Tag: Washed Out Paracosm

New Video: JOVM Mainstay Washed Out Teams Up with Caroline Koning for an Intimate Meditation on Longing and Touch in the Age of COVID-19

Throughout the course of this site’s ten year history, I’ve spilled quite a bit of ink covering Ernest Greene, a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the acclaimed synth pop/chillwave act Washed Out.  The project can trace it origins back to around 2009: After earning an undergraduate degree and a Master of Library and Information Sciences degree from the University of Georgia, Greene was unable to find a job as a librarian. Greene moved back in his parents and began writing and producing material in his bedroom studio as well as with a local electro pop act Bedroom.

Shortly after posting Washed Out material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes. He released his first two Washed Out EPs in rapid-fire fashion in August and September of that year. Building upon a growing profile, 2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without, an album of icy yet plaintive synth pop to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles. 

Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound that paired organic instrumentation with electronic production — all while retaining the ethereal quality of his previously released material.  

2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stones Throw Records, and the album took on a bit of a J. Dilla-esque beatmaking feel. Since the release of Mister Mellow, Greene released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series. Earlier this year, the Perry-born, Athens-based artist released “Too Late,”  a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook — but with a subtly Mediterranean feel.

As it turns out, “Too Late” was unofficially the first single off Greene’s highly-anticipated and long-awaited fourth album Purple Noon. Written, recorded by Greene with mixing handled by frequent collaborator Ben H. Allen, the album’s production followed a brief stint of writing with other artists — most notably writing with Sudan Archives on her debut Athena. Those collaborations allowed Green to explore R&B and modern pop and those sounds have made their way into Purple Noon‘s material. Not only is the material reportedly the brightest and more robust sounds he’s ever worked out; it’s also a decided step forward: unlike his previous released work, the vocals are placed front and center at the mix, with slower tempos, bolder, harder-hitting beats and a more comprehensive dynamic depth.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, the album’s material is deeply inspired by the coastlines of the Mediterranean — with Greene paying tribute to region’s island-based culture, elegance and old-world charm. But the surroundings serve as the backdrop to stories of passion love and loss — with a deeper, perhaps more urgent emotional intensity: the album’s first single “Too Late” is a tale of a first meet, with all the confused and swooning emotions that come about. Continuing in that same vein, Purple Noon‘s second single “Time To Walk Away” told the story of a the disintegration of  relationship with an aching sense of loss, confusion and longing. 

“Paralyzed” Purple Noon’s third and latest single continues in a a similar vein — brooding, shimmering yet ethereal synth pop with twinkling keys, thumping beats and subtle Mediterranean flavor through the addition of fluttering flute. Greene’s plaintive vocals sing lyrics detailing the power of love and lust with an ache and longing that should feel familiar to all who have been there before. 

Directed by acclaimed fashion film director Caroline Koning and shot in her native Holland, the recently released video follows a real-life couple Shay and Dories in their most unguarded and intimate moments, conveying love, lust and longing with a simple look, a smile, a touch of the hand. Considering how dangerous human touch is during an age of pandemic, the video will bring back memories of far simpler times — of intimate moments we all may have had with lovers and even with random hookups. 

“Human contact, and something as simple as a touch, has new meaning in the context of today,” Caroline Koning explains in press notes. “These special times make the viewing experience of physical togetherness a different one, and I wanted to tap into that sentiment in a pure way. The couple we follow in the film capture this simplicity beautifully, and what we see on screen all happened very organically. Encapsulating a perhaps general longing for closeness through a very unpretentious narrative gives this spot a natural honesty that I think visualizes the track in a strong manner.”
 
Washed Out has also announced Purple Noon Nights, a culmination of four months of new tracks and visuals leading up to the new album’s release over four nights this weekend. Beginning this Thursday, August 6th and ending on Sunday, August 9th at 8:30 pm ET/5:30 pm PT each night, Washed Out’s Ernest Greene will be hosting a different Purple Noon-related event each night:
 

Thursday, 8/6: Purple Noon listening party
Friday, 8/7: the Washed Out live band’s first live-streamed concert, performing selected tracks from Purple Noon along with highlights from his catalog
Saturday, 8/8: Q&A with fans via @realwashedout’s Instagram Live account
Sunday, 8/9: Greene will host the sixth in his popular Magic Hour Mix DJ sets, with this set focusing on the Washed Outcatalog
 
The listening party, full band set, and Magic Hour DJ set will be broadcast live from Washed Out’s YouTube, Facebook, Instagram TV, and Twitch accounts.
 

Live Footage: Washed Out Performs “Too Late” on “Late Show with Stephen Colbert”

Ernest Greene is a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the acclaimed synth pop/chillwave act Washed Out.  Washed Out can trace its origins back to around 2009: After earning an undergraduate degree and a Master of Library and Information Sciences degree from the University of Georgia, Greene was unable to find a job as a librarian. As the story goes, Greene moved back in with his parents and began writing and producing material in his bedroom studio, as well as with local electro pop act Bedroom. 

Shortly after posting Washed Out material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes. Greene released his first two Washed Out EPs in rapid-fie fashion that August and September. And building upon a growing profile, Greene played his New York City debut — which interestingly enough, was only his second live show ever — at the now, long-shuttered Santos Party House.

2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without, an album of icy yet plaintive synth pop to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles. 

Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound that paired organic instrumentation with electronic production — while retaining the ethereal quality of his previously released material,. The year ended with Life of Leisure EP track “New Theory” being featured as background music in a scene of the rom-com The Spectacular Now.

The Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer’s third album, 2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stones Throw Records, and the album found the acclaimed artist’s work seemingly taking on a bit of a J. Dilla-esque beatmaking feel. 

Since the release of Mister Mellow, Greene released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series. Earlier this year, the Perry-born, Athens-based artist released “Too Late,”  a track that sonically was a return to form: a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook — but with a subtly Mediterranean feel.

As it turns out, “Too Late” was unofficially the first single off Greene’s highly-anticipated and long-awaited fourth album Purple Noon. Written, recorded by Greene with mixing handled by frequent collaborator Ben H. Allen, the album’s production followed a brief stint of writing with other artists — most notably writing with Sudan Archives on her debut Athena. Those collaborations allowed Green to explore R&B and modern pop and those sounds have made there way into Purple Noon‘s material. Not only is the material reportedly the brightest and more robust sounds he’s ever worked out; it’s also a decided step forward: unlike his previous released work, the vocals are placed front and center at the mix, with slower tempos, bolder, harder-hitting beats and a more comprehensive dynamic depth.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, the album’s material is deeply inspired by the coastlines of the Mediterranean — with Greene paying tribute to region’s island-based culture, elegance and old-world charm. But the surroundings serve as the backdrop to stories of passion love and loss — with a deeper, perhaps more urgent emotional intensity: the album’s first single “Too Late” is a tale of a first meet, with all the confused and swooning emotions that come about. 

Recently Greene was on Late Show with Stephen Colbert, where he performed “Too Late” with a gorgeous split camera perspective that offered and extreme close up on Greene performing the song: we see his fingers as they tap various functions on his drum machine and synths — and Greene singing through a two microphone set up. Behind him, a gorgeous sunset on the beach. 

Purple Noon is slated for an August 7, 2020 release through Sub Pop Records. 

New Video: Washed Out Releases an Cinematic Yet Intimate Meditation on Loss

Ernest Greene is a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the acclaimed synth pop/chillwave act Washed Out.  Interestingly, the project can trace its origins back to around 2009: After earning an undergraduate degree and a Master of Library and Information Sciences degree from the University of Georgia, Greene was unable to find a job as a librarian. Greene moved back in his parents and began writing and producing material in his bedroom studio as well as with a local electro pop act Bedroom.

Shortly after posting Washed Out material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes.

He released his first two Washed Out EPs in rapid-fire fashion in August and September of that year. Building upon a growing profile, Greene played his New York City debut — which interestingly enough, was only his second live show ever — at the now, long-shuttered Santos Party House. 2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without, an album of icy yet plaintive synth pop to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles. 

Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound that paired organic instrumentation with electronic production — all while retaining the ethereal quality of his previously released material, as you’d hear on album singles “It All Feels Right” and “Don’t Give Up.” The year ended with Life of Leisure EP track “New Theory” being featured as background music in a scene of the rom-com The Spectacular Now.

The Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producers third album, 2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stone’s Throw Records, and the album took on a bit of a J. Dilla-esque beatmaking feel. 

Since the release of Mister Mellow, Greene released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series. Earlier this year, the Perry-born, Athens-based artist released “Too Late,”  a track that sonically was a return to form: a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook — but with a subtly Mediterranean feel. 

As it turns out, “Too Late” was unofficially the first single off Greene’s highly-anticipated and long-awaited fourth album Purple Noon. Written, recorded by Greene with mixing handled by frequent collaborator Ben H. Allen, the album’s production followed a brief stint of writing with other artists — most notably writing with Sudan Archives on her debut Athena. Those collaborations allowed Green to explore R&B and modern pop and those sounds have made there way into Purple Noon’s material. Not only is the material reportedly the brightest and more robust sounds he’s ever worked out; it’s also a decided step forward: unlike his previous released work, the vocals are placed front and center at the mix, with slower tempos, bolder, harder-hitting beats and a more comprehensive dynamic depth. 

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, the album’s material is deeply inspired by the coastlines of the Mediterranean — with Greene paying tribute to region’s island-based culture, elegance and old-world charm. But the surroundings serve as the backdrop to stories of passion love and loss — with a deeper, perhaps more urgent emotional intensity: the album’s first single “Too Late” is a tale of a first meet, with all the confused and swooning emotions that come about. Continuing in that same vein, Purple Noon’s second single “Time To Walk Away” is a gorgeous yet haunting song centered around shimmering synth arpeggios, shuffling beats, Greene’s plaintive vocals, an enormous hook and Mediterranean/Caribbean vibes. The track is as infectious as any of his previously released work, but the track tells the story of a disintegration of a relationship with an aching sense of loss and confusion. Ghosts linger. 

Directed by Aussie director Riley Blakeway, the recently released video is a reinterpretation of a personal short film Blakeway shot years ago, presented in music video form. The video presents its central tale of two passionate, young lovers and their relationship in a beautiful and cinematic fashion — but at its core is a familiar ache that we’ve all known at some point. 

New Video: Intimate Live Footage Centered Video of Rapidly Rising Dutch Artist Ruben Pol Releases a Shimmering and Plaintive New Single

With the release of his breakthrough debut EP Infused Romance, the Amsterdam-based singer/songwriter, multi-instrumentalist and producer Ruben Pol received attention across Europe and elsewhere for crafting shimmering and celestial electro pop. So far Pol’s debut effort has amassed over two million streams and has helped him land work with a handful of renowned fashion brands, including Dior, Gucci, Calvin Klein and Burberry. 

Building upon a rapidly growing profile across Europe, the Amsterdam-based Pol has plans to continue releasing new material in 2020 but in the meantime, he closes out this year with “Painting Mirrors,” the first bit of new material from the rising Dutch-based artist since the release of his breakthrough debut. Centered by thumping, organic drum patterns, shimmering and atmospheric synths, reverb-drenched guitars, a soaring hook and Pol’s achingly plaintive vocals, the new single sounds indebted to Within Without and Paracosm-era Washed Out. And while initially seeming placid, on repeated listens, the song has a subtle yet palpable tension and turbulence, as its narrator describes hiding their true self, in order to protect themselves and their partner: love is inevitably pulling them closer to their partner, but the fear of the truth is tugging them away; they’re in love but not fully ready and open — and they’re constantly aware of it. 

“Love can be blinding and it can make you do crazy, sometimes reckless things,” Pol says in press notes. “I myself am guilty of this too. The urge to be with someone can be so strong, it damages the very thing that you are chasing, love itself.” 

Filmed and edited by Victor Griffioen, the recently released video is based on black and white VHS footage of the rapidly rising Dutch artist performing the song live in front of an enraptured audience. 

Jude Woodhead is a London-based electronic music producer and electronic music artist, who emerged into the national scene with release of his first two singles “Beautiful Rain” and “For The Birds,” both of which revealed a young, upstart producer whose sound was compared favorably to the likes of Floating Points, Four Tet, Joy Orbison, and RJD2. But since the release of those two earlier singles, Woodhead started a new recording project Saint Jude, which was partially inspired by the tinnitus he developed while spending his formative years as a DJ and club-goer. And as a result, Woodhead turned from the euphoria and strobe light of the dance floor and towards the bedroom, where he began working on much more intimate material.

Woodhead’s forthcoming, self-titled Saint Jude debut is a decided sonic evolution that finds the up-and-coming British producer moving from the loop-heavy EDM-styled production for a sound that may recall Caribou and others — propulsive rhythms paired with shimmering guitar lines. The EP’s first single “Deaf Ears, Blind Years” is centered around hushed, reverb-drenched vocals ethereally floating over a lush and moody production featuring shimmering guitars, twinkling keys, four-on-the-floor like beats — and while recalling Paracosm-era Washed Out, the track evokes an aching nostalgia for a rapidly-passing youth full of excitement and waywardness. In press notes, Woodhead describes the song as “a bit of breakthrough for me in terms of songwriting: I was writing about real stuff rather than abstract ideas.”

 

 

 

 

Deriving its name from the Trollhattan, Sweden kindergarten, where its somewhat mysterious creative mastermind attended as a boy, the up-and-coming indie recording project lodet specializes in breezy, 70s AM rock inspired pop melodies as you’ll hear on its debut single “Calling.” Centered around four-on-the-floor drumming, shimmering guitar chords, plaintive vocals and a soaring hook, the song sonically bears an uncanny resemblance to Paracosm-era Washed Out but with a rickety, analog feel that emphasizes the song’s swooning nature.

 

 

New Video: Acclaimed German Synth Pop Artist Roosevelt Releases a Breezy and Nostalgic, Club Banger

Over the past few months, I’ve written a bit about the Viersen, Germany-born, Cologne, Germany-based singer/songwriter, multi-instrumentalist, electronic music artist and electronic music producer, Marius Lauber, who writes, records and performs Roosevelt. Now, as you may recall its the release of Elliot,” the lead single and EP title track of his 2013 debut EP Elliot, Lauber received praise from the likes of Pitchfork, who named the track one of their “Best New Tracks.” 2015 saw the release of the double A side single “Night Moves”/”Hold On,” which was released through Greco-Roman Records and further cemented his reputation for crafting  material with warm, synth-led Euro-disco sound. Building upon a growing profile, Lauber’s 2016 full-length debut featured standout tracks  “Colours” and “Moving On,” and has led to attention-grabbing tours with the likes of Hot Chip, Totally Enormous Extinct Dinosaurs, Crystal Fighters, as well a remixes of singles by Glass Animals, Jax Jones,Truls, Sundara Karma, Luca Vasta and Kakkmaddafakka and others.
Building upon a growing international profile, Lauber’s recently released sophomore Roosevelt album Young Romance finds the acclaimed German singer/songwriter and multi-instrumentalist, electronic music artist and electronic music producer making a decided move away from the slickly produced EDM of his previously released material to a warmer, hook-driven, guitar and synth-based sound, complete with a wistful escapism. Thematically, Young Romance fittingly focuses on — well, young romance, including the trials, tribulations and frustrations of falling in and out of love, and of desperately trying to find some semblance of home and life while on the road. As Lauber says of the writing process for the album “I ended up processing a lot of emotions that I felt during my youth. Faded relationships that haunted me for years, being on the road for what seemed like forever and the constant search for a place to call home.”

Album single “Forgive,” featured Lauber collaborating with Ernest Green, a.k.a. Washed Out, who contributes his ethereal and imitable vocals to a shimmering, disco-like production centered by a Chic-era Nile Rodgers groove, African percussion and an infectious hook that sounds as though it could have been a Paracosm B-side.  “Shadows,” continues in a similar, breezy yet disco-inspired vein, as it’s centered around a buoyant two-step friendly groove, arpeggiated synths, Lauber’s plaintive vocals, an incredibly tight, infectious hook that recalls Miami Horror, Washed Out and Random Access Memories-era Daft Punk to mind — but somehow even lighter. Young Romance’s latest single “Under The Sun” will further cement Lauber’s reputation for crafting hook-laden, and breezy pop centered around the German singer/songwriter, multi-instrumentalist and producer’s yearning vocals, thumping beats, a sinuous disco-inspired bass line, twinkling keys and ethereal electronics — and while continuing to nod at the likes of Miami Horror, Washed Out, Random Access Memories-era Daft Punk and St. Lucia, the song much like its predecessor reveals an ambitious songwriter and producer, who has put a unique and urgent take on a familiar and beloved sound.

The recently released video for “Under The Sun” is a cinematic and fittingly nostalgic visual that features Lauber yearning singing the song and playing guitar on the beach, reflecting on a past relationship. 

Now, throughout this site’s 8 year history, I’ve written quite a bit about JOVM mainstay David Alexander, an internationally renowned Swedish-born singer/songwriter, multi-instrumentalist and producer, best known for his solo electro pop/dream pop recording project Summer Heart. And as you may recall, Alexander has received attention both nationally and internationally for being among the first wave of Sweden’s contemporary electro pop and dream pop movement along with the likes of MoonbabiesThe Land BelowHey ElbowBlind Lake and Emerald Park, as well as for a sound that has been compared to CaribouWashed OutIn Ghost Colours-era Cut CopyPainted Palms and others.

With 12 Songs of Summer, Alexander adds his name to an increasing number of artists, who have adopted a single of the month series over the past couple of years. In the blogosphere age, single of the month series manage to make much quite a bit of sense creatively, financially and marketing-wise. Creatively, the artist isn’t constrained by the pressure of writing material within a cohesive style or theme in mind, as they (potentially) would have to do if they were working on an EP or a full-length album. Financially speaking, independent artists, who are most likely struggling to find ways to fund their efforts to record, tour and promote their work can put out material quickly, ensuring that the artist can receive some sort of attention outside of the album cycle. As Alexander explained in press notes, “The idea behind this project is to show people what I am currently working on instead of what I was doing two years ago, which can be the case when you release an album. It’s definitely a way of challenging myself, thinking less and having more fun creating music!”

“Subside,” the 7th and latest single in the 12 Songs of Summer series finds Alexander collaborating with Toronto-based artist KYLO, who contributes ethereal yet soulful vocals drenched in copious reverb to a lush and shimmering production centered around finger snap-led percussion, stuttering synth arpeggios, shuffling beats and an infectious hook to create a radio friendly, club banger that evokes balmy summer nights, of evening faces, dance floors and strobe lights — and interestingly enough the song brings Within and Without and Paracosm-era Washed Out.

As Alexander recalls, I met K¥LO in Toronto a couple of years ago. We played a show together and since then we’ve stayed in touch and also vaguely talked about making something together at some point.

Back in April, I was sitting on the floor in my friend Alex’s apartment in the East Village playing around with Logic X on my laptop. I was feeling super inspired; I got this song going and quickly decided I wanted to collaborate with someone on it. K¥LO was the first person I had in mind and so I sent the roughest demo ever to her.

To me this song is about someone’s bad habits, and about not being able to concentrate and focus and taking the easy way out.”

KYLO adds, “The lyrics to ‘Subside’ were inspired by a time in my life when I was going through a lot of changes. I was getting used to living without someone I had been with for a long time and battling the loneliness that came with that change. Summer Heart is someone I’ve wanted to collaborate with for a long time; I think that as a producer he’s managed to reflect the message within the lyrics on the track.”