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Brooding, spooky, and beautiful, listeners are rewarded with a highly detailed collection of songs evoking visions of slowly spinning globes being knocked slightly off axis.\u003c\/p\u003e\n\u003cp\u003eThe duo, consisting of Jason Kolb (Michigan, US) and Jonas Munk (Denmark) started working together in 2006, sending each other tracks across the Atlantic, eventually resulting in a full-length release on Felte in 2012. What started out as a side project to their respective main projects (Auburn Lull and Manual) have slowly become the main activity for both artists, now with a total of four full-lengths under their belt. \u003cbr\u003e\u003cbr\u003eTheir music has also evolved and matured over the years, reaching a level of perfection that’s only granted producers who've been in the game for decades. 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Christopher Samuels’ meticulous music production crafts a world of hypnotic rhythms, fractured melodies, and dense sonic landscapes, while Kirill Slavin’s unwavering vocals channel raw emotion, guiding the listener through themes of addiction, obsession, power’s corrupting influence, urban isolation, late-night vulnerability, and the inescapable physical constraints of reality itself.\u003c\/p\u003e\n\u003cp\u003eFrom the relentless basslines and found samples of “Dead Friends”, which evoke the suffocating weight of factory life and lost potential, to “Black Hole Soul”, the album’s only track with a discernible beat, where Samuel’s lush organ synth and IDM-inflected rhythm provide a ghostly foundation for Slavin’s meditation on self-destruction, Seven Years is unrelenting in its depth. \u003cbr\u003e\u003cbr\u003eThe closing track, “Infection”, swells with mournful intensity as Samuel’s string arrangements and piano lines intertwine, creating a final, scathing reflection on lost innocence and the irreversible passage of time. 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