October 27 2021
D.A.N. celebrate the release of their latest album No Moon by diving deep on the trio’s love of techno, garage, UK hip hop and more.
Despite its nods to everything from R&B to indietronica, dream pop to hip hop, D.A.N.’s music is most notable for its sheer scale. The trio’s focus has always been atmosphere; to make soundscapes that are enormous and engulfing, before burying minimal echoes of influence deep within.
The group’s first two records, D.A.N. (2016) and Sonatine (2018) laid out a blueprint for what the band called “minimal mellow”, a sound that sidled up well to a certain strain of grooved, spacious late-2010s electronic pop. Those albums established D.A.N. as a sophisticated, independent outfit, leading to tour slots opening for fellow alt-R&B staples James Blake and The xx, as well as recording time with London IDM producer Floating Points.
D.A.N.’s most recent record No Moon (released today on SSWB / Bayon Production) embellishes the trio’s previous richly atmospheric sound. Joined by currently on-trend art-poppers Tamanaramen and Utena Kobayashi, D.A.N. pushes the scale and breadth of the group’s atmospheres further than either of their previous two records. No Moon is bigger and bolder: catchier, more electronic and more danceable.
While D.A.N. has always been a band of many influences, on No Moon those influences are obvious. To mark the new release, D.A.N. got together with the Glow, with each member talking through a few tracks that helped shape the new album’s sound and direction.
Each song inspires with its momentary exuberance and originality. I really miss Corsica Studios!
The sonic balance between the house-like beat and the sampling of the live instrumental texture of the snare was very influential to me.
I like the simple structure of the sound with its syncopated layers, it's very lean. I've even taken a cue from the way the kick sounds!
I like the overall tone of the song and the flow of the rapping; the perfect balance of dark but bouncy beats is definitely an influence.
I was influenced by all these soundscapes, and the way they develop so abstractly. I’m particularly fond of the atmosphere of Ben Vince and Jacob Samuel’s track.