Today marks the release of BRÛLÉE, a five-track output from CRÈME. Stream it above, and on Spotify here.

“Beaches” succeeds in a buzzing inectiousness while still retaining a sense of atmosphere, a great entry from the former Crystal Method collaborator (Trixie was a writer and performer on the electronic duo’s debut, platinum-selling album Vegas, which featured their #1 hit “Comin’ Back”).

“I love how the beat is almost triangular, and kind of marches along under the boppy bassline,” Trixie explains. “I built it up from there like a puzzle and used lots of layered samples of my voice throughout, so many of the parts – like the lead in the drop – are generated from a vocal, and you can hear other vocal arps and bits buried underneath in there too. I wanted to make my voice float through that landscape, pulsating like a heartbeat.”

“YRGM” is a track Trixie dubs “probably the most upfront and revealing of the songs on BRÜLÉE (the project’s upcoming release).” The verses are fairly minimalist, with some percussive pitter-pattering and sporadic synths accompanying Trixie Reiss’ sugary, enticing vocals. The track’s hook is what really stands out, an effervescent slice of infectiousness that reminds of Grimes’ brightest material. Reiss had Kurt Cobain on her mind when writing the excellent chorus.

“Above Ground” begins with her consuming vocals — which tonally tout pop-friendly accessibility, playing well alongside the jubilant hook, prancing with bright synths alongside spurts of wordless vocal enthusiasm. The high-pitched tones lend a sugary, hook-y feel — the verses’ minimalism around 01:35 counteracting well with the expansive effervescence to follow. It’s a commendable effort with enough variation to keep listeners hooked throughout its 3-minute span.

“I really wanted this EP to be uplifting!” CRÈME says. “”Above Ground” is the perfect medium for that message. The message is one of hope and rising up because in the end, this moment, while we are still above ground, is all we have and we can own this moment. Also, I was thinking about how we store so much of who we are in the cloud and how in a perfect world, one day we could all own our own cloud both in life and forever after.”

“Echolocation Blind” is a murky to start, with a nocturnal glow that accompanies Trixie’s vocals with precision. The hook at 00:48 is preceded by some percussive stomps, with the playful synths proving melodic alongside the spirited vocals. “‘Echolocation Blind’ is a torch song for me, and like a jilted lover, I’m a jilted citizen tryin to make the best of an inverted world,” Trixie says. “Black turns to green, truth winds up grey, I’m lost in my home. My echolocation lied, I’m echolocation blind.”

“Angels” is a diverse and adventurous listen, ranging from moments absent of percussion with a symphonic-like presence, to others where percussion plays a crunching, prominent role. It’s a track that’s an excellent representation of the top-notch production throughout the release. “‘Angels’ is my prayer for earth. I realize the chorus may be naively optimistic, as my voice rises over the marching beat but why pray if not for optimism? “Heaven send us angles. Watching over seas. Stopping all the war and stomp out all the greed. Heaven send us angles.””

Mike Mineo

I'm the founder/editor of Obscure Sound, which was formed in 2006. Previously, I wrote for PopMatters and Stylus Magazine.

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