Named after a wonderfully eclectic song from the first ROXY MUSIC album, appropriately it was Brian Eno who said that LADYTRON were “the best of English pop music”.
Despite Eno’s description, one of the most distinctive aspects of LADYTRON is their diversity.
With all systems go in the LADYTRON camp, Danny Hunt kindly took time out from the studio to chat to The Electricity Club about the new album, his favourite synths and his own career highlights. Continue Reading ›
The world found itself in a rather antagonistic and divisive state this year, as if none of the lessons from the 20th Century’s noted conflicts and stand-offs had been learnt. After a slow start to 2017, there was a bumper crop of new music from a number of established artists.
Overall, it was artists of a more mature disposition who held their heads high and delivered, as some newer acts went out of their way to test the patience of audiences by drowning them in sleep while coming over like TRAVIS on VSTs.
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If Gustav Holst had composed ‘The Planets Op32’ suite today, would he have used synthesizers within his framework? With his interest in astrology and thus the future, the answer is probably a “yes”.
Just a year after her acclaimed second album 'Awake But Always Dreaming', HANNAH PEEL follows-up with a striking seven movement instrumental opus entitled 'Mary Casio: Journey To Cassiopeia', featuring an array of analogue synthesizers and a 29-piece colliery brass band. Continue Reading ›
James Murphy has never been afraid to wear his influences on his sleeve. In the past, DAVID BOWIE, BRIAN ENO, TALKING HEADS, JOY DIVISION, KRAFTWERK and DAFT PUNK have been mined for LCD SOUNDSYSTEM.
Seven years after the acclaimed album ‘This Is Happening’ which featured the wonderful electronic pop of ‘I Can Change’, the Brooklyn new romantic with an industrial edge continues his magpie ways with a new long player ‘American Dream’. Continue Reading ›
‘The Punishment Of Luxury’ is OMD’s thirteenth long player and could be considered a natural progression from ‘English Electric’. The album takes its name from an 1891 painting by Giovanni Segantini.
It begins with the title track and a mighty electro rhythm section enhanced by a bright infectious melody, robot harmonies and chants. Reflecting on the dilemma of first world problems, it’s a fabulous opener that captures elements of KRAFTWERK, THE ART OF NOISE and THE PRODIGY. Continue Reading ›