Tag: M83

New Video: JOVM Mainstay Rich Aucoin Returns with an Ode to Resilience in Our Dark Times

Throughout the better part of this year, I’ve written quite a bit about the Halifax, Nova Scotia-born and based electronic music artist and indie rock artist Rich Aucoin, and as you’d likely recall, Aucoin has spent time as collaborator and guest musician in his older brother Paul’s band Hylozoists before quickly developing a reputation an an attention grabbing solo artist. In fact, Aucoin’s 2007 debut EP Personal Publication was a concept album conceived and written as an alternative soundtrack to How the Grinch Stole Christmas — and he supported the effort with a cross-Canada tour made entirely by bicycle to raise money for  Childhood Cancer Canada.

After completing the tour to support Personal Publication EP, Aucoin joined his brother’s band and toured with them; but as the story goes, because of a sudden shift from regular and extremely strenuous exercise to virtually no exercise, Aucoin eventually suffered through a debilitating iron deficiency. Once he recuperated, Aucoin went on yet another solo tour in which he ran partial marathons between stops to raise money for the Canadian Cancer Society. During both of those early solo tours, Aucoin spent time writing 2011’s full-length debut We’re All Dying to Live, an album 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. Aucoin’s debut was long-listed as a nominee for 2012’s Polaris Music Prize — and the video for “Brian Wilson is A.L.I.V.E.” won a Prism Prize in 2013. Building up on a growing profile, the Nova Scotian producer and electronic music artist released his critically applauded Ephemeral back in 2014.

Released earlier this year, Hold EP is Aucoin’s first batch of new, recorded material in about four years, and EP singles like the sprawling and propulsive “Release”, the swooning M83-like “The Middle”  and the jangling guitar pop meets synth pop  “The Fear.” further cement Aucoin’s reputation for crafting infectious and anthemic yet thoughtful pop. The EP’s latest single “The Dream” is a slow-burning and wistful track that pairs the Canadian producer and electronic music artist’s tender falsetto over a production centered around twinkling and plinking keys, bursts of handclaps,  and a propulsive and strutting bass line. And yet, the song manages to evoke something the narrator longs for the deep down, he recognizes he might not be able to fully achieve it; that sometimes you get what you need and not what you want. But there’s a hopefulness that suggests that sometimes just having a dream is necessary to survival. As Aucoin explained in press notes, “‘The Dream’ is a song about the contentment we can feel at an individual level when daydreaming or imagining a different world. It’s not about the achieving of making that world come to reality but looks at the various therapeutic benefits from such an endeavour. Whether it be imagining a time where you are not heartbroken, in an estrangement, or in conflict with the changes in your life, that power to picture yourself beyond the given moment is a useful tool for accepting the way things are and getting to that new spot, ‘The Dream.’”
Directed by Mike Bromley, the recently released video for “The Dream” was filmed in Los Angeles and it follows Aucoin, who plays an aspiring actor, and although he does suffer through some early rejection, he continues to be persistent — and with a smile, no less as he strives for the dream he wants to achieve. 

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New Video: French Electro Pop Duo Synapson Teams Up with Sengalese Singer/Songwriter Lass on a Breezy and Genre-Defying Single

Synapson is a French electronic music production and artist duo, comprised of Alexandre Chiere (keys, saxophone, beats, vocals) and Paul Cucuron (drums, turntables, production and mixing) and since their formation in 2009, the duo have been critically and commercially successful — they’ve sold over 150,000 physical copies and have amassed over 100 million streams; however, they may be best known for their remake/re-work of Burkinabe singer/songwriter and musician Victor Deme’s “Djon’maya,” which they renamed “Djon Maya Mai,” and their original track “All In You,” featuring Anna Kova. Both tracks were smash hits in the duo’s native France, as they charted at #12 and #10 respectively. 

The duo’s soon-to-be released album Super 8 will further cement their reputation for a sound that possesses elements of nu-disco, deep house but it finds them at their most ambitious, as they collaborate with a diverse, international cast including French act M83’s Mai-Lan,  Archive’s Holly, Kaleem Taylor, L. Marshall, Idyllwild’s Casey Abrams, Miami-born, Paris-based rapper Beat Assailant, Jamaica-born, London-based Taneisha lJackson, Tim Dup, Haute’s Tessa B. and Blasé, Sengalese singer/songwriter Lass and a list of others. 

Super 8’s latest single “Souba” synthesis of French electro pop, house music and Afropop as its centered around a slick yet soulful production featuring a looped, shimmering guitar line, a sinuous bass line, thumping beats and a club rocking and radio friendly hook. And unsurprisingly, the two step inducing track will remind the listener that electronic dance music translates language and culture, and that perhaps most important, it’s music that’s always a beneficial unifying force. Additionally, the track will establish the duo on a growing list of French electronic music acts that blur genre lines with a globe spanning bent. 

The recently released video employs a simple but endearing concept — we see Lass and the members of Synapson hanging out in and around a prototypical European car. At points the videos features the members of the trio brooding, but for the most part they’re hanging out and enjoying each other’s company. 

New Video: JOVM Mainstays Modern Time Machines Send Up Classic TV Shows in Video for Album Single “Freefall (Can’t Stop)”

Over the past couple of years of this site’s history, I’ve written quite a bit about the Los Angeles, CA-based shoegazer act Modern Time Machines, and as you may recall with the release of singles like Dweeb,” the band comprised of Ben Golomb, Justin Bond, Nadia Franks and Neil Johnson have received attention for a pairing dreamy boy/girl harmonizing with a sound that has drawn comparisons to  M83, Medicine, Sonic Youth and others. Adding to a growing profile, the band has received airplay on  KROQ 106.7FM, have appeared on Adult Swim’s The Eric Andre Show and will have some of their music featured in director Ashley York’s upcoming film So Help You God. 
The up-and-coming, Los Angeles-based shoegazers’ Josiah Mazzaschi-produced, sophomore effort MTM is slated for release next week, and the album features guest spots from Nightmare Air‘s Dave Dupuis, Bell Gardens’ Kenneth James Gibson, that dog.’s Kaitlin Wolfberg and a remix from electronic music production and artist duo De Lux. Earlier this year, I’ve written about the A Storm in Heaven-era The Verve “High Noon” and the  Dinosaur, Jr-like “Failsafe,” off the album — both of which further cemented their reputation for crafting 120 Minutes-era MTV-like indie rock. And much like its predecessors, MTM’s latest single “Freefall (Can’t Stop) continues in a similar vein as the band has a penchant for soaring hooks, feedback drenched guitars and dreamy boy/girl harmonizing, centered around earnest and plaintive lyrics. 

Directed by the band’s Ben Golomb and featuring a lengthy cast, the recently released video is a hilarious and ridiculous send up on a number of classic TV shows including Mary Tyler Moore, Small Wonder, Gilligan’s Island and others.  

New Video: The Dramatic and Vivid Visuals for Uppermost’s “Perseverance”

Over the past year or so, I’ve written quite a bit about the Paris, France-based electronic music producer, multi-instrumentalist and electronic music artist, Behad Netjabakshe, best known in electronic music circles as Uppermost. And as you may recall, the French producer, multi-instrumentalist and electronic music artist has developed an internationally recognized profile with the release of material through renowned labels like Sony BMG, Ministry of Sound, BugEyed Records, Starlight Records and his own Uppwind Records; in fact, singles like “Equivocal” landed at #3 back in 2009 and his Biscuit Factory EP landed at #1 on the JunoDownload electro-house charts. Additionally, Netjabakshe has received attention for his remixes of  Daft Punk, deadmau5, Burial, Crystal Castles, Jonathan Coulton, Syl Johnson, Congorock and others — and he’s had his work playlist by a number of superstar producers and artists including  Tiesto, Armin van Buren and Steve Angello.

Las year, saw the release of Origins 2011-2016, a comprehensive compilation that featured ed some of Netjabakshe’s most popular tunes, including “Flashback,” “Beautiful Light,” “Reminder” and “Mistakes,” as well as new, original material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling,  cinematic “Reminder,” the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive,” and a lush, cinematic rendition of “Constellation” performed with members of the Paris Symphonic Orchestra. Origins 2011-2016‘s highly anticipated follow up, Perseverance officially dropped today, and the album reportedly features some the most personal and impassioned material Netjabakshe has released to date while collaborating with vocalists with backgrounds in folk, hip-hop and pop.

Last month, I wrote about the album track “Atoms,” a collaboration with Birsen that paired her gossamer-crooning with arpeggiated analog synths, a motorik-like groove and an infectious hook — and while being both dance floor and radio friendly, the song possessed an aching humanity, as it pointed out humanity’s vulnerability and smallness in an incomprehensibly immense universe.  Building upon the buzz around the album, the French producer, multi-instrumentalist and electronic music artist released the album’s latest single, the swaggering “Perseverance,” a collaboration with singer/songwriter Harry Pane, that pairs Pane’s soulful vocals with an ominously thumping production consisting of twitter and woofer rocking beats and arpeggiated synths and an anthemic hook; but despite the seemingly ominous vibes, the song is actually extremely uplifting, as it features lyrics that focus on determination, dedication and — well yeah, perseverance in the face of life’s obstacles.

Directed by Joseph B. Carlin, the recently released video, which features live action and animation follows as a frustrated yet determined painter (Sebastian Iturria) through both his daily routine, commuting to his cramped studio. Despite the fact that throughout most of the video, it’s implied that Iturria’s painter is extremely talented, he’s in the middle of a creative rut in which he either feels uninspired or everything he tries to create feels uninspired before a deep dive into the artist’s bright and Dada-eqsue inner world.

 

Over the past year or so, I’ve written quite a bit about the Paris, France-based electronic music producer, multi-instrumentalist and electronic music artist, Behad Netjabakshe, best known in electronic music circles as Uppermost. And as you may recall, the French producer, multi-instrumentalist and electronic music artist has developed an internationally recognized profile with the release of material through renowned labels like Sony BMGMinistry of SoundBugEyed RecordsStarlight Records and his own Uppwind Records; in fact, singles like “Equivocal” landed at #3 back in 2009 and his Biscuit Factory EP landed at #1 on the JunoDownload electro-house charts. Additionally, Netjabakshe has received attention for his remixes of  Daft Punkdeadmau5BurialCrystal CastlesJonathan CoultonSyl JohnsonCongorock and others — and he’s had his work playlist by a number of superstar producers and artists including  TiestoArmin van Buren and Steve Angello.

Las year, saw the release of Origins 2011-2016, a comprehensive compilation that featured ed some of Netjabakshe’s most popular tunes, including “Flashback,” “Beautiful Light,” “Reminder” and “Mistakes,” as well as new, original material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling,  cinematic “Reminder,” the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive,” and a lush, cinematic rendition of “Constellation” performed with members of the Paris Symphonic OrchestraOrigins 2011-2016‘s highly anticipated follow up, Perseverance is slated for release this Friday, and the album reportedly features some the most personal and impassionaied material Netjabakshe has released to date while collaborating with vocalists with backgrounds in folk, hip-hop and pop.

Last month, I wrote about the album track “Atoms,” a collaboration with Birsen that paired her gossamer-crooning with arpeggiated analog synths, a motorik-like groove and an infectious hook — and while being both dance floor and radio friendly, the song possessed an aching humanity, as it pointed out humanity’s vulnerability and smallness in an incomprehensibly immense universe.  Building upon the buzz around the album, the French producer, multi-instrumentalist and electronic music artist released the album’s latest single, the swaggering “Perseverance,” a collaboration with singer/songwriter Harry Pane, that pairs Pane’s soulful vocals with an ominously thumping production consisting of twitter and woofer rocking beats and arpeggiated synths and an anthemic hook; but despite the seemingly ominous vibes, the song is actually extremely uplifting, as it features lyrics that focus on determination, dedication and — well yeah, perseverance in the face of life’s obstacles.

 

New Audio: New JOVM Mainstay Rich Aucoin Releases a Dreamy, New Single

Now, over the first few months of the year, I’ve written quite a bit about the Halifax, Nova Scotia-born and based electronic music artist and indie rock artist Rich Aucoin. And as you may recall, Aucoin has spent time as a collaborator and guest musician in older brother Paul Aucoin’s band Hylozoists before developing a reputation as an attention grabbing solo artist. Aucoin’s 2007 debut EP Personal Publication was a concept album conceived and written as an alternative soundtrack to How the Grinch Stole Christmas. The Canadian artist supported that effort with a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. Upon completing his solo tour, Aucoin joined his brother’s band and toured with them; but because of a sudden shift from regular and extremely strenuous exercise to virtually no exercise, Aucoin eventually suffered through a debilitating iron deficiency. Once he recuperated though, he went on another solo tour, running partial marathons between stops to raise money for the Canadian Cancer Society.

During both of his early solo tours, Aucoin spent time writing and recording the material, which would comprise his 2011 full-length effort, We’re All Dying to Live, an album 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. We’re All Dying to Live was long-listed as a nominee for the 2012 Polaris Music Prize — and the video for “Brian Wilson is A.L.I.V.E.” won a Prism Prize in 2013. Building upon a rapidly growing profile, the Canadian electronic music artist released his 2014, critically applaud album Ephemeral. 

Released today, Hold EP is Aucoin’s first batch of new, recorded material in over 4 years, and the EP features the sprawling and propulsive club banger “Release”, the swooning M83-like “The Middle”  and the jangling, club banging electro pop and indie rock amalgamation, “The Fear.” The EP’s latest single “The Dream” is a slow-burning track in which Aucoin’s tender falsetto is paired with twinkling keys, a sinuous bass line, bursts of handclaps, bursts of mournful horns — and in some way, the song seems to evoke something that the song’s narrator longs for, but deep down knows he can never fully achieve; in fact, there are countless times in which it seems as though much of what you’ve desired or felt you deserved is often out of reach, and that such things leave lingering and embittering reminders. 

Interestingly, as Rich Aucoin explains in press notes. “‘The Dream’ is a song about the contentment we can feel at an individual level when daydreaming or imagining a different world. It’s not about the achieving of making that world come to reality but looks at the various therapeutic benefits from such an endeavour. Whether it be imagining a time where you are not heartbroken, in an estrangement, or in conflict with the changes in your life, that power to picture yourself beyond the given moment is a useful tool for accepting the way things are and getting to that new spot, ‘The Dream.’”

New Video: Modern Time Machines Return with 120 Minutes-era MTV Inspired Visuals for Rousingly Anthemic Single “Failsafe”

Earlier this year, I wrote about  the Los Angeles, CA-based shoegazer act Modern Time Machines, and as you may recall with the release of their debut single “Dweeb,” and several other singles, which received airplay on KROQ 106.7FM, the band comprised of  Ben Golomb, Justin Bond, Nadia Franks and Neil Johnson have received attention for pairing dreamy boy/girl harmonies with a sound that’s drawn comparisons to M83, Medicine, Sonic Youth and others. Adding to a growing profile, the Los Angeles-based shoegazers appeared on Adult Swim’s The Eric Andre Show and will have some of their music featured in director Ashley York’s upcoming film So Help You God.

Modern Time Machines’ Josiah Mazzaschi-produced, sophomore effort MTM is slated for an April 6, 2018 release and will feature guest spots from Nightmare Air‘s Dave Dupuis, Bell Gardens‘ Kenneth James Gibson, that dog.’s Kaitlin Wolfberg and a remix from electronic music production and artist duo De Lux. And as you may recall, album single “High Noon” featured the boy/girl harmonies that first garnered them attention while sonically reminding me quite a bit of A Storm in Heaven-era The Verve. Interestingly, MTM’s latest single “Failsafe” is a decidedly 120 Minutes-era MTV affair — in particular, I’m somehow reminded of Dinosaur, Jr. and others, as the song features feedback drenched and pedal effected power chords, rousingly anthemic hooks, a propulsive and insistent rhythm section and those boy/girl harmonies; but underneath the dreamy vibes is an aching yearning.

Directed, edited and filmed by Kimberly Zsebe of ZB Images, the recently released video, much like the song itself seems heavily indebted to 120 Minutes-era MTV, as it features the band performing the song while partially shot under kaleidoscopic filters, which gives the video a trippy feel.

Behad Netjabakshe is a Paris, France-based electronic music producer, multi-instrumentalist and electronic music artist, best known as Uppermost, who has developed an internationally recognized profile through the release of material through renowned labels like  Sony BMGMinistry of SoundBugEyed RecordsStarlight Records and his own Uppwind Records; in fact,  singles like “Equivocal” landed at #3 back in 2009 and his Biscuit Factory EP landed at #1 on the JunoDownload electro-house charts. Additionally, Netjabakshe has received attention for his remixes of  Daft Punkdeadmau5BurialCrystal CastlesJonathan CoultonSyl JohnsonCongorock and others — and he’s had his work playlist by a number of superstar producers and artists including  TiestoArmin van Buren and Steve Angello.

The Parisian producer, multi-instrumentalist and electronic music artist released a comprehensive compilation, Origins 2011-2016, which featured some of Netjabakshe’s most popular tunes, including “Flashback,” “Beautiful Light,” “Reminder” and “Mistakes,” as well as new, original material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling,  cinematic “Reminder,” the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive,” and a lush, cinematic rendition of “Constellation” performed with members of the Paris Symphonic Orchestra.

Netjabakshe’s latest effort Perseverance is slated for a March 23, 2018 release and the album, which reportedly features some of the most personal and impassioned material he has released to date, finds the Parisian producer, multi-instrumentalist and electronic music artist collaborating with vocalists with backgrounds in folk, hip-hop and pop — all while retaining the swooning and earnest emotionality that has won him international attention. Interestingly, Perseverance‘s latest single  “Atoms” is a hazy and anthemic track that features chilly and shimmering, arpeggiated analog synths, twinkling and a motorik-like groove; however, Birsen’s gossamer-like crooning that gives the song its nostalgic punch and its aching humanity, as the song’s lyrics point out our vulnerability and smallness in the face of an immense universe, but perhaps more important, our inherent connection to it.

 

 

Now, if you’ve been frequenting this site over the past few months, you would have come across a couple of posts featuring the Halifax, Nova Scotia-born and based electronic music artist and indie rock artist Rich Aucoin. Aucoin has spent time as a collaborator and guest musician inches older brother Paul’s band Hylozoists before developing a reputation as an attention grabbing solo artist; in fact, his  2007 debut Personal Publication EP was a concept album designed as an alternative soundtrack to How the Grinch Stole Christmas. He supported that effort by going on a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. After he completed his solo tour, he rejoined Hylozoists on their town; however, because of a sudden shit from regular, strenuous exercise to virtually no exercise, Aucoin eventually suffered through an iron deficiency. Once he recuperated, he went on another solo tour, running partial marathons between stops to raise money for the Canadian Cancer Society.

During both of his early solo tours, Aucoin spent time writing and recording the material, which would comprise his 2011 full-length effort, We’re All Dying to Live, an album 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. The album was long-listed as a nominee for the 2012 Polaris Music Prize, with the music video for “Brian Wilson is A.L.I.V.E.” winning a Prism Prize in 2013. Building upon a rapidly growing profile, Aucoin then released his critically applauded, 2014 effort Ephemeral. 

Slated for a March 16, 2018 release, Hold EP is Aucoin’s first batch of new, recorded material in over 4 years, and as you may recall the EP’s first single “Release” featured live drumming from Broken Social Scene‘s Justin Peroff in a sprawling yet propulsive, club banger that draws from house music and boom-bap era hip-hop, centered around laws of arpeggiated synths. The EP’s second single “The Middle” was swooning track that may remind some listeners of M83, as it possessed a soaring hook that evokes an earnest and swooning yearning.

The EP’s latest single “The Fear” continues in a similar vein as its predecessors as it’s a jangling and rousingly anthemic instrumental track consisting of propulsive drumming, shimmering and arpeggiated synths, jangling guitar and chopped up vocal samples — and interestingly enough, the track manages to be a trippy synthesis of club banging electro pop and anthemic indie rock.

Aucoin’s PRESS ON tour to support Hold EP will feature him bicycling from city to city to raise awareness for mental health — with the Canadian artist raising awareness for mental health by bicycling from city to city and donating 100% of the tour proceeds to Mental Health America and The Canadian Mental Health Association. The tour will include an tour opening stop at Brooklyn’s newest venue Elsewhere. Check out the tour dates below.

 

Tour Dates:
2/27: Brooklyn, NY @ Elsewhere
3/26: Los Angeles, CA @ Bardot
4/6: Phoenix, AZ @ TBA
4/11: Flagstaff, NM @ The Hive
4/19: Albuquerque, NM @ Burt’s Tiki Lounge
4/26: Amarillo, TX @ The 806
5/3: Oklahoma City, OK @ The Root
5/4: Norman, OK @ Opolis
5/11: Little Rock, AR @ TBA
5/16: Memphis, TN @ Hi-Tone
5/23: Nashville, TN @ TBA
5/31: Knoxville, TN @ Birdhouse
6/20: Washington, DC @ DC9
6/23: Baltimore, MD @ The Crown
6/26: Philadelphia, PA @ PhilaMOCA