Ablebody

Ablebody is the hazy dream pop nom de plume of Christoph Hochheim. If any of The Depreciation Guild or The Pains of Being Pure at Heart albums ever found their way into your musical rotation, you’ll have a good idea of what his debut, the five-song All My Everybody EP, sounds like—though he does give a bit more preference to the nostalgia-tinged theatrics of artists like Wild Nothing and DIIV than he does to any incidental indie rock tendencies. Though he is a guitarist by trade, Hochheim seems to have an almost preternatural ability to manipulate synthetic sounds and textures. He’s been delving into the heavily wired processes of electronic music for a few years now and has finally decided to give Ablebody its own space by saying goodbye to any tenure he may have had in another band. Manning the boards himself on All My Everybody, the music ripples and vibrates with an internalized energy that seems a logical extension of his past work. Brandishing a hesitant pop bravado within the confines of multi-tiered electronic production, he shows that there is room to grow in what has already become a fairly saturated genre.
Mixing the organic and artificial, the songs here display an unnerving ability to slip beneath even the most jaded music fan’s guard and are able to reach that inner Cocteau Twins obsession (we all have it, right?), and they gleefully exploit those very specific musical pleasure points. “Sally Hot Jazz,” both the opening track and lead single, wastes no time before diving headfirst into Hochheim’s obvious influences like Slowdive and Pale Saints–basically any late 80's 4AD artists would work here. But don’t let the starry-eyed vocals and ample use of reverb fool you. Ablebody isn’t merely the sum of its forebears. Tracks like “”Quick & Painless” and “Phantasy,” while still locked into a certain set of musical guidelines, never feel overtly in debt to any one band or influence. The slow synth build of “Quick & Painless” gradually fades together with heavily echoed vocals that seem just on the edge of our periphery and manages to impress despite its casual progression and easy-going melody. “Phantasy” builds momentum out of snatches of jittery synths and a propulsive drum beat that bears more than a slight likeness to something that might have been ripped straight from Boys Don’t Cry or even Wish–just make sure that Robert Smith was involved somehow and you’re good to go.
“No Room For I” is no less successful, if a bit on the slight side. All the pieces fit together fine and the song feels about as authentic as you could hope for, but there does seem to be something missing. The song isn’t bad, or even particularly weak. It’s just the only track here that feels completely tied to its influences, for better or worse. Other tracks sneak subtle hints of Hochheim’s own personality into the music, and the EP benefits greatly from these personal touches. In fact, the deeper and murkier that these songs get, the more insular and interesting things get. But it’s his cover of Harry Nilsson’s “Sister Marie” that really elevates the whole group of songs past their simple bedroom beginnings. The gentle echo of his voice and a plaintive mixture of synths and plucked strings recalls Nilsson at his heartbreaking best.
All My Everybody displays a strangely refined temperament and with it an ability to understand the techniques behind the music, not merely the capability to replicate the sounds of other like-minded artists. It will be interesting to see if Hochheim sticks to the formula that worked so well for him here or if he’ll push his music even further inward, away from the bright lights of mainstream Mazzy Star accolytes and more toward the internal recesses of his own personality. He’s proven that the genre can indeed tread new ground. And by having a firm understanding of the underlying structure inherent to this kind of opaque production work, Hochheim and the listener come to realize that this strain of warbling pop that Ablebody so adeptly mines can move the head as well as the heart. - Beats Per Minute

Ablebody is the hazy dream pop nom de plume of Christoph Hochheim. If any of The Depreciation Guild or The Pains of Being Pure at Heart albums ever found their way into your musical rotation, you’ll have a good idea of what his debut, the five-song All My Everybody EP, sounds like—though he does give a bit more preference to the nostalgia-tinged theatrics of artists like Wild Nothing and DIIV than he does to any incidental indie rock tendencies. Though he is a guitarist by trade, Hochheim seems to have an almost preternatural ability to manipulate synthetic sounds and textures. He’s been delving into the heavily wired processes of electronic music for a few years now and has finally decided to give Ablebody its own space by saying goodbye to any tenure he may have had in another band. Manning the boards himself on All My Everybody, the music ripples and vibrates with an internalized energy that seems a logical extension of his past work. Brandishing a hesitant pop bravado within the confines of multi-tiered electronic production, he shows that there is room to grow in what has already become a fairly saturated genre.
Mixing the organic and artificial, the songs here display an unnerving ability to slip beneath even the most jaded music fan’s guard and are able to reach that inner Cocteau Twins obsession (we all have it, right?), and they gleefully exploit those very specific musical pleasure points. “Sally Hot Jazz,” both the opening track and lead single, wastes no time before diving headfirst into Hochheim’s obvious influences like Slowdive and Pale Saints–basically any late 80's 4AD artists would work here. But don’t let the starry-eyed vocals and ample use of reverb fool you. Ablebody isn’t merely the sum of its forebears. Tracks like “”Quick & Painless” and “Phantasy,” while still locked into a certain set of musical guidelines, never feel overtly in debt to any one band or influence. The slow synth build of “Quick & Painless” gradually fades together with heavily echoed vocals that seem just on the edge of our periphery and manages to impress despite its casual progression and easy-going melody. “Phantasy” builds momentum out of snatches of jittery synths and a propulsive drum beat that bears more than a slight likeness to something that might have been ripped straight from Boys Don’t Cry or even Wish–just make sure that Robert Smith was involved somehow and you’re good to go.
“No Room For I” is no less successful, if a bit on the slight side. All the pieces fit together fine and the song feels about as authentic as you could hope for, but there does seem to be something missing. The song isn’t bad, or even particularly weak. It’s just the only track here that feels completely tied to its influences, for better or worse. Other tracks sneak subtle hints of Hochheim’s own personality into the music, and the EP benefits greatly from these personal touches. In fact, the deeper and murkier that these songs get, the more insular and interesting things get. But it’s his cover of Harry Nilsson’s “Sister Marie” that really elevates the whole group of songs past their simple bedroom beginnings. The gentle echo of his voice and a plaintive mixture of synths and plucked strings recalls Nilsson at his heartbreaking best.
All My Everybody displays a strangely refined temperament and with it an ability to understand the techniques behind the music, not merely the capability to replicate the sounds of other like-minded artists. It will be interesting to see if Hochheim sticks to the formula that worked so well for him here or if he’ll push his music even further inward, away from the bright lights of mainstream Mazzy Star accolytes and more toward the internal recesses of his own personality. He’s proven that the genre can indeed tread new ground. And by having a firm understanding of the underlying structure inherent to this kind of opaque production work, Hochheim and the listener come to realize that this strain of warbling pop that Ablebody so adeptly mines can move the head as well as the heart. - Beats Per Minute

In a curious quote from nobody, Ablebody’s music is described as occurring and exploring indoors, “with the blinds shut, with nothing to hide from.” But which is more to be avoided: the public gaze or the reflexive lens of the self? As a title, All My Everybody speaks to this tension, mirror-flipped in a song name like “No Room For I.” The EP itself is very much a bedroom pop piece, a fragmented private language that nonetheless draws upon familiar genres as its stepping stones. Ablebody is Christoph Hochheim, ex-Pains of Being Pure at Heart-iste, with his brother Anton on drums. Since 2011, Hochheim’s released various fragments and remixes, demonstrating his excellent and eclectic taste with covers of The Walker Brothers, Cleaners From Venus, and (delving into more delightful obscurity) Billy Mackenzie side-project Orbidoig.

So what do we hear as the door closes softly behind us? We’re in a space that’s paradoxically clear and muffled, a blanketed listening room. All My Everybody’s soaring, sheeny synth confections are not dissimilar from PoBPAH member Kurt Feldman’s Ice Choir project (like Feldman, Hochheim was also in undersung chiptune-gazers The Depreciation Guild). In contrast, though, here we also encounter interesting semi-industrial breakdowns, veers-off into dissonance, and lo-fi fuzziness around the edges, which give an original and promising bite to that sound (a trend particularly evident on the EP’s first half). The lyrics are often muffled by reverb, while synthpop hookiness is not entirely absent, but nor is it quite the name of the game, which becomes both a strength and a weakness.

There’s a tension between a beat-driven paradigm flirting shyly both with the avant-garde and with hints of melancholy, and a sense of echoing, cathedralesque procession. The former blossoms, but the latter manifests most clearly in the slower pace of the final two tracks; closer “Sister Marie” embodies the statelier moments of 60s baroque pop, a renovated “She’s Leaving Home,” but it doesn’t command the attention as it could.

Ablebody’s is a sound whose potential seems midway in the process of revealing itself even as one listens: Venetian blinds half open, dust motes still in play, floating in sunshine that itself deepens corner pools of shadow. - Tiny Mix Tapes

In a curious quote from nobody, Ablebody’s music is described as occurring and exploring indoors, “with the blinds shut, with nothing to hide from.” But which is more to be avoided: the public gaze or the reflexive lens of the self? As a title, All My Everybody speaks to this tension, mirror-flipped in a song name like “No Room For I.” The EP itself is very much a bedroom pop piece, a fragmented private language that nonetheless draws upon familiar genres as its stepping stones. Ablebody is Christoph Hochheim, ex-Pains of Being Pure at Heart-iste, with his brother Anton on drums. Since 2011, Hochheim’s released various fragments and remixes, demonstrating his excellent and eclectic taste with covers of The Walker Brothers, Cleaners From Venus, and (delving into more delightful obscurity) Billy Mackenzie side-project Orbidoig.

So what do we hear as the door closes softly behind us? We’re in a space that’s paradoxically clear and muffled, a blanketed listening room. All My Everybody’s soaring, sheeny synth confections are not dissimilar from PoBPAH member Kurt Feldman’s Ice Choir project (like Feldman, Hochheim was also in undersung chiptune-gazers The Depreciation Guild). In contrast, though, here we also encounter interesting semi-industrial breakdowns, veers-off into dissonance, and lo-fi fuzziness around the edges, which give an original and promising bite to that sound (a trend particularly evident on the EP’s first half). The lyrics are often muffled by reverb, while synthpop hookiness is not entirely absent, but nor is it quite the name of the game, which becomes both a strength and a weakness.

There’s a tension between a beat-driven paradigm flirting shyly both with the avant-garde and with hints of melancholy, and a sense of echoing, cathedralesque procession. The former blossoms, but the latter manifests most clearly in the slower pace of the final two tracks; closer “Sister Marie” embodies the statelier moments of 60s baroque pop, a renovated “She’s Leaving Home,” but it doesn’t command the attention as it could.

Ablebody’s is a sound whose potential seems midway in the process of revealing itself even as one listens: Venetian blinds half open, dust motes still in play, floating in sunshine that itself deepens corner pools of shadow. - Tiny Mix Tapes

Ex-Pains of Being Pure At Heart and The Depreciation Guild member, Christoph Hochheim has just debuted the first single from his new solo project, Ablebody. A distorted symphony of percussion clanks, whooshing synth, twinkling effects and Christoph’s gently muffled vocals, swirl around drums that act like glue, the rhythm piecing together your solemn afternoon basking in your own emotions, and making every precious thought worthwhile.

Ablebody’s self-released debut EP All My Everybody will be available on his bandcamp Jan 29th. - The Line of Best Fit

Ex-Pains of Being Pure At Heart and The Depreciation Guild member, Christoph Hochheim has just debuted the first single from his new solo project, Ablebody. A distorted symphony of percussion clanks, whooshing synth, twinkling effects and Christoph’s gently muffled vocals, swirl around drums that act like glue, the rhythm piecing together your solemn afternoon basking in your own emotions, and making every precious thought worthwhile.

Ablebody’s self-released debut EP All My Everybody will be available on his bandcamp Jan 29th. - The Line of Best Fit

Ablebody is the project of ex-Pains of Being Pure at Heart member, Christoph Hochheim. Keeping in line with his previous work, “Sally Hot Jazz” has a retro flair, slung somewhere between John Hughes and Ariel Pink. Take a listen below. - Under the Radar

Ablebody is the project of ex-Pains of Being Pure at Heart member, Christoph Hochheim. Keeping in line with his previous work, “Sally Hot Jazz” has a retro flair, slung somewhere between John Hughes and Ariel Pink. Take a listen below. - Under the Radar

YO MY OPENING LINE WAS GONNA BE "OH SHIT I WOKE UP IN A JAPANESE DENIM BOUTIQUE" BUT I KEPT LISTENING AND THIS IS LESS JAPANESE DENIM BOUTIQUE MUSIC AND MORE "ZOOEY DESCHANEL IS JERKING ME ILLZ* WHILE SHE LOOKS LOVINGLY INTO MY EYES" MUSIC. IF YOU EVER HAVE A THREESOME WITH ZOOEY DESCHANEL AND GINNIFER GOODWIN THIS IS WHAT YOU GOTTA PLAY IN THE BACKGROUND AND YOU GOTTA WEAR 3D GLASSES ALSO AS WELL.

I LIKE THAT DREW IS GIVING ME ALBUMS WITH LIKE 4 TRACKS ON THEM CUZ HE KNOWS I GOT THE ATTENTION SPAN OF A COKED UP MOSQUITO. THIS SHIT IS STARTING TO SOUND LIKE THE MUZAK CD THEY PLAY AT LE CHATEAU NOW. THIS SHIT STARTED OFF WITH A VERY STRONG "SOFT FOCUS LOVEMAKING WITH WHITE COLLEGIATE YOUNG WOMAN" VIBE NOW THE VIBE IS "I'M OVERDOSING ON HEROIN OH SHIT I'M DYING I KNOW I'M DYING FUCK! BUT IT FEELS SO GOOD FUCK IT *PERISHES*"

IF NIGGAS DID A REMAKE OF GARDEN STATE WITH ME AND NATALIE PORTMAN I WOULD GET THESE NIGGAS TO DO THE SOUNDTRACK BECAUSE LIKE I SAID THIS IS COLLEGIATE GENTLE LOVEMAKING MUSIC. I WOULD ALSO INCLUDE A SCENE WHERE I HIT NATALIE'S PEANUT BUTTER**. I'LL INSIST THAT WE ACTUALLY DO IT TO PRESERVE THE AUTHENTICITY OF THE FILM. I'M ACTUALLY NOT MAD AT THIS BECAUSE I FEEL LIKE A BABY ASTRONAUT IN OUTER SPACE NAHMEAN LIKE GOING TO THE DARK SIDE OF THE MOON AND WHEN I GET THERE IT LOOKS LIKE PARIS FRANCE THEN I TAKE OFF MY HELMET IN SLO MO *CAMERA PANS AROUND TO MAD FRENCH WOMEN WITH LARGE NATURAL BREASTS* YOU FEEL ME THEN I REMOVE MY DIAPER (ALSO IN SLO MO, AND REMEMBER I'M A BABY SO I GOT A DIAPER ON) THEN I START SUCKING EVERY TITTY WITH A LIL BABY BONER. THAT'S GROSS, I'M SORRY. BABY BONERS ARE DISGUSTING. WHEN I CHANGE MY SON'S DIAPER IN THE MORNING AND THE NIGGA HAS A LIL BONER HE LOOKS AT ME AND LAUGHS LIKE "MY FAULT MY NIGGA I WAS HAVING A DREAM ABOUT THE OLSEN TWINS" AND I'M LIKE "THOSE BITCHES AIN'T EVEN HOT. WHAT KINDA SHIT ARE YOU INTO SON?" SOMEBODY IS GONNA ANIMATE THAT AND WIN AN OSCAR FOR BEST ANIMATED FILM SMH I NEVER KEEP MY GOOD IDEAS TO MYSELF. I FUCKED MORE WHITE STARLETS IN THIS REVIEW THAN JOHN MAYER B! GOT DAMN!

*MEANS "JERKING ME OFF"

**MEANS "ANAL SEX"

I GIVE THIS SHIT 3 PILES OF DUTCHGUTS OUTTA 5 BECAUSE IT IS VERY ETHEREAL AND I WOULD LOVE TO PENETRATE ZOOEY DESCHANEL TO THIS WHILE SHE DOES A "1920'S MOLL" VOICE. I TOOK OFF 2 POINTS BECAUSE THE PART ABOUT OD'ING ON HEROIN MADE ME THINK OF MY OWN MORTALITY NAHMEAN AND NOW I'M SAD.

STANDOUT TRACK: "NO ROOM FOR I" IS THE BEST BECAUSE IT'S CINEMATIC AND EGREGIOUSLY CONCEPTIVE *CARRESSES EMILY BLUNT'S FACIAL* - Noisey (Vice)

YO MY OPENING LINE WAS GONNA BE "OH SHIT I WOKE UP IN A JAPANESE DENIM BOUTIQUE" BUT I KEPT LISTENING AND THIS IS LESS JAPANESE DENIM BOUTIQUE MUSIC AND MORE "ZOOEY DESCHANEL IS JERKING ME ILLZ* WHILE SHE LOOKS LOVINGLY INTO MY EYES" MUSIC. IF YOU EVER HAVE A THREESOME WITH ZOOEY DESCHANEL AND GINNIFER GOODWIN THIS IS WHAT YOU GOTTA PLAY IN THE BACKGROUND AND YOU GOTTA WEAR 3D GLASSES ALSO AS WELL.

I LIKE THAT DREW IS GIVING ME ALBUMS WITH LIKE 4 TRACKS ON THEM CUZ HE KNOWS I GOT THE ATTENTION SPAN OF A COKED UP MOSQUITO. THIS SHIT IS STARTING TO SOUND LIKE THE MUZAK CD THEY PLAY AT LE CHATEAU NOW. THIS SHIT STARTED OFF WITH A VERY STRONG "SOFT FOCUS LOVEMAKING WITH WHITE COLLEGIATE YOUNG WOMAN" VIBE NOW THE VIBE IS "I'M OVERDOSING ON HEROIN OH SHIT I'M DYING I KNOW I'M DYING FUCK! BUT IT FEELS SO GOOD FUCK IT *PERISHES*"

IF NIGGAS DID A REMAKE OF GARDEN STATE WITH ME AND NATALIE PORTMAN I WOULD GET THESE NIGGAS TO DO THE SOUNDTRACK BECAUSE LIKE I SAID THIS IS COLLEGIATE GENTLE LOVEMAKING MUSIC. I WOULD ALSO INCLUDE A SCENE WHERE I HIT NATALIE'S PEANUT BUTTER**. I'LL INSIST THAT WE ACTUALLY DO IT TO PRESERVE THE AUTHENTICITY OF THE FILM. I'M ACTUALLY NOT MAD AT THIS BECAUSE I FEEL LIKE A BABY ASTRONAUT IN OUTER SPACE NAHMEAN LIKE GOING TO THE DARK SIDE OF THE MOON AND WHEN I GET THERE IT LOOKS LIKE PARIS FRANCE THEN I TAKE OFF MY HELMET IN SLO MO *CAMERA PANS AROUND TO MAD FRENCH WOMEN WITH LARGE NATURAL BREASTS* YOU FEEL ME THEN I REMOVE MY DIAPER (ALSO IN SLO MO, AND REMEMBER I'M A BABY SO I GOT A DIAPER ON) THEN I START SUCKING EVERY TITTY WITH A LIL BABY BONER. THAT'S GROSS, I'M SORRY. BABY BONERS ARE DISGUSTING. WHEN I CHANGE MY SON'S DIAPER IN THE MORNING AND THE NIGGA HAS A LIL BONER HE LOOKS AT ME AND LAUGHS LIKE "MY FAULT MY NIGGA I WAS HAVING A DREAM ABOUT THE OLSEN TWINS" AND I'M LIKE "THOSE BITCHES AIN'T EVEN HOT. WHAT KINDA SHIT ARE YOU INTO SON?" SOMEBODY IS GONNA ANIMATE THAT AND WIN AN OSCAR FOR BEST ANIMATED FILM SMH I NEVER KEEP MY GOOD IDEAS TO MYSELF. I FUCKED MORE WHITE STARLETS IN THIS REVIEW THAN JOHN MAYER B! GOT DAMN!

*MEANS "JERKING ME OFF"

**MEANS "ANAL SEX"

I GIVE THIS SHIT 3 PILES OF DUTCHGUTS OUTTA 5 BECAUSE IT IS VERY ETHEREAL AND I WOULD LOVE TO PENETRATE ZOOEY DESCHANEL TO THIS WHILE SHE DOES A "1920'S MOLL" VOICE. I TOOK OFF 2 POINTS BECAUSE THE PART ABOUT OD'ING ON HEROIN MADE ME THINK OF MY OWN MORTALITY NAHMEAN AND NOW I'M SAD.

STANDOUT TRACK: "NO ROOM FOR I" IS THE BEST BECAUSE IT'S CINEMATIC AND EGREGIOUSLY CONCEPTIVE *CARRESSES EMILY BLUNT'S FACIAL* - Noisey (Vice)

Christoph Hochheim of the Pains of Being Pure at Heart / Depreciation Guild released the single "Sally Hot Jazz" from his solo side Ablebody. Like playing percussion jazz tapes in a Chinese garden or walking half-awake through an Eastern Emporium; Hocheim presents sentimental trails of creative resolve. Recorded by Giancarlo De La Cruz and mastered by Gabe Liberti; Christoph's brother Anton takes on the drum arrangements while the world of indoors is explored, "with the blinds shut, with nothing to hide from," that finds that special and certain-central comfort above mattresses, cruising into the covers while winter rains down outside...everywhere. Ablebody's All My Everybody EP comes out January 29 via Bandcamp. - Impose Magazine

Christoph Hochheim of the Pains of Being Pure at Heart / Depreciation Guild released the single "Sally Hot Jazz" from his solo side Ablebody. Like playing percussion jazz tapes in a Chinese garden or walking half-awake through an Eastern Emporium; Hocheim presents sentimental trails of creative resolve. Recorded by Giancarlo De La Cruz and mastered by Gabe Liberti; Christoph's brother Anton takes on the drum arrangements while the world of indoors is explored, "with the blinds shut, with nothing to hide from," that finds that special and certain-central comfort above mattresses, cruising into the covers while winter rains down outside...everywhere. Ablebody's All My Everybody EP comes out January 29 via Bandcamp. - Impose Magazine

Christoph Hochheim has been surrounded by some good company for the last few years. Having been the former guitarist for indie fuzz pop heroes The Pains of Being Pure At Heart and also the guitarist for late digital wonders The Depreciation Guild, Hochheim has taken off and gone solo to put out some of his musical efforts as Ablebody.

And picking up where his last single "Sally Hot Jazz" left off, his new single "Phantasy" just as the title implies is a dreamy wave of synths. Hochheim's vocals sail away on a cloud of surreal instruments melting together to swirl the listener away into a blissful state.

So now two years since its inception in 2011, Ablebody will be introducing more music via his All My Everybody EP out next week January 29, 2013. The EP will be available through Ablebody’s BandCamp.

Listen to the track below: - Prefix

Christoph Hochheim has been surrounded by some good company for the last few years. Having been the former guitarist for indie fuzz pop heroes The Pains of Being Pure At Heart and also the guitarist for late digital wonders The Depreciation Guild, Hochheim has taken off and gone solo to put out some of his musical efforts as Ablebody.

And picking up where his last single "Sally Hot Jazz" left off, his new single "Phantasy" just as the title implies is a dreamy wave of synths. Hochheim's vocals sail away on a cloud of surreal instruments melting together to swirl the listener away into a blissful state.

So now two years since its inception in 2011, Ablebody will be introducing more music via his All My Everybody EP out next week January 29, 2013. The EP will be available through Ablebody’s BandCamp.

Listen to the track below: - Prefix

It's the era where sad synthesizers reign supreme, and Christoph Hochheim is capitalizing with a new EP, All My Everybody, under his Ablebody moniker. Through four originals and a Harry Nilsson cover, Hochheim summons dialated-eyed pop melodies from a lo-fi bed of reverb, echo and righteous waves. Check out the full thing and buy it if you like it. - RCRD LBL

It's the era where sad synthesizers reign supreme, and Christoph Hochheim is capitalizing with a new EP, All My Everybody, under his Ablebody moniker. Through four originals and a Harry Nilsson cover, Hochheim summons dialated-eyed pop melodies from a lo-fi bed of reverb, echo and righteous waves. Check out the full thing and buy it if you like it. - RCRD LBL

Ablebody is the solo project of the former Pains Of Being Pure At Heart and Depreciation Guild guitarist Christoph Hochheim. Hochheim has been releasing music under this moniker since 2011, dishing out an EP of covers, crafting remixes and demoing original material via Bandcamp and SoundCloud. “Sally Hot Jazz” is an offering from his upcoming self-released EP All My Everybody. Hochheim’s solo work is in line with the output of both Pains and the Depreciation Guild — a little bit pop, a little bit synth-laden, mixed with an ethereal sense of melancholia. Check it out below. - Stereogum

Ablebody is the solo project of the former Pains Of Being Pure At Heart and Depreciation Guild guitarist Christoph Hochheim. Hochheim has been releasing music under this moniker since 2011, dishing out an EP of covers, crafting remixes and demoing original material via Bandcamp and SoundCloud. “Sally Hot Jazz” is an offering from his upcoming self-released EP All My Everybody. Hochheim’s solo work is in line with the output of both Pains and the Depreciation Guild — a little bit pop, a little bit synth-laden, mixed with an ethereal sense of melancholia. Check it out below. - Stereogum

Ablebody, the solo project of Christoph Hochheim—formerly of Pains Of Being Pure At Heart and The Depreciation Guild—has released the music video for “Sally Hot Jazz” off his 2013 EP, All My Everybody. The clip, directed by Martha Naranjo Sandoval, finds Hochheim contemplating why “you always sleep with all the lights on/the blinds drawn with nothing to hide from,” from behind shadows and cosmic projections.

Hochheim has been releasing music under the Ablebody moniker since 2011 and has succeeded in creating his own unique confection of melancholy-drenched synth-pop oozing with lo-fi fuzziness. “Sally Hot Jazz” is replete with cymbal-filled drumming (played by Hochheim’s twin brother Anton) and reverb-muffled vocals that will have listeners wondering if they’ve been awake for days. Get lost in the video, below. - CMJ

Ablebody, the solo project of Christoph Hochheim—formerly of Pains Of Being Pure At Heart and The Depreciation Guild—has released the music video for “Sally Hot Jazz” off his 2013 EP, All My Everybody. The clip, directed by Martha Naranjo Sandoval, finds Hochheim contemplating why “you always sleep with all the lights on/the blinds drawn with nothing to hide from,” from behind shadows and cosmic projections.

Hochheim has been releasing music under the Ablebody moniker since 2011 and has succeeded in creating his own unique confection of melancholy-drenched synth-pop oozing with lo-fi fuzziness. “Sally Hot Jazz” is replete with cymbal-filled drumming (played by Hochheim’s twin brother Anton) and reverb-muffled vocals that will have listeners wondering if they’ve been awake for days. Get lost in the video, below. - CMJ

Los Angeles duo Ablebody has been touring with the Pains Of Being Pure At Heart and Fear Of Men, and frontman Christoph Hochheim used to play in Pains, so it should surprise no one that “After Hours,” the A-side from Ablebody’s new 7-inch, is a study in post-punk jangle. (Incidentally, Hochheim and his brother Anton, who drums for Ablebody, also used to play in the Brooklyn shoegaze band the Depreciation Guild.) What might catch you off guard, though, is the song’s off-kilter harmonics and the hallucinatory visuals in director Martha Naranjo Sandoval’s video. Rarely has dream-pop felt so much like dreams actually feel. - Stereogum

Ablebody is the glammy solo alias of Pains of Being Pure at Heart guitarist Christoph Hochheim, joined by his twin brother, Anton, on drums. "After Hours," the Los Angeles-based artist's anthemic latest single, combines dashes of jazzy saxophone with the sort of upfront, caricaturish, even slightly effeminate vocal stylings that sound eerily not of this time, or at least very '80s Depeche Mode. "After Hours" seven-inch will be out May 20th. Pre-order it via bandcamp, or pick up a copy on Ablebody's upcoming tour with The Pains of Being Pure at Heart. Dates below. - Fader

Ablebody, the solo project of Christoph Hochheim—formerly of Pains Of Being Pure At Heart and The Depreciation Guild—has released the music video for “Sally Hot Jazz” off his 2013 EP, All My Everybody. The clip, directed by Martha Naranjo Sandoval, finds Hochheim contemplating why “you always sleep with all the lights on/the blinds drawn with nothing to hide from,” from behind shadows and cosmic projections.

Hochheim has been releasing music under the Ablebody moniker since 2011 and has succeeded in creating his own unique confection of melancholy-drenched synth-pop oozing with lo-fi fuzziness. “Sally Hot Jazz” is replete with cymbal-filled drumming (played by Hochheim’s twin brother Anton) and reverb-muffled vocals that will have listeners wondering if they’ve been awake for days. Get lost in the video, below. - CMJ