Tag: Phoenix

New Video: Acclaimed Swiss Electro Duo Klaus Johann Grobe Releases Surreal and Feverish Visuals for Dance Floor Friendly Track “Out of Reach”

With the release of their Basel Prize-winning album Spagat der Liebe, the Swiss electro pop duo Klaus Johann Grobe, comprised of Sevi Landolt and Dani Bachmann quickly received national and international attention for a difficult to pigeonhole, genre-defying sound that meshes elements of electro pop, electronic dance music, komische and others while centered around slinky jazz fusion-like grooves. Adding to a growing profile, the duo with their live backing band have toured with Unknown Mortal Orchestra, The Growlers and Temples, and have made festival stops in the US, The Netherlands, Luxembourg, Germany, France, Spain and their native Switzerland.

Last month, I wrote about the acclaimed Swiss duo, and as you may recall “Discodanken,” off the duo’s soon-to-be released album Bist So Symmetrisch managed to reveal a duo that’s expanded upon the sound that has won them national and international attention, as the song was a breezy arpeggiated synth-led track centered around a sinuous motorik groove and metronomic beats to create a hypnotic, dance floor friendly yet lysergic feel that brings to mind Vinyl Williams, Kraftwerk, Air, and Phoenix — with a retro-futuristic quality. Interestingly, Bist So Symmetrisch’s latest single “Out of Reach” may arguably be the album’s most dance floor friendly tracks, as its centered around a Kraftwerk-like motorik groove, a sinuous, disco-inspired bass line, arpeggiated synths and an infectious hook. Interestingly, the song manages to sound as though it were drawing from De Lux’s Scion AV Presents De Lux EP and Trans Europe Express-era Kraftwerk. 

Directed by  Ralph Kuehne and starring Patric Gehrig, Remo Seeland, Elvio Yair Avila Kai tha Boy, Regula Bühler and Kathrin Brun, the recently released video is a vividly surreal and feverish dream. 

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New Audio: Introducing the Breezy Synth Funk of Switzerland’s Klaus Johan Grobe

With the release of their Basel Prize-winning Spagat der Liebe, the Swiss electro pop duo Klaus Johann Grobe, comprised of Sevi Landolt and Dani Bachmann quickly received national and international attention for a difficult to pigeonhole, genre-defying sound that meshes elements of electro pop, electronic dance music, komische and others while centered around slinky jazz fusion-like grooves. Adding to a growing profile, the duo with their live backing band have toured with Unknown Mortal Orchestra, The Growers and Temples, and have made festival stops in the US, The Netherlands, Luxembourg, Germany, France, Spain and their native Switzerland. 

Interestingly, the Swiss duo’s forthcoming album Du Bist So Symmetrisch is slated for an October 26, 2018 release through  Chicago-based Trouble in Mind Records — and the album reportedly continues in a similar vein as its predecessor. The album’s second and latest single “Discodanken” is a breezy arpeggiated synth-led track centered around a sinuous motorik groove and metronomic beats to create a hypnotic, dance floor friendly yet lysergic feel that brings to mind Vinyl Williams, Kraftwerk, Air and Phoenix; but with a retro-futuristic quality. 

The recently released video by Jonas Baumann is equally retro-futuristic, featuring visuals that remind me quite a bit of the classic computer animated video for Dire Straits’ “Money for Nothing,” but while also appearing like cells growing and attacking it other. 

James Clifford is a Los Angeles-based singer/songwriter, multi-instrumentalist and producer, and creative mastermind of the recording project Primaveras, which was once known as Modern Howls. As the story goes, Clifford grew up in a rather musical family; in fact, Clifford began playing guitar in his early teens and throughout his high school years, he played in a number of garage bands. Foregoing a formal musical education, the Los Angeles-based singer/songwriter and multi-instrumentalist is largely self-taught with his passion for playing and writing stemming from a lifelong passion for everything music, as he’s been known to scour music stores for vintage guitars and synths or to stay up into the wee hours listening to records. Unsurprisingly, Clifford has cited the likes of David Bowie, Prince, The Clash, Funkadelic, Chic, Todd Rundgren, Roxy Music, Steely Dan, and The Beach Boys as some of his greatest music inspirations.  Thematically, Clifford and Primaveras draws influence from the stretch of the famed Pacific Coast Highway from Malibu to Santa Monica — warm breezes through cracked car windows, the soft sound of waves crashing and receding into the Pacific, and the silhouette of the Los Angeles skyline. For many it’s timeless and almost dreamlike; but those who haven’t stuck around long enough fail to notice the effects of salt air on the surroundings — in the form of rust and erosion. In some way, it evokes faded dreams and hopes of a paradise that never really was there in the first place, and in another sense, the faded surroundings evoke a lonely introspection. Clifford’s Primaveras debut Echoes in the Well of Being was written in a way to embody that dualism — with the album’s material generally being sunny psych pop yet possess an underlying longing and introspection.
Interestingly with Clifford’s previously released material and Echoes in the Well of Being‘s latest single, the shimmering and strutting “Better Off,” his sound has been compared favorably to the likes of Tame Impala and Phoenix — and while that is definitely fair, I also hear a subtle nod at Avalon-era Roxy Music as the song evokes bright neon lights, evening faces, Jack and Cokes, the buzz of a coke high and a desperate escape from one’s loneliness and regret. But interestingly enough, Clifford pays loving  homage to The Isley Brothers’Footsteps in the Dark, Parts 1 and 2” with the song’s intro drum break, which not only ties the song to classic R&B, but gives it a subtle sensuality.
As Clifford says of the song, “While most people will immediately interpret as a breakup song, I see the core sentiment as trying to grow up and move on from any sort of worn-out relationship.”
 

Live Footage: Acclaimed Russian Electro Pop Act D-Pulse Perform “Get Lost” at Moscow’s New Space

Initially formed in Izhevsk, Russia, when its members Anton Kochnev, Semyon Perevoshikov, Klim Suhanov, and Sam Konyakhin were teenagers, the acclaimed St. Petersburg, Russia-based electro pop act D-Pulse have largely been influenced by French and Scandinavian electro pop, and disco — namely, the likes of Daft Punk, Phoenix, Air and others but with their own unique take, as they’ve been known to experiment with combining live recording sessions, complete with analog synthesizers, guitars and machines with sampling, cutting and processing from their own material.  In fact, when the quartet moved to St. Petersburg, they found their disco-leaning sound out of place within a scene that has been largely dominated by sparse techno but within a relatively short period of time, their sound and approach set them apart; in fact, over the past fe years, the members of the St. Petersburg quartet have released material on Island, Tirk, OM, Kitsune and Ministry of Sound — and they recently signed to Nick Murphy’s Detail Co. Records.

Detail Co. and Downtown Records released D-Pulse’s sophomore effort Serpentine earlier this year, and adding to their growing internationally recognized profile, the quartet recently released a remix EP featuring remixes of album single “Get Lost” by acclaimed electronic music artists and producers Juan Maclean, Photay, Attic Chefs and Babak — but in the meantime, album single “Get Lost” is an incredibly sleek and slick single that features a disco era influenced bass line paired with shimmering and arpeggiated synths, a soaring, feel good hook and a tight groove within a song that finds the act nodding at funk, disco, psych pop and electronica simultaneously.  Interestingly, the song reveals a deliberate attention to craft while being ambitiously crowd pleasing in a “why not have a little bit of everything and make it funky while you’re at it?” fashion.

The live footage of the band performing “Get Lost” at Moscow’s The New Space features the band pairing their dreamy yet funky sounds with a vivid audio-visual display.

With the release of their 2015 debut effort, Use Your Time Wisely, the Minneapolis, MN-born, New York-based trio Strange Names — comprised of Liam Benzvi, Francis Ximenez, and Fletcher Aleckson — quickly received attention across the blogosphere for a crafting airy and danceable New Wave-inspired pop. And as a result of the buzz around them, the members of the New York pop trio opened for Azealia Banks before eventually signing with renowned, local indie label Frenchkiss Records.

The trio’s highly-anticipated, third, full-length effort is slated for release in early 2018, and the album’s first single “Into Me” will further cement their reputation for crafting breezy, 80s inspired synth pop — and while some have made comparisons to The B52s and Phoenix, the latest single to my ears seems to draw from XTC and Violens’ fantastic Amoral as the song features a soaring hook rooted around shimmering arpeggiated synths. But underneath the song’s breezy nature is a swooning and flirtatious kiss off of sorts to someone, who is into the song’s narrator but for some perverse reason is pretending not to be.

 

With the release of their first two singles, “Loveless” and “This Is It,” the Los Angeles, CA-based indie rock trio Lo Moon, comprised off Matt Lowell (vocals, guitar), Crisanta Baker (bass, keys) and Sam Stewart (guitar), quickly became one of their hometown’s most buzzed about bands after receiving early praise from the likes of New York Times, NPR Music, V Magazine, KCRWLos Angeles Times, NPR’s World Cafe and others, and they’ve opened for the likes of Phoenix, Glass Animals, The Lemon Twigs, Air, London Grammar and others. Building upon the growing buzz surrounding them, the band is currently finishing up their Chris Walla and Francois Tetaz-produced full-length debut; but before that, the trio’s latest single “Thorns” is a slow-burning and atmospheric track that sounds indebted to Roxy Music (think of “More Than This” “The Space Between” and “Avalon“), The xx and others.

The band is currently on a lengthy tour that includes a November 6 stop at Rough Trade and a December 15 stop at The Beacon Theatre for WFUV’s Holiday Cheer. Check out tour dates below.

Tour Dates
October 14: Buffalo, NY @ HRVST Festival (w/ Phoenix)
October 15: New Haven, CT @ College Street Music Hall (w/ Phoenix)
October 17: Manchester, UK @ O2 Apollo (w/ London Grammar)
October 18: Leeds, UK @ O2 Academy (w/ London Grammar)
October 20: Manchester, UK @ O2 Apollo (w/ London Grammar)
October 21: London, UK @ Eventim Apollo (w/ London Grammar)
October 23: Birmingham, UK @ O2 Academy (w/ London Grammar)
October 24: Edinburg, UK @ Usher Hall (w/ London Grammar)
October 26: Nottingham, UK @ Rock City (w/ London Grammar)
October 27: Bristol, UK @ Colston Hall (w/ London Grammar)
October 29: Newcastle, UK @ City Hall (w/ London Grammar)
October 30: London, UK @ O2 Brixton Academy (w/ London Grammar)
November 1: Dublin, IE @ Olympia Theatre (w/ London Grammar)
November 2: Belfast, IE @ Waterfront Hall (w/ London Grammar)
November 6: Brooklyn @ Rough Trade (headline)
November 7: Philadelphia @ Boot & Saddle (headline)
November 16: Los Angeles @ The Troubadour (headline)
November 22: Luxembourg @ Rockhal (w/ London Grammar)
November 23: Amsterdam, NL @ AFAS Live (w/ London Grammar)
November 25: Cologne, DE @ Palladium (w/ London Grammar)
November 26: Berlin, DE @ Velodrom (w/ London Grammar)
November 28: Hamburg, DE @ Mehr! Theatre (w/ London Grammar)
November 30: Zurich, CH @ Halle 622 (w/ London Grammar)
December 4: London, UK @ The Lexington (headline)
December 8: Stuttgart, DE @ Liederhalle Hegelsaal (w/ London Grammar)
December 9: Munich, DE @ TonHalle (w/ London Grammar)
December 11: Antwerp, BE @ Lotto Arena (w/ London Grammar)
December 12: Antwerp, BE @ Lotto Arena (w/ London Grammar)
December 15: New York City, NY @ WFUV Holiday Cheer at Beacon Theatre (w/ Jeff Tweedy and more)

If you’ve been frequenting JOVM over the past couple of years, you’ve likely come across several posts on Umea, Sweden-born and based, singer/songwriter and cellist  Cajsa Siik. And with the release of her debut single “Was I Supposed To,” which was then promptly followed by her full-length debut Contra and a batch of attention grabbing singles through 2015, Siik received attention both nationally and internationally while cementing herself as one of her country’s standout artists, drawing comparisons to contemporary, Scandinavian pop artists Lyyke Li and Robyn.

Siik’s third full-length effort DOMINO is slated for a June 2, 2017 release through Birds Will Sing For You Records, and the effort, which was produced by Rolf Plinth will feature guest spots from Phoenix‘s and Deportees‘ Thomas Hedlund and Tiger Lou’s Rasmus Kellerman, both of whom contributed to the jangling and shuffling  album single “Talk To Trees.” And what made that single particularly interesting to me was the fact that it reveled a new direction for the internationally renowned singer/songwriter and multi-instrumentalist, with its sound being simultaneously intimate and bold, yet swooningly anthemic and spacious enough for Siik’s effortlessly gorgeous and tender vocals. While the song may be one of Siik’s shorter songs — it clocks in at 2:40 — the song and its narrator seem haunted by a messy yet fully-lived in past; but while suggesting that life is about closing your eyes and taking a chance — even if it may backfire.

DOMINO‘s latest single “White Noise” is a dramatic track that features four-on-the-floor drumming, blasts of shimmering guitar, and atmospheric synths which give the song an art pop sheen while Siik’s vocals and uncanny ability to write an infectious and soaring hook gives the song a pop-leaning accessibility.  In press notes, Siik explained that, DOMINO can be described in two different ways. First I wanted it to represent the fact that we’re all connected to each other and that we have a responsibility towards each other and this world. To shoulder that responsibility is easier said than done, but we must try. Be aware. Not only mind our own business. I’ve given that a lot of thought lately. Secondly, every song on this album depends and relies on the other. Together they create a unit and the unit is supposed to be diverse. I aimed for creating a dynamic album.” Interestingly, when you hear the newest single in relation to its preceding single “Talk To Trees” there’s a sense of Siik and her collaborators creating a deeply unified mood and vision while speaking of experiences and feelings — in particular about love and longing with a hard-fought deeply adult wisdom and confidence.

Now, if you had been frequenting this site over the past couple of years — especially over the course of 2014 and 2015 — you would have come across a handful of posts on Umea, Sweden-born and based, singer/songwriter, cellist and JOVM mainstay artist Cajsa Siik. With the release of her debut single “Was I Supposed To” her full-length effort Contra and a batch of attention grabbing singles through 2015, Siik received attention both nationally and internationally while cementing herself as one of her country’s standout artists, drawing comparisons to contemporary, Scandinavian pop artists Lyyke Li and Robyn.

Over the past couple of years, Siik has been extremely busy working on her third full-length effort DOMINO. Produced by Rolf Klinth, the Umea, Sweden-based artist’s forthcoming effort features guest spots from Phoenix‘s and Deportees‘ Thomas Hedlund and Tiger Lou’s Rasmus Kellerman — and interestingly, both Hedlund and Kellerman appear on DOMINO’s jangling and shuffling first single “Talk To Trees,” a single that reveals a sound that manages to been simultaneously intimate and bold, yet swooningly anthemic and spacious enough for Siik’s effortlessly gorgeous and tender vocals. Clocking at 2:40, the song and its narrator seem haunted by a messy yet lived in past; but while suggesting that life is about closing your eyes and taking a chance — even if it may backfire.

 

 

 

With the release of their earliest singles and their debut EP Anonymous, the Brisbane, Australia-based sibling duo Niterunner — comprised of Daniel and Andrea Suesskow — received quite a bit of attention nationally for the sort of soulful yet dreamy electro pop production and anthemic hooks that’s been compared favorably to the likes of M83, Phoenix, Moonbabies, Cut Copy, and others. Interestingly, the Suesskows’ latest single “Out of Your Hands” is reportedly a reworking of a single the duo released earlier that received some 16,000 streams upon its release and was recorded and reworked in their family’s home studio — and was produced by Daniel Suesskow.  And sonically speaking, the single will further cement their burgeoning reputation across Australia and elsewhere, for crafting summery and dreamy pop that’s both wistfully nostalgic and achingly earnest paired with a soaring hook and shimmering synths.

As the Suesskows explained in press notes the song’s lyrics reflect on moments of symmetry, a singular way of thought and reaction, a cycle of repetition and a struggle to cope but offering a moment of self-realization and reprieve, in which one learns how to counterbalance their internal process of self-doubt and self-flagellation with the realization that there’s only so much you can control. And as a result, all anyone can do is let go of the things that are completely out of their hands.