Tag: Nu Shooz I Can’t Wait

Single Review by William Ruben Helms

Like A Version is a beloved weekly segment that airs on Australia’s leading national radio station Triple J — and the premise of the series is extremely simple: the radio station invites both national and internationally known artists to cover some of their favorite songs. Much like the AV Club’s Undercover the series  reveals the taste and influences of their invited acts, while letting those artists cover material in whatever way they seem fit — sometimes, it’s much more straightforward and other times, the act puts their own spin on it. Either way, it’s both thought provoking and deeply entertaining. Unsurprisingly, because of the series popularity, Triple J has released a series of chart topping compilation albums, which in many ways serves as a historical document of Australian popular music.

Metropolitan Groove Merchants will be releasing the Like A Version compilation in North America on September 22, marking the first time that Americans can check out the series, and the first album features 21 unique covers from some of the world’s most renowned and beloved artists — and to celebrate the occasion, Metropolitan Groove Merchants released two of the compilation’s singles, JOVM mainstay Tame Impala performing an ethereal and cinematic rendition of Kylie Minogue‘s “Confide In Me” that manages to be a deceptively straightforward cover that also decidedly retains their dreamy psych pop sound; while blogosphere darlings CHVRCHES put a decidedly sensual and anthemic synth pop cover of Arctic Monkeys “Do I Wanna Know” that nods at Nu Shooz’s “I Can’t Wait” and Simple Minds‘ “Don’t You Forget About Me.”

Single Review by William Ruben Helms

Although currently comprised of a rather mysterious duo simply known as James and Mabel, the London-based electro pop duo Gold Fir have received attention both nationally and elsewhere for a sound that draws from 80s synth pop, classic house and electro pop — and in a way that feels warmly familiar, as you’ll hear on their latest single “Night Walk,” a track that will remind listeners of George Michael‘s “I Want Your Sex,” Chaka Khan’s and Rufus‘ “Ain’t Nobody,” Chaka Khan‘s “I Feel For You,” and Nu Shooz’s “I Can’t Wait,” but while being incredibly self-assured and coquettish. But perhaps just as important, the new single reveals a duo that can craft an infectious and bold hook within an even bolder track.

 

 

 

Single Review by William Ruben Helms

Crush Club is an up-and-coming New York-based indie electro pop act and their debut single “Get Me Off” manages to channel Nu Shooz‘s “I Can’t Wait” and Tom Tom Club‘s “Genius of Love” as the act pairs a sinuous disco funk bass line, Nile Rodgers-like guitar, shimmering and tumbling cascades of synths, sultry, come hither vocals and an infectious, anthemic hook in a sexy, club-friendly track.

Crush Club makes their live debut this Friday at Rough Trade, opening for Bright Light Bright Light.

 

Video by William Ruben Helms

New Video: The Psychedelic, 1980s Leaning Visuals for Promise Keeper’s “Porous Silk”

With the release of Side Decide” and other singles, London-based producer and electronic music artist Promise Keeper started to receive attention across the blogosphere for a sound that possesses elements of classic Chicago house, blue-eyed soul and 80s electro pop. And his latest single “Porous Silk” will further cement the British producer’s already burgeoning reputation for crafting slick, dance-floor friendly pop as androgynous yet sultry cooed vocals are paired with a production consisting of a sinuous bass line, Nile Rodgers-like guitar chords, propulsive and stuttering drum programming, twinkling keys and shimmering synths. Sonically, the new single evokes the sensation of silk running across naked skin, cool yet pliant –while being reminiscent of a slightly downtempo and house music-leaning version of Nu Shooz’s “I Can’t Wait.”

The recently released music video employs the use of a grainy, VHS-styled psychedelia as the video follows its brooding protagonist observing ancient Greek-inspired art, drinking wine. Visually, it looks as though it could have appeared on a version of Ralph McDaniel’s Video Music Box back in 1987 or so.

Single Review by William Ruben Helms

Last December, I wrote about Sophie Stern, the Los Angeles-based creative mastermind behind the (mostly) solo recording project Sophie and the Bom Boms. Initially, Stern’s career began behind the scenes as a songwriter, who was signed to mega-hit producer and songwriter Dr. Luke’s camp. After spending couple of years as a go-to songwriter, Stern decided that it was time for her to go out on her own as a solo artist.

 

Inspired by a diverse array of artists including diverse array of artists including Erykah Badu, Tom Tom Club and a lengthy list of others, Stern began collaborating with two rather renowned producers, David Elevator, who won 3 Grammys for his work on Beck‘s Morning Phase and Dan Dare, who’s best known his work with Marina and the Diamonds, Charli XCX and M.I.A. for her debut EP. The EP’s first single “Big Girls” was a breezy and infectious pop confection that paired big boom-bap beats, cascading synths, anthemic hooks and Stern’s effortlessly soulful vocals in a way that was reminiscent of Nu Shooz‘s “I Can’t Wait” while sounding remarkably contemporary.

The EP’s second and latests single “Appetite” will further cement Stern’s reputation for crafting incredibly infectious, breezy and anthemic pop as you’ll hear boom bap beats, handclaps, twinkling synths and an anthemic, hashtag worthy hook paired with Stern’s ballsy and bratty vocals in a song that’s a tell off to fuckboys, deadbeats, drama kings and queens and parasites everywhere — with the sort of sense of humor that would likely remind you of things you may have heard or said back in the schoolyard.

Sonically and thematically speaking the song manages to nod at Australian-born, Berlin-based indie pop artist Phia, Gwen Stefani‘s “Ain’t No Holla Back Girl,” and TLC‘s “No Scrubs” as it possesses the same “girl power/girl, drop that loser/girl, drop that deadbeat friend” air but backed by slick, modern production techniques.

 

 

 

Single Review by William Ruben Helms

 

Sophie Stern, the Los Angeles-based creative mastermind behind the (mostly) solo recording project Sophie and the Bom Boms originally started her career as a pop songwriter, who was signed to mega-hit producer and songwriter Dr. Luke’s camp. After spending a couple of years writing songs for several major stars, Stern, who was inspired by a diverse array of artists including Erykah Badu, Tom Tom Club and others, decided that she should go out on her own as a solo artist.

Stern collaborated with two renowned producers, David Elevator, who won 3 Grammys for his songwriting/production work on Beck‘s Morning Phase and Dan Dare, who’s best known his work with Marina and the Diamonds, Charlie XCX and M.I.A. for her forthcoming debut EP. The EP’s first single “Big Girls” is breezy and infectious pop confection that pairs big, boom-bap beats, cascading synths, anthemic hooks and Stern’s effortlessly soulful vocals. Sonically, the song draws from 80s synth pop and R&B (for example think of Nu Shooz‘s “I Can’t Wait“) while sounding remarkably contemporary — the production behind the song is incredibly slick without removing the song’s sense of fun or Stern’s larger-than-life confidence.