Body-San's latest album Shining The Money Ball, out on Vancouver's 1080p this Friday, is as inviting as a 4K projection of a lagoon onto a cathode ray TV. As soon as it flickers through your speakers, the colors of the record's languid electronics seem super-saturated despite the reel-to-reel sensation of its dusty techno. Like a document of a holiday destination that never existed but people somehow remember, Shining The Money Ball occupies a unique position between nostalgic fiction and the real.
"I don't set out to make concept albums but there are usually vague stories and a visual language guiding my decisions.” Body-San tells The FADER in an email. “I was working on two different sets of material concurrently, that at the time, I thought were of separate impulses and themes. It became clear though that they were coming out of the same principles: tracks that were designed to feel like they existed inside specific locations, that favored certain chords and felt populated by humans. Without defining anything concretely, I pictured a 'heist in paradise' exotic crime narrative and when the material from the two sessions were combined, it became the score."