Альбомы исполнителя
Hunter (Enamour Remix)
2023 · сингл
Air
2023 · Мини-альбом
Inner Circle
2023 · Мини-альбом
On Fire EP
2022 · Мини-альбом
Hunter
2022 · сингл
Erase (Rezident Remix)
2022 · сингл
Aura
2022 · сингл
Reflection
2021 · Мини-альбом
One Good Reason
2021 · сингл
Grauzone
2021 · сингл
Definition
2020 · Мини-альбом
Chapters EP
2020 · Мини-альбом
Remember (Remix)
2020 · сингл
Blurred Focus
2020 · Мини-альбом
Wellenlänge
2020 · сингл
High Spirits
2020 · сингл
Anjunadeep Explorations 13
2020 · Мини-альбом
Perspective EP
2020 · Мини-альбом
Hindsight
2019 · сингл
One Up
2018 · сингл
We Used To
2018 · сингл
Adequate
2016 · сингл
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Биография
With house, electro, techno, or dance music as a whole, there’s a specific sweet spot where a tune can just as easily be rinsed on a hazy dancefloor as it can be received like a looping spiritual mantra, bridging a most unique gap between celebration and therapy. Rezident, the project of emerging 23-year-old producer David Roif of Karlsruhe, the city in Germany’s southern Baden-Württemberg state, demonstrates that electronic music best sustains itself when these separate entities interlock. Citing a consistent flow of Deadmau5 which influenced him growing up, and taking notes from progressive canons like Bicep, Rezident’s 2021 is warming up—fast. Like his counterparts growing up in the technologically-accessible 2010’s, Rezident downloaded various music programs on his Windows PC laptop at the age of 12, eager to concoct his own melodies after hearing a ringtone his sister’s friend composed on her Nokia cellphone. There, he gathered essential production techniques, like layering, streamlining, and learning when to walk away from a track for a while. Today, at points in his intimate but expanding discography, reverberating chords informed by deep house accents whirl in and out, only to have sharp hi-hats and intermittent whooshes sober the ethereality. Such instances mark Rezident’s desire for a more minimal and honest approach to track-producing, one which contrasts from his earlier school of beatmaking, self-described as “commercial,” trusting the project and himself.