Tag: Daft Punk

New Video: The Dramatic and Vivid Visuals for Uppermost’s “Perseverance”

Over the past year or so, I’ve written quite a bit about the Paris, France-based electronic music producer, multi-instrumentalist and electronic music artist, Behad Netjabakshe, best known in electronic music circles as Uppermost. And as you may recall, the French producer, multi-instrumentalist and electronic music artist has developed an internationally recognized profile with the release of material through renowned labels like Sony BMG, Ministry of Sound, BugEyed Records, Starlight Records and his own Uppwind Records; in fact, singles like “Equivocal” landed at #3 back in 2009 and his Biscuit Factory EP landed at #1 on the JunoDownload electro-house charts. Additionally, Netjabakshe has received attention for his remixes of  Daft Punk, deadmau5, Burial, Crystal Castles, Jonathan Coulton, Syl Johnson, Congorock and others — and he’s had his work playlist by a number of superstar producers and artists including  Tiesto, Armin van Buren and Steve Angello.

Las year, saw the release of Origins 2011-2016, a comprehensive compilation that featured ed some of Netjabakshe’s most popular tunes, including “Flashback,” “Beautiful Light,” “Reminder” and “Mistakes,” as well as new, original material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling,  cinematic “Reminder,” the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive,” and a lush, cinematic rendition of “Constellation” performed with members of the Paris Symphonic Orchestra. Origins 2011-2016‘s highly anticipated follow up, Perseverance officially dropped today, and the album reportedly features some the most personal and impassioned material Netjabakshe has released to date while collaborating with vocalists with backgrounds in folk, hip-hop and pop.

Last month, I wrote about the album track “Atoms,” a collaboration with Birsen that paired her gossamer-crooning with arpeggiated analog synths, a motorik-like groove and an infectious hook — and while being both dance floor and radio friendly, the song possessed an aching humanity, as it pointed out humanity’s vulnerability and smallness in an incomprehensibly immense universe.  Building upon the buzz around the album, the French producer, multi-instrumentalist and electronic music artist released the album’s latest single, the swaggering “Perseverance,” a collaboration with singer/songwriter Harry Pane, that pairs Pane’s soulful vocals with an ominously thumping production consisting of twitter and woofer rocking beats and arpeggiated synths and an anthemic hook; but despite the seemingly ominous vibes, the song is actually extremely uplifting, as it features lyrics that focus on determination, dedication and — well yeah, perseverance in the face of life’s obstacles.

Directed by Joseph B. Carlin, the recently released video, which features live action and animation follows as a frustrated yet determined painter (Sebastian Iturria) through both his daily routine, commuting to his cramped studio. Despite the fact that throughout most of the video, it’s implied that Iturria’s painter is extremely talented, he’s in the middle of a creative rut in which he either feels uninspired or everything he tries to create feels uninspired before a deep dive into the artist’s bright and Dada-eqsue inner world.

 

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Over the past year or so, I’ve written quite a bit about the Paris, France-based electronic music producer, multi-instrumentalist and electronic music artist, Behad Netjabakshe, best known in electronic music circles as Uppermost. And as you may recall, the French producer, multi-instrumentalist and electronic music artist has developed an internationally recognized profile with the release of material through renowned labels like Sony BMGMinistry of SoundBugEyed RecordsStarlight Records and his own Uppwind Records; in fact, singles like “Equivocal” landed at #3 back in 2009 and his Biscuit Factory EP landed at #1 on the JunoDownload electro-house charts. Additionally, Netjabakshe has received attention for his remixes of  Daft Punkdeadmau5BurialCrystal CastlesJonathan CoultonSyl JohnsonCongorock and others — and he’s had his work playlist by a number of superstar producers and artists including  TiestoArmin van Buren and Steve Angello.

Las year, saw the release of Origins 2011-2016, a comprehensive compilation that featured ed some of Netjabakshe’s most popular tunes, including “Flashback,” “Beautiful Light,” “Reminder” and “Mistakes,” as well as new, original material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling,  cinematic “Reminder,” the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive,” and a lush, cinematic rendition of “Constellation” performed with members of the Paris Symphonic OrchestraOrigins 2011-2016‘s highly anticipated follow up, Perseverance is slated for release this Friday, and the album reportedly features some the most personal and impassionaied material Netjabakshe has released to date while collaborating with vocalists with backgrounds in folk, hip-hop and pop.

Last month, I wrote about the album track “Atoms,” a collaboration with Birsen that paired her gossamer-crooning with arpeggiated analog synths, a motorik-like groove and an infectious hook — and while being both dance floor and radio friendly, the song possessed an aching humanity, as it pointed out humanity’s vulnerability and smallness in an incomprehensibly immense universe.  Building upon the buzz around the album, the French producer, multi-instrumentalist and electronic music artist released the album’s latest single, the swaggering “Perseverance,” a collaboration with singer/songwriter Harry Pane, that pairs Pane’s soulful vocals with an ominously thumping production consisting of twitter and woofer rocking beats and arpeggiated synths and an anthemic hook; but despite the seemingly ominous vibes, the song is actually extremely uplifting, as it features lyrics that focus on determination, dedication and — well yeah, perseverance in the face of life’s obstacles.

 

Behad Netjabakshe is a Paris, France-based electronic music producer, multi-instrumentalist and electronic music artist, best known as Uppermost, who has developed an internationally recognized profile through the release of material through renowned labels like  Sony BMGMinistry of SoundBugEyed RecordsStarlight Records and his own Uppwind Records; in fact,  singles like “Equivocal” landed at #3 back in 2009 and his Biscuit Factory EP landed at #1 on the JunoDownload electro-house charts. Additionally, Netjabakshe has received attention for his remixes of  Daft Punkdeadmau5BurialCrystal CastlesJonathan CoultonSyl JohnsonCongorock and others — and he’s had his work playlist by a number of superstar producers and artists including  TiestoArmin van Buren and Steve Angello.

The Parisian producer, multi-instrumentalist and electronic music artist released a comprehensive compilation, Origins 2011-2016, which featured some of Netjabakshe’s most popular tunes, including “Flashback,” “Beautiful Light,” “Reminder” and “Mistakes,” as well as new, original material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling,  cinematic “Reminder,” the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive,” and a lush, cinematic rendition of “Constellation” performed with members of the Paris Symphonic Orchestra.

Netjabakshe’s latest effort Perseverance is slated for a March 23, 2018 release and the album, which reportedly features some of the most personal and impassioned material he has released to date, finds the Parisian producer, multi-instrumentalist and electronic music artist collaborating with vocalists with backgrounds in folk, hip-hop and pop — all while retaining the swooning and earnest emotionality that has won him international attention. Interestingly, Perseverance‘s latest single  “Atoms” is a hazy and anthemic track that features chilly and shimmering, arpeggiated analog synths, twinkling and a motorik-like groove; however, Birsen’s gossamer-like crooning that gives the song its nostalgic punch and its aching humanity, as the song’s lyrics point out our vulnerability and smallness in the face of an immense universe, but perhaps more important, our inherent connection to it.

 

 

Live Footage: Acclaimed Russian Electro Pop Act D-Pulse Perform “Get Lost” at Moscow’s New Space

Initially formed in Izhevsk, Russia, when its members Anton Kochnev, Semyon Perevoshikov, Klim Suhanov, and Sam Konyakhin were teenagers, the acclaimed St. Petersburg, Russia-based electro pop act D-Pulse have largely been influenced by French and Scandinavian electro pop, and disco — namely, the likes of Daft Punk, Phoenix, Air and others but with their own unique take, as they’ve been known to experiment with combining live recording sessions, complete with analog synthesizers, guitars and machines with sampling, cutting and processing from their own material.  In fact, when the quartet moved to St. Petersburg, they found their disco-leaning sound out of place within a scene that has been largely dominated by sparse techno but within a relatively short period of time, their sound and approach set them apart; in fact, over the past fe years, the members of the St. Petersburg quartet have released material on Island, Tirk, OM, Kitsune and Ministry of Sound — and they recently signed to Nick Murphy’s Detail Co. Records.

Detail Co. and Downtown Records released D-Pulse’s sophomore effort Serpentine earlier this year, and adding to their growing internationally recognized profile, the quartet recently released a remix EP featuring remixes of album single “Get Lost” by acclaimed electronic music artists and producers Juan Maclean, Photay, Attic Chefs and Babak — but in the meantime, album single “Get Lost” is an incredibly sleek and slick single that features a disco era influenced bass line paired with shimmering and arpeggiated synths, a soaring, feel good hook and a tight groove within a song that finds the act nodding at funk, disco, psych pop and electronica simultaneously.  Interestingly, the song reveals a deliberate attention to craft while being ambitiously crowd pleasing in a “why not have a little bit of everything and make it funky while you’re at it?” fashion.

The live footage of the band performing “Get Lost” at Moscow’s The New Space features the band pairing their dreamy yet funky sounds with a vivid audio-visual display.

Sacre is a Parisian electro pop production and artist duo, who have started to receive attention across the blogosphere for a slick production featuring cosmic ray-like synths and tweeter and woofer rocks that’s been described by several sites as being reminiscent of Daft Punk and Justice, among others — and while that may be debatable, the duo’s latest single “Stereo” is an incredibly self-assured track that manages featuring a coquettish and ethereal, female-led hook, shimmering arpeggiated synths and tweeter and woofer rocking beats, a soulful male vocal and a swaggering 16 bars or so from up-and-coming French rapper Dopize. But underneath the swaggering nature of the song manages to capture the swooning, first realization of being stupidly, madly in love with someone — all while being a radio friendly, club banger.

New Video: Renowned French Electronic Act KCPK Releases a Cinematic and Surreal Video Focusing on the Tumult of Early Adulthood

KCPK is a French production and electronic music trio comprised of Alexandre Brovelli, Fabrice Brovelli and Christophe Caurret, best known as pioneers of the Rémoise electronic music scene with the likes of  Yuksek, Brodinski and The Shoes; for creating PANIK, a club night known for hosting Groove Armada, Laurent Garnier and Amon Tobin; for collaborating with Woodkid, The Chemical Brothers and Two Door Cinema Club; and lastly for their work in advertising as creative directors of renowned firm BETC. And if you were frequenting this site last year, you’d recall that “Who Wants It,” their collaboration with Philadelphia, PA-based emcee STS managed to bridge enormous, festival friendly, tweeter and woofer rocking house music with swaggering, braggadocio-fueled trap-like hip-hop in a way that felt mischievous and fresh. 
Along with that, the Nicolas Davenel-produced video was featured on The Creator’s Project, was nominated for Best International Urban Video at the UK Music Video Awards and was featured as the racing for Louis De Caunes’ video for Yves Saint Laurent’s Black Opium digital campaign. 

The French trio’s latest single “The End” is a propulsive and dare I say, arguably the most sensual and dance floor friendly songs they’ve released to date as it features razor sharp arpeggiated synths, a rousingly anthemic hook and breathily cooed vocals — and interestingly enough, the song and its production sounds as though it owes a debt to Giorgio Moroder, The Man Machine-era Kraftwerk and Daft Punk but with a hyper modern touch. 

Directed by Luc Besson’s former Steadicam operator Andrieu and Director of Photography, Nicolas Loir, who has worked with Woodkid, Ghostpoet and Snoop Dogg, the recently released video for “The End” is a cinematically shot one, that focuses on the tumultuous psyche of a teenaged girl as she struggles with a dysfunctional relationship with her mother and an unreciprocated romantic obsession, capturing the uneasy yet profound transition towards adulthood. Interestingly, the  video pays homage to several 90s coming of age movies through its use of props, fashion design and art direction — with live action footage meshed with visual effects by David Danesi. As the video’s director explains in press notes. “It’s a coming of age snapshot. At this stage, the rules get rewritten. Your eyes open to what lies beyond family and school. It is the first time you’re seeing yourself in the world, but emotional reactions overwhelm your ability to understand and cope. This is the end of innocence.”

New Video: Introducing the Uplifting 80s -Inspired Sounds and Visuals of The Able Bodies’ “Flicker”

Comprised of Blue Falcon’s and Filthy Funk’s John Viviani, a.k.a. Vivitron and Upward Groove’s Eli Flynn, a.k.a. Flynnstone, the Rochester, NY-based indie electro pop duo The Able Bodies have largely been inspired by the birth of John’s daughter Mariana (who’s now a year-old). With less time than usual to devote to music and music production, Viviani found himself simply focusing on the joy of making music, and in sparse moments, songs had begun to form. Viviani then enlisted his friend and colleague Eli Flynn to contribute his vocals to a new music project, influenced by the duo’s mutual love of synth pop, funk, hip-hop, New Wave and jazz, all of which both members have written and recorded in, as well as LCD Soundsystem, Future Islands, Daft Punk, Herbie Hancock and others while thematically met to be uplifting and get the listener to move their ass. 

“Flicker,” the duo’s latest single is a breezy, retro-futuristic synth funk jam featuring a production consisting of shimmering arpeggio synths, a sinuous bass line and a rousingly crowd pleasing hook paired with a propulsive groove — and while being slickly produced and dance floor ready, the duo’s sound is reminiscent of Chromeo and Tuxedo and the 80s synth funk and synth pop that influenced them. In fact, if it wasn’t for the slick production sheen, you might think that the single was released in 1983 – 1987 or so. 

The recently released video stars The Able Bodies’ Eli Flynn and John Viviani, along with Deena Viviani and Karen Rupp-Hardenbrook in 80s workout video influenced visuals with the song’s lyrics plastered on the screen — and it’s done in a way to encourage the viewer to get up and move their ass and do something already. 

Perhaps best known as the frontman of renowned indie rock act Black Moth Super Rainbow, TOBACCO has developed a reputation as a solo artist, who crafts abrasive yet anthemic electronic music that channels Daft Punk,  The Black KeysKraftwerk and Boys Noize, but from some industrial, dystopian and fucked up future — perhaps immediately post Trump? — in which rusty and forgotten machinery and instruments whirr, mash and grind together.

Last year saw the release of Sweatbox Dynasty, the long awaited follow up to Ultima II Massage and while album singles “Gods In Heat,” “Human Om” and “Dimensional Hum” further cemented his reputation for scuzzy and abrasive electronic music, underneath the murky surface was a breezy and dreamy melodicism that added a strange, zen-like calm to the proceedings. Interestingly, TOBACCO recently released a stand-alone single “Get Wet in the Bomb Shelter” and the new single manages to sound as though it was a forgotten Sweatbox Dynasty B side, as the song consists of cascading layers of whirring and buzzing synths, stuttering and propulsive, boom bap-like drums and a glistening melody — and much like the material on Sweatbox Dynasty, the song upon repeated listens reveals a subtle push in a new sonic direction.

 

 

Initially formed in Bryon Bay, Australia the members of up-and-coming synth funk/dance pop act Parcels, comprised of Patrick Hetherington, Louie Swain, Noah Hill, Jules Crommelin, and  Anatole Serret relocated to Berlin, Germany after they all graduated from high school to seriously pursue music and to hone their sound in one of the most culturally thriving and diverse cities of Europe. As soon as they relocated, the quintet quickly developed a reputation for a sound that paired slick studio production with deliberate attention to live performance, and as a result the act caught the attention of renowned Parisian electronic label Kitsune Records and the members of world famous electronic music production and artist duo Daft Punk, who caught the band play a set in Paris, and was so impressed by the Australian-born, German-based act that they decided to mentor the up-and-coming act.

Earlier this year, the members of Parcels along with the members of Daft Punk wrote and recorded their latest single “Overnight” in a secret location in Paris, and the single is a breezy, easygoing, summertime anthem that subtly reveals a careful attention to craft, as the band pairs infectious, razor sharp hooks with a sinuous bass line, Nile Rodgers-like funk guitar and shimmering arpeggio synths — and while clearly nodding at Daft Punk’s “Get Ready,” the song possesses a mischievously sensual swagger.

The Bryon Bay-born, Berlin-based members of the band are touring throughout the European Union and the UK during the year and the tour will include two Glastonbury Festival sets this weekend.

Amelia Airhorn is an unique collaboration between the New York-based blogosphere champion electronic music production and artist duo The Knocks and nu-disco producer Skyler Spence. As the story goes, the trio connected when Spence opened for The Knocks during their Feel Good Feel Great, North American headlining tour, and when the tour finished they spent time working at the The Knocks’ HeavyRoc Studio mixing snippets of classic soul and disco with YouTube apocrypha and random bits of obscure, movie dialogue — and as you’ll hear on the trio’s loving homage to New York, “NY is Red Hot,” the trio’s aesthetic is a hedonistic, lysergic and wildly anachronistic, groove-based collage that nods at Studio 54 disco and late 90s – early 00s French house music — in particular Stardust‘s “Music Feels Better With You” and Homework-era Daft Punk.