The new album from Chromeo came out today. Anyone a Chromeo fan, or heard the album? I played it earlier. It's still their classic sound, but it does have a bit of growth on it from the first two, I think. I'm liking it.

I'm loving it so far! I've been able to listen through NPR, because it doesn't come out until Friday here.

"Grow Up" sounds like what Jacques Fred Petrus would've gave to Change, I love what I heard so far.

"Fancy Footwork" is one of my fave albums from the 00s, gotta give the credit to Moonbeam and Cinnie for bringing them to my attention.

Haven't heard any previous Chromeo albums to compare this one to, but "Business Casual" certainly sounds very 80's Retro to me. So many of the songs on this CD remind me of Skyy from back in the day. I think it's a very good set of songs, all very danceable. Makes me wanna dust-off my Disco Boots, lol.

PDogz said:

Haven't heard any previous Chromeo albums to compare this one to, but "Business Casual" certainly sounds very 80's Retro to me. So many of the songs on this CD remind me of Skyy from back in the day. I think it's a very good set of songs, all very danceable. Makes me wanna dust-off my Disco Boots, lol.

Fancy Footwork is a must-have, then! It's even more 1983 synth funk than Business Casual!

Moonbeam said:

PDogz said:

Haven't heard any previous Chromeo albums to compare this one to, but "Business Casual" certainly sounds very 80's Retro to me. So many of the songs on this CD remind me of Skyy from back in the day. I think it's a very good set of songs, all very danceable. Makes me wanna dust-off my Disco Boots, lol.

Fancy Footwork is a must-have, then! It's even more 1983 synth funk than Business Casual!

Fancy Footwork is the bollocks!! A funky as f**k album.

SuperFunk59 said:

Moonbeam said:

Fancy Footwork is a must-have, then! It's even more 1983 synth funk than Business Casual!

Fancy Footwork is the bollocks!! A funky as f**k album.

Absolutely! Here's my review:

"Our keyboards grew legs so they could walk it out." This one sentence taken from their myspace page is a summary of Chromeo's ethos as they release their second album, Fancy Footwork: their music is there to entertain and not to be taken so seriously. After the synth funk workout of 2004's guilty pleasure She's in Control, Chromeo ups the ante with an album short on run time but long on replay value. Just like its predecessor, Fancy Footwork pays homage to a bevy of 80s influences in the production style, lyrical content and flow. As such, it mightily succeeds in its aim.

As with She's in Control, Fancy Footwork features funk, funk and more funk. It is led off with a bubbling electronic intro with a clever incorporation of the classic "oooo eee oooo OOOO oooh" into the band's name, before proceeding full steam ahead with two of the most worthy dancefloor fillers of the decade, "Tenderoni" and "Fancy Footwork". The former is all buzzing synth bass, handclaps, a wildly entertaining mixture of natural and processed vocals and a glorious fade out and fade in. With lyrics as silly as "For sure if I tell you how to do my dance, baby then you'll let me get in those pants", it is an irresistible reminder of testosterone-laden synth funk blasts circa 1983. Its successor, "Fancy Footwork" is another delectable funk opus worthy of status as a title track. Zapp and Cameo would be proud to see their legacy continued here. Similar funk injections are generously added to standouts such as the stuck-in-the-doghouse anthem "My Girl Is Calling Me (A Liar)", in which the solution to all domestic disputes seems to be taking your girl to a movie. The silliness factor is raised further with the delicious "Call Me Up" in a section where the desired girl struggles to remember her suitor's phone number. Another 80s tradition is revived in the appearance of characters presented in previous albums. The "needy girl" chronicled in 2004's epic single "Needy Girl" is now responsible for bringing out a more sensitive side in Dave 1 as evident in the sublimely produced and perfectly delivered "Opening Up". Elsewhere, the duo adds clean guitars typical of the mid 80s in the stellar "Bonafied Lovin'" and a hot saxophone solo sizzles over the warm synth backdrop of the gorgeous vintage closing ballad, "100%".

Even the songs that aren't as successful are nonetheless a treat for fans of the genre. "Outta Sight" and "Waiting 4 U" don't display the increased songwriting craft of the album's standout tracks, but still contain decent grooves. The hilarious electric-piano led ditty "Momma's Boy" may detract from the consistent groove sustained throughout the remainder of the album, but serves the album's goal to entertain.

Chromeo is never going to win awards for their lyrics, and their brand of synth funk may never garner a large commercial following, but Fancy Footwork provides further testimony to their wildly fun stature. Even if it never reaches the lofty heigts set by "Needy Girl", the smoother, sleeker Fancy Footwork is nevertheless a stronger album than the band's debut. As the sweet little reprise of "Tenderoni" creeps up after the glowing synths fade out of "100%", the temptation to replay this whirlwind album that clocks in just under 40 minutes is difficult to resist. As a fun diversion from more serious musical fodder, this album delivers wonderfully and holds up to repeated listens. Behind the macho gesturing of this Arab/Jew partnership is a couple of music geeks giddy to revive the glory of 80s synth pop, and their enthusiasm is infectious. If She's in Control was the first kiss, Fancy Footwork is grounds for falling in love.

i'm also about to check out this mix by them including some cool classics

Chromeo - Ce Soir On Dans...at Discogs

Ce Soir On Danse at Juno Records

LOVE Chromeo!!! Haven't gotten the new album yet, soooo excited!

yes... really digging this

Just heard the samples.....definitley not free downloading this one either...

The first time I heard of this group was on a episode, of "Live From Darryl's House". They did an interesting duet of Hall & Oate's, "I Can Go For That". I was like, WOW!!

Chromeo is always sold on their "throwback" sound but I think it is their earnest approach to songwriting and lyrics that remind people of good music. Their musicianship is also downplayed, but they're a great pop act.

Cinnie said:

Chromeo is always sold on their "throwback" sound but I think it is their earnest approach to songwriting and lyrics that remind people of good music. Their musicianship is also downplayed, but they're a great pop act.

I agree.

I went to the weka sto today and they said its on back order for white vinyl..I may just get it off amazon instead

shorttrini said:

The first time I heard of this group was on a episode, of "Live From Darryl's House". They did an interesting duet of Hall & Oate's, "I Can Go For That". I was like, WOW!!

I was wondering where that recording came from. I have that album

Downloaded this when it first leaked.

I have to say that this album really sucks.

I adore it! There's more heart and thought in this album than the previous ones, and it shows a bit of artistic growth as well.

Here's my review:

The early 2000s saw a large shift in the public's collective opinion and memory of the 80s. While so many were eager to flee from its glossy sheen in the 90s, the following decade saw a sea change in its favor, as entire careers were launched acrest of a massive wave of 80s nostalgia. Such a revivalist fever could have easily proven to be short-lived and rather embarrassing, but several years later, it does not seem to be letting up. In the end, people need 3-minute stabs of escapism, and so the doses of synthesized magic in the form of often shamelessly direct "kids music" so plentiful in the 80s have proven to be durable and worthy benchmarks to celebrate. For their part, Chromeo have stood at the forefront of a revitalization of synth funk, and although it has not brought them huge mainstream crossover success, their dedication to the cause of ridiculous fun has won them a few awards and a rather rabid fanbase. 2007's Fancy Footwork was such a blast that it managed to deliver sufficient demand for a reissue and an installment in the DJ Kicks series. Another key event in the duo's development was a collaboration with none other than Daryl Hall, and it clearly left an impression. Business Casual sees Chromeo streamline their sound even more, showcasing a group in transit with one foot firmly planted in the furious groove that won them thousands of fans and another crossing into a warm pop sound that could win them thousands more.

Fitting its name, Business Casual starts all business, and Chromeo's business is to concoct catchy synth funk dancefloor stormers. "Hot Mess" initiates the album with the trademark playful vocals of Dave 1 complemented by P-Thugg's vocodered hooks, interjected by some funny, unimpressed standoffishness courtesy of an anonymous British girl over a fiery blaze of synths. The momentum grows with "I'm Not Contagious". It is immediately apparent that the pop leanings present on Fancy Footwork have gained even more steam, as the last two syllables of each line of the chorus are immediately echoed to make it a real earworm, capped off by a wonderfully harmonized "down, down, down, down, down". Boasting both the tightest and quirkiest groove on the album, it is a real standout. Capping the opening bonanza is the whirring lead single "Night by Night", which also introduces one of the main themes of the album- the importance of maintaining communication in relationships. It's almost hard to notice this extra maturity, as the veritable feast for the ears makes it easy to miss lines like "Let's have a conversation that's not just about us". With a swift tempo provided by a chugging beat that eventually gives way to both a scorching guitar solo and a shimmering synth solo, it's a true monster of a track. And given that the song boasts a great melody in the chorus and for the first time in the verses, "Night by Night" is an obvious choice for a single.

After opening the album in such a strong fashion, Chromeo is free to open up into the new sounds. Leading the way is the second single "Don't Turn the Lights On", which seems to be about a guy clinging to the visions of his deceased girlfriend visiting him in the night. An eeriness pervades the track courtesy of some icy synths that fade in throughout the verses, giving the song a great atmosphere. "You Make It Rough", again about a failure to communicate, is a return to the highly rhythmic groove of the first three tracks, but a lengthy percolating outro veers straight into welcome synth pop territory hinted at by the previous songs. The band's pop ambitions are given full credence on "When the Night Falls", which features none other than Solange Knowles making a great case as a hook girl. The structure makes this quite apparent: it opens with the chorus and features two verses guided through two proper bridges leading again into the chorus, followed by a deliciously Solangified middle 8 that heads into one final chorus before a snazzy guitar solo closes the song in style. Eminently catchy and stylish synth pop, it screams crossover smash! Meanwhile, lush strings adorn the semi-ballad plea of "Don't Walk Away", which sounds like a lost hit from 1985 in all the right ways, and the otherwise sparse and beautifully sung kiss-off "J'ai Claqué La Porte". Closing the album are two shameless stabs of frothy pop that best illuminate the influence of Daryl Hall. "The Right Type" utilizes some downright sprightly synths to supplement the warm encouragement provided to a girl who has just discovered the true nature of her now ex. But instead of coming across sappy, it offers a refreshing return to an era where artists and their audiences weren't so meticulously self-aware and jaded. Likewise, "Grow Up" serves as a playfully shuffling closer, ending the album with one final indication that communication is the key to resolving relationship woes.

Now three albums into their career, it is clear that Chromeo isn't merely trying on the fashionable retro-80s style for size, but that they are fully dedicated to this sound. They certainly did not opt for conventional sources of inspiration on Business Casual, and album is better for the more human feeling that results. If Fancy Footwork was a coming-out party for Chromeo's irresistible fun and genuine cool, Business Casual extends that notion by showing that they can succeed with more than just party jams.

I've listened to these guys quite a few times and i'm just not feeling it.

Moonbeam said:

Here's my review:

The early 2000s saw a large shift in the public's collective opinion and memory of the 80s. While so many were eager to flee from its glossy sheen in the 90s, the following decade saw a sea change in its favor, as entire careers were launched acrest of a massive wave of 80s nostalgia. Such a revivalist fever could have easily proven to be short-lived and rather embarrassing, but several years later, it does not seem to be letting up. In the end, people need 3-minute stabs of escapism, and so the doses of synthesized magic in the form of often shamelessly direct "kids music" so plentiful in the 80s have proven to be durable and worthy benchmarks to celebrate. For their part, Chromeo have stood at the forefront of a revitalization of synth funk, and although it has not brought them huge mainstream crossover success, their dedication to the cause of ridiculous fun has won them a few awards and a rather rabid fanbase. 2007's Fancy Footwork was such a blast that it managed to deliver sufficient demand for a reissue and an installment in the DJ Kicks series. Another key event in the duo's development was a collaboration with none other than Daryl Hall, and it clearly left an impression. Business Casual sees Chromeo streamline their sound even more, showcasing a group in transit with one foot firmly planted in the furious groove that won them thousands of fans and another crossing into a warm pop sound that could win them thousands more.

Fitting its name, Business Casual starts all business, and Chromeo's business is to concoct catchy synth funk dancefloor stormers. "Hot Mess" initiates the album with the trademark playful vocals of Dave 1 complemented by P-Thugg's vocodered hooks, interjected by some funny, unimpressed standoffishness courtesy of an anonymous British girl over a fiery blaze of synths. The momentum grows with "I'm Not Contagious". It is immediately apparent that the pop leanings present on Fancy Footwork have gained even more steam, as the last two syllables of each line of the chorus are immediately echoed to make it a real earworm, capped off by a wonderfully harmonized "down, down, down, down, down". Boasting both the tightest and quirkiest groove on the album, it is a real standout. Capping the opening bonanza is the whirring lead single "Night by Night", which also introduces one of the main themes of the album- the importance of maintaining communication in relationships. It's almost hard to notice this extra maturity, as the veritable feast for the ears makes it easy to miss lines like "Let's have a conversation that's not just about us". With a swift tempo provided by a chugging beat that eventually gives way to both a scorching guitar solo and a shimmering synth solo, it's a true monster of a track. And given that the song boasts a great melody in the chorus and for the first time in the verses, "Night by Night" is an obvious choice for a single.

After opening the album in such a strong fashion, Chromeo is free to open up into the new sounds. Leading the way is the second single "Don't Turn the Lights On", which seems to be about a guy clinging to the visions of his deceased girlfriend visiting him in the night. An eeriness pervades the track courtesy of some icy synths that fade in throughout the verses, giving the song a great atmosphere. "You Make It Rough", again about a failure to communicate, is a return to the highly rhythmic groove of the first three tracks, but a lengthy percolating outro veers straight into welcome synth pop territory hinted at by the previous songs. The band's pop ambitions are given full credence on "When the Night Falls", which features none other than Solange Knowles making a great case as a hook girl. The structure makes this quite apparent: it opens with the chorus and features two verses guided through two proper bridges leading again into the chorus, followed by a deliciously Solangified middle 8 that heads into one final chorus before a snazzy guitar solo closes the song in style. Eminently catchy and stylish synth pop, it screams crossover smash! Meanwhile, lush strings adorn the semi-ballad plea of "Don't Walk Away", which sounds like a lost hit from 1985 in all the right ways, and the otherwise sparse and beautifully sung kiss-off "J'ai Claqué La Porte". Closing the album are two shameless stabs of frothy pop that best illuminate the influence of Daryl Hall. "The Right Type" utilizes some downright sprightly synths to supplement the warm encouragement provided to a girl who has just discovered the true nature of her now ex. But instead of coming across sappy, it offers a refreshing return to an era where artists and their audiences weren't so meticulously self-aware and jaded. Likewise, "Grow Up" serves as a playfully shuffling closer, ending the album with one final indication that communication is the key to resolving relationship woes.

Now three albums into their career, it is clear that Chromeo isn't merely trying on the fashionable retro-80s style for size, but that they are fully dedicated to this sound. They certainly did not opt for conventional sources of inspiration on Business Casual, and album is better for the more human feeling that results. If Fancy Footwork was a coming-out party for Chromeo's irresistible fun and genuine cool, Business Casual extends that notion by showing that they can succeed with more than just party jams.

The more I listen to it, the more I like it. It's still their sound, but it's matured a bit. The arrangements, wit, etc are more interesting and catchy.

Rage is a neato song.

Moonbeam said:

It's almost hard to notice this extra maturity, as the veritable feast for the ears makes it easy to miss lines like "Let's have a conversation that's not just about us".

Moonbeam said:

Now three albums into their career, it is clear that Chromeo isn't merely trying on the fashionable retro-80s style for size, but that they are fully dedicated to this sound.

Strings, Robert Palmeresque backup singers, keyboard legs that glow purple... how can you not love this? A lot of artists struggle to succeed in the late night talk show setting, but they clearly put a lot of thought into it, and I think they nailed it on Letterman!

paisleypark4 said:

Thank you for the review!!! I cant wait to get the vinyl ordered...soon...SOON!

When's the vinyl out?!

novabrkr said:

Moonbeam said:

It's almost hard to notice this extra maturity, as the veritable feast for the ears makes it easy to miss lines like "Let's have a conversation that's not just about us".

Moonbeam said:

Now three albums into their career, it is clear that Chromeo isn't merely trying on the fashionable retro-80s style for size, but that they are fully dedicated to this sound.

I'm so glad you dig 'em! You seem to know a heck of a lot more about synths than just about anyone I know here.

Been a fan of Chromeo ever I saw the "Needy Girl" video on MTV years ago. Watched the Letterman performance last night and really enjoyed it. Disappointed that Letterman didn't really promote Chromeo's appearance beforehand. The TV promos only featured Bill Clinton's interview...oh and some Merengue-dancing dog (seriously).

Moonbeam said:

I'm so glad you dig 'em! You seem to know a heck of a lot more about synths than just about anyone I know here.

Any synth geek would want to hang out with P-Thugg.

If we're talking about synths, I'm actually quite impressed by what he did on the new one. I think they've put a lot of thought into the sounds they've used. Maybe even a bit too much. There are a few tracks on the album that sound like they were more interested in recreating a certain type of a sound from the past than giving enough attention to the song itself ("Don't Walk Away" in particular). On the overall, I think it's a very good album though. It digs deeper into the music of 1980s than just borrowing some funky licks from Prince or Rick James.

novabrkr said:

Moonbeam said:

I'm so glad you dig 'em! You seem to know a heck of a lot more about synths than just about anyone I know here.

Any synth geek would want to hang out with P-Thugg.

If we're talking about synths, I'm actually quite impressed by what he did on the new one. I think they've put a lot of thought into the sounds they've used. Maybe even a bit too much. There are a few tracks on the album that sound like they were more interested in recreating a certain type of a sound from the past than giving enough attention to the song itself ("Don't Walk Away" in particular). On the overall, I think it's a very good album though. It digs deeper into the music of 1980s than just borrowing some funky licks from Prince or Rick James.

I agree! I still like "Don't Walk Away" a bunch, though. Its sound is definitely the most impressive aspect about the song (it reminds me a bit of Change's "A Lover's Holiday"), but I'll be damned if I don't sing along with Dave 1.

I owe you every beat of my heart!

[Edited 9/22/10 23:33pm]