iglooghost ra

Latest Release

• DEC 7, 2022
• Rust Genome - Single
• Neō Wax Bloom · 2017
• Super Ink Burst
• Sōlar Blade
• Clear Tamei
• Clear Tamei - EP · 2018
• Mametchi / Usohachi (feat. Mr. Yote)
• Chinese Nü Yr - EP · 2015
• Infinite Mint (feat. Cuushe)
• Purity Shards

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Singles & eps.

River Moon, Chase Icon & That Kid

About Iglooghost

Irish producer Seamus Malliagh makes extremely giddy, hyperkinetic electronic music as Iglooghost, throwing juke/footwork, anime, IDM, hip-hop, and pop into a blender and hitting infinity. The restlessly creative artist's tracks are extremely dense, fast-moving, and cartoonish, loaded with complex beats, high-pitched voices, and rapid-fire samples. While this sounds like it could easily end up being a nauseating sugar rush, his tracks have an advanced pop sensibility and focus that keep them both exciting and memorable, and they never come close to sounding predictable or conventional. Iglooghost first surfaced as a producer for underground rappers like Milo and Kool A.D. around 2013. In 2014, he released two limited cassettes, Treetunnels and Twenteen, which showcased his vivid, colorful take on abstract hip-hop beatmaking. Following 2015's Milk Empire, a collaboration with California rapper Mr. Yote, Iglooghost (who was only 18 at the time) signed to Flying Lotus' Brainfeeder label. His first release for the label was the digital EP Chinese Nü Yr, based on a video game-like story about a gelatinous, amorphous worm named Xiāngjiāo. Even though the release appeared on Brainfeeder, a label often associated with left-field hip-hop and jazz, its sound was a lot closer to the pop-influenced abstract electronic music released by labels like PC Music, Orange Milk, and Noumenal Loom. Iglooghost's second Brainfeeder release (and vinyl debut) was the 2016 EP Little Grids, which partially continued the story of Xiāngjiāo while introducing new characters, and included a guest appearance by singer Charlotte Day Wilson as well as a remix by Slugabed. Later in the year, Iglooghost remixed Abra's single "Crybaby." Neō Wax Bloom, Iglooghost's debut full-length, arrived in 2017, further expanding the concepts established on the previous two EPs. In August of 2018, Iglooghost simultaneously self-released two EPs, Clear Tamei and Steel Mogu. ~ Paul Simpson

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Irish producer blending hip-hop, juke/footwork, IDM, pop, and video game-like concepts into an intense, hyperkinetic rush. Read Full Biography

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Iglooghost Biography

by Paul Simpson

Irish producer Seamus Malliagh makes extremely giddy, hyperkinetic electronic music as Iglooghost, throwing juke/footwork, anime, IDM, hip-hop, and pop into a blender and hitting infinity. The restlessly creative artist's tracks are extremely dense, fast-moving, and cartoonish, loaded with complex beats, high-pitched voices, and rapid-fire samples. While this sounds like it could easily end up being a nauseating sugar rush, his tracks have an advanced pop sensibility and focus that keep them both exciting and memorable, and they never come close to sounding predictable or conventional.

Iglooghost first surfaced as a producer for underground rappers like Milo and Kool A.D. around 2013. In 2014, he released two limited cassettes, Treetunnels and Twenteen, which showcased his vivid, colorful take on abstract hip-hop beatmaking. Following 2015's Milk Empire, a collaboration with California rapper Mr. Yote, Iglooghost (who was only 18 at the time) signed to Flying Lotus ' Brainfeeder label. His first release for the label was the digital EP Chinese Nü Yr, based on a video game-like story about a gelatinous, amorphous worm named Xiāngjiāo. Even though the release appeared on Brainfeeder, a label often associated with left-field hip-hop and jazz, its sound was a lot closer to the pop-influenced abstract electronic music released by labels like PC Music, Orange Milk, and Noumenal Loom.

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The multiplanetary music Seamus Rawles Malliagh makes as Iglooghost has always been, as he freely admits, a lot. Ever since he signed to Brainfeeder in 2015, the Dorset, UK-born artist has created some of the most interesting, innovative, and unusual electronic sounds—or “entities, squeaks and geoglyphs,” as Malliagh puts it.

Take his conceptually ambitious second solo album Lei Line Eon , for example. Inspired by a mysterious sub-genre called “lei music,” which Iglooghost says is an ancient musical scene in the hilltop town where he grew up, the album represents his attempt to “summon entities” through music. Malliagh even started a research institute for the project. His lifelong fascination with world- and character-building can be traced back to his unique upbringing: in a town with neolithic monuments close by, little access to modern things (“there were barely four channels on TV because half the hill blocked the aerial’s reception”), and parents who were into dowsing (“all the neo-pagan druid vibes; they were definitely part of that whole cosmic West Country scene growing up”).

With no music scene anywhere near him, Malliagh and his friends instead spent their childhoods coming up with months-long imaginary games and listening to Odd Future: “I was compelled by how Tyler, the Creator combined all these characters and storytelling with his own artwork and weird detuned woozy beats,” he says. Linkin Park was also a point of inspiration. “I swear, Hybrid Theory is the reason why me and all my buds just naturally want to cram together genres that shouldn’t ever meet,” he explains.

Malliagh’s fascinations with fantasy escapism and combining disparate sounds would go on to inform the way he made music on his laptop. This dizzying technical ability, coupled with the mystifying narratives he weaves into each release, have earned the producer a wide, impassioned fanbase.

His EPs and debut album for Brainfeeder provide a glimpse into the expansive, indefinable world of Iglooghost. With Lei Line Eon , Malliagh says, he is trying to break out of this stylistic and visual prison he’d created: “There’s only so many hyperspeed Iglooghost songs you can make before it becomes a weird simulacra and simulation deal,” he admits.

Here, the self-proclaimed “FlyLo goblin” runs through some of the standout releases from his discography.

Chinese Nü Yr

An “annoyed” response to the “lethargic, vibey ‘future bass’ stuff that plagued SoundCloud back then,” Malliagh’s debut EP sounded like nothing else when it landed in 2015. Born from a “restless feeling of not hearing enough fast music,” Malliagh created the record because he wanted to “hear some 999999bpm shit that felt 3D and physical—like putting your head out of a moving car window.” Six years on, “Xiangjiao”’s intense tornado of chopped up hip-hop beats and innocent, childlike vocals sounds just as mind-blowingly futuristic as they did six years ago.

“Saturn Rice”

Released as part of Fly High Society ’s compilation Spacebus Vol. 1 , this hidden gem from Iglooghost’s early days first proved his dizzying technical ability. A grime-jazz-footwork concoction, created when Mallaigh was just 18, “Saturn Rice” is a winding journey of fizzed-up synths, percussion, video game sounds, and sublime saxophone. Its whiplash-inducing crashes, skydiving whooshes, and indecipherable-yet-infectious vocals transport you to a club in another universe, in the year 2088. 

Neō Wax Bloom

Imagined to sound like “an 8K IMAX 4D version of Iglooghost, with impossible sound design and infinitely mutating compositional structures,” Iglooghost’s 2017 debut LP combines multiple disparate ideas, and a complex narrative into a sprawling work of math-rock-jazz-funk-electronic-hip-hop fusion. “Some kids write 999-page fan versions of the album’s storyline,” Malliagh says, “and then some people on Rate Your Music say they want to crush my head with a steamroller because it’s so obnoxious. Honestly, both responses are entirely justified to me.”

Set 3,000 years prior to the events of Neō Wax Bloom , this narrative-led 2018 EP tells the story of Tamei, a young god in-training who winds up in a battle with a fleet of mysterious round beings. Because why not? Sonically, the clattering sound design—”a hyperspeed collage of synthetic, trance-influenced synths contorting around violent, mutating 808s”—sets the scene with cinematic clarity, with “Black Light Ultra”’s sword-like snares weaponized against the fictional enemy.

On the future-facing electronic trio’s first collaboration as GLOO, Malliagh says that he and friends Kai Whiston and BABii sought to “flex their loudest ideas to make the noisiest shit possible.” Freeform and loose, yet sonically intense, XYZ’ s fusion of glitch-pop, footwork, and experimental music would prove a staple of live shows to come. “We chopped up Little Bow Wow a cappellas and tried to make beats that sounded like Timbaland getting his dick trapped in a photocopier,” Malliagh explains. Mission accomplished.

LEI LINE EON

“There were always these songs I’d imagine in my head at night, after I’d been making music all day, and they’d sound larger and richer than anything that’s actually possible,” Malliagh says of his newest album, on which clattering snares, weightless synths, and a children’s choir form an orchestral-meets-hyperpop glowworm. He describes songs like “Sylph Fossil” and “Pure Grey Circle” as “humongous, hyper slow motion, ultra-detailed tracks that sound like laptop folk songs… big sprawling pieces drenched in dramatic string sections”.

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Iglooghost: Lei Line Eon review – enchanting electronic world-building

The young Dorset producer expands on the sonic assault of his debut with beauty, space and actual songs

S trange energies run through rural Dorset. Picking up on their irregular frequencies is 24-year-old producer Iglooghost , AKA Seamus Malliagh, a prolific laptop jockey whose latest output sounds a little like Boards of Canada remixed by PC Music. Ancient and hypermodern rub up against each other in his latest work, which also extends to detailed visuals; Iglooghost isn’t so much a musician as an overarching world-creator. His first album, 2017’s Neō Wax Bloom , supplied a sustained digital barrage ; its ear-bleeding delights came with extensive lore whose complexity felt akin to that found in anime or gaming.

On Lei Line Eon , his second album, those shock-and-awe tendencies give way to more spaciousness and beauty – Big Protector is probably this album’s most eloquent and inviting portal. Elsewhere, keening violins lend a bittersweet timelessness to tracks that also draw heavily on trap and bass music. Iglooghost’s formerly punishing BPMs give way to atmospheres and tracks – such as Light Gutter, featuring a female vocalist called Lola – that might be mistaken for actual songs. This time around, the lore is, if anything, even more developed. There’s an entire website dedicated to the Glyph Institute , which seeks to document and “test-summon” the energy-beings – “hovering, drone-like organisms called Celles” – to which this music is tied.

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The gretchen had great speakers and the bass was wild. It was exactly what i imagined it to be, louder and more exciting than listening to his music over headphones. Iglooghost himself didn't do much besides headbanging and using his laptop, but there was a show nonetheless. He had prepared visuals for his tracks which were cool to look at and had some pretty creative and funny transitions between them. The playlist was a nice mix out of the new Clear Tamei/Steel Mogu EP's, his last album and the ep from before that. At the end he played 2 new unreleased tracks, which was nice and to close it of(by crowd choice?? who shouted that!?) his lil pump remix. It lasted about an hour which was enough, considering how wild and overpowering the music is.

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it was a fuckin mad one big up ya boy i g l o o g h o s t gang gang gang gang gang gang gang gang gang

Yeah just go, don't think about it, go, absolute insanity, amazing vibes, you just gotta go and enjoy it, you won't regret it at all, go before he blows up so you can brag to your mates

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Lei Disk 「Radio​•​Broadcast」

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