Category: Introducing (Page 9 of 25)

Introducing JENNIFER TOUCH

28 April 2019 /

Hailing from Dresden and a member of the Sinchi DJ Collective, Berlin-based Jennifer Touch offers a varied musical palette that is sometimes danced-based and sometimes synthpop.

While her new EP release ‘Seven’ is more techno-oriented, her previous song-based single ‘Chemistry’ was a dark electronic pop affair with that post-punk snarl, rising and reverberating with brooding vintage synths.

It demonstrates her songwriting abilities away from the clubby climes from which she emerged, not too far off from the intense drama of BOY HARSHER. The hazy visual accompaniment preserves her enigmatic aura with a dose of Mittel Europa chic. Now if Berghain did fashion shows…

On the flipside of ‘Chemistry’, the oddball electro of ‘DDD-1’ is weird and wonderful with Touch’s nonchalant almost spoken voice suiting the artful beat laden backdrop perfectly.

Having released her debut self-titled EP in 2015 with the detached EMMON sounding ‘Boom’, the ‘Feeling C’ mini-album from 2016 featured ‘No One’ which explored some of the abstract vocal aesthetics of fellow Berlin resident EMIKA in her earlier work but in a more four-to-the-floor template, proving that there is indeed something in the water in the former divided city. Meanwhile, the spacey sequenced cacophony of the ‘Feeling C’ title track with its cutting synths and gated snare offered a hypnotic avant-classical disco escape.

Wearing a coat of many colours, Jennifer Touch is a cool developing talent who will play her most prestigious date yet opening for ROBERT GÖRL as part of his occasional ‘Glücksritter’ series of performances in Leipzig on 18th May 2019.

‘Chemistry’ is available as a digital EP direct from https://riotvan.bandcamp.com/album/rvn016-chemistry-ep

http://www.jennifertouch.com/

https://www.facebook.com/touch.jennifer/

https://www.instagram.com/jennifertouch/

https://soundcloud.com/jennifertouch

Text by Chi Ming Lai
28th  April 2019

Introducing POLYCHROME

23 April 2019 /

POLYCHROME describe themselves as “Neon Segawave”, probably an apt term of reference given their flirtations with synthwave and dreampop.

Modern glitch effects like PURITY RING with the girly synthpop resonance of Miami’s PRIEST and the chillwave air of the Sarah P. era of KEEP SHELLY IN ATHENS permeate through the sounds of POLYCHROME, as exemplified by ‘The Call’.

However, the London-based independent duo themselves name the usual suspects of M83, COCTEAU TWINS and CHROMATICS as well as the polarising sub-genre of shoegaze as influences. Fronted by the angelic presence of Victoria Harrison, she is ably partnered by Oliver Price and both contribute vocals as well as production.

“We love it Lo-Fi, old drum machines, vintage microphones and Sega Mega drives!” the duo say, affirming their more rustic approach to electronic pop. Much of the POLYCHROME’s self-titled debut album released in 2018 was written in isolation around the serene surroundings of Grianain Eco Lodge near Fort William and it shows.

The ‘Drive’ influenced ‘Synesthesia’ reflects the union of the senses as suggested by its title, with its synthetic and vocal layers providing an electro-organic wash, accompanied by a rainswept video shot through glass for that suitably hazy effect.

The album closer ‘Don’t Be A Stranger’ provides an airy twist on the ‘Stranger Things’ theme with a slower variation on its iconic pulsing arpeggio, it could be considered POLYCHROME’s mission statement as to their next artistic intent as they move further into combining synthwave with dreampop.

Concluding their debut album campaign with a ‘Final Kiss’ and a manipulated voice hook, the song recalls the sedate synthpop of Canadian duo ELECTRIC YOUTH with chiming guitars and electronic drums complimenting the backdrop.

It will be interesting to see where POLYCHROME head next with many possible paths on the crossroads and while there is still perhaps some focussing to do dynamically, the musical potential is there.

‘Polychrome’ is available as a download album from https://soundofpolychrome.bandcamp.com/

http://soundofpolychrome.com/

https://www.facebook.com/soundofpolychrome/

https://twitter.com/soundofpolychro

https://www.instagram.com/polychromesounds/

https://soundcloud.com/soundofpolychrome

Text by Chi Ming Lai
23rd April 2019

Introducing JAKUZI

11 April 2019 /

Like THE SOFT MOON meeting THE CURE, Istanbul-based JAKUZI released their debut album ‘Fantezi Müzik’ in 2017.

Their music made an impression within the local underground art movement, addressing the sort of personal psychological and mental health issues that are not known for public discussion in Turkish society.

Crossing haunting synthesizer sounds with guitars for some moody electronically assisted gothic rock, their outsider viewpoint is exemplified by ‘Sana Göre Bir Şey Yok’.

Meaning “Nothing For You”, it is the opening track of their recently released second album entitled ‘Hata Payı’, which translated as “Tolerance”, is a concept record of sorts dealing with the acceptance of community and oneself.

An earlier single ‘Şüphe’ takes the aural template further, adding swathes of synths to an already dense atmosphere while vocalist Kutay Soyocak gives an assured performance in Turkish that reflects the introspective nature of JAKUZI, an emotion not widely accepted within their domestic music scene.

But the long player’s best song is ‘Toz’, a number that owes more than a declaration of ‘Brotherhood’ to NEW ORDER and which despite its gloomy spectre, has an uplifting brightness penetrating through. That optimism is reflected in the accompanying video for ‘Toz’.

Set in an empty house and directed by Eli Kasavi, he explained: “It’s connected to the band’s previous video ‘Şüphe’ where the main character watched a dancing couple with a feeling of doubt. That character has left that place now and is dancing by himself.”

While ‘Gördüğüm Rüya’ does cheekily flirt with THE ROLLING STONES within its intro riff, it is with brooding melodic new wave like ‘Kalbim Köprü Gibi’ and ‘Bir Şey Olur’ that JAKUZI ply their trade, while the enjoyable synthbass heavy instrumental ‘Hâlâ Berbat’ adds another string to their bow. JAKUZI’s familiar reference points may additionally appeal to fans of THE SISTERS OF MERCY, SIOUXSIE & THE BANSHEES and even cult Swedish band LUSTANS LAKEJER.

Kutay Soyocak said: “I think my melancholy comes partly from where I live. This can be seen in the lyrics. I sometimes feel dark, lost and lonely as everyone. Here, the economy and politics make me feel hopeless sometimes. The future seems blurry but we try to keep our hopes high and continuing what we do.’’

‘Hata Payı’ is released by City Slang, available as a CD, vinyl LP and download direct from https://jakuzi.bandcamp.com/

https://www.jakuz1.com/

https://www.facebook.com/jakuz1/

https://twitter.com/_jakuzi_

https://www.instagram.com/jakuz1/

https://open.spotify.com/artist/0xeyL5pfnTtx7LGpqLo4PG

Text by Chi Ming Lai
11th April 2019

Introducing IMI

8 April 2019 /

Alison Goldfrapp and Tara Busch need to watch out… there’s a new synth girl in town, she’s got a Moog Sub Phatty and she’s going to use it!

Leeds based singer / songwriter IMI is gifted with a most glorious soprano but not only that, she applies that and her love of analogue synths to an intelligent avant pop aesthetic.

Having opened for LET’S EAT GRANDMA, she has certainly made it clear which playground she prefers to be in. IMI’s recently released EP ‘Lines’ contains three dramatically layered electronic mood pieces that encapsulate the early cinematic ambition of GOLDFRAPP and the more recent esoteric adventures of I SPEAK MACHINE. But crucially like both of them, she does this within a song-based format.

Originally released as a single in 2018, ‘Margins’ synthetically rumbles while side-chained to a cascading train ride, cerebrally meshing brooding atmospherics with IMI’s hauntingly assured smoky high vocal, like an oddball amalgam of opera, trip hop and Synth Britannia.

‘Lines’ opener ‘The Fence’ drops incessant warbling vintage synth textures over a steadfast metronomic back beat as IMI offers a traditional folk laden topline not far off Susanne Sundfør. Building to a ritualistic percussive fervour that chillingly darkens the Northern sky, there however remains a stark beauty, marking a clear demarcation line in keeping with the EP’s theme.

Meanwhile, ‘I Feel Alright’ with its sharp melodic call and ethereal voices heads into something more threatening, with pulsing rumbles and squelches facing off against swirls and sweeps, although in this song about acceptance, it all rewardingly comes over with a strong sense of musicality. IMI’s artistic promise was there from the off with her debut single ‘Born For What?’ in 2017, but what the ‘Lines’ EP showcases is an increased confidence and maturity. With her Instagram indicating further experimentation with the Korg Mono/Poly, EDP Wasp and Moog Modular, there are certainly more artful adventures to come.

The ‘Lines’ EP is released by Bibliotek, available as a CD or download direct from https://imimusicuk.bandcamp.com/album/lines

https://www.facebook.com/imimusicuk/

https://www.instagram.com/imimusicuk/

https://open.spotify.com/artist/0GKGK6KIlrmJM4C4UJGMJI

Text by Chi Ming Lai
Photos by Portia Hunt
8th April 2019

Introducing RIDER

27 March 2019 /

American born RIDER describes herself as “alternative pop”, exploring a variety of styles while ensuring larger than life melodies are at the core of her work.

Originally from Pennsylvania, RIDER emigrated to the UK and studied at LIPA, the educational establishment that includes Eddie Lundon of CHINA CRISIS as one of its lecturers.

Looking like Lana Del Rey gone synthwave, the London based singer and multi-instrumentalist’s most recent single ‘Tell Nobody’ is an energetic neon lit stomper that wouldn’t have sounded out of place in a John Hughes teen movie. With her Trans-Atlantic timbre, RIDER’s dulcet tones suit the mood fabulously.

The accompanying sci-fi inspired video directed by Ollie Rillands of Shapeshifter Films features a young gamer girl who dreams of travelling into the future and builds her own time machine; RIDER herself makes a cameo as a shop assistant who sells a PP9 battery to the junior inventor at a hush-hush ‘Tell Nobody’ discount.

With her powerful voice and application of self-produced organic textures alongside the electronic, RIDER embroils an air of optimism within her heartfelt expression, as on ‘Hurts Me Too’, a soulful tune which could be likened to AFTERHERE, the HEAVEN 17 side project fronted by Berenice Scott.

Having recently developed a taste for NINA, FM-84 and THE MIDNIGHT, it will be interesting to see where she heads next.

While songs like ‘You’ recall the West Coast New Wave of THE GO GOS and ‘A Little Light’ takes a more steadfast approach to LORDE’s almost similarly titled ‘Green Light’, RIDER’s eclectic blend of genres highlight her sweet passionate approach to her music.

As RIDER herself puts it: “Life is sweet!”

‘Tell Nobody’ is released by Sapien Records, available on all digital platforms

https://www.riderofficial.com/

https://www.facebook.com/RiderMusicPage/

https://twitter.com/RiderMusicPage

https://www.instagram.com/ridermusicpage/

Text by Chi Ming Lai
Photos by Marieke Macklon Photography
27th March 2019

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