Electro – Page 39 – 7th Level Music

Ela Minus releases remix of “close” by Buscabulla.

Ela Minus’ debut album acts of rebellion, released last October via Domino, boasts “daring calls to would-be dance floor revelers and rioters alike, in both English and Spanish” (Rolling Stone). Since the album’s release, Ela has been keeping busy – she recently performed at Chanel’s Fall-Winter 2021/2022 Haute Couture show and remixed Little Dragon’s “Hold On”. This fall, Ela will tour the US in support of the album. Ahead of these dates, she today presents a remix of “close” (feat. Helado Negro) by Buscabulla, plus a live performance of the otherworldly Liminal Spaces version of the song.

Ela and Buscabulla have previously worked together, namely on Ela’s remix of their song “Vámono.” The “close” remix features vocal contributions from Buscabulla’s Raquel Berrios and expands the playful original into a murky and dreamy dance track. The “close” (Liminal Spaces Version) live performance was filmed in the Centro Historico district in Mexico City earlier this spring and marks the first time Ela performed the song live.

“‘close’ is different from the rest of the songs on my album in many ways, including that it’s the only one with a collaboration, Helado Negro. My approach to sharing this song has been different; when I imagined how to approach new versions of it, I imagined them very distinctly. I came across the concept of liminal spaces, which inspired the improvisation of this version – in one take. I always imagined hearing Raquel’s vocals on this song, so I asked Buscabulla to rework it.” – Ela Minus

Listen to Ela Minus’ “close” (feat. Helado Negro) (Buscabulla Remix)

Watch Live Performance of “close” (Liminal Spaces Version)

Watch/Listen/Share
Purchase / Stream acts of rebellion
Watch “el cielo no es de nadie” Video
Watch “megapunk” Video
Watch “they told us it was hard, but they were wrong” Video
Stream “dominique”
Listen to “they told us…” Remixes

Ela Minus Tour Dates

Wed. Sept. 15 – Washington, DC @ Flash
Fri. Sept. 17 – Atlanta, GA @ Aisle 5
Wed. Oct. 20 – Brooklyn, NY @ Elsewhere
Fri. Oct. 22 – Sat. Oct. 23 – Miami, FL @ III Points Festival
Sun. Oct. 24 – Los Angeles, CA @ The Roxy Theatre
Thu. Feb. 10, 2022 – Houston, TX @ White Oak Music Hall ^
Fri. Feb. 11, 2022 – Dallas, TX @ Granada Theater ^
Sat. Feb. 12, 2022 – Austin, TX @ Stubb’s BBQ ^
Mon. Feb. 14, 2022 – Phoenix, AZ @ The Van Buren ^
Wed. Feb. 16, 2022 – Oakland, CA @ Fox Theater ^
Fri. Feb. 18, 2022 – Vancouver, BC @ Commodore Ballroom ^
Sat. Feb. 19, 2022 – Vancouver, BC @ Commodore Ballroom ^
Sun. Feb. 20, 2022 – Seattle, WA @ The Showbox ^
Mon. Feb. 21, 2022 – Portland, OR @ Roseland Theater ^
Fri. June 10, 2022 – Barcelona, ES @ Primavera Sound

^ = supporting Caribou

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]

Mandy, Indiana release Daniel Avery remix of their single “Alien 3.”

Mandy, Indiana (FKA Gary, Indiana) is a Manchester, UK-based trio who combine elements of post-punk, noise, and electronics, emphasizing raw energy and emotion over meticulous composition to create a singular cathartic experience. Earlier this year, they released “Alien 3” via Fire Talk Records. “It begins with a marching band-style beat that intensifies as it progresses, providing an ominous backdrop for frontperson Valentine Caulfield‘s dissociated vocals. Delivered in her native French, Caulfield adds an extra layer of texture to the band’s gnarly sound” (FADER). Today, they present Daniel Avery’s club-ready “Alien 3” remix. “We were overwhelmed to learn that Daniel was a fan of ‘Alien 3’,” says the band. “His music is so unique and inspiring so to have him reinterpret this track was such a joy!“

“A friend told me I should check out Mandy, Indiana – said they were one of the most exciting new bands around and that they would tick all my boxes. Turns out he was right,” adds Daniel Avery. “The band asked if I wanted to try reworking something for the club and I immediately had a feeling something big would come out of it. Turns out I was right.”

Listen to Mandy, Indiana’s “Alien 3” (Daniel Avery Remix)

Mandy, Indiana’s founding members Scott Fair (guitar / production) and Valentine Caulfield (vocals) met through Manchester’s thriving DIY music scene before recently enlisting drummer and percussionist Liam Stewart (percussion). The band create pop music with brutality anchored by the punk poetry style of Caulfield’s vocal delivery. Their music ranges from the warping techno of “Alien 3” to the industrial noise of “Nike of Samothrace ,” songs disparate in nature, but connected by an explosiveness.

More will follow from Mandy, Indiana later this year and all upcoming tour dates are below.

Mandy, Indiana Tour Dates

Fri. Sept. 24 – Bristol, UK @ Klub Loco
Wed. Oct. 20 – Manchester, UK @ YES Basement
Sat. Nov. 20 – Manchester, UK @ White Hotel
Fri. Dec. 3 – Manchester, UK @ YES

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]

Levitation France announces full 2021 lineup, and it’s a doozy.

The 2021 Levitation France full lineup has been announced, and it’s a great one.

The show will be at an outdoor venue this year to be a bit safer during the tail end of the pandemic. The Friday night shows include sets by The Limiñanas and Mars Red Sky, while Saturday night has sets by Shame, SLIFT, Zombie Zombie, Anika, and Wild Fox.

I’d be at this festival were it not for a nephew’s wedding that same weekend, but you should go in my stead.

Keep your mind open.

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Buffalo Daughter release first new music in seven years – “ET (Densha)” – from their upcoming album.

Photo by Enno Kaptiz / digitally altered by Kosuke Kawamura

Japanese art-rock pioneers Buffalo Daughter have announced We Are The Times, their first new album in seven years, out on September 17th, 2021, alongside the first single from the record “ET (Densha)” available on all digital streaming services now.

Since their 1996 debut on the legendary Beastie Boys-run label Grand Royal, Buffalo Daughter has been recognized as an original and energetic standout in the modern Japanese music scene. Over their decades long career, The band has pushed their unique post-rock, new wave, and techno influenced sound to global success, from numerous world tours to collaborations with many prominent acts including Air, Blonde Redhead, Cibbo Matto, and Shonen Knife.

The music video for their new single “ET (Densha)” was created by Berlin based artist Ryoichi Kurokawa, illustrating the worldbuilding sensation of the track with a sense of delicate power. “ET (Densha) is our soundscape for the world we currently live in,” the band wrote in a statement. “Darkness and light, chaos and harmony, intensity and ease – they seem to be black and white, but are they really? Where are we going? Take the ET (electric train) and let the journey begin.”

We Are The Times started from an improvisation session with Masaya Nakahara as part of a tribute program for Takahiro Muramatsu(Smurf Otokogumi). The album took quite some time to record, growing and changing with the band members’ shifting lives and world views as they navigated the covid-19 pandemic. Though the record was created during a tumultuous period, it starts with the phrase “Music is the vitamin,” indicating Buffalo Daughter’s hope for positivity in the world of 2021; the band sought to create an energetic and optimistic project to combat our anxious times. The vibrancy of their sound on the album is perhaps best summed up in this quote from collaborator Masaya Nakahara:

“A bright fruit of electronic sound! Buffalo Daughter’s new sound shows the light for where we should head to in this chaotic world.”

“We Are The Times” will be released digitally and physical CD (only available in Japan) on September 17th with vinyl to follow on October 15th.

Keep your mind open.

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[Thanks to Jake at Ramp Global.]

Review: SUUNS – The Witness

Canadian psych-electro rockers SUUNS were tired in 2019. They had been touring almost non-stop since 2010. They needed to slow down, recharge, and refocus, but they didn’t want to stop making music. So, they stopped, or perhaps were forced to stop due to the pandemic, took a breath, and created The Witness.

Opening track “Third Stream” begins the album with a slow, brooding pace, almost like some of Pink Floyd‘s synth-driven psychedelic cuts. The lyrics tell of checking out from the systemic grind and seeking greater things like peace and love. The drop of the echoing guitar and drum beats on it will grab your attention. The title track, with its bumping electro bass and beats, is a song about watching things fall apart around you and avoiding the temptation to fall into the miasma.

The slow, somewhat creepy beat of “C-Thru” is perfect for late night drinks, meditations, or slow dancing with multiple lovers. “Timebender” mixes birdsong with distant guitar riffs and soft beats for an intriguing track about looking beyond the self.

“Release yourself, remove this shroud. What you see when you look around. Clarity so real, don’t change your mind.” Profound lyrics about in “Clarity,” a nice standout in the middle of the record. According to SUUNS, they’ve been working on “The Fix” for about four years and it finally found a home on The Witness. It’s a strange, quirky track with a beat that seems to shift in about five different directions. In other words, it’s kind of cool. “Go to My Head” combines Bossa nova guitar, subdued electronic beats, and simple lyrics about moving on from a finished romance into a nearly six-minute hypnotic therapy session. The album ends with “The Trilogy” – a song that, the band admits, they just sort of let happen once they got into a groove they all enjoyed. How cool is that?

SUUNS have also admitted that The Witness is a stepping stone of them toward different types of material they want to record and different themes they wish to explore. It’s a good start, and it makes you interested in what they’re planning next – as any good album should.

Keep your mind open.

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[Thanks to Patrick from Pitch Perfect PR.]

Review: Pearl & the Oysters – Flowerland

“Delightful” is the word I’d use to sum up Pearl & The Oysters‘ new album, Flowerland. It’s a bright, lovely electro-pop record and the kid of music we all sorely need as we approach the latter half of 2021 with trepidation. Should we travel? Is the pandemic really over? Is it okay to make out and hug people again? Pearl & The Oysters might not have all the answers, but they do have warm, self-replicating optimism.

“Soft Science,” the album’s opener, is a song about taking time to enjoy life (“Hey, come to the beach. You studied all night long.”) and not being a slave to the self-imposed grind. Poppy, fun synths encourage us to step outside our comfortable homes and feel the sand between our toes again. The up-tempo “Bit Valley” is an ode to staring at a computer for so long that you dream about it later. The synths sound like happy, giddy birds throughout the whole track.

“Treasure Island” is perfect for lounging at the outdoor hotel pool, at the beach, or even on the plane ride back from vacation. It’s lazy, groovy, and lovely electro-lounge. “Radiant Radish” is psychedelic surf as Pearl & The Oysters encourage us to get away from bumper-to-bumper traffic and forget your troubles at the beach. The lazy beats and lazy, warped guitar riffs on “Crocodile” reflect the self-isolation lethargy so many of us faced (“Why am I still inside?”). On its surface, “Candy” is about a love of candy and indulging in one’s sweet tooth, but is actually about love, lust, and, I suspect, oral sex. It’s a sweet, funky jam anyway you cut it.

The title track is a dreamy fantasy of crashing on an alien world and discovering it’s a sunny paradise. “Evening Sun” is about being hungover, both on booze and on Netflix, home cooking, and staying indoors. The beats on it are crisp, and the addition of a flute is a lovely touch. “Baby” is their version of the Bossa nova classic, and it’s a welcome delight on an already delightful album.

“Wizzo” brings in sitar and robot-like vocals about the future coming early, as it always does. “Osteroid Asteroid” is so full of fat synth bass that it should probably have its blood sugar checked. On “Satellite,” Pearl and the Oysters sing about the law of (physical) attraction, to the point where it’s keeping her awake at night for fear of missing something delightful. “Rocket Show” has a bit of minstrel show / circus sound to it, with what I think is a harpsichord prancing throughout it. It’s a song of optimism and seems like it’s congratulating all of us for making it through 2020, but Flowerland was completed pre-pandemic. The album closes with the instrumental, trippy “Flamingo Sketches.”

It’s a lovely record all-around and one you’ll enjoy as you move from summer to autumn, and then listen to again in winter so you can remind yourself that summer will come.

Keep your mind open.

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[Thanks to Gabriel at Clandestine PR.]

Review: Mano Le Tough – At the Moment

Recorded in Zurich during the pandemic, Mano Le Tough‘s new album, At the Moment, is a chronicle of him dealing with lockdown while raising a family and adjusting to the reality of not touring, not seeing fans, and having to just be in the moment.

The first words on the album are “On stormy nights, if you start to pray…” The sample is from from a documentary on the remote Irish island of Aran – a place that knows and embraces isolation. “Man of Aran” swells with blips and bloops and has a peaceful quality to it, as does “Empty Room” with its lyrics about listening to bees and learning to be present instead of dwelling on how much we missed everyone in 2020.

The sparse “Snow on Bamboo” leads into the thumping, danceable “Aye Aye Mi Mi.” The smooth lyrics of of “Moment to Change” drift into the dance-synths and bright pop of “Fadó Fadó.” “Pompeii” bumps and thumps with dance floor bass and heavenly synths while the gospel handclaps elevate you higher.

I will never turn down good dub music, and “No Road without a Turn” certainly qualifies. The echoing beats, tinny synths, and heady, thick bass are a great combination. “New / Cycles” has goth touches (creepy synths and slightly industrialized beats) and lyrics like “You hollow me out and fill me in.”

“So Many So Silent” reminds me of Art of Noise tracks with its mixture of synths, warped vocals, bells and xylophones, and echoing dance beats. The acoustic guitar “Short Cuts” eventually dissolves into a dial tone, or perhaps the sound of an old modem…which nicely bridges into the futuristic dance track “Together” to close the album.

At the Moment is an interesting record. It’s difficult to categorize, but I think that’s the point. It’s something Mano Le Tough made in the moment and without much thought to fitting everything into one box. It’s an album made in the present for the present.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Review: King Gizzard and the Lizard Wizard – Butterfly 3000

Released without any singles dropped ahead of time, King Gizzard and the Lizard Wizard‘s newest album, Butterfly 3000, was a mystery up until its release…and still is in many ways. The cover alone has things hidden in it, the lyrics are full of introspection and philosophy, and it’s an electro record to boot. This from a band known mostly for its psychedelic sounds, or even thrash metal.

The album opens with a track called “Yours,” an indication that the album is a gift to all of us. The poppy, happy synths bump hips with Michael Cavanaugh‘s joyful drumming and you instantly know that this KGATLW album will be different from any you’ve heard before now. The album was made in quarantine by the band members sending each other samples, loops, and tracks via e-mail and digital download. Frontman Stuart Mackenzie has famously said the album cost nothing for them to make as a result.

The vocals on “Shanghai” blend into the synths to the point where you’re not such which is shadowing which. “Dreams” could be the track that sums up the whole album. Every track is about some kind of journey, growth, or peeling away of illusions. “I only want to wake up in my dream,” Mackenzie sings. Where does the dream end and reality begin? It’s difficult to tell at times, and sometimes you’d rather stay in one than return to the other. The song melts / morphs into “Blue Morpho,” which will probably end up in an Australian sci-fi movie soundtrack in the near future.

“Interior People” is the closest the band gets to a “classic” King Gizz-type of jam with its rolling beats and guitars, but those know when to step back and let the synths and electric piano move to the front. “Catching Smoke” is a standout, with electro-disco synths and hip-shaking beats. It reminds me of some of Bayonne‘s work. “2.02 Killer Year” is probably a treatise on 2020, but it’s so damn peppy that you can’t be sad while hearing it. I mean, it’s full of bright sounds, lasers, hungry hippo bass, and even harp plucks.

“Black Hot Soup” seems to harken back a bit to the psychedelia of Gumboot Soup, but still keeps synth effects on the vocals. “Ya Love” mostly repeats the title as the band jumps back and forth between happy puppy synths and rollercoaster rhythms. The electric heartbeat of the title track closes the album alongside a building synth riff that takes off like a new butterfly emerging from its cocoon and fluttering toward the sun.

The whole album is like that – a liftoff to a brighter future. We could all stand to follow KGATLW’s lead and move forward instead of letting 2020, or our past in general, weigh us down.

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Review: Arthhur – Occult Fractures

Looking at the cover of Occult Fractures – the new album from Chicago’s Arthhur – you might guess that it’s a psychedelic rock record, or perhaps a doom album with its images of a skull, bone, and some sort of black ooze creeping from under a door.

No, it’s a dance-rock record – and a good one.

It opens with “Antihistamine Money,” which is over eleven minutes long, and percolates with vintage synths, funk bass, and LCD Soundsystem-like beats while lead singer Mike Fox sings about the club scene, those who put on airs in such a scene, and learning not to give a damn about them while you’re having fun. It’s an amazing track and a bold burst out of the gate for Arthhur. Luke Dahlgren‘s bass on “Doom Journalism” sounds like it’s plugged into a Red Bull can while they sing about the twenty-four -hour news cycles (“Fear is the engine, and they are the wheels. We are the drivers.”).

“Ripped and Dumb” is a funny track about people wanting to improve themselves not to better themselves, but actually to impress other people (and not realizing those people don’t give a crap). Sure, the subject says, “I don’t like you or any of your friends,” but who else is he trying to impress? “(Immanentizing the) Eschaton” is another long track with tick-tock percussion from Matt Ciani and guitar work that moves around the room like an intriguing stranger at a party while Mike Fox sings about trying to bring about the post-afterlife in the here and now. Heavy stuff, indeed, but it’s full of krautrock grooves, so don’t let it worry you.

“Keep Moving” drips with funk and is full of lyrics about getting up when the chips are down (“When the dark closes in, don’t stop.”). “No Results,” with skronking, crazy saxophone work by Joe Duran and Noah Wood, is pretty much a straight-up punk rock tune that knocks you back on your heels. “Never Enuff” gets back to the soul / funk grooves and has those formerly angry saxophones now playing sexy bedroom grooves. The title track is a slow-building jam that reminds me of Ghost in the Machine-era Police mixed with a bit of yacht rock. “Ripped and Patient” closes the album with a slower instrumental version of “Ripped and Dumb” – almost like a record player winding down due to a power outage.

It’s a sharp record, and I’m keen on catching these guys live sometime. I’m sure they’d put on a fun show judging from this funky mix of styles.

Keep your mind open.

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[Thanks to Matt Ciani.]

Nation of Language share “Wounds of Love.”

Brooklyn trio Nation Of Language returned last month with ‘Across That Fine Line’, announcing their new album A Way Forward to be released on 5th November 2021. Pre-order the album HERE. Today, they share new single ‘Wounds of Love’, a song about feeling directionless after an emotional breakup, with a DIY lyric video made by singer Ian Devaney himself.

Listen to ‘Wounds of Love’ HERE.

On the single Ian says, “‘Wounds of Love’ is a song about getting caught in a mental feedback loop when a relationship ends. It’s an endless inner argument – wanting to move on defiantly, but feeling utterly lost about how to do it when the other person has informed so much about how you see yourself. For every bit of progress there’s just as much retreating, and eventually it seems like this back-and-forth becomes the new root of your identity – still tied to the same person, just without them actually being there.”

He adds, “During its creation, the song was really born out of the main riff – I was experimenting with synth sounds and delay pedals, trying to find something that felt kind of like Man Machine era Kraftwerk, and this simple melody just flowed out. At first the urge was to go very robotic with it, but a laid-back groove fell into place and gave everything a really warm, spacey, stoned feeling, which felt like it amplified the emotional haze that the song deals with.”

A Way Forward is the follow up to Nation Of Language’s highly acclaimed debut album, Introduction, Presence, released in 2020 during the early stages of COVID’s merciless mayhem. Unable to promote the album in any traditional live sense, the record grew through a flurry of rave reviews and airplay from radio stations around the world, ultimately landing on year-end ‘Best of’ lists from Rough Trade, Stereogum, Paste, Under The Radar, and NME.

With the pandemic putting so much on hold, Nation Of Language (Ian Devaney, with keyboardist Aidan Noell and bassist Michael Sue-Poi), decided to forge ahead and begin work on what would become A Way Forward. While much of the sounds on Introduction, Presence garnered comparisons to the synth-punk sound of the 80’s, with this new set of songs the band delved heavily into the Krautrock pioneers and electronic experimentalists of the 70’s for inspiration in the studio, stretching their boundaries in new and different ways. Production on the record was divided between Abe Seiferth (who worked on Introduction, Presence) and Nick Milhiser of Holy Ghost!

Due to perform at the sold out Reading and Leeds Festival this year, Nation Of Language announce a January 2022 tour of the UK and EU including dates in London, Manchester, Dublin, Glasgow, and Leeds.

Tickets are on sale and available HERE.

Nation Of Language UK/EU Tour Dates:

27th Aug 2021 – Leeds Festival SOLD OUT

29th Aug 2021 – Reading Festival SOLD OUT

10th Jan 2022 – Cologne @ YUCA

11th Jan 2022 – Antwerp @ TRIX Bar

12th Jan 2022 – Amsterdam @ Paradisio

14th Jan 2022 – Hamburg @ Turmzimmer

15th Jan 2022 – Copenhagen@ Ideal Bar

16th Jan 2022 – Stockholm @ Obaren

17th Jan 2022 – Oslo @ Bla

19th Jan 2022 – Berlin @ Kantine am Berghain

20th Jan 2022 – Zurich, CH @ Kater

22nd Jan 2022 – Barcelona, ES @ Laut

23rd Jan 2022 – Madrid @ Sala El Sol

25th Jan 2022 – Paris @ Supersonic

27th Jan 2022 – Leeds @ Hyde Park Book Club

28th Jan 2022 – Glasgow @ Broadcast

29th Jan 2022 – Dublin @ The Grand Social

30th Jan 2022 – Manchester @ YES Basement

31st Jan 2022 – London @ Lafayette

Keep your mind open.

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[Thanks to Amy at Prescription Music PR.]