By Azzam Bilal 
HangupsMusic.com – In a move that signals a prolific period of creative exploration, Robbie Bennett, the long-standing keyboardist for the Grammy-winning rock outfit The War on Drugs, has unveiled plans for a massive dual-album release. Scheduled to arrive on December 11 via the American Dreams label, the two distinct collections—titled Steloken and Circulation—will collectively introduce 29 new compositions to Bennett’s growing solo discography. This ambitious double-drop marks his most significant individual output to date, offering a deep dive into the experimental and ambient textures that have long defined his contributions to the modern indie-rock landscape.
The announcement comes accompanied by a first taste of each project, with Bennett sharing the evocative tracks “Sister” from Steloken and “The Light on Your Face” from Circulation. These previews suggest a continuation and refinement of the sonic world-building Bennett first showcased on his 2020 solo debut, Permanent World. However, the scale and technical ambition of these new recordings indicate a significant evolution in his approach to synthesis and arrangement. By releasing two albums simultaneously, Bennett is providing listeners with a panoramic view of his musical psyche, one that balances the structured warmth of analog gear with the unpredictable beauty of experimental technology.
The technical architecture of Steloken and Circulation is a point of particular interest for audiophiles and gear enthusiasts. Bennett reportedly utilized the same keyboard rig that has become a staple of his live performances and studio work with The War on Drugs. However, the application of this equipment was entirely transformed for his solo endeavors. The core of the recording process involved a sophisticated feedback loop: Bennett routed MIDI data from an acoustic player piano directly into an Oberheim OB-X8 synthesizer. This configuration allowed for a ghostly, automated symbiosis where the mechanical strikes of the piano were perfectly synchronized with the rich, polyphonic swells of the synthesizer, creating a hybrid sound that feels both ancient and futuristic.
To further flesh out these soundscapes, Bennett integrated a diverse array of instruments, ranging from the classic to the cutting-edge. The familiar chime of the Fender Rhodes provides a rhythmic and melodic anchor, while the use of a vocoder adds a layer of ethereal, processed vocal textures. Perhaps most intriguing is the inclusion of the Soma Terra, a unique polyphonic microtonal synthesizer. Known for its unconventional interface—featuring a gyroscope and pressure-sensitive sensors—the Soma Terra allows for a highly physical and expressive form of sound manipulation. This emphasis on tactile control suggests that while the albums are rooted in electronic synthesis, they possess a human, improvisational heartbeat.
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Bennett’s artistic intent for these projects is centered on the concept of non-linear exploration. In press materials released alongside the announcement, the musician expressed a desire for the music to function as a spatial experience. He likened the listening process to wandering through a landscape that is simultaneously alien and inviting, where the path forward never requires the traveler to retrace their steps. This philosophy of perpetual discovery is reflected in the sprawling tracklists, which eschew traditional pop structures in favor of atmospheric movements that evolve and dissipate like weather patterns.
The timing of these releases is noteworthy, coming during a busy period for Bennett’s primary band. Just last month, he was featured on “Who’s That,” the first new original track from The War on Drugs since 2022. While the band has not released a full-length studio album since 2021’s critically acclaimed I Don’t Live Here Anymore, they have remained active on the road and in the archives. Earlier this year, they released Live Drugs Again, the second installment of their career-spanning live recordings, which further cemented Bennett’s reputation as a vital architect of their signature "wall of sound." His solo work, however, allows him to step out from the dense arrangements of the band to explore more minimalist, introspective territories.
The first of the two albums, Steloken, is the more expansive of the pair, featuring 17 tracks. The titles—such as “Sea-Level Horizon,” “Snowfell,” and “Darkness in Bloom”—suggest a heavy preoccupation with the natural world and the shifting of the seasons. The lead single, “Sister,” serves as a centerpiece for this collection, offering a glimpse into the “unfamiliar places” Bennett hopes his audience will inhabit. The album concludes with the intriguing “A Love Song / Universal Interface,” a title that seems to bridge the gap between human emotion and the digital tools Bennett uses to express it.
Circulation, the second collection, consists of 12 tracks and appears to lean into more abstract or perhaps more rhythmic concepts. With titles like “Breathing Glass,” “Phantom Signal,” and “MN3009” (a reference to a specific type of analog delay chip), the album feels like a meditation on the mechanics of sound and the passage of time. The featured single, “The Light on Your Face,” provides a melodic counterpoint to the more atmospheric leanings of Steloken, showcasing Bennett’s ability to find warmth and intimacy within his synthetic arrays.
The decision to partner with American Dreams for these releases aligns Bennett with a label known for its curation of avant-garde, ambient, and boundary-pushing independent music. The label has become a sanctuary for artists who prioritize texture and mood over commercial conventions, making it a fitting home for Bennett’s 29-track odyssey. By choosing a mid-December release date, Bennett is positioning these albums as a winter soundtrack—music designed for the quiet, reflective months at the end of the year.
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As the music industry continues to favor short-form content and single-driven strategies, Bennett’s decision to drop nearly 30 tracks at once is a bold statement of artistic intent. It challenges the listener to slow down and engage with a long-form narrative, one that is built on the subtle interactions between man and machine. For fans of The War on Drugs, these solo albums offer a fascinating look at the individual DNA of the band’s sound, revealing the specific tonal preferences and technical curiosities that Bennett brings to the table.
Ultimately, Steloken and Circulation represent a musician at the height of his technical powers, using his expertise to build worlds that are entirely his own. Whether he is manipulating the gyroscope of a Soma Terra or layering the classic warmth of a Rhodes over an automated piano, Bennett is focused on the horizon, seeking out those unfamiliar places where the music never has to circle back. When both albums arrive on December 11, listeners will finally have the map to the vast, intricate territory he has spent the last several years mapping out in the studio.
The full tracklist for Steloken is as follows:
01 Radii
02 Serendipity
03 Air Signals
04 Sea-Level Horizon
05 System of Warmth, Collection of Jackets
06 Snowfell
07 Darkness in Bloom
08 Sister
09 Moonframe
10 Footprints in the Ash
11 Horse to Lead
12 Lattun
13 Dragging out the Cans
14 Ascent
15 Cathedral
16 Purgatory
17 A Love Song / Universal Interface
The full tracklist for Circulation is as follows:
01 Breathing Glass
02 Panthalassa
03 Norrland Night Train
04 Vermiculite
05 Change the Clocks (DST)
06 Phantom Signal
07 CACC (Hope)
08 ISO Dream
09 MN3009
10 The Light on Your Face
11 Vivere!
12 December
