JOVM chats with Detroit-based emerging synth pop artist Phaserland about his new single “Flip The Switch” and its accompanying video.
Deriving their name from a playful, Anglophile nod towards the famed physicist Issac Newton, the Paris-based electro pop act Isaac Delusion was formed back in 2010 by its core duo, longtime friends Loïc Fleury (vocals, guitar) and Jules Paco (keys). Shortly after their formation, the project expanded to incorporate a rotating cast of musicians and collaborators. Interestingly, with the release of 2014’s self-titled debut effort, the Paris-based act began to receive attention for a sound that meshed acoustic instrumentation with electronics — while nodding a bit at dream pop.
Building upon the growing buzz surrounding them in the French electro pop scene, the act toured extensively across France and Europe to support their full-length debut. The band’s sophomore effort 2017’s Rust & Gold found the duo shifting away from ethereal and atmospheric dream pop and leaning heavily towards more soulful rhythms, tangible emotions and insightful observations on love and the human condition.
Since the release of the French electro pop act’s first two albums, they’ve amassed over 500,000 Spotify streams a month, played Pitchfork Paris, as well as sold-out headlining shows at venues like L’Olympia and Elysee Montmarte. Now, as you may recall, the duo’s third album uplifters is slated for release this Friday through Microqlima Records, and the album reportedly is centered around a misplaced nostalgia for a long-passed youth (which is fitting for the act’s core duo, as they’ve inched into their 30s). As a result, the material is imbued with a longing for the freedom and unguarded honesty of their younger selves — and reset for the missed opportunities you can never get back. And much like its predecessors, the material off uplifters is primarily written and sung in English with a handful of songs written and sung in their native French.
Last month, I wrote about “pas habitude,” a breezy synth pop song centered around shimmering synth arpeggios, plaintive and dreamy vocals, a sinuous bass line and an infectious, razor sharp hook — and yet, the song’s breeziness is at best superficial, as the song possesses a bittersweet heartache and nostalgia for a seemingly simpler past. Coincidentally, “pas habitude” is one of the few album tracks written and sung in the duo’s native French. Interestingly, the album’s latest track “disorder” is a taut yet breezy track centered around a disco-like bass line, shimmering synth arpeggios, four-on-the-floor drumming and plaintive falsetto vocals that finds the duo recalling Random Access Memories-era Daft Punk.
“Like natural laws, order can rise from chaos,” the duo says in press notes. “We sometimes need to follow our intuitions and desires, even when they seem to lead towards dangerous ground.”
The duo will be playing a handful of European dates in 2020. Check out the tour dates below.
25 February LONDON Omeara
28 February KÖLN Artheater
29 February BERLIN Bi Nuu
2 March HAMBURG Nichtspeicher
4 March AMSTERDAM Paradiso Upstairs
6 March BRUSSELS Botanique
7 March LAUSANNE Les Docks
Over the course of this past year, I’ve written a bit about the Asheville, NC-based goth/post-punk act Secret Shame. And as you may recall, the act — Lena (vocals), Nathan (drums), Nikki (guitar), Matthew (bass) and Billie (guitar) — formed back in 2016 and can trace their origins to the desperate need that all of its members felt to create. “If I couldn’t sing or play music, I would tear my skin off.” the band’s front person Lena explains in press notes. Shortly after their formation, the band released their self-titled debut EP, which quickly established the band’s dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration.
Secret Shame’s highly-anticipated full-length debut Dark Synthetics was released earlier this year to critical acclaim — while further establishing an enormous, reverb-heavy sound that seemed to be influenced by Siouxsie and the Banshees and 4AD Records. Interestingly, album single “Calm” was a perfect example of that sound, while featuring driving rhythms, razor sharp hooks and Lean’s vocals slashing through and cutting through the moody and hazy mix. And underpinning the song was an emotional urgency that came from lived-in, personal experience. “There’s not a single word I didn’t write from the pit of my stomach,” Lena says in press notes. “The entire record- even though the song dynamics change- has one solid emotion, which is the struggle of inner turmoil and being trapped inside yourself. It’s the feeling of holding a scream in the back of your throat.” She adds, “Some people avoid writing music that puts them in a vulnerable place, but that’s the place I’m trying to get into, That’s where you’re your most raw and hopefully people will be able to experience it through you. There’s nothing else like it.”
Building upon the growing momentum the band has received since the release of their full-length debut, the members of Secret Shame have toured to support the new album, which included an apt Friday the 13th stop at The Broadway and a Halloween set that featured Joy Division covers. Along with that, Secret Shame recently announced a series of remixes of Dark Synthetic material that they’ll be releasing over the next few months, as they return to the studio to record new music slated for release next year. The first remix finds XOR turning the guitar-led “Calm” into an icy and industrial synth banger, centered around shimmering synth arpeggios, stuttering beats while retaining the song’s intensity, vulnerability and ache, and Lena’s powerhouse vocals.
Ferrari Garden is a mysterious yet emerging synth pop act. The act’s second single “Bridge” is swaggering and self-assured track, centered around layers of arpeggiated synths, thumping beats, wobbling low and alluring vocals — and while being simultaneously slickly produced and soulful, the track which manages to subtly recall 80s synth pop like Nu Shooz‘ “I Can’t Wait” was written around some deeply personal, lived-in, existential experience.
“I think about fate, acceptance and inner struggle a lot. ‘Bridge’ is about the inner struggle to accept one’s face,” Ferrari Garden explains via email. “I first began writing the lyrics for ‘Bridge’ while getting ready for bed in the winter of 2018. I was in my thesis year at OCAD at the time and was feeling very isolated and overworked. I guess that subconsciously, I was looking for distractions.
“Art school is a strange world – one which I never felt I quite fit into – and I was beginning to question my place there and as an artist.” Ferrari Garden adds. “Writing this song allowed for respite from the world around me, and showed me a brand new world I could build inside myself. That kind of power is both liberating and intimidating.”
Back in 2014, keyboardist Ryan Neighbors left his full-time gig with acclaimed indie act Portugal. The Man to pursue his on creative pursuits — namely, his latest electro pop project Hustle and Drone with collaborator Andy Black. With the release of that year’s debut Holyland, the duo built up a profile across the Pacific Northwest, eventually playing the region’s major venues and selling them out. Building upon a growing profile, the band toured across Europe.
Once the dust settled, the duo returned to woodshedding material, confident that they’d craft a competent and worthy follow-up. As the story goes, Neighbors and Black wrote material and flew out their producer Sonny DiPerri to Portland to dig into what they had just finished. DiPerri’s response wasn’t what the duo was prepared to hear. “He asked, If you didn’t write this, would you listen to it?” Neighbors recalls in press notes. “We thought he was flying out to Portland for us to put the finishing touches on our record, but then he told us we needed to start from the beginning. I was pissed.”
As it turned out, DiPerri felt that the material the duo had worked on was inauthentic and that it didn’t mirror the pain and the dark places he saw in Neighbors’ and Black’s life. So he pushed them to identity and dig deeper into something much more representative of where the duo actually was at the time. “He knows me well, so he was also well aware that I wasn’t really in a happy place and had been struggling with depression,” explains Neighbors. “He wanted those feelings to bleed out through the songs; we aren’t trying to be a fun dance band.”
Neighbors and Black started over from scratch, learning new synths and software and dug into new sample libraries. The tough love DiPerri gave them began to yield a dark and cathartic collection of songs, which after more refining and polishing would eventually become their forthcoming sophomore album What An Uproar, an effort that was finished in the remote town of Talkeetna, AK. The solitude of the town, contributed heavily to the focus with which the band took on the finishing touches of the record.
With Holyland, Neighbors and a former writing partner “would kind of operate in a ‘well that’s pretty cool’ type of recording process,” Neighbors recalls. “With Uproar we would say ‘well that’s pretty cool, how can we make it better. Okay, we just made it better; how can we make it perfect? It was a huge change in approach.”
“Uproar isn’t as accessible to the average listener as Holyland, but it is the record we wanted to make, and it is a true expression of where we are as artists,” Neighbors explains in press notes. “The atmosphere of What An Uproar is a direct result of us freeing ourselves to make the music we truly wanted to make, not necessarily the music that was expected from us,” Black adds. “If we found ourselves wading into waters that felt vulnerable and uncomfortable, then we knew we were being honest and on the right track. The vulnerability in trying to be as authentic as possible is always scary but being honest and upfront was what we wanted to accomplish.”
Sonically and stylistically, What An Uproar is a departure from the duo’s debut effort, which was a dance floor friendly batch of material. The soon-to-be released sophomore album is centered around Neighbors’ introspective lyrics about anxiety, depression, alcohol abuse and broken relationships — while sonically, the material reportedly recalls Joy Division, Nine Inch Nails and The Faint. “I have always hid behind vocal effects and vague lyrics to mask what the songs are really about,” Neighbors explains. “Not this time. A lot of the lyrical content is about anxiety and depression. Too much boozing and a broken relationship. For a long time I wasn’t trying to feel better and just accentuating what I was going through. I wrote all of these songs while I was still sitting in that dark place.”
“Stranger,” What An Uproar‘s latest single is centered around thumping, industrial-like beats, shimmering synth arpeggios, Neighbors plaintive vocals and a dance floor friendly hook — but interestingly, the track recalls Violator-era Depeche Mode and The Postal Service, while being full of slow-burning dread and anxiety.
Splitting their time between Melbourne and Sydney. the Aussie indie electro pop act Haiku Hands, which features a core trio of Claire Nakazawa, Beatrice Lewis and Mie Nakazawa have received attention both nationally and internationally for a sound that draws from hip-hop, electro pop, dance music and house music. Interestingly, the trio is part of a larger collective that engages with and explores social norms with their lyrical, musical and visual content.
Now, as you may recall last year was a breakthrough year for the Aussie electro pop trio: their high energy club bangers “Squat,” “Jupiter,” and “Not About You” amassed over 3.5 million streams — and as a result, each single landed spots on iTunes charts across the globe. Adding to an enormous year, “Jupiter” was included on Matt Wilkinson‘s Best Songs of 2018 So Far list, and received airplay on BBC Radio 1 and Radio X. Continuing on the momentum, the members of Haiku Hands went on a month-long North American tour with CHAI that featured stops in San Francisco, Los Angeles, Seattle, Portland and the Market Hotel, an opening date for Cupcake in Chicago, and appearances at a handful of SXSW showcases.
The Aussie indie electro pop trio’s highly-anticipated full-length debut is slated for release next year through Mad Decent and Spinning Top in Australia and New Zealand. In the meantime, the trio’s latest single, the Mad Zach-produced “Onset” is a brash and infectious banger centered around a glitchy and thumping 808-based, old school hip-hop production reminiscent of Afrika Bambaataa and the Soul Sonic Force’s “Renegades of Funk” and Missy Elliott paired with the trio delivering equally brash and dexterously flows that nod at Khia’s “My Neck, My Back (Lick It),” schoolyard rhymes and chants. As a child of the 80s, this song brings boom boxes, shell toe Adidas and B Boys breaking — but with a modern touch.
Syd Silvair is a New York-based tarot-reader by day and emerging singer/songwriter by night. Signing to Kobalt Music for a publishing deal, Sylvair has lent her songwriting and vocals to a number of different artists and projects, including Syn Cole‘s “Cool With That,” which was recently added to Spotify’s New Music Friday playlist. With her debut single, the Dillon Pace-produced “Obsidian,” Silvair steps out into the limelight as a solo artist. The propulsive and dance floor friendly track pairs Silvair’s gossamer-like vocals with thumping beats, shimmering synth arpeggios and a sinuous bass line and in some way, sonically the song seems to draw from late 70s and early 80s disco and 80s New Wave — in particular, Stevie Nicks‘ “Stand Back.”
“My upcoming EP follows a narrative inspired by tarot cards, each song capturing the essence of a different card,” Silvair wrote to me in an email. “In writing and creating ‘Obsidian,’ I dove into the mindset of the moon card, where dualities are intertwined and sometimes indistinguishable. The shadows cast by this card can evoke terror or wonder– quite often both. I find the meaning of this card particularly relatable when it comes to those relationships that put our heads and our hearts at odds. I wanted listeners to be able to revel in that struggle through the dark danceability of ‘Obsidian.”
Throughout the bulk of this site’s nine-plus year history, I’ve written quite a bit about the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, best known for his acclaimed psych pop/synth pop recording project Tame Impala. Now, as you may recall Parker’s third full-length album, 2015’s Currents was a critical and commercial breakthrough: released to wide-ranging critical applause, the album was a Grammy-nominated, RIAA Gold-Certified effort that reflected a decided change in songwriting and approach that featured emotionally direct lyrics paired with an increasingly nuanced and textures sound that drew from psych rock, psych pop, synth pop, prog rock and R&B.
Earlier this year, Parker released the first bit of new Tame Impala material in over four years — “Patience,” a decidedly upbeat banger that seamlessly bridged 90s house and 70s funk while being a thoughtful meditation on the cycles and phases of life and “Borderline” a blissed out, shimmering mid-tempo track with house music flourishes and a razor sharp hook. These two tracks were unofficially the first two singles off Parker’s long-awaited and highly-anticipated fourth album, The Slow Rush. Slated for a February 14, 2020 release through Interscope Records, The Slow Rush reportedly conjures the feeling of a lifetime in a lightning bolt, of major milestones whizzing by you while you’re looking at your phone. Thematically, the album focuses on the rapid passing of time and the unending cycles of creation and destruction in life. “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times earlier this year.
“It Might Be Time,” the album’s latest single is centered around layers of shimmering synth arpeggios, thumping beats, a rousingly anthemic hook and Parker’s plaintive falsetto. And while being a swaggering prog rock meets psych pop banger, the song possesses an underlying sweaty paranoia about getting older and being forced to accept a sad and fateful inevitability — that you’ve lost it and not as cool as you used to be, and that maybe you were never really cool in the first place. If you haven’t had this moment yet, you will. Trust me.
Deriving their name from a playful, Anglophile nod towards the famed physicist Issac Newton, the Paris-based electro pop act Isaac Delusion was formed back in 2010 by its core duo, longtime friends Loïc Fleury (vocals, guitar) and Jules Paco (keys). Shortly after their formation, the project expanded to incorporate a rotating cast of musicians. With the release of 2014’s self-titled debut effort, the act received attention for a sound and approach that meshed the acoustic instrumentation with a bold use of electronics — while nodding a bit at dream pop.
Building upon the growing buzz surrounding them in the French electro pop scene, the act toured extensively across France and Europe to support their full-length debut. Interestingly, the band’s sophomore effort, 2017’s Rust & Gold found the act’s sound shifting away from ethereal and atmospheric dream pop and focusing on tangible emotions and soulful rhythms paired with insightful observations on love and the human condition.
Since the release of the French electro pop act’s first two albums, they’ve amassed over 500,000 Spotify streams a month, played Pitchfork Paris, as well as sold-out headlining shows at venues like L’Olympia and Elysee Montmarte.
Slated for a November 8, 2019 release through Microqlima Records, the rapidly rising French electro pop’s forthcoming, third album uplifters is the highly-awaited follow-up to 2017’s Rust & Gold, and the album is reportedly centered around a misplaced nostalgia for long-passed youth, which is fitting for the act’s core duo, as they’ve inched into their 30s. And as a result, the material is imbued with a longing for the freedom and unguarded honesty of their younger selves — and a regret for the missed opportunities you can never get back. Much like its predecessors, most of uplifters is written and sung in English with a handful of songs written and sung in their native French.
Interestingly, uplifters latest single “pas ‘habitude” is one of the few album tracks written and sung in the act’s native French, and while being a breezy synth pop song built around shimmering synth arpeggios, plaintive and dreamy vocals, a sinuous bass line and an infectious, razor sharp hook — but the song’s breeziness is at best superficial, as it’s possess an underlying bittersweet nostalgia and heartache.
Directed by Leo Chadoutaud, the recently released video for “pas ‘habitude” follows touches upon ideas of isolation and acceptance, as it follows the behind-the-scenes life of living and breathing Hollywood monster, who’s painfully lonely and desperately seeking connection with others. And even in his loneliness, the video’s protagonist finds moments of sublime, childlike joy.