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    Pop has often been equated to the "it" quality assigned to songs that worm their way into our ears. But even though these songs are addictive, accessible and electronic, it’s hard to place the compositions in a traditional saccharine classification because the collective skips the cult of personality that tends to accompany current mainstream pop.

    Electronic dance music and its many offshoots have reached a pivotal height in 2013, bringing sounds that have populated underground clubs and generic-specific categories into the forefront of the scene—and in many ways the trio are playing off these sonic touchstones. But the rise of electronic music has also allowed for masked and unknown artists to populate a massive new market from the comfort of their own bedrooms. Most electronic music can be made alone, or without much outside help, and Little Daylight’s music is solely the work of the three members.

    For us it was the choice to quiet all of the other chatter and focus on ourselves and on the music—to give it time.

    "We’ve never really thought of it any other way," Eric, the group’s bassist explained. "It’s not like we started by making the conscious decision to limit our involvement with other people. It was just happening that way and we were happy. So there never was any reason to change our process."

    In a lot of ways, this type of dance-driven, synth-heavy pop music functions better in a recorded setting as opposed to a live performance, but Little Daylight manage to make their live show crackle. The live bass and guitar help balance out the synth and vocoder elements, which can be somewhat monotonous to watch live. At a recent performance at the Full Moon Festival in New York, the group drew a larger crowd to their set on the smaller, side stage than the act performing on the main stage. Leveraging this tumultuous mixture of traditional pop and electronic-infused is clearly working for the trio.

    To write and record Tunnel Vision, out today (8/13), the group opted out of a traditional studio and instead rented a spacious vacation home in the hillside Brooklyn suburb of Park Slope. All three are from the New York area, but they needed their own shared space to work and create. And they chose to do so far removed from the trenches of Williamsburg and Bushwick, where most of New York’s aspiring music scene holes up. Perhaps it’s this physical separation that’s helped the group maintain sonic distance.

    "It’s about being personal, it’s hard enough for the three of us to figure out what we all mean to say together," says Matt of their recording location. "We’re very blessed in that we’re close friends but we’re still putting stuff together and any creative process is a struggle. For us it was the choice to quiet all of the other chatter and focus on ourselves and on the music—to give it time."