Things usually go better in pairs: peanut butter and jelly, Mr. Pibb and Red Vines, Bonnie and Clyde. The last of which could easily define a lot of our famous twosomes in music.

In the blues rock assault is born the White Stripes. Hip hop and R&B have their own version of the notorious duo in the elite names of Jay-Z and Beyonce. Inkling through, trying to make their own mark is the Bonnie and Clyde of electronic pop – welcome to the world of the Parallelograms.

And while the infamous bank robbers' last hurrah ended in a parade of bullets, the Hollywood duo look to keep it going for a long time to come, though not guns with blazing but rather analogue synthesizers at full dance blast.

Chris Curtis and Stefanie King make for one quirky team. One only has to take a look at the band themselves. Curtis dressed to the nines as a much nerdier Jarvis Cocker is in striking contrast to King who looks like the personification of complete indie elegance. The classic saying – opposites attract – is true for the band.

While the duo are complete multi-tasking musicians that can play guitar, drum machines, keyboards, the Parallelogram's main attraction are the synthesizers, the heart and soul off their new album Adult Contemporary , a title again evoking their quirky sensibility.

Right off the bat, album opener “Bypass to Otherness,” poses a question, asking, “how high is up?” Coupled with King's ethereal voice, the synths only heighten that conundrum giving a lush almost psychedelic feeling from the sounds being processed by King and Curtis.

Again vocally, opposites exist on “Vicious Cycle as Curtis' vocals channel electronica hero Gary Numan at times and are balanced by summery background work courtesy of King and part-time Parallelogram Lily Marlene. Though the song would make you believe that doom and gloom is looming ahead, the spirit of the music evokes that of another classic electronic pop outfit, the Rentals.

The sugary, pop confection continues with “Hurt Like a Heart Attack,” a doo-wop song transported to our time. King makes like a Shangri-La, her vocal melody is at sync with the synth; the two make for winning results.

Musically, the band is adept in its ability to capture the sheer whim of sounds, so lyrically on “Cap ‘n Cork's Liquor Locker,” the duo is able to match it note for note. Curtis' songwriting ability on the track displays an adept knowledge of a popular relaxation hobby on a long Friday night.

The rhymes being spit out are quicker that one can take shots as just a multitude of words similar to that of being smashed is professed amongst the beat. The sheer exuberance of the song could easily be a common fixture in any bar jukebox. It's a song to keep in mind before you order your drinks or when you're already on shot number five.

The fun and games end with the one-two punch of “Kinda Lost in You” and “Crash Flashing.” Forlorn love is a common theme throughout the record, none more apparent than on “Kinda Lost in You as the hefty weight of what to do next is droned by the sweeping vocals. And by the time “Crash Flashing” hits, the vocals are washed by synths and guitar feedback.

It's already telling us what we already know. For the Parallelograms, the shape of electronic pop is still to come.

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