Tag: New Order

1996 · 1996 – Around You

 

Mike Lee is an Austin, TX-based multi-instrumentalist and producer, best known for his work with acts like Letting Up Despite Great Faults, Fanclub and others. His latest recording project 1996 thematically focuses on some of the most formative years of our lives — our teenaged years, as a way to remind the listener of the feelings and thoughts of one’s youth, as a way to forge a deeper connection with today’s youth.

Every 1996 will feature a different artist from a different city with the hopes to make that literal connection remind the listener of the first time that we really felt connected to anything or anyone. The project’s latest single “Around You,” features Lauren Massa of Houston-based act Velveteen Echo.  The track which is centered around stuttering beats, a New Order-like bass line, dusty sounding electronics and Massa’s plaintive vocals, manages to sound a bit like The Postal Service — but while capturing the complicated and often confusing emotions of a swooning first crush/first love, the song also evokes the inevitable push and pull of adult decisions and their implications on you as you make those decisions.

 

FRANK WOODBRIDGE · To The End

Born to an English father and Italian mother,  Paris-born and-based composer, multi-instrumentalist, electronic music producer and electronic music artist, Frank Woodbridge grew up in a passionate, musical household: at an early age, the Woodbridge family spent their evening listening to their vinyl record collection in front of their huge stereo. “My father loved The Kinks, The Beatles, The Bee Gees and Al Jarreau. My mother introduced me to Stan Getz, Carole King and the romantic refrains of the crooners that reminded her of her childhood,” Woodbridge recalls fondly in press notes. “From the age of ten, I was already deep into The Cure, Depeche Mode, U2. My teenage neighbor had decided to perfect my musical education. And then, Bernard Lenoir on Inter, the many weekends in London . . . I was an indie kid, that was my life.”

After spending many years in rock and electro pop groups as a singer/songwriter and self-taught multi-instrumentalist, Woodbridge has spent the past few years focusing on composing for films, the web, TV, as well as  sound design for events and stage music for theater. Currently, Woodbridge works with Andre Manoukian on his daily chronicle for the Daphne Burki-hosted TV show, Je T’aime, ETC — and he wrote a comic book Inversion, which follows its composer protagonist.

2020 has been a busy year for the French artist: a companies like Kenzo Parfums and Oris Watches commissioned him to compose music for web campaigns and for series of 10 films. He also composed the soundtrack for Florie Martin and Melissa Theuriau’s documentary  Seine Saint Denis Style, which aired on French station C8 earlier this year.  Additionally, Woodbridge’s latest album of original compositions LOLA LIFE DEATH ETC was released earlier this month.

Now, if you had been frequenting this site earlier this year, you may recall that I wrote about, the Uppermost and M83-like “Lola dans le bus,” a melancholic yet cinematic track specifically composed to drive or daydream along with that was actually inspired by personal experience: Woodbridge ran into an ex-girlfriend he had lost contact with. He saw her on the bus and waved at her but unfortunately, she didn’t see him. So as the result the song is punctuated with the sadness of a missed connection, nostalgia for old times and of unfinished business. LOLA LIFE DEATH ETC‘s latest single “To The End” is a motorik-groove driven track centered around shimmering synth arpeggios and thumping beats and a fairly optimistic air.  Sonically speaking, the track sounds like a slick synthesis of New Order and From Here to Eternity and From Here to Eternity . . . and Back-era Giorgio Moroder.

“It is music driven with an urge, a dream for something else, a lot of energy and yet peacefulness coming from inner strength and will,” Woodbridge says of his latest single. “I composed it thinking of movies I love, where people are at a turning point of their lives knowing it or not, and heading for their future. Although slightly melancholic, it has a positive light and effect.”

 

 

 

 

Formed back in 201t6, the Brooklyn-based act No Swoon — Tasha Abbott (vocals, guitar) and Zack Nestel-Patt (synths) — have received attention across the blogosphere for a sound that meshes elements of dream pop, shoegaze, post-punk and ethereal wave. Now, if you’ve been frequenting this site over the past year, you may recall that the JOVM mainstays have added their names to a growing list of acts like BLACKSTONE RNGRS, Lightfoils that have been pushing the sonic and aesthetic boundaries of shoegaze and dream pop as far as they possibly could.

2018’s EP 1 was written in Los Angeles during a self-imposed exile from the East Coast. For Abbott, a native of Ontario, CA, the idea was to get back to her geographic and musical roots: she spent a great deal of time driving around the suburbs listening to the goth and New Wave that her mom played in the car when Abbott was a little girl  (Bauhaus, Love and Rockets, New Order) and the indie rock and punk rock of her teenage years (Yeah Yeah Yeahs, The White Stripes). Last year’s s Jorge Elbrecht-produced, self-titled full-length debut firmly established their sound. And while being ambitious and urgent, the material thematically touched upon the confusion, frustration and uncertainty of our zeitgeist with narrators seeking answers to questions that may never be easily resolved.

Of course, much like countless acts across the world, the Brooklyn-based shoegazers had plans for a national tour to support their self-titled debut — but because of COVID-19 pandemic-related lockdowns and restrictions, those plans have been indefinitely scrapped. In the meantime, the band will be releasing a digital zine Cancelled Tour The Zine, which will highlight the bands and artists No Swoon would have toured with during their Spring 2020 tour.

Along with that, they released “Otherside (Demo).” Written, recorded and produced through social distancing guidelines, the track is the first bit of new song that the band since the release of their full-length debut — and it’s part of a batch of material that the band has been working on. Featuring Mitski’s touring drummer Jonathan Smith, “Otherside” is a slow-burning track centered around shimmering guitars, Abbot’s ethereal crooning, fuzzy synths and a soaring hook. But at its core is a yearning and unquenchable desire for something just out of reach, whether it be the small things that make us all so very much human like touch, sex, companionship — or the end to this period of pandemic disease, death, economic ruin and uncertainty.

100% of the proceeds from the single and the Canceled Tour The Zine electronic zine will go to National Independent Venue Association (NIVA), a collection of the country’s over 1,300 independent music venues fighting to survive through this period of historic uncertainty. Music is arguably one of America’s greatest exports — and perhaps even more importantly on a local level, your local music venue gives back in many more ways economically than what you may be aware. Livelihoods are on the line, here.

 

 

 

 

 

Tracing their origins back to 2009, when the project was started as Sister Crayon, the acclaimed Los Angeles, CA-based electro pop duo Rituals of Mine — singer/songwriter Terra Lopez and percussionist Adam Pierce — have received attention for crafting a sound that features elements of 90s trip hop, footwork and downtempo R&B through the release of their critically applauded first two albums, 2011’s Bellow and 2013’s Cynic. Building upon a growing profile, the act had spent several years relentlessly touring up and down the West Coast and elsewhere, playing house shows, DIY venues and basements before, eventually landing tours with The Album Leaf, Built to Spill, Antemasque, Le Butcherettes, Maps & Atlases, Doomtree, and others.

2015 was a harrowing and difficult year for Lopez: her father committed suicide and several months later, her best friend Lucas Johnson tragically died in an accident. Reeling from the grief of such profoundly unexpected and inconsolable loss, Lopez went through a period of deep reflection. During that time, Lopez felt the need to reassess life and her work with Sister Crayon, eventually deciding that she needed to put the name to rest and move forward with a new chapter and new moniker  — Rituals of Mine. “It was a mantra that I repeated under my breath on a daily basis when the loss I was experiencing felt too heavy at times,” Lopez wrote at the time. “Music, the act of creating, performing, touring, writing, singing, experimenting – all the rituals we have created to get through life.”

Rituals of Mine has been a bold and decided step forward for Lopez: after years of obscuring her own story and emotions through metaphorical lyrics, Lopez felt both a sudden confidence and need to write more directly about her experiences and life as a queer woman of color. Lopez with the assistance of her longtime collaborator and producer Wes Jones began to write material centered around heartfelt observations touching upon her experiences and traumas and paired with pulsating and forceful electronic tracks. Lopez then recruited Adam Pierce to play drums — with understanding that Pierce’s background in metal would provide an intensity that could match her own and fit the material.

Although COVID-19 has put most of the world on an indefinite pause, the JOVM mainstays have been rather busy: they’ve released a series of remixes of material off Sleeper Hold and they recently contributed “The Only Way Out Is Through” for Mon Amie Records‘ charitable compilation The Longest Day: A Benefit for the Alzheimer’s Association, which features songs from New Order, Jon Hopkins, Anna Calvi, Sad13, Beach Slang, TR/ST, Moby, and others.

“The Only Way Out Through” is a slow-burning and lush track,  featuring around twinkling synth arpeggios, Lopez’s soulful and heartfelt vocals and swirling and ethereal electronics. And while arguably the most atmospheric track they’ve released to date, the song is centered around a plaintive ache.

 

 

 

 

 

Kite · Teenage Bliss

Kite is a rising Swedish duo — Nicklas Stenemo (vocals) and Christian Berg (keys) — that has developed and honed a unique take on pop, centered around tight, focuses songs in which they mesh adventurous and ambitious songwriting with propulsive and throbbing beats, enormous hooks and an early 90s pop aesthetic.
The Swedish duo’s latest single, the Benjamin John Power-produced “Teenage Bliss” is an intimate and swooning song within an arena rock banger featuring tweeter and woofer, industrial-like beats, shimmering synth arpeggios and a rousingly anthemic hook. Sonically, the song might draw comparisons to New Order and Elastica as it possesses a similar sort of bombast. But at its core, the song will conjure up images of sweaty and booze soaked club shows and nightclubs with your friends and the urgent swooning of first love — with the foolish passions and naivety of youth.
“When we started Kite, the band Fuck Buttons were a big source of inspiration to us,” the Swedish duo says. “Since then, we have been following Benjamin John Powers’ brilliant music as Blanck Mass. We are now extremely excited to announce that we were workin bon the production of two new Kite tracks with him”

 

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Mark Andrade is a Toronto-based singer/songwriter, multi-instrumentalist and producer, who first came to attention with his previous band Paradise Animals. When Paradise Animals called it a day in 2017, Andrade continued working on music with his solo-recording project TIO and through collaborations with Green Go and Favours.

Marney Isaac is a multi-instrumentalist — primarily cello and bass — who has played in a number of bands in the Toronto and Guelph area, since the 2000s. She’s also Andrade’s life partner and creative partner in their latest musical collaboration together, New River Beach, a project that derives its name from a beloved summer vacation spot the couple return to every summer with their family in Issac’s hometown of Saint John, New Brunswick.

Written and recorded in their Toronto area home, after their young children went to bed, the duo’s debut single “The Right Place” is a lushly textured yet gauzy fever dream centered around shimmering synths, thumping 808s, reverb-drenched vocals, a propulsive New Order-like bass line, sampled live drumming and a soaring hook. And while sonically, the track reminds me a bit of Canadian JOVM mainstay Rich Aucoin and others, “The Right Place” with a shoegazer-like attention to texture and mood, the track finds the duo employing a unique creative process: Issac plays almost all of the instrumental parts and after laying down the arrangements, Andrade shapes the parts into a cohesive whole using Ableton, creating a seamless synthesis of the organic and electronic.

 

 

 

 

 

 

 

New Video: Jupe Jupe Releases a Stylish Visual for New Order-Inspired “Leave You Lonely”

Seattle-based indie electro pop act Jupe Jupe — My Young (vocals, synths), Bryan Manzo (guitar, bass, sax), Patrick Partington (guitar), and Jarrod Arbini (drums, percussion) — have released four albums since their formation in 2010 — Invaders, Reduction in Drag, Crooked Kisses, and Lonely Creatures — that have firmly established their sound: an infectious, dance floor friendly sound influenced by post-punk, synth pop and Americana. Adding to a growing profile, the act has collaborated with the likes of The Afghan Whigs‘ Rick G. Nelson, Lusine, Mike Simonetti, Erik Blood and a number of others on their remix album Cut Up Kisses. 

Released earlier this year, the Seattle-based quartet’s Matt Bayles-produced Nightfall EP was recorded at Seattle-based Studio Litho and continues their ongoing collaboration with Bayles, who produced and engineered their last album.  Meticulously written over the course of a year, the five song EP features five hook-driven upbeat yet simultaneously melancholy songs that thematically focuses on yearning and desire — with the addition of a saxophone to their sound.

EP single “Leave You Lonely”is a shimmering and decidedly New Order-like track centred around shimmering synth arpeggios, angular guitar blasts, a propulsive bass line, four-on-the-floor drumming, My Young’s plaintive vocals and an infectious hook. And while being a pop-inspired confection with ambitious songwriting, the song evokes a swooning and earnest yearning. 

The recently released video features a meshing of three distinct visual styles — line animation, live footage shot in a high contrast negative and a lyric video — while being decently 80s influenced — and in a way that brings A-Ha’s “Take On Me” to mind. 

New Video: JOVM Mainstays Secret Shame Releases a “120 Minutes” MTV-Inspired Visual for Anthemic and Shimmering New Single

Over the past 15-18 months or so, I’ve spilled quite a bit of virtual ink covering Asheville, NC-based goth/post-punk act and JOVM mainstays Secret Shame. Founded in 2016, the act — currently, Lena (vocals), Nathan (drums), Matthew (bass) and Billie (guitar) has been centered around its members desperate need to create, “If I couldn’t sing or play music, I would tear my skin off.” the band’s front person Lena explained in press notes. Shortly after their formation, the band released their self-titled debut EP, which helped established their dark and atmospheric sound — while the material thematically touched upon domestic rabuse, mental health, political and social dissatisfaction and frustration.

The Asheville-based JOVM mainstays’ full-length debut Dark Synthetics was released to critical acclaim last year — and the album find the band expanding upon their sound, crafting material that seemed indebted to both Siouxsie and the Banshees and 4AD Records. Building upon the growing momentum surrounding the band since the release of their debut, the members of Secret Shame have released a series of Dark Synthetics remixes as a teasers while they were returning to the studio to record new music. 

Throughout their relatively short history together, they’ve developed a reputation for an ever-changing songwriting process centered around a collective songwriting approach. The end result is that it allows the band to not allow themselves to be pigeonholed into a single subgenere of goth or post-punk. Interestingly, Secret Shame’s latest single “Dissolve” finds the band turning towards a completely new sound while managing to evoke the same feeling and vibe of their previously released material. There’s clear nods to Joy Division, New Order, and Echo and the Bunnymen on this one — with a tiniest of nods to The Smiths here: the song features shimmering guitars, rapid-fire four-on-the-floor, enormous and rousingly anthemic hooks and Lena singing with a plaintive earnestness. It’s arguably their most gorgeous sounding song they’ve released to date, but underneath the shimmer, is a hardened bitterness and dark thematic concerns that have won the band attention. As the band’s Lena says of the song, “A cathartic break from a bad situation, but a gateway to something still destructive. What are the benefits of nobody knowing what’s on your mind? What are the drawbacks?”

Visually, the recently released video for “Dissolve” seemed indebted to 120 Minutes-era MTV with tape hiss and nods at Echo and the Bunnymen’s “Lips Like Sugar” and “The Killing Moon,” among others that immediately come to my mind. 

“Dissolve” will appear on a self-released 7 inch that will be release don June 5, 2020. 

New Video: Seattle’s Jupe Jupe Releases an 80s MTV-Influenced Visual for Brooding Disco-Tinged “How Could We Both Be In Love”

Seattle-based indie electro pop act Jupe Jupe, which features My Young (vocals, synths), Bryan Manzo (guitar, bass, sax), Patrick Partington (guitar) and Jarrod Arbini (drums, percussion) have released four albums since their formation 2010 — Invaders, Reduction in Drag, Crooked Kisses, and Lonely Creatures — that have firmly established their sound: an infectious, dance floor friendly sound influenced by post-punk, synth pop and Americana. Adding to a growing profile, the act has collaborated with the likes of The Afghan Whigs‘ Rick G. Nelson, Lusine, Mike Simonetti, Erik Blood and a number of others on their remix album Cut Up Kisses.

Released earlier this year, the Seattle-based quartet’s Matt Bayles-produced Nightfall EP was recorded at Seattle-based Studio Litho and continues their ongoing collaboration with Bayles, who produced and engineered their last album.  Meticulously written over the course of a year, the five song EP features five hook-driven upbeat yet simultaneously melancholy songs that thematically focuses on yearning and desire — with the addition of a saxophone to their sound. 

Now, as you may recall, I wrote about the shimmering, New Order-like “Leave You Lonely,” a decidedly ambitious and cinematic pop confection that expresses an aching yearning. Centered around a sinuous bass line, four-on-the floor drumming, shimmering synth arpeggios, plaintive vocals, an anthemic hook, and a mournful saxophone line, “How Could We Both Be In Love” continues a run of brooding yet disco-tinged pop confections. But unlike its immediate predecessor, the track sonically manages to bring Avalon-era Roxy Music and Duran Duran to mind while evoking late night, noir-ish vibes. The recently released video by Dirty Sidewalks’ Erik Foster is an incredibly stylish and moody visual that nods at French nouvelle vague and 80s MTV.  

New Audio: JOVM Mainstay Mark Lanegan Releases a Shimmering and Brooding New Single

Over the past handful of years, I’ve managed to spill a fair share of virtual ink covering acclaimed, JOVM mainstay Mark Lanegan over the years on this site. And as you may recall, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist’s 11th full-length solo album Somebody’s Knocking continued an incredible run of critically applauded releases but the album’s material found the JOVM mainstay turning to some of his most formative musical influences and profound loves — electronic music.  “I’ve always been into electronic music since I was a kid,” Lanegan said in press notes at the time. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

2020 will be a busy year for Lanegan: his memoir Sing Backwards and Weep will be published by Da Capo Press on April 28, 2020 — and his 12th solo album Straight Songs Of Sorrow will be released through Heavenly Recordings on May 8, 2020. Featuring guest appearances from his longtime  Greg Dulli, Warren Ellis, the legendary John Paul Jones, Ed Harcourt and countless others, Straight Songs Of Sorrow is inspired by his own life story, as documented in his memoir.

Reportedly, Sing Backwards and Weep is a brutal, nerve-shredding read, centered around Lanegan’s recounting his journey from troubled youth in Eastern Washington, through his days as a drug-fueled member of Seattle’s grunge rock scene to today with Lanegan finding peace and salvation within himself with unsparing and unadulterated candor. While the book documents his lifelong struggle to find peace within himself, his forthcoming 12th album emphasizes the extent to which he realized that music is his life.

“Writing the book, I didn’t get catharsis,” Lanegan says. “All I got was a Pandora’s box full of pain and misery. I went way in, and remembered shit I’d put away 20 years ago. But I started writing these songs the minute I was done, and I realized there was a depth of emotion because they were all linked to memories from this book. It was a relief to suddenly go back to music. Then I realized that was the gift of the book: these songs. I’m really proud of this record.”  Interestingly, in press notes, Lanegan affirms that each of Straight Songs Of Sorrow‘s 15 songs references a specific episode or person in the book — albeit, some more explicitly than others.

Whereas the previous two Mark Lanegan Band albums, 2017’s Gargoyle and the aforementioned Somebody’s Knocking found Lanegan pairing his lyrics to music written by collaborators, most of Straight Songs Of Sorrow was written by Lanegan — with the exception being the collaborations with Mark Morton. Two other songs have shared credits — and those two songs were cowritten by Lanegan’s wife Shelley Brien. But much like the book that inspired it, the album ends  with its hero overcoming adversity and struggle and turning, battered and beat up, but cleansed, towards a bright new day

So far, I’ve written about the album’s first two singles — the slow-burning, part bluesy lament, part tale of survival and redemption “Skeleton Key.” and the uptempo yet vulnerable “Bleed All Over.” The album’s third and latest single “Stockholm City Blues” is a brooding and spectral song, centered around twangy and looped guitar, a shimmering string arrangement and an achingly plaintive vocal from Lanegan. Evoking the gnawing loneliness of being a foreigner in a foreign land that you can barely understand, and of a man wandering around narrow European streets with his own thoughts and regrets, the song may arguably be one of the most sorrowful of released to date.