Tag: MGMT Oracular Spectacular

Lyric Video: Quebec’s New Bleach Releases a Slow-Burning and Hallucinogenic Single

Over the past couple of months, I’ve written a bit about Quebec City-based indie duo New Bleach, an act which features Dominic Pelletier and Raphaël Potvin, who are best known across the province for their work in acclaimed Francophone act Caravane. Interestingly, with the release of their Oracular Spectacular-era MGMT-like single “Awake,” the Quebec-based duo reveled a project that was a decided sonic departure from their previously known work.

New Bleach then released their second single “Awake,” a Quiet Storm-like R&B track that recalled the brooding atmospherics of Beacon. Building upon the attention of their first two singles, the duo’s third and latest single is the slow-burning, lullaby-like “High.” Centered around twinkling synths, stuttering beats and plaintive vocals and a fiery guitar solo, the song which manages to nod at Kraftwerk and 80s New Wave simultaneously, expresses that age-old desire to get in your car for a road trip, when you pull over to the side somewhere and do hallucinogens — or some other mind-altering experience.

New Video: Quebec City-based Electro Pop Act New Bleach Release a Lysergic Visual for Brooding and Atmospheric “Silver Lining”

Earlier this year, I wrote about the Quebec City-based indie duo New Bleach, which features Dominic Pelletier and Raphaël Potvin, best known for their work in the acclaimed Francophone rock act Caravane. And from the Oracular Spectacular-era MGMT-like “Awake,” Pelletier’s and Potvin’s work with New Bleach is a decided sonic departure. 

Building upon the attention they received for “Awake,” the duo’s latest single “Silver Living” is a slick and brooding synthesis of Quiet Storm-like R&B, shimmering and arpeggiated synths, skittering trap beats, plaintive falsetto vocals — and while subtly recalling the brooding atmospherics of JOVM mainstays Beacon, the song is part old-school love song and an urgent plea for hope in a seemingly hopeless world. 

Directed by Maxyme Gagné and the members of New Bleach, the recently released video was shot on a grainy Super 8-like filter, which gives the proceedings a subtly nostalgic and lysergic haze — but the video itself is centered around a simple concept: the members of New Bleach driving around in a car through trippy backgrounds. 

New Video: Quebec City’s New Bleach Releases a Murky and Trippy Visual for Shimmering and Disco-Influenced “Awake”

Best known as members of acclaimed Quebec City-based Francophone rock act Caravane, Dominic Pelletier’s and Raphaël Potvin’s latest project New Bleach is a decided sonic departure. The duo’s latest single, is the slinky and moody “Awake.” Featuring shimmering synths, a sinuous bass line, shuffling four-on-the-floor and an infectious hook, the duo’s latest single is a disco-like track that brings Oracular Spectacular-era MGMT to mind. 

Thematically, the song is centered around a rhetorical question: “What if death was just a dream?” In these profoundly difficult and uncertain times, we’re all facing our own morality and impermanence. However, “Awake” suggests that there’s beauty in the ephemeral nature of everything: mainly that the small moments are imbued with a deeper meaning and importance that we often overlook as rush about our lives. 

Directed by  Maxyme Gagné, Dominic Pelletier and Raphaël Potvin, the recently released accompanying video is centered around brooding yet lysergic visuals reminiscent of Stranger Things. We see the duo in front of a background that slowly shift from red, blue and purple with zombie-like dopplegängers, glitchy VHS-like effects and hints at murder and mayhem. Interestingly, the video much like the song finds the duo balancing menace and murkiness with a mischievous and whimsical air. 

Timothy Nelson is a multi-WAM Award-winning, Western Australia-based singer/songwriter, multi-instrumentalist and bedroom pop producer, whose solo recording project Indoor Fins has received attention nationally  with two collaboration with DraphtThe Come Down Was Real,” and “Summer They Say,” which was released earlier this year and has received frequent airplay on Australia’s Triple J Radio. And although both of those tracks were much more hip-hop leaning, Nelson’s  Indoor Fins project is self-described “super pop,” as the Western Australian singer/songwriter, multi-instrumentalist and producer’s work draws from a variety of things including classic 70s prog rock and French electro pop. 

However, lyrically Nelson says in press notes, his work comes from a much darker place. “A few years back my old band, and my relationship at the time, both fell apart within about a month of each other,” Nelson recalls. “I was in a rut personally. Then, shortly after all that, someone in my family, very close to me, got seriously ill. It wasn’t the greatest time at all. I felt like I’d been on one kind of path from the moment I left high school, and suddenly found myself in a place where I wasn’t sure where I was heading at all. I did a bit of soul searching, there was a lot going on in my head I’d not addressed for a long time and I think it all just collided in one go. In the midst of all that, I did a tonne of writing. I was questioning so much about who I was, that I think I started digging a lot deeper lyrically.”

During what was arguably one of the more difficult times in his life emotionally, Nelson spent his days holed up in his home studio — his childhood bedroom. “I had my guitar, my computer, and a keyboard. I had all these sounds at my fingertips. I think musically, the direction it took, came from a feeling of, ‘Fuck it, do whatever feels right’, and also not wanting to be so down-in-the-dumps about everything. Music, to me, is always the antidote.”

Nelson’s debut Indoor Fins single “Here It Goes” is a rousingly anthemic, breakneck pop track, centered around layers of arpeggiated synths, tweeter and woofer rocking beats, slashing power chords and layers of Nelson’s plaintive falsetto. Sonically the incredibly infectious song seems to recall Electric Light Orchestra’s “Mr. Blue Sky,” and Oracular Spectacular-era MGMT, complete with an overwhelmingly positive message at its core. “I remember waking up and having the guitar riff in my head, but no idea where the song
could go. Something didn’t feel right and I nearly abandoned it altogether, but this voice inmy head was telling me to push through, and I spent all day just trying every possible ideathat could make the song work,” the Western Australian artist recalls about the song’s creative process. “At some point I turned a corner and it all made sense. It
was very much a journey writing it. That’s what I mean by ‘Put me on the road to rhythm
and light’, you know? My subconcious was saying ‘pull yourself together, and get on with it.”

Copenhagen, Denmark-based multi-instrumentalist and producer Brian Batz has received both national and international attention with the release of four full-length albums with his solo recording project Sleep Party People, and as you’ll hear on “The Sun Will Open Its Core,” the latest single off his soon-to-be-released new album Lingering, Batz specializes in a breezy psych rock/psych pop that’s reminiscent of Oracular Spectacular-era MGMT and early 80s synth pop and New Wave — in particular, think of The Buggles‘ “Video Killed the Radio Star;” however, underneath the hook laden song’s breeziness is a bilious bitterness, frustration and growing doubt of humanity’s empathy and kindness.  As Batz explains “I got really frustrated and emotionally upset when the whole refugee debate in Denmark was at its highest. I felt extremely indignant in terms of how society dealt with this problem. Normally I don’t go into politics, especially not in my music, but this was kind of inevitable.”

“I don’t get how people can reject human beings, who are fleeing from their destroyed homes and cities. What if it happened to us? Wouldn’t we do the same and ask for help and do whatever we felt necessary? We should be able to help each other even if we don’t agree on religion, politics or what we eat and wear. It puzzles me that some people out there can’t see the reason in helping. I had to write a song about this. Period.” And as a result, the song feels like an urgent plea that we all can — and must — do better, to help anyone in need; that it’s the truly human thing to do.

 

 

 

 

Julian Japser is a San Diego, CA-born, Los Angeles, CA-based singer/songwriter and multi-instrumentalist, who has publicly describes his own sound as being a 21st century Steely Dan or a lapsed Todd Rundgren after he had crossed paths with Ariel Pink — and although maybe to some that may be true, to my ears “2AM,  Chinatown” and “I Don’t Mind,” the first two singles off his forthcoming 2AM, Chinatown/I Don’t Mind EP remind me quite a bit of Oracular Spectacular-era MGMT, Tame Impala and Milagres as both singles possess soaring and infectious hooks, swaggering strutting vibes and a funky bass line; however, both singles thematically focus on a desperate and gnawing loneliness and isolation — in particular “2AM, Chinatown” has its narrator reminiscing over a lover he hasn’t seen or spoken to in some time, and as a result, the lonely narrator of the song is desperate to connect with that lover or with anyone really, as long as he felt some connection with someone, even if it were brief. “I Don’t Mind” possesses a funky, 70sAM rock feel that evokes a lazy morning with a lover — the sort in which limbs and sheets are hopelessly entangled and entwined, and you spend much of the day making love and chatting about all manner of things big and small. And as a result, it’s the sexiest song of the two; but underneath the surface there’s this sense of all things coming to its inevitable conclusion. All things lead to the same result — the endless search to not be as lonely as you were before, and both songs capture that with an uncanny verisimilitude.

 

 

Los Angeles, CA-based sibling duo Andrew Aged (lead vocals, guitar) and Daniel Aged (bass, production and vocals) write, record and perform as inc. no world — and with the critically applauded release of their 2013 debut effort, the duo quickly received a profile for an introspective songwriting approach, and for crafting songs that are not only thoughtful but draw from several different sources, including gospel, soul, experimental pop and others; but with a post-modern minimalism.

“Waters Of You,” the first single off the duo’s highly anticipated, forthcoming effort As Light As Light will likely further cement the Southern California-based duo’s burgeoning reputation for ethereal, soulful pop while subtly expanding upon it; in fact, in some way the song sounds as though it were inspired by Prince, Quiet Storm-era R&B and Oracular Spectacular-era MGMT as it manages to possess a sleek and sensual yet off-kilter funkiness and an aching tenderness as the song has the duo pairing gently strummed guitar  with shimmering synths, ethereal yet sensually cooed vocals and stuttering drum programming. In some way, the song evokes an urgent, carnal need and a vulnerability at its core.

 

 

 

 

 

 

 

New Video: Yeasayer’s Surreal, Claymation Visuals for “Silly Me”

The recently released visuals for Yeasayer’s “Silly Me” employs the use of classic-leaning stop-motion Claymation that focuses on a duo on an alien and unfamiliar world, dancing anthropormophic animals and weird rock-like creatures, who stalk and dance over the horizon. Strangely enough, the video also subtly nods at Peter Gabriel’s “Sledgehammer,” “Big Time” and “Digging In The Dirt.”