San Francisco’s very own disco dance auteur Viceroy has linked up with British singer songwriter Tom Aspaul on a sweltering summer banger named Improvise, for which I’m going to have to improvise some slick dance moves to as I bounce along to its buoyant chords. This satin chic sunset house meets nu-disco banger is a pool party must with its funky licks, glamorous beats, and smooth cooing. Improvise is out now via Dim Mak. Grab it from iTunes, here.
The intrigue is palpable and electric in this Act I closer. I am obsessed with the constant self narration/use of third person in this show. Moments like “Waiting at the door” and “You press my arm” make this timeless novel come to life. We feel the urgency and confusion of Natasha. Stunning too, is the use of wine-glasses to achieve the sound of a glass armonica. It’s simply beyond words to hear these voices, electronica, and classical instrumentals effectively combine. Thank you for this show. Thank you for War and Peace.
my ensemble stars ocs; they’re in separate units i made with my friends
sinfonia (シンフォニア) - a classical electronica unit composed of a 4 member stringed quartet (2 violins, 1 viola, and 1 cello). the unit is inspired by vivaldi’s orchestral piece ‘four seasons’, and each boy is based on a season (akito is the ‘autumn’ member)
city boys (シティーボーイズ) - a street styled unit that mixes hip hop with pop. romanized as “shitībōizu“ or “shitty boys”. the name is stylized as “shiti b0iz”. the unit originally started as a joke but here we are. (azusa is
ironically a country boy)
The maudlin tune was written by Giorgio Moroder, who was known more for the pulsing electronica beats of classic drugsploitation films like Scarface and Midnight Express than sappy love ballads, and recorded by California new-wave band Berlin. To say everyone in the band hated it would be a stretch. Lead singer Terri Nunn, who appears in the music video in a skunked ‘do and inexplicably shredded and soiled coveralls, was a fan of the track.
However, bassist and songwriter John Crawford loathed it. Berlin had already found some success with new-wave classics like “The Metro” and “No More Words”, so the sentimental "Take My Breath Away” was a pretty big departure from their signature sound, and Crawford let his objections be known. Signature sound or not, it was by far the band’s biggest hit, so a rift was inevitable. The rest of the group agreed with Crawford that the song totally sucks, and the ensuing infighting led to Berlin’s breakup less than a year after its release.