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‘Electric Girl’ - Margot Polo | Review

‘Electric Girl’ is a euphoric electro-pop track w/shimmery synth textures, pulsing synth bass and hypnotic rhythm.

With shimmery synth textures, a pulsing synth bass, and hypnotic rhythms, Electric Girl is a euphoric dance-pop track reminiscent of The Weekend, JR JR, Justin Timberlake, and Miike Snow. The song is part of Margot Polo’s first EP, OOHYEAHYEAH. A cute modern love song with a retro synth twist. I love how happy this song feels, it is a song for a hopeless romantic and a song to lift your spirits. There is a sunshiny quality to Margot Polo that transcends season and makes any day feel like a fun day in the sun.

Southern California-based Margot Polo, the solo project of David Provenzano (Sherwood/Fialta), released a new EP, OOHYEAHYEAH, on October 11, 2019. This comes on the heels of Margot Polo’s latest single, ‘Let’s Get Out,” which opens the 5-song EP. Mixed by L.A. veteran producer Brad Wood, OOHYEAHYEAH draws on influences like The Weekend, Glass Animals, Justin Timberlake, and Miike Snow to deliver a euphoric, blissed-out electro-pop sound that will keep listeners partying straight into autumn.

While this record has a few moodier moments, Provenzano says this EP is all about escapism. “OOHYEAHYEAH is about the different ways, healthy and unhealthy, that we yearn to transcend reality. That might be through something dangerous, like substance abuse. Or it might be a road trip, a relationship. A night out with a mysterious stranger. There’s a bit of ambivalent hedonism implied here. That’s what I love about pop. These lyrics are not very autobiographical; they’re fantasy, my own preferred mode of escapism.” In 2019, Margot Polo’s singles have landed TV features on shows like Good Trouble (Freeform)and God Friended Me (CBS) and have logged over half a million streams on Spotify. This fall, Margot Polo heads back into the studio to brew up more material for a full-length record, to be released in 2020. Listen to OOHYEAHYEAH on Spotify, Apple Music, SoundCloud and everywhere else.

Review by Hannah Schneider

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