Tag: The Crystal Method

Single Review by William Ruben Helms

CARRÉ · Freeform

If you’ve been following this site over the past few months, you may know that Carré is a rapidly rising Los Angeles-based indie electro rock act featuring:

  • Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
  • Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream.
  • Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot.

Deriving their name for the French word for “square,” “playing tight” and “on point,” the Los Angeles-based trio formed last year — and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops. Thematically, their work generally touches upon conception, abstraction and distortion of reality through a surrealistic outlook of our world. Visually, their work features geometric shapes and patterns.

The French-born, Los Angeles-based trio’s self-titled EP is slated for a Friday release through Nomad Eel Records — and so far, I’ve written about “This is not a band,” a propulsive club banger that brought Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method to mind—  and the Ministry and early Nine Inch Nails-like “Urgency.” “Freeform,” the EP’s latest single is decidedly free flowing and improvised jam centered around glistening synth arpeggios, shimmering blasts of guitar an insistent motorik groove, hi-hat led four-on-the-floor, ethereal samples and vocodered vocals. And while the song sonically brings Uncanny Valley-era Midnight Juggernauts, Tour de France-era Kraftwerk and Primal Scream to mind, it also reveals an incredibly tight band of musicians, who are pushing each other and their work into new and trippy dimensions.

 

Video by William Ruben Helms

New Video: Emerging French Electronic Act Scuffles Releases a Paranoia-Inducing Visual for Club Banging “Total Rumble”

Split between Angers, France and Nantes, France, the emerging French garage techno act Scuffles — Sombre Barry and Sombre Winston — describe their sound as being “at the crossroads of techno and punk garage.”

“Total Rumble,” the duo’s latest single is club banger, centered around a looping guitar sample, layers of arpeggiated synths, a propulsive motorik groove, tweeter and woofer rocking beats, an enormous, club banging, festival friendly hook and shouted vocals. Sonically, the brash and infectious track will draw comparisons to The Chemical Brothers, The Crystal Method, and Adult., as it possesses a paranoid yet gritty, industrial quality. 

Shot and edited by Josic Jégu and Morgan Richard, the recently released and incredibly eerie video for “Total Rumble” captures the paranoia of an out-of-control drunk while on a trip to the country. But is he being chased — or is he chasing the demons in his drug and booze-addled mind?

Video by William Ruben Helms

New Video: Rapidly Rising Act Carré Releases a Lysergic Visual for Club Banging “Urgency”

Carré is a rapidly rising Los Angeles-based indie electro rock act featuring:

Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream.
Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot.
Deriving their name for the French word for “playing tight” and “on point,” the Los Angeles-based trio formed last year — and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops while thematically, their work generally touches upon conception, abstraction and distortion of reality centered around geometric shapes and patterns, and a surrealistic outlook on our world.

Released earlier this year, the Los Angeles-based trio’s debut single “This is not a band” was a propulsive, club banger that sonically brought Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method to mind— but with a primal and furious intensity. Building upon the momentum of their debut single, the rising trio’s second and latest single is the dark and seductive, “Urgency.” Centered around a bed of  tweeter and woofer rocking beats, layers of shimmering synth arpeggios, bursts of slashing guitars and gauzy electronic textures — while words from Terence McKenna hover ethereally. Continuing an ongoing run of hypnotic, thumping, club rocking material, the new single possess a menacing air that brings Ministry and early Nine Inch Nails to mind. 

Directed by Patrick Fogarty, the recently released video for “Urgency” manages to continue the trio’s ongoing collaboration with the directer is a slick synthesis of live action footage and CGI-based graphics that evoke a lysergic journey through the subconscious. 

Single Review by William Ruben Helms

CARRÉ · Urgency

 

Carré is a Los Angeles-based indie electro rock act featuring:

  • Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
  • Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream.
  • Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot.

Deriving their name for the French word for “playing tight” and “on point,” the Los Angeles-based trio formed last year, and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops while thematically, their work generally touches upon conception, abstraction and distortion of reality centered around geometric shapes and patterns, and a surrealistic outlook on our world.

Released last month, the Los Angeles-based trio’s debut single “This is not a band” was a propulsive, club banger that sonically brought Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method to mind— but with a primal and furious intensity. Building upon the momentum of their debut single, the rising trio’s second and latest single is the dark and seductive, “Urgency.” Centered around a bed of  tweeter and woofer rocking beats, layers of shimmering synth arpeggios, bursts of slashing guitars and gauzy electronic textures — and just over that, words from Terence McKenna ethereally hover. And while being a hypnotic and dance floor friendly song, it possesses a murky and menacing air, that subtly recalls Ministry and others.

 

Video by William Ruben Helms

New Video: Introducing the Explosively Aggressive Dance Floor Friendly Sound of Los Angeles’ Carré

Carré is a Los Angeles-based indie electro rock act featuring: 

Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world. 
Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream. 
Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot. 
Deriving their name for the French word for “playing tight” and “on point,” the Los Angeles-based trio formed last year. And as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”  

Aesthetically, the act specializes in blending aggressive, dark and chaotic elements with hypnotic drum loops inspired by French electronica. Thematically, their work is generally about conception, abstraction and distortion of reality, inspired by a geometric shapes and patterns and a surrealistic outlook on our world. The act’s debut single “This is a not a band” is a propulsive, club banger centered around layers of synth arpeggios, explosive and angular guitar squiggles, tweeter and woofer rocking beats, four-on-the-floor drumming, some industrial clang and clatter, shouted vocals, a distorted vocal loop and an arena rock friendly hook. Sonically, the song finds the trio’s sound somewhere in between Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method– but with a primal and furious intensity. 

Directed by Patrick Fogarty the recently released video is hypnotic and mind-bending visual shot features glitchy and explosive blasts of color that undulate with the music, glowing geometric shapes and more. 

Single Review by William Ruben Helms

Throughout the past summer, I’ve written quite a bit about the Glasgow, Scotland-based synth pop act Free Love, and since their formation back in 2014 under the name Happy Meals, the act which is comprised of Suzanne Rodden and Lewis Cook quickly established themselves as one of Scotland’s most acclaimed, contemporary electronic music acts; in fact, their 2015 full-length debut Apero received a Scottish Album of the Year nod. And adding to a growing profile. the duo has opened for Liars and The Flaming Lips, and played sets at festivals in Austin, TX, Moscow, and Bangalore.

With the release of “Synchronicity,” a track that may remind some listeners of Nu Shooz‘s “I Can’t Wait,” and New Order‘s “Blue Monday” and “Bizarre Love Triangle, the duo further cemented their reputation for crafting utopian-leaning and brainy dance pop centered around shimmering analog synths. As the duo explained in press notes, the song is breaking free from the binds of culturally dictated self-limitation, coupled with the vertigo of complete freedom. The Scottish synth pop duo released two more singles, the ecstatic Giorgio Moroder and New Wave-like “Pushing Too Hard,” and the acid-house-like “July,” which brought Come With Us-era Chemical Brothers and Tweekend-era Crystal Method to mind. The duo’s forthcoming EP Luxury Hits is slated for a November 9, 2018 release and the EP’s latest single “Playing As Punks” will further cement the Scottish duo’s reputation for crafting 80s inspired synth-based New Wave — in this case, much like “Synchronicity,” taking its cues directly from early New Order and early house music as the track sonically is centered around arpeggiated synths, industrial clang-like drum programming and an soaring yet infectious hook; but underneath the dance floor friendly vibes, the song focuses on being here in this very brief moment with the understanding and acceptance of the fact that it won’t last.

 

 

Video by William Ruben Helms

New Video: JOVM Mainstays The Presets Return with a Trippy Live Concert-Based Video for “Martini”

Throughout this site’s eight year history, I’ve written quite a bit about the Sydney, Australia-based electronic music production and artist act The Presets, and as you may recall, the Australian act, which is comprised of Julian Hamilton and Kim Moyes can trace their origins back to when they met while studying at the Sydney Conservatorium of Music. Hamilton and Moyes quickly became recognized for crafting electronic dance music with a swaggering, arena rock energy and vibe, and unsurprisingly, the duo caught the attention of renowned Australian electro pop and dance music label Modular Recordings, who released their first two EPs and their 2005 debut, Beams.

2008 saw the release of the duo’s critically and commercially applauded sophomore effort Apocalypso, an effort that went Triple Platinum in their native Australia and featured four smash hits, including “My People,” one of their biggest songs. Adding to a massive and breakthrough year, Hamilton and Moyes won 5 ARIA Awards — including Album of the Year, 2 ARIA Artisan Awards, the J Award, the FBI SMAC Award for Album of the Year, and they shared the Songwriter of the Year at 2009’s APRA Awards.

The duo’s third, full-length effort, 2012’s award-nominated Pacifica featured Rolling Stone Australia‘s Song of the Year, “Ghosts,” and was nominated for an ARIA Award, shortlisted for the AMP Award, the J Award and was named the Herald Sun‘s Album of the Year, the Daily Telegraph‘s Album of the Year and the Sydney Morning Herald‘s Electronic Album of the Year. The members of the duo spent the next few years collaborating with a variety of contemporary artists — Hamilton cowrote Flume’s “Say It” and contributed tracks to albums by Flight Facilities, Steve Angello and Meek Mill, while Moyes produced an album by DMA’s  remixed tracks by The Drones and The Jezabels and started an underground techno label Here To Hell.

Late last year, I wrote about “Do What You Want,” the first single off Hi Viz, an album that was released earlier this year, and unsurprisingly, “Do What You Want” further cemented the duo’s reputation for festival bangers with enormous, crowd pleasing hooks and thumping beats — but with a looped glitchy sample that recalled Boys Noize’s “ICH R U,” Tweekend-era The Crystal Method and Come With Us-era The Chemical Brothers. The latest single off the album, “Martini” is swaggering, house music-based club and festival banger, centered around layers of arpeggiated synths and thumping, tweeter and woofr rocking beats; but underneath that swagger is a bit of desperate longing for someone, who’s out of the song narrator’s league — and in a way the song subtly nods at Phil Collins’ “Sussudio.” 

Interestingly, as Julian Hamilton enthusiastically explains in press notes, “Martini was a dancer I used to know. She was everything I wasn’t — cool, clear, strong and with a razor sharp edge I found impossible to resist. In the end, she left me completely undone; a crumbled wreck of a man. ‘But was it worth it?’ I hear you ask . . . Every second.

Each time we perform this song I think of her, so it made sense that Martini’s accompanying video is a film of us playing the song live, directed by our new favourite director and…. well hell I’ll just come out and say it… our new favourite person in the entire world SPOD.” And of course, it should give the viewer the sense of what a Presets live show is like. 

Single Review by William Ruben Helms

 

 

 

 

 

Video by William Ruben Helms

New Video: The Vivid Animated Visuals for Rich Aucoin’s Swooning, New Single “The Middle”

Rich Aucoin is a Halifax, Nova Scotia-born and based electronic music artist and indie rock artist, known as a collaborator and guest musician of his older brother Paul Aucoin’s band Hylozoists — and as an attention grabbing solo artist. Aucoin’s 2007 debut effort, Personal Publication EP was conceptualized as an alternative soundtrack to How the Grinch Stole Christmas, which he supported by going on a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. After he completed his solo tour, he rejoined Hylozoists but during a sudden shift from regular exercise to virtually no exercise at all, the Halifax, Nova Scotia-based electronic music artist and musician suffered through an iron deficiency. But after recuperating, he went on another solo tour, running partial marathons between stops to raise money for the Canadian Cancer Society.

During both of his early solo tours, Aucoin spent time writing and recording the material, which would comprise his 2011 full-length effort, We’re All Dying to Live, an album that featured over 500 guest musicians, including Sloan‘s Jay Ferguson, You Say Party‘s Becky Ninkovic, The Meligrove Band‘s Michael Small and Rae Spoon. The album was long-listed as a nominee for the 2012 Polaris Music Prize, with the music video for “Brian Wilson is A.L.I.V.E.” winning a Prism Prize in 2013. Building upon a rapidly growing profile, Aucoin released his critically applauded, 2014 effort Ephemeral. 

Slated for a March 16, 2018 release, Hold EP is Aucoin’s first batch of new, recorded material in over 4 years, and as you may recall the EP’s first single “Release” featured live drumming from Broken Social Scene’s Justin Peroff in a sprawling yet propulsive, club banger that draws from house music and boom-bap era hip-hop, centered around laws of arpeggiated synths. And while reminding me (to my ears, at least) of The Chemical Brothers, The Crystal Method and others — but underneath the club banging swagger, there’s a zen-like tranquility. The EP’s latest single “The Middle” is a cinematic yet dreamy and contemplative track that will immediately remind most listeners of M83, as it possesses soaring hook that evokes an earnest and swooning yearning. 

The recently released video by Meags Fitzgerald features hand drawn drawings, animation and live action in a way that emphasizes the both the themes and the lyrics of the song in a vivid fashion. 

Video by William Ruben Helms

New Video: The Lush and Meditative Visuals for Rich Aucoin’s “Release”

Rich Aucoin is a Halifax, Nova Scotia-born and based electronic music artist and indie rock artist, known as a collaborator and guest musician of his older brother Paul Aucoin’s band Hylozoists and as an solo artist. His debut effort, 2007’s Personal Publication EP was conceptualized as an alternative soundtrack to How the Grinch Stole Christmas and he supported the release by going on a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. When he was finished with his solo tour, he joined Hylozoists on a tour, but after a sudden shift from regular exercise to visually no exercise at all, Aucoin suffered with an iron deficiency; however, after recuperating, he went on a solo tour, running partial marathons between stops to raise money for the Canadian Cancer Society. 

During both of his early solo tours, the Halifax, Nova Scotia-based musician recorded the material, which would comprise his 2011 full-length effort, We’re All Dying to Live, an album that featured over 500 guest musicians, including Sloan’s Jay Ferguson, You Say Party’s Becky Ninkovic, The Meligrove Band’s Michael Small and Rae Spoon. The album was long-listed as a nominee for the 2012 Polaris Music Prize, with the music video for “Brian Wilson is A.L.I.V.E.” winning a Prism Prize in 2013. Building upon a rapidly growing profile, Aucoin released his critically applauded, 2014 effort Ephemeral. 

Slated for a March 16, 2018 release, Hold EP is Aucoin’s first batch of new, recorded material in over 4 years, and the EP’s first single “Release” which, features live drumming from Broken Social Scene’s Justin Peroff is a sprawling yet propulsive, club banger centered around layers of arpeggiated synths and thumping beats. Interestingly, the track finds Aucoin drawing from house music, and boom bap-era hip-hop in a way that’s reminiscent of The Chemical Brothers, The Crystal Method and others — but underneath the club banging swagger, there’s a zen-like tranquility.

Directed by Dave Hung, who may arguably be best known for his work on Kanye West’s “Famous,” the recently released video for “Release,” was filmed on four separate occasions off the coast of Nova Scotia, and features a suit-wearing Aucoin laying in the water, repeating the mantra of there being no shark attacks in Nova Scotia — while the video crew flew drones overhead, safely on shore. Primarily based around one, long and deeply meditative, photographic shot, the video manages to posses a creepy air as it forces to viewer to wonder if the video’s protagonist was at peace — or if he were dead.