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Cut Copy present
you with a glowing slice of the future, their debut long
player, Bright Like Neon Love, released
on Modular Recordings.
Since their 2001 EP, I Thought Of Numbers, Cut Copy have
kicked it in dance circles here and abroad with their blend
of futuristic house and vintage pop dynamite.
With Bright Like Neon Love, main man Dan Whitford has shunned
your stock dance album self-consciousness, and aimed straight
for the heart.
Post I Thought Of Numbers, Dan found himself more drawn
to the radio-friendly tunesmithery of 70s rock titans such
as ELO and Fleetwood Mac than any of his dance music contemporaries.
Having found inspiration in the simplicity and lyricism of
disco-era pop, he began writing a series of un-pretentious
future-love ballads.
This collection of dream and love-laden tunes, pulled together
with Dan’s inside-out knowledge of 80s flavoured synths
and studio trickery, set the mood for writing the record.
That’s just the tip of the pop iceberg on this album.
Repeated listening reveals an array of speckled, layered
influences – from House to low-slung, fuzzed up punk
garage, seminal 80s raincoat-wearing Mancunian electro-pop
to Nouveau Disco – often within the one song.
Part of this stems from the unorthodox approach to the recording.
Dan began recording and programming initial demos in Melbourne,
whispering vocal takes in his bedroom at three in the morning
(whilst his flatmates slept).The tracks were hashed out on
a platoon of analogue tube-synths and broken guitar pedals.
Having blown up the sampler at a live show, Dan decided to
make a second series of recordings, with a group of mates
bashing out the same tracks live as a sloppy indie four piece.
For a final sprinkle of magic Dan looked abroad for someone
to mix the tracks, tossing about the names of legendary producers
past, died, fried, retired, insane. Finally a match was found
- Philippe Zdar, one half of French House royalty Motorbass
and Cassius, whose studio work for the likes of Phoenix seemed
to speak a similar language to the sound Dan was aiming to
achieve.
Taking the tracks over to Paris, Dan and Philippe retained
the freshness and immediacy of the two sets of Melbourne
recordings and enmeshed them with a veritable chateaubriand
of Parisian house panache.
Tourdates
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