My full-length record "Lazrus" dropped digitally last week on iTunes and will hit full online distribution as well as physical CDs in the coming weeks.

Download the first single, Goodbye Sillhouette.

Daniel - "Goodbye Silhouette".

XLR8R said of the album and the single: An album of melancholy electronic pop. Summoning Jamie Lidell's soulfulness and Ben Gibbard's plaintive vocals, "Goodbye Silhouette" is a gem of lovely melodies from a city more known for its hard-edged techno.

To sample or purchase the full album, follow this link.

Since I'm still a bit squeamish about this whole blogging-about-my-music thing, I'm just going to post the press release below. But I should say that I am extremely proud of this album. It was a labor of love but it's the only record I've ever been a part of making where I experienced no burn out with it at any stage. Even now, close to a year since I finished it, I am in love with its sound, its joy and its sadness.

Moodgadget Presents: Daniel "Lazrus"

Daniel "lazrus"

Available: 7/21/2009 | Format: Digital

Similar Artists: Jamie Lidell, Thom Yorke, TV on the Radio

When Daniel began making songs again last summer it was on donated software and borrowed instruments. That's because two years earlier, in a fit of depression, he had quit his band (post-rockers turned synthed-out indie soul group Judah Johnson), sold all of his gear and stopped making music for the first time since he could remember. It was the kind of drastic decision that gets made when there don't appear to be any other options.

Eventually, though, passion and time won out and Daniel's deeply musical nature emerged again in the form of avante pop and futuristic-soul songs. He broke the silence with "Goldversion," an experiment which came out sounding like a cross between Al Green and Kraftwerk. With a lyric consisting solely of the mantra "In love," it was unlike anything he had ever written before and its vocoded croon and out-of-synch synth arpeggiations triangulated a vision for him of a new sound somewhere between the classic German synth music of Cluster and early Tangerine Dream and the progressive r'n'b of D'angelo's Voodoo.

More songs soon followed: the unsettling slow jam "Hard Core," the Zen poem meets Motorik beat of "Goodbye Silhouette," the synth-bubbly afrobeat of "Sugar Fish," and "Arrows For Ever," which sounds like an acoustic Prince ballad circa Sign of the Times until a blast of distorted keyboard pads drowns everything out.

Lazrus is the sound of Daniel's reconnection to music, the result of a two-year separation from the talent he loves most. It's a breakthrough not only because it's the first affirming music he's made after a history of being stuck in a minor key, but because it's his first overt embrace of soul music - that odd frequency somewhere between melancholy and joy he tuned himself to during his Motown-soundtracked early years as a white kid in a black city.

Though it was mostly home-recorded, it sounds bigger than a laptop: Daniel fulfilled a long-standing wish to play all of the instruments himself, from drums to glockenspiels (with the exception of a handful of gorgeous overdubs by members of Zoos of Berlin and Judah Johnson), and he feels its performances are the most inspired work he's ever done.

Like its title, Lazrus sounds like a slurred resurrection - dirty, confused, holy and gorgeous.