Tag: Automatic Writing

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

A Short Conversation with AUTOMATIC WRITING

automatic-writing-2015Sibling duo AUTOMATIC WRITING have been steadily building their profile since the release of the brilliant debut 45 ‘Falling’ b/w ‘Continuous’ in late 2012.

Featuring the sombre baritone of Neave Merrick and the synthesized post-punk interventions of brother Jamie, artists such as BRIAN ENO, SPARKS, KATE BUSH, NEW ORDER, THE HUMAN LEAGUE, JAPAN, PET SHOP BOYS, THE SMITHS and THE WALKER BROTHERS have shaped of their sound.

While their 2015 EP release ‘New Colours’ may have provoked a mixed response in some quarters, AUTOMATIC WRITING remain determined to pursue their oblique modern art for art’s sake, as indicated by their most mutant recording yet in recent single ‘Blue Unicorns’.

With ‘Continuous’ being one of the 34 songs featuring on The Electricity Club’s upcoming 2CD compilation released by Amour Records / EMI Minos / Universal Music, Neave Merrick spoke to The Electricity Club about “Warm Jets, Nite Flights and Wuthering Heights”

automatic-writing-salford-lads-clubBands featuring male siblings are often known to be quite fractious partnerships. What is the creative dynamic like with your brother in AUTOMATIC WRITING?

Well our roles are quite clearly defined so we don’t really ever tread on each other’s toes. We haven’t had any Gallagher style spats…. yet haha!

So how would you describe the music you make?

Psychedelic synthpop from another galaxy…

AUTOMATIC WRITING appear to draw influences from all sorts of sources?

Over the years we’ve been just as influenced by directors, authors and visual artists as we have been by other musicians. It all goes into the big melting pot.

What were the inspirations behind ‘Continuous’?

Thematically it was inspired by living in London and forcing yourself out of your comfort zone as much as you’d love to stay comfortably inside it sucking on your thumb. Musically, it was influenced by a guy called RODION G.A. who made all this amazing psychedelic synthpop in Romania in the 70s and 80s and YELLOW MAGIC ORCHESTRA who I’m sure anyone who follows TEC will know a lot about!

‘Continuous’ perhaps has a harder, more pronounced percussive template that some of your other material?

Yeah possibly it does. It really needed hard brutal drums to cut through the mix and drive the song forward. Still really pleased with the snare sound on that track.

The other side of the single ‘Falling’ seemed to be a perfect companion to ‘Continuous’?

They definitely have a thread to them. I was initially going to put ‘Continuous’ out with a B-side but I thought ‘Falling’ really complemented it so we decided to put out a double A side instead. Still really proud of that single.

You sort of went back by issuing an EP ‘Introduction To Floating’ in 2013 which contained earlier material, was there any particular reason for that?

Well after the ‘Continuous/Falling’ single came out our fanbase really expanded and we wanted to introduce to people to our previous work as well. Before releasing ‘Introduction to Floating’, those tracks were spread all over the interweb so we thought it would be nice to compile them altogether in one place. We also felt they worked really well together as an EP too.

What drew you towards covering ROXY MUSIC’s ‘More than This’?

Quite simply, I’ve always loved that song so I thought I’d give it a bash. It was basically recorded within about two hours one evening. Very self-indulgent but we got a good response from it anyhow!

The ‘New Colours’ EP came out in the summer 2015; how did you feel that was received?

Well, it was the first time we’d got some dodgy reviews and it was quite hard to take at the time. When you’ve poured your heart and soul into something and people pan it it’s always hard to take. I’m still really proud of that EP anyway and the title track has become a real fan-favourite.

Is the album format dead? Is the long form EP a more practical showcase in the modern music environment for independent acts?

I think until you’ve built up a big enough following, I really think a single or an EP is the best way to get your music out there. We all know most listeners just select tracks and add them to playlists. I’m part of the old-school who actually love albums, so we’d love to put one out one day when the time’s right

Do you think your most recent single ‘Blue Unicorns’ released earlier this year is representative of where AUTOMATIC WRITING are musically at this time?

Definitely! Our music has a real kaleidoscopic and psychedelic feel to it now. We’re really pushing ourselves to expand our sound and I think ‘Blue Unicorns’ is a great snap-shot of that.

AUTOMATIC WRITING2013You used an Omnichord for a new track you unveiled called ‘Moon Palace’, what do you find fascinating about that instrument?

Well it has a really naive and beautiful sound to it and it’s a joy to write on, mainly because it’s so primitive. I strongly believe that we’re defined by our limitations so I think it’s good to restrict yourself sometimes, otherwise you can get lost in the endless possibilities of a DAW instead of actually getting stuff done and creating your own sound.

What’s next for AUTOMATIC WRITING?

As well as working on loads of new material, we’re actually looking into doing our own podcast. We’ve been meaning to do this for a while and it’s looking like we’re finally going to get round to it. We also want play some festival dates next year so we’ll see how that goes!


The Electricity Club gives its grateful thanks to Neave Merrick

AUTOMATIC WRITING’s releases are available from http://automaticwriting.bandcamp.com/

‘Continuous’ features on ‘The Electricity Club’ compilation released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set, available direct from https://www.amour-records.com/product-page/the-electricity-club

The compilation can also 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.facebook.com/automaticwriting

https://twitter.com/Autowriting101

https://www.youtube.com/user/AutomaticViewing


Text and Interview by Chi Ming Lai
17th November 2016, updated 26th January 2019

Introducing AUTOMATIC WRITING

AUTOMATIC WRITING2013“Warm Jets, Nite Flights and Wuthering Heights”… if you know anything thing about music, then you will understand what London sibling duo AUTOMATIC WRITING are all about.

TEC’s Deb Danahay was the first in the team to rave about them and described the pair as “a cross between WHITE LIES and OMD”. The description isn’t far off although vocalist Neave Merrick adopts a far more sombre baritone than Harry McVeigh while brother Jamie handling synths introduces far more post-punk distortion than Paul Humphreys ever did.

Early single ‘Crystal Visions’ is another variant of the Synth Britannia template, coming over like a mutant PET SHOP BOYS fronted by Ian Curtis!

AUTOMATIC WRITING have just released a new EP ‘Introduction To Floating’ which isn’t actually new as such. Featuring live favourite ‘This Is Happening’ and a solemn stripped down cover of ROXY MUSIC’s ‘More Than This’, the 4 tracker compiles recordings which have appeared on Soundcloud over the last couple of years. “Imagine if you can what would happen if Depeche Mode, Bowie and Wild Beasts formed a supergroup and soundtracked a David Lynch film using just a laptop, a few analogue synths and a packet of Brian Eno’s Oblique Strategy cards” say the Merricks and “Immerse yourself in modern art” as their NEW ORDER influenced number ‘Modern Art’ goes…

Although ‘Introduction To Floating’ can be seen as a clearing of the decks release and showcases their earlier, more abstract template, AUTOMATIC WRITING have already proved their dynamic tuneage capability with their previous single, the excellent double header ‘Falling’ and ‘Continuous’. The latter made The Electricity Club’s 30 Songs Of 2012 listing with its magnificent whirs and spins driven by motorik machine beats and dysfunctional claustrophobia.

The release of the EP is a bit confusing it has to be said and shows AUTOMATIC WRITING a bit rough round the edges following the balanced triumph of ‘Falling and ‘Continuous’. However, further experience and development can only see the enigmatically photogenic pair with their brooding soundscapes and spikey guitar textures become more accessible while still retaining that important esoteric edge.


Introducing To Floating AUTOMATIC WRITING‘Introduction To Floating’ is available now as a download EP, along with ‘Falling’ / ‘Continuous’ from http://automaticwriting.bandcamp.com/

AUTOMATIC WRITING play London’s premiere electronic night Bedsitland on FRIDAY 15TH NOVEMBER 2013 at The Boston Music Rooms, 178 Junction Road, London N19 5QQ. The nearest tube is Tufnell Park (Northern Line) right opposite the venue. Admission is £6 on the door https://www.facebook.com/events/220386788122060/

http://www.facebook.com/automaticwriting


Text by Chi Ming Lai
10th November 2013

The Electricity Club’s 30 SONGS OF 2012

It was a weak year musically overall, but a number of acts with great potential emerged.

So here are The Electricity Club’s 30 Songs of 2012, listed in alphabetical order. All have been released either in physical formats or digitally as purchasable or free downloads during the calendar year. However, the list is limited to one song per artist

It also does not include tracks which are exclusive to streams and videos or DJs only promos like the remix of REPUBLICA’s ‘Christiana Obey’… so maybe next year perhaps?


AUTOMATIC WRITING Continuous

Consisting of the Merrick Brothers, AUTOMATIC WRITING are the angry OMD if you can imagine that! Their sombre, ENO influenced template is like Wirral’s finest have been given a contemporary anthemic facelift by having WHITE LIES Harry McVeigh recruited as lead vocalist! ‘Continuous’ whirs and spins while driven by mutant motorik beats and dysfunctional claustrophobia. The flip ‘Falling’ is a more mid-tempo cousin and is another worthy addition to the duo’s developing sound.

Available as a download single via http://automaticwriting.bandcamp.com/

http://www.facebook.com/automaticwriting


BRIGHT LIGHT BRIGHT LIGHT Immature

BRIGHT LIGHT BRIGHT LIGHT is Welsh songwriter/producer Rod Thomas who adopted his ‘Gremlins’ referencing moniker to prevent being mistaken for an acoustic act which he clearly now is not, despite his folkie roots. As the opener to the long awaited album ‘Make Me Believe In Hope’, ‘Immature’ is a great start as it rhythmically percolates in the manner of THE POSTAL SERVICE before a terrific synth section unexpectedly lifts the whole piece several notches. This is a superbly emotive and sensitive piece of pop.

Available on the album ‘Make Me Believe in Hope’ via The Blue Team/Aztec Records

http://www.brightlightx2.com/


CLAUDIA BRÜCKEN Everyone Says Hi

From ‘The Lost Are Found’ album produced by Stephen Hague which also features versions of songs originally by PET SHOP BOYS, DUBSTAR and STINA NORDENSTRAM among others, CLAUDIA BRÜCKEN’s lively reinterpretation of Bowie’s ‘Everyone Says Hi’ from ‘Heathen’ unveils a previously hidden heartfelt connection, a call for contact like Major Tom in ‘Space Oddity’. Dressed with catchy synth riffs and fuzzy shades, it combines ice maiden chill and organic warmth for an artful sound.

Available on the album ‘The Lost Are Found’ via There (there)

http://www.claudiabrucken.co.uk/


CHVRCHES Lies

ROBYN doing an electro cover of ‘The Whole Of The Moon’ may not sound immediately appealing in concept but that’s how this punchy number starts before elevating into a rousing, spirited synth anthem. CHVRCHES could become the next electro combo to shake up the mainstream pop world since LA ROUX. A great song with great melodies and weird noises, herein ‘Lies’ the bridge between leftfield and bubblegum pop. The follow-up ‘The Mothers We Share’  underlines this promising Glaswegian trio’s capability.

Available as a free download via Neon Gold

http://www.facebook.com/CHVRCHES


VINCE CLARKE Featuring ANE BRUN Fly On The Windscreen

Novelist Tonya Hurley commissioned her brother-in-law VINCE CLARKE to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist ANE BRUN as part of promotion for her literary trilogy ‘The Blessed’. While the guitar-like textures appear to have been borrowed from the original in an act of artistic continuity, the rest of the arrangement is quite different as the vulnerable feminine twist acts as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.

Available as a download single via iTunes and Amazon

http://www.vinceclarkemusic.com/

http://anebrun.com/


COMPUTE Light As A Feather

COMPUTE is Ulrika Mild, a Gothenburg girl who discovered synthpop via DEPECHE MODE’s ‘Speak and Spell’. ‘Light As a Feather’ is a bouncy but melancholic ditty which suggests a snow mountain of vulnerability. That is certainly apparent in Ulrika’s sweet, fragile voice. It’s beautifully sequenced with layers of eerie string machine for that distinctive Nordic chill.

Available on download album ‘The Distance’ via iTunes and Amazon

http://www.compute.se


CURXES Spectre

Roberta Fidora shows yet another fine turn of aggressive resignation like SIOUXSIE SIOUX in a padded cell while instrumentalist Macaulay Hopwood picks out his unsettling bass notes to full effect. While this CURXES tune is perhaps more guitar driven than what would normally be expected of most electronica, ‘Spectre’ is positively Spartan with symphonic synth stabs and industrial beat snaps…it’s the sound of the overground or Goth ‘n’ Bass…or even Gotham Bass; geddit? Simply exhilarating!

Available as a download single via Amazon and iTunes

http://www.curxes.com


DIVINE KNIGHTS Clouds (THE SANFERNANDO SOUND remix)

Goth laden PET SHOP BOYS from the theatrical Aussie duo dreamily remixed by THE SANFERNANDO SOUND. This is richly synthesized with lashings of atmosphere and accessible melancholy. The extrovertly camp pair have even subverted the realm of the talent show by getting into the semi-finals of ‘Australia’s Got Talent’. Dannii Minogue said: “I think DIVINE KNIGHTS are brave for coming on a show like this because not everybody is going to get them…but I really hope they do well!”

Available as a download single via Amazon and iTunes

http://www.divineknights.com.au/

http://www.facebook.com/thesanfernandosound


ELEVEN:ELEVEN No Words

Texan duo ELEVEN:ELEVEN comprise the feline vocals of Sicca with the instrumentation of Jake Childs and throw in a variety of influences including Italo Disco, Hi-NRG and Electroclash. ‘No Words’ recalls MISS KITTEN & THE HACKER, capturing a tense nightlife seediness. Short but sweet with a swirling middle section, who needs an extended dance mix when the point is made in two and a half minutes? ELEVEN:ELEVEN have proved danceable electronic pop music can be made that’s syncopated and subtle.

Available as a free download via http://weare1111.com/


GAZELLE TWIN Changelings (JOHN FOXX & THE MATHS remix)

Stark and mysterious, the living art of GAZELLE TWIN is the moniker of Elizabeth Walling, the Brighton based songstress whose brooding, unsettling Hauntronica has impressed in all the right circles. JOHN FOXX & THE MATHS’ version of one of her best tracks ‘Changelings’ sees Mr Foxx adding his own Cathedral Oceans sweeps to Benge’s Mathematical solutions. In an productive year profile wise, her music was used in the promotion for the film ‘Prometheus’.

Available on the album ‘The Entire City Remixed’ via Anti-Ghost Moon Ray Records

http://www.gazelletwin.com/


GRIMES Oblivion

GRIMES is the kooky Montreal sensation that is Clare Boucher and this LYKKE LI fronting KRAFTWERK tune is sumptuously infectious. Despite almost unintelligible vocals, ‘Oblivion’ is probably the most immediate track on the ‘Visions’ album although other tracks like ‘Genesis’ and ‘Be A Body’ explore similarly accessible synthesized avenues. ‘Oblivion’ is ideal for those looking for subtler percussive colours and synthesized tapestries in a leftfield lady meets pop princess fusion.

Available on the album ‘Visions’ via 4AD Records

http://www.grimesmusic.com


HUSKI Close To The Edge

HUSKI first came to public attention on the trendy Shoreditch electro scene back in 2007 with ‘Take Me Your Picture’.  The late lamented Word magazine described ‘Close To The Edge’ as sounding “not unlike how Clare Grogan might if she took a guest slot with THE HUMAN LEAGUE”. As both THE HUMAN LEAGUE and ALTERED IMAGES worked with the late Martin Rushent, that is not as peculiar as it first sounds and it brims with a cutesy allure.

Available on the album ‘H’ via Amazon and iTunes

http://www.huskimusic.com/


IAMAMIWHOAMI Drops

IAMAMIWHOIAMI is the enigmatic electronic multimedia project fronted by Jonna Lee. From her first full length album ‘Kin’, ‘Drops’ is uptempo but almost trancelike. The beats are subtle with just layers of ice and chill to compliment. The clattering fits of noise and metallic textures add to the hypnotism. Jonna Lee’s piercing larynx will polarise listeners but this is Nordic weirdness in all its wonderful glory.

Available on the album ‘Kin’ via Co-Operative Music/To Whom It May Concern

http://www.towhomitmayconcern.cc/


INJE Kofein I CO2

Hailing from Belgrade and featuring the nucleus of vocalist Jelena Miletić and instrumentalist Jovan Vesić, INJE have had the pleasure of supporting HURTS and FAITHLESS in their home country. Their chromatic East European charge will almost certainly please followers of LADYTRON. The excellent ‘Kofein I CO2’ from their EP ‘Protok’ is sort of DUBSTAR in Serbo-Croat meets DAVID LYNCH soundtrack, possessing an aural magnetism that is gorgeously layered with an air of wispy innocence.

Available as a free download from http://inje.rs/


KOVAK Killer Boots

‘Killer Boots’ is cooing new wave electropop with an immediately catchy Italo vibe…think ‘Self Control’ or even ‘Touch Me’! Appropriately decadent and sexy, this catchy song is produced by GARY NUMAN collaborator Andy Gray. Colourful, energetic and glamourous, KOVAK are like BLONDIE meeting DRAGONETTE and GWEN STEFANI through a TUBEWAY ARMY voltage controlled filter.

Available as a download single via 74 Music

http://kovak.co.uk/


LITTLE JINDER Keep On Dreaming

Is it dubstep or is it electro? ‘Keep On Dreaming’ actually sounds more like the latter. When the half beat/two step influences kick in, luckily they do so without the irritating, skipping CD nightmares that devilishly plague most dubstep. But like with all crossover songs, it is the flavour rather than the full blown experience that often wins favour. Confused? Just enjoy… this number by young Stockholm songstress Josefine Jinder features lots of lovely synths!

Available as a download single via Trouble & Bass

http://www.facebook.com/littlejinder


LOVELIFE Brave Face

From the creative minds of former MIRRORS man Ally Young and Lee Newell from one-time indie darlings VIVA BROTHER, ‘Braveface’ is a chilling but uplifting piece of mood music which comes over like OMD fronted by HARD FI! With its Cool Britannia meets Synth Britannia fusion via the Big Apple, LOVELIFE’s genre blend may be confusing indie and electronic music fans alike but at least it’s different.

Available on the free download EP ‘El Regreso’ from http://www.lvlf.info/

https://www.facebook.com/LVLFinfo/


MIRRORS Between Four Walls

Since slimming down to a trio, MIRRORS have been heading for a sparser, textural direction which is perhaps less immediate than their debut album ‘Lights & Offerings’ but nevertheless rewarding with further listens. The beautifully stark drama of ‘Between Four Walls’ is sublime and full of post 3am drama. With echoes of OMD, CHINA CRISIS and THE BLUE NILE, it is high end atmospheric electronic balladry at its best. “Do you ever wonder how you’ll ever get there when you never turn back around?”

Available as a download single via http://mirrorsofficial.bandcamp.com/

http://www.facebook.com/theworldofmirrors


MODOVAR Clearly

Comprising of Glen Wisbey on synths and the suave persona of Christopher Beecham on vocals, MODOVAR’s most immediate number is the emotively rousing ‘Clearly’. Beecham is a man with a self-confessed admiration of ALISON MOYET so ‘Clearly’ connects as a song of love in the first degree. It is just one of their “melodic, anthemic, chorus led songs, lyrically focused on the undercurrents of love and the human condition”. Also check out their cover of ROXY MUSIC’s ‘Same Old Scene’.

Available on the download EP ‘Clearly’ via Amazon and iTunes

http://modovar.com/


MOTOR featuring MARTIN L GORE Man Made Machine

MOTOR’s electro stomper ‘Man Made Machine’ features vocals by DEPECHE MODE’s Martin Gore in a collaboration that sounds not unlike a camp IGGY POP being backed by an angry GOLDFRAPP. In the absence of DM material in 2012, this has been a worthy substitute with Gore luring nervously over the duo’s brand of harder edged techno electro. Incidentally, the same titled parent album also features guest such as GARY NUMAN and NITZER EBB’s Douglas J McCarthy.

Available on the album ‘Man Made Machine’ via CLR

http://www.wearemotor.com/


THE MYSTIC UNDERGROUND Remember Me

New York domiciled Anglophile duo THE MYSTIC UNDERGROUND’s make “pop songs for the disenchanted, disillusioned and disenfranchised”. Featuring Vladimir Valette on vocals and Benedetto Socci on keyboards, their “life…set to a dance beat” touches a nerve and now more so than the NEW ORDER influenced ‘Remember Me’. An emotive guitar assisted number in the vein of ‘Leave Me Alone’, it is slightly mournful and despaired but melodically secure.

Available on the download EP ‘Dreamers & Lovers’ via Stereosonic Recordings

http://www.themysticunderground.com


KARIN PARK Thousand Loaded Guns

BJÖRK goes synthy via THE KNIFE on ‘Thousand Loaded Guns’, a danceable tune that provides a degree of accessibility into the world of darker Nordic climes. Hailing from the forests of Djura in Sweden, KARIN PARK is yet another child of Drejer-Andersson, straddling between electropop and artier aspirations. Her sound is sonically awkward, albeit in a liberating artistic way. Scandinavia is a great place to be musically at the moment.

Available on the album ‘Highwire Poetry’ via State Of The Eye Recordings

http://www.karinpark.com/


QUEEN OF HEARTS Neon

Following her Arrival in 2011, QUEEN OF HEARTS graced the music world with a glitzy slice of electro schaffel appropriately entitled ‘Neon’. On first hearing this live, The Electricity Club gleefully pronounced that this managed to out Goldfrapp GOLDFRAPP. While this had the obvious hallmarks of Lady Alison’s glam stomp, Queenie added her own cooing poptastic flavour, recalling RACHEL STEVENS’ under rated and great lost album ‘Come & Get It’.

Available on the download EP ‘Neon’ via All Things Go Records

http://www.iamqueenofhearts.com/


RITUALS James

Hailing from downtown Los Angeles, RITUALS comprise vocalist Neil Popkin and electronic producer Julian Denis. ‘James’ is rousing neo-NEW ORDER meets THE BRAVERY (remember them?) stomper which is only slightly short of being outstanding due to its demo-ish production…but the song resonates with an appealing doom. ‘Walk Away’ from their 2011 debut EP is another fine example of their potential.

Available as a free download via http://ritualsla.bandcamp.com/album/james-single

http://ritualsla.com/


SIN COS TAN Trust
SIN COS TAN is the new mathematically charged project of ace producer Jori Hulkkonen and VILLA NAH’s Juho Paalosmaa, “a synthesized duo of great promise, broken dreams, and long nights”. They have certainly delivered with ‘Trust’, all draped in melancholy with emotive vocals haunted by the ghost of Billy Mackenzie. This is subtle, hypnotic dance music with layered strings, sampled cimbalom and Cold War dramatics, it is one of the songs of the year.

Available on the album ‘Sin Cos Tan’ via Solina (Europe) and Sugarcane Recordings (Rest of World)

http://www.facebook.com/homeofsincostan


SINESTAR Hurricane

Bristol’s SINESTAR are a full blown five-piece band with drums, bass and guitar as well as synths and their MESH derived synthesized rock has the potential to crossover into several electronic sub-genres. With a so far small but impressive body of work as showcased on the ‘I Am The Rain’ EP, the terrific ‘Hurricane’ is like FAITHLESS gone rock! Catchy, tuneful and anthemic, they just need to work on the production.

Available on the download EP ‘I Am The Rain’ via Dead Rat Recordings.

http://www.facebook.com/pages/Sinestar/310216912403126


STRANGERS Safe/Pain

STRANGERS have been perilously close to COLDPLAY territory on occasions. But on ‘Safe/Pain’, a moody slice of sweeping synth noir with a lonely piano intro, the big surprise comes when a series of rave stabs cut in for the ultimate euphoric lift, crossed with a bit of dubstep! The BBC loved ‘Safe/Pain’ and used it for a clip compiling Team GB’s immense cycling achievements at the end of the London 2012 Olympics. Following prestigious support slots with BLANCMANGE and CLAUDIA BRÜCKEN under their belt, David Maddox-Jones, Raife Hacking and Piers Sherwood Roberts are well on their way!

Available as a download single via Beatwolf

http://strangers.co.uk


TITANS It’s Dark

‘It’s Dark’ could be RAMMSTEIN reincarnated as DEPECHE MODE with fewer the flame throwers! TITANS’ vocalist Dan Von Hoyel sounds like a lower register Dave Gahan winning a fight with a less Teutonic Till Lindemann. In an electronic sub-genre known for its shouting, ‘It’s Dark’ manages to sound menacing without forcing the aggression. The edgy electronic backing from Fredrik Mattsson and Jimmy Svensson blends marvellously with the band’s doompop manifesto.

Available on the download album ‘For The Long Gone’ via Progress Productions

http://www.facebook.com/TitansOfficial


ULTRAVOX Live

There were so many songs that could have been chosen but with this opener from their err… Brilliant comeback album was ULTRAVOX’s optimistic message of intent. Musically, ‘Live’ is ‘Dancing With Tears In My Eyes’ without the imminent nuclear holocaust! The instrumental breakdown, which drops to a magnificent pulsing sequence, piano and lone bass drum before the climax, is pure LA DÜSSELDORF and really is something to be savoured.

Available on the album ‘Brilliant’ via Eden Recordings/EMI Records

http://www.ultravoxbrilliant.com/


SAORI YUKI Yoake No Scat (MARSHEAUX remix)

While recording their long awaited new album ‘Inhale’, MARSHEAUX added to their remix portfolio with a terrific reworking of a track dating back to 1969 by Japanese classic singer SAORI YUKI. Adding incessant beats, infectious pulsing synth and melancholic washes of sound to the more organic re-recording with PINK MARTINI from 2011, this brings Kayokyoku (a style of Japanese music thatabsorbs various Western styles) into the electro age with a Melody For a New Dawn.

Available as a download single via EMI Japan

http://ameblo.jp/saori-yuki

http://www.facebook.com/marsheaux


Text by Chi Ming Lai
12th December 2012