PISTON DAMP are the new electronic pop duo based in Norway compromising of Jonas Groth and Truls Sønsterud.
The classically trained keyboardist / songwriter / arranger Truls Sønsterud has been playing piano since he was a child while singer/songwriter/producer Jonas Groth has been making music for more than 20 years’ experience mostly connected to his older brother Stephan and his band APOPTYGMA BERZERK.
Also connected to acts such as industrial rockers MAGENTA who he helped out on their 2009 album ‘Art & Accidents’, Jonas Groth has slowly been moving towards the front in the last few years and sang lead vocals on ‘Nearest’, an ethereal electronic ballad from the most recent APOPTYGMA BERZERK EP ‘Nein Danke!’.
The debut PISTON DAMP single ‘Something In Me’ was written and recorded with Stephan Groth serving as pre-production supervisor, so perhaps unsurprisingly, it is reminiscent of the more immediate side of APOPTYGMA BERZERK
But ‘Something In Me’ is what APOPTYGMA BERZERK or AESTHETIC PERFECTION would sound like if they were in full synthpop mode. Catchy, bubbly, melodic and rhythmic with an emotively spirited vocal, when Jonas Groth hits falsetto, it provides a most gloriously optimistic lift. Meanwhile, its twin ‘Noget I Mig’ is ‘Something In Me’ sung in Danish and this element adds an extra air of mystery to non-native speakers and reveals the song’s likely Nordic folk influence more explicitly.
The B-side of this debut single is a ‘Blue Heart’ version of ‘Another Pain’ and affirms just as ‘Shout’ did for DEPECHE MODE’s similarly folk influenced ‘New Life’, that PISTON DAMP are likely to have quality first album in the can. Much sparser than ‘Something In Me’, the spacey arpeggio on this version of ‘Another Pain’ allows Jonas Groth to soar, expressing some heartfelt frustration that the love of his life hasn’t even noticed him. And when his multi-tracked vocal ab-libs join in, it starts to sounds like FREIHEIT or ELO or THE BEATLES, depending on your way of thinking!
Both ‘Something In Me’ and ‘Noget I Mig’ come in a number of remixes from the likes of PEGBOARD NERDS, TECHNOMANCER, KLEINMELKER and THE ANIX, although classic synth fans will be most interested in the Extended 12” Remix that comes in the nine-track bundle.
It is the right moment for Jonas Groth to emerge from the shadow of his older brother and PISTON DAMP is a fine vehicle in which take that journey.
There is nothing like the other side of life. As a companion to its favourite 25 Classic Synth B-sides, The Electricity Club presents a listing looking at the 21st Century equivalent.
B-sides often take on a cult following, provoking discussions among fans about why they might have missed inclusion on the parent album.
On why artists occasionally overlook a track when it is clearly good enough, Richard Silverthorn of MESH said “Sometimes you can’t see the wood for the trees”.
Then there are the occasional abstract studio experiments which often fail but occasionally work and the occasional cover versions which don’t always find favour with some listeners but are infinitely more preferable over pointless remixes of the A-side!
But how is a modern B-side been defined? There is a wider definition now due to digital and streaming formats, so they can include flipsides of vinyl, bonus tracks on CD singles and non-album tracks released as part of a download single or EP bundle. Despite all this, the term “B-side”, like “album” and “video”, still remains.
So for the purposes of this listing as before with the 25 Classic Synth B-sides, B-sides featured on the original issue of a full length album, or subsequently included on a new one are NOT included. However, those added as bonus tracks on later reissues, deluxe editions or compilations are permitted. Rules are good, rules help control the fun! 😉
So with a restriction of one track per artist moniker, presented in date and then alphabetical order within, these are The Electricity Club’s 25 Synth B-Sides Of The 21st Century…
LADYTRON Oops Oh My (2003)
LADYTRON surprised their audiences during live shows in support of the ‘Light & Magic’ album by closing with a feisty synthpunk cover of TWEET’s ‘Oops Oh My’. Co-written by Missy Elliot, the Timbaland produced original with a DEVO sample had been a hip-hop favourite but the aggressive Riot Grrrl styled take on this risqué song about self-love with lyrics like “There goes my skirt, droppin at my feet” added a rockier edge to their sound.
Available on the LADYTRON single ‘Evil’ via Telstar Records
“This was written in response to the Iraq War” said Sarah Blackwood aka Client B, “I remember endless discussions with Toast Hawaii boss Fletch about whether it was the right decision and with heavy hearts, watching endless shelling and firefighting, from the 24 hour news coverage on far flung European hotel TVs. It was the first time I had felt that disconnection and frustration with my home country, the ‘not in my name’ ringing loudly in my ears. Bit late to the party but that’s the story of my life.”
Available on the CLIENT single ‘Here & Now’ via Toast Hawaii / Mute Records
The eloquence and surreal atmospheres of the first GOLDFRAPP album ‘Felt Mountain’ may have taken a back seat on its follow-up ‘Black Cherry’ but the experimentation continued on the B-sides of the album’s singles. ‘White Soft Rope’ combined the unsettling imagery of bondage with a chorus sung a school choir, but ‘Gone To Earth’ was even more otherworldly. The reverberating bassline combined with swirling synths and dreamy glides while Alison’s alternate cosmic language startled with a spacey hypnotism.
Nathan Cooper who was in THE MODERN said: “The inspiration came from ROXY MUSIC’s ‘In Every Dream Home A Heartache’ which was about a blow up doll, we took that a step further and Model# 426 is about some kind of sex droid!! ‘Model #426’ was always the song that would get the audience talking because singer Emma would open a trunk on stage and lead a gimp out on a collar into the bemused looking audience!! I think it was actually that stunt that got us signed to Universal!”.
Interpolating KC & THE SUNSHINE BAND’s ‘That’s The Way (I Like It), the self-produced ‘Party Song’ was naturally a throbbing disco driven affair outshone the horrendous Diane Warren penned ballad ‘Numb’ which comprised the main act. Lyrically inspired by the classic Joan Collins and Leonard Rossiter fronted Campari adverts that, it began life as a dance cover of NIRVANA’s ‘Smells Like Teen Spirit’ suggested by Elton John and intended as a single for a new PET SHOP BOYS ‘Greatest Hits’!!
Originally the B-side of ‘Numb’, now available on the PET SHOP BOYS album ‘Format’ via EMI Music
‘Japanese Kiss’ was from the debut release on Happy Robots from Alice Hubley and Adam Cresswell. “This was the first track I wrote for ARTHUR & MARTHA” he recalled, “mostly recorded in the bedsit I’d moved into after splitting up with my girlfriend. I was absorbed in self-pity, comforting myself with Japanese-horror movies and the company of my ARP Quartet, Moog Rogue and the DR-55. Living my best life!”; 11 years later as Rodney Cromwell, Cresswell did a NEW ORDER inspired ‘KW1’ remix.
Available on the ARTHUR & MARTHA single ‘Autovia’ via Happy Robots
Basing its title on the well-known NEW ORDER tune, as with a number of the B-sides listed here, ‘Bizarre Love Duo’ outshone the main act ‘Ghost’. It all began with a pitch shifted groan sample repeated with hypnotic effect over some squelchy backing. But during the second half, the track built itself to a fabulous but abstract electrodisco number with a marvellously catchy refrain. While not quite a song and not quite an experiment, ‘Bizarre Love Duo’ was enjoyable tune in the MARSHEAUX canon.
Originally the B-side of ‘Ghost’, now available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records
A cover of a cover, namely SHOCK’s take on THE GLITTER BAND’s 1974 Top5 hit; playing the role of the Latin lothario in response to the Annie song ‘Anthonio’, Sebastian Muravchik of HEARTBREAK and now SNS SENSATION remembered: “Richard X produced this version of ‘Angel Face’ as a side B in his single ‘Annie’. I sang both sides, which kind of shows two sides of Anthonio’s personality in a way. It was a fantastic experience – Richard is a great guy and über pro, so really a win-win.”
Available on the ANTHONIO single ‘Annie’ via Pleasure Masters
“Positive and negative can only attract” sang Victoria Hesketh on the bouncy ‘Catch 22’, a lesser known LITTLE BOOTS track which initially only appeared on the 7 inch single of ‘Earthquake’ in the UK. Gloriously synthpoppy, in hindsight along with other songs that did not make it onto the final tracklisting of her debut album ‘Hands’, it highlighted a possible direction that could have been taken, but which was ultimately watered down for wider acceptance after she was named BBC Sound Of 2009.
Originally the B-side of the single ‘Earthquake’, now available on the LITTLE BOOTS deluxe album ‘Hands’ via On Repeat Records
Continuing a great tradition among the synthpop acts of the past, VILLA NAH had ‘Benny’s Burning’ and ‘Daylight’ as part of their B-side armoury as well as the brilliant debut album ‘Origin’. Highlighting the inherent talent of Juho Paolosmaa and Tomi Hyyppä, ‘Benny’s Burning’ was a smoother and more atmospheric side of VILLA NAH compared with the uptempo technopop impressions of its A-side ‘Rainmaker’. The Helsinki duo later opened for OMD during the UK leg of 2010’s ‘History Of Modern’ tour.
Available on the VILLA NAH single ‘Rainmaker’ via Keys Of Life
Produced by Vince Clarke, ‘Never Let You Down’ was free of the many autotune treatments that Frankmusik had applied when helming the disappointing ‘Tomorrow’s World’ album in his attempts to make ERASURE sound more modern and contemporary. As a result, that heartfelt soul often associated with Andy Bell made its presence felt over a glorious galloping synthpop tune in the classic ERASURE vein, especially during the middle eight section in Spanish.
In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Any number of them are worthy of mention but the nod goes to ‘Fall By Another Name’ as it was accessible enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir hence its likely relegation to flipside, the bright pulsing melodies and James New’s Dave Gahan impression made this sound rather like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’.
While the A-side was a faithful cover version of Peter Schilling’s anthemic ‘Major Tom’, ‘Dead Air Einz’ was a self-composed song by APOPTYGMA BERZERK mainman Stephan Groth that was eagerly welcomed at the time, thanks to it being his first original new track for four years. Utilising distorted radio broadcasts in its backdrop, it also featured some Korg MS20 from Jon Erik Martinsen and was something of a grower with its steadfast drum machine shuffle.
Available on the APOPTYGMA BERZERK single ‘Major Tom’ via Pitch Black Drive Productions
Making their initial impression with the mighty ‘Lies’ in 2012, Glasgow trio CHVRCHES actually became the mainstream saviours of synthpop that LITTLE BOOTS and LA ROUX had promised but ultimately failed to deliver on. ‘Now Is Not The Time’ was a fantastic midtempo tune with a great chorus that like ‘The Mother We Share’ sounded like Taylor Swift gone electro. However, it got relegated to B-side status despite being superior to several songs on their debut long player ‘The Bones Of What You Believe’.
Available on the CHVRCHES single ‘Recover’ via Virgin Records
In a pattern similar to the ‘Sounds Of The Universe’ boxed set only track ‘Oh Well’, the best song from ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy Eurocentric austere, all the perfect ingredients for a classic DM tune! While it was no doubt rejected for not fitting into the faux blues aspirations of modern DEPECHE MODE, it made up for the dreary notions of the A-side ‘Heaven’ which were more like hell…
Originally the B-side of the single ‘Heaven’, now available on the DEPECHE MODE deluxe album ‘Delta Machine’ via Columbia Records
OMD’s twelfth album ‘English Electric’ was notable for combining conceptual art pieces alongside supreme electronic pop in a manner reminiscent of their fourth long player ‘Dazzle Ships’ and KRAFTWERK’s ‘Radio-Activity’. Although four of these concepts made it onto the final running order of the album, one that didn’t was ‘Time Burns’, a intriguing sound collage comprising of clock movements, chimes and digital watch alarms over rumbles of sub-bass and profound computer generated speech.
Originally the B-side of the single ‘The Future Will Be Silent’, now available on the OMD EP ‘Night Café’ via BMG
A stomping electro disco number produced by Mark Reeder and Micha Adam, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provided the heat! However, ‘United’ has ended up as the B-side. Reeder said ”I saw a piece posted on The Electricity Club about QUEEN OF HEARTS and I was curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.”
Originally the B-side of ‘Secret’, now available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves
With an alluringly haunting vocal from Anais Neon, the eerily stark ‘Little Death Capsule’ saw VILE ELECTRODES tell the story of early space travel when these primitive craft were sent out of the earth’s atmosphere effectively sitting on inter-continental ballistic missiles, with burning up also a possibility on return. With pulsing instrumentation from Martin Swan, it featured the sort of sterling analogue treatments that would make KRAFTWERK and YELLOW MAGIC ORCHESTRA proud.
A touching tribute to Messrs Clarke, Gore, Hütter and Schneider with hints of YAZOO’s ‘In My Room’, Johan Baeckström said of ‘Synth Is Not Dead’: “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.
Available on the JOHAN BAECKSTRÖM single ‘Come With Me via Progress Productions
METROLAND (We Need) Machines Without Romance (2015)
METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius. Gropius theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked towards the 21st Century interpretation of that goal. Now imagine if Gary Numan had actually joined KRAFTWERK in 1979? Then the brilliantly uptempo ‘(We Need) Machines Without Romance’ would have surely been the result.
Originally the B-side of ‘Zeppelin’, now available on the METROLAND boxed set ’12×12′ via Alfa Matrix
Of the superbly rousing ‘Paper Thin’, Richard Silverthorn of MESH recalled: “Mark Hockings presented me with a demo at the time we were writing material for ‘Looking Skyward’. On first listen, I wasn’t too sure about the track as I thought it didn’t really fit with the overall feeling of the album so it kind of got shelved. The record company asked ‘what about the B-side?’ so Mark suggested ‘Paper Thin’ again. The bassline, drums and many other lines were changed and the new version came to life.”
After SCARLET SOHO, James Knights busied himself with a new Britalo inspired solo project. With hints of NEW ORDER’s ‘Subculture’ and found on KNIGHT$ debut EP ‘What’s Your Poison?’, he said “’So Cold’ is the second or third song I wrote as KNIGHT$. It’s a little darker than my other material, and the only song I’ve recorded using a marxophone (a fretless zither which I borrowed from my friend Alun Davies). It didn’t make it onto my debut album, but it’s still a song the audience enjoy, as do I.”
PSYCHE co-founder Darrin Huss said of ‘Truth Or Consequence’: “It started out under the title ‘Life On Trial’ and was about the Bradley Manning (now Chelsea) situation. It’s about the NSA surveillance, whistleblowers, etc. It’s also about the confusion between what is Truth, and what are the consequences of telling it, living it? Do we have safety in numbers? etc. It’s all in the lyrics. It’s a very PSYCHE song with even a nod to ‘The Brain Collapses’ with our use of that song’s drum machine the Oberheim DMX.”
That Marc Almond and Dave Ball reunited for a farewell gig and new material was a pleasant surprise. The frustration and anger expressed in ‘Guilty (Cos I Say You Are)’ with the lines “I can denounce you just because I can, I didn’t have the life I wanted, I didn’t do the things I dreamed” saw SOFT CELL continue where they left of in 2003. With dark resonances like ‘The Omen’ gone disco, its eerie gothique countered the celebratory electro-soul of A-side ‘Northern Lights’
INTERNATIONAL TEACHERS OF POP Another Brick In The Wall – Remoaner mix (2019)
Inheriting the mantle of THE HUMAN LEAGUE in the modern synthpop stakes, INTERNATIONAL TEACHERS OF POP impressed with their self-titled debut album. With the single release of ‘The Ballad Of Remedy Wilson’ was a timely Remoaner mix of PINK FLOYD’s ‘Another Brick In The Wall’ sung in German that made a bold musical and political statement. Headteacher Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.
APOPTYGMA BERZERK goes Deutsch with the ‘Nein Danke!’ EP.
The prominent NEWWAVESYNTHPOP legend emblazoned on the front of its striking yellow artwork more than gives away its contents.
Throughout his electronic love affair, Norwegian Stephan Groth embraced all shades of synth, from the stomping EBM, through future pop to instrumental wonders like his 2016 offering ‘Exit Popularity Contest’ which was one of the best wordless electronic albums ever written.
Dabbling in alternative rock and lighter shades of goth, the artist became an icon for a wide variety of electronica listeners, gaining fans all over the globe and lending his production skills on other artists’ outings. Groth is a clever chameleon, whose input into the world of synthpopia is invaluable. But he is not a one man band on stage, but he certainly knows his stuff when working in the studio, from writing, performing and producing the tracks, having been solo at APOP for pretty much ever.
Having been around for 26 years, the man doesn’t stop experimenting. Of course when he started, he had to use much more of his own creativity than the kids of today do. In his interview with Electricity Club last year, Groth mused about his beginnings: “Back in the day we had to use our imagination way more and be more creative than today”, but he surely uses it now, even with the vast advances in music technology.
After a few years of waiting and teasing via live premieres, the ‘Nein Danke’ EP presents a comeback to harsher side of synthpop.
‘Soma Coma’ is a timeless piece, now and again nodding towards quintessential PET SHOP BOYS, but the following ‘Atom & Eve’ with its superbly mechanical rhythm sounds vintage enough to mesmerise the hardcore lovers of the classic synth. Hitting hard, ‘A Battle For The Crown’ rolls out the good old drum machine, old style DEPECHE MODE on steroids-like.
Somehow APOPTYGMA BERZERK manage to bring in the old with the new and make it sound luscious. The melody is there, the texture is there and the feeling is there too, what’s not to love.
‘Nearest’ sees Stephan’s brother Jonas step into the limelight on a very cute electronic ballad, which utilises sounds reminiscent of ‘Exit Popularity Contest’ mingled with chosen tracks from ‘Welcome To Earth’. A proper chill out song, ‘Nearest’ has the same ethereal qualities as the best known track from APOP, ‘Kathy’s Song’.
Having toured with VILE ELECTRODES last year, Groth expressed his appreciation towards the Hastings duo’s works by joining forces on a superb version of ‘Deep Red’.
Jane Caley and Martin Swan’s “long cut” remix version is sublime, dark and deliciously dirty.
‘Battle Of The Crown’ gets its remix by DRUGWAR, and what remix that is! Tribal, minimalistic, gritty and sleek all in one go, followed by a quaint rework of ‘Atom & Eve’ from ZONE TRIPPER. Arcade games anyone? The C-64 version has those in spades.
The closing ‘Jennifer Corvino’ invites in with hauntingly beautiful classical piano, interjected with synthesised inclusions that create a second to none soundtrack soundscape. Indeed the fictional character taken from the 1985 movie ‘Phenomena’, Jennifer is a student in Swiss boarding school stalked by a serial killer.
The character played by Jennifer Connelly uses her powers to communicate with insects to catch the killer. The piece is superb, and a great way to wrap up the newest ordering from APOP.
Yet again, the big character in a small package, Groth proves that he does what he likes, when he likes, as ‘Nein Danke!’ is an exhilarating experience of various tempos, mixing the current with the old, so instead of “nein, danke!”, we say “Ja, bitte!”
Norwegian electronic covers combo CHINESE DETECTIVES released their only album ‘Are Kisses Out Of Fashion?’ in 1999.
The brainchild of Per Aksel Lundgreen who had cut his teeth in APOPTYGMA BERZERK, the concept was to be a “SILICON TEENS of the 90s” with frantic dance beats acting as the backbone to accompany the hooks of classic synthpop.
CHINESE DETECTIVES scored a number of Scandinavian hits with songs originally made famous by YAZOO, MEN WITHOUT HATS and DIVINE.
‘Are Kisses Out Of Fashion?’ additionally featured reinterpretations of SPARKS, BRONSKI BEAT, PET SHOP BOYS and several lesser known acts while the album itself was to become something of a cult favourite, partly thanks to featuring the only officially released version of a Vince Clarke instrumental from which CHINESE DETECTIVES got their moniker.
The classic trio line-up of Per Aksel Lundgreen, Preben Bjønnes and Desirée Grandahl kindly reminisced about the making of ‘Are Kisses Out Of Fashion?’ with The Electricity Club.
So what came first, your cover of ‘Chinese Detectives’ or the band concept? How did it come about?
Preben: Per Aksel suggested ‘Chinese Detectives’ as a track and name for the band.
Per Aksel: Being an avid YAZOO and Vince Clarke collector, I had obtained a live tape that I bought at a stand in Camden Market in London of the 1982 gig at The Dominion, and on that tape, the instrumental track ‘Chinese Detectives’ was included. I always loved the track, and also the name, and I really wanted to use it as a band name, so we did. Then the idea was launched to do a cover of ‘Situation’ as the “A-Side” of the single, and a cover of ‘Chinese Detectives’ as the “B-Side”. I know that the track has also been referred to as ‘China’ on early live-recordings etc, but more on that later, ha ha!
Desirée: I´m the lucky one because I didn´t have to give any of that any thought! Got it all served on a silver platter.
The track is often mistaken as being the theme for the BBC TV drama ‘The Chinese Detective’ but is actually a Vince Clarke original. How did you go about interpreting and recording it? Did Mr Clarke give his approval?
Per Aksel: The sound quality on the live tape I had wasn’t really top notch, so we had to do our best to make out all the sounds and figures being played.
There’s also a part on there where it sounds like Vince is talking on top of the track, but we never ever figured out if that was just an accident, or if it was supposed to include some spoken words. I knew at the time that all Vince Clarke material was published via Sony Music Publishing, so I wrote them a letter, inquiring about the track, and asked for permission to do a cover version of it.
I actually received a reply via fax, yes it was that long ago, and in the fax it said something like: “Sony Music Publishing and Vince Clarke hereby grant you the rights to do a cover of the before mentioned track, ‘Chinese Detectives’.”
I was gobsmacked and very very happy of course. I saved that fax for many years, and when I one day went into some boxes to find it, the print had disappeared and the fax paper was all white, ha ha! I wish I’d taken a copy of it, but hindsight is 2020, right!
Preben: Hopefully we did the track justice 🙂
Desirèe: The credit for that goes to the lads. Hopefully Mr Clarke approved and loved it.
Why did you choose ‘Situation’ as a single to debut CHINESE DETECTIVES with?
Preben: We all loved the song and especially Vince Clarke’s song writing.
Desirée: I mean, even if I didn´t do the vocals on the first single, who wouldn´t choose that iconic song with that iconic group?
Per Aksel: We’re all huge YAZOO fans, and it was one of those tracks that we felt we could do something with. It was actually in the Norwegian Dance Charts and it was on a couple of “Eurodance” type compilations here in Norway, and the single sold close to 10.000 copies at the time, so we were very very happy of course. This made us want to do more, and the record company too cheered us on.
Strangely, in Norway we were considered “Eurodance”, but in Sweden and the rest of Europe and the US, they called us a synthpop act, and I for one wanted it to sound “synthpop”, but maybe we leaned towards the “Eurodance” since that was in the charts at the time. I don’t know, but we were treated very differently in Norway and in Sweden.
In Norway, we played “dance party” festivals for 5000 people together with 2 BROTHERS ON THE 4TH FLOOR, SOLID BASE, TWENTY 4 SEVEN, 2 UNLIMITED and stuff like that, but in Sweden we played on Swedish Alternative Music Awards for 500 people together with S.P.O.C.K, IN THE NURSERY and COVENANT, so it was a strange situation, but we just went with the flow and played everywhere we were wanted really.
We also had two other guys involved at the early stage of Chinese DETECTIVES, Trond Haugerud and Lars Kristian Aasbrenn, but they both dropped off. Lars Kristian after the first single, and Trond after the second one. No particular reasons for this, they just left basically, but they did also put in a good deal of work and input before they left, so I feel it’s important to put that out there.
After your second single, a cover of MEN WITHOUT HATS ‘Where Do The Boys Go’, your first singer Kristine Ulfeng departed, what effect did that have on whether to continue with CHINESE DETECTIVES?
Preben: No effect. We already knew we wanted to make a whole album with a different voice.
Per Aksel: When we started recording the third single, ‘You Think You’re A Man’, it became evident very early that Kristine’s voice wouldn’t cut it for that track. We took the harsh decision of telling her to leave and then asked Desirée to join the band. Not our proudest moment, and it wasn’t really fair to Kristine as she was fully devoted on the two first singles, but Preben and I were young and ambitious and had huge egos, so I’ll have to blame it on that.
Desirée: It had the wonderful effect of giving me the role of the mysterious and handsome girl at the mic.
Desirée had a deeper resonance to her voice and her first single with CHINESE DETECTIVES was a cover of DIVINE’s ‘You Think You’re A Man’ in 1996; did you know that song was written by Geoffrey Deane who was the original lead singer of MODERN ROMANCE?!!? 😆
Preben: News to me 🙂
Desirée: Ooops, you got me there! Shame on me for not knowing that…
Per Aksel: All I know is that when I wrote the credits in the booklet, it said “G Deane”, but I had no idea it was the original lead singer of MODERN ROMANCE! :O
We all love a bit of HI-NRG, and especially DIVINE and Bobby O productions in general, and I really think we nailed that one! Very happy with that single to be honest! The two first ones were good too, but the sound on ‘You Think You’re A Man’ is still holding up in my opinion.
The album ‘Are Kisses Out Of Fashion?’ finally came out in 1999, had it been a challenging project to finish?
Preben: It was a labour of love, I loved every bit of it. Working in a pro-studio with Erik Wøllo was a high point for me as I have mostly worked in my own studio. We had a very nice atmosphere in the studio where we loved every song we worked on. It became a very eclectic album I think. 🙂
Desirée: On the subject of who was gonna be our label and who was gonna release it – it was a challenge. The process of making the album wasn´t all that bad. We took some time picking and agreeing on the songs, then finding the right producer and of course getting it right in the studio. I will say that there was more laughter than fights.
Per Aksel: The truth is that the album was already finished late 1996 or early 1997, I can’t remember exactly now, and at the time, the label had a bit of a dry spell and didn’t have the money to finance the printing of the album, and the third single didn’t do as well as the first one, so maybe they lost a bit of faith in us, I’m not sure.
Anyway, in 1999 I kinda pushed them to release it, as 80s sounding synthpop was returning more and more, and the first pressing of 5000 copies sold pretty quickly, so I know the label never regretted it in the end.
It was the label that also paid the £3500 for the studio and recording of the album, so I was surprised that they didn’t want to try and recoup their money.
The process in Wintergarden Studio with Erik Wøllo as our co-producer really helped and lifted this record into what it became. We never could have achieved that result without Erik. His studio was in his basement, so we jokingly said we we’re recording “Downstairs At Erik’s”, ha ha! He also had a lot of cool equipment in his studio that we could use to fatten up our sound and to make the songs more diverse than they were in their original demo-form.
Stephan Groth of APOPTYGMA BERZERK had also bought a Novation Bass Station at the time, and we borrowed that for some tracks too, and it’s especially evident on ‘Hit That Perfect Beat’. I also had a Roland JX3P that we used heavily and a Yamaha TX7 that was in Erik’s studio that we used for the FM-bass lines and such.
Most of the ‘Are Kisses Out Of Fashion?’ album sounds a bit like Alison Moyet fronting a frantic Eurodance covers project, there was a distinct HI-NRG bent with tunes like ‘Hit That Perfect Beat’, ‘All You Ever Think About Is Sex’, ‘You Think You’re A Man’ and a very pacey version of ‘Johnny & Mary’? Was the club market where you were aiming CHINESE DETECTIVES?
Desirée: Oh, I love me a bit of frantic Moyet!! Seriously, I think the club market was THE market at the time, but I also think we were a little bit a head of our time. If the album had hit the club market a bit into the 2000s, I personally think we would have had an even greater success with it. The trend of picking up great tunes from the 80s didn´t really kick in until 2004-2005. Maybe we can say that we started the trend? Let´s keep that illusion.
Preben: We all love HI-NRG and especially songs produced by Bobby O. Having said that, we wanted to do our own versions of our favourite songs.
Per Aksel:Alison Moyet is probably THE BEST female voice in the world of music in my opinion, and Desirée is blessed with a serious set of pipes and a voice that is very close to Alison’s, so we felt we’d struck gold when she wanted to join us to be honest.
I’m not quite sure we went for the club market OR “Eurodance” to be honest, it was all “synthpop” to us, but looking back, I can see how the music in the charts and the new synths coming out etc flavoured our sound and the outcome of the finished result. Having had chart success in Norway with the two first singles, we were actually on Norwegian television at the Norwegian Top 20 being interviewed about the ‘Where Do The Boys Go?’ track and video, so that probably also told us that we had a shot at “this chart stuff”, but we failed to chart after that, and became more of a thing for the synthpop fans instead. That’s a good thing, because that’s where we belong anyway, ha ha!
When the album slows down a bit in the middle, the album gets very interesting with your covers of ‘Love Is Just A Word’ by SILENT CIRCLE and ‘Run For Love’ by WINDER, two acts which would have been largely unknown outside of mainland Europe, what is the story behind these?
Preben: We loved the songs. WINDER’s is an all-time favourite of mine from Denmark. I think they only did three singles and an album.
Desirée: Those two songs were kind of pushed by the lads. I thought at first that ‘Love Is Just A Word’ was too “German lighter ballad-ish”, but it grew on me really. And after doing it live, it kind of gave you that arena-effect, with people singing along and of course waving their lighters.
When the song ‘Run For Love’ came up, I wasn´t sure what to do. I felt that it was so girly and non-edgy. The fun part is though, that so many reacted to this song and really liked our version. Let´s just say that this was my “swallow the camel” moment.
Per Aksel: The WINDER track was an old “guilty pleasure” of mine, and I thought that we could do a really good job with it. I know Desirée really didn’t like it much, but she played along, and the version we ended up with is ok I guess, but far from my favourite on the album. A lot of people seem to love this version though, which is great, but I don’t know, it’s still a bit Eurovision sounding and a bit cheesy!
‘Love Is Just A Word’ was picked as the idea of having a ballad on the album, but now that I think of it, we should have done ‘Touch In The Night’ instead. CHINESE DETECTIVES were never meant to do ballads, ha ha! I remember seeing SILENT CIRCLE performing ‘Touch In The Night’ on Peters Pop Show from Germany via Swedish Television back in the 80s, and that’s how I got turned onto the band. Their first album, ‘No 1’, is still a good album I think, a hidden gem for many, but a good synthpop album.
The album title song features something of an orchestra stab frenzy and was originally by SUDETEN CRÈCHE, a very obscure British duo. How did you hear about this song?
Preben: Per Aksel introduced us to the song and we knew immediately that we could make our mark on it.
Desirée: Why wouldn´t a bunch of nerdy electronic music people have heard about that one?
Per Aksel: Going back to me being an avid YAZOO and Vince Clarke collector, I’d heard from some other collectors that the compilation album ‘Europe In The Year Zero’ included a different version of ‘Goodbye 70s’ than the one on ‘Upstairs At Eric’s’, so I ended up getting hold of a copy of that LP. It had a different version of ’Goodbye 70s’ indeed with some extra echoes and delays to the vocal, and it was a bit shorter with a strange fade, but still a different version. Anyway, on that same album was the band SUDETEN CRÈCHE with their track ‘Are Kisses Out Of Fashion?’.
My girlfriend at the time loved this track and had it on several mixtapes, so I knew it well, and when it came time to pick track for the album, Preben, Desirée and I wrote down our suggestions of what tracks to do covers of, and we immediately agreed that we could do something with this minimal wave classic. We also decided to use the title of the track as the title of the album, as it was very 80s sounding and cool.
In 2006 or so, I got contacted by Mark Warner from SUDETEN CRECHE who asked us about this cover, because we tried to get hold of them back in 1996, but it was impossible to find any information. So we started emailing them back and forth, and they said they really liked the version we had done. Later I was invited to be live keyboarder for SUDETEN CRECHE on a European tour they did together with OPPENHEIMER ANALYSIS and a couple of other bands, but I couldn’t accept that offer since I had other commitments at the time, but the offer itself meant a lot to me and I was really flattered by it.
Later on, after a lot of emails and a growing friendship, Mark Warner invited me to come stay with him at his house outside Bedford where he’s got a studio in his back yard, to work on some music together.
This is how I ended up doing three EPs with ROSSETTI’S COMPASS together with Mark. He wrote all the material, and I was more in on the production side of things, but we had great fun in the studio, and I got to know his lovely wife and two daughters who now just call me Uncle Per. I visited Mark as late as January this year, and a lovely and lasting friendship has come out of doing that cover version. Who would have thought ha? Life can serve you up some wonderful things sometimes, especially when you meet great people like Mark Warner. A true friend.
You covered INDUSTRY with ‘State Of The Nation’ so the range of genres you sourced on ‘Are Kisses Out Of Fashion?’ was very varied in hindsight?
Preben: We wanted music from all over the spectrum; obscure to the big hits.
Desirée: There is and there was so much good music to choose from, in many genres. The list of songs we would have loved to put on the album was long, but I think we´re all quite happy with the once we chose. I also think that it shows that we´re influenced by many genres.
Per Aksel: ‘State Of The Nation’ to me was a “synthpop” song, and I really really liked it, and I also think we did a great version of it. There was a vocal part there at the end of the track, after the music ended that we should’ve kept though. Desirée wanted to keep it, but Preben and I voted against it, ha ha. Looking back, Desirée was right, we should’ve kept it. Wonder if I’ve still got that other version on DAT-tape somewhere. Hmmm…
What are your own personal favourites on ‘Are Kisses Out Of Fashion?’ and why?
Desirée: Oh, that´s a hard one. I should of course say ‘Situation’ but I´m not gonna say that. I just love ‘State Of The Nation’; loved the song originally and loved to sing it. ‘Are Kisses Out Of Fashion?’ and ‘All You Ever Think About Is Sex’ come in at second place. Just because ‘Are Kisses…’ became almost a completely new song when we did it and ‘All You Ever Think About Is Sex’ is a fun and theatrical song which I love.
Preben: ‘Hit That Perfect Beat’ by BRONSKI BEAT. I loved the vocals on it. And the mix still holds up. Very happy with the bassline 🙂
Per Aksel: I still think that our version of ‘I Want A Lover’ by PET SHOP BOYS is the best one, but nobody seems to agree with me! LOL! I also have a huge fondness for ‘You Think You’re A Man’, ‘Hit That Perfect Beat’ and ‘All You Ever Think About Is Sex’, great versions that differ from the original and still add something extra. I also love the energy that we managed to put into those tracks. They’re explosive in a way, and I’m very proud of what we managed to do together on those tracks! Would’ve been even better if we’d written the tracks ourselves of course, but hey, we borrowed someone else’s songwriting talent and built on that, that will have to do.
Was CHINESE DETECTIVES, like SILICON TEENS, destined to just do the one album?
Desirée: No, not really. We had plans and visions. Preben and I did our own project with POSH. We had so many ideas for our own music and CHINESE DETECTIVES was a cover project. But the intention was to make more music with CHINESE DETECTIVES as well.
Again the situation with getting a label, getting us distributed and of course the sign of the times in the music industry put a stop to more albums at the time. We do however, have some new covers done. We did some new tunes for a couple of gigs some years ago and that was great fun. So you never know, maybe we´ll be back.
Preben: I don’t think we had any plans beyond an album. Might have played it by ear.
Per Aksel: Funny you should say that! My own catch phrase / slogan was that we aimed to be a “SILICON TEENS of the 90s”! We are huge fans of the ‘Music For Parties’ album, and doing 80s tracks in the 90s before that became fashionable kinda put us in the same category at least as SILICON TEENS.
I never had plans beyond that one album back then at least. While waiting for the CHINESE DETECTIVES album to be released, Preben and Desirée continued on the side with their own project, POSH, that released a great album called ‘In Vanity We Trust’ on CD in 1999 too. That is also a great but sadly forgotten album by many. Sounds like YAZOO with a more modern sound.
CHINESE DETECTIVES reformed for Electronic Summer 2016 in Gothenburg, how was that for you?
Preben: I unfortunately had to pull out of it due to illness. But I hear it went down well 🙂
Per Aksel: That was amazing! We had a great great time, and back then it was exactly 20 years since we last played in Gothenburg, so it was a celebration and a huge kick being on stage with CHINESE DETECTIVES again in front of 600 people at The Brewhouse.
People loved it and we got so many people coming up to us after the show saying “finally I got to see you live” and stuff like that, including Hannes Malecki, the singer from WELLE: ERDBALL, who was also playing at the same festival. He confessed to being a huge fan of CHINESE DETECTIVES when I met him there, which was a very nice compliment, coming from a guy whose work I admire very very much. I have a complete collection of all the WELLE: ERDBALL CDs, so…
Desirée: Oh my Lord that was fun. I had no expectations for that gig. I thought we were forgotten and obsolete. We started the evening with our set and I thought that there would be close to no one in the audience. When the music started and I went on stage, I got a pleasant shock. The place was packed and people sang along and had a jolly good time. So did we! People were so positive and loving. That was just a blast!
Over twenty years on, how do you view the way an electronic pop cover should be done? With so much history, is going outside of the genre more preferable to achieve something different, rather than just cover say DEPECHE MODE, NEW ORDER, SOFT CELL and ERASURE, who interestingly CHINESE DETECTIVES didn’t cover?
Preben: We tried to stay away from the obvious songs. But there are millions of great songs we could have done. We have tried to do some new ones few years back. ‘The Metro’ by BERLIN was one of them. We have played it at some concerts. We also demoed ‘You Spin Me Round’ by DEAD OR ALIVE and even made an instrumental of ‘Heartbeat City’ by THE CARS. And a few others. Hopefully we will make another album in the future 🙂
Desirée: The term electronic pop is no longer obscure and for the few and nerdy. So to make an electronic pop cover today, the bar is lifted. We did go outside the electronic genre when we did our album and I think that by doing that, the songs got a new life. This, I think, is still the case. A good song is a good song in any genre. Even if it would be great fun to cover, let´s say a EURYTHMICS tune, the approach I think would be different now than it was twenty years ago. And no wonder, we´ve learned a lot in twenty years!!!
Per Aksel: We definitively tried to AVOID the “usual suspects” when picking tracks for the album. I know Desirée wanted to do both a cover of a EURYTHMICS track, and a CULTURE CLUB track, and that didn’t happen, probably because they were too big and famous or whatever. We had some strict but strange rules back then, ha ha!
The truth is that I’m usually not a big fan of cover versions myself, and it’s only a few that I really like, and I try to avoid them when other bands do covers. Strange to think of when I was in a band that did a whole album of them, right?
We had ‘Send Me An Angel’ by REAL LIFE half-finished in demo form back then, but it never came to fruition, and that’s about it I think from back then. Preben did demo some other tracks that I don’t remember right now, but we ended up with those that are on the album, and I think the selection is pretty much good. When it comes to DEPECHE MODE, we’ve had enough covers there already, haven’t we? I mean, we’ve had enough of the band itself even, so never mind covers ha ha!
Some cover versions that I do like though, are: FAIRLIGHT CHILDREN – ‘Bedsitter’, LEMONHEADS – ‘Mrs. Robinson’, APOPTYGMA BERZERK – ‘Major Tom’, WOLFSHEIM – ‘Ruby, Don’t Bring Your Love To Town”, MALARIA – ‘Lay, Lady Lay’, and BIGOD 20 – ‘Like A Prayer’. The “perfect” cover version in my opinion though, is the one that RÖYKSOPP feat. Susanne Sundfør did of ‘Ice Machine’. Absolutely love that one!
What songs would you cover today if you were to do a new album?
Preben: BLANCMANGE – ‘Blind Vision’ or ‘Don’t Tell Me’, THE CARS – ‘Heartbeat City’, ABC – ‘Be Near Me’, JAPAN – ‘Life In Tokyo’, CRETU – ‘Samurai’, THE HUMAN LEAGUE – ‘Boys & Girls’, OMD – ‘Telegraph’, BERLIN – ‘Metro’, SECRET SERVICE – ‘Flash In The Night’, DEAD OR ALIVE – ‘Big Daddy Of The Rhythm’, CLOCKWORK ORANGE – ‘Sensation Boys’, THOMPSON TWINS – ‘In The Name Of Love’ or HEAVEN 17 – ‘Come Live With Me’. All of those would have worked I suppose!
Desirée: I’ve always wanted to do a cover of ‘Sexuality’ with Erasure, but never got around to it. Maybe the time is now?
Per Aksel: Hmmmm… THOMPSON TWINS – ‘We Are Detective’ would fit us perfectly I think, and I also agree with Preben on ‘Big Daddy Of The Rhythm’, such power and energy! Maybe we should accommodate Desirée too, and do ‘Here Comes The Rain Again’ or ‘Paint A Rumour’ by EURYTHMICS? I also would’ve picked another minimal wave track or two, like ‘Night In June’ with LINEAR MOVEMENT, or ‘All Rights Reserved’ by FRED. Great tracks, real gems that one could bring out to the masses! That’s the best thing I think, when you can get people to discover a track they’ve never heard before through your cover version!
All in all though, I’m a little fed up with covers at the moment as I told you, but I’m not going to be a killjoy.
Preben, Desirée and I live nearby each other, and if we find the time and inspiration, I don’t see why we couldn’t / shouldn’t do some more stuff together. All that without giving any promises though, ha ha!
The Electricity Club gives its sincerest thanks to CHINESE DETECTIVES
2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.
While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business.
That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic…
MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again. HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.
Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.
Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.
As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.
Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.
After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.
Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.
To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of OLLIE WRIDE took a more MTV friendly direction with ‘Thanks In Advance’.
But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.
QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.
On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.
Photo by Johnny Jewel
Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour.
Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel.
Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from JORJA CHALMERS who became ‘Human Again’.
Touring in Europe with OMD and MIDGE URE, TINY MAGNETIC PETS unleashed two EPs ‘The Politburo Disko’ and ‘Girl In A White Dress’ as fellow Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.
The King of Glum Rock LLOYD COLE surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man GARY DALY ventured solo with ‘Gone From Here’.
Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.
However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths. DANA JEAN PHOENIX though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.
Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by The Electricity Club to be disappointingly prevalent in several fledgling acts.
However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.
While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…
Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019.
It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.
Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur like it was normal behaviour, forgetting that ability and talent were paramount.
This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.
Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?
Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?
Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.
It’s a funny old world, but as The Electricity Club comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever.
Artwork by Heloisa Flores
The Electricity Club had a compilation released by Amour Records gathering some of the best music from the last 10 years and reached No2 in the German POPoNAUT charts.
It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of deluded poor quality artists will contaminate the bloodline.
So The Electricity Club ends the decade with a complimentary comment by a punter after TEC006 who had also been to TEC004: “You don’t put on sh*t do you…”
May the supreme talent rise and shine… you know who you are 😉