Here's the story of how Australia's biggest electronic act made their best record on the other side of the world.
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The best half is the one you have to get up for.
Side one only has to be good enough to get you out of your chair. What comes after has to justify the trip. Seven albums where the flip is the whole point.
Read moreabout The best half is the one you have to get up for.
Many records get played over a Guinness. Not many hold one.
A basement in Sacramento, one sampler, and the album that broke a world record without a single original note.
Read moreabout Many records get played over a Guinness. Not many hold one.
A blurred bird on a sleeve, an architect who put a record on twenty-five years ago, and a harmonium played by someone who'd never seen one.
The sound of the Australian summer.
By 2014, RÜFÜS DU SOL were the sound of the Australian summer. Sun-soaked, festival-ready, easy. So they did the least obvious thing possible: they left. The three of them moved to Berlin and dove headfirst into the city's underground, techno, long nights, endless live music, a darker palette than any Sydney beach. They've called it one of the best times of their lives: wide-eyed, ambitious, and soaking up everything the city had to offer.
Bloom is still electronic music, but something shifted over there, the songs got deeper, moodier, more patient. Nowhere more than the closer, "Innerbloom": nine and a half minutes that build like a sunrise you're not sure is coming. It's become the band's signature song, the one entire festival crowds wait for.
Flip the sleeve over and the credits tell the whole story: written and recorded in a Suffolk cottage, Berlin, Sydney, and hotel rooms in New York and Montreal. Four cities, two hemispheres, and somehow it sounds completely of one place.
And here's the part almost nobody knows: those blooms of colour breaking through the dark are the work of Jack Vanzet, an artist from Melbourne. The record they had to leave Australia to make is wrapped in Australian art.