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IN STOCK
01. KHALIL - Trapper
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02. KHALIL - Rest My Head Against A Wall Of Water
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03. KHALIL - Gigds
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04. KHALIL - Submit So Deep
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05. KHALIL - Estate Straight Line
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06. KHALIL - Herat
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07. KHALIL - Always Wanted To Ride In A Place Like This
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08. KHALIL - Natures Envy
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09. KHALIL - Sculpture No Solid
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10. KHALIL - The White Hoodie I Wear Because I Love You
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ARTIST
KHALIL
TITLE
The Water We Drink
FORMAT
LP
LABEL
POSH ISOLATION
CATALOG #
PI 195LP
PI 195LP
GENRE
ELECTRONIC
RELEASE DATE
9/8/2017
The Water We Drink
is the debut album from
Khalil
, a close confidante of Posh Isolation, and, naturally, a project close to the label's heart. With an iridescent shower of auto-tuned vocals and encrypted synthetic forms, Khalil presents a luminous route into a future of cadences pitched to a crushing intensity. As the new project of
Nikolaj Vonsild
, best known for his pop endeavors in the synth quartet
When Saints Go Machine
, as well as his acoustic duo
Cancer
, Khalil is his strongest vision to date. The collaborative platform for Vonsild's searing angelic and alien vocals is produced with
Simon Formann
, better known as
Yen Towers
and formerly of
Lower
, along with
Villas Klint
. With water, people feel differently. Indifferently of course, it approaches a sense of touch quite unlike any other matter or form. It slips and caresses, appealing to a sensuality so intuitive it barely registers beyond its immediacy. It's an urgency that always arrives. The ocean tells this through the shore; a perennial pleasure, a forgivable obsession. That the coast, its container, the edge of where people safely stand and where water waits, is a form just as much as it is a dissolving place, then considering a design such as that of an Evian natural spring water bottle amounts to staring at the stars. Thematically, Khalil draws constellations and cites emotive signals with this kind of deep union between form and touch. Finding perhaps a place undiscovered. Across
The Water We Drink
, the impulses of the romantic lyricism are diverted through artificial mechanisms and unnatural vocal terrains. Set against a melodic chorus of fractured pop, there is a certain sense in which the aching wane of Khalil feels like an ensemble of identities grasping for a form, as water may grasp for land. If there's reason to feel that bottled water is a portable piece of something greater than everything, then Khalil distributes high definition pop tropes with that same logic. The radio is an ocean, and Khalil's longing a hydrating force.
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