Winter Infuses Synthy Dreampop with Magic and Wonder on Third LP

Photo Credit: Angel Aura

Samira Winter has been putting out charmingly sweet yet sassy songs through her indie rock band Winter since 2013, capturing her Brazilian heritage with Portuguese lyrics in many of them. Her latest album, Endless Space (Between You & I), is full of the same infectious shoegaze she’s so adeptly mastered, but it stands out in its dreamy style, which she dubs “fairy tale surrealism.”

The 11 songs are each experimental in their own way but also incredibly catchy. “Healing” opens with warped synths and a sweetly sung verse that will almost certainly get stuck in your head — “Why’d you have to be so cold?/Everybody knows that it’s not your way” — then disintegrates into dissonant notes at the end. Winter croons about a scene “higher than the sky” in the chorus to “In the Z Plane,” which resembles a children’s song, with a simple melody that makes you feel like you really are floating above the clouds.

The LP’s title track gives off subtle ’80s vibes, with Winter’s angelic voice mellowly singing, “I don’t want to feel afraid to give the love I have to you.” She says it was originally written about an unattainable love but, in the days of COVID-19, has come to signify “the space between humans,” she explains. “The space between human relationships right now can feel so infinite, and the time from now until the way things were pre-COVID feels like an endless amount of space.”

The LA-based artist released a stunning video for the single in April, featuring her turning into a butterfly amid natural imagery and celestial lighting that belies where it was shot: in a New York City apartment. She worked with a director whose background was in puppetry and old-form storytelling, and the result was a style she describes as “old Hollywood mixed with fairytale story.” The metamorphosis is meant to symbolize “coming into your own skin,” she says.

Winter’s childhood in Brazil introduced her to the beautiful, softly sung melodies that now characterize her work, then later on, she became inspired by the shoegaze and dreampop she listened to in college. Endless Space (Between You & I) is her third full-length album, and she’s already released two EPs and is working on her third, but has mostly been taking it easy during the pandemic and hanging out with her cat Zoey, who happens to be the subject of what is perhaps her catchiest song and definitely her cutest video.

All in all, Endless Space (Between You & I) has the heaviest psych-pop influence of Winter’s music. “The way I write songs is very melody-heavy, so I think it’s a cool mix of dreamy, beautiful melodies with psych arrangements and a lot of ambient influences,” she says. “I’d run my mics through pedal board on every song.” She and producer Ian Gibbs also got creative by incorporating samples of bird sounds and fireworks she heard outside her house.

The experimental sound and outdoor samplings suit the natural and otherworldly themes of the album. Winter’s interest in occult literature, tarot, and astrology influenced her songwriting; “Pure Magician” is named after a tarot card, and keeping the video for another single off the album, the airy “Here I Am Existing,” features Winter dressed as various tarot cards. “I was really inspired by the tarot,” she says. “I think they’re really powerful ways to express different human stories and human archetypes.”

Endless Space unfolds the more you listen to it. The album as a whole aims to depict “a utopian dream world — this place that you can either discover deep within yourself or that you can journey in your dreams,” she explains. “Through music, I like to take people through a magical world.” With darkness hovering over the real one, it’s nice to have that escape.

Follow Winter on Facebook and Instagram for ongoing updates.

RSVP HERE: Ilithios Streams Debut Live Performance + MORE

Welcome to our weekly show recommendation column RSVP HERE. Due to live show cancellations we will be covering virtual live music events and festivals.

More solo endeavors are sprouting up now that many musicians have been left separated from their bands due to social distancing. Most recently, Manny Nomikos of Catty released a music video of him dancing alone in quarantine and a cover of Nirvana’s “Come As You Are” featuring Rosie Slater. His latest project, Illithios (meaning idiot in Greek), stemmed from a collection songs that never fit well enough to bring to a band. All musicians write songs sometimes that come out of left field, but for Nomikos, a true New Yorker born and raised by a Greek father and Korean mother, the project has its roots in an identity of not feeling a true sense of belonging to either side of himself. The project’s namesake serves as a cover so that “no matter how idiotic it all turns out, at least it’ll be in character,” while the songs themselves range from Thom Yorke-inspired pop to personal drum machine fused folk. Never having performed live before the quarantine, Nomikos will have the unique experience of debuting this project via Instagram livestream. There are only a few tracks available online, so tune in for Illithios surprises tonight (4/27) at 8pm. We chatted with Illithios about how to get better livestream sound quality, Dodge Caravans, and his spirit animal quiz.

AF: You’re livestreaming your live show debut on Instagram. Is that as nerve wracking as having your first show in person?

MN: I hadn’t considered that really, but I suppose it’s way more nerve-wracking. Besides performing on your own, there’s also no physical audience to engage with, which makes the whole performance feel very unfamiliar.

AF: What is your live stream set up like? What’s your favorite piece of gear?

MN: This was the hardest part for me cause I was debating how much I should actually play vs. using samples/pre-recorded parts. I felt that rather than just play the guitar the whole time, I’d use a sampler and tape deck to trigger parts and focus more on a performance. Wasn’t sure I’d be very entertaining just playing a guitar for 30 minutes on the internet. So with that said, my fave piece of equipment is my Critter and Guitari Organelle which I’m using as the central part of the sound.

AF: It says your live stream will be presented in Hi-Fi, what does that mean exactly?

MN: Since being stuck at home I’m sure we’ve all been catching streaming shows and they all sorta have their ups and downs. Instagram live has the best foot traffic for live-streaming but their audio is garbage. So I’m running a bunch of software stuff I found to get IG live running off a laptop and using a proper audio interface so the audio doesn’t have that streaming washiness. Hopefully people put on their headphones and I don’t blow it in the mix and we all have a good time.

AF: One of your cover photos is what I think is a ’90s Dodge Caravan. I owned a 1995 Dodge Caravan named Patrick that was very dear to my heart. Do you have any good Dodge Caravan stories?

MN: There’s a special camaraderie of ’90s Dodge Caravan people. I have yet to meet someone who drove a Caravan who’s not a pretty alright person. I married a Caravan driving gal. One story that sticks out was driving with friends to the mall to get Doom 2. We were so excited to get home that I started to drive before my bud Lamar had closed the sliding side door. And I suppose the momentum or gravity or science did its thing and the door slid back so fast it flew off which was not good. We got it back on but it was never the same.

AF: What is your quarantine anthem?

MN: “Play at Your Own Risk” – Planet Patrol. Or Forest by Stella (with a Greek sigma).

AF: I saw on your Facebook invite you made a spirit animal quiz. What is your spirit animal?

MN: Ooooh… well first off, wanna make sure it’s clear that it’s not like a spammy quiz where I collect data or anything like that. I keep getting butterfly mixed with baby deer. Which is sad cause I made the quiz so I wouldn’t get butterfly but I suppose it can’t be avoided.

AF: What spirit animal do you think I am?

MN: We’ve had limited interactions so I’m gonna guess, based on your Kurt Cobain persona from your Sharkmuffin Halloween show… I’d guess you’re a bat mixed with a little bit of dog spirit. Bats have good intuition, they’re night creatures, are highly motivated but on their own schedule. Like you will make a plan to do your taxes, and you will do it and it will be well done, but like you’ll miss the tax deadline by like a few months. Dog mix gives loyalty and playfulness. I dunno, take the test and see how off I am!

AF: I took the quiz and turns I am 48% an Owl (so you were on track with the night creature), and 43% a Panda. 

RSVP HERE for Ilithios first ever live performance 4/24 8pm est on @mannynomikos Instagram.

More great live streams this week…

4/24 Sleater-Kinney (conversation), Harkin via Instagram. 2:30pm est, RSVP HERE

4/24 Play On: 3-day virtual music festival: The Flaming Lips, Weezer, Cardi B and more via Youtube. 12:00pm est, RSVP HERE

4/24 Post Malone (Nirvana tribute) via Youtube. 6pm est, RSVP HERE

4/25 Bethlehem Steel 24 hour live stream for NYSYLC. 10am est, RSVP HERE

4/25 Block by Blockwest: a Minecraft music festival: Pussy Riot, IDLES, Cherry Glazerr via Block by Blockwest website. 3pm est, RSVP HERE

4/27 WINTER via Baby’s TV. $5 8pm est, RSVP HERE

4/28 Bully via Noonchorus. $8 8pm est, RSVP HERE

4/28 The Footlight Drink and Draw via Instagram. 7pm est, RSVP HERE

4/28 Exploding in Sound Live From Home feat. Pile, Shady Bug, Jordyn Blakely (Stove) + more via Instagram. 6pm est RSVP HERE

RSVP HERE: Dear Nora Plays Bootleg Theater + MORE

Welcome to our weekly show recommendation column RSVP HERE: LA Edition– your source for the best shows and interviews with some of our favorite local live bands. For the month of February we will be featuring LA shows! 

Katy Davidson is the prolific singer-songwriter behind the indie pop band Dear Nora. The band was formed in Portland in 1999 by Davidson, bassist Ryan Wise and drummer and vocalist Marianna Ritchey. After releasing their first record We’ll Have a Time in 2001, Davidson moved to San Francisco and released two more LPs and three EPs with rotating musicians until deciding to retire the band name in 2008. They continued to write and record music under the names Key Losers and Loyd & Micheal, and also was a touring member of the bands Yacht and Gossip. Davidson picked up where they left off with Dear Nora in 2017 when Orindal Records reissued their second album Mountain Rock, and then released their fourth album Skulls Example in May of 2018. Dear Nora remained an underground favorite during their career and had a huge influence on younger musicians like Frankie Cosmos and Girlpool. Davidson now resides in the desert of Southern California, and you can catch Dear Nora’s next show on 2/18 with Nicholas Krgovich and Zach Burba (iji) at the Bootleg Theater. We chatted with Davidson about the upcoming reissue of their rarities collection, what food their music would be and their dream collaborators.

AF: You came out with your first album under the name Dear Nora after a 12 year break last year. How has your music changed and has your live show reflected these changes as well?

KD: To quickly clarify, I only really took a break from playing under the band name Dear Nora, and it was nice to put a bookend on the first version of the band at the time. But during those twelve years “off,” I was still relatively active, and I released a few records under different band names like Lloyd & Michael, and Key Losers.

To me there’s a clear thread between all the songs I’ve made during the last twenty years. My melodies are catchy, I have a strong pop sensibility, and I often sing from a zoomed out perspective. That is the same now as it has always been. I think the main way my music has changed is that my lyrics feel less like confessional journal entries and more like…poems? And we don’t just rock out with barre chords anymore. Regarding the current live show, I basically don’t know what to say. It is constantly evolving. I told my band last summer that I don’t even feel like we’re playing music. To me it’s much more about conveying a vibe and transmitting energy.

AF: If you could collaborate with any artist alive or dead who would it be?

KD: Hmmm, don’t kill me… maybe Kanye West? Definitely Ariana Grande. Or ROSALÍA, god willing.

AF: What are the differences between the music scenes in LA and Portland? What are your favorite bands and places to play in both places?

KD: I’m not saying this to be awkward or contrarian, but I don’t know much about the current music scenes in those cities, and I don’t really feel like a part of them, if a such thing exists. So I don’t know how to compare them. I live out in the desert East of LA now, so I’m honestly pretty out of the loop except for random house parties. That said, I have a deep appreciation for all the West Coast people we’ve gotten to know via touring all these years, e.g. LA Takedown, Hand Habits, Tara Jane O’Neil, Stephen Steinbrink, Jessica Dennison and Jones, Cynthia Nelson, Nicholas Krgovich, iji, Carolyn Pennypacker Riggs, and so many more. Even though there are some quality rock clubs that are very good to us, I mostly like playing “alternative spaces.” The Amigo Room at the Ace in Palm Springs is fun. The Old Western Saloon in Point Reyes is fun. The Sou’wester on the Washington coast is fun. Che Cafe is pretty great. I like wooden rooms that are multipurpose.

AF: One of my favorite releases of yours is your collection of rarities (1997-2007). How did you choose the tracks on that compilation and are there any interesting stories behind any specific songs on that release?

KD: Thank you for the compliment. How much time do you have? Because I could write a book on the subject. In fact, I am writing a small book(let) on the subject because that compilation is getting reissued this year. The gist is that I wrote a ton of music in my 20s. I carefully curated which songs went on the proper Dear Nora albums, so after a while, I had amassed a lot of extra music that needed a home. I put it all together on this compilation. As a whole, it reflects the arc of a life of a 20-something person living in an urban milieu in the early twenty-first century, West Coast USA. For more details, I highly suggest getting the box set later this year if you can!

AF: If your live set was a type of cuisine or specific food, which would it be?

KD: California Cuisine.

AF: What are you plans for 2020 + beyond?

KD: Orindal Records is releasing a vinyl reissue of Three States: Rarities 1997-2007 in late May of this year. It’s gonna be really special. 3-LP box set with an 8-page booklet. I will play a handful of solo shows in support of that reissue sometime this summer. But after that I’ll be focusing on writing new music. I will probably put out another Dear Nora album someday, but I’m in no rush at all. It could be next year, and it could be ten years from now. I don’t know.

RSVP HERE for Dear Nora, Nicholas Krgovich, Zach Burba (iji) @ Bootleg Theatre on 2/18. 21+ / $12

More great shows this week:

2/14 Tacocat, Winter @ Chain Reaction. 21+ / $15 RSVP HERE

2/14 Massage, Starry Eyed Cadet, Dummy (LA Indie Pop Party) @ Highland Park Bowl. 21+ RSVP HERE

2/14 Panache Valentines Day Village of Love with Mac DeMarco and more @ Telegram Ballroom. 21+ / $35-40 RSVP HERE

 2/16 The Paranoyds, Slaughterhouse, Kevin @ Alex’s Bar. 21+/$10-12 RSVP HERE

2/17 Isabella Rossellini‘s Link Link Circus @ Lodge Room. All Ages / $45-60 RSVP HERE

2/17 Tan Cologne, Secret Flowers @ Moroccan Lounge. 21+ / $7 RSVP HERE

2/18 Duderella @ The Satellite. 21+ RSVP HERE

2/19 The Ugly Sweaters (Single Release), Huntch (single release), Unlucky Sonny @ The Hi Hat. 21+ / Free RSVP HERE

2/20 The Blank Tapes @ Pappy & Harriet’s. All Ages / Free RSVP HERE

 

RSVP HERE: Combo Chimbita and Sun Ra Arkestra Play Knitting Factory + MORE (Holiday Edition)

Welcome to our weekly show recommendation column RSVP HERE – your source for the best NYC shows and interviews with some of our favorite local live bands. This week we’ve doubled up and listed the best shows from 12/20-New Years!

My favorite show of 2019 was Combo Chimbita at Ace of Cups in Columbus, Ohio, so I’m so happy to be ending this year’s RSVP HERE column with an interview with them! The NYC-via-Colombia tropico-psychedlia meets cumbia rock band has a live set that takes you to another dimension of afro-futurism punk. Combo Chimbita consists of vocalist Carolina Oliveros, Prince of Queens on analog synths, Niño Lento on guitar and Dilemastronauta on a drum set that includes unique percussion instruments and crazy looking cymbals. Frontwoman Carolina Oliveros’ voice is so powerful it will make you cry and the way she plays the guacharaca is so intense it’s almost scary – I seriously thought she might slice someone’s head off. On their latest release Ahomale, which is a Yoruba word that means “adorer of ancestors,” Oliveros set out with the intent to connect with ancestral cosmology, a spirit that becomes animated in their live show.We spoke with the band about their Sun Ra Arkestra, music in Colombia, and inspirations behind their live show…

AF: What were some of your favorite cities you visited and shows you played while on the road in 2019?

Dilmeastronauta: LA, San Juan, NY

Niño Lento: San Juan, PR/Chicago/LA

Prince of Queens: This year we went to so many places! Playing in San Juan in January was amazing, LA, Chicago and Austin is always great for me – so many friends and the crowds are always amazing. One of my favorite shows was in Berlin for Día de los Muertos with Turbo Sonidero; that was an incredible party.

Carolina Oliveros: Berlín, Barcelona e Italia, LA, Chicago

AF: What are your favorite records to listen to while on the road?

D: SunRa “Nuclear War is a Mother Fucker,” Concha Buika “Don’t Explain”

NL: Bocanada (Gustavo Cerati), Lejos de Mi Amor (Polibio Mayorga)

PoQ: When you spend so much time on the road you listen to too much music sometimes… I like silence honestly! But I think always at some point during tour we hit that moment where we listen to classic rock and español and we all sing soda stereo really loud with the windows down.

CO: Me gusta mucho escuchar mucho afrobeats. Me pone alegre y contenta.

AF: What are the differences in the way the direction of music is going in Colombia vs the US?

D: Both cities offer something unique. I feel like NY provides me with access to witness more of the Caribbean diaspora music while Colombia offers its own roots plus, rock, metal etc.

PoQ: I think music in the US might be driven more by the diaspora and the immigrant experience. A lot of amazing music coming out from Colombia feels more focused on re-imagining and inspired by tradition and roots music. I think they are both super relevant and in many ways crossover.

CO: Se que colombia musicalmente en este momento es un gran referente, siento que se está haciendo mucha música que está conectada a las raíces.

AF: What are your favorite percussion instruments to use during your set?

D: Timbal!!!

PoQ: I don’t play it but the Carolina’s guacharaca is special.

AF: What is the inspiration behind the synth sounds you use?

PoQ: I love techno and sound design in general. I always try to approach synth playing more as a sound design tool than a traditional keyboard per se. I love analog sound and just unexpected freak out moments of synth.

AF: What are some of the biggest inspirations and influences on your live show? What are you looking forward to most about your show with Sun Ra Arkestra?

D: I look forward to witnessing the legacy of Sun Ra among the members of his band, their ability to improvise and to be colorful.

PoQ: Too many inspirations! I’m inspired by artists than transcend time and generations. Sun Ra Arkestra, los Wemblers, tabou combo, BIG sound on stage and full on rhythm. I’m not really a religious person but music is spiritual and powerful sound and stage presence can take you places far and deep. That’s what I am into. Honestly just meeting them and hearing them play. So much to learn and experience.

CO: Me gusta muchos lxs artistas que son únicxs y espontánexs y que proponen algo diferente en vivo, que no tienen miedo a explorar y dar creatividad para sus shows. James brown, Janis Joplin, mayra Andrade, La Lupe , celia cruz , concha buika. Tocar con Sun Ra será una de las experiencias más impactantes de mi carrera. Agradecida con tu interés de tocar con el combo .. sera una noche memorable, para ser feliz y hacer vibrar al público. Si quieren candela, candela le vamo a dar !!

AF: What are your plans for 2020 and the next decade?

D: I wanna tour in Latin America, it has become a dream I would like to fulfill.

PoQ: Travel to South America, write some new music and keep exploring, searching and interpreting those energies that keeps us together making music.

CO: Seguir poniendo sabor en el fogón. Haciendo beats poderosos , mucha letra que conecte y retumbe , muchos lugares para conquistar y mucha Alegría y nuevos amigxs

RSVP HERE for Combo Chimbita & Sun Ra Arkestra @ Knitting Factory on 12/28. All Ages / $25-$30

More great shows this week:

 2/20 Tall Juan (single release), Future Punks @ Knitting Factory. All Ages / $15 RSVP HERE

12/20 Surfbort, Bodega, Weeping Icon @ Market Hotel. All Ages / $15 RSVP HERE

12/20 Dinowalrus, Clone, It’s Over @ Trans-Pecos. All Ages / $10 RSVP HERE

12/21 Varsity (NYC debut), Emily Reo, Winter, Lunarette @ Market Hotel. All Ages /$15 RSVP HERE

12/22-12/30 The 8 Nights of Hanukkah with Yo La Tengo @ Bowery Ballroom. 18+ / $40 RSVP HERE

12/27 Veda Rays, No Ice, The Due Diligence @ Alphaville. 21+/ $10 RSVP HERE

12/28 GWAR @ Warsaw. All Ages / $25 RSVP HERE

12/28 Death By Sheep Holiday Party: Deli Girls, Dreamcrusher, Grooming, & more @ Trans Pecos. All Ages / $10 RSVP HERE

12/29 Deer Tick: Tick Tock @ Brooklyn Bowl. 21+ / $35 RSVP HERE

12/29 New Bomb Turks, The Atom Age, Spite Fuxxx @ Saint Vitus. 21+ / $25 RSVP HERE

12/20 Godcaster, Fantasy, Bug Fight, Water From Your Eyes @ The Broadway. 21+ / $12 RSVP HERE

12/31 The Strokes, Mac DeMarco @ Barclays Center. All Ages RSVP HERE

12/31 Priests (last show before hiatus), Russian Baths, Anti Ivry-Block @ Rough Trade. 18+ $25 RSVP HERE

12/31 Wavves @ Baby’s All Right. 21+ / $40 RSVP HERE

12/31 Gnarcissists, Native Sun, Max Pain and The Groovies, Sunflower Bean (DJ set) @ The Broadway. 21+ /$20 RSVP HERE

12/31 The Jesus Lizard @ Brooklyn Steel. 16+ / $65 RSVP HERE

12/31 Cloud Nothings, Field Mouse, Patio @ Knitting Factory. All Ages / $35-$40 RSVP HERE

12/31 Rubblebucket, Guerrilla Toss @ White Eagle Hall. 21+ $25 RSVP HERE

TRACK OF THE WEEK: Protomartyr “Scum, Rise!”

Hooray for being angry as fuck! Hooray for growling, depressive post punk! Hooray for creating a dystopian musical landscape that mirrors your hometown! “Scum, Rise!” doesn’t just get at a superbly timed sense of anxiety–with all that compulsively fast strumming and all those bleak lyrics–it also manages to be utterly, shimmeringly beautiful, even in the throes of its own desolation.

With their second studio album Under Color of Official Right, out this coming April, Protomartyr settle deeper into the near-nihilistic, aggressive approach that they established on their debut. This time around, they throw their full weight into an exploration of their hometown, Detroit. Under Color is not an album about Detroit, per se, so much as it creates the full panorama of an aesthetic landscape, complete with a swelling sense of inner turmoil balanced by external sensations: an acute sense of winter, discomfort, and urban decay. Protomartyr is practically bursting with disappointment and anger, along with a bristling intelligence that sets itself up for self-imposed isolation.

Even the group’s name screams portent: casting their lot in as original martyrs can’t be an entirely serious move on the band’s part, but does give them an austere, evocative ring even before you’ve heard the music. I’m reminded of Savages, who released their stellar debut Silence Yourself last year. But Savages’ anger–warped, noisy, and throttling–was nearly always alienating on Silence Yourself—not only was the music so atonal and distorted that it sometimes seemed deliberately repellant, but the lyrics assumed some sort of high priesthood clarity over everyone, especially other musicians, regarding life, or philosophy, or morality, or whatever. The fury and intellectual ostentatiousness is at least half tongue in cheek. I mean, calling your album—of music—Silence Yourself? Hilarious.

Protomartyr, too, spits in your face and tells you to fuck off. But there’s something less enclosed about the riffs, which, even at their darkest, have at least a trace of catchiness. Singer Joe Casey’s vocal lines aren’t distorted enough to seem far away, and remain endearing even at their most gravelly, when he’s flatly repeating the phrase “nothing you can do” towards the end of this track. Maybe it’s the reassurance of being able to hold the backdrop of Detroit in your head as you’re listening to the music: Protomartyr often gets bleak, but never becomes so interior that you get lost as you’re listening.

Listen to “Scum, Rise!” below:

Track of the Week: “The Woods Are Gone”

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Here’s a new song that simultaneously warms you up and gives you chills—a perfect complement to the coming post-Hercules weather. Solander’s second single from their upcoming album, Monochromatic Memories, is a sweeping track that alternates between a sense of motion and suspense, combining rolling percussion and guitar work with a haunting cello. The lyrics, on the other hand, take you through loss and feeling lost, and are clearly meant for wintertime (“The road to your house looks snowy and white”).

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The pop/folk/indie Swedish duo, comprised of Fredrik Karlsson on vocals and guitar and Anja Linna on synth and cello, has been active since 2009, and Monochromatic Memories will be their third full-length release. “The Woods Are Gone” follows the release of the album’s first single, “All Opportunities,” available on Spotify (and in today’s mix of the day!). So far, it seems like this album was made for brisk mornings and snowy nights, so keep your eyes peeled until the album’s release on Feb. 3.

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TRACK REVIEW: “Give It Up”

htrk1I wouldn’t consider myself an especially devout David Lynch fan, but I love Twin Peaks rabidly and uncritically, and I watch the show in its entirety at least once every winter. Never when the weather’s warm. My theory is this: something to do with frigidness, and the overarching quiet that comes along with a thick blanket of snow, demands a Lynchian blend of detached dreaminess and surreality. So maybe the recent snowstorms and having Laura Palmer on the brain is to blame for the way I feel about this track–it’s otherworldly, it’s vaguely sinister, and it’s an utterly appropriate backdrop for the weather these days. 

Duo HTRK claim an affinity with Lynch’s aesthetics; you can hear a kinship in the hypnotic chilliness of the melody, the scratched-out echoing synthesizers that ripple outwards as if a pebble’s been dropped into the beat of the song. Church-organ reverberations in minor mode plod menacingly up and down in the periphery, like mystery men in black trench coats and low-brimmed hats. The repetitive, androgynous vocals add to the sense of uncanny that characterizes this track.

HTRK stir some real polish into this mix, too–with glitzy production and a beat that suggests driving fast on open roads late at night, in a deserted city or through an empty stretch of highway. The sultry and foreign landscape that the song creates provides a space in which to detach from the outside world, whether in the dubious isolation of a dream space or nestled into the warmth and stillness inside a fast-moving car. The group’s new LP, Psychic 9-5 Club, will be out in 2014 and promises an expansive and rich musical landscape. For now, listen to “Give It Up” below: