Tag: New Order

Single Review by William Ruben Helms

If you’ve been frequenting this website over the past year to about 18 months or so you’ve likely come across a post about New York-based electro pop duo Sofi Tukker. It’s been a few months since I’ve last written about them so for both new and old readers, I’ll try to briefly refresh you on their backstory: the duo can trace their origins to when Sophie Hawley-Weld and Tucker Halpern, who were both attending Brown University  met at an art gallery. The duo quickly started writing music together, based around their desire of crafting accessible, pop-friendly world music that could reach a wider audience. Upon their graduation, they relocated to New York, where over the following year they worked on new material — including the material that would wind up comprising their forthcoming Soft Animals EP.

Back in March, I wrote about “Matadora,” an EP single  which paired flamenco style guitar with tweeter and woofer rattling beats, ambient electronics, warm blasts of horn, animal noises and Hawley-Weld’s sensual cooing in a song that nods at the breezy tropicalia of Brazil and South America and shimmering dance-floor ready house music. The EP’s latest single “Deja Vu Affair” sounds as though it draws from early and mid 80s New Order and house music as angular guitar chords played through gentle washes of reverb and delay are paired with four-on-the-floor drum programming, cascading layers of wobbling synths and Hawley-Weld’s sensual cooing in what may arguably one of the sexiest, most dance floor-ready songs they’ve released to date.

Sofi Tukker is embarking on a lengthy series of tour dates — some opening for M83 and a number of headlining shows, including a hometown set at Baby’s All Right  at the end of July. Catch them at a music venue near you.

Upcoming Tour Dates:
Supporting M83*
June 8 – Los Angeles, CA @ The Lyric (TICKETS)
June 9 – Santa Barbara, CA @ Velvet Jones (TICKETS)
June 11 – Raleigh, NC @ Red Hat Amphitheater w/ Cashmere Cat (TICKETS)*
June 12 – Richmond, VA @ The National (TICKETS)*
June 14 – Charlotte, NC @ The Fillmore (TICKETS)*
June 15 – Norfolk, VA @ The Norva (TICKETS)*
July 2 – PITCH Festival Amsterdam
July 17 – One Love Festival Istanbul
July 20 – Portland, ME @ Thompson’s Point w/ Chairlift (TICKETS)*
July 21 – Boston, MA @ Blue Hills Bank Pavilion (TICKETS)*
July 25 – St. Louis, MO @ The Pageant (TICKETS)*
July 27 – Council Bluffs, IA @ Stir Cove (TICKETS)*
July 28 – Chicago, IL @ The Vic Theatre*
July 30 – Brooklyn, NY @ Baby’s All Right (TICKETS)
August 19 – San Francisco, CA @ Popscene at Rickshaw Stop (TICKETS) (on sale 6/3)

 

 

 

 

Video by William Ruben Helms

Live Footage: Oakland, CA-based Duo Introflirt Return With Another Dark, 80s Inspired Electro Pop Song

Introflirt’s latest single “Orange Light” has them pairing undulating and cascading layers of synths and propulsive drum programming with Benjamin’s crooning and sonically, the song sounds indebted to 80s synth pop — in particular, Depeche Mode, The Human League and New Order but with a modern production sheen. And much like their previously released singles, the duo’s material thematically speaking the song focuses on the fractured psyche of its narrator, a narrator, who seems plagued by an overwhelming sensation of disappointment and frustration, repressed feelings and desires finally bursting out at an inopportune time.

Video by William Ruben Helms

New Video: Check Out Neon Indian and Friends’ Funky and Breezy Cover of Prince’s “Pop Life”

As a child of the 80s there is a rather lengthy list of songs, artists and albums that have profoundly influenced and transformed my life — in particular David Bowie, Talking Heads, Madonna, DEVO, R.E.M, […]

Single Review by William Ruben Helms

 

Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), Calgary, AB-based post-punk/darkwave/chillwave trio Ultrviolence have quickly developed a reputation for a moody, post-punk sound that’s indebted to Joy Division, New Order, Interpol, Viet Cong and others and for adhering to the sort of DIY principles that led them to ignore the clichés and dictates of the major recording industry machine. Now over the past couple of months the Canadian post-punk trio have become one of my new favorites as I’ve written about “Better Learn How to Swim,” and “Radiation,”  the first two singles off the Canadian  trio’s soon-to-be released EP Black Sea; in fact, both singles manage to remind me quite a bit of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down.”

Much like “Radiation,” “Untitled,” will further cement the trio’s reputation for moody and angular post-punk with anthemic hooks — but while arguably being the most propulsive and forceful songs they’ve released to date.

 

 

 

 

Earlier this month, I wrote about Calgary, AB-based indie rock/darkwave/New Wave/post-punk trio Ultrviolence. Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), the Canadian trio have quickly developed a reputation for a moody post-punk sound that’s reminiscent of contemporary acts like Interpol, Viet Cong and others, and for adhering to DIY principles as they’ve played in countless basements and tiny clubs across the continent, using battered instruments and battered instruments and ignoring the cliches and dictates of the recording industry machine. Now you might recall that i wrote about “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming Black Sea EP that manages to be reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.

Black Sea‘s latest and single ” Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention — the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords. Sonically, the new single manages to clearly draw influence from the likes of the aforementioned Turn On The Bright Lights-era Interpol, Joy Division and New Order — but with as subtle twist on a familiar sound.

Single Review by William Ruben Helms

 

Comprised of Chuck Cleaver (vocals, guitar), Lisa Walker (vocals, guitar), Mark Messerly (bass, keys), John Erhardt (pedal steel, guitar), and Joe Klug (drums), Cincinnati, OH-based shoegaze quintet Wussy can trace their origins to when the band’s founding members and primary songwriters Chuck Cleaver, formerly of Ass Ponys and Lisa Walker began to perform together on what was supposed to be a brief run of solo shows for Cleaver back in 2001. The first show Cleaver and Walker played together was largely unplanned and went without incident, so they agreed to continue and expand the band. The band’s first drummer Dawn Burman and Meserly were recruited and joined the band in 2002 and the quartet released three full-length efforts and an EP that received praise from a number of media outlets including Rolling Stone, SPIN, Village Voice, NPR, The Washington Post, Uncut and the legendary Robert Christgau, who placed the Cincinnati quintet’s first two efforts Funeral Dress and Left for Dead on his best of the decade list and their third, self-titled release on his best of 2009 list.

After quickly achieving critical success, the band went through a lineup change as Burman left and was replaced with Cincinnati music scene vet, Joe Klug with whom the recorded Attica! and their sixth and most recent effort, Forever Sounds, which was released last month through Shake It/Damnably Records. The quintet recently released subtly shoegazey cover of Joy Division/New Order‘s “Ceremony” which retains the spirit of the original while adding layers upon layers of reverb drenched guitars with the boy/girl harmonies of Cleaver and Walker throughout. Interestingly, Cleaver and Walker’s harmonies bring the swooning Romantic urgency of the song out into the forefront. But perhaps more important, it’s a reminder of how a timeless song can reverberate a generation or two after its initial release.

Check out how the Wussy cover compares to the Joy Division original below.

Single Review by William Ruben Helms

 

With the release of “To Be Young” and “Radio Silence,” which received extensive radio airplay on BBC Radio X, Spanish radio station Radio 3 and Stateside on KCRW and KEXP, the Portsmouth, UK-based quintet Kassassin Street — comprised of Rowan Bastable (guitar, vocals), Tom Wells (bass, vocals), Andy Hurst (keys, samples), Ryan Hill (guitar, vocals) and Nathan Hill (drums) — quickly exploded onto the international scene last year. And as a result, the Portsmouth-based quintet had a busy summer playing the UK major festival circuit with appearances at Secret Garden Party, Bestival, Blissfields, Y Not, Great Escape, Beat-Herder and Isle of Wight, as well as a hometown slot at Victorious Festival — and they continued on that success with a successful UK tour, which included several sold out shows.

Building on a rather successful 2016, the members of Kassassin Street recently released their latest single “Hand In My Pocket,” a post-punk track which pairs an anthemic hook with a sinuous bass line, shimmering  and cascading synths, angular guitar chords and an uncanny sense of harmony in a shimmying, dance floor ready track that sounds indebted to Entertainment! and Solid Gold-era Gang of Four (in particular, I think of “Not Great Men” “He’d Send In The Army” and “Why Theory“), Kasabian‘s self-titled effort, Evil Heat-era Primal Scream (in particular “Detroit” and “Autobahn 66“) and New Order — but much like Gang of Four, the song possesses an underlying scathing sociopolitical message as the song focuses on social injustice and inequality in fiscal austerity-era UK.

 

 

 

 

 

 

Single Review by William Ruben Helms

Last month, I wrote about Brooklyn-based shoegaze duo The Blessed Isles. Comprised of Aaron Closson (guitar and vocals), best known as a member of The Hourly Radio and multi-instrumentalist Nolan Thies, best known as a member of N?TIONS, the duo of Closson and Thies specialize in a sound that is heavily indebted to New Wave, synth pop and shoegaze — and as you would have heard on “Caroline,” the first single off their long-awaited full-length effort Straining Hard Against the Strength of Night, and on the album’s second and latest single “Confession” their sound in particular seems to be influenced by New Order, Slowdive and Cocteau Twins as the duo pairs Closson’s plaintive vocals with shimmering delay pedal fed guitar chords, propulsive boom-bap 808s, and ambient-like synths to craft a swooning and introspective song with an urgently anthemic pulse. However, interestingly enough “Confession” strikes me as being the most New Order-influenced song down to the guitar solo the song’s swooning urgency.

Single Review by William Ruben Helms

New Audio: The Arena Rock and Dance Floor Friendly Extended Mix of New Order’s “The Game”

Now, if you’ve been frequenting this site over its six year history, you’d know that I’m a proudly unabashed New Order fan. Music Complete, which was released last year marked two milestones for the band— as it was […]

Single Review by William Ruben Helms

Comprised of Aaron Closson (guitar and vocals), best known as a member of The Hourly Radio and multi-instrumentalist Nolan Thies, best known as a member of N?TIONS, Brooklyn-based shoegaze duo The Blessed Isles specialize in a sound that is heavily indebted to 80s Brit Pop, New Wave and of course, shoegaze; in fact, as you’ll hear on “Caroline,” the first single off the duo’s long-awaited full-length effort Straining Hard Against the Strength of Night, the band’s sound seems to draw from New Order, Slowdive and Cocteau Twins as the duo pairs Closson’s plaintive vocals with shimmering delay pedal fed guitar chords, propulsive boom-bap 808s, and ambient-like synths to craft a swooning and introspective song with an urgently anthemic pulse.

 

 

 

New Audio by William Ruben Helms

February 2016’s JOVM Spotify playlist will likely continue the wild variety I’m so proud of but with a number of mainstay artists including tracks by Victoria + Jean, Anna Rose, Rene Lopez, Anika, Shabaam Sahdeeq, Gosh Pith, Marco Benevento, New Order, Boulevards, Mavis Staples, Sofi Tukker, Charles Bradley, Majid Jordan, La Sera, Pr0files, Atmosphere, We Are Temporary, Beacon, Elephant Stone, Caveman, Octo Octa and several others who you’ve become familiar with through this site. But you’ll also come across a couple of tracks from one of my favorite new artists of the year, Sophie and the Bom Boms, some classic blues from Howlin’ Wolf, Muddy Waters, Bo Diddley and George Thorogood, porto-metal and stoner rock and countless more. Check it out!

Single Review by William Ruben Helms

 

Last month, I wrote about the NYC-based electro funk/neo-disco production and artist duo Holy Ghost!. And with the release of their 2011 self-titled debut, 2013’s Dynamics through renowned indie dance label DFA Records and their 2015 self-released remix album, Work For Hire, the duo comprised of Alex Frankel and Nicholas Millhiser have seen a growing national and international profile, which has resulted in the duo remixing the work of Katy Perry, LCD Soundsystem, Moby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including Coachella, Outside Lands, Primavera Sound and Bonnaroo.

April 29, 2016 will mark the release of the Crime Cutz EP through DFA Records, and the EP’s first single and title track “Crime Cutz” further cements the duo’s reputation for crafting slickly produced  retro-futuristic electronic funk as the duo pairs shimmying synths, early 80s hip-hop break beats, undulating and swirling 8 bit electronics and a sinuous bass line paired with ethereal yet sensually cooed vocals and anthemic hooks. Sonically, the song seems to draws so much influence from Herbie Hancock’s “Rockit,” that it sounds as though it could easily back in 1983.

Recently, Eli Escobar remixed “Crime Cutz” and while his remix retains the retro-futuristic feel of the original, as well as its anthemic hooks, Escobar’s remix is much more propulsive and forceful — layers of shimmying and shimmering synths are paired with stuttering and skittering drum programming, a driving motorik groove, 8 bit bloops and bleeps and ethereal yet sensually cooed vocals that pushes the song in the direction of The Man Machine and Radioactivity-era Kraftwerk and classic house music; in other words, it’s an infectious and slickly produced club banger with an expansive groove.

Single Review by William Ruben Helms

Comprised  of Dan Boeckner (vocals and guitar), who’s best known for being a member of Wolf Parade, Handsome Furs; Sam Brown (drums), best known for being a member of New Bomb Turks and Divine Fits; and Devojka (analog synths), the NYC-based trio Operators formed in 2013  — and in the past three years, the band has seen a rapidly growing national profile for an 80s New Wave and analog synth pop-inspired sound. And with the release of their critically applauded EP1 the NYC-based trio found themselves opening for the likes of Future Islands, New Pornographers and many other critically applauded contemporary acts; however, with the release of “Cold Light,” the first single off Operators’ forthcoming and highly-anticipated full-length effort Blue Wave reveals a band that has since expanded their sound with the addition of angular guitar and bass chords, pushing their sound more towards the direction of Joy Division and New Order.

Interestingly, Blue Wave‘s second and latest single, album title track “Blue Wave” has the band pairs layers of synths and swirling electronics and a propulsive, motorik groove with warm blasts of horns and Boeckner’s crooning vocals in a song that sounds as though it draws from Thin White Duke and Plastic Soul-era David Bowie and 80s post-punk and New Wave — in particular, I think of Flock of Seagulls, New Order, Depeche Mode and others. Arguably, “Blue Wave” may be the funkiest and most propulsive singles they’ve released to date.

Operators will be on tour to support the album and it’ll include a NYC area date at Baby’s All Right. Check out tour dates below.

 

Tour Dates

 3/28 – CHICAGO, IL – SCHUBAS
3/29 – MINNEAPOLIS, MN – 7TH ST. ENTRY
3/30 – OMAHA, NE – REVERB LOUNGE
4/01 – DENVER,CO – LOST LAKE LOUNGE
4/03 – SPOKANE, WA – THE BARTLETT
4/04 – SEATTLE, WA – SUNSET TAVERN
4/05 – VANCOUVER, BC – FORTUNE SOUND CLUB
4/06 – PORTLAND, OR – DOUG FIR LOUNGE
4/08 – SAN FRANCISCO, CA – SOCIAL HALL SF
4/09 – LOS ANGELES, CA – BOOTLEG THEATRE
4/10 – SAN DIEGO, CA – SODA BAR
4/11 – PHOENIX, AZ – VALLEY BAR
4/13 – AUSTIN, TX – THE SIDEWINDER
4/14 – DALLAS, TX – THREE LINKS
4/15 – HOUSTON, TX – THE RAVEN TOWER
4/16 – NEW ORLEANS, LA – GASA GASA
4/17 – ATLANTA, GA – THE EARL
4/19 – WASHINGTON, DC – DC9
4/21 – BROOKLYN, NY – BABY’S ALL RIGHT
4/22 – PHILADELPHIA, PA – BOOT & SADDLE
4/23 – CAMBRIDGE, MA – MIDDLE EAST UPSTAIRS
4/29 – HAVANA, CUBA – Fábrica de Arte Cubano (F.A.C.)
4/30 – HAVANA, CUBA – Fábrica de Arte Cubano (F.A.C.)
Video by William Ruben Helms

New Video: New Order’s New Video for “Singularity” Captures a Slice of Daily Life in West Berlin During the 1980s

As an unabashed New Order fan being able to write about them is not only a great personal and professional thrill, it constantly reminds me that first and foremost I’m an obsessive fan — and it’s my […]

Video by William Ruben Helms

New Video: Lust For Youth’s “Sudden Ambition” Reveals Small Slices of Daily Life in Amager, Copenhagen

If you’ve been frequenting this site over the past two years, you’d be pretty familiar with Copenhagen, Denmark-based electro pop trio, Lust For Youth as I’ve written about them a handful of times in that period. The […]

Video by William Ruben Helms

New Video: Check Out the Retro-Futurist Visuals and Sounds of Holy Ghost!’s “Crime Cutz”

With the release of their 2011 self-titled debut, 2013’s Dynamics through renowned indie dance label DFA Records and their 2015 self-released remix album, Work For Hire, the NYC-based electro funk/neo-disco production and artist duo Holy Ghost!, comprised of […]