Tag: Kraftwerk

New Video: JOVM Mainstays Holy Ghost! Release an Intimate Behind the Scenes Visual on the Making of a Vinyl Record

I’ve written quite a bit about the New York-based electro funk/neo-disco production and artist and longtime JOVM mainstays Holy Ghost! over the years, and as you may recall, l, with the release of the their first three full-length albums — 2011’s self-titled debut, 2013’s Dynamics and 2014’s remix album Work For Hire — the duo, which is comprised of Alex Frankel and Nicholas Millhiser received attention nationally and internationally. Building upon a growing profile, the duo have remixed the work of Katy Perry, LCD Soundsystem, Moby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including Coachella, Outside Lands, Primavera Sound and Bonnaroo.

Work, the duo’s first batch of new, original material in over five years reportedly finds Frankel and Millhiser attempting to revisit the freedom of expectations that was suffered through their earliest recorded output — and interestingly, the proverbial return to form partially stemmed from circumstances: the duo dismantled their basement Brooklyn studio and relocated to a small room that a few musician friends of theirs were renting about a doctor’s office (coincidentally, the same address where they mixed their full-length debut). Because of the room’s limited space, they pared their extensive gear collection down to two synths — a Yamaha CS-80 and a Mini Moog. “Not necessarily the bare necessities, but what would make for the most interesting limited palette,” says Millhiser. “David Bowiedidn’t have every fucking synthesizer on earth to make Low. He had two. And that’s one of my favorite synth records of all time.”

Slated for a Friday release through West End Records, the forthcoming album’s material will continue the duo’s long-held reputation for crafting each sound from scratch with an unapologetic, exacting precision — and it’s their analog approach to electronic music that heavily informs the songwriting, production and sound of the album. Interestingly, album single “Escape From Los Angeles” was centered by shimmering and arpeggiated synths, a motorik groove, ethereal crooning, thumping beats and a sinuous yet infectious hook — while seemingly indebted to From Here to Eternity . . . And Back-era Giorgio Moroder and Kraftwerk. Interestingly, Work‘s latest single “Do This” is another straightforward club banger that meshes early hip-hop, house music and disco in a way that recalls Sugarhill Gang, Nile Rodgers and Pet Shop Boys— thanks in part to arpeggiated synths, a sinuous bass line, a two-step inducing hook and plaintive vocals.

Directed by the duo, the recently released video for “Do This” was shot on 16mm film by Jesse Cain and follows the entire process of recording and making a vinyl album, from the recording sessions at James Murphy’s Plantain Studios, to mastering at Heba Kadry’s Brooklyn-based mastering suite, to cutting the master disk with Bob Weston in Chicago, to pressing and packaging at RTI Pressing and finally to Amoeba Records in Los Angeles. It’s a behind the scenes look at the entire process revealing the professionalism and dedication of dozens of hard-working people that’s actually inspired by the famous Sesame Street “Making Crayons” segment. Originally aired in the early 80s, the clip made a deep impression on the members of Holy Ghost! “We wanted to document the ancient and very special process of making vinyl, from recording and mixing all the way to packaging and store delivery,” Frankel explains.

New Video: Froth Releases a Lysergic Visual for Minimalist “77”

Over the course of three albums, the Los Angeles-based noise rock trio, Froth comprised of Joo-Joo Ashworth, Jeremy Katz and Cameron Allen have developed a reputation for restless experimentation with forays into shoegaze, psych rock and post-punk — but interestingly enough, their fourth album, the Tomas Dolas co-produced Duress, which is slated for release Friday through Wichita Recordings reportedly finds the band stepping out from the shadow of their influences and crafting a sound wholly their own with the material being unapologetically experimental yet accessible. In fact, the album’s material incorporates analog synthesizers, overdubs and drum machines, along with traditional rock instrumentation.

“77,” Duress‘ second and latest single is centered around shimmering arpeggiated synths, bursts of feedback, a motorik groove featuring a sinuous bass line and shuffling, four-on-the-floor-like drum programming paired with ethereal vocals. And while recalling Trans Europe Express-era Kraftwerk, Lodger-era Bowie and Suicide, the eerily minimalist track possesses a murky vibe.

“Toward the end of the album, Tomas and I were really digging deep into my voice memos trying to see what was worth making into a real song,” the band’s Joo-Joo Ashworth recalls in press notes. “I had him play bass and synth while I sung and played some guitar. Only with Tomas would we ever come up with an odd timing song. The lyrics are mostly about when I was living with my parents for a couple months after I got kicked out of my apartment by an evil landlord.”

Directed by Shane McKenzie, the recently released, lysergic visual for “77” is centered around glitchy, neon-colored, VHS glitchiness. “We’ve known Shane McKenzie (Shake Chime Zen) for a long time, he’s always doing analog projections at shows around LA. We liked his VHS vibe and thought it would be fitting for the ’77’ video. He was able to match the analog glitchiness of the song with the way he processed the video. Other than that, it was inspired by scenes from The Eric Andre show and some of R. Stevie Moore’s VHS videos.”

Over the course of three albums, the Los Angeles-based noise rock trio, Froth comprised of Joo-Joo Ashworth, Jeremy Katz and Cameron Allen have developed a reputation for restless experimentation with forays into shoegaze, psych rock and post-punk — but interestingly enough, their fourth album, the Tomas Dolas co-produced Duress, which is slated for release Friday through Wichita Recordings reportedly finds the band stepping out from the shadow of their influences and crafting a sound wholly their own with the material being unapologetically experimental yet accessible. In fact, the album’s material incorporates analog synthesizers, overdubs and drum machines, along with traditional rock instrumentation.

“77,” Duress‘ second and latest single is centered around shimmering arpeggiated synths, bursts of feedback, a motorik groove featuring a sinuous bass line and shuffling, four-on-the-floor-like drum programming paired with ethereal vocals. And while recalling Trans Europe Express-era KraftwerkLodger-era Bowie and Suicide, the eerily minimalist track possesses a murky vibe.

“Toward the end of the album, Tomas and I were really digging deep into my voice memos trying to see what was worth making into a real song,” the band’s Joo-Joo Ashworth recalls in press notes. “I had him play bass and synth while I sung and played some guitar. Only with Tomas would we ever come up with an odd timing song. The lyrics are mostly about when I was living with my parents for a couple months after I got kicked out of my apartment by an evil landlord.”

The members of Froth are currently on the road, touring to support the new album and the tour includes a July 3, 2019 stop at Elsewhere’s Rooftop with A Place to Bury Strangers doing a DJ set. Check out the rest of the tour dates below.

Tour Dates

# = w/ Black Marble
* = w/ Versing
% = w/ A Place To Bury Strangers DJs (DJ Set)
$ = Release Show w/ Adult Books

6/7: Los Angeles, CA @ Lodge Room, Desert Daze Presents $
6/19: Las Vegas, NV @ Bunkhouse *
6/20: Phoenix, AZ @ Valley Bar *
6/21: El Paso, TX @ Love Buzz *
6/22: San Antonio, TX @ Lime Light *
6/23: Austin, TX @ Barracuda *
6/24: Dallas, TX @ Club Dada *
6/25: Houston, TX @ Satellite *
6/26: Memphis, TN @ Hi Tone Cafe *
6/28: Madison, WI @ UW-Madison *
6/29: Chicago, IL @ Logan Square Arts Festival *
6/30: Columbus, OH @ Ace of Cups *
7/2: Washington, DC @ Comet Ping Pong *
7/3: Brooklyn, NY @ Elsewhere Rooftop * %
7/5: Somerville, MA @ ONCE Ballroom *
7/6: Montreal, QC @ Bar Le Ritz *
7/7: Toronto, ON @ Baby G *
7/8: Detroit, MI @ UFO Factory *
7/10: Sioux Falls, SD @ Total Drag *
7/12: Denver, CO @ Globe Hall *
8/23: Eindhoven, Netherlands @ Fuzz Club Festival

New Video: London’s Rude Audio Releases a Trippy Visual for Trance Inducing New Single “Repeat Offender”

Rude Audio is a London-based production and DJ collective primarily centered around founding and core trio Mark Ratcliff, who as a solo producer and artist, has had releases played by acclaimed DJs Andrew Weatherall, Laurent Garnier, Kris Needs, Don Letts, Graeme Park and Rob da Bank, as well as BBC Radio 6’s Nemone and Gideon Coe; Owain Lloyd, who has made a career as a mixing engineer for the likes of Paul Oakenfold, Paul Weller, Niall Horan and a lengthy lists of others; and Dave “The Rave” Brennan, formerly of The End Recordings, and Bombis Records. And although each individual member of the collective’s core has an acclaimed career in their own right, the act as a whole has developed a critically applauded sound that seamlessly meshes elements of deep house, acid house, techno and dub. Additionally, they’re known for the legendary and highly-popular underground parties, including their residency at Kentish Towns’ Flaxon Ptootch, where electronic music heavyweights like The Chemical Brothers have been invited to drop by, dig deep into their record collections and playlists and play anything they want. 

2016’s Rudest EP found the collective refining their sound — while still drawing from dub, the material increasingly leaned towards propulsive, club-banging house music. The acclaimed British electronic collective followed that effort up with 2018’s Rude Redux EP.  Continuing a prolific and productive period for the British electronic collective, their forthcoming Street Light Interference is slated for a July 15, 2019 release through Zirkus Records. Interestingly, the album’s writing sessions found Ratcliff changing things up — inspired by the old adage about getting your head together in country, Ratcliff disappeared to the middle of nowhere for a few days, where he laid down the album’s basic tracks.

Ratcliff returned to London, where he worked with Owain Lloyd to bash the basic tracks he had laid down into shape.  The duo’s mutual love of dub and left-field house and the incorporation of several shinier elements may make Street Light Interference some of the collective’s most trance-like in some time. Coincidentally, this may have been inspired by the fact that the collective’s Dave Brennan, who’s long been their voice of reason, pushing them away from their trance tendencies wasn’t around. The album also features remixes from some of the act’s favorite remixes and producers including Bedford Falls Players, Mark Cooper, Fearless Few Collective, Kitsch Kub, Valtow, Zar, and others “I had half an eye on some of the underground but outdoor summer parties proliferating in my manor when pulling together various elements on the release, although the likelihood of engaging with a blissful, sun kissed milieu in South London during July and August is less likely than engaging with a dirty rave in a damp squat, where everyone’s complaining about why we aren’t having a summer this year,” the collective’s Mark Ratcliff says in press notes. 

Street Light Interference’s first single is the propulsive yet minimalist “Repeat Offender.” Centered by layers of arpeggiated synths, reverb-drenched drum machine, recalling classic dub, and a trancey vibe, the bears an uncanny resemblance to Kraftwerk and Octo Octa — but with the bracing iciness of stepping into a cool pool on a hot summer afternoon. 

The recently released video follows a young boy, who internally may be one of the oldest young men you’ve ever seen, as he works a mundane office job at home. But everything isn’t as it seems. The boy finds a glowing orb, which initially confuses, then entrances and summons him before fading to black. Trippy indeed. 

New Audio: JOVM Mainstays Holy Ghost! Releases a Funky Two-Step Inducing Single

I’ve written quite a bit about the New York-based electro funk/neo-disco production and artist and longtime JOVM mainstays Holy Ghost! over the years, and as you may recall, l, with the release of the their first three full-length albums — 2011’s self-titled debut, 2013’s Dynamics and 2014’s remix album Work For Hire — the duo, which is comprised of Alex Frankel and Nicholas Millhiser received attention nationally and internationally. Building upon a growing profile, the duo have remixed the work of Katy Perry, LCD Soundsystem, Moby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including Coachella, Outside Lands, Primavera Sound and Bonnaroo.

Work, the duo’s first batch of new, original material in over five years reportedly finds Frankel and Millhiser attempting to revisit the freedom of expectations that was suffered through their earliest recorded output — and interestingly, the proverbial return to form partially stemmed from circumstances: the duo dismantled their basement Brooklyn studio and relocated to a small room that a few musician friends of theirs were renting about a doctor’s office (coincidentally, the same address where they mixed their full-length debut). Because of the room’s limited space, they pared their extensive gear collection down to two synths — a Yamaha CS-80 and a Mini Moog. “Not necessarily the bare necessities, but what would make for the most interesting limited palette,” says Millhiser. “David Bowie didn’t have every fucking synthesizer on earth to make Low. He had two. And that’s one of my favorite synth records of all time.”

Slated for a June 21, 2019 release through West End Records, the forthcoming album’s material will continue the duo’s long-held reputation for crafting each sound from scratch with an unapologetic, exacting precision — and it’s their analog approach to electronic music that heavily informs the songwriting, production and sound of the album. Interestingly, album single “Los Angeles” was centered by shimmering and arpeggiated synths, a motorik groove, ethereal crooning, thumping beats and a sinuous yet infectious hook — while seemingly indebted to From Here to Eternity . . . And Back-era Giorgio Moroder and Kraftwerk. Interestingly, Work’s latest single “Do This” is another straightforward club banger that meshes early hip-hop, house music and disco in a way that recalls Sugarhill Gang, Nile Rodgers and Pet Shop Boys– thanks in part to arpeggiated synths, a sinuous bass line, a two-step inducing hook and plaintive vocals.  

New Video: Austin’s Memory Keepers Release a Lysergic Trance-Inducing Video

Late last year, I wrote about Memory Keepers, the Austin, TX-based electro-punk side project of The Sour Notes’ Jared Boulanger and Amarah Ulghani. And as you may recall, the duo released a propulsive synth and vocoder-based cover of Brian Eno’s “Uncle Third” that retained the original’s motorik groove while nodding at The Man Machine-era Kraftwerk. 

Building upon the attention they received from their Brian Eno cover, the duo released the “Faint Ink”/”Found Sound” 7 inch earlier this year. The 7 inch’s A-side single “Faint Ink” is centered around a trance-like motorik groove, layers of buzzing and arpeggiated synths, tweeter and woofer rocking beats, vocoder-fed vocals and an enormous hook– and while further establishing the duo’s retro-futuristic sound, the expansive single manages to simultaneously be lysergic and rousingly anthemic. 

Further emphasizing the song’s trippy, trance-inducing vibes, the recently released video features an analog, mixed media visual by Austin-based mixed media visual artist Sydney Quezada, a.k.a. Astral Violet. “They’ve worked with artists like MBV, Roky Erickson, King Gizzard and more. Astral Violet’s stunning visual projections found them on some of the best bills in town as soon as they moved here, which is how we came to meet them,” the duo’s Jared Boulanger says in press notes. “After they projected their light show on us at a few Memory Keepers gigs, we thought their trippy, visual experience would be the perfect backdrop to our new lyric video ‘Faint Ink.’ It feels good to be completely absorbed in their light, while performing on stage…I could honestly watch their visuals for hours, sync’d to many types of music and be totally lost in space.”

New Video: Introducing the Forward-Thinking Electro Pop of Sweden’s they owe us

Comprised of Rane and Kris, they owe us are a rather mysterious Swedish duo of outsiders, who found refuge in music. After a fortuitous meeting, the duo spent a year playing house parties, establishing a reputation for crafting music with disregards to rules and precedents.

Building upon a growing profile, the Swedish duo’s full-length debut, Broken English & Sad Serenades is slated for a June 7, 2019 release and the album, which reportedly finds the duo reveling in unique arrangements such as homemade drums and old, analog synthesizers and draws from a wide and eclectic array of influences including The Beach Boys, Kraftwerk and others. The album’s latest single “Harvest Time” is centered around glitchy drum programming, blasts of scorching guitar, wobbling bass synth and plaintive vocals, and while adding their names to a growing list of Scandinavian acts, who specialize in left of center, forward-thinking pop including Lake Jons and others, the track is ultimately about tight hearts and high hopes about a new and better tomorrow.

Co-directed by the up-and-coming Swedish duo and Annie Hyrefeldt, the recently released video for “Harvest Time” is a gorgeously shot fever dream featuring two masked children chasing each other through the woods. When they come across an upright piano in the clearing, the kids play with it and menacingly pose around it before setting it on fire. Much like, the artists themselves, these two children show regard for rules or structure.

New Audio: JOVM Mainstays Holy Ghost! Release a Club Banger off Forthcoming New Album

I’ve written a bit about the New York-based electro funk/neo-disco production and artist duo and JOVM mainstays Holy Ghost! over the years. Now, as you may recall, with the release of the their first three full-length albums — 2011’s self-titled debut, 2013’s Dynamics and 2014’s remix album Work For Hire — the duo, which is comprised of Alex Frankel and Nicholas Millhiser received attention nationally and internationally. And a result, they’ve remixed the work of Katy Perry, LCD Soundsystem, Moby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including Coachella, Outside Lands, Primavera Sound and Bonnaroo.

Work the duo’s first batch of new, original material in over five years reportedly finds Frankel and Millhiser attempting to revisit the freedom of expectations that was suffered through their earliest recorded output — and interestingly, the proverbial return to form partially stemmed from circumstances: the duo dismantled their basement Brooklyn studio and relocated to a small room that a few musician friends of theirs were renting about a doctor’s office (coincidentally, the same address where they mixed their full-length debut). Because of the room’s limited space, they pared their extensive gear collection down to two synths — a Yamaha CS-80 and a Mini Moog. “Not necessarily the bare necessities, but what would make for the most interesting limited palette,” says Millhiser. “David Bowie didn’t have every fucking synthesizer on earth to make Low. He had two. And that’s one of my favorite synth records of all time.”

Unsurprisingly, Work’s material continues the duo’s long-held reputation for crafting each sound from scratch with an unapologetic, exacting precision — and it’s their analog approach to electronic music that heavily informs the songwriting, production and sound of the album, which is slated for a June 21, 2019 release through West End Records. Work’s latest single “Escape From Los Angeles,” is centered by shimmering and arpeggiated synths, a motorik groove, ethereal crooning, thumping beats and a sinuous yet infectious hook — and while seemingly indebted to From Here to Eternity . . . And Back-era Giorgio Moroder and Kraftwerk, the New York-based JOVM mainstay’s latest single may arguably be their most straightforward club bangers in some time.