Category: Single Review

Single Review by William Ruben Helms

 

Comprised of  Juan Ledesma, Charlie Woods, Alex Lopez, and Robert Villar, the Miami, FL-based indie dance pop quartet Krisp formed back in 2011, and over the past few years they’ve developed a reputation for a groove-based, 80s inspired synth pop sound that possesses elements of indie electro pop, chill wave and indie rock.

Their debut EP, Mamani Vice was released in 2012 to critical praise from the likes of Earmilk and Indie Shuffle, and as a result they’ve opened for the likes of LCD Soundsystem‘s Nancy Whang, Miami Horror, Junior Boys, Blood Orange and Holy Ghost! among others, which has expanded their profile nationally. Their follow-up EP Sonic Monarch which South Florida-based talent house Gummdrops will be releasing in January will be comprised of material that is a subtle change of sonic direction. As the band’s Alex Lopez mentioned to the folks at Indie Shuffle, “On our first EP, Mamani Vice, we used a lot of synths and electric drums. For the new material on Sonic Monarch EP, it’s more organic, because its instrument-driven. We’re still using Charlie Wood’s synths, but not Juan’s or mine. We’ve got a funk/indie/electronic style going.”

The EP’s first single “167” pairs layers of  atmospheric, shimmering and cascading synths, four-on-the-floor drumming, angular funk guitar chords, a sinuous bass line and plaintive vocals in a song that sounds indebted to 80s New Wave and post-punk — in particular, the song reminds me quite a bit of an atmospheric and propulsive version of The Fixx’s “The Sign of Fire,”and “Red Skies at Night” with a slight surf rock leaning; it’s a danceable and goofily fun song that manages to evoke watching American Bandstand in the mornings and singing along to your favorite songs.

Single Review by William Ruben Helms

As I’ve said countless times on this site, more than enough ink has been spilled over the course of New Order‘s 35 year history, so delving into their background isn’t necessary; but what I will maintain is that throughout the band’s history they’ve managed to balance that rare and difficult tightrope of being both critically and commercially successful. And as a result they’ve also managed to be incredibly relevant, as a growing number of bands have cited them and their sound as a major influence.  Certainly, if you’re a child of the 80s as I am, Duran Duran, Guns ‘N Roses, Def Leppard, Run DMC, New Order and a lengthy list of others will likely hold a very dear place in your heart. So it wouldn’t be terribly surprising that a number of artists have covered New Order over the years — with an increasing frequency of late. . .

Now if you’ve been frequenting this site over the past three or four weeks, you might recall that I’ve written about the San Francisco-based indie pop artist Mike Deni’s solo recording project Geographer. The project has developed a reputation for crafting a thoughtful and deliberate sound that meshes blossoming synths with precise orchestral arrangements. And with the release of his critically praised, third, full-length effort, Ghost Modern through Roll Call Records earlier this year, Deni has expanded his profile towards greater national attention.

Interestingly, while taking some time off to write new material over the summer, Deni had worked on a cover/reworking of Arthur Rusell‘s “This Is How We Walk On The Moon,” and the cover was so inspiring to the San Francisco-based electronic music artist that he decided that he should work on an entire effort of covers — and the result was he recently released Endless Motion EP, which features reworking and covers of songs by New Order, Kate Bush, Paul Simon and Felix Da Housecat.

The EP’s latest single is a cover of New Order’s “Age of Consent” that seems fairly straightforward as Deni has retained all the familiar elements of the song with an exacting verisimilitude; however, Deni’s vocals have a swooning and plaintive quality that pulls the song’s heartache and despair front and center. And although it’s an incredibly subtle and nuanced interpretation, the Geographer cover should remind listeners that New Order wrote a number of songs that wound up becoming remarkably timeless. Check out how it stands up to New Order’s original below.

Single Review by William Ruben Helms

Formed by founding member and siblings Neil and Martha Weil, the Minneapolis, MN-based indie rock act The Chambermaids have gone through a number of lineup changes in their history. When the band’s newest members Ollie Moltaji and Max Schramm were recruited, the members of the new lineup felt an immediate chemistry. And as the story goes, rather than playing a number of live gigs or setting up an extensive tour, the members of the band immediately went into the studio to work on new material, integrating Neil Weir’s studio, Old Blackberry Way into their songwriting process. Naturally some songs came together quickly while others wound up reinventing themselves with the result being a dreamy yet subtly expansive take on reverb-heavy minimalism.

Although the band is putting the finishing touches on their forthcoming and yet untitled new album, which will be released through Old Blackberry Way/Guilt Ridden Pop Records, the album’s first single “Tall Trees” is a slow-burning, dreamy and reverb-filled bit of shoegaze-leaning material that feels and sounds as though it were inspired by The Verve‘s  A Storm In Heaven and A Northern Soul — in particular, “Already There” and “Stormy Clouds.”

 

Single Review by William Ruben Helms

So if you’ve been frequenting the site over the last few months, you’d likely be familiar with the Los Angeles-based quintet Lady Low have become something of a mainstay, as I’ve written about the band a handful of times over the past few months. Of course, because there are almost always new folks to the site — or some folks who need their memories refreshed, let’s discuss some backstory: Comprised of founding member Jimmy Sweet (guitar, vocals), who as once a member of the San Francisco, CA-based punk band Richmond Sluts and a touring member of Hot Hot Heat, Rachel Maxann (vocals, synth and bass), Eden Lee (vocals, drums), Kaitlin Wolfberg (violin) and Hannah Blumenfeld (violin), the quintet have received quite a bit of attention from this site and across the blogosphere for a sound that the members of the band has dubbed “Romance rock.” Sonically, they combines s straightforward, old-school, rock ‘n’ roll three chord, 12-bar blues approach with gorgeously lush string arrangements which gives their material a gritty yet swooning (and of course, dramatic) feel that also manages to indirectly channel Phil Spector’s classic “Wall of Sound.”

They’ve recently released a moody and swooning Christmas-inspired song that sounds as though it could have been released in 1962 as soaring strings are paired with layers of plaintive harmonies. Lyrically, the song concerns itself with a relationship ending right around the holiday and how miserable the holiday season can be when you’re single and heartbroken. Although kitschy as most Christmas-inspired pop songs are, it possesses a heartfelt sentiment that should be familiar to anyone who actually has been heartbroken during the holidays when everyone else seems to be happy.

Single Review by William Ruben Helms

Originating as the solo recording project of David Miller, the Chicago, IL-based lo-fi/punk/psych rock quartet Strange Faces expanded to a quartet when Miller recruited Taylor Walters (guitar), Philip Valdez (bass) and Ben Leach (drums) to flesh out and complete the project’s sound. “Brand New Way,” off the quartet’s soon-to-be released debut effort Stonerism is a swaggering, scuzzy bit of psychedelic  lo-fi reminiscent of Crocodiles and Raccoon Fighter as the album’s first single pairs buzzing guitar chords, a tight and propulsive rhythm section, big hooks and vocals fed through layers of distortion. And despite it’s swaggering nature, at its core is a bruised and aching heart as the song’s narrator talks about moving on from crushing loneliness while capturing the youthful restlessness and rebellion that’s always been the rock ‘n’ roll spirit.

 

 

 

Single Review by William Ruben Helms

New Video: Sexy Fights’ 80s Inspired Video for “Bending Light”

Comprised of Jordan Rose Brzezinski (vocals), Philip Shoemaker (synths, keys and guitar). Russell Augustin (guitar) and Bryan Hart (drums and samples), the Chicago, IL-based quartet Sexy Fights specialize in a slick, dance floor ready sound that […]

Single Review by William Ruben Helms

 

Comprised of brothers Adam Lyons (vocals) and Nathan Lyons (keyboards), along with Patrick Huerto (guitar), Tommy Davis (bass), James Alexander (drums), the Gold Coast, Australian-born and now Manchester, UK-based sextet Fairchild have developed a growing international profile for an 80s inspired, hook-laden synth pop sound.  The sextet’s latest single “Breathless”  further cements the band’s reputation for 80s inspired synth pop; however, while their previously released material was rousingly anthemic, the new single is slow-burning, sensual, and moodily atmospheric in a way that’s reminiscent of The Fixx’s “Saved by Zero” as four-to-four drumming,  swirling electronics, slowly cascading synths, shimmering guitar chords played through layers of reverb are paired with Adam Lyon’s soulful crooning and a slinkily sexy groove.

 

Produced by friend and frequent collaborator Catherine Marks, best known for her work with Foals, The Killers and Wolf Alice, the single not only reveals a subtle refinement of the sound that first won them international attention, it also inspired a change in their songwriting process. As the story goes, the time the members of the band spent writing “Breathless” actually inspired a series of pre-production jam sessions and songwriting sessions over the course of four months that had each band member contributing ideas unencumbered and unhindered by genre expectations. At times members of the band worked individually and in small groups, sometimes swapping instruments, sharing ideas and thoughts on bits of grooves, riffs and beats  and as they did so they began to see and feel even more parallels between their recorded efforts and their influences.

From listening to “Breathless,” I can tell you that the song is arguably the most self-assured, loosest and sexiest song that they’ve released to date, and that seems to stem from the songwriting sessions that birthed it. Granted,  if you were familiar with them before, it’s a subtle refinement of their sound but the hooks are sharper and laser focused. And while their material had always been emotionally direct, the new single pairs that directness with a deeper commitment to setting a particular mood. Be on the lookout for a new EP from the Australian-born, British-based band sometime in 2016.

 

 

 

 

 

Single Review by William Ruben Helms

 

 

Originally begun as a solo side project from her time with Vivian Girls and All Saints Day, Katy Goodman’s current musical project La Sera has developed a national profile with three critically applauded albums, her self titled debut, Sees the Light and Hour of the Dawn, which were released through Hardly Art Records.  Goodman’s last album, 2014’s Hour of the Dawn was very much a punk-inspired album; however, with the release of “High Notes,” the first single from her forthcoming album, Music For Listening To Music To reveals an artist, who has gone through both personal and artistic transitions. Sonically and structurally, the song reveals that Goodman has returned to an elegant and solid simplicity — it pairs the sort of shimmering guitar chords of The Smiths and the propulsive, old-school chugging rhythm of Johnny Cash (in particular, think of “Folsom Prison Blues,” “Jackson” and countless others) with Goodman’s wistfully ethereal coos. And interestingly enough La Sera has added personnel to flesh out the project’s sound — Goodman’s guitarist, cowriter and husband Todd Wisenbaker, who is probably best known as a member of Listening To Music To‘s producer Ryan Adams‘ backing band.

Of course, “High Notes” makes a vital connection between punk, post-punk and renegade country that countless others have done before while possessing a sneering, real life irony that many of us have faced before — after a breakup, taking the high road not because you actually believe that it’s the best thing but for appearances and because you want to get the last word. It’s probably the most honest and heartfelt sentiment I’ve come across in quite some time.

 

 

 

 
Single Review by William Ruben Helms

 

Bloodline is an extremely mysterious production group who have received quite a bit of buzz across electronic music and electronic dance music circles for a sound that’s deeply influenced by 90s house, as you’ll hear on their slickly produced latest single “Tribute,” a song  club-rocking classic house song comprised, looped vocal samples, layers of staccato synths and tweeter and woofer rocking beats. Sonically, the song manages to bear an uncanny resemblance to a club banging, house music standard, Inner City‘s “Good Life.”

The mysterious production group’s debut effort, EP1 has received quite a bit of attention, as it reached Traxsource‘s Top 10 List, and building upon that buzz, the group will be releasing its follow up, EP2 shortly.

 

Single Review by William Ruben Helms

Much ink has been spilled on the London-based quartet The Psychedelic Furs of the course of their almost 40 year recording career. And if you were a child of the 80s as I was, the band will likely hold a dear place in your heard — especially if you loved Pretty in Pink. “Love My Way” is one my favorite Psychedelic Furs songs — and interestingly, Grace Vonderkuhn, a Wilmington, DE-based singer/songwriter and guitarist, developing a reputation for a sound that meshes psych rock, garage rock and pop recently covered “Love My Way.”

Vonderkuhn’s cover retains the song’s familiar melody and anthemic hooks but slows the song’s tempo down to a slow-burning, trippy shuffle consisting of layers of feedback, blistering guitar work and thundering drum, turning the song into a broodingly bluesy wail.

Single Review by William Ruben Helms

Comprised of Kyle Miller (vocals and lead guitar), Jake Supple (vocals, bass and drums), and Ty Baron (guitar and keys) Denver, CODenver, CO-based psych rock trio Plum have specialized in the beloved psych rock sound of the late 1960s and early 1970s –in other words power chord heavy songs with blistering, mind-melting solos, thundering drumming and soulful vocals and harmonies. But interestingly enough, it’s a sound that also nods towards the grunge rock sounds of Pearl Jam (think of “Evenflow“), Soundgarden and others without being being carbon copy mimicry; in fact, the members of Plum push a familiar sound to a subtly modern context without scrubbing away what listeners love about the sound — power chords and anthemic hooks as you’ll hear on their latest single “Light Years, Dark Years.”

 

Single Review by William Ruben Helms

Frequently compared to RIDE, Smashing Pumpkins, Dinosaur, Jr. and Deerhunter, the critically praised Chicago, IL-based quartet Pink Frost originally formed under the name Apteka — and as Apteka, the quartet recorded their debut effort Gargoyle Days on analog tape before releasing the album back in 2011 to critical praise; the album landed on Time Out Chicago‘s Best of 2011 List, as well as several others. After changing their name to Pink Frost, the quartet’s 2014 sophomore effort, Sundowning was released to critical praise from nationally renowned media outlets including Pitchfork, SPIN Magazine, Noisey, Magnet Magazine, and Chicago Reader. And adding to a growing national profile, material from Sundowning appeared in The Lookalike and TV series such as The Vampire Diaries and CSI: Miami, among others.

The Chicago-based quartet will be releasing a painstakingly remixed and remastered update of the original analog masters, which reportedly will not only pack much more punch, but will also be representative of the band’s live sound. Of course, with new artwork reflecting the band’s change of name, the band intends for the re-release of their debut to be a metaphorical and literal rebirth. (Interestingly, the members of Pink Frost have been incredibly busy of late as they’ve also been busily recording the follow-up to Sundowning and Traitors EP with Gregoire Yeche at Steve Albini’s Electrical Audio Studios.)

The re-released album’s second and latest single “Where Days Go” is an power-chord based song with enormous, anthemic hooks that sounds as though it were inspired by 90s alt rock and shoegaze. I’m reminded quite a bit of The Posies‘ “Ontario,” Foo Fighters “This Is A Call” and The Black Angels‘ “Telephone” as “Where Days Go” possesses a similar forcefulness and mosh-pit ready feel while being incredibly radio friendly.

 

Single Review by William Ruben Helms

Comprised of Jimmy Jönsson (vocals), Stefan Aronsson (synths and programming) and Per Linnerblad (synths and programming), the Stockholm, Sweden-based electro pop trio Red Cell can trace their origins to when the band’s founding duo of  Jönsson and Aronsson formed the back during the winter of 2002-2003. Deriving their name from a character that appears in the TV series Nikita, the duo recorded their first demo “In Command” a few months after forming, and it was released to praise in the Swedish press for an industrial metal sound.

Stefan Aronsson, who played guitar on their first single was recruited into the band along with another member on synths and as a newly constituted quartet, the band’s sound became much more synth-based. After recording two more demos — “I Am The Way” and “Related Skin,” which received national attention, the band entered the Swedish demo-contest Quest For Fame and won a recording contract. And although the band eventually turned down the recording deal they won, with a growing national profile, the quartet toured around Sweden and started playing regular gigs in Copenhagen, Denmark, which begun to expand their international profile across Scandinavia.

By January 2005, the Swedish electro pop quartet had signed with Torny Gotberg’s Gothenburg, Sweden-based Progress Productions, who released their commercially successful full-length debut effort, Hybrid Society that September. The album peaked at number 7 on the Swedish metal charts and at number 53 on the National charts. A national tour to support Hybrid Society followed, along with the band’s first gigs in Norway.

The band’s last effort Lead or Follow was released in 2008, and as you can imagine across Sweden and the rest of Scandinavia, the news of their forthcoming third, full-length release, slated for release sometime next year has been long-anticipated. Although currently untitled, the album’s first single “Taking Back The Crown” is an anthemic bit of synth pop that sounds indebted to Depeche Mode‘s “People Are People” and “Policy of Truth” as well as The Human League‘s “Don’t You Want Me?” as layers of undulating synths are paired with propulsive drumming, enormous arena-friendly hooks and plaintive vocals.

 

 

Single Review by William Ruben Helms

Producer, DJ and electronic music artist Paris-born and Italian-based Idriss D has spent more than a decade at the forefront of Italian electronic dance music with the release of a string of commercially and critically successful EPs and singles — and as one of the best known DJs and producers as he’s played in some of his country’s most renowned clubs and music venues including Echoes, Cocorico and Red Zone.

After a chance meeting with Berlin-based Fabrizio Maurizi in 2006, the pair founded Memento Records, a forward thinking electronic music label that has released work from up-and-coming and cult-status producers and artists such as Luciano, Paco Osuna, Argy, Tom Clark, Okain and others.  Idriss D’s long-awaited full-length debut Amalgamation is slated for a December 18 release is inspired from the Italian-based DJ and producer’s desire to bring together his life experiences over the last couple of years as he’s become something of an authoritative voice in Italy’s club scene.

Amalgamation‘s first single and album opening track “Transition” is an incredibly nuanced song consisting of skittering drum programming, undulating synths, electronic clicks, bloops and beeps and big thumping bass, and sonically it possesses the same hazy and dream-like feel of Octo Octa‘s Between Two Selves — in particular, “Please Don’t Leave.” And much like Octo Octa’s impressive 2013 full-length, the song is an atmospheric and carefully constructed and yet propulsive and dance-floor ready.

 

Single Review by William Ruben Helms

 

Up-and-coming, Watford, UK-born, London-based future soul artist Connie Constance quickly received national attention with the release of her debut EP In The Grass produced by Blue Daisy. The EP which was praised for its dreamy yet beat-driven soundscapes paired with Constance’s earnest songwriting and vocals was championed by Pharrell Williams, who played tracks on his Beats 1 Radio show and several BBC Radio hosts including Annie Mac, Huw Stephens, Mister Jam, Julie Adenuga and Giles Peterson.

Constance’s latest single “Answer,” continues her ongoing collaboration with Blue Daisy — and sonically, the single pairs propulsive and percussive African-inspired beats, shimmering guitar chords and swirling electronics with Constance’s aching and intimately soulful vocals in a confessional and earnest song with a burning, sarcastic edge. As Constance explains in press notes, the song relates to two different people in the world — “one person that knows all the answers for taking all your troubles away,” as well as “a kind of know it all person, like, they already know the answer.”

2016 looks to be a huge year for the British soul artist, as she’s currently working on material for a new effort.