The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.
Electric Six with Kitten and Mark Mallman 9 p.m. Wednesday Opolis 113 N. Crawford, Norman
opolis.org 820-0951 $15
No one will ever accuse Electric Six of being too serious. The Detroit sextet’s shimmying dance rock is as lighthearted as it is lively. Their spirit recalls the movie “This Is Spinal Tap” in that singer Dick Valentine delivers the lyrics with macho mock seriousness.
In 2003, Madness ringleader Suggs caught an Electric Six gig and, afterward, told Valentine, “I’ve always believed there’s something to be said for being vaguely intellectual.”
“That was years ago, and it’s still the highest compliment I’ve ever been paid,” Valentine said. “Total nail on the head.”
Electric Six achieved a jolt of fame when its 2003 debut produced two hit party-funk singles, “Danger! High Voltage” and “Gay Bar.” That satiated the mainstream’s appetite, however, and the act was dismissed by many as mere novelty.
But the only novelty is how uncommon a sense of humor is in rock. The group has continued to release fine music, and at a pace that would make most bands’ heads spin: roughly an album a year. Its latest, “Heartbeats and Brainwaves!,” due Oct. 11, maintains their winning streak of spunky, synthaddled, sugar-pop anthems.
The albums have less and less of a plan. —Dick Valentine
“The albums have less and less of a plan,” said Valentine. “This is the first one where we actually had no songs written ahead of time. But we kind of knew that we wanted to make it synthier.”
The big dance beats are indeed more prominent, but the whole effort possesses a crisp bite that jumps out of the speakers. After spending most of the summer sitting around, Valentine’s anxious to get back on the road. He loves the structure and vibe of touring, and is particularly looking forward to tonight’s show at Opolis in Norman.
“We do generally love Oklahoma City and Norman,” he said. “We actually considered moving to Oklahoma City back in the day. We were disillusioned with Detroit and our drummer at the time thought it would be a good idea to move to Oklahoma City and be the cool new people in town.”
The group will settle for wearing that crown for one night.