The Vulpiano Records 10-Year Anniversary album came out yesterday, which means you can stream and/or download my new song “Voltage”! Check it out if you liked Spires. I was aiming for a similar futuristic/metallic sound with this one but with a bit of trance music thrown in. Polishing it for this release was a daunting task that ended in overly-soft volume, but I’m happy with the composition. I’ll add it to my own Bandcamp and Soundcloud in the next few days.
This column highlights favorite genres, scenes and artists with the intent to make it quick and easy to get into them or decide if they’re ‘for you’. I’ll focus on obscure and/or prolific projects.
The huge (as I would argue, overblown) taboo surrounding the ‘chillwave’ sound left many talented groups like this forgotten. I’m thinking another reason for Keep Shelly was their silly name, and how their vocals and lyrics get cheesy. Still, I wound up endeared by this factor more than annoyed. This is shimmery water-fairy music at heart, and as long as you aren’t pulling an all-out ‘bananis and avocados’ with your voice, I won’t complain. These ‘fairies’ have soothing voices and fabulous scenery is everywhere, so I can’t help but enjoy the ride. Beyond that, they’re one of the most ambitious groups I’ve heard in this decade’s synth-dream pop genre/scene/thing.
Here’s the thing: KSIA never were your average ‘chillwavers’. Unlike this scene’s generic corners, Keep Shelly aren’t ones to rehash old ideas. It doesn’t boil down to some woozy synths and pale guitar tones from a nerd writing gushy love songs about his GF. Like Royksopp, they stay adventurous at the same time as having a ‘chill-out’ appeal. They vary a lot from the structures and influences you come to expect from this music. Not every experiment works, but I appreciate their ambition. Their one constant member RΠЯ decorates and transforms the songs as much as he wants (on lesser songs, maybe too much!). If this is chillwave, it’s a bold and shiny update. He has a great taste for expanding on chillwave’s water fixation, so give these songs a good listen if you fawn over aquatic sounds like I do!
1. “Cremona Memories” – In Love With Dusk, 2010
One running trope I love about KSIA is their taste for spontaneous ‘weirder’ or kitschy touches. This song has a throbbing sci-fi synth one moment (1:21), and a Tina Turner sample or vinyl scratch the next. Results will depend on how wild they are, but I love the way it expands songs like this. RΠЯ relies on a fairly simple groove here but throws everything he has over it to keep you engaged. KSIA don’t get too serious, and make things fun when they see fit.
2. “DIY” – Our Own Dream EP, 2011
Film scores aside, this has one of the most epic piano lines I know. A few chords and that’s it, but they play in such enormous and stomping fashion that it doesn’t matter. And those horns! Another great ‘what if’ move from KSIA.
3. “Flyway” – At Home, 2013
Relies on this one fluttery synth, but adds all these subtle riffs to bounce off of it and a weird yet awesome vocoder cameo. Another one where you have to ride the adrenaline rush. The best kind of repetition: purposeful, not too much, addictive, doesn’t take forever to evolve.
4. “Fractals” – Now I’m Ready, 2015
I don’t know, I have a soft spot for well-done wishy washy bittersweet pop songs. That is, if the right people make them, and of course Keep Shelly qualify. Really pleasant melodies, and the hopeful spirit is sweet. I love the way the chorus busts in with that Robin Guthrie guitar (guth-tar?) from the gentler verses. That little chiptune-y solo toward the end makes it even more satisfying.
5. “Hollow Man” – Now I’m Ready, 2015
This is where their ambition shines. The layers, the intensity, the oceanic textures, the twists, the synth soloing, it’s all there. You have break beats, gorgeous synths, windy vocal effects, huge build VS sad, hushed cooldown; vibraphone [!!!] fade-out… An exciting mixture in the end. Thumps like a thunder storm; when it’s music, that’s a good thing.
Few albums show me the range of colors and emotions in a synth like Glass Candy’s B/E/A/T/B/O/X. Johnny Jewel seems to pry out the richest analog tones possible here. It’s a masterful dance album that fills each corner with glitter, but never without melody or feeling. If you wonder why I got so obsessed with synths, look no further than here (and The Knife, but that’s another story).
“Computer Love” demonstrates with a heaven-sent take on my favorite Kraftwerk classic. You’d think seven minutes would wear it out. Instead, Johnny makes decadent variations on their melodies over and over, finding new sweet spots in the harmony. I could listen to that same echoing synth for much longer; it’s like a magnet. The almost operatic fluttering later on takes it to a whole new place. B/E/A/T/B/O/X is a decadent album already, but “Computer Love” is a true journey. When I listen, I’ve entered some haven of digitized bubbles and flowers.
With this fountain of synths backing her, Ida No could douse her face in it. She gives that falsetto title-drop the pure frozen longing it needed. Critics labelled her goofy and ‘detached’, but songs like this show a warmer, gentler side to her that’s just as prominent. She has a barbie-doll glamor that makes a closer fit for a song like this. Ralf Hutter has his charms, but he’s not a big love-song type.
Something about this cover takes the loneliness further. With how they sequenced B/E/A/T/B/O/X, “Computer Love” provides a refuge in the face of paranoia (see “Candy Castle” and “Digital Versicolor”). The way I hear it, this version doesn’t wish for love alone, but for relief in general. It searches the ends of Earth, science, and fantasy for this.
Image credit: Translucent Iridescent #04 by MachineEast
A fun and melodic dancefloor mix with a focus on vocal trance and trance-inflected pop: high drama, expansive cool-down interludes, ecstatic choruses, and hypnotic synth backdrops.
- GRACE – not over yet
- DANNII MINOGUE – all i wanna do
- RENI JUSIS – ocale cie
- DOSS – the way i feel
- OCEANLAB – lonely girl
- ANDAIN – beautiful things
- ATB ft. HEATHER NOVA – desperate religion
- RENI JUSIS – ostatni raz
- CYNDI LAUPER – raging storm
- OPUS III – hand in hand
- DANNII MINOGUE – who do you love now?
- RENI JUSIS – niemy krzyk
- KITTY – miss u
- GIRLS ALOUD – untouchable
Part of a new series where I look back at the formative songs that made me obsessed with music in the first place. The next entries will have a more chronological order.
My first memory of Yeah Yeah Yeahs is when I saw the iconic video for “Zero”, voted by Spin and NME as song of the year. It was a fresh, exciting, neon-lit burst of energy; the tempo and lyrics imploring to ‘climb, climb, climb’. The contrast of mellow cool with exhilarating heights was key to the appeal of the It’s Blitz! album itself. It’s been close to a decade since I overheard my older siblings play the CD, yet somehow it’s just as great as I remember hearing it again now.
It’s Blitz! is an album of twin strengths; an ideal blend of a punk/rock base with electronic flourishes. Uproarious synth-rock fusions take turns with rich, idyllic ballads. Each of the ten songs have their twists, adding up to one of the most well-rounded albums I know. “Soft Shock” shows this duality best in both its music and title: electric but therapeutic, it’s a lullaby with a groove; while “Runaway” is an ambitious pseudo-gothic ballad going from soft, lonely piano to a thundering string peak. Some uptempo songs even invert this pattern, like “Heads Will Roll” with its murky ‘Shut your eyes / you realize’ interlude or “Dull Life”’s haunting guitar shifting into a bold and determined chorus.
Every member added something distinct; Karen O balanced grit with tenderness more seamlessly than ever, Nick Zinner blended his guitar fuzz with a host of sleek, icy synths and Brian’s drumming added thrilling momentum. The synths brought fresh twists to their sound and helped build on the balladry “Maps” did so well.
Something about It’s Blitz! sounds all this time later, even if it makes such a great time capsule. Maybe it’s the less obvious execution of the electro-pop influence: while I can enjoy most forms of this, including the kind synthwave that lives and breathes flashy eighties kitsch, It’s Blitz! doesn’t sound that ‘eighties’ to me in the end. I don’t know if it’s the critics overstating on the mere fact they dared to include synths (as expected for critics of the time + guitar snobs in general) or the sheer personality of the album.
Ten years on I’ve realized how much It’s Blitz! influenced my taste: the love of synths, fierce rhythms, genuine attitude, mixing beauty with distortion. While their debut remains incredible, it sometimes overshadows the accomplishment of their third album. With today being its tenth anniversary, It’s Blitz! is overdue for celebration.