It is like being in a Carpenter (the other one) soundtrack, like sensing the uprising of an army of zombie synthesisers in the woods – the soundtrack for the Rise Of The Synths documentary is his… as well as the one for the announcement of our line up this year–. It is like invoking the undead from the 80s with three words. Carpenter Brut’s litany doesn’t chant “klaatu, barada, nikto” but rather “terror, action and science fiction”, concepts crucial to the new sacred Trilogy of French electronic music. We do not see Franck Hueso’s face but his intention is clear: to take the burden of intimacy to communion, to twist the sound of horror till it becomes a collective celebration. Tonight at Razzmatazz.
Son Lux is the grand genre-less dream of Los Angeles composer Ryan Lott brought to roiling, vivid life with the help of two New Yorkers, guitarist Rafiq Bhatia and drummer Ian Chang. Each is a writer, producer, and performer with omnivorous taste and a penchant for wild improvisation—a band whose mix of electronic pop, unusual soul, and outright experimentalism feels more inviting than ever on the project’s fifth album, ‘Brighter Wounds.’
British artist Ahmed Gallab of Sudanese origins knows very well that in the beginning there was rhythm, something to which he applies with great dedication in his double life as Sinkane, a vibrant project of electronic music mixed with delectable funk, jazz, krautrock and Sudanese pop that caught the attention of DFA, the influential New York label captained by James Murphy that released his latest two records. Conceived as a true dialogue between cultures and traditions and with a sound that is furiously contemporary, “Life & Livin’ It”, is their new album.
The break that he took to embark on the project Invisible Foxx has come to an end and a more evocative Jeremy Jay with his ongoing fascination for cinema is now back. About to release a new album, the first in four years, that will mark his debut on El Segell, the American artist goes back to his passion for sythnpop and atmospheres of the 50s to continue a career which started in 2008 with “A Place Where We Could Go” and went on to make Jay a sort of retrofuturistic crooner with records like “Slow Dance” and “Dream Day”.
After a seven year-hiatus and after reforming the band, Deep Dream is the first single from the upcoming Lali Puna album “Two Windows” to be released in September 2017 on Morr Music.
On the new recordings the band opted for a more dancefloor-friendly sound while not neglecting the pop sentiments rooted in Lali Puna’s sound. Taking its cues from a brand of music spearheaded by the likes of Caribou, Ada or even Mount Kimbie, Two Windows sounds lush and focused, balancing the emotional qualities of Trebeljahr’s songwriting with energetic rhythms.
Still in their early 20s, The Orwells have already released two albums and toured with Arctic Monkeys. Their third album, Terrible Human Beings, feels like it should be the next precocious step in an upward progression for the Chicago area garage rockers; instead, it’s a competent but unspectacular offering that’s more likely to reinforce the band’s place as indie rock also-rans than take them to the next level. Today in concert at Sidecar.
Little Cub’s debut album, ‘Still Life’, released in April showcased a band ready to take on the world via the medium of banging electro tunes. Little Cub, the South London trio of Dominic Gore, Duncan Tootill and Adrian Acolatse are ready to set off.