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Key Information

Cameron Stallones, better known as Sun Araw, is an American musician. Previously a member of the band Magic Lantern, he has released several albums of experimental music, including a collaboration with Jamaican reggae group The Congos. He has also worked as part of the Not Not Fun label 'supergroup' Vibes.

Biography

[edit]

Originally from Austin, Texas, Stallones now resides in Long Beach, California.[3] Stallones was associated with the Not Not Fun label, and released his debut album, The Phynx, in 2008.[1] This was followed later that year with Beach Head.[4] He has been prolific since then with three albums released in 2010 and two in 2011. Stallones also collaborated with Pocahaunted on the Passage album.[1]

Stallones set up his Sun Ark studio in his Long Beach home, where he records most of his music.

His 2012 collaboration with M. Geddes Gengras and The Congos Icon Give Thank reached number seven on the Billboard Top World Albums chart. [5] Sun Araw and The Congos also performed live together.[6]

Name

[edit]

Araw is a Tagalog word meaning sun or day, depending on context, so Stallones' stage name literally translates to sun sun. However, as Stallones recounted to LA Weekly,[7] he considers his name to mean "sun day", which is a pun referring to Sunday, and more specifically the Christian Sabbath day. Therefore, Stallones considers his stage name to mean "sacred rest", despite "rest" not being one of the meanings of araw. One justification for this he provided was that he participates for a time in many bands—but his one man show Sun Araw is something he can always rely on when he takes a break from other music projects.

Musical style

[edit]

His 2010 album Off Duty was described by Allmusic writer Gregory Heaney as "pulsing, Krautrock-influenced retro-futuristic lo-fi."[8] Critics David Keenan and Simon Reynolds grouped him with an early wave hypnagogic pop artists who emerged in the late 2000s.[9]Jon Pareles, writing for The New York Times, described Sun Araw's music as "a happy jungle of electronic repetition and live playing. Loops and echoes reconfigured reggae, funk and Afrobeat in dizzying ways; the music cackled and hopped, ready to trip up dancers or just get trippy in decidedly 21st-century groove."[10]

His style has been characterized as experimental, containing "sampled loops, echoed vocals, bursting bass, and random moments."[11] His music has also been described as "neo-dub" and "psych-rock."[12]

With releases like Icon Give Thank in 2012, it is described by Andy Beta of Pitchfork as a "psychedelic gospel album".[13] Furthermore, tracks like "Thanks and Praise" are described as "beyond dub, dancehall, roots, (his previous release) Ancient Romans, never really sounding like... the aforementioned genres".[13] This "psychedelic" flavour to his music can be found in other release such as On Patrol or Off Duty.

Pitchfork currently features 10 reviews of Sun Araw releases from 2010 to 2020, with an average rating of 7.34 (out of 10).

Discography

[edit]

Studio albums

[edit]
  • The Phynx (2008), Not Not Fun
  • Beach Head (2008), Not Not Fun
  • Heavy Deeds (2009), Not Not Fun
  • On Patrol (2010), Not Not Fun
  • Night Gallery (2011), Thrill Jockey - with Eternal Tapestry
  • Ancient Romans (2011)
  • Icon Give Thank (2012), RVNG Intl - with M. Geddes Gingras and The Congos, released with the Icon Eye film in the FRKWYS series
  • The Inner Treaty (2012)
  • Belomancie (2014)
  • Gazebo Effect (2015)
  • Professional Sunflow (2016), W.25TH - with Laraaji
  • The Saddle of the Increate (2017)
  • Guarda in alto (Movie soundtrack) (2018), Goodfellas
  • Rock Sutra (2020)
  • Fantasias for Violin & Guitar (2020), MIDA - with Maarja Nuut
  • Lifetime (2024)

All released by Sun Ark Records unless stated.

EPs

[edit]
  • Boat Trip (2008), Woodsist
  • Leaves Like These (2009)
  • In Orbit (2009), Stunned Records - with Matthew Lessner
  • Off Duty (2010), Woodsist
  • Major Grotto (2010)
  • Sun Ark Prayer Tapes Vol. 1 (2012)
  • Sun Ark Prayer Tapes Vol. 2 (2012)
  • Music from Harvester (movie soundtrack) (2015) - with Nicholas Malkin
  • 21.09.15 (2016), Otoroku - with Orphy Robinson
  • Adventures In Object-Hood! ("Music From The Great Link") (2018), Ikuisuus - with Noel Meek
  • DX "CLASSICS" (2019)
  • Cetacean Sensation (2022, physical release by Discrepant)

All released by Sun Ark Records unless stated.

Both Sun Ark Prayer Tapes had a combined physical tape release by Briefield Flood Press, under "Sun Ark Prayer Tapes 1 & 2".

Singles

[edit]
  • Hey Mandala! (2008), Not Not Fun
  • Sun Ark (2010), Not Not Fun
  • Houston Abstros (2011), Monofonus Press
  • I'm Gonna Cross That River Of Jordan (2012), released by The Great Pop Supplement - with Spacemen 3
  • Sun Araw / Ralph White (2013), Monofonous Press
  • Fluid Array (2019) - with Mitchell Brown
  • VHW7 (2021) - with Tomo Jacobson

All released by Sun Ark Records unless stated.

Live Albums

[edit]
  • Livephreaxxx!!!! (2010), Leaving Records - with Matthewdavid
  • Activated Clown (2019), NNA Tapes
  • AQUA X: Super Coracle / Tarzana Split (2023), Keroxen - with Tarzana
  • La Solo (2023)

All released by Sun Ark Records unless stated.

DJ Mixes

[edit]
  • Super Slayerss (2010)
  • Meteor Hits 2013 (2010), Rose Quartz
  • MMX (2011), Opening Ceremony
  • Got To Get Over! (Parts 1 & 2) (2011), Where's Yr Child - VS. Heatwave
  • Dummy Mix 98 (2011), Dummy Mix
  • He Who Carved The Crater Created The Key (2011), Dublab
  • Open: This Is The Literature - Disco Hermetics (2012), Dublab - VS. Heatwave
  • Forget Our Fates (2014), Sun Ark Edit Bay - with "DJ Purple Image (Alex Gray)"

All released by Sun Ark Records unless stated.

Live bands

[edit]

Sun Araw, despite being Cameron's solo project, is often played live with others in band or trio combinations.

This is often named as the "Sun Araw Band", but there are exceptions. These are usually numbered ascending from 1 upwards, written in Roman Numerals. This number change often occurs when the members change, but there are exceptions.

Band formations are listed with a list of members along with their role (where available), as well as credited releases.

Sun Araw Band V

[edit]

Releases:

  • Formatting Formants: Brisbane (2012)
  • Formatting Formants: Adelaide (2012)

Sun Araw Band IX

[edit]

Releases:

  • Two From The Desert: Yucca Valley (2012)

Sun Araw Band X

[edit]

Releases:

  • Live ROMA (2013) - with Dracula Lewis

S. Araw Trio XI

[edit]
  • Cameron Stallones - Guitar
  • Alex Gray - Synthesizers
  • Mitchell Brown - Drums

Releases:

  • Gazebo Effect (2015)

Sun Araw Band XII

[edit]
  • J. Leland - Congas, percussion
  • Alex Gray - Computer synthesis, bamboo saxophone
  • Cameron Stallones - Synthesizers, MIDI guitar

Releases:

  • Live in Oto (2015)
  • Live in Oslo (2015)
  • Live Kraniche Bei Den Elbbrücken (2016), Hafenschlamm Rekords

Live Kraniche Bei Den Elbbrücken is credited to Sun Araw Band XII, despite not sharing the same members or instrumental roles. This variation of members is listed below:

  • Cameron Stallones - Synth, guitar, voice
  • "J. Gray" - Percussion
  • J. Leland - Synth, bamboo saxophone

S. Araw Trio XIII

[edit]
  • Cameron Stallones - MIDI Guitar, synthesizers, vocals
  • J. Leland - MIDI Drums, percussion
  • T. Jacobson - "MIDI Ribbon"

Releases:

  • Antwerp (2016)
  • Warsaw (2016)

S. Araw Trio / Band XV

[edit]
  • Cameron Stallones - Guitar, synthesizers
  • M. Riordan - Synthesizers
  • J. Leland - "VDrums", percussion

Releases:

  • Jupiter Wilson (2017)
  • Hot Tub in Tallinn! (2018)

Sun Araw Band Ensemble (2017)

[edit]
  • Cameron Stallones - Guitar, synthesizer
  • M. Riordan - Synthesizer
  • R. Magill - Saxophone (unspecified)
  • C. Mitchell - Percussion, "pocket trumpet"

Releases:

  • Live At Zebulon (2017)

Sun Araw Duo XVI (2024)

[edit]
  • Cameron Stallones - Synthesis, drum program, midi-guitar
  • M. Riordan - Yamaha Portasound-470, bass synthesizer

Release:

  • LA DUO (2024)

All Sun Araw Live Band releases are released by Sun Ark Records unless otherwise stated.

Music aliases

[edit]

Cameron Stallones over the course of his career has also made music under several aliases other than Sun Araw. These aliases define either solo releases, or group projects.

Known aliases are listed below, with their own releases, discographies and information.

Aristocrat P. Child

[edit]
  • Sun Ark Edit Bay #1 (2012), Sun Ark Records
  • All Your Heart: The Label Under The Label (2012), Sun Ark Edit Bay
  • Now We're Getting Somewhere! (2012), Sun Ark Edit Bay
  • We Got Telephones (2012), Sun Ark Edit Bay

Aristocrat P. Child was an alternate alias of Cameron Stallones used to publish DJ mixes.

DJ Si Si Si Gracias

[edit]
  • Hallo Wee Trenty Thirty (2013), Tiny Mix Tapes
  • Parallel Desires (2014), Sun Ark Edit Bay
  • Thatness / Thereness (2014), Sun Ark Edit Bay
  • DB12 003 (2020), Duca Bianco

DB12 003 is a vinyl 12" pressing of Aristocrat P. Child's "Sun Araw Edit Bay #1".

DJ Si Si Si Gracias was an alternate alias of Cameron Stallones used to publish DJ mixes.

Prince Sunarawma

[edit]
  • Irene (2012), Atelier Ciseaux

Members:

  • Nimai Larson - Djembe
  • Cameron Stallones - Guitar
  • Taraka Larson - Harmonium
  • Sebastian Jovanic - Synthesizer
  • Pete Swanson - Mastering

The record sleeve notes this as a "hurricane jam(!)", recorded during hurricane Irene.

Celebrate Music Synthesizer Group

[edit]
  • Celebrate Music Synthesizer Group (2013), Sun Ark Records

Members:

  • Cameron Stallones
  • M. Geddes Gengras
  • Tony Lowe
  • Butchy Fuego

Turban Chopsticks

[edit]
  • Mexican Food (2013), Sun Ark Records

Members:

  • Alex Gray - Drums
  • Cameron Stallones - Guitar
  • Tony Lowe - Guitar

Turban Chopsticks was a live recording / jam session recorded live in Adelaide 2012.

Sohni Chambers

[edit]
  • Yaw-Mah-Ha (2010), Goaty Tapes

Members:

  • Cameron Stallones - Galaxie 8180 Organ
  • Nick Malkin - 5-Piece Drum Kit

Each track is a live jam recorded at various times in the day, recorded on the tracklist.

Hold The Phone

[edit]
  • Safe Breezes [Improvisations for strings and synthesizer] (2011), Sun Ark Records

Members:

  • Cameron Stallones - "Strings"
  • Barrett Avner - Synthesizer

High Ceilings

[edit]
  • High Ceilings (2014), Sun Ark Records

Members:

  • Cameron Stallones
  • Dave Saymek
  • Mitchell Brown
[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sun Araw

View on Grokipedia
from Grokipedia
Sun Araw is the solo experimental music project of American musician Cameron Stallones, originating from Austin, Texas, and now based in Long Beach, California, where he blends psychedelia, dub, electronic elements, and improvisation into an uncategorizable sound. Stallones began his career as a founding member of the psychedelic rock band Magic Lantern in the mid-2000s, releasing music on labels like Not Not Fun Records starting in 2007, before launching Sun Araw as a parallel solo endeavor in 2008 with the album Beach Head, which contributed to the emerging "hypnagogic pop" scene. His work has evolved through diverse influences, including space rock, Afro-pop, new age, and free improvisation, often exploring themes of space, motion, and mysticism, and has been released on imprints such as Woodsist, RVNG Intl., and Drag City. Key releases include the dub-infused On Patrol (2010), the collaborative Icon Give Thank with the Congos and M. Geddes Gengras (2012), the minimalistic Belomancie (2014), the country-tinged The Saddle of the Increate (2017), and the improvisational Rock (2020), culminating in the tenth studio album Lifetime (2024) and the single Dancing Socks of Tuesday Night (2025), which continues investigations into spatial and dynamic sonic fields. Stallones has also pursued collaborations, such as with on Professional Sunflow (2016) and the Sun Araw Band (Trio XI) on Gazebo Effect (2015), while contributing visual artwork, , and multimedia under the Second System Vision imprint.

Background

Early Life and Career Beginnings

Cameron Stallones was born in 1984 in Austin, Texas. Growing up in central Texas, he developed an early interest in music during high school, attempting to form a band that performed three shows with mixed results. Stallones later relocated to Long Beach, California, where he immersed himself in the local DIY music scene. There, he co-founded the experimental psychedelic rock collective Magic Lantern around 2005, contributing guitar and vocals while experimenting with self-taught techniques like looping cassette players alongside bandmate William Giacchi. Demos originally created for Magic Lantern evolved into material for his solo project, Sun Araw, marking the transition from band work to independent recordings. Stallones began Sun Araw in 2006, launching it publicly with his debut album, , released in February 2008 as a limited-edition on the Los Angeles-based Not Not Fun label. This was swiftly followed by Beach Head later that year, also on Not Not Fun, establishing his early lo-fi, experimental sound. From 2009 to 2010, he rapidly built his catalog through additional Not Not Fun releases including the Boat Trip EP (2009) and full-lengths Heavy Children (2010) and On Patrol (2010), alongside the Off Duty EP on Woodsist Records. These initial efforts solidified Stallones' ties to influential indie labels like Not Not Fun and Woodsist, while early collaborations extended from Magic Lantern to the Not Not Fun "supergroup" Vibes, featuring shared sessions with label artists such as Amanda Brown of Pocahaunted.

Name Origin

The name "Sun Araw" originates as a multifaceted pun on "Sunday," drawing from the Tagalog word araw, which means "sun" or "day," thereby evoking "Sun Day" as a concept of "sacred rest." This interpretation aligns with Cameron Stallones' view of the moniker as a symbol of respite and singular vision, serving as a retreat from his concurrent involvement in other bands like Magic Lantern. The name also pays phonetic homage to the jazz pioneer Sun Ra, whom Stallones regards as an exemplar of "interdimensional living," infusing the project with a sense of otherworldly exploration from its inception. At its core, "sacred rest" encapsulates Stallones' philosophy of relaxation amid busyness, positioning Sun Araw as a deliberate sanctuary for creative recharge and escape from everyday demands. This ties into broader themes of , where the project embodies a shamanistic of temporarily letting go of the self to access mantric, psychedelic states—prioritizing transcendence over conventional musical structures. Such conceptual underpinnings reflect Stallones' intent for Sun Araw to function as a space for unhurried, introspective artistry, free from the pressures of performance or external expectations. Began in 2006 as a solo endeavor, the project's name underscored its experimental and non-commercial orientation, with initial recordings emphasizing personal sonic reconnaissance rather than market-driven output. This ethos manifested in its debut releases, The Phynx and Beach Head, both issued in 2008 on the independent label Not Not Fun, allowing Stallones to pursue oblique, six-dimensional sound explorations without commercial constraints.

Musical Style

Core Characteristics

Sun Araw's music is characterized by experimental infused with elements, featuring haunting lo-fi drones and warped, nostalgic textures derived from early recordings like Beach Head (2008). This style employs heavy reverb to evoke swampy, immersive atmospheres, alongside tape loops that create repetitive, psychedelic cycles, often layered with analog synthesizers such as the organ for rough, resonant tones. Production techniques emphasize , building resonant fields from initial tones over extended sessions, resulting in multi-layered guitars with snaky, undulating lines that ripple over the mix. Rhythmic foundations draw from dub, , and , reconfigured into slow, bubbling patterns with underwater grooves and elastic basslines that induce a narcotic, mesmeric . These neo-dub textures blend with psychedelic influences, incorporating mystical, chant-like vocals and positive explorations reminiscent of , often emerging muffled from hazy backdrops. Field recordings and textural shifts, such as gurgling synth bleeds and clanky 4/4 grooves, add organic, otherworldly depth, prioritizing discontinuous, psychotropic experiences over linear structures. The project's sound evolved from solitary lo-fi home recordings in the late , marked by gritty, distorted fidelity, to more polished ensemble works after , incorporating live band dynamics and collaborations that refine the dense, panoramic visions into freer, delineated compositions. This shift maintains core improvisational ethos while achieving greater compositional economy, as seen in the transition from solo psych-trance to group-infused dub explorations.

Influences and Evolution

Sun Araw's music draws from a diverse array of genres, including and dub, and , , , and 1970s . influences are evident in the project's heavy use of and dub techniques, inspired by seminal works like . and elements appear through skewed rhythmic tones reminiscent of , blending propulsive grooves with psychedelic layering. 's pulses and repetitive structures, alongside 's expansive atmospheres and 1970s 's free jazz-infused experimentation, contribute to the hypnotic, immersive quality of Stallones' compositions. The project's style evolved through distinct phases, beginning with lo-fi from 2008 to 2010, characterized by fuzz-heavy, reverb-drenched soundscapes that emphasized shredding echo loops and psychotropic immersion. This early period, rooted in DIY experimental approaches, shifted post-2010 toward darker, sludge-like sonics, reflecting personal changes like relocation to . From 2011 to 2015, collaborative dub explorations amplified these influences, notably in the 2012 Icon Give Thank with The Congos and M. Geddes Gengras, where Afro-pop rhythms merged with Jamaican dub traditions during sessions in . By 2016 to 2024, Sun Araw transitioned to ambient and experimental shifts, incorporating sparse blippity rhythms, MIDI-generated sounds, and greater for clarity and transformative effects. This phase reduced reliance on looping in favor of compositional structures influenced by classical figures like Górecki and Varèse, resulting in less referential, futuristic music. Recent developments in the lean toward more abstract, synth-heavy forms, as heard in Rock Sutra (2020), which employs hi-fi digital production and band-recorded elements to filter African influences through a modern electronic lens, and continued in the tenth studio album Lifetime (2024), which investigates space as a motionless field with observed motions, merging experimentalism with structural elements.

Discography

Studio Albums

Sun Araw's studio discography, commencing in , traces a trajectory from raw, lo-fi psychedelic improvisations to intricate fusions of dub, , and ambient soundscapes, reflecting Cameron Stallones' evolving production techniques and thematic preoccupations with , and sonic immersion. Early releases on Not Not Fun established a foundation in experimental psych, characterized by distorted guitars, tape loops, and droning atmospheres that evoked disorienting, otherworldly voyages. The debut full-length The Phynx (2008, Not Not Fun) introduced Sun Araw's signature blend of and , with tracks like "Deep Cover" layering hazy riffs over pulsating rhythms to create a sense of psychedelic disorientation. This was swiftly followed by Beach Head (2008, Not Not Fun), a more expansive outing featuring extended compositions such as "Thoughts Are Bells," which immersed listeners in tropical-tinged, cosmic drifts blending ambient swells and hypnotic grooves. Heavy Deeds (2009, Not Not Fun) deepened these explorations, incorporating raw dub influences and ritualistic percussion amid feedback-laden soundscapes, signaling an early shift toward rhythmic experimentation. By 2010's On Patrol (Not Not Fun), Sun Araw refined his psych-dub hybrid, with militaristic titles underscoring themes of vigilance and trance-like repetition through echoing delays and warped vocals. The collaborative Night Gallery (2011, Thrill Jockey), recorded with Eternal Tapestry, marked a milestone in communal jamming, yielding four extended improvisations that fused space rock drones with ethereal organ and guitar interplay for a hypnotic, gallery-like sonic environment. Ancient Romans (2011, Sun Ark) delved into ancient mysticism and tropical psychedelia, its tracks evoking ritual ceremonies through layered synths and percussive loops. The mid-period saw pronounced dub-reggae fusions, epitomized by Icon Give Thank (2012, RVNG Intl.), a with M. Geddes Gengras and The Congos that reimagined classics with modern psych effects, achieving commercial breakthrough by peaking at number seven on the Top World Albums chart. Complementing this, The Inner Treaty (2012, Sun Ark) explored lighter, scattered dub textures with warm analog warmth and melodic fragments, contrasting prior darkness for a more optimistic inner dialogue. Subsequent works like Belomancie (2014, Drag City) intensified reggae-dub elements through bone-throwing motifs, blending echoing vocals and skanking rhythms in a prophetic, immersive . Gazebo Effect (2015, Sun Ark) shifted toward abstract environmental , using field recordings and processed guitars to mimic greenhouse-like enclosures of humid, refractive ambiance. Professional Sunflow (2016, Sun Ark) embraced sun-worshipping with blooming, floral arrangements of synth and dub bass, emphasizing growth and solar radiance. Later albums ventured into ambient and improvisational territories. The Saddle of the Increate (2017, Drag City) drew on and folk undertones amid vast, widescreen landscapes, portraying nomadic journeys through reverb-soaked expanses. The soundtrack Guarda in alto (2018, ) infused cinematic tension with ethereal drones and subtle pulses, tailored for aerial perspectives in its companion . Rock (2020, ) captured group improvisations as meditative rock scriptures, prioritizing live energy and tantric flows over structure. The collaborative instrumental Fantasias for & Guitar with Maarja Nuut (2020, MIDA) highlighted chamber-like abstractions, weaving lines with guitar in dreamlike, minimalist dialogues. Sun Araw's most recent studio effort, Lifetime (, Sun Ark), his tenth full-length, contemplates space as a static for dynamic observations, blending ambient stasis with subtle motions in elongated, contemplative forms. Overall, these albums illustrate a progression from visceral origins to refined, genre-blending meditations, earning acclaim for their innovative production and immersive depth across indie and experimental circuits.

EPs and Singles

Sun Araw's EPs and singles represent concise outlets for experimental , often utilizing tape formats to explore psychedelic textures and serve as transitional works between full-length albums. These releases highlight Stallones' penchant for dub-influenced drones, warped rhythms, and abstract soundscapes, frequently bridging conceptual themes across his broader . Key EPs include Boat Trip (2008, Woodsist), a limited-edition 12" vinyl pressing that introduced early drone explorations recorded in a terminal. Leaves Like These (2009, Not Not Fun Records) followed as a C20 cassette mini-album, emphasizing lo-fi . In Orbit (2009, Stunned Records), a with Matthew Lessner, captured live sessions on limited cassette, blending abstract rock and electronic elements. Off Duty (2010, Woodsist) expanded on these ideas with a 12" EP of warm, tribal-inflected grooves recorded at Sun Ark studios. Major Grotto (2010, Hustle Muscle) appeared as a limited cassette, delving into and during a prolific period. Later EPs continued this trajectory of sonic experimentation. Sun Ark Prayer Tapes Vol. 1/2 (2012, Sun Ark Records) comprised digital files and cassettes derived from studio sessions, functioning as meditative bridges to subsequent works. Music from Harvester (2015, Sun Ark Records), credited to Cameron Stallones and Malkin, offered a double-cassette suite of ambient compositions tied to visual media. 21.09.15 (2016, Otoroku), a live collaboration with Orphy Robinson, was released as files capturing improvisational and synth interplay. Adventures In Object-Hood! (2018, Ikuisuus), with Noel Meek, explored object-based sound manipulation on cassette. DX "Classics" (2019) reimagined covers in a file-based EP format, showcasing adaptive experimentation. Most recently, Cetacean Sensation (2022, Discrepant) marked a return to vinyl with oceanic, psychedelic motifs. Singles often previewed live material or tested collaborative ideas, reinforcing Sun Araw's improvisational ethos. Hey Mandala! (2008, Not Not Fun Records) debuted as a split 12" with Predator Vision, featuring extended psychedelic jams. Sun Ark (2010, Not Not Fun Records) emerged as a 7" single echoing studio sessions. Houston Abstros (2011, Monofonus Press) was a limited 7" EP of abstract, . I’m Gonna Cross That River of Jordan (2012, The Great Pop Supplement), a split 7" with , reinterpreted gospel roots in dub style. Sun Araw / Ralph White (2013, Monofonus Press) paired Stallones with folk experimentalist Ralph White on 12" vinyl. Fluid Array (2019, self-released), with Mitchell Brown, was a digital single of fluid, ambient electronics. VHW7 (2021, Sun Ark Records / Gotta Let It Out), collaborating with Tomo Jacobson, blended and on CD.
Release TypeTitleYearLabelFormat
EPBoat Trip2008Woodsist12" Vinyl
EPLeaves Like These2009Not Not Fun RecordsCassette
EPIn Orbit2009Stunned RecordsCassette
EPOff Duty2010Woodsist12" Vinyl
EPMajor Grotto2010Hustle MuscleCassette
EPSun Ark Prayer Tapes Vol. 1/22012Sun Ark RecordsCassette / Digital
EPMusic from Harvester2015Sun Ark RecordsCassette
EP21.09.152016OtorokuDigital
EPAdventures In Object-Hood!2018IkuisuusCassette
EPDX "Classics"2019Self-releasedDigital
EPCetacean Sensation2022Discrepant12" Vinyl
SingleHey !2008Not Not Fun Records12" Split
SingleSun Ark2010Not Not Fun Records7" Vinyl
SingleHouston Abstros2011Monofonus Press7" Vinyl
SingleI’m Gonna Cross That River of 2012The Great Pop Supplement7" Split
SingleSun Araw / Ralph White2013Monofonus Press12" Vinyl
SingleFluid Array2019Self-releasedDigital
SingleVHW72021Sun Ark Records / Gotta Let It OutCD

Live Albums and DJ Mixes

Sun Araw's live albums capture the improvisational and performative essence of his music, often featuring extended jams and real-time manipulations that differ from his studio compositions. These recordings highlight collaborations and solo endeavors, emphasizing the project's roots in psychedelic exploration and live energy. The debut live release, Livephreaxxx!!!!, emerged in 2010 as a collaboration with producer on Leaving Records. Recorded during invite-only parties at Sun Ark Studios in , it documents a frenzied live set with on-the-spot remixing, blending dub, , and drone into a raw, immersive experience limited to 200 cassettes. In 2019, under the moniker S. Araw Trio XIII—featuring Cameron Stallones alongside Jon Leland and Tomo Jacobson—Activated Clown was issued by NNA Tapes. This cassette presents two lengthy improvisations, "Hermeto Tume" and "Mantis Suite: Invitation to Love," drawing on electroacoustic elements and glitchy textures to evoke whimsical, free-form live interplay. AQUA X: Super Coracle / Tarzana Split, released in 2023 by Keroxen, stems from a live performance at the Keroxen Festival in Tenerife's Santa Cruz harbor. Stallones' contribution, "Super ," comprises three movements of electronic pulses and oceanic ambiance, expanded from the tank-recorded set into a split LP with Spencer Clark's Tarzana project, fusing leftfield electronics and ambient . La Solo, a solo effort released in 2024 via Sun Ark Records, features three tracks—"Plobe," "Big Raffle," and "Ma Holo"—recorded in a live solo format that underscores Stallones' unaccompanied improvisational style. LA Duo (2024, Sun Ark Records), by Sun Araw Duo XVI with Marc Riordan, captures a live duo performance featuring tracks such as "Like Wine," "Treaty," "Torpid Flopper," and "Orthrus," emphasizing punchy improvisational interplay. Sun Araw's DJ mixes, often produced in collaboration or under aliases, function as experimental edit bays for the Sun Ark label, reworking tracks with effects, cuts, and thematic curation to preview or extend his sonic universe. These releases, typically digital or limited formats, showcase a curatorial side blending , , dub, and . Super Slayerss (2010) appeared as a guest mix for The Wire Magazine's Adventures in Modern Music radio show, compiling uplifting, processed tracks into a 60-minute psychedelic journey. Meteor Hits 2013 (2010), a digital file released via Rose Quartz, follows the congo-infused vibes of Stallones' On Patrol album with a thematic edit of cosmic and rhythmic elements. MMX (2011), commissioned by Opening Ceremony, structures three "meditations"—morning, midday, and evening—as a drone-heavy, meditative mix emphasizing gradual sonic evolution. In collaboration with Heatwave, Got To Get Over! (Parts 1 & 2) (2011) was shared via dublab, layering funk and soul edits around a central theme of ascent and introspection, complete with outboard effects processing. Dummy Mix 98 (2011), for Dummy magazine, opens with aviation sounds before diving into dub and experiments, evoking a sense of disorienting through 128 kbps digital compression. He Who Carved The Crater Created The Key (2011), another dublab contribution, weaves , , and rock into a philosophical 192 kbps mix exploring creation and impact. With Heatwave, Open: This Is The Literature - Hermetics (2012) on dublab curates , , and experimental into an hour-long hermetic narrative, starting with re-edited tracks like "Get Another Love." Finally, Forget Our Fates (2014), co-curated with D/P/I as a limited on Sun Ark Edit Bay, employs and to dissect and reassemble sources in , electro-classical collages.

Live Performances

Band Lineups and Formations

Sun Araw, the musical project of Cameron Stallones, originated as a solo endeavor but expanded into various live ensembles to facilitate improvisational performances and tours. These configurations, often numbered sequentially, allowed for dynamic exploration of psychedelic and dub-influenced soundscapes in concert settings. The evolution reflects Stallones' collaborative approach, incorporating synthesizers, percussion, and occasional guest elements to adapt the project's studio-oriented material for stage . Early live iterations included Sun Araw Band V, formed in 2012 for formatting sessions and Australian tours, capturing extended improvisations such as those documented in live recordings from . This period marked a shift from solo performances to band structures emphasizing rhythmic and textural layering. Shortly after, Sun Araw Band IX emerged for desert recordings in , focusing on expansive, environmental sound experiments. In 2013, Sun Araw Band X incorporated collaborations with Dracula Lewis, integrating and dub influences during European tours, with the ensemble emphasizing vocal and rhythmic interplay in live settings. By 2015, the S. Araw Trio XI solidified a core guitar/synth/ lineup with Stallones, Gray on computer synthesis and bamboo , and Mitchell Brown on drums and percussion, enabling a more groove-oriented as heard in their gazebo-themed sessions. This trio formation persisted into Band XII for 2015-2016 European tours, adding Jon Leland on congas and percussion while retaining Gray and Stallones on synthesizers and guitar. Subsequent years saw further refinements, with Trio XIII in 2016, featuring Stallones, Tomo Jacobson, and Jon Leland for electronic-focused improvisations across global locations. The S. Araw Trio/Band XV configuration from 2017-2018 featured Stallones on vocals, guitar, and synthesizers, Marc Riordan on synthesizers, and Leland on MIDI drums, supporting tours with a balanced electronic percussion emphasis. That same year, the Sun Araw Band Ensemble expanded to a quartet, including Riordan, Rob Magill on saxophone, and Cooper Mitchell on percussion and , for a special performance opening for . Most recently, Duo XVI in 2024 reunited Stallones and Riordan—on Yamaha Portasound and bass synthesizer—for intimate live electronics at Zebulon in . In 2025, Stallones continued live activities, including a performance on August 1 at 2220 Arts + Archives with Nudo and Barrett Avner, and a DJ set on October 29 at Zebulon with Itasca and Dominique.

Notable Live Releases and Tours

Sun Araw's live performances have often been captured in limited-edition releases that document specific tours and events, emphasizing the project's improvisational approach to psychedelic and dub-influenced music. In 2012, during an Australian tour, the band recorded sessions in and , resulting in the dual releases Formatting Formants: Brisbane 2012 and Formatting Formants: Adelaide 2012, both issued on Sun Ark Records. These cassettes feature extended jams blending heavy dub rhythms with untitled improvisations, capturing the raw energy of the performances in intimate venues. Similarly, Two From The Desert: Yucca Valley 2012, also from Sun Ark, preserves a tour stop with the Sun Araw Band IX, highlighting site-specific adaptations through looping synths and percussive explorations tailored to the arid environment. The 2013 European tour yielded Live ROMA, a cassette documenting a Rome performance by Sun Araw Band X, released on Sun Ark Records, which showcases venue-responsive improvisations including tracks like "No Slump" and "Like Wine," extended through audience-engaged dub echoes and feedback loops. In 2017, a special event at Mt. Wilson Observatory during Knowledges Fest inspired Jupiter Wilson, a deluxe CD edition of the live set by Sun Araw Band XV, aligning the performance's cosmic themes with the telescope's Jupiter observation for an immersive, astronomy-infused jam session. That same year, the ensemble's appearance opening for at Zebulon in was recorded as Live at Zebulon, a free digital release featuring a unique configuration's spontaneous interactions with the crowd. Sun Araw's 2015-2016 European tour produced two notable live albums: Live in , recorded at SubScene in 2015, and Live in Oto, from London's Cafe Oto that same year, both released on CD in 2016 by Sun Ark Records under Sun Araw Band XII. These document marathon sets of material from Belomancie, adapted with improvisational flourishes to the venues' acoustics, fostering extended audience immersion. The 2018 release Hot Tub in !, from a September 2017 show at Haigla Peol in Laine Klub, , by S. Araw Trio XV, captures a humid, club-centric performance with bubbling synth layers and rhythmic adaptations to the international crowd. In 2023, Sun Araw participated in the Keroxen Festival in , , as part of an artistic residency, contributing to the event's aquapelagic theme through a that informed the split release AQUA X: Super Coracle / Tarzana Split on Keroxen Records. The performance emphasized fluid, water-inspired improvisations in dialogue with the festival's interdisciplinary environment. A from August 16, 2023, at Zebulon was released as LA SOLO on Sun Ark Records in February 2024. By 2024, duo configurations marked a return to smaller-scale tours, including shows at Zebulon and 2220 Arts + Archives in , culminating in LA DUO by Sun Araw Duo XVI, released digitally on Sun Ark Records from a May 24 set opening for Blazer Sound System. This release highlights stripped-down, interactive jams with direct audience engagement via pulsating bass synths and guitar loops. Throughout these tours and releases, Sun Araw's style revolves around improvisational jams that adapt to venue acoustics and incorporate audience energy, transforming each performance into a collaborative, evolving .

Other Projects

Music Aliases

Under the Sun Araw moniker, Cameron Stallones has employed various pseudonyms to explore experimental DJ mixes, improvisational jams, and niche electronic configurations, often emphasizing spontaneous creation and genre-blending within his broader psychedelic and dub-influenced aesthetic. These aliases typically feature limited-run releases on his Sun Ark Records label or affiliated imprints, allowing Stallones to diverge into side explorations without the full structure of his primary project. Aristocrat P. Child serves as an alias for Stallones' early DJ edit series, focusing on synth-dub cuts and reworks of and tracks. Key releases include the cassette Sun Ark Edit Bay #1 (2012), a four-track EP with edits like "We're Gonna Make It" and "Glide Right," limited to 150 copies on Sun Ark Records. Another entry, All Your Heart: The Label Under The Label (2012), continues this vein with additional cut-up mixes emphasizing rhythmic presence and soulful edits. These works highlight Stallones' intent to recontextualize archival sounds through lo-fi production techniques. DJ Si Si Si Gracias extends Stallones' DJ alias into more eclectic, jangly and edit-based mixes, often drawing from New York-inspired grooves. Notable outputs are the 2013 mix Hallo Wee Trenty Thirty, released via Tiny Mix Tapes as a digital compilation of loose, improvisational blends, and the 2020 vinyl EP DB12 003 on Duca Bianco, featuring four tracks like "Gerry" and "All The Feeling" that rework vintage with hazy, cult-like production. This pseudonym underscores Stallones' ongoing experimentation with cut-ups and thematic DJ sets unbound by strict genres. Prince Sunarawma represents a one-off collaborative jam under the Sun Araw umbrella, capturing a live session during in New York in August 2011. The resulting 20-minute track Irene (2012), released on Atelier Ciseaux as a limited-edition vinyl of 300 copies, blends guitar, , and harmonium into a droning, weather-inspired described by Stallones as a "hurricane jam." It reflects his affinity for environmental spontaneity in performance. Celebrate Music Synthesizer Group emerged from a 2012 Rotterdam session at The Worm cultural center, where Stallones (as Sun Araw) joined M. Geddes Gengras, Butchy Fuego, and Tony Lowe for analog synthesizer improvisations using equipment like the and Serge Modular. Their self-titled debut album (2013), a double LP on Sun Ark Records, compiles these tape-recorded jams into tracks such as "Warung Mini" and "Worm = Spice," prioritizing collective exploration of modular textures over composed forms. Turban Chopsticks documents a raw live guitar-drums trio in , , featuring Stallones alongside Tony Lowe on guitar and Alex Gray on drums, without pedals or effects. The cassette Mexican Food (2013), limited to 150 copies on Sun Ark Records (SA025), splits into two extended sides—"Recumbent Moon Cruise Pt.1" and Pt.2"—totaling over 30 minutes of unadorned jam, born from a sweltering afternoon session followed by an impromptu car-lifting escapade. This alias captures Stallones' interest in pedal-free, immediate rock improvisation. Sohni Chambers, a duo project with Nick Malkin, delves into gamelan-infused electronic organ and drum explorations, recontextualizing pop elements with dopey, Dionysian humor. Their debut Yaw-Mah-Ha (2010), a cassette on Goaty Tapes, features live jams titled by recording time (e.g., "2:47 PM," "3:18 PM"), utilizing a Galaxie 8180 organ and five-piece kit for distorted, buzzing rhythms across six tracks. It embodies Stallones' early drive toward odd timbres and far-side . Hold The Phone pairs Stallones with Barrett Avner for string-and-synthesizer improvisations, emphasizing lucid, vernacular textures. The cassette Safe Breezes (2011), limited on Sun Ark Records (SA010), includes six tracks like "The Radian Oyster" and "Safe Breezes," blending experimental electronics and rock elements in a shadowy, chamber-like style. This outlet allowed Stallones to probe intimate, evidence-based sonic dialogues. High Ceilings functions as a trio alias for canopy-gazing afternoon recordings, featuring Mitchell Brown on 1/4" reel-to-reel and Serge Modular, Dave Saymek on , and Stallones on analog synths and guitar. Their self-titled release (2014), a cassette limited to 100 copies on Sun Ark Records, furthers niche ambient explorations, aligning with Stallones' pattern of spontaneous, fur-coated improvisations in settings. Overall, these aliases enable Stallones to venture into underrepresented genres and ad-hoc groupings, maintaining loose ties to Sun Araw's live band overlaps while prioritizing unscripted creativity.

Key Collaborations

One of Sun Araw's most prominent collaborations is the 2012 album Icon Give Thank, a joint effort with M. Geddes Gengras and the legendary Jamaican reggae vocal group The Congos, released as part of RVNG International's FRKWYS series. The project emerged from a trip to St. Catherine, Jamaica, where Sun Araw (Cameron Stallones) and Gengras immersed themselves in the local dub and scene, recording with The Congos' original members Cedric Myton and Roy Johnson to blend psychedelic dub production with spiritual rhythms. This fusion resulted in a nine-track characterized by echoing reverb, tape loops, and gospel-infused vocals, marking a pivotal exploration of reggae's cosmic potential through experimental electronics. In 2011, Sun Araw partnered with the Portland-based outfit Eternal Tapestry for the Night Gallery, issued on Records. The release features extended improvisational jams divided into suites, capturing a live session's expansive, reverb-drenched soundscapes that bridge Sun Araw's tropical with Eternal Tapestry's cosmic folk explorations. This collaboration highlighted Stallones' affinity for communal, jam-based creation, influencing subsequent live-oriented works. A more intimate pairing came in 2013 with folk musician Ralph White on a split 12-inch EP, self-titled and released by Monofonus Press. Stallones contributed the track "Thrasher," a hazy, guitar-driven piece that complemented White's banjo-rooted Americana, fostering a dialogue between Sun Araw's synth-heavy abstractions and White's rustic . Sun Araw's collaboration with double bassist Tomo Jacobson yielded VHW7 in 2021, a single 59-minute composition released on Sun Ark Records. Recorded live at Copenhagen's KoncertKirken during the Vinterjazz festival, the piece features Stallones on guitar and synthesizers alongside Jacobson's resonant bass lines, creating a hypnotic, warp-speed drone that evokes . This work underscores Sun Araw's shift toward immersive, instrument-focused partnerships in the post-pandemic era. Further expanding stylistic boundaries, Sun Araw joined forces with Estonian violinist Maarja Nuut for Fantasias for Violin & Guitar in 2020, the debut release on the Tallinn-based MIDA label. The ten-track album intertwines Nuut's folk-inspired melodies with Stallones' processed guitars and field recordings, drawing from Baltic traditions and tropical to produce ethereal, narrative-driven soundscapes. Additionally, a one-off project with sisters Nimai and Taraka Larson of Prince Rama manifested as Prince Sunarawma, culminating in the 2011 single "Irene," recorded in Brooklyn. Featuring Stallones on guitar, Nimai on djembe, and Taraka on harmonium, the track fused Sun Araw's psychedelic grooves with Prince Rama's spiritual new age elements, bridging experimental rock and devotional music. These partnerships significantly broadened Sun Araw's sonic palette, integrating and dub foundations from The Congos into a global framework that incorporated echoes and world folk influences, thereby enhancing his reach across international scenes and inspiring hybrid genres in .

Cultural Impact

Sun Araw's music has appeared in several independent films and video games, enhancing their atmospheric and experimental narratives. A cover of Neil Young's "Thrasher" was included in the soundtrack of the 2011 short film The Woods, directed by Matthew Lessner and premiered at the , where it underscored the film's themes of isolation and introspection. Similarly, tracks from Sun Araw featured in the 2013 short film , also directed by Lessner, contributing to its metaphysical comedy and psychedelic tone. In video games, Sun Araw's contributions have been particularly notable in indie titles emphasizing retro aesthetics and tension. The tracks "Horse Steppin'" and "Deep Cover" from the 2010 album Heavy Deeds were incorporated into the 2012 top-down shooter Hotline Miami, where they provided a hazy, synth-driven backdrop to the game's violent, neon-soaked levels, helping define its influential soundtrack. This association introduced Sun Araw's sound to a wider gaming audience, blending experimental with electronic elements. Sun Araw has been prominently featured in music media discussions of the psychedelic revival, particularly through Pitchfork's coverage. Reviews and features, such as the 2010 "The Out Door" column, positioned Sun Araw's reverb-drenched guitar and mantric repetitions as key to contemporary psychedelic experimentation, drawing from 1970s psych, , and influences. In Pitchfork's "Guest List: Best of 2011" feature, a contributor highlighted a Sun Araw track alongside other psychedelic selections, underscoring its role in the era's neo-psychedelic wave. Outlets like Tiny Mix Tapes also explored Sun Araw's "neo-primitive" style in interviews, linking it to the broader resurgence of hypnagogic and in the late 2000s and . The project's broader cultural impact in the 2010s neo-psychedelia scene stems from these media integrations, which amplified its influence on underground music communities and inspired discussions of shamanistic and trance-like soundscapes in publications like The Quietus.

Critical Reception and Legacy

Sun Araw's work has garnered consistent praise from music critics for its innovative fusion of psychedelic, dub, and experimental elements, particularly within niche underground scenes. Pitchfork awarded Icon Give Thank (2012), a collaboration with the Congos and M. Geddes Gengras, an 8.1 out of 10, lauding it as the best psychedelic gospel album of the year for its transcendent vocal harmonies and symbiotic blend of roots reggae with cosmic dub production. Similarly, Ancient Romans (2011) received a 7.9 from Pitchfork, celebrated for its panoramic, deliriously detailed soundscapes that evoke untapped psychedelic visions through Afrobeat-inflected funk and dub-mottled organ grind. AllMusic has highlighted Sun Araw's uncategorizable sound, incorporating dub, psychedelia, new age, and free improvisation as a hallmark of experimental innovation. Criticism has evolved alongside stylistic shifts, beginning with acclaim for early lo-fi, releases like Beach Head (2008), which were pivotal in the scene's development through haunting drones and retro-futuristic textures. Mid-period works, such as The Inner Treaty (2012) and Belomancie (2014)—the latter scored 7.7 by —marked a peak in dub fusion, praised for hypnotic and psych-dub influences with sparse, skeletal arrangements. Recent abstract efforts, including Rock Sutra (2020), have been noted for their experimental legacy, shifting to digital, hi-fi production that pushes three-dimensional rhythms while maintaining hypnotic . Sun Araw's legacy lies in its central role in the and revival, positioning Cameron Stallones as a leading figure in underground scenes that blend nostalgia-evoking pop with spacey, entrancing . The project has influenced the experimental landscape by re-examining through contemporary lenses of and noise, as seen in broader revivals documented in major outlets. Through Sun Ark Records, Stallones has extended this impact by releasing innovative works that explore stasis and motion in sound. Ongoing activity, exemplified by the 2024 Lifetime—its tenth studio release—continues this trajectory. Despite strong niche acclaim in publications like and Spin, Sun Araw remains underrepresented in mainstream awards, thriving instead on a dedicated following in experimental and psychedelic communities.

References

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