The world of Superdeux resembles an adult version of Saturday morning cartoons, combining vaguely ominous characters with elements of hip-hop culture and playful surrealism. The international company, brainchild of 32-year-old French computer geek/ex-graffiti artist Sebastian Roux, had a humble start. While he was a programmer for Team cHmAn in the mid-'90s, Roux spent his evenings tinkering around with early versions of Flash. Read more »
Little-to-no lighting or ventilation. Borrowed gear. Sensitive circuit breakers. A sketchy, ex-con landlord. A five-dollar strobe light. Welcome to Digitalism's first fully functioning but decidedly low-budget studio, a converted World War II bunker right in the middle of a retirement community in Hamburg, Germany. In other words: a suffocating, isolationist environment better suited for a one-man doomcore band than a pair of club-trotting, night-crawling DJs/producers. Or so it seems.
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Au Revoir Simone's Annie Hart is on the phone from a tour stop in Munich. She's just finished sound-check and is stoked on her monitor mix. It's a simple pleasure–but then again, simple pleasures are what Au Revoir Simone is all about. Since 2003, the Brooklyn trio–rounded out by fellow keyboardist/vocalists Heather D'Angelo and Erika Forster–has crafted infectious songs that display a fervent dedication to synthetic keyboard melodies. In other words, it's been saccharine indie-pop fun from day one.
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