HARD CORPS were like a piece of a jigsaw that didn’t quite fit; utilising aesthetically entrancing KRAFTWERK-like electronic minimalism, produced by the legendary Martin Rushent and Daniel Miller, but restrained by a major label record contract that meant that they never fulfilled their true potential and only belatedly released one full length album.
Clive Pierce kindly spoke about his tenure in HARD CORPS with additional contributions from band members Hugh Ashton and Rob Doran. Continue Reading ›
Along with TENEK, VILE ELECTRODES, KATSEN and ARTHUR & MARTHA, Teeside’s MOTORBIKES IN TOKYO were among a wave of independent British acts who rode alongside more mainstream acts like LA ROUX, LITTLE BOOTS, HURTS and MIRRORS.
Kev Oyston kindly took time to chat about his time with MOTORBIKES IN TOKYO, his continuing admiration for GARY NUMAN and his new more unorthodox musical project THE SOULLESS PARTY… Continue Reading ›
Of all the acts from the Synth Britannia-era that were deemed as “most likely to make it” FASHIØN were surely a safe bet to succeed. With their second incarnation featuring vocalist / guitarist Dave “Dee” Harris, synth player Mulligan, Martin Rechi on bass and Dik Davis on drums, the band evolved from an Indie / Post-Punk sound into a far more electronic and potentially commercial proposition.
David Harris kindly spoke to The Electricity Club about his experiences playing in the band. Continue Reading ›
Hailing from Stoke-on-Trent, WHITE DOOR formed from the ashes of prog rock combo GRACE and released one critically acclaimed album ‘Windows’ in 1983. Led by the sensitive vocal presence of Mac Austin, he was ably backed by the Davies brothers Harry and John on synths.
With renewed interest in WHITE DOOR, Mac Austin kindly chatted to The Electricity Club about the band’s brief flirtation with the pop charts and guesting recently with DAILY PLANET. Continue Reading ›
Combining musical template of THE HUMAN LEAGUE with lyrical wit of PULP, YOUNGER YOUNGER 28s were the shining light in synthpop during an era full of dour landfill indie like TRAVIS following the fallout from Britpop.
17 years on, The Electricity Club managed to trace Ashley Reaks somewhere in the city of London; he kindly chatted about the period when he “was nearly a crap pop star...” Continue Reading ›