Recently dubbed the "post-post synth pop king" by LA Weekly, Baron Von Luxxury is interested in the divide between the underground and the pop mainstream. Whether its remixing HEALTH one day and Hillary Duff the next; writing rapturously about Enya or Glass Candy on his beloved blog Disco Workout; or referencing Pet Shop Boys and Steely
Dan with equal respect on his recent release "The Last Seduction" (Manimal Vinyl), BvL seeks that fine line dividing what is cool from what is deeply embarrassing.
"The Last Seduction" taps into a classic Moroder-esque disco vibe but with more modern electronic- influenced bedroom pop feel, evoking equal parts Twin Shadow and New Order, with nods to Sparks, Empire of the Sun, and YMO. As BvL spends as much time crooning a la Bowie as he does falsettoing up a storm, there is a darkness and an edgy wit rarely heard in electronic music outside of LCD Soundsystem. But while the music is bathed in dark beats with shimmering synths and his beloved 16th notes, at the end of the day these are 10 pop songs with clever lyrics, a catchy chorus and sexy, hooky melodies for days.
The album openers "The Lovely Theresa" and "Alice Underground" are about his friends Theresa Duncan and Jeremy
Blake, who committed suicide in the summer of 2007. "Half the album is me trying to sort out losing two people who had been like a sister and brother to me. The other half is me trying to balance those darker songs with some light." For
example, "Terry Richardson" is a smooth, untrustworthy narrator-style "yacht disco" song co-written with LA
producer Keenhouse. The single comes with remixes from up-and coming SF disco producer Loose Shus and DFA artist Altair Nouveau as well as a 3D video (with a mystery cameo).
Title track "The Last Seduction" and "Women of a Certain Age" dip into "Time"-era ELO territory with a contemporary Empire of the Sun-esque electro sheen, while "Rosebud Was The Name of His Sled" is a slow burning disco funeral pyre evoking Washed Out as much as Sisters of Mercy complete with a melancholy sax solo that would make Sergio proud and has just spoiled Citizen Kane for anyone who has yet to see the classic Orson Welles tour-de-force.
"It is excess instantiated, nu-disco funk, and eminently danceable. Even the $10,000-a-plate elite could boogie to this." - LA Times
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