These textures lend cohesion to the far-reaching collection - Dinner effortlessly floats from Stereolab-like electric guitar (“Anima”) to twinkling synth-pop (“Midnight In My Head”) to fluid ambient (“Drøm”) in the span of just 34 minutes. Everything’s quiet.” This sense of ease translates in the music - from the melancholy acoustic guitar and downtempo synth melody of “Spirit Voices” to the ethereal refrain on “Connection”, Rhedin washes his pop songwriting in dark, dreamy textures. There’s something beautiful about the world at night. I’d walk around the empty streets for inspiration, have a coffee, and get to work. This delicate balance is also a reflection of the site of its creation - Rhedin recorded the album in Copenhagen during the fall/winter, almost exclusively at night: “I rented a small studio in the off-hours. To go into that sonic universe but deconstruct it and rebuild it.” As a result, Dream Work sounds at once classic and entirely new a deft balance of Rhedin’s trademark electro-pop with the meditative and organic elements of his ambient work. I knew that I kind of wanted to turn the old Dinner sound inside out. I didn’t know what I wanted to do, but I knew I didn’t want to go back to how Dinner sounded before making the ambient albums. Not so much trying to build something spectacular. “I’ve just been chipping away at ideas until a song was left.
“I think I’ve been working more like a sculptor less like a builder,” he notes. The time away proved fruitful - returning to the Dinner project with fresh eyes, Rhedin sought not to reproduce his previous style, but rather to integrate these two components of his body of work. He’s also led live guided sound baths and meditations at art museums, churches, and rooftops all over the world.
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Over the last few years, he’s released a series of ambient releases under his own name geared towards meditation, sleep, and relaxation. After the release of New Work, he took a step back from the Dinner project in order to explore these avenues more seriously - returning to Copenhagen in the process. In tandem with the progression of Dinner, Rhedin was also honing another skill - channeling his long standing personal interest in meditation and Jungian techniques into ambient production and guided meditation. Over this period he also toured the world with the likes of Mac Demarco, Sean Nicholas Savage, Prince Rama, and King Gizzard.
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His irreverent synth-based avant-pop was enough to attract attention, and in 2014 Rhedin signed to Captured Tracks, moved to LA full-time, and released a series of full length projects including Three EPs (2015), Psychic Lovers (2016), and New Work (2017). Rhedin spent his 20s playing in bands in his native Copenhagen (including the indie pop group Choir of Young Believers) before relocating to LA to pursue pop songwriting, an enterprise which he considers “an unmitigated disaster.” From this disaster, however, came the genesis of the Dinner project, which saw Rhedin self-releasing cassettes of his solo music while splitting his time between Berlin, LA and Copenhagen.
Like most worthwhile pursuits, the path to Dream Work hasn’t been straight. Dream Work, his third album as Dinner, is a lush collection of synth and guitar-laden indie pop that expertly channels Ryuichi Sakamoto, early British indie, and the sound of water. But at their best, these songs have a charm that’s aching and amiable.After a four-year hiatus exploring ambient and meditation music, Danish multi-instrumentalist Anders Rhedin has returned to his indie roots. Sometimes it’s all too universal: A chorus like “believe me, I’ve been waiting for her” has both a winning simplicity and a numbing familiarity. “Must be another one she loves.” DeMarco has said that this is his stab at universal pop - everyone has found and lost love, after all. “Who could that be knocking at her door?” he asks in the title track, as he ponders love and trust slipping away.
The lyrics are full of heartbreak and longing, with DeMarco’s voice and guitar threading through melancholy keyboards like a cat looking for a sunbeam in a room with the shades drawn. Over the course of four releases since 2012 - not one of them more than 35 minutes long - the Canadian singer-songwriter has continually upped the ante without exactly playing high stakes, and this eight-track mini-LP is his craftiest set of tunes yet. His melodies and slide guitar stumble and dance their way through songs that often feel like reverse Polaroids: A fully developed image fades into haze as you watch. A boy hero to indie-rock fans who prize delicately demented pop, Mac DeMarco has the casual grace of early Beck, bringing a shambolic scuzz to the creamy sounds of Seventies soft rock.
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