David Thompson Releases New EP ‘The Wall’

*The Following Press Release Was Issued By Independent Music Promotions*

Promo cover artDavid Thompson

New 

Independent 
24 September 2020
Philadelphia-based Electropop artist David Thompson releases his new EP “the wall” September 24, 2020. The music is highly melodic, intricate and upbeat, featuring dark, observational lyrics that give it a surrealist character, especially during these uncertain times. David’s electronic experimentation and emotive vocals place him somewhere between Oneohtrix Point Never, Kraftwerk and the Talking Heads style-wise.

About “the wall”:
All five songs on “the wall” invite repeat listening, beginning with Thompson’s darkly driving and danceable paean to free-time, “time”(“time for the full development of the individual,” idle time, time for social activity, time for higher pursuits, for discipline, experimental practice, materially creative science, for hanging out and playing). Recorded prior to the advent of COVID-19, “time” usefully documents the perspective of what for many people is a bygone era, but it takes on new meaning in an age of quasi-quarantine, insanity inducing remote work for some, longer hours delivering or stocking or selling or caretaking for others.    

Listen on Bandcamp.

Listen on Spotify.

Further Info:
Artist Name: David Thompson
Location: Philadelphia, PA
Release Title: the wall
Release Date: 9/24/20
Label: Independent
Musician Names/Instruments: Howe Pearson plays lead guitar on ‘the wall’ and ‘clair’, all other instruments by David
Producer Name(s): self-produced
Similar/RIYL: John Maus, CHVRCHES, Alex Cameron, Porches, Robyn, Father John Misty, Oppenheimer Analysis, Human League
Genre(s): Electropop, Indie, Dance

Tracklist:

1) time
2) the wall
3) this goon cant
4) clair
5) obsession

Websites:
Official Website: https://www.davidthompson.band/
Facebook: https://www.facebook.com/djfthompson
Twitter: https://twitter.com/2Big2Prosecute
Instagram: https://www.instagram.com/2big2prosecute/
Spotify: https://open.spotify.com/artist/4FbPZZU4f8WLnOGdNDeyjl
Bandcamp: https://davidthompsonmusic.bandcamp.com/music
Soundcloud: https://soundcloud.com/2big2prosecute
YouTube Channel: https://www.youtube.com/channel/UCy3XsTjH-_4zyqIuIRYNAAg?view_as=subscriber


Short Biography:
A tiny fixture in the Philly indie scene with Big Tusk from 2012 to 2014, David took a hiatus from recording music to organize with Philly Socialists, where he helped start the Philly Tenants Union and Philly Workers for Dignity. In 2017 he released “Into the Night (2017 Version)” and promoted it with a brief tour with a super-group of Philadelphia musicians. Aside from this, the only place you could catch David performing music for years was the historic St. Clement’s Church on any given Sunday, where as a professional chorister he would sing ancient hymns and intricate choral Masses to a “small but spirited” group of parishioners. But once COVID-19 hit and David was confined to his bedroom, he began feverishly finishing music while not at his labor bureaucrat day job.      
 
Artist Biography:
“the wall” (2020) is David Thompson’s second official release as a solo artist. The first, 2017’s “Into the Night (2017 Version),” was an excrementally solipsistic exercise in recreating some music he’d written as a high-schooler in suburban central Florida. Though his efforts were met with little attention and less enthusiasm, Thompson nevertheless assembled a crack performance group for the collection’s promotion, bringing together his “talents” with those of such luminaries as Mel HsuJess Best, Big Tusk alum Sam LongEric Sherman, cousin Bobby Davidson, Keith McMillan (who also mixed the album and whose writing and guitar playing had appeared on the original “Night”) and Eliza Edens, who provided creative consulting for “the wall.” As the Nasty Star Hermit Band, they played a couple shows to middling audiences of other depressed kids. 

Though the intrinsic failures of that project are evident, it served Thompson well in at least one respect: like pop-stars Stevie Wonder and Paul McCartney before him, he had learned to perform every recording of the tracks on his albums. For the first time, with his increasing mastery over the magic of modern music production technology Thompson found himself well enough able to be his own backing band, neither an uncommon nor unwelcome (still sad) experience among his contemporaries. This Pyrrhic victory ramified into the writing of “the wall,” which sees Thompson for the first time confidently playing with available production software and thereby expanding his palette, so to speak. 

Raised on the muscular arrangements and carnal, romantic imagery of Bruce Springsteen, the unapologetic, deadening, beatific, sinister commercial energy of 90s VH1 and MTV programming, as well as  the playful, elegant melodies of the American songbook and Classical art song, Thompson discovered his “gift” for writing pop songs early in high-school, a natural enough outlet for his acute expressions of hormonal poeticism and energetic musical talent. Thompson has since consciously incorporated the traditions of Brian Wilson, high Anglicanism, and Joe Hill. Together these make for a robustly white American artist, claims of political Marxism notwithstanding.

True fans will recognize the importance of Oppenheimer Analysis’s addition to this list for the sound of “the wall.” This last influence, an admitted beaux ideal of Thompson’s, puts one in mind of other great, reactionary artists such as Wallace Stevens and Kafka creating brilliantly in bureaucratic obscurity. 

Let’s be real: all five songs on “the wall” invite repeat listening. The party begins with Thompson’s darkly driving and danceable paean to free-time, “time” (i.e., “time for the full development of the individual,” idle time, time for social activities, for higher pursuits, for disciplines, for experimental practices and materially creative sciences, for hanging out and playing). The titular “wall” cribs a melody from Gershwin 🙄 and a keyboard part from the theme of Cheers, and builds its chorus around the final organ cadence of Herbert Howells’ Anglican anthem “Like as the Hart.” “This goon cant” inhabits the miserable perspective of its co-writer, while “obsession” means nothing. 

As for the rest, don’t miss Howe Pearson of TV Pole Shine shredding on “clair” … and look out for what’s coming!

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