from Tyler Newman (Informatik / Battery Cage). Five years after the release of their debut album “Welcome to our domed future”, Tyler Newman and Paul Savio return as white.light.monorail. While the first album was driven by instrumental retro-futurist jams, the new album, “The Gravitational Field Of Oblivion”, bears some similarities to the pairs earlier band, Battery Cage, with a considerably darker sound overall.

A first single, “Oblivion”, drops on November 26th and features 3 highly diverse versions of the title track, as well as one b-side “Continental Grift”. The album will be released on December 10th and there will be a second single, “Silence : Transformed”, early next year. You may expect in-house remixes and non-album b-sides for both “Oblivion” and “Silence : Transformed”. These releases will be the first material to appear from solid.grey.sky.recordings since 2017’s “Aerial structures”, and will launch a new series of album releases throughout 2020.

The video for “Oblivion” can be viewed below.

We spoke with Tyler Newman and Paul Savio regarding their new releases.

Tyler Newman: “We had been talking about the idea of making a record that was a bit of an homage to our early years making industrial dance music, using rules like ‘everything has to be based on hardware synths and samplers’ and relying less on software plug-ins. Something about working in that style really helped drive the songwriting, it gave everything a bit of a rougher and more aggressive sound, and led us towards some unexpected outcomes. Unlike our first record which was more of an aesthetic concept, this time we let the rules shape the music and I think we ended up somewhere that challenges the listener a bit more.”

Paul Savio: “We literally crammed my studio with at least 11 synths, 4 loopers, 3 drum machines, 3 vocoders, a couple of guitars, all kinds of pedals, and some really good mics. It’s so important to bring each instrument’s character to life in the best way possible. I think you can hear each one’s contribution on every track.”

More info soon!

Since you’re here …

… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.

Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.

If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.

The donations are safely powered by Paypal.