Now imagine John Foxx and Midge Ure teaming up to do a brand new ULTRAVOX album…
While not sounding like the synthesizer pioneers who named themselves after the Latin phrase meaning “extreme voice”, Holger Wobker and James Knights have done the equivalent and got together to make a brand new album as BOYTRONIC.
Having gained the rights to the name, Wobker was highly motivated and appropriately, their first fruit of collaboration was called ‘Proving A Point’. Having appeared earlier in the year on the debut KNIGHT$ album ‘Dollars & Cents’, Knights said: “I had a demo of this for many years but the idea to do this with Holger obviously came later. We’ve both had similar experiences and difficulties so we thought with this track, let’s tell it as it is, we needed to let something out.”
But the first BOYTRONIC track to emerge from the Anglo-German pair is ‘All You Can Eat’, a spirited Eurobeat duet in which both Wobker and Knights hit those high notes with aplomb. Meanwhile musically, ‘All You Can Eat’ doesn’t sound unlike members of NEW ORDER jamming along to BRONSKI BEAT’s ‘Hit That Perfect Beat’!
Of his new partnership with Knights, Wobker said: “James understands exactly what BOYTRONIC is about. I don’t have to say much when we’re communicating ideas, it all comes naturally. Even when I’m drifting away, he puts me on the right track. We both have a vision how it’s got to be, and that’s great.”
Crossing HI-NRG with Britalo, the new BOYTRONIC album ‘The Robot Treatment’ promises to be an authentic analogue journey to create a full and groovy electronic sound.
BOYTRONIC had the misfortune to get embroiled in the Pledge Music debacle, resulting in loss of money for both the band and fans. However, Holger Wobker and James Knights have made a joint statement announcing: “If you are a fan who took part in our crowdfunding campaign, we are truly sorry for the inconvenience Pledge Music’s bankruptcy has caused. We are aware some people have received refunds direct from their bank. Others have not. Despite countless attempts to contact Pledge Music for information on where the money went, we have been kept in the dark now since February 2019. If you are a Pledger who wants to buy direct from the band, we are offering a 10% discount in our Bandcamp store. You can contact mirrormanagency@gmail.com for your discount code!”
The limited edition signed CD or vinyl LP of ‘The Robot Treatment’ is released on 6th September 2019 and can be pre-ordered direct from https://boytronic01.bandcamp.com
BOYTRONIC play Berlin ORWOhaus on Saturday 7th September 2019 with support from !DISTAIN
Combining the Italo spirit of SAVAGE and RAF with British exponents of the form such as PET SHOP BOYS and NEW ORDER, the debut album by KNIGHT$ is one of the best albums of 2019.
‘Dollars & Cents’ is one of those fine immediate electronic pop records, ideal for these turbulent and uncertain socio-political times.
The solo musical vehicle of James Knights, his bright crowd pleasing nature has made him a must-see live performer following well-received gigs in Europe.
With a stylish energetic persona coming over like the love child of Richard Butler and Neil Tennant, the catchy glitterball Britalo of KNIGHT$ will be playing all in clubs over the UK in July as the opening act for A FLOCK OF SEAGULLS.
Gathered together in the corner of a bar in Hoxton to avoid the barrage of televised football, James Knights chatted to ELECTRICITYCLUB.CO.UK about the making of ‘Dollars & Cents’, working with ITALOCONNECTION, plans for his upcoming shows and surviving the vultures circulating in the music industry…
‘Dollars & Cents’ appears to have been a well-received escapist triumph?
I think so, so far it feels like all the objectives have been achieved. Maybe people were feeling a bit of doom and gloom with Brexit so needed a lift; it definitely did that in the short term.
Was ‘Dollars & Cents’ a natural choice for the title track, did you have a theme in mind for the album?
I knew I wanted the album to be as uplifting and uptempo as possible. In terms of the album title, it seemed to make sense, only because as I went through all nine tracks, that was the one that jumped out at me. I later found out RADIOHEAD had a song called that which was quite disappointing…
You achieved some of that authentic ‘Gelato’ flavour by working with Italo legend Fred Ventura on three tracks, how did the association come about?
I have to thank YouTube for this because I was listening to a lot of Italo playlists and this song came on… I looked up who it was that made it, but I didn’t make the connection between Fred and ITALOCONNECTION. Once I realised, I thought maybe we could do something and I wrote a message to him.
Fred was a total gentleman about being open to working together and when I sent him ‘Alligator’, he completely wanted to get involved. It’s funny, but he said “It’s synth music but it reminds me of THE CLASH”, so thank you Fred and his partner Paolo, they did a good job.
One of ELECTRICITYCLUB.CO.UK’s Italian friends thought the middle section with the girl speaking sounded a bit “porno”, was that the intention? *laughs*
I have to say, it wasn’t that thought out… my vocals require many takes but that part with the Italian girl Monia Rega took two! I asked her to sing on the track, the first take she did very well but the timing wasn’t quite what I wanted, the second time she got it completely bang on. There was never a discussion about this so I don’t know what to say, we were looking for a vibe but we never mentioned anything dodgy like that! *laughs*
You know there was a weird European TV game show called ‘Tutti Frutti’ where contestants answered questions to get strippers to take their clothes off???
No! *laughs*
‘Hijack My Heart’ had you tightening your trousers for a great Jimmy Somerville impression?
In many other projects that I’ve been in before, maybe I didn’t have the guts to go up that high but it needed to be done. I’ve sung high live but never quite got there on the records. It seemed like a good idea at the time.
It works really well; did you have BRONSKI BEAT in mind when you recorded ‘Hijack My Heart’?
I have to say if I’m going to break down all those elements, the song that I always come back to is ‘Hit That Perfect Beat’ by BRONSKI BEAT… I don’t know if it’s the production or what and I know Jimmy isn’t singing that one, but it’s got a vibe I like it.
Did you raid your sister’s record collection for inspiration, because ‘Running’ isn’t that far off early MADONNA?
Yes, it’s got a bit of that and definitely some Whitney, it was like a “let go” thing to get me out of my comfort zone! It was the hardest track to finish and mix so when I breakdown that whole record, it’s the one where I haven’t had that many opinions on. I think it’s because it just happens, it’s very natural and appears at the end of the record… maybe time will tell, it takes a couple of listens for it to really work. That was the nearest thing to an experimental moment on the album.
Talking of experimental moments, ‘Proving A Point’ is perhaps the most unorthodox track on the album, featuring Holger Wobker of BOYTRONIC…
Yes, it is different from the other tracks on the album, I had a demo of this for many years but the idea to do this with Holger obviously came later. We’ve both had similar experiences and difficulties so we thought with this track, let’s tell it as it is, we needed to let something out.
I really like ROBYN and her albums always have a couple of tracks in, these diversions that give the album some sense within the pop.
So ‘Proving A Point’ is your ‘Konichiwa Bitches’?
Yes, I felt we needed it! *laughs*
What was the idea behind the throbbing ‘Shadows’, another track with Fred Ventura?
That goes back to a demo I had on this old four track TASCAM, I’d played all the synths and they were completely out of time. We knew which tracks were going to go down first on the album but I dragged out this demo, it needed a touch up and ITALOCONNECTION did an amazing job. It’s nice to resurrect things because it means you didn’t waste your time all those years before. It’s got a nice YAZOO feel to it.
Photo by Gilbert Yates
‘Dollars & Cents’ is a pretty straight-up full-on uptempo electronic pop album over nine tracks, had that been a conscious decision, are albums too long now?
Yeah, I could watch my favourite band of all time and two hours would be too much! I know other music fans think differently, but a good hour of anything is fine, my album is not even that!
What do you think of this new trend for two volume album works like MARINA, THE 1975 and TR/ST have done?
I wouldn’t do a debut album that way but maybe there’s room for it later on. But I really can’t imagine doing that, it’s hard enough work trying to write good songs without having then to find a thread, it’s not in my way of thinking.
For both ‘Dollars & Cents’ and the new BOYTRONIC album you’re involved in, you used Pledge Music and there have been some very public difficulties with its cashflow; how has this hampered you as an artist?
If it wasn’t for having a good fanbase, it would have been a complete disaster. But going with Pledge Music when I did was the worst thing I could have done, I went in at the wrong time! You have to think that the music will live on and that people will back you. People will back whatever they believe in and luckily, I’ve had many messages of support and we just got on with it, all of the fans have been great.
So what is happening with the upcoming BOYTRONIC album?
That’s was a bit tricky because I was meant to be paid by Pledge in December, so I’ve put my own money into recording the BOYTRONIC album. Obviously, I’m still down because the album’s not yet released, but I hope that it all comes good. A hell of a lot have bands like JESUS JONES have been inconvenienced and very vocal about the situation, but the only way we are going to get any solace from this is the music.
As history has proven, there is always someone in the music industry misappropriating money trusted to them by artists and fans. So is there a future to crowdfunding because no matter what happens, it seems like artists are just making money for a different type of crook?
I once did a calculation based on a record deal I was offered… I could sell 1000 myself or with the record deal, it would give me wider growth and expose me to more people, but I would earn exactly the same money if I sold 8000!! In this day and age, it’s so hard to sell 8000 copies of anything that it’s better to keep everything in house probably and try to sell 1000. People will say that’s short sighted but I don’t think it is.
Even at an independent level, there are people getting into the music industry who apply a smokescreen for more sinister intentions, be they DJs who hate the 80s doing 80s radio shows or event promoters who believe ticket touts are “free enterprise”. Any thoughts?
They will always be there, and unfortunately there will always be artists who take the same view… any artist that doesn’t believe in what they’re making, they’re in the wrong game… what can I say? it’s survival of the fittest.
Photo by Chi Ming Lai
On a more cheerful note, your album launch party in London was a great success and even led to you inviting the audience to join you on stage just like early SOFT CELL gigs?
It was a big rush, because you never know what’s going to happen at gigs, you know what London is like. The fact that people came out and really got into it, it was brilliant. My stage is their stage and I wouldn’t really want to create a divide.
I’m not interested in crash barriers, if people want to come up, they should be able to come up. I would rather someone join me on stage and lose their minds.
You had an interesting gig is Sweden because of the venue set up?
That was in Halmstad, the original gig had been cancelled and they moved us to what seemed like the local Wetherspoons, I was on at two in the morning and it was crazy! *laughs*
The Swedes love their Italo…
I think it’s just an appreciation of melody coming through via the ABBA tradition, they really know a good song when they hear one. If there wasn’t any melody, we wouldn’t remember anything.
Photo by Chi Ming Lai
You’re touring this UK with A FLOCK OF SEAGULLS?
I’m really excited about it and looking forward to going round the UK again with two nights in London, there’s a lot to be thankful for.
I’ve always loved A FLOCK OF SEAGULLS, I know they get a lot of stick with the haircuts and whatever, but they’re far better than people give them credit for. The songs aren’t that far from THE CURE, let’s be honest! It’s nice to be part of it.
So for those people who may not know what you are like live, why should they come along and arrive early?
They’d be fools not too! I have some nice surprises up my sleeve but for every person who has decided to sit in the pub to have an extra beer, I will match that beer! So if they turn up early, the beers are on me! *laughs*
What’s on the cards for the future?
I’d like to make another record as soon as possible but it always takes longer than you think, but we’ll have to see. And it would be nice to do an end of year show somewhere…
ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights
KNIGHT$ opens for A FLOCK OF SEAGULLS on the following 2019 UK tour dates:
Wolverhampton Robin 2 (11th July), London Dingwalls (12th-13th July), Liverpool Cavern (14th July), Leeds Brudenell Social Club (17th July), Newcastle Riverside (18th July), Glasgow Art School (19th July)
Coming over like the love child of Richard Butler and Neil Tennant, James Knights has been making synthwaves with sparkly Britalo!
Slicker and less intense than his previous band SCARLET SOHO, shiny disco pop is what his KNIGHT$ alter-ego is all about.
Combining the melodic Italo Disco spirit of SAVAGE and RAF with British exponents of the form such as PET SHOP BOYS and NEW ORDER, ‘Dollars & Cents’ is a joyous ray of sunshine. It opens perfectly with the catchy KNIGHT$ calling card ‘What’s Your Poison?’ that was first issued in 2017. A dig at modern internet dating culture, he told ELECTRICITYCLUB.CO.UK: “I guess I thought people would have a better idea of finding the perfect date by offering people drinks and judging them on their choice! Gotta be better than Tinder!”
KNIGHT$ has made a wise choice by including his first single, but it is the glorious ‘Gelato’ that affirms KNIGHT$’ Britalo aspirations with its unashamedly sun-kissed glitterball drive that gets all deliciously “Tutti Frutti”.
The soulful electro disco of ‘Julia’ comes complete with a Speak & Spell machine that counterpoints KNIGHT$’ sense of longing and there’s an unexpected key change too. Taking the pace down a bit for an artful street duet featuring Holger Wobker of BOYTRONIC, ‘Proving A Point’ comes over like spacey HEAVEN 17 as sheep bleat and synths bleep.
The ‘Dollars & Cents’ title track is a wonderfully charged HI-NRG romp with KNIGHT$ adopting a lower register Jimmy Somerville persona. Meanwhile continuing that theme, the equally energetic ‘Hijack My Heart’ apes BRONSKI BEAT, complete with a closing bursts of falsetto as the Winchester lad tightens his glitzy clubbing trousers to full effect and drops in a blistering synth solo to add to the fun.
The metallic Eurobeat of ‘Shadows’ offers no respite and keeps the feet shuffling on that dancefloor before the more steadfast ‘Running’; this one takes one more of an early MADONNA template but perhaps suffers next to the three songs preceding it, particularly as its rhythmic backbone is much more subdued in the mix. But it’s still a good song none the less.
Closing this primarily uptempo collection, the snappy electro-funk of ‘Alligator’ is an amusing observation on one-sided conversation with people who doesn’t listen which echoes LES RYTHMES DIGITALES but channelled in much more of a pop-oriented context.
The previously released B-sides ‘Playin’ It Cool’ and ‘What We Leave Behind’ come as welcome extras on the CD variant although the excellent ‘So Cold’ is missing; but almost everything you could want from a first full length body of work by KNIGHT$ is present and correct.
‘Dollars & Cents’ is a very immediate electronic pop record that is ideal for these turbulent and uncertain socio-political times. Whereas the coming years will decide whether it is a classic, for now it is simply perfect escapist pop music. So Britalo be thy name!
KNIGHT$ debut long player may be the antithesis of the intense and gloomy ‘Careful’ from BOY HARSHER, but sits alongside it as one of the first great albums of 2019.
BOYTRONIC began as a duo and honed their musical craft at sex shows in Hamburg’s red light district on the Reeperbahn.
Led by vocalist Holger Wobker, BOYTRONIC hit the big time when they scored a No10 German hit with ‘You’.
With their charged energetic synth-led sound, there were hit albums too with 1983’s ‘The Working Model’ and 1985’s ‘The Continental’. The latter long player included ‘A Man In A Uniform’ produced by Bobby Orlando who had worked with PET SHOP BOYS and DIVINE.
However success led to friction with BOYTRONIC’s management claiming ownership of their name and a new line-up continued without Wobker who had performed under the alias of Bryllyant Berger. He returned for a stint between 2002-2008 but the tensions remained.
Now after a ten year hiatus, Wobker returns with former BOYTRONIC frontman James Knights to release a new album entitled ‘The Robot Treatment’. Holger Wobker discussed the return of the original BOYTRONIC and gave his side of the story…
For those who may not be aware, what was your involvement originally in BOYTRONIC?
I was the founder along with Peter Sawatski back in 1983. We wrote the songs together and I provided the vocals.
Do you have some favourite BOYTRONIC songs from that time?
‘You’re The One Who Stays’; I didn’t sing this one, as it didn’t work with my voice so well, but I think that’s natural and most people don’t like the sound of their own voices anyway.
What for you was your proudest moment when BOYTRONIC became a success?
When I went to the club I usually went to, and they played BOYTRONIC without begging the DJ to do it. Everybody went to the dance floor, jumped around and screamed. I think that was one of my happiest moments!
But then, the story of BOYTRONIC becomes complicated? What happened?
It’s a harsh story and it’s a bit traumatic, but I will try to explain. In those days we weren’t signed to a record company directly. We signed to a small production company and they had the deal with the record company. We only had an initial contract for one album.
First it seemed we would be not that successful, but then we had some TV shows and it exploded. The week after the first appearance we went top ten in Germany, and this was exactly the day the production company registered BOYTRONIC as their own trademark. We didn’t know about that at the time. We didn’t even know that it’s possible to do that!
Soon after we wanted to leave the company because we weren’t so happy with them. We had offers from Warner and EMI London, and we really wanted to move, but we couldn’t now the company owned the name. After nearly two years in court, the question was “Who invented the name?”
In the end, all the owners of the company witnessed they did it together as a team (which was lies). But we were f*cked. German law was like this at that time. These days they would have no chance.
Peter left immediately after that and didn’t want to go on. He wouldn’t be forced to carry on with people who would do this. I tried for half a year or so before quitting too. After that ,the company had the name but no band! They then took three new people and presented a brand new BOYTRONIC, but this had nothing to do with us.
Years later, I got a call from one of them and was asked me to do another BOYTRONIC LP. So we made ‘Autotunes’ together in 2002. I couldn’t work in this way again, but it’s something I had to try at that time.
The most recent BOYTRONIC album ‘Jewel’ came out in 2017 without your involvement, what were your feelings about this? What did you think of this album?
What do you think? I was p*ssed off. At first I didn’t know about this at all. Then I saw a new video on YouTube and an announcement for live shows. I thought to myself… this is the last time! To make it short, I went to a lawyer and fought to get the name back. Yes, the lawyer made some money along the way, but it was worth it in the end. They are allowed to use the name until 07.02.2019. So that will be the next time I’ll get drunk!
I can’t say anything about the musical quality of ‘Jewel’. Let the people decide. When you hear the first 5 seconds of ‘The Robot Treatment’, you will know who is BOYTRONIC.
In an interesting twist, you’ve teamed up with ‘Jewel’ vocalist James Knights of KNIGHT$ for the new BOYTRONIC album ‘The Robot Treatment’… now this would be like John Foxx and Midge Ure teaming up to do a new ULTRAVOX album, or even David Lee Roth and Sammy Hagar coming together to be VAN HALEN, how is your collaborative partnership coming along so far?
We spoke last year and he was anxious with how it was panning out, and where it was going. I liked him and suggested we could do something together. It wasn’t meant so serious. He was back with KNIGHT$ in Germany months on, so I played him ideas that I had, and we began to work on them.
It’s early days, but what is the creative dynamic between you two so far?
James understands exactly what BOYTRONIC is about. I don’t have to say much when we’re communicating ideas, it all comes naturally. Even when I’m drifting away, he puts me on the right track. We both have a vision how it’s got to be, and that’s great. It’s almost like working with Peter, but he’s more friendly!
How would you describe the sort of songs you are producing?
We want to be authentic! That’s why we will use no digital plug-ins except if absolutely necessary. We work with analogue synths to create a full and groovy electronic sound. That’s what we both like. The songs are catchy melodic pop songs with a huge Italo touch, and plenty of drama! Like BOYTRONIC should be.
What are your hopes and fears in this real relaunch of BOYTRONIC?
I hope people like what we do. People may be confused because they don’t know the full story, but most of the fans do by now. I’m not really afraid of anything. I had so much trouble with BOYTRONIC in the past… in that case I’m unsinkable! I hope I can go on for a long time yet…
Are you interested in performing live again?
Sure, yes. We will do that next year when the record comes out. Maybe a few dates before. This is our bread, sure we will perform live, it makes no sense otherwise.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Holger Wobker
Shiny danceable electronic pop is what KNIGHT$ is all about and as the vehicle of James Knights, formally of SCARLET SOHO, his ethos is to make synthwaves with his brand of sparkly Britalo!
It’s been a busy time for the Winchester based singer/songwriter, with his first two releases ‘What’s Your Poison?’ and ‘Alligator’ gaining airplay on internet radio. Meanwhile, he also provided lead vocals for the current incarnation of veteran German electropopsters BOYTRONIC on their comeback album ‘Jewel’. Coming over like the love child of Richard Butler and Neil Tennant, the crowd pleasing nature of James Knights himself has made him a must-see live act, while the music of KNIGHT$ has that unashamedly glitterball disco drive.
Having just returned from a successful German tour opening for WOLFSHEIM’s Peter Heppner, James Knights unpacked his suitcase and kindly chatted about his upcoming plans for KNIGHT$…
You’ve described the music of KNIGHT$ as Britalo, what led you to pursue your new poptastic direction?
When my previous project went on a break, it was important to take some time out and think about what to do.
I knew I would be the main writer/performer in KNIGHT$, so I wanted to create an alter ego to hide behind, someone very different from me in real life.
I toured mainland Europe a few years ago, and I was introduced to some older pop music we never had over here in the UK. This Italo sound inspired me for sure, along with so many US one-hit wonders and some Synthwave tracks, plus FALCO, GAZEBO, STEPHEN FALKEN etc. At the time, I needed something to drag me away from all the music I knew before, and this captured my imagination and inspired me to be creative again.
There’s an air of ‘American Gigolo’ both aurally and visually within your music?
What can I say? It’s not intentional, but I guess there’s something about that kind of vibe I like to take with us on the stage. Every time you perform you have a chance to change the whole ambience of a venue. I see this as a challenge. I love it!
You appear to place as much importance on videos and a good live presentation as the music, what’s your thinking behind this?
We’re in such a visual time. I consume music with my ears and eyes and hope other people do the same! I know I can write a song, but that’s just one part of the role.
Photo by Mark Holloway
Your first two releases ‘What’s Your Poison?’ and ‘Alligator’ were quite a bit more sparkly than some of your previous work with SCARLET SOHO? What are the stories behind the title tunes?
‘What’s Your Poison?’ and ‘Alligator’ were some of the first tracks I wrote as KNIGHT$. ‘Alligator’ is just a little anecdote about something we all experience from time to time, the one-sided conversation with someone who doesn’t listen! ‘What’s Your Poison?’ was a bit of a slight on today’s dating culture.
I guess I thought people would have a better idea of finding the perfect date by offering people drinks and judging them on their choice! Gotta be better than Tinder!
Songs like ‘Gigolo’ and ‘Two Steps From Heartache’ indicate that what became the KNIGHT$ sound was omnipresent in SCARLET SOHO. How do you look back on that period and what the band achieved?
SCARLET SOHO was a way of life for anyone involved. For almost 15 years, we were making music together. We were very young when we started the project, and learned a lot about writing, recording, live shows and the business. You could look back and say mistakes were made along the way of course! I’m very proud to have done it.
What have been the main differences for you creatively between working solo and within a band format?
I think working alone has made the process a bit slicker perhaps.
I’m always on the move when I demo tracks, and I like writing music on the train and stuff. With a band, you can deliberate over ideas for too long.
Are you a softsynth or hardware man? Has there been too much over romanticisation of vintage gear maybe?
I programme everything on my laptop with some approximated sounds. Then, when the arrangement is complete, I take the demo, all the vocals, and all the MIDI files to a studio so we can bounce the synth sounds through vintage synths and begin mixing. If you have access to the real gear you should use it. I mean, why not?
NEW ORDER’s ‘Subculture’, which appears to be the inspiration for ‘So Cold’, is their most under rated song? Discuss!
Love it, great track of course and I love NEW ORDER! I hope I don’t disappoint you here though… the biggest influence on ‘So Cold’ was 70s disco!
You’re known for performing covers which have ranged from ‘Uncivilized’ by dark Canadian trailblazers PSYCHE to PET SHOP BOYS ‘Heart’, you’ve even sung U2’s ‘New Year’s Day’ with BOYTRONIC. How do you choose your cover versions and are there any others you would like to attempt?
If it sounds good I’ll have a go! There are loads I’d like to try… it’s just finding the time. ‘Don’t Cry Tonight’ by SAVAGE would be a good one, ‘Monday Morning’ by FLEETWOOD MAC I like to sing, and the Spanish version of ‘Toy Soldiers’ by MARTIKA, topped off with ‘I.O.U’ by FREEEZ!
You have a close bond with Germany and a number of its veteran electronic acts, why do you think this has managed to develop over the years?
I performed in Germany for the first time in 2006, shortly after that SCARLET SOHO signed to a German label and we spent more time over there. So naturally we met more people and were introduced to music and bands we hadn’t heard before which was really exciting. We always felt very at home.
Photo by Michael Gamon
For those who have not witnessed a KNIGHT$ live performance, what can they expect from you?
The stage show grows in strength the more time I rehearse with the band, I hope to have some new songs in the set and play for a little longer than usual! Maybe a costume change or two midway through, or a special guest.
What’s next for KNIGHT$ on the release schedule? Does the album format figure in your plans or are EPs the way to go in the future?
I would like to make an album as most of the songs are ready now. I’m talking to some labels and we’ll see what happens. If not, I will continue with EPs on vinyl!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights
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The limited edition signed CD or vinyl LP of ‘The Robot Treatment’ is released on 6th September 2019 and can be pre-ordered direct from https://boytronic01.bandcamp.com
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