Last week we introduced you to American SynthPop outfit Mirror Kisses who were gearing up for the release of their new album, ‘Bad Dreams’. The album is finally out, and it’s raining and miserable here in the UK, perfect weather for some electronic beats and songs shot through with a vein of melancholy, which makes it the perfect time to take a look at this duo’s latest offering.
The album kicks off with ‘Proud’, the track we featured last week, and the track that originally got out attention. Musically it’s a bit of a manifesto for these guys, it makes clear what to expect from the rest of the record and as we go into ‘She’s Gone’ we discover that they certainly can keep up the quality with buzzing electronics and a solid beat. aside from lots of Saw Tooth waves, Mirror Kisses signature sound comes from the vocals, which effortlessly switch between a Gothic croon and something that reminds us of Billy Corgan. It makes for a unique sound, and coupled with quite a raw, live sounding production, full of soaring synths and tribal flourishes, makes for compelling listening. ‘Bad Dreams’ is true ‘80’s sounding album, it could have quite easily been released around 1983-84. Sure, there are a few modern lead lines in there, on the more upbeat tracks like ‘Team Follow’ or ‘Sleeping In The Hallway’, but on the whole the choice of sounds, and the production style, particularly the use of big roomy reverb is very early ‘80’s. As is the songwriting, on songs such as ‘Someone to Name’ or ‘Haunt Me’ you can hear the ghosts of Japan bleeding through. Mirror Kisses’ ‘Bad Dreams’ is a definite recommendation for anyone into that end of ‘80’s SynthPop that mixed a gloomier sound with a strangely fitting uplifting quality.
♫ Mirror Kisses – She’s Gone
♫ Mirror Kisses – Team Follow
♫ Mirror Kisses – Haunt Me
♫ Mirror Kisses – Sleeping In The Hallway
Mirror Kisses new album, ‘Bad Dreams’ is out now on Chill Mega Chill.
Detroit ElectroPop artist The History Of Panic releases his début album, ‘Fight! Fight! Fight!’ next month. Ahead of which he;s released a new single, ‘The Chase’, featuring Leah Diehl of Lightning Love.. It’s a beautiful, introspective duet with almost a BedroomPop feel. Bouncy synths and quaint vocals make for a cute summery feel.
Check out the video, a slo-mo meeting of feelings directed by John Anderson Beavers, and you can download the track below.
So, if you’ve been at all an ElectroPop or Indie-Electro fan in London, or the UK, or Europe in the past ten years you’ll know the name of Scarlet Soho, and probably seen them live a few times. Like troopers they have held the line for ElectroPop and Indie-electro through some of the genre’s dark times. Scarlet, Jim and Stu are that rare breed, a British ElectroPop band that gigs, a lot. With some pretty high profile tour supports under their belt, including Zoot Woman, Razorlight, IAMX and A Flock Of Seagulls, these guys have honed their skills in the live arena, and that translates to energy in their records.
Take their new release. ‘When The Lights Go Out’ is one of the catchiest, slickest ElectroPop tracks you’ll hear all year and sees Scarlet Soho right at the top of their game and making their comeback in a Pop climate that could be really welcoming. So after years as one of the top underground ElectroPop acts in Europe, it looks like 2012 could be the year Scarlet Soho gain that wider recognition they so deserve.
The lovely Scarlet, keyboard player and bassist extraordinaire, took some time out of their busy promotional schedule to chat with us about the past, present and futures of Scarlet Soho.
ER: We were quite surprised (in a good way) when ‘When The Lights Go Out’ hit the electronic rumors inbox. We weren’t sure whether you were still going. So what have you been up to since ‘Warpaint’ and what makes now the perfect time to return to people’s consciousnesses?
SS: It feels like we’ve not been away! Despite the lengthy gap between ‘Warpaint’ and ‘When The Lights Go Out’ we’ve been gigging sporadically, breaking new ground and working hard on the new material. Lots of stuff has been written, rewritten, reworked, scrapped and revived in the last couple of years. We probably have enough tracks for some kind of triple album, but decided to bite the bullet and drip-feed the new tracks to the world in a series of EPs. And get back on the road where we belong!
ER: How does it feel to be back promoting a record again? As an ElectroPop webzine we’ve definitely seen a change in the musical landscape in the past three years, HURTS’ success has suddenly made ElectroPop with a shot of melancholy, and a bit more intelligence, more of a commercially viable option. This must make it a pretty exciting time for you guys to be releasing a new record?
SS: Yes, we’ve been chomping at the bit for so long now it’s a huge relief to be pushing something new. In the meantime I’ve grown to love ‘Warpaint’ again and the new songs fit nicely into the set and are being received well. Having not toured for a little while you have a slight concern that maybe you’ve forgotten how to do it. But the recent tour to promote the EP has been our best to date!
HURTS look distinctly like Bros to me… Which I find slightly (very) off-putting. When I first saw their video I thought they were a joke band… But a gazillion Germans can’t be wrong. Can they?
I’m a huge fan of Robyn and Ronika and the more out-and-out Pop acts that are about at the moment. HURTS have always seemed a little smug and po-faced.
But yes, exciting times for music at the moment I think.
When The Lights Go Out (2012)
ER: So, tell us about the new EP. It seems polished compared to the ‘Warpaint’, which now seems quite raw and gritty in comparison. How, and why, would you say your sound has evolved?
SS: As I mentioned we have been working and reworking the tracks for a long time. And came to realise that less is more. It’s the Ramones effect I think – the less going on, the more it hits home. The same can be said for AC/DC, the more simple you go, the louder it allows you to be. I like loud.
ER: For us, listening to the ‘When The Lights Go Out’ EP, we felt like this was the point ‘Divisions Of Decency‘ and ‘Warpaint’ were leading to? Do you feel like this is the ultimate incarnation of Scarlet Soho?
SS: I believe we are now the band we always wanted to be. In the beginning we were a little cautious of being “too Pop” and often whilst writing the songs would wonder if we could actually get away with some of the stuff we were coming out with. Being a little older and wiser now you just do what you want to do. People go to watch bands to have a good time. They don’t want to be stood around gazing at the floor being miserable. There’s a time and a place for that – at home. We love touring and like to see people drinking and dancing.
I’ve always been in awe of comedians, because making people laugh is an incredibly difficult task, but so is getting people to dance.
It feels good to know that you’ve contributed to people having an amazing night.
ER: What’s been your influences writing the new material? And what are you guys listening to these days?
SS: When we toured with Zoot Woman it was the first time we had toured with a band that were that mainstream. And around that time we also started listening to a lot more commercial music. James loves his Italo. I think that has figured in the studio more this time round. When writing he has a in-depth vision of exactly how he wants the songs to sound (which often is miles away from the original demo he comes up with). I’d love to tell you the inner workings of that man’s brain but thankfully I’m not privy to that.
ER: How’s The promotion of the EP going? It looks like you’ve been pretty busy hopping back and forth from Europe for shows.
SS: It’s going well thank you! We’ve had some amazing reviews and great support from the Electro scene. We were a little worried that we’d be starting from scratch, but the EP and shows have been well-received from fans old and new.
Speak Your Mind (2009)
ER: So, what’s in Scarlet Soho’s studio? Any favourite or go-to bits of kit?
SS: We’re not really a ‘gear’ band. We used to own a lot of old synths, I had a couple of CZ5000s and a CZ1000 but we ditched them when we started playing abroad more often. I worry enough flying with the guitars, let alone a big old synthesizer rattling around in the hold! I love the vintage kit, but it’s so unreliable. I had shows where I had 2 synths and had to program sounds mid-set because the memory was faulty.
We’ve streamlined everything down to make travelling easier, and in the writing process the less options the quicker things get finished. I watched an amazing recent interview with Giorgio Moroder and he remarked that making all of those classic songs was easy due to the lack of variables. You had a kick. A snare. A bass sound. A string sound. Boom. Done.
For years James has preferred to manually program drums on a shitty drum-machine rather than using Logic or anything fancy. We’re luddites where that is concerned.
ER: And how does the writing and recording process work?
SS: We try to mix things up a bit. If you rehearse or write in the same place all of the time I think it’s very easy to get stuck in a rut.
James writes whilst walking. He has a Dictaphone and puts ideas directly into that. Writes snippets of lyrics on his phone. He knows how he wants things to sound so the rest is relatively easy. We use a variety of studios to keep it interesting. We’ve done bits recently in Hamburg, London, Southampton and Winchester. The studio isn’t that important in terms of getting things done. The wonder of the internet means you can achieve whatever you want wherever you are. The real work happens in the writing and mixing.
ER: If money was no object, what synth (or bit of studio kit) would you love to own?
SS: Ha! Well… It’s more about space than money! I’d love to have my CZs back. I love Vince Clarke’s Cabin. He has this amazing Cabin with all of his gear in. It’s like an Aladdin’s cave of nerdiness.
I fucking hate my Korg. It’s a piece of shit. The sooner that bites the dust the better. Every time I see a band with a fucking microKorg I want to kill myself. Sadly I think they are probably indestructible. I may put that to the test in the not too distant future.
City Behaviour (2004)
ER: When can we expect a new Scarlet Soho full length album? And what can we expect from it?
SS: We’re in the midst of doing EP2 at the moment. Vague release date for Sept/Oct 2012. It’s a little moodier than WTLGO. People that have heard the lead track have said it’s the best thing we’ve ever written. So, happy with that!
After that we’re going to do a full length album that completes the series of releases. My lips are sealed on what it’s going to sound like.
EP: Are you a cereal for full English breakfast kinda’ band? Would that change the night after a big show?
SS: I can happily speak for James and Stu in saying that “they like meat”.
We work hard on stage so probably sweat out a lot of calories.
I’m not particularly fussy, a like a bit of porridge. But often a beer will suffice 🙂
ER: Thanks for taking to time to share with out readers Scarlet.
SS: Thank you! This interview was brought to you by Scarlet from Scarlet Soho and a pot of Chai tea.
Go check out their new EP, ‘When The Lights Go Out’, and it’s awesome reMixes.
‘When The Lights Go Out’ is released 21st May, you can pre-order here.
In the second of today’s surprise new Plastic Plates reMixes he takes on the second single from Australian Indie-Electro legends Van She awesome forthcoming second album, ‘Jamaica’. Plastic Plates really outdoes himself this time.
First up, Plastic Plates wisely keeps hold of the Caribbean, Tropical flavour to the track, it what makes the track what it is and the song probably wouldn’t make sense without it. What Plastic Plates felt it did need, however, was a bouncy synthetic Disco groove. And that’s exactly what he did. Loaded with lush synths and off beat chords the track is summer dancefloor gold, but it’s amazingly subtle too, never overpowering the laid back vibe of the original. which all results in a track that’ll compel you to dance, but in a chilled way. Enjoy.
This week Indie-Electro outfit Polarsets returned for the summer with a new EP of Tropical Indie flavours. The ‘Exotica’ EP contains more of the kinda’ of summery, feel good, Indie grooves we’ve come to expect from Polarsets and includes a bunch of nice reMixes, including one from an outfit we haven;t featured in a while, Mausi.
Mausi deliver the standout track of the EP, upping the summery feel and introducing the track to a little piano House and beach party Disco. Playing around with the vocals in pretty innovative ways and coupling that with a smooth, piano led Tropical Disco tune. Most of all, however, the track rules for the shimmering lead line that runs throughout. It’s like pure sunshine in a synth.
American born Dane Shoegazer Keith Canisius, once of Dream-Pop duo Rumskib, made some waves in the music blog world late last year with his ‘This Time It’s Our High’ album. It seems he’s gearing up for something new as he’s delivering this reMix of his track ‘Where Did You Go All These Years?’ by Ronnie Heart, ex-of Neon Indian fame.
Ronnie’ ‘Creaming’ is a brooding affair that is a bit of a contradiction, a contradiction that somehow seems to work. On the one hand it’s reverb washed Chillwave roots shine though. Floating and dreamlike, both the vocals and the layers of synth sounds, ebb and flow in and out of the track. On the other hand there’s this big post-Kraftwerk Industrial machine beat and tough bassline. It probably shouldn’t work together, but Ronnie Heart makes it work and inadvertently creates Power Chillwave. Not bad for a days work.
German Electro duo Jens Moelle and İsmail Tüfekçi are pretty legendary. As Digitalism they lead the vanguard of mid-2000’s Electro resurgence, riding the high point of, and contributing to, Kitsuné’s cool and generally paving the way for modern Electro-House and Indie/Electro crossover. With raucous songs and an energetic live show, Digitalism showed the world that electronic music could rock…hard. Seven years and two studio albums later, Digitalism have consistently proved they are not only masters of rocking a crowd with high-octane Electro, but also deft songwriters, effortlessly mixing Indie and Electro amongst melding pot of styles that encompasses Disco, ElectroClash, Punk and Techno. Big beats and great songs, what more could you ask for?
Recently the duo were asked by Studio !K7 to curate and mix the latest in the long, prestigious line of DJ-KICKS albums. Released next month Digitalism’s DJ-KICKS through some of the best, punchiest, Electro around with the two Germans both paying respect to their career since 2004 and dropping some brand new exclusive tracks of their own. The likes of Vitalic, TWR72, WhoMadeWho and The Rapture rub shoulders with fresh tunes and reMixes from Digitalism in possible the best DJ-KICKS album for a while.
Jens and İsmail were kind enough to take some time out of their busy promotion schedule to put up with our waffle and fill you guys in on some of the inner workings of an Electro legend.
ER. Interviews tend to start by asking about influences, but in this case we’re really interested to know what your influences and music backgrounds are. Digitalism has always been such a melting pot of sounds, from Electro and ElectroClash, to Punk and Indie, to House and Techno. Where does that all come from?
D. It probably all started with growing up with 1980s computer games. They had amazing 8-bit soundtracks, and they were sometimes all about diving into weird different worlds made of bits and bytes. There were amazing compositions, and they sounded a bit new wave and punk sometimes. We love soundtracks in general, also the classical ones from John Williams, Vangelis and Ennio Morricone. Some people said we sound quite ‘Nordic’, pretty atmospheric and melodic like Röyksopp and Björk for example. Maybe true – we live close to Skandinavia in Germany. In the 1990s we started listening to Dance Music, especially House, and got hooked up by a weekly radio show that played the top ten tunes, vinyl, 10-minute versions. It was the first insight into nightlife and a totally different formula of music. We then met twelve years ago in a record store and started DJing House. After a while we got bored of the regular new releases, everything sounded the same. That’s when we started going more leftfield and alternative in our sets, like with Disco Punk, ElectroClash and Breaks. It was more fun. Of course we also had our years listening to early U2 and even Trance (in Germany, unavoidable in the 90s), and we share a love for Hip-Hop. We absorbed a lot of music and made it into a very broad dough if you want. We don’t like concentrating on just one genre too much, we get bored too easily. But what combines all of our music is that it’s electronic, it’s riff-heavy and it’s cinematic. And cheeky.
ER. And so how do you see yourselves? I would say most people we know who are fans of Digitalism are Electro fans, but some the time you are straight up Indie. Where would you say you fit and do you see yourselves bringing, say Indie to Electro fans, or Electro to Indie fans?
D. We reside within the two poles of Techno and Indie music. Ever since we started making music, we did it in a DIY way. So even when we make something that’s more techno, it might have that garage band attitude shining through. We didn’t care much about flawless production, that’s why our music sounds pretty raw in general. At the end, we’re electronic artists, because we don’t have a band background and we don’t play guitars and all that. We use those sounds, and we have those instruments lying around in the studio, but at the end we work with electronic gear, and we come from a Dance Music background, so even our more songy tracks are still danceable.
Our home base was always the electronic scene, so you could probably say we’re bringing Indie to them. But then again – we’ve played so many festivals with band line-ups programmed around us, that we sometimes also gave an insight into Electro to those live-band audiences. It’s great to have them all aboard.
♫ Digitalism – Simply Dead
ER. So what’s the story with you two coming together? Did you decide to make music with a bit of everything you liked because no-one else was?
D. We met in a record store in Hamburg twelve years ago. Jence was working there in the afternoons after school, and Isi came round as a frequent customer. It was a place to hang out like in ‘Hi-Fidelity’, and they were specialized on House and Techno vinyl, so it was more for DJs only. We spent a lot of time there, practicing mixing on the turntables and browsing vinyls. We were just old enough to go to clubs, and we started DJing. The owner of the store did parties every now and then, and he put us on the bill together. Since then we’ve played together every time. Having spent so much time in the store, we started to get bored of the releases that would come in every week. They all sounded the same, and we didn’t want to play stuff that 99% of the others would be playing. So we started making our own edits at home to have something unique, and later on when we had more gear, like a keyboard and stuff, we made our own first tracks. We felt like there wasn’t really the type of music that we’d love to play, so we had to make it ourselves – a mix between techno, punk and electro. Back then, we were the only ones in our home town. That’s why we played mostly abroad at the beginning. Now it’s thriving with lots of young and really talented producers.
ER. ‘Idealism’, and the singles that came before it, were some of of the biggest records that were part of the 2005-2007 resurgence of Electro, how much was that a pressure when recording ‘I Love You, Dude’? You must have felt like all eyes were on you.
D. It wasn’t too bad to be honest. We had a couple of years of touring-only after the release of our first album, and we got more experienced in playing live, and collected lots of impressions from travels and being on the road. All that went into the second album. We knew we didn’t want to repeat ourselves, that was clear for us. Everything else was basically freestyle. Like with the first album, we started making quick ideas, tested them in DJ-sets and then had some favorites that we later on turned into full songs and tracks. We loved them, so we just stuck to them. This time we wanted to get deeper into songwriting for a change, so lots of the track on ‘I Love You, Dude’ are shorter and more structured, and have vocals on them. It was just something we felt like doing when we made the album.
At the end, we had something that was obviously different to the first album, but also was pure Digitalism, and we loved the finished songs, so we just released it. You know, as long as you love what you are doing there, you’re good. If you have doubts then you should reconsider. We weren’t doubting, because we make music out of passion in the first place, not to please people. But of course, you never really know how to handle that follow-up record. You establish a certain profile with the first LP and then you can only extend the spectrum with the second one. We felt like that was the case, so all good. Now that we’re through the notorious ‘album 2’, we feel free to do anything. Looks like exciting times are ahead!
ER. So now you’ve been asked by Studio !K7 to put together their latest DJ-KICKS album. That’s quite an line-up to follow, how did you go about compiling your playlist?
D. For us it was very clear that we wanted to present our sonic universe and history as DJs to the people. So we started by writing down all our favourite records, labels and producers from back then, and added more new music by those people or a few new favorites by upcoming artists and friends. We wanted to make sure that the list covers our whole musical spectrum, from techno via electro, house and disco to new wave and indie music, and that people know us better after they’ve had a chance to listen to the mix. At the end we added a lot of new tracks that we’ve been working on, and we had a perfect compilation. It’s like when we started making music for our DJ-sets. Now it’s a DJ-mix with ups and downs, waves, time to breathe and harder bits, and again we’ve added new music. It’s like going back to the roots, but at the same time it’s a next step for us.
ER. And the new Digitalism tracks on there, would you say they were leftovers from ‘I Love You Dude’ era Digitalism or a peek at Digitalism’s next era, what the future holds?
D. Who knows? A lot of the new tracks were made earlier this year, without a plan. We then got asked to do a DJ-kicks in the middle of that process, so we just went: ‘Yeah let’s put all this stuff on it to make it even bigger!’. Two tracks are a bit older (‘The Pictures’ and ‘Simply Dead’), the rest are all new, and the remix for The Rapture was made exclusively a few days before the deadline for the DJ-kicks. We were just jamming around in the studio, so we don’t know what’ll come out of it next when we’re back there.
ER. Having reMixed the likes of Depeche Mode (and Dave Gahn) and The Cure, would you say you had a fondness for old SynthPop and New Wave? Sometimes, in some of your arrangements, we get the feeling that might be influences coming from there. I always hear a lot of New Order in your more Indie-Electro songs.
D. That’s correct, we like the mix of live bass, edginess, amateurism and synthesizer sounds ever since the 80s video games that we’ve mentioned earlier. A lot of New Wave and Post Punk music had that kind of vibe – it was a bit colder and darker, they used the first drum machines and sequencers, and they had warm basslines with icy synths. Something really appealing. People should check out that era (end ‘70’s ‘till mid ‘80’s).
ER. Your reMixes tend to be pretty different to the original. what’s your process when deconstructing and reconstructing a track you’ve been asked to remix.
D. We approach a remix usually the same way we deal with our own original material: We make a Digitalism track out of it. That’s the same with our music: We have one idea and remix it about 20 times.
ER. So what’s in Digitalism’s studio? Do you have a favourite bit of kit?
D. The heart of it, since we started, is a computer. We have a huge analogue mixing desk that’s wired up with all sorts of hardware synths, new and old ones. We have a guitar there, even though we’re really bad in playing it, but we compensate that with the use of samplers and other tricks. From day one we always found our own ways of production and of making things happen and getting the results we wanted. Back then we didn’t have any money so our first computer was so slow that we were forced to get creative when it came to multiple tracks and all that. That’s when we started sampling ourselves a lot.
We love our Korg Electribes (we even had them on stage until last year, our studio is full of them) and old Teisco synths, and we have an EMS Synthi A. That’s a super rare one from the 70s. Its ‘brother’ synth the Putney was used by Brian Eno all the time. You can patch anything through it and it has nice real spring reverb..
ER. If money was no object, what piece of studio gear would be your dream to own?
D. Some massive modular synth probably. And The best high-class valve hardware compressors. Couldn’t afford them so far.
ER. How’s the Hamburg music scene, when I think of Germany my mind goes straight to Berlin, Sell Hamburg to me?
D. Hamburg’s been big for House music in the 90s, with people like Boris Dlugosch (who used to produce with Moloko f.i.) and Knee Deep (big in the Miami scene back then). Our record store boss even is good friends with Masters At Work, Dimitri From Paris, Roger Sanchez and all those people. There was a legendary club called ‘Front’ that gave birth to underground and acid House in Germany back then.
You’re right, people first think of Berlin when they hear the word Germany, but now Hamburg has a big electronic scene doing its own thing and making some really good music. Tensnake, Solomun and Stimming for instance are all from Hamburg. There’s a lot of stuff happening – and it’s much more beautiful than Berlin, like a huge park with lots of canals.
Oh, and Hamburg is famous for its redlight district, the Reeperbahn. Nearly everyone’s heard of it. It was the place where The Beatles started, and it’s got so many venues, clubs and bars that many close after a few months due to competition, then re-open and so on… It’s a very dynamic and interesting place.
ER. So you’ve played around a few places. Any crazy rock ‘n’ roll stories from your adventures?
D. Of course, but we don’t even want to get started with that – it’s like opening Pandora’s box. There’s no artist that’s been touring for a while without any crazy stories.
ER. What would be your preference, to perform as a DJ team or as a musical outfit?
D. We like to switch back and forth between playing live and DJing. Since last summer we’ve played about 120 live shows, and at the moment we’re on a DJ-tour through the States. It’s good to have that for a change every now and then, so we can test out new ideas and drop some favourites in the sets. When we play live, we it’s more physical and we can get rid of lots of energy on the other hand. We use a lot of sweat usually, performing.
♫ Digitalism – 2 Hearts
ER. What’s coming up for Digitalism after DJ KICKS is out?
D. There’s be music releases around the DJ-Kicks of course, and we’ll be touring more, as DJs and live. Everything else is under wraps – we like to surprise.
ER. Is Digitalism a Cereal or a Full Continental Breakfast kinda’ band? Would your answer change the day after a show?
D. We love cereal but the next day after a show is always good with bacon and eggs. We’re not big fans of continental breakfast.
So, there you have it.
Many thanks to Jens and İsmail for taking the time to share their thoughts with our readers.
Digitalism’s ‘DJ-KICKS’ record is out 10th July. You can pre-order the record here.
LA based boutique Electro label Opus Label are staying true to their word and releasing the next in their ‘Opus Label’ compilation series just a couple of months after the first. ‘Opus Label Two’ continues in their new tradition of delivering well thought out collections of some of the past few years best Indie-Electro, ElectroPop and Nu-Disco.
The line up for the new record is pretty stellar. More than a few electronic rumors alumni feature amongst the twelve tracks, including The Tapeaters’s awesome last single ‘Echo’, Metronomy’s ‘The Look’, Gypsy And the Cat’s modern Indie-Electro classic Jona Vark’, Jensen Sportag’s Everything Good’, The Whip’s comeback single, ‘Movement’, Jean Tonique reMix of Chateaubriand and Destronics’ ‘The Sunset’, Amtrac’s ‘Distant Heartbreak’, Opus head honchos Miguel Angel Jiménez and Jeremy Wineberg have done an amazing job curating this collection. There’s a definite summer vibe throughout with some of the chilled tunes from the last couple of years featured. As with ‘Opus Label One’ the package comes with a booklet featuring the work of a particular photographer, in the case of ‘Opus Label Two’ it’s Frenchman Yougo Jeberg who contributes his style to the packaging.
Passion Pit have premièred the video for their new single ‘Take a Walk’ .
the video is the result of a collaboration between Passion Pit & Universal and Vice & Intel’s The Creators Project. the tracks is a return to introspective summery Indie for Passion Pit.
electronic rumors 