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.