Comprised of Nigerian-born, Ottawa, Ontario, Canada-based singer/songwriter Deelo and Canadian-born, Ottawa-based producer and director Julian Strangelove, the up-and-coming electro pop duo Garçons can trace their origins back to when the duo initially met back in […]
Sam Arion is an Iranian-born, Toronto area-based singer/songwriter, multi-instrumentalist and producer, and the creative mastermind behind Mute Choir. Raised in the Toronto suburbs of Richmond Hill and Newmarket, Arion left the ‘burbs when he turned 18 to seriously pursue a career in music. Eventually, Arion had a glimpse of success as a part of a band that signed to a major label, and although countless young musicians across the world would salivate over such an opportunity, Arion quickly saw that the demands of the situation ran counter to his own musical and creative philosophy. And for the Iranian-born, Toronto area-based singer/songwriter, multi-instrumentalist and producer, the only solution was to make a clean break and take full command over his artists output with his own solo recording project — Mute Choir.
Behind the Bars Arion’s self-produced Mute Choir full-length debut was primarily written and performed by the Iranian-born Canadian singer/songwriter, multi-instrumentalist and producer himself. “I’d say that 98% of this album was made by me alone on my laptop at 3 a.m.,” Arion admits in press notes. “I’m not a great drummer so I had to get a friend to do that, but I wrote all his parts. As soon as I started playing music when I was 13, I immediately wanted to learn how to produce because I never wanted to be in a situation where someone else was telling me how my music should sound. What’s most important to me is not feeling like I’m faking it, not just with music but all aspects of my life. That’s what this album represents most—it’s a true expression of who I am.”
Interestingly, Arion has dubbed his sound “post-electronic” as a nod to a split musical personality as a balladeer and experimentalist; in fact he admits that his songwriting has almost always been a bit melancholy but that incorporating electronic music elements became almost like meditation, as it has allowed him to lose himself in the music. “Growing up in a generation musically dominated by EDM, I saw how powerful the ability to make people dance can be,” Arion says. “It brings music into the physical realm. I want to bring that out in people, I want people to lose themselves in the music the same way I did making it, but not necessarily as a means of escape. It’s also very important to me to have lyrical content and themes that also allow listeners to think and reflect on their lives.” Thematically speaking, the album reportedly focuses on freedom — particularly, the freedom to live your life however you choose, and the freedom to follow your creative vision wherever it leads. Of course, in order to develop and have a concept of freedom, there has to be the experience of its direct opposite, so the album in some way also focuses on that dichotomy and how it clashes in one’s personal and creative life.
Behind the Bars‘ latest single “Election Season” is an anthemic bit of electro rock/synth rock that immediately brings to mind Empire-era Kasabian — but within an expansive song structure centered around bombastic hooks, arpeggiated synths, thumping, tweeter and woofer rocking beats and a sinuous bass line that features a gorgeous and cinematic string arrangement before building up to a cathartic cacophony. It’s the rare song I’ve heard this year that’s both dance floor friendly and mosh pit worthy but underneath the self-assured swagger is some thoughtful and ambitious songwriting.
Comprised of Bondi, Australia-born, London UK-based Sssh Liguz (vocals) and Zak Starkey, the son of Ringo Starr, a multi-instrumentalist, best known as a touring drummer for The Who and Oasis (guitar), the London-based electro punk duo SSHH received attention with the release of their 2016 debut effort, Issues, which featured the duo collaborating with some of rock’s most renowned rhythm sections, including members of The Sex Pistols, Mott the Hoople, the backing bands of Marilyn Manson and Peter Tosh — to benefit charity.
The propulsive, industrial techno-like single “Rising Tide” which features heavily arpeggiated synths with thumping, tweeter and woofer rocking beats and an infectious hook is the duo’s first bit of new material since Issues and the club banger was born, as Liguz told Earmilk “from a fiery argument” while “driving in a heavy rainstorm.” “I remember being furious beyond belief. Not only because we were having a huge fight, but because even though we were acting like assholes to each other, I couldn’t stop thinking how much I loved him,” Liguz recalled. “Just like I couldn’t stop the rain from falling, or the stars from shining, I just can’t stop loving this man!” Liguz continued, “There is anger in the happiness and a little hate in the love. At the end of the day, passion rules.” And as a result, the song possesses a raw and unbridled tension at its core, influenced by the tempestuous push and pull between love and hate in a fiery and passionate relationship.
BMG released the single globally today, and the single comes with 7 additional remixes and re-workings of the tracks, including re-workings by the likes of YOUTH, Sondrio, Acaddamy, Secret Space, Jevo, and the members of SSHH.
Co-directed by the band and Billy Zammit, the recently released video for the song manages to subtly draw from rave and electronica culture, as well as psych rock, as it features the duo performing the song in strobe lights and projections.
Comprised of Mark Ryan, a member of bands like The Marked Men, High Tension Wires and Radioactivity, along with Baptist Generals‘ Peter Salisbury (synths) and The Marked Men’s Mike Throneberry (drums), the Fort Worth, TX-based synth punk act Mind Spiders is a decided sonic left turn from each of the individual members’ various projects — with their forthcoming album Furies, reportedly being the project’s most electronic leaning album to date. And as you’ll hear from the album’s first single, album title track “Furies” is an urgent, post apocalyptic industrial rock track, complete with layers of buzzing synths, propulsive drum programming, howled vocals and a mosh pit worthy hook reminiscent of Ministry and Nine Inch Nails; but underneath the urgency of the song is a healthy sense of panic and dread — the sort of panic and dread of our impending doom, as a cabal of dangerous and greedy idiots fuck up everything we’ve ever loved or valued.
Look for the album on January 26, 2018 through Dirtnap Records.
Comprised of Jenny Gabrielsson Mare and Fredrik Jonasson, the Swedish synth pop/dark wave duo White Birches formed back in 2013 and with the 2014’s debut EP Stands of White Birches and 2015’s full-length debut Dark Waters, the Swedish duo quickly received attention across Scandinavia for a sound that has been compared to Depeche Mode, Cocteau Twins and The Sisters of Mercy, as the up-and-coming duo craft moody songs based around piano, angular guitar chords, analog synths, eerie yet pop-leaning melodies and dark lyrical content; in fact, their debut effort received a Best Synth nomination at the Swedish Indie Grammy Awards, Manifestgalan.
Gabrielsson Mare and Jonasson signed with Progress Productions, who will be releasing their sophomore effort When The Street Calls on February 9, 2017, and the album’s latest single “Howl” will further cement the duo’s growing reputation for crafting moody synth-based goth-inspired dark wave, as the duo pair layers of soaring synths with propulsive drum programming, angular guitar chords and a rousingly anthemic hook — and while sounding as though it could have been released during 4AD Records heyday, the song possesses a punk rock urgency.
The recently released video for “Howl” features animation by Jenny Gabrielsson Mare that not only is politically charged but serves as a call to arms for anyone, who wants to resist the cruel realties of racism, inequality, war and so on — while also serving as a primer on how to survive and thrive in our incredibly tense times.
Over the past couple of years, I’ve written quite a bit about the Brooklyn-based JOVM mainstay act NØMADS. And if you’ve been frequenting this site you’d recall that the duo, primarily comprised of Nathan Lithow (vocals, synths, bass) and Garth Macaleavey (drums) spent the better part of last year writing writing and recording the material that would eventually comprise their sophomore album PHØBIAC, a concept album in which each song focuses on a different phobia, approached in an abstract, almost clinical fashion. Naturally, the material captures and evokes the innermost thoughts and anxieties of someone in the grips of a deeply crippling fear; but at its core, is a cautionary message for our heightened and uncertain times — that whenever we succumb to the irrationality of our fears, chaos and self-destruction will be the result.
Throughout the course of the year, the duo have released new singles off PHØBIAC every month but recently the duo announced that they’d be splitting the album into two separate EPs — the organic instrumentation-driven PHØBIAC Part 1 and the synth-driven PHØBIAC Part 2. Last month’s single “Phasmophøbia” featured drummer Brian Wolf, who’s best known for his work with David Byrne, St. Vincent and the legendary Dap Kings, and focuses on the fear of the paranormal and of ghosts — both literal and figurative. Recorded live in Pittsburgh in the murky shadows of an abandoned Catholic school’s furnace room in one full take with no edits, “Phasmophøbia” consists of a fast and loose, improvised jam-like arrangement featuring swirling and twisting synth chords paired with boom-bap hip-hop-inspired drumming which evoke a sweaty, nauseating paranoia. That shouldn’t be surprising as the song focuses on an ex-lover, who perpetually haunts the street of the paranoid narrator’s daily world; and in fact, the song’s narrator recognizes that his past is sickeningly inescapable.
PHØBIAC Part 2’s latest single “Autophøbia” focuses on what may arguably be the most prevalent and shared fear of all clinical phobias — the fear of being alone or isolated, as though you may be the last person on earth or being so misunderstood that you can’t find any common ground with anyone. Certainly, the fear of being alone influences our behavioral patterns, our relationships and our concept of what constitutes a happy, organized, successful life. Continuing the group’s ongoing collaboration with Brian Wolf, the track features twisting and turning synths paired with rolling and propulsive drumming while lyrically, the song’s young narrator gazes into the future through a picture of himself a lonely old man, who knows that death is imminent and unavoidable and while tinged with an underlying sense of regret, there the creeping realization that his worst nightmare will come true — that he’ll die alone, forgotten and obsolete.
Much like the previous single, “Autophøbia” was recorded live and in one full-take with no edits within the murky shadows of an abandoned Pittsburgh area Catholic school furnace.