Sam Sparro, the man with the croonyest voice in electronic Pop music is back with the second, and lead-in, single taken from his forthcoming ‘Return To Paradise’. It’s more classic Pop, less Disco, than the previous single ‘Happiness’. Actually more like the Sam Sparro of old, but slightly more musically mature.
The single comes complete with an eclectic reMix package, the reaction to which I have found interesting and a little bewildering. The music blog world is awash with the Azari & III reMix, which has the typically deep, stripped down Chicago House vibe you’d expect from them. It’s actually a really cool track with a sweet hypnotic pulse, but it’s not the best reMix on the single. A fewer number of blogs have picked up on the Stereogamous mix, with it’s robo Disco groove that highlights the emotion of the vocals, also an very nice track, but not the best reMix on the single either. The standout reMix comes from Devil’s Gun, and that’s a massive surprise. When I think of Devil’s Gun I usually think of something dark and gritty. Even on their collaboration with future Pop starlet Queen Of Hearts they kept things grinding and doom laden, but with their reMix of ‘I Wish I Never Met You’ they go positively Dreamwave. It got a huge Disco sound with layers and layers of chunky synths that give it a touch of that grit, alongside a solid retro Disco flavour. It’s big and funky and fun and I have no idea why it’s been largely overlooked by the music blog world. I suppose Devil’s Gun don’t drive the same kind of traffic as Azari & III though, not yet anyway…
♫ Sam Sparro – I Wish I Never Met You (Devil’s Gun reMix)
♫ Sam Sparro – I Wish I Never Met You (Azari & III reMix)
♫ Sam Sparro – I Wish I Never Met You (Stereogamous reMix)
‘I Wish I Never Met You’ is taken from Sam Sparro’s forthcoming new album, ‘Return To Paradise’, out 27th May.
It was the summer of 2010 that New York based eclectic ElectroPop duo of Amanda Warner and Pete Wade, better known to the discerning Pop world as MNDR, first came to out attention. A combination of stumbling across their track ‘Fade to Black’, and consequently the ‘E.P.E.’ EP, and then within a few months Mark Ronson’s MNDR & Q-Tip featuring ‘Bang Bang Bang’ blowing up, had us hooked.
MNDR manage to walk a line few people can successfully pull-off. Their music is both interesting, sometimes even experimental, and edgy, yet at the same time as catchy as the best Pop track and infectiously danceable. Thoughtful songs, loaded with meaning and a sense of humour, coupled with electronic music production that isn’t afraid to do something different, whist understanding the importance of melody, is a winning combination. The past year has seen MNDR go from strength to strength as Amanda has been touring extensively and releasing as string if acclaimed singles, most recently ‘#1 In Heaven’. All building anticipation for the release of MNDR’s début full length record ‘Feed Me Diamonds’, which promises to be one of the electronic albums of the year.
Synth fetishist Amanda Warner has a style and charisma that puts most frontwomen to shame, a prolific songwriter (she’s also written Pop songs for a publishing company), producer and performer with a clear vision of what she wants to achieve, took some time out from her schedule touring with The Ting Tings to speak to electronic rumors about, y’know, synths and stuff.
ER. Tell us a bit about your musical history leading up to MNDR, have you always been into making electronic music or have their been Rock bands along the way?
AW. I have been into and making music all of my life. From Classical all the way to noise and experimental and lots in between. So yeah there has been a few Rock bands…but always left of centre out of the grip.
ER. So what influences you, both from an electronic music point of view, and what inspires your actual songs?
AW. I have always been inspired by production and sound/sound design. I think it brings out melodies and micro melodies that can be lost a bit using traditional Western instrumentation. I think pop music is about connecting with as many people as possible. I took a break from pop music and was really involved with Experimental/Noise music, which felt more about exclusion than inclusion. When I decided to start making Pop music again I thought I should try and make it about connection and inclusion as much as I possibly can. I think people connect with emotion. For me, sounds can be as emotive as lyrics and melody. However, I think the challenge and what is inspiring about Pop music is writing lyrics and melodies that people can connect with. It is difficult to write a song that is direct and from the heart. It is a challenge to not drench it in metaphor. You can say I Love You or I Feel Sad many different ways using metaphors, but the challenge is to just say it…without irony and straight from the heart. I try and do that everyday with Pop music.
♫ MNDR – Fade To Black
ER. From the outside, it looks like New York is one of the only places in the US you can get away with interesting electronic music. The big dance acts seem to be working all over now but New York still seems to be the home of more eclectic synth stuff. Do you think MNDR could have kicked off anywhere else in the states other than New York? Has being based in NYC now given you an audience you wouldn’t have had otherwise?
AW. I have to respectfully disagree with you. Chicago, LA, SF, Berlin, Toronto, Minneapolis…truly electronic music is growing and changing everywhere. I don’t really think NYC is the centre of electronic synth music. I think this style of music is sort of beyond geography. I’m sure the best EDM is happening in Lawrence, Kansas right now….or Fargo, ND. That’s usually how it goes.
Truly I don’t know if MNDR would have changed into pop music if it weren’t for NYC. That is really odd to say come to think about it. I think NYC sort of focused me and what I wanted to do with pop music. NYC has a way of not letting you fuck around too much…the game is deep here.
ER. Does Pete ever play, or have any intention to play, live with you? Or appear in the videos? Or is he more comfortable holed up in the studio?
AW. MNDR is a duo in the studio with Peter and I, but as far as live performance and everything else that goes with doing an artist project, it is more of a solo endeavour.
ER. One of the coolest things about you, other then the music obviously, is that you’re apparently a massive synth geek. Where did you obsession with studio noodling come from?
AW. I grew up on a farm in rural North Dakota. My dad was a “blue eyed soul” Rock musician and moved onto more Dad music as the years rolled by. He built an extremely modest 4 track reel-to-reel studio in the basement of our old family farm house. It is cold as hell there and I just wanted to multi-track record. So finally when I was about 9 or 10 my dad taught me some basics of multi track recording and it went on from there. There was always music and musicians at our house.
ER. So, what’s in MNDR’s studio? Any favourite or go-to bits of kit?
AW. I ended up selling a lot of stuff when I moved from California to NYC. So I was pretty in the box for a long time. I just recently started to purchase gear again. I finally rented a proper production room in Brooklyn. Right now I have a Moog Voyageur, Dave Smith Evolver, Nord G2 Engine, a replica of an EMS MK1 suitcase synth, Electrix Repeater, and some pedals…bits of this and that. I am super into the Roland EP series vintage keyboards. I believe Fela used them or I know that Antibolis has them. I have a 1974 Telecaster, 1970 Fender P-bass, and some other great guitars. I am getting way back into playing guitar and bass…I guess that’s where I started. I imagine by the end of the year I will be sleeping under a pile of MIDI cables and modules. Oh yeah I just bought an OP-1 and I LOVE IT!!!!!! Also I have heard great things about the Tempest. Does that answer the question? I think I rambled a bit.
ER. And how does the writing and recording process work? Do you and Pete write together?
AW. Generally it starts with a beat that Peter and or I started and then it goes from there. We write almost everything together. Our goal in the studio is to always just start from pure creativity and emotion. I truly hate starting music with “we need a fill in the blank song” sort of mentality. I don’t think it lends itself to good song writing….or at least it doesn’t for Peter and I.
ER. If money was no object, what synth (or bit of studio kit) would you love to own?
AW. I pretty much want everything. If I had to choose, I am super into a vintage Eventide Omnipressor. I would also love a Yamaha CS-80 or maybe a tubon. I also would love a 300 year old baroque double bass with a 500 year old bow. I also want every vintage Danelectro and I want to live at Steve Albinis or John McEntire’s studio…maybe Carl Craig. I think I truly want everything. I really like old studio gear that has a ton of character.
♫ MNDR – C.L.U.B.
ER. Your new video for ‘#1 In Heaven’ sees you sans huge glasses, was losing them for the clip a hard decision? What’s the thinking behind the video?
AW. There’s more to life than glasses…but I do need them and they are my actual prescription. I have some new pairs of glasses….so you will see some of my four eyes again. The video directed by Cody Critcheloe (SSION) is a manifesto. We were inspired by Valerie Solanas, Patty Hearst, zines, and posters. The song is about Patty Hearst and her involvement with the SLA. The video is a live action zine and manifesto being created in real time. We wanted the political/zine undertones to be involved with the video. Cody is a genius…so he can make anything come together.
ER. So, I didn’t really know much about Patty Hearst and the SLA, although it was news over here I don’t think it made the same impact in the cultural psyche. So when I read that the chorus of ‘#1 In Heaven’ was based on her arrest statement I read up on the subject. Is the whole song based on those events or just those chorus lines? What about that situation inspired you to write about it?
AW. The whole song is inspired by her sympathizing with her captors (SLA). I am inspired by heroines and people who have moments of clarity and are willing to throw everything away for their beliefs. Patty Hearst is a million times more wealthy than let’s say Paris Hilton, and she believed in something so much, she was willing to throw away her fortune and fame. The SLA was a violent organization, which I don’t agree with, as I am a humanist, but I can appreciate on some level extreme idealism. I guess I am SO BORED with everyone these days selling purses instead of doing something interesting.
ER. When can we expect the MNDR full length album? And what can we expect from it?
AW. MNDR album entitled ‘Feed Me Diamonds’ is out this summer in late July/early August on Ultra Records. This is a pop album. It has ballads, dance songs, mid-tempos and everything in between. I think you will find that it is not solely a “dance pop” album, but more of a “pop album” you catch my drift????
ER. Are you a cereal for breakfast person, or more of a pile of pancakes kinda’ gal? Would that change the night after a big show?
AW. I am an oatmeal girl no matter what sort of trouble I was in the night before.
Many thanks to Amanda for taking the time to speak to our readers (that’s you lot!), we can’t explain how excited we are to hear to new album.
‘#1 In Heaven’ is out now with MNDR’s full length album, ‘Feed Me Diamonds’ due out this summer, both on Ultra.
Nashville Indie-Electro band Future Unlimited’s ‘Golden’ was the highlight of their recent EP, a lush sing-a-long ElectroPop epic full of rousing chords and heartfelt vocals. Well the best on the EP just got a little bit better with a reMix from southern Californian ElectroPop four piece The New Division.
the New Division bring a little more groove and a little more synth goodness to their reMix. ‘Golden’ was pretty anthemic to begin with, but The New Division take it to uplifting new places, places where it’s constantly sunrise. Giving the track a bit of a House makeover and adding some truly euphoric synths give the track some goosebump inducing moments. Dipping and rising from gritty basslines, softly sung verses to massive Poptastic choruses, this reMix has got hooks, both vocally and melodically, in all the right places.
So, we already established that French ElectroPopsters Jupiter’s ‘One O Six’ is probably an ode to the Roland Juno 106 synthesizer when we wrote about the fantastic A.N.D.Y. reMix of the track. The whole single, including the B-Side is a pretty special collection of tracks that definitely deserves further investigation.
‘One O Six’ is a deep analog bass funkin’, synth stabbin’, dreamy vocal croonin’ slice of DiscoPop. Musically imbued with a particular French sense of humour, this is exactly the kind of bouncing quirky SynthPop we’ve come to expect from this twosome in the last few years. The B-Side, ‘Multicolorising’, many not have the catchy vocal hook of ‘One O Six’, but my word does it make up for it in tons of Cosmic Funk. Vocodered robot vocals chant melodically over thick Moog-esque bass and laser synth zaps. This is late ‘70’s/early ‘80’s electronic Disco amazingness and, to be honest, is the stand out track on the EP. We’ve already heard the stunning A.N.D.Y. reMix, the other reMixes on the single come courtesy of Juveniles with laid back French Disco mix, T.E.E.’s deep Acid track, and The Supermen Lovers with two reMixes, the ‘Classic’ mix which lays on the ‘70’s Disco hard, and this ‘Basic’ mix. A growling House cut lead by some intense percussion that takes the track deep and dark while retaining the groove. The ‘One O Six’ single is a top quality taster of what to expect from Jupiter’s forthcoming, and long awaited ‘Juicy Lucy’ album. We’ve heard it, it is seriously good. More on that later though.
While new Little Boots reMixes are always welcome round these parts, nothing compares to the perfect Pop of the music of Ms. Hasketh herself. So though we’ve had to spend the last couple of weeks content with the robotic, pulsating, Tensnake reMix it was in anticipation of Saturday, Record Store Day 2012, when the original version finally dropped.
And it was worth the wait, alongside ‘Shake’ it’s proof enough the in her years gallivanting around the world Victoria lost none of her ElectroPop flair. ‘Every Night I Say A Prayer’, maybe even moreso than ‘Shake’, it the kind of big, swooping, catchy Pop we’d expect from Little Boots. Produced with Hercules & Love Affair’s Andy Butler the track opens it’s arms to a deep ‘90’s House bassline and bright piano hook, but never loses itself in either the ‘90’s nostalgia or the House, instead making both elements work for the track, rather than the other way around. in 2008 Little Boots was the future of ElectroPop, in 2011 she’s come back to kick everyone’s ass and show the world how forward thinking electronic Pop music should be done. Not sitting on her laurels, constantly thinking ahead.
The 12″ holds reMixes from Tensnake and Joe Smooth whilst the North American edition includes additional work from Nic Sarno, My Panda Shall Fly & D-man. Boots will be playing playing May 4th at XOYO with support from Ronika. Yes, we will be there.
We had a look at the video for Rebeka’s new single ‘Stars’ earlier this week. The single is out today on Discotexas and hold a whole host to crazy reMixes. Quirky ElectroPop, on the whole, has been pretty quiet for a couple of years so we’re really diggin’ this resurgence in eclectic, interesting electronic Pop bands. Discotexas seems to be pretty into it too with more and more of their releases bringing a BedroomPop flavour to their Disco.
‘Stars’ is a great introduction to this Polish duo, (yes, Rebeka is a duo) is a classic DiscoPop track with a sultry cabaret quality and an extra helping of eastern European bizarreness. Fun and funky is a heady combination. The reMix package is, as you’d expect from Discotexas, top quality. Punks Jump Up, who after a couple of years being the coolest of the underground seem to be gaining momentum recently, bring their abrasive London Disco style to the track with building Acidic lines and a peak time vibe. Discotexas’ own Mirror People also deliver a slick as hell mix, working things a bit deeper with their Club Mix. Mirror People’s version retains the cabaret flow and presents it for the dark corners of seedy Electro clubs.
Once again Manchester’s great Dreamwave hope Mr. Jules Schimmer takes on New York’s most underrated ElectroPop artist Aaron Alexis with this reMix of ‘In The Air’. Look, I’ll level with you, it will no doubt come as no shock to learn that we’ll be releasing something with Aaron later this year, and that something will also include work from Jules. So, there’s little chance of me remaining impartial here, I love both these guys, they floor me with everything they do.
That said, this new reMix of ‘In The Air’ sees Jules take a slightly different track from his usual huge ‘80’s sounding mixes and goes down a slightly Euphoric route. Mixing in a little Balearic sunrise vibe with a big piano line with Aarons soulful vocals results in a big rush of emotion and some hairs-standing-up-on-the-back-of-your-neck musical moments. Also, it sounds a lot like an undiscovered The Sound Of Arrows song, which is a compliment. With a bit of a push this could easily be and Ibiza hit this summer.
Grum is back! Frankly we could just leave the whole post at that but I suppose we can’t really. It;s been a while since the Scottish producer dropped anything, which is a shame ‘cos everything he;s dropped so far has been gold, his ‘Heartbeats’ album of 2012 still gets heavily rotated here.
So, Grum return to us is heralded by his reMix of London Indie-Pop trio Lonsdale Boys Club who we don’t know much about save for they look really irritating. Their track ‘Light Me Up’ seems to be one of those middle-class-boy-get-a-bit-rowdy tiresome things which, luckily, becomes a work of art in Grum’s hands. The man delivers a slick DiscoPop epic that the rest of the internet seems to be saying is a lot more commercial than his previous work, but I don’t really see that. I think Grum has always had an ElectroPop streak to his synthy Nu-Disco and that’s in no way a bad thing. Here he shows he’s lost none of his Midas touch.
♫ 01 Lonsdale Boys Club – Light Me Up (Grum reMix)
Check out more from Lonsdale Boys Club on SoundCloud.
Roll up, roll up, it’s the Gigamesh assault part two. The Minneapolis master of Disco next steps up to the plate to reMix the forthcoming single from Punks Jump Up and Chromeo’s Dave 1.
Once again, Gigamesh nails it. If fact, Gigamesh’s rolling arpeggio and sweeping Disco sound goes perfectly with Dave 1’s funky drawl. We’ve already hear the Oliver & Mickey reMixes of this track and this Gilgamesh version is just the icing on the cake, maybe even saving the best until last? Here we a pure diving dance track that’s main purpose is to get you going on the dancefloor, and it certainly succeeds at that, noting about this song doesn’t want to make you move. There’s even a slight Italo flavour to it, and some cinematic pads that give the track a nervous edge that feed into the songs subject matter.
♫ Punks Jump Up (Feat. Dave 1) – Mr. Overtime (Gigamesh reMix)
In the first of a Gigamesh double whammy today we finally get to hear his version of Ladyhawke’s new single ‘Sunday Drive’. Ladies and Gentlemen, this is the one! This is the killer version of this track! This is the one you’ll be dancing to for the next couple of months!
It’s a Disco juggernaut. Loaded with majestic chords and arpeggios that fly around the mix. There something incredibly dramatic about the almost Acid arpeggio sweeps in this mix, adding a rising and falling tension which, when coupled with the track make for something quite special. Whilst we do love the songs on Ladyhawke’s new album, the whole tone isn’t as fun new wave is is was previously so it;s the reMixes that we are excited about. We’re big fans of Pips voice and songwriting, so when we hear them over tom-popping Disco like this it really makes out day.
electronic rumors 