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Electronic/Dance - Released June 12, 2020 | Chromeo Recordings, Inc.

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Electronic/Dance - Released June 15, 2018 | Big Beat Records - Atlantic

Following a drift towards pop music four years ago with White Women, the Montreal funksters are back, reverting to basics on this new album. Ten years after the frenzy that ensued the release of their Fancy Footwork, Pee Thugg and Dave 1 (the younger brother of electronic producer Tiga) have decided to pay homage to the veterans of funk. And right from the start with the first track, Must’ve Been, where they dive right back within the spirit of Kool and the Gang, albeit modernised, with rapper DRAM (author of the megahit Broccoli) and guitarist Jesse Johnson, who played with Prince and The Time, the band, which gravitated around the Kid. These influences show up throughout the album, like on Don’t Sleep, a good old Californian synthetic funk in the mould of Lakeside, or Count Me, typical of Minneapolis sound. The Chromeo have expanded their guest list to American-Moroccan singer French Montana, rapper Stefflon Don and soul sister Amber Mark, and in the studio, they have collaborated with such talents as former Tony! Toni! Toné! Raphael Saadiq, R&B legend Rodney Jerkins (the man behind the hits of Whitney Houston, Jennifer Lopez and Beyoncé and Jay-Z’s Déjà Vu), as well as Pino Palladino, who works with D’Angelo. A casting that guarantees an optimal production quality for this tribute to American funk music, although the Chromeo are well aware of their limits: “We’re not interested in singing the exact same thing as 1980s singers. We are modern. Past funk soul is an influence, but it doesn’t define who we are”. © Smaël Bouaici
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Electronic/Dance - Released June 15, 2018 | Big Beat Records - Atlantic

Montreal duo Chromeo have maintained the same blueprint from the start: '80s-inspired electro-funk brimming over with talkbox riffing, slap bass, neon synths, and catchy melodies to hold it all together. Their 2014 album, White Women, was Chromeo's high-water mark, finding their sound refined to the point where their sleazy retro-funk inspirations met with enough pop-minded songwriting design to push their often niche tunes into mainstream radio hit territory. Fifth album Head Over Heels attempts to re-create the formula that made White Women so beguiling, this time upping the ante with a who's who of special guest performers and producers. The album begins with "Must've Been," a bouncy, summery single featuring DRAM on lead vocals. It's an undeniably fun song, and Chromeo bed DRAM's jaunty performance with neatly polished signature sounds from their bag of tricks. "Just Friends" takes notes from Off the Wall-era Michael Jackson and dancefloor burners from Atlantic Starr, laying down a groove that guest vocalist Amber Mark commands with playful precision. Other songs see The-Dream, French Montana, Stefflon Don, and others stepping into Chromeo's nostalgic '80s dreamscape, adding zest to meticulously constructed songs about romantic obsession, sex, nightlife, and relationships gone wrong. Over 15 years into their craft at this point, Chromeo have sharpened their vision to a state of crystal clarity, and the duo seem just as engaged and excited in songs without special guests. "Bad Decision" rides its groove to a bounding chorus, sizzling funk guitar leads, and slick vocals, all punctuated by "Atomic Dog"-like woofing sitting just right in the mix. "Juice" is another stand-alone standout, with rubbery synths and tight vocal harmonies building as they bump along. As perfectly architected as Chromeo's sound is at this point, the songs on Head Over Heels lack some of the inspiration that made their formula click on earlier releases. They flawlessly re-create the sounds they're aiming for, zeroing in on the most detailed minutiae of Gap Band bounce on "Don't Sleep" and quiet storm R&B balladry on "Bedroom Calling, Pt. 1," but instead of soaring, these songs often feel like spiritless genre exercises. At their best, Chromeo are a big, dumb party, the embodiment of guilty pleasure much like the cheesiest moments of the '80s hits they emulate. But a few choice songs, special guests, and Chromeo's studied arsenal of '80s signifiers can't keep Head Over Heels from growing tiresome, absent the hooks required to keep the party going. © Fred Thomas /TiVo
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Dance - Released May 12, 2014 | Big Beat Records - Atlantic

Booklet
Named after a coffee table book from fashion photographer Helmut Newton, White Women is an equally titillating, prose-free, and '80s-embracing effort from Canadian electro-pop duo Chromeo, who are hitting their stride when it comes to hooks, although they arguably stumble when it comes to cute. Case in point is a light electro lark called "Sexy Socialite," an easy singalong candidate if "I could be your boyfriend and your counselor" and other cringe-worthy bits didn't drive the track off the cheeky cliff, but this minor speed bump is overshadowed by 11 other cuts that could have come from a Prince side project launched during the fruitful Purple Rain era. Finger-poppin' funk and Morris Day-styled come-ons like "What matters to me is what's inside/And a little backside too/Can I get a bird's eye view?" drive the cool swaying single "Over Your Shoulder" into highlight territory. "Come Alive" comes on strong with a popping bass and a guest appearance from Toro y Moi as it falls somewhere between the easy cool of DeBarge and the bright disco joy of Earth, Wind, & Fire. Speaking of guest appearances, Vampire Weekend's Ezra Koenig returns to croon the miniature bridge that's appropriately titled "Ezra's Interlude" while Solange appears on the great "Lost on the Way Home," an R. Kelly-styled love duet served with a touch of Kavinsky's sound, meaning 16-bit video game music and Reagan-era movie soundtracks. One iffy joke don't stop no show, so take White Women as fun, frivolous, and floor-filling stuff where that slick '80s flair is gloriously bolstered by that modern dancefloor punch. © David Jeffries /TiVo
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Rap/Hip-Hop - Released July 30, 2007 | Turbo Recordings

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Alternative & Indie - Released September 13, 2010 | Big Beat Records - Atlantic

If it didn’t capture the fun of ‘80s pop, it just wouldn’t be Chromeo. And for their third album, Pee Thug and Dave One are as campy and faithful to their roots as humanly (and robotically) possible. Coming off shows with Daryl Hall, after a guest spot on the blue-eyed soul singer’s Web show Live from Daryl’s House, the duo has tapped deeper into the intricacies of AM pop. Business Casual has the typically synth-suave electro-funk jams, like “Hot Mess” and “Night by Night,” featuring Gemayel's talkbox mastery over strobe-lit four-on-the-floor beats that are right in step with “Tenderoni” and “Needy Girl.” As the album progresses, though, Macklovitch and Gemayel dig deeper into crates for cheesy inspiration, and you can hear glimmers of Rockwell, Lionel Richie, Oran Juice, and even The Kids from Fame TV series. “The Right Type” seems custom-made for a montage, and the snappy “Grow Up” could be the theme from a sitcom. Elsewhere, Solange Knowles does her best Whitney/Mariah impression for "When the Night Falls," and “J’ai Claqué la Porte,” with its Casio fills and fingerpicked acoustic, is sung entirely in French and features Dave One at his most smirkingly romantic. [The Deluxe Edition of Business Casual features several remixes of “Night by Night” and “Don’t Turn the Lights On.”] © Jason Lymangrover /TiVo
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Rap/Hip-Hop - Released February 13, 2004 | Turbo Recordings

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Electronic/Dance - Released September 28, 2009 | !K7 Records

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Alternative & Indie - Released June 19, 2007 | Vice Records

Back with a slicker set of moves and immaculately groomed hooks, on Fancy Footwork Chromeo are in even more control of their sound than they were on She's in Control. The duo's debut was undeniably fun, but it was such a slave to the rhythm that, at times, it was numbing; on this album, Chromeo take their electro textures and funky beats in a very pop direction, topping them with memorable melodies and witty lyrics. From the tongue-in-cheek drama of "Intro" -- which conjures visions of Chromeo ascending the stage from a cloud of dry ice -- Fancy Footwork builds on everything that made previous singles like "Needy Girl" good dirty fun. "Tenderoni" is a great example of the album's tighter, glossier sound and swivel-hipped rhythms, while "Fancy Footwork" itself boasts growling, squealing, and purring Moogs and a percussion breakdown made for busting a move. And, by trimming the fat off their tracks, Chromeo have made more room for knowing, entendre-laden fun. "Momma's Boy," with its instantly lovable electric piano riff and lyrics about finding your sweetie eerily similar to your folks, is a funny, catchy, twisted update on the Hall & Oates-style pop that the band loves so much. Skit-like humor seeps into "Call Me Up," which pauses while a girl looks around for Chromeo's phone number, and "My Girl is Calling Me (A Liar)," which ends with a brief conversation between Dave One and a talkboxing Pee Thug. Elsewhere, Dave and Pee show their sensitive side: "Bonafied Lovin" shows them taking more time to court a conquest, and the "Needy Girl" sequel "Opening Up" finds them trying monogamy -- and liking it. Even though Fancy Footwork's grooves aren't quite as deep as those on She's in Control, Chromeo's transformation into polished Lotharios with pop skills to match more than makes up for it. © Heather Phares /TiVo
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Electronic/Dance - Released November 7, 2017 | Atlantic Records

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Electronic/Dance - Released April 6, 2018 | Atlantic Records

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Pop - Released July 8, 2008 | Vice Records

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Electronic/Dance - Released August 10, 2010 | Turbo Recordings

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Electronic/Dance - Released January 29, 2018 | Atlantic Records

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Electronic/Dance - Released October 29, 2013 | Big Beat Records - Atlantic

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Electronic/Dance - Released December 14, 2018 | Atlantic Records

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Dance - Released February 15, 2011 | Big Beat Records - Atlantic

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Electronic/Dance - Released July 26, 2011 | Big Beat Records - Atlantic

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Electronic/Dance - Released December 21, 2018 | Atlantic Records

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House - Released May 25, 2018 | Atlantic Records

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Chromeo in the magazine
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