Chromeo - White Women

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Spring is finally here.  How do I know this?  Chromeo’s new album “White Women” just arrived.  For me, Chromeo is notoriously a spring/summertime listen, especially their past couple of albums.

The Canadian duo of David Macklovitch and Patrick Gemayel, self described as "the only successful Arab/Jewish partnership since the dawn of human culture" consistently puts out hyper-meta electro funk that wouldn’t feel out of place in an early 80’s dance club.  The past few albums they released have pushed the envelope of tongue in cheek dance pop.  Whether they are collaborating with Solange Knowles (Beyonce’s little sister) to create the Whitney Houston inspired “When the Night Falls” off of their album “Business Casual” or backing up Chance the Rapper, they know that what makes them cool is not being cool.

There has never been a less relevant sound that has been so instantly relevant because of the contradiction.  Chromeo is simply good time music for un-ironic people.  Does it sound dated?  Yes.  Is it still incredibly well put together?  Absolutely.  Are their lyrics hilarious?  Sure.  Can you still get down to their new album “White Women”?  Hell yes.

“White Women” starts out with a song about the jealousy one feels when they see their girl chat up other dudes.  I’m sure this is something we can all relate to.  But when Chromeo sings about it, it becomes a lot less serious.  The album is saturated with clever one liners, synth hooks, and guest appearances.  Solange makes an appearance again, along with a handful of others.  The obvious studio expertise on the engineer’s part makes this Chromeo album the best sounding one to date, and I am curious to see how first timers react to this album (as it has become my understanding that this is the first album of theirs to be sold in mainstream avenues). 

I am hopeful that this album is well received because I thoroughly enjoyed listening to it from start to finish.  But even if it’s not, I’m sure that wouldn’t deter the gentlemen in Chromeo.  They’ve been at this for years, and bands like Capital Cities and Fitz and the Tantrums owe Chromeo for creating the "kidding/not kidding" kind of dance pop.  

Check Out Chromeo's Discography

The Horrors – Luminous

Even as the slow fade of synthesizers, and the gradual inclusion of arpegiators build the sonic foundation for Luminous, the newest album by The Horrors, you can tell that it is going to be GIANT.  As the synthesizer introduction reaches a crescendo, a wall of fuzzy guitars, room filling drums and a basement dwelling bass covered in grit join them in a swirling, yet driven groove that has the psychedelic textures of bands like the Flaming Lips, and Tame Impala, but with more (or maybe bigger) balls.

The Horrors have grown exponentially since their debut album Strange Home, and each album shows sonic experimentation and song writing maturation, Luminous is no exception.  It seems as though the band took all the best sounds and ideas on Skying and cranked them up to 11.  Despite their affinity for taking chances with sounds and structure,  Luminous does have a lot in common with Skying, so if you are already a fan, you will immediately relate to some of the characteristic movements that the Horrors have built into their niche.  Not to say that they have phoned the album in, that is most certainly not the case.  There is plenty to love.

On “Chasing Shadows” (the albums introductory track), they prove that they are going to be patient leading into the record.  Almost giving the listener a disclaimer, like “Okay, these are the sounds we use, prepare yourselves, because soon they will be buried in guitars, but rest assured, they are there.”
 It is important to remember that the Horrors are a band that is right at home in the studio, so it seems like they are flexing their production muscles a little.  Right around 2:52 seconds, the song explodes into the heavy drum groove that they had us all waiting for. 

Buy Luminous by the Horrors

Listen to "Chasing Shadows"