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.
Meredith Meyer with Eureeka!, Head Cabinets and The Pizza Thieves 9 p.m. Friday Opolis 113 N. Crawford, Norman opolis.org 820-0951 $5
Migratory indie songbird Meredith Meyer and her new band are about to release an EP that could mark the Oklahoma City native as the next hipster love affair.
The 2012 release will be the first new material from Meyer since 2008’s “It’s Spooky to Be Young” seduced enough Los Angeles ears to land the track “Video Game Girl” on Indie 103.1’s list of the top songs of the year by L.A. bands. Now that she’s left the Pacific Coast behind for the bustle of New York, where she fronts the act Young Unknowns, she shirks pensive cellos for head-bobbing dance tracks haunted by her ethereal vocals.
Her change in scenery, she said, demanded a change in tone, as she left heavy emotional baggage behind.
“I made a rule on this album of ‘No slow songs,’” Meyer said. “I don’t know if it’s my new, New York angst or the fact I’m always on a subway and in motion, but I am really into driving beats right now.”
She attributed part of that to her new drummer, Matt Arbeiter, whom she met literally on the sidewalk.
“He’s an amazing drummer,” Meyer said. “I could just listen to that all day.”
So could more people, hopefully.
With Brooklyn being well-connected, Meyer has found it easier to draw new listeners.
“It doesn’t have the commercial focus that comes along with living in Los Angeles, where film and TV and celebrity rule,” she said. “There, people want to know ‘who you are’ first. Here, someone can play music in a ratty basement in a robot suit and it will be appreciated on a level besides, ‘Is this going to be marketable?” Sadly, Meyer’s EP doesn’t drop until early 2012, so audiences will have to wait for her next return to her home state to buy a copy. Friday’s Opolis show was arranged last-second after she decided to fly in for Thanksgiving.
“It’s a little weird to play a show in conjunction with visiting my family,” she said, “but honestly, I get twice as anxious if I feel like I have to sit around in a room with a TV. I’m kind of a night owl and I’d rather be playing music and seeing other bands than eating pie and sleeping.”