TATE SEDAR Drops Progressive House ‘Coming Home (I.M.U.)’

TATE SEDAR ensures to cite his progressive house origins in ‘Coming Home (I. M.U)‘ (standing for ‘I Miss You’) – a euphoric, festival-style single melding homesick female vocals with his newer ‘post-EDM’ sound (EDM of the past and present mixed with electroacoustic sounds). This track echoes his beginnings in electro and progressive house as well as a journey for identity and sounds and sights of his home San Francisco, clearly evident in the artwork.

Rewind to 2023 – and TATE was between a rock and a hard place. With the largest number of commercial shows in his career that year and little to no time in the studio, he faced lingering questions: when would he get back in the DAW and what constituted as his ‘sound?’ Artists mature as people do, and TATE was no longer a näive Bay Area kid commercialized by ‘golden age EDM.’ Moving to Los Angeles five years ago allowed him to work in nightlife, traverse the commercial & underground worlds of music and educated himself in the infectious genre markets of electronic and pop within LA’s musical DNA.

Along the way, unbeknownst sounds and pipe dreams were what finally led TATE to his homemade signature [sound]. Although already infatuated with bass and future house, he became engrossed with the eclectic sounds of garage music and modern dancepop. And while learning the lay of the land in LA’s house and techno landscape, he eventually was graced with major shows from Insomniac Events and acquaintances with some of his muses: Wolfgang Gartner, Deniz Koyu and Dubvision. A rare session in that summer of ‘23 led TATE to the chord progression that eventually became “Coming Home.” However – even with the start of catchy vocal chops and an endearing guitar hook, there was nothing quite there to anchor it.

In what ultimately became a turning point for TATE after that year, he saw value in inspiration both old and new. He found nuance in both analog instrumentation and emulation in dance music – citing the album Illusion of Depth (2020) by Mat Zo as a source – and realized that both the non-electronic music (R&B, rock and hip-hop) as well as progressive sounds of his personal development could be a collective beacon for his creativity. In searching for a press shots, Angelino Heights – one of the first neighborhoods in LA with Victorian and Edwardian homes like those in SF – instantly came to his mind. He felt that it was the perfect analogy of how he finds his home both in music and his surroundings. To add to this notion, he comments:

“If anybody knows me well, they know I love San Francisco. And if you don’t – listen to my music.”

– TATE SEDAR

It was finally with a third vocal take and incorporation of post-EDM elements – bells, piano, strings and mandolins – that the chord progression of ‘Coming Home’ came alive and began to germinate in production. The progression always reminded him of the running hills and drives with houses of old and new architecture within San Francisco as well as some nostalgia – leading to that large 80s-like chord stab before the second build. ‘Emotions (ft. PSCYHEDELIC)’ was his first experiment in post-EDM, but ‘Coming Home’ and its vocal tied a new sense of authorship to his post-EDM sound: one that could incorporate the progressive styles of his mentors into its definition and part of himself & his home in its results.

Once again, TATE cements identity in more than just vivid production with another jubilant and radio-welcoming soundscape throughout ‘Coming Home (I.M.U).’ San Francisco has always been his north star, and although he began his journey into post-EDM this year with another track of his birthplace’s namesake, his new single elaborates on his passion of The City by The Bay and an ongoing voyage of his sound.

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