Tag: Amour Records (Page 1 of 2)

Ten Years Of TEC: STILL PUSHING THE ENVELOPE

The Electricity Club celebrates its tenth birthday and it really has been synthly the best.

At the HEAVEN 17 aftershow party for their triumphant gig at The Magna Science Park on 6th March 2010, following chats with Glenn Gregory, Martyn Ware, Paul Humphreys and Claudia Brücken, interview opportunities opened up.

It was obvious there was gap waiting to be filled for a quality web publication that featured the best in new and classic electronic pop without having to lower itself to using the dreaded “80s” label. The Electricity Club was it and became reality on 15th March 2010.

Electronic pop music didn’t start in that Thatcher decade and certainly didn’t end there either. So there was even an editorial diktat which banned The Electricity Club’s writers from using the lazy”80s” term as a reference. Tellingly, several PR representatives said that one of the site’s main appeals was that it avoided the whole nostalgia bent that had been presented by both virtual and physical media.

At the time, kooky female fronted keyboard based pop like LA ROUX, LITTLE BOOTS, LADYHAWKE, LADY GAGA and MARINA & THE DIAMONDS were among those touted as being the future at the time. But it proved to be something of a red herring, as those acts evolved back into what they actually were, conventional pop acts.

The Electricity Club preferred the sort of innovative synthpop as outlined in BBC4’s Synth Britannia documentary with the next generation of artists like MARSHEAUX, VILE ELECTRODES, VILLA NAH and MIRRORS more than fitting the bill and that ethos of featuring pop music using synthesizers stuck too.

Meanwhile, The Electricity Club’s portfolio expanded swiftly with key personalities such as Rusty Egan, Sarah Blackwood, Richard James Burgess, Warren Cann, Chris Payne, Thomas Dolby, John Foxx, Andy McCluskey, Neil Arthur, Alan Wilder, Mark Reeder, Gary Langan, Jori Hulkkonen, Howard Jones, Mira Aroyo, Sarah Nixey and Hannah Peel among those giving interviews to the site during its first two years.

The Electricity Club has always prided itself in asking the questions that have never usually been asked, but which fans want to know the answers to. And it was with this reputation for intelligent and well researched interviewing that in March 2011, the site was granted its biggest coup yet.

Speaking to Stephen Morris of the then-on hiatus NEW ORDER, the drummer cryptically hinted during the ensuing chat that Manchester’s finest would return by saying “I never say never really”; and that is exactly what happened in Autumn of that year and the band have been there since, as popular as ever and still making great music with the release of ‘Music Complete’ in 2015.

Monday 21st March 2011 was an interesting day that partied like it was 1981 when it saw the release of albums by DURAN DURAN, THE HUMAN LEAGUE and JOHN FOXX & THE MATHS. Also in 2011, Mute Records celebrated their influential legacy with a weekender also at London’s Roundhouse which culminated in ERASURE, YAZOO and THE ASSEMBLY performing in the same set.

Despite the ‘Brilliant’ return of ULTRAVOX, 2012 paled in comparison after such a fruitful year and several acts who were featured probably would not have gained as much coverage in more competitive periods. With pressure from outsiders as to what was hot and what was not, this was the only time The Electricity Club felt it was obliged to support a domestic scene.

But realising acts like HURTS and STRANGERS were actually just jumping on an apparent synth bandwagon and possessing more style than substance, The Electricity Club decided to change tact and only featured acts it felt truly passionate about, even if it meant upsetting the wider synth community. The reasoning being that just because a band uses a synthesizer doesn’t mean it is good.

During this time, MIRRORS sadly disbanded while VILLA NAH mutated into SIN COS TAN. But the year did see the launch of CHVRCHES who stood out from the crowd with their opening gambit ‘Lies’. With their Taylor Swift gone electro template, Lauren Mayberry and Co managed to engage an audience who didn’t know or care what a Moog Voyager was, to listen to synthpop!

2013 turned out to be one of the best years for electronic pop since its Synth Britannia heyday. What The Electricity Club achieved during this year would take up a whole article in itself… there were high profile interviews with Alison Moyet, Gary Numan and Karl Bartos while OMD released the album of the decade in ‘English Electric’. PET SHOP BOYS made up for their ‘Elysium’ misstep with ‘Electric’ while there was finally a third volume in BEF’s ‘Music Of Quality & Distinction’ covers series.

Although 2014 started tremendously with The Electricity Club being invited to meet Karl Bartos and Wolfgang Flür in Cologne, the year suffered next to quality of 2013.

The interviews continued, particularly with key figures from the Synth Britannia era including Midge Ure and the often forgotten man of the period Jo Callis who was a key member of THE HUMAN LEAGUE during their imperial phase.

But the year saw grandeurs of delusion at their highest, with one artist of a far too normal disposition in particular failing to realise that in order for a crowdfunding campaign to succeed, they needed to actually have quite a few fans in the first place!

Then, there was the similarly clueless Alt-Fest debacle which saw the organisers play Fantasy Festival with no cash to underwrite the infrastructure to enable it to actually happen!

Sadly today, there are still egotistic chancers organising events with zero budget and the money from ticket sales being fleeced to fund their holidays. But these artificial factors are rarely considered and so long as there are lower league artists desperate to play for nowt and a misguided enhancement in profile that is often on a platform that provides minimal exposure anyway, then the confidence tricks will continue.

2015 saw the local emergence of Rodney Cromwell and Gwenno, while the majestic Swedish duo KITE proved that they were the best synth act in Europe with the ‘VI’ EP and their impressive live show.

It was also the year when ERASURE front man Andy Bell gave his first interview to The Electricity Club to offer some revealing insights.

Making something of a comeback after a recorded absence of nearly eight years, Jean-Michel Jarre presented his ambitious two volume ‘Electronica’ project which saw collaborations with a varied pool of musicians including Pete Townsend, Lang Lang, John Carpenter, Vince Clarke, Hans Zimmer, Cyndi Lauper, Sebastien Tellier and Gary Numan.

VILLA NAH returned in 2016, as did YELLO with Fifi Rong as one of their guest vocalists while APOPTYGMA BERZERK went instrumental and entered the ‘Exit Popularity Contest’. Riding on the profile generated from their ‘A Broken Frame’ covers album, MARSHEAUX released their biggest-selling long player to date, a two city concept in ‘Ath.Lon’. This was also the year that The Electricity Club first became acquainted with the analogue synthesizer heaven of Johan Baeckström, a modern day Vince Clarke if ever there was one.

2017 saw a bumper crop of great albums from the likes of I SPEAK MACHINE, LCD SOUNDSYSTEM, SOULWAX, IAMX, GOLDFRAPP and DAILY PLANET, while veterans such as Alison Moyet and Gary Numan produced their best work of the 21st Century.

However DEPECHE MODE unleashed their most dire record yet in ‘Spirit’, a dreary exercise in faux activism bereft of tunes. Salt was rubbed into the wound when they merely plonked an underwhelming arena show into a stadium for their summer London show.

The trend was to continue later in 2019 as DEPECHE MODE just plonked 14 albums into a boxed set, while OMD offered an album of quality unreleased material in their ‘Souvenir’ package.

And with DEPECHE MODE’s sad descent into a third rate pseudo-rock combo during the last 15 years to appease that ghastly mainstream American institution called The Rock and Roll Hall Of Fame with guitars and drums, Dave Gahan in particular with his ungrateful dismissal of the pioneering synth-based material with which he made his fortune with, now has what he has always coveted.

And don’t get The Electricity Club started on the 2019 Moog Innovation Award being given to Martin Gore, a real insult to true synth pioneers if ever there was one, including Daniel Miller, Vince Clarke and Alan Wilder, the three men who actually did the electronic donkey work on those imperial phase DEPECHE MODE albums! Gore may have been a very good songwriter during that time, but a synth innovator? Oh come on!?!

With regards Synth Britannia veterans, new albums in 2017 from Richard Barbieri and Steve Jansen saw a revived interest in JAPAN, the band with which they made their name.

Despite releasing their final album ‘Tin Drum’ in 1981, as a later conversation with one-time guitarist Rob Dean proved, cumulatively from related article views, JAPAN became the most popular act on The Electricity Club.

The return of SOFT CELL dominated 2018 with a lavish boxed set that was not just comprised of previously released long players, new songs, new books, a BBC documentary and a spectacular farewell show at London’s O2 Arena.

Meanwhile, adopting a much lower profile were LADYTRON with their comeback and an eventual eponymous sixth album. A Non Stop Electronic Cabaret saw Canadian veterans RATIONAL YOUTH play their first ever UK gig alongside PAGE and PSYCHE, but coming out of Brooklyn to tour with ERASURE was REED & CAROLINE.

EMIKA was ‘Falling In Love With Sadness’ and Swedish songstress IONNALEE showcased one of the best value-for-money live presentations in town, with a show that surreal imagined Kate Bush at a rave!

But from China came STOLEN, one of the most exciting bands in years who were then later rewarded for their graft with a European tour opening for NEW ORDER.

2019 was the year when synthwave graduates Dana Jean Phoenix and Ollie Wride were coming into their own as live performers, while electronic disco maestro Giorgio Moroder embarked on a concert tour for the first time with his songs being the true stars of the show.

Gary Daly of CHINA CRISIS gave his first interview to The Electricity Club to tie in with his solo album ‘Gone From Here’, while a pub lunch with Mark White and Stephen Singleton mutated into an extensive chat about their days in ABC. Lloyd Cole adopted a more synthesized template on ‘Guessworks’ and Britpop went synth as GENEVA’s Andrew Montgomery formed US with Leo Josefsson of Swedish trio LOWE.

If The Electricity Club does have a proudest achievement in its first ten years, then it is giving extensive early coverage to VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, six acts who were later invited to open on tour for OMD.

Partly because of this success, some of those who were less talented felt aggrieved despite feeling a narcisstic entitlement to be featured. A few deluded artists even went as far as to blame The Electricity Club publically for their lack of traction! NoW that’s what The Electricity Club calls deluded!

If an act is good enough, the fact that The Electricity Club hasn’t featured them should not matter, especially as other electronic and synth blogs are available. After taking its eye of the ball once before in 2012, The Electricity Club maintained a trust of its own gut instinct.

Meanwhile, its stance has been tested by those shouting loudest who instantaneously champion what they perceive as the next big thing like sheep, without really looking ahead at a wider picture. However, TRAVIS on VSTs is just not The Electricity Club’s thing frankly…

The Electricity Club’s participation in the annual ELECTRI_CITY_CONFERENCE in Düsseldorf for on-stage interviews with Rusty Egan, Chris Payne, Mark Reeder and Zeus B Held was another high profile engagement to be proud of. Then there were six TEC branded live events and five rounds of hosting ‘An Audience with Rusty Egan’ in one of the most unenviable but highly entertaining refereeing assignments in music 😉

Other highlights over the last ten years have included The Electricity Club’s 2015 career retrospective on German trio CAMOUFLAGE being edited and used as booklet notes for the Universal Music sanctioned compilation CD ‘The Singles’.

There was also ‘The Electricity Club’ 2CD released by Amour Records in 2019 which included TEC featured acts like MESH, SECTION 25, SIN COS TAN, KID KASIO, NIGHT CLUB, QUIETER THAN SPIDERS, ELECTRONIC CIRCUS, DAYBEHAVIOR, LIEBE, TWINS NATALIA, KID MOXIE, GIRL ONE & THE GREASE GUNS, ELEVEN: ELEVEN, AUTOMATIC WRITING, FOTONOVELA and QUEEN OF HEARTS among its 34 excellent tracks, including a bangin’ MARSHEAUX remix of Katy Perry!

As 2020 settles in, highly regarded artists within the electronic community continue to engage with The Electricity Club. Neil Arthur recently gave his seventh interview as BLANCMANGE and his tenth interview overall, taking into account his side projects FADER and NEAR FUTURE. Not far behind, Martyn Ware has also been a regular interviewee having spoken to the site on six occasions while Paul Humphreys has been interviewed no less than five times.

The Electricity Club is still pushing the envelope, continuing to reflect the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk. With artists like ANI GLASS, IMI, KNIGHT$, NINA, MECHA MAIKO, GEISTE and PLASMIC among those on the cusp of a wider breakthrough, there is still more excellent music still to be created, discovered and savoured.

One inferior revivalist platform featuring far too much normal rubbish once complained that The Electricity Club “only feature bands that are popular…”; what they actually mean is “only feature bands that are really good”! 😉

The Electricity Club gives its sincerest thanks to everyone who has taken the time read any article on the site over the last ten years, it is greatly appreciated.


‘The Electricity Club’ is released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation be purchased from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

The tracklisting is:

CD1

01 MAISON VAGUE Synthpop’s Alive
02 KID KASIO Full Moon Blue
03 ELECTRONIC CIRCUS Roundabout
04 DAYBEHAVIOR It’s A Game (Marsheaux remix)
05 MARNIE The Hunter
06 ELEVEN:ELEVEN Through The Veil
07 NIGHT CLUB Cruel Devotion
08 QUEEN OF HEARTS United
09 KATY PERRY Hot ‘N’ Cold (Marsheaux remix)
10 ERASURE Be The One (Paul Humphreys remix)
11 KID MOXIE The Bailor
12 KEEP SHELLY IN ATHENS Oostende
13 FOTONOVELA featuring JAMES NEW Our Sorrow (Original mix)
14 GIRL ONE & THE GREASE GUNS Jessica 6
15 AUTOMATIC WRITING Continuous
16 METROLAND Thalys (London Edit)
17 RODNEY CROMWELL Black Dog

CD2

01 SIN COS TAN Trust
02 POLLY SCATTERGOOD Other Too Endless (Vince Clarke remix)
03 TENEK What Do You Want? (Alternate TEC version)
04 ANALOG ANGEL We Won’t Walk Away
05 ARTHUR & MARTHA Autovia
06 MARSHEAUX Suffer The Children
07 SECTION 25 My Outrage
08 047 featuring LISA PEDERSEN Everything’s Fine
09 TAXX Is It Love?
10 LIEBE I Believe In You
11 QUIETER THAN SPIDERS Shanghai Metro
12 iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound
13 TWINS NATALIA Destiny
14 MESH Tuesday
15 MIRRORS Between Four Walls
16 OMD Time Burns (Fotonovela rework)
17 VILE ELECTRODES Deep Red

Please note this product is NOT on sale through The Electricity Club website and only via retailers


Text by Chi Ming Lai
Image Design by Volker Maass
16th March 2020

SOMEONE WHO ISN’T ME Interview

SOMEONE WHO ISN’T ME are the feisty Greek threesome of Marilena Orfanou, Maria Hatzakou and Gina Dimakopoulou.

Releasing their debut album ‘Dance With You’ on Amour Records, the trio swear by analogue sounds, toy synths, chaotic guitars, fake strings, and off-beat rhythms complimented by deep voices in English and Greek.

The new single ‘Pinku’ comes over an interesting snarly mix of TR/ST and KITE crossed with NEW ORDER. Meanwhile, its superb visual presentation directed by Alkistis Terzi features striking time freeze effect portraits of five Biblical female figures Jezebel, Lilith, the Virgin Mary, Salome and Delilah.

Kindred spirits to fellow Hellelectro exponents MARSHEAUX, SARAH P. and KID MOXIE, SOMEONE WHO ISN’T ME have particularly impressed with their striking video presentations, particularly for their most recent single ‘Pinku’ and the award winning ‘Gomenaki’.

SOMEONE WHO ISN’T ME kindly talked to Electricity Club about their artistic motivations and ideals…

The three of you have quite distinct musical backgrounds, so how did the idea of making music together come about?

Marilena and Gina have been on the Athens Music scene for years. Gina on the grunge side as she is the guitarist of KATRIN THE THRILL; Marilena on the pop – electronic side and she formed BERLIN BRIDES with Natasha Giannaraki. They were also high school friends and they met up as adults again after many years through the music scene. Marilena had this dream of creating a pop band, but with distinctive guitar riffs. And Gina was open to new music genres.

Maria started learning the drums much later. She passed by a music school one day and with Marilena’s encouragement went in and enrolled in drum classes. She and Marilena had always dreamed of creating a band together.

Later on Marilena was commissioned to write the soundtrack of A Tsangari’s ‘Chevalier’ (which won the Best Feature Award at the BFI London Film Festival) and invited Maria and Gina to experiment. The music didn’t make it into the film, except for the end titles song ‘Never Find It’, but that was the beginning of the band. Many of the songs that appear in ‘Dance With You’ were written for this soundtrack as instrumental pieces.

Then Marilena was commissioned by the French Institute in Athens to write the OST for a silent Greek Film titled ‘Astero’ and invited Maria and Gina to perform it live. That was the first live gig of the band.

With regards band dynamics, how do the influences of the three of you combine and clash?

It’s actually quite an easy and natural process. We are so well tuned with each other on our aesthetics. Marilena is the brain of the band. She writes the music and the lyrics. She then invites Maria and Gina to jam, experiment and add elements to the songs. We have a tiny studio (San Marco SWIM studio) in the centre of Athens where the magic happens.

Your latest single ‘Pinku’ is a wonderful combination of quite different styles, there’s techno, indie and classical!

Yes it’s true. We are quite excessive and melodramatic in our music. Marilena had classical studies in Music and Composition plus she is also very inspired by soundtracks and electronic and techno music. Our references come from Debussy to Delia Derbyshire to PET SHOP BOYS to PJ Harvey. We actually recorded live strings for ‘Pinku’. These elements exist in our music a lot.

‘Pinku’ comes with a striking video, what was the inspiration?

The video exists as an art piece as well, entitled ‘Survive in My Sex’. It is created by the amazing Photographer and DoP, Alkisti Terzi and it consists of 14000 still photos. When we saw the image, we immediately thought of ‘Pinku’ as a music background. The song talks about a long lost love affair between two women and the different female biblical faces on the film who look at you in the eye in these intense moments were the perfect visualization of this love affair.

So you like toy synths, are there any particular ones?

Yes we love a little Casio synth made for children, the Stylophone, an 80s Yamaha and the Solina synth.

Your album opens with the ‘Dance With You’ title song. In your opinion, how important is dance as an emotional expression in life?

Very important, we would say. Marilena (aka Loo) and Gina also work as DJs on the Athens scene and they make people dance. Music is in our heads 24/7. We have to let the energy out and communicate it. We would suffocate otherwise. ‘Dance With You’ is a dance pop song but the lyrics are about love, crying and suffering. You just dance it out!

‘Girl’s On Fire’ has a very unorthodox construction?

Yes it does. We are always flirting with R ‘n’ B which we love. This one was originally written as an instrumental piece for a theatre play (‘Lulu’ directed by D Tampassi) where we played the music live on each performance. It had so much body energy when we played it. It was a fiery one. Marilena had the image of a Girl on Fire. She collaborated with Kate Adams (who is theatre maker) on the lyrics.

You are not afraid to produce instrumentals, like ‘Night Flight’ and ‘Strange’, plus even ‘Pinku’ is offered as an instrumental bonus. So how do you decide that a composition remains without a vocal and what can you get from an instrumental that you can’t with a song?

We love instrumentals and we will keep on writing them. It’s like the soundtrack in our heads. When you don’t have something to say anymore and how to express your feelings with lyrics, you can do it easily just writing music! ‘Strange’ is our most melodramatic theme and ‘Night Flight’ the lighter one; the two opposites.

Actually many songs exist first as instrumentals and at the very last minute we might add vocals. ‘Pinku’ existed as an instrumental for a long time. That’s how we used to play it at our gigs. The night before we sent it for final Mastering, Marilena stayed up at the studio all night and wrote the lyrics and the vocal arrangement. We all listened to it and we decided it was worth the extra work to add the voice.

How do you decide whether to sing in Greek or English?

Well to be honest our first instinct is to write in English. There is a lightness and a distance writing in a different language than your own. We love writing in Greek as well, but the words that come are always very simple and repetitive. We have a new song that will be featured in our second album, called ‘All Gone’ which combines both languages, English and Greek.

The video for your debut single ‘Gomenaki’ won an award, are you proud that you have been able to make an important existential statement through your art?

Yes, we definitely are. The IndieMemphis award was quite a surprise to us. I have to say though that the credit goes to Alkis Papastathopoulos who wrote the script and directed the music video. He listened to the song once and the next day he came up with this brilliant script. Maria produced it. Our main goal was to make a “different” high school indie drama and I think we succeeded. Our tagline says it all: A femme for femme love story that challenges the classic high school film narrative and takes revenge on toxic masculinity.

Music is politics is life? Please discuss?

The personal is political, of course. This is deeply rooted in us in our everyday life and as artists; we have to communicate it, through our music, through our films, through our voice and actions. We cannot close our eyes and stay untouched by the sudden turn to conservatism, fascism and decay that surrounds us not only in Greece but worldwide. We need to raise our voices.

What is next for SOMEONE WHO ISN’T ME?

Well we already have all the songs of our second album ready. It’s more dark and downtempo in a way. We will play at Pop Kultur in Berlin this August and we are also writing music for two short films and we will be writing the soundtrack of a TV series that Maria and Alkis Papastathopoulos are currently developing. We would also like to play in more festivals abroad.

We also have three more music videos in development, always collaborating with directors we love and admire.


The Electricity Club gives its warmest thanks to SOMEONE WHO ISN’T ME

‘Dance With You’ is released as a digital album by Amour Records, available via the usual online outlets

http://www.swimtheband.com/

https://facebook.com/swimtheband.page

https://instagram.com/swimtheband

https://www.youtube.com/c/SomeoneWhoIsntMe

https://soundcloud.com/swimtheband


Text and Interview by Chi Ming Lai
20th June 2019

Introducing SOMEONE WHO ISN’T ME

“Pop. What else?” is the mission statement of Athens trio SOMEONE WHO ISN’T ME.

Also known as S.W.I.M. by those who find that a bit of a mouthful, the feisty threesome of Marilena Orfanou (synths, guitars + vocals), Maria Hatzakou (drums + vocals) and Gina Dimakopoulou (guitars + vocals) swear by analogue sounds, toy synths, chaotic guitars, fake strings, and off-beat rhythms complimented by deep voices in English and Greek.

The new single ‘Pinku’ comes over an interesting snarly mix of TR/ST and KITE crossed with NEW ORDER. Meanwhile, its superb visual presentation directed by Alkistis Terzi features striking time freeze effect portraits of five Biblical female figures Jezebel, Lilith, the Virgin Mary, Salome and Delilah.

The debut album ‘Dance With You’ was released in February 2019 by Amour Records, the Hellenic home of SARAH P. and KID MOXIE. SOMEONE WHO ISN’T ME’s two most overtly synthy numbers on the album are both instrumentals; ‘Night Flight’ is an airy dream pop number offset by an uptempo backbone while the electronically orchestrated cinematics of ‘Strange’ flirts with the enigmatic aura of arthouse soundtracks.

Meanwhile, the title song was a grand statement of baroque indie with a superb cutting synth solo while the moody synthesized shoegaze of ‘Gomenaki’ was a European radio hit in the summer of 2018; its accompanying video won the 2019 Sound Award for ‘Best Music Video’ at the Indie Memphis Film Festival.


‘Dance With You’ is released by Amour Records

http://www.swimtheband.com/

https://facebook.com/swimtheband.page

https://twitter.com/swimtheband_

https://instagram.com/swimtheband

https://soundcloud.com/swimtheband

https://open.spotify.com/album/0P0DJuiFd2CzDU9Vaxw0il


Text by Chi Ming Lai
9th May 2019

THE ELECTRICITY CLUB… The Next Generation?

Sitting on the sofa with my now thirteen year old daughter, who over the years has acquired a rather sarcastic sense of humour (who on Earth does she get that from?!) and pondering how to approach this task of reviewing ‘The Electricity Club’ compilation, makes us both burst out with hearty laughter.

After all, she wants to rise to the occasion properly, and review things “just like Mummy does”, or maybe not, as “Mummy always says it as it is!”

Children have the innate ability to always tell the truth; my daughter, however, has an uncontrollable need to please people, so this could really go either way. She will either be pulling her disgusted face, saying “what a load of rubbish!”, or candidly praise, without certainty.

My own adventure with music dates back many years indeed. I was brought up within, what they used to call in communist Poland, “an intelligence family”, meaning both my parents were white collar workers, rather than working class.

My father, a respectable judge, had loved his music greatly and was an avid guitar player himself, while my mum, a teacher, enjoyed listening to pretty much anything within the popular genre (usually via her radio, which, to this day, is always on).

Recalling the baby book entry, which my mum recorded when I was at the tender age of five, saying “Monika loves listening and dancing to records, she could spend all day doing so”, makes me try and remember the old record player and hundreds of vinyl albums which my parents owned.

All this said, I hold my older by ten years brother solely responsible for my eventual music choices. As I was growing up, I just had to endure what he was listening to (at great volume, may I add!).

As legal copies of western music were incredibly hard (or, simply, impossible) to get, his room was full of pirate cassette tapes of everything from THE HUMAN LEAGUE to MICHAEL JACKSON and anything and everything in between.

He would take great pride in inviting me into his musical cave and fed me with DEPECHE MODE, ERASURE, ELECTRIC LIGHT ORCHESTRA and OMD.

And all this worked… during his absence, I’d sneak in and put my favourites on, which would primarily include the works of DEPECHE MODE, with the vinyl of ‘Black Celebration’ and maxi-single vinyl of ‘Stripped’ being the firm first choices. And that’s how I acquired the electronic music bug. From then on, not much else mattered but coming home from school and playing the entire back catalogue of the Basildon boys, dotted with the works of YAZOO and ERASURE.

My Allie has had little choice, since her musical adventure dates back to being in my womb. At the age of three she would sing ERASURE’s ‘You Surround Me’ on top of her little baby voice, and her sweet childish vocal was sampled and recorded by a well-known UK electronic duo.

Her first gig was at the age of five, and she went to see ERASURE at six and DEPECHE MODE twice at the grown-up age of seven, keenly taking part in the experience.

Although since she’s found love for KATIE PERRY, ARIANA GRANDE and TAYLOR SWIFT, and electronic music hasn’t been on her radar much lately, she absolutely loved ASHBURY HEIGHTS’ ‘The Looking Glass Society’. She also has a lot of vintage DEPECHE MODE on her Spotify playlist, interestingly enough none of it past ‘Songs Of Faith & Devotion’, and plays it at least twice a week.

Having heard that, I would include her opinion in the tongue-in-cheek review of The Electricity Club compilation, she keenly decided to be a serious contributor, and so it goes…

MAISON VAGUE Synthpop’s Alive

Allie: I don’t like it but I like it…

Mon: Bit GARY NUMAN this is! But a tad laboured and rough and ready.

Allie: I like the synth sounds, the voice sounds a bit weird.

KID KASIO Full Moon Blue

Mon: Ah, my favourite of Nathan’s! Love it, love it, love it!

Allie: I like the sounds, the first bit sounds a bit like DEPECHE MODE!

Mon: Yeah, a tribute to ‘Two Minute Warning’!

Allie: That’s it! I like it a lot. I like his voice.

ELECTRONIC CIRCUS Roundabout

Allie: Oh my God! Rubbish!

Mon: Why? *cannot contain the laughter*

Allie: It’s just rubbish!

Mon: Erm, the synth is good, not sure about the vocal…

DAYBEHAVIOR It’ s A Game – Marsheaux remix

Mon: I like this, analog synth! Lovely…

Allie: I like it, like the vocal, but it’s not something I’d listen to if I had a choice.

Mon: Oh, I would. Very good song and well produced by MARSHEAUX.

MARNIE The Hunter

Allie: Reminds me of something but I don’t know what. I like it, love the vocal.

Mon: I hear a bit of LADYTRON, BJÖRK and MARSHEAUX. It’s fresh and enticing.

Allie: Yes, LADYTRON! That’s it!

NIGHT CLUB Cruel Devotion

Allie: Ohhhh, I like that!

Mon: You’ve met them last year Allie! Very good!

Allie: Oh yes, I do like this! I like the background sound and the vocals. I’d play that in my room… She doesn’t sound American! Is she American?

Mon: Yes! *laughs*

Allie: I’d make music like that!

ELEVEN ELEVEN Through The Veil

Mon: I like the beginning, bit of KYLIE there.

Allie: I don’t know who that is! I like the vocals!

Mon: I like the sound! (Note to self: “must educate Allie on KYLIE”).

QUEEN OF HEARTS United

Mon: Oh I’m liking this, fat synth and decent voice…

Allie: I like it, both synth and the vocal.

KATY PERRY Hot N Cold – Marsheaux remix

Allie: It’s KATY PERRY! I like this! I like this remix, it’s different from the original! *singing out loud*

Mon: I never liked the original and this doesn’t do it for me either.

Allie: What?! I love it! But her voice is a bit screechy, like on the normal version!

ERASURE Be The One – Paul Humphreys remix

Allie: Sounds like ERASURE…

Mon: It is!

Allie: Ah, I knew it! Is it a remix?

Mon: Yep.

Allie: I love ERASURE, this is lovely.

Mon: Totally agree.

KID MOXIE The Bailor

Allie: I don’t like her vocals.

Mon: I do, it’s a good song.

Allie: I like the music, the melody is nice.

Mon: It’s a grown up song, very atmospheric and cinematic. Great use of synth. My kind of electronica.

KEEP SHELLY IN ATHENS Oostende

Allie: I like it! The vocals are great. I’d listen to it in the car.

Mon: Yes, it’s good, both vocally and musically.

FOTONOVELA featuring JAMES NEW My Sorrow

Allie: I’ve heard it before.

Mon: Really? I haven’t! You must be thinking of something else.

Allie: It’s ok, reminds me of something you’ve played before.

GIRL ONE & THE GREASE GUNS Jessica

Allie: I don’t like it, vocals aren’t great, don’t like the music.

Mon: It’s not my cup of tea either, but I’m sure it’ll appeal to few people.

AUTOMATIC WRITING Continuous

Mon: Interesting start! It’s different, I shouldn’t like it but I do.

Allie: It’s ok, again, it reminds me of something.

METROLAND Thalys – London edit

Mon: Oh I like that. Simple arrangement and that’s all you need. Not sure about the voice sample though.

Allie: It’s very robotic, like science fiction. It’s like something from another planet. It’s KRAFTWERK!

RODNEY CROMWELL Black Dog

Allie: Yeah! That’s ok! *does a little dance*

Mon: Hmmm, not sure. It’s not unpleasant.

SIN COS TAN Trust

Allie: Don’t know, not sure about that one.

Mon: It’s ok.

Allie: Bored now!

POLLY SCATTERGOOD Other Too Endless – Vince Clarke remix

Mon: Good synth on this one. Liking this a lot. Competent vocals and arrangement, a real stand out.

Allie: Not my cup of tea.

TENEK What Do You Want?

Allie: Is that MESH? Sounds like it!

Mon: No, it’s not, it’s TENEK. It’s a good song.

Allie: Yes, I really like it. I like the instruments.

ANALOG ANGEL We Won’t Walk Away

Allie: It’s fast. Not my kind of thing.

Mon: It’s very well written. It needs more oomph! Very OMD.

ARTHUR & MARTHA Autovia

Allie: It’s not in tune… I don’t know, I don’t like it.

Mon: It’s different, not me either…

MARSHEAUX Suffer The Children

Mon: A cover. Good.

Allie: It is good, bouncy.

SECTION 25 My Outrage

Mon: Oh dear, messy! Too candied for me, bit all over the place.

Allie: Yes, I don’t think it’s good. I can’t describe it but it’s not something I’d listen to.

047 featuring LISA PEDERSEN Everything’s Fine

Allie: Clubby! Like it. Yes, I do! *bounces away*

Mon: Good, isn’t it? I like the club feel to it. A good dance song.

TAXX Is It Love?

Mon: Oh yes, good stuff! Progressive. Decent vocal too.

Allie: It’s ok, but I wouldn’t listen to it in the car. At a disco, maybe…

LIEBE I Believe In You

Allie: You know the ding-ding sounds? They remind me of PET SHOP BOYS!

Mon: “Ding-ding sounds!” To me the vocal technique resembles NEW ORDER. It’s good.

QUIETER THAN SPIDERS Shanghai Metro

Mon: It’s ok.

Allie: Too poppy, way too poppy. Chow mein? *laughs*

iEUROPEAN feat WOLFGANG FLÜR Activity Of Sound

Mon: That’s it! The synth is all there. Semi-modular synth? Very tidy!

Allie: I do actually like it! It’s club but different.

TWINS NATALIA Destiny

Mon: Not me vocally but decent synth I suppose.

Allie: I like the vocals! I don’t know, all confused now, too many songs!

Mon: No, that’s awful.

MESH Tuesday

Mon: YAZOO cover Allie!

Allie: I knew that I knew it! Is that MESH?!

Mon: Yes!

Allie: Thought so. I like anything MESH!

Mon: Now, there’s a surprise!

Allie: You know me!

MIRRORS Between Four Walls

Allie: Like this one, nice music.

Mon: Bit laboured… it’s not bad though.

OMD Time Burns – Fotonovela rework

Allie: Very robotic.

Mon: Not me!

VILE ELECTRODES Deep Red

Allie: I like the vocals, sounds a bit like Sarah Blackwood!

Mon: It’s Jane actually!

Allie: Ahhhh! Doh! I like that a lot. It’s slow! *laughs*

Mon: It is good, but no surprise there.

Allie: Is that the last song?!

Mon: Yes…

Allie: Thank god, I’m tired now!

She will sleep well! I have to say, she did surprise me with some songs and disappointed with others but that just proves to me, that tastes do indeed vary, and even if I’m vehemently against something, others will find it enticing.

‘The Electricity Club’ compilation is a marvellous collection of tunes, and that’s a given. There’s something for everyone here and what a cross-section of all electronica. Still, I come to conclusion that thirteen year olds are probably not mature enough to fully appreciate certain synth music…

Will she follow in my steps? Not for a while… if ever! The one thing we certainly have in common: WE SAY IT AS IT IS!


‘The Electricity Club’ is released on 3rd December 2018 by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation can be pre-ordered from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

Please note this product is NOT on sale through The Electricity Club website and only via retailers

A Spotify sampler of the compilation can be listened to at: https://open.spotify.com/playlist/7xwTYTeH6b5vgCqjZudfGE

http://www.amour-records.com

https://www.facebook.com/amour.records/

https://twitter.com/Amour_Records

https://www.instagram.com/amour_records/

https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Monika Izabela Trigwell
1st December 2018

THE ELECTRICITY CLUB 2CD Compilation

Amour Records / Minos EMI / Universal Music in collaboration with Undo Records are to release a 2CD compilation compiled by The Electricity Club.

Capturing its ethos to feature the best in new and classic electronic pop music, this compilation is the culmination of a period which has seen the resurgence of the genre. Over the years, The Electricity Club appears to have reflected the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk.

Little did The Electricity Club know when it launched on 15th March 2010, it would go on to interview many of the key players in Synth Britannia, get granted an audience with two former members of KRAFTWERK and be influential in helping some of the best new synthesizer talents gain a profile within a reinvigorated scene. So it is highly apt that WOLFGANG FLÜR should make an appearance on this collection.

The Electricity Club is pleased to showcase its ethos in the form of this tangible audio artefact. Among the impressive cast, there are prime movers from the classic era like PAUL HUMPHREYS and VINCE CLARKE. Without the influence of the bands they respectively co-founded, OMD and DEPECHE MODE, electronic pop as The Electricity Club likes it would not exist.

Meanwhile the next generation are represented by acts such as KID MOXIE, NIGHT CLUB, RODNEY CROMWELL and VILE ELECTRODES. Incidentally, the latter were invited to support OMD on their 2013 German tour following ANDY McCLUSKEY’s discovery of the duo while perusing The Electricity Club’s virtual pages. The bloodline from ‘Radio-Activity’ to ‘Romance Of The Telescope’ and then to ‘Deep Red’ is easily traceable and deeply omnipresent.

The Electricity Club has always relished its diverse taste credentials. It doesn’t do retro or contemporary, just good music. No other compendium could dare to include the spiky post-punk of GIRL ONE & THE GREASE GUNS and the rousing electro-rock of MESH alongside pop princesses such as QUEEN OF HEARTS or KATY PERRY. Be it Glasgow’s ANALOG ANGEL and MARNIE, Manchester veterans SECTION 25 or Essex boys TENEK, it all fits into The Electricity Club’s avant pop playground.

With international representation also from Gothenburg’s DAYBEHAVIOR and 047, Shanghai synthpoppers QUIETER THAN SPIDERS, Texan dance duo ELEVEN: ELEVEN, Belgium’s own passengers METROLAND and the self-explanatory KEEP SHELLY IN ATHENS, the tracks gathered capture a special moment in time where innovative musical aspirations and good tunes have again manifested themselves in the same context.

The collection features a number of covers including MESH’s take on YAZOO’s ‘Tuesday’ and MARSHEAUX’s reinterpretation of TEARS FOR FEARS’ first single ‘Suffer The Children’. In addition, tracks such as MARSHEAUX’s stomping remix of KATY PERRY’s ‘Hot ‘N’ Cold’ and MIRRORS’ ‘Between Four Walls’ make their premiere in CD format.

The tracklisting is:

CD1

01 MAISON VAGUE Synthpop’s Alive
02 KID KASIO Full Moon Blue
03 ELECTRONIC CIRCUS Roundabout
04 DAYBEHAVIOR It’s A Game (Marsheaux remix)
05 MARNIE The Hunter
06 ELEVEN:ELEVEN Through The Veil
07 NIGHT CLUB Cruel Devotion
08 QUEEN OF HEARTS United
09 KATY PERRY Hot ‘N’ Cold (Marsheaux remix)
10 ERASURE Be The One (Paul Humphreys remix)
11 KID MOXIE The Bailor
12 KEEP SHELLY IN ATHENS Oostende
13 FOTONOVELA featuring JAMES NEW Our Sorrow (Original mix)
14 GIRL ONE & THE GREASE GUNS Jessica 6
15 AUTOMATIC WRITING Continuous
16 METROLAND Thalys (London Edit)
17 RODNEY CROMWELL Black Dog

CD2

01 SIN COS TAN Trust
02 POLLY SCATTERGOOD Other Too Endless (Vince Clarke remix)
03 TENEK What Do You Want? (Alternate TEC version)
04 ANALOG ANGEL We Won’t Walk Away
05 ARTHUR & MARTHA Autovia
06 MARSHEAUX Suffer The Children
07 SECTION 25 My Outrage
08 047 featuring LISA PEDERSEN Everything’s Fine
09 TAXX Is It Love?
10 LIEBE I Believe In You
11 QUIETER THAN SPIDERS Shanghai Metro
12 iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound
13 TWINS NATALIA Destiny
14 MESH Tuesday
15 MIRRORS Between Four Walls
16 OMD Time Burns (Fotonovela rework)
17 VILE ELECTRODES Deep Red


‘The Electricity Club’ is released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation be purchased from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

Please note this product is NOT on sale through The Electricity Club website and only via retailers

http://www.amour-records.com

https://www.facebook.com/amour.records/

https://twitter.com/Amour_Records

https://www.instagram.com/amour_records/

https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Chi Ming Lai
12th November 2018, updated 16th January 2020

« Older posts