With the release of “Contagious” Finnish trio Beverly Girl have started to receive a bit of attention internationally for an electro pop/funk/R&B/freestyle sound that immediately channels nostalgic memories of the 80s — while simultaneously comparing quite favorably to a number of contemporary artists including Rush Midnight, St. Lucia, Dam-Funk and others but incredibly club friendly. Or simply put, a sleek production consisting of sinuous bass lines, shimmering cascades of synths and propulsive boom-bap drums are paired with sultry vocals and a ridiculously infectious hook
Los Angeles, CA-based electro pop artist Adam Finkel, best known as Alek Fin has worked with a number of Los Angeles-based producers and artists including Robot Koch while Moscow, Russia-based producer Sergei Galunenko, best known as Galun initially crafted a career collaborating with a variety of Russian artists as a renowned beatboxer — and interestingly enough Finkel and Galunenko’s collaboration can trace its origin to when the duo were individually included on the same blog’s Top 100 Tracks of 2013. As Galunenko explains in press notes, geographical distance wasn’t an issue, “I found him and I knew I wanted to work with him. I thought we could really add something to each other’s music, despite us leaving 6,000 miles apart. Finkel was equally impressed by the Moscow-based producer’s “manipulation of vocal percussion and inspiring melodies.”
The duo’s previous collaboration together Golden, Blinding was critically applauded and with the recently released Strannik EP, which will further cement the duo’s reputation for crafting a sound that effortlessly blended electro pop/electronica and chillwave; in fact, the duo’s sound has been favorably compared by some of my colleagues to the likes of Bonobo, James Blake, Future Trend and Deco Child. And when you hear Strannik‘s latest single “Ionosphere” you’ll see why as Finkel’s plaintive and ethereal vocals are paired with an atmospheric production consisting of shimmering synths, stuttering drum programming, wobbling low end and ambient electronics in a song that’s eerily spectral while gently nodding at Portishead and others.
Comprised of Leo Paparella (vocals, synths) and brothers Eric Promani (drums, synths) and Greg Promani (guitar), Los Angeles-based electro pop trio Iconique have quickly exploded across the blogosphere and elsewhere as their previous single “Step Into The Mood” was praised by Gawker and Surviving the Golden Age, was featured on Hype Machine and received radio airplay on KUCI and KCHUNG. And honestly, that shouldn’t be surprising as the band’s sound has been described by some of my colleague as a “synthesis of influences like Prince, David Bowie and Chic.” Interestingly, the trio’s latest single “Sitting Pretty” sonically seems as though it draws from Roxy Music, The Human League, Howard Jones and others as Paparella’s sultry speak-song and crooning is paired with a sinuous bass line, shimmering synths and propulsive drumming; in other words, it sounds as though it could have been released sometime between 1980 and 1983.
As the band’s Leo Paparella explained in press notes “‘Sitting Pretty’ is both a celebration and critique of vanity. There’s very much an innate cruelty to glamor. It operates out of exclusivity, which keeps its scope woefully narrow and out of touch. And I bet that’s why people want it so badly.” And as a result, the song possess a subtle yet palpable sense of menace and anxiousness under the clean, hyper-modern and danceable sheen.
Introflirt’s latest single “Orange Light” has them pairing undulating and cascading layers of synths and propulsive drum programming with Benjamin’s crooning and sonically, the song sounds indebted to 80s synth pop — in particular, Depeche Mode, The Human League and New Order but with a modern production sheen. And much like their previously released singles, the duo’s material thematically speaking the song focuses on the fractured psyche of its narrator, a narrator, who seems plagued by an overwhelming sensation of disappointment and frustration, repressed feelings and desires finally bursting out at an inopportune time.
With the release of his critically applauded full-length debut, Brooklyn-based electronic music producer, DJ and artist Krycek saw a growing national profile; in fact, Buzzfeed, Fresh Beats 365 and others compared the Brooklyn-based artist’s sound to Nine Inch Nails and CHVRCHES. And although to some extent those comparisons are fair, as you’ll hear on his latest single “My Limit,” Krycek’s sound possess a swaggering sensuality that owes a debt to hip-hop and trip hop as the song nods at Sneaker Pimps, Portishead and Tobacco while sonically, the Brooklyn-based DJ, producer and electronic music artist pairs woofer and tweeter rocking, boom-bap beats, funky and angular burst of guitar, murkily atmospheric synths and wobbling low end with his sultry and breathy vocals.
Over the course of three full-length albums and their latest EP Companion, Montreal-based electronic act BRAIDS have developed a reputation for restless experimentation, which has resulted in each of their recorded efforts sounding different from each […]
Comprised of Kristin Henry (vocals) and Brad Boettger (production), Seattle, WA-based duo NAVVI have developed a reputation for crafting brooding and propulsive electro pop; in fact, the duo have had their work appear on a compilation curated by renowned French electronic label Kitsune, and they’ve received press from a variety of media outlets including NME, Brooklyn Vegan, Impose, The Line of Best Fit and Jay Z’s Life+Times, among others. Building on the early buzz they’ve received, the Seattle-based duo will be releasing their long-awaited full-length debut Omni later this week through Hush Hush Records.
Now earlier this month, I wrote about “Close,” Omni‘s gorgeously minimalist electro pop first single thad the duo pairing Henry’s sultry and intimately with a sleek and hyper-modern production consisting of crisp, yet stuttering drum programming, ambient, swirling electronics, bleeps, bloops and boops, layers of shimmering and buzzing synths. and a propulsive groove while reminding me quite a bit of BRAIDS’ Flourish//Perish and Octo Octa’s Between Both Selves; in other words, the single possess a bracing and icy chill that belies an urgent and swooning Romanticism. Omni‘s second and latest single “What Reason Do We Need?” will further cement the Seattle-based duo’s reputation for crafting chilly and atmospheric electro pop as you’ll hear stuttering and skittering drum programming, swirling electronics, trembling bleeps and bloops and beeps and tweeter and woofer rocking beats paired with Henry’s sultry yet ethereal vocals. Sonically, the song reminds me a bit of Bear in Heaven‘s I Love You It’s Cool but with a plaintive Quiet Storm-like sensuality at its core.
Comprised of its frontmen Manchester, UK-born and Paris-based David Shaw and Paris-born and based Dombrance, along with Guilluame Rosel (percussion) and Victor Paillet (bass), the Paris-based electronic music collective DBFC emerged onto the French electronic music scene with the release […]
Queue, an indie rock quintet with members split between Philadelphia and Washington, DC is comprised of five college friends — Olivia Price, Tyler Ringland, Aida Mekonnen, Dan Snelling and Steve Vannelli — who were all originally in other bands, and decided that they needed to write music together. Interestingly, the decision to work together coincided with graduation and adult responsibilities, which eventually forced the members of the band to write and collaborate via the Internet. After about a year writing and recording demos, the members of the Philadelphia and Washington, DC-based quintet convinced at Degraw Sound Studios in Brooklyn to record the material that would comprise the band’s forthcoming self-titled EP, slated for a late June release.
With the release of “Falling Into Skies,” the first single off their self-titled EP, the indie rock quintet quickly received praise across the blogosphere, and as soon as you hear “More,” the second and latest single off the forthcoming EP, you’ll see why: the quintet pairs a gorgeous and melancholy melody with folky, strummed guitar chords, shimmering synths, propulsive drum programming and percussion and swirling electronics in a n ethereal yet buoyant song that effortlessly meshes electro pop with singer/songwriter folk; in fact, as the band’s Olivia Price noted to the folks at Consequence of Sound, lyrically the song captures the inner monologue of a narrator, who is in the middle of a crippling identity crisis as they desire something much better and not only has the narrator need to accept that actually getting that something better can actually require a ton of effort, they also have to accept that sometimes all of that effort can be for naught. And as a result, the song conveys a bitter and uneasy jumble of emotions.