Like cosmic clockwork, I return here to mark another anniversary … this time, it’s twenty years. I will be happy to say that this time, it’s tasteful and satisfying closure.
But before we get into 2026, let’s play a bit of catch-up as plenty did indeed happen in a decade.
2017 was a year of creative rebirth due to a transition out of a chronic depression I was harbouring for several years due to various life circumstances (and yes, bad choices on my part). A major factor aiding in this transition was discovering the underground electronic music scenes of the 2010s, particularly vaporwave and other related ones. It helped that the music was drawing from 1980s and 1990s aesthetics, very familiar as I was born in one and grew up in another. But as I was listening to as much of it I could – thanks to video essays and intricate charts – I sensed that a lot of the artists were listening to similar things I did whilst growing up. Furthermore, these artists were absolutely committed to put their music out there, regardless of audience size or even audience perception. This in turn reminded me of why I wanted to make music in the first place. Then, I noticed that there was no reason for me not to be a part of this.
In 2018, I returned to music making for a larger public under a completely new name – キラヨシ – and continue to do so ever since. This has resulted in eight releases thus far plus a slew of appearances on various compilations. I also have been a silent presence at various gatherings related to vaporwave. The highlight has been participating in the three Electronicons held in New York – 2019, 2022, 2023 respectively – as an audience member, yet connecting with other artists whom I consider to be fellow and peers as well as artists I respect and even admire. In my non-music life, it has been a slow but steady process of healing from the various wounds accrued over the decade or two.
When 2026 was in its early beginnings and knowing this would be a key anniversary marker for The Spangle Maker, I knew this will be the time to revisit that chapter and perhaps give it its proper due and respect. For the audio, my remastering philosophy was one of restoration, not revision. Using the original masters – what were the basis of the Internet Archive distributions and the first uploads on Bandcamp, YouTube and Audius – the goal was to do a tasteful clean-up whenever I could and bringing the volume level to acceptable levels for today’s listening whilst still retaining the original character that was there from 2007 to 2011. But what was really helpful was utilising AI-based image generators to realise at long last the artwork I had imagined for the three major releases. I’m very proud both at a restored – even clarified – audio presentation matched with cover art expressing visually what I was doing musically. This is now what it readily available at all the major digital music platforms. This also marks the first time the three major releases in high quality form can be purchased. What was once called The Singles Volume 1 is now just The Singles, which also has new artwork to reflect the new remasters and a more complete continuity.
One question that may arise is why did I use a new name for music making? After all, if I was inspired by music inspired by 1980s and 1990s music, why not keep using a name after a song from a band that was also known for its strong aesthetics? At the time, I need to make something of a clear distinction to what I was doing back starting in the late 2000s to what I could do starting in the late 2010s. Similarly, it was a fresh start where I could use a simpler and cleaner operating scheme (i.e. no more conceptual EP/anthological LP distinctions) and also to make it clear that this is now a one-man endeavour.
Another fair question to ask is why now? Besides wanting to mark an anniversary, I was spending seven or more years reconciling various things that have complicated my view on my past works. I felt I finally reached a point where I could return to this material without thinking about my own past. Furthermore, I had both the tools and the skill-set to bring these works to a more satisfying completion, especially in the artwork. But more importantly, me in my forties can tell me in my twenties that “You did it” and that the bold move I did back then has proven to be the correct one even more so now.
The way I see this remaster/reissue project is a proper integration between my past and my present as well as giving that chapter in my creative life a proper closure. It was also clear that this was an inevitable project. In fact, while the project names are different, they serve as both tributes to my respective creative catalysts – Cocteau Twins and vaporwave respectively – they actually share a similar idea as きらきら/キラキラ means “sparkling fabric” (and I learned this long after using the name). And it’s no coincidence that the first album I made as キラヨシ was called Reincarnated Resurrection. But deeper than that, everything I was able to do now as キラヨシ was because of what I did as The Spangle Maker. This should help make that case upon revisiting or encountering this body of work.
Finally, I want to conclude with another update within that decade that still breaks my heart. During that interim, Natalie Garland is no longer with us on earth since late 2018. Even with how The Spangle Maker shifted from a band to a one-man pursuit, it was because of meeting her that made The Spangle Maker even possible, and it’s clear in the song “Under the London Ravine”. Because of that, I am forever indebted to her in starting the music making journey. (One way I paid tribute was dedicating Psychogeography to her). So working on the remasters was being able to meet her again and pay homage. I like to think that she would be pleased to listen to these as they were always meant to be … and even like it was the first time.
While The Spangle Maker chapter is closed, my story continues … for now.
Godspeed and all the best, DP
The Spangle Maker 