Album info



Label: Sub Pop Records

Genre: Alternative

Subgenre: Indie Rock

Album including Album cover

I`m sorry!


due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.

We suggest, that you bookmark the album and use our Short List function.

Thank you for your understanding and patience.

Yours sincerely, HIGHRESAUDIO

  • 1Reel Me02:44
  • 2Lust02:58
  • 3It's For Life04:29
  • 4Old Desires03:38
  • 5So Divine03:36
  • 6Promises03:51
  • 7High Hopes04:24
  • 8My Body Wants04:08
  • 9Wax03:40
  • 10Almost Mine04:19
  • Total Runtime37:47

Info for Cast

Sometime in 2016, just as the Polish singer and producer Tobiasz Biliński began to find success through the dim and fractured electropop of Coldair, he knew it was time for a radical change. The songs on The Provider, Coldair’s much-lauded second album, had been an exorcism of sorts. Laced with songs about early death, chronic disappointment, and clouded minds, the record was, as he puts it now, his earnest attempt to “get all this old shit out.” That mission accomplished, he needed something new, a restart—the unabashedly radiant and unapologetically complex pop of Perfect Son, delivered in 10 perfect shots on Biliński’s Sub Pop debut, Cast.

In the past, Biliński’s music has flirted with and explored the darkness, first in a sort of Transatlantic freak-folk and then with the gothic refractions of Coldair. But on Cast, Perfect Son steps boldly into the light without sloughing off emotional weight or depth. With powerful, sweeping production that recalls the best pop beats of Matthew Dear and arcing melodies that conjure the majesty of Shearwater, Perfect Son animates sensations of lust, belonging, and newfound trust with tumescent electronic arrangements that threaten the safety of any sound system. Biliński sings about falls throughout Cast, but also about picking yourself back up, about pressing on despite or perhaps because of the bruises. In the process, he is lifted by music that feels unabashedly motivational, built to remind us that the best times are hopefully to come.

Perfect Son, it should be said, is Sub Pop’s first Polish artist, the result of an extended interest in Biliński’s work and the country itself from label co-founder Jonathan Poneman. Several years ago, Biliński applied to play at South by Southwest as Coldair. Poneman saw his performance, and was impressed. The two stayed in touch, with Poneman eventually signing Coldair to a publishing deal. “I bugged him about releasing my stuff constantly,” Biliński admits with a laugh. “And I guess he admired my persistence.”

When Cast was finally finished, Poneman didn’t need more convincing. These songs, after all, are magnetic, with the searching harmonies and deep drums of “Promises” and the rhythmic intricacy and serial synths of “Wax” pulling you close on first listen and holding you there for the foreseeable future. These songs and this story are about the power of human perseverance and deliberate reinvention, of knowing that you can confront and come to terms with the darkest angels of your being. Cast is a testament to the possibilities of the future, brilliantly disguised as 10 grandiose and undeniable pop anthems.

Perfect Son (aka Tobiasz Biliński), vocals

Perfect Son (aka Tobiasz Biliński)
Biliński himself calls his sound "rather melancholy, chaotic, intimate, full of contrasts and often unpredictable, with a dash of improvisation". Born in 1990 in the north of Poland, the young musician's accomplishments have already earned him two nominations for the Young Cultural Creators prize from the Mayor of Gdańsk and for the main prize in the Storm of the year Competition hosted by the Gazeta Wyborcza daily. Today he is based in Warsaw, yet he travels the world with his two projects, performing at some of Poland's biggest independent music festivals, going on to take the stage at SXSW in Austin, Texas, Primavera Sound in Barcelona, Incubate in Tilberg, Eurosonic in Groningen and Culture Collide in Los Angeles.

Biliński started Kyst in 2008 with guitarist Adam Byczkowski and two other members who didn't stick around long enough to record the second album. They began experimenting as a duo, before reaching out to other musicians to build the formation back up. Eventually Biliński got in touch with Berlin-based musician Ludwig Plath of Touchy Mob and initiated an ongoing collaboration. Kyst's music draws upon folk and post-rock to experimental and improvised music, often influenced by the New Weird America movement. Their sound has been compared to the likes of Animal Collective and Arcade Fire. After their self-released album Cotton Touch, they put out Waterworks in March 2011 on the Polish label Antena Krzyku. Their music has been included in a number of cinema soundtracks, such as Jan Komasa's 2011 film Suicide Room.

The critical response to both albums was optimistic, with calling Cotton Touch's sound "balanced on the border of silence and noise, a melody entirely devoid of rhythm", highlighting the dichotomous character of their style, swaying from a soft guitar ballad to an energetic trumpeting. Waterworks was presumed to be more instrumental, yet also more mature, serving as a "counterpoint for the calm and over-improvised debut album. It's loud and dynamic, which successfully brings Kyst's concert energy to the album".

Biliński refers to Waterworks, an album that demonstrably draws its inspiration from the environment of the seaside where he grew up, as "more raw and intense", yet still sporting the sort of ethereal experimentation and spontaneity that is the musician's overriding signature. The album was recorded on an old-school tape recorder to achieve the sort of sound the band was going for, with the vintage feel brought home with the addition of trumpets and the vibraphone. As for his inspirations, he nods towards the Chicago scene of the late '90s (Tortoise, Gastr Del Sol, Jim O'Rourke) and contemporary American folk (The Microphones, Bon Iver, starsze Akron/Family). "We're always being compared to The Microphones", he avers, "or, rather, called their pathetic Polish copy - I adore Phil Elverum, but there's nothing of him in Kyst. But everyone's entitled to their own opinion, true?"

In 2009 Tobiasz Biliński started up Coldair as a solo project, releasing the album Persephone at his own expense. Soon enough the band turned into a full-fledged quintet, together with Adam Byczkowski, drummer Igor Nikorow (formerly of Paula & Karol) and the brass section Maurycy Idzikowski and Tomasz Dworakowski. Coldair's sound has been called delicate and ethereal, drawing upon folk that is then internalized and interpreted in a very personal way. With a voice that recalls the romantic tones of Bon Iver, Biliński is geared to make a name for himself in the world, planning the release of his next album in the U.S. after making a splash at the European Music Fair in Warsaw and performing at SXSW in Texas and Incubate in Tilburg. The band's sound is also rooted in folk, namely free folk, which fits in comfortably with the bands "free" style. Yet Biliński insists he doesn't try to follow any trends, rather the music his bands make are an accident of the way the members "feel on a certain day, how many cigarettes we smoked, what the weather was like or how much we had to drink the night before". Instead of writing music, they play music and see what works and what doesn't quite work. While Biliński doesn't quite like the tendency to shut music up in categorical boxes, he thinks the term "free folk" is all right as he can do what he likes with the music, arranging it just as he hears it in his head in a format that strays from the traditional songwriting scheme.

Together with Adam Byczkowski, Biliński also runs the music booking and publishing agency Gingerbread Records & Booking, bringing some of their favourite bands to Poland (such as AU or Denis Jones). When he goes on tour, he prefers to play at small clubs, rather than big venues, and has found that it isn't as difficult as it would seem for a Polish band to score gigs in London, Paris or New York.

This album contains no booklet.

© 2010-2020 HIGHRESAUDIO