2.7.26

Cantrips - The Plan (Dune Castle Records)

🌍 PR / Radio campaign x Cantrips' new single.

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Built from a minimal foundation of bass and drums, “The Plan” unfolds patiently - introducing keys, guitar and melodic fragments that shift and reconfigure without ever quite resolving. By the time the track ends, you’re somewhere different from where you started, though you’d be hard pressed to say when the change happened.

Cantrips is the project of Melbourne/Naarm-based artist Patrick Ryan. Working out of Dune Castle, Ryan writes and records music that sits at the intersection of 1970s soul, library music and film soundtracks - compositions that begin on synthesisers, drawing from cinematic and orchestral approaches before being handed to a live band and rebuilt from the inside. The process centres the conversation between players as much as the architecture of the piece.

The session for “The Plan” brought together Hudson Whitlock on drums, Lachlan Stuckey on guitar, Tom Pettit on bass and Jethro Curtin on keys - players drawn from Surprise Chef, Karate Boogaloo and Temporary Blessings - with parts tracked live in the room, allowing timing, dynamics and feel to shape the recording in real time. Patrick Ryan says:

“I’d been thinking a lot about soundtrack music - how a piece of music can paint a place or a moment through sound alone. With this track, it felt like we were playing inside a scene, letting the music move through different moods.”

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Cantrips - The Plan

Cantrips - The Plan (Dune Castle Records)

🌍 PR / Radio campaign x Cantrips' new single.

‍

Built from a minimal foundation of bass and drums, “The Plan” unfolds patiently - introducing keys, guitar and melodic fragments that shift and reconfigure without ever quite resolving. By the time the track ends, you’re somewhere different from where you started, though you’d be hard pressed to say when the change happened.

Cantrips is the project of Melbourne/Naarm-based artist Patrick Ryan. Working out of Dune Castle, Ryan writes and records music that sits at the intersection of 1970s soul, library music and film soundtracks - compositions that begin on synthesisers, drawing from cinematic and orchestral approaches before being handed to a live band and rebuilt from the inside. The process centres the conversation between players as much as the architecture of the piece.

The session for “The Plan” brought together Hudson Whitlock on drums, Lachlan Stuckey on guitar, Tom Pettit on bass and Jethro Curtin on keys - players drawn from Surprise Chef, Karate Boogaloo and Temporary Blessings - with parts tracked live in the room, allowing timing, dynamics and feel to shape the recording in real time. Patrick Ryan says:

“I’d been thinking a lot about soundtrack music - how a piece of music can paint a place or a moment through sound alone. With this track, it felt like we were playing inside a scene, letting the music move through different moods.”

‍

Cantrips - The Plan (Dune Castle Records)

🌍 PR / Radio campaign x Cantrips' new single.

‍

Built from a minimal foundation of bass and drums, “The Plan” unfolds patiently - introducing keys, guitar and melodic fragments that shift and reconfigure without ever quite resolving. By the time the track ends, you’re somewhere different from where you started, though you’d be hard pressed to say when the change happened.

Cantrips is the project of Melbourne/Naarm-based artist Patrick Ryan. Working out of Dune Castle, Ryan writes and records music that sits at the intersection of 1970s soul, library music and film soundtracks - compositions that begin on synthesisers, drawing from cinematic and orchestral approaches before being handed to a live band and rebuilt from the inside. The process centres the conversation between players as much as the architecture of the piece.

The session for “The Plan” brought together Hudson Whitlock on drums, Lachlan Stuckey on guitar, Tom Pettit on bass and Jethro Curtin on keys - players drawn from Surprise Chef, Karate Boogaloo and Temporary Blessings - with parts tracked live in the room, allowing timing, dynamics and feel to shape the recording in real time. Patrick Ryan says:

“I’d been thinking a lot about soundtrack music - how a piece of music can paint a place or a moment through sound alone. With this track, it felt like we were playing inside a scene, letting the music move through different moods.”

‍