Tag: Paris France

New Audio: JOVM Mainstays Yumi Zouma Releases a Breezy Club Banger

Over the course of this site’s almost nine year history, I’ve spilled quite of virtual ink over the acclaimed, internationally-based synth pop act Yumi Zouma. And as you may recall, the act which is now currently comprised of Christie Simpson, Charlie Ryder and Josh Burgess initially formed in their hometown of  Christchurch, New Zealand; however, since the 2011 earthquake that devastated their hometown and the rest of the region, the members of the band have been split across different locations across the globe with members residing in New York, Paris and Christchurch.

Primarily writing and recorded by email, the band wasn’t initially meant to be a live band but they received attention across the blogosphere and elsewhere for a breezy yet bittersweet, 80s synth pop-inspired sound centered around Christie Simpson’s ethereal and tender vocals. Since the release of their Turntable Kitchen released cover of Oasis’ 1995 full-length effort, (What’s the Story) Morning Glory?, the renowned synth pop act released an EP trilogy, with the last EP, the aptly titled EP III being released through their longtime label home  Cascine Records last September.

The act’s latest single “Bruise” continues the act’s long-held reputation for crafting breezy, hook-driven synth pop with an underlying bittersweet quality — but the new single may arguably be the most dance floor friendly track they’ve released to date, as it also possesses a muscular and propulsive thump. Interestingly, as the band notes the origins of their latest single were steeped in loss, as the instrumental part of the song was written after Sam Perry informed the rest of the band that he was leaving the band and moving to Serbia — but the track has become a beacon for optimism for the band. “We were all distraught until Josh said ‘Cheer me up guys — let’s write a song for Nelly Furtado. Nelly never replied but we came up with a smash.” 

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Live Footage: JOVM Mainstay Alice Phoebe Lou Performs “Galaxies” at Berlin’s Zeiss Planetarium for Majestic Casual Sessions

Over the past year or so, I’ve written quite a bit about the  Cape Town, South Africa-born, Berlin, Germany-based singer/songwriter and multi-instrumentalist and JOVM mainstay  Alice Phoebe Lou. And as you may recall, Lou grew up in a very creative home — her parents were documentary filmmakers, who took a young Lou to piano lessons. As a teen, Lou taught herself guitar; but when she turned 16, she went on a life-altering trip to Paris to visit her aunt. While in Paris, armed with an acoustic guitar, the young artist met some of that cit’s buskers and street performers — eventually learning poi dancing from some of them.

After completing her studies, Lou returned to Europe, first landing in Amsterdam, where she made money as a poi dancer. She then relocated to Berlin, where she quickly developed a reputation as a well-regarded busker and for a fierce, punk rock-like DIY approach to her musical career. With the release of 2014’s self-released debut EP, the Cape Town-born, Berlin-based singer/songwriter and multi-instrumentalist began to receive national and international attention, which resulted in performances at a number of  TED events in London and Berlin during the following year.

Lou’s sophomore effort, 2016’s Orbit was nominated for Best Female Artist at that year’s German Critics’ Choice Awards. And building upon a rapidly growing profile both nationally and internationally, she played at the 27th Annual Conference for the Professional Business Women of California, which featured keynote speakers Venus Williams, Judy Smith, and Memory Banda and shared bills with Sixto Rodriguez, Boy & Bear, and Allen Stone before ending the year with three, sold-out multimedia events at the Berlin Planetarium. (The Berlin Planetarium shows were so popular and in such high demand that she had to add two additional shows there to her tour schedule in 2017.)

Additionally, the live version of “She” amassed over 4 million views on YouTube and was featured in the major motion picture Bombshell: The Heady Lamar Story — all before the studio version of the single was even recorded or released. But for most of 2018, Lou worked on her Noah Georgeson-produced sophomore effort Paper Castles, which was released earlier this year. And as Lou explains, the album is “about nostalgia, about growing into a woman, about the pain and beauty of the past, about feeling small and insignificant but finding that to be powerful and beautiful, about acknowledging that childhood is over but bringing some of it with you.”

“Something Holy,” the album’s first single was a slow-burning 70s AM rock meets 70s soul-like track centered around shimmering guitar line, hushed drumming, a sinuous hook, a psychedelic tinged bridge and Lou’s aching vocals with the song’s narrator taking a deeply introspective and unvarnished look into her complicated relationships with sex, love, men and ultimately, with herself. The song reflects, as Lou explained in press notes, “the moment that I managed to get over the main hurdle of my past traumas with sex, with men and with my own deeper understanding of intimacy and what it means to be intimate.” 

Paper Castles’ latest single is the gorgeous and expansive “Galaxies.” Beginning with a shimmering and spacey introduction and Lou’s plaintive wailing, before the song turns into a spacey 70s jazz funk number, centered by a sultry, reggae-like bass line and a mournful saxophone solo and then morphs back into a shimmering and spacey coda — and while the song seamlessly shifts back and forth in a fashion reminiscent of Heatwave’s “Boogie Nights,” the song is imbued with a cosmic sheen. 

Majestic Casual invited the JOVM mainstay for a live session of “Galaxies” that was fittingly shot at Berlin’s Zeiss Planetarium.  Game of Throes star Maisie Williams opens the live session with a spoken word piece musing on humanity’s place within the cosmos directly inspired by the song. 

 

With the release of last year’s debut EP The Call, the Paris-based electro pop duo SACRE, which is comprised of Hawaii and Sukil, burst into the international scene, as the EP received praise from the likes of Billboard, The Line of Best Fit, Clash Magazine, Impose Magazine, Earmilk and others, as well as a co-sign from Pharrell Williams. Building upon a growing, buzz worthy profile, their follow-up single “Lemonade” reached #2 on the Hype Machine charts — and their debut EP received the remix treatment, featuring remixes from Gigamesh, the Victoires de la Musique-nominated Elephanz, Chopstick & JohnJon, JOVM mainstay Uppermost and NTEIBINT.

Slated for a December 2019 release, the duo’s highly-anticipated, full-length debut Love Revolution will further cement the duo’s reputation for being full-circle creators, who write, sing, produce design everything related to their musical project with the album reportedly finds the members of SACRE meshing music, photography and narrative storytelling with each track of the album telling the story of 12 different characters over the course of 12 hours. The album’s fourth and latest track “10:00PM FIRE IRAE (which translates into “fire wrath”) is a sultry and propulsive trance-inducing, house banger, centered around layers of shimmering and arpeggiated synths, thumping beats, tweeter and woofer rocking low end, sultrily delivered ethereal vocals and a soaring hook — and while bearing a resemblance to Giorgio Moroder, Daft Punk, and Kylie Minogue, the song is set at 10:00pm. Bebe, the star of the evening, appears on stage. The crowd cheers for a moment, then hushes, hypnotized by her fire dancing, with her performance ending with Bebe triumphantly setting the entire bar on fire. Show over, time to go home, now — with the crowd slack jawed and with that space cadet glow, as an old song says.

 

 

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New Video: Speed Through the Streets of Kinshasa in Visuals for TSHEGUE’s Thumping “The Wheel”

Born in Kinshasa, Democratic Republic of the Congo, Faty Sy Savanet and her family emigrated to Paris when she was eight. In her early twenties, a mutual friend connected Savanet with Robert Wyatt collaborator Bertrand Burgalat, whose label, Tricatel has been referenced as a major influence of the likes of Air and Daft Punk.

Burgalat encouraged and enabled many of Savanet’s formative musical experiments, including a short-lived voodoo ‘n’ roll band. Interestingly, Savanet’s latest project TSHEGUE, which derives its name from her childhood nickname, a Congolese slang term for the boys who gather on Kinshasa’s streets, can trace its origins to when she met her bandmate, French-Cuban producer Nicolas ‘Dakou’ Dacunha.

Their debut EP, 2017’s Survivor thematically explored the challenges faced by the African Diaspora paired with Dacunha’s forward-hthinking, hypnotic, club-banging productions which features elements of Afropunk, garage rock and electro-clash. Survivor EP was championed by the likes of Mura Masa and Noisey, which led to a growing international profile. And adding to a growing profile, the video for “Munapoto,” which was shot on the Ivory Coast received a UK Music Video Award nomination alongside videos for tUnE-YaRdS and Chaka Khan.

“The Wheel,” the first bit of new material from the duo since the release of Survivor EP, and I’m certain that it’ll further cement TSHEGUE’s growing reputation for crafting swaggering, forward-thinking, genre and style-blurring bangers. Centered around a wildly exuberant, hypnotic and percussive production featuring ricocheting industrial clang and clatter, stuttering, tweeter and woofer rocking beats, explosive blasts of bass synth paired with Savanet’s commanding flow, the song bears a resemblance to JOVM mainstays Kokoko! as it sounds as though it comes from a sweaty, post-apocalyptic future where the club and the ghetto are one and the same — but delivered with a decidedly punk aggressiveness.

Directed by Renaud Barret, who was also behind the Africa Express documentary featured Damon Albarn, Peter Hook and Tony Allen, the recently released video for “The Wheel” was filmed in a gorgeously cinematic black and white amidst the chaotic traffic of Savanet’s hometown, follows members of the local, mixed-gender, teenaged skating club, Club Etoile Rollers hitching rides on the backs of speeding busses, cars, motorbikes through the heaving megalopolis’ crowded streets. Speaking about the video Barret says ““An ordinary day in Kinshasa. I’m in a taxi on Lumumba Boulevard, when suddenly I’m in the middle of this gang of kids slaloming between cars. We exchange thumbs up, signs of complicity, rolling side by side for a moment. One of them spots my camera, and comes closer to shout ‘Hey sir! Do you wanna shoot something crazy?’ I couldn’t refuse. This is the magic of a limitless city where each and every day brings incredible spontaneous possibilities. Now as I watch the beaming faces of these kids, thrown at full speed on their crumbling rollers, almost out of control, intoxicated by danger and only protected by their faith in good luck; I can only see a metaphor for the Congo’s situation. But also a middle finger to a society trying to maintain an illusion that everything should be controlled, supervised. These free riders remind us that life must be lived in the present.”

The duo has begun to make a name for themselves with commanding live performances, including sets at Lowlands and The Great Escape Festivals and from what I understand the act will be announcing a series of headlining UK live shows to coincide with the release of more new material.

Currently comprised of founding members Alexis Taylor and Joe Goddard, along with Owen Clarke, Al Doyle, and Felix Martin, the critically applauded, Grammy Award-nominated, London-based electro pop act Hot Chip can trace its origins back to when its founding duo of Taylor and Goddard met while studying at Elliot School, Putney. Bonding over a shared love of R&B and house music, Hot Chip’s founding duo started collaborating together musically as early as 1998.

After releasing 2001’s Mexico EP, 2002’s San Frandisco EP and a handful of other material through small labels and independently, the act caught the attention of Moshi Moshi Records, who signed the band in 2003 and subsequently released their full-length debut, 2004’s Coming on Strong. Interestingly around this time, the project expanded to a full-fledged band with the additions of Owen Clarke, Felix Martin and Al Doyle. And with their new lineup, the act began working on their sophomore album The Warning while signing a UK and US record deal with DFA Records and EMI Records, which resulted in Astralwerks releasing their full-length debut in the States in 2005.

Released in 2006, The Warning earned the band a more mainstream following while being critically applauded — the album featured two UK Top 40 singles  “Over and Over” and “Boy from School,” before eventually being shortlisted for that year’s Mercury Prize and Mixmag‘s Album of the Year. Adding to a growing national profile. “Over and Over” was named the best single of that year by NME.

The acclaimed London-based electro pop act’s third, full-length album, 2008’s Made in the Dark featured “Ready for the Floor,” which peaked at #6 on the UK charts. Building upon the buzz the single received, the band made appearances on Friday Night with Jonathan RossJimmy Kimmel Live! and Last Call with Carson Daly — with the song receiving a Grammy nod for “Best Dance Recording,” eventually losing out to Daft Punk’s “Harder Better, Faster, Stronger (Alive 2007).

After completing a lengthy world tour to support Made in the Dark, the members of Hot Chip returned to London and began writing and recording their fourth full-length album, 2010’s disco and early house music influenced One Life Stand, which found the band collaborating with This Heat‘s and Camberwell Now’s Charles Hayward, The Invisible’s Leo Taylor and Trinidadian steel panist Fimber Bravo.

Since then the band released two more albums: their fifth album, 2012’s In Our Heads, an album that the band’s Alexis Taylor said was written and recorded in a speedier fashion with less pressure and more fun — and 2015’s Why Make Sense, which featured album single “Huarache Lights.”

Hot Chip’s seventh full-length album A Bath Full of Ecstasy is slated for a June 21, 2019 release through Domino Records — and while being their third album for Domino, the album reportedly finds the band firmly cementing the sound they’ve been celebrated for — bringing euphoria and melancholy with breezy and colorful melodies, plaintive vocals and propulsive beats. Interestingly, the album which was recorded in Paris and London finds the act opening themselves up to a more adventurous and collaborative songwriting process, choosing to work with outside producers for the first time in their history —Cassius‘ Philippe Zdar, who has worked with Phoenix and Rodaidh McDonald, who has worked with the likes of The xx, David Byrne, Sampha and others.

Clocking in at 6 minutes, the album’s first single  “Hungry Child” is centered around glistening synths, tweeter and woofer rocking beats, finger snaps, plaintive vocals, an anthemic hook and a motorik-like groove — and while clearly being indebted to classic house and sultry French electronica, the track also subtly recalls JOVM mainstay Beacon. And as a result, it has a bittersweet air; the sort that comes from the recognition that joy is often paired with pain.
2019 will also see the members of Hot Chip embarking on what may arguably be the biggest tour of their entire history with a number of club shows during the Spring across Europe and North America, including a sold out April 29, 2019 stop at Elsewhere — before making stops across the European festival circuit. They return to New York in the fall with two dates — September 3, 2019 and September 4, 2019 at Brooklyn Steel. Check out the tour dates below.
Tour Dates
4/4 – London @ Village Underground SOLD OUT
4/5 – Brighton @ Concorde 2 SOLD OUT
4/6 – Bristol @ Trinity SOLD OUT
4/8 – Paris @ Trabendo SOLD OUT
4/9 – Brussels @ Botanique Orangerie SOLD OUT
4/11 – Cologne @ Luxor SOLD OUT
4/12 – Hamburg @ Mojo SOLD OUT
4/13 – Berlin @ Columbia Theatre SOLD OUT
4/14 – Amsterdam @ Paradiso Noord SOLD OUT
4/29 – Brooklyn, NY @ Elsewhere SOLD OUT
5/1 – Los Angeles, CA @ El Rey Theatre SOLD OUT
5/2 – Pioneertown, CA @ Pappy and Harriet’s SOLD OUT
5/4 –  San Francisco, CA @ August Hall SOLD OUT
5/24 – London @ All Points East Festival
6/1 – Egeskov Castle, Denmark @ Heartland Festival
6/8 – Helsinki, Finland @ Sideways Festival
6/14 – 6/18 – Mannheim, Germany @ Maifeld Derby Festival
6/28 – 6/30 – Somerset @ Glastonbury Festival
6/4 – Catalonia Spain @ Vida Festival
6/5 – Six-Fours-les-Plages, France @ Pointu Festival
6/11 – Lisbon, Portugal @ NOS Alive Festival
6/11 – 6/13 – Bilbao, Spain @ Bilbao Live Festival
6/19 – 6/21 – Jodrell Bank, Macclesfield @ Bluedot Festival
6/19 – 6/21 – Biarritz, France @ Biarritz en été Festival
6/26 – Aulnoye-Aimeries, France @ Les Nuits Secrètes Festival
8/2 – 8/4 – Waterford, Ireland @ All Together Now Festival
8/4 – Glasgow @ Playground of Sound Festival
8/16 – St Malo, France @ La Route du Rock Festival
8/16 – 8/18 – Hasselt, Belgium @ Pukkelpop Festival
8/30 – Vlieland, Netherlands @ Into The Great Wide Open Festival
Autumn 2019 headline tour
9/3 – Brooklyn, NY @ Brooklyn Steel
9/4 – Brooklyn, NY @ Brooklyn Steel,
9/7 – Washington, DC @ 9:30 Club
9/8 – Philadelphia, PA @ Union Transfer
9/9 – Boston, MA @ Royale
9/10 – Montreal, QC @ MTELUS
9/12 – Toronto, ON @ Phoenix Concert Theatre
9/13 – Chicago, IL @ Riviera Theatre
9/14 – Minneapolis, MN @ First Avenue
9/17 – Vancouver, BC @ Vogue Theatre
9/18 – Seattle, WA @ The Showbox
9/19 – Seattle, WA @ The Showbox
9/20 – Portland, OR @ Roseland Theater,
9/24 – Santa Cruz, CA @ The Catalyst
9/25 – Oakland, CA @ Fox Theater
9/27 – Los Angeles, CA @ Shrine Auditorium
10/17 – Dublin @ Olympia
10/18 – Birmingham @ O2 Institute 1
10/21 – Bristol @ O2 Academy
10/22 – Nottingham @ Rock City
10/24 – Norwich @ LCR
11/30 – Milan @ Alcatraz
12/2 – Amsterdam @ Melkweg
12/3 – Berlin @ Columbiahalle
12/4 – Luxembourg @ den Atelier
12/5 – Lausanne @ Les Docks
12/7 – Paris, @ Elysée Montmartre
12/11- Hamburg @ Docks
12/14 – Stockholm @ Vasateatern
12/15 – Oslo @ Rockefeller

Earlier this year, I wrote about the Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, Tessa Rose Jackson, who’s perhaps best known for her solo recording project Someone. Now, as you may recall, her debut EP Chain Reaction was an ambitious and creative undertaking that involved an accompanying short film. Unsurprisingly, the Amsterdam-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist’s forthcoming sophomore EP, Orbit may arguably be her most ambitious undertaking yet:  the material finds Jackson exploring the intensity with which art and music can be fused and how they can fully enhanced.

Thematically, the material incisively comments on our overstimulated digital age, suggesting that we spend so much time on our phones and on social media being exposed to external distractions that we’re essentially orbiting  around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone.  Jackson also created an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which employs elements reminiscent of space and planets, with the exhibition being presented in gallery spaces in Amsterdam, London, Berlin, and Paris.

When viewed through a tablet or a smartphone, the artwork comes to life, and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?

Orbit‘s first single, the dreamy and ethereal “Get It Together” was centered by shimmering and arpeggiated synths, thumping beats, buzzing power chords and a soaring hook that in some way brought Tame Impala and Air to mind. Centered around an infectious groove, shimmering guitars, four-on-the-floor like beats, the EP’s latest single “I Can’t Remember How To Talk To You” will further Jackson’s growing reputation for crafting breezy and buoyant hooks.

Orbit EP will see a May 1, 2019 release through [PIAS] Recordings.

 

Live Footage: French Electro Pop Act Agar Agar Performs “Sorry About The Carpet” on Colors Sessions

With the release of last year’s full-length debut, The Dog And The Future, the Paris-based electro pop duo Agar Agar, which is comprised of Clara Cappagli (vocals) and Armand Bultheel (keys) received national and international attention for a sound and aesthetic centered around vintage synths, unique melodies and a sense of mysticism. Since the release of their attention-grabbing debut, the French electro pop duo were invited to Colors, where they performed the slow-burning Trans Europe Express-era Kraftwerk-like “Sorry About The Carpet,” a track centered by layers of arpeggiated synths — elegantly shimmering synth chords for the melodies, bolstered by supple bass synths and a motorik groove paired with Cappagali’s effortless yet sultry vocals. 

New Video: JOVM Mainstays Yumi Zouma Release John Hughes-like Visuals for Swooning “In Camera”

Over the years, I’ve written quite a bit about the internationally renowned synth pop act, Yumi Zouma, and as you may recall the band which is comprised of Christchurch, New Zealand-born Christie Simpson, Sam Perry, Charlie Ryder and Josh Burgess has been spread across New York, Paris and Christchurch in the aftermath of the 2011 earthquake that devastated their hometown and the region at large. Primarily writing material by email, the band wasn’t initially meant to be a live act — and yet, they’ve received attention for crafting breezy yet bittersweet, 80s-inspired synth pop centered around Christie Simpson’s ethereal crooning. After  Turntable Kitchen released their cover of f Oasis’ 1995 full-length effort, (What’s the Story) Morning Glory?, the synth pop act busily wrote and recorded an EP trilogy — with the last edition of the trilogy been released last fall through their longtime label home Cascine Records.

Centered around reverb drenched arrangement that includes shimmering synths, angular guitar chords, a motorik-like groove, a soaring hook and Simpson’s ethereal vocals, the song sonically nods at A Flock of Seagulls‘ “I Ran (So Far Away).” And while accurately capturing the uncertainty, desperation and swooning urgency of new love, the song is underpinned by a deliberate attention to craft, with the members of the synth pop act revising and bouncing ideas off each other until it’s absolutely perfect.

Directed by Pavel Brenner and starring Charlie Patton, Shawn Denegre-Vaught, Emma Broz, Madisyn Maniff, Cinthia Bouhier, Joannie Ciociola, Alison Williams, Miriam Margolis, and Ainsleigh Douglas, the recently released video is a brilliantly spot-on take on John Hughes movies that’s centered around what seems to be an especially awkward first date that turns into a complex dance routine that includes synchronized swimmers, who miraculously appear out of nowhere.