Blood Diamonds

4AD

is a record label that boasts an array of incredible artists from the likes of Deerhunter, to Iron & Wine and perhaps most notably Bon Iver. Consequently, any 4AD-related news  is worth taking note of, which brings me to Blood Diamonds.

Based in LA, Michael Tucker, the man behind Dreams

, Heart

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, and most recently Phone Sex (feat. Grimes), has a surprisingly traditional background in classic music and modernistic jazz. On first listen to his work, it would seem that he is far from being directly influenced by these genres and yet it is clear that Tucker is open to areas other than dance pop. Often employing baselines that make you think he decided to ‘take it for a walk’ and percussion that would not be out of place in a more upbeat Black Keys number, there are clearly a few more strings to his bow. On his MySpace , Tucker lists the genres he works in as ‘Fusion / Tropical / Zouk’. The latter leaves me even more dumbfounded than in attempting to comprehend just quite how both  Tucker’s and an unnamed female’s digitally ethereal vocals work so well with a synthesised frequency that conjures images of Alvin and The Chipmunks.

Prior to 4AD, Tucker was managed by Primary Talent

, who sport artists such as How To Dress Well and Active Child, unsurprising given the excellent use of synths by all. On Dreams, these synths are used to full effect, evoking a lively, poppy ambience, to which you could attribute the ebb and flow of surfing waves; the next wave always comes, but it is as unpredictable as the last. Equally, it would be easy to draw comparisons to artists like Tropics and particularly Caribou. Swapping from regular to irregular beats, Heart is Tucker’s most like Caribou work, and definitely worth a listen.

Due for release on July 16th in the EU/UK and July 24th in North America, is latest offering Phone Sex. Featuring close friend Grimes (Claire Boucher), Phone Sex is the product of a single night’s endeavour to create the perfect pop song. Blood Diamonds’ previous release on Transparent Records, Grins, received its rightful plaudits, and this promising follow-up begins with an oriental feel, using elements of Tucker’s own pentatonic scale, before moving to a familiar beat and a dreamy vocal. The track takes elements from drum and bass, with a hook that is built up but not dwelt upon that precedes the return of “Hey Daddy, Hey daddy / It’s too soon / I am living on the moon”. Given the rest of the track, it is unfortunate that by the third repeat of this most profound lyric, it’s clear both Tucker and Boucher cannot avoid their failure of creating the ‘perfect pop song’. Having enjoyed 3 minutes of animated, peppy pop, the repetition begins to get too much. While the track is a fun, upbeat way to spend just over 4 minutes, it is maybe not the anthem of the party.

There are exciting times to come from Blood Diamonds, with Tucker having raved about R&B artists like The Weeknd and Drake, we have to wonder whether these are future influences. Quite possibly. If indeed he can refine the position between a loop and near-droning repetition that threatens to undermine his fine work, I will eagerly anticipate what he brings us next.