Category: Electro Pop

Throughout this site’s 8 year history, I’ve written quite a bit about JOVM mainstay David Alexander, an internationally renowned Swedish-born singer/songwriter, multi-instrumentalist and producer, best known for his solo electro pop/dream pop recording project Summer Heart. Now, as you may recall Alexander has received attention for being among the first wave of Sweden’s contemporary electro pop and dream pop movement with the likes of MoonbabiesThe Land BelowHey ElbowBlind Lake and Emerald Park,as well as for a sound that has been compared to CaribouWashed OutIn Ghost Colours-era Cut CopyPainted Palms and others.
Over the past year, I’ve written about a handful of singles from Alexander’s 12 Songs of Summer, a single of the month series that according to the Swedish-born singer/songwriter, multi-instrumentalist and producer allows him to “show people what I am currently working on instead do what I was doing two years ago, which can be the case if you release an album. It’s definitely a way of challenging myself, thinking less and having more fun creating music!” Interestingly, 12 Songs of Summer‘s latest single “Ace of Pentacles” finds Alexander collaborating with Chicago-based electronic music artist and producer Elias Abid on a slow-burning and percussive production centered around ethereal vocals (which are chopped up at points), shimmering synths and a sinuous yet radio friendly hook — and while recalling Washed Out, the song manages to feel like the bitter come down of a love affair gone horribly wrong. While further cementing Alexander’s long-held reputation for crafting breezy synth pop, the song possesses an uncanny sober quality.
As the story goes, Abid and Alexander caught up in Abid’s new home of Chicago, the duo bonded over a mutual appreciation and admiration of each other’s work — and unsurprisingly, the duo quickly took the opportunity to bounce ideas off each other.  Speaking about their collaboration in press notes, Alexander said, “Both hanging out and working with Elias Abid was extremely inspiring. We shared the same work ethics and had similar ideas both when it came our craft but also in general. In a creative situation it’s worth a lot when you can comfortably put everything aside and focus on what’s important; the music. To me ‘Ace Of Pentacles’ ended up being about being open-minded and confident in yourself. About daring taking opportunities that are right in front of you.”
Abid adds “Besides creating some amazing ideas, what I appreciated the most out of hosting Summer Heart for his week in Chicago were the conversations we had between sessions. There was something that felt really familiar about the way he looked at life, relationships, music, art, etc.. His energy and approach as a creative person was inspiring and instilled a lot of confidence in my own process as a new artist. Not only did we create something we’re both proud of, we started a new friendship that I’m very grateful for!”
Advertisements

New Video: JOVM Mainstays Sextile Release an Industrial New Wave-Inspired Banger

Last year, I wrote quite a bit about the  Los Angeles, CA-based post-punk act Sextile, and as you may recall since the act’s inception in 2015, they’ve earned a devout following, as a result of an explosive live show and non-stop touring as both as an opener and as a headliner with the likes of A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others. Adding to a growing profile, they’ve also played sets at Bersekertown, Cloak & Dagger and Levitation Festivals.

Interestingly, over that same year period, the act has gone through a massive lineup change that finds the act writing, recording and performing as a duo featuring Brady Keehn and Melissa Scaduto. Naturally, as a result of the lineup changes, Kehn and Scaduto have radically reinvented their sound with a move towards synths with minimal use of guitar; in fact, on their recently released EP, EP3, the duo use a KORG MS-10 sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments to craft a decidedly industrial synth-based sound. Additionally, the duo cite futurist Luigi Russolo’s The Art of Noises as an influence on their approach, as their sound and songwriting is meant to evoke and mirror the chaos and brutality of the industrial era. EP single “Spun” was centered around explosive squealing bursts of guitar, scorching synths, thumping beats, industrial clang and clatter and a motorik-ike groove, and it some way the song found the band meshing  the aesthetics of Gang of Four and classic DFA Records (i.e., early LCD Soundsystem and Echoes-era The Rapture) while hinting a bit at Bay City Rollers‘ “Saturday Night,” thanks to its punchily delivered vocals.  “Disco,” EP 3’s latest single may argaubly be the most dance floor friendly song they’ve ever released as it sonically brings Yaz’s “Situation,” New Order’s “Blue Monday” and Ministry to mind, as it’s centered around a production of layers arpeggiated synths, industrial clang and clatter and a motorik groove — but lyrically, as the duo note,t he song’s lyrics focus on the lack of time to do anything productive or constructive, DIY spaces being shut down, gun control and constant media propaganda in a way that evokes our increasingly cynical, paranoid and uncertain world.  Civilization as we know it is collapsing before our eyes, and we might as well dance, dance, dance, dance, dance.

Keehn and Scaduto directed the video and as they mention in press notes, visually and aesthetically, the slickly shot black and white treatment was deeply influenced by the New German Wave.

Last month, I wrote about Evalyn, an up-and-coming Los Angeles-based singer/songwriter whose soon-to-be released Salvation EP thematically explores the seven deadly sins, while also being centered around the concept of trying to find something to save you from yourself and the world — whether it be a religion or a cult or anything else you might worship. Now, as you may recall, EP single “Big Bad City” featured an arena rock-like production consisting of thumping beats, shimmering and arpeggiated synths, a sinuous bass line and a soaring hook. And while possessing the emotional heft of an old school spiritual, the song was one examination of pride — in particular, an unapologetic passion for a sinful, greedy and vapid way of life.

Interestingly, the EP’s latest single “A Pill to Crush” reveals an artist who readily experiments with her sound and songwriting as the track manages to subtly hint at 60s psych pop as its centered around a trippy production of bubbling and wobbling synths, shimmering and reverb-drenched guitar chords paired with the Los Angeles-based singer/songwriter’s dreamily distracted vocals (which are distorted at various points). And while the song is arguably the most expansive and mind-altering of the up-and-coming artist’s growing catalog, the song lyrically finds its narrator bitterly describing a relationship in which the other person treats you like a pill they can crush and eventually discard — and the feelings of wrath that being rejected and treated poorly can engender.

New Video: Montreal’s Anemone Releases Cinematic Visuals for Breezy Retro-futuristic Synth Pop Number “Daffodils”

Earlier this year, I caught the Montreal-indie pop/dream pop act Anemone open for the acclaimed indie pop act HAERTS at Baby’s All Right, and as you may recall, the act led by Chloe Soldevila (keys, vocals) and featuring Miles Dupire-Gagnon (drums), Gabriel Lambert (guitar), Samuel Gemme (bass) and Zachary Irving (guitar) specializes in a breezy and dreamy synth pop sound that hints at psych pop — and at points to In Ghost Colours-era Cut Copy and Forever and Horizon-era Painted Palms. The Canadian act released their attention-grabbing debut EP earlier this year, which they’ve supported with a series of critically applauded SXSW shows, and some relentless touring across North America.

“Daffodils,” the Canadian act’s latest single is a breezy bit of synth-led dream pop centered around arpeggiated, analog synths, an ethereal melody, reverb drenched drums, shimmering guitar lines and a sinuous bass line within a gently unfolding, expansive song structure — and interestingly, the song recalls Pavo Pavo’s gorgeous, retro-futurstic dream Young Narrator on the Breakers. 

Directed, shot and edited by the band’s Chloe Soldevila, along with her bandmates, the recently released video was filmed on a grainy looking, Super 8 like film (or Instagram filter) in the New Mexico desert with a wide-screen cinematic vibe that shows the members of the band wandering about the desert, looking small in the face of an enormous expansive, before you see the band playing in the desert. As the band’s Chloe Soldevila explain sin press notes, “”Wide and magical open spaces are so powerful to me. I couldn’t have imagined a better place to capture the song’s video. Driving into White Sands’ natural park was one of the most empowering experiences to us. We had so much fun walking and running endlessly with our eyes wide open, full of admiration. After a while we decided impulsively to set up our gear which we had in the van and we started to play. We felt so alone in the world, playing for the sky and suddenly tons of people enjoying the park started driving in to enjoy the performance… it was so special, until eventually the park security kindly kicked us out!”

New Video: Yumi Zouma Releases a Funky, Dance Floor Friendly, 80s Synth Pop Inspired Jam

Over the past few years, I’ve written quite a bit about the internationally renowned synth pop act Yumi Zouma, and as you may recall the act, which is comprised of Christchurch, New Zealand-born Christie Simpson, Sam Perry, Charlie Ryder and Josh Burgess have been split across various locations across the globe — primarily New York, Paris and Christchurch — after the 2011 earthquake that ravaged both their hometown and the region at large. Primarily writing and recorded by email, the band wasn’t initially meant to be a live band; however, they’ve received attention across the blogosphere and elsewhere for a breezy yet bittersweet, 80s synth pop-inspired sound centered around Christie Simpson’s ethereal vocals. Since the release of their Turntable Kitchen released cover of Oasis’ 1995 full-length effort, (What’s the Story) Morning Glory?, the renowned synth pop act has been busily writing and recording an EP trilogy — with the last part of the trilogy EP III slated for a September 28, 2018 release through Cascine Records.

“In Camera,” EP III’s first single was a swooning bit of synth pop with a soaring hook that sonically nodded a bit at  A Flock of Seagulls‘ “I Ran (So Far Away)“, complete with reverb fed instrumentation, a cinematic vibe and a clean, super more production sheen — and while seemingly effortlessly breezy, the song is underpinned by a deliberate and very careful attention to craft, as the members of the band refine each song until it’s absolutely perfect.  “Crush (It’s Late, Just Stay)” EP III’s latest single is centered around thumping beats, a shuffling guitar line, shimmering and arpeggiated synths and a sultry and sinuous bass line and while being a hook-driven, dance floor friendly song, it manages to sound as though it were released in 1983 or so, as it recalls Cherelle’s “Saturday Love” and others. 

Interestingly, as the band’s Josh Burgess explains in press notes, “This song began life as an experiment recording with a fellow Kiwi (Liam Finn) at his studio in 2015. The studio was aptly named The End as it was situated at the very end of Greenpoint Avenue overlooking Transmitter Park which was arguably one of the best views of Manhattan at the time. The End hosted a few different studios, including Jacob Portrait’s (Unknown Mortal Orchestra, Blouse) who mixed ‘In Camera’ as well as rehearsal spaces (I once walked in on The Congo’s rehearsing!). We smoked on the roof and had a bash at making a song together, which is what we sampled in the verses of ‘Crush’. The working title was ‘First Class Lounge’ because it sounded like some kind of musak that would be playing as background before rich people boarded a Concord. 

Unfortunately, The End had a sad finale courtesy of a fire that ripped through the building. Thankfully no one was hurt, but a lot of the gear was wrecked. My girlfriend lives a couple blocks away and over morning coffees we’ll often stroll through Transmitter looking up at the shell of the studio. Like most things in New York it’s relegated to a memory now, but a lot of great music came out of that building!”

The accompanying video features the classically-inspired artwork of Aiden Koch, set among bold and bright colors, animated by Joseph Brennan — and interestingly, while reminding me of the introductory sequence of an 80s rom com, it manages to evoke the flirtatious nature of the song. 

New Video: Up-and-Coming Canadian Duo Always Never Releases Dark and Seductive Visuals for “Wylin'”

Always Never is an up-and-coming Toronto, Ontario, Canada-based electro pop production and artist duo, comprised of Patrick Kirschner (vocals) and Dean Guilbault (production) — and with the release of “Millions,” “No Good,” “Morgan Freeman” and “Dangerous,” off their recently released self-titled debut, the Canadian duo have been compared to the likes of Majid Jordan, Miguel and The Weeknd among others — although with the attention grabbing single “Wylin,” the duo’s sound strikes me as bearing a closer resemblance to For Now and The Ways We Separate-era Beacon, as Kirschner’s soulful yet tender vocals are paired with gauzy, atmospheric and yet super modern productions featuring stuttering beats, tweeter and woofer rocking low end and infectious hooks; in fact, much like Beacon, the duo’s sound possesses a pensive, late night vibe, full of regret, confusion and longing.

Directed by Kid Studio, best known for his work on videos for The Weeknd, Big Sean and 6LACK, the recently released video is dark, murky, and dramatic — and features illicit drug use, overdosing, late night seduction and murder, but centered around a trippy and mind-altering series of flashbacks that further evoke the song’s regret, confusion and longing. 

New Audio: Acclaimed Duo Silk City Team Up with Dua Lipa on a Sultry Classic Chicago House-Inspired Banger

Born Thomas Wesley Pentz, Diplo is a prolific and acclaimed Los Angeles-based producer, DJ and electronic music artist. As a solo artist, he’s managed to see a fair degree of commercial success with 2013’s Revolution EP, which debuted at #68 on the US Billboard 200 — and the EP’s title track was later featured in a Hyundai ad campaign and on the WWE 2K16 soundtrack. Diplo is also known as the co-founder and lead member of the electronic dancehall project Major Lazer, and one-half of electronic music production and artist duo Jack U with Skrillex. And as a producer, the Los Angeles-based producer, DJ and electronic music artist has collaborated with M.I.A., Gwen Stefani, Die Antwoord, Britney Spears, Madonna, Shakira, Beyonce, No Doubt, Justin Bieber, Usher, Snoop Dogg, Trippie Redd, Chris Brown, CL, and G-Dragon. 

Mark Ronson is a London-born and-based multi-instrumentalist, DJ, singer/songwriter and producer and although his debut effort, 2003’s Here Comes the Fuzz failed to make the charts, his sophomore effort, 2007’s Version landed at number 2 on the UK charts, thanks to the fact that the album had three Top 10 singles — and as a result, he won a Brit Award for Best British Male Solo Artist. Building upon a growing profile, 2010’s Record Collection peaked at #2 on the UK Charts.

Ronson also won Grammy Awards for Producer of the Year, Non Classical, Best Pop Album and Record of the Year for his work on Amy Winehouse’s “Rehab” and Back to Black. He also produced “Cold Shoulder,” off Adele’s critically applauded and commercially successful debut 19. And unless you’ve been living in a remote Tibetan monastery in the Himalayas, Ronson’s first UK and US #1 single was his collaboration with Bruno Mars “Uptown Funk,” and as a result of the single’s massive commercial success, Ronson won the Brit Award for British Single of the Year, as well as Grammy Awards for Record of the Year and Best Pop Duo/Group Performance. The London-born and-based producer, DJ, multi-instrumetanlist and singer/songwriter’s fourth full-length album Uptown Special was his first #1 album in the UK and peaked at #5.

Ronson’s and Diplo’s collaboration together Silk City can trace its origins to the duo’s long-time friendship, a friendship that dates back to the early 2000s. Their debut single “Only Can Get Better,” featuring Daniel Merriweather was released earlier this year, ahead of their Governor’s Ball set, and they’ve already made several other appearances across the international festival circuit with sets at Bestival and Treasure Island Music Festival among others.  The duo’s second single “Feel About You,” a collaboration with Mapei was a slickly produced and soulful track with arpeggiated synths that subtly nods at Robin S’s “Show Me Love” — but with a clean, hyper modern sheen. The acclaimed duo’s latest single “Electricity” find them collaborating with multi-Brit Award-winning Albanian-British singer/songwriter and model Dua Lipa, and The xx’s Romy Madley-Croft and Diana Gordon, who co-wrote and contributed lyrics and melodies, and much like it’s predecessors, “Electricity” is a slickly produced, anthemic banger. However, the piano-led, hook-driven track draws from classic Chicago house, complete with an irresistible sensual ecstasy at its core.

Directed by production duo Bradley and Pablo, the recently released video for “Electricity” is set during the Blackout of 2003 and stars Dua Lipa, who hosts a loft party that contains so much sexual energy that it keeps the lights on in the apartment. Of course, two of the guests — guess who, y’all? — wind up being stuck in an elevator and completely missing the party. 
 

Last month, I wrote about the Sydney, Australia-based electro pop trio RUFUS DU SOL, and as you may recall, with the release of their first two albums — 2013’s ATLAS, which landed at number 1 on the Australian charts and earned platinum status and 2016’s critically and commercially successful follow up, Bloom, which featured smash hits “You Were Right” and “Innerbloom,” the trio comprised of Tyrone Lindqvist, Jon George and James Hunt quickly became sensations both at home and internationally. And over the course of a lengthy two-year long international tour, the Australian electro pop trio developed a reputation for combining the DIY live aesthetics of indie rock and punk rock with the euphoria of club culture.

After completing the tours to support their first two albums, the Australian trio spent the past year or so in Venice, CA writing and recording their highly-anticipated third full-length album SOLACE, which is slated for release this fall, and as the trio note, the album is largely influenced by the dichotomy of the stark desert landscapes and coastlines of California — but while being a much fuller exploration of their evolving sound, and a deeper, more intimate glimpse into both melancholy and transcendence. It feels like a new RÜFÜS,”the trio says. “We are inspired by our new home out here, by the people we’ve met and the music we’ve heard along the way. We’ve got a refreshed sense of ambition and cannot wait to share our creation with the world.”

Underwater,” SOLACE‘s second single further cemented the trio’s growing reputation for forward-thinking, boundary-pushing production as the track was centered around arpeggiated and propulsive Giorgio Moroder-like synths, a soaring choral hook and verses that express an aching longing. Ultimately, the track reveals an act that has managed to carefully walk a tightrope between arena and club rocking bombast with an earnest and intimate emotionality. “Lost In My Mind” the album’s third and latest single continues with forward thinking, electronic production centered around twinkling and arpeggiated synths, a chopped up choral-based hook paired with soulful vocals, and while sonically  making a subtle nod to Snap!‘s “Rhythm is a Dancer,” the song manages to evoke both the anxious desperation of someone hopelessly trapped within his own mind, and the push and pull of new love.

The internationally renowned electro pop trio will be on a month long North American tour during the fall and it includes three New York City area dates — November 23, November 24 and November 25 at Terminal 5. Check out the tour dates below.

 

SOLACE North American Fall Tour Dates (with more dates to be announced):
Oct 24th – Charlotte, NC – The Fillmore
Oct 25th – Atlanta, GA – Coca Cola Roxy
Oct 26th – New Orleans, LA – Voodoo Music & Arts Experience
Oct 27th – Houston, TX – House of Blues (Houston)
Oct 28th – Austin, TX – Emo’s
Oct 30th – Phoenix, AZ – The Van Buren
Oct 31st – San Diego, CA – Valley View Casino Center
Nov 1st – Los Angeles, CA – Shrine Expo Hall
Nov 2nd – Los Angeles, CA – Shrine Expo Hall
Nov 3rd – Los Angeles, CA – Shrine Expo Hall
Nov 6th – San Francisco, CA – Bill Graham Civic Auditorium
Nov 9th – Salt Lake City, UT – The Complex
Nov 10th – Denver, CO – The Fillmore Auditorium
Nov 11th – Denver, CO – The Fillmore Auditorium
Nov 13th – Minneapolis, MN – First Avenue
Nov 14th – Chicago, IL – Aragon Ballroom
Nov 15th – Detroit, MI – Royal Oak Music Hall
Nov 16th – Toronto, ON – The Danforth Music Hall
Nov 18th – Montreal, QC – MTELUS
Nov 20th – Boston, MA – House of Blues (Boston)
Nov 21st – Boston, MA – House of Blues (Boston)
Nov 23rd – New York, NY – Terminal 5
Nov 24th – New York, NY – Terminal 5
Nov 25th – New York, NY – Terminal 5

Always Never is an up-and-coming Toronto, Ontario, Canada-based electro pop production and artist duo, comprised of Patrick Kirschner (vocals) and Dean Guilbault (production) — and with the release of “Millions,” “No Good,” “Morgan Freeman” and “Dangerous,” off their recently released self-titled debut, the Canadian duo have been compared to the likes of Majid Jordan, Miguel and The Weeknd among others — although with the attention grabbing single “Wylin,” the duo’s sound strikes me as bearing a closer resemblance to For Now and The Ways We Separate-era Beacon, as Kirschner’s soulful yet tender vocals are paired with gauzy, atmospheric and yet super modern productions featuring stuttering beats, tweeter and woofer rocking low end and infectious hooks; in fact, much like Beacon, the duo’s sound possesses a pensive, late night vibe, full of regret, confusion and longing.