Casey MQ is an artist, composer, and producer from Toronto, now living in Los Angeles. Growing up, Casey’s adoration for pop music merged with his training as a classical pianist. As he aged Casey began to work more closely with electronic music. His inspirations widened and he explored the intersection of classical and contemporary sounds. His writing and production styles uniquely reflect that - marriage of the ultra modern and the timeless. 

Casey has collaborated with a range of important artists, including Oklou, Pink Pantheress, Shygirl, Flume, Drain Gang, Carly Rae Jepsen, HorsegiirL, Dorian Electra, Empress Of and more. He excels at helping artists refine their voices, then express them in ways that reflect the moment.

Casey has also scored numerous feature films that have premiered at TIFF, SXSW and Sundance - most recently Julian and the Wind, directed by Connor Jessup, and The Heirloom, directed by Ben Petrie.

During the pandemic, Casey co-founded Club Quarantine, a queer virtual club that hosted Charli xcx, Lady Gaga, Tinashe, Pabllo Vittar, Caroline Polachek and others.

Casey also releases solo material - most recently his album Later that day, the day before, or the day before that on Ghostly International.

Com Truise is the nom de guerre of producer and designer Seth Haley, raised in upstate NY and currently working out of South Florida. His synth and sci-fi-obsessed records are as infectious as they are expansive. From his breakout EP in 2010, Cyanide Sisters, to his first LP in 2011, Galactic Melt, and his numerous records, remixes and collections to follow, Com Truise has refined his singular style of melodic beat music. Each piece ties together his ideas of synth-wave and slow-motion funk amidst a glowing backdrop of rich, nostalgic pathos.

Though influenced by his parents' record collections and old, faded product design, the Com Truise project doesn't only pull from the past. Hints of Joy Division, New Order and Cocteau Twins bubble up in every prismatic piece as if they're processed through a waterlogged game console — warped, cybernetic and high-definition. 

Even in paradise, there’s no escaping the dull ache of ennui. In a place like Los Angeles, where endless summers make time feel almost weightless, something darker—or perhaps emptier—always hums underneath. Growing up in Southern California suburbia, one inherits this paradox as a precondition of existence, that beauty and longing are destined to exist side by side. And that perhaps, there is a particular kind of loneliness that can only exist in a place so bright.

Longtime friends Ariana Mamnoon, Jack Dione, Jay Are, and Nick Noneman, together as untitled (halo), have coined this subdued emotional current running beneath a place whose vastness promises exponential growth while quietly fostering emotional stasis: California Melancholia. In their self-titled debut album, out via Dirty Hit, the band transposes the trembling discontent and monotonous pain of existence into something tangible and cathartic. Here, endless beauty and synthetic abundance make longing feel as permanent as the sunshine itself.

After yeule's breakthrough sophomore album in 2022, Glitch Princess, Nat Cmiel crystallised their place as a musical luminary with the 2023 LP softscars. Both albums were named Best New Music by Pitchfork, with the latter lauded as a “riotous, high-energy journey” by The Guardian. 

On their last album Evangelic Girl is a Gun, yeule painted a picture with divine poise: fragmented shards of their persona non grata, or "darker side," pieced together as the painterly fatale who burns through the canvas of post-modernity. With visual artworks captured by Vasso Vu, Cmiel is seen tethered to their role as a painter before performer. Going into the release, yeule made their late night TV debut on Everybody's Live with John Mulaney with a performance of "Skullcrusher" and later on NPR as part of their celebrated Tiny Desk series. Throughout the record, Cmiel paints an homage to the artist’s role—an artist that illuminates the neon glow of an ego death, and the transformative forms of love, immortalising in our physical reality, their dream within all dreams.