Solsten
Recording Artist / Electronic Music / Montréal, QC
“Dance Music for Our Post-Truth Reality”
Recording Artist / Electronic Music / Montréal, QC
“Dance Music for Our Post-Truth Reality”
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Artist Biography
Solsten grew up in three very different parts of Canada. Born in Saskatchewan, raised in Victoria, BC, and living in Montréal for over a decade now, those landscapes are all somewhere in his music. As a teenager he was a regular listener of CBC’s Brave New Waves, and a summer spent in Japan in his early twenties deepened a conviction that music could be a total environment rather than just a backdrop. He spent years pursuing cooking, abstract painting, photography, and filmmaking alongside music production, with genuine seriousness in all of them.
The death of his mother in 2012 pushed music to the centre. He immersed himself in the dubstep and techno scenes of Vancouver and Montréal, and in 2016 traveled to Los Angeles to record his debut material. The 1960 EP arrived in late 2017.
In 2022 his father disappeared and was eventually confirmed dead. Ghosts of Uranium City (2024), recorded at Eightfold Studios, carries that weight. Anchored in the industrial dub techno of Basic Channel, Sandwell District, Rrose, and Silent Servant, it earned critical attention for how directly it reckoned with grief without surrendering its physicality.
Cold Concrete, Warm Waters (March 2025) is where the work begins to open up. Still rooted in techno and dub, the album is more candid and more sensual than anything he had released before, and it makes clear his intent to move beyond what the genre usually expects. He is currently completing his fourth album and lives in Montréal with his two cats, Elizabeth and Henry (Jennings).
Its drums ricochet with friction that never boils over into agitation… the physicality of grief… that emptiness is offset by the steadiness of the drums: isolation + presence. ‘Ghosts of Uranium City’ is an intense collection of songs, and a very lovely one.— Molly Mary O’Brien, “I Enjoy Music”
Solsten builds his music from field recordings, found percussion, and physical environments, layering them into structures that feel both strange and inevitable. The low end is constant without being monotonous. The upper frequencies shift like weather over open ground. His albums are sequenced as complete statements rather than collections of individual tracks.
His work is separated from purely functional club music by a commitment to composition as revelation. A track should arc, breathe, develop an argument, arrive somewhere changed. That sensibility has always been present in his records. What is changing is the emotional temperature. Recent work reflects a growing interest in the romantic and the sensual, set against the industrial and the austere.
For fans of: Demdike Stare · Burial · The KVB · Actress
Forthcoming
Solsten’s fourth album takes its name from the small acts that sustain people: sex, food, art, community, friendship. The rituals we return to because they return us to ourselves, in a world that works increasingly hard against that.
The previous two records were shaped by grief and its long tail. This one is shaped by its opposite. Solsten cites Massive Attack as a reference for how emotional intimacy and physical music can occupy the same space, and Phil Collins for a kind of directness and warmth that the techno world rarely allows itself. Both of those qualities run through this record. The dub and techno foundation remains, but it is serving something more open, more pleasurable, more human.
A release date is forthcoming via Eightfold Recordings.
Solsten’s third album is a continuation and a pivot at once. The industrial dub architecture is intact, the emotional range has broadened, and the personal has become visible in a way it wasn’t before. The record moves between tension and release, sitting with discomfort and finding something warmer on the other side of it.
Tracks like Flesh & Dub show a wider frame of reference, with Roxy Music’s sensual romanticism processed through dub-heavy production into something distinctly Solsten’s own. It is the album where he fully becomes a recording artist rather than a producer working within a genre.
Listen on BandcampNamed after Canada’s first uranium mining town, abandoned since 1990, this record works in similarly desolate territory. It asks what persists after loss, how grief accumulates its own strange texture, and what it means to build something beautiful out of wreckage. It earned critical notice for the balance it struck between physical intensity and emotional nuance.
Listen on BandcampRecorded in Los Angeles in 2016, the debut established the sonic vocabulary that would define Solsten’s subsequent work: textured industrial rhythms, deeply reverberant bass, and a cinematic sense of atmosphere that suggests landscape as much as rhythm.
Listen on Bandcamp