German–based record label Moonbootique was founded in 2001 by two hot guys called Tobitob & KoweSix, better known as Moonbootica. It's a place full of unyielding music talents -- a get-together of national and international collaborations with focuses on the electroscene. Moonbootique is the home of artists like Ante Perry,...

SVN SNS RCRDS stands for Seven Sons Records; we're a small independent music label from Paris, France, founded in 2010 by David Gamelin and myself, Alex Poveda. A couple years ago, Thibault Signourel, Editor for the French webzine Hartzine, joined us in the adventure. Originally the label was just supposed...

Speculative visions and first forays in to the future have a way of quickly dating themselves before that future they portend has a chance to fully arrive. The result of this effect is the opposite of the one intended; they become mired in their present moment, ultimately signifying their own time much more than the one they were intended to herald. But what happens when such things rise again? Think of virtual reality: after an immediate cultural peak in the early 1990s with that Aerosmith video and the awful Lawnmower Man (1992) film, popular interest in the technology rapidly dwindled.It never exactly went away, though, and has in recent years received renewed attention thanks to the gaming and film industries and products like the Oculus Rift. Having circled back around from Jetsons-like cartoon status to being something that people are excited about again, virtual reality, as a concept, now exists in a kind of duality, in the perception of it. Because that '90s legacy is still so burned into the public consciousness, virtual reality retains its retro-ness, but now it also gets to say "I told you so."
Candide - Don't Let Go EP Album Review
Heavily inspired by an extended trip to Berlin, Candide is the duo of Candice Strongwater and Adam Brodsky, who imported the city's European sounds to their home in Brooklyn, creating a brand of dark and sultry disco that is equally inspired by Rhythm & Sound as Donna Summers and Bee Gees. This could be the alternate soundtrack to the summer of 1977, if the disco clubs had acknowledged the paranoia and dread of the Son Of Sam running rampant, while still losing themselves in the sweltering heat of romantic dancefloor abandon.
Phone Call - I'll Get My Coat Music Video
It's been a hot minute since a Portland band has possessed so much of their own force and flair, but draw your attention to Phone Call, who are now bringing their sound outside of local view for the first time with their latest 12", out on Aerobic International. The duo, comprised of Johnny Ziegler and Bailey Winters, formerly of local dance heroes Strength, is swaggerific; Zeigler's throwback funkiness bears endless satisfaction, and Winter's ability to install any lyricism with mad steez is seriously impressive. Never before hath grabbing a coat from a coat rack sounded so damn enticing (read: so as to go home and get down and dirty), and such playful, loving filth is just what one can expect from Phone Call. (And all the better that no soul or legitimacy is lost along the way...) Below, you can view two video clips associated to "I'll Get My Coat". The first is the slick new music video, directed by Portland's Lymay Iwasaki and edited by the band themselves, with coloration by Benji Brucker that adds a great deal of polish and gravitas. The second is a live performance taken from REDEFINE magazine's 2014 Intuitive Navigation Show, where Bobby Smith of Sex Life DJs was on visuals duty. The all-around level of satisfying simplicity is almost too good for this modern age.

Lucky me; I've managed to see the French electro-surf-punk band La Femme twice in the past month! Touring the States following the release of their insane new 15-track deluxe album, Psycho Tropical Berlin, La Femme are a Parisian six-piece that encompass the city's stereotypes in a most playful manner, while...

Das Fluff - Meditation And ViolenceMeditation and Violence, the new album by Das Fluff, explores subject matters both private, personal, and universal, head-on and without caveats or reservation. Timeless themes of isolation and loneliness are recast for the internet era, while the uncomfortable truth of social networking, and the distorted nature of friendship that come with it, are placed under the unforgiving glare of Dawn Lintern's unflinching lyrics and vocal delivery. Musically, Meditation and Violence is electropop with a grand and expansive feel that belies the stripped back, reduced elements that go to make it up. This is music that has been allowed to breathe and, because of that, it is all the more powerful. Das FluffDesperate to find the sound that best suited her intent, Lintern parted company with the keyboard playing producer from her debut album and, despite technophobia, dived into the world of digital audio software for herself. The resultant album is more direct and cohesive and gels perfectly, despite being diverse in its range and reference points. Recalling Suicide and even, occasionally, Frankie Goes To Hollywood, the sound harnesses bi-polar collisions, track by track, as the music seeks to keep pace with the darkness of its messages.
CMJ Music Marathon 2013 yet again saw a convergence of hundreds of bands and thousands of fans on the clubs of the Lower East Side, East Village, and Williamsburg in New York City. Coincidentally, many of the bands we were most looking forward to were female-fronted (Speedy Ortiz, Eternal Summers, Hunters), and they did not disappoint. While times have certainly progressed, female-fronted bands still have something to prove, and it was good to see several super-talented guitar players and songwriters, as well as singers and performers, show themselves to be just as good as their male counterparts. All-dude groups Caveman and Grandchildren both had solid performances that left me with a good "I-discovered-something-cool-at-CMJ" feeling as well, and electropop groups were well-represented as always, with NONONO and Porcelain Raft leading the pack.

Caveman

Tuesday, October 15, 2013, Rockwood Music Hall Stage 2 Brooklyn-based Caveman clearly felt right at home at Rockwood Music Hall, and the crowd was full of devoted fans. Lead guitarist and singer Matthew Iwanusa draws comparisons to Shins' vocalist James Mercer, and the band does indeed seem to draw inspiration from them, as well as African music and experimental post-rock, utilizing harmonies, tribal drums, keyboards, and hazy guitars. I enjoyed the dreamy but catchy songs off their 2013 self-titled release, like "Shut You Down" and "Where's the Time", as well as old favorite "A Country's King of Dreams" from their first release, Coco Beware.

 

Grandchildren

Tuesday, October 15, Cake Shop This was one of those CMJ experiences that is the reason you go to CMJ: to discover an amazing band you've never heard of. When I made my way downstairs at Cake Shop, I wasn't sure who was playing, but they immediately caught my attention. An ensemble of six dudes playing nearly every instrument imaginable, their melodic pop with hits of electronic and psychedelic accents make this Philadelphia-based group an interesting listen. They played several songs off their newest release, Golden Age, including "Sunrise", "End Times", and "No Way Out". Grandchildren at CMJ Music Marathon 2013
V V Brown has released three albums since 2009 -- but it is only now that she is making a foray into the independent music world. Freshly divorced from her former major label home, Capitol Records, V V Brown has recently found renewed strength in herself as an artist with her latest record, Samson & Delilah. Themed around the Biblical tale, which mirrors the themes of vulnerability, slavery, and freedom that led to her massive career change, Samson & Delilah also presents a sonic change into moodier and darker territories, where hints of The Knife echo through, replacing previous tendencies towards mainstream pop appeal. A bold new audio-visual approach accompanies the record as well, in the form of a dramatic, carefully-plotted fifteen-minute short film directed by Jessica Hughes. Comprised into three separate music videos, the film bears similarity to mesmerizing black and white Japanese classics by Akira Kurosawa or Masaki Kobayashi, while catching a mood not unlike that of Ingmar Bergman films. They're transportive from part to part, leaving viewers wondering about the terrains to be crossed next. In this Q&A interview about the creative process of the short film, V V Brown speaks of being inspired by geishas and noir, Biblical stories and archetypal characters -- and the feeling of finding one's own artistic voice.
"Samson and Delilah is a story about strength and weakness. It's about the pendulum between the two. The story for me conjured up the idea of empowerment and fragility. When Samson was deceived by his love and was in the wilderness discovering and finding himself, waiting for his hair to grow back, this represents times in my life I have felt lost creatively. Hair clipped and [with] a sense of vulnerability. Delilah was the deceiver. Samson represents the artist and Delilah represents the cooperation. The Artist can often loose the strength of their messages in the corporate arena, and my own record label exercises my freedom and new strength." - V V Brown
Tripping over sonic palates with spacey, soaring melodies that embrace the essence of pop in all its purposely dated glory, British electropop artist Little Boots returned earlier this year with her sophomore effort Nocturnes. Since then, the record has run through a number of hands for raucous remix treatment, beginning with a wonderfully hypnotic and dubby remix of "Broken Record" by the record's producer and DFA's co-founder Tim Goldsworthy. "Satellite" followed, with an entire accompanying package featuring remixes by Escort, Lindstrom, and John Dahlback, thus beginning the exploration of all possible club-ready territories Nocturnes could possibly offer.
Fast-forward to today -- and in the name of helping out the family, DFA's Larry Gus has offered up his own take on Little Boots' latest single, "Crescendo". Highlighting the track's already unique sound, Gus transforms "Crescendo"'s original percussion and chord-driven foundation into a melty bed of synths, vocals, and tribal drumming, topped with cascading electronic sounds and -- of course -- re-tooled samplings of Little Boots' clear, sing-song-y vocals. The resulting track retains the song's original light-heartedness, while combining it with the vague, exciting feeling of a skipped record and an eclectic collection of regional sounds and styles. See more Little Boots media after the jump, or enter below to win tickets to see her live in Seattle and Portland this week!

Little Boots - "Crescendo" (Larry Gus Remix)

WIN TICKETS TO SEE LITTLE BOOTS LIVE IN SEATTLE & PORTLAND THIS WEEK! LITTLE BOOTS TOUR DATES 9/22: Costa Mesa, CA @ Constellation Room 9/23: Los Angeles, CA @ Troubadour 9/24: San Francisco, CA @ The Independent 9/26: Portland, OR @ Doug Fir Lounge w/ MDNR 9/27: Seattle, WA @ Decibel Fest w/ Light Asylum, Young Galaxy, MNDR 9/28: Vancouver, BC @ Fivesixty 11/8: Austin, TX @ Fun Fun Fun Fest