May 2018 sees a new edition release of JOHN FOXX’s seminal 1980 album ‘Metamatic’. The 3CD package also includes some previously unseen photos and drawings by John with 49 tracks in total.
The Electricity Club were fortunate to get an advanced preview of the new additions and there are some real gems in there. JOHN FOXX kindly spoke to The Electricity Club about the gestation of the album and the transition from ULTRAVOX Mk1 to solo artist. Continue Reading ›
MIDGE URE needs no introduction as one of the UK’s most highly regarded songwriters and musicians. Having become fascinated by KRAFTWERK when they hit the UK charts with ‘Autobahn’ in 1975, he purchased his first synth, a Yamaha CS50 in 1977.
Best known for his involvement in ULTRAVOX and VISAGE, The Electricity Club looks back at MIDGE URE’s great adventure in electronic music via this twenty track Beginner’s Guide, with a restriction of one track per album / project… Continue Reading ›
The Electricity Club’s Chi Ming Lai had the pleasure of interviewing CHRIS PAYNE live on stage during the first day of the 2016 ELECTRI_CITY_CONFERENCE in Düsseldorf.
Now domiciled in Normandy, CHRIS PAYNE happily chatted about his period as a member of GARY NUMAN’s band between 1979-89 and the genesis of ‘Fade To Grey’ during soundchecks on ‘The Touring Principle’ in 1979. Continue Reading ›
Best known as ULTRAVOX’s classically trained virtuoso instrumentalist, BILLY CURRIE is back with a new solo album ‘Doppel’.
Following the sharp, spikier aesthetics of tracks like ‘Jump Spin’ on ‘Balletic Transcend’ in 2013, ‘Doppel’ is a more pastoral instrumental collection, with Currie’s trademark synths, viola, violin and classical piano all present and correct. Continue Reading ›
By the time that VISAGE’s second album ‘The Anvil’ came out in Spring 1982, things were very different for the cast who had produced the eponymous debut started in 1979, and which in early 1981 spawned the massive European hit ‘Fade To Grey’.
In many respects, it was unsurprising that ‘The Anvil’ appeared to lack the focus of its predecessor, but it was still a very good record. The synthesized European romanticism that had dominated the ‘Visage’ debut was omnipresent, especially with the lavish monochromatic Helmut Newton cover photograph. But a funkier perspective had been introduced to proceedings. Continue Reading ›