IDLES have shared ‘Model Village’, the latest single from their forthcoming LP Ultra Mono – out Friday 25 September via Partisan Records/Liberator Music. ‘Model Village’ decries the often-dangerous small-town fishbowl mentality, while its jet-powered instrumentation leans heavily into the band’s love of hip-hop (Kenny Beats provided additional programming on the album). The song is accompanied by an animated music video directed by Michel Gondry (Daft Punk, Radiohead, The White Stripes) and Olivier Gondry, created in collaboration with WePresent, WeTransfer’s editorial platform.
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US metalcore giants Like Moths To Flames have announced their fifth album No Eternity In Gold will be released on Friday October 30 through UNFD. It marks the band’s first full-length on their new label home after signing to UNFD in September 2019 and the following release of their EP Where The Light Refuses To Go.
Produced, mixed and mastered by Carson Slovak and Grant McFarland (August Burns Red, Rivers Of Nihil), No Eternity In Gold is a record that showcases Like Moths To Flames like never before. Displaying their trademark foundations of incisive technical dexterity and uncompromising heaviness – all underpinned with earworm-like melodies – LMTF’s new album is the result of challenged perspectives, fully-realised ideals and lessons learned.
Fans can get a taste of what’s to come with the release of new single and music video ‘Habitual Decline‘ today.
Of the track, frontman Chris Roetter explains it “encapsulates a lot of what I’ve been trying to convey in my lyrics since the band started. Sometimes you give your all and you feel like you’ve got nothing left. That echoes through a lot of what I try to do and accomplish, even outside of the band. This is kind of a ‘shedding skin’ feeling for me. Moving on and just accepting that I’m whereI’m at and dealing with it.”
Each track on the forthcoming album carries a specific weight and personal connection to the frontman, making this Like Moths To Flames’ most personal and creative record to date. Chris explains:
“The 11 tracks focus on overcoming 11 separate issues that I’m dealing with when I wake up every day,” he explains. “Most prevalently, it’s about struggling with yourself and your own feelings about your ultimate worth. These songs probably showcase more of my own mind than our previous work.
“I live my life like an open book, and we in the band are all very spiritual people who are in touch with their emotions. I feel that is something that society neglects; we are taught to bury and suppress negative feelings, when we believe that by embracing those emotions, you learn a huge amount about yourself.
With 63 million streams and a decade of global touring to their name, Like Moths ToFlames have long been metalcore scene stalwarts; now, they’re making their bid to lead its charge. Like Moths To Flames is Chris Roetter (vocals), Jeremy Smith (guitar), Zach Pishney (guitar) and Aaron Evans (bass).
PRE-ORDER ‘NO ETERNITY IN GOLD’
+ STREAM ‘HABITUAL DECLINE’ NOW
CONNECT WITH LIKE MOTHS TO FLAMES:
facebook.com/likemoths
instagram.com/lmtf/
lmtf.merchnow.com/
Today alternative rap duo Craterface share ‘BIG WHEELIN’’, the first single to be lifted from their forthcoming mixtape BURN AFTER LISTENING, out this October. Listen HERE.
Best served loud, on ‘BIG WHEELIN’’ rapper baby bruh and producer/vocalist Taki Local channel the kicks of driving aimlessly, unsupervised for the first time, with the rush of freedom that comes from owning your first car. Inspired by Ramirez’s ‘Gold Thangs and Pinky Rings’, they share: “We wanted to make something to put on in the whip while riding around in the sun.”
Patiently honing their craft in bedrooms and basements since 2016, Craterface emerged late last year with their debut release Don’t Be Confused, named packet album on Sydney’s FBi Radio. The duo have steadily kept audiences guessing since, following up Don’t Be Confused’s lead single ‘LEXAPRO’ with a string of releases: ‘-12°’ with fellow Novacastrians FRITZ and Aquinas, ‘Bankroll’ and their collaboration with teddie on ‘Call Me’, following their tour with Shady Nasty in February.
Where their collaborative approach is forged in trust and a mutual understanding built over a decade long friendship, Craterface’s sound pivots from the method-madness of JPEGMAFIA, tenderness of Deb Never and Matt Champion, to the avant-pop mania of SOPHIE, with all music mixed and mastered in house.
With an M.O. to blow up while keeping things DIY, baby bruh and Taki Local carefully curate each element of their craft at home, comfortably keeping their own feet on the gas. Now with the upcoming release of their confessional tape BURN AFTER LISTENING, Craterface explore spiritually, heartbreak, cyclical growth and finding self love, while wearing Newcastle on their sleeve.
‘BIG WHEELIN’’ by Craterface is out now, buy/stream it here.
Stay connected with Craterface:
Facebook | Instagram | Youtube | Soundcloud | Bandcamp | triple j Unearthed
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Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption, 12th House Rock is, as the title suggests, a rock-focused LP themed on transition– exploring the vast abyss of darkness just before the sun cracks upon the horizon. “A lot of the record was made in the late hours and early morning,” recalls Duarte . ”Those quiet moments alone when utter silence and my self-medication made it impossible to escape from my own thoughts. It was also from a specific time when I didn’t take care of myself and made bad decisions in all aspects of my life. These songs were a way out, temporarily anyway.”
Narrow Head formed in 2013 but became fully realised as a band in Houston with the release of their 2016 debut LP Satisfaction and the lineup of Duarte , guitarist William Menjivar and drummer Carson Wilcox . Playing in the Texas scene instilled a can-do attitude, an ability to explore several different ideas along with a strong set of DIY ethics, qualities that still form the basis of the band to this day. “Book your own shows, book your own tours,” details Duarte about the foundation of his musical viewpoint. ”I think that having other musical projects provided a scene for us to play too. Nobody else was looking at us, so we had to make our own scene.”
12th House Rock was self-produced and born of close to a hundred takes with no click track, vocal correction, drum samples or quantising, resulting in thirteen testaments to pulverising pop, clocking in just above 50 minutes. Initially only Duarte, Menjivar and Wilcox in 2018, the trio of old friends entered the studio with a batch of songs intending to write bass parts on the fly. “I’ve known Jacob and Carson since childhood and they are the most talented musicians– total prodigies,” states Menjivar. The three looked to build an LP that reflected current tastes as well as “music [they] looked up to as kids,” according to Menjivar, adding their own twist on the entirety of it.
Though the primary trio was present throughout the entire cycle, fate intervened on bass as the undeniable chemistry between the band and then strictly producer Ryan Chavez led to his inclusion in Narrow Head . The newly minted four piece would handle the bulk of the remainder of the LP, bringing in Erica Miller (Big Bite, Casual Hex) , vocalist/lyricist on “Delano Door,” and mastering guru Sarah Register (Big Thief, U.S. Girls, Protomartyr) to put the final touches on the record. Guitarist Kora Puckett (Bugg, ex-Sheer Mag) , who previously logged hours as a live member in the tours preceding the LP, would join Narrow Head as a full-fledged member following the album’s completion.
Despite whatever comparisons that can be made to guitar tone, mood, songwriting, timbre or virtually anything else, Narrow Head are quick to credit their native Houston, TX as the primary source for it all. “Houston is the greatest city on earth,” says Duarte emphatically. “People who know, know. In Houston, you have to give people a reason to pay attention to you.” With 12th House Rock , not only will Narrow Head have Houston’s attention, but the entire rock world as well, giving us one of 2020’s most impressive releases.
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Love for Papaya Tree
“Sydney’s own genre melting pot, Papaya Tree…have been feeding Australia a fine diet of bangers like ‘Bamboo Schooner’, ‘Radar’ and ‘Youth’ since 2017, and selling out shows in Sydney, Melbourne, and Perth.” – Tone Deaf
“Papaya Tree are a fresh offering in Sydney’s music scene.” – Lunchbox TV
“A melting pot of pop, jazz, indie, funk, reggae and soul it’s safe to say there is a lot going on in this band. Yet, somehow, Papaya Tree lasso, wrangle and ride this beast of influences into their own sound that just works.” – Laundry Echo
“Eclectic Sydney outfit Papaya Tree doesn’t let up for a second.” – The Music
“Papaya tree is a funky slice of indie rock’n’roll that ebbs and flows across a spectrum of genres, with a surprise heavy breakdown thrown in for good measure.” – Pilerats
Papaya Tree straddle the line with members between New South Wales and Victoria, just as they’re planted between genres and styles. This six-piece outfit are always refining their sound and influenced by their history as Jazz students, indie contemporary producers and morticians. After releasing “Out In The Wash” followed by a dashing bass driven Remix earlier this year, Papaya Tree are walking down the music isle with new tune “Flowergirl” – out now!
Recorded at Parliament Studios, the song was mixed by Phan Sjarif and is another tale of unrequited love as Lee explains,“‘Flowergirl’ is a true story written about Joe (Bass Player), his time working in a Newtown Bar and the crush that never came to be. One day during a never-ending shift, a girl came to change the bistro flowers. Before Joe could ask her name she’d left, only knowing her as ‘Flowergirl’. Whilst being a love song, it is also an escapist anthem about the mundane aspects of life, menial jobs and hope for a future.”
‘”Flowergirl’ provides a distraction from all these and a reminder to live in the moment. Sonically, ‘Flowergirl’ takes inspiration from 90s Britpop, channeling energy from Oasis and The Verve as well as mixing orchestral power with floating guitar tones evocative of The Smiths and Rolling Blackouts Coastal Fever.” – PAPAYA TREE
Keeping in line to the collage theme of their previous single artwork, the band took old wedding photos from their parents! “We went for a real 80s inspired, almost ‘Take on me” (a-ha-) esque style. Not only was the time period fitting, but the story of that video clip also related to what the song was about!”
The band (consisting of Lee McDermott, Jack Johnston, Zac Olsen, Alistair Hayes, Jordan Tulinsky, and Joe Plunkett) have built an audience around eclectic and unpredictable live performances including sold-out shows in Sydney (Waywards, World Bar Lansdowne Hotel), Melbourne (The Gasometer), and Perth (The Fremantle School of Arts).
Gaining praise from The Music, Music Feeds, Scenestr, The Loop and Tonedeaf alongside spot rotation on Triple J, Fbi and other tastemaker community radio stations across Australia, the band is expanding their ever-growing fanbase with a huge run of releases and shows into 2021.
Today, Melbourne rock / metal band True Believer drop a video for their new single
From Lucifer With Love.
Watch the video HERE
From Lucifer With Love follows up from the band’s 2019 single Servant as the second part of a double A-side release. Recorded by Jaime Gomez Arellano (Ghost, Orange Goblin, Paradise Lost, Grave Pleasures) at Orgone Studios in the UK , the song is a conceptual ending to the “Operatus Satanica” chronicles and is accompanied by one of the best animated music videos for an Australian heavy band you’ll see, produced by Slow Cheetah Studio in the Ukraine.
As 2020 enters its second half, so does this chapter close with From Lucifer With Love, without doubt the bands strongest song to date, – a melodic and harmonious guitar & vocal driven call and response direct from the Dark Lord.
Listen to From Lucifer With Love HERE
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lt-rapper Cold Hart, together with emo rap pioneer Lil Peep, have dropped a previously unreleased track, “Me and You”. The duet is from Peep’s career-launching first mixtape – the fabled Crybaby sessions.
“Me and You” finds Cold Hart and Peep in classic form, raw heartfelt lyrics, with an infectious melody, over a bold Charlie Shuffler beat: “Took the long way home, bumping all our songs,” Cold Hart sings — a fitting tribute to his friendship with Peep, an almost clairvoyant musical eulogy.
WATCH THE MUSIC VIDEO FOR “ME AND YOU” NOW
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Acclaimed Los Angeles band Bad Religion have just released a radically reimagined version of their 1990 humanist anthem “Faith Alone.” The re-recording uses an uncharacteristic orchestral arrangement to further accentuate the song’s remarkably relevant lyrics. It is a philosophy Bad Religion have extolled since their very formation and has inspired songs like “The Answer,” “Atheist Peace,” and “American Jesus” that rail against religious hypocrisy and anti-intellectualism.
While the original Faith Alone was delivered as a propulsive guitar fueled punk track on the band’s album Against The Grain, the new interpretation begins with singer and co-songwriter Greg Graffin’s plaintive vocals accompanied on acoustic piano, before building to an unabashedly symphonic crescendo complete with sophisticated string arrangement. The result is a startling sonic departure from the band’s patented melodic punk sound and only serves to emphasize the song’s emotional power and intensely relevant message that, in times like these, “faith alone won’t sustain us anymore.”
As the band’s singer and co-songwriter Greg Graffin explains, “I have al-ways written songs on piano. Some of our earliest songs were written on my mom’s piano. I’ve been home a lot and so I started recording a bunch of our songs that way. Brett (Gurewitz) thought ‘Faith Alone’ was particularly relevant for this moment. For me, it exemplifies what’s special about the band, which is that we write songs that go to the spiritual and intellectual aspects of human existence.”
The recording of the song was done remotely. Graffin’s initial vocal and piano tracks augmented by the band’s co-songwriter Brett Gurewitz who added additional instrumentation including guitar. The strings were added by Stevie Blacke (Beck, Lady Gaga, Garbage) and the drums played by Bad Religion drummer Jamie Miller while producer Carlos de la Garza added additional production and a mix.
Gurewitz explains, “I think the message of ‘Faith Alone’ really resonates with everything that’s happening right now. Racial injustice, Trump, the COVID pandemic, the rejection of science, none of these things can be solved by burying our heads in the sand. We’ve always believed problems can be solved through reason and action, not faith and prayer. It’s what we’ve been writing about since the band started.”
With this release, Bad Religion have added yet one more powerful work to an already formidable canon of intellectually provocative protest songs. Since forming as leather clad intellectual teens amidst the raucous Southern California punk scene, the group has served as unflinching advocates for reason and humanism. It is a message that has never been more necessary.
Greg M. Epstein, Humanist Chaplain at both Harvard and MIT, as well as the NY Times best-selling author of ‘Good Without God’, offers, “If I could take the frustration, grief, longing, and moral outrage rattling around in my brain these past few months and somehow turn it all into a single rock track that could help me stay human in this mess, that track would be ‘Faith Alone’ by Bad Religion. Sure, it’s a stylistic departure for one of the greatest punk bands of all time. But the message is as true to the band’s core ethic as anything in their decades-long catalog. It might just be the anthem we need to maintain our faith—not in religion, but in each other—as we try to get through the rest of this year.”
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Hey Lee, how are things with you? How have you found your lockdown experience overall?
The lockdown experience has been something I’ve tried to deliberately take in my stride and stay as positive as I could. From about March until May I moved from NYC to my house in the Hamptons and kept the music and positivity flowing and focused a ton on my masterclass company, FaderPro.com and how we were pivoting during these times. In May I rented a house in Portland, Oregon where my family is as there was very little Covid there. I’m now doing my best to stay 2 steps ahead of this Covid thing.
What is life like under Trump? Does he represent you as a president?
Trump doesn’t affect me any differently then any other president in the USA. When you spend the majority your life touring in international waters, you’re more of a nomad living on everyone else’s soil but your own. I am a proud New Yorker & American though.
Should dance music be more social and political as it was in the early days?
Music for me regardless of where I’ve been even at times of war (post 9/11) has been the universal sign for peace & love and when I’m touring, they don’t care where I’m from, they care about the music I’m playing for them and they respect my hard work at giving them the best show I can. I love how music brings us together, all of us and never divides us, at least in my experience.
Did the Black Lives Matter movement impact you, your thoughts and feelings in anyway?
I have big hopes that with time and change, we will get back to a much greater place in the world. I’m a firm believer in all my personal & business relationships that adversity strengthens us and builds a true love for each other. I hope that with Black Lives Matter the results will be the same with our nation and throughout the world. As a life-long athlete playing sports in every part of the US and now in Music, I’ve had the great opportunity to call ALL my teammates brothers (and sisters) no matter what ethnicity they were.
Tell us about your new Mayday EP with Funkerman for Flamingo – how did you link?
Yeah it’s my debut on Funkerman’s label. We are from the same camp and are teammates on the same management squad and Jorn my manager has linked us up as well as other teammates like Marco Lys who I have an EP finished with as well as Yvan Genkins as too so it was great to work with Funkerman and even have him add a remix to the package as well. I played Funkerman’s Boat Part at ADE and dropped MayDay there and he loved it and chased it since then.
What made you want to work with that Sunday Shouting sample?
Yes, Sunday Shouting was the 1st time I heard the usage of that sample back in my days at Strictly Rhythm and then I started playing the, “B Boys Shoutin Dub” almost every set and it would really translate well on the floors BUT it lacked the energy that I love to play with. I needed those strings and all that energy to be wrapped up nicely into a peak hour version so I cleared the sample which we have to pay respect to as its the same sample that Johnny Corporate cleared too which is BRICK-Living from My Mind and signed it off to Flamingo & Funkerman!
Are there rules to what you must and must not do to a sample to make it original?
Yes, there’s definitely rules but luckily in my career as Lee Cabrera & Just Us I’ve been fortunate with those rules and great managers like Jorn from Adapt and Dave Lambert for Just Us that know all those rules. I was managed by THE DON of House Music, Mark Finkelstein who gave me my hard knocks PHD in the music business too so I know the game quite well. Every territory & society has it’s own set of rules but if you play your cards right, clearing samples & publishing aren’t extremely difficult and then if you can’t, there’s some killer replay companies out there right now.
What else have you got coming up?
Yeah lots of new music forthcoming: I love getting something out every month. I have a new single with my boy, the legendary Richard F and I’ve convinced him to come out of retirement and our new single is forthcoming on Glasgow Underground where I signed my “Gimme Gimme” single too. I have a 2 track EP with Marco Lys too that we just started shopping as well as another with Yvan Genkins. Most recently I released a 3 track EP with one of the baddest dudes on planet earth, Steve Lawler on his Viva Music imprint and prior to that I redid, “Shake It” with Mike Vale and then added a brand new top-line vocal which is now titled, “Everybody” (Shake It) in which I added 2 new Lee Cabrera versions on which is out on CR2 Records. More Just Us Music forthcoming as well and another new alias, TalkBack with my friend singer/songwriter, Matt Hartke (Avicii, Tiesto, Cash Cash) and our new singles, “Astronaut” & “Feels” are debuting on the newest Cash Cash album.
Lee Cabrera and Funkerman’s Mayday is out 15th August via Flamingo Recordings. Check out the release on Beatport here and keep up with Lee on Facebook and Instagram.
The 12-track release includes recent singles
‘Myths Still Exist’, ‘Eyes Wide Strut’ and ‘What Do We Care’
Moscoman
Time Slips Away
(Moshi Moshi)
Out Now
Disco Halal label boss Moscoman has unveiled his long-awaited new album Time Slips Away, out 7th August.
Channeling what Moscoman describes as ‘happy sad’, Time Slips Away is inspired by the highs and lows of touring life – the amazing gigs vs the shitty ones, plus the opportunity to see the world vs the hectic traveling schedules and lack of sleep.
A twelve-track release, the LP opens with the title track. Underpinned by repetitive melodies, it makes way for the infectious synth-pop of single ‘What Do We Care’, featuring the vocals of Tom Sanders of English indie-pop group Teleman. It’s one of three singles on the album, alongside the ethereal ‘Myths Still Exist’, featuring UK singer-songwriter Niki Kini, and the 80s-inspired ‘Eyes Wide Strut’, featuring London-based duo Wooze. Wooze feature again on Israeli rock cut ‘Natural Born Losers’, while there are further contributions from Vanity Fairy on ‘Turning Tides’ and Nuphar on the album’s closer ‘Golden Hour’.
Born Chen Moscovici, Moscoman spent most of his life in Tel Aviv and released on labels such as Because, City Slang, Life & Death and Diynamic, but it was a move back to Berlin a couple of years ago which really pushed things forward. “It was a great place to step back and overlook my whole life,” he explains. “I didn’t have time before to sit down and think where I was going. Now I see the wider picture.” Time Slips Away is his second studio album, following 2016’s A Shot In The Light.
A diverse collection of tracks that cover an array of genres and feature a number of different vocalists, Time Slips Away is Moscoman’s most accomplished work yet.
For more information on Moscoman, please visit:
Facebook I Twitter I Soundcloud
Mattia Saviolo is one of techno’s most talked about young talents following a recent two-part release on UMEK’s label 1605 which has been dominating the top of sales charts on leading music download websites.
Hyped to learn more about Mattia Saviolo, we caught up with him to discover more about his background and releases on 1605…
Where are you currently based?
I am currently based in Berlin, which I think is on planet earth, but sometimes it seems a bit out of this world lol.
How did you first start playing music?
Well, I started DJ’ing when I was fifteen. I was already in love with electronic music and started DJ’ing at home with CDJ-1000’s and basic two channel mixer. This got me deeper into music, and my passion continued to grow, until I eventually decided I also wanted to make my own music.
What has been happening recently?
A lot things man, and it has been difficult to handle the balance between bad things like Covid, and more positive things like my new releases, so it has been a crazy few months. My goal is to stay positive, and bring positivity to the other people… especially with my music!
You have just released a new EP via UMEK’s label 1605, what influenced the sound and song-writing for the EP?
Well, I would say that for me it’s like an introspective trip inside myself, and my main mission is to communicate/express what I feel like to the other people, as sharing my emotions and mental images through music often creates connections with others.
What is your process for writing the music?
Basically, it took me almost a year to create these four tracks, working hard in the studio and trying to experiment with new things and techniques. I was really inspired about the idea of these big hangars, warehouses and festivals… I was imagining how these tracks would sound, as I wanted to create something that would really fill the space and make an amazing dance floor experience.
Where and when did you record/produce?
Almost every day, I try to be very regular with a routine of work, as every second I spend focusing on music makes me feel so happy.
What programs/instruments did you use to record/produce?
Mainly I use Ableton Live and produce 80% of my sounds using that software program. I also have some hardware that I share with two friends Nico Cabeza and Luis Arboleda who also use my studio. We have a Moog Sub 37, Roland 909 and an 808… for processing a mix and mastering I use some internal plugins.
Please tell us what this EP means to you, and was the end result as you imagined it to be when first making a start?
This is a great question… I like all the music I create, but some tracks will never be released! It is part of the game, as although I have a strong connection with all my works, it is only the tracks that also connect with others that get signed. Having the feedback from UMEK to keep making improvements, made me go a bit deeper with my thought process on these EP’s for 1605, and that allowed me to really express myself with the final versions.
How did you come to release with 1605, and how has the experience been so far?
UMEK contacted me on Facebook and was interested in my music after hearing my releases on other labels. He was curious to listen my unsigned tracks and when I sent to him a playlist with some tracks, he replied saying “man I have a problem, I’ve never had so many good demos before lol”. I was really excited to hear that, and from there we decided to sign these two EP’s. 1605 is highly organised and solid with a good PR agency (Mainline PR) and a talent mixing and mastering engineer (Gregor) who can make things stand out. So, I am extremely happy to be working with them.
Who are you listening to at the moment?
There are too many great DJ’s and producers out there, I always dig a lot in genres outside of the techno capsule…so its impossible to choose just few artists, as it would be unfair on all the others I didn’t mention.
What do you like to do away from music?
I love playing soccer! I recently moved to a new flat here in Berlin, and I’m lucky to have a little football field in front of where I live, so on sunny days I’m often spending a lot of time playing and running with a football. I also like to eat… I’m always up for having dinner and drinks outside with friends 🙂
What is planned for the remainder of 2020?
Honestly, I’m not 100% sure I will release much other music during the lockdown period, but I’ve collected and finished around eight new tracks, so we will have to see once I’ve set them out to a couple of labels.
Favourite food, and place to hang out?
Some of my favourite spots to eat in Berlin include Adana Grillhouse, Brlo Brwhouse, La lupa, Donna Drancesca, and loads of others…
https://soundcloud.com/mattiasaviolo
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POTION RECORDS
SODA STATE – ‘THE LOOK’
OUT NOW
With tones of nostalgia and shot in the style of a retro ‘Super 8’ movie, the forthcoming video from London based duo Soda State is full of heart-warming references from childhood, past decades and popular culture. Most notably the 90s; the decade that introduced new technology, alongside iconic music, movies and television. Soda State instantly transport the listener lyrically, sonically and visually, to their ‘Soda State Of Mind’.
Shot from the point of view of childhood, the video brings through emotions that bubble away throughout growing up as a kid; from fondly remembering family holidays by the sea to lazing around and looking for adventure. From aliens attacking and battling with Star Wars light sabers made from sticks to playing Space Invaders and Super Mario Kart, the video launches into the feelings of escapism from the adult world.
“We want the music we create to take the listener into a place of escapism.
Lyrically, sonically and visually, there’s a sense of taking yourself away from
the world around you, whether giving yourself over to the moment or losing
yourself in a feeling of nostalgia. We call this feeling of escapism
‘The Soda State Of Mind’” – M & Tracie
Soda State, consisting of Mike ‘M’ Ridley & Sam Tracie, come into the electronic dance scene as a brand-new all-encompassing project and virtual band. With strong digital conceptualisation their animated characters have been transported into a utopian world, found as they stumbled across a binary digital code of 0’s & 1’s during a studio session.
Their debut single ‘The Look’ is a contemporary rework of Metronomy’s famous 2011 single of the same name. Their rework is layered with 80s synths, solid kick drums and a floating ethereal vocal. Taking reference and influence from the French House sound of Daft Punk, M83 and Duke Dumont’s ‘Ocean Drive’ and alongside a string of forthcoming releases, Soda State are fast becoming a one to watch for 2020.
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