Cinema Everything by Good Sunset

When you follow a synth fiend from their socials to their album, you’ll find one of two things. Most often it’s amplified versions of their online jams. All the better! If you dig the jams, you’ll dig the album.

But sometimes you find something stranger. Sounds the sketches only hinted at. Decades’ worth of influences and impressions and travels—musical and literal—combined into a whole that’s bursting at the seams, but still unmistakably its own.

That’s CINEMA EVERYTHING. You’ll hear some of what you’d expect from Good Sunset's socials here: warm fuzzy tape textures, retro analog vibes from ‘70s and ‘80s soundtracks on VHS, hints of Alessandro Cortini and Boards of Canada and Blankfor.ms…

But you’ll also hear something bigger and stranger. Each track will surprise you, because each is a world of its own.

He's been the 15-year-old in the garage-rock trio who plugs his Casio PT-1 into the bass amp as a joke and has a religious experience. He's been a journalist covering spy games in Moscow in the mid 2000s by day (really) and playing Pulp and Wolfmother covers for the Russian rock kids in throbbing clubs at night. And he's been, and still is, the L.A.-based screenwriter (rightly called “getting your heart broken for a living”) whose synths keep him going on dark nights when everything else is falling apart.

Cinema is light in the darkness. That's what this album is all about.

Performed on the Arturia Minifreak and Critter & Guitari Organelle M, through a host of pedals including the Empress Zoia, the Zoom MS-70CDR, the Walrus M1, and the Source Audio Collider. Recorded on the Tascam Porta02 MKII cassette 4-track recorder, Marantz PMD201, and Logic Pro.

Special thanks to Greg Hodgson for his early encouragement, to my friends at Petite Victory Collective for the guidance and comradery, to David at MC for helping this album see the world, to Nate Perdomo for the Zoia patch that gave this album its name, to Jeff Düngfelder for the cover art, to Ryan Lerigo-Jones for his exquisite drumming, to Ramon Fassina for the expert mastering, to Valley Taylor for visuals, to Aaron Taylor-Waldman for design, and most of all to my family for their love, support, and patience.

Boy follows his love into the neon jungle. He'll write the movies that will make the world love her. Stardom swallows her. He's lost and alone. Can his synths save him?