Category: Electro Pop

New Video: JOVM Mainstays Sofi Tukker Releases a Wild Party Themed Visual for “Purple Hat”

Acclaimed New York-based electronic duo and longtime JOVM mainstays Sofi Tukker — Sophie Hawley-Weld and Tucker Halpern — have been widely celebrated for an inclusive, global take on electronic music that’s thematically centered around self-empowerment, unity and liberation. 

“Drinkee,” the duo’s debut single received a Grammy Award-nomination for Best Dance Recording — and they continued an extraordinary run of early successes with their full-length debut Treehouse receiving  a Grammy Award-nomination for Best Dance/Electronic Album. Adding to a growing profile of success, the New York electro pop duo’s releases have gone gold or platinum on every continent on the planet — with the exception of Antarctica. They’ve also played sold out shows and festival stops across the planet, and performed on some of the world’s most popular late night talk shows, including Italy’s X-Factor, the UK’s Sunday Brunch, Russia’s Late Show and Japan’s BuzzRhythm, The Tonight Show Starring Jimmy Fallon and most recently Good Morning America.

Released earlier this year, Dancing on the People is Sofi Tukker’s much-anticipated follow up to their highly-successful full-length debut. “Purple Hat,” the EP’s latest single is a joyous and ebullient track with a breezy Brazilian/Tropicalia-like intro that quickly turns into a thumping banger centered around tweeter and woofer rocking low-end, a funky Nile Rodgers-like guitar line, Bhangra-inspired percussion and a rousing and enormous hook while Hawley-Weld and Halpern trade vocal lines about a wild party in which the attendees let go of all pretense and facades and let their freak flags proudly fly. And as long as no one is getting hurt, be yourself, “shake that ass and show ’em what you’re working with!” Considering the hatred, opposition, thievery and bullshit we’ve been inundated with during this current administration, the song is absolutely necessary. 

“We wrote ‘Purple Hat’ the day after our first Animal Talk party,” the duo explains. “We started throwing these parties to bring back the wild and inclusive dancing vibe to the nightclub experience. Tuck was literally wearing a purple hat and a cheetah print shirt, people were climbing on top o people, it was over-sold and sweaty, our favorite people were packed in the booth, everyone was loose AF and feeling themselves. It was wild. Every Animal Talk party since then has been like that, and we wanted to capture that raw feeling in a song. If there was a song that included everything we are about, this would be the one.”

Directed by Charles Todd, a frequent Sofi Tukker collaborator, who also filmed the videos for “Fantasy” and “Swing,” the recently released video for “Purple Hat” was filmed during the duo’s sold out, homecoming show at Avant Gardner earlier this fall. Naturally, the video is split between excited Sofi Tukker fans arriving in cheetah print and purple hat gear, live performance shots and the concert crowd getting sweaty and wild, which further emphasizes the song’s spirit and feel. “This song was literally written about the energy of the crowds at our shows so we wanted to literally capture that energy for the video too,” the duo says of the video.  “It’s always so special playing back in New York, where everything started for us and we thought it would be the perfect show to film the video at. We didn’t want to get actors and have a fake party to recreate the energy — we wanted to do it in real life with real people, like we do most nights of the year. Really happy to relive that night over and over again.”

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Initially starting their careers as founding members of long-defunct genre-bending indie act Wildcat! Wildcat!, an act, which crafted the score of the motion picture  Fallen Stars, the latest musical collaboration between Michael Wilson and Jesse Carmichael, Kid Nobody, can trace its origins to when the duo reconnected during a chance encounter in Iceland, several years after the breakup of Wildcat! Wildcat! Interestingly, this particular chance encounter found the duo recognizing that they had a special creative connection — and that there was much more music they needed to make together.

With a sharpened point of view and a hard drive full of musical ideas, the duo’s latest project together Kid Nobody recently emerged with a string ambient-leaning yet hook-driven pop tracks, which will be followed by their debut effort as Kid Nobody, the forthcoming EP discretion. The EP’s material reportedly finds the duo pushing the boundaries of bedroom pop while exploring an aesthetic that’s not quite happy, not quite sad, not quite chill or upbeat — but attempts to find a place between indulgence and restraint.

discretion‘s latest single “ms. stress” is a radio friendly pop confection  centered around shimmering synth and piano arpeggios, hip-hop influenced swagger, tweeter and woofer rocking beats, an enormous hook, and plaintive vocals. And while bearing an uncanny resemblance to St. Lucia, Midnight Juggernauts and a growing list of contemporaries, the song is a slickly produced and swooning balance between earnestness and ambitious songwriting seemingly rooted in lived-in experience.

 

 

 

 

Belau is a Budapest, Hungary-based electronic music production and artist act, comprised of core duo Peter Kedves and Krisztian Buzas. Their debut single was one of Deezer Hungary’s top hits — and as a result, the song appeared in a number of HBO Hungary series and in commercials. The video for the single amassed over 500,000 views while winning the Hungarian Music Video Festival.

The Hungarian electronic act’s debut album, which featured their attention-grabbing debut single won a Hungarian Grammy for Best Electronic Music Album. But since its release, the act’s profile has expanded internationally: a single off their latest remix EP received airplay on BBC Radio 1 — and over an 18 month period, the act (which expands to a quartet featuring Kedves, Buzas and touring members Benji Kiss and Bobe Szesci) played over 120 shows in 19 countries across the European Union, including stops at Eurosonic Nooderslag, Reeperbahn, Sziget Festival, Untold Festival and even SXSW. 

The duo’s latest single “Natural Pool” is centered around stuttering beats, tweeter and woofer rocking low end, shimmering guitars, atmospheric electronics and chopped up vocal samples. And while seemingly inspired by 90s trip hop — in particular Massive Attack— the song manages to possess a cinematic quality.

 

 

New Video: Up-and-Coming Aussie-born Los Angeles-based Pop Artist Zenya Releases a Slick Visual for 90s Inspired Bit of Synth Pop

Zenya is a Sydney, Australia-born, Los Angeles-based singer/songwriter and pop artist, best known for a stint inJustin Timberlake’s backing band The Tennessee Kids. Recently. the Aussie-born, Southern Californian-based artist has stepped out into the limelight as a solo artist, with the release of her Lash-produced and co-written debut single “Holdin’ On.” Much like the previous post, “Holdin’ On” is radio and dance floor friendly pop, centered around propulsive Caribbean-tinged polyrhythm, shimmering synth arpeggios and the Aussie-born, Southern Californian-based pop artist’s plaintive vocals and an infectious hook. At its core, the song is imbued with a desperate and urgent hope that defies common sense and logic. 

“Holdin’ On’ is an island influenced pop song about hope,” Kenya explains in press notes. “Holding that thin thread left between two loves that may or amy not get back together after ab breakup that seemed like it might have been a mistake. It’s a song of vulnerability and honesty, and how it can be hard to let go of habits of the heart.” 

Directed by Mark Lecky, the recently released video follows a pensive Zenya, as she conducts a cleansing ritual, writing and desperately waiting for a lover to come back home — but there’s a sense that this lover may never come back. It’s a decidedly 90s inspired visual for a 90s pop inspired song. 

New Audio: Oslo’s Das Body Releases a Sultry 80s Synth Pop-Inspired Banger

Oslo, Norway-based electro pop act Das Body — Ellie, Kim, Patrik, Didrik — has a long-held reputation for crafting catchy 80s-influenced pop that has been praised byThe Line of Best Fit,who once wrote  that the Norwegian pop outfit creates “the best parts of pop without making it overly saccharine in its delivery.” The Norwegian act’s latest single, the Jorge Elbrecht-produced “Against the Glass” is the second single the act has released this year — and while marking the first bit of new material since the release of “Taller Than The Average Man” earlier this year, “Against the Glass” is a slick synthesis of Quiet Storm-like synth pop and contemporary electro pop, as sultry vocals lay against a bed of atmospheric synths, stuttering and tweeter and woofer rocking beats and an incredibly infectious hook. 

The song as the band explains “is about the claustrophobic feeling when you realize what you’ve been working towards and finally achieved is only a result of the people around you looking out for their own interests.” 

The rapidly rising Norwegian pop act’s Jorge Elbrecht-produced full-length debut is slated for a Spring 2020 release. 

New Video: Genre-Defying French Artist MHUD Releases a Bloody Commentary on Violence and Toxic Masculinity

Initially beginning his creative career as a painter, the mysterious Strasbourg-born, Paris-based singer/songwriter, multi-instrumentalist, electronic music artist and electronic music producer MHUD got into music as a creative outlet relatively recently. And in short period of time, the Strasbourg-born, Paris-based artist has developed a reputation for material that thematically focuses on man’s spiritual, emotional and intellectual split from himself — paired with a sound that’s genre defying. 

The mysterious Strasbourg-born, Paris-based artist’s full-length debut is slated for a March 2020 release, and the album’s latest single “Cheval de Bataille” is a slickly produced track that possesses elements of trip hop, electroclash, electro pop and arena rock as its centered around tweeter and woofer rocking beats, buzzing, distortion pedal-fueled guitar lines, a motorik-like groove, expressive blasts of horn and arpeggiated synths. Sonically speaking, the song — to my ears, at least — reminds me a bit of synthesis of fellow countrymen Black Strobe, Dystopico-era Kriget, Third-era Portishead, Evil Heat-era Primal Scream and The Deltahorse.  

Produced by David Garnacho and Nicolas Bouf, the recently released video for “Cheval de Bataille” follows the violent fantasies of a nerdy and relentlessly bullied office drone, who gets his revenge at a team-building paintball game. In the face of psychological violence in relation to economic and societal pressures, some people feel as though the only response they have is to respond with physical violence, the Strasbourg-born, Paris-based artist says of the video treatment. The directors and the artist went with a hyper realistic take on violence — so that the impact it has on people can’t be trivialized or glorified. But on another level. it points out how toxic masculinity can lead to increasing amounts of brutal and senseless violence. 

I’ve written quite a bit about Stockholm, Sweden-based indie electro pop act Club 8 throughout the course of this site’s nine-plus year history. The act, which features Labrador Records label head and incredibly prolific and eclectic producer and electronic music artist Johan Angergård and vocalist Karolina Komstedt has a long-held reputation for being difficult to pigeonhole sonically: With the release of their debut album 1995’s Nouvelle, the duo initially was a Bossa nova-inspired pop act. However, with 1998’s The Friend I Once Had was a decided sonic left turn for the duo. with the material primarily being electro pop and electronic dance music.  The duo’s next three albums, which were released between 2001 and 2003 found them dabbling in old school soul.

2017 began an incredibly prolific and busy period for Angergård: his solo recording and production project The Legends released an album; Djustin, his collaboration with Rose Suau released their full-length debut Voyagers; and Club 8 released their ninth album Lost. Now, some time has passed since I’ve last written about the Stockholm-based JOVM mainstays — but this year has been busy for the acclaimed duo. They released a single earlier this year that landed on Hype Machine‘s Top 5. And following up on the momentum of that single, the duo’s latest track “The Hospital” may arguably be the most industrial/goth-leaning bit of material they’ve released in some time. Centered around thumping, tweeter and woofer rocking beats, layers of shimmering and arpeggiated synths and Komstedt’s breathy and ethereal vocals, the club banging track manages to subtly recall the likes of Depeche Mode and Soft Metals. And while being a dance floor friendly anthem, the song finds the duo at their most contemplative: the song’s narrator is in a hospital bed, acutely aware that the end may be near — but desperately hoping that it isn’t.

 

 

 

New Video: Brisbane’s Confidence Man Releases an Occult Themed Visual for 90s House-Inspired “Does It Make You Feel Good?”

With the release of last year’s full-length debut, Confident Music for Confident People, which featured a handful of breakthrough singles, the Brisbane, Australia-based dance pop act Confidence Man — led by Janet Planet and Sugar Bones and featuring Clarence McGuffie and Reggie Goodchild — received attention nationally and internationally for a crowd-pleasing, club friendly sound seemingly inspired by Donna Summer, Giorgio Moroder and Deeee-Lite-era house music. 

Adding to a growing profile and busy summer, the rapidly rising Aussie dance pop played across the international festival circuit, including a stop at Glastonbury Festival — and amazingly earning an opening slot for the legendary New Order. Interestingly, Confidence Man’s latest single, the shimmering, club anthem “Does It Make You Feel Good” continues on the momentum of the past year. Centered around a slick production featuring  a thumping and propulsive beat, shimmering synth arpeggios, a sinuous bass line and a rousing hook, the song manages to be heavily indebted to late 80s and early 90s house and Club MTV-era MTV — i.e., Black Box, C+C Music Factory, the aforementioned Deeee-Lite and others. But instead of ascribing to soulless mimicry, the song reveals an act with a careful  and deliberate attention to craft. 

Directed by the Aussie dance pop act’s longtime visual collaborators Schall and Schanbel, the recently released visual is s striking fever dream that’s reminds me quite a bit of the work of Dario Argento — but with an extensive dance sequence in between the gore, ecstatic occult rituals and laser shooting boobies and cute animals.