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Armed with compelling hooks wrapped in sophisticated songwriting, The Bloodsugars have the uncanny ability to inspire even the most cynical audience members to get up and dance. Their infectious grooves and eclectic mix of influences make for an irresistible combination. The quartet connects all the dots between indie rock and 80’s synth pop – gluing them together with clever arrangements and relatable lyrics.

Diagnosed with diabetes at the age of nine, Jason Rabinowitz has always had a craving for sweets. With schoolchums Brendan O’Grady on bass, Matt Katz on synths, and David Beauchamp on drums, he turned that craving into a sonic wedding cake with the formation of The Bloodsugars. After recording BQEP Beauchamp has parted ways with the group to focus on his duties in The Jeffrey Lewis band. However, the Bloodsugars have been blessed with the addition of Kenneth Salters behind the kit. In addition to maintaining the band’s remarkable chemistry, Rabinowitz describes their newest member as one of the best musicians he has ever played with.

On BQEP, The Bloodsugars’ mastery of songwriting and arrangement manifests in the form of six songs that are each equally unique as they are instantly accessible. Navigating each track is like being a kid on Christmas morning, unwrapping gorgeous melody after melody, being both surprised and thrilled with each new discovery. Though Rabinowitz tended to bring rough versions of the final tunes to his bandmates, The Bloodsugars are a truly collaborative project and each song came to life after all four members fleshed out their parts. “Usually the band creates the song again after it’s been created,” Rabinowitz explains. “Like a makeover for its public life.”

The record was mixed by the highly accomplished Dan Hetzel (Jennifer Lopez, Blondie, Ginuwine), who managed to provide breathing room for all four members to shine while ensuring that their output coalesced into a unified sound at all times. O’Grady takes the box that most bassists are placed in and rips it into shreds. Besides fulfilling his role of snugly locking in with Beauchamp, he is also constantly providing inventive melodic counterpoint, adding a layer of depth to every song. Beauchamp has the immaculate precision of a drum machine and an endless arsenal of creative rhythmic variations. On the keys, Katz not only complements Rabinowitz’s vocals with equally compelling and memorable hooks, but also adds textures that transport the band into multi-dimensional territory. Rabinowitz’s angelic croon has a tremendous range that can shift from a soulful purr into full on rocking-out mode on the turn of a dime. Moments such as his seamless shift into falsetto during the climax of fan favorite “Bloody Mary” are sprinkled throughout each song, always providing a satisfying sense of catharsis.

Some of the standout moments include the serene backup-vocal harmonies on “Uh Oh,” which play with negative space while fitting together like puzzle pieces, as well as the existential yet relatable lyrics of “Purpose Was Again.” Another lyrical highlight is on the aforementioned “Bloody Mary,” in which Rabinowitz passionately denounces George W. Bush as a tyrant, deceptively wrapped in some of the band’s sweetest melodies.

Gigging around their hometown of New York City, The Bloodsugars consistently squeeze enthusiasm out of the most jaded scenesters, surprised to hear dance music that engages their minds as well as their feet. Why? Because people who “don’t like to dance” just haven’t found the right band yet; because every song should have at least three hooks; and because when The Bloodsugars pass through your town, they won’t leave without painting it blood red.

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