Art d'Ecco Shares New Single "Disappear Here" From SCHEELE'S GREEN

Vancouver's Art d'Ecco has shared his new single 'Disappear Here,' the latest preview of his fifth album Scheele's Green, due out October 23rd via Paper Bag Records.

'Our addiction to being seen comes at a cost,' Art explains of the standout heater, which channels desperation over chugging distortion and a blaring saxophone. 'The song's title makes reference to the billboards towering over Sunset Blvd in the book Less Than Zero, and serves as an admonition for the vain pursuit of being seen, in a world of disappearing art and culture.'

Of the accompanying Loken Charon-directed video, he adds: 'Shot on location at Big Baby Studios in Vancouver and hosted by Carl Scheele, the band's performance was captured digitally and then transferred to Hi8 cassette.' Scheele's Green is now available for pre-order.

'Disappear Here' follows the album's fiery reckoning with the tech world, 'The Death of Indie,' which earned praise and support from FLOOD Magazine, CREEM, Exclaim!, The Line of Best Fit, Northern Transmissions, and more.

In the ten years since he first adopted his musical nom de guerre, Art has already been many versions of himself: an elusive art-pop architect, a canny glam rocker, most recently a louche poet ambling the streets of New York deep into the night on last year's Serene Demon. But this time, Art questioned the whole endeavor of making art in the face of an impending doom promised by a seemingly never-ending onslaught of contemporary societal ills. He sought to burn it all down. The result is Scheele's Green, a fiery reckoning with the world around us and the crucible in which Art d'Ecco dies to be reborn again.

For Scheele's Green, the malaise and disorientation he felt in an era plagued by technocratic billionaires rising up like Bond villains sent him down a historical rabbithole tracing generations of self-destructive human behavior. The album is named for an actual color, first synthesized by Carl Wilhelm Scheele in 1775. With the shade previously hard to attain, Scheele's green quickly became a status symbol for the wealthy, who covered their homes and bodies in it. Just as quickly, they became afflicted with strange ailments thanks to the arsenic compounds needed for the color. Scheele's green soon became identified as a dangerous luxury the affluent were nevertheless reluctant to quit.

'It created this literally toxic society,' Art describes. 'This addiction, this allure, was such a rich narrative vein, the same way we can't look away from our obsession with social media or other technological shifts that might harm us as much as help us. We want these things that make us look hot and give us status but it's all a mirage. What if humans are just intrinsically drawn to s that fing kills us?'

Across Scheele's Green, Art lets it all pour out–sometimes angry, sometimes disenchanted, sometimes poignant, sometimes funny. In earlier days, his makeup and wigs served as a shield for more personal exorcisms, but across his first four albums he's been gradually peeling back stylistic artifice and layer. Now fully exposed and bare, Art wanted to write differently, to connect with everyone else and capture our collective fear of the future. He bills Scheele's Green as a state of the union, rallying against AI and technocracy, yes, but also climate collapse, and the military industrial complex, and, well, everything else.

In the last few years, Art assembled a mix of young music educators and jazz aficionados based in the Vancouver area as his core band: Junny Chen (guitar), Olivier Leclerc (bass), Hayden Cohen (organ/synth), Kyler Young (saxophone), Yato Noukoussi (drums). The group brought a different energy to Art's compositions, and unlocked a whole new potential. Together with co-producer Eric Shea at Vancouver's hallowed HippoSonic studio, they hunkered down for two months, achieving a gritty, downtown blend of art-rock and post-punk, played live in the room with both fervor and precision. Partially inspired by the experimentation of Miles Davis' free jazz era, they embarked on jams that led to bold, untethered arrangements. For all its raw rock 'n' roll, Scheele's Green also incorporated alien sounds and instruments, including tubular bells and a three-hundred-year-old harpsichord.

Scheele's Green ultimately finds Art reimagining the DNA and scope of his work, returning to us raw and human and with a collection of music more violent and urgent than anything he's ever recorded: 'I just wanted to deliver these feelings full-fing-throated for the first time. It's an attitude reinvention,' he says.

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