Category: Electro Pop

New Video: Goldfrapp Releases Gorgeous and Cinematic Visuals for the Reworked Version of “Ocean” featuring Depeche Mode’s Dave Gahan

With the release of 2013’s Tales of Us, Goldfrapp, comprised of Alison Goldfrapp and Will Gregory, released one of their most hauntingly cinematic and gorgeous efforts they’ve ever released, as the album’s material found the duo pairing Goldfrapp’s arresting vocals with classical music-inspired arrangements centered around piano and strings, acoustic guitar and occasional electronic flourishes. However, last year’s critically applauded and commercially successful Silver Eye was a striking return to form — and as you may recall Anymore,” the album’s first single featured a slick yet abrasive sound featuring  enormous, thumping 808-like beats, layers of buzzing and undulating synths. Interestingly, “Anymore” much like the rest of the material on the album buzzed with a restless, creative energy and sense of experimentation that was partially the result of the acclaimed duo working with  Grammy-wining producer John Congleton, who has worked with St. Vincent, John Grant and Wild Beasts; as well as collaborations with electronic composer Bobby Krlic, best known as The Haxan Cloak and Leo Abrahams, a guitarist, who has collaborated with Brian Eno.

Album single “Ocean” continued in a similar vein as the song centered around an abrasive and minimalist-leaning production of arpeggiated synths, thunderous beats. As the duo explained to Billboard the song was created during a morning writing and recording session and was originally built from what Goldfrapp called a “a very small improvisation.” “I remember coming into the studio one morning and I think we just had a few drums going and it was really basic,” Goldfrapp recalled. “Will said ‘Do you fancy doing some vocals this morning?’ So I was like, ‘Alright then’ and slightly reluctantly, i went into the vocal both and the words just came out.” And as a result, the song manages to bristle with a furious sense of unpredictability.

July 6, 2016 will mark the release of Silver Eye: Deluxe Edition and while the deluxe edition will include the original album material, there will be a bonus disc of remixes and alternate versions, including a re-recording of “Ocean” that features Depeche Mode‘s Dave Gahan, as well a previously unreleased Will Gregory remix of “Anymore.” Naturally, turning the original song into a duet with Gahan’s and Goldfrapp’s imitable vocals gives the song a harder, darker, moodier, goth edge while still managing to be a straightforward rendition of the song. But perhaps, more important, if you’re a fan of both, it’s the most necessary and effortless collaboration that you needed to hear.

Directed by Alison Goldfrapp, the gorgeous and cinematically shot video for “Ocean” found her returning to Fuerteventura, where the videos for “Anymore” and “Everything Is Never Enough” were shot for her scenes, while she directed Dave Gahan in Madrid during a break in Depeche Mode’s current world tour. As a photographer, the video features some scenery and cinematography that has me jealous. As Alison Goldfrapp says of the video, “I had an amazing time directing Dave in the video for the track and we couldn’t be happier with the end result.”
 

New Video: Renowned Argentinian Producer and Electronic Music Artist Chancha Via Circuito Releases Breezy and Trippy Sounds and Visuals for “Alegria”

Over the last decade or so, Argentina has become the home of an new digital-influenced take on cumbia, in which artists blend the traditional folk music of the Andes Mountains with electronic beats and production, and interestingly enough Pedro Canale, a Buenos Aires, Argentina-born and-based electronic music producer and electronic music artist, best known as Chancha Via Circuito is one of the genre’s leading figures, arguably responsible for its emergence on the global stage with the release of his 2008 debut Rodante. And since, then Canale has released a string of critically applauded and commercially successful albums, including 2010’s Rio Arriba, which Resident Advisor described as “aural magical realism,” and his international breakthrough, 2014’s Amansara, which received critical praise from the likes of The Fader and NPR among others.

Bienavaenturanza, Canale’s fourth, full-length album is slated for release next week through Wonderwheel Recordings, and the album, which derives its name from an Argentinian Spanish word that translates roughly into English as bliss will further cement his reputation for pairing traditional Andean folk instrumentation, typically flute and charango with slick, dance floor friendly electronic production centered around thumping, tribal beats; however, the album which marks Canale’s first batch of new material in over four years, was written and recorded with an unprecedented amount of care and in a highly collaborative fashion with a number of digital cumbia and regional All-Stars making appearances, including Mateo Kingman, Kaleema, Lido Pimienta, Kawa Kawa as well as Colombian Dancehall king Manu Ranks and others, who contribute their highly distinguishable sounds and talents to the natural flow of the album. And as you’ll hear on the breezy yet tribal album single “Algeria,” Canale has expanded upon his sound in an effortless and organic manner — in this case, the song seems to draw from cumbia, tribal house, ambient electronica that that’s psychedelic and mystical. Directed and animated by Kati Egely, the recently released video meshes the natural and synthetic through the use of Egely’s vibrant and childlike watercolor drawings and paintings, which morph at will from a birds, to a modern women, desperate to escape the doldrums of the workplace and so on.

New Video: Introducing the Singular Sound and Vision of Britsh-Nigerian Electronic Music Producer and Artist Tony Njoku

Tony Njoku is a 20-something London-based British-Nigerian electronic music producer, electronic music artist and singer/songwriter whose formative years were split between Lagos and London — and unsurprisingly, his experiences as a globetrotting, international citizen have frequently inspired his material. With the release of his full-length debut Drifting Off In A Care Powered Balloon, Njoku quickly developed a reputation for crafting material that’s been described by some media outlets as “strikingly evocative soundscapes, managing to make even the shortest pop songs sound like epic adventures.”

Njoku’s sophomore effort H.P.A.C. was released earlier this year, and with the album’s latest single “As We Danced” will further cement the British-Nigerian singer/songwriter, electronic music producer and electronic music artist’s reputation for crafting forward-looking electronic music that manages to be challenging yet hook-driven and accessible; in fact, “As We Danced” is centered around a futuristic production featuring layers of shimmering and arpeggiated synths that morph and twist at will, fluttering electronics and Njoku’s tender vocals ethereally floating over the mix, revealing an artist with a singular vision, unlike any other contemporary electronic music artist out there.

Directed by Max Jedwab, the recently released video features Njoku being tugged and pulled in different directions with a rope that’s attached to him — it’s a surrealist vision that emphasizes the tense and anxious nature of the song.

 

 

Last month, I wrote about the Paris-based electronic music production and DJ duo, Polo & Pan, and as you may recall, the act is comprised of two DJs, who are equally acclaimed DJs and producers in their own right — Armand “Polocorp” Delille, and Alexandre “Peter Pan” Grynszpan. Interestingly, Grynszpan has developed a reputation for being an insatiable crate digger, who has been known to collect a wide and diverse array of records from musical gems of the early 20th century to contemporary electronica and electro pop to 70s Nepalese psych rock and so on. He’s also one of the founders of Radiooooo, an online encyclopedic radio station that was launched back in 2013. Delille is best known for his work with MAD Agency creating workspaces for artists in industrial warehouses but also as a renowned DJ; in fact, both Grynszpan and Delille were resident DJs at Le Baron, and when they met, they discovered a common musical interest — creating a genre- and time-defying sound that manages to be dance floor friendly. 

Polo & Pan’s first effort Rivolta found the duo meshing 30s Italian standards with 70s Giorgio Moroder-inspired disco and unsurprisingly,  their full-length debut Caravelle, which was released earlier will not only further cement their reputation for their crowd pleasing, genre-meshing and anachronistic sound as the album’s material draws from the sounds of South America, Tajikistan, China, Congo Africa and elsewhere; in fact, album single “Canopee” was a breezy and sultry song that drew from French chanteuse-styled pop, flamenco, thumping Italian disco and African percussion with an effortlessly seamless and slick yet soulful production.

Caravelle‘s latest single “Arc-en-ciel” is a summery and breezy blast centered around a calypso-inspired production featuring an infectious ear worm of a hook, thumping, tweeter and woofer rocking beats, a looped strummed guitar sample, ambient and ethereal electronics and arpeggiated synths paired with vocals sung in a sultry and beguiling French. It’s a sexy and effortlessly cool club banger that radiates with a bright, neon-colored joy.

The renowned French electronic duo will be embarking on their first Stateside tour ever, and as a result of the album already amassing more than 23 million streams, their June 12, 2018 Bowery Ballroom stop; their June 19, 2018 Los Angeles stop at the Echoplex; and their June 20, 2018 San Francisco stop at The Independent are already sold out. Check out the tour dates below.
Tour Dates: 
6/12 – New York, NY – Bowery Ballroom (SOLD OUT)
6/14 – Chicago, IL – Lincoln Hall
6/16 – Montreal, QC – MTELUS
6/17 – Quebec City, QC – Imperial Bell
6/19 – Los Angeles, CA – Echoplex (SOLD OUT)
6/20 – San Francisco, CA – The Independent (SOLD OUT)

MUTO is a 20-something, Sydney, Australia-born and-based electronic music producer, who quickly emerged into the national scene with the release of two attention grabbing, incredibly unique yet soulful, chart topping singles “Wildfire,” and “Say Nothing.” The up-and-coming Australian electronic music producer’s first single of this year “Tessellating” will further cement his reputation for crafting slick, soulful and crowd pleasing electro pop — but while pushing his sound in a new, experimental direction as it’s centered around a production consisting of layers of glitchy electronics, arpeggiated synths, tweeter and woofer rocking beats, weird, asymmetrical textures which Oliver Dibley croons in a sultry and plaintive fashion about the interchanging and confusing nature of a relationship. In this sense, relationships can change and bend dependent on the lens and perspective you’re looking through, much like light refracting through a mirror.

 

 

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New Video: JOVM Mainstay The Soft Moon Returns with Stark and Unsettling Visuals for “Like A Father”

Over the past few years, I’ve written quite a bit about the Oakland, CA-based singer/songwriter, producer, multi-instrumentalist Luis Vasquez and his solo industrial/darkwave/post-punk recording project The Soft Moon, and as you may recall Vasquez’s latest Soft Moon album, Criminal is arguably one of the most confessional and deeply personal albums he has written and released to date, as the album’s material thematically focuses on a man at war with himself, battling with self-hatred, insecurity and self-entitlement — with an underlying fear that he’s quickly transforming into the type of person he despises. Now, back in March, I wrote about the brooding and starkly atmospheric “Give Something,” a track that Vasquez explained in press note sis about his inability to reciprocate love and tenderness to another person. “Having no control over the constant urge to sabotage all things that are good for me, there is irony and frustration in knowing that in the end, the impossibility of love is what ultimately will save me from myself,” the Oakland-based singer/songwriter, electronic music producer and multi-instrumentalist says in press notes.

Criminal’s latest single “Like A Father” is centered around an abrasive and murky industrial production that brings Pretty Hate Machine and Downward Spiral-era Nine Inch Nails and Ministry to mind, as it features thumping, tweeter and woofer rattling beats, industrial clang and clatter, thick and arpeggiated synths and strummed guitar chords played through distortion and other effects pedals, and while the song is dance floor friendly, it churns with the inner turmoil of  man figuratively — and perhaps at points, even literally — wrestling with himself and his own demons, and losing quite badly.

Directed by Kelsey Henderson, the recently released video for “Like A Father” is comprised of a series of rapid-fire edits that shift from a brooding and angry man looking at himself in a carnival mirror before switching to the same man in a garage bag struggling to break free from his physical (and emotional) confines. Much like the accompanying song, the video is unsettling and leaves a lingering presence.

With the release of her attention grabbing debut single “Lemons & Limes,” which focuses on the relationship between the police and young people, the London-born and-based singer/songwriter and businesswoman Mina Rose has quickly developed a reputation for socially conscious songwriting and a sound that draws from and meshes trip-hop, dub, hip-hop and soul (in particular, the work of Gorillaz, Massive Attack, Gil Scott-Heron, Outkast and Lily Allen), as well as her own background — her mother’s side of the family claims Roman ancestry, including the famous “Queen of Kent Gypsies,” Urania Boswell Lee. Adding to a growing profile, Rose has collaborated with the likes of Tricky and Conducta, has played a set at The Great Escape Festival, and has received airplay from the likes of BBC Radio 1, BBC Radio 1Xtra, as well as nods from the likes of Spotify and Apple Music.

Reportedly, the up-and-coming British artist’s forthcoming EP London Burning finds her translating her own experiences of a changing community into material that’s rooted into present day paradoxes, as well as the consciousness of history and hierarchy in British society.  The EP’s latest single is the incredibly cinematic and moody track “Paradise,” which is centered around a Massive Attack and Tricky-like production consisting of soaring strings, stuttering beats and Rose’s ethereal yet sultry vocals — and while seemingly effortless, the song may arguably be among the most ambitious track of her young career. As the British singer/songwriter explains in press notes, “When I visualise the idea of someone getting lost in their own thoughts, I imagine them sitting in a room with red walls,” says Mina Rose. “Paradise’ focuses on our want to make this life as perfect as we can by finding escape, and the fact that a lot of the time it might appear that the easiest way to do that is to shut the world out: whether that’s from taking something heavy or cat fishing online to whatever vices you explore within the four walls of your own space, so as to tackle your demons. ‘Paradise’ is about the idea that if heaven and hell exist on earth, then finding your own heaven here in hell would be the greatest heaven of all.”

Since their formation in 1995, the Ghent, Belgium-based electro pop/electronic music production and artist act Soulwax, currently comprised of brothers and founding members David Dewaele and Stephen Dewaele, and Stefaan Van Leuvan have developed a reputation for continently pushing the boundaries of their music and creativity into new, innovative territory: along with Soulwax, the Dewaele Brothers tour as DJ duo 2manydjs, own and operate DEEWEE Records and DEEWEE Studios, are the founders of Radio Soulwax, a visual radio station and app, have collaborated with DFA Records‘ and LCD Soundsystem‘s James Murphy in the Despacio project. They’ve also remixed the work of LCD Soundsystem, Charlotte Gainsbourg, Jagwar Ma, Warpaint, Tame Impala, Metronomy, Arcade Fire, Daft Punk, Gossip, Hot Chip, MGMT, and others.

Last year, BBC Radio 1 approached the acclaimed electronic music act about doing an Essential Mix, and as the Dewaele Brothers joke in press notes, “When we were approached to  make an Essential Mix for the BBC in May 2017, we chose to do what every sane human being would do, we decided to lock ourselves into our studio for two weeks and make an hour of new music based around the word ‘Essential’, instead of preparing a mix of already existing music.” Interestingly enough, the Belgian electronic music act the first to ever submit an entire hour’s worth of original material for a BBC Radio 1 Essential Mix. “It felt like a challenge,” the members of Soulwax explain in press notes, “and something no one had done. We loved the challenge of releasing a full record live on a radio show without people having any advance notice, and we always wanted to release it on DEEWEE after it was aired on Radio 1.”

Essential, the Belgian electronic act’s latest album is slated for a June 22, 2018 release, and the album, which was recorded in two weeks at their DEEWEE Studio finds the duo using the gear that they didn’t use for their celebrated From Deewee, an album that was recorded live and in one take. Each of album’s 12 tracks is centered around and titled with Essential — “Essential One” through “Essential Twelve,” and the album’s latest single “Essential Three” features a slick, club-banging, house music-like production consisting of thumping, tweeter and woofer rocking beats, arpeggiated synths, a Kraftwerk-like motorik groove, some industrial clang and clatter and a sultry vocal sample. The track reveals an act that can manage slick, hyper-modern productions with a sweaty and soulful sultriness.

 

Pollens is a New York-based art pop/dance pop duo, Jeff and Elizabeth, and the act can trace its origins to when Jeff and Elizabeth met while working on a short, anachronistic opera-like project. Shortly after, they worked on a song cycle focused on the specifics of being human, social anxiety and social media — i.e. receiving Facebook birthday reminders from dead people, and so on. Since their formation they’ve released two EPs’ 83 and Mister Manufacture, and as the duo explains in press notes, the material is about being around people, checking your phone, being high in the city, Googling conspiracies and conspiracy theories and making summer mistakes among other things; but from the perspective of newcomers to New York, who are equally in awe of their surroundings, terrified and absolutely confused by — well, everything around them.

Apart from that, their sound, as you’ll hear on their latest single “$$$_PSA” is centered around layers of percussion, arpeggiated synths, electronic noise, chopped up samples, bright and ethereal melodies, and shouted non-sequiturs. It’s unique and pretty fucking weird while being simultaneously dance floor friendly in a way that brings to mind The B52s, DEVO, Talking Heads and LCD Soundsystem, but  with a neurotic energy that feels as though its creators were bouncing off the wall. As the duo’s Jeff Aaron Bryant admits, “Our songs aren’t about anything . . . that’s a promise. For this one, ‘$$$_PSA, we’ve got a few flavors of moneyed people — their entitlement, the space they’re taking up on the train, their shoes and conversations, and every so often, we hear someone else making an announcement. Really, that’s it . . .”

When asked to explain more about the song, Bryant instead talks about his obsession with announcements. “I love announcements- anything anyone says over an intercom or public address system. I love how announcements are always inescapably loud or barely audible. And I love how announcements have their own music that’s specific to the information that’s being announced- like on an airplane, no one ever says “be careful opening the overhead bins” they always say “do use caution while opening the overhead storage compartments”. The word ‘Do’ is extra and weird sounding but always pitched higher than the rest of the sentence even though ‘caution’ is the important part. And whatever, an announcement is just some regular person reading from a script, but for a few moments, the microphone literally elevates their voice and they join with the authority, the public interest, the rules and safety… sales become sales events, customers become following guests, clerks become the next available customer service representative.”