Every recording deserves a story this fitting:

Jet lagged & buzzing from Friday's show in Paris, I couldn't sleep...so I stayed up all night with Oko talking about color based dreams while blending these tracks together. Since the album came out, a lot of people on the road have been telling us they are curious to hear some of the unreleased music from the Kill For Love sessions...Recorded November 2009 through December 2011, these songs were all mixed between 4 & 6 a.m. After hours of tracking at the studio in Montreal, we'd clear the channels on the mixer, open a bottle of wine, & feel around in the dark...working our way through the atmospheric elements & peeling back layers of rhythm...throwing the songs into the abstract pile & playing them while driving home in the snow. In Amsterdam right now trying to upload it from the hotel. Fingers crossed...

Wrote Chromatics et al. member Johnny Jewel of Running from the Sun the stream you're likely listening to right now, and which was posted to Soundcloud about 16 hours ago and already boasts 10900 plays. It doesn't hurt that Jewel and the Chromatics have always demonstrated such a highly refined sense of mood and cinematics in their music—be it from the Chromatics' pre-Jewel days—Plaster Hounds and Chome Rats vs Basement Ruts—to their more recent work and side projects. Consider, for instance, Jewel's project Symmetry and their Themes for an Imaginary Film:

Themes, which Charlie Swanson wrote about here, is comprised largely of material that was supposed to become the score for the film Drive but ultimately got scrapped for Cliff Martinez's soundtrack due to miscommunication (Jewel ended up contributing Chromatics' "Tick of the Clock" and Desire's "Under Your Spell"), but it's a moody, artful force on its own.

Then go ahead and consider the music of the aforementioned Desire, Glass Candy's entire body of work. Or, for that matter, any of Chromatics' work after those first albums—namely 2007's excellent Night Drive and this year's Kill for Love.

I can remember feeling more than a little disappointment when Adam Miller completely abandoned the Chromatics' early-phase basement lust-and-thrust and transformed into something similar to how they sound today—graceful, subtle, and coolly urbane, but wholly sincere. It was at a Chromatics show with a handful of people in the upstairs at Neumos (remember when they had shows up there?) and feeling like I'd missed their prime. But years later I can't get enough of this stuff. It seethes that nebulous globalized-isolation beauty that pervades my life these days. And recent years seem like the first time that music can address a sense of futurism in a way that no longer sounds like a guess; we’re living in a fantastical age of rapidly expanding technology and worldwide connectedness. Jewel and Miller are masters of melding that feeling with the romanticism you experience after the sun goes down. It's always the middle of the night somewhere.

"This is uploaded to my car," reads one of the first comments on Soundcloud. "Tonight I'll drive the hills."

This story has been updated since its orignal publication.