Born In Flamez “Easier Like That (Aïsha Devi Remix)” (exclusive)

13 Oct 2015 — Henning Lahmann

About a year ago, we introduced the Berlin-based artist Born In Flamez, a deliberately amorphous, intangible entity signifying a musical project that emphatically rejects any notions of both genre or gender. Born In Flamez' debut EP Polymorphous was, accordingly, hard to grasp and impossible to define. Floating freely between hints of grime, a very local flavour of stone-cold techno, and some of the more gloomy corners of otherwise surprisingly accessible pop, Polymorphous spelled out the conditions of possibility of a future that, if slightly dystopian, may help overcome the reality of the patriarchy that defines our present. With such a concept, the EP almost naturally functions as the blueprint for the imaginations and projections of other, like-minded artists, which makes the release of the forthcoming remix EP seem almost inevitable.

CYPHR, Paula Temple, She's Drunk, and Anika all re-interpret BIF's tracks, thereby creating their very own version of a trans- or even post-human tomorrow. Of all the tunes on the EP, however, it is Aïsha Devi's riveting, haunting remix of the rather quiet and pensive Polymorphous closing track "Easier Like That", which captivated us the most. Fresh off her own, excellent debut LP Of Matter and Spirit, the Swiss-Nepalese producer thoroughly deconstructs the original, turning it into a disruptive intervention that offers an almost epiphanic dramaturgy. Take a listen below.

Polymorphous Remixed is out via UnReaL Audio on October 16.

On short notice, Born In Flamez will support HEALTH at Berghain tonight, starting at 9pm. There might be a few tickets left, get more detains over here.

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Bersarin Quartett “Jeder Gedanke umsonst gedacht” (exclusive)

07 Oct 2015 — Henning Lahmann

There is, of course, something about German artists and gloomy, at times stodgy works that seems almost all too intimately connected. Think lonesome wanderers standing on rocks staring into the clouds below, or something along those lines. Even translation will fail you: 'Schwermut', the most Teutonic of all sentiments, finds only an approximate equivalent in 'wistfulness', and is miles away from 'melancholia', more dismal, more inescapable, yet more hopeful at the same time. Thomas Bücker's Bersarin Quartett embodies such Schwermut. Slow and pondering, Bücker's compositions create gently unfurling sculptures that may stare into the clouds without getting lost in dull sadness. Instead of relying on cheap effects, the cinematic arrangements on the artist's third LP III remain suitably complex and subtle. Take album standout "Jeder Gedanke umsonst gedacht" [Every thought a thought in vain] with its sprawling yet reluctant strings, hinting at life's hardships without ever willing to give in.

III is out November 6 via Denovali Records.

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1800HaightStreet “Heldled EP”

28 Sep 2015 — Max B.K.

With their second release, 1800HaightStreet make it evident that they've dialed in signatures of their sound. Hi hats and noise cut across chthonic dub in both releases, but their first work felt paranoid and frenetic at times, propelled along by snare fusillades at 130. In their new work, the anxiety has been released. It's still night, but the visions have have slowed down and become warmer.

The three tracks take their direction not from the awkwardly titled B1 track "Heldled" but from its A-side, "Dreamer." Like the track name, the album does threaten heavy-handedness. Airy synths and soothing dub traverse well-tread space, but then acid, noise, and the surging sound of electricity provide the contrast that holds everything together. As the record's most remarkable track, "Heldled" touches on familiar sounds with a melancholic Burial-esque woodwind and a melody that's reminiscent of Four Tet's "She Moves She," it's the surging electricity that save it from sentimentality and marks out the Vancouver trio's aesthetic.

While the EP doesn't have anthemic stompers like predecessor The Pursuit, the sound is just as big. There's no getting lulled into complacency or to sleep. The visions aren't so straightforward after all.

Heldled will be out on Lobster Theremin's Mörk sub-label on October 23rd.

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Interview: S Olbricht

23 Sep 2015 — Evelyn Malinowski

I'm sure plenty of us agree that Hungarian producer S Olbricht exudes plenty of novelty as well as mystery. To try and understand this better, I contacted Martin Mikolai, the man behind the make-believe legendary name, and asked him some questions.

S Olbricht's latest 12" Trancess is out via Bratislava-based imprint Proto Sites. Stream it in full right here.

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Can you start by talking about your history of producing music? How long has it been since you started pursuing your attraction to synths?

My first experience with electronic music was in 1999, when my father came home with a software called Music: Music Creation for the Playstation. It was quite fun, I learned how to create basic sequencies and stuff like that, but it was just a game for me back then. I started to make music properly around 2003. I changed from the Playstation to a PC and began to compose pretty lame drum and bass tracks. But as I remember it was a good term for learning a few more things about electronic instruments and effects, besides I really loved to learn things independently.

A few years later Gábor Lázár joined me in this revelation what was quite obvius then, since we were neighbours and spent a lot of time together. We bought a pair of turntables and played music all day. And obviusly we produced a lot of ridiculous tracks and a few ones what were not that bad, but the point is that we motivated each other for doing things better and I think that fact determined our whole career in several ways. Around 2008 things got more serious. I released my first breakcore tracks under the name 'Poor Jiffy' and released a few post-avantgarde shit as M. Mikolai. We made two fanzines with Gábor Lázár and Gergő Szinyova called Odd Rain and Odd Train (Roger Semsroth aka Sleeparchive joined us for the secod one).

Then in 2010 I went to University of Pécs, Faculty of Music and Visual Arts. I took Electronic Music and Media Art which seemed pretty useful after many years of self-education. By the way I wrote The Last Act of Dorothy Stratten in Pécs during the second semester, and yeah, in 2012 we established our wonderful label, Farbwechsel, with Daniel Jani, Bálint Zalkai, Erik Bánhalmi and Balázs Semsei. That was the year when SILF was born. And it was also the year when I released my first tape under the name S Olbricht.

What are a few synthesizers that you'd like to make sweet love to?

Hmm... Sh-101... She's a classy one. A monophonic bass synth with a hand grip... sounds perfect for me. I love the acidic sound with a little portamento. It reminds me of the early IDM tracks I've been in love with. And my other fav is Sequential Cirquits Six-Track which is a polyphonic/multi-timbral synth. It's quite difficult to program it and to change the parameters but we use it with a UC-33 midi controller which sends CC for filter, lfo, etc. I'm in love with many other synths too like JX-3P, Jupiter-4, SH-1, etc (yeah I prefer stuff manufactured by Roland) but it would take too long to describe all these machines properly. 

The careful maturation of Farbwechsel's roster is persistently impressive. Are we to expect more groovy 909 work like that of Christian Kroupa or is it back to the slasher soundtrack sound like that by Eril Fjord? What about any upcoming releases from SILF?

In the next few months we'll focus on groovy things. You can reckon on releases by G.W., James Booth, Norwell.. and a SILF EP is also coming soon. We'll release some debut vinyls also by Mike Nylons and FOR. And we also decided to repress a few things... so the next one and a half years seem quite busy for us.

Your otherworldly song titles are striking in their own way. They are half semantical, half not, harkening to science fiction's visions of the future of linguistics, or perhaps just hysterical or cryptic communication. Where do they come from, and how do they feed into your conceptual work around fictitious Stephan Olbricht and his love for Dorothy Stratten?

With these combinations of letters I try to reach impression of barely visible memos on a rubbed paper.. notes of a person who passed away a long time ago. The meaning of these titles based on my personal emotions and memories and somehow I think it's much easier to treat my past like a dead person... Like someone who doesn't exist anymore (I know, it sounds disappointingly dumb and boring).

I read in your interview with Electronic Beats that SILF came from Zalkai's term of endearment for his vintage synths. Meanwhile, S Olbricht is a character you created who actually got to be close to Stratten during her life in the1970s, as early synths were becoming popular. Is Olbricht at all your fantasy self, and is there a connection between 70s/80s aesthetic and music for you?

We were born in the mid 80s so we missed the synth-revolution and that's the reason why that part of history is quite myterious for us. Back in those days when the Dorothy album was born we were totally into the late 70s and 80s culture so it was quite obvious to find a connection between the story and the synths and the past. By the way, the particular story of Stratten and Olbricht was created by Bálint too, but he was absolutely counscious of my inspirations and intentions, what led me to make those tracks and that's why he formed a tale of a romantic-tragedy.

Does your interest in the murder of Stratten speak to your own interest in Playboy/vintage porn culture, or more so in murder stories and gore? Perhaps merely just the Unexplained?

Much more in murder stories and gore (vintage porn culture is not my biz). Mainly murders or suicides actuated by jealousy and loneliness. I consider myself an undercover emo, haha.

The Last Act of Dorothy Stratten is an eclectic, mostly melodic album, and furthermore a strong start to S Olbricht's discography; however, subsequent releases dwell more on the dissonant side. Your latest, Trancess, lends itself to the light from time to time, but mostly sits happily on the borderlands between uplifting techno and upsetting ambience. Farbwechsel overall conveys the same gamut. Does this back-and-forth say anything about an existing duality which you experience? Where does the inclination toward the sinister come from, although there is also plenty of moments of harmlessness and beauty in your music?

Hmm... honestly I cant answer that question. I mean these things are too close to me to see these differencies what others do.

Proto Sites is an exciting, pristine imprint that has already reinforced its competent style through its four releases. We're big fans. Can you say anything about your creation of your release for them? Did you approach anything differently?

Trancess was finished before Juraj asked me to give some tracks for Proto Sites, I did not approach anything differently. Honestly I really like to collaborate with different people from different countries, especially in our region. I want people to see that we know each other, we respect each other's work because that's the only thing what boosts our scene.

How has the wave of Budapest and Bratislava-based techno artists who've gained international laud changed the local scene? Is there any type of techno tourism coming in? Do you plan on continuing to call it base?

The international interest sensibly motivates our whole scene in Budapest. I mean not just the artists but also the club owners and promoters have started think differently. As I see it, they're much more open-minded, they are full of ambitions and cooperate much more easily. I'm really happy to see that because one of our main purposes at Farbwechsel was to show people in the Hungarian music scene that they should stick together instead of pushing themselves towards some kind of egoistic street cred competition.

Review: Privacy “Human Resource Exploitation Manual”

17 Sep 2015 — Max B.K.

It was said that Objekt 'achieves a quintessentially techno aim: embodying the future.' The statement could be made truer. It's not techno that most reflects our anxieties about our future world back to us, but electro. The 4/4 that exemplified the unimpeded production of industrial modernity is torn apart by a future that's unpredictably complex, frenetic, and not easily understood – a future of break beats. Dieselboy released The Human Resource in 2006. And now, on September 11, 2015, Privacy has put out The Human Resource Exploitation Manual on Lobster Theremin. The future has grown dimmer, but have the sounds become more future? No new heights in sound production and composition are attained here. Nevertheless, Privacy has produced a consistently good piece of work in these three tracks.

The best parts of the EP are when the sounds of percussive machinery, tones, and noise roam – intersecting and diverging into an edifyingly complex, mutating, and dystopian world; the worst when the A-side tracks make use of the melodies and chords of black and white scary movies to signify the eerie. For electro to continue to break boundaries (and to be taken seriously), it has to cut itself free from such cliches and embrace the dazzling and frightening future. "Apex Predator", the standout track of the EP on the  B-side, makes sparing use of melody, and does just that. Vaulting itself forward at 133 BPM into driving dance music, it leaves sentimental impulses behind. As the record comes to end, we're left in the place we want to be.

The Human Resource Exploitation Manual is out now. Get it here.

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Interview: Sean Nicholas Savage

16 Sep 2015 — Zachary Taube

So you’re coming down from a night of uppers, walking home from that party that surprisingly didn’t trigger your social anxiety, feeling a bit bummed because the person you had your eye on went home with someone else but, hey, they’re their own self, and jealousy is a useless emotion anyway (most times, at least). You look at your reflection in the window of the Chinese takeout and realize that you’re wearing lipstick, which you definitely weren’t wearing when you arrived at said party, that it actually looks pretty slick, and that it even matches the red of the neon dragon. You need more red in your life. It’s raining. All is well in the world because time is happening and even though it’s kind of an accident that you’re here, you’re still here and you’re gonna have a great time and drench yourself in red.

A bit poetic, I admit, but it’s hard not to be when talking about Montreal-bred balladeer Sean Nicholas Savage and his newest album Other Death. I had the pleasure to sit down with Sean a few days before he departed from his latest stint in Berlin. We talked about LA, spirituality, death, jazz and being a freak. Check it out on the link.

Other Death is out via Arbutus on September 18.

(Photo by Molly Nilsson)

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So Sean, tell me a bit about the new record.

I recorded in January and part of February. It was just Alex (Agor, of Blue Hawaii) and I and we were really, really loose and trying to experiment a lot, so we finished in LA… he went to New York, we met back up in Montreal. We didn’t have an album finished, we just had a lot of jamming. The LA part was really fun, but then it was a real pain, that’s when it got real tough putting an album together after that. We didn’t really know what we were going to do at all, I was in this weird phase of my life… I feel like I’m getting a lot more focused now. I just didn’t know up from down. Didn’t know what to do at all.

Was there something about Los Angeles, this mythology of LA kind of being this space for balladeers to go sing their songs? I feel like there’s this fantasy of the LA song club, of like Harry Nilsson or Randy Newman or Neil Young… there’s an element of tragedy to the city…

When I think of LA I just think of Motley Cru and Tupac. But you’re right, there’s lots of country, even Neil Young and Joni, but I wasn’t thinking of that at all. The record doesn’t sound like any of those acts at all, except maybe the first song "Propaganda", [it] has piano. We just, were gonna do it in Vancouver, because I wanted to do it some place really safe – we’re both Canadian and Alex is from Vancouver – so somewhere easy in the winter, but Alex was just “I can’t do it in Vancouver, it’s gonna be raining, I’m from Van, I wanna go to LA.” And it wasn’t even concrete that we were gonna do an album. And he found a place in Santa Monica, an apartment that we rented for a month that was just…. Not in the fun zone. It was a commercial zone near the beach, so we didn’t even have any friends who wanted to come out there.

But that’s the thing about LA, everyone’s friends seem to be so spread out. It seems like a really isolating spot.

It was super isolated. We would go to the beach every morning and blaze and then look at the waves and talk or not talk. And then we’d record all night. Normally I’d be pretty screwed up… I got pretty screwed up at the end of the album, I was getting stressed, because we were just not getting a focused thing. But I was reasonably sober for more of the album, which is very rare for me… it’s just the thing where I get really fucked up. It fucks my brain up. It’s a weird thing. But, as I was telling you before, the result is it still feels pretty fresh, pretty confusing thing for me to listen to. It’s got a lot of different sounds, the drums aren’t consistent, there’s just no consistent sound, and there’s no consistent vocal sound. Except that it’s crisp when it was mastered, unlike most of my other stuff, so it does fit together in a way. Then you put an album cover on it and it’s an album. I just think there’s a lot of variety in it, so I’m not sick of it. And I think when I make videos for the songs it will really bring it out to focus.

What sort of media were you consuming? What were you listening to, what were you reading?

I wasn’t reading very much, but we were watching a lot of anime, and I’ve seen all the Miyazaki stuff, so then we were watching other weird animes. I mean Alex… Alex would think I’m an idiot if I just said weird animes, but he’s an anime person. I mean Alex is a DJ so we were just blasting tunes on our monitors all the time. There’s a picture of him on the back of the cover of just him sitting shirtless blasting tunes, sitting blazing. We listened to some good radio out in LA, too. And the picture on the front was taken over at Adam’s (Better Person) place over a year ago by Moritz.

How is Other Death in some sort of dialogue with Other Life, especially in regards to Other Life being a breakup album?

Other Life is sadder, and it’s blue. Sad and blue, like “oh it didn’t work out, you know, it’s all ruined” but I’m still alive so I can just do something else.

That’s what I love about your songwriting, that on one hand you’re the epitome of a modern Romantic… a crooner if you will, but when you write about love and heartbreak you’re always very positive about it, very optimistic.

I feel like if you make a song and it doesn’t have a positive… it doesn’t even need to have to have negative at all. I feel like if you’re sharing music it needs to be beautiful and it needs to be fun, and then it should have some kind of lesson or message that you’re sharing with the people who are going to listen to it, because a lot of people might be listening to it… or one person might just be listening to it. It’s important for music to have a message in it, so if you’re going to talk about something heavy, or something negative you should come to a conclusion or else what are you talking about? You’re just whining. If you’re gonna whine, you gotta come to a conclusion, or else what are you doing? You’re just whining and then selling it? That’s not cool. So I always, when I make a song I try to have a point. It needs to have a positive.

So you don’t believe in misanthropy as a means for poetic justice?

Well there’s also that Vincent Gallo song that goes “so sad / so sad”, that stuff’s more like… the lyrics are more aesthetic or something like that. It’s kindof funny, and that’s cool, it helps people because they’re sitting around when they’re sad and it kind of makes you wallow in a nice way. But I’m more lyrical than that, so if I was like [sings] “she… left me / now I have nowhere to go” stories over, you know, it’s too specific to not have a point at the end of that. So you can do stuff, if you’re more lyrical, there should be some kind of twist or trick. The more twists and tricks and points and ideas you have in your lyrics, the better. So I try to have that. But this… actually the lyrics on Other Death are a lot less poetic and a lot more… they’re more lyrics than poems. I just wasn’t writing poems for a long time, I didn’t really want to write poems. I got so tired, it was so deep on Bermuda, I got really tired of being deep. I was really sincere on my last album, so now if I’m going to be really deep it’s not going to be sincere, I’m like… looking for poems so I wasn’t looking for poems before. The death thing, with Other Death it’s like fire, it’s more positive because it’s like “DEATH to all that” and all these references like “death to Other Life” and just slash and burning. And I burned it. It’s not like, “it’s over, start new” it’s like “I burned it all down, fuck it.” It’s a fuck it album.

Is it a rebirth though?

No! It’s just a death. The poem on the front means: ice is like “I don’t wanna melt, I don’t wanna melt…. oh no, I’m melting, we’re losing it.” Because ice is alone, you know, like snowflakes, it’s hard, it’s solid. And then the walls come down and you melt and you become the ocean, which you always were, you know? And you live on a water planet, and there are animals swimming and waves crashing and the beach and you always were water. It’s all connected, and you’ll become ice again. That poem came to me in a dream, this alien teen superstar, he kind of looked like Michael Jackson. I see colors in my dreams, I think other people see colors in their dreams, colors that don’t exist. They’re much more powerful. And this guy, when I see these alien people, but they’re not really aliens because there’s no space in my dreams, there’s just over there. But there are these people in my dream who are from over there, he had a face that could never exist. He was much more beautiful than any human can be, kind of looked like a fish, I remember, and he had these huge pupils, and he was just doing this talk at Wal Mart, he had this headpiece, and he was wearing this gold outfit. And he was spitting out these three poems, and I only remember the last one, which is that one I put on the album. But they all meant the same thing, which is like [frantically] “no no no no no!” and then you’re like “oh”, which is what happens when you die, for sure. The illusion is that we’re all a part… like the leaves on the tree are all a part of the tree. And then you die, and then you are what you really are.

Which is your spirit?

No! It’s the organism…. It’s all the energy in the whole thing. For me it’s god, I call it god. You know, you’re the whole thing, there’s this illusion that we’re not the same thing, but when you die you become it again, and you forget and forget and forget… it’s not linear, I don’t think reincarnation is linear you just always are everything. So one part of you is forgetting and one part of you knows at the same time, but there’s no time. Then the thing is… that’s a metaphor for death but it’s also a metaphor for like, all your relationships and all kinds of stuff like that. You know? It’s like… [patronizingly] “whenever things happen like this it’s always for the best” and like, that’s kind of ridiculous because it’s always for the worst, too. Yeah, so I got pretty obsessed with death in a way.

In the song "Propaganda", when I listen to you now elucidate your intentions to articulate some sort of universality, what are you trying to say when you sing “I’m a freak / wild and free”?

I feel like a lot of “hipsters” or “cool kids” around, a lot of my audience or whatever would relate to being “misfits” or whatever… and they’re younger, and then you get older and you find your way and it’s like yeah, you can get involved in stuff and this and that, but then they start telling me “you’re weird, you’re weird, why you doing that that’s so weird” and then you get older and now they’re like “okay, you’re Sean Nicholas Savage” and they put you in a box and now I’m like “hey… I wasn’t allowed in a box, and then I grew up outside the box, and now you’re going to put me in a box? Fuck you.” Just to let you know I’ll get involved in all of that shit, but I’m not in a box. And we got all this stuff going on, but hey, don’t forget we’re not in a box. We’re just the same freaks just walking around, not fitting together. You can lump things together, people lump things together so it’s so easy, you know? It’s so lazy. People want to lump things together, they want to categorize everything, and that’s just like ice. And it’s not true, and it’s fine, because you gotta do that so you can grasp reality, which is an illusion. But that’s what I’m sort of trying to talk about, it’s not really political at all. I just wanted to use the name “Propaganda” because I was sort of obsessed with this idea of propaganda, and Hollywood being the big world propaganda machine – if you want to get political – for a while, and I had some semi-political writing I was doing at one point with the record, and that song became a lot less political. I’m just… it’s not that I can’t say anything, but I live a pretty privileged life, so I felt at certain points it’s like… I wouldn’t want to whine like I said. It’s a tough thing, even like the song "Imagine" by John Lennon, it’s semi-political or something, he had to be a bit bland and spiritual with it. Unless you wanna go the whole Rage Against the Machine or Neil Young route. It’s a weird thing to be political in music, and I think that’s regrettable.

Really? How so?

It’s pretty regrettable. And he’s [Neil Young] done it more and more too, it’s very regrettable. People just turn away from it. You don’t wanna do that, so I didn’t try to do that, I think if you’re just… I would hope, I mean intelligent people use a lot of metaphors, so you can write a love song and it can be metaphors in that love song that totally apply to politics. So… I don’t need to write political songs, I’m just using the word propaganda, it’s just the whispering fear. And then you’re like… “no no no no no, I’m a freeeeeeak” and then I put my “yeaaaaaaaaaaaaaa” in there to prove it.

You write pop songs that are pretty delicate, pretty nostalgic in a certain way. What do you think about contemporary pop music?

You know what’s crazy? Even Chopin wrote pop songs. Even if he’s like [sings a Chopin melody] he’s just doing arpeggiators. If you just take off the arpegiators and make it a power chord or something, it can be really poppy.

You know that song "Jane B" off of Gainsbourg/Birkin? Gainsbourg ripped off one of Chopin’s Preludes and made it into this perfectly melancholy pop song.

Music only gets so… wild. But in jazz, I guess jazz is as crazy as it can get. Melodically and structurally.

I feel like jazz has been perfected to the point of progressive obsolescence.

People can’t learn it anymore. The thing is, it’s only gonna be good when someone’s pretty crazy, and now if someone’s learning jazz in today’s age, it takes such a studious type of person who’s probably not gonna be crazy cool. But there was a time when there were these studious people who were also really hip, and it’s just the same with classical… that someone could be loose and know all that shit. And now it doesn’t match, like if someone knows all this shit, they’re probably not that loose.

It takes such discipline to achieve technical perfection that innovation can so easily be compromised. I have so many friends who have studied jazz and they’re amazing technical musicians, but they can’t necessarily write a song…

Yeah, and all these songwriters really can’t play music at all. Nobody’s really playing guitar right now… a lot of pop musicians can’t play guitar or keyboards or drums. I think that’s fine, I think that’s cool. I like conceptual work.

Is your work conceptual?

Well a concept is just an idea. My work is full of ideas, it’s not really like… big concepts. A concept’s more than an idea, it’s a…

It’s a structure.

It’s more like a structure, a continuity. I’ll try to make the music match the lyrics, I’ll try to make everything as tied together, I’ll try to support the idea I have as much as possible. So it becomes the concept. And I love concepts, the more I can be conceptual the better, but not to the point of holding anything back. When you’re holding things back and you make a box – which can be a cool thing, I just don’t like it – but that’s when you’re being conceptual. I don’t like boxes.

Stream: Feather Beds “Ah Stop” EP

11 Sep 2015 — Andrew Darley

Originally from Dublin, Michael Orange relocated to Quebec for two years. At the beginning of 2015, Orange released his debut record The Skeletal System under his artist name Feather Beds. Only a few short months after its release he is now releasing a new EP, Ah Stop. Written in the depths of a sub-zero Canadian winter, the EP has a contrasting glowing feel. Opening with the sleepy “El Manx”, the EP’s four songs comprise looped instrumentation, treated vocals and muffled textures, which reverberate like old memories. There’s a warmth in the swell and restraint of “Manx”, while the closing song “Drat” echoes the soft keyboard melody of its opener alongside audio clips of old-school television. With only a few months since his debut record, Ah Stop shows a more concentrated electronic sound set to feature on his second album scheduled for 2016.

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Night Trap: “Someone Like You”

10 Sep 2015 — Andrew Darley

Night Trap are an electronic duo based in Dublin made of Jill Daly and Ciarán Smith. They formed their band over a mutual love of synth music of the ‘80s such as Kraftwerk, Oppenhemier Analysis and the music of Vince Clark. Their approach does not attempt to replicate what was great about that period in electronic music; instead, the pair emulates the wistful vitality of the era’s music. Over a stuttering beat and sharing vocals, their new single “Someone Like You” yearns for a new love: “Is there someone else around that’s just like you?” It’s sweeping dose of electronic pop about a desire to find new love without having moved on from a former relationship.

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