Tag: Las Kellies

New Video: The Playful Sounds and Visuals of Sink Ya Teeth’s “If You See Me”

Maria Uzor and Gemma Cullingford are grizzled vets of Norwich, UK’s music scene, performing and recording in a number of projects before deciding to collaborate together 18 months ago in their latest project Sink Ya Teeth. And in a short period of time, the duo have received attention both in their hometown and nationally for a sound that draws from a board range of influences including Grace Jones, ESG, Nina Simone and Howlin’ Wolf among others in a lovingly DIY yet slick electro pop that clearly draws from early 80s synth pop and house music — all while being reminiscent of Las Kellies’ Total Exposure, Blondie, and others. In fact, the duo’s latest dance floor-friendly single “If You See Me” features Uzor and Cullingford coquettish crooning over a sultry and percussive synth pop production consisting of off-kilter percussion, electronic bleeps and bloops and a sinuous bass line — and although on a superficial level, the song is about having a bit too much fun on night out, as the duo explain “‘If You See Me’ was written the day after one of those really good nights that you probably shouldn’t have! It’s a song about feeling sorry for yourself but knowing that you can’t really blame anyone else either.”

As Maria Uzor says of the recently released video for “If You See Me,” “We shot the video in my flat one Saturday morning and got all of our friends to pile ‘rond ready to party on the promise of free booze. We had a loose idea after sitting down with director Jo Millington a few days before, and really just ended up rolling the camera and seeing what happened.” And the end result is a free-flowing, goofy energy of a bunch of friends hanging out, playing records and fooling around together.

Comprised of Upstate New York-born, Los Angeles, CA-based Marissa Longstreet and Los Angeles-born and-based Matthew Lieberman, the Los Angeles-based indie pop duo Rival Cavves can trace their origins to a chance encounter back in 2012. At the time, Lieberman’s new band Magic Bronson was looking for rehearsal/studio space and stumbled upon a warehouse in the San Fernando Valley that seemed to fit what they wanted and needed. Upon their arrival, Lieberman met the warehouse owner’s sister, Marissa Longstreet, who had recently relocated from Upstate New York to the Los Angeles area and was just getting her feet wet in the area’s music scene, fronting an indie dance act.  Over the next three years, Lieberman and Longstreet found themselves playing a number of shows together with their respective bands.

As the story goes, in 2005 Lieberman moved into the same North Hollywood neighborhood as Longstreet. The duo began to hang out more frequently and spent a lot of late nights listening to Lieberman’s record collection and introducing each other to new bands. Feeling inspired by these hang out sessions, Lieberman armed with a vintage Roland June-106 synthesizer began making beats and started sending them to Longstreet, who would upload his beats into Garage Band and track vocals over them. Within a few weeks, the duo had a handful of songs and they officially started their latest project Rival Caaves.

The duo’s latest single “Creep” reveals that the duo’s sound is largely inspired by 80s New Wave, synth pop, hip hop and house music, as well as contemporary synth pop as Longstreet’s sultry vocals are paired with slick yet retro-futuristic leaning production featuring Nile Rodgers-like funk guitar, a sinuous bass line, thick shimmering cascades of arpeggio synths and boom bap-like beats. And while clearly nodding at Blondie, Tom Tom Club and Las Kellies, the song possesses a subtly paranoid cynicism rooted in the fear of being hurt and fucked over by someone who may be pretty obvious about how fucked up they are themselves; in fact, as Longstreet says in press notes “People aren’t always aware of how transparent they are online until someone else is seeing through them and then you’re the creep for looking,”

 

 

New York-based electro pop duo Sofi Tukker can trace their origins to when members Sophie Hawley-Weld and Tucker Halpern, who were both attending Brown University  met at an art gallery. Hawley-Weld and Halpern quickly started writing music together, based around their desire of crafting accessible world music that could reach a wider audience. Upon the duo’s graduation, they relocated to New York, where over the following year the duo worked on the material that comprised their self-titled EP.

Last June, I wrote about “Drinkee,” the first single off the New York-based electro pop duo’s self-titled debut EP. The song paired Halpern’s breezy production consisting of looping, angular and distorted guitar chords, congos, swirling electronics, thick, syrupy synth chords, a pitched down and a looped vocal sample with Hawley-Weld’s vocals singing lyrics in Brazilian Portuguese that were inspired by Brazilian poet Chacal. Sonically, the song nodded at Brazilian samba, the angular funk of Talking Heads and Las Kellies.

“Matadora,” the latest single of the duo’s upcoming Soft Animals EP pairs flamenco style guitar with tweeter and woofer rattling beats, ambient electronics, warm blasts of horn, animal noises and Hawley-Weld’s sensual cooing in a song that nods at the breezy tropicalia of Brazil and South America and shimmering dance-floor ready house music. Recently, Medina remixed the track — and the remix pushes the song towards more straightforward house music territory as the looped flamenco sample is replaced with an additional layer of ambient electronics, twinkling keys and harder hitting beats while retaining Hawley-Weld’s sensual cooing.