Tag: Kraftwerk

 

Born Rebecca Maria Molina, the 25 year-old, Copenhagen, Denmark-based singer/songwriter, producer and electronic music artist Molina can trace the origins of her music career to when she was 8. As the story goes, Molina began writing her own music, inspired by the music her mother played for her including Bjork, Kate Bush and Royksopp. “I remember wanting the Basement JaxxRooty album for my birthday at the same age as I was dancing to children’s music.Molina recalls.

In her teens, Molina furthered her musical education by searching the corners of the internet and following a trail of like-minded bands and artists, and as a result the Danish singer/songwriter, producer and electronic music artist quickly became obsessed with Kraftwerk, Aphex Twin, Boards of Canada, 70s-80s new wave and punk , shoegaze and Japanese music — in particular, the work of Miharu Koshi and Mariah among others. And all of those disparate styles and sounds have influenced Molina’s solo work within her solo recording project Molina.

With the release of her debut EP Corpus, Molina received attention internationally from the likes of BBC Radio 6, Beats 1 Radio, The 405, The Line of Best Fit among others for a sound and songwriting approach that embraces experimentation while drawing from  late 70s and 80s synth pop. Her latest single “Hey Kids” is centered around woozy and dizzying arpeggiated synths, boom bap-like beats and Molina’s ethereal vocals. Additionally, the song features a guest spot from Swedish artist and co-writer Late Verlaine, who contributes vocals on the song’s second verse. And while revealing a young artist, who’s self-assured and confident beyond her relatively young age, the track to my ears reminds me quite a bit of Peter Gabriel‘s work in the sense that it manages to be enigmatic and completely out of left field while being accessible and radio friendly.

 

 

 

 

 

 

 

 

 

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New Video: Canadian JOVM Mainstays The Beat Escape Release Somnambulant and Hallucinogenic Visuals for “Moon in Aquarius”

Initially releasing singles like “Seeing Is Forgetting” and “Half-Empty Happiness” under a decidedly intentional cloak of mystery, the Montreal-based DJ, production and electronic music artist duo The Beat Escape quickly received attention across the blogosphere for crafting moody and atmospheric pop that’s deeply indebted to 80s synth pop while evoking the somnambulant sensation of a half-remembered dream.  Now, if you’ve been frequenting this site for a little while, you may call that the Canadian synth pop duo’s highly anticipated full-length debut Life Is Short The Answer’s Long is slated for an April 27, 2018 release through renowned indie label Bella Union Records, and the album finds the duo shedding much of the mystery that they purposefully surrounded themselves around during their earliest releases; in fact, the Canadian JOVM mainstays, comprised of Addy Weitzman and Patrick A. Boivin can trace the origins of the project to a college short film they collaborated together on. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” the Canadian pop duo explain in press notes. And since that initial collaboration together, Weitzman and Boivin have worked together on a series of various creative endeavors that combined their interests in music and visual art, including famously, a lengthy stint DJ’ing in Montreal, which lead to The Beat Escape. 

Interestingly, Life Is Short The Answer’s Long finds the duo thematically speaking coming full-circle back to their origins,  somnambulant, waking dream-like inspired art; but while further developing the sound that grabbed the attention of this site and the rest of the blogosphere. “Sign of Age” the Canadian synth pop duo’s first single off their full-length debut featured propulsive and gently undulating Giorgio Moroder-like synths with a deliberate, textured and painterly quality that evoked gently drifting about in somnambulistic reverie. Continuing in a similar vibe, the album’s second and latest single “Moon in Aquarius” is a a decidedly motorik affair featuring a spectral melody — and while being clearly indebted to 80s synth pop, the song manages to evoke the mesmerizing sensation of a night time road unfurling before you, with white lines and dividers flashing by in a blur; the inexplicable sensation of things being simultaneously alien yet familiar; of the accumulation of the inescapable and lingering ghosts of one’s life, and the lonely moments in which they haunt the most. 

The recently released video for “Moon in Aquarius” possesses a feverish and hallucinogenic quality as features some wintry footage and footage of the duo, brooding in the country home, where they recorded a great deal of the album and “live performance” footage, accompanied by lighting effects, shot in the studio of the Montreal-based artist collective Light Society. At various points, the video seems to nod at Kraftwerk’s “Robots” as the members of the duo have similar robotic expression. As the duo explain in press notes. “To talk video ideas we drove up to the country house where a lot of our album was recorded. We turned on Quiet Village Radio so the sounds of Exotica contrasting with the winter landscape could replicate the mood of our recording sessions. As soon as we arrived, we made a fire, cooked supper, and it became quite clear that we needed to film in this house.” 

Late last month, I wrote about Kalli Ma, an up-and coming, London-based electro pop production and artist duo, who with the release of their debut single  “Promises,,” quickly received attention across the UK and elsewhere, as the single revealed that the duo’s signature sound has been largely inspired by  techno, minimal wave and post punk. And as you may recall, their latest single “High Shot” found the duo employing both analog and digital synthesizers in a propulsive and kaleidoscopic, club banger, reminiscent of Soft Metals‘ Lenses, Factory Floor, Simian Mobile Disco, The Chemical Brothers and others, complete with layers of arpeggiated synths, tweeter and woofer rocking beats and a sinuous and sultrily sung hook.

Building upon the buzz they’ve received across the UK and elsewhere, the duo enlisted British producer Bird of Paradise to remix the song and while retaining the propulsive, tweeter and woofer rocking beats and arpeggiated synths and sultry hook of the original, the remix turns the song into an industrial house-leaning track full of the enormous clang and clatter of Kraftwerk’s “Metal on Metal” while expanding the song’s motorik-like groove and adding some cosmic ray bursts to the proceedings.

New Video: The Retro-Futuristic Sounds and Visuals of Gel Set’s “Bounce”

Gel Set is the solo recording project of Los Angeles, CA-based multimedia artist, producer and electronic music artist Laura Callier, and with singles “Don’t You Miss Me” and “Bounce” off her recently released album Body Copy, Collier specializes in a minimalist synth pop that simultaneously nods at the Manchester sound, early house music, Kraftwerk, Depeche Mode and Soft Metals‘ chilly yet sensual Lenses complete with an appropriate dance floor friendly thump — but paired with deeply personal, almost journal-like lyrics, delving into the psyche and psychology of its narrator.

Directed by Jason Ogawa, the recently releaed video for “Bounce” features animation by Justin Thyme projected onto an enormous screen in an empty studio, and throughout people are seen just on the outskirts cleaning or fixing things, and fittingly enough, the video manages to evoke a similar retro-futuristic vibe. 

New Video: Renowned French Electronic Act KCPK Releases a Cinematic and Surreal Video Focusing on the Tumult of Early Adulthood

KCPK is a French production and electronic music trio comprised of Alexandre Brovelli, Fabrice Brovelli and Christophe Caurret, best known as pioneers of the Rémoise electronic music scene with the likes of  Yuksek, Brodinski and The Shoes; for creating PANIK, a club night known for hosting Groove Armada, Laurent Garnier and Amon Tobin; for collaborating with Woodkid, The Chemical Brothers and Two Door Cinema Club; and lastly for their work in advertising as creative directors of renowned firm BETC. And if you were frequenting this site last year, you’d recall that “Who Wants It,” their collaboration with Philadelphia, PA-based emcee STS managed to bridge enormous, festival friendly, tweeter and woofer rocking house music with swaggering, braggadocio-fueled trap-like hip-hop in a way that felt mischievous and fresh. 
Along with that, the Nicolas Davenel-produced video was featured on The Creator’s Project, was nominated for Best International Urban Video at the UK Music Video Awards and was featured as the racing for Louis De Caunes’ video for Yves Saint Laurent’s Black Opium digital campaign. 

The French trio’s latest single “The End” is a propulsive and dare I say, arguably the most sensual and dance floor friendly songs they’ve released to date as it features razor sharp arpeggiated synths, a rousingly anthemic hook and breathily cooed vocals — and interestingly enough, the song and its production sounds as though it owes a debt to Giorgio Moroder, The Man Machine-era Kraftwerk and Daft Punk but with a hyper modern touch. 

Directed by Luc Besson’s former Steadicam operator Andrieu and Director of Photography, Nicolas Loir, who has worked with Woodkid, Ghostpoet and Snoop Dogg, the recently released video for “The End” is a cinematically shot one, that focuses on the tumultuous psyche of a teenaged girl as she struggles with a dysfunctional relationship with her mother and an unreciprocated romantic obsession, capturing the uneasy yet profound transition towards adulthood. Interestingly, the  video pays homage to several 90s coming of age movies through its use of props, fashion design and art direction — with live action footage meshed with visual effects by David Danesi. As the video’s director explains in press notes. “It’s a coming of age snapshot. At this stage, the rules get rewritten. Your eyes open to what lies beyond family and school. It is the first time you’re seeing yourself in the world, but emotional reactions overwhelm your ability to understand and cope. This is the end of innocence.”

Gel Set is the solo recording project of Los Angeles, CA-based multimedia artist, producer and electronic music artist Laura Callier, and with singles “Don’t You Miss Me” and “Bounce” off her soon-to-be released album Body Copy, Collier specializes in a minimalist synth pop that simultaneously nods at the Manchester sound, early house music, Kraftwerk, Depeche Mode and Soft Metals‘ chilly yet sensual Lenses complete with an appropriate dance floor friendly thump — but paired with deeply personal, almost journal-like lyrics, delving into the psyche and psychology of its narrator.

 

Pete Sanderson is a New South Wales, Australia-based multi-instrumentalist, producer and electronic music artist, best known as Obvious Creature, who specializes in an ambient and atmospheric synth-based pop sound, complimented by hazy yet gorgeous memories and mathematically precise, drum programming —  and as you’ll hear on “Time,” the first single off It Ain’t Much Better In Here, Kid, Sanderson’s sound manages to nod at Trans Europe Express-era Kraftwerk and Brian Eno.

 

New Video: LCD Soundsystem Returns with Their Most Dance Floor Friendly Track in Several Years

Founded by frontman, multi-instrumentalist, producer, DJ and DFA Records co-founder James Murphy in 2002, Brooklyn-based indie rock/electro rock/dance punk act LCD Soundsystem along with acts like  The Rapture, Yeah Yeah Yeahs, Bloc Party, Radio 4,  Liars and a few others, are considered pioneers of a dance punk renaissance that saw its height at the early part of this century; but among that group LCD Soundsystem set themselves apart as one of the more commercially and critically successful acts of their era — 2005’s eponymous full-length debut, which featured their most successful single “Daft Punk Is Playing At My House” was nominated by a Grammy for Best Dance Recording with the album also being nominated for a Grammy Best Electronic/Best Dance Album. With a growing national and international profile, Nike commissioned Murphy and company to write and record a workout-inspired, workout-friendly album — 45:33 — as part of the Nike+ Original Run series. The members of LCD Soundsystem followed that up with 2007’s critically acclaimed Sound of Silver, which was also nominated for a Grammy for Best Electronic/Dance Album.  2010’s This Is Happening managed to be the act’s most commercially successful, as it was their first Top 10 album in the States; however, by the following year, the band announced it was breaking up and was celebrating a wildly successful run together with a series of farewell shows at Madison Square Garden and Terminal 5, with the events surrounding their final show together, chronicled in the documentary Shut Up and Play the Hits, and a live album, 2014’s The Long Goodbye, which Murphy painstakingly mastered. 

After LCD Soundsystem broke up, the members of the band went on to pursue a number of creative and business pursuits — Nancy Whang released solo material and DJ’ed; Tyler Pope spent a stint in the touring band of !!!,; Gavin Russom has released solo material under the moniker Black Meteoric Star, collaborated with Viva Ruiz in The Crystal Ark and recently came out as transgender and transitioning; David Scott Stone has collaborated with Melvins, Unwound, Jello Biafra, Mike Patton, No Age, and others; Jerry Fuchs went on with stints in The Juan MacLean, !!!, Maserati and MSTRKRFT; and Murphy arguably being the busiest of the band as he not only continued his production and sound engineering work, working with Arcade Fire during the Reflector sessions, he was in 2014 commissioned by the US Open to create a special set of remixes based on the actual sounds and events of the tournament’s matches. Along with that he remixed David Bowie‘s “Love Is Lost,” for an expanded edition of the legendary artist’s The Next Day and was known to occasionally DJ, including famously DJing to close out DFA Records’ 12th Anniversary Party at Grand Prospect Hall. He also participated in Canon’s Project Imaginat10n, a film project in which the folks at Canon invited 5 different celebrities to direct short films based on pictures uploaded by photographers and other creatives around the world to a special website, with the result being his directorial debut “Little Duck,” set in Japan. And in other non-musical pursuits, with the assistance of Blue Bottle Coffee founder James Freeman, Murphy released his own blend of espresso, and then he opened a critically applauded restaurant in Williamsburg, which he personally designed and chose the menu. And although Murphy had publicly stated that LCD Soundsystem’s breakup allowed him the time and ability to pursue an array of projects, he wasn’t able to do before, he also missed being in a band and creating music. 

Interestingly, in light of those comments, towards the end of 2015, there were rumblings across the blogosphere that Murphy and several members of the band were considering a series of reunion shows for the major festival circuit — and naturally, those rumors exploded upon the release of Christmas Will Break Your Heart,” which the band released on Christmas of that year, marking a big Christmas surprise for fans, who had been clamoring for new material and/or the possibility of a reunion for the better part of 5 years. Naturally, with the release of the single, Murphy and company confirmed that a reunion tour with appearances at several major festivals, a residency to  The Bowery Presents‘ newest venue, Brooklyn Steel and a new album, American Dream, which is slated for a September 1, 2017 release through Columbia Records/DFA Records. 

As my colleagues mentioned, their early Brooklyn Steel sets featured material, which would appear on their new album, including the atmospheric, “Call The Police,” which features Murphy’s archly ironic lyrics and manages to sound like a mesh of the sound of This Is Happening and their incredible cover of Harry Nilsson‘s “Jump Into The Fire” and “American Dream,” a slow-burning track featuring shimmering synths but subtly nods at “New York I Love You But You’re Bringing Me Down,” thanks in part to Murphy’s dramatic crooning, 

“tonite,” the third single off the soon-to-be-released album is arguably one of the more dance floor friendly singles they’ve released to date as it features an unrelenting and propulsive beat paired with wobbling, house music-like bass synth and twinkling keys, and Murphy’s ironic observations on the state of contemporary music, human relationships in the age of constant connectivity and his own random musings. And interestingly enough, despite the 5 years apart, the band manages to sound as though they haven’t missed a beat; in fact, it sounds as though it were the song and the album that they would have made regardless of breaking up — all while subtly nodding at Man Machine-era Kraftwerk. 

Directed by Joel Kefall, the recently released video for “tonite” features a handful of members performing the song, while others look cooly detached, reading or staring into space on a spinning stage, lit by explosively bursts of concert lighting. And the entire time, the band’s frontman sings with a tape recorder strapped to him. 

Perhaps best known for a stint in synth punk act POW!, Aaron Diko is an Indianapolis, IN-born, Bay Area-based electronic musician, who recently returned to his hometown to record a series of solo material and collaborations with longtime friends’ Creeping Pink‘s Landon Caldwell, Mitch Duncan and Burnt Ones’ Mark Tester in a recording project that Diko has dubbed DDCT.

DDCT’s self-titled full-length debut is slated for release Friday through Empty Cellar Records and Medium Sound, and the album’s first single “Tracks” features undulating and cascading layers of vintage synths paired with buzzing power chords and a motorik groove bolstered by four-on-the-floor drum programming, and while clearly drawing from Trans Europe Express-era Kraftwerk and Brian Eno, the composition and its resulting recording manages to nod at space rock but with free-flowing improvised feel, capturing a group of musicians playing and grabbing onto a groove with a “you-are-there” immediacy.

 

New Video: The Psychedelic-Tinged Visuals for DBFC’s Anthemic and Urgent Track “The Ride”

Over the past 15-18 months or so, I’ve written quite a bit about the Paris-based electronic music and production duo DBFC. Now as you may recall, the duo, comprised of Manchester, UK-born, Paris-based David Shaw and Paris-born and-based Dombrance, the duo emerged onto the French electronic music scene with the release of a handful of singles during 2015-2017 through renowned indie label Her Majesty’s Ship Records — including “Autonomic,”a track that channelled  Kraftwerk’s “The Man Machine,” and  Primal Scream‘s “Autobahn 66” — but with a trippy, hallucinogenic vibe.

Along with that, you’d also likely remember that the duo, building upon a growing national and international profile through that same batch of early singles,  released their full-length debut Jenks earlier this year through Different Recordings/[PIAS] Recordings. Unsurprisingly, the album’s last two singles, “Sinner” and album title track “Jenks” further cemented the duo’s reputation for pairing slick, dance floor-friendly electronic production with live, organic instrumentation in a way that nods at the classic Manchester sound of Primal Scream, New Order and others but while possessing a larger, universal theme — that sweaty clubs, strobe light and a propulsive grove can indeed change your life for the better. 

Jenks’ latest single “The Ride” finds the band meshing the classic Manchester sound of singles like “Jenks” and “Sinner” with the tight motorik grooves of Kraftwerk and others; in fact, when I first heard “The Ride,” I immediately thought of Primal Scream’s “Autobahn 66” and The Chemical Brothers’ “Star Sitar” — but underneath the slick, dance floor friendly sound is a song, much like its predecessors, that comes from a series of extensive jam sessions, and as a result, it possesses a loose yet immediate “you were there in the studio” vibe. Of course, along with that the single echoes many of the themes on the album — in this case, a swooning romantic and unbridled sense of possibility, making it one of the more upbeat songs the duo has ever released.

The recently released visuals for “The Ride” employs a relatively simple concept — the members of DBFC performing the song in a small rehearsal room with their instruments and their electronic gear in front of a wild and dizzying array of colored strobe light, extreme close ups of the musicians performing their hearts out, and rapid fire cuts. And while capturing the immediacy of the song, the video’s directors MDS-HMS employ the colored lights to create a strong visual identity — “visualised here as a rainbow tornado.”