Tag: Brett Wickens

TEC’s 25 TRACKS FROM THE CIRCUIT BOARDS OF CANADA

Like Sweden, as a country with a relatively small population in relation to land mass, Canada punches above its weight when it comes to its contribution to popular music.

Canada’s internationally famous artists may be Leonard Cohen, Neil Young, Céline Dion, Bryan Adams and Alanis Morisette, but there have been so many more that have been far more interesting.

Canada has been a significant presence in synth from the post-punk pioneers such as NASH THE SLASH and CERAMIC HELLO, to international MTV-era hits from the likes of MEN WITHOUT HATS, TRANS-X and KON KAN, up to the present day via the mainstream profile of GRIMES, PURITY RING and CRYSTAL CASTLES. Meanwhile, it also has developed into a hub for the burgeoning sub-genre of Synthwave thanks to FM ATTACK and DANA JEAN PHOENIX.

Like in the UK with the availability of affordability of technology from Japan in particular, Canadian youngsters were taking up synthesizers. And while several were to attain cult status like RATIONAL YOUTH and PYSCHE, some such as the Winnipeg trio EUROPA were destined just to have their moment on domestic television without an official release to their name.

Today, the tradition continues with artists such as DEADMAU5, TIGA, KOISHII & HUSH, LOLA DUTRONIC and TECHNIQUES BERLIN covering a wide spectrum of electronic pop and dance music.

So here is The Electricity Club’s list of 25 tracks from the circuit boards of Canada, subject to a limit of one per artist moniker, presented in yearly and then alphabetical order. But notice a void in between 1990 to 2000 when it could be said that the likes of Dion, Adams and Morisette dominated the airwaves of the globe.

However, the number of electronic acts who have appeared in the 21st Century have more than made up for things.


CERAMIC HELLO Climatic Nouveaux (1980)

CERAMIC HELLO were a duo who hailed from Burlington in Ontario, formed by Brett Wickens in 1980 after leaving post-punk band SPOONS. He teamed up with Roger Humphreys who added a more classical bent to their minimal synth in the vein of JOHN FOXX and FAD GADGET. Their first release was the detached cold wave paranoia of ‘Climatic Nouveaux’. Wickens later moved to England to join Peter Saville Associates, making a major contribution to the artwork for OMD’s ‘Architecture & Morality’.

Available on the album ‘The Absence Of A Canary’ via Suction Records

https://www.studiobrettwickens.com/


NASH THE SLASH Swing Shift – Flexi Version (1981)

NASH THE SLASH opened for GARY NUMAN and was signed to Dindisc Records. It was during this period that he had his highest mainstream media profile with features in ‘Smash Hits’; it was with the pop mag that his best known recording in the UK came via a blue flexi-disc with an early self-produced stripped down version of ‘Swing-Shift’ sitting next to his label mates OMD’s live rendition of ‘Pretending To See The Future’. He sadly passed away in 2014.

Available as a bonus track on the album ‘Children Of The Night’ via Artoffact Records ‎

http://nashtheslash.com/


MEN WITHOUT HATS The Safety Dance (1982)

Hailing from Montreal, ‘The Safety Dance’ was written by MEN WITHOUT HATS lead singer Ivan Doroschuk after he had been kicked out of a club for pogoing, thus it was effectively a protest song against conformity, a call for freedom of expression. it had been misinterpreted as a being about safe sex and as an anti-nuclear protest song. The bouncy almost medieval feel combined with Doroschuk’s vocals like a less doomy Andrew Eldritch to produce a huge international hit.

Available on the album ‘Rhythm Of Youth’ via Bulldog Brothers ‎

http://safetydance.com/


SPOONS Arias & Symphonies (1982)

Hailing from Toronto and lead by Gordon Deppe, after the acclaim for the 1981 debut album ‘Stick Figure Neighbourhood’, the songs on the second ‘Arias & Symphonies’ were more European influenced. With JAPAN producer John Punter behind the desk, the title song was an perfect amalgam of prog theatrics, new wave gallop and synth pomp. SPOONS were soon to be opening for bands such as SIMPLE MINDS and THE POLICE. Today, Deppe is also the guitarist for A FLOCK OF SEAGULLS.

Available on the album ‘Arias & Symphonies’ via Ready Records

https://www.spoonsmusic.com/


STRANGE ADVANCE Love Games (1982)

STRANGE ADVANCE were a Canadian new wave band formed in Vancouver, made up of Drew Arnott (keyboards, percussion, vocals), Darryl Kromm (lead vocals, guitars), and Paul Iverson (bass). Utilising synthesizers and advances in programming technology, their music was a fusion of progressive rock and MTV friendly pop that struck a chord, with the lyrical couplet “The time is right / We’ll love tonight” of ‘Love Games’ capturing the mood of times.

Available on the album ‘Worlds Away’ via VR

https://www.strangeadvance.com/


MARTHA Light Years From Love (1983)

The stunning Martha Ladly was more than just a pretty face; she was a musician, vocalist, artist and designer. Following her stints with MARTHA & THE MUFFINS, ASSOCIATES and doing paintings for Peter Saville’s NEW ORDER sleeve artwork, she teamed up with Brett Wickens from CERAMIC HELLO on this charming pop tune which echoed THE HUMAN LEAGUE’s ‘Open Your Heart’. Peter Hook provided his distinctive melodic six-string bass while the dynamic production came from Steve Nye.

Originally released as a single by Island Records, currently unavailable

http://samemistakesmusic.blogspot.com/2009/01/charmed-life-of-martha-ladly_22.html


RATIONAL YOUTH Holiday In Bangkok (1983)

The classic RATIONAL YOUTH line-up of Tracy Howe, Bill Vorn and Kevin Komoda gained acclaim for their 1982 debut album ‘Cold War Night Life’, which became one of the biggest-selling Canadian independent albums at the time and secured a deal with Capitol Records. However, Vorn left to continue his university studies, but contributed synth programming to ‘Holiday In Bangkok’, a sinister overwrought warning about the dangers of becoming international drug mule.

Available on the album ‘Heredity’ via Capitol Records

https://rational-youth.com/


TRANS-X Living On Video (1983)

French-born Canadian Pascal Languirand was the man behind TRANS-X, and had previously been known for his spacey progressive rock solo albums like ‘Minos’ and ‘De Harmonia Universalia’. Originally issued in French as ‘Vivre Sur Video’, this cosmic octave-shifting electronic dance tune, with additional vocals by Laurie Ann Gill, became a massive hit worldwide after being re-released in 1985 and went onto to influence Electroclash artists such as FISCHERSPOONER and MISS KITTIN.

Available on the album ‘Living On Video’ via Unidisc

http://transx-music.com/


PSYCHE The Saint Became A Lush (1986)

PSYCHE are the acclaimed dark synthpop duo from Edmonton, founded by the Huss brothers Darrin and Stephen. Of the foreboding overtones of ‘The Saint Became A Lush’, “Many think the main sequence sounds like ‘Tubular Bells’ and there may be some element of that as it was used in ‘The Exorcist’ movie which my brother loved” Darrin said, “It’s also inspired by JOY DIVISION, as I was really going for the sound of a world weary preacher and channelling the voice of Ian Curtis for that.”

Available on the album ‘Unveiling The Secret’ via Artoffact Records

http://www.psyche-hq.de/


SKINNY PUPPY Dig It (1986)

“Love cannot attach itself to binding ugliness” goes the theatrical horror of ‘Dig It’; formed in Vancouver by cEvin Key of IMAGES IN VOGUE and vocalist Nivek Ogre, SKINNY PUPPY are widely considered as the pioneers of industrial. ‘Dig It’ was a big favourite of NINE INCH NAILS mainman Trent Reznor and heavily influenced his own track ‘Down In It’ which appeared on ‘Pretty Hate Machine’, so much so that he later confessed he had actually sampled it!

Available on the album ‘Mind: The Perpetual Intercourse’ via Nettwerk America

http://skinnypuppy.com/


MITSOU Les Chinois (1988)

Mitsou Annie Marie Gélinas achieved the comparatively unusual feat of having a francophone pop hit across Canada with ‘Bye Bye Mon Cowboy’. But her best tune was the saucy Fairlighted ‘Les Chinois’ from the multicultural-themed album ‘El Mundo’. Written and produced by Jean Pierre Isaac who later worked with Céline Dion, she exclaimed “Non non non c’est pas comme ça, qu’on fait l’amour, regarde les Chinois”… was she trying to make babies?

Available on the album ‘El Mundo’ via Unidisc

http://mitsoumagazine.com/en/


KON KAN I Beg Your Pardon (1989)

The project of Barry Harris, the KON KAN name was a play on the policy of “Canadian Content” which enforced Canadian radio station to air at least 30% domestic music. Voiced by Kevin Wynne, ‘I Beg Your Pardon’ was not just content with borrowing off NEW ORDER but inspired by ‘Pump Up The Volume’, used samples of other songs like ‘Rose Garden’, ‘Disco Nights (Rock-Freak)’ and ‘Get Up & Boogie’, as well as National Lampoon’s ‘Disco Hotline’. This mash-up became a huge international one hit wonder.

Available on the album ‘Move To Move’ via A&M Records

https://www.facebook.com/konkanofficial


SOLVENT Wish (2005)

Toronto-based Jason Amm is all about “synthesizers, drum machines, fx, knobs, buttons, wires, wave, electro, acid”. But while he is now best known for his documentary film ‘I Dream Of Wires’, he has a vast catalogue of music released under the SOLVENT moniker. With gentle vocoder treatments and glorious whirring synths, ‘Wish’ set a pattern for acts like FOTONOVELA and QUIETER THAN SPIDERS to follow in the understated melodic machine pop stakes.

Available on the album ‘Demonstration Tape (1997-2007)’ via Ghostly International

http://www.solventcity.com/


DRAGONETTE I Get Around (2007)

Toronto’s DRAGONETTE comprised of singer Martina Sorbara, producer Dan Kurtz and drummer Joel Stouffer. The acclaim for their self-released self-titled EP led to a deal with Mercury Records and a relocation to the UK. Opening shows for BASEMENT JAXX and SUGABABES, the highlight of their debut album ‘Galore’ was ‘I Get Around’ which was previewed on Planet Clique and Lucky Pierre’s ‘Robopop – The Return’ compilation. It also was used in ‘The Vampire Diaries’.

Available on the album ‘Galore’ via Mercury Records

http://www.dragonetteonline.com/


FM ATTACK Sleepless Nights (2009)

With ‘Drive’ star Ryan Gosling being a notable FM ATTACK admirer, Shawn Ward has concocted a unique hybrid electronic sound combining Gino Soccio and Giorgio Moroder with Italo disco, French house, new wave and post-punk, all with a fine-honed musicality. From 2009’s ‘Dreamatic’ album which opened up the gates and led the way for what was to become Synthwave, ‘Sleepless Nights’ crossed arpeggios with octave lilts for an enjoyable vocoder-laced romp.

Available on the album ‘Dreamatic’ via Starfield Music

https://www.facebook.com/fmattackmusic/


CRYSTAL CASTLES Suffocation (2010)

Named after a line in ‘She-Ra: Princess of Power’ and capturing a gritty lo-fi electronic sound, Toronto’s CRYSTAL CASTLES were a world apart from other modern duos with chaotic live shows that had an almost demonic energy. With Ethan Kath’s deliberately distorted synthetic goth-punk and Alice Glass’ afflicted vocal presence, ‘Suffocation’ was haunted, yet captured an understated beauty. But in October 2014, Glass announced that she was leaving to pursue a solo career amid acrimony.

Available on the album ‘(II)’ via Fiction Records

https://www.crystalcastles.com/


AUSTRA Spellwork (2011)

Named after the goddess of light in Latvian mythology, Toronto’s  AUSTRA deliver a stark, baroque form of arty electronica fuelled by the sexual tension. Like a gothic opera which successfully blended light and darkness with fragility and power, Katie Stelmanis and friends borrowed from classic DEPECHE MODE and crossed it with THE KNIFE for ‘Spellwork’, their most accessibly brilliant synthpop offering from their debut album ‘Feel It Break’.

Available on the album ‘Feel It Break’ via Domino / Paper Bag Records

http://austra.fyi/


GRIMES Oblivion (2012)

While Claire Boucher might be now more widely known for being the girlfriend of Elon Musk, she began as the kooky Montreal sensation GRIMES, sounding like LYKKE LI fronting KRAFTWERK. Presented in a fun leftfield lady meets pop princess fusion, ‘Oblivion’ was a sumptuously infectious tune that despite the almost unintelligible vocals and weird noises, was probably the most immediate track on her ‘Visions’ album which also featured less immediate but equally enjoyable ‘Genesis’.

Available on the album ‘Visions’ via 4AD Records

https://grimesmusic.com/


PARALLELS Moonlight Desires (2012)

Behind PARALLELS is Holly Dodson and on their second long player was a lovely synthpop version of GOWAN’s 1987 rock tune ‘Moonlight Desires’. She said of her love for the song: “We hear the original version it all the time in Canada. It’s always fulfilled all the necessary criteria – incredible hooks, the moon, magic melodies, nostalgia. I just recently learned that GOWAN’s actually heard the cover… and approves!! Which is SUCH a relief haha…”

Available on the album ‘XII’ via Marigold Productions

http://www.iloveparallels.com/


TR/ST Gloryhole (2012)

TR/ST began as the project of Robert Alfons and AUSTRA’s Maya Postepski. Although Postepski left to return to AUSTRA, the debut ‘TRST’ made a slow burning impact as Alfons toured his “Eeyore gone goth” electro template around the world. From it, the filthy ‘Gloryhole’ was a wondrous combination of sinister portamento and hypnotic dance beats. Postepski returned to the fold for the recent double album opus ‘The Destroyer’, but Alfons still remains something of an awkward character.

Available on the album ‘TRST’ via Arts & Crafts

https://tr-st.xyz/


FRONT LINE ASSEMBLY Killing Grounds (2013)

Bill Leeb formed FRONT LINE ASSEMBLY in 1986 after his short stint with SKINNY PUPPY under the name Wilhelm Schroeder. With Rhys Fulber as the other long standing member, they were influenced by acts such as CABARET VOLTAIRE, PORTION CONTROL, DAF, TEST DEPT and SPK. Having integrated guitars, FRONT LINE ASSEMBLY returned to making exclusively electronic music on their fifteenth album ‘Echogenetic’, the highlight of which was ‘Killing Grounds’.

Available on the album ‘Echogenetic’ via Dependent Records

http://www.mindphaser.com/


ELECTRIC YOUTH Without You (2014)

Hailing from Toronto, ELECTRIC YOUTH‘s collaboration with COLLEGE entitled ‘A Real Hero’ was included on the ‘Drive’ soundtrack’ in 2011. Their debut album ‘Innerworld’ finally came out in Autumn 2014 and one of its highlights was another collaboration, this time with ROOM8 called ‘Without You’. Echoing Aussie combo ICEHOUSE  and ‘Great Southern Land’ in particular, its bridge and chorus were particularly tremendous with a nostalgic Brat Pack movie presence.

Available on the album ‘Innerworld’ via Last Gang Entertainment / Secretly Canadian

https://electricyouthmusic.com/


PURITY RING Begin Again (2015)

With CHVRCHES having had success borrowing PURITY RING’s electro template, the Edmonton duo’s sophomore album ‘Another Eternity’ was more focussed than its predecessor ‘Shrines’. Still utilising glitch techniques, booming bass drops and Corin Roddick’s rattling drum machine programming, ‘Begin Again’ made the most of Megan James’ sweet and dreamy voice. The pair off a major surprise by working with Katy Perry on three songs for her 2017 album ‘Witness’.

Available on the album ‘Another Eternity’ via 4AD Records

https://purityringthing.com/


DANA JEAN PHOENIX Only For One Night (2018)

Self-described as a “Retro Synthwave Singer”, Toronto’s DANA JEAN PHOENIX isn’t a stranger to synthylicious ditties. Having moved away slightly from pure Synthwave styles, as one of the best live solo synth performers currently, she enjoys rocking out onstage with her keytar Jareth. The sparkling template of one of her most rousing numbers ‘Only One For One Night’ brought along a youthful escapism that reminisced about first loves and first disappointments.

Available on the album ‘PixelDust’ via New EmPire Entertainment

https://www.danajphoenix.com/


MECHA MAIKO Apathy (2019)

Behind the quirky avant pop of MECHA MAIKO‬ is the talented Torontonian, Hayley Stewart. The delightfully odd ‘Apathy’ from her second album ‘Let’s!’ was an inventive oddball fusion of jazz swing Charleston, frantic techno dance beats and vibrant synthpop hooks. It showed she was not afraid to blend seemingly incongruous influences to get an end result and with a slight sprinkling of Japanese instrumentation to close, the eclectic creative cycle was complete!‬‬‬‬‬

Available on the album ‘Let’s!’ via ORO Records

https://www.mechamaiko.com/


Text by Chi Ming Lai with thanks to Simon Helm
17th February 2020

A Beginner’s Guide To WILLIAM ORBIT

William Mark Wainwright got his affectionate nickname Orbit from his friends who considered him to be something of a “space cadet”.

As William Orbit, the Hackney born musician and composer became one of the most revered producers, winning Grammys, Ivor Novellos and several other music industry awards.

Despite being a competent guitarist, Orbit considered himself unable to play keyboards well and admitted that it was the advent computers in music that allowed him to fully realise his creative potential.

His portfolio has ranged from electronic acts like KRAFTWERK, OMD, CAMOUFLAGE, ERASURE, THE HUMAN LEAGUE, NITZER EBB and DEPECHE MODE to rock bands like QUEEN, U2 and BLUR.

However, it was within dance-oriented pop that Orbit made his fortune through productions characterised by his trancey soundscapes, sparing fretwork and understated rhythmic construction. He even had a Top5 hit bearing his own name, albeit with a radically different trance remix by Ferry Corsten of ‘Adagio For Strings’ in 2000.

Brought up in a classical music loving family, Orbit shocked his teacher parents by dropping out of school to pursue his more creative inclinations, having tried a synth for the first time at the age of sixteen.

Things came to came to fruition when a friend wanted to start a recording studio. That venture eventually became Guerilla Studios which has now been based in various locations over the past three and a half decades.

These days, Orbit is a very content man, hosting a classical music show on Scala Radio as well as curating occasional lecture and multimedia art events.

Showing little concern for the financial aspects of the music industry, his two most recent albums ‘Orbit Symphonic’ and ‘Strange Cargo 5’ were given away as free downloads on Soundcloud in 2014.

With such a vast and varied career, it would be quite tricky to compile eighteen tracks involving Orbit’s magic touch, but The Electricity Club will attempt to do that with the restriction of one track per album project. So presented in chronological order, here is a Beginner’s Guide to William Orbit.


TORCH SONG Prepare To Energise (1983)

Comprising Orbit, Laurie Mayer, Grant Gilbert and latterly Rico Conning who subsequently worked with Martin Gore on the ‘Counterfeit’ collection, TORCH SONG were signed by music entrepreneur by Miles Copeland; the advance allowed for Orbit to build up his Guerilla Studios. ‘Prepare To Energise’ is probably still their best known tune, a pulsating cosmic club favourite with robotic voices and synthesized textures which featured in the film ‘Bachelor Party’ that was maybe ahead of its time.

Originally available on the TORCH SONG ‘Wish Thing’ via IRS Records, currently unavailable

https://www.discogs.com/artist/10950-Torch-Song


THE PARTNERSHIP Sampling The Blast Furnace (1984)

THE PARTNERSHIP was an unrealised side project comprising of Peter Saville cohort and ex-SPOONS member Brett Wickens with Roger Humphreys who together recorded as CERAMIC HELLO. Produced by Orbit and heavily influenced by KRAFTWERK, the uptempo ‘Sampling The Blast Furnace’ featured lead vocals by Andy McCluskey of OMD alongside vocodered voices and chants by Martha Ladly. The slower McCluskey-less demo was a bonus on the reissue of CERAMIC HELLO’s only album.

Not officially released, alternate demo version available on the CERAMIC HELLO album ‘The Absence Of A Canary V1.1’ via Vinyl On Demand

http://www.omd.uk.com/


ERASURE Supernature – William Orbit mix (1989)

Having artists from Mute Records and their dance subsidiary Rhythm King who included S-EXPRESS being remixed at Guerilla Studios gave Daniel Miller first-hand exposure to William Orbit’s capabilities. So who better to ask to house-up ERASURE’s cover version of Cerrone’s electronic disco landmark? The end result was suitably vibrant while still importantly retaining the core of the tune amongst all the fascinating dance rhythms and interplanetary effects.

Available on the ERASURE boxed set ‘Singles – EBX3’ via Mute Records

http://www.erasureinfo.com/


THE HUMAN LEAGUE The Stars Are Going Out (1990)

From THE HUMAN LEAGUE’s final Virgin album, ‘The Stars Are Going Out’ was a good tune from Oakey and Co that was one of four mixed by William Orbit in a bitty collection that also contained two songs produced by Martin Rushent and one by ex-ZTT cohort Bob Kraushaar. Strangely though, there appeared to be little of Orbit’s distinctive magic audible in the end result. It had been an unhappy time, as Orbit preferred to work without any of the band present, something they had not been prepared for.

Available on THE HUMAN LEAGUE album ‘Romantic?’ via Virgin Records

http://www.thehumanleague.co.uk/


BASSOMATIC Fascinating Rhythm (1990)

Combining modern developments in house music and dub with the feel of SOUL II SOUL, Orbit slotted right into the zeitgeist with ‘Fascinating Rhythm’ featuring vocalist Sharon Musgrave and rapper MC Inna One Step with an uplifting club friendly number that had “pulsating action” and was “breaking into heaven”. BASSOMATIC lasted for just two albums but it cemented Orbit’s position as a studio wizard who understood sound as well as the dancefloor.

Available on the BASSOMATIC album ‘Set The Controls For The Heart Of The Bass’ via Virgin Records

https://www.williamorbit.com/


KRAFTWERK Radioactivity – William Orbit 12″ Remix (1991)

‘The Mix’ was actually supervised by KRAFTWERK themselves, with the most significant makeover being ‘Radioactivity’ and its additional unsettling machine chant of “TSCHERNOBYL – HARRISBURGH – SELLAFIELD – HIROSHIMA” for an anti-nuclear message highlighting recent atomic catastrophes. For the single release, remixes were farmed out externally and Orbit’s version offered a more preferable electro enhancement than François Kevorkian’s house laden rework.

Originally available on the KRAFTWERK ‎single ‘Radioactivity’ via EMI Records, currently unavailable

http://www.kraftwerk.com/


WILLIAM ORBIT featuring BETH ORTON Water From A Vine Leaf (1993)

If there was a track that could be considered the root of the recognised Orbit signature sound, it probably has to be ‘Water From A Vine Leaf’, his first collaboration with kooky folktronica maiden Beth Orton. Having met at a party and beginning a relationship shortly after, he asked her to contribute spoken word phrases and singing for the third in his ‘Strange Cargo’ series over some looping rhythms, hypnotic bass and chill-out vibes. Orton went on to have a solo career and work with THE CHEMICAL BROTHERS.

Available on the WILLIAM ORBIT album ‘Strange Cargo III’ via Virgin Records

https://www.bethortonofficial.com/


THE ELECTRIC CHAMBER Fratres (1995)

Orbit’s concept of adapting classical works came about because he wanted to make a chill-out album that had some good tunes. In his first attempt using a pseudonym, one of the key tracks was ‘Fratres’ by 20th Century Estonian composer Arvo Pärt. Comprising of a six-bar theme, Orbit gave his electronic arrangement a sublime haunting stillness that explored the piece’s rich harmonic space via a slow meditative tempo. However, Pärt objected to its copyright infringement and the album was quickly withdrawn.

Originally on THE ELECTRIC CHAMBER album ‘Pieces In A Modern Style’ via N-Gram Recordings, currently unavailable

https://www.arvopart.ee/en/


MADONNA Ray Of Light (1998)

With Orbit having remixed ‘Erotica’ in 1992, Ms Ciccone was keen to work with the Englishmen, spending four and a half months at Larrabee Studios in Hollywood. ‘Ray Of Light’ was an interpolation of a little known 1971 song ‘Sepheryn’ by the British folk duo of Dave Curtiss and Clive Maldoon. Despite its frantic pace, Orbit ensured that the rhythmic elements were subtle in their make up to procure an earthy rave quality that was the antithesis of most dance music of the era.

Available on the MADONNA album ‘Ray Of Light’ via Maverick/WEA

https://www.madonna.com/


WILLIAM ORBIT Triple Concerto (2000)

With his new found fame via MADONNA, Orbit was given the opportunity to reissue ‘Pieces In A Modern Style’ and included several new recordings, one of which was Ludwig Van Beethoven’s lesser known ‘Triple Concerto’. With synthetic bells and glistening pentatonics reminiscent of Ryuichi Sakamoto added for a soothing lullaby effect, use was also made of the metallic percussive loop that had been part of his version of Arvo Pärt’s ‘Cantus’ from the original withdrawn album… waste not, want not!

Available on the WILLIAM ORBIT album ‘Pieces In A Modern Style’ via WEA

https://www.facebook.com/WilliamOrbit/


ALL SAINTS Black Coffee (2000)

Following MADONNA’s success, next in line for the Orbit treatment were London girl group ALL SAINTS. Having scored a No1 with the sublime ‘Pure Shores’ from ‘The Beach’ soundtrack, the combination did it again with ‘Black Coffee’. Orbit’s dreamy electronic aesthetics, spacey effects and minimal textural guitar worked perfectly for the soulful quartet to produce something that was commercial and accessible yet otherworldly and unconventional.

Available on the ALL SAINTS album ‘Saints & Sinners’ via London Records

http://www.allsaintsofficial.co.uk/


U2 Electrical Storm (2002)

With his high-public profile thanks to MADONNA and ALL SAINTS, it was no big surprise when U2 came calling. With a suitably airy beginning and heavy on acoustic guitar for the more esoteric sound that the Dubliners had been peddling since working with Brian Eno and Daniel Lanois, in the end ‘Electrical Storm’ just built up to sound just like U2, albeit with occasionally prominent windy electronic textures. There was also a second Orbit produced tune in ‘The Hands That Built America’.

Available on the U2 album ‘The Best Of 1990-2000’ via Island Records

https://www.u2.com/


WILLIAM ORBIT featuring SUGABABES & KENNA Spiral (2006)

Continuing his flirtation with out-and-out pop, Orbit teamed up with the UK pop’s answer to Charlie’s Angels SUGABABES and US/Ethopian artist Kenna on this slice of ambient electro R’n’B. Continuing to collaborate with TORCH SONG bandmates Laurie Mayer and Rico Conning, while the ‘Hello Waveforms’ album continued in the chill-out vein of ‘Pieces In A Modern Style’ and even included ‘The Humming Chorus’ by Puccini, prominent vocals were in the mix as well as real strings and brass.

Available on the WILLIAM ORBIT album ‘Hello Waveforms’ via Sanctuary Records

https://en.wikipedia.org/wiki/Sugababes


ROBBIE WILLIAMS Louise (2006)

By the mid-noughties, Robbie Williams was the biggest popstar in the world but strange things were happening in the wake of his split with hit collaborator Guy Chambers. Finding a new collaborator in Stephen ‘Tin Tin’ Duffy, he belatedly went electroclash with their first fruit of labour ‘Radio’. He then went all Synth Britannia on ‘Rudebox’, working with PET SHOP BOYS but also covering his new writing partner’s ‘Kiss Me’ and THE HUMAN LEAGUE’s ‘Louise’ which Orbit produced…

Available on the ROBBIE WILLIAMS album ‘Rudebox’ via EMI Records

https://www.robbiewilliams.com/


WILLIAM ORBIT featuring SARAH BLACKWOOD White Night (2010)

During the CLIENT hiatus, Sarah Blackwood took time out to work on ‘White Night’, a Rico Conning penned track for Orbit’s ‘My Oracle Lives Uptown’ album which dated back to their TORCH SONG days. Although her version did not appear on the final tracklisting, her take was offered as a free download. More accessible than some of CLIENT’s offerings but more purely electronic than DUBSTAR, this was a priceless pop gem which lyrically expressed her pain during that period.

Originally available as a free download, currently unavailable

http://dubstarofficial.com/


WILLIAM ORBIT Carmen (2010)

Producing a long awaited follow-up to his original electronic classical collection, ‘Pieces In A Modern Style 2’ continued where its predecessor left off, offering another predominantly chill-out album that had some good tunes. But one of the bonuses was an unexpected novelty in a sparkling technopop version of Georges Bizet’s opera standard ‘Carmen’, complete with stabbing synths and dramatic percussive passages to portray the seductive title character as a kind of Barbarella.

Available on the WILLIAM ORBIT deluxe album ‘Pieces In A Modern Style 2’ via Decca Records

https://www.instagram.com/therealwilliamorbit/


BRITNEY SPEARS Alien (2013)

A co-write with the one-time princess of pop, ‘Alien’ highlighted Britney’s feelings of loneliness. However, a vocal warm-up recording without her characteristic electronic treatment was leaked onto the internet, prompting Orbit to say in defence of the starlet: “Whomever put this on the internet must have done so in a spirit of unkindness, but it can in no way detract from the fact that Britney is and always will be beyond stellar! She is magnificent! And that’s that.”

Available on the BRITNEY SPEARS album ‘Britney Jean’ via RCA Records

https://www.britneyspears.com/


TRIANA TERRY Did It For Love (2013)

Orbit had discussed how becoming a superstar producer had made him unhappy and how he was pleased to have blown his fortune as all he had done was spend it on first class travel and equipment he never used. So when he recorded ‘Did It For Love’ with actress, artist and performer Triana Terry, the sentiment couldn’t have been more poignant in a feisty oddball mixture of electronic, pop and rock dynamics. Together, Orbit and Terry have presented a number of exhibitions combining paintings and music.

Not officially released, only available on YouTube

http://trianaterry.com/


Text by Chi Ming Lai with thanks to Simon Helm
Photos by Simon Helm
13th April 2019

30 Lost Obscure Alternatives Of The 45 RPM Era

Vinyl still holds a special affection with the emotional attachment given to a piece of music captured on bit of plastic almost unparralled.

So here are 30 synth friendly obscure alternatives from the era when vinyl was king, which for whatever reason, have been lost in the mists of time. These are great but obscure singles and album tracks from places as far flung as Australia, Japan and Canada that were overlooked at their time of release in the UK, but which all deserve critical reappraisal.

Please note that acts who nearly made it but have since been featured on The Electricity Club like B-MOVIE, BLUE ZOO, DRAMATIS, THE FALLOUT CLUB, FATAL CHARM, FIAT LUX, PAUL HAIG, HARD CORPS, ROBERT MARLOW, THE MOOD, OUR DAUGHTER’S WEDDINGVICE VERSAVIENNA and WHITE DOOR have not been included on this list. The songs are listed by year and then in alphabetical order…


PLASTIC BERTRAND Tout Petit La Planète (1978)

Although best known for his pseudo-punk hit ‘Ça Plane Pour Moi’, the Belgian BILLY IDOL recorded this superb electronic Eurodisco single with vocoders galore that would have done GIORGIO MORODER, CERRONE and SPACE proud. A bit hit in Greece, ‘Tout Petit La Planète’ featured a template that would be later borrowed by many Italo disco records, PET SHOP BOYS and KELLY OSBOURNE. Incidentally, fellow Belgians TELEX released their own robotic cover version of ‘Ça Plane Pour Moi’ shortly after.

Available on the album ‘Greatest Hits’ via Horvergnugen Records

http://www.plasticbertrand.com


DALEK I Destiny (1980)

DALEK I LOVE YOU DestinyPre-OMD, the synth duo on The Wirral was DALEK I LOVE YOU. However, by the time their debut album ‘Compass/Kum’pas’ was released, OMD were already having hits and keyboards man Dave Hughes left to join their live band. Shortening their name, ‘Destiny’ was their most accessible song with a precise KRAFTWERK percussive appeal, while Alan Gill’s vocals were eccentrically nasal. Hughes left OMD to form GODOT featuring vocalist Kevin Hartley who later then joined the fully named DALEK I LOVE YOU!

Available on the album ‘Compass/Kum’Pas’ via Mercury Records

http://www.discogs.com/artist/Dalek+I


DIE DORAUS & DIE MARINAS Fred Vom Jupiter (1981)

The project of German musician Andreas Dorau, ‘Fred Vom Jupiter’ was a quirky curio released as a single in the UK by Mute, created during a project week at the Otto-Hahn-Gesamtschule in Hamburg. The then 16 year-old Dorau composed the music while fellow students Natalia Munoz Valderrama, Nicole Kahl and Birgit Mensur provided the lyrics about a “very attractive and also very muscular” Kosmonaut; the vocals came from a quintet of teen and pre-teen school girls during a far more innocent time in history!

Available on the album ‘Hauptsache Ich – Retrospektive 1981-2014’ via Bureau B

https://www.facebook.com/andreasdorau/


FOX Electro People (1981)

FOX were Kenny Young and kooky Australian singer Susan Traynor aka Noosha Fox. They had numerous hits like ‘S-S-S-Single Bed’ but disbanded in 1977. The pair reunited for ‘Electro People’, written as the theme music for ‘The Kenny Everett Show’ which came over like a quirky Middle Eastern flavoured synthpop take on ALTERED IMAGES in a tribute to Synth Britannia; altogether now: “Ultra-Human-Depeche Mode-Tubeway-Kraftwerk-Soft-Manoeuvres-Gary-Orchestal-Army-Duran-League”!

Available on the album ‘Images ’74-’84’ via Cherry Red

https://www.discogs.com/artist/356308-Fox-3


IPPU DO Time Of The Season (1981)

The success of the band JAPAN gave a number of opportunities for Japanese musicians to show off their talents. One was Masami Tsuchiya of IPPU DO whose eccentric wailing guitar style coupled with German electronic influences caught the attention of David Sylvian who invited him to join JAPAN for their final tour. ‘Time Of The Season’ is a brilliant pentatonic take on the old ZOMBIES hit with mad warbling vocals and frantic percussion to produce a startlingly original cover version.

Available on the album ‘Essence: The Best of’ via Sony Music Japan

http://lifeintokyo.net/familytree_tsuchiya.html


MATHÉMATIQUES MODERNES Disco Rough (1981)

Comprising of Claude Arto and Edwige Belmore, the pair emerged from the Parisian club scene with their arty nouveau music. On ‘Disco Rough’, pulsing synthseizers and almost spoken staccato vocals were punctuated by unusual  stabs of sax. Their only album ‘Les Visiteurs Du Soir’ fused filmic strings and brass sections with electronic backing and baroque melodies. Sadly both Arto and Belmore have passed away, but have left their mark via Gallic tinged duos STEREO TOTAL and MISS KITTIN & THE HACKER.

Available on the album ‘Les Visiteurs Du Soir’ via Celluloid Records

https://www.discogs.com/artist/45920-Mathématiques-Modernes


JAH WOBBLE, JAKI LIEBEZEIT & HOLGER CZUKAY How Much Are They? (1981)

JAH WOBBLE, HOLGER CZUKAY & JAKI LIEBEZEIT How Much Are TheyAlthough dominated by PUBLIC IMAGE LIMITED refugee Wobble’s full-on bass, his icy synth flourishes alongside Czukay’s chattering beatbox and Dictaphone were essentials to the wonderful machine dub of ‘How Much Are They?’ while Liebezeit added some abstract avant garde trumpet. Originally featuring on the ‘Trench Warfare’ EP, the music was dedicated to JOY DIVISION’s Ian Curtis and a fitting instrumental celebration of his enigmatic aura, as well as the sadly recently departed Liebezeit and Czukay.

Available on the album ’12” 80s Alternative’ (V/A) via UMC

http://jahwobble.com/

http://www.czukay.com/


E.M.A.K. Filmmusik (1982)

E.M.A.K. FilmmuzikE.M.A.K. stands for Elektronische Musik Aus Köln and was a technology based sound project by Kurt Mill and Matthias Becker using a similar visual aesthetic on their artwork to NEU!  Using strict motorik rhythm programming and incessant pulsing sequences, ‘Filmmusik’ was a fine example of the instrumental blueprint of Michael Rother and Klaus Dinger synthesized for the new decade. This template was later borrowed by SIMPLE MINDS on ‘Androgyny’ and ORBITAL on ‘Pants’.

Available on the album ‘A Synthetic History Of’ via Soul Jazz Records

http://www.discogs.com/artist/EMAK


PETER GODWIN Images Of Heaven (1982)

PETER GODWIN Images Of HeavenA member of the group METRO, Peter Godwin was well placed for success as a regular visitor to The Blitz Club and mate of MIDGE URE who produced his debut solo single ‘Torch Songs For The Heroine’. ‘Images Of Heaven’ was a big potential hit single with chunky synths and dominant Simmons drums from ULTRAVOX’s Warren Cann. Despite not reaching the charts, Godwin had his bank balance enhanced in 1983 when DAVID BOWIE covered his song ‘Criminal World’ on the ‘Let’s Dance’ album.

Available on the album ‘Images of Heaven’ via Phoenix Recordings

http://www.facebook.com/PeterGodwinFans


IGNATIUS JONES Like A Ghost (1982)

IGNATIUS JONES Like A GhostDespite Australian Top 5 success as lead singer of JIMMY & THE BOYS, IGNATIUS JONES went solo and released ‘Like A Ghost’. Sounding like GARY NUMAN lost in the Outback,  the song was written by Steve Kilbey of THE CHURCH whose ‘Walking Under The Milky Way’ later appeared on the ‘Donnie Darko’ soundtrack.  He also recorded a cover of Jules Shear’s ‘Whispering Your Name’ which was a hit for Alison Moyet in 1994. Latterly, Jones directed the closing ceremony of the 2000 Sydney Olympics.

Originally released as a single by WEA Records, currently unavailable

http://www.discogs.com/artist/Ignatius+Jones


LEISURE PROCESS Love Cascade (1982)

LEISURE PROCESS Love CascadeFeaturing Ross Middleton and Gary Barnacle with production by Martin Rushent, ‘Love Cascade’ is the missing link between PETE SHELLEY and THE HUMAN LEAGUE.  The vocals are virtually unintelligible as the clattering LinnDrum, pulsing synths, squawky guitar and sax merge together for a cool dancefloor friendly tune that’s full of the decadent spirit of the times. LEISURE PROCESS released three more singles on Epic Records before splitting.

12 inch version available on the album ‘Retro: Active Vol 5’ (V/A) via Hi-Bias Records Canada

http://www.discogs.com/artist/Leisure+Process


POEME ELECTRONIQUE The Echoes Fade (1982)

The project of David Hewson, POEME ELECTRONIQUE was very much a family affair, as it also involved brother Les Hewson  plus cousins Julie Ruler and Sharon Abbott. The spacey synthpop coupled to a vocal template crossing GRACE JONES and ABBA caught the ear of John Peel. Returning in 2007, the material they recorded back in the day was finally issued, while members of the combo also appeared as part of Anglo-German collective TWINS NATALIA who released an album ‘The Destiny Room’ in 2014.

Available on the album ‘The Echoes Fade’ via Hwesonics

http://www.poeme-electronique.com/


SANDII &THE SUNSETZ  Living On The Front Line (1982)

SANDII & THE SUNSETZ Living On The Front LineAnother Japanese act who got a leg up from David Sylvian was the beautifully voluptuous Sandii O’Neale and her band of men THE SUNSETZ whose first album together ‘Heat Scale’ was produced by Haruomi Hosono of YELLOW MAGIC ORCHESTRA. Opening for JAPAN on their final tour in 1982, this dreamily percussive ditty featured Sylvian’s lyrics and vocals; when he harmonised with Sandii’s KATE BUSH-like tones, it was the ultimate marriage of West and East, both wonderfully cultured and coutured!

Available on the album ‘Immigrants’ via Alfa Records Japan

http://www.sandii.info


BOX OF TOYS I’m Thinking Of You Now (1983)

Like a cross between their Merseyside neighbours OMD and CHINA CRISIS, BOX OF TOYS were mix of synths and woodwinds with a prominent percussive attack. The majestic vocals have almost an English choir boy quality and dominate the track. A strange romantic warmth comes across with images of meadows, forests and blue skies. Its moody follow up ‘Precious In The Pearl’ almost 34 years on now sounds like the prototype version of MIRRORS!

Originally released as a single by Inevitable Records, currently unavailable

http://music-isms.blogspot.com/2008/01/box-of-toys-3d-light-1982-1986.html


CARE My Boyish Days (1983)

CARE My Boyish DaysWhenTHE WILD SWANS split, two thirds formed the basis of THE LOTUS EATERS while its singer Paul Simpson teamed up with ECHO & THE BUNNYMEN producer Ian Broudie. Combining heavily strummed acoustic guitars with strong synthesizer melodies and melancholic vocals, ‘My Boyish Days’ had a very traditional feel despite the incumbent technology. But the duo split before their debut album was completed. Simpson reformed THE WILD SWANS while Broudie eventually became THE LIGHTNING SEEDS.

12 inch version available on the album ‘Diamonds & Emeralds’ via Camden/BMG Records

http://music-isms.blogspot.com/2007/12/care-singles-1983-1984.html


ENDGAMES Love Cares (1983)

ENDGAMES Love CaresThe success of ABC and HEAVEN 17 heralded a new age of technologically enhanced blue-eyed soul. One band with aspirations in that field were ENDGAMES. The Glawegian combo had European support slots with HOWARD JONES, DEPECHE MODE and EURYTHMICS in their time. ‘Love Cares’ was like a funky CHINA CRISIS walking into the recording sessions of ‘The Lexicon Of Love’. By pure coincidence, singer David Rudden had a passing resemblance to CHINA CRISIS’ Gary Daly!

Originally released as a single on Virgin Records, currently unavailable

https://www.discogs.com/artist/50709-Endgames


MATT FRETTON It’s So High (1983)

MATT FRETTON It’s So HighFans of DEPECHE MODE’s post Vince Clarke pop period may remember a skinny lad in a pink suit who was their support act through 1983 to 1984. ‘It’s So High’ was a catchy tune 6/8 time featuring a strong synth bassline, big band brass and backing vocals by Eddi Reader. Alas, Fretton was dropped by Chrysalis after two more singles despite getting a Smash Hits front cover. He became a classical music promoter, but sadly took his own life in 2013 following the tragic passing of his partner Sussie Ahlburg.

Originally released as a single by Chrysalis Records, currently unavailable

https://www.discogs.com/artist/86051-Matt-Fretton


INDIANS IN MOSCOW Miranda (1983)

INDIANS IN MOSCOW MirandaLed by the vivacious Adele Nozdar, INDIANS IN MOSCOW were a kind of TRANSVISION VAMP with synths. ‘Miranda’ was a macabre tale about a psychotic girl murdering her criminally minded father. A crisp production came from Nigel Gray who worked with THE POLICE and SIOUXSIE & THE BANSHEES. An irritating-to-the-point-of-catchy synth portamento combined with Adele’s ghoulish scream provided a unique if polarising take on electronic pop.

Available on the album ‘Indians in Moscow’ via Planet Of Sound

http://www.indiansinmoscow.com


THE LOTUS EATERS You Don’t Need Someone New (1983)

‘You Don’t Need Someone New’ was neither a hit nor originally included on THE LOTUS EATERS’ debut album ‘Sense Of Sin’. More synth dominated than ‘The First Picture of You’, it was produced by Alan Tarney who went on to work his magic on A-HA’s ‘Take On Me’ and ‘The Sun Always Shines On TV’. With hints of CHINA CRISIS, this was wonderfully light and even came in a picture disc with a real flower pressed into it! But the band wanted a purer sound and dropped Tarney as producer.

Available on the album ‘No Sense Of Sin’ via Cherry Red Records

http://thelotuseaters.com/


MARTHA Light Years From Love (1983)

MARTHA Light Years From Love2 7 inchThe stunning Martha Ladly was more than just a pretty face; she was a musician, vocalist, artist and designer. Following her stints with MARTHA & THE MUFFINS, ASSOCIATES and doing paintings for Peter Saville’s NEW ORDER sleeve artwork, she teamed up with fellow Canadian Brett Wickens on this charming pop tune that echoed THE HUMAN LEAGUE’s ‘Open Your Heart’. Peter Hook provided his distinctive melodic six-string bass and dynamic production came from Steve Nye.

Originally released as a single by Island Records, currently unavailable

http://samemistakesmusic.blogspot.com/2009/01/charmed-life-of-martha-ladly_22.html


RATIONAL YOUTH Holiday In Bangkok (1983)

The classic RATIONAL YOUTH line-up of Tracy Howe, Bill Vorn and Kevin Komoda gained acclaim for their 1982 debut album ‘Cold War Night Life’, which became one of the biggest-selling Canadian independent albums at the time and secured a deal with Capitol Records. However, Vorn left to continute his university studies, but contributed synth programming to this typically overwrought warning about the dangers of drug running. By 1985’s ‘Heredity’ though, RATIONAL YOUTH was effectively a Howe solo project.

Originally released on the EP ‘Rational Youth’ by Capitol Records, re-recorded version available on the album ‘Heredity’ via Capitol Records

https://rational-youth.com/


SEONA DANCING More To Lose (1983)

SEONA DANCING More To LosePre-fame Ricky Gervais with his university pal Bill McRae came up with a pretentious name, donned New Romantic togs and delivered the kind of stereotypical synthpop that was being satirised by ‘Not The None O’Clock News’. While it’s not exactly the most original work of the period, it is fared well in the tuneage department and became a cult favourite on US college radio! Comedian Paul Merton later sarcastically remarked to Gervais on ‘Room 101’: “DAVID BOWIE’s nicked all your stuff!”

Extended Mix available on the album ‘Retro: Active Vol 5’ (V/A) via Hi-Bias Canada

http://seonadancing.com/


S.P.K. Metal Dance (1983)

S.P.K. Metal Dance‘Blue Monday’ met EINSTÜRZE NEUBAUTEN in this electronic metal bashing extravaganza featuring vocals by Sinan Leong. Robotic sequencers and found objects were both equally prominent in the mix of ‘Metal Dance’. Much more musical than their German counterparts, this group of Aussies named after the radical Marxist group Sozialistisches Patientenkollektiv provided a danceable interpretation of musique concrete and collapsing new buildings. Stark and scary!

Available on the album ‘Trevor Jackson Presents Metal Dance’ (V/A) via Strut Records

https://www.facebook.com/SPKindustrial/


EYELESS IN GAZA Sunbursts In (1984)

EYELESS IN GAZA Sunbursts InNuneaton’s artful musical duo of Martyn Bates and Peter Becker described their music as “veering crazily from filmic ambiance to rock and pop, industrial funk to avant-folk styles”. Always more of a cult proposition, ‘Sunbursts In’ was EYELESS IN GAZA’s most commercial offering, sounding like a cross between prime TEARS FOR FEARS and OMD. A synthetic brass riff compliments a strong if nasally vocal, driven by a stuttering drum machine sound.

Available on the album ‘The Cherry Red Vintage Collection’ on Cherry Red Records

http://www.eyelessingaza.com


THOMAS LEER International – Global Mix  (1984)

THOMAS LEER InternationalLeer was a reluctant electro pioneer who first came to prominence in 1978 with ‘Private Plane’. A song called ‘International’ was its B-side but this was a completely different composition altogether. ‘International’ appeared to be a pleasant song about jetsetting, but was actually a social commentary about the trafficking heroin across the continents, telling of “travelling across the world, selling it to boys and girls… a secret compartment holds the Chinese white”.  He later formed ACT with Claudia Brücken.

Available on the album: ‘Scale Of Ten’ via BMG Records

http://www.thomasleer.co.uk/


BILL NELSON Acceleration – US Remix (1984)

BILL NELSON AccelerationThe former BE BOP DELUXE guitarist took an early interest in synths and drum machines after going solo and while he always had the legacy of DAVID BOWIE hanging over him, he was a fine exponent of the E-Bow, a device which could sustain a guitar note infinitely. This allowed solos to merge in with electronics without standing out in a clichéd rockist manner. ‘Acceleration’ was his energetic flirtation with the dancefloor and benefited from this US remix by John Luongo who worked with BLANCMANGE.

Available on the album ‘Chimera’ via UMC

http://www.billnelson.com


VITAMIN Z Circus Ring (1985)

VITAMIN Z Circus RingTEARS FOR FEARS and A FLOCK OF SEAGULLS had demonstrated that a rock guitar oriented sound seasoned by modern electronics could do wonders across the Atlantic on MTV. Sheffield’s VITAMIN Z were one of the bands who showed some spark, ‘Circus Ring’ sounding like a cross between TEARS FOR FEARS and ICEHOUSE. A support slot with Midge Ure raised hopes of success but it was not to be. However, vocalist Geoff Barradale now manages ARCTIC MONKEYS!

Available on the album ‘Rites Of Passage’ via Renaissance Records USA

http://pages.interlog.com/%7Edolphind/vitz.html


PSYCHE The Saint Became A Lush (1986)

Hailing from Ontario, darkwavers PSYCHE comprised of brothers Darrin and Stephen Huss who  were one of the main trailblazers for independent electronic music in North America. The magnificent sweeping blip drama of ‘The Saint Became A Lush’ was probably the pinnacle of their creative partnership with a suitably detached vocal performance from the older sibling. Stephen sadly passed away in 2015 but Darrin Huss, now based in Germany, continues as PSYCHE with Stefan Rabura.

Available on the album ‘Unveiling The Secret’ via Artoffact Records

http://www.psyche-hq.de/


TWO PEOPLE Heaven (1987)

TWO PEOPLE HeavenAn earlier single ‘Mouth Of An Angel’ had been produced by Martin Rushent, but TWO PEOPLE’s sound was more typical of a conventional duo dressed with synths like CHINA CRISIS. ‘Heaven’ sounded like THE LOTUS EATERS fused with THE TEARDROP EXPLODES. With punchy brass, aspirational lyrics and modern production by Chris Porter, this was a perfect pop song in anyone’s ears but failed to catch the imagination of the record buying public despite extensive radio airplay.

Originally released as a single by Polydor Records, currently unavailable

http://www.discogs.com/artist/Two+People


WHEN IN ROME The Promise (1988)

WHEN IN ROME were vocalists Clive Farrington and Andrew Mann with keyboardist Michael Floreale. The oddly styled trio’s nearbrush with fame came with ‘The Promise’, a glorious cross between ULTRAVOX and THE WALKER BROTHERS. It failed to gain a UK chart foothold, but was used in the closing scene and end credits of ‘Napoleon Dynamite’ in 2004. However, the renewed interest only heightened tensions between the estranged vocal and instrumental factions, with each laying claim to the name…

Available on the album ‘When In Rome’ via Virgin Records

https://www.facebook.com/FarringtonMannUK/

http://wheninrome2.com/


Text by Chi Ming Lai
14th September 2017