Category: Electro Pop

Caroline Kingsbury is an up-and-coming, 23 year-old,. Florida-born, Los Angeles-based pop artist, best known as KingsburyAnd with her latest single “U Take It Back,” the up-and-coming pop artist’s sound has evolved to an atmospheric, hook-driven 80s synth pop-like sound that recalls Kate Bush, which perfectly complements Kingsbury’s big, earnest vocal s and shimmering guitar work.

Kingsbury will be touring with Alex Lahey throughout August and the tour will include an August 23, 2019 stop at Music Hall of Williamsburg. Check out the tour dates below.

Tour Dates
8/13 – Los Angeles, CA – The Troubador
8/14 – Phoenix, AZ – Valley Bar
8/16 – Austin, TX – Antones
8/17 – Dallas, TX – Deep Ellum Art Co.
8/19 – Atlanta, GA – The Earl
8/20 – Nashville, TN – Exit/In
8/22 – Washington D.C. – U Street Music Hall
8/23 – Brooklyn, NY – Music Hall Of Williamsburg
8/24 – Philadelphia, PA – Johnny Brendas
8/25 – Allston, MA – Great Scott
8/27 – Chicago, IL – Lincoln Hall
8/28 – St. Paul, MN – Turf Club
9/1 – Vancouver, B.C. – Biltmore Cabaret
9/3 – Portland, OR – Doug Fir

 

With the release of their debut single “Visions of You,” feat. Electric Youth, the up-and-coming Stockholm and Los Angeles-based electronic production and electronic music artist duo ROOM8 — Ezra Reich and Nic Johns — quickly established a reputation for crafting a sound that draws from electro pop, electronic dance music and film soundtracks. Building upon a growing profile, the duo produced, wrote and/or cowrote a series of attention-grabbing singles including Electric Youth‘s “Without You” which was praised by NPR, as well as “No Hard Feelings,” feat. King Deco and “This Place Again,” feat. Polina, which received praise form Neon Gold, Huffington Post, Noisey, Blackbook, Flaunt and elsewhere. “Better Than Music,” a collaboration with acclaimed British electro pop artist Little Boots premiered on Billboard.

This year has been an incredibly busy and productive year for the duo. They’ve produced the score for the forthcoming motion picture Cuck — and their latest album, Transduction is slated for an October 11, 2019 release. The album’s latest single is the slow-burning and atmospheric ballad “Only You.” Centered around shimmering synths, trembling beats, the achingly plaintive vocals of The Sound of Arrows and a soaring hook, the song manages to sound as though it could easily be on the soundtrack of at least a dozen different 80s films, while also recalling JOVM mainstays ACES and others. But at its core. the song is a contented sigh — the sort that comes when you’ve discovered that one person, who understands everything about you, when you feel the most out of place and misunderstood.

I’ve managed to write quite a bit about the Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer Justin Phillips, a.k.a Crywolf over the past 12-15 months or so. When Phillips started writing and releasing his own music. he was practically homeless, living in a room roughly the size of a closet and subsiding on food stamps. Since then, Philips has developed a growing profile that has included amassing several million streams across all of the various streaming platforms, a headlining slot on the second largest stage at Electric Forest and praise across both the blogosphere and the major media outlets, including Consequence of Sound, Alternative PressBillboardNylon, Complexas well as this site.

Now, if you’ve been following this site over that same period, you might recall that Phillips sophomore album widow [OBLIVIØN Pt. 1]. Building upon the momentum of his sophomore album, Philips recently started a new series THE OBLIVION [Reimagined], which will feature reworked versions of tracks off widow [OBLIVIØN Pt. 1]. The first single in the series featured the Chicago-based producer Mielo tackling “DRIP” — with Mielo releasing an arpeggiated synth-driven, cinematic remix that recalled A-Ha’s “Take on Me” and Depeche Mode while retaining the urgency and frenetic feel of the original. Earlier this week, Seattle-based producer Levit∆te released a glitchy, murky and hyper-futuristic remix of “ULTRAVIOLENT Pt. 2” that retained Philips plaintive vocals.

widow [OBLIVIØN Pt. 1] album single “QUIXOTE [i am alone, and they are everyone] features Philips’ achingly plaintive vocals floating over a cinematic and glitchy production. Recently, SWARM, a dark, industrial metal-influenced electronic artist released his own take on the song — a take that places Philips’ plaintive vocals within a gritty and jarring, industrial production featuring thumping, industrial clang and clatter, aggressively arpeggiated synths and a soaring hook. Evoking the increasing automation and brutality of our contemporary world, the song manages to pull upon and tease out the dark, gritty psychological detail of the original, placing in a new context without stripping the emotionality or the intent of its creator.

“There is something about ‘QUIXØTE’ in particular that is deepening haunting to me,” SWARM says in press notes. “I could feel my own emotions in every aspect of it, from the cathartic atmosphere to the painfully raw lyrics. In my re-imagination, I wanted to bring the psychological grit to light in a more aggressive way by using my own background in metal and industrial music.”

 

 

 

Sophie Colette is an up-and-coming Brooklyn-based indie pop artist. Initially relocating to New York to pursue fashion design, Colette pivoted her ambitions to music after being scouted at a high school reunion by The Party Faithful‘s bassist. About month later, Colette wound up contributing vocals, keys and synth for the band, playing with the band at venues across the New York metropolitan area. Interestingly, during that time she met Degraw Sound producer Ben Rice, who she later presented with a stack of sketchbooks filled with lyrics and visual palettes, which eventually became the genesis of her solo work.

“Tonite,” off her debut EP Strangers and Lovers was featured at Jasmine Chong’s runway presentation to the editors of VogueWWD, Elle and others during 2017’s New York Fashion Week. Selected footage from her Stephen Dirkes-directed music video for “Get Close’ was nominated for Best Creative Concept, Art Direction and Visual Effects at the La Jolla International Fashion Film Festival. And building upon a growing profile, Colette supported Strangers and Lovers with a European tour with Berlin-based indie-folk project The Crystal Elephant.

Since then the New York-based indie pop artist has released a handful of shimmering pop singles that have caught the attention of the blogosphere, including my dear friends at Glamglare and elsewhere, as well as airplay on French radio station Déclic Radio 101.1FM. Her latest single “Would You Like It?” continues an ongoing run of dreamy synth pop centered around Colette’s plaintive and vulnerable vocals, a sinuous bass line and a soaring hook. But underneath the slick disco-tinged production, the song’s narrator is plagued by a familiar self-doubt — the self-doubt that comes about when you’ve fallen for someone and you can’t quite figure out if you should tell that person how you feel. Putting your heart on the line is nerve racking in itself; but the possibility of rejection seems like the end of your world. 

“I fell in love – again. It took me a while to admit that to myself, and even longer to figure out how to handle it,” Colette explains in press notes. “It’s such a vulnerable, intense, confusing, and heart-shaking experience, compounded by the risk of rejection. What if it’s just a fabricated mind game and completely unrequited? When should I say something, if at all? I was overwhelmed and having conversations with myself on what to do and how to say it, and writing this song was a way to get out of my head and connect with reality. No more hiding.” 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sophie Colette’s single “Would You Like It?” – slated for July 19, 2019 release – explores the emotional dilemma of deciding whether or not to tell someone how you feel – namely, that you’ve fallen in love. Produced by Ben Rice (The Candles, Elliot & The Ghost, Queue) at Degraw Sound in Brooklyn, New York, the track builds from a simple chord progression to a dreamy holographic soundscape, supporting Colette’s lyrical love letter with layers of vocal effects, electronic keys, guitars, and a driving pulse. 

“I fell in love – again. It took me a while to admit that to myself, and even longer to figure out how to handle it. It’s such a vulnerable, intense, confusing, and heart-shaking experience, compounded by the risk of rejection. What if it’s just a fabricated mind game and completely unrequited? When should I say something, if at all? I was overwhelmed and having conversations with myself on what to do and how to say it, and writing this song was a way to get out of my head and connect with reality. No more hiding.” 

Sophie will support “Would You Like It?” with a music video directed by Karina Vidal, and performances at festival showcases this summer – Independent Venue Week in July in New York City, and Degraw Fest Unplugged at Brooklyn Bridge Park in Brooklyn, New York on August 2 at 6:00pm. 

“Would You Like It?” is the latest in a series of singles from Colette. Her most recent release “Version,” an intimate cinematic track inspired by a toxic relationship, premiered on Asymmetric Magazine for its “dreamy, lush sound [and] captivating vocals,” and has been compared to Tangerine Dream by Sound Thread Music Blog for its “gently pulsing, down-tempo atmosphere.” “Version” was added to TuneCore’s Spotify playlist, “TuneCore Presents: Music Made Me,” and aired on indie French radio station Déclic Radio 101.1FM alongside Dido, upon release. Her live debut at New York City’s Rockwood Music Hall cemented “Version” as “Colette’s most stunning work to date.” (glamglare

Colette’s former releases have premiered on influential blogs such as Popdust, glamglare and CelebMix. Her single “Run Around,” released in late 2018 about challenging lip service in relationships, was selected as glamglare’s “song pick of the day,” and lauded by Emerging Indie Bands as an emotionally intense track with a “wistful melancholic…romantic demeanour…a testament to both composition and vocal ability.” 

Her single “That Kind Of Love,” which Colette released to coincide with her summer performance at Degraw Fest 2018, has been featured by media platform ULTRA as the exclusive soundtrack for their videos. 

Previous tracks have aired on indie French radio station Déclic Radio 101.1FM and playlisted at New York Fashion Week, and her accompanying short films have received nominations and acclaim from fashion film festivals including the La Jolla International Fashion Film Festival.

 

Over the past 12-15 months or so, I’ve managed to write quite a bit about the Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer Justin Phillips, best known for his solo recording project Crywolf. When Phillips started writing and releasing his own music. he was practically homeless, living in a room roughly the size of a closet and subsiding on food stamps. Since then, Philips has developed a growing profile that has included amassing several million streams across all of the various streaming platforms, a headlining slot on the second largest stage at Electric Forest and praise across both the blogosphere and the major media outlets, including Consequence of Sound, Alternative PressBillboardNylon, Complexas well as this site.

Now, if you’ve been following this site over that same 12-14 month period, you’d recall that Phillips sophomore album widow [OBLIVIØN Pt. 1]. Interestingly, Phillips recently started a new series, THE OBLIVION [Reimagined], which will feature reworked versions of tracks off widow [OBLIVIØN Pt. 1]. The first single in the series found the Chicago-based producer Mielo tackling “DRIP” — and Mielo’s take is a arpeggiated synth-driven, New Wave-inspired remix that’s cinematic and buoyant, recalling A-Ha’s “Take on Me” and Depeche Mode while retaining the urgency and frenetic feel of the original. The series’ latest single finds Seattle-based producer Levit∆te, known for a sound that meshes dubstep, left-field bass and hip-hop taking on Crywolf’s “ULTRAVIOLENT Pt. II [she sang to me in a language strange].” The original is a slow-burning and atmospheric take on industrial electronica centered around stuttering beats, industrial clang and clatter and Phillips’ plaintive vocals. Levit∆te’s reworking features a glitchy production that features harder hitting beats that gives the song a murky futuristic air — while retaining Philips plaintive vocals. “When I heard ‘ULTRAVIOLENT Pt. II’ it immediately resonated with me,: Levit∆te says in press notes. “Carrying notes of wave music, slight witch house influences and intimate vocals, teh song really resembled a lot of my own music. I really did my best to retain the original message and feeling the song gave me, but refine it through my own filter.”

 

Sis is a Berkeley, CA-based indie pop project that features singer/songwriter, multi-instrumentalist and Native Cat Recordings founder Jenny Gillespie Mason and Meernaa‘s husband and wife duo Carly Bond and Rob Shelton. The trio’s sophomore album Gas Station Roses will be officially dropping and its latest single “Night From Scratch” is an atmospheric and dreamy track centered around shimmering synths, thumping kick drum, a fluttering flute melody and ethereal vocals. And while evoking rippling and bubbling waters, the track — to my ears, at least —  manages to be deceptively anachronistic: the song manages to nod at breezy 70s AM rock and Sade.

 

 

 

New Audio: Arizona’s Body of Light Returns with a Brooding Yet Dance Floor Friendly New Single

Earlier this year, I wrote about the Arizona-based sibling, electronic duo Body of Light. And as you may recall, the act — comprised of Andrew and Alexander Jarson — can trace their origins to the Jarsons’ involvement in the acclaimed Ascetic House collective.  Interestingly, what hat initially began as a vehicle for the duo to explore noise and sound during their early teens has gradually evolved into an established electronic production and artist unit that crafts music that draws from New Wave, freestyle, goth and techno — and from the Jarsons’ individual and shared experiences. 

Body of Light’s third album Time to Kill is slated for a July 26, 2019 release through Dais Records and the album reportedly finds the Arizona-based sibling duo refining their sound with a bolder sonic palette while thematically, the duo focus on love and obsession within an era of increasing technological bondage and fleeting exhilaration. The Power, Corruption and Lies-era New Order and Upstairs at Eric’s-era Yaz-like album title track “Time to Kill” was centered around a brooding yet relentless, dance floor friendly production and a brooding Romanticism. Time to Kill’s latest single, the Depeche Mode-like “Don’t Pretend” is centered around and industrial/goth-like production featuring insistent and relentless beats, layers upon layers of shimmering and arpeggiated synths, a soaring hook and plaintive vocals — but unlike its immediate predecessor, the album’s latest single is an urgent, desperate plea. As the duo explain in press notes. “We are all hostages of need; we struggle to free our minds from confinement.” They add that the new single is “a song for those imprisoned by their own desires.” 

New Video: Toronto-based Pop Artist RALPH Releases a Playfully 90s Inspired Visual for “Gravity”

Raffa Weyman, best known as RALPH is a Toronto-born and-based singer/songwriter, who quickly emerged into both the national and international pop scene with the release of her bittersweet, disco-inspired debut single “Trouble” in 2015. Building upon a rapidly growing profile, Weyman went on to release a series of attention-grabbing singles that found the Canadian pop artist bouncing around into different genres and styles — i.e., the country and western-tinged “Young Hearts Run Free” and “Girl Next Door. ” a radio friendly hip-hop/pop crossover track. 

Since then, Weyman received an IHeartRadio’s Much Music Video Awards Best New Canadian Artist nomination and released her RALPH full-length debut A Good Girl. , “I wrote ‘A Good Girl’ over the course of a year, maybe a little more…and a lot happened in that year,” Weyman explained in press notes. “Because I use songwriting as a type of therapy and a way to explore my feelings, the songs naturally began to reflect everything that was happening in my life. Sometimes I was hurting, other times I was the one hurting someone else, and then to make it more complicated, sometimes I’d be both, like in the last song ‘Cereal’. The album name is a tongue in cheek way of reflecting upon the tracks and their stories, because they represent a multi-faceted character who is good hearted but makes mistakes – no one is ever one thing, we’re not good or bad and shouldn’t feel guilty about it. ​​​​​​”

“Gravity” is Weyman’s first single of this year — and it’s the first official single off a forthcoming EP slated for an October 2019 release. Centered shimmering and arpeggiated keys, thumping beats, Weyman’s sultry yet crystalline vocal delivery, thumping beats and an infectious hook, the track manages to be club friendly and radio friendly in a way that will remind some listeners of Daft Punk and others, the track manages to be a loving homage of 90s club culture with a contemporary production sheen. “When I was younger, Electric Circus was the coolest thing happening in Toronto,” Weyman says in press notes about her latest single. ” I would try to stay up late so I could watch the furry cowboy hats and tube tops on TV, and I truly wanted to grow up so I could dance at EC. This song is an ode to 90s house with a contemporary pop flair. I want to make people dance to this one.”

Directed and animated by Toronto-born, New York-based multi-disciplinary artist Annika Cooper, a.k.a Blackpowerbarbie, the recently released video features 2D collage-based animation. The video finds the animated version of RALPH navigating through space — and throughout there are playfully nostalgic 90s motifs and visual jokes that include a robotic dog companion that looks like a member of Daft Punk.”I’ve admired Amika’s work for awhile. There’s a strength and beauty in the women she creates, so I reached out to see if she’d be interested in illustrating a video for me and creating a cartoon Ralph,” Weyman says in press notes. “My vision was a combination of Sailor Moon meets Gucci animation campaign meets Anime meets Britney Spears’s ‘Oops’ video and the results are perfect.”

 

Up-and-coming Toronto-based indie electro pop sibling duo SWANES — Michael and Stefan Bildy — have released a handful of tracks through French indie electro pop tastemaker label Kitsune Records that have caught thee attention of Warp Records and Future Classic, as well as a key nod from CBC’s Radio 1 Toronto. Adding to a growing profile, the sibling duo have been featured on Bandcamp Daily and COLORS, and they’ve landed tracks on several extremely popular Spotify playlists — in particular, the Indie All Stars and Fresh Finds among others.

The duo will be playing dates with Los Angeles-based artist Harriet Brown — but before that they released a new single, the silky smooth “The Hard Way.” Centered around shimming guitar, stuttering beats and a sultry vocal delivery, the slickly produced track nods at Quiet Storm R&B, Hall and Oates-era blue-eyed soul and breezy pop — and sonically, the track reminds me a bit Rush Midnight and others. Interestingly, the track was inspired by a trip the Bildy Brothers took to their great uncle Bruce Beach’s bomb shelter, The Ark Two — the largest nuclear fallout shelter in their native Canada. And as a result, the track possesses a subtle yet palpable apocalyptic air.