Tag: St. Lucia

Splitting their time between Stockholm, Sweden and Olso, Norway, the acclaimed dream pop trio Postiljonen, featuring Norwegian-born Mia Brox Bøe and Swedish-born Daniel Sjörs and Joel Nostrum Holm quickly received national and international with the release of 2013’s full-length debut Skyer; in fact, the album was nominated for Best Pop album in the prestigious Swedish Award P3 Guld — and as a result, of the growing buzz surrounding the band, they wound up going on several tours across Sweden, the European Union, Asia and the US with stops on the festival circuit. 2016’s sophomore album Reverie, which was influneced by California winds, Chinese gardens, late Lost in Translation-like nights in Tokyo and Swedish forests received raputous praise with Cocteau Twins‘ and Bella Union Records‘ label head Simon Raymonde nominating “The Open Road” as one of the best songs of that year.

“Chasing Stars,” is the first bit of new material from the acclimed Scandinavian trio — and it’s the first taste from their highly-anticipated third, full-length album, which is currently slated for release sometime next year through Hybris Records. Much like their preceeding efforts, the members of Postilijonen holed themselves in an isolated cabin in the remote Swedish woods. As the members of the band explain in press notes, “When making music for Postiljonen, it has always just been us three locked away in a cabin in the middle of nowhere, really. The whole world of Postiljonen is so personal to us and it is a world that we created between the three of us.” The new single will further cement the Scandinavian trio’s growing reptuation for crafting a swooning and achingly nostalgic take on dream pop while expanding upon the sound that has won them national and international attention. Centered around a breezy yet cinematic, 80s-inspired production featuring arpeggiated and shimmering synths, a motorik-like groove, a jazzy but power chord-based guitar solo, soaring hooks and Brox Bøe’s soaring vocals, the song sonically manages to recall John Parr‘s “St. Elmo’s Fire,” as well as Yumi Zouma‘s and St. Lucia’s euphoric synth pop, complete with a lush studio sheen.

But underneath the studio sheen, the song is a buoyant and feverish day dream. As the band explains in press notes, ‘Chasing Stars’ is about the longing for that someone who you used to be very close to. While the lyrics might come across very heartbreaking – there’s still a sense of underlying hope that someday somewhere you’ll be together again, chasing stars. It’s nostalgic as always. It’s the chasing that is the magic and essence, forget about the reaching. We actually started writing this song three years ago but it couldn’t come at a better time for us.”

 

 

 

 

 

 

 

 

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Over the past couple of months, I’ve written a bit about Liam Brown, an up-and-coming Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as Pizzagirl. Now, as you may recall, with the release of his debut EP An Extended Play earlier this year, Brown was quickly championed by Huw StephensAnnie Mac and Lauren Laverne, and received praise from DIYHighsnobietyWonderlandThe Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.

Building upon a growing profile and growing buzz, Brown’s sophomore Pizzagirl EP season 2 is slated for a November 2 release, and from the EP’s first two singles “highschool” and “gymnasium,”  Brown will further cement a reputation for crafting swooningly heartfelt, shimmering synth pop that draws from several decades simultaneously; in fact, both singles brought the likes of Washed OutSt. Lucia and Tears for Fears to mind. “body part,” the EP’s latest single while clearly bearing an uncanny resemblance to its predecessor, the song finds Brown successfully walking a difficult tightrope of an oversized, larger-than-life cinematic feel with an emotional intimacy that continues to evoke the very  urgent emotions and thoughts of being a teenager in love.

 

With a handful of singles and their full-length debut Vaporwave, the Washington, DC-based indie electro rock and synth pop sextet Color Palette, comprised of Jay Nemeyer (vocals, guitar), Josh Hunter (guitar, keys, bass), Matt Hartenau (drums), Rogerio Naressi (keys) and Maryjo Mattea (vocals) received attention both locally and internationally from the likes of NME MagazineUSA Today, NPR and Impose Magazine— and adding to a growing profile, the band has shared bills with  Charli XCX, The Naked and Famous, Mother Mother, Day Wave, Yumi Zouma, Mr. Little Jeans, The Kickback, Spirit Animal, VanLadyLove and others.

Up until late last month, some time had passed since I had come across the DC-based sextet but as you may recall, the band had been busy working on their sophomore album, which is currently slated for release sometime next year — and the album’s first single “Sunburn,” was a breezy and anthemic track centered around shimmering and jangling guitar lines, ethereal electronics and a soaring hook paired with a wistful vocal that evokes the passing of summer, and the impending end of another year. Interestingly, the album’s latest single “Chelsea” is a synth-based track that some have compared favorably to Depeche Mode, although to my my ears, the song recalls St. Lucia as the members of Color Palette layer of arpeggiated synths are paired with angular and hanging guitar chords, an a propulsive rhythm section — and while much like its predecessor, the song reveals a band that can craft a razor sharp and infectious hook, “Chelsea” may arguably be the most ambitious, arena rock friendly track they’ve written and released to date.

 

 

Earlier this month, I wrote about Liam Brown, an up-and-coming Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as Pizzagirl, and with the release of his debut EP An Extended Play earlier this year, Brown was championed by the likes of Huw StephensAnnie Mac and Lauren Laverne, and received praise from DIYHighsnobietyWonderlandThe Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.

Building upon the growing buzz surrounding him, Brown’s sophomore Pizzagirl effort season 2 is slated for a November release, and as you may recall EP single “highschool” was an achingly wistful and pensive synth pop track centered around arpeggiated synths, thumping beats and a sinuous hook that immediately brought Washed OutSt. Lucia and classic 80s synth pop to mind. “gymnasium,” season 2‘s latest single continues on a similar vein — swooningly heartfelt and oversized teenaged sentiment paired with a breezy yet decidedly DIY production featuring twinkling keys, thumping beats, Brown’s plaintive vocals, a Tears for Fears-like bridge and incredibly infectious hooks. Just as important, Brown manages to accurately capture and evoke what it feels like to be a high schooler and desperately in love.

 

 

Liam Brown is an up-and-coming, Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as Pizzagirl — and with the release of his debut EP An Extended Play earlier this year, Brown was championed by the likes of Huw Stephens, Annie Mac and Lauren Laverne, and received praise from DIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.

Building upon a growing profile, Brown’s sophomore Pizzagirl effort season 2 is slated for a November release, and the EP’s latest single “highschool,” will further cement Brown’s reputation for crafting achingly wistful and pensive, synth pop centered around shimmering, arpeggiated synths, thumping beats and sinuous hooks — while recalling Washed Out, St. Lucia and classic 80s synth pop, complete with enormous, painfully sincere teenaged sentiment, as the song’s narrator is worried about losing his cool over someone he digs immensely.

 

 

Comprised of Matt Cusack, Vince Federici, Charlie Heim and Will Tobin, the Philadelphia, PA-based indie act Batting Cages formed last year — and interestingly, the up-and-coming band’s latest single “Feels So Good” is an anthemic synth pop/synth rock single that draws from classic 80s synth pop while also bringing St. Lucia and countless others to mind, as the song is centered around some arena rock-like bombast, earnestly swooning emotionality, soaring hooks and shimmering and arpeggiated synths.  And naturally, the song sounds as though it should be part of a soundtrack to a Breakfast Club-like movie.

 

Comprised of husband wife duo Aslyn and Kalen Nash, the Joshua Tree, CA-based synth pop duo DEGA features two accomplished, veteran musicians: Ashlyn had released two solo albums, Lemon Love through Capitol Records and The Dandelion Sessions through Lemonade Records, and she has a stint was a touring keyboardist and backing vocalist for Grammy nominated artist Kesha. Kalen Nash was guitarist and vocalist for Athens, GA-based indie rock act Ponderosa, a band that released their critically applauded, Joe Chiccarelli-produced album Midnight Revival, which was released through New West Records.

Unsurprisingly, the origins of the Nashes latest project can be traced back to 2008 when they first met and eventually fell in love — and although they married in 2011, they were so busy with their own respective musical projects, that they hadn’t seriously considered working together. Eventually, the loneliness of the road led the Nashes to consider a different path. “I remember a phone call when I was out with Kesha and Kalen was on tour with Ponderosa,” recalls Aslyn. “We were a country apart and hadn’t seen each other in months. I told him that we needed to start collaborating so, at the very least, we could see each other more often.”

Ashlyn and Kalen Nash formed DEGA with the idea that they could shed any and all of their preconceived notions about their previous work and freely explore new sounds and musical ideas — in this case anthemic, synth-based indie pop in which they merged their talents and ideas into a unique sound and approach. Now, as you may recall, the duo’s self-titled debut effort is slated for release later on this month through Lemonade Records, and the album reportedly is one of the most personal either has released to date as it focuses on the highs and lows of their lives together; in fact, album single “Phoenix” focuses on Asyln’s pregnancy and miscarriage during the recording sessions. With both Asyln and Kalen touring with their various projects, the duo would record whenever they were both in the same city and had free time, and as result, the album took two years to complete with sessions helmed by  Justin Loucks and Jon Ashley at various studios across the States.

Don’t Call It,” which I wrote about late last year was a carefully crafted yet urgent song that remind some quite a bit of Stevie Nicks’ “Stand Back,” St. Lucia, Washed Out and In Ghost Colours-era Cut Copy as layers of shimmering synths were paired with a sinuous bass line, African-inspired percussion and a soaring hook. The duo’s latest single “Mirrors” continues the 80s vibes of its predecessor — but in this case Purple Rain and 1999-era Prince, as well as A Flock of Seagulls as the song features some blistering guitar work paired with propulsive drumming, layers of shimmering and arpeggiated synths and a rousingly anthemic hook. And while being a remarkably slick, radio friendly track, it reveals some incredibly ambitious and earnest songwriting.

 

 

 

 

 

 

New Video: The Soaring 80s Inspired Pop Sounds and Visuals of Husband and Wife Duo DEGA

Comprised of husband wife duo Aslyn and Kalen Nash, the Joshua Tree, CA-based synth pop duo DEGA features two accomplished, veteran musicians: Ashlyn had released two solo albums — Lemon Love through Capitol Records and The Dandelion Sessions through Lemonade Records, as well as spending some time as a touring keyboardist and backing vocalist for Grammy nominated artist Kesha. Karen Nash was guitarist and vocalist for Athens, GA-based indie rock act Ponderosa, a band that released their critically applauded, Joe Chiccarelli-produced album Midnight Revival, which was released through renowned indie rock/roots rock label New West Records. Interestingly, the origins of the Nashes latest project can be traced back to 2008 when they first met — and although they got married in 2011, they were so busy with their own projects that they hadn’t really considered working together. Eventually, the loneliness of the road led the Nashes to consider a different path. “I remember a phone call when I was out with Kesha and Kalen was on tour with Ponderosa,” recalls Aslyn. “We were a country apart and hadn’t seen each other in months. I told him that we needed to start collaborating so, at the very least, we could see each other more often.”

The Nashes then formed DEGA with the idea that they could shed any of their preconceived notions about their previous work and freely explore new sounds — in this case, anthemic, synth-based indie pop in which they merged their talents and ideas into a unique sound and approach. Their forthcoming self-titled debut is slated for a February 23, 2018 release through Lemonade Records and the album reportedly is one of the most personal works either have released to date, as it focuses on their highs and the lows, as well as the love they have for each other; in fact, album single “Phoenix” focuses on Aslyn’s pregnancy and miscarriage during the recording sessions. With both Aslyn and Kalen touring, the duo would record whenever they were in the same city and had free time and although the album took two years to complete with sessions helmed by Justin Loucks and Jon Ashley at various studios across the States. 

The self-titled album’s latest single “Don’t Call It” is a an ethereal, 80s inspired synth pop confection reminiscent of Stevie Nicks’ “Stand Back,” St. Lucia, Washed Out and In Ghost Colours-era Cut Copy as layers of shimmering synths are paired with a sinuous bass line line, propulsive yet African-inspired percussion and a soaring hook. And while being slickly produced, the song possesses an urgent and swooning romanticism that belies a careful attention to craft. 

Directed by Scott Lansing, the recently released video for “Don’t Call It” consists of a fairly simple premise — the duo performing the song in a darkened room, in front of bright, lysergic lighting effects. 

New Audio: Finnish Pop Trio Beverly Girl Returns with a Sleek and Sultry Cover of 80s Hit

Now, if you’ve been frequenting this site over the course of the past year or so, you may recall that with the release of “Contagious” the Helsinki, Finland-based trio  Beverly Girl received national and international attention for a 80s-inspired synth funk/electro pop/electro pop/R&B sound reminiscent of I Feel For You-era Chaka Khan, Cherrelle, The Gap Band, Cameo, Atlantic Starr and a lengthy list of others, but with a highly contemporary take that brings the likes of  Rush Midnight, St. Lucia, Dam-Funk and others to mind.

Interestingly, the Finnish trio’s latest single is a cover of Millie Scott’s “Automatic,”  and while their version is fairly straightforward, retaining the original’s swooning sultriness, it possesses a heftier bass line and sharper, arpeggiated synths, all of which will further the act’s growing reputation for crafting sleek, dance floor friendly tunes.