LAZERPOP:
Jupiter
Mighty Mouse, Speakerbot
Sat, April 6, 2013
11:30 pm
Glasslands Gallery
Brooklyn, NY
$10.00 - $12.00
Tickets Available at the Door
This event is 21 and over
http://www.popgunbooking.com/event/226775/Jupiter
Jupiter is a French-English duo based in Paris, but they first met one night in London. An empty dancefloor, a one hit wonder (1982 funk classic Mama Used To Say), a band was born. Amélie and Quarles’ work relies on a common passion for a time when glitter and carelessness were kings. The impact of disco and electro-funk on their music is a clear one, yet the band happily quotes a wider range of influences, such as Sly & Robbie, Beach House, Alan Parsons Project, Siriusmo or even the Beastie Boys.
Their first single, Starlighter, caused quite a stir on the blogosphere when it came out in 2009. As a true underground anthem, it encompassed the fullness of the band: a rich blend of songwriting chic and dancefloor hedonism. Their remixes for Metronomy, Anoraak or Two Door Cinema Club all carried that same signature style. In the meantime, Jupiter dropped a cover of the song that started it all, Mama Used To Say, which got praised by its original author. This handful of tracks drove them to appear on compilations by Ministry Of Sound, Valérie and eventually Kitsuné. The Parisian label moved on to release their two following singles: the one and only Saké, which topped electro charts for weeks in spring 2011, and a couple of months later Kass Limon, an electronic take on a forgotten tropical disco tune by Kassav’. On stage, the duo turns into a love triangle involving a third musician.
Juicy Lucy, Jupiter’s debut album, compresses their sound into 11 tracks: heavy beats, light vocals, sober yet chiseled production, sharp songwriting and melodic generosity. The record seamlessly bridges the gap between many genres: boogie funk, italo, neo disco, arena rock, psyche pop with a hint of dub & reggae. A strong feeling of controlled carelessness runs through the album, carried by Amélie’s high pitched vocals. As a matter of fact, one could easily picture the singer working with more mainstream artists, as she seems to have found an unstoppable formula for melodic hooks. While Quarles takes over the microphone on two songs, his personal style is more reminiscent of that of Belgian band Telex’s vocalist, Michael Moers.
Their music is all about noble textures, cohesive soundscapes and a definite sense of enlightened melodies. Despite echoing past references, Juicy Lucy steers clear from the retro obsession typical of much of today’s music. It’s rather a modernist project, looking far ahead and beyond, and above all a successful attempt at putting songwriting back into a musical landscape spoiled by an overdose of gimmicks. It’s an easygoing trip of eleven songs, eleven potential hits travelling through time and style while reminding us that a bright future still lays ahead for pop music, be it electronic or not.
Their first single, Starlighter, caused quite a stir on the blogosphere when it came out in 2009. As a true underground anthem, it encompassed the fullness of the band: a rich blend of songwriting chic and dancefloor hedonism. Their remixes for Metronomy, Anoraak or Two Door Cinema Club all carried that same signature style. In the meantime, Jupiter dropped a cover of the song that started it all, Mama Used To Say, which got praised by its original author. This handful of tracks drove them to appear on compilations by Ministry Of Sound, Valérie and eventually Kitsuné. The Parisian label moved on to release their two following singles: the one and only Saké, which topped electro charts for weeks in spring 2011, and a couple of months later Kass Limon, an electronic take on a forgotten tropical disco tune by Kassav’. On stage, the duo turns into a love triangle involving a third musician.
Juicy Lucy, Jupiter’s debut album, compresses their sound into 11 tracks: heavy beats, light vocals, sober yet chiseled production, sharp songwriting and melodic generosity. The record seamlessly bridges the gap between many genres: boogie funk, italo, neo disco, arena rock, psyche pop with a hint of dub & reggae. A strong feeling of controlled carelessness runs through the album, carried by Amélie’s high pitched vocals. As a matter of fact, one could easily picture the singer working with more mainstream artists, as she seems to have found an unstoppable formula for melodic hooks. While Quarles takes over the microphone on two songs, his personal style is more reminiscent of that of Belgian band Telex’s vocalist, Michael Moers.
Their music is all about noble textures, cohesive soundscapes and a definite sense of enlightened melodies. Despite echoing past references, Juicy Lucy steers clear from the retro obsession typical of much of today’s music. It’s rather a modernist project, looking far ahead and beyond, and above all a successful attempt at putting songwriting back into a musical landscape spoiled by an overdose of gimmicks. It’s an easygoing trip of eleven songs, eleven potential hits travelling through time and style while reminding us that a bright future still lays ahead for pop music, be it electronic or not.
Mighty Mouse
This prolific Mouse has notched up an impressive spread of achievements in such a short time, firmly establishing himself on the electronic music scene with his unique disco inspired productions and his energetic DJ shows.
The first remix, City Reverb’s Time Side On became an immediate hit with Aeroplane who featured it on their mix for Pete Tong and his BBC Radio 1 show. Remixes followed for Ali Love, Bent and an astonishing assault on Circles by Detachments. By this time the Mighty Mouse sound was labelled ‘nu-disco’, drawing influences from house, techno, disco and 80’s music whilst also exploring a love of the psychedelic. Mighty Mouse quickly became an online star thanks to the monthly mixtapes and his infamous re edits.
Too Many Sebastians, and Stoney Roads were the first to pick up on the Mouse sound, however, blog love has been consistent with Mighty Mouse regularly climbing into the Hype Machine Top 10, most recently in December 2011 scoring a number 1 on the Hype Machine with a re work of Gill Scott Heron’s ‘I’ll Take Care of You’. Gorillaz, Fenech-Soler, Shades Of Rhythm, Shy Child and Robbie Williams’ Last Days Of Disco’ all benefitted from some of the Mouse production magic. These remixes and the rework of Rob Da Bank & Tom Middleton’s Paganini Rocks single featuring Au Revoir Simone built the Mighty Mouse reputation with DJs, resulting in high entries on the Buzz, Zzub and Coolcut charts along with radio support on the key specialist BBC Radio 1 shows: Jaymo & Andy George, Rob Da Bank, Annie Mac, Kissy Sell Out.
The press picked up on Mighty Mouse thanks to the Disco Circus compilation series. They combine disco old and new, house, techno and 80’s rarities. Mixmag Magazine lauded them putting the first two volumes in their top 10 compilations the year. Features and rave reviews followed in The Times, Guardian, London Metro and all the major dance press. Disco Circus 3 is scheduled for release in March 2012.
Mighty Mouse has released a string of singles, including club hit’s Junglefish, The Beast, Song For Ellen and Between The Pavement and the Stars. A concept album titled ‘Song With No Word’ made up of 10 movements picked up further great press and admirers in Andrew Weatherall and Lemon Jelly, the latter citing Movement 3 as one of the best tracks they’d heard that year. The UK’s leading national retailer HMV asked Mighty Mouse to curate a night at The Jazz Cafe for their ‘Next Big Thing’ festival where they joined forces with Rob Da Bank’s Sunday Best Records.
Touring has been hectic, 2011 starting with a trek around Australia as part of Future Music Festival, with stints DJing at festivals around the UK including Big Chill, Rockness, Electric Picnic and Lovebox. Added to that, Mighty Mouse made his first trip to Ibiza playing for Annie Mac Presents… at Amnesia and then onto Sankeys along with dates across Europe and the UK.
With Disco Circus 3 released in March 2012, a new label in Herve’s Cheap Thrills to release a string of new singles across the summer and new album to drop later this year, the Mouse is showing no signs of slowing down in the studio. Out of the studio a European tour kicks off in March with an Australian and US tour in April following by a summer of summer of festivals.
A busy little Mouse.
The first remix, City Reverb’s Time Side On became an immediate hit with Aeroplane who featured it on their mix for Pete Tong and his BBC Radio 1 show. Remixes followed for Ali Love, Bent and an astonishing assault on Circles by Detachments. By this time the Mighty Mouse sound was labelled ‘nu-disco’, drawing influences from house, techno, disco and 80’s music whilst also exploring a love of the psychedelic. Mighty Mouse quickly became an online star thanks to the monthly mixtapes and his infamous re edits.
Too Many Sebastians, and Stoney Roads were the first to pick up on the Mouse sound, however, blog love has been consistent with Mighty Mouse regularly climbing into the Hype Machine Top 10, most recently in December 2011 scoring a number 1 on the Hype Machine with a re work of Gill Scott Heron’s ‘I’ll Take Care of You’. Gorillaz, Fenech-Soler, Shades Of Rhythm, Shy Child and Robbie Williams’ Last Days Of Disco’ all benefitted from some of the Mouse production magic. These remixes and the rework of Rob Da Bank & Tom Middleton’s Paganini Rocks single featuring Au Revoir Simone built the Mighty Mouse reputation with DJs, resulting in high entries on the Buzz, Zzub and Coolcut charts along with radio support on the key specialist BBC Radio 1 shows: Jaymo & Andy George, Rob Da Bank, Annie Mac, Kissy Sell Out.
The press picked up on Mighty Mouse thanks to the Disco Circus compilation series. They combine disco old and new, house, techno and 80’s rarities. Mixmag Magazine lauded them putting the first two volumes in their top 10 compilations the year. Features and rave reviews followed in The Times, Guardian, London Metro and all the major dance press. Disco Circus 3 is scheduled for release in March 2012.
Mighty Mouse has released a string of singles, including club hit’s Junglefish, The Beast, Song For Ellen and Between The Pavement and the Stars. A concept album titled ‘Song With No Word’ made up of 10 movements picked up further great press and admirers in Andrew Weatherall and Lemon Jelly, the latter citing Movement 3 as one of the best tracks they’d heard that year. The UK’s leading national retailer HMV asked Mighty Mouse to curate a night at The Jazz Cafe for their ‘Next Big Thing’ festival where they joined forces with Rob Da Bank’s Sunday Best Records.
Touring has been hectic, 2011 starting with a trek around Australia as part of Future Music Festival, with stints DJing at festivals around the UK including Big Chill, Rockness, Electric Picnic and Lovebox. Added to that, Mighty Mouse made his first trip to Ibiza playing for Annie Mac Presents… at Amnesia and then onto Sankeys along with dates across Europe and the UK.
With Disco Circus 3 released in March 2012, a new label in Herve’s Cheap Thrills to release a string of new singles across the summer and new album to drop later this year, the Mouse is showing no signs of slowing down in the studio. Out of the studio a European tour kicks off in March with an Australian and US tour in April following by a summer of summer of festivals.
A busy little Mouse.
Speakerbot
Speakerbot is the robot-DJ alias of New Jersey's Aashish Bansal. Aash has been producing his own blend of deep house, disco, and funk for the last 6 years and can be found playing his eclectic mix for crowds in house parties, venues, and festivals all over the Northeast. Backed by an incredible stage presence and almost encyclopedic knowledge of all things electronic, his shows are an engaging dance party that is sure to get any crowd moving.
Are you ready to get robotic?
Are you ready to get robotic?