Category: Electro Pop

If you’ve been frequenting this site over the past few months, you may have come across a couple of posts on the somewhat mysterious Los Angeles, CA-based electro pop duo Sibling. Now you may recall that the duo received quite a bit of buzz with the release of their debut single “Easy,” and they followed it up with “Westside,” a single that had the duo paired a sparse production consisting of shimmering cascades of synths, an anthemic hook and pop belter vocals in a radio friendly song that swooned with a bittersweet longing. “Revolve,” which quickly followed may arguably be the most dramatic and cinematic song they’ve released as they paired a production featuring twinkling piano keys, undulating synths and swirling electronics with sultry pop star vocals.

The duo’s latest single “Rearview” will further cement the duo’s reputation for crafting earnest songs with anthemic, larger-than-life hooks and while sonically bearing an uncanny resemblance to the likes of Katy Perry, Sia and others as the song’s radio-friendly production features swirling electronics, stomping boom-bap drums and neon bright synths; however, despite the radio-friendly sound, the song possesses a bittersweet ache at its core, as the song’s narrator focuses on an desperate and unrequited love with a close friend — the sort in which the narrator is torn between the hurt of a love that can never be, the closeness that they have and the cherished memories they’ve made.










The Beat Escape is a rather mysterious Montreal-based DJ and production duo and their latest single “Seeing Is Forgetting” is an atmospheric and moody track in which cascading layers of shimmering synths, swirling electronics, shimmering guitar chords and hauntingly ethereal vocals and harmonies are paired with a motorik groove consisting of propulsive bass lines and persistent drum programming. And while evoking waking from a particularly vivid dream — the sort in which you can’t quite tell what was a dream or what was real; the song sonically owes a debt to 80s synth pop and contemporary dream pop.


New Video: Introducing the Dark and Seductive Sounds and Visuals of Pleasure Motel

Brooklyn-based artist Dave Tudi has been the creative mastermind of a number of projects I’ve written about over the past few years and his latest project Pleasure Motel’s specializes in an industrial electro pop sound that nods at 80s goth, industrial and New Wave as Tudi pairs crooned vocals with propulsive, 808-like drum beats and cascading analog synths say you’ll hear on Pleasure Motel’s dark and seductive debut single “Skin So Close.”

The recently released music video employs the use of low-fi, classic special effects shot on what appears to be VHS tape, spliced with suggestive photos suggesting kinky, BDSM and late, sweaty, illicit hook ups, emphasizing the song’s sleazy nature.


Up-and-coming, Los Angeles, CA-based producers Mike B. and Mike Nana have quickly developed a reputation as one of their hometown’s go-to production units as they’ve collaborated with the likes of Terrace Martin, Jay 305, Kembe X and Anderson .Paak; however, the duo known as MIKNNA will be releasing their debut EP 50/50 (All Seasons) and from the EP’s second single “Trinity Ave,” will also establish the duo as one of the their hometown’s hottest artists as the single consists of tribal-like percussion, swirling electronics, stuttering 808s, trembling synths, bursts of Nile Rodgers and Prince-inspired guitar playing in a strutting and swaggering song that manages to be soulful, sensual and incredibly contemporary.





New Video: The Hauntingly Gorgeous Visuals and Sounds of Benjamin’s Brother’s “Room 505”

Benjamin’s Brother is a fairly mysterious British electro folk/electro pop act comprised of a producer and songwriter, who writes and records under the moniker of Benjamin’s Brother and a rotating cast of collaborators and friends who pair haunting and ambient productions with songs that lyrically focus on death, desire and pain, among other subjects. The act’s latest single “Room 505” is an eerily sparse production featuring contemplative piano chords, plaintive, falsetto vocals, stuttering drum programming and brief burst of mournful horns. Sonically, the song reminds me of BRAIDS’ impressive Flourish//Perish but with an aching yearning at its core.

The recently released video features a dancer performing in sparsely arranged room with her doppleganger — but is it all an delusional within her head? Interestingly, the video manages to suggest the internal struggle between our real, internal self and the self we project out toward the world.


With the release of their 2011 self-titled EP and their full-length debut, Richmond, VA-based indie act White Laces developed a reputation for being a noisy, indie rock band that had been banned from a number of venues for being way too loud. However, over the last couple of years the band’s material has increasingly leaned more towards electronics and samples paired with some live instrumentation — and with the addition of newest member Tori Hovater, the band’s soon-to-be released album No Floor also includes ethereal three-part harmonies.

“Cheese,” the first single off No Floor pairs ethereal and atmospheric synths, stuttering drum programming and shimmering guitar chords and plaintive vocals in a song that’s moodily cinematic while possessing a wistful and aching nostalgia while sounding as though it nods at both 80s synth pop and the contemporary synth pop of St. Lucia, Haerts and others.

The band is embarking on a short tour during October and it includes an October 10, 2016 stop at Williamsburg’s Muchmore‘s. Check out the tour dates below.

Tour dates:
10.07 @ DC9 (Washington, DC)
10.08 @ Hardywood (Richmond, VA)
10.09 @ Golden Pony (Harrisonburg, VA)
10.10 @ Muchmores (NYC)
10.12 @ Auroura (Providence, RI)
10.13 @ The Thirteenth Floor (Easthampton, MA)
10.14 @ Trixie’s Palace (Allston, MA)
10.15 @ TBA (Philadelphia, PA)


Quinn Lewis is an Australian-born, Nashville, TN-based indie electro pop artist, who has has spit part of his childhood in both the Western US and Eastern US is a self-taught multi-instrumentalist and producer, who started his music career while in his early teens. Lewis began a fruitful collaboration with Danen Reed that caught the attention of the blogosphere; however, Lewis’ solo debut effort The Addicted EP is slated for an October 14, 2016 and from the EP’s first single “Bridges,” the Australian-born, Nashville-based multi-instrumentalist and producer reveals that he specializes in a sleek, infectious, dance-floor groove that’s reminiscent of blogosphere darlings like St. Lucia, Haerts, Nick Murphy (f.k.a Chet Faker) and others while drawing from the work of Nile Rodgers, 80s synth-based funk and R&B and house music — and its paired with Lewis’ plaintive and sultry cooing. In other words, it’s a  sexy yet plaintive, radio-friendly, club-banger that you’ll likely find yourself playing while pre-gaming your way to the bar or to the club.



Comprised of Jess Labrador and Shannon Madden, Chasms is a San Francisco, CA-based duo who specialize in crafting sparsely, minimalist dirges based around Labrador’s hauntingly ethereal vocals and shimmering guitar, propulsive and pummeling drum programming, swirling electronics and bursts of feedback and industrial clang and clatter. And in some way their sound draws from shoegaze, drone, dream pop, doom metal and ambient electronica as you’ll hear on the “We’ll Go,” the latest single off the duo’s forthcoming, full-length debut effort On The Legs Of Love Purified, which is slated for an October 14, 2016 through felte records. Interestingly, “We’ll Go” may arguably be the most slow-burning song they’ve ever released — and in some way it evokes smoke slowly dissipating before your eyes as Labrador’s vocals and shimmering synths gently drift into and out of focus and reverberate.

But just under the seemingly placid surface, there’s a sense of unease and discomfort, and that shouldn’t be terrifying surprising. Labrador spent most of the year recording the album herself with a hand injury that made guitar playing and production work difficult, laborious and painful.  Then add that the duo recorded the album in an illegally rented rehearsal space and a cramped apartment, struggling to survive financially as artists while facing the constantly looming threat of eviction, as they were frantically trying to finish their long-awaited debut effort. And in some way, that discomfort helps to emphasize the stark and haunting beauty and the visceral ache at its core.

The duo will be embarking on a tour through October and November, which will include a November 16, 2016 stop at Brooklyn’s Shea Stadium. Check out tour dates below.

Tour Dates

10.07 Portland, OR @ Lovecraft %  
10.08 Seattle, WA @ Blue Moon
10.09 Eugene, WA @ Wandering Goat 
10.10 Sacramento @ Press Club # 
10.11 San Francisco, CA @ The Knockout ^ 
10.13 La Puente, CA @ Bridgetown DIY ~ 
10.14 San Diego, CA @ The Whistle Stop *
10.15 Long Beach, CA @ 4th St. Vine 
10.16 Los Angeles, CA @ The Echo (Part Time Punks) + 
10.29 Berkeley, CA @ KALX (Live Session + Interview)
11.08 Indianapolis, IN @ State St. Pub
11.15 Providence, RI @ Machines with Magnets
11.16 Brooklyn, NY @ Shea Stadium =
11.19 Chicago, IL @ TBA



Over the course of this site’s six year history, you’ve likely come across a number of posts on Brooklyn/Pittsburgh dance pop/experimental pop/funk act Superhuman Happiness. With the release of their long-awaited 2014 full-length debut Hands, the act led by co-founders Stuart Bogie (vocals, saxophones, synths) and Eric Biondo (vocals, trump, synths, percussion) emerged on the national scene for a sound that draws from Talking Heads, Antibalas (which, both founding members and several members of their rotating cast of collaborators have been members of), Fela Kuti, synth pop, dance music, New Wave, and others, and for an ebullient and mischievous live show that incorporates elements of jazz-like improvisation, surrealist comedy, performance art and infectious joy. Interestingly, since the release of Hands, the act has gone through a major lineup reshuffling that included the recruitment of Andrea Diaz (lead vocals, keyboards, percussion) along with the aforementioned rotating cast of collaborators featuring friends, former bandmates and other musicians from across the Northeast in completely reformatted project that has gone through a major (and decided) change in sonic direction as the material on Hands‘ follow up Escape Velocity incorporated an increasing use of synths and electronics while retaining many of the elements that first caught my attention, as well as that of the blogosphere — deep groove-filled material that’s whimsical, mischievous, joyous while continuing to thematically focus on profound topics. In the case of Escape Velocity, several songs focused on the fidelity and accuracy of one’s memories against nostalgia.

From what I understand, the members of Superhuman Happiness are currently working on yet another full-length effort but in the meantime, they’ve released their latest single “Powermasters,” which consists of boom-bap drum programming, fluttering and twinkling electronics, warm blasts of horn and a driving, dance floor-friendly hook – – and in some way, it sounds a bit like a subtle yet bumping modernization of their “GMYL”/”Hounds” 7 inch. Completing the single is a hauntingly gorgeous, atmospheric and mournful coda that begins with looping synths, subtly syncopated drumming and ends with a gorgeous string arrangement.


The band is in the middle of a tour with Arc Iris that includes an October 6, 2016 stop at Rough Trade. Check out the rest of the tour dates below.

Superhuman Happiness / Arc Iris — 2016 Tour Dates
October 6 – Brooklyn, NY – Rough Trade
October 12 – Portland, ME – Empire
October 13 – Cambridge MA – Lizard Lounge
October 14 – Providence, RI – Columbus Theatre
October 15 – Burlington, VT – Signal Kitchen


Comprised of Darius Byrne (vocals), Brian Ireland (beats, production) and Andrew Eyles (bass), Adult Future is a Toronto, ON-based trio, whose forthcoming full-length effort In The News draws from the contemporary feeling of disconnect and alienation that many of us feel so very deeply. As the members of the band mention in press notes, “the band wanted to make a record that emphasized the singular stories that we all have and share as human beings. All of the songs on this record were inspired by personal stories and were utilized as a method to reconcile those feelings of estrangement. It was an attempt to bridge those feelings of isolation that seemingly contradicts a shared environment where people are literally living on top of each other. Drug abuse, mental and physical illness, violence and love — all of these things impact us individually, but when seen as an amalgamation == is the totality of human history.”

 In The News‘ first single “The Leaf House” doesn’t shy away from the fact that we live in dangerous and fearful times but at its core, is a love song — an urgent call for love in the face of a world that seems hopeless and insane; while suggesting as the Buddhists would suggest that opening oneself up to love when things are at their most precarious is an act of true bravery and the most important weapon we have in such fucked up times. Sonically speaking, the Canadian trio pair a looped strummed acoustic guitar line, boom bap beats, twinkling synths and plaintive vocals — and in some way, the song reminds me quite a bit of Jose Gonzalez and his work with Junip but with a desperate and forceful urgency.