Lulu Lewis, the NYC-based duo fronted by Dylan Hundley alongside multi-instrumentalist Pablo Martin, are no strangers to this column, and here they are again with their typically terrific new single “Destroy All Data,” which receives some appreciative words below as we premiere its video. It’s a glove-tight union of sound and image that thrives on a rich and edgy approach to a complementary blend of styles, namely early new wave, post-punk, and electro-pop. Check out the vid ahead of their next live show, which is part of the O+ Festival in Kingston, NY on October 6th.
There’s really no disguising that Lulu Lewis’ main inspirations derive from the late ’70s-early ’80s. As listed above, Hundley and Martin tap into the era that found new wave exploding alongside punk as fresh new genres like synth-pop and mutant disco were born under the banner of post-punk. However, it should be noted that far too frequently, contemporary examples of this mélange of genre flaunt a surface brightness that’s ultimately weakened by an underlying sense of the shallow.
But Lulu Lewis are the real deal. A significant part of their lasting appeal is pretty simple, deriving from solid songs well played and confidently sung. But adding considerable value is their refusal to get boxed into one particular stylistic corner. For example, “Destroy All Data” is a terrific body mover, fully embracing a dance club vibe while retaining an atmosphere of subversiveness and alienation.
To expand a bit, “Destroy All Data” sounds like a bunch of leather-clad late ’70s upstarts sticking Georgio Moroder’s plug into the socket of early Mute Records. Heightening this scenario is the song’s thoroughly of the moment social commentary, which is nonetheless still reminiscent of those early days when electro-pop was effectively just a weird offshoot of punk. Additionally, there’s the distinct flavor of the Neue Deutsche Welle (or a Kraftwerkian aura, if you will).
The video for “Destroy All Data” is a blast, playing around with a retro sensibility without straining to register as an artifact. The performance aspect is well balanced with the collage of images, so that it not only holds interest throughout but stands up to repeated viewings. I bet it’s even better if you’re watching it thrown onto the wall of a dimly lit subterranean dance bunker and recalling the days when the person next to you would be puffing away on a clove cigarette.
GRADED ON A CURVE:
A-
