The Siren: Victoria “Little Boots” Hesketh
The Sound: Synthpop, nu-disco, deep house, electro house… mercurial melange of old and new
The Scene: East Angelean echoes, deep bass, dark clothes, dim lighting, disco flying, summer swelter, low-key shelter, electronic dance shows, less wubba wubba, more water cooler… minimalist staging, maximalist sound, in a way that pulls facade from the corporate tower and floods the underground… america is all show business, and we cosmic dancers are all working girls…
British tones. Angeles tempos. That’s the point. That you can come to the light amidst darkness, create an echo in the silence. Basilisk beats, She wanders. Homeward-bound, London found in lost Angeles.
Visceral. The vocals emerge from serpent strings, Valkyries returned on ravens wings, crooning tales to be told of once-lived dreams. Jess sings the blues of a sapient soul found in barren canyons of scarred star-trails. The lyrical lens navigates mood and melody, the narrative unfolds within spliced vignettes – into the Pacific Channel on angels we arrive, through the lostlands and Sunset, emerged from neon aquatic.
Tone and timbre, tears and tempos; bricks and mortar for the rhythms we inhabit as our own. Letting go of what you didn’t know you had, that is what this finds with home.
Pretense: Crate-digging a bit, dusted off this vinyl cut biorhythmic riff from back in the Aughts… indie zeitgeist mood music, still relevant, increasingly astute aural vantage on the mod world, more than worth its weight in vinyl, and beyond worth the turntable whirl #giveitaspin
“I am the truth, the thing you long to hear. I am analogue, I am analogue;” so opens duo Kwaku Aning and Jeff Shreiner’s formal introduction to the music world – and moreover, magnificently introduced the music landscape for 2010 in a softly spoken, but strongly cemented artistic tone.
Analogue Transit’s freshman album compiles acoustic and electronic sounds so authentically that it gives a soul to the seemingly synthetic – granting the machine a mood, and becomes the heart behind the gears. Raw piano and stoic strings ride alongside classically crude industrial effects. These juxtapositions craft an atmosphere that reflects artists’ core, as they harmonize with beautifully melancholy vocalizations, and more importantly, animate the catalyst for this second decade’s creative identity.
in so many ways…
Night Surgeon’s Gondola Crimewave EP is slated for a March 2014 release, but I was given an early appointment to sample the latest from Portland’s sonic doctors. Needless to say, if the ailment is color-by-numbers iPop – today’s prescription is two GCs and a midnight call.
Van Go Lion are an electro-pop duo from Portland, Oregon consisting of Amy Paige (vocals, lyrics) and Josh Loerzel (keys, music.) With the combination of Amy’s powerful and versatile voice and Josh’s classically-trained piano skills, Van Go Lion write and produce fresh, highly addictive hooks backed by synthesizers and compelling electronic beats.
I like good music. I like Van Go Lion. I like juxtaposition that positions itself just right to create a certain Pop niche – these two fit the bill quite nicely. Van Go Lion are an intriguing pair; like aural arts & crafts, they are one half artistic expression and one half conceptual construction. The product is good, because the production is whole – the American pair are vertically integrated with their music: top to bottom they compose, write, produce, and perform all of their own stuff. The sound reflects that collaboration -it’s very unified and organic – and distinctly VGL.
Take “Sugarblush” as a formal introduction: colorful tunes, vibrant sonic hues, fluid continuity between the stylistic lyrics and rich ephemeral tones come in as a literal welcome wave of sound. Van Go Lion are self-proclaimed “80s dorks,” with a shared affinity towards The Eurythmics, Prince, and early Madonna; here though, “Sugarblush” leans more towards her Madgesty’s iconic 2005 Neo-Disco sound… a rhapsodic rollercoaster drifting through a future lover’s dancefloor confession.