Category: Indie Synth Pop

New Video: JOVM Mainstays KOKOKO! Release a Cinematically Shot and Feverish Visual for Brooding Album Single “Zala Mayele”

Led by Makara Biano and prolific French producer débruit, the pioneering Kinshasa, Democratic Republic of the Congo-based DIY electronic collective KOKOKO! is inspired by a growing spirit of protest and unrest among their hometown’s young people. Much like young people everywhere, Kinshasa’s young people have begun to openly question centuries-old norms and taboos, and have openly begun to denounce a society they perceive as being paralyzed by fear — namely, the fear of inclusiveness and much-needed change. The collective and their counterparts have done this with a fearless, in-your-face, punk-rock sort of attitude and ethos. That shouldn’t be surprising as the rapidly rising collective’s name literally means KNOCK KNOCK KNOCK! — with the collective viewing themselves as the sound and voice of a bold, new generation defiantly and urgently banging on the doors and walls, and yelling “OUR TIME IS NOW!” 

Speaking of DIY, the collective’s members operate in a wildly inventive DIY fashion, creating self-designed and self-made instruments from recycled flotsam and jetsam and recovered junk. They even built a recording studio out of old mattresses, reclaimed wood and an old ping-pong table. Unsurprisingly, the act’s creative processes is centered round the notion that poverty and the desperately urgent need to survive often fuels creativity. Now,  as you may recall the Congolese collective exploded into the national scene with their debut EP 2017’s Tokoliana, a forward-thinking, urgent effort featuring a difficult to pigeonhole sound with elements of disco, post-punk, hip-hop, reggae, retro-futuristic funk, Afro-futurism and the region’s traditional music that seemed to come from an alien yet familiar near dystopian future in which the ghetto and the club are intertwined. 

Tokoliana’s follow-up TONGOS’A EP further explored themes of survival within the desperate and uneasy sociopolitical climate of their homeland, in which the average person may be forced on absolute certainties — the small, deeply human pleasures we, in the First World sometimes take for granted. 

Last year’s full-length debut Fongola was released to critical acclaim from the likes of NPR, The Guardian, Mixmag, Mojo, Dazed and i-D Magazine. The Congolese collective made their live, Stateside debut with a tour stop here in NYC, as well as an NPR Tiny Desk Concert, which helped them gain a following here in the States.  

Building upon their rapidly growing profile, the Kinshasa-based collective start off their 2020 with the latest single off their critically applauded full-length debut, the percussive “Zala Mayele.” Centered around layers of thumping polyrhythm, a propulsive bass line, a looping sample of a gorgeous string section and distorted vocals, the track may arguably be the most brooding and atmospheric tracks on the entire album — while still being remarkably dance floor friendly. 

“‘Zala Mayele’s lyrics are about the dangers in Kinshasa’s streets (thieves, sorcerers, gangs, and more) and the importance of distinguishing what is what, what is hidden under what shape, in disguise and around the corner, in the shadows.” The cinematically shot video for “Zala Mayele” follows a young boy — Issa — as he wanders the streets of his hometown on his own. During his journey, he encounters and is threatened by a variety of dangers booth real and imagined that blind, titillate and confuse him. These dangers “little by little, he will be able to notice and take control with a trip on the other side of the mirror,” the band says in press notes. 

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New Audio: German Darkwave Act NNHMN Releases a Feverish Visual for “Special”

NNHMN (pronounced as “nonhuman”) is a Berlin-based darkwave duo featuring Lee and Laudrag. Last year, the German darkwave duo released Shadow in the Dark, a six song album that received attention across darkwave and synth music circles for a sensual, propulsive and deeply emotional take on darkwave. Initially released digitally throughk-dreams records, Shadow in the Dark recently saw a vinyl re-released through Oraculo Records.  

To celebrate the vinyl re-release of Shadow in the Dark, the duo released the album’s latest single, the club-banging, early Depeche Mode-like “Special.” Centered around shimmering and rapidly oscillating synths, tweeter and woofer rocking beats, sultry vocals and an enormous hook “Special,” according to the duo tells the story of a borderline personality, who struggles with expressing love. 

Produced and edited by the members of NNHMN, the recently released cinematic yet feverish visual for “Special” draws heavily from Philipe Garrel’s 1972 film La Cicatrice intérieure, which features a similarly damaged main character. 

Perth, Australia-based singer/songwriter, multi-instrumentalist and producer Jake Webb is the creative mastermind behind the critically applauded and commercially successful Aussie synth pop/psych pop act Methyl Ethel. Webb’s Methyl Ethel has amassed over 25 million Spotify streams globally — and after landing at #4 on Triple J’s 2017 Hottest 100, “Ubu,” was named an ARIA Accredited Gold single early last year. Also, his tour dates across Australia and the UK have regularly sold out since 2016. 

Although Webb has achieved commercial and critical success within a relatively short period of time, Methyl Ethel began as a sort of personal challenge. “I wanted to see if I could write, record and release some music before the band I was in at the time finished doing the same,” Webb says in press notes. “I did and subsequently withdrew from some close friends. Relationships were severed. I severed some even closer ones. This was all played out in such a public away, as it invariably does, so I withdrew more. My first album Oh Inhuman Spectacle became the ‘why me?/fuck you/sorry’ album that I wrote as a confused coping mechanism. It helped and I enjoyed it. I continued the introspective journaling with the follow-up, Everything is Forgotten. For me, that album said ‘who cares? all your emotions are irrational and meaningless anyway.'”

Webb’s most recent full-length album, last year’s Triage may be his most introspective and reflective effort to date with the material thematically, focusing on time and its passing, of getting older and occasionally becoming more mature, of the lies we have to tell ourselves and have to keep to keep on getting by.

Interestingly, Triage‘s follow-up effort, the forthcoming Hurts To Laugh EP, which is slated for an April 10, 2020 release through Dot Dash/Remote Control was recorded at the same time as Triage. Thematically, the five song EP touches upon the psychological difference between feeling and emotion. One is a conscious response to a set of circumstances, the other is the unconscious conditions of our very being that only occasionally surfaces through feelings — with the material probing ambiguities and paradoxes, implied by the effort’s title: you can laugh so hard that it hurts (joy) or you can laugh despite the pain (despair). 

Hurts To Laugh‘s first single, the stumbling and stuttering “Majestic AF” is centered around bubbling oscillator, analogue polyrhythm, a sinuous bass line, march-like drumming and a shimmering, slightly atonal synth melody and an anthemic hook paired with Webb’s plaintive falsetto floating over the mix. But at its core, the song manages to possess a dance floor-like energy while being earnest and uneasy.

Methyl Ethel will be embarking on aStateside tour to support his latest effort, opening for Peter, Bjorn & John during the Spring. The tour includes an April 10, 2020 stop at Webster Hall. Mid-April sees Webb returning to Australia for a solo tour at intimate venues across the country’s largest cities. Check out the tour dates below.

TOUR DATES
March 23 – Teragram Ballroom – Los Angeles, CA#
March 24 – La Santa – Santa Ana, CA#
March 25 – New Parish – Oakland, CA#
March 27 – Doug Fir Lounge – Portland, OR#
March 28 – Crocodile – Seattle, WA#
March 31 – Urban Lounge – Salt Lake City, UT#
April 01 – Bluebird – Denver, CO#
April 03 – Amsterdam – St. Paul, MN#
April 04 – Empty Bottle – Chicago, IL#
April 05 – Loving Touch – Ferndale, MI#
April 07 – Johnny Brendas – Philadelphia, PA#
April 08 – Union Stage – Washington, DC#
April 10 – Webster Hall – New York City, NY#
April 11 – Brighton Music Hall – Boston, MA#
April 15 – The Outpost – Brisbane, AUSTRALIA
April 16 – Nightcat – Melbourne, AUSTRALIA
April 17 – Mary’s Underground – Sydney, AUSTRALIA
April 19 – Goodwill Club – Perth, AUSTRALIA
# Supporting Peter, Bjorn & John
All tickets

New Video: Paris-based Synth Pop Act Superjava Releases a Funky Club Banger

The emerging Paris-based, disco and funk-influenced electro pop act Superjava features one of the most diverse lineups I’ve come across in some time — its members hail from Jakarta, Indonesia; Lima, Peru; and Paris, France. The act can trace its origins to when its founding duo Archi and Alex met back in 2015 while they were studying at Berklee College of Music. The pair began crafting funky riffs — and when they relocated to Paris, they met the band’s third and final member Arnuad. 

The band’s debut EP, Javaland established the band’s breezy, hook-driven take on synth pop. As the band explains, Javaland’s follow-up, Soul Dance EP, which is slated for release later this year, “has two main goals: put a smile on your face and make you dance.” Interestingly, the EP’s latest single, the Shapes-era Miami Horror-like “Dance For Me” is centered around a sinuous bass line, shimmering synth arpeggios, a big brass sample, Nile Rodgers-like funk guitar, thumping beats and an infectious hook featuring soulful backing vocals is a a feel good, club-banger meant to get you — and that pretty your thing you’ve been eying for the past three songs onto the dance floor. 

Directed by Dixhuit Prod, the recently released video features the brightly dressed members of Superjava along with a backing vocal section perfuming the song in front of a joyous party of young people getting down — and it’s fitting. 

New Video: Salt Lake City’s Choir Boy Releases a Mischievous 80s Influenced Visual for Shimmering Pop Confection “Complainer”

Fronted by its Cleveland-born, Salt Lake City-based founder, frontman and creative mastermind, singer/songwriter Adam Klopp, the rising indie pop act Choir Boy derives its name from an insult that was given to Klopp in his early teens when he fronted some of his earliest bands. Given Klopp’s religious upbringing and angelic voice, the insult at the time, may have been both fair and fitting. 

After graduating high school, Klopp left Ohio for college in Utah. Although, his college career was short-lived, he left religion behind and quickly integrated into Provo’s and Salt Lake City’s underground music and art scenes, eventually starting Choir Boy. With the release of the project’s full-length debut, 2016’s Passive With Desire, Klopp’s work drew comparisons to Scott Walker, Kate Bush and Talk Talk.

Klopp’s Choir Boy debut won the attention of Dais Records, and building upon a growing profile, he released “Sunday Light” in 2018, which was followed by a reissue of Passive With Desire on vinyl and CD. Recently, Klopp has filled out the band with a permanent lineup: Chaz Costello (bass, sax), Jeff Kleinman (keys) and Michael Paulson (guitar). Each member has brought their unique influences to the table, helping to develop subtly more dynamic sound for the band — one in which, there’s a bit of post-punk grit and 80s-influenced swing to the mix. 

Slated for a May 8, 2020 release, Choir Boy’s sophomore album Gathering Swans is the first bit of recorded output with the band’s new lineup. And importantly, while seemingly drawing from Roxy Music/Bryan Ferry, The Cleaners from Venusand others, the material features Klopp’s achingly earnest and angelic falsetto, expressing those emotions that are particularly difficult to name. 

The album’s first single is the dance floor friendly  “Complainer.”  Centered around shimmering synth arpeggios, some industrial-like drum machine and organic drumming, a looping and shimmering guitar line, an ehe enormous and rousingly anthemic hook and Klopp’s achingly tender falsetto, the song — to my ears, at least — seems like a synthesis between Meat Is Murder-era The Smiths, Tears for Fears and contemporaries like Washed Out. Interestingly, Klopp explains that the song “marked a shift in lyrical tone from previous releases. While many of our earlier songs serve as flowery lamentations of loss and grief, ‘Complainer’ snakily examines the self absorption of sadness. The opening line Oh my life was something I privately uttered while stewing over daily anxieties. It became comical to me that I would express my self pity like that, in earnest when my struggles seemed so relatively tame.  The song continues, It’s a phrase so funny when it’s spoken so sincere. But it’s not that bad, I’ve never really had it worse. I’m just a complainer. ‘Complainer’ multi-tasks as a pop song and a reminder to keep my privilege in check.”

Directed by the members of Choir Boy, edited by Choir Boy’s Adam Klopp and featuring an action cameo by Sam Rodriguez, the recently released video for “Complainer” is a decidedly lo-fi, fittingly 80s-inspired visual split between footage of the band playing the song in random locations while mischievously revealing the band’s involvement in a seedy, back alley, Fight Club-like fighting ring. 

New Video: JOVM Mainstays Yumi Zouma Returns with a Shimmering and Ambivalent Pop Confection

Throughout the course of this site’s almost 10 year history — yes, 10 years! — I’ve spilled quite a bit of virtual ink covering the internationally acclaimed synth pop act Yumi Zouma. Originally formed in Christchurch, New Zealand, the act has featured members spread out across the globe most of their history together, with Josh Burgess (guitar, vocals) based in New York, Charlie Ryder (guitar, bass, keys) based in London and Christie Simpson (vocals, keys) based in Christchurch. Over the course of the band’s history, they’ve received praise across the blogosphere and from internationally recognized outlets for a breezy yet bittersweet, 80s inspired synth pop sound centered around Christie Simpson’s ethereal and achingly tender vocals.

Late last year, the acclaimed indie electro pop act signed to Polyvinyl Record Co, who will release the band’s highly-anticipated, self-produced, third album Truth or Consequence. Slated for a March 13, 2020 release, the album thematically focuses on distance — both real and metaphorically. with the album’s material touching upon romantic and platonic heartbreak, real and imagined emotional distance, disillusionment and being out of reach. 

The JOVM mainstays started off 2020 with the release of the album’s first official single “Cool For A Second.” Christie Simpson’s ethereal, wisp-like vocals effortlessly glided over softly padded beats, shimmering synth arpeggios and soaring hooks — and while being simultaneously hopeful and melancholy, the song thematically was centered around the idea that life doesn’t always provide the answers or closure you may want. But it manages to capture the sense of relief that comes from recognizing and saying the truth — even if only to yourself. 

“Southwark,” Truth or Consequence’s latest single is a cinematic and swooning bit of synth pop, centered around a New Order-like bass line, shimmering synth arpeggios, an anthemic and infectious hook paired with Christie Simpson’s ethereal cooing. Much like the album’s previously released material, the song is somewhat ambivalent: there’s hopefulness in finding love and being in love, but the melancholy awareness that nothing is perfect and all things come to an end, one way or the other. 

Sharing the meaning behind the track, songwriter Christie Simpson explained that the song “…feels like a dedication, a mantra, a promise to myself. I wrote the chorus line about the someone in particular that I was with at the time, but it now feels like a universal truth for my relationships, a dedication that goes to every person I’ve loved and those that I’m still loving now. I can be quite dramatic in love and relationships, and I don’t always do or say the right thing when I should, but I do throw myself in completely (for better or worse). I loved that idea of repeating that dedication – ‘I am imperfectly yours’.” Adding, “This track has haunted me a little every time I listen, there’s something melancholy that sits in there alongside that overall feeling of quiet elation. I suppose that speaks to the classic dichotomy of love and relationships – nothing is ever 100% good or perfect, and that’s what I am constantly trying to come to terms with.”

Directed and shot by the members of the JOVM mainstay act, the recently released video is split between footage of the band performing the band in the studio, the band at the beach at sunset with Lorenzo Fanton’s specifically created font superimposed over the proceedings — essentially creating a visual that’s part lyric video and part official video. “A bit of a Yumi tradition is having at least one video on a record we shot ourselves,” the band’s Josh Burgess explains in press notes. “While we’re not going to be nominated for an Oscar anytime soon, it’s always fun to grab a camera and start shooting. It felt like too good of an opportunity to pass up having us all sitting there in a photo studio mere moments after the centerfold picture of our record. From there we headed off to the beach for sunset. Christie wanted to get into the water but the threat of hypothermia proved too much! It’s also the first video/time we’ve ever revealed lyrics so overtly! The fantastic Lorenzo Fanton’s typeface was too good to pass up!”

BisonBison is a rising Toronto-based electronic music collaboration featuring producers Dani Ramez and Chad Skinner, drummer and producer Brad Weber, multi-instrumentalist Sinead Bermingham and vocalist Sophia Alexandra. Each individual of the Canadian collective have different musical backgrounds, including traditional Irish folk, Middle Eastern music, trip hop, jazz and funk. Citing Bonobo, Helios, and Christian Löffler as influences, the members of the Toronto-based electronic act have developed and crafted a sound that meshes elements of folk, downtempo electronica and electronic dance music. 

Released earlier this month through Zozaya Records, BisonBison’s full-length debut Hover can trace its origins back to a series of loose acoustic jams between a cast of collaborators and musicians that ultimately filtered down to the band’s current lineup and Caribou’s Brad Weber contributing drums — with the bandmembers piecing material together into the album’s material. “Recover,” Hover‘s first single received support from media outlets like Earmilk and Clash MagazineBuilding upon a growing profile, the album’s third and latest single, the hypnotic album title track “Hover” is a lush and atmospheric track centered around shimmering and twinkling synths, a sinuous bass line, thumping beats, enormous hook and Sophia Alexandra’s ethereal cooing. Sonically, the song is an ambitious and dance floor friendly mesh of trip-hop, ambient electronica and acid house that sounds familiar yet novel.

 

 

 

 

 

New Video: Savages’ Jehnny Beth Releases a Feverish and Sensual Visual for “Flower”

Camille Berthomier is a Poitiers, Vienne, France-born, London-based singer/songwriter, actress, author and musician, professionally known as Jehnny Beth — and as the frontwoman of the Mercury Prize-nominated, critically applauded act Savages. With Savages, Beth has developed a unique lyrical perspective and stage presence that has captivated audiences across the world for the better part of the past 15 years or so. 

Interestingly, Beth’s solo debut To Love Is To Live, which is slated for a May 8, 2020 release through Caroline Records finds the longtime Savages frontwoman boldly stepping into and claiming the spotlight. Recorded in Los Angeles, London and Paris, the album finds Beth collaborating with an eclectic array of producers and artists including Flood, Atticus Ross, longtime collaborator and Savages bandmate Johnny Hostile, Adam “Cecil” Barlett, The xx’s Romy Madley Croft,IDLES’ Joe Talbot and Golden Globe-winning actor Cilian Murphy. Reportedly, the album is ad ark and cinematic meditation on the strangeness of being alive. Thematically, the album sees Beth tapping into and accessing the darkest and least comfortable parts of herself to craft material that’s cathartic, abrasive, fearlessly honest and vulnerable. 

To Love Is To Live’s second and latest single “Flower” is a brooding and atmospheric track centered around a murky and tempestuous pulse, shimming synth arpeggios and Beth’s sultry cooing and crooning. The end result is a song that’s simmers with a feverish and obsessive lust. Reportedly written about a pole dance at Los Angeles’ Jumbo’s Clown Room, the song details the complicated and confusing depths of sexuality, desire, possession and loss. 

Directed by Peaky Blinders’ Anthony Byrne, the recently released video for “Flower” continues an ongoing collaboration with the acclaimed director. Shot in a gorgeously cinematic black and white, the video — fittingly enough — is a fever dream that captures the intersection of fantasy, desire, longing and loss. 

Along with the release of her solo debut, the acclaimed French-born, British-based singer/songwriter, musician and actress will be releasing her first book, a collection of erotic short stories paired with photography from her longtime collaborator and bandmate Johnny Hostile. Slated for a June 11, 2020 release through White Rabbit, Crimes Against Love Manifesto (C.A.L.M.) will help to establish Beth and Hostile as two of the most provocative and forward-thinking voices in contemporary fiction and erotic art. 

Over the past 18 months or so I’ve spilled quite a bit of virtual ink covering the Toronto-born and-based singer/songwriter Raffa Weyman, best known as RALPH. Weyman quickly emerged into the national and international pop scene with the release of her bittersweet, disco-inspired debut single “Trouble” in 2015. Over the next couple of years, Weyman released a series of attention-grabbing  singles that found the Canadian pop artist restlessly bouncing between different genres and styles, including the the country and western-tinged “Young Hearts Run Free” and the ambitious, radio friendly pop Girl Next Door.”

After receiving an IHeartRadio’s Much Music Video Awards Best New Canadian Artist nomination, Weyman released her RALPH full-length debut, 2018’s 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 at the time. “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. ​​​​​​”

Interestingly, the Toronto-based JOVM mainstay begins 2020 with the launch of her new label Rich Man Records. The label derives its name from a famous Cher quote: “My mom said to me, ‘You know sweetheart, one day you should settle down and marry a rich man.’ And I said, ‘Mom, I am a rich man.'” Along with launch of her new label, the rising Canadian pop artist recently dropped the label’s first release, the shimmering pop confection “Superbloom.” Centered around glistening synth arpeggios reminiscent of Stevie Nicks‘ “Stand Back,” Weyman’s plaintive and yearning vocals, thumping beats and enormous hooks before featuring some euphoric sax blasts. It’s the sort of song that will make you dance the heartache away.

“I wrote ‘Superbloom’ when I was running in LA. It had been raining a lot which sparked this beautiful desert phenomenon where dormant wildflowers suddenly bloom everywhere and cover the ground for miles,” the JOVM mainstay explains in press notes. “I kept hearing the word mentioned all around me and began to feel weirdly aligned with it. Things in Toronto were feeling emotional and complicated so the idea of a Superbloom became this hopeful mantra for me that things could change and get better.​​​​​​​”

Along with the big announcements, RALPH announced a series of tour dates with joan. Check out the tour dates below.

Tour Dates:
* = with joan​​​​​​​​​​​​​​
Feb 12th – Philadelphia, PA @ Voltage Lounge *
Feb 15th – Cleveland, OH @ Beachland Ballroom*
Feb 16th  – Chicago, IL @ Schubas* (SOLD OUT)
Feb 17th – Minneapolis, MN @ 7th Street Entry*
Feb 19th – Denver, CO @ Globe Hall*
Feb 20th – Salt Lake City, UT @ Kilby Court*
Feb 22nd – Seattle, WA @ Columbia City Theatre*
Feb 23rd – Portland, OR @ Holocene*
Feb 26th – San Francisco, CA @ Cafe Du Nord*
Feb 27th – Los Angeles, CA @ Moroccan * (SOLD OUT)
Feb 29th – Phoenix, AZ @ Valley Bar*
Mar 2nd – Dallas, TX @ Dada*
Mar 3rd – Austin, TX @ Stubbs Indoors*
Mar 4th – Houston, TX @ White Oak Music Hall*
Mar 10th – Victoria, BC @ Lucky Bar
Mar 11th – Vancouver, BC @ Biltmore
Mar 13th – Calgary, AB @ Dickens
March 14th – Edmonton, AB @ Temple
March 16th – Winnipeg, MB @ Good Will SC

 

Although officially formed last year, the El Paso, TX/Ciudad Juarez, Mexico borderplex trio Estereomance, featuring Adria, Paulina and Manu can trace their origins to several years earlier — and to mutual friendships and a serendipitous meeting: Back in 2017, Adria had  family member, who at the time was battling cancer. Adria and her family hosted a benefit event for that family member — and as it turns out, Manu also attended the benefit. Knowing that Adria was going through a difficult time, Manu invited her to hike through the Franklin Mountains during New Year’s 2017/2018. During that hiking trip, the pair got to know each other a bit better.

After the Franklin Mountains hiking trip, Manu invited Adria into the studio to record a cover of Cultura Profectica‘s “De Antes” that would be dedicated to her family member. Sadly, that family member succumbed to the disease; but the pair began a musical collaboration that eventually lead to them falling in love. Coincidentally. Estereomance’s Paulina is a mutual friend of both Manu and Adria: Paulina and Adria have been friends for the better part of the past decade. Manu and Paulina have collaborated on a number of projects, including acts that have been nominated for Latin Grammys  — and they’ve also been longtime friends.

When the trio got together, they were all in a similar, creative transitional phase, and they noticed an immediate chemistry. Interestingly, the band has developed a creative process that has been successful for them so far: Manu frequently composes beats while having coffee. Paulina then creates improvised ideas to compliment the beats and then Adria comes up with lyrics. This has been largely been created by the bandmembers’ individual experiences and their desire to have their work centered around openness, fearlessness and following what they believe: Adria is a classically trained violinist and actor, who has played in orchestras and plays; Paulina is a vocalist, who has performed with a number of musical projects; and Manu is a bassist, sound engineer and producer, who has worked with an eclectic array of artists at Sonic Ranch Studios.

The trio’s latest single is the lush and slow-burning “Crimson Queen.” Centered around shimmering synth arpeggios, Adria’s achingly plaintive vocals, a two-step inducing rhythm and an enormous hook, “Crimson Queen” is late70s/early 80s inspired synth pop confection that sounds as though it could easily be part of the Stranger Things soundtrack while rooted around an unfulfilled yearning.  “Through time, women’s worth has long been measured by physical beauty and more recently with rise of social media, quantified by the number of likes i response to it,” the band says in press notes. And as a result the song touches upon the increasing social pressure placed on both men and women to fit into a standardized concept of beauty and attractiveness, as well as vanity, obsession and insecurity.