“I’d like to be as un-mysterious as I possibly can,” Graham Van Pelt says. He’s about to release Time Travel, his first record in the four years since he moved from Montreal to Toronto, and he’s no longer Miracle Fortress, or Inside Touch, or any of the aliases he’s used to record over the years. He’s just Graham Van Pelt.

With the perspective of leaving a longtime home, of watching old friends change and familiar places become unrecognizable, came a recommitment to an emotional honesty in Van Pelt’s songwriting. Time Travel’s eight songs are a tangle of friendships and feelings. Moving backwards and forwards in time, they occupy a space of elegant melancholy.

Immersing himself in the work of house music legends like Larry Heard, Vincent Floyd and Maurizio and the fragile disco of Arthur Russell, along with contemporaries like Jessy Lanza and Kelly Lee Owens, Van Pelt built the album from the bottom up, rooting every track in the crude sequencer of the Roland SH-101 synth, a decades-old dance music totem. The result are melodies that are simple but affecting, anchored to deep, wandering basslines. Time Travels was engineered by twin brothers Mark and Matt Thibideau, whose techno roots deepened the grooves throughout the record.

There’s a comfort to operating in the world of dance music, which is, in Van Pelt’s words, more of a “team sport” than the competitive atmosphere of indie rock. “I feel like one person participating in a community,” he says, “and less of a person trying to rise above.” The album is also Van Pelt’s first release on Arbutus, which he describes as his “dream outcome” for the record. “Their catalog intersects at a place that feels like home to me,” he says. “Music for late night, atmospheric music, really honest and unvarnished truthful stuff that never compromises.”

Time Travel is a renewal of Van Pelt’s vows with dance music, and with the genre’s pulse of synthesized melancholy. It’s a heartrending rush, as emotionally direct as a sweaty, jaw-clenching 3am hug.

“J’aimerais être aussi peu mystérieux que possible,” déclare Graham Van Pelt. Il est sur le point de sortir Time Travel, premier album depuis son déménagement de Toronto à Montréal il y a quatre ans. Ce n’est plus Miracle Fortress, Inside Touch, ou aucun des pseudonymes qu’il a empruntés au cours des années. Il n’est plus que Graham Van Pelt.

En s'immergeant dans l’oeuvre des légendes de la musique house telles que Larry Head, Vincent Floyd et Maurizio, dans la disco fragile d’Arthur Russell, et en suivant la lancée de ses contemporaines Jessy Lanza et Kelly Lee Owens, Van Pelt a construit son album du début à la fin, enracinant chaque piste dans le séquenceur brut du synthétiseur Roland SH-101, un totem de la dance music depuis des décennies. Le résultat : des mélodies simples mais touchantes, ancrées dans des lignes de basses profondes et vagabondes. Time Travels a été masterisé par les frères jumeaux Mark et Matt Thibideau, dont les racines techno ont permis d’approfondir les grooves à travers l’album.

Time Travel est un renouvellement des voeux entre Van Pelt et la musique dansante, ainsi qu’avec le rythme synthétique et mélancolique du genre. C’est une bouffée bouleversante, aussi émotionnellement franche qu’une étreinte transpirante et crispante à trois heures du matin.