Electro-Dance Innovation: Chromeo Album White Women Reviewed
Chromeo. White Women
Montreal based electro-funk duo, Chromeo has released their new album “White Women”. The band’s fourth release is in reality a celebration of decade long career from their beginning in 2004 with debut album “She’s in Control”. Chromeo’s rising success has been apparent both here in Montreal from their sold out show in Corona Theatre, a performance at Coachella, and in the blogosphere with their hit song “Jealous” (I Ain’t With It) having been remixed by reputable names such as Dillion Francis and the Chainsmokers. “White Women” still resonates that early 80’s disco and funk rhythm with electronic components from their earlier works, however, have given their records a into a upbeat, catchy and overall refined sound. The duo has always been on everybody’s radar, as they have remained true to their unique and refreshing electro-funk creations.
The album opens with their trademark record “Jealous” (I Ain’t With It) that sets the tone of a typical funk genre fused heavily with pop. David Macklovitch’s “Dave 1” vocals distinctly confesses an envious attitude with lyrics such as “I get a shiver when I see with those other guys/I get jealous and I’m too cool to admit it”.
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“Sexy Socialite” stands in the same league, as a trendsetting record that defines Chromeo’s album transition to appeal to popular dance music. The record begins with a brief fast tempo drumming before progressing into what appears the main body of the song accompanied with a steady strumming bass in the background.
The verse and chorus transition from spacey keyboards into rhythmic clapping with lyrics that idolize and depict an upper class woman as “All you do is socialize/And you’re always so polite” and “They all want to approach ya/And I can’t even catch your gaze, what a shame”. Both “Jealous” and “Sexy Socialite” play a major role the duo’s attempt to innovate their original sound while remaining true to their funk roots as they describe Chromeo’s unlucky pursuits in the name of love. In the duration of the songs both prove to be quite complex with layering of a variation of instrumental techniques and within their song structure.
http://www.youtube.com/watch?v=xKOftSpKMfg
“Come Alive” in collaboration with Toro Y Moi slows down the pace to reproduce a 70’s dance atmosphere, that is followed by a smoother and arguably groovier “Over Your Shoulder”. These two songs truly demonstrate Patric “P-Thugg” Gemayel’s talent in his keyboard arrangement and skill on the synthesizer to replicate unmistakable funk-disco characteristics.
The softer side of the album is reflected through Chromeo’s featured artists in the album. “Ezra’s Interlude” is marked by Vampire Weekend’s Ezra Koenig distinct high-pitched and Dave 1’s sweeter vocals. Even Solange Knowles graced the album with her passionate voice in “Lost on the Way” narrating a duet of a couple going through rough patch in their relationship. High praise is awarded towards these two collaborations as successfully adding depth and a wider range of emotions to the album.
“Frequent Flyer” and “Fall Back 2U” are reminders of their previous electronic records in earlier album such as “Fancy Footwork” and “Business Casual”. These tracks resemble weaker version of Daft Punk in respect to their electronic genre aspect. However, remain surprisingly strong in conveying that 1980’s snyth pop and 1970’s disco dance element that reside in their records.
Chromeo’s “White Women” is a well-accomplished feat, honing to their electro-funk sound and serving as a tribute to a decade long career. In this day and age conquered by pop music and the ever growing popularity of EDM genre, the duo have managed achieve a challenging task of prevailing as a refreshing change from the rest of the music industry. They have created an album that lets its audience time traveling through the decades, while able to engage and compel it’s modern listeners
