Tag: Giorgio Moroder

New Video: JOVM Mainstays King Gizzard and The Lizard Wizard Release a Wild Disco Synth Boogie Track

Over the course of an incredibly prolific 2017, the Melbourne, Australia-based psych rock septet and JOVM mainstays King Gizzard and The Lizard Wizard, comprised of Stu Mackenzie (vocals, guitar, and flute), Ambrose Kenny Smith (synths, harmonica), Cook Craig (guitar), Joey Walker (guitar), Lucas Skinner (bass), Eric Moore (drums) and Michael Cavanagh (drums) released an incredibly prolific five albums — with each album consisting of material in a wildly different genre and style from the other, further cementing the band’s reputation for being restlessly experimental. In fact, some of their earliest output found the band blending elements of 60s surf rock, beach, rock, garage rock and psych rock with later albums being blends of film scores, prog rock, folk and soul — although two albums Flying Microtonal Banana and The Murder of the Universe found the acclaimed Australian act pushing their thematic concerns and sound in new, and darkly trippy directions.

Now, for a band that’s been as wildly prolific as King Gizzard and the Lizard Wizard, not having much in the way of new music during 2018 is a bit strange; but the band was busy relentlessly touring, including a headlining set at Desert Daze and three sold out-dates at Brooklyn Steel, the largest venue they’ve played in the States to date. Additionally, the band re-issued their first five albums on vinyl for the first time ever, and it created such a frenzied demand that the Flightless Records website crashed from the traffic. 

The first bit of new material from the Aussie JOVM mainstays, “Cyboogie” finds the band stepping in a wild new direction with five of its seven members playing synths in a funky and strutting disco boogie woogie paired with heavily vocoder’ed vocals that brings From Here to Eternity . . . And Back-era Giorgio Moroder, The Man Machine-era Kraftwerk and DEVO to mind, as the song is actually about a dancing cyborg from the future — viewed with a decidedly retro-futuristic and prog rock-leaning. ” 

“Cyboogie,” is accompanied by a visual from longtime collaborator Jason Galea shot in a grainy VHS that has the band’s Mackenzie as a half-man, half-synthesizer who essentially plays himself (no pun intended here), along with the bandmembers. The visuals seem to undulate and pulsate with the synths, which is a wildly hypnotic and hallucinogenic effect. By the way, “Cyboogie” will be released on a limited-edition 7″ inch along with another new track “Arcane.” 

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Live Footage: Les Big Byrd Perform “A Little More Numb” at Tapetown Studios

Comprised of founding duo Jocke Åhlund and Frans Johansson along with Frans Johansson and Martin Ehrencrona, the Stockholm Sweden-based indie rock act Les Big Byrd features a collection of their hometown’s most accomplished indie musicians.  Åhlund co-founded cult Teddybears with his brother Klas in 1991. Åhlund went on to play guitar in Caesars — and formed Smile, with Peter, Björn and John’s Björn Yttling. And in that insanely busy period, Åhlund managed to find time to write for and produce the legendary Giorgio Moroder and renowned Swedish pop artist Robyn. Johansson, meanwhile, was a bassist in Swedish Grammy Award-winning act Fireside since the early nineties and worked as a touring bassist with The Soundtrack of Our Lives.

As the story goes, by 2011 Åhlund and Johansson had become increasingly disillusioned with their primary gigs and they began to collaborate with each other, frequently bouncing musical ideas off one another; the band’s founding duo quickly recruited two fellow grizzled scene vets, keyboardist Martin ‘Konie’ Ehrencrona and Caesars drummer Nino Keller to finalize the band’s lineup. 

The band’s debut, 2014’s Back to Bagarmossen EP was an atmospheric, guitar driven effort that found the quartet receiving attention from Swedish national TV. Interestingly, with a growing national profile. the members of Les Big Byrd ran into The Brian Jonestown Massacre’s Anton Newcombe at a local record store, and after hitting it off with him, the band headed to Newcombe’s Berlin-based studio to jam with him — and the end result was a handful of tracks which eventually appeared on their critically applauded Åhlund-produced full-length debut, They Worshipped Cats, an album that was a decided left turn into trippy space rock.

In the winter of 2015, 18 months after the release of They Worshipped Cats, Åhlund was looking forward to working on new material; however, unlike their debut, he was determined to bring in an outside producer to allow him to focus just on the songwriting and playing. With much of their material drawing heavily from psych rock and drone, while retaining a pop sensibility, the band recruited Spacemen 3‘s Sonic Boom (a.k.a.Pete Kember) to produce the album as the band loved his work on MGMT‘s 2010 sophomore album Congratulations.  The initial sessions with Kember quickly went awry; Kember clashed with Newcombe, who also headed to Sweden to work on some ideas for the record with the band — and Åhlund eventually found himself taking up the production role, he didn’t want and wasn’t seeking.

Burned out by the experience, the band shelved the second album for a while.  “I didn’t know it at the time, but I needed to get some distance from it,” Åhlund says in press notes. “It was only after a while that I was able to go back and realise that there was a really good album in there.” The members of Les Big Byrd spent the bulk of last year remaking and re-imaging the material in their own image — with Kember and Newcombe’s contributions being limited. Recorded between two Stockholm studios — Åhlund’s own and Ehrencrona’s Studio Cobra — the band’s sophomore album Iran Iraq IKEA derives its title from a slogan that Åhlund’s saw printed on a tie while in Berlin years earlier and wanted to use for years; in fact, Åhlund felt that it suited the album, “because it gave it all some kind of subtly poetic intrigue.” However, the album’s politics — if you really want to call it that — are rooted within the personal, As Åhlund says in press notes,  “It’s about classic topics like love and failure. And about being older and feeling like you’ve pissed your life away, It’s about regrets and wishing you’d done things another way,”

The band’s Åhlund takes up production duties again, but with the admission that maybe it was something he never really wanted to give up — and sonically speaking, the band reportedly have reinvented themselves and their sound but while retaining elements of the sound and approach that first won them national and international attention.  “I still love my krautrock, and space rock, and experimental, improvisational stuff” says Åhlund. “But I also have a strong love for psychedelic sixties pop music, and I love reverb-drenched guitar with a lot of tremolo on it. All of those things make it on to Iran Iraq IKEA, but the lines are blurred – there’s a lot of electronics, and you can’t always tell where each individual sound is coming from. Hopefully it’s suggestive, a little bit uncertain and unpredictable, at least that’s what I wanted.”

Now, if you’ve been frequenting this site over the past couple of years, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios in partnership with Sound of Aarhus have been inviting national, regional and internationally recognized touring bands to come into their studios for a live session, which they film and distribute through all of your favorite social media sites. So far they’ve inited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, and up-and-coming, Los Angeles-based post punk rock act Moaning.  Recently, the members of Les Big Byrd stopped by Tapetown Studios to perform the bittersweet lament “A Little More Numb.” 

New Video: Acclaimed Act Shook Twins Release a Disco-Influenced Take on Folk Paired with Trippy Visuals

Sandpoint, ID-born, Portland, OR-based identical twin sisters Katelyn Shook (vocals, guitar, banjo, mandolin, ukulele, glockenspiel and telephone microphone) and Laurie Shook (banjo, upright bass, djembe, ocarina flute, tambourine, giant golden egg, vocals) formed the acclaimed folk duo Shook Twins back in 2004, and since their formation they’ve developed a reputation for a unique and quirky take on folk that’s centered around unusual instrumentation, the Shook Sisters’ harmonizing, Laurie Shook’s beatboxing a looping machine and a telephone microphone to create a sound that draws from folk, Americana, electro pop and hip hop. They’re also known for adding choruses or lines from other contemporary and well-known songs as a sort of remix-like style. 

And with the release of their first three albums — 2011’s Window, 2008’s You Can Have The Rest, and 2014’s What We Do, and a handful of EPs, the Shook Sisters have built a growing national profile as they’ve performed with or opened for the likes of Ryan Adams, Mason Jennings, Carolina Chocolate Drops, Sarah Jarosz, Laura Veirs, Trace Bundy, Jonatha Brooke, Michelle Shocked, Crooked Still, Jason Webley, John Craigie, Elephant Revival, The Head and the Heart and others. And adding to that, they’ve played sets across the country’s music festival circuit including High Sierra Music Festival, Suwannee Hulaween, Summer Camp Festival, Electric Forest Festival, Lightning in a Bottle, Joshua Tree Music Festival, Arise Music Festival, Four Corners Folk Festival, Fayetteville Roots Festival and others. 

The act’s long-awaited fourth full, length album Some Good Lives is slated for a February 15, 2019 release through Dutch Records and the album which features a backing band consisting of Niko Slice (guitar, mandolin), Barra Brown (drums) and Sydney Nash (bass) finds them paying homage to the loved ones, friends and mentors, who have had a massive influence and impact on their lives from a late grandpa and godfather to Bernie Sanders and a host of others. “We realized there was a theme,” Katelyn Shook explains in press notes. “Even though our minds are mostly on the women of today and wanting the matriarchy to rise up, we have several men in our lives who have been such positive forces. We wanted to thank them and honor the good guys who showed us the beauty in this crazy world we live in. So, it’s an album for Some Good Lives that have crossed paths with ours—and to them, we are grateful.” Laurie Shook adds “It’s also an acknowledgment of our thankfulness of the good life that we get to live.”

During 2016, the Shook Sisters planted the seeds for what would become Some Good Lives by thinking bigger — they began intermittently recording at Hallowed Halls, an old library building, which felt full of stories. And with their backing band, they expanded upon the sound that first won them attention. “It took us a long time to find the band that we wanted to record these songs with and for the songs to fully mature,” admits Laurie. “Once Barra, Sydney, and Niko joined us, we really started to explore what our music could be. These amazing players helped us realize that we could be more than just ‘folk pop’. We started adding other genres to the word like ‘disco,’‘psychedelic,’‘funk,’ and ‘soul. We really honed in on a new sound.”

Some Good Lives‘ funky latest single “Stay Wild” single begins with shimmering guitars and features a propulsive, dance floor friendly groove, complete with a sinuous bass line paired with the Shook Sisters’ gorgeous harmonizing — and it finds the act’s sound meshing old school folk, deliberate attention to craft, psych pop and electro pop in a heady yet accessible fashion; in fact, in some way, it’s an almost Giorgio Moroder-like take on folk. 

Directed by Kristen Mico of Brave Alive Productions, edited by the band’s Laurie Shook and Kristen Mico and featuring effects by Willie Witte, the recently released video stars the Shook Sisters along with Barra Brown and Niko Slice. The video initially begins with a frustrated and stressed out businesswoman, completely in black and white. The brief blasts of color that come into her world revolve around the creative spirts and world of Shook Twins — including the entire band ice skating at a local rink. It’s a goofy and trippy visual that captures the spirit and feel of the song. 

New Video: Renowned Australian Electro Pop Trio RUFUS DU SOL Releases Symbolic Visuals for Album Single “Lost in My Mind”

Over this past year, I’ve written a bit about the acclaimed Sydney, Australia-based electro pop trio RUFUS DU SOL. And as you may recall, with the release of their first two albums  — 2013’s ATLAS, which landed at number 1 on the Australian charts and 2016’s critically and commercially successful follow up, Bloom, which featured smash hits “You Were Right” and “Innerbloom,” the trio comprised of Tyrone Lindqvist, Jon George and James Hunt quickly became sensations both at home and internationally. During a two year period of international touring to support their first two albums, the Sydney-based electro pop  trio developed a reputation for combining the DIY live aesthetics of indie rock and punk rock with the euphoria of club culture.

Once they finished touring, Lindqvist, George and Hunt spent a year in Venice, CA writing and recording their third and latest full-length album SOLACE, and as the trio note, that while the album is influenced by the dichotomy of the stark desert landscapes and coastlines of California, it’s a much fuller exploration of their evolving sound — and a deeper, more intimate glimpse into melancholy and transcendence. “It feels like a new RÜFÜS,”the trio said in press notes. “We are inspired by our new home out here, by the people we’ve met and the music we’ve heard along the way. We’ve got a refreshed sense of ambition and cannot wait to share our creation with the world.”

“Underwater,” SOLACE‘s second single further cemented the trio’s growing reputation for forward-thinking, boundary-pushing production as the track was centered around arpeggiated and propulsive Giorgio Moroder-like synths, a soaring choral hook and verses that express an aching longing. Ultimately, the track reveals an act that has managed to carefully walk a tightrope between arena and club rocking bombast with an earnest and intimate emotionality. “Lost In My Mind” the album’s third and latest single continues with forward thinking, electronic production centered around twinkling and arpeggiated synths, a chopped up choral-based hook paired with soulful vocals. And while the song sonically nods at Snap!‘s “Rhythm is a Dancer,” the song manages to evoke both the anxious desperation of someone hopelessly trapped within his own mind, and the push and pull of new love.

Directed by Drew Kirsch, the recently released video features the members of RUFUS DU SOL sitting on a moving couch that takes them through an abandoned factory on the outskirts of a large city. The couch propels the trio through the walls of an abandoned factories and buildings — and when they finally return home, they’re covered in dust, dirt and grime. Interestingly, the video emphasizes a larger struggle within the song — the struggle to keep oneself together, in the face of adversity and confusion. 

Now, over the course of this site’s eight-plus year history, I’ve written quite a bit about the New York-based dance music collective ESCORT. And as you may recall, the act which features founding duo and production team Eugene Cho and Dan Balls and Adeline Michele as members of a core group of anywhere from five to 17 has received attention for a sound that’s indebted to disco, house music and soul — and for a live show that has made them a must-see act; in fact, the members of ESCORT have played some of North America’s biggest festivals, including Sasquatch Festival, Okeechobee Festival Montreal Jazz Festival, Full Moon Festival and others — and have shared stages with The Internet, Charles Bradley, Digable Planets, De La Soul and Cody ChesnuTT.

Now, as you may recall, things have been busy in the ESCORT universe: Adeline recently released her self-titled, full-length debut while her primary gig has released singles — and their last single “Slide,” which was co-written by denitia and sene‘s Denitia was centered around a buoyant bass line, shimmering synths, some Nile Rodgers-like guitar and Adeline Michele’s sultry vocals manages to recall Chaka Khan and Rufus“Ain’t Nobody,” making it a sort of 80s synth funk-inspired skating rink banger. The acclaimed act’s latest single “Josephine” finds them returning to their roots — a subtly modern take on classic 70s disco centered around an incredible vocalist; but in this case, the song is an anthemic, club-banging biography of the legendary Josephine Baker that manages to recalls Giorgio Moroder‘s legendary work with Donna Summer.

 

 

 

 

 

Over the past few months, I’ve written about Polo & Pan, a Paris-based electronic music production and DJ duo, comprised of Paul Armand “Polocorp” Delille, and Alexandre “Peter Pan” Grynszpan, both of whom are acclaimed artists and DJs in their own right: Grynszpan has developed a reputation for being an insatiable crate digger, who has been known to collect a wide and diverse array of records from musical gems of the early 20th century to contemporary eeectronica and electro pop to 70s Nepalese psych rock and so on. Delille is best known for his work with MAD Agency creating workspaces for artists in industrial warehouses but also as a renowned DJ; in fact, both Grynszpan and Delille were resident DJs at Le Baron, and when they met, they discovered a common musical interest — creating a genre- and time-defying sound that manages to be dance floor friendly. Unsurprisingly Grynszpan is also one of the founders of Radiooooo, an online encyclopedic radio station that was launched back in 2013.

The duo’s first release Rivolta found the duo meshing 30s Italian standards with 70s Giorgio Moroder-inspired disco, and the duo’s full-length debut Caravelle, which was released to acclaim earlier this year, further cemented the duo’s reputation for a genre-meshing, anachronistic yet crowd-pleasing sound with the album material drawing from the sounds of South America, Tajikistan, China, Congo Africa and elsewhere. Now, after a wildly successful world tour that included stops in Los Angeles and NYC, the duo will be releasing a short EP, Mexicali on Halloween, which include the original single “Mexicali” and remixes by Simple Symmetry, Manfredas, Timboletti, — and the EP’s latest single is Simple Symmetry propulsive and arpeggiated, Giorgio Moroder-like remix of the song that turns the song into a glittering disco-influenced banger.

The duo will be returning to make a North America tour throughout December, and it included a December 5, 2018 stop at Brooklyn Steel. Check out the tour dates below.

Tour Dates:
12/4 – 9:30 Club – Washington DC
12/5 – Brooklyn Steel – New York City
12/6 – Union Transfer – Philadelphia
12/8 – Brighton Music Hall – Boston
12/10 – Velvet Underground – Toronto (SOLD OUT)
12/12 – Imperial – Vancouver
12/13 – The Crocodile – Seattle
12/14 – Fonda Theatre – Los Angeles (SOLD OUT)

 

 

Throughout the past summer, I’ve written quite a bit about the Glasgow, Scotland-based synth pop act Free Love, and since their formation back in 2014 under the name Happy Meals, the act which is comprised of Suzanne Rodden and Lewis Cook quickly established themselves as one of Scotland’s most acclaimed, contemporary electronic music acts; in fact, their 2015 full-length debut Apero received a Scottish Album of the Year nod. And adding to a growing profile. the duo has opened for Liars and The Flaming Lips, and played sets at festivals in Austin, TXMoscow, and Bangalore.

With the release of “Synchronicity,” a track that may remind some listeners of Nu Shooz‘s “I Can’t Wait,” and New Order‘s “Blue Monday” and “Bizarre Love Triangle, the duo further cemented their reputation for crafting utopian-leaning and brainy dance pop centered around shimmering analog synths. As the duo explained in press notes, the song is breaking free from the binds of culturally dictated self-limitation, coupled with the vertigo of complete freedom. The Scottish synth pop duo released two more singles, the ecstatic Giorgio Moroder and New Wave-like “Pushing Too Hard,” and the acid-house-like “July,” which brought Come With Us-era Chemical Brothers and Tweekend-era Crystal Method to mind. The duo’s forthcoming EP Luxury Hits is slated for a November 9, 2018 release and the EP’s latest single “Playing As Punks” will further cement the Scottish duo’s reputation for crafting 80s inspired synth-based New Wave — in this case, much like “Synchronicity,” taking its cues directly from early New Order and early house music as the track sonically is centered around arpeggiated synths, industrial clang-like drum programming and an soaring yet infectious hook; but underneath the dance floor friendly vibes, the song focuses on being here in this very brief moment with the understanding and acceptance of the fact that it won’t last.

 

 

Comprised of founding duo Jocke Åhlund and Frans Johansson along with Frans Johansson and Martin Ehrencrona, the Stockholm Sweden-based indie rock act Les Big Byrd features a collection of their hometown’s most accomplished indie musicians.  Åhlund co-founded cult hardcore outfit/genre-benders Teddybears with his brother Klas in 1991, and went on to play guitar in Caesars and form another duo, Smile, with Peter, Björn and John’s Björn Yttling. He also managed to find the time to write for and produce Giorgio Moroder and renowned Swedish pop artist Robyn. Johansson, meanwhile, had played bass in Swedish Grammy Award-winners Fireside since the early nineties and worked as a touring bassist with The Soundtrack of Our Lives. As the story goes, by 2011 Åhlund and Johansson had become increasingly disillusioned with their primary gigs and they began to collaborate with each other, frequently bouncing musical ideas off one another; the band’s founding duo quickly recruited two fellow grizzled scene vets, keyboardist Martin ‘Konie’ Ehrencrona and Caesars drummer Nino Keller to finalize the band’s lineup.

The band’s debut release, 2014’s Back to Bagarmossen EP was an atmospheric, guitar driven effort that found the quartet receiving attention from Swedish national TV. As the Stockholm-based indie quartet’s profile was growing nationally, they ran into The Brian Jonestown Massacre’s Anton Newcombe at a local record store, and after hitting it off with him, the band headed to Newcombe’s Berlin-based studio to jam with him — and the end result was a handful of tracks which eventually appeared on their critically applauded  Åhlund-produced full-length debut, They Worshipped Cats, an album that was a decided left turn into trippy space rock.

In the winter of 2015, 18 months after They Worshipped Cats‘ release, Åhlund was looking forward to working on new material; however, unlike their debut, he was determined to bring in an outside producer to allow him to focus just on the songwriting and playing. With much of their material drawing heavily from psych rock and drone, while retaining a pop sensibility, the band recruited Spacemen 3‘s Pete Kember to produce the album as the band loved his work on MGMT‘s 2010 sophomore album Congratulations.  Unfortunately and perhaps unsurprisingly, the initial sessions with Kember quickly went awry; Kember clashed with Newcombe, who also headed to Sweden to work on some ideas for the record with the band — and Åhlund eventually found himself taking up the production role, he didn’t want and wasn’t seeking.

Burned out by the experience, the band shelved the second album for a while.  “I didn’t know it at the time, but I needed to get some distance from it,” Åhlund says in press notes. “It was only after a while that I was able to go back and realise that there was a really good album in there.” The members of Les Big Byrd spent the bulk of last year remaking and re-imaging the material in their own image — with Kember and Newcombe’s contributions being limited. Recorded between two Stockholm studios — Åhlund’s own and Ehrencrona’s Studio Cobra — the band’s long-awaited, forthcoming sophomore album Iran Iraq IKEA derives its title from a slogan that Åhlund’s saw printed on a tie while in Berlin years earlier and wanted to use for years; in fact, Åhlund felt that it suited the album, “because it gave it all some kind of subtly poetic intrigue.” However, the album’s politics — if you really want to call it that — are rooted within the personal, As Åhlund says in press notes,  “It’s about classic topics like love and failure. And about being older and feeling like you’ve pissed your life away, It’s about regrets and wishing you’d done things another way,”

The band’s Åhlund takes up production duties again, but with the admission that maybe it was something he never really wanted to give up — and sonically speaking, the band reportedly have reinvented themselves and their sound but while retaining elements of the sound and approach that first won them national and international attention.  “I still love my krautrock, and space rock, and experimental, improvisational stuff” says Åhlund. “But I also have a strong love for psychedelic sixties pop music, and I love reverb-drenched guitar with a lot of tremolo on it. All of those things make it on to Iran Iraq IKEA, but the lines are blurred – there’s a lot of electronics, and you can’t always tell where each individual sound is coming from. Hopefully it’s suggestive, a little bit uncertain and unpredictable, at least that’s what I wanted.”

“Geräusche,” Iran Iraq IKEA‘s third and latest single, is the album’s opening track and interestingly enough, the song’s title is the German word for “noise” — although ironically, the expansive and atmospheric, krautrock-like track is centered around a motorik groove, shimmering and arpeggiated keys, angular guitar lines, mathematically precise beats and dreamy sense of harmony that in some way brings Evil Heat-era Primal Scream and Joe Jackson’s “Steppin’ Out” but with a lysergic vibe.

 

 

 

 

 

 

 

 

 

Last month, I wrote about the Sydney, Australia-based electro pop trio RUFUS DU SOL, and as you may recall, with the release of their first two albums — 2013’s ATLAS, which landed at number 1 on the Australian charts and earned platinum status and 2016’s critically and commercially successful follow up, Bloom, which featured smash hits “You Were Right” and “Innerbloom,” the trio comprised of Tyrone Lindqvist, Jon George and James Hunt quickly became sensations both at home and internationally. And over the course of a lengthy two-year long international tour, the Australian electro pop trio developed a reputation for combining the DIY live aesthetics of indie rock and punk rock with the euphoria of club culture.

After completing the tours to support their first two albums, the Australian trio spent the past year or so in Venice, CA writing and recording their highly-anticipated third full-length album SOLACE, which is slated for release this fall, and as the trio note, the album is largely influenced by the dichotomy of the stark desert landscapes and coastlines of California — but while being a much fuller exploration of their evolving sound, and a deeper, more intimate glimpse into both melancholy and transcendence. It feels like a new RÜFÜS,”the trio says. “We are inspired by our new home out here, by the people we’ve met and the music we’ve heard along the way. We’ve got a refreshed sense of ambition and cannot wait to share our creation with the world.”

Underwater,” SOLACE‘s second single further cemented the trio’s growing reputation for forward-thinking, boundary-pushing production as the track was centered around arpeggiated and propulsive Giorgio Moroder-like synths, a soaring choral hook and verses that express an aching longing. Ultimately, the track reveals an act that has managed to carefully walk a tightrope between arena and club rocking bombast with an earnest and intimate emotionality. “Lost In My Mind” the album’s third and latest single continues with forward thinking, electronic production centered around twinkling and arpeggiated synths, a chopped up choral-based hook paired with soulful vocals, and while sonically  making a subtle nod to Snap!‘s “Rhythm is a Dancer,” the song manages to evoke both the anxious desperation of someone hopelessly trapped within his own mind, and the push and pull of new love.

The internationally renowned electro pop trio will be on a month long North American tour during the fall and it includes three New York City area dates — November 23, November 24 and November 25 at Terminal 5. Check out the tour dates below.

 

SOLACE North American Fall Tour Dates (with more dates to be announced):
Oct 24th – Charlotte, NC – The Fillmore
Oct 25th – Atlanta, GA – Coca Cola Roxy
Oct 26th – New Orleans, LA – Voodoo Music & Arts Experience
Oct 27th – Houston, TX – House of Blues (Houston)
Oct 28th – Austin, TX – Emo’s
Oct 30th – Phoenix, AZ – The Van Buren
Oct 31st – San Diego, CA – Valley View Casino Center
Nov 1st – Los Angeles, CA – Shrine Expo Hall
Nov 2nd – Los Angeles, CA – Shrine Expo Hall
Nov 3rd – Los Angeles, CA – Shrine Expo Hall
Nov 6th – San Francisco, CA – Bill Graham Civic Auditorium
Nov 9th – Salt Lake City, UT – The Complex
Nov 10th – Denver, CO – The Fillmore Auditorium
Nov 11th – Denver, CO – The Fillmore Auditorium
Nov 13th – Minneapolis, MN – First Avenue
Nov 14th – Chicago, IL – Aragon Ballroom
Nov 15th – Detroit, MI – Royal Oak Music Hall
Nov 16th – Toronto, ON – The Danforth Music Hall
Nov 18th – Montreal, QC – MTELUS
Nov 20th – Boston, MA – House of Blues (Boston)
Nov 21st – Boston, MA – House of Blues (Boston)
Nov 23rd – New York, NY – Terminal 5
Nov 24th – New York, NY – Terminal 5
Nov 25th – New York, NY – Terminal 5

New Video: Acclaimed Canadian Producer Sleepy Tom Releases a Sultry and Swaggering New Single

Cam Tathem is a Vancouver, British Columbia, Canada-based DJ, producer and electronic music artist, best known as Sleepy Tom — and with the release of his 2013 debut EP The Currency, which featured lead single, EP title track “The Currency,” Tathem quickly received attention both nationally and internationally; in fact, by the following year, the Canadian DJ, producer and electronic music artist  played at the Squamish Valley Music Festival and went on to remix tracks by Zeds Dead, Martin Solveig and Diplo, with whom Tatham would later collaborate on Tatham’s 2015 UK chart topping single “Be Right There.”  

“In My Head,” is the first batch of new material from the acclaimed, chart topping Canadian electronic music artist, and sonically its a subtle but noticeable refinement on the sound that first caught international attention the finds the producer collaborating with Youngblood — it’s still dance floor friendly, the sleek and sensual production is both  that finds the modern and unfussy consisting of thumping beats, arpeggiated synths, a sinuous bass line but ultimately, it’s centered by deliberate attention to crafting a sultry hook to create a song that radiates a Giorgio Moroder-like sensuality but while managing to be simultaneously radio friendly and old-timey. 

Directed by Sophie Jarvis, the recently released video visually nods at film noir and Alfred Hitchcock as it possesses a sweaty, anxious paranoia — rooted in the very real possibility that someone or something is following you and that something horrible could happen just around the corner. As Jarvis says in press notes “’In My Head’ navigates the consuming nature of paranoia, shifting between one woman’s hyper-aware state in the aftermath of a murder, and her fragmented memory of the crime itself. Shooting on 16mm film and using innovative lighting techniques, we externalize her state of mind in surreal and unsettling ways.” Adds, Tathem, ““I wanted to create a visual for In My Head that reflected the narrative of the song, but also led the story to an exaggerated alternate-ending. Alexis’ voice holds this retro quality throughout the song so the throwback design Sophie produced fit perfectly.”