Toronto-based psych rock duo Lammping — vocalist and multi-instrumentalist Mikhail Galkin and drummer Jay Anderson — released their critically applauded full-length debut Bad Boys of Comedy last summer. The album, which featured the noise rock meets shoegazer-like “Greater Good,” helped the band establishing a fresh and eclectic approach to psychedelia while eschewing easy categorization, with the material drawing from Tropicalia, Turkish psych, New York boom-bap hip hop beats and Crosby, Stills, Nash and Young.
Shortly after the release of Bad Boys of Comedy, the Canadian psych rock duo started working on a new batch of songs, songs that found the duo further pushing the boundaries of psych music in new directions. While their newest material is still rooted in Anderson’s thunderous drumming and Galkin’s melodic riff, the duo have added samples, drum machines and some expanded instrumentation, adding to their overall sonic palate. The end result, New Jaws EP is equally indebted to Stereolab, De La Soul, Kraftwerk, Black Sabbath, Blue Cheer and Sleep. As the duo explain in press notes, the EP serves as a bridge to their sophomore, full-length album an effort that reportedly will find the Canadian duo eschewing cliched stoner and psych rock tropes while attempting to find a new path in heavy music.
“Jaws of Life,” New Jaws EP‘s latest single is a trippy song centered around a morphing and mind-bending song structure: the song’s heavy metal-like first half is centered round Anderson’s thunderous drumming, Galkin’s fuzzy, Black Sabbath-like riffs and distorted vocals. But roughly half way through the song, it quickly turns into a jazzy and lysergic jam featuring twinkling keys, and an extended, wah wah pedaled guitar solo. Sonically, the track is a heady synthesis of 70s AM rock, psych rock and grunge with enormous hooks.
Over the past 18 months or so, I’ve spilled copious amounts of virtual ink covering the Montreal-based JOVM mainstay act Corridor. The Montreal-based JOVM mainstays — Dominic Berthiaume (vocals/bass) and Jonathan Robert (vocals/guitar/synths) along with Julian Perreault (guitar), Julien Bakvis (drums) and the band’s newest member Samuel Gougoux — received growing praise from NPR and from Vice, who wrote that 2017’s sophomore album Supermercado was “the best French record of 2017, 2018, 2018, 2019, 2020 2021 and even 2022 . . . ” Building upon a rapidly growing profile, Corridor spent the following year touring across Europe with stops at London Calling Festival and La Villete Sonique Festival, before making their Stateside debut with stops at SXSW and Northside Festival. They capped off a busy year or so, with a sold-out Stateside tour with Crumb.
The French Canadian JOVM mainstays caught the attention of Sub Pop Records, who signed the band, making them the first Francophone act on the label. The band’s third album, last year’s Junior continues their ongoing and successful collaboration with their friend, producer (and occasional roommate) Emmanuel Ethier while finding the Montreal-based quintet jettisoning the languorous creative process of its predecessors — out of an inspired necessity.
Although Corridor had just signed to their new label home, they had developed firm commitment to release a new album every two years — and they intended on fulfilling their commitment. When Sub Pop was informed of the band’s intentions, they gently informed the band that if they wanted to release new material that fall, they had to send the label a completed album in early May. With the ink barely dried on the finalized contract, the members of the band rushed into the studio and record Junior in an inspired and breakneck blitz, finishing the album by mid-April of that year.
Six of he album’s 10 songs were conceived in a single weekend, with the album closer “Bang” written the night before they were going to start recording. Because of the quick nature of the Junior sessions, the album features fewer expansive jams and less reliance on overdubs. “Part of the beauty of the thing is that we didn’t have time to think about it,” the band’s Berthiaume says of the Junior recording sessions.
Album single “Domino” is trippy motork groove-driven guitar anthem that finds the Montreal-based JOVM mainstays drawing from New Zealand jangle pop, early 80s New Wave and krautrock. The song finds the band carefully balancing a deliberate attention to craft with an explosive yet free-flowing jam between friends.
Directed, produced and edited by the band’s Jonathan Robert, and featuring footage from Phillippe Beauséjour, the recently released video for “Domino” is a technicolor fever dream with a retro-futuristic bent that reminds me of DEVO, Kraftwerk, and 3,2,1 Contact for some odd reason. “‘Domino’ illustrates a link between one’s work & mental health as well as its negative impact, in turn, on the people surrounding us,” Jonathan Robert says of the song and the accompanying video. “It, therefore, made sense to film ourselves breaking stuff for this video. I then spent some time with the footage to experiment with the treatment and the editing.”
Karthik Poduval is a London-born, Indian-British DJ and producer, and founder of the acclaimed tropical psych rock/psych pop act Flamingods. Poduval’s solo recording project Mera Bhai derives its name from the affectionate Hindi greeting, which translates into “my brother.” The project is informed by Poduval’s experiences as a global citizen: he has lived in Italy, Albania, Saudi Arabia, Dubai, Nigeria and of course, the UK — and naturally, that has deeply informed his own globe-trotting, border-crossing, genre-defying take on dance music, which incorporates elements of Indian Carnatic, Arabic Rai, 70s disco, acid house, Detroit echo and Tropicalila. “Having grown up all over the world, I was surrounded by a wealth of different sounds — I’m just trying to weave the cultural through line that I hear in music,” Poduval says.
Poduval’s Mera Bhai debut Futureproofing EP was released earlier this year through Moshi Moshi Records, and if you’ve been frequenting this site this year, you may recall that I’ve written about two of the EP’s singles:
A bootleg remix of Ahmed Fakroun‘s “Jama El F’na,” which retained the shimming instrumentation of the original and Fakroun’s vocals while pairing them with a Tour de France-era Kraftwerk/Primal Scream/Kasabian-like production, featuring layers of arpeggiated synths, tweeter and woofer rocking boom bap beats and industrial clatter. The original is a club banger — but the remix manages to sound as thought it comes from some mixtape that someone brought back from 2038.
“Mañana Groove,” a summery, club anthem centered around an expansive and mind-bending structure that featured shimmering synth arpeggios, hot hi-hat flashes, stuttering tweeter and woofer rocking beats paired with vocodered vocals and samples from a Mr. Bongo Records reissue of Cissé Abdoulaye’s “A Son Magni.” And while to my ears, the song sounds as though it one part Kraftwerk, one part Evil Heat-era Primal Scream and one part deep house, the song as Poduval explains was inspired by Todd Terje‘s “Inspector Norse” while also nodding at 808 State’s “Pacific State,” one of Poduval’s favorite anthems, “which frames summertime feels for me.” And as a result of its summery air, the track at its core, possesses a carefree “let’s worry about it all tomorrow” vibe.
The EP’s latest single, is EP title track “Futureproofing.” The track is a hypnotic, club anthem centered around an insistent, motorik-groove, stuttering four on the floor, shimmering synth arpeggios and trippy instrumental breaks featuring fluttering flute and twinkling sitar. Sonically, the track further establishes Poduval’s hypnotic, globalist and multicultural take on dance music — all while pushing electronic dance music towards a bright and inclusive future.
\“In spirit, the track is about trying to find a balance between the push and pull of life’s responsibilities,” Poduval explains. “I wrote it when I was in India on my escape from the UK and trying to balance constantly being on tour, my relationships, my job and my mental health, and still very much in the process of grieving lost family members. Fortunately, all aspects of my life have been incredibly forgiving to me, but this track feels like an apt representation of the push and pull of things.“
Directed by frequent Fat White Family visual collaborator Niall Trask, the recently released video for “Futureproofing” is fictional and surreal day-in-the-life affair shot on grainy videotape that follows Poduval on a series of adventures as a celebrity chef/influencer that features cameos by My Panda Shall Fly’s Suren Seneviratne and Wear by Local’s Saudi Rahman. Interestingly, while Poduval is busy with Flamingods and Mera Bhai, he has a day job as a chef — and as a result, the video is a bit of a tongue-in-check play on the duality of having a serious day job and being an artist. Along with that, the video is an extended joke on the delusions of grandeur and inflated ego that can come about if you happen to be a remotely successful artist.
“Mera Bhai contacted my agent Desmond Wolf with an idea for a cooking show which I initially refused. After 7 months of no work because of coronavirus I decided I might as well, Niall Trask explains. “As an artist I’m really interested in exploring difficult issues through my work. This piece allowed me to explore subjects such as toxic masculinity, environmental issues, fracking and body dysmorphia. Rather than through the mise-en-scène, I was able to tackle these issues once I was asked by press for a quote and realised I had nothing to say because my brain is empty, so I thought I would appropriate these subjects like everyone else in the world of music videos does.”
Andrew Pannenkoek is a Vancouver-based musician, producer and DJ, who has a lengthy history of playing local punk and rock bands. The Canadian artist is the creative mastermind behind the new electronic music project Pannekoek, a project that can trace its origins to his long-held passion for experimenting with music software.
The Vancouver-based musician, producer and DJ has spent the past 15 years working as a bike messenger — but a recently embraced sobriety has allowed him to realize his passion and interest in electronic music. Interestingly, the project finds Pannekoek putting a modern, sophisticated and trippy twist on a unique blend of sounds he heard growing up as a child of the 80s — in particular TV shows, going to mall, listening to the radio and video games.
“Polyester,” Pannekoek’s trippy debut single is centered around layers of shimmering synth arpeggios, skittering beats and wobbling low end within an expansive and mind-bending song structure. Sonically, the playful yet cinematic track seems indebted to 70s synth disco and hip-hop — in particular, Giorgio Moroder, Kraftwerk and Afrika Bambaataa immediately come to mind.
Throughout the course of this year, I’ve written quite a bit about the Quebec City-based indie pop act and latest JOVM mainstays New Bleach. New Bleach — Dominic Pelletier and Raphaël Potvin — features a duo known across Quebec for their work in acclaimed Francophone indie rock act Caravane.
2020 has been a rather busy year for the duo of Pelletier and Potvin. They’ve released three attention-grabbing singles that have been decided sonic departures from their work with Caravane:
Their debut single as New Bleach, the Oracular Spectacular-era MGMT-like single “Awake,” a track centered around the philosophical question: “What if death was just a dream?”
The atmospheric Quiet Storm R&B meets Beacon-like “Silver Lining,” a track that’s part old-school love song and part plea for hope in a seemingly hopeless and bleak world.
The Kraftwerk and 80s New Wave-like “High.” which expressed the age-old desire to get in your car for a road trip — and maybe pull over to do some hallucinogens and daydream.
New Bleach’s fourth single of this year is the slow-burning and atmospheric “You.” Centered around alternating ethereal and tender vocals from New Bleach’s Pelletier and Ghostly Kisses’ Margaux Sauvé paired with glistening synths, skittering beats and a sinuous bass line, “You” is full of the desperately aching longing that only seems to come from the lingering ghosts of one’s past.
Co-directed by Maxyme Gagné and the members of New Bleach, the recently released video for “You” is an equally slow-burning fever dream mostly shot in the snowy Quebec woods and employs the use of reflections through refracted and busted mirrors, distorted imagery and more. Somehow, the video seems to emphasize the bitter chill;l of late fall in Quebec — and the bitterness of longing when you can’t quite have what you want or need.
Deriving their name from the French of word for “track” while simultaneously being a bit of a pun for the French word for voice voix and for 1981, a paradigm shifting year that saw an incredible array of changes in technology and across society, the Paris-band electro pop/New Wave duo Voie 81 prominently features three female vocalists hailing from Paris, Madrid, and Berlin, who sing unifying and socially conscious lyrics in German, English, Spanish and French.
The act’s full-length debut Ralentir which means “slow down” in French finds the act further developing a sound that’s heavily influenced by the analog synth sound of the 80s while thematically touches upon humans’ resistance to an unfair and unjust world and the hope for a better, fairer world. The album’s first single “Nirvana” is a euphoric track centered around shimmering synth arpeggios, tweeter and woofer rocking beats, angular guitars and an arena friendly hook paired with vocals delivered in an ethereal yet sultry French. Sonically, the track finds the emerging French act nodding at early-to-mid 1980s New Order, Giorgio Moroder, Tour de France-era Kraftwerk and even contemporaries like DBFC.
Directed by the members of Voie 81, the recently released video for “Nirvana” is set in an industrial train yard as we follow, a boombox carrying dude and a gorgeous dancer, hang out and dance together before pulling out to follow a train track across the French train ride. The video manages to be playful and decidedly DIY.
Carnavon, Australia-born, Fremantle, Australia-based singer/songwriter, multi-instrumentalist and producer Jay Watson is an extremely busy and restlessly creative man: Watson splits his time as a touring member of acclaimed JOVM mainstays Tame Impala and POND. He’s also the creative mastermind the acclaimed solo recording project (and fellow JOVM mainstay act) GUM.
Spinning Top Music released Watson’s fifth GUM album Out In The World earlier this year. The album, which is the highly follow-up to 2018’s critically applauded The Underdog was written and recorded in between tours with Tame Impala and POND continues Watson’s long-held reputation for having a voracious taste for styles, sounds and different eras. Thematically, the album is fueled by the Carnavon-born Fremantle-based artist’s quest to make sense of modern life — with the album’s material being fueled by an untethered curiosity and the inherent anxiety of too much awareness and too much connectedness.
Sonically, Out In The World’s material may arguably be the most boundary pushing of Watson’s growing catalog. “This album is my attempt at making a record that combines my fascination of how other people live their lives, with my own internal desire to analyse mine and improve it,” Watson says of his latest album. “‘Out In The World’ was a phrase that conjured a lot of grandeur and ego, yet somehow felt really small and wholesome at the same time.”
I’ve written about two of the album’s singles:
“Don’t Let It Go Out,” the album’s second single, a track that sees Watson pushing his sound and songwriting in a bold new direction. Centered around a glistening arpeggio guitar riff, jangling acoustic guitar, propulsive four-on-the-floor and shimmering synths, “Don’t Let It Go Out” finds Watson pushing his sound and songwriting in a bold direction while retaining the hook-driven, carefully crated nature quality that GUM fans have loved.
“Airwalkin,” a swaggering 80s synth pop-like banger featuring tweeter and woofer rocking boom bap-like beats, squiggling synths, soaring strings and an enormous hook that sonically seemed indebted to J. Dilla. Odelay-era Beck, Future Shock-era Herbie Hancock and Kraftwerk.
Out In The World’s latest single “Low to Low” finds Watson pushing his sound into a new direction — but while arguably crafting what may be the funkiest song of his catalog. Centered around shuffling polyrhythm, explosive horn stabs, dusty breakbeats, tinny Casio-like synth arpeggios and Watson’s yearning vocals, the track sounds as though Watson had been listening to salsa, Expensive Shit/He Miss Road-era Fela Kuti, 80s New Wave and synth pop the deceptively breezy pop confection actually seems to express a fear of irrelevance and of being forgotten.
“I purchased an EHX DRM15 drum machine and the song developed from one of the preset beats, this ‘robot-latin vive with lots of spring reverb. It was the last song I recorded for the album, it’s bizarre stylistically, but I just went with it,” Watson says of the album’s latest single.
Co-directed with POND bandmate Jamie Terry, the recently released video for “Low to Low” was shot in Fremantle on grainy Super 8 or 16mm film, and the visual captures the sunny warmth of Western Australia — while following Watson walking around with an enormous plastic box. “ My mate Az gave me 16 panels of Perspex he had found, who knows where? GUM thinks outside (and inside) the box,” Watson says of the video. ““Now that the dust has settled on Out In The World,I think this is probably my favourite track from the album, and I know it is for lots of other people too, so I wanted to make a visual for it,” he adds.
Since their formation back in 2010, the Seattle-based indie electro pop act Jupe Jupe — My Young (vocals, synths), Bryan Manzo (guitar, bass, sax), Patrick Partington (guitar), and Jarrod Arbini (drums, percussion) — have released four albums Invaders, Reduction in Drag, Crooked Kisses,and Lonely Creatures, which have helped to firmly establish the act’s sound: dance floor, synth-led, post-punk informed by synth pop and Americana.
Jupe Jupe’s Matt Bayles-produced Nightfall EP was released earlier, and the EP continues their ongoing collaboration with Bayles, who also produced and engineered their last full-length album. Meticulously written over the course of the preceeding year, the five song EP finds the band adding soulful saxophone to material that thematically focuses on yearning and desire.
Over the course of this past year, I’ve written about two of the EP’s singles:
The New Order-like “Leave You Lonely.” The accompanying video meshed three different visual styles – line animation, live footage shot in high contrast negative and a lyric video in a way that draws comparisons to a-ha’s “Take On Me” to mind.
The bring Avalon-era Roxy Music-like ‘How Could We Both Be In Love.” Directed by Dirty Sidewalks‘ Erik Foster, the accompanying moody visual seems to draw from French nouvelle vague and 80s MTV.
Earlier this year, I set up an interview with the members of Jupe Jupe to discuss their Nightfall EP, their influences, the videos for the aforementioned “Leave You Lonely” and “How Could Be In Love,” and how they were all getting along during the pandemic in a rather prototypical JOVM Q&A session. I received the band’s responses a few days after George Floyd’s tragic murder at the hands of Minneapolis police. Understandably, as a Black man, Floyd’s death hit close to home. With police brutaliy, police reform, the Black Lives Matter movement and protests brewing up in major cities across the world, I initially wanted to ask the band a handful of questions related to those particular topics. Unfortunately, those follow-up questions never came up and the Q&A languished in my email inbox for months – without explanation to anyone.
2020 has been difficult. But with Joe Biden’s and Kamala Harris’ Election Day victory over Donald Trump has given me some hope. We have an incoming administration that will be competent, caring and will do everything in their power to make things right through policy and action.
In the meantime, check out the EP and the interview below:
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 – and there are a number of artists, who have rescheduled releases of new material. You released a new EP shortly before the pandemic. How has COVID-19 impacted you and your career?
Jupe Jupe: Like so many other bands, we’ve had to cancel quite a few shows following the COVID outbreak. We luckily had our Nightfall EP release show before the lockdowns began, but the only “live” performance we’ve done since February was a live-stream benefit show to help support out-of-work employees at a local club. It was a blast playing again, though we look forward to in-person audiences! We wonder if live streaming will be the norm for bands until next year at least.
Despite the pandemic situation, the EP still received quite a bit of college-station airplay and press coverage, which we’re happy about. Given the scary times everyone is going through, we’re not sweating the lack of live performances. We’ll just ride it out like everyone else. We also hope that the smaller music venues can survive this—that’s something we’re definitely concerned about.
WRH: How have you been holding up? What have you been doing to keep busy? Binge watching anything?
Jarrod Arbini: It varies from day to day, but I’ve finally gotten around to doing some of those home improvements. After 14 years, the refrigerator ice and water dispenser hookup has finally been accomplished. And I’ve discovered a new love for video games!
So before COVID, say that I decided to fly into Seattle. Where would I go to eat and drink, if I wanted to meet and be around locals?
Bryan Manzo: Seattle is a really fun place to visit. It kind of depends on what you’re into or what you’re looking for. When people visit me I tend to offer lots of restaurants, bars, or clubs, but the thing that people seem the most into is just being outside. It’s really remarkable how green the city is. We have mountains to the east and west. Water, water everywhere and forests so thick they’re dark during the day. It’s like Endor. Honestly, I can’t even believe I’m writing this because I’m not really into that. So for me, I guess I’d say the weed stores.
What’s your favorite venue to see shows in Seattle? Why?
PP: I think my favorite venue for larger shows is The Showbox. It fits around 1100 people, the sound is terrific, and pretty much everywhere you stand is a great spot—whether you want to be right up front or in back watching from one of the venue’s bars, which I usually opt for.
JA: Yeah, The Showbox for sure.
How did you get into music?
PP: My older brothers were music-heads, and they turned me on to The Beatles, The Kinks, The Who, The Monkees, Led Zeppelin, and lots of 70’s progressive stuff when I was a little kid. Through my teenage years, I was addicted to a small AM station in Seattle called KJET. That’s how I discovered bands like The Cure, XTC, Psychedelic Furs, The Smiths, and tons of other bands you couldn’t hear on regular FM radio in Seattle. When I first learned guitar at 14, I wanted to be like Pete Townshend—windmilling and leaping around.
My Young: My father is a guitarist and came from a family of musicians. He used to play and sing 60’s folk songs and other old hits like “Ghost Riders in the Sky” to us when we were little kids. When I was 12, I started a punk/new-wave band with my pals in Denver called the Bloody Ear Muffs. I’ve been in various bands since then.
JA: There was always music in our house and from an early age, the drums were fascinating to me. Once I was able to join the 5th grade symphonic band, I was hooked. I bought my first drum kit in the 7th grade and found being in a band and sharing my passion for music with like-minded individuals to be so satisfying.
PP: I gravitate toward a lot of British bands from the 80’s—OMD, New Order, and The Cure. Plus hooky 60’s music.
MY: In addition to the obvious synthpop and post-punk influences, I get inspiration from a larger bag of artists like Jean-Michel Jarre, Kraftwerk, the 90’s WARP catalog, 70’s glam, and 60’s artists like The Kinks, Pink Floyd, Roy Orbison, and The Zombies. And of course, James Bond themes.
JA: Anything with a hook and I’m in!
WRH: Who are you listening to right now?
PP: I’ve been listening to Gorillaz, The Clash, and early Who lately. Wham! and Erasure when I want to be in a good mood quickly. Usually I just shuffle playlists so that I’m surprised. I also listen to First Wave on SiriusXM Radio—I’ve heard all of it, but it’s comforting in these uncertain times.
JA: During COVID, I’ve been trying to run more, and for my run mix I’ve recently added The Magic Group, lots of Kaiser Chiefs, The Goldbergs, and some Tame Impala. To take the edge off some of my ongoing periods of anxiety, I’ve actually been turning toward smooth 60’s Motown stuff with the likes of The Temptations and The Four Tops, among others.
WRH: Are there any acts from Seattle that the outside world should know now and doesn’t? Why?
BM: Yes. There’s a band called The NitWitz. They’re 11 and 12 year olds. One of the members is my kid. Another one of the members is My’s kid. Someone please discover them and get them OUT OF MY GARAGE BECAUSE IT’S SO LOUD! Also, they’re kind of funny.
WRH: How would you describe your sound to those unfamiliar with Jupe Jupe?
Jupe Jupe: We describe our music as dark yet danceable—a “noir cocktail” of crooning vocals over pulsing beats, with guitars and sax that cut across washes of synth.
PP: When people ask me personally what we’re like, I say we try to sound like an updated version of our 80’s new-wave influences.
JA: Definitely a more current take on an 80’s-type vibe. Quite a mixed bag really, but it works!
WRH: Your latest EP, Nightfall continues the band’s ongoing collaboration with Matt Bayles. How has it been to work with him?
Jupe Jupe: Matt’s done an amazing job recording and mixing our last two albums, Nightfall and Lonely Creatures. Though he’s produced many harder bands (Mastadon, He Whose OX Is Gored, Murder City Devils, etc.), he gets our sound completely and we generally don’t have to give him much input, especially when it comes to how he mixes the songs. We bring the tunes in fully written, so that we can get straight into recording. He’s a serious, no-nonsense guy in the studio—and he definitely doesn’t put up with less-than-stellar performances!
WRH: The EP’s material thematically focuses on yearning and desire. How much of the material comes from personal experience – or that from someone you know?
Jupe Jupe: We usually write the lyrics as a group. Though it takes longer this way than it would with one person doing all the heavy lifting, we feel like we end up with stronger material. Everyone’s input is probably based on their own experiences, but we usually don’t go into it with an individual’s specific story in mind (“Hey, this thing happened to me—let’s write a song about it”). We might offer anecdotes that lend themselves to a song, but after the music is written, we pick subject matter that we think will work best with the vibe. For this batch of songs, “yearning and desire” seemed to fit really well!
While much of the EP’s material continues the synth-based, hook-driven sound that has won you attention across the blogosphere and elsewhere, EP single “How Could We Both Be in Love” features the addition of saxophone. It may arguably be the most Avalon-era Roxy Music track of the EP – and it’s one of my favorite off the entire EP. How much did Roxy Music influence it? What’s the song about?
MY: Bryan and I started playing music together in an Austin prog band called Maximum Coherence During Flying, in which Bryan played both guitar and sax. We always wanted to bring it back into our songs, but kept forgetting to do it. For the Nightfall EP, Bryan proposed how it would add a new element to the direction we were already heading in. We’re both huge Roxy Music fans (especially their first four records), and it was exciting and inspiring to bring it back into the mix.
PP: Essentially, that song is about being in a relationship with a narcissist.
How did the videos for “How Could We Both Be in Love” and “Leave You Lonely” come about?
Jupe Jupe: For “How Could We Both Be in Love,” we teamed up with our friend Erik Foster of the great Seattle band, Dirty Sidewalks. He directed our last two videos and he’s always done a spectacular job. We usually start by sending him a rough mix and the lyrics, then discussing some broad ideas over beers. For this video, we really didn’t have to offer any guidance. He’s extremely creative and talented at matching the vibe of the video to the song. He did some great stop-motion and visual effects—he always surprises us. It’s an awesome partnership.
”Leave You Lonely” was created by two of our band members, Bryan and Jarrod, using a combination of hand drawings, still photos, lyric text, and shifting color palettes to capture the movement and feel of the song.
WRH: The band has been together for a decade now, which is an eternity in contemporary music. What do you ascribe to your longevity? What advice, if any do you have for bands trying to make a name for themselves?
PP: We’re all best friends and we’ve worked together in various bands over the past 20 years, so we know each other’s strengths and idiosyncrasies really well. Plus, with that type of history, it’s easier to be honest—as opposed to walking on eggshells with someone you don’t know well. Apart from music, we just like hanging out!
As far as advice for bands trying to make a name, I’d say figure out your sound, and continue to evolve it! Don’t worry about what’s popular or the next trend. Hopefully you can break through the clutter by sticking to your convictions and continuing to improve as a band. Also, it helps to share band duties—rather than one person doing all the writing, promo, booking, etc. It makes it much more fun and keeps everyone invested. And when you play live, be sure to promote the hell out of every show and make sure the other bands on the bill do too.
JA: I think our longevity is due to the lack of inter-band drama and a shared love of music and playing live. It also helps that everyone brings a different expertise and perspective to the group —outside of the actual music. This really helps us to get through all the less-than-glamorous band duties that come along with being a musician.
What’s next for you?
Jupe Jupe: Bryan and My are currently working on new song ideas individually, and we check in with each other for a “virtual” band happy hour once a week. We’re really just playing things by ear during the pandemic—it’s difficult to make concrete plans right now, but we know for sure we’ll be releasing new music eventually!
Over the past year or so, I’ve managed to spill copious amounts of virtual ink covering the rising French electronic music artist and producer LutchamaK. Now, as you may recall, the French JOVM mainstay’s work is deeply influenced by — and generally draws from — techno, but while reflecting his lifelong devotion to and love of eclecticism: his work generally possesses elements of techno, deep house and EDM among other electronic music genres and subgenres.
Interestingly, during that same period, LutchamaK has been frenetically prolific, releasing new material through an increasingly number of EPs, standalone singles and a couple of albums. He recently released another EP, the three track nani. The EP’s first single “October (U Should Try)” is a straightforward yet futuristic-like techno banger, centered around thumping and stuttering beats, glistening synth arpeggios and vocodered vocal samples that reminds me quite bit of Tour de France-era Kraftwerk but at a faster tempo.
Constant reinvention has been a central part of French electronic producer Edouard’s music career and personal life: As a member of the French Touch movement of the 980s. his previous project wound up being an integral part of the European house music scene. Garnering widespread praise, the act signed to BMG Records — and as a result. they received massive radio play and appeared on compilation records alongside other acclaimed French Touch acts like Philipe Zdar, Etienne de Crécy, and Alex Gopher.
As time went on and as the musical landscape change, the French electronic music producer took up a number of different roles and lives: he was a solo-exhibited photographer; an art historian; an engineer; an investment bank manager; and he studied under six-time Grammy Award winner Gary Burton at the Berklee College of Music. Edouard’s latest musical project finds him writing and recording under his eponymous moniker — and sonically, the project meshes elements of electronica, electro pop, dance, house music, synthwave and several other electronic styles and subgenres with a retro-futuristic twist inspired by French electronic music pioneers like Daft Punk, Jean-Michel Jarre, Air, Justice, Laurent Garnier, Cassius, Bob Sinclair., Martin Solveig and the aforementioned Alex Gopher, who was studio engineer for Edouard’s forthcoming full-length, solo debut. Additionally, the project has a parallel focus on visual art, with graphic design duties being split between Filip Hodas and the artist himself.
Edouard’s fourth and latest single “Another World” is a Computerworld and Tour de France-era Kraftwerk meets Homework-era Daft Punk-like track, centered around multiple layers off glistening synth arpeggios, heavily vocodored vocals, stuttering beats, brief blasts of horn and a rousingly euphoric hook. The song finds Edouard carefully walking a tightrope between the mind-bending and expansive and straight forward, crowd pleasing club anthem. And interestingly enough, at the song’s core is a sunny optimism that there’s a much better world on the other side of this.
Directed by the French electronic music producer. the recently released video uses CGI to create exotic and surreal locales and worlds. It’s trippy as hell.