Tag: St. Lucia

Single Review by William Ruben Helms

If you had come across this site last month, you may have come across a post featuring the Southern California-based indie septet Private Island. Comprised of Christian Lum, Michelle Guerrero, Tommy Nickerson, Tim Barbour, Roger Mawer and Cameron Anderson the members of the Southern California-based initially developed a reputation for crafting shimmering and anthemic indie rock. In fact, the early single “Drugs” charted rather highly on Hype Machine, as it received more than 3 million Spotify streams; however, with “Turbulence,” the first single off the septet’s forthcoming full-length effort Night Drive found the band retaining the shimmering quality of their sound but while leaning heavily towards R&B and synth pop — and in a fashion reminiscent of  St. Lucia, Washed Out and others but with a Quiet Storm-like vibe.

Night Drive‘s latest single “Juvenile” continues in a similar vein as its predecessor, as its slow-burning Quiet Storm meets 80s synth pop and synth funk but interestingly enough upon repeated listens reveals slick hyper modern and swaggering production as you’ll hear autotuned vocals paired with Lum’s sultry vocals, boom bap drums, shimmering synths paired with organic instrumentation and a soaring hook. And while being a two-step friendly bit of dance floor pop, the song also manages to be some of the band’s most ambitious songwriting to date, as the song possesses an arena rock sound.

 

 

 

 

Single Review by William Ruben Helms

Comprised of singer/songwriter Jacob Pearson and multi-instrumentalist, songwriter and producer Jonathan Bowden, the Sidney, Australia-based indie electro pop duo PLGRMS have received both national and international attention for glitchy and deliberately crafted electro pop — with Australian critics considering the Sydney-based duo as one of Oz’s more inventive and forward thinking contemporary acts. And as a result, Pearson and Bowden have have a rapidly growing profile — over the past year or so, they’ve amassed more than 7 million streams for their previously released singles, which have received praise from Stereogum, Complex, The Line of Best Fit and Clash, as well as airplay on Beats 1 Radio, BBC 6 Radio, Triple J and others. Along with that, they’ve opened for Mansionair, Vera Blue and Oh Wonder.

“Crawling Back,” the up-and-coming Australian pop duo’s latest single manages to be a significant sonic departure while maintaining elements of the sound that first captured national and international attention — Pearson and Bowden retain the soaring and anthemic hooks of their previously released output; however, while those singles were much more electronic-leaning, the new single has the duo employing more of an organic, “live band” arrangement in which Afropop-like percussion, a sinuous bass guitar, twinkling synths reminiscent of Tears For Fears‘ “Everybody Wants to Rule the World,” and boom bap beats paired with Pearson’s warm, soulful vocals.  Interestingly, the new single kind of finds Pearson and Bowden’s sound leaning heavily towards the direction of fellow Aussies and JOVM mainstays Fairchild, St. Lucia and others — all while revealing what may arguable be the duo’s most ambitious songwriting to date, as the song manages to be  radio and arena rock friendly.

 

 

 

Single Review by William Ruben Helms

Go Caruso is a Turnbridge Wells, Kent, UK-based electro pop duo comprised of Jon Mills and John Fenton-Stevens — and interestingly enough Mills and Fenton-Stevens have achieved national attention with a series of different solo recording projects that have received airplay from BBC Radio 1, BBC Radio 6, BBC Introducing, as well as national TV appearances; however, as the duo told me via email, they decided to collaborate together last year.

“Tamarin,” the British electro pop duo’s latest single is slickly produced, summery, pop confection that nods at JOVM mainstays Summer Heart, Moonbabies and St. Lucia, complete with Nile Rodgers-like guitar playing, shimmering synths, a rousing hook, Afro pop-inspired percussion and a sweetly, swooning earnestness in what may arguably be one of the more infectious songs I’ve come across all summer.

 

 

 

Single Review by William Ruben Helms

Comprised of Christian Lum, Michelle Guerrero, Tommy Nickerson, Tim Barbour, Roger Mawer and Cameron Anderson, the Southern California-based indie septet Private Island originally developed a reputation for crafting shimmering indie rock; however, with their latest single “Turbulence,” the first single off their forthcoming full-length album, finds the band heading towards a different sonic direction — while retaining the shimmering quality of their sound, the song is a slow-burning R&B and synth pop-leaning ballad with the sort of rousing and soaring hooks reminiscent of St. Lucia and others but with a Quiet Storm-like vibe.

 

 

Single Review by William Ruben Helms

Formed in 2014, Island Apollo is a Southern California-based quintet  that has quickly emerged as one of the region’s up-and-coming bands for a breezy and anthemic sound that meshes indie rock and synth pop — and as you’ll hear on their rousingly anthemic Eric Lilavois-proudced new single “Feeling You,” the up and coming Southern Californian band’s sound reminds me quite a bit of Wang Chung‘s “Everybody Have Fun,” Cut Copy, Miami Horror and St. Lucia, as the band pairs a dance floor friendly, 80s synth pop inspired groove, complete with warm blasts of horns with swooning and urgently earnest sentiment and rousing, arena rock ready hooks. Interestingly enough, as the band explains in press notes, their latest single is an anthem of true loyalty and devotion, “a song about standing by someone even when they’re at their most lowest point: because that’s really when they need you the most.”

 

 

Single Review by William Ruben Helms

Featuring frontwoman Mindy Jones, who has collaborated with Moby and electronic music artist and producer Luke Top, the Los Angeles, CA-based electro pop duo ADLT VDEO has received attention for a shimmering and infectious pop sound that’s completely different than the sounds of each member’s individual recorded efforts with Jones and Top actively pushing themselves in new directions creatively — and subtly complex and challenging song structures and soaring, St. Lucia-like hooks. And with their latest, breezy and summery, 80s synth pop-inspired single “Start Over,” as the duo’s Mindy Jones describes in press notes “has a tropical bounce with an R&B swagger that works to prop up the lyrical theme of renewal. Especially in light of the tense era we find ourselves in, there’s some comfort in the idea that no matter how bad it gets, there’s always an opportunity to move towards a better horizon.”

Single Review by William Ruben Helms

Featuring core members, founder and creative mastermind Isaac Flynn (vocals), who comes from a family of musicians and whose parents own Lawrence, KS‘ well-regarded guitar store, Mass Street Music; Eric Davis (keys, synths) and Garrett Childers (guitar, vocals), the Kansas City-based indie rock act Hembree received regional and national attention with the release of “Can’t Run Forever,” a shimmering and slickly produced, dance-floor friendly track that simultaneously nods at 80s New Wave, St. Lucia, and Interpol simultaneously.

Building upon the success of “Can’t Run Forever,” a track that has seen as of this post, over 500,000 Spotify and YouTube streams, the members of the Kansas City-based band went to record new material at Los Angeles-based Sunset Sound Studios with Chris Coady, who has worked with Beach House, Future Islands and Yeah Yeah Yeahs; but when Flynn returned home to Kansas City, he decided that those sessions should be tabled, and that it was time for the band to take a much different approach. “After ‘Can’t Run Forever’ came out, I was feeling the pressure to make our second single bigger and better, and found myself putting limitations on my writing,” Flynn explained in press notes.. “After being frustrated for several months, I decided to record whatever I want; just let it all pour out.” And with that mindset, Flynn, his bandmates Davis and Childers recorded their latest single “Holy Water,” with Foreign Fields’ Eric Hillman contributing additional production and Joe Visciano, who has worked with The Kills, Jamie xx and Beck mixing the proceedings.

“Holy Water” is a decided change in sound, as the swaggering and propulsive track nods at Kasabian and Primal Scream as the band pairs an an arena rock and dance floor-friendly hook with a slick production featuring layers of undulating synths, twinkling keys, enormous, tweeter and woofer rocking beats with a “we’re ready to take over the world right this fucking moment” feel. Interestingly, part of the song’s anthemic nature stems from the song’s overwhelmingly positive message. As Flynn says of the song, “The song started with me making a conscious decision to stop letting the bad win. It was time to start embracing the obstacles and then doing my best to overcome them. I really just want to be true to myself and good to others, and I want the same for other people. Perhaps that’s the message from this song.” Certainly, considering how maddening and dire everything seems on a daily basis, any positive message seems desperately necessary.  Unsurprisingly, since the single’s release at the end of last year, the song has seen regular rotation on 10 Midwestern radio markets including Columbus, OH; St. Louis, MO; and the Kansas City area — and the track has seen over 250,000 Spotify steams as of this writing.

 

 

The band will be going on a run of tour dates in the Midwest, with the first show of the tour, finding the band opening for Cold War Kids. Check out the tour dates below.

TOUR DATES
3/25 Columbus, Express Live
3/27 Omaha, Reverb
3/28 Iowa City, The Mill
3/29 Des Moines, Vaudeville Mews
3/30 St. Louis, Blueberry Hill
4/24 Omaha, Reverb
4/25 Davenport IA, Raccoon Motel
4/26 Des Moines, Vaudeville Mews
4/27 St. Louis, Blueberry Hill
4/28 Kansas City, Record Bar
4/29 Columbia MO, Rose Music Hall
Single Review by William Ruben Helms

Comprised of Greg and Jeremy Pearson, Thrillers is a Los Angeles, CA-based sibling duo that have received attention for a slickly produced, anthemic synth pop and dance rock-leaning sound that draws from 80s synth pop, funk and contemporary R&B and indie pop. The duo’s full-length debut Break Free is slated for an April 28, 2017 through Lights and Music Collective, the folks behind the nation-wide indie dance party, Dance Yourself Clean. The album features collaborations with renowned indie pop artist Twin Shadow and producer Back Talk — and the album’s first single “Can’t Get Enough” will further cement the Pearson Brothers’ growing reputation for crafting slickly produced, club bangers, reminiscent of JOVM mainstay Boulevards and St. Lucia, complete with anthemic hooks featuring sinuous bass lines and Nile Rodgers-like guitar, thumping beats and sultry vocals.

The Pearson Brothers will be touring with Dance Yourself Clean’s North American tour  for 14 dates, including a March 31, 2017 stop at Music Hall of Williamsburg. Check out tour dates below.

Tour Dates
Feb 17 – Boston, MA – Middle East
Feb 18 — Austin, TX — Empire
Feb 24 — San Diego, CA — Music Box
Feb 25 — Phoenix, AZ — Crescent Ballroom
Mar 03 — San Francisco, CA — Mezzanine
Mar 04 — Vancouver, BC — Biltmore Cabaret
Mar 10 — Dallas, TX — Trees
Mar 11 — Chicago, IL — Double Door
Mar 17 — Washington, D.C. — Black Cat
Mar 23 — London, ON — London Taphouse
Mar 24 — Toronto, ON — Lee’s Palace
Mar 25 — Denver, CO — Larimer Lounge
Mar 31 — Brooklyn, NY — Music Hall of Williamsburg 
Apr 01 — Philadelphia, PA — Underground Arts

 

 

Single Review by William Ruben Helms

Currently comprised of founding member and primary songwriter Ellis Ludwig-Leone (keys), Allen Tate (vocals), Charlene Kaye (vocals), Rebekah Durham (vocals, violin), John Brandon (trumpet), Stephen Chen (sax), Tyler McDiarmid (guitar) and Michael Hanf (drums), the renowned indie pop collective San Fermin can trace its origins to when Ludwig-Leone had attended Yale University. While at Yale, Ludwig-Leone had studied composition and assisted renowned composer Nico Muhly, known for his critically applauded work with Antony and the Johnsons, Sufjan Stevens and Grizzly Bear, on several film scores and operas. And although Ludwig-Leone had been in a number of bands throughout high school and college, he didn’t decide to focus on pop music until the end of his college career. As San Fermin’s primary songwriter has publicly mentioned he put on a concert with some pieces written for female vocalists and the night ended with the backing band playing some pop tunes with over-the-top arrangements. And as he has noted, at the time he realized that he could mesh both his interests in a seamless fashion.

Shortly after graduating from Yale, Ludwig-Leone relocated to secluded Banff, Alberta, Canada, where he would write the material, which would eventually comprise San Fermin’s self-titled debut, an effort that was widely praised for musicianship that   the New York Times‘ Paul Krugman described as delivering “epic and emotion-laden rock, with glorious and operatic vocals, electronic break beats, horns, strings, and other flourishes.” And as a result of the band’s growing live reputation and wide critical praise, the album reached #18 on Billboard‘s Top Heatseekers album chart. After the release of the San Fermin’s self-titled debut, the band built upon their growing profile with the release of their highly-anticipated sophomore effort Jackrabbit, an album which garnered further praise from NPR, Rolling Stone and others, as well as national TV appearances on CBS This Morning and Last Call With Carson Daly. With the growing attention on the Ludwig-Leone and company, their sophomore effort was even more commercially successful than its predecessor, as it landed at number 8 on Billboard’s Top Heatseekers album chart.

Belong, Sen Fermin’s third, full-length effort is slated for an April 7, 2017 release through Downtown/Interscope Records and reportedly the material on the album reflect a marked shift in Ludwig-Leone’s songwriting approach with songs focusing on a much more personal perspective — with the album’s material thematically focusing on feelings of disconnection, displacement and everyday anxiety, among other things.  “No Promises,” Belong‘s first single was as Ludwig-Leone explains in press notes “the last song I wrote for this record, and it’s addressed directly to my bandmates. We’ve spent the past few years together; I just realized how much of their lives they’ve devoted to being in this band. It’s overwhelming to think about. The verses are about how touring can go from this exciting thing to feeling like you’re quite literally going in circles. The bridge is a rapid-fire list of things they’ve been required to do: early flights, all-night drives, maintaining long-distance relationships, etc. But really the song is about the fear of disappointing the people you love.” Along with the change in songwriting approach, “No Promises,” reveals a subtle change in sonic direction as Ludwig-Leone and company pair gorgeous and ethereal female melodies with a production that begins with a dramatic minimalism the builds up to a swooning, soaring and anthemic hook. Interestingly, the song to my ears, reminds me a bit of St. Lucia‘s breezy, pop confections.

San Fermin will be touring extensively throughout the Spring and Summer to support Being and the tour includes a May 13, 2017 stop at Brooklyn’s newest venue, Brooklyn Steel. Check out tour dates below.

Spring 2017 Tour Dates

04.11.17 – Toronto, ON – Great Hall
04.12.17 – Chicago, IL – Thalia Hall
04.14.17 – Minneapolis, MN – Cedar Cultural Center
04.15.17 – Winnipeg, MB – The Park Theatre
04.17.17 – Calgary, AB – Festival Hall
04.18.17 – Edmonton, AB – The Needle
04.20.17 – Vancouver, BC – Biltmore Cabaret
04.21.17 – Seattle, WA – The Crocodile
04.22.17 – Portland, OR – Doug Fir Lounge
04.24.17 – San Francisco, CA – The Independent
04.26.17 – West Hollywood, CA – The Roxy Theatre
04.27.17 – San Diego, CA – Casbah
04.28.17 – Phoenix, AZ – Valley Bar
04.29.17 – El Paso, TX – Lowbrow Palace
05.01.17 – Dallas, TX – Sons of Hermann Hall
05.02.17 – Austin, TX – Antone’s
05.03.17 – Houston, TX – White Oak Music Hall
05.05.17 – New Orleans, LA – Gasa Gasa
05.07.17 – Atlanta, GA – Park Tavern
05.09.17 – Charlotte, NC – Visulite Theatre
05.10.17 – Washington, DC – 9:30 Club
05.11.17 – Pittsburgh, PA – Andy Warhol Museum
05.12.17 – Philadelphia, PA – World Cafe Live
05.13.17 – Brooklyn, NY – Brooklyn Steel
05.15.17 – Boston, MA – Brighton Music Hall
05.16.17 – Boston, MA – Brighton Music Hall
05.18.17 – Dublin, IE – The Sugar Club
05.20.17 – Amsterdam, NL – Bitterzoet
05.22.17 – London, UK – Village Underground
05.25.17 – Berlin, DE – Grüner Salon
06.02.17- Louisville, KY – Headliners Music Hall
06.03.17 – Bunbury Music Festival – Cincinnati, OH
07.15.17 – Green River Festival – Greenfield, MA

 

 

 

 

 

 

Single Review by William Ruben Helms

Led by mysterious singer/songwriter and multi-instrumentalist Constantine Anastasakis, Blonder is a New York-based act, that has received praise from the likes of Clash Magazine, Pigeons and Planes and Nylon, and has songs placed on several Spotify Playlists, including Indie Mix for a synth-heavy sound that nods at Cut Copy, Bear in Heaven, St. Lucia and others. And the act’s latest single “Talk To Me” will cement their reputation for slickly produced synth pop-leaning rock as a sinuous bass line is paired with atmospheric and shimmering synths, a soaring and anthemic hook and Anastasakis’ plaintive vocals. in what may arguably be the act’s most dance floor-friendly yet wistful song they’ve released to date.

Video by William Ruben Helms

New Video: Scavenger Hunt’s “Stranger Things” and 80s Pop Inspired Sounds and Visuals for “Never Enough”

If you’ve been frequenting this site, you may recall that I wrote about “River Runs Dry,” a single off the duo’s soon to be released Shapes and Outlines EP — and that particular single found the band managing to mesh anthemic and swooning 80s-inspired synth pop with a slick, contemporary production with Lamoureaux’s sultry pop-star belter vocals. The EP’s latest single “Never Enough” is a mid-tempo bit of anthemic synth pop that sounds as though it were inspired by the likes of contemporary acts like St. Lucia and others, thanks in part to the use of chiming percussion that emphasizes the song’s hook, sinuous bass line, some Nile Rodgers-like funk guitar. Of course, I think the single will help to further cement the duo’s burgeoning reputation for crafting slick, anthemic and radio friendly electro pop with an heartfelt and swooning earnestness.

The recently released music video draws influence from both the hit Netflix show Stranger Things and from MTV-era pop videos but with an equally slick production and visual value.

Single Review by William Ruben Helms

Earlier this year, I wrote about San Diego, CA-based indie electro pop/dream pop project Inspired and the Sleep. Comprised of signer/songwriter Max Greenhalgh, multi-instrumentalist Bryce Outcault and a revolving cast of musicians and collaborators, the Southern California-based duo received attention both locally and regionally with the 2014 release of Eyelid Kid, an album comprised dream pop-leaning material. Now, as you may know, with the release of “Sweet Company,” the duo turned towards a breezier and lighter sound with the duo returning to self-production, while combining electronic production techniques with live instrumentation; in fact, the duo revealed that they specialized in crafting buoyant hooks with  a wistful yet deeply appreciative feel.

 

The band’s latest single “Getting Through” is arguably their most upbeat and dance floor friendly song, and it sounds as though Greenhalgh, Outcault and company had been drawing from St. Lucia as they pay a buoyant and rousingly anthemic hook with layers of staccato synths, propulsive drum programming, bursts of live instrumentation featuring shimmering guitar, swirling electronics and a sinuous bass line paired with Greenhalgh’s sultriest vocal turn yet. And while seeming upbeat, the song manages to have a much deeper message as the duo informed me by email. As the band explains: “‘Getting Through’ is a tune that takes a third party view of the walls we put up against the people we hold the closest. It seems so obtuse to shut out the ones we, at one point, held so dearly. You can’t help, but ask yourself why.” As a result, the song possesses an underlying irony at its core.

 

Single Review by William Ruben Helms

With the release of “Cold” and “Thread,” Melbourne, Australia-based multi-instrumentalist and producer Matt Connelly’s solo recording project Retro Culture went viral for a hazy, 80s synth pop that sound as though it could have been part of the soundtracks for the major motion picture Drive and Netflix‘s hit series Stranger Things — and as a result both singles received more than 1.2 million streams on Spotify , appeared on Spotify‘s New Music Friday playlist and others and have been championed tastemakers like Majestic Casual.

Connelly’s latest single “Fading” will further cement the Australian multi-instrumentalist and producer’s growing reputation for a retro-futuristic, synth pop sound as the single, which was co-produced by Jack Arentz, who has worked with Kult Klyss and I know Leopard and mastered by Huntley Miller, who has worked with Bon Iver and Sylvan Esso, pairs Connelly’s plaintive vocals with swirling electronics, shimmering synths, Nile Rodgers-like funk guitar, a sinuous bass line and an anthemic hook. Interestingly, the song sonically speaking will remind some listeners of St. Lucia and the Cascine Records roster, as the song manages to be danceable but just under the surface is a thoughtful, contemplative nature.

 

 

‘Fading’ builds on Connelly’s previous thoughtfully curious and hazy pop debut releases ‘Cold’ & ‘Thread’, which were released earlier in 2016 to early and unexpected international success. Full of fuzzy beats & shoe gaze sounds, both ‘Cold’ & ‘Thread’ went viral and achieved an impressive 1.2 million streams on Spotify, appearing on several Spotify playlists including New Music Friday and championed by tastemakers including Majestic Casual.

Brought to life by a kaleidoscope of inspirations and experiments with live-recorded drums, guitar, bass and synths, his new single ‘Fading’ finally took form as an ode to the nostalgic and 80-gazing soundtrack to Netflix TV hit ‘Stranger Things’.  The single was co-produced with Jack Arentz (Kult Klyss, I Know Leopard) and mastered by Huntley Miller (Bon Iver’s, Slyvan Esso).

Influenced by the likes of Daft Punk and The 1975, Connelly describes the inspiration for ‘Fading’ as being inspired by, ‘The film Drive has played a big part in my musical inspiration recently so I guess that’s where that comes from. Also I was watching Stranger Things at the time of writing Fading and it has this really amazing synth sound track. It reminded me of Drive. That 80s sound is my current obsession. Lyrically, I tend to draw from what’s going on around me or from my own life’

Retro Culture will be coming over to the UK to debut live early next year. More info to follow.