Celadon Candy EP Review

in Dance

You’d never guess by listening to their first 3-song EP, that Paul Allgood and Jason Bowden (Celadon Candy) are coming out of the ‘sweet’ South, North Carolina to be exact. Yes, these former members of Wedlock (a techno-y/pop/funk hybrid group) have burst through the glass ceiling, and are shattering the stereotypes of the electro-pop genre with full force.
Their first release is a modest EP that boasts a sound reminiscent of the dance pop of the 1980′s, blended with the industrial revival of the 1990′s, yet stands alone in it’s arrangement in such a way that it’s hard to pinpoint a specific influence. One thing, though is certain: these two musicians present a unique quality in their pairing that’s both intriguing and inviting.
The EP’s first track, Sweet, pulses with electricity and a synth driven rhythm similar to the likes of Skinny Puppy, while the middle track, Broken, takes a darker turn with a shadowy undercurrent and emotionally charged lyrics.

While listening to the final track (my favorite of the three), Undercutter, I found myself reliving the days I spent on the dance floor of underground industrial clubs, where the scent of patchouli and clove cigarettes filled the air, and Type O Negative records spun away the cares of all of us that felt misunderstood. It sums up a feeling that’s slightly familiar, and yet bubbling with mystery.

Though the execution and structure of the songs may have a few less favorable points, the daring originality of style pulls enough weight to win the listener over in the end.

Overall, infectious dance beats and a catchy tempo, paired with haunting vocals and poignant lyrics, help Celadon Candy to mix up a delicious recipe that’s capable of crossing multiple genres and dispelling any electro-pop myths.
Celadon Candy has been nominated by Stone Wall Society’s Pride In The Arts for favorite group(2010)and best dance record for “Undercutter.”

Caroline Bolter is a Music Emissions contributor, a Canadian e-zine ?2010



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Celadon Candy EP Review

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This article was published on 2010/12/06