In October, Lido first released his soothing new track, “How To Do Nothing,” the lead single from his upcoming LP, PEDER, due out in 2020. Two months and a nation-wide tour later, the accompanying visuals for the tune have arrived. The “How To Do Nothing” video features Lido wistfully singing while riding by train through an assortment of natural, urban, and sci-fi-inspired environments.
“How To Do Nothing” is the first of three visuals to come along with Lido’s upcoming release. According to Hypebeast, PEDER will tell the story of a kid who grew up on a spaceship, and “How To Do Nothing” represents the protagonist’s naivety. The track is Lido’s first release since his busy 2018, which notably included his similarly interstellar release Spacesuit with vocalist J’Von.
In the midst of his busy Almost Peder Tour this month, Norwegian artist Lido has found time to reveal his first single of 2019: “How to Do Nothing.”
The producer/singer/songwriter had a busy 2018 with the release of I O U 1 and 2, but has been largely quiet this year—likely hard at work on his forthcoming album and live show that’s debuting across the United States in October.
“How to Do Nothing” peacefully fills the void his fans have been thirsting for, spotlighting Lido’s vocals and harmonies. Subdued instrumentals complement the artist’s voice in a delicate manner, allowing him to shine both as a singer and producer.
The artist recently revealed on Twitter that “How to Do Nothing” is just the beginning and that more new music is on the way.
Those interested in catching Lido on his remaining Almost Peder Tour dates in Nashville, New York, Cambridge, and Chicago can find more information here.
As of recent months, Norwegian singer-songwriter and producer Lido has been making his rounds in the production realm assisting on some of the hottest hip-hop work, but the pivot back to his solo endeavors has finally arrived. Lido took to his social media non-coincidentally on Aug. 8 at 8:08 p.m. to announce he finished his new album, revealing its title, PEDER and tagging a private PEDER account with exactly 808 followers—one of them being Skrillex. On Aug. 13, he followed up by sharing 10 show dates including Los Angeles, San Francisco, Denver, New York, and Chicago for his accompanying album tour, Almost Peder.
Lido’s last solo release, I O U 2, came out in November 2018. A few weeks ago, he revealed producer credits on Chance The Rapper‘s The Big Day after penning album track “Get a Bag.” As a longtime Jaden Smith collaborator, Lido also produced the four opening tracks on Smith’s latest album ERYS — the follow-up to SYRE.
Access the pre-sale for Almost Peder on at 10 a.m. local on Wednesday, Aug. 14 here.
Lido‘s been keeping busy outside his solo pursuits by stepping deeper into the hip-hop world. Shortly after the release of Chance The Rapper‘s long-awaited album debut, The Big Day, the Scandinavian prodigy took to social media to share a photo of himself and Chance after spending some studio time together penning “Get A Bag.”
When listening closer to ‘Get A Bag,’ Lido’s imprint can be heard inside. The underlying track is naturally a bit more stripped down and subtle in order to allow Chance’s verses to shine, but it stands in line with Lido’s love for off-kilter bass arrangement and use of multiple instruments to add dimension to the finished product. It’s also mixed to balanced perfection; a usual standard Lido follows. Lido and Chance have a long documented history of making great tunes together, and “Get A Bag” is a worthy addition to the pair’s joint canon.
Rising talent Ric Wilson clearly has a bright path ahead; the young hip-hop act is new on the circuit, yet has already caught the attention of both Madeon and Lido. Both agreed to produce his latest effort, “No Hands,” and the result is an infectious piece of music. Free-flowing bass and cheery melodies make an appearance, trademarks of the producers making the background track, while Wilson’s smooth verses speak of victory and growth. It’s a pieced that oozes with positivity, and succeeds in brightening the mood wherever played — especially when the sax solo ties everything together at the end.
This rapper and activist is certainly one to keep an eye on; not only is he getting cosigns from bass greats, but he’s also started a cultural movement in his own right with his BANBA (Black Art Not Bad Art), in which he’s been known to tackle deep subjects in his art. This is the kind of talent the world needs right now, and based off glowing reviews from Pitchfork to the Chicago Tribune, Wilson’s on the path toward spreading good in a huge way.
Of the collaboration, Wilson had this to say:
“Madeon’s a good friend and this isn’t the last you’ll hear from us.. This song is for everyone that I’ve inspired and has been an inspiration to me. We young and we out here and we got this. I LOVE YALL.”
Although Lido‘s visual I O U 2 EP may have received limited screenings in a handful of US theaters last month, Lido has now released the transcendent project in its entirety to YouTube.
Directed by close Lido confidant, Arudz Goudsouzian, the visual realm of the EP is highly emblematic of Lido’s own coming to terms with a real-life lost love; an exploratory journey reflecting on despondence, confusion, and eventual resolve. The visceral tour through Lido’s psyche oscillates between immaculate baths of light and forestry (including pensive pans over the project’s British Columbia backdrop) and poignant, lone bedroom scenes.
Lido’s own vocals, heard homogeneously throughout the five-part project, bolster the narrative’s accessibility in regards to the artist’s path to self-reconciliation. The story is a timeless one: unflinchingly relatable, while remaining empirically authentic to its creator.
Lido‘s rendition of Bill Withers’s timeless ballad, “Ain’t No Sunshine” is a warm brush with daylight you won’t dare deplore—no matter how nasty the hangover this Sunday. The Norwegian experimentalist’s raindrop plucks and redemptive synth stabs effortlessly usher in residual weekend splendor.
This wavy Beach House B-side is a Sunday morning must. Victoria Legrand is here to sagely remind us to find “perfection in the accident,” with hazy, rolling chord progression and vapory vocals for the ultimate Sunday subterfuge.
This velvety Future ClassicChrome Sparks offering, “The Meaning Of Love” is a like quixotic trip through the most delicious technicolor clouds. Sparks’s cosmic analog synths furrow and float atop lush, deliberate percussion as our worries of the week begin to dissipate.
The sultan of sampling, aka Pretty Lights, has the sublime synth loops to rectify your most raucous inner voices. Borrowing from a sultry ’70s soul track from La’Fez, Pretty Lights conceives a celestial requiem for your weekend.
From their most recent album, Phantogram‘s “Cruel World” is the ideal vessel for vanquishing Sunday stress of the most pesky existential variety. As the band’s frontwoman, Sarah Barthel, so starkly points out, life can be quite cacophonous; but with a spectral duo like them around, your Sunday playlist doesn’t have to be.
Lido has become synonymous with quality production over the last few years. The Norweigan producer is best known for his outside the box production methods, clean, crisp records and his innate ability to inject layers of emotion into his music. This past Friday Lido released his new EP, I O U 2. The lead-off single
Lido has released part two of his I O Uconcept album, featuring a plethora of his own vocals–a rare and, at present, particularly warranted inclusion for the multi-talented instrumentalist.
The boundless bearer of beats also packed the highly personal I O U 2 with a visual accompaniment, which saw limited theater release in Chicago, Toronto, and Seattle. The short film, like the EP itself, is quite meta. Ascribing his Everything album from two years back as the official introductory offering to the extended project, a post-breakup catharsis of sorts, Lido deems the I O U EPs as a “reflection on that process.”
Fittingly, Lido’s R&B-routed vocals encircle this conflicted tale of an ex-lover emerging from his scorn, not entirely ready for reconciliation. From newfound perspective, Lido posits on the violin-infused “Ex” that perhaps the romance was ill-fated from the beginning, when he “borrowed” her “‘from the universe.”
While “Flaws” touts ’90s-inspired R&B harmonies and organ synths under the guise of a forthright pop ballad, “Vultures,” “The Lonely Slow Ones,” and “Son Of Simon” exude Lido’s characteristic experimental flickers that render his work so compelling: ambient interruption, vapory synth emissions, and billowy, melancholic vocoder–to name only a few.