Tag: KEXP

New Audio: Nation of Language Releases a Chilly ’80s Inspired Bop

Nation of Language is a Brooklyn-based synth pop trio — Ian Richard Devaney (vocals, guitars, percussion), Aidan Noell (synth, vocals) and Michael Sue-Poi (bass) — that can trace its origins back to 2016. At the time Devaney and Sue-Poi were members of The Static Joys, a band that became largely inactive after the release of their sophomore album. As the story goes, Devaney was inspired to start a new project after hearing OMD’s “Electricity,” a track he listened to in his childhood while in his father’s car.

What initially stated out as Devaney fooling around on a keyboard quickly evolved to Nation of Language with the addition of Noell and Sue-Poi. Between 2016 and 2019, the act released a handful of singles that helped them build up a fanbase locally and elsewhere. (Now, if you’ve been frequenting this site, you may recall that I caught them open for JOVM mainstays Still Corners a couple of years ago.)

The trio’s debut effort, last year’s Introduction, Presence was released to critical praise, landing on the Best Albums of 2020 lists for Rough Trade, KEXP, Paste, Stereogum, Under The Radar and PopMatters. Nation of Language capped off 2020 with a 7 inch single “A Different Kind of Light”/”Deliver Me From Wondering Why” — and to start off 2021, the rising Brooklyn-based synth pop trio recently released the 7 inch’s B side “Deliver Me From Wondering Why.”

“Deliver Me From Wonder Why” is chilly synth pop bop centered around repetitious and trance-inducing synth arpeggios and a persistent motorik groove that has a decidedly 80s vibe — in particular, you can’t help but think of A Flock of Seagulls, Simple Minds, and others. “‘Deliver Me From Wondering Why’ is a bit of an exploration, rooted in a desire for something repetitious and a bit spacey – something that would make you really want to zone out or go on a long drive on the highway,” Nation of Language’s Ian Richard Devaney says in press notes. “We worked with Nick Millhiser (Holy Ghost!) and it was just a really fun exercise in letting the track carry us wherever it was going to go. The backbone of the steady synth arpeggios and rhythms just leads endlessly forward and lets the mind wander around it.”

Live Footage: METZ Live on KEXP — At Home

With the release of their first three albums, the Toronto-based punk trio and JOVM mainstays METZ developed a reputation for thriving on an abrasive restlessness. However, before they set to work on their fourth and latest album, last year’s Atlas Vending, the Canadian punk rockers — Alex Edkins (guitar, vocals). Chris Slorach (bass) and Hayden Menzies (drums) — set a goal for themselves and the album: they intended to make a much more patient and honest album, an album that invited repeated listens rather than a few exhilarating, most-pit friendly bludgeonings.

Co-produced by Uniform’s Ben Greenberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, Atlas Vending sees the band attempting to craft music for the long haul, and with the hopes that their work could serve as a constant, as they — and of course, the listener — navigated through life’s trails and tribulations. The end result is an album’s worth of material that retains the massive sound that has won them attention and hearts across the world, but while arguably being among their most articulate, earnest and dynamic of their catalog and careers.

Thematically, the album covers disparate yet very adult themes: paternity, crushing social anxiety, addiction, isolation, media-induced paranoia and the restless urge to just say “Fuck this!” and leave it all behind. Interestingly enough, much like its immediate predecessor, Atlas Vending offers a snapshot of the modern condition as the band sees it; but unlike any of their previously released work, the album’s 10 songs were specifically written to form a musical and narrative arc with the album’s songs and sequencing following a cradle-to-grave trajectory.

As a result of the album’s cradle-to-grave narrative arc, the album’s material runs through a gamut of moods and emotional states, starting off with the most rudimentary and simplistic sensations of childhood, all the way to the increasingly nuanced and turbulent peaks and valleys of adulthood. There’s also a bit of subtext to the proceedings: getting older in an industry seemingly suspended in perpetual youth. “Change is inevitable if you’re lucky,” METZ’s Alex Eadkins says of the band’s fourth album Atlas Vending. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.”

Over the course of last year, I wrote about six off the album’s released singles:

Album closing track “A Boat to Drown In,” which may be the most expansive and oceanic tracks of their entire catalog.
“Hail Taxi,” an explosive and deceptively prototypical METZ track that’s centered a narrator, who desperately attempts to reconcile who they once were with what they’ve become.
“Blind Industrial Park,” a rapturous and euphoric ripper that’s an ode to the naivete of youth and the blissful freedom of being unburdened by the world surrounding you.
“Parasite,” a frenetic and pummeling ripper that they filmed at The Opera House in Toronto.
“Pulse,” a furious roar, full of the anxious and uncertain dread that was familiar to daily life during the Trump Administration.
“Framed by the Comet’s Tail,” Atlas Vending’s most punk-like song, centered around the bitter recrimination and heartache of betrayal and the desperate desire to just say “Fuck all of this!” and start over.

The JOVM mainstays closed out 2020 with an explosive live session for KEXP that they recorded at Palace Sound, which features a handful of the album’s singles performed live. KEXP recently released the video — and it makes me miss live shows immensely. I suspect it’ll make you miss live shows, too.

New Video: Aluna Teams Up with Kaytranada and Rema on a Sultry Club Banger

London-born and -based singer/songwriter Aluna Francis a.k.a. Aluna, is best known as one-half of the critically acclaimed and commercially successful electronic music duo AlunaGeorge. The past year/year-and-half or so have seen momentous changes for the London-based singer/songwriter: last year, Francis gave birth to her first child, a daughter named Amaya — and earlier this year, the acclaimed singer/songwriter announced that she would be releasing material as a solo material, building up buzz for her solo debut, Renaissance, which was released by Mad Decent back in August.

2020 has been a momentous year for Francis: singles off Renaissance have amassed over 30 million streams globally and radio airplay in over 30 countries, including BBC Radio 1, Triple J, KCRW, KEXP, Sirius XM’s BPM and Capital’s Capital Dance. Those singles have been playlisted on Spotify’s New Music Friday in over 20 counties — and she was placed on the cover of their Mint and Massive Dance Hits playlists. She also has been featured on Amazon Music’s Nectar and Apple Music’s New Music Daily playlists.

Back in June, Francis penned an open letter to the global dance community, demanding that the community re-assess platforms and positioning of Black creators within the dance world. “When I started looking at all the challenges I face being a black woman making dance I realized I wanted to do more than just create a space for myself – I want all black people to know that the genre of dance is their heritage and they should feel included and encouraged to create under that banner by expanding the genre to be culturally and racially inclusive,” the acclaimed British artist wrote.

And adding to busy year. Francis launched her own personally curated all Black, POC& F and women-led virtual electronic music festival, ALUNA & FRIENDS: RODEO RAVE, which featured DJ sets from BAMBII, GuiltyBeatz, UNIIQU3, Lady Bee, Kiddy Smile, Austin Millz and a live set from Francis, live streamed on Twitch from the Compton Cowboys Ranch in Los Angeles.

“Originally, putting together my dream festival line up (Black, POC and women DJs who play dope dance music) was an incredible goal, a chance to show exactly how I see the future of mainstream dance festivals.” Francis explains. “Then we found out the Compton Cowboys we’re down to help us put the festival on and all of a sudden you have this parallel of two black people in totally different worlds doing the same thing — re-invigorating the inclusion of black people in a space where we had been erased. Getting to connect like this is really what music should always be about — bringing people together. This is gonna be an epic cultural moment for myself and anyone who is looking forward to the future of dance music.”

Continuing upon that incredibly momentum, Renaissance’s latest single “The Recipe” finds the acclaimed London-based artist teaming up with equally acclaimed producer KAYTRANADA and Nigerian singer/songwriter Rema on a sultry and slinky Afropop and reggae- inspired banger, featuring glistening synth arpeggios, clinking percussion and an infectious hook. And at its core, the song is a feminist anthem, centered around an unvarnished and honest admission of what the song’s narrator — and in turn, creator — needs two make a relationship successful.

“It’s quite a girl power track,” Aluna exclaims in press notes. “As someone who has an inferiority complex and difficulty feeling confident, I’m introducing myself as a new person. I decided, ‘Be honest. Don’t pretend you’re a chill, low-key, and low-maintenance person, because you’re simply not. You’re an absolute basket case, and you need it all, or the relationship won’t work’.”

Directed by Reggie, the duo of Clay Dirske and Jake Herman, the recently released video for “The Recipe” draws from an eclectic array of sources visually and thematically — in particular, Renaissance-era France, Sophia Coppola’s Marie Antoinette, the Elizabethan era and others but with gorgeous Black people in the frilly finery. I’m fucking here for it, y’all. “I wanted to play with the way history has been dictated to us. Growing up in England you are constantly exposed to glamorous white history of period dramas without a black person in sight,” the acclaimed British artist explains in press notes. “I feel that since the British Empire was so heavily funded by slavery that history is ours too, we’ve just never been pictured in the finery…and I wanted to see what that would look like.”

The director team of Reggie adds, “This video brings together a lot of elements that you wouldn’t necessarily find in one place, but when combined create something magical. We drew inspiration from Aluna’s album name, Renaissance, the Elizabethan era, dancehall, Midsummer Night’s Dream, Busby Berkely, The Wiz and more. We were very fortunate to collaborate with an incredible cast and crew. Our choreographer Chris Emile, captured the energy of the song and the idea perfectly.”

With the release of their debut EP, 2016’s More Escher and Random Notes, the rising Helsinki, Finland-based indie act The Holy — Eetu Henrik Iivari (vocals, guitar), Pyry Peltonen (guitar), Laura Kangasniemi (bass), Mikko Maijala (drums) and Eero Jääskeläinen (drums) quickly emerged into the Nordic music scene, quickly developing a reputation for an enormous and rousingly anthemic sound that has drawn comparisons to Bruce Springsteen and Peter Gabriel with Krautrock influences.

Initially cutting their teeth in Helsinki’s small venue circuit, the members of The Holy have taken an explosive and passionate live show to their homeland’s national festival circuit, playing sets at Flow FestivalRuisrockProvinssirock, Iloasarirock and Lost In Music among others. Building upon a rapidly growing profile, the members of the Helsinki-based quintet released their full-length debut Daughter last year. The album, which thematically touched upon how the 1990s Finnish economic recession impacted this current generation of its young people was a game-charger for the band, as it the album received praise across both Finland and Europe, eventually garnering a Finnish Grammy (EMMA) Critics’ Choice nomination.

The Holy supported the album with a busy touring schedule across Sweden and the Europe that included the continent’s festival circuit with stops at Eurosonic NooderslagIceland AirwavesReeperbahn Festival, Where Is The Music, JaJaJa Music LondonBerlin, and Vienna. Additionally, while they were touring, German/French TV Arte filmed the band’s set at last year’s Flow Festival in cooperation with Finland’s YLE — and KEXP filmed their Iceland Airwaves set.

Originally scheduled for release this spring and now slated for a November 6, 2020 release through Playground Music, the rising Finnish act’s highly-anticipated sophomore album Mono Freedom is a semi-utopian sci-fi tale, inspired by Alan Weisman’s The World Without Us, which explores a number of scenarios of what would happen to Earth if humans were to suddenly disappear. Set in the somewhat distant future on a dying Earth, the planet’s last humans decide to gather their things, build a rocket and travel to the nearest black hole. They know that there is probably nothing out there but it’s one of humanity’s last desperate ideas and last hopes. In the realm of this world, this is generally seen as a positive, not as an absurdly hopeless, dystopian vision.

“During our Daughter tour, I read the science book, The World Without Usby Alan Weisman, and I got inspired and sad at the same time. It seems that humans just took a leap in the evolution progress a million years ago and have been fucking things up since,” The Holy’s Eetu Henrik Iivari explains in press notes. “I started to play with an idea of a space odyssey of the last people on earth, eventually building a rocket and flying into the nearest black hole. And they just don’t make it. They are too dumb to make it. And that’s it. And after a few hundred years, Mother Earth doesn’t even remember it was once occupied by humans.

“And this eventually got me thinking about the Western way of life and the idea of freedom. How one-way, single-minded and boxed-in it is. When you wake up in a modern western city — there is almost nothing you can do that doesn’t rip somebody. It’s late modern capitalism, a jail built on the grounds of believing that you have a choice. And that you make a choice. But most of it is already aimed towards consumerism. We just like to think that we find things by ourselves, but most of it is given. And it’s just so frustrating. To do the right thing from one day to another and navigate in the middle of all this evil around us. 

[But even though the theme is not the lightest in the world, I wanted the album to mirror hope and to be empowering. A friend for people having similar thoughts.”

Earlier this year, the rising Finnish act released a double single, “No Trial In The Dark” and “Twilight Of The Idiots.” “Twilight of the Idiots” is a rousingly anthemic song that immediately brings s A Rush of Blood to the Head-era Coldplay, Peter Gabriel and The Unforgettable Fire  U2 to mind through a combination of earnest emotionality and ambitious songwriting. “No Trial In The Dark” continues in a similar vein but while being much more percussive and cinematic. “I wrote ‘Twilight Of The Idiots,’ ‘Swim,’ ‘The Rocket Song’ and ‘No Trial In The Dark’ very close to each other and we recorded those songs in the same sessions,” Iivari recalls in press notes. “After that I knew what other songs should be on this album and the narrative started to be clear. We followed that path and never turned back.” 

“I Don’t Know,'” Mono Freedom‘s third and latest single continues a run of rousingly anthemic and arena friendly material, centered around deeply earnest songwriting and breakneck yet passionate playing. While sonically, the track brings early U2 to mind — particularly Boy and October — thanks to angular, reverb-drenched guitar chords, forceful and dramatic drumming and Ivari’s plaintive vocals, the song comes from a deeply personal and lived-in place:

“This song is basically about being bipolar. At least on some level. I have no diagnosis and I might not be the right person to talk about it, ” Ivari says “but I’ve been struggling the most part of my life with heavy mania vs. depression and it has taken a huge toll on a lot of things. I have found a way to live with it and function in society nowadays, but it still takes a lot of work every day. It also gives a lot though, being in the deep end of mania is like a drug from the future and I do get a lot of things done. But it’s also super hard to keep that level and it brings you down really really low when you just can’t. 

“I learned from a silly love themed tv show that it’s good to talk about it. To give the people around you some knowledge about it and tools to work with you. So I ended up writing this song and tried to open it slowly. The tune is pretty uplifting and I wanted it to be light and kind of funny, because the last thing I want is to add a shadow of darkness and depression over the matter and keep repeating the pattern of adding shame on this kind of stuff. That it is some mystic dark depressive thing etc. It is just a thing. We all have our things.”

New Video: JOVM Mainstays Palace Winter Release a Lysergic Visual for Anthemic New Single “Top of the Hill”

I’ve written quite a bit about the  Copenhagen, Denmark-based pop duo Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — over the past few years. The act can trace its origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects. Naturally, that mutual familiarity and appreciation for each other’s work, led to the duo working together. 

Coleman and Hesselager released their Palace Winter debut single in 2015 — but the following year was a breakthrough year for the Copenhagen-based duo: they released their EP Meditation and full-length debut Waiting for the World to Turn to critical praise from The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Adding to a growing profile, the duo have a Hype Machine #1 single under their belts, have opened for Noel Gallagher, and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown Festival, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.

Building upon a rapidly growing profile, Coleman and Hesselager released their sophomore album, 2018’s Nowadays. Arguably one of my favorite albums of the year, the album’s material found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy, melodic, radio friendly pop with dark thematic concerns — in particular, the loss of innocence as one becomes an adult, with its accompanying tough and sobering lessons; the freedom and power that comes as one takes control of their live and destiny. But this was all underpinned by the inconsolable grief of profound loss. The album suggests a couple of things that I’ve learned about life in my 41 years : Life is ultimately about accepting immense, inconsolable loss as part of the price of admission, and somehow you have to figure out some way to move forwards, even its in fits and starts. And that a significant portion of our lives will be spent maneuvering the confusing push and pull between love and lust, with the prerequisite remote, anxiety, bitterness and loathing. Life is never easy and there’s never easy solutions. 

Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records — and unlike their preceding albums, . . .Keep Dreaming, Buddy’s material was written through a long distance correspondence as the band’s Coleman was residing in Tenerife, Canary Islands, Spain:“Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, drawing parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities.

“Top of the Hill,” which features a guest spot from Lowly is a perfect example of the album’s literal tale of two cities: shimmering and icy synths and thumping beats and an enormous, arena rock hook are paired with Coleman’s lyrics, which feature volcanic imagery to describe the broiling and bubbling feelings of dissatisfaction, frustration, deceit and distrust that come up in a failing relationship. And yet, throughout there’s the dim chance it could survive — even if it shouldn’t. 

Starring Carla Viola Thurøe, the recently released video follows the actor on a lysergic-tinged walk around Copenhagen’s parks and streets — and we see Thurøe’s attentive gaze shift from crystal balls to flowers, with the Danish actor carefully examining them and their texture. In many ways, the video mirrors Hesselager and Coleman’s writing process with Hesselager walking around Copenhagen figuring out the unfinished instrumentation and beats ins head and how they fit with Coleman’s phone recordings. 

 

With the release of their debut EP, 2016’s More Escher and Random Notes, the rapidly rising Helsinki, Finland-based indie act The Holy — Eetu Henrik Iivari (vocals, guitar), Pyry Peltonen (guitar), Laura Kangasniemi (bass), Mikko Maijala (drums) and Eero Jääskeläinen (drums) quickly emerged into the Nordic music scene, quickly developing a reputation for an enormous and rousingly anthemic sound that has drawn comparisons to Bruce Springsteen and Peter Gabriel with Krautrock influences — and for an explosive live show. 

Cutting their teeth in their hometown’s small venues, the members of The Holy have built up a national profile, playing sets across the Finnish festival circuit, including Flow Festival, Ruisrock, Provinssirock, Iloasarirock and Lost In Music. But last year, was a momentum changing year for the band: The band’s full-length debut Daughter, which thematically touched upon  the 1990s Finnish economic recession and its reflection on the youth of its time received praise across Europe and Finland, resulting in an EMMA Nomination for Critics’ Choice.

Building upon a growing profile, the band has supported their recorded output with tours across Sweden and the European Union with festival circuit stops in Germany, The Netherlands, Switzerland, Luxembourg and Austria, playing sets at Eurosonic Nooderslag, Iceland Airwaves, Reeperbahn Festival, Where Is The Music, JaJaJa Music London, Berlin, and Vienna. Last year, the German/French TV channel Arte filmed the band’s set at last year’s Flow Festival in cooperation with Finland’s YLE — and KEXP filmed their Iceland Airwaves set, which will be published on their YouTube channel in the near future.

Slated for an April 17, 2020 release, the rising Finnish act’s highly-anticipated sophomore album Mono Freedom is a semi-utopian sci-fi tale, inspired by Alan Weisman’s The World Without Us, which explores a number of scenarios of what would happen to Earth if humans were to suddenly disappear. Set in the somewhat distant future on a dying Earth, the planet’s last humans decide to gather their things, build a rocket and travel to the nearest black hole. They know that there is probably nothing out there but it’s one humanity’s last ideas and last hopes. All of this is seen as positive, not as a dark, hopeless dystopian vision.  

During our Daughter tour, I read the science book, The World Without Us by Alan Weisman, and I got inspired and sad at the same time. It seems that humans just took a leap in the evolution progress a million years ago and have been fucking things up since,” The Holy’s Eetu Henrik Iivari explains in press notes. “I started to play with an idea of a space odyssey of the last people on earth, eventually building a rocket and flying into the nearest black hole. And they just don’t make it. They are too dumb to make it. And that’s it. And after a few hundred years, Mother Earth doesn’t even remember it was once occupied by humans.

“And this eventually got me thinking about the Western way of life and the idea of freedom. How one-way, single-minded and boxed-in it is. When you wake up in a modern western city — there is almost nothing you can do that doesn’t rip somebody. It’s late modern capitalism, a jail built on the grounds of believing that you have a choice. And that you make a choice. But most of it is already aimed towards consumerism. We just like to think that we find things by ourselves, but most of it is given. And it’s just so frustrating. To do the right thing from one day to another and navigate in the middle of all this evil around us. 

But even though the theme is not the lightest in the world, I wanted the album to mirror hope and to be empowering. A friend for people having similar thoughts.”

Interestingly, instead of releasing a one-off single, The Holy have specifically released a double single “No Trial In The Dark” and “Twilight Of The Idiots.” “Twilight Of The Idiots,” the first single is an atmospheric yet enormous, arena rock friendly song centered around shimmering guitars, twinkling keys,  rousingly anthemic hooks and Iivari’s plaintive vocals, the song sonically brings A Rush of Blood to the Head-era Coldplay, Peter Gabriel and The Unforgettable Fire U2. And as result, the song finds the rising Finnish act balancing intimate observations with earnest emotions and ambitious songwriting. “No Trial In The Dark” continues in a smilier vein — and while being the most percussive and dramatic of the pair, it may also be the most cinematic of the pair.

“I wrote ‘Twilight Of The Idiots,’ ‘Swim,’ ‘The Rocket Song’ and ‘No Trial In The Dark’ very close to each other and we recorded those songs in the same sessions,” Iivari recalls in press notes. After that I knew what other songs should be on this album and the narrative started to be clear. We followed that path and never turned back 

“I feel that No Trial In The Dark and Twilight Of The Idiots do set the stage for the album. The first conflict and the hopeless overview of the modern times. I always wanted them to go out at the same time and they do follow each other on the album for a reason. They open the window to The Holy’s inner world of 2020 – way deeper than just releasing a regular one-off.”

 

 

 

 

New Video: Mexico City’s Sotomayor Releases a Trippy Visual for “Sin control”

Over the past couple of months, I’ve written a bit about the Mexico City, Mexico-based sibling electro pop duo Sotomayor. The act, which the duo founded in 2015 features arguably two of their hometown’s most accomplished musicians: Paulina Sotomayor (vocals) is known for her work as a drummer in local rock/folk act folk act Jefes del Desierto,  and Raul Sotomayor (production), best known for his work as one-half of award-winning jazz/funk duo Beat Buffet and for creating DayOff, a Sunday afternoon party that presents global bass acts from around the world.  

Since their formation, they’ve released two albums –2015’s Salvaje and 2017’s Conquistador — that have received attention from Vice, MTV and KEXP for a sound that meshes elements of cumbia, Afrobeat, dancehall, Peruvian chicha and merengue with modern electronic production and rock ‘n’ roll-like urgency. Adding to a growing profile, the act has toured across the UK, the States and Colombia.

Recorded in studios in Puerto Rico and Mexico, the duo’s recently released Eduardo Cabra-produced, third full-length album Origenes further cementing their sound — while further drawing from the sounds of Latin America’s clubs and streets. Possessing a strong sense of tradition, the album’s material is centered around their unerring knack for pairing pop friendly melodies with rock ‘n’ roll urgency. But unlike their previously released work, the Sotomayors add and explore Afro Caribbean percussion to their overall sound and aesthetic. 

“Sin control” Origenes’ third single continues a run of club friendly material — but in this case, the track is a decidedly Larry Levan-era house inspired track centered around shimmering synth arpeggios, thumping Latin-influenced percussion and Paulina Sotomayor’s sultry and ethereal vocals. Nodding at the work of artists like Sango and Branko, the track is an infectious and summery bop written and designed to get asses shaking on the dance floor. 

Directed by Drew Boyle, the recently released video for “Sin Control” features some mind-bending  and lysergic computer animated visuals — also by Boyle — that at times pulsate to the music’s hypnotic beats. 

New Video: Sibling Duo Sotomayor Releases a Surreal Visual for Dance Floor Friendly “Meneate pa’ mi”

Sotomayor is a rapidly rising Mexico City, Mexico-based sibling electro pop duo featuring arguably two of their hometown’s most accomplished musicians: Paulina Sotomayor (vocals), best known for her work as a drummer in local rock/folk act Jefes del Desierto,  and Raul Sotomayor (production), best known for his work as one-half of award-winning jazz/funk duo Beat Buffet and for creating DayOff, a Sunday afternoon party that presents global bass acts rom around the world. Paullina Sotomayor and Raul Sotomayor founded Sotomayor back in 2015. And although it’s their first project together, the act which has released two album’s — 2015’s Salvaje and 2017’s Conquistador — has received attention from Vice, MTV and KEXP for a sound that meshes elements of cumbia, Afrobeat, dancehall, Peruvian chicha and merengue with modern electronic production and rock ‘n’ roll-like urgency. Adding to a growing profile, the act has toured across the UK, the States and Colombia.

Recorded in studios in Puerto Rico and Mexico, the duo’s soon-to-be released Eduardo Cabra-produced, third full-lengh album Origenes is slated for a February 14, 2020 release through Wonderwheel Recordings. Reportedly, the rapidly rising Mexico City-based act’s third album finds them continuing to draw their sound and aesthetic from the sounds of Latin America’s clubs and streets.  Possessing a strong sense of tradition, the material further cements the sibling duo’s reputation for an unerring knack for melody paired with a rock ‘n’ roll-influenced urgency — but unlike their previously released albums, Origenes finds the Sotomayors exploring and adding Afro Caribbean percussion to the mix.

“Meneate pa’ mi,” Origenes’ second single is a decidedly upbeat, track centered around Raul Sotomayor’s thumping, club thumping  production featuring a chopped and looped horn sample and tweeter and woofer rocking beats paired with Paulina Sotomayor’s self-assured half-sung, half rapped vocals. Much like JOVM mainstay El Dusty, the Mexico City-based duo’s newest single envisions a globalized, genre-free world, a world as the great George Clinton once sung that’s “one nation under a groove.”

Directed by Sotomayor’s Raul Sotomayor, the recently released video for “Meneate pa’ mi,” features mundane and surreal actions placed within pastel color sequences — and as a results, it captures the act’s mischievous aesthetic. 

New Audio: Mexico City-based Sibling Duo Sotomayor Returns with a Shimmering House Music-Influenced Bop

Sotomayor, is a rapidly rising Mexico City, Mexico-based sibling electro pop duo featuring arguably two of their hometown’s most accomplished musicians: Paulina Sotomayor (vocals), best known for her work as a drummer in local rock/folk act Jefes del Desierto,  and Raul Sotomayor (production), best known for his work as one-half of award-winning jazz/funk duo Beat Buffet and for creating DayOff, a Sunday afternoon party that presents global bass acts rom around the world. The sibling duo founded the act back in 2015 and although it’s their first collaborative project together, they’ve released two albums — 2015’s Salvaje and 2017’s Conquistador — that have received attention from Vice, MTV and KEXP for a sound that meshes elements of cumbia, Afrobeat, dancehall, Peruvian chicha and merengue with modern electronic production and rock ‘n’ roll-like urgency. Adding to a growing profile, the act has toured across the UK, the States and Colombia.

Recorded in studios in Puerto Rico and Mexico, the duo’s soon-to-be released Eduardo Cabra-produced, third full-lengh album Origenes is slated for a February 14, 2020 release through Wonderwheel Recordings. Reportedly, the act’s third album finds them continuing to draw their sound and aesthetic from the sounds of Latin America’s clubs and streets.  Possessing a strong sense of tradition, the material further cements the sibling duo’s reputation for an unerring knack for melody paired with a rock ‘n’ roll-influenced urgency — but unlike their previously released albums, Origenes finds the Sotomayors exploring and adding Afro Caribbean percussion to the mix.

Now. as you may recall, earlier this month I wrote about Origenes’ second single “Meneate pa’ mi,” a decidedly upbeat track centered around Raul Sotomayor’s thumping, club friendly production featuring a chopped and looped horn sample, tweeter and woofer rocking beats paired with Paulina Sotomayor’s self-assured, half-sung, half-rapped vocal delivery. Interestingly, much like JOVM mainstay El Dusty, the Mexico City-based duo’s newest single envisions a globalized, genre-free world, a world as the great George Clinton once sung that’s “one nation under a groove.” Interestingly, “Sin control” continues a run of club friendly material — but in this case, the track is a decidedly Larry Levan-era house inspired track centered around shimmering synth arpeggios, thumping Latin-influenced percussion and Paulina Sotomayor’s sultry and ethereal vocals. Nodding at the work of artist like Sango and Branko, the track is an infectious and summery bop designed to get asses shaking. 

Sotomayor is a rapidly rising Mexico City, Mexico-based sibling electro pop duo featuring arguably two of their hometown’s most accomplished musicians: Paulina Sotomayor (vocals), best known for her work as a drummer in local rock/folk act Jefes del Desierto,  and Raul Sotomayor (production), best known for his work as one-half of award-winning jazz/funk duo Beat Buffet and for creating DayOff, a Sunday afternoon party that presents global bass acts rom around the world. Paullina Sotomayor and Raul Sotomayor founded Sotomayor back in 2015. And although it’s their first project together, the act which has released two album’s — 2015’s Salvaje and 2017’s Conquistador — has received attention from Vice, MTV and KEXP for a sound that meshes elements of cumbia, Afrobeat, dancehall, Peruvian chicha and merengue with modern electronic production and rock ‘n’ roll-like urgency. Adding to a growing profile, the act has toured across the UK, the States and Colombia.

Recorded in studios in Puerto Rico and Mexico, the duo’s soon-to-be released Eduardo Cabra-produced, third full-lengh album Origenes is slated for a February 14, 2020 release through Wonderwheel Recordings. Reportedly, the rapidly rising Mexico City-based act’s third album finds them continuing to draw their sound and aesthetic from the sounds of Latin America’s clubs and streets.  Possessing a strong sense of tradition, the material further cements the sibling duo’s reputation for an unerring knack for melody paired with a rock ‘n’ roll-influenced urgency — but unlike their previously released albums, Origenes finds the Sotomayors exploring and adding Afro Caribbean percussion to the mix.

“Meneate pa’ mi,” Origenes’ second and latest single is a decidedly upbeat, track centered around Raul Sotomayor’s thumping, club thumping  production featuring a chopped and looped horn sample and tweeter and woofer rocking beats paired with Paulina Sotomayor’s self-assured half-sung, half rapped vocals. Much like JOVM mainstay El Dusty, the Mexico City-based duo’s newest single envisions a globalized, genre-free world, a world as the great George Clinton once sung that’s “one nation under a groove.”