Free tickets exclusively for Billetto members to Quadron at Heaven on 16th September.
Quadron have been going for a while, long enough to have accrued a reputation as "the most famous band you've never heard of" and earned the praise of, and tweets from, Adele, Prince, Jay-Z, James Murphy, Pharrell Williams, Kendrick Lamar and Tyler, the Creator. Lamar appears on the duo's new album, Avalanche, while Quadron's singer has been in the studio with Pharrell and she recently made a cameo on Treehome95 from Tyler's Wolf album. She and Tyler even performed a duet of the latter on Late Night With Jimmy Fallon. "Coco has the voice of an actual angel," declared Tyler.
The music and production half of this LA-based Danish duo, Robin Hannibal is also one half of Rhye, whom we wrote about last year when we made the mistake of assuming, from his purring, sultry tones, that his musical partner, Michael Milosh, was a woman (to add to the confusion, Rhye's debut album, issued this year, was entitled Woman). Coco Maja Hastrup Karshøj – who operates simply as Coco O. – is unmistakably female, although she used to sing Michael Jackson cover versions in an MJ tribute act. We should have supplied diagrams with today's column.
A couple of the tracks on Avalanche have the airbrushed feel of a funk-lite midtempo ballad from Off the Wall or Thriller, bur a lot of the rest is slow, quiet-storm soul. LFT is R&P, a poppier variant on R&B we've just made up - it's as bright and melodically breezy as Solange. We're not surprised it's Tyler's favourite track of 2013 – some of the music on Wolf comprises this sort of mellifluous jazz-funk. Better Off featuring Kendrick Lamar is breathy pop-soul; notwithstanding Hannibal's leftfield credentials, this isn't the experimental R&B of Kelela et al, more like the sort of thing you'd hear on side two of an old Ashanti album. Coco's voice is blank enough to work in a variety of contexts, so you can see why people want to work with her. Hey Love, due to be released in the UK as a single, is faster and belongs in Mayer Hawthorne/Robin Thicke polished blue-eyed R&B territory. On Crush, she's a dead ringer for Amy Winehouse, to the extent that it comes over like pastiche. But, unlike Winehouse, most of the time she doesn't sound remotely troubled, or at least, she chooses to hide her woes beneath a glossy, unperturbed veneer. No need to ask, she's a smooth operator.
"It’s not hard to see their appeal: Airtight and carefully virtuosic, they’re perfectly wrapped up in their own hermetically sealed pop world."
"A moment of arresting church fervor breaking through the placid surface."
New York Times
"A balladeer for baby-makers, bong-suckers and anyone who could benefit from a delicious groove"