Tag: Kraftwerk

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. 

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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. 

New Video: Striking and Sensual Visuals for Eve Maret’s Ambient Composition “My Own Pace”

Eve Maret is a Nashville-based electronic music composer, producer, and multidisciplinary artist, whose work generally bridges pop and experimentalism, while exploring the possibilities of personal and communal healing through creative acts — and as a result, to Maret, the act of creating is a wholehearted, life-affirming “Yes!” 

Last year was a big year for the Nashville-based electronic music composer, producer and multidisciplinary artist: she co-founded Hyasynth House, an electronic music collective and education center for female, trans, and non-binary artists, founded to help support and empower marginalized groups through workshops, performances and community-wide conversations. Also last year, she released a limited run of her full-length debut, No More Running on cassette through Nashville-based label Banana Tapes. Maret has toured across the US alongside a diverse and wildly eclectic array of artists including Guerrilla Toss, JEFF the Brotherhood, Mary Ocher, Coupler and Precious Child among others. 

Building upon a growing profile, Maret will be releasing No More Running (Deluxe Edition), an expanded edition of last year’s debut album with three new tracks, new videos and alternate artwork that’s slated for an April 26, 2019 release. The deluxe edition’s latest single is the ambient composition “My Own Pace.”  Centered by layers of shimmering and arpeggiated synths, thumping beats and a subtle motorik-like groove, the track recalls Trans Europe Express-era Kraftwerk.

Directed by videographer Helen Gilley, the recently released video features Eve Maret dancing in front of an angelic halo of light to the propulsive composition. It’s an interesting mix of the sensual and spiritual, the organic and the robotic. 

New Video: JOVM Mainstay Rich Aucoin Releases a Gorgeous and Meditative Visual for “The Mind”

Over the course of the past year, I’ve written a lot about the Halifax, Nova Scotia-born and based singer/sgonwriter, electronic music producer, electronic music artist, indie rock musician and JOVM mainstay Rich Aucoin. And as you may recall, Aucoin spent time as a guest musician in his older brother Paul’s band Hylozoists before developing a reputation as a solo artist in his own right with the release of his debut EP, 2007’s Personal Publication, a concept effort written as an alternative soundtrack to How the Grinch Stole Christmas.

Personal Publication EP was also the first of an ongoing series of collaborations with charitable foundations, as he supported the EP with a cross Canada tour made entirely by bicycle to raise money for Childhood Cancer Canada. After completing his first solo tour, he went on to join his brother’s band while they were on tour; however, Aucoin suffered a debilitating iron deficiency that cut his time on  the tour short. But once he recuperated, Aucoin went on the road again, running partial marathons between tour stops to raise money for the Canadian Cancer Society. During both of those early tours, the Halifax-born and-based singer/songwriter, electronic music artist, electronic music producer and indie rock musician spent time writing the material that would eventually comprise his full-length debut, 2011’s We’re All Dying to Live, an effort that featured over 500 guest musicians, including  Sloan‘s Jay Ferguson, You Say Party‘s Becky Ninkovic, The Meligrove Band‘s Michael Small and Rae Spoon. Adding to a rapidly growing profile. the album was long-listed as a nominee for a Polaris Music Prize — and the video for “Brian Wilson is A.L.I.V.E.” won a Prism Prize in 2013.

Building upon a growing profile, the Nova Scotian producer and electronic music artist released his critically applauded sophomore effort, 2014’s Ephemeral. Several years passed before the release of last year’s Hold EP, and with singles like the sprawling and propulsive “Release”, the swooning M83-like “The Middle,” the jangling guitar pop meets synth pop  “The Fear.” and the slow-burning and wistful “The Dream,” the EP further cemented Aucoin’s reputation for crafting slickly produced, infectious and thoughtful pop.

Slated for a May 17, 2019 release through Haven Sounds, Aucoin’s third full-length album  Release was co-produced by the Halifax-born and-based singer/songwriter, multi-instrumentalist, electronic music producer, electronic music artist and indie rock musician and drummer Joel Waddell. Inspired by the work of David Bowie, Holly Herndon, Fatboy Slim, Bjork, John Lennon, Future Islands, Caribou and Chic among others, the album finds the JOVM mainstay further cementing his growing reputation for his own unique blend of organic and electronic instrumentation — while thematically, the album finds Aucoin grappling with mortality, by using Alice in Wonderland as a metaphor for life’s journey. 

“The Mind,” Release’s first single is a pulsating instrumental track is centered around a slow build up of increasingly textured sounds including arpeggiated synths, chopped up and ethereal vocal samples and propulsive drumming that finds Aucoin drawing from drum ‘n’ bass and Kraftwerk-like minimalism before an explosive conclusion. “This track is about the mind and therefore has no lyrics,” Aucoin explains in press notes. “Musically, this song has two drum sets on it. The main kit is played by Jeremy Malvin (aka Chrome Sparks) and the second is carried over from the Release session by Broken Social Scene’s Justin Peroff. Ben Talmi played the very rare Therevox slide theremin on the track down at his Virtue & Vice Studio in Brooklyn. While Jenn Grant was recorded by Daniel Ledwell at his Echo Lake Studio in Nova Scotia. The vocal melody seamlessly switches from male to female vocals with Jenn and my voices being the samples.”

Directed by Meghan Tansey Whitton, the recently released video follows a mysterious and otherworldly figure covered in a metallic blanket, striding on a beach at sunset and as the video progresses, the figure is subjected to the elements, facing them with a preternaturally zen-like calm. 

New Audio: JOVM Mainstays King Gizzard and The Lizard Wizard Release a Strutting and Shimmering Retro-Futuristic Boogie Blues

Over the course of 2017, the Melbourne, Australia-based psych rock septet and JOVM mainstays King Gizzard and The Lizard Wizard, comprised of Stu Mackenzie (vocals, guitar, and flute), Ambrose Kenny Smith (synths, harmonica), Cook Craig (guitar), Joey Walker (guitar), Lucas Skinner (bass), Eric Moore (drums) and Michael Cavanagh (drums) released five albums — with each album consisting of material in a wildly different genre and style from the other, further cementing the band’s reputation for being restlessly prolific. Flying Microtonal Banana and The Murder of the Universe, two albums released within that incredibly prolific run found the acclaimed Australian act pushing their thematic concerns and sound in new, and darkly trippy directions. 

For a band that has been as productive as the Melbourne-based JOVM mainstays, not having much in the way of new music last year seems extremely odd but they were busy with several other things — including: a relentless tour schedule that featured a headlining set at Desert Daze and three sold out-dates at Brooklyn Steel, the largest venue they’ve played in the States to date. Additionally, the band re-issued their first five albums on vinyl for the first time ever, and it created such a frenzied demand that the Flightless Records website crashed from the traffic.

The band’s fourteenth album, Fishing for Fishies is slated for an April 26, 2019 release through their own Flightless Records, and the album reportedly finds the band creating a sonic world in which the organic meets the automated; where the rustic meets the robotic; where the past and future collide in the beautiful present, as the material is essentially boogie blues that struts, shimmies and stomps through several different moods and terrains. “We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it – or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”

“I didn’t really know who I was by the end of 2017,” Mackenzie continues in press notes, about the band’s incredibly prolific 2017. “It was a good kind of spent feeling though, as I like being busy. For most of the holiday period I was in the studio doing the last of the recording and mixing on Gumboot Soup. And as soon as it clicked over to 2018 I stopped worrying about recording for a while and started living instead.” 

Written primarily on piano, the material on Fishing for Fishies is reportedly centered around recurring musical motifs — piano, mellotron and synth flourishes, paired with vocals drenched in vocoder, and a plethora of creative U-turns. Now, as you may recall, the album’s first single, “Cyboogie” found the band pushing their sound in a completely new direction, with five of its seven members playing synths in a funky and strutting disco boogie with heavily vocoder’ed vocals that brought From Here to Eternity . . . And Back-era Giorgio Moroder, The Man Machine-era Kraftwerk and DEVO to mind while actually being about a dancing cyborg from the future.  Interestingly, the album’s second and latest single “Boogieman Sam” is a retro-futuristic take on boogie blues that’s one part Marc Bolan and T. Rex, one part John Lee Hooker, one part prog rock freakout that struts and shimmies. 

Live Footage: French Electro Pop Act Agar Agar Performs “Sorry About The Carpet” on Colors Sessions

With the release of last year’s full-length debut, The Dog And The Future, the Paris-based electro pop duo Agar Agar, which is comprised of Clara Cappagli (vocals) and Armand Bultheel (keys) received national and international attention for a sound and aesthetic centered around vintage synths, unique melodies and a sense of mysticism. Since the release of their attention-grabbing debut, the French electro pop duo were invited to Colors, where they performed the slow-burning Trans Europe Express-era Kraftwerk-like “Sorry About The Carpet,” a track centered by layers of arpeggiated synths — elegantly shimmering synth chords for the melodies, bolstered by supple bass synths and a motorik groove paired with Cappagali’s effortless yet sultry vocals. 

New Audio: The Faint Returns with a Goth and Industrial-Inspired Banger

Late last year, I wrote about the Omaha, NE-based cyber-punk act The Faint. The act which is currently comprised of founding members Todd Fink (vocals) and Clark Baechle (drums), along with Graham Ulicny (keys) and Michael “Dapose” Dappen (bass) can trace their origins back to the mid 1990s when the band’s founding members Fink, Baechle and Joel Petersen bounded over their mutual love of skateboarding, which they did in their free time. When Fink developed knee problems, the band’s founding trio shifted their hobbies into music. 

The band initially formed under the name Norman Bailer and briefly included Conor Oberst, who left the band shortly after their formation. After changing their name, the trio of Fink, Baechle and Petersen signed to their longtime label home Saddle Creek Records. Interestingly, after releasing a handful of singles to very little commercial attention, the band added Matt Bowen, who was with the and for the writing and recording of their full-length debut Media. After the recording of Media, the Omaha-based cyber punk outfit went through a number of lineup changes.

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

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

In 2016, the band went through another lineup change as Reptar’s Graham Ulicny replaced Thiele. Now, as you may recall, the band’s long-awaited full-length effort Egowerk is slated for release later this week, and the album, which marks a return to their longtime label home, thematically explores the Internet (specifically social media) and its impact on modern society and the ego. “Child Asleep,” the album’s first single was a thumping and twitchy, industrial house-inspired, club banger centered around layers of arpeggiated synths, rapid fire beats and vocals fed through copious amounts of vocoder. And while the song manages to recall Tour de France-era Kraftwerk and Atari Teenage Riot, the song is centered around a simple yet profound message — that “if I were wise, I would see that I’m a child still asleep.” “Quench The Flame,” the album’s latest single continues in a fairly similar vein as its predecessor — thumping, industrial and goth-inspired electro pop, centered around tweeter and woofer rocking beats, arpeggiated synths, and rousingly anthemic hooks but sonically the track manages to bear a resemblance to early 80s Depeche Mode and New Order — all while remaining dance floor friendly.