Tag: M83

Christopher Franzen is a Gothenburg, Sweden-based multi-instrumentalist, composer, and producer, whose solo recording project Lights & Motion began back in 2012 during a frequent bout with insomnia — and during the extremely dark Scandinavian winters, Franzen took to restlessly sequestering himself in a studio, where he would spend his time writing and recording music as a way to help battle his condition, and as a much- needed emotional release.  Interestingly, since Franzen has started the project, he’s been remarkably prolific releasing four cinematic, indie rock-like efforts,  2013’s Save Your Heart and Reanimation, 2015’s Chronicle and 2017’s Dear Avalanche, as well as two albums as soundtrack composer, 2014’s Dreamweaver and 2017’s Phenomenon — all of which have further cemented the Gothenburg, Sweden-based multi-instrumentalist, composer and producer’s reputation for crafting lush and cinematic material that balances a tightrope between melancholy and optimism.

In fact, Franzen’s latest effort Bloom, which be released through Deep Elm Records will continue in a similar sonic vein as its predecessors; however, thematically, the album focuses on rejuvenation and rebirth — and the album’s latest single “Vanilla Sky,” which prominently features twinkling piano keys, swirling synths, thundering drumming and power chords played through copious reverb around a soaring, arena rock-like hook that will remind some listeners of Explosions in the Sky, Mogwai, M83, Sigur Ros and others. And while the song evokes a pleasant breeze on a glorious Spring day; but just underneath, the song’s warm and ethereal air, is a bittersweet note, as though there’s the brief acknowledgement of life’s fleeting and impermanent nature.

 

New Video: New Visuals for Tourist’s “We Stay Up All Night” Captures the Joy and Possibility of Youth and Young Love

Now, if you were frequenting this site around this time last year, you may have come across a post or two featuring William Phillips,  London, UK-based electronic music artist/producer and songwriter, best known in electronic music circles as Tourist, and cowriter of Sam Smith’s smash hit, Grammy Award-winning single “Stay With Me.” Adding to a breakthrough 2015, Phillips played that year’s Coachella and Pitchfork Festival Paris, went on lengthy tours of the European Union and North America, made mixes for BBC 1‘s Diplo and Friends and i-D Magazine, as well as received praise from a variety of media outlets — including Pitchfork, FADER and others. Phillips built upon a growing international profile with the release of his full-length debut U, an album that focused on a failed personal relationship the songwriter and producer had; in fact, as Philips mentioned in press notes on his full-length debut, “I’ve always recorded a lot of my life through my phone. Whilst writing the album, I found a huge number of recording that I had whilst being in that relationship, so my ex’s voice is all over this record. Also the sounds of the places we lived and visited together form prominent backdrops to the music.” 

I don’t know how to describe it sonically, it’s not really body music, it’s just a story told through different tempos and sounds. I’m not channelling any specific scene or sound, just my thoughts and feelings. I don’t really understand the term ‘electronic music’ but I suppose if pressed I’d call it that.

I have zero interest in beats and scenes, I’m much more interested in stories. I feel as though this is the biggest lesson I learnt whilst writing this album, that I don’t write music to express myself but to enrich myself. It wasn’t until finishing this album that I could truly feel at peace with that chapter in my life.”

“We Stay Up All Night” is Phillips’ latest single is an ethereal and shimmering collaboration with pop vocalist Ardyn that features the sort of soaring and anthemic hooks reminiscent of M83 — but underneath the bright neon-colored vibes is a subtle hint at wistful nostalgia — presumably at the passing of youth but with a fondness and sweetness. As Phillips mentions in press notes, the new single is “more reflective of who I am now, and how my life has changed over the past year. I moved out of my windowless studio and started writing from home again. I think subconsciously, I’ve started writing more joyous, colourful music and I’ve loved being collaborative once again. ” Phillips goes on to say that the new music he’s recently written may be some of his favorite material he’s produced so far, because he’s loved the opportunity to push his sound towards a new place. Of course, while pushing his sound to a warmer and happier vibe, the internationally renowned producer and songwriter has retained elements of the aesthetic that caught the attention of fans and the blogosphere across the world — mainly  a shimmering, cosmic glow and a swooning earnestness to the proceedings. 

Directed by Daniel Brereton, who has directed videos for Kindess, Connan Moccasin and Metronomy, the video follows a quartet of teenagers as they drive to the British countryside to goof off, explore both in daylight and at night, couple up, canoodle, get high and share intimate moments before one couple stumbles upon a forest-based all night rave, and spends the morning watching the sun rise. The video manages to perfectly encapsulate the feeling of exploration, limitless possibility, naivete and foolhardy passions of youth. 

New Video: The Brooding 70s-Inspired Visuals for Wilding’s “Hot Prowl”

Wilding is a Los Angeles, CA-based indie rock trio, comprised of Dave Woody (guitar, vocals), Dave Bowman (bass) and Andrew Platts (drums) that has publicly cited Hum, Fugazi, Mew, M83, Autolux and Interpol as influences, although with “Hot Prowl,” off their Secular Music EP, which was released earlier this year, the band manages to specialize in the sort of anthemic and moody shoegaze that reminds me quite a bit of Jersey City, NJ’s Overlake, Chicago’s Lightfoils and others, complete with some explosive guitar pyrotechnics paired with thundering and insistent drumming.

The recently released video for “Hot Prowl” is comprised of footage from an extremely obscure 70s film featuring some bored and brooding kids who goof off and get high — and it’s obvious that not only do they not have answers for anything, the footage has a hit of old PSAs about drugs and alcohol.

New Video: The Anthemic, M83-Channeling Sound of Finnish-born, Spanish-based Producer Future Ark

Tero Heikkinen is Helsinki, Finland-born, Seville, Spain-based composer, who has a lengthy career composing music for short films, documentaries and modern dance pieces; however, his solo recording project Future Ark is a sonic departure from his previous work, the project finds Heikkinen employing the use of experimental and contemporary sound design and electronic production techniques, with bits of organic instrumentation while drawing from a diverse array of styles including downtempo, ambient and synthwave.

Heikkinen’s Future Ark debut Joy was deeply inspired by the birth of his second son, which was a roller coaster ride of positive emotions. And as a result, the EP’s first single and EP opening track “Pacific Highway” features an effortlessly slick production consisting of undulating and shimmering synths, skittering percussion, propulsive drum beats, a soaring, anthemic, M83-like hook and an otherworldly, cosmic sheen — while evoking the buzzing enthusiasm and sense of discovery on a trip to someplace completely new.

Because the composition has a summery feel, the recently released music video consists of videos of fan shot footage of beaches from Spain and elsewhere across the world, and in some way the video manages to evoke the hope and excitement that people all over the world feel about summer.

Comprised of Dave Woody (guitar, vocals), Dave Bowman (bass) and Andrew Platts (drums), Wilding is a Los Angeles, CA-based indie rock trio and although the trio cite influences including Hum, Fugazi, Mew, M83, Autolux and Interpol among others — although interestingly enough, as you’ll hear on “Hot Prowl,” the latest single off the trio’s forthcoming EP Secular Music, the band specializes in an anthemic and moody shoegaze that’s sonically reminiscent to the likes of Jersey City, NJ’s Overlake, Chicago’s Lightfoils and others, complete with some explosive guitar pyrotechnics paired with thundering and insistent drumming.

 

 

New Video: Introducing the Playful Visuals and Soulful Sounds of French Electronic Music Producer and Artist FKJ

Vincent Fenton is a self-taught, Paris, France-based producer, multi-instrumentalist, electronic music artist and sound engineer, best known in electronic music circles as French Kiwi Juice — or FKJ. For Fenton, music has always been a part of his life somehow; but he can trace the origins of his musical career to when he started to write and compose songs at 13 and recorded his first track at 14 in his uncle’s studio. And with the release of his debut EP, 2013’s Time For A Change and its follow up EP, 2014’s Take Off, found the French producer, electronic music artist, multi-instrumentalist and sound engineer establishing himself in a contemporary electronic music scene that includes M83, Uppermost and others while developing an international profile with tours in Asia, North America, the rest of the EU and Australia; however, unlike his contemporaries Fenton has described his sound as being influenced by jazz and soul, while equally drawing from hip-hop and funk in a rather sophisticated and smooth fashion.

Interestingly, Fenton’s highly-anticipated self-titled FKJ full-length debut was released yesterday and the album’s latest single “Skyline” is a swaggering dance floor friendly yet soulful track that nods at Jamiroquai, The Chemical Brothers and The Crystal Method as Fenton pairs a slick and silky smooth production consisting of cosmic bursts of twinkling arpeggio keyboard, whirring and wheezing electronics, shuffling drum programming and a sinuous bass line paired with Fenton’s ethereal and dreamy falsetto and an equally slick yet understated hook.

The recently released accompanying video features a relatively simple concept — Fenton leading a small group of bicyclists, riding the sort of bikes Pee Wee Herman rode in Pee Wee’s Big Adventure through an extremely European and gothic-looking forest at sunrise and dusk with Fenton singing the song as he’s riding with his crew.

New Video: JOVM Mainstays The Penelopes Return with an 80s New Wave and Synth Pop Inspired New Single

Comprised of Paris-born, London-based duo Axel Basquiat (composer, vocals, bass) and Vincent T. (production, sound engineering and keys), The Penelopes are an indie electro pop act, production and DJ duo who have developed a reputation for propulsive, Giorgio Moroder-like remixes of Lana Del Ray, Pet Shop Boys, We Have Band, Night Drive, The Ting Tings, Alt J and others, and for their own original material, which critics have compared favorably to the likes of Daft Punk, M83 and Air. Now, if you’ve been frequenting this site over the past 3 years or so, you may have come across posts on their remixes of The Ting Tings “Do It Again,” Alt J’s “Hunger of the Pine” and an anthemic, club-banging cover of Depeche Mode’s “Never Let Me Down Again” that managed to retain the song’s sense of longing.

The duo released a new single package featuring their cover of Bowie’s “This Is Not America,” which received airplay on KCRW, along with several remixes, including Miguel Campbell’s remix, which received airplay on Nemone’s BBC 6 show, and a new, original song “Tina.” The duo’s latest single “Tina” manages to be a decided refinement of the sound that captured both the site’s attention and the rest of the blogosphere; in fact, while retaining a dance floor friendly feel, the song manages to decidedly leans in the direction of 80s New Wave and synth pop — in particular, I’m reminded a bit of Simple Mind’s “Don’t You Forget About Me,” as “Tina” possesses an rousingly anthemic nature that belies a swooning Romantic nature.

The recently released video cuts between footage from Asia Argento’s directorial feature film Misunderstood, starring Charlotte Gainsbourg and footage of the band performing the song in a studio, shot in a striking, film noir-like black and white.

With the release of “Golden,” the London, UK-based indie pop trio Mt. Wolf, currently comprised of Sebastian “Bassi” Fox, Stevie “Red” McMinn, and Al Mitchell, received both national and international attention across both major media outlets and the blogosphere. With the growing attention the band has received, they’ve played sold-out shows across Europe and the US; but adding to a rather eventful year, the band has gone through a brief hiatus and a lineup change, before recovering to write and record new material, with producer Ken Thomas, who has worked with M83, Sigur Ros and Daughter.

“The Electric” is the oceanic first single off the band’s still untitled, forthcoming EP finds the trio pairing moody atmospherics with a towering and soaring, arena rock-friendly anthemic nature as the slow-burning song that ebbs and swells as it builds up in intensity; but interestingly within that slow ebb and flow there’s an unresolved tension that never quite gets released. And as a result, it gives the song a certain ambivalence and uncertainty that is familiar — it evokes the ambivalence, uncertainty and confusion of our own lives and relationships and the hope that somehow we find a way to figure it out to the best of our abilities.

 

New Video: Watch the Paris Symphonic Orchestra’s Instrumental Rendition of Uppermost’s “Constellation”

Now, if you’ve been frequenting this site over the past three or four months, you’ve come across a handful of posts featuring the Paris, France-based electronic music producer and electronic music artist Behad Netjabakshe, best known as Uppermost. And as you may recall, Netjabakshe has an internationally recognized profile for material he’s released through a number of renowned labels including Sony BMG, Ministry of Sound, BugEyed Records, Starlight Records and his own Uppwind Records — with singles like “Equivocal” landing at number 3 on Beatport’s electro house charts in 2009, and his Biscuit Factory EP landing at number 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 nubmer of superstar producers and artists including Tiesto, Armin van Buren and Steve Angello.

Last week saw the release of the Paris-based producer and electronic music artist’s latest full-length effort, Origins 2011-2016, a massive 23 song LP, which features some of the French producer and electronic music artist’s most popular songs, including Flashback,” “Beautiful Light,” “Reminder” “Mistakes” as well as a new material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling, cinematic “Reminder,” and the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive.” To celebrate the release of the album, Netjabakshe shared a swooningly gorgeous and cinematic rendition of “Constellation” performed by members of the Paris Symphonic Orchestra that retains the lush, cinematic quality of the original.

If you’ve been frequenting this site over the last few months of 2016 and the beginning of 2017, you’ve most likely come across a couple of posts featuring the , Paris, France-based electronic music producer and electronic music artist Behad Netjabakshe, best known as Uppermost. And as Uppermost, Netjabakshe has received attention internationally for material released through a series of renowned labels including Sony BMGMinistry of SoundBugEyed RecordsStarlight Records and his own Uppwind Records — with singles like “Equivocal”landing at number 3 on Beatport’s electro house charts in 2009, his Biscuit Factory EP ranked first on the JunoDownload electro-house charts.And adding to a rapidly growing international profile, Netjabakshe has had his work playlisted by superstar producers and artists such as TiestoArmin van Buren and Steve Angello. Netjabakshe has also received attention for his remixes of Daft Punkdeadmau5BurialCrystal CastlesJonathan CoultonSyl JohnsonCongorock and others.

Uppermost‘s soon-to-be released full-length effort Origins 2011 – 2016 is a 23 song LP that features some of the French producer and electronic music artist’s most popular songs, including Flashback,” “Beautiful Light,” “Reminder” “Mistakes” as well as a new material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion” and the Pink Floyd-channeling, funky and cinematic “Reminder.”Origins 2011 – 2016‘s latest single “Alive” will further cement Netjabakshe’s reputation for slickly produced synth pop as the Paris-based electronic music artist and producer pairs layers of shimmering, arpeggio synths with a sinuous bass line, Nile Rodgers-like guitar and and a rousingly, anthemic hook; however, where two of the album’s singles were reminiscent of M83, the album’s latest single leans a bit more towards 45:33 and Sound of Silver-era LCD Soundsystem, thanks to a club-friendly and accessible style.