Now, if you’ve been frequenting this site over its six year history, you’d know that I’m a proudly unabashed New Order fan. Music Complete, which was released last year marked two milestones for the band— as it was […]
Category: electronic rock
New Video: The Surreal and Dreamy Visuals for Face + Heel’s “Pier Video”
Comprised of Luke Taylor and Sinead McMillan, Welsh duo Face + Heel have had their previously released work praised by several major media outlets and blogs including Hillydilly, Pigeons and Planes, The 405, Dummy, The Line of Best Fit, Notion and Crack Magazine […]
New Video: JOVM Mainstays La Femme Return with Psychedelic, Egypt-Inspired Visuals for “Sphynx”
Comprised of founding members Marlon Magnée (keyboards), Sacha Got (guitar), Sam Lefevre (bass), Noé Delmas (drums) and Lucas Nunez, along with a rotating cast of vocalists including current lead vocalist Clémence Quélennec, lara Luciani, Jane Peynot and Marilou […]
New Video: The Neon Bright and Surreal Visuals for Deep Sea Diver’s “See These Eyes”
Perhaps best known as an accomplished side person, who has spent several years as a touring member of The Shins, Yeah Yeah Yeahs, Spoon and Beck‘s backing band, the Seattle, WA-based multi-instrumentalist and vocalist Jessica […]
Last year, the renowned director, screenwriter, producer and composer John Carpenter released his first album of non-soundtrack-based music, Lost Themes to critical praise from an impressive array of major media outlets including The Guardian, The New York Times, The Times, Uncut, The Wire, The Los Angeles Times, NPR, Pitchfork, Vanity Fair, Newsweek, Billboard, Entertainment Weekly, Artforum, The Wall Street Journal, Rolling Stone and others. And as a result, the album was one of the most commercially successful albums released in Sacred Bones Records history, as the album debuted on the Top 100 Charts in both the UK and US. Unsurprisingly, the album, which was recorded with Carpenter’s son Cody Carpenter and his godson Daniel Davies strongly confirms what cinephiles, sci-fi fans and Carpenter files have asserted for countless years — that the director’s work was not only years ahead of its time but that his work has managed to continually influence contemporary electronic music. In fact, artists like Red Traces and Umberto have released works that frequently seem indebted to Carpenter and his film scores.
Building on the buzz and success that Carpenter and Sacred Bones Records received after the release of Lost Themes, the director and the indie record label released Lost Themes Remixed, an album that featured remixes from the likes of Zola Jesus, Silent Servant, Foetus‘ JG Thirwell, Skinny Puppy‘s ohGr, PAN Records‘ Bill Kouligas, and Uniform. (In fact, if you’ve been frequenting this site over the past few months, you might recall that I wrote about Uniform’s dance-floor ready remix of Carpenter’s “Vortex” and Zola Jesus and Dean Hurley’s techno-leaning rework of “Night.” But interestingly enough, Carpenter has been incredibly prolific, as Sacred Bones and Carpenter will be releasing a sequel to Lost Themes, Lost Themes II on April 15.
The material on Lost Themes II is inspired and informed by a change in the creative process with Cody Carpenter, Daniel Davies and the acclaimed producer writing, working revising and recording in the same studio — and with all three collaborators working together, the result was a more focused effort, completed on a compressed schedule, in a similar fashion to Carpenter’s earliest films. Additionally, the material is much more nuanced and lush, as the trio of collaborators added acoustic and electric guitar to flesh out the material, as well as add texture. Last month, I wrote about Lost Themes II‘s first single, “Distant Dream” pairs John Carpenter’s unmistakable minimalist synths with live drums, bursts of angular guitar and bass chords, and swirling electronics in a moody and tense composition that sounds as though it could be part of a taut, psychological thriller set in a dystopian future. Lost Themes II‘s second and latest single “Angel’s Asylum” pairs layers of dramatic and twinkling and undulating synths and ambient electronics with buzzing power chords and four-on-the-floor drumming in a composition that has the trio quickly building upon a theme but with subtle variations until a gently strummed acoustic guitar section paired with ambient electronics and synths and a gentle layer of twinkling synths form the composition’s coda. In many ways the song goes from an extremely dark and rock-like intensity to an ethereal beauty that arches heavenward at the end.
Originally known as a member of Baltimore, MD-based act Lake Trout, Andy Shankman is a grizzled music industry vet, whose solo recording project Jumpcuts began after an intense flurry of songwriting that had Shankman along with co-arranger Gideon Briedegam initially composing material on guitar and then slowly transposed to synthesizer — and then recorded and produced by Rob Girardi, best known for his work with Beach House and Celebration’s David Bergander at Lord Baltimore Studios. And the result was Shankman’s debut effort, Electrickery, an effort that was praised for its meshing electronic production with live instrumentation including guitars, synths and classically trained-based string arrangements, which generally pushes his material towards synth rock with a pop-leaning sensibility.
“Electric Shadows” is the latest single off Shankman’s forthcoming sophomore effort Fiber Optic Bondage, slated for a March 25, 2016 release and the single has Shankman pairing propulsive tribal-like drumming with layers of churning synths, abrasive, industrial clang and clatter and Shankman’s plaintive crooning to craft a dark and uneasy song that sounds indebted to Ministry, Nine Inch Nails, Blanck Mass an others — complete with a claustrophobic sense of introspection that feels as though the listeners were diving into the deeply fractured psyche of the song’s narrator.
Over the course of last year, Detroit, MI-based duo Gosh Pith have become JOVM mainstays while gaining a rapidly growing national profile for a sound that possessed elements of hip-hop, electro pop, stoner rock, dub, trap music, drum ‘n’ bass and other genres — and for a songwriting approach that generally focused on capturing and evoking a specific feeling or sensation, rather than a concrete narrative. Interestingly, over that same period of time, the prolific duo have been experimenting with their sound and songwriting approach as their overall sound has become increasingly warmer and R&B-leaning with guitar taking a much more prominent role on subsequent releases.
Now you may recall that the duo closed out what turned out to be a huge 2015 with the release of “Gold Chain,” the first single and title track off the duo’s forthcoming EP, Gold Chain, which is slated for a February 26 release through B3SCI Records and with a set opening for Girlyboi at Rough Trade. Earlier this year, I wrote about the EP’s second single “K9,” a single that continued where the first single left off as skittering drum programming, wobbling bass, guitar chords fed through reverb and delay pedals and sultry hip-hop and R&B inspired vocals in a way that subtly hints at Timbaland — but much more atmospheric. The EP’s third and latest single “New Balance,” featuring Martez continues to be a gentle expansion and revision of their sound as the duo pair swelling and undulating synths, trap and wobbling, footwork-inspired beats, spectral atmospherics with chopped up vocals briefly busting out of the ether and explosive bursts of guitar in what may arguably be the most shimmering yet propulsive track the duo have released to date.
New Video: New Order’s New Video for “Singularity” Captures a Slice of Daily Life in West Berlin During the 1980s
As an unabashed New Order fan being able to write about them is not only a great personal and professional thrill, it constantly reminds me that first and foremost I’m an obsessive fan — and it’s my […]
New Video: The Fittingly 80s Inspired Visuals for Photoreal’s “That Life”
Comprised of songwriters, multi-instrumentalists and producers Dan Halperin and Diwas Gurung, the Brooklyn-based electro pop duo Photoreal have developed a reputation for a sound that draws from 80s synth pop and 80s synth rock among […]
John Carpenter is a director, screenwriter, producer, editor and composer most commonly known for working in some of the most beloved and influential, horror and science fiction films of the 70s and 80s, including Dark Star (1974), Assault on Precinct 13 (1976), Halloween (1978),The Fog (1980), Escape from New York (1981)The Thing (1982), Christine (1983), Starman (1984), Big Trouble in Little China (1986), Prince of Darkness (1987), and They Live (1988) — with the Halloween theme being one of the most recognizable themes in movie history.
Last year, Carpenter released his first album of non-soundtrack based music, Lost Themes to critical praise from an impressive array of major media outlets including The Guardian, The New York Times, The Times, Uncut, The Wire, The Los Angeles Times, NPR, Pitchfork, Vanity Fair, Newsweek, Billboard, Entertainment Weekly, Artforum, The Wall Street Journal, Rolling Stone and others. Additionally, the album was one of the most commercially successful albums released in Sacred Bones Records history, as the album debuted on the Top 100 Charts in both the UK and US.
Unsurprisingly, the album, which was recorded with his son Cody Carpenter and the fameddirector, producer and composer’s godson Daniel Davies, the album confirms the fact that John Carpenter’s sound and aesthetic was not only ahead of its time but manages to be timeless and powerfully influential — with the work of artists like Red Traces, Umberto and others being deeply indebted to John Carpenter and his film scores. Now interestingly enough Carpenter closed out the last half of 2015 with the release of Lost Themes Remixed, an album that featured remixes from the likes of Zola Jesus, Silent Servant, Foetus‘ JG Thirwell, Skinny Puppy‘s ohGr, PAN Records‘ Bill Kouligas, and Uniform.
The incredibly prolific Carpenter will be releasing a sequel to Lost Themes, Lost Themes II which is slated for an April 15 release through Sacred Bones Records. The material on Lost Themes II is inspired by a change in the creative process with Cody Carpenter, Daniel Davies and the acclaimed producer writing, working revising and recording in the same studio — and with all three collaborators working together, the result was a more focused effort, completed on a compressed schedule, in a similar fashion to Carpenter’s early films. Additionally, the material is much more nuanced and lush, as the trio of collaborators added acoustic and electric guitar to flesh out the material, as well as add texture.
Lost Themes II‘s first single “Distant Dream” pairs John Carpenter’s unmistakable minimalist synths with live drums, bursts of angular guitar and bass chords, and swirling electronics in a moody and tense composition that sounds as though it could be part of a taut, psychological thriller set in a dystopian future.
Comprised of Rishi Dihr (lead vocals, sitar, bass), Jean-Gabriel Lambert (drums, backing vocals), and Miles Dupire (drums, backing vocals), Montreal, QC-based psych rock trio Elephant Stone have developed a national profile across their native Canada, as well as a profile Stateside for a vintage psych rock sound reminiscent of The Beatles, The Kinks and others, as it the Canadian trio’s material employed elements of traditional Eastern instrumentation — i.e., the sitar — with Western songwriting. And as a result, over the past few years, Elephant Stone has become a JOVM mainstay artist.
The 2014 release of the Canadian trio’s third full-length effort, The Three Poisons, revealed a band that was in the process of a major change in sonic direction. Unlike the band’s first two albums, the material on Three Poisons pushed sitar to the background — and when it was employed, it was mainly to add texture and color. Now, if you were frequenting this site towards the end of last year, you may recall that I wrote about “The Devil’s Shelter,” a song that featured a guest spot from The Black Angels‘ Alex Maas. The members of Elephant Stone pair tense, undulating synths, shimmering sitar and guitar chords, and propulsive rhythm with Dihr’s vocals for the song’s verses and Maas’ vocals to craft a song that feels (and sounds) ominous and murky, while channelling The Black Angels “Don’t Play With Guns.”
The Montreal-based trio’s latest single “Where I’m Going” continues where the trio’s experimentation left off — while suggesting that the band’s newest sonic direction has been inspired by the likes of Primal Scream (in particular, I think of “Autobahn 66” and
“Detroit” as Dihr’s ethereal cooing with shimmering guitar chords, a tight and propulsive, motorik groove, four-on-the-floor drumming and layers of shimmering and undulating synths in what may arguably be the most dance-floor ready songs that they’ve released to date — all while remaining as psychedelic as ever. Interestingly, the band have been working on their fourth full-length effort, and if the last two singles they’ve released are indicative of its sound, the members of Elephant Stone are set to push their sound — and in turn, psych rock — in new directions.
The band will be on tour throughout March, and it includes an NYC date. Check out the tour dates below.
ELEPHANT STONE TOUR DATES
03/10 Toronto ON – Sneaky Dee’s (Tickets)
03/11 Indianapolis IN – Joyful Noise (Tickets)
03/12 Little Rock AR – Vino’s (Tickets)
03/14 Austin TX – SXSW
03/18 Memphis TN – Hi-Tone (Tickets)
03/19 Cincinnati OH – MOTR (Info)
03/20 Brooklyn NY – Baby’s All Right (Tickets)
04/14 Montreal QC – La Sala Rossa (Tickets)
New Audio: New Order’s Latest Single Gently Modernizes Their Beloved Sound
I have to admit that I’m an unabashed New Order fan and being able to write about them at any point is a great thrill. Now as you already know, in the 35 years or so since […]
Currently comprised of Jon Davison (vocals), Steve Howe (guitar), Billy Sherwood (bass), Geoff Downes (keys) and Alan White (drums), the London, UK-based prog rock quintet Yes can trace their origins to when founding members Chris Squire (bass) and Jon Anderson (vocals) formed the band back in 1968. Much ink has been spilled throughout the band’s nearly 50 year run but what I will say that the legendary act has not only been pioneers of prog rock but they’ve also managed to be remarkably successful — 9 of the band’s 22 full-length albums have reached the top 10 in either the UK or US with two reaching number 1 in the UK. And the band has sold 13.5 million albums in the US alone. In the early 80s, Yes’ “Owner of a Lonely Heart” was a mega-hit song — and a song that I remember quite fondly as a child.
Now, if you’ve been frequenting this site over the past 13 months or so, you may recall that I’ve written about Berlin, Germany-based producer, electronic music artist and DJ Lennart Richter. Prolifically releasing a series of singles through renowned electronic music labels Sleazy G, East Project, G-Mafia Records, GUN PWDR, Ensis Records, Blue Dye, Mondal Recordings and others, Richter quickly developed a reputation across his native Germany and internationally for exploring the gamut of electronic music subgenres including deep house, G house, nu-disco and several others with a slick, crowd-pleasing, club-rocking production. And as a result, Richter can claim several Beatport Top 25 releases under his belt, and his last EP, Berlin Brawling landed at #10 on the Beatport Indie Dance/Nu Disco Charts.
The Berlin-based electronic music artist, producer and DJ closed out 2015 with the release of “Hold Up,” a nu-disco and house track comprised of layers of shimmering and cascading synths, propulsive drum programming led by explosive cymbal shots and a looped vocal sample that comes in and out of the haze. Sonically, the song reminded me quite a bit of Octo Octa’s “His Kiss” an “Please Don’t Leave” off his fantastic Between Two Selves — or in other words, it manages to possess both a bracing iciness and a thoughtful soulfulness. Richter builds on the success of the past year with the release of a remix of Yes’ “Owner of a Lonely Heart” that retains the vocal sample but pairs it with what sounds like ukulele, handclap-led percussion, swirling electronics and slowly cascading synths, which essentially turns the electro rock song into a slickly produced, densely layered, mid-tempo club banger — while retaining something of the song’s original feel and spirit.
New Video: Sky Ferreira and Primal Scream Team Up for the Shimmering, Dance Floor-Ready Single “Where The Light Gets In”
http://cache.vevo.com/assets/html/embed.html?video=GBBGB1500163&autoplay=0 Currently comprised of Bobby Gillespie (vocals), Andrew Innes (guitar), Martin Duffy (keys), Simone Butler (bass), Darrin Mooney (drums) and Barrie Cadogan (guitar), the Glasgow, Scotland-based quintet Primal Scream can trace their origins back to […]
New Video: Check out the Love Triangle at the Center of the Video for Gosh Pith’s “K9”
So if you had been frequenting this site over the course of 2015, Detroit, MI-based duo Gosh Pith have become JOVM mainstays while gaining a rapidly growing national profile for a sound and songwriting approach that generally focused on capturing […]