From his early releases as Lusine onward, Jeff McIlwain’s electronic explorations make up one of the more diverse discographies of the past decade and a half. Effortlessly blurring the lines between techno, electro-pop and experimental composition, the Texas-raised/Seattle-based producer’s arrangements are meticulously constructed, but also filled with emotion and soul.
With an introspective turn that’s hinted at in the record title, Lusine’s fourth album for Ghostly, “Sensorimotor”, sees McIlwain diffusing the pop-leanings of 2013’s The Waiting Room with opaque, brush-stroked melodies washing over these new buoyant productions. McIlwain has performed throughout the US and abroad, including the SXSW, Mutek, DEMF, and Sonar festivals, and sets at London’s esteemed Fabric nightclub, Tokyo’s Unit, and Berlin’s Berghain and Watergate nightclubs. He has been involved in the scoring of various film and commercial projects, the most recent being music for Grand Theft Auto’s “Smuggler’s Run” and Meredith Danluck’s debut feature film, “State Like Sleep” (Katherine Waterston, Michael Shannon, 2017) that he co-scored with fellow composer David Wingo.