ECHO ADORE are back with the darkly dreamy FANTASMA.
When they released the striking track See Red earlier in 2021, Perth duo Echo Adore gave listeners further insight to their ever-strengthening creative dynamic. Showing off a knack for fusing together indie pop influences together with smart alt production and arrangement, Echo Adore cracked open a new chapter with impact.
Now, the pair of Oliver James and Damian Diggs return with another impassioned release, this time in Fantasma. Like See Red before it, this track has a yearning, wistful vibe to it, buoyed by great blends of guitar and percussion. Between Diggs and Oliver, there exists a solid style of storytelling and with Fantasma, they bounce off each other with a natural ease.
Recorded at Perth’s Blackbird Studios with Dave Parkin (Pond, Karnivool) and William Bowden (Ball Park Music, You Am I) on mixing and mastering, Fantasma is a song Echo Adore focused on themes of love and loss. Inspired by bands like Crowded House and INXS, the track came together after a long night of swapping stories.
“…All the cheesy stories you tell yourself about how you’re the protagonist in your own rom-com. That post break-up fog where you’re always right. We were listening to a lot of Crowded House and INXS, remarking that most pop songs are told from a righteous perspective. We wanted to write one from the other side: the person who doesn’t realise they’re the problem.
Pop songs, love and negativity. Not the best tasting combination. It has all the tropes of a love song. The gendered gaze, the cries for attention and the saccharine harmonies. But underneath we wanted to have a second commentary on pop songs themselves. The idea that pop can reinforce unhealthy fixations, usually from a male perspective projected onto women.” ECHO ADORE
For the song’s official music video, Echo Adore decided to stick to the aesthetic of darkly romantic, almost Cure-esque goth romanticism, and worked with director Reece O’Connell to bring it to life. Because they had already worked with O’Connell before on previous projects, Echo Adore shared an understanding with the director when it came to creative vision.
“The original idea was to base it on ’80’s tv studio performances, like Top of the Pops. Something that fits the song’s aesthetics. Reece was keen to broaden that concept and take it further left field with the look. Motown meets The Cure is the best way to describe it. We’ve worked with Reece before and were more than happy with how it turned out.” ECHO ADORE