Tomode is an emerging Swedish funk act founded by Carl Leanderson and Viktor Westerberg. Interestingly, the act can trace its origins to Leanderson’s and Westerberg’s mutual love of funk and disco. After spending a couple of years developing and honing their sound, the Swedish duo’s debut single “Destiny, No. 20” firmly establishes their sound and approach: featuring Nile Rodgers-like funk guitar, shimmering synths, a sinuous bass line and shuffling four-on-the-floor, and an enormous hook, “Destiny, No. 20” will command comparisons to Daft Punk‘s “Get Lucky,” and Chic’s “Good Times.” And much like those songs, the song is centered around a wistful and aching desire to escape — in nostalgia, as much as it is to escape to the dance floor.
“We want to make music that can act as a remedy to the slight despair we all feel, living
through the 2020’s,” the members of the emerging Swedish funk pop act say in press notes. ” Destiny No. 20 opens the door to everything we love – it’s got vibrant
drums, pulsating arpeggios, disco guitars and a funky bassline. It’s as much ‘Good Times’ with Chic as it is ‘Dancing On My Own‘ with Robyn. Hopefully it ignites a spark somewhere out there in the darkness.”
The band plans to release material throughout the summer — with their debut EP slated for release during the fall.
Tracing their origins back to when its members — Guillaume Adamo and Florian Deyz — met in grade school, the Nice, France-based indie pop duo Ninety’s Story have developed a warm, sophisticated and sensual music inspired by the French Riviera and the likes of Phoenix, Daft Punk and Air. The duo released their debut single “KIKUKYU” and their debut EP through Kitsuné Musique in 2017. Adding to a growing profile, the Nice-based duo have opened for Archive, Morcheeba, Pale Waves and Puggy among others.
Additionally, the duo wrote the music for Citroën C4 Aircross ad campaign that aired in China — with the band representing the company at the Paris and Hangzhou Motor Shows. Now, if you’ve been frequenting this site, you may recall that I wrote about the rising French duo’s acoustic rendition of the breezy yet anthemic “APO.” The French electronic duo return with the sultry R&B-influenced “Home.” Centered around skittering trap and boom bap beats, atmospheric synths, expressive and bluesy bursts of guitar, fuzzy bass synth, plaintive vocals, a soaring hook and an enormous drop “Home” may remind some listeners of JOVM mainstays Beacon, as well as Montreal’s Seoul and Detroit-based JOVM mainstays Gosh Pith. “The song was composed, produced and recorded in Brussels during the quarantine period,” the rising French duo explain. “Everything was quiet outside and put us into a very inspiring [sic] mood, different than usual.”
Directed by Victor Rahman, the recently released, cinematically shot lyric video features the rising French duo rocking out to the song during a gorgeous purple-red sunset. “For the video, we drove across Belgium and just stop [sic] in a spot were [sic] the sunset and the sea were beautiful. We just put the music [on] very loud and enjoyed the vibe in front of the camera,” the duo says.
Tanners is a somewhat mysterious and rising Brooklyn-based pop singer/songwriter and producer, who throughout her relatively young professional career has been driven by the urgent need to stand out from a crowded field of pop artists and really connect with listeners, by writing about mental health and other topics with a heartfelt earnestness.
In the past year, the rising Brooklyn-based artist has played at Rough Trade and at The Playstation Theater for the annual TEDxTeen event — and she her music has been featured in a number of major media outlets. including NYLON, Earmilk, Stereogum, Rolling Stone France and a list of others. Building upon a growing profile, Tanners’ latest single, the dance floor friendly “Night Moves” is centered around shimmering synth arpeggios, a sinuous bass line, Nile Rodgers-like guitar, and a two-step including groove. And while seemingly indebted to 80s synth funk like Cherelle, Daft Punk and contemporaries like Rush Midnight, the track manages to have a dark underbelly: thematically, the song focuses on the feelings of regret and self-loathing that many people have had over the few months of quarantine for not being as productive as they should be.
Employing a necessary DIY ethos as a result of of COVID, the recently released video stars Tanners as a character named Mother Disco, who performs the song inside a glittering disco ball, but adding to the 70s vibe are the some trippy kaleidoscopic effects in which we see three Tanners at a time. “We threw ourselves into this music video with no prep, barely any gear, no storyboard or concept but we embraced the limitations and leaned into this kitschy, low-budget vibe,” said Tanners of the video inspired by The Cher Show. She continues, “For me, there’s nothing better than creating something that’s colorful and aesthetically pleasing and also makes you laugh at the same time.”
Deriving his name from a French word for “tawny,” an orange-brown or yellowish-brown, Sory is a mysterious and emerging Parisian electronic music producer and electronic music artist, who has started to receive attention for a sound that’s heavily influenced by electro pop and electro funk. Thematically, the French producer and artist’s work draws from his lifelong obsession with robots — with the material taking the listener on an intergalactic future in which humanity is at one with machinery.
Last month, Sory released his debut EP, the four song Fall ‘N’ Rise, which featured lead single “Sitting on a cloud.” “Sitting on a cloud” gave a hint at what listeners should expect from the effort: slickly produced electro pop that nodded at funk and disco, centered around vocodored vocals. The EP’s second and latest track, the cinematic “Cyberpunk attack” is centered around shimmering synth arpeggios, thumping beats, four-on-the floor drumming and an enormous hook. Arguably, the most retro-futuristic of Fall ‘N’ Rise’s four tracks, “Cyberpunk attack” manages to bring Daft Punk, Giorgio Moroder and John Carpenter soundtracks to mind. That shouldn’t be surprising: the song imagines an attack in which humans are captured and made into cyborgs through the implantation of bio-mechanical components. In the case the song’s composer imagines a future in which a memory chip that captures the entirety of his personality, memory, talents and history was implanted in his brain. The track asks if that were to happen, how does one regain their humanity and soul?
Tastycool is an emerging Angoulême, France-based indie electro pop duo — Victor Barougier and Tom Meyronnin — that specializes in a sound that draws from house music, funk, nu disco and electro pop. The duo’s latest EP, Luved is slated for a May 8, 2020 release, and the EP’s latest single “Velvet” is a summery club banger. Centered around shimmering synth arpeggios, finger snaps, insistently thumping beats, a sinuous bass line, a sultry saxophone solo, an infectious hook and ethereally sung lyrics in French, the track brings Daft Punk, Air, Phoenix, and Polo & Pan to mind — but while possessing a swooning sensitivity. Interestingly, the song is written for a local artist Ykoner, who through his art uncovers his once-hidden sensitivity.
Directed by Lucas Minier, and shot in Tours, France, the recently released video for “Velvet,” continues their ongoing collaboration with the director while following a young graffiti artist — in this case, Ykoner himself — through his daily routine. As the duo mention in press notes, as a result of the quarantines across the globe, Minier and the duo had to rethink the filming of the video, discreetly going through Tours, stealing shots when they could until they were able to finish.
Tracing their origins back to when its members — Guillaume Adamo and Florian Deyz — met in grade school, the Nice, France-based indie pop duo Ninety’s Story have developed a warm, sophisticated and sensual music inspired by the French Riviera and the likes of Phoenix, Daft Punk and Air. The duo released their debut single “KIKUKYU” and their debut EP through Kitsuné Musique in 2017. The band has opened for Archive, Morcheeba, Pale Waves and Puggy among others.
Building upon a growing profile, the duo wrote the music for the new Citroën C4 Aircross TV commercial in China and represented the company at the Paris and Hangzhou Motor Shows. Interestingly, the duo’s latest single is an acoustic rendition of “APO.” Centered around twinkling keys, strummed guitars, an enormous hook and gorgeous melodies and harmonies, the track is a breezy and crafted bit of pop that’s anthemic and radio friendly.
Juno Francis is a mysterious and emerging Berlin-based indie synth pop duo, featuring two Swedes, who serendipitously met through mutual friends and had an instant creative connection. With the release of “Dance With Me,” the Swedish-born, Berlin-based duo have received attention in Germany for a sound that they describe as a mix of 60s psychedelia and cheesy 80s sounds. But interestingly, “Dance With Me” sounds as though it were inspired by Giorgio Moroder and Daft Punk – in particular, Moroder’s From Here to Eternity . . . And Back and Daft Punk’s Homework comes to my mind.
Building upon a growing profile, the Berlin-based duo released their latest single “Queen’s Anthem” today – and the single continues a run of shimmering and sultry pop centered around rousingly anthemic hooks but unlike its predecessor, it’s decidedly ‘80s inspired, reminding me of Stevie Nicks and JOVM mainstays St. Lucia and Washed Out. Certainly, as a child of the ‘80s, the track manages to bring fond memories of much simpler – and perhaps, far safer – times.
I recently exchanged emails with the members of Juno Francis for this edition of JOVM’s ongoing Q&A series. In this interview, I chat with the emerging and mysterious band about their shimmering and infectious new single, their influences, Berlin – in particular, places to go, things to see and places to see music, and more. And of course, with governments across the world closing bars, restaurants, nightclubs and music venues to prevent the spread of COVID-19, the impact on the music industry – especially on small and mid-sized venues, and the touring artists, who grace their stages has been devastating and life altering. Over the course of this pandemic, I’ll be talking to artists about how the pandemic has impacted them and their careers. Naturally, there are a lot of lost gigs and lost opportunities and artists across the world have been frantically figuring out what their next steps are – if any. In the case of Juno Francis, they tell me what they’ve been doing to remain creative, as well as continue the momentum of “Dance With Me.”
Check out the interview and the single below.
Solina Records · Juno Francis – Queen’s Anthem
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WRH: Much of the world has been in quarantine and adhering to social distancing guidelines as a result of the COVID-19 pandemic. Hopefully you and your loved ones are safe and healthy. How are you holding up? How are you spending your time? Are you binge watching anything?
Juno Francis: We are safe and healthy and spending most of our time hanging out with a webcam drinking wine or working on some new material. New favorite shows are Foodie Love, Killing Eve and a little bit of Be Cool, Scooby-Doo! when the quarantine loco vibe strikes.. 😉
WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates. Most of the world has been on an indefinite pause. How has COVID-19 impacted you and your career?
JF: All shows have been cancelled or postponed and of course that is affecting our career, but we’re working on new material and some live streams instead and it’s not that bad.
WRH: You’re currently based in Berlin. What brought you to Berlin?
JF: Well we both moved here to float around in the music scene with the intention to float into a person to do great music with. It’s a city we both find fascinating and crazy, right up our alley
WRH: I’ve been to Frankfurt many years ago for the Frankfurt Book Fair. What can I say? It was a free trip. I desperately want to see Berlin though. So, say I get on a Lufthansa flight to Berlin. Where should I go to get a taste of local life? What’s a tourist spot that I’d have to see to get a true sense of Berlin?
JF: Berlin has many sides and in our side there’s not that many tourist spots or book fairs, but if we were your guide for a weekend we would probably show you ”Juno Juno Shop” a great vintage store and the location for our studio. We would take you to nice wine bars and show you some nice industrial areas where you can boogie woogie to some disco beats all night long. 🙂
WRH: Where’s your favorite spot to see live music in Berlin?
JF: We describe our sound as mix of psychedelic 60s and 80s pop. So far we only released songs that sound more 80s pop but later this summer we will release an EP that show the other side of the Juno Francis project..
WRH: Your latest single “Queen’s Anthem” officially drops today. I love the track It’s got that anthemic 80s synth sound paired with enormous hooks – and as a child of the 80s, it brings back a lot of memories. What’s the song about?
JF: It’s a nostalgic memory of growing up in Sweden and the mixed emotions connected to moving back. It’s also about believing in yourself and the longing for something more.
WRH: How do you know when you have a finished song?
JF: It’s all in the vibe, if it feels right and sounds right it’s done. Some songs take a week to finish others months and some haunted ones never seam to be done..
WRH: What’s next for you?
JF: We are working on an EP at the moment and aim for a release in the middle of this summer. It will be exploring other sides of the project and sound a bit more dreamy and mysterious…
Deriving their name from a playful, Anglophile nod towards the famed physicist Issac Newton, the Paris-based electro pop act Isaac Delusion — founding members and creative core Loïc Fleury (vocals, guitar) and Jules Paco (keys) — was formed back in 2010. With the release of 2014’s self-titled debut effort, the act received attention for a sound and approach that meshed the acoustic instrumentation with a bold use of electronics — while nodding a bit at dream pop.
The duo then toured exclusively across France and the rest of the European Union to support their full-length debut. Interestingly, 2017’s sophomore effort Rust & Gold found the duo’s sound shifting from the ethereal and atmospheric dream pop of its immediate predecessor with the material focusing on tangible emotions, soulful rhythms and insightful observations on one and the human condition.
The Paris-based electro pop’s first two albums have managed to amass over 500,000 Spotify streams a month. Building upon a rapidly growing profile across their native France and elsewhere, the act played Pitchfork Paris, as well as sold-out headlining shows at venues like L’Olympia and Elysee Montmarte.
Microqlima Records released the French duo’s third album uplifters last year. Thematically, the album was centered around misplaced nostalgia for one’s long-passed youth, As a result the album’s material is imbued with a longing for the freedom, simplicity and unguarded honesty of their younger selves — and regret for the missed opportunities you can never get back. And much like its predecessors, uplifters‘ material was written and sung primarily in English with a handful of songs written and sung in their native French.
Album single “pas l’habitude” was one of the few album tracks written and sung in French. While the song is a breezy synth pop song, centered around shimmering synth arpeggios, plaintive and dreamy vocals, a sinuous bass line and an infectious hook — but the song’s breezy and easygoing nature is superficial: the song is actually an achingly bittersweet ode to the proverbial loss of innocence and getting older. Life and its ambiguity after all, will break your heart countless times over. It’s up to you to pick up the pieces and move forward.
Franc Moody is a London-based electro pop collective, centered around its core duo and creative masterminds Ned and Jon. Jon comes from a family of classical musicians and as result, he grew up surrounded by oboes, cellos and violins. Ned grew up listening to the music that his parents played on car trips — classic soul, 50s/60s New Orleans music, Chuck Berry,Little Richard and Eddie Cochran. “I loved the melody and the groove of that music, but I think really I loved the energy of it as well,” Ned explains in press notes.
The London-based collective’s core duo met when they ere part of a a collection of bands and musicians, who took over an abandoned warehouse in North London back in 2014. “It was called the Arch,” Jon recalls. “When we moved in, it was bare bones concrete walls. A horrible place basically. We built these two analogue recording studios. There were old microphones, hammered organs, and beaten up guitar amps. It was quite craggy.”
The Arch quickly became known for raucous and packed live shows and parties that went well into the night, with live bands frequently getting on around 3am. We’ve all been to similar parties: there’s no bouncer, one port-a-potty with a line of being desperately waiting to pee but the vibe is amazing. Interestingly, Ned and Jon cut their teeth as live musicians in that environment. “We learned to love performing music that made people dance, in the same way those old funk and soul artists used to,” Ned explains. “In fact, what we were doing at the warehouse was sort of in a similar tradition to the Zydeco sessions and crawfish boils around South Louisiana, purely focused around dancing. It was quite simple.”
Franc Moody started in earnest when the duo moved out of The Arch and began to focus on a project that meshed their various influenced. No longer living in the warehouse, they struggled to find a space big enough to fit a drum kit. Instead, they stated programming drums and an electronic aesthetic began to permeate through their older influences.
Their debut effort, 2016’s self-titled EP consisted of a series of Giorgio Moroder-like instruments; but their breakthrough single, the critically applauded “Dopamine” found the band truly establishing their sound: a disco-tinged sound that was subtly indebted to Prince. Building upon a growing profile, the duo released their sophomore EP, 2018’s Dance Moves which eventually amassed over 20 million streams.
They’ve also developed a mesmerizing live sound, inspired by the warehouse rave scene that they came up in — and those live shows find them surrounded by a cast of collaborators and friends as their backing band. In fact, they’ve opened for Friendly Fires and a number of other acts. Recently, the London-based electro pop collective remixed “pas l’habitude.” And while they retain Loïc Fleury’s achingly plaintive French vocals, they turn the song into Random Access Memories-era Daft Punk like club banger, centered around a sinuous bass line, shimmering synth arpeggios and four on the floor drum programming.
ORUS is a Montpellier, France-based, emerging electronic music artist, producer and DJ, who can trace the origins of his music career when he got into bedroom production during a 2016 trip to the States. Since then, the emerging French electronic music artist, producer and DJ trained professionally, released a string of well-received remixes — and released his debut single, “Your Time” late last year.
His latest single “I Know” is a sultry, French house-inspired, club banger centered around a chopped and looped vocal sample, shimmering synth arpeggios and tweeter and woofer rocking beats. Sonically, the track recalls Homework-era Daft Punk, as “I Know” prominently features an infectious hook.
Bad Dylan is a Montreal-based synth funk/electro pop outfit, comprised of T-Spoon (bass, synth), Jalouse (guitar, synth) and Dr. Fill (drums). Formed back in 2015, the act has developed a genre-defying take on retro-futuristic funk that draws from the ’70s, the ’80s, the 90s’ and 2000s, synth pop, krautrock, Daft Punk, elevator music, spa music and more. The Montreal-based funk/electro pop outfit starts the new year with Astrology, a public, pre-production exercise in which the trio shares their creative process with their audience while challenging themselves to write, record and release a song every month, revealing both the good ideas and the bad ideas.
They’ll then rework each piece — focusing on the good ideas — and compile the results into the best album they could make. The album will also be accompanied by an art book, done in collaboration with visual artist Alexandra Bilodeau.
Centered around a sinuous bass line, shimmering synth arpeggios, thumping beats and found vocal samples, Astrology‘s latest single “Bourritos” which features additional synths and effects from Gary Cobra, is a slow-burning, strutting pimp walk of a track that brings JOVM mainstay Dam-Funk and others to mind.
Harris Breyfogle is an up-and coming singer/songwriter, guitarist and Berklee College of Music graduate. His forthcoming full-length Complexus, which is slated for a Spring 2020 release and the album covers the emotional timeline of the Berklee Music School grad’s relationship with an ex girlfriend with the material thematically exploring the journey to find closure and peace in the aftermath of a messy and bitter breakup.
Some of the album’s material has received attention from Hype Machine, Imperfect Fifth and a number of other blogs. Building upon a growing profile, Breyfogle’s latest single “Angela” is breezy, two step-inducing pop confection centered around Nile Rodgers-like funk guitar, a sinuous bass line and an infectious, radio hook. And while the song may stylistically draw inspiration from Daft Punk‘s smash-hit “Get Lucky,” the song also nods at George Michael‘s “Careless Whisper” and 80s yacht rock. Interestingly, the song takes it title from the woman, who ultimately inspired Complexus‘ material — and as a result, the song is imbued with a mix of ache, longing and nostalgia.
Gabriel Bødker Johnson is a Danish multi-instrumentalist and producer, best known as the creative mastermind behind the emerging solo, pop recording project thirdcurl. Interestingly, Johnson’s latest thirdcurl single “with you,” a collaboration with fellow multi-instrumentalist and producer Casper Iskov can trace some of its origins to when a 14 year old Johnson met Iskov, who was a local music legend at the time. Much like Johnson, Iskov began his music career when he was 12.
Around the same time, Johnson was honing his skills with DJ equipment and FL Studio. Pioneer released a YouTube ad featuring new DJ equipment, which featured a deadmau5 remix of Daft Punk captured Johnson’s interest — and it began a lifelong obsession with deadmau5. Sometime later, the acclaimed electronic music producer and DJ hosted live streams sharing his creative process, and a young Johnson watched as many of those streams as possible. There’s a reason I mention Johnson’s obsession with deadmau5: you see, the first song that Johnson wrote back in 2011 was a version of his latest single “with you,” which at the time as the Danish multi-instrumentalist and producer explains “was a complete copy of a traditional deadmau5 track. I put it on YouTube because I was simply so proud to have made my own electronic track.”
As for the track “with you” is a radio friendly pop confection, centered around shimmering synth arpeggios, thumping beats, Iskov’s plaintive vocals and a rousingly anthemic hook — and as a result, the single manages to sonically nod a bit at New Order and Tame Impala. “With You” got a brand new life, when Iskov heard an early mix of the track, loved what he heard and contributed lyrics to the new version — and of course, it marks the first collaboration between the two.
“Casper and I moved in together in an old house outside of Copenhagen together with Emil Kiltsgaard, who helped me to do the cover for the track, and Andreas Frandsen, who plays bass with me on stage,” Johnson says in press notes. “During this time, Casper and I sat down and finally managed to finish the track in 2018. 7 years it took to finish “with you.” We’re very proud of the track, as it features the same lyrics he wrote back then and because it still features the main elements of what I’d made so many years ago. But above all “with you” played a part of us becoming friends.”
Bulletone is an emerging, Argenteuil, France-born DJ, producer, beatmaker and artist, who grew up listening to and being inspired by American hip-hop and R&B — in particular, artists like Dr. Dre, Pharrell Williams and Jay-Z. Interestingly, the French-born producer, beatmaker and artist can trace the origins of his musical career when he bought his first MIDI keyboard with FL studio software five years ago.
Shortly after he purchased his first MIDI keyboard, Bulletone began making beats for his rapper and vocalist friends, which lead him to recording material in a professional recording studio. While meeting artists across an increasingly diverse range of genres and styles, the emerging French DJ, producer, beatmaker and artist began to explore different styles, genres and sounds — including hip-hop, pop and electronica among others. In fact, he proudly boasts having broad and eclectic tastes: while his sound generally leans towards trap, future beat and electronic music, he also cites Kaytranada, Phase, Jarreau Vandal, Daft Punk, 50 Cent, Kendrick Lamar, Timbaland, Mike Will Made It and 808 Mafia.
Bulletone then went on to take a course on creative media education at the S.A.E. Institute, where he learned to be a technical sound engineer and made important connections to further his career. Since 2017, he has also managed to establish himself as a DJ, spinning in French clubs like the Recylclerie, Na_m3k, The 45 Tours and others. But he began to make a name for himself with the release of his debut EP, last year’s Interference, which is available on the major streaming services.
Interestingly, Bulletone’s latest single, the swaggering “Endless Love” the title track off his latest effort Endless Love EP is centered around twinkling and shimmering synth arpeggios, tweeter and woofer rocking 808-like beats and a looped sample of thunder. But what makes the track — and in turn, the emerging French artist — compelling is the fact that track seamlessly and effortlessly meshes elements of hip-hop, trap, footwork, R&B while subtly paying homage to legendary beatmakers and producers like J. Dilla, Flying Lotus, Kaytranada and others.
The accompanying video for “Endless Love” is a hallucinogenic-fueled fever dream featuring a young couple, who are madly in love. And in many ways, the video manages to evoke the wild feelings and thoughts of young, passionate and foolish love.
Matt Koenig is a Pittsburgh-born, Los Angeles-based singer/songwriter and multi-instrumentalist, who has navigated his career as a completely independent act, never signing to a label. Citing a diverse and eclectic array of artists as influences, including the likes of of Tame Impala, The Beatles, Parcels, Unknown Mortal Orchestra, Led Zeppelin, The Doors, and Daft Punk, Koenig views his work with his (mostly) solo-recording project The Undercover Dream Lovers as bridge between different eras, combining themes and techniques from the past with those pointing the way toward out future.
Interestingly, without the machinery of a label, Koenig has built up a profile for himself and his work: so far, tracks like “Good Luck” and “Come Home” have gone viral — with “Good Luck” amassing over 11 million streams and charting on the Canadian andUS Viral 50 lists, and “Come Home” amassing over 14 million streams, landing on the New Music Friday playlist and the US Viral 50. Additionally, Koenig’s work has appeared in a number of TV shows, including VICE’s Fuck That’s Delicious, NBC’s Good Girls and ABC’s Whiskey Cavalier. Additionally, Fender featured Koenig on their Instagram story.
Koenig’s Undercover Dream Lovers full-length debut It’s All In Your Head is slated for a February 2020 release. Recorded at Koenig’s Los Angeles-based home studio, the album features a collaboration with Dent May. Interestingly, the album’s first single, album opening track “A Way Out” is centered around a disco-influenced groove, shimmering synth arpeggios and Koenig’s plaintive vocals. And while seemingly drawing from dance floor friendly sounds like Tame Impala, Neon Indian, Oracular Spectacular-era MGMT and theBee Gees among others, the track also reveals some (subtly) ambitious songwriting, with the intention of being part of an energized, ass-shaking live show.
Directed By Otium, the recently released video follows Koenig on a wild night and day that includes strange happenings, a chance, seductive meeting with co-star Michelle Saur, a fight that leaves Koenig’s character with an enormous black eye. Throughout the video has the feel and tone of a drunken fever dream with odd imagery and events that barely make sense — but are taken with a c’est la vie sort of acceptance.
Vlossom is a new electro pop collaboration between two acclaimed Australian musicians — Nick Littlemore, best known for his work with multi-platinum acts Empire of the Sun and PNAU and Alister Wright, the frontman of Aussie indie rock act Cloud Control. Interestingly, the project can trace their origins to rather a serendipitous moment: while walking down the street in Adelaide, Littlemore bumped into Wright and immediately proposed that they make an album together. “He had this exuberance that shone through as he approached me, and right away I felt compelled to offer myself up for the slaughter,” Littlemore says in press notes.
Several months later, the duo met up for their first writing and recording session, during which Littlemore played a nubmer of backing tracks he’d recently created, including a few pieces made with Tim Lefebvre, best known for his work with David Bowie. “Without really talking or anything, Nick threw me straight in and had me sing over all these instrumentals,” Wright recalls. “I ended up getting so lost in it, and just singing whatever came into my head at the time.” The end result is trance-inducing material that effortlessly meshes pop, psych rock and electronic music into something that’s strange and multi-sensory — a body of work that reportedly possesses a distinct texture, temperature, color and even smell.
The duo’s Vlossom debut EP is slated for release next year, and the EP’s first single is the lush and hypnotic “Catch Your Breath.” Centered around shimmering synth arpeggios, a sinuous bass line, a motorik-like groove, Wright’s ethereal and plaintive vocals and a dance floor friendly hook that sonically brings Daft Punk’s Random Access Memories to mind, as the duo meshes sleek, electronic production with with warm, live instrumentation featuring musicians Littlemore met through his work with Elton John. And while being a club banger, the track thematically speaks to a metaphorical loss of composure. “It’s that feeling of seeing a thing of absolute beauty, whether it’s a girl or guy or plant or animal, and being brought into a heightened reality,” Littlemore says in press notes. “For the most part our everyday lives are fairly menial, so those moments when we do lose our breath are really something to dwell on.”
Directed by Nicolas Randall, the recently released video for “Catch Your Breath” is a vividly colored and gorgeous fever dream, filmed at a haunting and eerie mausoleum in Los Angeles.
“The clip was directed by the incomparable Nicolas Randall, a visionary director whose understanding of colour and movement is second to none,” Littlemore says of the video treatment. “It was shot in an amazing mortuary; the song deals with crossing over to parallel dimensions. Nicolas played with this concept in this location, breathing wondrously strange energy into a lifeless place, uber-styled and choreographed by masters in their field.”
