{"title":"Synth-pop","description":null,"products":[{"product_id":"dreamwalker","title":"Dreamwalker","description":"\u003cp\u003eMontreal’s fever dream pop duo, \u003cstrong\u003eSorry Girls\u003c\/strong\u003e, returns with their third album \u003cem\u003eDreamwalker\u003c\/em\u003e out via Arbutus Records. Their eccentric blend of nostalgic 70s power ballads and 80s kitsch breaks through new thresholds, dismantling futile illusions to brave the cold and ask what lies ahead.\u003c\/p\u003e\n\n\u003cp\u003eSince forming in 2015, Heather Foster Kirkpatrick and Dylan Konrad Obront have been creating their own brand of lush pleasure-seeking synth-pop. With a knack for matching personal lyrics with an off-kilter sound, their Lynchian world is free and uncanny. Everything seems familiar, a tune lapping an old dreamscape, and yet something is slightly off.\u003c\/p\u003e\n\n\u003cp\u003eThe band debuted in 2019 with the self-produced \u003cem\u003eDeborah\u003c\/em\u003e, earning praise from Pitchfork and Gorilla vs Bear. Their 2023 spirited sophomore album, \u003cem\u003eBravo!\u003c\/em\u003e, showcased a more live-band sound. With headlining shows at festivals like Pop Montreal, SXSW, and the Red Bull Music Festival, and tours with artists like TOPS, Devon Welsh (Majical Cloudz), and Sean Nicholas Savage, they've honed their organic approach to music.\u003c\/p\u003e\n\n\u003cp\u003eInspired by Fleetwood Mac’s Tusk era, the band set up camp at Montreal’s Two Sisters Recording Studio for several months to make \u003cem\u003eDreamwalker\u003c\/em\u003e. Imposing a working time constraint, their aim was more band collaboration, and quick and decisive artistic decisions to stay as true as possible to the music. The result is a sound that is earnest, emotional and lucid.\u003c\/p\u003e\n\n\u003cp\u003eWashy production techniques and punchy bass lines pair with softer whimsical piano trills and gentle drums, recreating the thematic push-pull between two worlds. The lyricism toys with idyllic visions of love objects, fantasies of future utopias, and the obsessive longing for an ease and newness to sweep in. \u003cem\u003eDreamwalker\u003c\/em\u003e is self-aware and ironically self-effacing, trapped in the reflection of a window. 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This juxtaposition between sentient beings and machines permeates the whole album – right from the duo’s manifesto introducing us the highly intelligent yet irrevocably shortsighted and downright tragic character of \u003cem\u003eProtomensch\u003c\/em\u003e – the cover artwork featuring turtleneck wearing chimpanzee, futuristic music videos, and stark social media aesthetics to seated, next-level live-shows involving collaboration with dozens of visual artists. Despite their online ubiquity, sparked in part by their viral reinterpretation of label-mate M83’s “Solitude,” which has been used over 1 million times on TikTok and high-profile syncs on shows including Young Royals (season two), the BAFTA-winning crime thriller Top Boy (season three), and Amazon’s The Better Sister, Felsmann and Tiley have lingered largely on the periphery, their origins cloaked in quiet anonymity, until now. 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