Category: Synth Pop

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Beacon Release a Driving New Meditation on Desire

Throughout this site’s 10 year history, I’ve managed to spill quite a bit of virtual ink covering New York-based electronic music duo and JOVM mainstays Beacon. Now,. as you may recall, the act’s third album, 2018’s Gravity Pairs found the duo — Thomas Mullarney III (vocals) and Jacob Gussett (production, keys, synths) — writing material that was a sonic left turn from their previously released work.

As they continued, they expanded upon some songs and pared others band. Much like the bending of light through a prism, the abstract, patient and almost painterly creative process of Gravity Pairs eventually turned the material they wrote into a space in which wildly different colors, tones and textures — in this case, minimalist ballads, elaborate pop spirituals and driving dance tunes — can coexist simultaneously and at different speeds. With each iteration, the duo discovered they could easily expand upon how they presented the material within a live setting: they could play the same material in a straightforward fashion — or they could play the same material in a different fashion that added or subtracted color and shading, depending on the circumstances, their moods and their desires. And while Gravity Pairs pushed the JOVM mainstays sound and songwriting approach in an adventurous new direction, the album’s material remained imbued with a vulnerability and aching yearning.

Since the release of Gravity Pairs, the members of Beacon have been extremely busy: Last year they opened for Nick Murphy. during his North America tour, which included a stop at Brooklyn Steel. They shared a series of stripped back, live studio sessions and they released a remix album, which featured edits by Elkka, Helios, and CRi. They began 2020 with a meditative, piano-led take on the Pixies‘ “Wave of Mutilation.” Inspired by the slower tempo and phrasing of the UK Surf B-side, which showcased the original’s mutability — and then they went off on a headlining European tour, which stopped in my second favorite city in the entire world, Amsterdam.

“Feel Something” is the first bit of new, original material from the JOVM mainstays since Gravity Pairs and the track finds the duo continuing to prioritize discovery and experimentation in their songwriting approach. Centered around blown out boom-bap beats, a sinuous bass line, atmospheric yet menacing electronics, jagged synth arpeggios, shimmering guitar lines, a motorik-like groove and Mullanary’s plaintive falsetto, the song’s lyrics paint a surrealistic and disturbing vision of desire and control. offering an almost lived-in perspective of a codependent and dysfunctional relationship.

Beacon have released an accompanying visual featuring a kaleidoscopic and undulating array of colors, moving along to the song’s motorik-like grooves. Without touring on the horizon as a result of the pandemic, Mullarney and Gussett teamed up with their friends at inlet.tv to create a 24/7 steaming channel featuring live visuals from the band’s extensive and lengthy touring history, which you can check out on their website — https://www.beaconband.tv. The channel is also syndicated on YouTube, where users can engage in an active chat.

Each week through the duration of the pandemic, the members of the JOVM mainstays will be releasing a new live visualizer from their archives to the channel and will utilize it going forward to broadcast studio sessions, Q&As and premiers, leading up to new music in 2021.

Single Review by William Ruben Helms

Slow Magic is a mysterious and masked electronic producer and electronic music artist, who has garnered both critical and commercial success with the release of his first three albums — 2012’s Triangle, 2014’s How to Run Away and 2017’s Float have managed to amass over 200 million streams globally. Adding to a growing profile nationally and internationally, the masked producer and electronic music artist has toured with ODESZA, Giraffage and XXYYXX — and has released critically applauded remixes of the work of ODESZA, Gold Panda and Delorean. 2018 saw Slow Magic play a set at Coachella, which he followed up with a North American tour with shallou and a headlining European tour.

Earlier this year, Slow Magic released the Closer 2 U EP, an effort which was released to praise fray the likes of NPR, NAKID Magazine, Dancing Astronaut, This Song is Sick, and a long of list of others. Featuring collaborations with shallou, Manila Killa, Woven in Hiatus and others, the EP found the mysterious producer and electronic music artist firmly establishing himself as a go-to collaborator, and as a rising talent and tastemaker in the electronic music world. Building upon the momentum he earned with Closer 2 U EP, the acclaimed masked producer fourth album it’s the end of the world, but it’s ok is slated for a December 9, 2020 release through Moving Castle.

Thematically, it’s the end of the world, but it’s ok explores and touches upon uncertainty, community, resilience and communication — all things that have been a part of our daily lives in some fashion or another over the past seven months or so. The album’s first single is the upbeat anthem “Carry On.” Centered around several layers of lushly shimmering and arpeggiated synths, stuttering beats, euphoria-inducing drops and an enormous hook,. the track which features guest vocals from Paperwhite has a much-needed and uplifting message (and reminder) to listeners: look inward, calm yourself and love yourself, look towards building a brighter, better future — and find solace in carrying on to the best of your ability.

“‘Carry On’ came from a session with Katie Marshall from Paperwhite and Jeremy Silver in 2019,” Slow Magic explains in press nots. “Coincidentally enough, the concept I was working on at the time for it’s the end of the world, but it’s ok, was a post-apocalyptic narrative where the focus was on getting through it and striving toward what was ahead. I had no idea the lyrics we came up with that day would ring so true in 2020. The line ‘If the stars burn out tonight we’re gonna carry on’ really echoes what I see happening all around the world right now amid such crazy times: people are carrying on with their lives and it is beautiful to see.” 

“’Carry On’ came together quickly on a summer day in LA where Slow Magic and I just happened to both be visiting,” Paperwhite recalls. “It was one of those songs that unfolded easily within our first hour of writing. I’m thrilled to see how Slow Magic explored our idea and gave it new life.” 

Video by William Ruben Helms

New Video: Brittany Campbell and Phil. Team Up on A Bold Declaration of Queer Love and Desire

Brittany Campbell is a Los Angeles-based R&B artist, animator and actor and activist. Joining the Metropolitan Opera at an early age, Campbell went on to act in and star in a number of Broadway productions including a little one by the name of Hamilton, where she met her girlfriend Candace Quarrels — and formed the R&B and folk duo Mermaid, whose forthcoming full-length album features production by Matt Otto and Sam Hoffman.

Campbell has also released material as a solo artist, releasing her full-length debut, 2018’s Stay Gold, which revealed a songwriter, who could craft earnest, lived-in songs paired with a self-assured vocal range. The Los Angeles-based artist, animator, actor and activist’s creative passion and curiosity led her to become a self-taught animator, who has created videos for supermodel/vocalist Shaun Ross, as well as for her work.

Born Philip Johnson-Richardson, Phil. is a Charlotte-born, New York-based singer, emcee, dancer and actor, who immediately upon finishing his degree in musical theater at the University of Cincinnati’s College-Conservatory of Music joined the cast of the Chicago production of Hamilton, where he eventually starred in the titular role. Since starring in Hamilton, the rapidly rising talent has managed to land a number of prominent acting gigs, appearing in TV shows like Chicago P.D., Proven Innocent, The Other Two and the the horror film Haunt. He was also cast as a series regular in the Sara Bareilles and JJ Abrams created Apple TV+ series Little Voice. And adding to a incredibly busy period, the Charlotte-born, Chicago-based singer, emcee, dancer and actor will be releasing his debut EP Different Cities, an effort that will help to further showcase his talents.

Recently Campbell and Phil. teamed up on the slickly produced and empowering pop anthem “Champion.” Centered around stuttering trap beats, shimmering and layered synth arpeggios, Campbell’s sultry vocals, an inspired guest spot from Phil., who quickly alternates between staccato spitting fire and achingly tender soul crooning and an infectious hook, “Champion” is a sensual and joyous ode to queer love, desire and devotion that was specifically released for National Coming Out Day. “I’ve written a few songs about making love but none that were inspired by making love to a woman,'” Campbell explains. “The song and video is my attempt at capturing some of the feelings it inspires in me. . . the euphoria and joy in making love.”

The brightly colored, intergalactic — and downright trippy — visual for “Champion” captures Black, queer love with a boldness that’s defiant yet tender, as it suggests that for the song’s narrator making love to her girl is a transcendent and otherworldly experience.

Video by William Ruben Helms

Lyric Video: Acclaimed Canadian Duo Twin Flames Release a Slickly Produced and Empathetic Single

Twin Flames is a highly celebrated Ottawa-based husband and wife duo featuring:

Chelsey June, an Ottawa-born singer/songwriter, who is a part of the Mètis, a multi-ancestral indigenous group who can trace their descent from both indigenous North Americans and European settlers and can claim Algonquin Cree ancestors.

Jaaji, a Nunavik-born singer/songwriter who’s part Inuk and Mohawk.

The individual members of Twin Flames have had their own respective critically applauded, multi-award winning and nominated careers when they met, decided to work together, and fell in love during the filming of APTN’s Talent Autochrones Musical (TAM). Since the pair joined together personally and professionally, they’ve had an enviable run of success as a result of work l that meshes the contemporary and traditional with lyrics sung in Inuttitut, English and French:

They’ve been nominated for 25 awards, including two Canadian Folk Music Awards wins and three Native Music Award wins.
They’ve had two #1 hits on the Indigenous Music Countdown’s Top 40.
They’ve played 1000+ shows across Canada, the States, Australia and France
They were selected as artist-in-residence for last year’s Folk Alliance International conference.
The Canadian duo partnered with UNESCO to write the official song celebrating the International Year of Indigenous Languages.
“Human” was chosen as part of last year’s CBC’s Music Class Challenge.
The music video for “Broke Down’Ski’Tuuq was the first Inuttitut language video to be featured on Canadian music channel MuchMusic.

The indigenous duo’s third album OMEN is reportedly a sonic departure from their previously released material — with the album finding the duo’s sound incorporating edgier elements of alt pop, and indie rock as the duo explain in press notes is “concept-based around a dystopian reality, global warming, and humankind free of social classes, mental health, and addictions.”

OMEN’s first single, “Battlefields” is a perfect example of what listeners should expect from the album: shimmering and glistening synth arpeggios, big thumping beats, a rousingly anthemic hook, some indie rock-styled guitar lines and the duo’s plaintive boy-girl harmonies singing lyrics in English and Inuttitut. The end result is a slick, radio friendly and accessible pop anthem. But underneath the slick polish, the song possesses a gentle yet urgent plea to the listener — especially those within the Indigenous community — to seek help if they’re struggling. True strength is when you acknowledge you need help, that you can’t face it all alone. Along with that, there’s the tacit understanding that everyone struggles with their mental health at some point; being a caring, kind and thought personal in a morally bankrupt and nonsensical world is difficult as it is.

“Mental health is a battle that many people face in silence,” Twin Flames’ Chelsey June says. ““This song speaks to the stigma associated with it.” Jaaji adds, “In the Arctic of Canada, Inuit People face the highest amount of suicides in the world. ‘Battlefields’ is a song to remind our people we have to fight our own minds to survive, we are fighters, and together, we can feel less alone and win this battle.”

Single Review by William Ruben Helms

New Audio: Penguin Prison Releases an Upbeat and Hopeful New Banger

Chris Glover is a New York-based multi-instrumentalist, singer/songwriter and electro pop artist best known as Penguin Prison. With Penguin Prison, Glover has a critically applauded discography that includes 2011’s self-titled debut and 2015’s Lost In New York — and a handful of viral hits including “Don’t Fuck With My Money,” “Show Me The Way” and RAC’s “Hollywood.” Additionally, Glover has released acclaimed remixes of Lana Del Rey, Ellie Goulding, and Imagine Dragons.

Glover’s latest Penguin Prison single “Better” is the first bit of new material from the acclaimed pop artist since last year’s “The Heat.” Beginning with a arpeggiated piano and soulful vocal-led intro with the quick addition of layered harmony, handclaps and shimmering synths, the track turns into a rousingly anthemic banger with the addition a sinuous bass line, Nile Rodgers-like funk guitar and an even more uptempo, two-step inducing groove. Subtly nodding at soul and gospel spirituals, the song was written with the direct intention of uplifting listeners and inspiring them to hold on to the hope of a better world — even if it’s just for the duration of a fun pop song. Honestly, considering the dire state of everything, the song offers a necessary escape, as all great pop songs inevitably do.

“This song is my response to the times we find ourselves in,” Glover explains. “The global pandemic, social injustice, climate change; it’s overwhelming. I wanted to write about rising above it all. I want the listener to feel hopeful that we can find a way to get through even if it’s just for the duration of the song.”


Single Review by William Ruben Helms

INNR CIRCLE is a rising Toronto-based Panamanian-Canadian R&B artist, who has started to receive attention both locally and nationally for a sound that meshes elements of New Wave, dream pop and R&B paired with a striking and dynamic vocal register and earnest, lived-in songwriting. The rising Canadian artist’s latest single “Take” has begun to receive attention from a number of tastemakers: “Take” has been featured on Spotify’s New Music Canada, YouTube Music’s RELEASED, as well as Next in Queue, Sine Language, Alternative Hotlist and Your New Alternative playlists — and after hearing the single you’ll see why the Toronto-based artist is so buzz worthy.

Centered around a sinuous bass line, shimmering synth arpeggios, a decidedly Tropical air , a shuffling two-step inducing rhythm and INNR CIRCLE’S achingly plaintive and sultry vocals, the track sonically reminds me JOVM mainstay Washed Out to mind while featuring a a narrator, trying to pursue an old relationship that he fucked up. And as a result, the song touches upon loneliness, longing, frustration, despair and self-flagellation in a way that’s neurotic yet familiar.

Single Review by William Ruben Helms

New Audio: JOVM Mainstay TOBACCO Returns with a Gauzy Pop Hook-Driven Single

Over the course of this site’s ten-plus year history, I’ve spilled quite a bit of virtual ink covering Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter Thomas Fec, best known as TOBACCO. During his two-plus decade music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement, pleasure, and menace as the frontman and creative mastermind of JOVM mainstays Black Moth Super Rainbow, as a solo artist and through his production work with other like-minded artists.

Since the 2016 release of Fec’s fourth TOBACCO album Sweatbox Dynasty, the JOVM mainstay has been incredibly busy: Fec reconvened with the members of Black Moth Super Rainbow to write and record the gauzy fwhich was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year, Fec produced The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. Additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured Fec’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy.

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

I’ve managed to write about two of the album’s first three singles so far: Hot Wet & Sassy’s second single, “Babysitter,” a collaboration with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor, which was a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet paired with laser hot hi-hats, thumping tumps, scorching synths, gurgling and bubbling hiss and distortion and the most accessible, pop-leaning hooks of Fec’s recorded output. The album’s third single “Jinmeknen,” was a slow-burning and atmospheric Quiet Storm-like ballad of sorts centered around glistening synth arpeggios, bouncy beats, Fec’s heavily vocoder’ed vocals and some of the most earnest songwriting of his lengthy — and often extremely weird — career.

“Headless to Headless,” Hot Wet & Sassy’s fourth and latest single clocks in at a little under three minutes and is centered around glistening synth arpeggios,. blown out stuttering beats, brief staccato bursts of forcefully buzzing guitar, Fec’s heavily vocoder’d vocals and some infectious hooks. And while arguably being one of the album’s more gauzier songs, it sounds a bit like a mm murky and downright swampy take on 80s R&B — the drumbeats at point remind me of Cherelle’s “I Didn’t Mean to Turn You On” for some reason. Much like the previously released singles, the track sees the JOVM mainstay playfully refining his overall sound without scrubbing or altering the weird elements that have won him attention across the blogosphere and elsewhere.

Single Review by William Ruben Helms

New Audio: Los Angeles’ Peel Release a Brooding and Atmospheric New Single

Los Angeles-based duo Peel is a new collaboration between multi-instrumentalist and visual artist Sean Cimino and multi-instrumentalist and producer Isom Innis. The project can trace its origins to a month-long recording session the duo held at Innis’ concrete loft above the The Orpheum Theatre. The loft’s cavernous space, which once held fleets of sewing machines thrumming and humming served as the perfect setting for musical experimentation through drums, amps and modular synthesizers.

Last month, I wrote about Peel’s debut single “Rom-Com,” which interestingly enough, was the first song that Innis and Cimino wrote together. Centered around shimmering synth arpeggios, a woozy guitar solo and a hypnotic, motorik groove, the track may remind some listeners of Gary Numan and Antics-era Interpol to mind while thematically focusing on the difficulty of finding one’s existential footing in the cyclical information spiral. Building upon the attention they’ve received for “Rom-Com” and “Catch and Release,” Innis’ and Cimino’s third and latest single “Citizen X” is an atmospheric and meditative track, featuring shimmering synth arpeggios, a slow-burning groove, stuttering beats, shoegazer-like guitar lines played through delay and reverb pedals paired with a soaring hook and plaintive vocals that reminds me of The Veldt and Cocteau Twins but with a subtle hip-hop nod. “Citizen X” may arguably be the most cinematic leaning track off the duo’s soon-to-be released self-titled, full-length debut, which is slated for an October 16, 2020 release through Innovative Leisure. And interestingly enough, the track appears on EA Sports’ FIFA 2K21 Soundtrack.

“’Citizen X’ was an outlier to our usual stream of conscious lyric writing process— the framework began more conceptually,” Peel’s Isom Innis explain in press notes. “It has a tongue in cheek tone and is coming from a disillusioned place. Originally, it was a slower shoe-gaze inspired track, but Sean had the idea to re-imagine it, speed it up and really emphasize the groove and treat the guitar more like Robin Guthrie [Cocteau Twins].”

Video by William Ruben Helms

New Video: Italy’s My Gravity Girls Release a Cinematically Shot and Brooding Visual for “Daybreak”

Emilia-Romagna, Italy-based act My Gravity Girls — founding members Mattia Bergonzi (vocals) and Pietro Ruggeri (drums) along with Francesco Carlucci (keys, synths) and siblings Claudio (bass, synths, backing vocals, piano) and Simone Calandra (drums) — can trace their origins back to their formation 12 years ago. About four years ago, the band went on an extended hiatus, which put the future of the band in doubt.

Inspired by Lambchop’s FLOTUS, My Gravity Girls’ Mattia Bergonzi was re-inspired to create and spend time in the studio experimenting with recording techniques and new sounds. Eventually Bergonzi built a home studio from scratch, so that he could experiment with complete freedom. “I would spend nights at home recording voice loops and transforming them into synth sounds; or recording guitar riffs only to go and destroy them with digital effects making them unrecognizable.” Finishing the studio about a year later, Bergonzi reformed the band with its current lineup — and with a new assortment of instruments, which he hadn’t previously written material for. The end result is the band’s first full-length album in four years, I Miss Something and Everyone, which was released earlier this year.

With the new instrumentation to their band’s sonic palette, much of the album’s material features electronic beats, organic drums, synth lines created from processed vocal samples and tons of reverb. The end result is material that’s dark, moody and yet ethereal and emotional. Interestingly, I Miss Something and Everyone’s latest single “Daybreak” is a brooding song, centered around reverb-drenched clang and clatter, shimmering and wobbling synths and plaintive vocals. And while recalling Beacon, Seoul and others, the track as the band explains is about the literal and metaphorical scratches and wounds of our lives and how they reverberate throughout our lives.

Directed by The Beard Hunter, the recently released video for “Daybreak” is feverish and slow-burning dream shot in a gorgeously cinematic black and white that’s full of longing and heartache.

Video by William Ruben Helms

New Video: Psymon Spine Teams Up with MGMT’s Andrew VanWyngarden on a Glittery Club Banger

Rapidly rising Brooklyn-based psych pop/dance pop act Psymon Spine can trace its origins to when founding duo Noah Prebish and Peter Spears met while attending college. Bonding over mutual influences and common artistic aims, the duo went off to tour Europe with Prebish’s electronic act Karate. While in Paris, Spears and Prebish wrote their first song together and when they got to London, they were offered a record deal.

Upon returning to the states, Spears recruited Micheal “Brother Micheal” Rudinski and their Karate bandmates Devon Kilbern, Nathaniel Coffey to the band — and with that lineup they fleshed out the demos, which would eventually become their full-length debut, 2017’s You Are Coming to My Birthday. The members of the rising Brooklyn-based act then supported the album with immersive art and dance parties through their Secret Friend series across Brooklyn, as well as relentless touring.

Simultaneously, Prebish’s work with rising Brooklyn-based dream pop act Barrie began to receive quite a bit of attention across the blogosphere and elsewhere with a handful of buzz-worthy singles and their critically applauded full-length debut, last year’s Happy to Be Here. Interestingly, this led Prebish to meet his Barrie bandmate, vocalist and multi-instrumentalist Sabine Holler, who then joined Psymon Spine.

“Milk,” a collaboration with their former bandmate Barrie was the first bit of new material by the Brooklyn-based act inn three years — and it’s the first recorded output with their newest member Sabine Holler. Since the single’s release, it has received airplay on BBC Radio 6 and earned praise from a number of media outlets including Vanyaland, High Clouds, Echowave Magazine, The Revue, Hype Machine and a list of others. The track also landed on a number of YouTube channels including David Dean Burkhart‘s. Nice Guys‘ and Birp.fm, as well as Spotify playlists like Undercurrents, All New Indie and Fresh Finds. Additionally, Apple Music’s Matt Wilkinson featured the track. None of this should be surprising: the track sonically recalls In Ghost Colours-era Cut Copy and Soft Metals‘ Lenses –but with a mischievously coquettish air that makes it a club friendly banger.

The Andrew VanWyngarden-produced and cowritten “Modmed” is a glittering and strutting disco-tinged track, centered around wobbling low end, glistening synth arpeggios and a sinuous bass line and a soaring hook. While drawing from 80s New Wave and classic house music, the track interestingly enough, is deceptively and ironically upbeat: the track actually captures the ambivalent and confusing mix of frustration, doubt and relief of a relationship that’s finally come to a conclusion. In particular, the song actually describes Prebish’s and Holler’s decision to leave Barrie and focus on Psymon Spine full-time.

“Psymon Spine invited me into the studio one winter’s day and we had a fun and funky time ripping Juno basslines and dialing in lush tones,” Andrew VanWyngarden recalls in press notes. “I like that their dj and record digging knowledge comes through distinctly on this track.”

Directed by the band and edited by Noah Prebish, the recently released video for “Modmed” is a delirious and playful lo-fi visual in which we see the members of the band goofing off and rocking out to the song in a variety of situations. This is split with footage of the members of the band actually performing the song. It’s all run through trippy filters and VHS-styled graininess, which also helps enhance the track’s retro-futuristic vibe.

Video by William Ruben Helms

New Video: French Electronic Producer Edouard Releases a Glistening and Euphoric New Single

Constant reinvention has been a central part of French electronic producer Edouard’s music career and personal life: As a member of the French Touch movement of the 980s. his previous project wound up being an integral part of the European house music scene. Garnering widespread praise, the act signed to BMG Records — and as a result. they received massive radio play and appeared on compilation records alongside other acclaimed French Touch acts like Philipe Zdar, Etienne de Crécy, and Alex Gopher.

As time went on and as the musical landscape change, the French electronic music producer took up a number of different roles and lives: he was a solo-exhibited photographer; an art historian; an engineer; an investment bank manager; and he studied under six-time Grammy Award winner Gary Burton at the Berklee College of Music. Edouard’s latest musical project finds him writing and recording under his eponymous moniker — and sonically, the project meshes elements of electronica, electro pop, dance, house music, synthwave and several other electronic styles and subgenres with a retro-futuristic twist inspired by French electronic music pioneers like Daft Punk, Jean-Michel Jarre, Air, Justice, Laurent Garnier, Cassius, Bob Sinclair., Martin Solveig and the aforementioned Alex Gopher, who was studio engineer for Edouard’s forthcoming full-length, solo debut. Additionally, the project has a parallel focus on visual art, with graphic design duties being split between Filip Hodas and the artist himself.

Edouard’s fourth and latest single “Another World” is a Computerworld and Tour de France-era Kraftwerk meets Homework-era Daft Punk-like track, centered around multiple layers off glistening synth arpeggios, heavily vocodored vocals, stuttering beats, brief blasts of horn and a rousingly euphoric hook. The song finds Edouard carefully walking a tightrope between the mind-bending and expansive and straight forward, crowd pleasing club anthem. And interestingly enough, at the song’s core is a sunny optimism that there’s a much better world on the other side of this.

Directed by the French electronic music producer. the recently released video uses CGI to create exotic and surreal locales and worlds. It’s trippy as hell.

Video by William Ruben Helms

Lyric Video: Quebec’s New Bleach Releases a Slow-Burning and Hallucinogenic Single

Over the past couple of months, I’ve written a bit about Quebec City-based indie duo New Bleach, an act which features Dominic Pelletier and Raphaël Potvin, who are best known across the province for their work in acclaimed Francophone act Caravane. Interestingly, with the release of their Oracular Spectacular-era MGMT-like single “Awake,” the Quebec-based duo reveled a project that was a decided sonic departure from their previously known work.

New Bleach then released their second single “Awake,” a Quiet Storm-like R&B track that recalled the brooding atmospherics of Beacon. Building upon the attention of their first two singles, the duo’s third and latest single is the slow-burning, lullaby-like “High.” Centered around twinkling synths, stuttering beats and plaintive vocals and a fiery guitar solo, the song which manages to nod at Kraftwerk and 80s New Wave simultaneously, expresses that age-old desire to get in your car for a road trip, when you pull over to the side somewhere and do hallucinogens — or some other mind-altering experience.

Video by William Ruben Helms

New Video: Go On a Trip In the Clouds with Evening Elevator

New York-based indie electro pop act Evening Elevator is a new collaborative project featuring a pair of the city’s accomplished artists — singer/songwriter Tim Segreto and Dub Sonata, a producer, who has worked with Jidenna, Rhymefest and Sage Francis. Their latest single “Higher” is a slow-burning yet cinematic track, centered around a soaring vocal sample, shimmering synths, twinkling keys, a dramatic string sample and thumping beats paired with Segreto’s plaintive vocals. The end result is a song that’s hypnotic and expansive in a way that would draw comparisons to Bonobo, The Beat Escape and others — while evoking the sensation of a waking dream.

Filmed by Dub Sonata, the recently released video for Higher” takes the viewer on a trip over the foggy hills of Northern California.

Video by William Ruben Helms

Live Footage: Tame Impala Performs “Borderline” on “The Tonight Show Starring Jimmy Fallon”

I’ve managed to spill quite a bit of virtual ink over the course o this site’s ten-plus year history covering Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, the creative mastermind behind the critically acclaimed and commercially successful psych pop/synth pop project Tame Impala.

Parker’s third Tame Impala album, 2015’s Currents was a critical and commercial breakthrough: released to wide-ranging critical applause across the blogosphere and elsewhere the album was a RIAA Gold-Certified, Grammy-nominated effort that revealed a decided change in direction for Parker’s songwriting and sound, as it featured some of his most emotionally direct lyrics paired with a nuanced and textured sound that drew from and meshed elements of psych rock, psych pop, prog rock, synth pop and R&B.

Released earlier this year, Parker’s fourth Tame Impala effort The Slow Rush continued an impressive and enviable run of critically applauded and commercially material. Thematically the album focuses on the rapid passing of time and life’s innate cycles of creation and destruction — with the material contouring the feeling of a lifetime in a lightning bolt, of major milestones and events whizzing by you, while you swipe away on your phone. “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times.

Last night, Parker and his backing band performed one of my favorite songs off the album — the hook driven and blissed out “Borderline” on The Tonight Show Starring Jimmy Fallon.

Single Review by William Ruben Helms

Initially making a name for herself with her critically applauded recording project Völuspa, the Bay Area-raised, Brooklyn-based singer/songwriter and multi-instrumentalist Kristen Knick is stepping out and away from her alter ego to release material under her known name. But there’s one thing that remains consistent: Knick employs a colorful sound palette to bring her lyrical themes of lucid dreams, forgotten nightmares, past mistakes and future possibilities to vivid life.

Some of Knick’s earliest influences include Kate Bush, Brian Eno, Neil Young and Stevie Nicks — but after discovering punk rock through her high school sweetheart, the Bay Area raised, Brooklyn-based artist found herself inflated with life; experiencing good music, love, drink and drugs. After several years, countless lovers, jobs and travels that resulted in a breakdown, Knick found herself in New York. Realizing that alcohol and drugs had been a detriment to her creativity, she got sober, and started writing and putting her experiences and emotions into very personal songs.

Knick’s latest album Close Your Eyes is slated for a release this fall through Swedish tastemaker label Icons Creating Evil Art, and the album’s latest single “Life’s a Placebo” is centered around a hazy, sepia-toned nostalgic production — tinny stuttering beats, woozy and shimmering ambient synths paired with Knick’s warmly inviting vocals. While evoking some long ago summer of carousel rides and unconcerned, childhood day dreaming, the song explores loos in its entirely, as the Brooklyn-based artist explains. “The song is sort of an epiphany, that life is a placebo,” Knick says. “Life is as we see it. I could choose to grieve over this loss and wallow in self-pity, or I could move on and make shit happen.” 

“The recording process was with Eric Hoegemeyer and his chihuahua, Hoover, in his Astoria Queens apartment,” the Bay Area raised, Brooklyn-based artist adds. “I wrote the song when I first got sober in 2014 and when I brought it to him last year, he added some sweet synth tones and effects that gave it more dynamic than the bratty punk version I had recorded on my phone.”