Tag: indie electro pop

HERO is an up-and-coming Calgary, Alberta, Canada-born, Montreal, Quebec, Canada-based electronic music producer, multi-instrumentalist and electronic music artist. With the release of “Dirty Work” and “The Juice” off his forthcoming Dirty Work EP, the Canadian electronic music artist and producer emerged into prominence both nationally and elsewhere. “Dirty Work” received praise from the likes of MTV Latin AmericaComplexbooooooom tv and others while, “The Juice” was featured in an episode of HBO’s Insecure; in fact, the song was so well received that they actually wrote HERO into the script, with a character referring to him as “the black Daft Punk.” 

Certainly, with “Stay the Night,” the reference to the Canadian producer and artist as “the black Daft Punk” sounds and feels incredibly fitting, as the sensual and retro-futuristic club banger recalls Homework and Discovery-era Daft Punk, as its centered around a propulsive and sensual groove, arpeggiated synths, vocoder-fed vocals and an undeniable, infectious hook. 

 

 

New Video: Introducing the Afro-Caribbean Sounds of Charlotte Adigéry

Charlotte Adigéry is an up-and-coming Belgian-Martiniquais singer/songwriter and her forthcoming David and Stephen Dewaele-produced EP Zandoli is centered around storytelling, her mother’s critical lesson of rhythm’s relationship to musicality, the importance of a sense of humor in a difficult work, and more important, her ancestors musical traditions. 

The EP’s opening track and latest single is the propulsive and trance-inducing “Patenipat,” a track built around thumping, tweeter and woofer rocking beats and a chanted chorus “zandoli pa the ni pat,” a Creole mnemonic that translates into “the gecko didn’t have any legs.” (A zandoli is a commonly found lizard across the Caribbean that’s frequently found climbing the walls of homes across the region.) Interestingly, while based around contemporary electronic music production, the song draws from the Afro-Caribbean tradition, recalling rhythmic drum lines and dance routines  — with the participants moving towards a religious ecstasy.

Directed by Joaquim Bayle, the cinematically shot visuals draw from religious ceremonies with Adigéry and all of the participants driven by the propulsive rhythms of the song. 

Memory Keepers is the Austin, TX-based electro-punk side project of The Sour Notes‘ Jared Boulanger and Amarah Ulghani.  The duo’s latest single is a propulsive, synth and vocoder-led cover of Brian Eno‘s “Uncle Third” that retains the original’s motorik groove — and in many ways, the original feels like pre-Autobahn-era Kraftwerk while the Memory Keepers cover feels like The Man-Machine

 

 

rum•gold is a Brooklyn-based singer/songwriter, who quickly emerged into the local scene with the release of two singles “Where There’s Smoke” and “Cashmere Cage” along with introductory interview on Pigeons and Planes back in June. The up-and-coming local singer/songwriter’s debut EP yaRn is slated for release next year, and to build up further buzz, rum•gold recently released the third and latest single from the EP, “Get Through.” 

Featuring a James Chatburn minimalist yet textured production consisting of a sinuous bass line, a mournful and gorgeous trumpet arrangement (played by the Brooklyn-based singer/songwriter)and thumping boom bap-like beats, “Get Through” is centered by rum•gold’s achingly tender and soulful falsetto.  Sonically speaking, the song (to my ears, at least) recalls Maxwell and Moses Sumney, complete with a deeply intimate, emotional honesty and vulnerability.  

As rum•gold says about the song in press notes, “‘Get Through’ is a self revelation. Its about finding that vice to get through a hard place, while also understanding that you wouldn’t be who you are today without going through said hardship. Its about learning to understand that contradiction is natural and if allowed can be incredibly freeing.”

 

Ocean Potion is the Toronto, Ontario, Canada side project of Yukon Blonde‘s Jason Haberman and Zeus‘ Mike O’Brien.  Haberman and O’Brien met while their respective primary bands were touring Canada, and as the story goes they quickly bonded, beginning a bedroom recording project over the course of this year.  Initially, there were no actual songs, just extended free form jams based around looping riffs. As these loops took more of a song shape, a creative process began to emerge — Haberman would record a basic instrumental track, then send it over to O’Brien, who would add words and melodies. 

Throughout the summer, Haberman and O’Brien bounced tracks back-and-forth throughout the summer and after they felt they had a collection of 10 songs that represented the best of what they’d created, Haberman dove into the mixing process, shifting through the many layers of synths, woozy guitars and dreamy vocals to find the purest and best version of each song. 

“Lights Out,” the Toronto-based duo’s latest single will further cement the duo’s growing reputation for crafting dreamy and ethereal pop centered around shimmering and arpeggiated synths, a simple backbeat, shimmering guitars fed through effects pedals and O’Brien’s equally ethereal vocals. Sonically, the song evokes a few things to me — lazy days, sitting around and playing music and driving around aimlessly on gloriously sunny days with music on your stereo. It’s all good vibes and enjoying the eternal now. 

With the addition of Forces’ Dave Azzolini and Brave Shores‘ Jay McCarol, Ocean Potion will be touring as a quartet throughout 2019. So be on the lookout for more. 

 

 

New Video: Omaha’s The Faint Releases Stylish and Menacing Visuals for Club-banging “Child Asleep”

Currently comprised of founding members Todd Fink (vocals) and Clark Baechle (drums), along with Graham Ulicny (keys) and Michael “Dapose” Dappen (bass), the Omaha, NE-based cyber-punk act The Faint can trace their origins back to the mid 1990s. Founded by Fink, Baechle and Joel Petersen, the band’s founding members spent time skateboarding in their free time — until Fink developed knee problems, which shifted their hobbies towards music.

Initially forming under the name Norman Bailer, the band also briefly included Conor Oberst, who left the band shortly after their formation. The band’s founding trio eventually changed their name and signed to Saddle Creek Records, their longtime label home. Interestingly, after releasing a handful of singles that didn’t sell much, the band added Matt Bowen, who was with them for the writing and recording of their full-length debut Media. After the recording of Media, the Omaha-based cyber punk outfit went through a number of lineup changes.

In late 1998, Jacob Theile joined the band, Bowen left and was replaced with Ethan Jones. And with a lineup of Fink, Baechle, Theile and Jones, the band toured across the US, playing the material that would eventually comprised their acclaimed sophomore album Blank Wave Arcade, an album found the band moving towards an electronic dance music and techno influenced sound. Before recording the album, the band went through yet another lineup change with Jones leaving the band and being replaced by Joel Petersen, who played bass and guitar during the album’s recording sessions. 

During the recording sessions for Danse Macabre, the band added Dappen, who was best known for being a member of LEAD. The band’s fifth album, 2008’s Fascination was released through the band’s own label blank.wav.  2012 saw the release of the deluxe and remastered edition of Danse Macabre, which featured bonus and unreleased tracks, a DVD of archival footage, live projections from that album’s tour and live footage. 

In 2016, the band went through another lineup change as Reptar’s Graham Ulicny replaced Thiele. The band’s long-awaited Egowerk is slated for a March 15, 2019 release through Saddle Creek Records. The album, which marks a return to the Omaha-based outfit’s longtime label home, thematically explores the Internet and its impact on modern society and the ego — specifically social media and its dark effects. The album’s first single, album opener “Child Asleep” is a thumping and twitchy industrial house-like club banger centered around layers of arpeggiated synths, rapid fire beats, and vocals fed through copious amounts of vocoder. And while the song manages to recall Tour de France-era Kraftwerk and Atari Teenage Riot, the song is centered around a simple yet profound message — that “if I were wise, I would see that I’m a child still asleep.” 

Directed and Edited by Nik Fackler, the recently released video manages to be tense, slickly stylish and absolutely menacing; or in other words, it seems to accurately capture our uncertain sociopolitical moment. 

New Audio: Introducing the Synth-Led Funk of Sydney’s Winston Surfshirt

With the release of their full-length debut Sponge Cake, which featured their recently gold-certified debut single “Be About You,” the Sydney, Australia-based sextet Winston Surfshirt was championed by Beats 1 Radio host Zane Lowe, KRCW’s Jason Bentley, BBC Radio 1’s Huw Stephens and Phil Taggart, BBC Radio 6’s Lauren Laverne and Elton John, thanks in part to a Australian sextet’s unique and slickly produced blend of synth funk, soul and hip-hop. Adding to a growing profile, Sponge Cake was named a Triple J feature album. 

Building upon a growing national and international profile, the up-and-coming Sydney-based act end 2018 with a new track, the chilled out yet swaggering funky synth-led “For The Record,” which pairs a sleek hip hop-tinged production of thumping beats, arpeggiated synths, crooning horns and neo-soul like vocals. Sonically, the song brings a number of different artists — Thundercat, Timbaland and Dam-Funk immediately come to mind. “‘For The Record’ is a song written for anyone from the perspective of their loved ones, family or friends,” the members of the band explain in press notes. “When you’re feeling down there’s always people who love you and would do anything to make you feel better and be there when you’re in a bad headspace.”

 

Luvia is an up-and-coming Brighton, UK-based singer/songwriter and pop artist, who has received attention across the blogosphere for a sound that she describes on her Facebook  page as a mix of Lana Del Rey, Mazzy Star and a hint of Stevie Nicks, brining together a tender ethereal, acoustic sound. Lyrically, the up-and-coming, British pop artist is inspired by spoken word poetry and story-telling — in particular, she’s been deeply influenced by stories of people, who have given into their guilty pleasures and have taken that proverbial walk on the wild side. Luvia’s latest single is the noir-ish “Love Lust,” centered around the young British artist’s achingly tender vocals and an atmospheric and slow-burning production featuring dramatic drumming, twinkling keys and a soaring hook. Sonically, the track bears an uncanny resemblance to JOVM mainstays ACES as it evokes a cinematic air, that recalls 80s movie soundtracks; but interestingly enough the song seems to capture

As Luvia explains in press notes, “’Love Lust’ is a reflection of what it was like growing up for me but also a lot of people I know. Lots of feeling numb and having a lot to deal with and doing things to feel something or anything. I think that’s where the main line ‘even if it kills me it makes us feel alive, even if it thrills me we might as well just try’ came from, an act of teenage thrill seeking perhaps. Although on the flip side the song is also about growing away from that and finding a way to come alive and wake up from the darker side of things and from the dull day to day.”

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