Daniel G. Harmann

🌸 Welcome to the first day of Spring. To mark the turn of every season this year, Sam Miller & Daniel G. Harmann are releasing a three-song single inspired by the world outside.

First up: "le printemps". Out now, wherever you get your music. 💐

📸



We hope you enjoy!

Sunday, Hampstead Heath. 💐

Recorded by me, at home, on planes, in hotel rooms, on trains, and on The Heath. 🏞️

Mixed & mastered by 🎛️

A slow drift into another year 🌫️✨

A New Year Dawns is an ambient piece for headphones, deep breaths, and softened edges of time.

Out today to stream. Thanks for listening. 🎧💥

{{ Arbee x Daniel G. Harmann }}

Thank you so much to everyone that supported me, and listened to my music this year. From scoring two podcasts (Sabotage & The Story Goes), to Versailles, and all of the collaborations between, I am so humbled.

I can't wait to see what next year brings.

🥀🎹💥

My new album, Versailles, is out today. 🥀

https://distrokid.com/hyperfollow/danielgharmann/versailles

Two years ago, I started psychedelic therapy to finally acknowledge that I owed myself more than band-aids and trauma denial. Depression, anxiety, and fear were daily companions. This therapy changed everything. ✨

Music ran the show during this treatment, and I quickly realized that I could build a sonic world for others to float on and live in. I spent more time thinking about this record than anything I’ve ever done, long before I hit record.

I wanted the music to feel alive and organic, so I layered field recordings of rain, rivers, birds, conversations, piano, synthesizers, guitar, and drones. Every sound was intentional. I spent a lot of time on the record, but eventually I got stuck. Too many options, too many possibilities, and I became overwhelmed—and a little scared.

Then, in Barcelona, Sophia and I saw a photo by my friend William Anthony that became my north star and the cover for Versailles. 📸💡 I’m forever grateful to him, to Radjaw for the layout and design, to Graig Markel for mixing and mastering, and to Adam and Carl at ECHO FINCH for creating the video companion piece. 🙏

Versailles is about participation, reflection, and immersion. I hope it gives you a moment of calm, space to float, and connection in a world that moves too fast.

Thank you for exploring Versailles with me. 🥀

dgh.

VINO & VINYLl! 🍷

Seattle composer & sound artist (and QA resident!), Daniel G. Harmann has teamed up with QA Bottle Shop for the month of September. This month each and every QA Bottle Shop wine club member will receive a copy of Daniel's vinyl release - Unspoken Ghosts - when they pick up their bottles for the month. We love keeping it local.

And if you haven't joined the QABS wine club yet, what are you waiting for? A free LP? Well then jump on in!

🍷🎹🎸💥

Hi! Does anyone see these posts anymore? Here's hoping...

On 26 Sept, I'm releasing my TENTH full-length studio record, called Versailles.

It is an instrumental ambient(?), neo-classical(?) album, meant to be ingested all in one piece. I am very excited, and feel deeply emotional about this thing. I produced it, with Graig Markel mixing and mastering. The beautiful photo on the cover was shot by the genius William Anthony, and the always brilliant Radjaw did the layout.

Somehow, Spotify granted me pre-save-ability from within the platform, and it would mean a lot to me if you clicked the link below, so it's waiting in your library on release day.

I can't wait for you to hear it. Thank you 🥀

https://open.spotify.com/prerelease/30ct14pBJ36ms8dJYSy5hM

My new single Die Empty is out now. 💀

I’ve been sitting on this one for a while—textured, slow-burning, and a little haunted, but not without light. Built around field recordings, JU-06A synth lines through the Echo Fix, synthwavey drums, ping-pong guitars, and evolving Lyra-8 drones. It’s moody. Immersive. Something to get lost in. 🌊

recently said something that stuck with me: when it comes to your art, die empty. Don’t hoard it. Don’t wait for perfect. 🙌🏼

Give it a listen, & let me know where it takes you.

Mixed & mastered by 🎛️💥

Oh—and it’s my birthday. Felt like the right time to let this one go. 🎂🥊

Introducing Sabotage. 🌎🔥

After months of work (and years of research by the creators), the podcast I had the absolute honor of scoring is now out in the world. And honestly? I can’t think of a more relevant moment for it to exist.

This is not just a podcast—it’s a deeply reported, gripping, personal, and urgent look at the people behind the climate activism movement… and the lengths some will go to stop them.

A few weeks ago, I released the Sabotage soundtrack as a companion piece—a sonic reflection of the tension, beauty, and intensity woven throughout the series. You can find the links to the podcast and the S/T in my bio.

Endless thanks to & for trusting me to help bring their vision to life, and for their relentless, thoughtful journalism. And massive love to Hannah & Erick for guiding me through this process, and making it all sound so good.

And thank you .luisa_design for the incredible show and soundtrack artwork!

We hope you listen. We hope it stirs something inside all of you. 🖤

OUT NOW: For LA, Vol. 3

I composed “Starting the Process of Stopping” during the first week of this winter’s fires, and I’m honored that & chose it to be part of this beautiful release.

This compilation features 22 previously unreleased tracks from composers in the ambient, electronic, and modern classical communities. All proceeds will support We Are Moving The Needle and GiveDirectly, helping frontline organizations provide relief and recovery for affected families.

Link in bio—thank you for listening and for supporting this effort.

We're sending our love to everyone in the Los Angeles community during this difficult time. ❤️

2 million saves. ✅

This Spotify Editorial Playlist is just one of many that are packed with fake “ghost” artists. If you’re wondering why so many people have been calling out Spotify lately, this is a big reason why. By filling editorial playlists with artists that they create—whether through AI, studio musicians paid once at scale, or some combination of both—Spotify essentially doubles its money:
1. It keeps real artists off these playlists, meaning they don’t have to pay proper royalties for those streams.
2. It encourages listeners to subscribe to a paid plan to avoid getting served ads.

I noticed this years ago, but the trend has exploded recently.

Now, I’m probably the last person who should be talking s**t about Spotify, but this is important to understand. And yet—artists also need to shift their perspective. Spotify is important, just not in the way most musicians wish it were. Instead of treating it as a revenue stream, see it for what it really is: a free ad platform for your music.

It’s a billboard. A global one. Your music is available instantly to listeners around the world. That was unthinkable 25 years ago when I started selling CDs at shows.

So use Spotify. Use the data that Spotify for Artists provides. Leverage it to build your career, on your terms. Get everything you can from it—because it’s not going away, and it sure as hell isn’t going to start paying you more anytime soon.

Love,
Grampa DGH 👴🏼💥