Synth-pop has enjoyed a steady rise for the better part of the past decade, sitting comfortably between the goliath entity that is EDM and the immovable rock that is, well, rock music. The reason it’s so widely appreciated is probably just that – the genre borrows elements from dance music that entices our inner desire to move, while simultaneously feeding that need for structure that pop and rock music thrive from. Chambres thrive in the domain of synth-pop, working with these two elements and moulding them into a neat little package, the second of which is a six track EP named Rings.
Synth-pop duo Chambres vindicate their name magically on Rings, spinning together pristine vocals, masterful production and rolling it all down a dark, cavernous hall.
Chambres are, of course, a duo (the terms ‘synth-pop’ and ‘duo’ go hand in hand right?), made up of producer Gregorio and vocalist Lucy. They exist in a realm where space is key and where strong, angelic female vocals reign supreme; a realm where artists like Broods and Chvrches dominate.
The duo came together after Gregorio (his last name is a mystery and that’s okay) decided that his trap beat explorations needed to be taken to new heights. When he spotted a video of Lucy covering Bowie’s Heroes on his Facebook (the two apprently met on Tinder) an opportunity presented itself, and Gregorio took it.
The two began beaming ideas between Wellington and Auckland via any means necessary – Skype, Facebook and the odd trans-island flight – in a flurry of enthusiasm and creative outpout. Eventually a catalogue of work took shape, one that has finally climaxed with the wonderful Rings EP: a neatly crafted collection of synth-driven pop characterised by Lucy’s powerful, traipsing vocals and Gregorio’s masterful manipulation of electronic sounds and beats.
Rings is an 80s kid at heart, defined by a robotic disposition. Greogorio’s production on tracks like Chase Me Too and Smokelight have elements of modern trap, something that has increasingly invaded all sorts of pop music, slashed with throbbing synthesizers and beam-like samples. There are pretty moments, no doubt thrust forward by Lucy’s pristine vocals. She snakes her way around rhymes without refrain on Citrus, ducking above and below spacey, minimal production, before taking a sultry lead on Slow Love.
Tracks like The Alpha and lead single Kevin Spacey have a metallic chill that reflects an innate darkness that exists in the domain of Chambres, one that no doubt vindicates their name: Rings is a cavernous volley between synth-pop sweetness and dance-ready verve.