Music
The Veldt "One Day Out Of LIfe (Remix)" Vocal, Daniel Chavis. Guitars, treatments + programming, Danny Chavis + Hayato Nakao. Additional instrumentation, engineering + programming by Andrew Prinz. Produced by Andrew Prinz. MMXVI All rights reserved, all wrongs reversed.
Mahogany 'The Dream of A Modern Day' "Prinz's production immediately impresses as the song bursts outward, spewing ride cymbals, glowing strings, and jangly guitar. Massais' graceful, silky vocals effortlessly ricochet up and down the musical register, intoning unintelligible lyrics delivered as though they were crammed with infinite wisdom." (Burnt Hair/Clairecords/Darla) Pitchfork
Auburn Lull 'Alone I Admire' "A massive amount of production work went into Alone I Admire, no doubt due in part to producer Andrew Prinz of Mahogany. The sleeve notes mention the array of microphones spread throughout the studio, centered especially around the drums to create a sensation of depth. The guitar signals were bi-amped for dense resolution, and "it should be noted that several different kinds of sampling and delay units were utilized, as well as a gregarious amount of external reverberation processors." Afterwards the songs were enhanced by further editing and tape looping, and eventually fed into a 16-channel mixing desk. As a result, these slow songs evolve gently through some of the most eyelid-shudderingly rich sonic layers I've ever heard. Audiophiles will revel in a record that finally tests their systems to the limit." Pitchfork
Mahogany "Phase Break" "Dream-pop practitioners Mahogany have existed in one form or another for nearly 20 years now, but the notorious perfectionists have only two albums and an EP/rarities collection to show for it. That perfectionism pays off though, as the band consistently delivers layered, prismatic tracks of the highest order. Latest offering “Phase Break” is no exception. Its eight minutes make room for several movements, incorporating boy vocals, girl vocals, guitar effects, cello, keyboards, wind instruments, and all sorts of electronic embellishments, sounding like OMD at their most ambitious or Slowdive on a motorik kick." Do NYC
Ulrich Schnauss "Stars" (Kunstlerpaar Dub By Andrew Prinz Of Mahogany. Released on the back of Ulrich Schnauss' American summer tour, this EP features three new iterations of the title track (a new, previously unreleased edit from Schnauss as well as remixes from Mahogany's Andrew Prinz and Maps) along with a lovely new mix of 2007's "Look at the Sky." (Independiente/Domino) Pitchfork
Auburn Lull 'Cast From The Platform' Production, arrangement, composition, cello, synthesizer, piano, sequencer, drum programming, photography, typography, packaging realized at Studio Renovo, The Simultaneous Workshop and on location.
"The music's principle paradox is its expansiveness in spite of the intimacy of the recording-- it's the kind of thing that seems perfect for a rainy day alone inside with cats and books, but also makes me want to get out the maps and start planning routes to scenic places." Pitchfork
Mahogany 'In The Presence of The Crepuscular' 7-inch recording + sleeve realized at The Simultaneous Workshop, New York. Amberley Records, Basingstoke England. Edition of 500.
Mahogany 'Connectivity!' Very few albums manage to capture the elegance of past modernisms. Referring to an antiquated vision of the future is easy, but finding and expanding upon that timeless kernel of forward-thinking excitement and systematic rigor is no small feat. It comes as little surprise to me that at least one member of Brooklyn eight-piece Mahogany are involved in the world of architecture – Connectivity! is as much a structural achievement as it is a simply gorgeous record, cultivating a graceful, time-collapsing sense of modernity. (Darla US, Track & Field UK) Pitchfork
Mahogany 'Memory Column: Early Works & Rarities, MCMXCVI-MMIV' "Mahogany's music falls broadly into the part of the dream-pop spectrum that emphasizes the dream over the pop, placing them in a similar space with Surface of Ecion, Landing, and Auburn Lull, with whom Mahogany's most-tenured member, Andrew Prinz, has played. Song titles like "The Singing Arc-Lamp" do almost as much to explain the sound of the music as I could in 150 words. By the middle of Disc Two, though, the sound begins to branch out, with "Semaphore Streamlines" and "Bunker Soldiers" embracing a more post-punk sensibility, the latter mixing melodica with bobbing synth and an odd, chanting vocal arrangement that breaks away from the band's more typical wispy harmonies and solo vocals. (Darla) Pitchfork
Saloon '(This Is) What We Call Progress' "Delightful art pop decoupage combining pristine glacier-like atmospherics (tacitly played on vintage synths and moogs, stylophone, and a custom-built "pocket theremin") with softly strummed or ringing guitars and Alison Cotton's agile, graceful viola. There are additional tuneful accents on glockenspiel and melodica, with Morricone-esque trumpet and percussive elements courtesy of drummer Michael Smoughton, giving the album an otherworldly beauty. (This Is) What We Call Progress was produced by Andrew Prinz (of U.S. labelmates Mahogany) at his Brooklyn-based Sixth Simultaneous Studio workshop (Prinz also designed the cover art). Highlights abound, from the motorik synth-driven "Girls Are the New Boys" and "Le Weekend" to the dulcet tones of "Bicycle Thieves" and "Make It Soft," all of which feature Amanda Gomez' diaphanous lullaby lead vocals and Adam Cresswell's liquid, soporific basslines. (Darla US, Track & Field UK) All Music