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The best kept secret in music


"Robert Nase"

“Modulator, like many a great band, wows their audience in the end. The title track has everything in its right place. Ultimately it amounts to one of the best uses of synthesizers I have ever heard . . . Not bad for a bunch of wannabe computerbots.” -

"John Nova Lomax"

" The songs on Modulator's new EP, Don't Hold out on Me, are dorky little jewels -- tunes in which a troubled love affair is likened to a computer crash ("Major Malfunction"), while troublesome lovers are said to be "so analog" ... the synths are sunlamp-warm, the guitars crunch, the vocals are rich. As for what it all sounds like -- think something along the lines of the Human League sans male vocals, but with more guitar.” - The Houston Press

"“I absolutely love the Modulator EP! It's one of the most refreshing sounds I have heard...”"

Monk - WANZ

""Though they hail from Houston, Texas, Modulator has a European sound, like Hooverphonic meets The Cardigans. Bright Euro-pop, with appealing female co-lead vocals, buoyed by warm analog keyboard riffs. Modulator sound to me like a band that should have t"

Gail Worley -


Don't Hold Out on Me - EP - July 04
- Produced By Ed Buller (Pulp, Stabbing Westward, Suede, Ben Lee, etc.)
-All 3 songs lics for use on MTV. Hear them on The Real World, Road Rules and others.


Feeling a bit camera shy


When experienced hands are allowed to mold an untouched talent they can do wondrous, unforeseen things. Ex-Psychedelic Furs keyboardist Ed Buller should know this as well as anyone. Having spent the latter part of his career producing acts such as Suede, Pulp and Stabbing Westward, he has developed a knack for pulling the rug out from underneath artists and forcing them to scratch out the most organic, genuine versions possible of their songs.

He did exactly that with young Houston synth-pop band Modulator this past fall. Holing up in a studio in Los Angeles, he took them in and helped to shape the songs of lead singer/keyboardist Julie Zamora, into singular, flexible compositions that expounded on the already solid material on which the band had been working. Collectively, they had put together a group of songs that, in their melodic use of analog synthesizers, echoed of the finer points of sixties pop, while at the same time giving a nod to the deep trenches of synth abuse we all remember from the late seventies. Buller helped the band take those elements and streamline them into a more focused, cohesive marriage of the two sounds – and the three-song EP Don’t Hold Out on Me was created.

Zamora’s songs are those of ambiguous longing, some of them even going so far as to employ computers and technology as metaphors for human relationships. Nevertheless, her potent stories of love and heartbreak always manage to etch their way through the cryptic words. The vocals are spoken more than they are sung – the sentences so very carefully plotted out that it only adds to the robotic feel of the songs, which the guitar and drums so fervently fight against. Modulator is a vehicle for several opposing forces somehow coming together to hammer out something that works – and considering the time they’ve spent perfecting it, they’ll likely make it work for years to come.