TRIGGER WARNING: THIS POST IS ABOUT MUSIC. SORRY IN ADVANCE.
That last Justice record, am I right? Bit of a head scratcher. Turns out if you listen to it like 20 times because you have to interview them it starts to grow on you. I chatted with Gaspard Augé about the group's latest direction, and surprisingly, he didn't think that the descriptions everyone are making about the record were accurate. Musicians never think that.
“We never tried to do a prog record,’’ Augé explained from France over Skype recently. “To us, it’s just pop music from today. The only prog thing in this record is maybe the freedom in terms of tempo changes and key changes, but it’s still simple music in its form, and it’s never demonstrative like prog is. We try to avoid knowing too much about musical theory to keep the magic.’’
Amy Douglas has a voice like one of the old classic disco divas. She's so good at it that everyone is blowing up her spot trying to get her to guest on a track these days. Too bad she doesn't even like electronic music all that much. I wrote about her in the Globe last week.
You can’t always get what you want, as the fella once said in the song. It’s a rock ’n’ roll sentiment that Amy Douglas, the brash powerhouse singer, found out on an unexpected detour toward becoming a widely in-demand voice in the electronic dance music world.
Aside from her work with producer Rob Phillips in the local duo SPF5000, including tracks like the sexy disco throwback “White Hot Fantasy’’ and the similarly steamy “Doorknocker,’’ just out this month on New York City’s Nurvous Records, the Somerville resident and New York City native has been popping up all over the dance map. She’s worked with Trouble and Bass head Luca Venezia (a.k.a. Drop the Lime), and label-mate Supra 1; collaborated with DFA Records favorite the Juan Maclean in a side project called Peach Melba, singing on the soulful house groove of “Can’t Let Go’’; scored a club hit with Lazaro Casanova on his “Miami Vice’’ EP; and has releases in the pipeline with the likes of Treasure Fingers, Codes, and Boston’s Kon.
John Barera has a pretty bad ass new EP out this week. I reviewed it in the Globe as well.
Has someone already invented an underwater dance club? If not, the soundtrack for the opening night has already been written, with this four-track techno, deep-, and dub-house release from Boston producer and DJ John Barera.