The glittering electric, eccentricity of the 80’s. The dynamic, not-to-be-messed-with grunge of the 90’s and the magnetism of present day indie guitar music, MeMe Detroit encompasses it all in an all-powerful cosmic swirl.
The Midlands based singer, musician and DJ’s repertoire flicks through time, Her debut album “Live to Love You’ll Love to Live” is splattered with a collage of inspiration, grunge elements are easy to spot in heavy bass lines, whilst flickers of indie pop lie within acoustic guitar numbers. Her more recent work however is studded with retro glam and spiralling synths.
Last year’s release “How She Runs” (commissioned for indie film “My Saviour”) is a third eye into the world of love and lust, a glittering story told from behind the DJ booth. “As I was lying down the track, I kept picturing a dancefloor” she mused.
“I see it more often than not, someone will spot someone across the dance floor; naturally some just go straight for the kill, but some you can see spend ages plucking up the courage to approach that person. Sometimes never being able to go through with it, they go home with just the dream of what it would be like to be with that person.”
Her newest release is a homage to the epitome of the 80’s, a genre bending musician such as MeMe. The late, great David Bowie’s track “Ashes to Ashes” is transformed into something gritty and almost sombre. It’s layered thick with electric guitar and reverbs– a whole new take on the twinkling eccentricity of Bowie. However, the impassioned vocals from both parties remain at this cover’s core, MeMe Detroit possessing Bowie’s eclectic glam and taking it to a whole new level.
Bowie fans will happily find themselves hooked to MeMe Detroit, her lyrics ache and long for the world to see things through another perspective. MeMe explained: “My version of “Ashes to Ashes” was performed at The Night Owl’s Bowie Night in 2016. It went down a storm and I had several people asking if it was recorded and whether it was going to be available to buy. I hadn’t planned on releasing a cover but figured ‘why the hell not?’”
By Sophie Hack