The Girl from Ipanema gets the BLISSS treatment.
The outcome is, pretty much, as weirdly enjoyable as you’d expect. BLISSS stamp their personal branding all over the classic, with a world of sound that feels like a collision between trap, house and jazz. There’s some sweet bass rhythms, with chilled out washes of synths and a space-age phaser effect that ties everything together into a bizarre dream sound. It was never likely that BLISSS would follow up Badcat with something conventional, but this is still one hell of a curveball.
BLISSS might just be the most interesting new band on the scene.