Tag Archives: Synthpop

New Music

Alison Goldfrapp Brings Dance Floor Heat on Flux

Alison Goldfrapp Flux album cover

If you’ve been paying attention to the singles that Alison Goldfrapp has dropped this year, then you have an idea of what to expect from the singer’s new album, Flux. It’s a pop-minded album that does, at least at times, recall her work with Goldfrapp, the duo that bears her name. Still, “Reverberotic” and “Find Xanadu” aren’t the only jams on this album and, if you’re a fan of those two songs in particular, definitely get Flux in your queue asap. 

Flux is Goldfrapp’s second solo album. Two years ago, she released The Love Invention, a dreamy disco collection that was one of my favorite albums of 2023. With Flux, the sound is a little more rooted in the singer’s legacy while maintaining a contemporary sound. 

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Interview

Nuovo Testamento Continues Their Dance Pop Experiments on Trouble

Nuovo Testamento press photo by Kristopher Kirk
Nuovo Testamento (Photo: Kristopher Kirk)

Good things take time and Nuovo Testamento is a band that’s keenly aware of that. About a year after releasing their 2023 full-length, Love Lines, the L.A.-based trio returned to the studio and, just last month, they released the result, a five-song EP called Trouble. In the context of recorded music’s history, two-and-a-half years isn’t much of a gap between releases. Still, singer Chelsey Crowley says, during the in-between time, the band heard, “you guys haven’t put out music in so long.”

It’s an extension of the art vs. content debate. How often should bands be releasing music? Should you pump out the jams to satiate the platforms or wait until the songs you want to make are ready? Crowley offers a definitive answer. “We prefer to have songs that we like,” she says. “We’ll let them marinate for a second.”

It’s an attitude that’s reflective of the band’s roots too. While Nuovo Testamento’s music is steeped in late 20th century pop influences, they’re still punk to the core. They tend to tour extensively and are proponents of physical media. “It’s not just about this digital space,” says Crowley. 

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New Music

Fever Ray Refreshes Classics and More on The Year of the Radical Romantics

Fever Ray The Year of the Radical Romantics

The only time I’ve seen Fever Ray live was at Coachella in 2010 and, even then, I only caught part of their set sometime on the first night of the festival after I had already decided that I was over Coachella and the only thing that might ever get me back is The Smiths reunion that I estimated would be announced the day after hell freezes over. All that said, I don’t really have a true concert experience to compare to The Year of the Radical Romantics, the new, live-ish album from Fever Ray, but that’s probably for the best. 

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New Music

Molly Nilsson’s Un-American Activities Is More Relevant a Year After Its Release

Molly Nilsson Un-American Activities 2024 album on vinyl

Last year, Molly Nilsson released Un-American Activities, which you could say is her L.A. album. The Berlin-based synthpop artist made it as part of a residency at Villa Aurora in Pacific Palisades and it’s inspired by a few specific moments where global events and local history come together. Moreover, the album, which is one of my favorites from 2024, really fits the mood in Los Angeles right now. It’s dark and, lyrically, she makes connections between European fascism of the 1930s, the Red Scare in the mid-20th century U.S. and contemporary politics. So, when I was pulling records to play at Bigfoot Lodge on Saturday, I immediately grabbed my copy of Un-American Activities and thought of the song “Jackboots Return.” 

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New Music

Mareux Forges a New Sound on Nonstop Romance

Mareux Nonstop Romance album cover

At DJ gigs, I always say that I don’t know what I’ll play until I play it and that’s absolutely true. I may have my heart set on playing one specific song, but, if it doesn’t sound like it’s going to vibe with the crowd, then I can’t play it. So, while I really don’t know which songs from Nonstop Romance, the latest album from Mareux, will end up in my sets, I am keeping my fingers crossed that it’s the title track. 

“Nonstop Romance” has quickly become my favorite song on the album and I hope that its yours too. If you went to a club where the DJ played “Join in the Chant” and “Crazy Over You,” then came home and put that vibe into a song and gave it a 2020s spin, it might sound like this. (And, if this sounds like a plausible scenario to you, I’m going to guess you also live in L.A.) The juxtaposition of an EBM stomp and a very cheery synth melody is my idea of dance floor gold and I’ve listened to “Nonstop Romance” at least three times in a row while writing this.

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Adventures in L.A., Got It On Vinyl

Heaven 17 Was Right, ‘(We Don’t Need This) Fascist Groove Thang’

Heaven 17 "(We Don't Need This) Fascist Groove Thang" 45 RPM vinyl single (Photo: Liz Ohanesian)
Heaven 17 “(We Don’t Need This) Fascist Groove Thang”

The right record will always find you at the right time. Take last Saturday afternoon as an example. I was in Little Tokyo, flipping through 45s at Salt Box and just happened to come across “(We Don’t Need This) Fascist Groove Thang,” the 1981 single from Heaven 17. Did I have this? Did it matter? Even if I did have a copy, I could use another one because this nearly 45-year-old song is the jam for right now. Or, rather, it should be the jam for right now. 

I didn’t even have to listen to the song for the earworm to bury itself in my brain. “Have you heard it on the news?” it goes,  “About this fascist groove thang.” 

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Interview

“I’m Still a Punk”: Claus Larsen of Leæther Strip on Horror Novels, Cover Songs and Connecting with Fans

Leæther Strip Claus Larsen promotional photo
Claus Larsen of Leæther Strip

Claus Larsen is a man of many projects. There’s Klutæ, for which he released the new album, Godsent, in early May and appeared at Seattle festival Mechanismus later that month. Am Tierpark,  his Italo disco-influenced synthpop duo with John R. Mirland, released the album Shameless last year and the two musicians also have a punk band, Gusten, with a forthcoming album that’s near completion. Then there’s Larsen’s flagship solo project, Leæther Strip, which has been ongoing since 1989. It’s Leæther Strip that brought a capacity crowd to downtown Los Angeles’s Slipper Clutch on the final Saturday night in May. 

While Larsen released his latest Leæther Strip album, Fucking Perfect, in February, L.A.’s industrial heads are here for the classics. Tonight’s set is centered around Leæther Strip’s 1990s catalog and Larsen is pummeling the crowd harsh, EBM beats, his intense vocal delivery and a barrage of samples. Inside the small, upstairs venue, people squeeze as close to the stage as possible. 

“I love doing these shows because you see the faces. They recognize what they were into in the ‘90s and instantly, smiles,” says Larsen earlier in the evening, when we meet right after soundcheck. “They’re the reason I’m still able to do this, because I built up my audience back in the ‘90s and they’re still hanging on and supporting.”

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New Music

Pixel Grip Explores the Dark Side of Club Pop on Percepticide: The Death of Reality

Pixel Grip album cover of Percepticide: The Death of Reality
Pixel Grip’s third album, Percepticide: The Death of Reality is out now.

Chicago-based trio Pixel Grip released their third album, Percepticide: The Death of Reality on June 12. Three years in the making, Percepticide is also the band’s first fully independent release and the end result is a collection of a dozen songs that are rooted in the clubs, but defy expectations of what one might consider club music. It’s as punk as it is pop, as raw as it is slick and as menacing as it is euphoric. 

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Adventures in L.A., Live Music

Satanic Puppeteer Orchestra Live at Exotikon 3

Satanic Puppeteer Orchestra live at The Mayan in downtown Los Angeles for Exotikon 3 (photo: Liz Ohanesian)
Satanic Puppeteer Orchestra live at The Mayan in downtown Los Angeles for Exotikon 3 (Pic: Liz O.)

Our glasses weren’t 3D. We were watching a live performance inside downtown L.A.’s Mayan Theatre and, like the robot on stage told the crowd on Sunday afternoon, that’s already 3D. These were decoder glasses. Some in the audience had blue lenses. Others, like me, had red ones. The color of the lenses determined what you would see on the screen behind Satanic Puppeteer Orchestra, the human-and-robot duo from San Diego who were playing as part of Exotikon.

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Interview

Big Black Delta Makes Music for the Other Side

Press photo of Big Black Delta Jonathan Bates by Josh Giroux
Jonathan Bates is Big Black Delta (credit: Josh Giroux)

“Honestly, nowadays, making an album is not a healthy thing,” says Jonathan Bates. “Spending a year and a half making a collection of music and then putting it out and people literally giving it 30 minutes is not good for the soul.”

Bates, though, released his fifth album as Big Black Delta, Adonai, last February. It’s a fantastic mix of synthpop and rock. Since the album landed in my inbox earlier this year, I’ve spent much more than a half-hour listening to it. 

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