By Savior Adore
Read a review of any emerging artist coming out of Brooklyn and you're bound to find the words 'young,' 'fresh' and 'exciting' casually strewn across the page. You'd be forgiven for thinking Brooklyn is the only place on earth where you'd be able discover musical talent; the Mecca for all music critics dedicated to uncovering 'the next big thing.'
Savior Adore are these critics' next 'young', 'fresh' and 'exciting' prospect and the new addition to the Brooklyn forecourt. Are they unique, though? No, and there's a simple answer why: their sound is too indebted to fellow Brooklynites Yeasayer, LCD Soundsystem and TV on the Radio - all of whom have previously combined indie influences and rousing electro beats to a similar outcome - to be honestly described as 'original.
That said, irrespective of its obvious influences, 'Bodies' does show signs of artistic brilliance from this experimental-pop collective; a result perhaps of the distinct creative relationship blossoming between Savior Adore's two protagonists, Deidre Muro and Paul Hammer. Throughout, Hammer's fevered, distorted guitar and Muro's upbeat, fantastical synths run alongside each other in perfect symmetry; they're sonic textures with should jar but instead come together majestically. What's more, vocally, the boy-girl salacious interchanges add a distinctive stirring element; in fact, their whole 'indietronica' sound is entirely stimulating in its reliance on tribal drums, upbeat urgency, sweaty bass lines and astute production.
Now on paper, Savior Adore may not sound anything 'fresh' or unique, and they may not entirely manage to shake off their Brooklyn influences in 'Bodies.' However, and this is important, in their chemistry alone, they are 'exciting' and their sound as a result is amazing. In the end, they more than deserve being labelled 'young' and 'exciting.'