Tag: Cut Copy

New Video: Art d’Ecco Releases a Stylish and Noir-ish Visual for Anthemic “Desires”

The mysterious and enigmatic British Columbia-based singer/songwriter now known as Art d’Ecco is a grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett; but in 2018 he emerged as a dark bobbed hair wearing, androgynous and charismatic glam rocker with the release of that year’s critically applauded, full-length debut Trespasser. 

Since the release of Trespasser, the Canadian art rocker has played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Last spring, d’Ecco opened for acclaimed UK-based psych rock act Temples right before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”

Slated for an April 23, 2021 release through  Paper Bag Records, the Colin Stewart-produced In Standard Definition was recorded on two-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album will reportedly find the acclaimed Canadian art rocker further establishing a sound that some critics have described as neo-glam. But interestingly enough, the album’s overall sound and aesthetic pushes the boundaries of glam rock, as it draws draws from a diverse and eclectic array of influences including elements of 50s pop, psychedelia, Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”

Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”

So far, throughout the year I’ve written about three of In Standard Definition‘s previously released singles: 

“TV God,” a synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths. 
“Head Rush” an infectious boogie that owes a sonic debt to Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths. 
“I Am The Dance Floor,” a shimmering and strutting disco take on glam rock that may remind some of Bay City Rollers “Saturday Night,” Echoes-era The Rapture and In Ghost Colours-era Cut Copy. 

In Standard Definition’s latest single “Desires” is a jangling, densely layered, glam rock anthem centered around rousingly anthemic hooks, blasts of twinkling synth arpeggios, soulful horn blasts, an angular bass line, strummed rhythm guitar and shimmering guitar solos and punchily delivered vocals. Sonically, the song is a slick synthesis of Ziggy Stardust-era Bowie, Gary Numan and The Cars — all while being carefully crafted. “A tale born inside the dark underbelly of old Hollywood, then repackaged and reimagined as a rock and roll tragedy,” d’Ecco explains. “’Desires’ is about the entertainer at the end of their career — soon to be phased out by the next wave of rising talent, and shifting audience tastes. For the old guard, this spectre of change is a constant existential threat that will challenge their ability to keep up with the times and to remain relevant in this brutal industry of show business.”

Directed and edited by Brandon William Fletcher, the recently released video for “Desires” is a stylistically shot, noir-is black and white visual that features d’Ecco and his backing band performing the song — but underneath the stylish surface, there’s this sense of an artist fearful of being phased out by an indifferent and bored audience and industry. Certainly, as you get older in an industry that often values beauty and youth before wisdom and experience, those fears become increasingly real — and the desire to be relevant more desperate.

New Video: Art d’Ecco Releases a “Saturday Night Fever” Inspired Visual for Dance floor Banger “I Am The Dance Floor”

The mysterious and enigmatic British Columbia-based singer/songwriter now known as Art d’Ecco is a grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett; but in 2018 he emerged as a dark bobbed hair wearing, androgynous and charismatic glam rocker with the release of that year’s critically applauded, full-length debut Trespasser.

Since the release of Trespasser, the Canadian art rocker has played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Last spring, d’Ecco opened for acclaimed UK-based psych rock act Temples before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”

The forthcoming, Colin Stewart-produced In Standard Definition was recorded on two-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album will reportedly find the acclaimed Canadian art rocker further establishing a sound that some critics have described as neo-glam. But interestingly enough, the album’s overall sound and aesthetic pushes the boundaries of glam rock, as it draws draws from a diverse and eclectic array of influences including elements of 50s pop, psychedelia, Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”

Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”

So far, throughout the year I’ve written about two of In Standard Definition’s previously released singles:

“TV God,” a synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths.
“Head Rush” an infectious boogie that owes a sonic debt to Man That Sold The World and Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths.

“I Am The Dance Floor,” In Standard Definition’s latest single is a shimmering and strutting disco take on glam rock centered around a rapid-fire four-on-the-floor, fluttering synth arpeggios, a funky and propulsive, dance floor friendly grooves, a regal horn sample and an enormous hook that may remind some of Bay City Rollers “Saturday Night,” Echoes-era The Rapture and In Ghost Colours-era Cut Copy.

Directed by Wai Sun Cheng, the recently released video for “I Am the Dance Floor” features d’Ecco and his backing band under a glittering disco ball and on a giant, patchwork light up floor, made famous in Saturday Night Fever, beckoning the viewer — and of course, the listener — on to the dance floor, where there’s true liberation, if only for a three-minute song.

“I was picturing this alt version of Saturday Night Fever where the lead is this aging loner obsessed with dance, who every weekend shows up at different clubs around town and just murders the dance floor, and then disappears out the back door,” d’Ecco says. “There is a person from my home town who sort of fits this description quite well. I think every scene has their own version of Random Dancing Dude.”

In Standard Definition is slated for an April 23, 2021 release through Paper Bag Records.

Brooklyn-based psych pop/dance pop act Psymon Spine — Noah Prebish, Sabine Holler, Brother Michael Rudinski, and Peter Spears — can trace its origins back to when its founding duo of Noah Prebish and Peter Spears met while attending college. Bonding over mutual influences and common artistic aims, Psymon Spine’s founding duo toured the European Union with Prebish’s electronic project Karate. And as the story goes, while in Paris,  Spears and Prebish wrote their first song together. By the time, they arrived in London, they were offered a record deal. 

When the band’s founding duo returned to the States, Spears recruited Micheal “Brother Micheal” Rudinski and their Karate bandmates Devon Kilbern, Nathaniel Coffey to join their newest project. And with that lineup, they fished out the demos, which wold eventually comprise their full-length debut, 2017’s You Are Coming to My Birthday. The band went out to support the effort with immersive art and dance parties like their Secret Friend party series across Brooklyn and through relentless touring.

Prebish was also splitting his creative time with rising Brooklyn-based dram pop act Barrie and around the same time, his work with the rising dream pop act began to receive attention across the blogosphere and elsewhere through the release of a handful of buzz worthy singles, followed by their full-length debut, last year’s Happy to Be Here. Interestingly while with Barrie, Prebish met his further Psymon Spine bandmate, vocalist and multi-instrumentalist Sabine Holler.

Without live shows and touring, the members of Psymon Spine have been busy releasing new material this year, which included two singles:

  • Milk,” a coquettish, club friendly banger with Barrie that brings In Ghost Colours-era Cut Copy and Soft Metals‘ Lenses and received quite a bit of attention internationally — with the single receiving praise from   VanyalandHigh Clouds, Echowave Magazine, The RevueHype Machine and a list of others.The track also landed on  Spotify playlists like UndercurrentsAll New Indie and Fresh Finds, as well as the YouTube channels of  David Dean BurkhartNice Guys‘ and Birp.fm. And lastly, the track received airplay on BBC Radio 6.
  • Modmed,” an  Andrew VanWyngarden-produced and cowritten, strutting disco-tinged track that’s actually deceptively upbeat, as it captures the ambivalent and confusing mixture of frustration, doubt and relief of a relationship that had long petered out and finally wound down to its inevitable conclusion. Interestingly, the song is inspired and informed by personal experience: Prebish and Holler’s difficult decision to leave Barrie to focus on Pysmon Spine full-time.

Psymon Spine’s third single of this year, is the hazy and lysergic banger “Confusion.” Centered around shimmering synth arpeggios, a wobbling bass line, blown out beats and Prebish’s plaintive vocals, a trippy spoken word-delivered break and a looping guitar solo, Psymon Spine’s latest single brings Tame Impala‘s Currents to mind. Much like its immediate predecessors, “Confusion” continues a run of carefully crafted and breezy, hook driven pop.

Interestingly, the release of the single manages to simultaneously coincide with the announcement of the Brooklyn-based act’s third album Charismatic Megafauna while encapsulating the album’s overall theme and vibe — the complicated feelings involved in the dissolution of human relationships. In particular “Confusion” finds the band channeling the confusing and contradictory feelings following the sort of breakup that has lead to a major rift in the larger social circle — but while also possibly hinting to the end of a friendship or working relationship. And as a result, the song seems to evoke the desire to dance away the hurt, for a little while at least.

Charismatic Megafauna is slated for a February 21, 2021 release through Northern Spy.



New Audio: JOVM Mainstays Bootblacks Release a Shimmering Dance Floor Friendly Single

Throughout this site’s decade history, I’ve managed to spill quite a bit of virtual ink covering the rising New York-based post-punk act Bootblacks. The JOVM mainstay act — Panther Almqvist (vocals), Alli Gorman (guitar), Barrett Hiatt (synths) and Larry Gorman (drums) — derive their name from novelist William Burroughs’ description of the dark underbelly of New York. Unsurprisingly, the band’s surroundings have deeply influenced and informed their work both sonically and thematically. “It’s an energetic city and people have all the reasons in the world not to give you the time of day,” the band’s Panther Almqvist says in press notes. “I think our music has been shaped by that in many ways.”

In 2012, the New York-based post-punk released their Jim Sclavunos-produced debut EP Narrowed. 2016 saw the release of their full-length debut Veins, which they supported with extensive touring. Interestingly, 2017’s sophomore effort Fragments found the band expanding their sound with the material becoming more synth-based, more atmospheric and much bigger than its immediate predecessors. And as a result, Fragments received quite a bit of attention, which helped the band earn slots on a number of post-punk/New Wave/goth festivals including Cold Waves, Terminus, Absolution, Wave Gotik Treffen and A Murder of Crows — and the album landed on a lot of year-end lists.

Of course, like countless acts across the world, the members of the rising New York-based post-punk act had plans — and hopes — for a big 2020, pre COVID-19 pandemic quarantines and lockdowns: they were handpicked to open for Modern English during their North American tour this year. Unfortunately, that tour has been postponed. But in the meantime, the band’s highly anticipated Jason Corbett-produced third album Thin Skies will be released through Artoffact Records on October 9, 2020. Thin Skies reportedly finds the band zooming forward where Fragments left off, with the album’s nine songs meshing dance floor pulse and brooding post-punk with anthemic hooks.

Thin Skies continues the band’s long-held thematic concerns: the loneliness of city life. “Most of the lyrics on the album are about loneliness,” says Almqvist. “Looking back on the lyric writing process there seems to be some connective feeling of isolation and distance present in all of the songs… I’m always hoping that a listener personalizes the song, that’s why the songs never have a narrative but try to embody a feeling.”

I’ve written about Thin Skies’ first three singles: the brooding yet dance floor friendly “Traveling Light,” the jittery and anxious “The Jealous Star,” and the cinematic and atmospheric album title track “Thin Skies.” “Hidden Things,” Thin Skies’ fourth and latest single is centered around shimming, reverb-drenched guitars, arpeggiated synths and a dance floor friendly pulse, reminiscent of The Rapture and Cut Copy. According to Bootblacks’ frontman Panther Almqvist, “’Hidden Things’ is about looking into darkness to find your way out of it.”

New Audio: JOVM Mainstay Brothertiger Releases an Atmospheric New Single

I’ve spilled quite a bit of virtual ink covering Ohio-born, Brooklyn-based singer/songwriter, multi-instrumentalist, electronic music producer and electronic music artist John Jagos. Best known as the creative mastermind behind the acclaimed JOVM mainstay act Brothertiger, Jagos started the project while he was studying at Ohio State University — and since then Jagos has released a handful of critically applauded EPs including Vision Tunnels, Out of Touch and last year’s A Chain of Islands EP and three albums 2012’s Golden Years, 2013’s Future Splendor and 2015’s Out of Touch. Each of those releases helped established the project’s sound, a sound that seems indebted to Tears for Fears, St. Lucia, Washed Out and In Ghost Colours-era Cut Copy.

Released last Friday, Paradise Lost is Jagos’ first full-length album of original material in five yeas. “This record was, for me, the culmination of a lot of time and development,” the JOVM mainstay says in press notes. “Since my last album was released 5 years ago, I had been building on top of that sound, trying to make it even more dynamic and distinct. This record is also my most personal, and I think that shows not only in the subject matter, but in the choice of sounds as well. I find that in electronic music, you can capture an emotion honestly with synthesized sound, not just with lyrics.”

Sonically speaking, the album reportedly finds Jagos expanding upon the sound that has won him critical applause — with the album ranging from hook-driven indie pop to club-banging electronica centered around the Ohio-born, Brooklyn-based JOVM mainstay’s plaintive vocals singing lyrics that thematically touch upon aging gracefully, longing for purpose and celebrating life’s simple pleasures among others. I’ve written about two of the album’s previously released singles, Washed Out-like “Livin‘,” which thematically focused on comforting the weirdness and uncertainty of life as you age — and “Shelter Cove,” a bracingly chilly track that evokes dipping into colder than expected water for the first time.

Paradise Lost’s third and latest single is the atmospheric and cinematic album title track “Paradise Lost.” Centered around glistening synth arpeggios, stuttering beats, Jagos’ plaintive vocals and a soaring hook, the song sounds — to my ears, at least — as though it would fit in a scene in which the protagonist reminisces about a beautiful moment with a loved one, that they may never get back, while continuing a run of bracingly chilly material.

New Video: Psymon Spine Teams Up with Barrie on a Shimmering Pop Confection and Playful Visual

Rising Brooklyn-based psych pop/dance pop act Psymon Spine can trace its origins back to when founding and core members 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, which they supported with immersive art and dance parties through their Secret Friend series across Brooklyn and some 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” feat. Barrie is the first bit of new material from the Brooklyn-based psych pop/dance pop act in 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 it has 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. And when you hear the new track, the attention its earned shouldn’t be surprising: the track is centered around an angular bass line, shimmering guitars, glistening synth arpeggios, thumping beats, a punchy and anthemic hook, and Barrie’s sultry vocals. Sonically, the track may remind some listeners of In Ghost Colours-era Cut Copy and Soft Metals’ Lenses –but with a mischievously coquettish air that makes it a club friendly banger.

Directed by Maya Prebish, Noah’s sister, the recently released video for “Milk” uses the wildly popular video game Animal Crossing: New Horizons and features each member of the band as a game avatar. And of course, each member of the band does something within the game — including play (sort of) an outdoor set, fish, sit in cafes and daydream.

“We were trying to come up with a way to shoot a music video together during a pandemic, with Sabine stuck in Germany and Barrie being god-knows-where,” Noah Prebish says of the new video made during pandemic-related social distancing and quarantine guidelines. “I remembered that my sister is a genius wizard and Nintendo dork and thought: ‘what’s more quarantine than a hap-hazard Animal Crossing video organized via a bunch of confusing Zoom calls?'” The video’s director, Maya Prebish, adds: “When Noah came to me with the idea, I jumped onboard right away. It was a lot of fun turning Psymon Spine and Barrie into villagers, and I think it was a super fun way to bring everyone together even though they’re dispersed all over the world at the moment. I don’t think any of them know how to fish in real life, but that’s creative license.”

New Video: Hippo Campus’ Jake Luppen Releases a Glistening 80s-Inspired Pop Confection

Jake Luppen hasa risen to prominence for being the frontman and guitarist of acclaimed St. Paul, MN-based indie rock act Hippo Campus. While touring between 2018 and 2019 to support Hippo Campus’ most recent album Bambi, Luppen started writing new material as a n escape from the grind of endless tour and as way to process major and stress life events — in particular, the discovery by CT scan of an abnormal mass on his brain, which left him with the immediate impression that he was dying. 

Interestingly, the material Luppen started to write during that Bambi tour didn’t quite fit with his primary gig — and the end result was Luppen’s solo recording project Lupin. Luppen’s solo, full-length debut as Lupin is slated for an October 9, 2020 release through Grand Jury Music,  and as the Hippo Campus frontman explains in press notes, the album’s songs feel like he was meeting himself for the first time.  “With this record I wanted to get to the point, and say how things were, as opposed to dancing around them.”

For the Hippo Campus frontman, the creative process being the album was one of self-discovery that led to a much deeper self-confidence, in which he learned who he could be — and always had been — as an artist and as a person. With his previously released work in Hippo Campus, Luppen took a much vaguer approach to his songwriting, frequently eschewing the personal in favor of broader, shared experiences of his bandmates. Striking out as a solo artist allowed (and perhaps, even forced) him to do the complete opposite. Instead of focusing on looser ideas and generalities, Luppen found the bravery to write about his life — including, the breakup of a long-tern relationship, the aforementioned health scare, sexual exploration and discovering his own personhood with incisiveness, earnestness and honesty. 

Co-produced by Luppen and BJ Burton, Luppen’s debut effort is centered around sobering thematic concerns — but is paired with a bright and infectious soundscape reportedly inspired by by Charli XCX’s Pop 2, Tears for Fears, 80s New Wave and Prince. Fueled by Luppen’s desire to make 80s music through modern technology — or should i say 80s music for the 2020s? — the album also features synth and programming contributions from Jim-E-Stack and Buddy Ross. The end result is a shimmering yet off-kilter pop sheen that Luppen has said was guided more by intuition and feeling than anything else. 

The learning curve of producing his own material, being singularly at the helm of his sound for the first time, as well as writing his most personal material to date was a deeply vulnerable experience. An experience, in which he reconciled that it was okay to be his true, weird and sensitive self, to make mistakes and to enjoy the parts of himself and his personality that he usually didn’t have an opportunity to indulge. “I spent a lot of time thinking I had to hide behind other people or other things, but I realized, ‘No, I’m fully capable of doing this myself, I’m fully capable of having this vision.” Luppen explains. “I didn’t think that I was but no, there was this whole other part of myself I’d been stowing away out of fear this entire time.”

“May,” the album’s first single is a shimmering, 80s synth pop banger, centered around glistening synth arpeggios, skittering and thumping beats, an infectious hook and Luppen’s achingly tender falsetto delivery. Sonically speaking, the song brings Prince, Gordon Voidwell and Cut Copy to mind as it’s a hook-driven, pop confection built around earnest (yet kaleidoscopic) songwriting. 

The recently released video for “May” is a rotoscoped, animated visual made by Adam Fuchs. While capturing and evoking the song’s shimmering, kaleidoscopic vibe, the video feels like a hallucinogenic fever dream. 

New Audio: JOVM Mainstay Brothertiger Releases an Atmospheric and Brooding New Single

Throughout the course of this site’s ten year history, I’ve written a bit about the Ohio-born, Brooklyn-based singer/songwriter, multi-instrumentalist, electronic music producer and electronic music artist John Jagos. Known as the creative mastermind behind the acclaimed JOVM mainstay act Brothertiger, Jagos started the project while he was studying Ohio State University. Since then, Jagos has released a handful of EPs, including his critically applauded debut Vision Tunnels, Out of Touch, which featured  “Out of Touch” and “Beyond The Infinite,” and last year’s A Chain of Islands EP. Jagos has also released three full-length albums: 2012’s Golden Years, 2013’s Future Splendor and 2015’s Out of Touch. And each of those efforts helped to establish his sound a sound that sounds as though it were influenced by Tears for Fears,  St. Lucia, Washed Out and In Ghost Colours-era Cut Copy.

Slated for a September 11, 2020 release, Paradise Lost is Jagos’ first full-length album of original material in five years. “This record was, for me, the culmination of a lot of time and development,” the JOVM mainstay says in press notes. “Since my last album was released 5 years ago, I had been building on top of that sound, trying to make it even more dynamic and distinct. This record is also my most personal, and I think that shows not only in the subject matter, but in the choice of sounds as well. I find that in electronic music, you can capture an emotion honestly with synthesized sound, not just with lyrics.”

Sonically speaking, the album reportedly finds Jagos expanding upon the sound that has won him critical applause — with the album ranging from hook-driven indie pop to club-banging electronica centered around the Ohio-born, Brooklyn-based JOVM mainstay’s plaintive vocals singing lyrics that thematically touch upon aging gracefully, longing for purpose and celebrating life’s simple pleasures among others. Earlier this year, I wrote about the shimmering, Washed Out-like “Livin'” a track that thematically focuses on confronting the weirdness and uncertainty of life as you get older. Continuing a run of brooding and atmospheric material, Paradise Lost’s latest single “Shelter Cove” is centered around shimmering synths, Jagos’ plaintive and subtly effected falsetto and a soaring hook, the song manages to evoke the bracing chill of dipping into cooler than expected water for the first time. 

“‘Shelter Cove’ was one of the last tracks I wrote for Paradise Lost,” the JOVM mainstay says in press notes. “I was sort of at a crossroads at that point in terms of how I wanted to wrap up the record. I found the pad sound on my Juno 60 after running it through a bunch of compression and saturation, and I knew I had to make a song around it. The song is about some specific times on tour, driving through northern California on the Pacific Highway, finding swimming holes with my friend and sound tech Will. We’d look up some spots on our days off and drive to them. Last time we did was in October. We went to Pfieffer Beach near Monterrey. It was really windy and it clearly wasn’t swimming season, so everyone at the beach was dumbfounded watching two pale idiots running into the ocean.”

Initially starting as a bedroom, solo recording project of its Melbourne, Australia-based founding member and frontman Dan Whitfield and expanding into a full-fledge band with Tim Hoey (guitar), Mitchell Scott (drums) and Ben Browning (bass), the acclaimed indie electro pop act Cut Copy have been one of their homeland’s most successful and well-regarded acts over their nearly 20 years together. 2008’s In Ghost Colours, which featured standout singles “Lights & Music” and “Hearts on Fire,” received nominations for ARIA’s Best Dance/Electronic Album and Album of the Year at the J Awards. 2011’s Zonoscope topped the ARIA charts, was nominated for a Best Dance/Electronic Album at that year’s Grammy Awards and won a Best Dance Release ARIA Award. Adding to an enormous, internationally known profile, the members of Cut Copy have gone on a number of successful national and international tours, and have made appearances on the late night TV circuit, including stops on Late Night with Jimmy Fallon and Jimmy Kimmel Live!

Cut Copy’s sixth full-length album Freeze, Melt is slated for an August 21, 2020 release through Cutters Records/The Orchard — and the album reportedly finds the band expanding and refining the sound that has won them national and international acclaim. Written during an especially cold European winter, the album sees the band pulling the emotional leanings of their work into the foreground with the material thematically exploring love in strange and perilous times.

So far two singles have been released off the album, “Cold Water” and the slow-burning, intimate and atmospheric “Love Is All We Share,” which I wrote about earlier this year. Melt, Freeze‘s third and latest single, “Like Breaking Glass” may arguably be the most dance floor friendly single. Centered around shimmering synth arpeggios, stuttering beats, a soaring hook, some subtle industrial clang and clatter, and Whitfield’s plaintive vocals, “Like Breaking Glass” is a bit of a return to form for the Aussie act, as it sounds as though it could have possibly been part of the In Ghost Colours sessions. But at its core, the song is emotionally ambivalent, evoking the confecting emotions of a relationship on the verge of a breakup — especially

Dan Whitford says of the single: “In the beginning ‘Like Breaking Glass’ started out as a completely different track. Before one weekend I was mucking around in the studio with just a drum beat and an acid bassline. I never managed to finish it, but when I came back to it the next week there was something about that beat that felt compelling, so I started writing a song over the top of it. It is about the conflicted feelings of a relationship that has begun to unravel. Where sometimes against all logic, you discover that affections run deep just as a break up becomes inevitable. It was also one of my favourite songs working in the studio with the band when we crafted the middle section of the song comprising of weird delay effects, off-beat drum hits and metallic clangs where Mitchell was throwing a box of metal objects around the room, and we stood there recording him.”

New Video: Go on a Night Out Across Suburban Sydney with Rising Aussie Act Abroad

Featuring members split between Sydney, Australia and Melbourne, Australia, the rising Aussie indie electro pop duo Abroad — Will Cruger and Jack Dawson — have managed to explode into the national and international electro pop scenes in a relatively short period of time. 2018’s London and New York, helped to establish the duo’s sound — a synthesis of organic, indie rock instrumentation and slick dance floor friendly production which amassed over a million streams.  Building upon a growing profile, the Aussie electro pop duo released two singles last year, “All I Want” and “Slide,” which also amassed over a million streams. Those two singles continued a run of material that’s informed and inspired by the duo’s experiences traveling and living overseas.

The rising Aussie pop duo has released material that has been featured on a number of popular, internationally recognized playlists including Front Left, Just Chill, New Dance Beats, The Local List and Indie Arrivals. Building upon a growing profile, the duo released “Home,” earlier this year, and the track has continued a run of attention-grabbing singles. Additionally, the band has opened for Boo Seeka, which may have led to Abroad’s Will Cruger co-written Boo Seeka’s latest single ‘Take A Look.”

The duo’s second and latest single of this year, is the euphoric and swooning club banger “Alright, OK.” Centered around a slick production featuring shimmering synth arpeggios, a sinuous bass line, skittering beats, an enormous hook and achingly plaintive, multi-part harmony-led vocals, “Alright, OK” — to my ears at least — reminds me quite a bit of In Ghost Colours-era Cut Copy and White Lies, if they managed to cover Stevie Nicks‘”Stand Back.”  Arguably, one of the most anthemic tracks they’ve released to date, “Alright, OK” is a decidedly ambitious track delivered with swaggering self-assuredness and a heart-on-your-sleeve earnestness.

“I think this is our best work yet,” the band’s Jack Dawson says in press notes.. “We are huge believers in taking people somewhere, whether it is a memory of a loved one, being in love with someone, or just dancing by yourself we want to cover all dem feels!”

Directed by Waymark Studio’s Bob Stewart, the recently released video follows it star Brittney McCallum on a night out in Sydney, dancing and rocking out across nighttime Sydney streets, seemingly carefree and wrapped up in the joys of new love. And of course, through the prism of love, there can often be a sublime beauty within the mundane and every day — if you pay attention. Interestingly, the video shows McCallum actively seeking something — the band — and not finding them until the end. 

“All through the clip, Brittney is searching for us and even though we walk right by her she doesn’t actually find us until the end. Partly inspired by our experiences being quarantined, the video is about taking a moment to reassess what’s really important, and whether it’s been with you all along,” the band’s Will Cruger explains in press notes.