Teengirl Fantasy is the project of Nick Weiss and Logan Takahashi. Weiss and Takahashi, who craft an atmospheric yet driving sound – borrowing from deep house, shoegaze, and other styles – that makes critics coin terms like “dream-beat,” met during orientation at Ohio’s Oberlin College and began making music together a few weeks later. They put up a MySpace page for Teengirl Fantasy, but it was when their songs were featured on the blog 20 Jazz Funk Greats that they gained an audience.

Remixes of artists including tourmates Telepathe and a radically reworked version of Mariah Carey’s “Touch My Body,” along with the downloadable EP TGIF and singles on Dick Move and Merok, furthered the buzz around the band. Takahashi and Weiss moved to the Netherlands to study at Amsterdam’s Gerrit Rietveld Academie for four months, but returned to Oberlin for 2010’s spring semester, eventually making New York their home base.

Teengirl Fantasy’s full-length debut, 7AM, arrived in September of that year on True Panther/Merok. In 2012 the duo returned with the more refined, less hazy Tracer. This, their sophomore album was made entirely without the use of samples and featured a large cast of guest vocalists including Laurel Halo and Animal Collective’s Panda Bear. The following year’s digitally released Nun EP hinted at a more kinetic, instrumentals-focused approach for their forthcoming third album. In 2014 they released the Thermal EP featuring Hoody and Lafawndah on Break World followed by Remixes in 2015. Teengirl Fantasy subsequently signed to Planet Mu and released 8AM on March 24th, 2017.

Aaron David Ross (ADR) is a composer, producer and artist preoccupied with music’s affective potentiality. In addition to his work as one half of the critically acclaimed Gatekeeper duo, ADR releases solo recordings, hosts an array of ongoing collaborations, composes for film, tv and advertising, and maintains a practice of live performance and sound installation. His latest solo LP Throat (PAN, 2016), made entirely from vocal samples, was celebrated by Pitchfork as his "most conventionally listenable release to date", describing "Ross’ hyper-detailed approach to composition" as "coming into crystalline focus".

As a recording artist, Aaron has released music with PAN (DE), Warp (UK), Hippos in Tanks (US), Kompakt (DE), Merok (UK), Public Information (UK), Presto (IT), and Rainbow Body (US). He has performed at many of the world’s premiere concert venues, clubs and festivals, and has been featured and reviewed in publications including The New York Times, NPR, The Fader, Art In America, The Guardian, Dazed & Confused, Pitchfork, Interview, FACT, and many others. His installed collaborative works have been exhibited at galleries and museums internationally, including Saatchi Gallery Paris (FR), The Creator’s Project Beijing (CN), MoMA PS1 New York (US) and Museum of Modern Art Warsaw (PL). His original film scores have premiered in globally celebrated festivals and programs including Festival del film Locarno (CH), Berlin Biennale (DE), Migrating Forms at BAM (US) and Film Society of Lincoln Center (US).

Originally from Tucson, AZ, Aaron received a BM in composition from Columbia before pursuing an MFA in Sound Art & Music Technology from the School of the Art Institute of Chicago. He now lives and works in New York City.

Producer and singer Yasmine Dubois has only been making music as Lafawndah for a short time, but already she’s causing ripples worldwide with her intriguing take on pan-cultural avant-world music, while making her mark as a futuristic global electronic adventurist. Influenced by Nina Simone, Grace Jones, Missy Elliot, Kate Bush, traditional Middle Eastern singers, dancehall queens and a modernist take on grime and bass.

Lafawndah co-produced her self-titled first EP, self-released in 2015, drawing influences from zouk, cumbia, grime and UK dubstep. A melting pot of sounds and ideas, there is an addictive and hypnotic buzz running through it that recalls the intensity of a swarm. The critically acclaimed Tan EP followed in 2016, released on Warp, showcased Lafawndah’s ear for highly skilled and precisely crafted production, as well as pained attention to detail with her songwriting. Straddling perfectly the experimental and the accessible without ever compromising, there is a sense of joyful creative abandon mixed with decisive and explicit ideas that informs everything Lafawndah touches

Yaeji is Kathy Yaeji Lee, a 23-year-old producer who splits time between Seoul and New York but can't call either home. She was born in Queens, but her Korean immigrant parents fretted over her becoming too Americanized. They relocated to Atlanta briefly, then back to South Korea, then Yaeji came back to New York. Memory is fuzzy, and with that a sense of belonging. Yaeji sings about that in "New York 93", her first official release. Home is neither here nor there but somewhere inside of her.

Yaeji sings in a hushed whisper, as if only to herself. It's barely pitched, gently whistling, sliding between English and Korean words in the same verse. You're so close, right there with her – then so far away again. For Yaeji, songs are private moments in public spaces. A friend told me "Feel It Out" reminded her of the first time she went to a dance club – that mix of fear and excitement, the bright flickers of recognition in the deep dark unfamiliar. This is the pep talk we give ourselves. Open up in a new way. Open up on a Monday.

Yaeji's Yaeji EP, out 31 March 2017 (Godmode), is dance music in cadence and spirit. Even when the tempo shifts down, you don't listen to these songs so much as live through them. In "Noonside," repetition is deployed to hypnotic, time-freezing effect. There's no setup, no punchline. Everything seems to change except the thing right in front of you. Has there been a more beautiful song about waiting in line at border patrol?

She's also a bit of a goofball – an ardent supporter of Gudetama, the kind of person who sees faces in fire hydrants and laughs when a building looks like it's tipping its hat. It takes a certain kind of human being to rhyme "Shit is crazy" with "Shit is Yaeji." Reminds me of Kanye saying "I miss the old Kanye," but I'll keep that to myself. What I'll say is I can't think of a new artist as fearless as Yaeji – so unabashedly all of herself.

Yaeji joined the Godmode crew in the beginning of 2016. "New York 93" and "Guap" came out to mammoth support from Pitchfork, NPR, RBMA, Dummy, and Spotify. As a DJ, she's had a year of regular appearances at Bossa Nova Civic Club, China Chalet, The Lot, and Discwoman parties. She's also an accomplished visual artist; Oberlin College is hosting a show of her new works this coming March.

Yaeji's Yaeji EP is available digitally worldwide on 31 March 2017. Limited edition physical product designed by Yaeji herself will be available around then too.