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.
Lacking a Jeff Goldblum connection or thorough understanding of genetic engineering, the band still chose to host a special screening of the film at the legendary Alamo Drafthouse in Austin, Texas, during a recent two-night stand. Dig a little deeper, however, and you might find something there.
“It’s the perfect combination of story and spectacle. It’s got good content and it’s visually ambitious. I think that we can relate to that,” said Joshua Epstein, one half of the Detroit outfit. “We want people to have fun at our shows, and we want to do things that are exciting, but at the same time, we want to have good songs. That’s the point of it all: You’ve got to have substance to go along with the flash.”
The duo certainly showcased a good bit of both last year, balancing a penchant for neon patterns, bright bow ties, NASCAR suits and Popsicle-tossing with standout songwriting in its full-length debut, “It’s a Corporate World.” All of 2011 was better than the two could have expected upon forming in 2007.
“Both of us had been in a lot of bands before, so coming into this project, we kind of just wanted to cut loose,” Epstein said. “There were no expectations or intentions, other than to have fun and write some quality songs.”
Attracting attention through their moniker, they first got permission from NASCAR champ Dale Earnhardt Jr., who now counts himself among the group’s growing number of fans.
Top-quality, radio-friendly pop anthems helped, too, and Dale Earnhardt Jr. Jr. is earning the dividends now, putting a smile on many a listener’s face.
“You make it hoping that people will listen, but never really expect them to unless you are really arrogant,” Epstein said. “I’m surprised they have, and I hope it means something to everyone that listens, even if it just makes them happy for a split second.”
The duo hopes to release its sophomore album before year’s end, while making 2012 as good as 2011.
“Right now, it’s about not taking what we have for granted and working harder than ever,” Epstein said. “I’m just happy that Daniel [Zott] and I get along so well and make music so easily together. It’s really fun for me to go over to his house and play. Honestly, I think I’m happiest that I made a new friend out of this.”