Tag: Neon Indian

New Audio: Julien Chang Releases a Shimmering and Nostalgic Synth Funk-Driven Single

Over the past couple of moths, I’ve written a bit about the rapidly rising, 19-year-old Baltimore-born multi-instrumentalist, singer/songwriter, producer and current university student Julien Chang (pronounced Chong). Chang surprised his peers when he quietly began releasing original music during his senior year in high school. Initially only thought of just as a trombone player, the Baltimore-born, singer/songwriter, multi-instrumentalist and producer’s earliest material found him playing multi-instruments while meshing pop-leaning melodicism, psych rock and jazz fusion-leaning experimentation and improvisation with a sophistication and self-assuredness that belied his relative youth. 

Now as you may recall, those early releases caught the attention of Transgressive Records, the label home of SOPHIE, Let’s Eat Grandma and JOVM mainstay Neon Indian, and the label will be releasing Chang’s highly-anticipated full-length debut Jules on October 11, 2019. So far I’ve written about the album’s first two singles — “Of The Past,” a sleek, early 80s-like synth funk-based track centered around dexterous musicianship and pop melodicisim and the slow-burning, Sgt. Pepper-era Beatles-like “Butterflies from Monaco.” Interestingly, the album’s third and latest single “Memory Loss” is centered by syncopated blips and bloops, a sinuous bass line, shimmering synths and Chang’s plaintive falsetto and a yearning for an unreachable and halcyon-tinged past. And while  seemingly influenced by 80s synth funk, the song continues a run of incredibly self-assured singles featuring some dazzling musicianship and big hooks. 

 “A worsening memory is something I’ve always been worried about,” Chang explains. “The song was made with a kind of structural rigidity in mind, and about memory’s natural lack of it when having trouble putting faces to names, for example. It’s easy to be frustrated by that feeling, but being left with a sudden emotional reaction sparked by some stimulus for an unclear reason can be as lovely as it is disorienting.”

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New Audio: Baltimore’s Up-and-Coming Julien Chang Releases a Slow-Burning and Lysergic New Single

Last month, I wrote about the up-and-coming, 19-year-old, Baltimore-born multi-instrumentalist, singer/songwriter, producer and current university student Julien Chang (pronounced Chong). And as you may recall, Chang surprised his peers when he began quietly releasing music during his senior year in high school. Initially only thought of as just a trombone player, the Baltimore-born, multi-instrumentalist, singer/songwriter and producer’s early material found him playing multiple instruments and meshing pop-leaning melodicism, psych rock and jazz fusion-leaning experimentation and improvisation with a sophistication and self-assuredness that belies his relative youth. Those early releases caught the attention of Transgressive Records, the label home of SOPHIE, Let’s Eat Grandma and JOVM mainstay Neon Indian, who will be releasing his forthcoming full-length debut.

“Of The Past,” Chang’s debut single and the first official single off his debut EP was a sleek bit of early 80s-like synth-led funk that’s centered around carefully crafted pop melodicism, a sinuous bass line and plaintive vocals. But I think the most interesting aspect of the song was it revealed a dexterous songwriter and musician, who can effortlessly bounce between funk, jazz and pop within a single song — and in a mesmerizing fashion.  “Butterflies from Monaco,” the forthcoming EP’s second single is a a slow-burning track that finds the Baltimore-based singer/songwriter, multi-instrumentalist and producer seamlessly meshing the blues, 50s rock, 60s psych rock and pop — but with a lysergic haze reminiscent of Sgt. Pepper-era Beatles. Interestingly, the song was inspired by the concept of the butterfly effect — and as a result, the song focuses on the interconnectedness of all things. 

Julien Chang (pronounced Chong) is an up-and-coming Baltimore-born 19-year-old, multi-instrumentalist, singer/songwriter, producer and current university student, who surprised his peers when he began quietly releasing music during his senior year in high school. Interestingly, only thought of as a trombone player, Chang’s early material found him playing multiple instruments and meshing pop-leaning melodies, psych rock and jazz fusion experimentation and improvisation — with a sophistication that belies his relative youth.  Those early releases caught the attention of Transgressive Records, the label home of SOPHIE, Let’s Eat Grandma and JOVM mainstay Neon Indian, who will be releasing his forthcoming full-length debut.
Self-recorded and self-produced in his bedroom, “Of The Past,” Chang’s debut single is a sleek bit of early 80s-like synth-led funk that’s centered around carefully crafted pop melodicism, a sinuous bass line and plaintive vocals — but interestingly, the track reveals a dexterous songwriter and musician, who can effortlessly bounce and dart between funk, jazz and pop in a mesmerizing fashion.
Chang will be embarking on his first ever tour in October — and the tour begins with an October 15, 2019 stop at Baby’s All Right. Check out the rest of the tour dates below.
Tour Dates
10/15 – Brooklyn, NY @ Baby’s All Right
10/28 – London, UK @ Bermondsey Social Club
10/29 – London, UK @ Servant Jazz Quarters
10/31 – Brussels, BE @ Botanique Witloof Bar
11/01 – Berlin, DE @ Musik & Frieden
Pekoe Cat is the solo electro pop recording project of singer/songwriter, multi-instrumentalist Kyle Woolven. Interestingly, his latest single is the funky and sleek Neon Indian-like, 80s synth pop inspired “Jungle Cop.” Centered around a wobbling bass line, shimmering and arpeggiated synths, an enormous, club-banging hook, a sultry vocal delivery and various found samples, the track is fueled by a hazy nostalgia. “I have a very vague memory of toddler me playing some game on NES where a guy with a motorcycle helmet goes around shooting up the city. That’s what inspired the song. I have no idea how accurate those memories are or if that game even exists. And I think I should be a little concerned if that’s the kind of thing I consider to me a fond memory. Either way, it’s the closest I’ve ever come to achieving the sound I was going for,” Woolven explains in press notes.

 

86’d from Neon Indian on Vimeo.

Alan Palomo is a Mexican-born, Denton, TX-based singer/songwriter, multi-instrumentalist, electronic music artist, producer and film maker, best known for his acclaimed solo recording project Neon Indian. And with the release of four full-length albums and an EP — 2009’s Psychic Chasms, 2013’s Era Extraña, the Errata Anex EP and 2015’s Vega Intl. Night School, Palomo established a reputation for crafting a slickly produced synth pop sound that sounds indebted to PrinceThrillerBad and Dangerous-era Michael Jackson and the synth funk/synth R&B sounds of the late 70s and early 80s – in particular think of The Whispers  Heatwave Evelyn “Champagne” King’, Cherelle and an even lengthier list of others.

Now, it’s been some time since I’ve written about Palomo and Neon Indian and as it turns out that Palomo had spent the past couple of years working on 86’d, his first narrative short. As Palomo says in press notes, 86’d is “a love letter to New York cinema and in a way, a final recapitulation of the Night School universe. Shot on 16mm over the course of three nights, it was an ambitious undertaking for all parties involved but honestly making it was such a blast that at times felt like just that, a party. I’m eternally grateful to all the wonderful people that came together to realize this kooky project and proud to finally be able to share it with music and movie goers alike.

Directed by Palomo, written by Palomo and Kai Flanders, edited by Pete Ohs and Dustin Reid, the film stars Buddy Duress (Good Time, Heaven Knows What), Lindsay Burdge (Easy, Thirst Street, The Midnight Swim), Seaton Smith (Top Five, Mulaney), Chase Williamson (John Dies at The End), Mitzi Akaha (Lowlives, Dark Side of The Moon) and musician Alex Frankel (Holy Ghost) as well as Palomo. Set in Ed Koch-era NYC, Max takes a mouthful of mescaline and desperately tries to make it home before it kicks in. On his way, he decided to stop at an all-night deli for a quick, late night meal. After numerous order delays and full-on trip stampeding into his psyche, he is made to pay witness to the colorful cast of lower east side weirdos, visualizing their stories through his newly altered lens: A Times Square dominatrix meets up with one of her regulars to reveal an answering message left by his wife. Two punks discuss an ultimatum as one reveals his connection to a pistol found in a drug bust. A recording engineer convinces an aspiring singer to re-record a destroyed vocal take from a canonic 80s group and attempts to pass it off as the original. Visually speaking, the short reminds me quite a bit of Martin Scorcese’s After Hours as it describes a New York and New York characters that are sadly long gone.

Along with the film, Palomo wrote and recorded the short’s theme song “Heaven’s Basement,” a fittingly 80s inspired, dance floor friendly track, centered around shimmering and arpeggiated synths, a sinuous bass line, a scorching distortion pedal effect-drenched guitar solo paired with Palomo’s dreamy falsetto. Interestingly, while the new track will further cement Palomo’s reputation for crafting slickly produced, dance floor friendly synth pop, it possesses a lysergic, mind-altering air.

 

 

 

Mark Berg is an Edmonton, Alberta, Canada-based singer/songwriter, electronic music artist and producer, whose solo recording project Tropic Harbour specializes in hazy, dream pop inspired by nostalgic images and dreams of the coast, during the summer — and in many ways, Berg reportedly created the project as a way to mentally escape the harsh Edmonton winters. Along with a backing and that features Kurtis Cockerill
Andrew Brostrom, and Marcus Rayment, Berg began receiving national attention, playing at a number of Canada’s renowned festivals including Pop Montreal, NXNE and Sled Island, as well as opening for the likes of DIIV, Jessy Lanza, Homeshake and Will Butler.

Berg’s latest Tropic Harbour single “Can’t Pretend” will further cement his reputation for crafting, 80s-inspired, nostalgia-inducing and summery synth pop; however, it’s a much more downtempo and atmospheric production featuring a sinuous bass line, gently swirling electronics, shimmering synths and stuttering drum programming, and in some way, the song sonically speaking will remind some listeners of I Love You It’s Cool-era Bear in Heaven, Neon Indian and others — while thematically focusing on its narrator letting go of a past relationship and trying to find himself again in the process.

 

 

 

Comprised of Dana Janssen, a singer/songwriter and multi-instrumentalist, best known as a member of renowned indie act Akron/Family, and long-time collaborator Justin Miller, Dana Buoy is a decided change of sonic direction for those familiar with Janssen’s work with Akron Family. In fact, Dana Buoy finds the duo of Janssen and Miller focusing on sweaty, late night, dance floor-friendly, analog synth-based, pop that is frequently equal parts lysergic and sensual, as you’ll hear on the duo’s exuberant yet deeply introspective and shimmering, Neon Indian meets Cut Copy and Painted Palms-like new single “Ice Glitter Gold,” off the duo’s forthcoming album of the same name, slated for a February 23, 2018 through Everloving Records.

 

 
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Blood Cultures is a rather mysterious New Jersey-based electro pop act that has begun to receive attention for a hazy and summery sound that nods at Washed Out and Neon Indian — and to some degree, the Cascine Records roster as you’ll hear on “Scenes From A Midnight Movie,” the opening track to the act’s soon-to-be released full-length debut Happy Birthday; but Blood Cultures sets themselves apart from a crowded field of contemporary purveyors of hazy, wistful and carefully crafted synth pop confections with an incredibly subtle touch — a regal yet mournful horn arrangement towards the song’s coda that reminds me of Tears For Fears‘ “Break It Down Again.”

Blood Cultures will be making their live debut at Rough Trade on August 9, 2017.

 

Featuring brothers Alix, Miles and Reece Melendrez and schoolmate Matt Mumician, Decorator  is an up-and-coming Los Angeles, CA-based indie rock/indie soul quartet, who publicly claim a rather wide and diverse array of influences that include the music the Melenderez Brothers heard quite a deal of while growing up — Jimi Hendrix, The Isley Brothers, Bob Marley and contemporary acts like Lauryn Hill, Wu-Tang Clan, Gorillaz and others. And interestingly enough, the project which attribute their name from a famous Frank Zappa quote “without music to decorate it, time is just a bunch of boring production headlines or dates by which bills must be paid” can trace their origins to when the Melendrez Brothers taught themselves how to play covers of the songs they heard so much growing up. As high schoolers, the Melendrez Brothers began writing their own music — and their folks drove them to school night gigs in which they played in bars they weren’t even be allowed in without their gear.

 

Wanting to master their instruments and to do their own thing, the Melendrez Brothers enrolled themselves at Silverlake Conservatory of Music, founded by Red Hot Chili Peppers‘ Flea, where they met and befriended fellow student Mumician and started writing music together. However, it took several years before the band took their music out of garage rehearsals and house parties and were able to concentrate on their music full-time, as the band’s youngest member, Reece Melendrez honored his promise to his folks to graduate from high school before making music a full-time effort.

With the release of their 2014 self-released debut EP Transit, the band quickly received a growing local profile and fanbase, including their first headlining set at the renowned Troubadour, thanks in part to a sound that draws equally from classic soul, indie rock, contemporary pop and neo soul — and in a way that manages to be uncompromisingly difficult to pigeonhole. The Los Angeles-based quartet’s latest single sonically speaking seems to owe an equal debt to Tame Impala‘s Currents, the Cascine Records roster, Neon Indian and 80s synth soul as the quartet pairs shimmering and undulating synths with a sinuous groove, an infectious hook and Miles Melendez’s sultry falsetto.  Lyrically, the song’s vulnerable narrator admits to be run around in circles by an unrequited and cruel love interest, with whom he feels desperately and inexplicably pulled towards — and as much as he wants to pull away, to move forward with his life, he feels trapped in a vicious and unfulfilling circle. Certainly, what’s remarkable to me about this band is the fact that their material manages to possess a maturity and self-assuredness that belies their youth.