Drop Electric

In Waking Up to the Fire, Washington, DC’s Drop Electric has fused echoed synths with the haunting melancholic vocals of Kristina Reznikov - and, much like iamamiwhoami, M83, London Grammar and others, has created another electronic album that deserves a listen with headphones.

The sound on Drop Electric’s 2010 debut Finding Color in the Ashes has progressed by pushing back the drums, replacing much of the guitar work with synths and cutting out some of the excess prog. The strong cinematic atmosphere still remains though, which with their recent signing to Pusher Music who license music to movie trailers, is sort of expected.

The result is a nostalgic, post-apocalyptic and reflective vibe. So, it’s unsurprising that Drop Electric’s website describes Reznikov’s voice and lyrics as conveying “a sense of desperation in an increasingly disconnected world.” Reznikov herself considers her vocal contributions as coming from “a dark place.”

In terms of sound setup or scale, it’s not breaking new ground, but Drop Electric knows how to work a melody, produce a well-crafted song, turn your diaphragm into an excitable mush and have you clawing for more in the style of a whiny baby wanting attention.

The first few songs of the album fire out electronic beats and popping keyboard, especially in title track ‘Waking Up to the Fire.' Third track ‘Blue Dream’ gives similar beats and pops but with a smoothly bobbing chorus hook of, “pulling out your hair no, pulling out your hair no...” for which pulling out of your head is impossible (see what I did there?). In both of these, the waves and echoes of Reznikov’s voice not only polishes the song off, but delivers oodles of fear and end-of-the-world nostalgia, even if it’s not always easy to make out her lyrics.

Track five, ‘Higgs Boson,’ likens the desperation of wanting someone to searching for the rare “God particle.” It’s a nice idea. The song itself produces a sonic level of melody that is akin to an atom pinging towards a head-on collision. A creeping keyboard with layered, haunting vocals at its crescendo show it to be a track that has had heavier production than others. And just like the work of CERN (The European Organisation for Nuclear Research), it’s always grasping at something potentially explosive as it continues forward.

Oddly enough, this reviewer happens to know someone who works for CERN. He listened to the song. He liked it. And if he takes it to the lab, that’ll be barnstorming. CERN research assistant approved! A full circle completed.

Moving on...it’s the song writing and catchy hooks of ‘Lucille,’ ‘Blue Dream’ and ‘Waking Up To The Fire’ that stand out on this album. The accompanying high-quality video work (check that out on YouTube) gives songs further edge to their meaning, both live and recorded.

In Waking Up To The Fire, Drop Electric has created an album that many will be having private headphone moments with. You might as well cast your shuffle button into a black hole for this one; at least one listen through headphones of the entire album in order brings added appreciation. The record sails smoothly through 11 tracks, with the occasional acceleration for stand-out numbers and excursions to CERN to see what the research assistants are listening to. And if they’re listening to this, they’re listening to something good. - Bearded Magazine

We’re here to take the sting out of your Black Friday with some excellent new music. Ramtin Arablouei, Neel Singh, Sho Fujiwara and Kristina Reznikov are Washington DC electro-pop act Drop Electric. It’s no surprise that the young group has been aptly compared to Sigur Rós by NPR as their second LP Waking Up To The Fire is chock full magical synth hooks and exquisite misty vocals all underpinned by a punkier flavored post-rock sound than the elven band from Iceland. We asked the group about their second LP, their school days and the intense video for “Blue Dreams” below.

‘Waking Up To The Fire’ is your second LP. How do you guys look at it in comparison to your first one Finding Color In The Ashes? After giving them both a listen WUTTF seems to float a bit higher into the atmosphere through the vocals and rampant synth magic?

Waking Up to the Fire has been an exciting step for us. In writing the album we had a creative breakthrough in composition and production methods; Kristina’s vocals also gave the music a context and variety that we have been using live for some time now. It was awesome to put that down on paper. There is also change on some of the structure. The tracks in Waking Up to the Fire are a more hard-hitting, compact collection of both straight-forward and experimental singles, as opposed to only longer works. The sound is less lo-fi; the percussion and ambient synth pieces give you that wonderful kick to the gut. The album was us expanding and it really takes the listener along for the ride.

Even though Waking Up to the Fire and our first LP Finding Color in the Ashes have differences, the feelings and goals behind the two are similar. We are always looking to experiment, but we also really feel that our music should be entirely an emotional experience; we make sure of this on every kind of track we ever make. Also, listening to the albums back to back, fans can hear similar meticulous instrumentation and impassioned input that gives us our signature sound.

Where did you guys go to school? How has your college studies figured into your music career?

We are lucky enough to have all received our Bachelor’s. Ramtin graduated from St. Mary’s College of Maryland as a Psychology and History double major. Neel also went to St. Mary’s College of Maryland and graduated from UMBC as a Media and Communication Studies major. (Ramtin and Neel actually met at St. Mary’s College and started playing together there).

Sho graduated from Northwestern University, Evanston (Go Cats!) with a degree in Mechanical Engineering. Kristina graduated from University of Maryland, College Park with a degree in English languages and literature. Navid graduated from American University with a degree in Graphic Design and a focus on print.

We’ve often used components of our majors for personal and band use (i.e. flier design, website design, band outreach, or lyric writing).

Blue Dream is an intense video. What was the inspiration for the song and can you shed a little light on how that video came to be?

We met director Christopher Michael Beer when headlined the Knitting Factory in Brooklyn last May. He is a Drop Electric fan and we are a fan of his work, so it was a perfect pairing.

Regarding the video, Chris explained “for all of its pop sensibility, Blue Dream seems to carry a lush weight to it – the lyric ‘foaming at the mouth,’ in particular, stuck out to me as indicative of unrequited love, of being so obsessed with something you couldn’t have that it drove you insane. I wanted to create a visual realization of the song that could embody these feelings; I wanted to create a fever dream that would take the idea of the ‘whimsical New York romance’ and flip it on its head.”

Our sound tends to lean towards the dark side, so we could say the lighter feel of Blue Dream was made accidentally. In writing the song and we messed with more electronic patches instead of guitars, and it resulted in an interesting kind of up-beat pop song. We loved it. There is some major juxtaposition in the lyrics, which involve a narrator ignoring components of an unhealthy relationship or obsession; this makes the video all the more powerful. - MTVU

Drop Electric’s music likes to creep around its own beauty. The DC band’s Lefse debut, Waking Up to the Fire, settles into more concrete shapes than their earlier self-releases. While Drop Electric’s first LP Finding Color in the Ashes stuck closely to an early-aughts post-rock mold (think Explosions in the Sky or Hammock with a few extra electronic flourishes), Fire hones in on details instead of cruising along broad strokes. Kristina Reznikov’s vocals now take the front seat on nearly every track, dialoguing with a menagerie of eerie synth textures and a rhythm section that largely stays rooted in the band’s beginnings. The album exploits the tension between traditionally pretty indie pop tropes—glockenspiel and keyboards that “sparkle”—and uncomfortable finds from the uncanny valley.

Take the title track, which starts on a low groan seemingly harvested from an old Casiotone or some other outcast toy. It’s a lo-fi timbre imported into a lossless setting; it dares you to find the dust in its flat notes. Somewhere between an organ and an artificial voice, it hangs at the back while Reznikov chases her own voice into a vocoder. She seems to be competing for perfect artificiality as she hits the sweet spot that confuses what’s human and what’s coughed up by a machine. The song sounds upbeat, but there’s menace behind its glitter.

Even in the midst of the album’s strongest vocal performance, Reznikov’s organic vocals get beaten back by digital manipulation. “Blue Dream” almost gets her snarling only to finish each line of the chorus with a flipped sound byte. At the start of each bar, something that’s either a real human cry or a machine’s best impression wails in the background. The song’s climax chops up the vocals beyond recognition; even unprocessed, the lyrics are hard to make out, and here there’s no hope. On “Starfox”, Reznikov fills the air around a Dntel-style glitch beat with the most patient phrasing on the record, hollowing out a calm eye in the jitters beneath her.

Despite its title, the instrumental “Among Dying Dreams” seems to close the record on a hopeful note. Squirming loops and distant drones break away to blasts of horn and piano, like the fire that smokes you out of your sleep. At the end of this frosty, uneasy world, that fire feels less like danger and more like a call to adventure.

Essential Tracks: “Waking Up to the Fire”, “Blue Dream” - Consequence of Sound

Almost three years ago, Washington DC natives Drop Electric dropped their debut record Finding Color In The Ashes. It was placed squarely within the dramatic bracket of post-rock by many outlets, primarily because of the panoramic atmospherics, experimental guitar-based commotion, and the leviathan noise sprawling and seeping into every minute fissure like limewash. They glued themselves to an electronic-led ambience, and made a valuable contribution to the genre famed for being formulaic, but they still ventured into those idiosyncratic realms dominated by Godspeed, Sigur Rós and Explosions In The Sky.

For LP numero dos, which goes by the name Waking Up To The Fire, the quintet have dialled back the sonic expanses. While they still utilise post-rock's most treasured hallmark, the crescendo-centred structure, this isn't representative of that genre. Or any genre, really. It's a patchwork record, compiled with scraps of electronica, frayed sections of pop, a sliver of rock and parts of shoegaze. There's nu-goth shadows and kwes.-ian samples, it's got soulful veins pumping scarlet trance. It all sounds so achingly familiar yet entirely fresh.

'Higgs Boson', one of the many science-inspired moments on the record, quakes with bass. Astral synth leads and B-Movie UFO hooks tremble amongst the black-hole warped vocals, provoking visions of the antithesis to Crystal Castles. On the title track, it's difficult to decipher lyrics underneath the FX-swaddling, but it all sounds endearingly poppy, like the sort of track than would be sandwiched between M83's 'Midnight City' and something by Bombay Bicycle Club on a night to the discotheque. 'Among Dying Dreams' is more akin to their prior style than much of the record, but with its gospel organ, cyclic 808s and brass section, it still proves that the fivesome aren't going to conform to the post-rock manifesto.

At other junctures, they just lob curveballs. Rave-hop instrumental 'Wack Rapper Meets Defeat' sounds like a grimy Odd Future-cum-Labyrinth backing track. It's angsty and synthy, but proudly displays a masterful beat. 'Starfox', with chiptune clicks and 16-bit whirs, sounds like Lana Del Rey dunked in hydrogen peroxide. It's bleached, faded by emotional scars, all the chintz and gaud washed away. It's a stretched and contorted '50 ballad set to a Nintendo motorik; it falls apart in front of you. The hyperactive, E-number emotion is giddy and crazy-eyed, and you can't help but instantly think 'Tumblr-friendly'. 'Carl Pagan', another pop-culture nod, is a tribal, sweat-lodge delirium, born from acrid smoke and celestial awakenings. It's colossal doom-pop, with pitchshifted vox, hacked'n'rended samples and glimmering keys; the familiar screech of post-rock six-stringer drones in the background, but it's never an overt element.

Drop Electric are bringing a unique congregation of sounds together on Waking Up To The Fire, crafting something, that while not staggeringly earth-splitting and new, does provide something fresh and interesting to behold. You may have heard things in the ballpark of their sound before, but you won't have heard it done quite like this. The record itself poses a similar tone to its predecessor - it's emotional, operatic in portions and feels like the OST to a sci-fi classic. They continue that tonal theme, but via different means. Instead of taking the time to sculpt monolithic paeans, Drop Electric are summoning dance and pop convulsions to the stage, appearing from out of the avant-garde darkness and into the light of day.
Rating: 8/10 - The 405

We are positively thrilled to be premiering the teaser trailer for Drop Electric’s new album, Waking Up To The Fire. The DC-based band caught my attention a while back with their track, “Empire Trashed“, which I nostalgically threw on while putting this post together, and holy hell I forgot just how powerful this song is. I once compared it to the wonderful breakdown in “First Breath After Coma” by Explosions in the Sky, but in hindsight, it’s got a lot more going on that just a dramatic rolling snare and flourishing instrumentation. The Sigur Ros-y vocals that sweep across the song wrench it into something that sounds more like post-punk chaos. But I digress…

With this album teaser, we’re given a small glimpse into the next maturation phase of a band that is starting to see some real traction both locally and outside of the inside-the-Beltway bubble. They’ve dabbled with more electronic-leaning songs in the past (see “Fighting At The Mall“), but the barely minute and a half of new material, which is from a song called “Wack Rappers Meet Defeat”, hints at something a bit more than an electronic drumpad being utilized. The trebled synth that meows over an electronic hip-hop beat mixes well with the heavy, elongated bass that grounds the song, and it has me really curious to hear what direction Waking Up The Fire is going to take.

The album, which is going to be released October 22nd on Lefse Records (who have worked with acts like Youth Lagoon, Neon Indian, and How To Dress Well) is a departure from their previous releases, the band admits. They noted that there will be less live guitar and drums in order to give more room to their vocals and production. They describe it as “a collection of songs living in a land between post-rock, hip-hop and EDM. The result is an undeniably ‘pop’ album, with the uniqueness, weirdness and variety we hope that people expect from us now.”

I’m sure there will be a single or two released before the fall release, so keep your eyes and ears on the lookout for that. In the meantime, you can check them out at Black Cat this Saturday. Grab tickets for that here. - All Things Go

Based in a city known for stagnation and business as usual, Washington DC’s Drop Electric exists to break the mold. Drop Electric’s music is a manic barrage of soaring female vocals, distortion, tribal percussion, and electronic bleeps, controlled by structured, dynamic songwriting. Ramtin Arablouei, Neel Singh, Sho Fujiwara and Kristina Reznikov’s shared experiences as children of immigrant families contribute to an air of vague unfamiliarity in their music.

In 2013, the four members of Drop Electric sat down to record songs that would eventually become Waking Up to the Fire. The result is a bass heavy, electronic collection of songs. Like past Drop Electric releases, the songs on Waking Up to the Fire have a cinematic quality while Reznikov’s voice and lyrics convey a sense of desperation in an increasingly disconnected world.

Drop Electric’s new album Waking Up to the Fire is out October 22nd on Lefse Records. In the mean time, Drop Electric are busy touring this summer and of course, we had to get all the deets! Check it out.

What is the strangest thing a fan has done for you at your show?

Someone once made a bouquet of flowers entirely out of glow sticks for Kristina (our guitarist/singer) and threw it on stage. The complexity of the piece was fascinating. I think we still have it somewhere.

What is the funniest moment you have had as a band so far?

Probably opening for Pretty Lights at an apple factory in Winchester, Virginia. There was a hula hooping class happening during our sound check. Meanwhile, a drunken vagrant made his way into the venue and kept yelling at us to be the “next Led Zeppelin.” I guess that is funny and sort of disturbing. Winchester is a beautiful city.

Do you have any pre-show rituals?

Drugs.

If you could describe your music in one word, what would it be?

Strange.

How do you connect with a crowd?

Playing loud. We generally don’t do any banter on stage. None of us like to talk in front of lots of people. Instead, we just play loudly and hope some people in the crowd like it. We also want audience members to connect with our original live films that are projected onto a screen behind us.

How did you come up with your band name?

We had a first gig coming up but no band name. While sitting in our guitarist’s backyard, we threw together two word combinations until we landed on one that sounded acceptable. This system worked for us because no one else has picked such a stupid band name.

What are 3 songs you’ve had on repeat lately?

Gold Panda — “Quitter’s Raga”
Nosaj Thing — “Light #1?
Battles — “Atlas” - Ticket Alternative

From any historical vantage point or current global event, a perpetual element of flame can be applied and used to describe numerous situations of conflict, struggle (past and present) with vague glimpses of possibility and progress through the skeptic lens of uncertainty. And as our surrounding world burns on an axis of inequity, Washington's D.C.'s Drop Electric captures their own responses to the day's chaotic state of urgency with the premiere of their upcoming title track from their forthcoming Lefse full-length, "Waking Up to the Fire". This is not your ordinary fire drill, as Kristina Reznikov, Ramtin Arablouei, Neel Singh, Sho Fujiwara, and Kevin Marrimow band together and awaken to the blaze as they rise to the emergency with street-skipping beats, voices, synthesizers, and their assembled emotions of passion plugged into the decks.

The key's modulate like analogue wood panelled appliances would that take up almost a quarter of any 10 x 10 feet room. The opening track initiation strums like harp strings that start the song's central mode of cognition. Once the low level synth growl begins, it stays like a background moan from the tuning frequency feedback on the AM dial, or like the electric buzz from a retro Stylophone. New keyboards join in like component-kindling to the band's collective bonfire, as the rhythmic entrances takes the pace down the escape paths and through the doors painted with the red words, 'EXIT'. Then climbing into the digital alteration and mathematical scales arrives the next synthesized counter part that spurns on the vocals that break through the danger. The accumulation of notes and progressions keep the stakes high and situation simmering and smoldering with a deep degree of tension. The surfacing of vocoded effects stir these moods further as trumpeting horn presets delve into Drop Electric's hard fought heroics until the last thing heard is the left over percussion crackle and rattle, like the glowing life force and souls of embers burning bright beneath the buried rubble. - Impose Magazine

From any historical vantage point or current global event, a perpetual element of flame can be applied and used to describe numerous situations of conflict, struggle (past and present) with vague glimpses of possibility and progress through the skeptic lens of uncertainty. And as our surrounding world burns on an axis of inequity, Washington's D.C.'s Drop Electric captures their own responses to the day's chaotic state of urgency with the premiere of their upcoming title track from their forthcoming Lefse full-length, "Waking Up to the Fire". This is not your ordinary fire drill, as Kristina Reznikov, Ramtin Arablouei, Neel Singh, Sho Fujiwara, and Kevin Marrimow band together and awaken to the blaze as they rise to the emergency with street-skipping beats, voices, synthesizers, and their assembled emotions of passion plugged into the decks.

The key's modulate like analogue wood panelled appliances would that take up almost a quarter of any 10 x 10 feet room. The opening track initiation strums like harp strings that start the song's central mode of cognition. Once the low level synth growl begins, it stays like a background moan from the tuning frequency feedback on the AM dial, or like the electric buzz from a retro Stylophone. New keyboards join in like component-kindling to the band's collective bonfire, as the rhythmic entrances takes the pace down the escape paths and through the doors painted with the red words, 'EXIT'. Then climbing into the digital alteration and mathematical scales arrives the next synthesized counter part that spurns on the vocals that break through the danger. The accumulation of notes and progressions keep the stakes high and situation simmering and smoldering with a deep degree of tension. The surfacing of vocoded effects stir these moods further as trumpeting horn presets delve into Drop Electric's hard fought heroics until the last thing heard is the left over percussion crackle and rattle, like the glowing life force and souls of embers burning bright beneath the buried rubble. - Impose Magazine

While it’s more known for its early hardcore and punk scenes, Washington DC has always been a hotbed of insurgent music, no matter the sounds and influences. And electro-poppers Drop Electric are only the latest in a long line of artists to come welling up out of the mirk and mire of our country’s capitol. Blending dream-pop rhythms and oscillating synths with dancefloor percussion and rafter-reaching vocals courtesy of singer Kristina Reznikov, the band unfurls ever wider soundscapes for listeners to explore. And it’s in the distance between the dire circumstances of the real world and our own ideal life that the band finds their place — a sharp rallying cry in the dark bemoaning this very disconnect. And in the unfolding lyrical drama and constantly shifting patterns, the band finds a light to hold onto, even in a dark world. And they are more than willing to share what little light they have. They’ll share even more when their latest record, Waking Up To The Fire, is released on October 22nd via Lefse Records.
For their latest video, the band has allowed the lyrical ambiguity of recent single “Blue Dream” to carry over into the visual spectrum, and we get a video that highlights the same series of events from two different perspectives — one from a woman who attempts to throw herself in front of a moving train and one from the man who stops her. These events culminate in a rather gruesome act that highlights the inability of people to fully understand one another and how we really are subject to our emotions. The song’s tribal percussion, insistent vocals, and enveloping waves of synths only add to the immersion and sense of participation on our behalf. We literally see the events through the eyes of each person. And the music acts as our emotional anchor, weighing us down with the effects of our perceived actions. Drop Electric may deal in shades of vintage 4AD sounds and synth-based electronic experiments but the acute realization of their aesthetic feels as modern as anything you’re likely to hear this year.
Beats Per Minute is pleased to premiere the video for “Blue Dream,” from Drop Electric’s upcoming album, Waking Up To The Fire. - Beats Per Minute

Drop Electric
"Blue Dream"
This dreamy piece of synth-pop from Washington D.C.'s Drop Electric is an infectiously blissful take on the genre. We can't get the chorus out of our heads. - Refinery29

Ben’s fucking Chili Bowl I love this band. While hardly newbies, 2013 could be a big year for this talented group of musical humans. - Brightest Young Things

Drop Electric is on the move. The unsigned sextet hang their hats right off the Beltway in Washington DC. Since the band’s single “Empire Trashed” was spun by NPR’s Bob Boilen on All Songs Considered, Drop Electric is now managed by Banter Media and Management, gaining notoriety, and making final touches to their next album.

Their 2012 release, Drop Electric Sampler Platter, is four tracks of pleasurable shoegaze distortion seeping through a curtain of experimental sound. The percussion on “Empire Trashed” is reminiscent of Radiohead stickman Phil Selway’s work on 2007’s In Rainbows. Throughout the album, vocalist Kristina Reznikov warbles in enchanting melodies over tasteful elements of reverberation. Perhaps one of the most peculiar characteristics of Drop Electric, is that one member of the band can’t be heard on the album. Patrick Ryan Morris is in charge of “Moving Pictures.” During live performances by Drop Electric, Morris can be found stimulating the eyes of the crowd through the art of film, while amplifying the trancing live experience spearheaded by the band.

These gallantly cunning DC artists are set to release their newest album this year and if the Sampler Platter is any indication, listeners should be desiring a four-course meal. When Drop Electric comes to your town next, be sure to prepare yourself for an evocative and invigorating live show experience. - The Owl Mag

Story and sound were on dual-display Friday night at 918 F Street, LivingSocial’s latest music venture. Shoegazers Drop Electric played a creatively cathartic show that was at once dark and sinister, epic and beautiful.

The same unfortunately could not be stated for D.C. based duo Whales. As the opening act, they delivered a underwhelming set. Their melodies failed to captivate, with repetitious songs that were delivered at a low level of dynamics. The chattering crowd was louder than the duo, and stayed that way throughout the entire performance.

After Whales, Drop Electric’s eclectic mix of ambient noise-pop and artful film clips were wonderfully stimulating. The band opened with “Scraping Herself Off the Bottom Rock,” from their first record, Finding Color in the Ashes, and segued straight into the beautiful “Empires Trashed.” Kristina Reznikov’s vocals were just as heavenly and ethereal as they are on the band’s summer sampler.

Film clips on the brick wall behind them gave the show a loose, narrative feel that supplemented the music well, for the most part. The heavier mood of the set’s middle section was augmented by one scene of a young man contemplating suicide, further adding to the intensity and complexity of each companion track.

The songs and the images were well-paced, and after the darkest moments, the band quickly stepped back into a joyous release, as they tore through shoegaze-influenced ravers like “Little Sister, “Yukiko’s Smile” and “Bakuhatsu,” all propelled by drummer Ramtin Arablouei’s tight grooves.

Molly Hollingsworth’s violin and Alexa Cantalupo’s viola added instrumental depth to the band’s musical arrangements, and their backing harmonies gave the few vocal lines added emotional heft.

As a whole, the concert experience was sensual, unique, and engaging. As an experimental rock group-performances like Friday night’s show the experiment is still clearly working. - DC Music Download

Drop Electric are out to overwhelm their listeners. They've abandoned the ambient electronica of their past work and now sound like Mogwai, if Mogwai's M.O. was to make people dance. The dynamics vary between loud and louder and each of the five people onstage (Ramtin Arablouei on drums, Kevin Marrimow on bass and guitar, Neel Singh on guitar, Sho Fujiwara on keyboards and guitar and Kristina Reznikov on guitar and vocals) throw themselves into their respective instruments. Yet, there's a subtlety to the emotional response their music evokes. Patrick Ryan Morris toys with the film clips projected behind the band and Reznikov sings with more of a deadpan than a shout. This makes for an unsettling but rewarding experience, as if the listener has started to sleepwalk through a dark art house film. Newest song, "Santo Domingo" draws as much from Middle Eastern rhythms as it does from ambient rock and roll. - Dcist.com

Drop Electric are out to overwhelm their listeners. They've abandoned the ambient electronica of their past work and now sound like Mogwai, if Mogwai's M.O. was to make people dance. The dynamics vary between loud and louder and each of the five people onstage (Ramtin Arablouei on drums, Kevin Marrimow on bass and guitar, Neel Singh on guitar, Sho Fujiwara on keyboards and guitar and Kristina Reznikov on guitar and vocals) throw themselves into their respective instruments. Yet, there's a subtlety to the emotional response their music evokes. Patrick Ryan Morris toys with the film clips projected behind the band and Reznikov sings with more of a deadpan than a shout. This makes for an unsettling but rewarding experience, as if the listener has started to sleepwalk through a dark art house film. Newest song, "Santo Domingo" draws as much from Middle Eastern rhythms as it does from ambient rock and roll. - Dcist.com

Listening to Drop Electric is a transformative experience. Their album, “Finding Color in the Ashes,” takes the listener on an ambient journey filled with a series of crescendos, hard-hitting notes and melodic undertones.

Formed in 2003 by Ramtin Arablouei, Neel Singh, Dave Garber and Padma Soundararajan, the band has seen its share of goings and comings, with Padma and Dave leaving for personal reasons – and Sho Fujiwara, Kristina Reznikov and Patrick Ryan Morris joining since that time.

With the addition of guitarists Sho and Kristina (she also does vocals), the band’s sound has evolved over the past year and a half. While still showcasing Drop Electric’s signature style, their follow-up album – to be released this spring – will be somewhat of a departure from Ashes, promising to be more accessible, heavier and louder. (Yup, even louder!).

“It’s way more in your face,” said Sho. “Compared to the last release, it’s less ambient and relies more heavily on electronic beats.”

“We’re very excited to showcase our new sound and eager to see the reaction we get from fans of the last album,” added Kristina.

I had the chance to listen to a few new tracks from the upcoming album, one of which is called “Shoot Yourself and Save the World.” While the lyrics are dark, the song’s upbeat tempo provides an unexpected contrast, making you want to take it to the dance floor right away. “Santo Domingo” is another track off the new album, which combines a trance-like, Middle Eastern-sound with electronic beats and roaring guitars.

“The new album is a perfect mix for the ADD of modern society,” said Neel. “It’s got a nice variety.”

When asked about the collaborative process, Ramtin said, “It’s all accidents. Someone will come with an initial idea, a chord progression or a riff, and then we all just add to it. Then we go back and forth, and it usually fails. A lot of musicians aren’t honest about that part. But every once in a while, something works.”

“For the 13 songs that made it onto the first album, there were more than 100 ideas that were shit,” said Neel. “It’s learning; we always try to be really honest with ourselves and push ourselves to get better.”

“Sometimes I get really insecure about what I’m doing, because I don’t want to get complacent and think we’re awesome. But it’s that insecurity that helps drive the process. It makes you better because you’re constantly striving for more,” said Ramtin.

Sounds like a good mantra to me. So, what’s next for Drop Electric?

On March 3, the band will headline a show at Black Cat, where they’ll showcase songs new and old. And, following the spring release of the upcoming album, Drop Electric will play several additional concerts in support of the new material.

Curious about the new sound? Lucky for you, you won’t have to wait that long to take a listen. Be one of the first to hear “Santo Domingo,” one of the songs from Drop Electric’s upcoming album. - Ready Set DC

Listening to Drop Electric is a transformative experience. Their album, “Finding Color in the Ashes,” takes the listener on an ambient journey filled with a series of crescendos, hard-hitting notes and melodic undertones.

Formed in 2003 by Ramtin Arablouei, Neel Singh, Dave Garber and Padma Soundararajan, the band has seen its share of goings and comings, with Padma and Dave leaving for personal reasons – and Sho Fujiwara, Kristina Reznikov and Patrick Ryan Morris joining since that time.

With the addition of guitarists Sho and Kristina (she also does vocals), the band’s sound has evolved over the past year and a half. While still showcasing Drop Electric’s signature style, their follow-up album – to be released this spring – will be somewhat of a departure from Ashes, promising to be more accessible, heavier and louder. (Yup, even louder!).

“It’s way more in your face,” said Sho. “Compared to the last release, it’s less ambient and relies more heavily on electronic beats.”

“We’re very excited to showcase our new sound and eager to see the reaction we get from fans of the last album,” added Kristina.

I had the chance to listen to a few new tracks from the upcoming album, one of which is called “Shoot Yourself and Save the World.” While the lyrics are dark, the song’s upbeat tempo provides an unexpected contrast, making you want to take it to the dance floor right away. “Santo Domingo” is another track off the new album, which combines a trance-like, Middle Eastern-sound with electronic beats and roaring guitars.

“The new album is a perfect mix for the ADD of modern society,” said Neel. “It’s got a nice variety.”

When asked about the collaborative process, Ramtin said, “It’s all accidents. Someone will come with an initial idea, a chord progression or a riff, and then we all just add to it. Then we go back and forth, and it usually fails. A lot of musicians aren’t honest about that part. But every once in a while, something works.”

“For the 13 songs that made it onto the first album, there were more than 100 ideas that were shit,” said Neel. “It’s learning; we always try to be really honest with ourselves and push ourselves to get better.”

“Sometimes I get really insecure about what I’m doing, because I don’t want to get complacent and think we’re awesome. But it’s that insecurity that helps drive the process. It makes you better because you’re constantly striving for more,” said Ramtin.

Sounds like a good mantra to me. So, what’s next for Drop Electric?

On March 3, the band will headline a show at Black Cat, where they’ll showcase songs new and old. And, following the spring release of the upcoming album, Drop Electric will play several additional concerts in support of the new material.

Curious about the new sound? Lucky for you, you won’t have to wait that long to take a listen. Be one of the first to hear “Santo Domingo,” one of the songs from Drop Electric’s upcoming album. - Ready Set DC

Combining epic sound scores with equally epic visuals in their live sets, it’s no wonder DC’s Drop Electric topped the charts when it came to fan votes in our recent band of the month poll. In case you aren’t familiar with this troop, we’ve got the entire lineup together for a little Q&A, including Ramtin Arablouei (Drums), David Garber (Keys), Neel Singh (Guitar), Sho Fujiwara (Guitar), Kristina Reznikov (Guitar), and Patrick Ryan Morris (Visuals.) With an album under their belt, and EP this Fall, Drop Electric fills us in on a possible upcoming film project, growing up on Kris Kross cassettes, and the upsides of the DC music scene.



How did the band start?


Ramtin: David, Neel, Padma (our former lead singer) and I went to St. Mary's College of Maryland together. We were friends in school and have been playing music together for a while but we didn't form this version of the band until 2008. Since then we've had a few different incarnations, but the current lineup was solidified when Sho and Patrick joined last fall and Kristina joined this summer. This show at Rock and Roll Hotel on August 5th will be our first show with Kristina in the lineup, and we could not be more excited.


Where did the band name come from?

Ramtin: Nowhere, really. We had a gig coming up and needed to put together a band name. We kept throwing together word combinations and somehow landed on Drop Electric. It's a pretty ridiculous band name, so in retrospect we probably should have thought about it a little harder. But it looks great on posters and we don’t take ourselves seriously enough to care.


What are your biggest musical influences?

Ramtin: We all come from really diverse backgrounds. There are so many bands that have influenced us. I really would waste the reader's time by naming them.

Sho: I’m very interested in wasting people’s time so I’m gonna go ahead and say Sigur Ros, Radiohead, and Mogwai.

Kristina: I was always a huge Smashing Pumpkins fan.

David: I guess I would have to say Classical Piano music mostly since I took lessons my entire childhood. Chopin, Beethoven, Bach, Mozart and Debussy come to mind immediately. In terms of who I listen to now - a lot of Radiohead, Zepplin since it’s summer and this band Demon Fuzz Neel put me on to...

Patrick: I just make the pretty pictures, so Terrence Malick, Wong Kar-Wai and Mark Romanek.

Ramtin: Movies and soundtracks are a big influence on our music. The marriage of moving images and music is part of what started this project. We enjoy scoring movies and documentaries. A lot of our writing ideas come after all of us see a particular movie. I would say the videos and visuals are as important in our project as the music.

Patrick: I would agree.

Neel: I actually wouldn’t know how to even answer this question. I’ve been addicted to music since childhood, have had countless “favorite” bands, and spent enough money on concerts to feed a small country. Really, I’m a firm believer that most music sucks, but in each genre there’s enough great music worth listening to.


What artists (local, national and/or international) are you currently listening to?

Ramtin: We have some pretty crazy variety in listening habits. I am currently really into TV On The Radio. I think their last album was a masterpiece. I think they were the best band of the past decade. I’m also really into Demon Fuzz. Neel passed me that CD about six months ago and I’ve been listening to it ever since.

Neel: According to my computer, in the past week, I have listened to: Sonic Youth, Jeff Buckley, Big Pun, Tool, Phish, Mastodon, Yeasayer, TV on the Radio, Pink Floyd, Sigur Ros, God is an Astronaut, Fleet Foxes, Big L, Morphine, Elliot Smith, Ratatat, Talking Heads, Grateful Dead, New Order, Sufjan Stevens,The Abbassi Brothers, The Allman Brothers Band, Led Zeppelin, Little Feat, Little Brother, Radiohead, Peter Tosh, Warren Haynes Band, John Coltrane, The Band, Animal Collective and Slayer. I think that about covers it.

David: I think Neel summed up most of mine - also, Keith Jarrett and Mos Def are in my line-up right now.


What's the first concert that you ever attended and first album that you ever bought?

Ramtin: The first album I bought was Brand Nubian's "In God We Trust." I grew up a serious hip hop head. I think my first real club show wasn't until high school. I saw The Roots at 930 club.

Neel: “Dookie” by Green Day was my first CD purchase. Before that, I had Thriller and Kris Kross tapes that I grew up on. My first concert was Hootie and the Blowfish with Sponge in the 6th grade. My dad made me pick between that show and the Smashing Pumpkins. I’m quite certain I made the worst call of all time.

Patrick: My dad took me to see Yes in the 6th grade. There was no choice involved. My first album was “Siamese Dream” by the Pumpkins shortly thereafter.

David: First big concert I saw probably was Phish in 2000. I had bee - Deli Magazine

Combining epic sound scores with equally epic visuals in their live sets, it’s no wonder DC’s Drop Electric topped the charts when it came to fan votes in our recent band of the month poll. In case you aren’t familiar with this troop, we’ve got the entire lineup together for a little Q&A, including Ramtin Arablouei (Drums), David Garber (Keys), Neel Singh (Guitar), Sho Fujiwara (Guitar), Kristina Reznikov (Guitar), and Patrick Ryan Morris (Visuals.) With an album under their belt, and EP this Fall, Drop Electric fills us in on a possible upcoming film project, growing up on Kris Kross cassettes, and the upsides of the DC music scene.



How did the band start?


Ramtin: David, Neel, Padma (our former lead singer) and I went to St. Mary's College of Maryland together. We were friends in school and have been playing music together for a while but we didn't form this version of the band until 2008. Since then we've had a few different incarnations, but the current lineup was solidified when Sho and Patrick joined last fall and Kristina joined this summer. This show at Rock and Roll Hotel on August 5th will be our first show with Kristina in the lineup, and we could not be more excited.


Where did the band name come from?

Ramtin: Nowhere, really. We had a gig coming up and needed to put together a band name. We kept throwing together word combinations and somehow landed on Drop Electric. It's a pretty ridiculous band name, so in retrospect we probably should have thought about it a little harder. But it looks great on posters and we don’t take ourselves seriously enough to care.


What are your biggest musical influences?

Ramtin: We all come from really diverse backgrounds. There are so many bands that have influenced us. I really would waste the reader's time by naming them.

Sho: I’m very interested in wasting people’s time so I’m gonna go ahead and say Sigur Ros, Radiohead, and Mogwai.

Kristina: I was always a huge Smashing Pumpkins fan.

David: I guess I would have to say Classical Piano music mostly since I took lessons my entire childhood. Chopin, Beethoven, Bach, Mozart and Debussy come to mind immediately. In terms of who I listen to now - a lot of Radiohead, Zepplin since it’s summer and this band Demon Fuzz Neel put me on to...

Patrick: I just make the pretty pictures, so Terrence Malick, Wong Kar-Wai and Mark Romanek.

Ramtin: Movies and soundtracks are a big influence on our music. The marriage of moving images and music is part of what started this project. We enjoy scoring movies and documentaries. A lot of our writing ideas come after all of us see a particular movie. I would say the videos and visuals are as important in our project as the music.

Patrick: I would agree.

Neel: I actually wouldn’t know how to even answer this question. I’ve been addicted to music since childhood, have had countless “favorite” bands, and spent enough money on concerts to feed a small country. Really, I’m a firm believer that most music sucks, but in each genre there’s enough great music worth listening to.


What artists (local, national and/or international) are you currently listening to?

Ramtin: We have some pretty crazy variety in listening habits. I am currently really into TV On The Radio. I think their last album was a masterpiece. I think they were the best band of the past decade. I’m also really into Demon Fuzz. Neel passed me that CD about six months ago and I’ve been listening to it ever since.

Neel: According to my computer, in the past week, I have listened to: Sonic Youth, Jeff Buckley, Big Pun, Tool, Phish, Mastodon, Yeasayer, TV on the Radio, Pink Floyd, Sigur Ros, God is an Astronaut, Fleet Foxes, Big L, Morphine, Elliot Smith, Ratatat, Talking Heads, Grateful Dead, New Order, Sufjan Stevens,The Abbassi Brothers, The Allman Brothers Band, Led Zeppelin, Little Feat, Little Brother, Radiohead, Peter Tosh, Warren Haynes Band, John Coltrane, The Band, Animal Collective and Slayer. I think that about covers it.

David: I think Neel summed up most of mine - also, Keith Jarrett and Mos Def are in my line-up right now.


What's the first concert that you ever attended and first album that you ever bought?

Ramtin: The first album I bought was Brand Nubian's "In God We Trust." I grew up a serious hip hop head. I think my first real club show wasn't until high school. I saw The Roots at 930 club.

Neel: “Dookie” by Green Day was my first CD purchase. Before that, I had Thriller and Kris Kross tapes that I grew up on. My first concert was Hootie and the Blowfish with Sponge in the 6th grade. My dad made me pick between that show and the Smashing Pumpkins. I’m quite certain I made the worst call of all time.

Patrick: My dad took me to see Yes in the 6th grade. There was no choice involved. My first album was “Siamese Dream” by the Pumpkins shortly thereafter.

David: First big concert I saw probably was Phish in 2000. I had bee - Deli Magazine

If the title of Drop Electric's debut album, "Finding Color in the Ashes," sounds dramatic, it's because these songs grew out of a personal tragedy: The family of the group's former vocalist, Padma Soundararajan, died in a car accident in India in 2008.

That sorrow is apparent in these mostly instrumental songs. Still, the locally formed group (its members met as students at St. Mary's College of Maryland) also imparts a soaring serenity that recalls post-rock groups Mogwai and Explosions in the Sky. When guitarist Neel Singh plays with a violin bow on the trancelike "Scraping Herself Off the Bottom Rock," the effect is a fluttering drone that lends the song a rumbling, expansive sound.

Elsewhere, the band's use of volume swells is striking. "Bones Beneath the Bridges" begins as a smoldering growl before bubbling over to a dramatic climax, while the title track sounds like a dream that awakens with a vibrant xylophone melody. Though shaped by a sorrowful event, this album surges with a tranquil hopefulness.

- Catherine P. Lewis - Washington Post

If the title of Drop Electric's debut album, "Finding Color in the Ashes," sounds dramatic, it's because these songs grew out of a personal tragedy: The family of the group's former vocalist, Padma Soundararajan, died in a car accident in India in 2008.

That sorrow is apparent in these mostly instrumental songs. Still, the locally formed group (its members met as students at St. Mary's College of Maryland) also imparts a soaring serenity that recalls post-rock groups Mogwai and Explosions in the Sky. When guitarist Neel Singh plays with a violin bow on the trancelike "Scraping Herself Off the Bottom Rock," the effect is a fluttering drone that lends the song a rumbling, expansive sound.

Elsewhere, the band's use of volume swells is striking. "Bones Beneath the Bridges" begins as a smoldering growl before bubbling over to a dramatic climax, while the title track sounds like a dream that awakens with a vibrant xylophone melody. Though shaped by a sorrowful event, this album surges with a tranquil hopefulness.

- Catherine P. Lewis - Washington Post

In 2008, Washington, D.C.-based Drop Electric were forced to make sense out of a horrible, shocking tragedy. That year, the family of the band’s now former lead singer, Padma Soundararajan, died in a terrible car accident while on pilgrimage in India. The relationship that’s forged between the individuals that make up a band is an incredibly close one; your bandmates are not just friends, they are a second family. So, when Soundararajan learned what had happened to her family in India, Ramtin Arablouei (drums), David Garber (keys), Neel Singh (guitar), Sho Fujiwara (guitar) and Patrick Morris (visuals) all felt connected to the loss. Her pain and troubling emotions were, by extension, felt by all of Drop Electric.

Soundararajan left the band, but the remaining members soldiered on to craft something that captured the feelings that sprouted in the aftermath of the accident. The result of their journey is documented in the fittingly titled Finding Color In the Ashes. The album finds the band repurposing the monumental, uplifting power of post-rock as a beacon of hope and faith. Whether it’s a tidal wave of distorted chords or the distant, reverb-dressed ring-outs, Drop Electric adroitly express the mountainous highs and bottomless lows that accompany a soul’s internal struggle to find meaning and footing on an Earth that seemingly contains nothing of believable certainty.

Songs like the spiritual, stirring “Bankroll Hominid” and the soaring, uninhibited “What Now, of Paradise?” perfectly capture the journey of the band's collective spirit to overcome the pain and break free from the emotional weight. And on the other hand, songs such as the haunting, cavernous “Brooklyn’s Nightmare” and the crushing, explosive “Bones Beneath the Bridges” play more to the themes of loneliness and loss. Together, the album embodies a soulful journey that everyone can relate to and connect with, because what powers the massive sound of Finding Color In the Ashes is a universal bond forged through the intrinsic human emotions that exist in us all – no matter the race, culture, or nation.

Here is a celebration of life and the immortality of spirit. Here, the strength and beauty lie in the album's ability to restore hope and happiness. - Mixtapemuse.com

In 2008, Washington, D.C.-based Drop Electric were forced to make sense out of a horrible, shocking tragedy. That year, the family of the band’s now former lead singer, Padma Soundararajan, died in a terrible car accident while on pilgrimage in India. The relationship that’s forged between the individuals that make up a band is an incredibly close one; your bandmates are not just friends, they are a second family. So, when Soundararajan learned what had happened to her family in India, Ramtin Arablouei (drums), David Garber (keys), Neel Singh (guitar), Sho Fujiwara (guitar) and Patrick Morris (visuals) all felt connected to the loss. Her pain and troubling emotions were, by extension, felt by all of Drop Electric.

Soundararajan left the band, but the remaining members soldiered on to craft something that captured the feelings that sprouted in the aftermath of the accident. The result of their journey is documented in the fittingly titled Finding Color In the Ashes. The album finds the band repurposing the monumental, uplifting power of post-rock as a beacon of hope and faith. Whether it’s a tidal wave of distorted chords or the distant, reverb-dressed ring-outs, Drop Electric adroitly express the mountainous highs and bottomless lows that accompany a soul’s internal struggle to find meaning and footing on an Earth that seemingly contains nothing of believable certainty.

Songs like the spiritual, stirring “Bankroll Hominid” and the soaring, uninhibited “What Now, of Paradise?” perfectly capture the journey of the band's collective spirit to overcome the pain and break free from the emotional weight. And on the other hand, songs such as the haunting, cavernous “Brooklyn’s Nightmare” and the crushing, explosive “Bones Beneath the Bridges” play more to the themes of loneliness and loss. Together, the album embodies a soulful journey that everyone can relate to and connect with, because what powers the massive sound of Finding Color In the Ashes is a universal bond forged through the intrinsic human emotions that exist in us all – no matter the race, culture, or nation.

Here is a celebration of life and the immortality of spirit. Here, the strength and beauty lie in the album's ability to restore hope and happiness. - Mixtapemuse.com

Today we take a look at a rising band all the way from Washington D.C. Drop Electric are doing great things which have come to the attention of music lovers all around the world. This Post-Rock Experimental group have been described as ‘mesmerizing’, ‘trans-formative’ and ‘dazzling’……Couldn’t have described it better myself.

The first thing you notice with Drop Electric is just how atmospheric the bands music is. There is a myriad of reverberation and delays going on that just make this band a totally unique listening experience. Drop Electric manages to take you on a journey of incredible proportions and never lets you go…because you don’t want to be.

Kristina Reznikovs voice is both haunting and powerful in every aspect of Drop Electrics sound. That being said, the foundation on which she is able to lay her vocal lines over, are nothing but spectacular. Fluctuating dynamics are one of the core elements of their music. The music is also incredibly diverse. One moment the listener is being taken on a powerful, enlightening journey and is then thrown right into a ’28 Days Later’ scenario (evident in the track ‘Santo Domingo’).

If you’re looking for music to close your eyes and see where your mind takes you to, then Drop Electric is definitely where you should start. This band has such a unique sound which just resonates perfectly. If you’re going to take a listen to Drop Electric, I wouldn’t recommend being under the influence of the sacred plant….(just kidding). - The Raffo Review

Today we take a look at a rising band all the way from Washington D.C. Drop Electric are doing great things which have come to the attention of music lovers all around the world. This Post-Rock Experimental group have been described as ‘mesmerizing’, ‘trans-formative’ and ‘dazzling’……Couldn’t have described it better myself.

The first thing you notice with Drop Electric is just how atmospheric the bands music is. There is a myriad of reverberation and delays going on that just make this band a totally unique listening experience. Drop Electric manages to take you on a journey of incredible proportions and never lets you go…because you don’t want to be.

Kristina Reznikovs voice is both haunting and powerful in every aspect of Drop Electrics sound. That being said, the foundation on which she is able to lay her vocal lines over, are nothing but spectacular. Fluctuating dynamics are one of the core elements of their music. The music is also incredibly diverse. One moment the listener is being taken on a powerful, enlightening journey and is then thrown right into a ’28 Days Later’ scenario (evident in the track ‘Santo Domingo’).

If you’re looking for music to close your eyes and see where your mind takes you to, then Drop Electric is definitely where you should start. This band has such a unique sound which just resonates perfectly. If you’re going to take a listen to Drop Electric, I wouldn’t recommend being under the influence of the sacred plant….(just kidding). - The Raffo Review

Drop Electric will haunt you. Their sprawling, grandiose soundscape digs deep into your inner mechanics. Chills reverberate through my body as their cinematic post rock tosses me straight onto the set of some indie-grunge Sundance short. Empire Trashed hits all ranges of emotions – serving up pain strained by frustrations for the main course; finishing with an inexplicable sensation elation and relief. I’m not one to suggest that Drop Electric will play with your emotions, but you won’t be upset with the end result regardless. This stunning video is produced by DC/NYC studio Dedalus Moving Pictures.

Drop Electric, a DC based band, just released four new tracks as a “sampler platter“. These four tracks show maturity and an added dimension coming off their 2010 hit debut Finding Color in the Ashes.

From all the reviews I’ve read, these guys are not one to miss live. Luckily, the District has two great chances to witness their face melting post rock. Drop Electric will headline the Capitol Groove Fest on July 28. In addition, they headline the STPP Fest Benefit @ Black Cat August 3, which also features RIF approved Conveyor. - Rarity in Form

Drop Electric will haunt you. Their sprawling, grandiose soundscape digs deep into your inner mechanics. Chills reverberate through my body as their cinematic post rock tosses me straight onto the set of some indie-grunge Sundance short. Empire Trashed hits all ranges of emotions – serving up pain strained by frustrations for the main course; finishing with an inexplicable sensation elation and relief. I’m not one to suggest that Drop Electric will play with your emotions, but you won’t be upset with the end result regardless. This stunning video is produced by DC/NYC studio Dedalus Moving Pictures.

Drop Electric, a DC based band, just released four new tracks as a “sampler platter“. These four tracks show maturity and an added dimension coming off their 2010 hit debut Finding Color in the Ashes.

From all the reviews I’ve read, these guys are not one to miss live. Luckily, the District has two great chances to witness their face melting post rock. Drop Electric will headline the Capitol Groove Fest on July 28. In addition, they headline the STPP Fest Benefit @ Black Cat August 3, which also features RIF approved Conveyor. - Rarity in Form

Also on the show, two bands that hail from NPR's home city of Washington, D.C. Drop Electric is a "Sigur Ros-ian" band with an epic sound.... - National Public Radio

Also on the show, two bands that hail from NPR's home city of Washington, D.C. Drop Electric is a "Sigur Ros-ian" band with an epic sound.... - National Public Radio

Tonight’s HFS Locals Only Spotlight artist is Drop Electric, a six-person experimental rock band that splits its time between Washington, D.C. and New York City. They explain their sound as being ”based in melody and distortion and deeply inspired by cinema,” and at first, their haunting vocals and ambient soundscapes might have the casual listener initially drawing parallels between this band and, say, Florence + The Machine…but the deeper you go, the more you realize you’ve drifted into something much deeper. Seeing them live adds another layer, as you’re presented with a visual aspect that expands the experience yet more. Open your ears and your mind, hear and watch their work, and we’re sure you’ll want to find out more about them at www.dropelectric.com.
- WHFS.com

Tonight’s HFS Locals Only Spotlight artist is Drop Electric, a six-person experimental rock band that splits its time between Washington, D.C. and New York City. They explain their sound as being ”based in melody and distortion and deeply inspired by cinema,” and at first, their haunting vocals and ambient soundscapes might have the casual listener initially drawing parallels between this band and, say, Florence + The Machine…but the deeper you go, the more you realize you’ve drifted into something much deeper. Seeing them live adds another layer, as you’re presented with a visual aspect that expands the experience yet more. Open your ears and your mind, hear and watch their work, and we’re sure you’ll want to find out more about them at www.dropelectric.com.
- WHFS.com

On Sunday, Sydney and Allie of WGTB had the chance to chat with DC-area band Drop Electric... - WGTB Georgetown Radio

Characterizing themselves as “an experimenting rock band,” Drop Electric brings in jam band, electronica and international musical influences into their songs... - Headstash Magazine

Characterizing themselves as “an experimenting rock band,” Drop Electric brings in jam band, electronica and international musical influences into their songs... - Headstash Magazine

This song is a collection of accidents. We'd actually abandoned this song for months thinking it was boring. Then Kristina decided at taking a stab at vocals. In a fit of frustration, Ramtin tried playing a break beat, similar to the ones he heard at the breakdancing jams he goes to, and that became the beat. A guitar solo by Kristina basically became the structure for the second half of the song. Usually, everything we like comes out of accidents.... - Brightest Young Things

This song is a collection of accidents. We'd actually abandoned this song for months thinking it was boring. Then Kristina decided at taking a stab at vocals. In a fit of frustration, Ramtin tried playing a break beat, similar to the ones he heard at the breakdancing jams he goes to, and that became the beat. A guitar solo by Kristina basically became the structure for the second half of the song. Usually, everything we like comes out of accidents.... - Brightest Young Things

When Drop Electric played the Sweet Tea Pumpkin Pie fundraiser at the Black Cat last month, they filled the venue with their signature experimental sound, playing songs carefully arranged with epic builds and ambient-heavy synths. NPR music host Bob Boilen, who’d seen the video for their stunning single “Empire Trashed” earlier, was in the audience that night. Impressed, he featured the track on his radio show All Songs Considered, which prompted a flood of e-mails to the Bethesda-based group’s inbox. A manager, a licensing company, and tons of new fans later, Drop Electric has gone from a local crew of under-the-radar musicians to a band on the rise... - Washingtonian Magazine

Standout Track: No. 1, “Empire Trashed,” begins as an organ-based funeral song, quickly changing into something more with hauntingly stretched-out syllables from vocalist-guitarist Kristina Reznikov. “Empty roads bring you back/ quick from this to that/ in a monochrome dream,” she sings. Ominous keys and Reznikov’s ever-growing voice foreshadow the soaring climax.

Musical Motivation: Drop Electric’s line-up has been in flux for several years, but lately the outfit has been more stable. Percussionist Ramtin Arablouei and guitarist Neel Singh “want to keep pushing, and they’re never content releasing the same sound and doing the same genre over and over again,” says guitarist and keyboardist Sho Fujiwara. Reznikov’s addition last summer may have pushed the group in a new direction, too, with the first-time singer bringing in her heavy-metal influences. “She came in and joined the band basically as a guitarist and she’s like, ‘Eh, I sing,’ and then we tried her out and we’re like, ‘Holy shit, she can actually sing well,’” says Fujiwara.

Screaming Tires: The lyrics come from a nostalgic place, using the scenario of a car crash as a way to mourn a relationship: “Through the glass and the steel/ you made shadows real.” “Lyrically, take it however you want it, but it’s supposed to be someone thinking back about losing someone from their past,” says lyricist Reznikov. “But it’s ultimately a hopeful song, in a weird way.” - Washington City Paper

Standout Track: No. 1, “Empire Trashed,” begins as an organ-based funeral song, quickly changing into something more with hauntingly stretched-out syllables from vocalist-guitarist Kristina Reznikov. “Empty roads bring you back/ quick from this to that/ in a monochrome dream,” she sings. Ominous keys and Reznikov’s ever-growing voice foreshadow the soaring climax.

Musical Motivation: Drop Electric’s line-up has been in flux for several years, but lately the outfit has been more stable. Percussionist Ramtin Arablouei and guitarist Neel Singh “want to keep pushing, and they’re never content releasing the same sound and doing the same genre over and over again,” says guitarist and keyboardist Sho Fujiwara. Reznikov’s addition last summer may have pushed the group in a new direction, too, with the first-time singer bringing in her heavy-metal influences. “She came in and joined the band basically as a guitarist and she’s like, ‘Eh, I sing,’ and then we tried her out and we’re like, ‘Holy shit, she can actually sing well,’” says Fujiwara.

Screaming Tires: The lyrics come from a nostalgic place, using the scenario of a car crash as a way to mourn a relationship: “Through the glass and the steel/ you made shadows real.” “Lyrically, take it however you want it, but it’s supposed to be someone thinking back about losing someone from their past,” says lyricist Reznikov. “But it’s ultimately a hopeful song, in a weird way.” - Washington City Paper

WASHINGTON - Over the past 3 years, the band Drop Electric has forged its own unique path in the local music scene, crafting impeccably arranged ambient post-rock songs.

The band draws influence from electronica and modern rock, but also incorporates the band's love of movies into its music.

The six-piece outfit includes visual artist Patrick Ryan Morris, who directs and edits movies that accompany specific songs during performances.

"Each song has its own video," drummer Ramtin Arablouei says.

"We don't have someone jumping around stage, or a typical lead singer. The multimedia keeps it interesting live."

Drop Electric's diverse lineup also contributes to its eclectic sound. The band's families immigrated to the U.S. from Iran, India, Japan, Mexico, Ireland and Ukraine.

Arablouei says that the band started out as an electronic dance group. After some experimentation, the group allowed its individual influences to mold the songs into what is currently performed.

"For us, it's been a collection of accidents," he says. "It really just came over time, and slowly developed into what we're playing now."

Watch the video for "What Now of Paradise," from Drop Electric's 2010 debut album: - WTOP.com

WASHINGTON - Over the past 3 years, the band Drop Electric has forged its own unique path in the local music scene, crafting impeccably arranged ambient post-rock songs.

The band draws influence from electronica and modern rock, but also incorporates the band's love of movies into its music.

The six-piece outfit includes visual artist Patrick Ryan Morris, who directs and edits movies that accompany specific songs during performances.

"Each song has its own video," drummer Ramtin Arablouei says.

"We don't have someone jumping around stage, or a typical lead singer. The multimedia keeps it interesting live."

Drop Electric's diverse lineup also contributes to its eclectic sound. The band's families immigrated to the U.S. from Iran, India, Japan, Mexico, Ireland and Ukraine.

Arablouei says that the band started out as an electronic dance group. After some experimentation, the group allowed its individual influences to mold the songs into what is currently performed.

"For us, it's been a collection of accidents," he says. "It really just came over time, and slowly developed into what we're playing now."

Watch the video for "What Now of Paradise," from Drop Electric's 2010 debut album: - WTOP.com

Drop Electric - This was the first time I saw these six local musicians known as Drop Electric. They start with two female vocalists singing atop some electronics in a sonic plane somewhere near the Cocteau Twins or Dead Can Dance maybe. The full band next comes out and lays on the shoegaze with plenty of subtle dynamic shifts ala Mono. There is a goth chill in the air with these vocals and they can be quite dazzling at times, whether its moodily sung verses, or background wailing. Some bands sound like they are making their version of Ennio Morricone soundtrack music, but this band covers a more updated Goblin approach with a real eerie feeling present through much of this. They also remind me of Bardo Pond in some respects. No real breaks in the set which is a nice touch, just subtle shifts covering the seams between songs well. The club was about half full and they came alive for this set. This band, along with the first two tonight, are all headed to Mecca, make that Austin, so hopefully they will have a great experience and the novice listeners (like myself tonight) should be rewarded with a strong assured band.
- DC Rock Live

Austin has Explosions in the Sky, Boston has Junip, Scotland has Mogwai and now DC has Drop Electric. Post-rock has always been one of my favorite genres and not to pigeonhole one of the most promising bands in the DC area right now, but I would say Drop Electric fits the mold perfectly.

A week or so ago I was invited to see Drop Electric play by one of the band’s guitarists/bassists, Sho Fujiwara. I was really excited to see them after listening to a few of their songs online. Their songs evoke strong imagery in the minds of the listener, carrying them on trips through their own imagination. Similar to the post-rock trailblazers before them, their songs are mostly instrumental and crafted in a style that is quite similar to classical music.

Upon arriving at Rock & Roll Hotel I walked up to the crowd which had created a semi-circle around the stage, more to avoid the volume being pumped through the speakers than timidness. Closing my eyes I could not believe that I was seeing a supporting band at R&R and not a band headlining the 930 club. Each song elicited more applause and louder cheering as the energy of the crowd continued to rise. The final song blew the entire venue away with an outro that grabbed your ears and wouldn’t let go. Needless to say I was impressed and cannot wait to see them play again.

No shows are currently scheduled, but be sure to check out Drop Electric’s website to keep up with any that are scheduled in the future.

The band’s full length album, Finding Color in the Ashes, is available for download in its entirety here or you can stream it below.
- DC is Sound

If the title of Drop Electric's debut album, "Finding Color in the Ashes," sounds dramatic, it's because these songs grew out of a personal tragedy: The family of the group's former vocalist, Padma Soundararajan, died in a car accident in India in 2008.

That sorrow is apparent in these mostly instrumental songs. Still, the locally formed group (its members met as students at St. Mary's College of Maryland) also imparts a soaring serenity that recalls post-rock groups Mogwai and Explosions in the Sky. When guitarist Neel Singh plays with a violin bow on the trancelike "Scraping Herself Off the Bottom Rock," the effect is a fluttering drone that lends the song a rumbling, expansive sound.

Elsewhere, the band's use of volume swells is striking. "Bones Beneath the Bridges" begins as a smoldering growl before bubbling over to a dramatic climax, while the title track sounds like a dream that awakens with a vibrant xylophone melody. Though shaped by a sorrowful event, this album surges with a tranquil hopefulness. - washingtonpost.com

Drop Electric created a soundtrack for my life. If my life were a film, Drop Electric is the music and sound around me. Drop Electric, a band based out of DC, smashed through the music scene with their debut album Finding Color In The Ashes. Like their album name, their music is dramatic, sometimes dark, but in the end optimistic. Even with their lack of a vocalist they create a emotion filled atmosphere with the band and a backdrop of visuals of everyday things and people. The album is spilling over with emotion and depth, maybe because it was created out of the tragic event when the family of the group’s former vocalist, Padma Soundararajan, died in a car accident in India in 2008. I’ve seen them live twice now and have their notes and cords floating threw my head as I walk down the street. You can download their debut album for free here. - lunchboxtheory.com

One of the hardest things to process is the unexpected death of a loved one – and it’s even harder when it’s not the loss of one person but the loss of an entire family. Life is defined by one’s own set of concrete facts and beliefs – those things that help a person make sense of the world. Losing that sense of understanding is utterly devastating as the world you knew is no longer a home but a new, almost foreign place. It’s one of the harder lessons that life deals out, and something that provokes both change and maturation.

In 2008, Washington, D.C.-based Drop Electric were forced to make sense out of a horrible, shocking tragedy. That year, the family of the band’s now former lead singer, Padma Soundararajan, died in a terrible car accident while on pilgrimage in India. The relationship that’s forged between the individuals that make up a band is an incredibly close one; your bandmates are not just friends, they are a second family. So, when Soundararajan learned what had happened to her family in India, Ramtin Arablouei (drums), David Garber (keys), Neel Singh (guitar), Sho Fujiwara (guitar) and Patrick Morris (visuals) all felt connected to the loss. Her pain and troubling emotions were, by extension, felt by all of Drop Electric.

Soundararajan left the band, but the remaining members soldiered on to craft something that captured the feelings that sprouted in the aftermath of the accident. The result of their journey is documented in the fittingly titled Finding Color In the Ashes. The album finds the band repurposing the monumental, uplifting power of post-rock as a beacon of hope and faith. Whether it’s a tidal wave of distorted chords or the distant, reverb-dressed ring-outs, Drop Electric adroitly express the mountainous highs and bottomless lows that accompany a soul’s internal struggle to find meaning and footing on an Earth that seemingly contains nothing of believable certainty.

Songs like the spiritual, stirring “Bankroll Hominid” and the soaring, uninhibited “What Now, of Paradise?” perfectly capture the journey of the band's collective spirit to overcome the pain and break free from the emotional weight. And on the other hand, songs such as the haunting, cavernous “Brooklyn’s Nightmare” and the crushing, explosive “Bones Beneath the Bridges” play more to the themes of loneliness and loss. Together, the album embodies a soulful journey that everyone can relate to and connect with, because what powers the massive sound of Finding Color In the Ashes is a universal bond forged through the intrinsic human emotions that exist in us all – no matter the race, culture, or nation.

Here is a celebration of life and the immortality of spirit. Here, the strength and beauty lie in the album's ability to restore hope and happiness. - mixtapemuse.com

Drop Electric is a post-rock band based in Washington D.C. and NYC. Their music has been described as "sample based, emotive, post-rock." Based in melody and distortion and deeply inspired by cinema, their live show is a combination of evocative music and narrative film that complement the themes and emotions expressed by their mostly instrumental songs.

In December 2010, they released their debut album, "Finding Color in the Ashes" at the Black Cat Mainstage in Washington, D.C. The album has been reviewed and or featured in The Washington Post, Mixtape Muse, Musigh, and a number of other fine publications.

“If the title of Drop Electric’s debut album, ‘Finding Color in the Ashes,’ sounds dramatic, it’s because these songs grew out of a personal tragedy: The family of the group’s former vocalist, Padma Soundararajan, died in a car accident in India in 2008.

That sorrow is apparent in these mostly instrumental songs. Still, the locally formed group (its members met as students at St. Mary’s College of Maryland) also imparts a soaring serenity that recalls post-rock groups Mogwai and Explosions in the Sky. When guitarist Neel Singh plays with a violin bow on the trancelike “Scraping Herself Off the Bottom Rock,” the effect is a fluttering drone that lends the song a rumbling, expansive sound.

Elsewhere, the band’s use of volume swells is striking. “Bones Beneath the Bridges” begins as a smoldering growl before bubbling over to a dramatic climax, while the title track sounds like a dream that awakens with a vibrant xylophone melody. Though shaped by a sorrowful event, this album surges with a tranquil hopefulness. ” - http://post-engineering.blogspot.com

Drop Electric is a post-rock band based in Washington D.C. and NYC. Their music has been described as "sample based, emotive, post-rock." Based in melody and distortion and deeply inspired by cinema, their live show is a combination of evocative music and narrative film that complement the themes and emotions expressed by their mostly instrumental songs.

In December 2010, they released their debut album, "Finding Color in the Ashes" at the Black Cat Mainstage in Washington, D.C. The album has been reviewed and or featured in The Washington Post, Mixtape Muse, Musigh, and a number of other fine publications.

“If the title of Drop Electric’s debut album, ‘Finding Color in the Ashes,’ sounds dramatic, it’s because these songs grew out of a personal tragedy: The family of the group’s former vocalist, Padma Soundararajan, died in a car accident in India in 2008.

That sorrow is apparent in these mostly instrumental songs. Still, the locally formed group (its members met as students at St. Mary’s College of Maryland) also imparts a soaring serenity that recalls post-rock groups Mogwai and Explosions in the Sky. When guitarist Neel Singh plays with a violin bow on the trancelike “Scraping Herself Off the Bottom Rock,” the effect is a fluttering drone that lends the song a rumbling, expansive sound.

Elsewhere, the band’s use of volume swells is striking. “Bones Beneath the Bridges” begins as a smoldering growl before bubbling over to a dramatic climax, while the title track sounds like a dream that awakens with a vibrant xylophone melody. Though shaped by a sorrowful event, this album surges with a tranquil hopefulness. ” - http://post-engineering.blogspot.com

The argument has been made that a city's vibrancy is directly correlated with the strength of its artistic community. Borrowing from this sentiment is DC51, a progressive artist collective based in the District. Recently, DC51 expanded its ranks to include not only visual artists but also musicians. In celebration of this growth, they'll be holding a concert at the Rock and Roll Hotel tonight at 9 p.m. featuring several hip-hop influenced acts: Drop Electric, Christylez Bacon, Godisheus featuring Head-Roc, and the Cornel West Theory.

We caught up via e-mail with Drop Electric percussionist Ramtin Arablouei to get his thoughts on the importance of organizations like DC51 to the local arts scene.

Tell us a little bit about Drop Electric's involvement with DC51.

Drop Electric first became involved with DC51 after we performed at a benefit for the Women's Drumming Empowerment Project at the Belmont House in Adam's Morgan with fellow DC51 act Evil Empire. I knew about the artists in the collective after seeing their work around town for a few years prior to that point. When we started our band a year ago I was really taken aback by how little cooperation and community there was among D.C. musicians. I always had the idea to create some type of collective for D.C. musicians where people could openly collaborate and pair up for shows. About that time DC51 decided to bring in some musicians to its collective. We were asked to get involved with the collective and we jumped at the opportunity. I thought to myself, "Why reinvent the wheel? These folks really have it figured out. I want to be a part of that movement."


Why is an organization like DC51 important?

I think often times the arts and music become way too competitive and do not engender any feelings of community. D.C. has always been a home to progressive, activist art. This is a big reason why I love this city. D.C. artists seem to recognize that they have power to reach people and to help out the community in some small way. Drop Electric always tries to donate a part of the proceeds from it's D.C. shows to a local community based organization. I know that many fellow DC51 artists do the same. This is a great way to nurture the homegrown arts in D.C. and to ensure that more and more artists are given a platform to express themselves.

What is Drop Electric doing to help push the local hip-hop scene?

Drop Electric is not really considered a hip-hop act per se, which is fine. It's the listener's prerogative to define the sound we make however they want. With that said, we are intensely influenced by hip-hop music. For this reason we are big fans of the local hip-hop scene. When we play Rock and Roll Hotel or any other D.C. venue, we always try our best to make sure we have at least one great local hip-hop act on the bill. The biggest thing we do is actually go out to local hip-hop shows and buy the music. I won't even start naming all my favorite local emcees, but I can tell you that I've seen Head Roc and Christylez Bacon live over a dozen times. I only discovered Cornel West Theory lately but was blown away by them.

You mentioned that you think local hip-hop acts don't get the attention they deserve and have even been shut out of some venues. What do you think is holding the scene back?

I think this is a problem in cities throughout the country. Music venues that offer a platform to local acts are often owned and operated by [people] that grow up going to rock shows. Most may only be occasional rap music listeners. This creates a sense of distance. In addition, the general stigma associated with hip-hop makes talent buyers and club owners shy away from working with rappers.

With that said, I think some of the responsibility falls on the hip-hop community and fans. The fact is it's all a money game for owners and talent buyers. These folks are making their living on acts that bring people out to shows. Even if a club owner or talent buyer loves a local hip-hop act, he can't really afford to bring him or her to perform if they are not going to bring out a lot of people. If hip-hop fans came out to support local acts and filled up the venues every time a great local rapper played, then we wouldn't be talking about this. I've heard this from many local hip-hop vets. The other option to combat this is to see a viable mid-size hip-hop venue emerge somewhere in the city. If I had the capital, believe me I'd do it.

What impact do you think the progressive arts/music scene can have on a city like D.C.?

I think a collective like DC51 can create a viable avenue for local artists with a progressive bend to cooperate and collaborate to bring beautiful art to the community. All communities need artistic outlets. If DC51 helps foster those outlets and helps young artists believe there is a place for them in the community, then it will be a great success. Also, DC51 can actually make a tangible difference on the ground by bringing a - The DCist

Drop Electric was no different from many a local band. They played the occasional festival, headlined local clubs, and were on their way to garnering a decent local following. But their story took a tragic turn last month, and the band is still trying to recover.

The family of vocalist Padma Soundararajan — her father, stepmother, two-half sisters and two half-brothers — were spending the summer in India when their vehicle collided with a truck. Her parents, sisters (both students at Clarksburg High School in Montgomery County), and one other person were killed in the accident. The brothers survived, despite one going into a coma, and Padma, 28, spent the last half of July in India, tending to funeral rites and preparing her brothers for the trip back to the U.S.

Drop Electric's drummer and Soundararajan's close friend, Ramtin Arablouei, accompanied her on the journey. "Over the course of the two weeks we were in India, we saw the best and worst of humanity," Arablouei told DCist.

When asked how Soundararajan is faring, Arablouei said, "Padma, as you can imagine, is in shock. At the same time, she has really stepped up to provide the strength and nurturing her little brothers need. She is a special, special person."

To make matters even more complicated, one brother, Sairam, is autistic and the other, Pavan, is severely disabled with cerebral palsy and requires round-the-clock attention. Despite any insurance the family had, Soundararajan faces considerable financial difficulties when it comes to providing her brothers the care they need.


Fortunately, the community has rallied around the family and is doing what it can to provide assistance. Soundararajan's parents were very active and well-respected at the Sri Siva Vishnu Temple in Lanham, and on the day of the accident, friends raised $7,000 for Soundararajan's trip to India, with considerably more coming in since.

Drop Electric, a band that already donated 30 to 40 percent of its profits to community organizations, is also doing its part by donating all of the proceeds from its performances to this cause. The band will be headlining one such fundraiser this Saturday at the Rock and Roll Hotel and another at Baltimore's 8X10 Club on August 30.

Though Soundararajan will not be performing at these events, the band expects she will eventually return. "We are not even at the point of discussing Padma's return to the stage," Arablouei said. "I'm very confident she will return to music soon because it's her release, and I really feel it's what her father would want her to do," he went on to explain. Padma's father was an accomplished Carnatic vocalist.

For the upcoming performances, Audrey Hamilton, a friend of the band, and keyboardist David Garber will handle vocal duties. The ensemble is also putting together extended arrangements and will incorporate more electronics in order to compensate. Though it might face difficulties in the short term, the events of the past month brought bigger issues to the fore and the band realizes where to focus its energy.

As Arablouei noted, "Music is escapism, pure and simple. Right now, one of us is facing an unimaginable tragedy and everyone is responding accordingly."

Drop Electric's Benefit for Padma takes place on Saturday, Aug. 16 at the Rock and Roll Hotel with The.Blackout.District, Hello Tokyo, and Red Ink. 8:30 doors/9:30 show, $10

http://dcist.com/2008/08/14/local_band_rallies_around_one_of_it.php - The DCist

We unfortunately have to pass along some very sad news about the band Drop Electric and their lead singer, Padma Soundararajan's family. The family had been vacationing in India for the past month, and on the weekend of July 12, they were involved in a car accident. Tragically, Padma's father, her step-mother, and her two beautiful little sisters, Priya and Lakshmi, all passed away. Fortunately, Padma was not able to take the vacation with the family due to work constraints. Padma's two little brothers were also in the car, and they managed to survive (one was in a coma for three days, but miraculously came out of it). These two little brothers, however, both have very special needs - one has severe Cerebral Palsy, and the other is Autistic. They both require a lot of medical attention. There was also no will left behind, and it is unclear how much insurance money Padma will see once the family house/loans have been paid for (or if there will even be enough to cover these costs). Due to these, as well as other financial burdens, there is a sizeable possibility that Padma will get nothing.

Basically, the unthinkable has happened to a very sweet, loving girl and it is up to her friends, and the surrounding community, to help pick up the pieces. Throughout their time as a band in the Washington D.C./Baltimore area, Drop Electric have made some close friends with others bands in the region. Once news leaked about what happened, some old friends from the band Basshound started working immediately to get a benefit concert in the works. We are pleased to announce that on Sunday, August 31, a concert will be taking place at The 8X10 in Baltimore, aptly titled A Concert For Padma. Joining Drop Electric and Basshound on the bill will be Earthtone, and The Byzantine Top 40. Also, this weekend (August 21-24), The Keep It Cool Festival being held at Sunshine Daydream Campground (Trip's Farm) in West Virginia is donating a percentage of their profits to Padma.

If you cannot make this show but wish to donate money, here is the website where you can donate through PayPal: www.realitycharity.com/nrsingh. This is a great way to pay, however PayPal does take 9% of the donation for themselves. To ensure Padma gets 100% of your intended donation, you can also make checks out to Padma Soundararajan and mail them to: 2616 Washington Avenue / Chevy Chase, MD 20815

Show details:
Sunday, August 31 at The 8x10 in Baltimore
Show time is 8:00 p.m.
Tickets are $12, and 100% of all of the artists' pay will be going directly to Padma
Lineup: Basshound (headlining), Earthtone, Drop Electric, The Byzantine Top 40

http://www.jambase.com/Articles/14843/A-Concert-For-Padma
- Jambase