Tag: Duran Duran (Page 1 of 7)

The Electronic Legacy of GREATEST HITS

Despite his lukewarm review of NEW ORDER’s ‘Power, Corruption & Lies’ for ‘Smash Hits’, as a fan of their singles, Neil Tennant wrote: “I’m still looking forward to their ‘Greatest Hits’”.

Not appreciating a greatest hits of an artist who you admire is the ultimate in fan snobbery; that they are in a position of being able to release one is often a symbol of wider acclaim and success.

Despite what those too cool for school hipster types would have you believe, when you are 15 years old with just £4 in your hand, if you are choosing a record of an artist who you only know the singles of, you tend to opt for a compilation where possible, that is a fact.

The greatest hits compilation has its place in documenting the immediate appeal of an artist. It can often be the only release that most casual listeners need, especially if the albums were disappointing and featured all the wrong versions of their best songs as was the case with FRANKIE GOES TO HOLLYWOOD.

But then, duos like PET SHOP BOYS and ERASURE were just supreme in the singular format while conversely, there are those like HEAVEN 17 and VISAGE whose best work can be found on their first two albums. However, bands such as NEW ORDER could often be better represented by their singles rather than their albums, as many of them were standalone releases that were not included on their long players which were often quite different in musical style.

Now while something as “commercial” as releasing a greatest hits would have been an anathema to NEW ORDER’s label Factory Records in 1983, flush with unexpected success and cash, Tony Wilson wanted to play their singles using the CD player that came with his brand new Jaguar car.

Thus, the ‘Substance’ compilation was born in 1987; issued in a variety of formats including double vinyl, cassette, DAT and CD, the latter three variants made use of the extra playing time available and included bonuses such as B-sides, tracks only previously issued in Belgium, instrumental versions and those rarely essential dub experiments.

Perhaps not unsurprisingly despite its flaws with re-recordings, edits and omissions, ‘Substance’ has gone on to sell around twelve million copies worldwide and was many fans’ entry point into NEW ORDER.

A good compilation does the job of attracting new fans while providing something extra for long standing fans and completists where possible. New versions or up-to-the-minute remixes of established standards were the fashion for a period but thankfully, this marketing strategy is today generally considered passé and previously unreleased songs are now considered the main draw.

But ultimately, what makes a great greatest hits package is a seamless listening experience, although this is something which even the best acts don’t always get right despite the quality of their best output.

So The Electricity Club takes a personal look at the electronic legacy of greatest hits via twenty notable artist compilation albums, each with valid reasons for their inclusion, presented in yearly and then alphabetical order within. And as one great Northern English philosopher once wrote: “some are here and some are missing…”


ULTRAVOX The Collection (1984)

At the time of release, ‘The Collection’ was novel. Not only did it feature all thirteen Midge Ure-fronted ULTRAVOX singles to date, but in ‘Love’s Great Adventure’, it also included a brand new one too. Yes, 2009’s ‘The Very Best Of’ features four more tracks including the cancelled 1984 single ‘White China’, but honestly who really needs the singles from ‘U-Vox’? ‘The Collection’ was a perfect package that could be played from start to finish, from Dancing with Tears in My Eyes’ to ‘Lament’ via ‘Vienna’.

‘The Collection’ was released by Chrysalis Records

http://www.ultravox.org.uk/


DEPECHE MODE The Singles 81-85 (1985)

The ideal DEPECHE MODE greatest hits package would be CD1 of ‘The Singles 86-98’ which ends with the ‘Violator’ 45s coupled with the innocent synthpop period gathered on ‘The Singles 81-85’. But as that doesn’t exist, the very first DM singles compilation wins over thanks to its inclusion of candid photos from the band’s history and some amusing negative review quotes, highlighting that once upon a time, DEPECHE MODE actually had a sense of humour. Oh! Those were the days!

‘The Singles 81-85’ was released by Mute Records

http://www.depechemode.com/


GARY NUMAN Exhibition (1987)

The first compilation ‘New Man Numan’ was a 1982 singles collection that sold poorly as his star turn was on the wane. But by 1987, there was renewed interest in trailblazing exploits of Gary Numan; the ‘Exhibition’ double CD package featured not only his singles up to 1983 but choice album tracks from his imperial Beggars Banquet phase like ‘Metal’ and ‘Remind Me To Smile’ which should have been singles plus rarities like ‘On Broadway’ and B-sides such as ‘Do You Need The Service?’.

‘Exhibition’ was released by Beggars Banquet

http://garynuman.com/


CHINA CRISIS Collection (1990)

CHINA CRISIS had their fourteen track ‘Collection’ of primarily singles released in a wonderful limited edition double CD package with fourteen of their B-sides. Gary Daly and Eddie Lundon were better than their four Top20 hits suggested, with songs like ‘African & White’ and ‘Arizona Sky’ in particular deserving of much higher chart placings. Add in B-sides like ‘No Ordinary Lover’, ‘A Golden Handshake For Every Daughter’ and ‘Dockland’, and you have a near perfect document of their career.

‘Collection’ was released by Virgin Records

https://www.facebook.com/chinacrisisofficial


JIMMY SOMERVILLE The Singles Collection (1990)

The diminutive Glaswegian never stuck around in his bands for long but he had one of the most recognisable voices in pop, thanks to in his glorious falsetto. So what better than compiling his BRONSKI BEAT and COMMUNARDS singles alongside his solo work? From the poignant commentary on gay rights in songs like ‘Smalltown Boy’ and ‘Why?’ to the HI-NRG covers of disco standards ‘Don’t Leave Me This Way’, ‘Never Can Say Goodbye’ and ‘Mighty Real’, this was a fine collection.

‘The Singles Collection’was released by London Records

https://www.jimmysomerville.co.uk/


TALK TALK Natural History (1990)

After 1988’s financially disastrous ‘Spirit Of Eden’, EMI were keen to recoup their investment on the now departed TALK TALK and what better than with a compilation. While primarily based around their hit singles, ‘Natural History’ actually pulled off an accidental masterstroke by including the full-length album versions of songs like ‘Such A Shame’ and ‘Living In Another World’ which had sounded terrible as single edits. This all made for a better listening experience for those new to Mark Hollis and friends.

‘Natural History’ was released by EMI Records

https://spiritoftalktalk.com/


PET SHOP BOYS Discography (1991)

‘Discography’ gathered all of PET SHOP BOYS singles during what Neil Tennant has always describe as their imperial phase and could rightly be called one of the best greatest hits albums ever. Featuring four UK No1s, there were others like ‘Left To My Own Devices’, Being Boring’ and the Dusty Springfield duet ‘What Have I Done To Deserve This? that were equally as worthy. Later compilations like ‘PopArt’ mighty have ‘Go West’ and more, but ‘Discography’ captures the duo at their most consistent best.

‘Discography’ was released by EMI Records

https://www.petshopboys.co.uk/


ERASURE Pop! The First 20 Hits (1992)

Coming not long after ‘Discography’, ‘Pop! The First 20 Hits’ saw ERASURE take on PET SHOP BOYS at their own game. Andy Bell and Vince Clarke may have only had three less UK No1s than Neil Tennant and Chris Lowe but that’s a bit like saying Nigel Mansell wasn’t a good as Nelson Piquet on stats alone. ERASURE have always been a better singles act than they are an album one, but while a second volume was added in 2009, this initial volume is the more essential purchase.

‘Pop! The First 20 Hits’ was released by Mute Records

https://www.erasureinfo.com/


KRAFTWERK The Model (1992)

Los Angeles goth industrial specialists Cleopatra Records pulled off a major coup by licencing the music of KRAFTWERK from their then-US label Capitol Records for a compilation album. Covering the period 1975-1978, the main point of interest for Kling Klang enthusiasts was the first time on CD release of ‘Radio-Activity’, ‘Trans Europe Express’, ‘The Robots’ and ‘Neon Lights’ in their single edits! ‘The Model’ retrospective was a good introduction to KRAFTWERK for the more cautious consumer.

‘The Model’ was released by Cleopatra Records

http://www.kraftwerk.com/


FRANKIE GOES TO HOLLYWOOD Bang!… (1993)

Liverpool’s FRANKIE GOES TO HOLLYWOOD are probably the epitome of hype over substance, but in their name came some magnificent ground-breaking singles. For a band who released only two albums, they have been documented more than most already with six greatest hits collections and a plethora of remix packages. The very first one ‘Bang!…’ was undoubtedly the best, serving the Frankie phenomenon in mostly bite size single edit portions with album highlights and perfect for the casual but interested observer.

‘Bang!…’ was released by Warner Music

http://www.ztt.com/artists/frankie_goes_to_hollywood.html


JOHN FOXX Modern Art (2001)

The first John Foxx compilation ‘Assembly’ in 1992 while welcome, suffered from being selected by the man himself, as artists are not often the best judges of their own work. Much better and more comprehensive was ‘Modern Art’ which gathered all his singles into one place in their correct versions, while also adding a remastered version of the ‘Smash Hits’ flexi-disc ‘My Face’ as a bonus for Foxx aficionados as well as new material from ‘The Pleasures Of Electricity’.

‘Modern Art’ was released by Music Club

http://www.metamatic.com/


SIMPLE MINDS Early Gold (2003)

Before Jim Kerr hectored audiences to show them his hands, SIMPLE MINDS were one of the best art rock bands in the UK, swathed in Eurocentric synths and rhythms. ‘Early Gold’ satisfied those who always felt the Glaswegians lost it after ‘New Gold Dream’ by including The Blitz Club anthem ‘Changeling’, the Moroderesque ‘I Travel’ and the glory of ‘Someone Somewhere in Summertime’. However, the magnificent ‘Theme For Great Cities’ is missing but you can’t have it all…

‘Early Gold’ was released by Virgin Records

https://www.simpleminds.com/


NEW ORDER Singles (2005)

With its hotch-potch of wrong mixes and ordering, the first edition of ‘Singles’ is historically incorrect. But unlike ‘Substance’, it has the correct takes of ‘Ceremony’ and ‘Temptation’. Yes, there’s the album cut of ‘Bizarre Love Triangle’ and an edited B-side version of 1963 as well, BUT as a listening experience, CD1 of ‘Singles’ does a better job of capturing NEW ORDER up to the end of 1987. ‘Blue Monday’ remains intact, and while the edit of ‘Thieves Like Us’ is annoying, ‘Confusion’ is more tolerable in abridged form.

‘Singles’ was released by London Records

http://www.neworder.com/


JAPAN The Very Best Of (2006)

First up, there is no ideal JAPAN compilation. But ‘The Very Best Of’ wins over because it was the only one that had the key Ariola Hansa era singles ‘Life In Tokyo’, ‘I Second That Emotion’ and ‘Quiet Life’ alongside the Virgin period that produced ‘Ghosts’ and ‘Nightporter’. However, the clumsy 1980 early fade of ‘Quiet Life’ was included rather than the sharper 1981 hit single edit. Also, were two versions of ‘Ghosts’ necessary when ‘Swing’ could have been dropped in? It all spoilt what potential this compendium had.

‘The Very Best Of’ was released by Virgin Records

http://www.nightporter.co.uk/


DURAN DURAN The Singles 81-85 (2009)

DURAN DURAN were described by The Guardian in 2015 as “an electronic band with a heavy rock guitarist bolted on” and that era of the classic Le Bon / Rhodes / Taylor / Taylor / Taylor line-up is captured in this 3CD package largely firing on all cylinders. Originally issued in 2003 as a lavish 13CD boxed set and featuring all their singles, extended versions and B-sides from that period, ‘The Singles 81-85’ is superior to the both the preceding ‘Decade’ and ‘Greatest’ compendiums.

‘The Singles 81-85’ was released by EMI Records

http://www.duranduran.com/


LADYTRON Best Of 00-10 (2011)

“They only want you when you’re seventeen” sang LADYTRON on their single satirising modern day audition culture and perhaps not coincidently, their ‘Best Of 00–10’ featured that number of tracks. A fine introduction to the quartet via their more immediate songs like ‘Discotraxx’, ‘Playgirl’, ‘Runaway’ and the mighty ‘Destroy Everything You Touch’. Extra points were awarded for the right wing baiting revisionist cover of Nazi folkies DEATH IN JUNE’s ‘Little Black Angel’ in a defiant act of artistic and ideological subversion.

‘Best of 00-10’ was released by Nettwerk Records

http://www.ladytron.com/


CAMOUFLAGE The Singles (2014)

Often seen as Germany’s answer to DEPECHE MODE, CAMOUFLAGE added in elements of YELLOW MAGIC ORCHESTRA and have a marvellous back catalogue that is well worth investigating. ‘The Singles’ is a fine introduction, containing their signature song ‘The Great Commandment’ as well as ‘Stranger’s Thoughts’, ‘Love Is A Shield’, ‘Suspicious Love’, ‘Me & You’ plus a great cover of Moon Martin’s ‘Bad News’. With liner notes by The Electricity Club, what more could you want? 😉

‘The Singles’ was released by Polydor Records

http://www.camouflage-music.com/en/News


JEAN MICHEL JARRE Essential Recollection (2015)

Jean-Michel Jarre has several greatest hits albums but they all have been frustrating listens. This has largely been due to his synthesizer symphonies not being suited to sub-three minute edits, a flaw heavily exposed on the ‘Images’ compilation. But ‘Essential Recollection’ collected the French Maestro’s most accessible moments with sympathetic fades that captured the essence of his electronic wizardry. However, 2000’s ‘The Bells’ was odd inclusion in a collection that focussed on his earlier imperial phase.

‘Essential Recollection’ was released by Sony Music

https://jeanmicheljarre.com/


SOFT CELL Keychains & Snowstorms – The Singles (2018)

No-one expected Marc Almond and Dave Ball to reunite as SOFT CELL for a final show in 2018, but a bigger surprise was a brand new single ‘Northern Lights’ b/w ‘Guilty (Cos I Say You Are)’. Both tracks were included on a new singles compilation which reminded people that SOFT CELL had five UK Top5 singles in just over thirteen months between 1981 and 1982. However, a minus mark gets awarded for using the inferior album mix of ‘Tainted Love’ instead of the chart topping single version!

‘Keychains & Snowstorms – The Singles’ was released by Universal Music

https://www.softcell.co.uk/


OMD Souvenir (2019)

As with JAPAN, there is no perfect OMD compilation. The brand has had some quite different phases, so means different things to different people. ‘The Best Of’ is still their biggest selling album but the comprehensive ‘Souvenir’ gathers all their singles, from the exemplarly ‘Messages’, ‘Enola Gay’ and ‘Maid Of Orleans’ to the more recent ‘Dresden’ and ‘Don’t Go’. But while there’s duffers like ‘Stand Above Me’ and ‘If You Want It’, maybe it’s the ideal time to put those CD programmers and playlists to work!

‘Souvenir’ was released by Virgin Records

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


Text by Chi Ming Lai
25th July 2020, updated 27th July 2020

The Electricity Club’s 25 CLASSIC SYNTH B-SIDES

It really is the other side of love. B-sides have been a wondrous platform of adventure for the music fan, a hidden treasure trove of experimentation that was often a secret society that positioned the listener into being part of a mysterious taste elite.

So here are The Electricity Club’s favourite 25 Classic Synth B-sides… but how was this list defined?

These artefacts are flipsides of vinyl or bonus tracks on CD singles; basically songs that were not featured on the original issue of a full length album, or subsequently included on a new one. However, bonus tracks on later reissues are permitted. With TEC’s 25 Synth Instrumentals Of The Classic Era being covered in a separate listing, wordless wonders are also omitted. The listing runs up until the start of the 21st Century.

However, there is a limitation of one song per artist moniker in this chronological retrospective, so rare indulgers of the B-side such as HEAVEN 17, JAPAN and SIMPLE MINDS get equal billing with prolific exponents like PET SHOP BOYS, DEPECHE MODE, OMD and ULTRAVOX. That may seem unfair but then life can be unfair…


THE NORMAL TVOD (1978)

the_normal_-_warm_leatherette_-_front_smWas ‘TVOD’ actually the A-side of this seminal and only release by THE NORMAL which launched Mute Records? But as ‘Warm Leatherette’ is listed at the top of the back sleeve and has moved into legend having been covered by GRACE JONES, LAIBACH and CHICKS ON SPEED, ‘TVOD’ qualifies for this list. With its hypnotic bassline and warbling synth hook, JG Ballard makes his influence heard as Daniel Miller monotones about a dystopian future where television is the new narcotic…

Available on the single ‘Warm Leatherette’ via Mute Records

www.mute.co.uk


TUBEWAY ARMY We Are So Fragile (1979)

are friends electricIn the days when the B-side mattered as much as the A-side, more intuitive purchasers found another gem on the flip of ‘Are Friends Electric?’ with this pounding system of romance. Being the antithesis of the discordant diabolis in musica of the main act, ‘We Are So Fragile’ fused Minimoogs with guitars and a four-to-the-floor beat as the vulnerability of Gary Numan connected with the Cold War dystopia of the times in a musical winter of discontent.

Originally the B-side of ‘Are Friends Electric?’; now available on the album ‘Replicas’ via Beggars Banquet Records

www.numan.co.uk


JOHN FOXX 20th Century (1980)

foxxCommissioned as the theme to Janet Street-Porter’s early youth vehicle ‘20th Century Box’ which gave platforms to two then unknown bands SPANDAU BALLET and DEPECHE MODE, the combination of Foxx’s starkly dominant Compurhythm and ARP Odyssey dystopia were harsh but strangely danceable. However, ’20th Century’ signalled the wind down of the mechanical phase of John Foxx before thawing out and turning more conventional to less distinctive effect on ‘The Garden’.

Originally the B-side of ‘Burning Car’; now available on the deluxe album ‘Metamatic’ via Esdel Records

www.metamatic.com/


SIMPLE MINDS New Warm Skin (1980)

Like a number of bands of the period, SIMPLE MINDS went off doing B-sides as they progressed, often lazily filling the flips with live tracks or instrumental versions of existing tracks. ‘New Warm Skin’ was the original B-side of ‘I Travel’ and saw the Glaswegians ape SPARKS for this claptrap filled electronic cacophony of sound. Not claustrophobic enough for ‘Empires & Dance’, this is a delightfully creepy synth laden rarity in the SIMPLE MIDS back catalogue.

Originally the B-side of ‘I Travel’; now available as a bonus track on the boxed set ‘X5’ via Virgin Records

www.simpleminds.com


DEPECHE MODE Ice Machine (1981)

dreamingofme1With so many great B-sides in the long career of DEPECHE MODE, it might seem strange that their best B-side was actually their first. ‘Ice Machine’ is possibly Vince Clarke’s darkest five minutes, but it has also proved to be highly influential. ROYKSOPP and S.P.O.C.K have covered it while the song’s core arpeggio has been borrowed by LADYTRON and FEATHERS. It is not only one of DM’s best B-sides, it is among one of the best songs of the Synth Britannia era.

Available on the DEPECHE MODE boxed set ‘DMBX1’ via Mute Records

www.depechemode.com


HEAVEN 17 Are Everything (1981)

heaven-17-im-your-money-virginHEAVEN 17 were an act who rarely did B-sides and even this cover of a lesser known BUZZCOCKS single started life as a track for the BEF ‘Music Of Quality & Distinct Volume 1’ opus but was quickly shelved. Unusual in many respects as ‘Are Everything’ features the early HUMAN LEAGUE synth sound emblazoned with acoustic guitar from Dave Lockwood, Glenn Gregory snarls in post-punk fashion away from the new funk hybrid which was later appear on ‘Penthouse & Pavement’.

Originally the B-side of ‘I’m Your Money’; 12 inch version now available on the HEAVEN 17 album ‘Penthouse & Pavement’ via Virgin Records

www.heaven17.com


JAPAN European Son (1981)

life in tokyoOriginally recorded as a demo for the 1979 Giorgio Moroder sessions that produced ‘Life In Tokyo’, this sequencer heavy number was rejected by the Italian disco maestro. Left dormant in the vaults of Ariola Hansa, after JAPAN left the label, ‘European Son’ was subsequently finished off by John Punter and tagged onto a 1981 reissue of ‘Life In Tokyo’. Retrospectively, it shows David Sylvian’s vocals in transition from the catty aggression of earlier albums. In 1982, it became an A-side remixed by Steve Nye.

Originally the B-side of 1981 reissue of ‘Life In Tokyo’; now available on the JAPAN album ‘The Very Best Of’ via Virgin Records

www.nightporter.co.uk/


ULTRAVOX Paths & Angles (1981)

Ultravox-the voiceA unique curio in the classic ULTRAVOX cannon as it does not feature Midge Ure. Chris Cross handled guitar duties and backing vocals while Warren Cann took the spoken lead. The powerful Linn driven track was provided the punch with the Minimoog bass while Billy Currie tastefully layered with his piano and violin interplay. ‘Paths & Angles’ was undoubtedly strong enough to have been an album track, but highly unlikely to have remained in this form if Ure had been involved.

Originally the B-side of ‘The Voice’; now available on the ULTRAVOX album ‘Rage In Eden’ via EMI Records

www.ultravox.org.uk


BLANCMANGE Running Thin (1982)

blancmange-living-on-the-ceiling-1982Originally recorded for a John Peel session but rescued for the B-side of ‘Living On The Ceiling’, ‘Running Thin’ featured a much starker, claustrophobic template than the subsequent ‘Happy Families’ album. Driven by a Roland drum machine, haunting blips and “elastic stretched too far” guitar, Neil Arthur’s resigned baritone matched the music backdrop. The track has since been revisited by BLANCMANGE for the upcoming 2CD ‘Happy Families Too’ 2CD set.

Originally the B-side of ‘Living On The Ceiling’; now available on the BLANCMANGE album ‘The Very Best Of’ via Music Club

www.blancmange.co.uk


THOMAS DOLBY One Of Our Submarines (1982)

She_Blinded_Me_with_ScienceBorrowing the main melody of ‘The Six Million Dollar Man’ theme and coupled with a sharp Tim Friese-Greene production, ‘One Of Our Submarines’ was actually based on the poignant story of TMDR’s uncle Stephen. He served in a submarine during World War Two but died while on manoeuvres as opposed to battle. His death became Dolby’s metaphor for the fall of the British Empire and his rebellion against the post-war Boys Own adventure illusion that his generation grew up in.

Originally the B-side of ‘She Blinded Me with Science’; now available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

www.thomasdolby.com


THE HUMAN LEAGUE You Remind Me Of Gold (1982)

the-human-league-mirror-man-virginOutstripping the electro Tamla of the A-side, ‘You Remind Me Of Gold’ had the balance of weirdness, accessibility and the spectre of Jo Callis’ guitar synthesizer. Coupled with the precise but edgy production of Martin Rushent, this gave high hopes that the follow-up to the million selling ‘Dare’ would be a goody. Unfortunately, the band fell out with Rushent and the lukewarm ‘Hysteria’ was the result and it would take years for THE HUMAN LEAGUE to recover.

Originally the B-side of ‘Mirror Man’; now available on the HUMAN LEAGUE deluxe album ‘Dare / Fascination!’ via Virgin Records

www.thehumanleague.co.uk/


OMD Navigation (1982)

OMDmaidOMD often were at their best when indulging in their vertical take-off experiments. Covered in hiss and layered with a shrilling, almost out-of-tune Mellotron, ‘Navigation’ was an abstract collage with the punching snare drum crescendo leading to a weird droning beacon of strange noises taken from their pre-OMD tapes that conjured the image of foggy uncharted oceans. It is without doubt, one of Paul Humphreys and Andy McCluskey’s stand-out recordings.

Originally the B-side of ‘Maid Of Orleans’; now available on the OMD album ‘Navigation’ via Virgin Records

www.omd.uk.com


SOFT CELL It’s A Mug’s Game (1982)

Where the Heart IsBoy George once described SOFT CELL as music for teenagers who hate their parents. With ‘It’s A Mugs Game’, that ethos came to its head with this comical tirade of angry, adolescent angst! Marc Almond goes from crisis to crisis as he tries to annoy his dad by playing loud, all the records “he especially hates… ’Deep Purple In Rock, ‘Led Zeppelin II’”. But as Almond retorts: “even you hate those”! The closing rant of “I can’t wait until I’m twenty one and I can tell them all to sod off!” is classic!

Originally the B-side of ‘Where The Heart Is’; now available on the SOFT CELL album ‘The Very Best Of’ via Phonogram Records

https://www.softcell.co.uk/


TALK TALK ? (1982)

Perhaps unsurprisingly with Colin Thurston at the production helm, the cryptically titled ‘?’ did sound like a DURAN DURAN flipside with thundering Simmons drums, disco bass and a fabulous synth solo from original keyboardist Simon Brenner. Utilising a weird chorus effect which sounded like the song was recorded on using dirty tape heads, while not a particularly prolific B-side band, TALK TALK certainly delivered more extras than perhaps JAPAN ever did.

Originally the B-side of ‘Talk Talk’. Available on the TALK TALK album ‘Asides Besides’ via EMI Music

https://spiritoftalktalk.com/


VISAGE I’m Still Searching (1982)

night trainOne of the few vocal tracks to be a VISAGE B-side, ‘I’m Still Searching’ in hindsight sounds ahead of its time with its proto-PET SHOP BOYS vibe. Featuring just Steve Strange and Rusty Egan as the ULTRAVOX and MAGAZINE boys were all back in their day jobs, it hinted at a New York electronic disco direction which was expanded on with ‘Pleasure Boys’. But by the time of the third VISAGE album ‘Beat Boy’, rock was the name of the game with Strange’s voice left exposed and totally unsuited to its histrionics.

Originally the B-side of ‘Night Train’; now available on the VISAGE album ‘The Anvil’ via Rubellan Remasters

www.visage.cc/


YAZOO Situation (1982)

only youA B-side that was later issued as an A-side in various markets, ‘Situation’ was one of only three writing collaborations between Alison Moyet and Vince Clarke. At barely 2 minutes in its original form, it made its point with its rousing blues based sequenced dance pop; it became a US club favourite remixed by Francois Kevorkian who was later to work with KRAFTWERK and DEPECHE MODE. Another version mixed by ERASURE producer Mark Saunders took the song into the UK Top20 in 1990.

Originally the B-side of ‘Only You’; now available on the album ‘The Collection’ via Music Club

www.yazooinfo.com/


CARE Sad Day For England (1983)

careWhen Liverpool band THE WILD SWANS split, two thirds formed the basis of THE LOTUS EATERS while their singer Paul Simpson teamed up with ECHO & THE BUNNYMEN producer Kingbird aka Ian Broudie. Combining acoustic guitars and stark drum machine with strong synthesizer melodies and melancholic vocals, ‘Sad Day for England’ was a mournful recollection of young manhood. The duo split before their debut album was completed. Broudie eventually formed THE LIGHTNING SEEDS.

Originally the 12 inch B-side of ‘My Boyish Days’; now available on the CARE album ‘Diamonds & Emeralds’ via Camden Records/BMG Records

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


DURAN DURAN Secret Oktober (1983)

union_of_the_snakeThis atmospheric ballad from the ‘Seven & The Ragged Tiger’ sessions turned out to be one of the the most synth led recordings under the DURAN DURAN name. Featuring just Nick Rhodes and Simon Le Bon, it showcased the more esoteric influences of JAPAN who the pair were particularly fond of. A precursor to their painfully pretentious ARCADIA project, none of those songs ever reached the heights of ‘Secret Oktober’. It was dusted off for the 1998 Greatest Hits tour.

Originally the B-side of ‘Union Of the Snake’; now available on the DURAN DURAN boxed set ‘The Singles 81-85’ via EMI Records

www.duranduran.com


HOWARD JONES It Just Doesn’t Matter (1983)

B-sides are for quirky experimentation and Howard Jones certainly veered from the norm with this oddball slice of electro-ska. With the declaration that “If I haven’t got any friends, it just doesn’t matter” and “If I’ve been misunderstood, it just doesn’t matter”, the song was possibly written as a positive motivator to face the music whatever following the success of his debut single ‘New Song’. The critics may not have loved him but his fans did, with the ‘Human’s Lib’ album entering the UK chats at No1.

Originally the B-side of ‘What is Love?’; now available on the HOWARD JONES album ‘The Very Best Of’ via WEA

http://www.howardjones.com/


ALPHAVILLE The Nelson Highrise (1984)

Subtitled ‘Sector One: The Elevator’, ‘The Nelson Highrise’ was the B-side to ‘Sounds Like A Melody’ which wasn’t released as a single in the UK. After a dynamic instrumental build of over a minute and a half, the opening line “Time is fleeting, you can’t stop time” was deeply ominous while the backing was almost industrial with very sharp edges. The dystopian air might have been a surprise to some, but then ‘Big In Japan’ was inspired by the plight of heroin addicts in Berlin…

Originally the B-side of ‘Sounds Like A Melody’; now available on the ALPHAVILLE deluxe album ‘Forever Young’ via Warner Music

https://www.alphaville.info/


CHINA CRISIS It’s Never Too Late (1985)

CC-black man rayRecorded during the ‘Working With Fire & Steel’ sessions produced by Mike Howlett, ‘It’s Never Too Late’ was a lost gem probably droppedby CHINA CRISIS from the album on account of it sounding like a more steadfast ‘Wishful Thinking’, featuring its familiar Emulator strings sound in the melody. Unreleased until 1985, even then it was tucked away on the limited edition 12 inch of ‘Black Man Ray’, making it one of the rarest of high quality B-sides from the era.

Originally the 12 inch limited edition B-side of ‘Black Man Ray’; now available on the CHINA CRISIS deluxe album ‘Flaunt The Imperfection’ via Caroline International

www.facebook.com/pages/China-Crisis/295592467251068


PET SHOP BOYS That’s My Impression (1986)

love comes quicklyPossibly the song which indicated that PET SHOP BOYS were going to be around for a while and not just a flash in the pan, ‘That’s My Impression’ was menacing as opposed to melancholic, combining SOFT CELL with DIVINE. Neil Tennant’s final angry refrain of “I went looking for someone I couldn’t find – staring at faces by the Serpentine…” is pure Marc Almond, tense and embittered in a manner that turned out to be quite rare in PET SHOP BOYS later work.

Originally the B-side of ‘Love Comes Quickly’; now available on the PET SHOP BOYS album ‘Alternative’ via EMI Records

www.petshopboys.co.uk


NEW ORDER 1963 (1987)

true faithIs this song about JFK? Is it a homo-erotic love story that ends in murder? Who knows? But ‘1963’ was an outstanding result of the sessions NEW ORDER had with PET SHOP BOYS producer Stephen Hague that also spawned ‘True Faith’. However, much to Hooky’s annoyance, his contributions on ‘1963’ were virtually written out. Bloody mindedness ensured ‘1963’ was tucked away as a B-side for 8 years before it was released as an A-side in a more Hooky audible rework by Arthur Baker.

Originally the B-side of ‘True Faith’; now availableon the NEW ORDER album ‘Substance’ via Warner Music

http://www.neworder.com/


CAMOUFLAGE Kling Klang (1989)

Bietigheim-Bissingen’s CAMOUFLAGE took over the mantle of delivering the heavier synthpop blueprint which DEPECHE MODE started during ‘Construction Time Again’ and ‘Some Great Reward’, but left behind with ‘Black Celebration’. ‘Kling Klang’ actually was a B-side to their single ‘One Fine Day’. This was not only a tribute to KRAFTWERK but in a rarity for the trio, it was also sung in German. But it was so rigidly authentic that at times, it inadvertently sounded like a Bill Bailey musical comedy skit.

Originally the B-side of ‘One Fine Day’, now available on the CAMOUFLAGE deluxe album ‘Methods Of Silence’ via Bureau B

http://www.camouflage-music.com/en/News


ERASURE Over The Rainbow (1991)

erasure-chorus(2)This bouncy tune with its lyrical celebration by Andy Bell of ABBA borrowed heavily from OMD. Vince Clarke went on record to say the record that influenced him most to start working with synthesizers was ‘Electricity’. So on ‘Over The Rainbow’, he borrowed its lead melody wholesale and added a few of the speaking clock samples that had adorned OMD’s ‘Dazzle Ships’. Listen carefully and listeners will also notice ULTRAVOX are affectionately pillaged too!

Originally the B-side of ‘Chorus’; now available in the boxed set ‘EBX4’ via Mute Records

www.erasureinfo.com


‘TEC Has Everything B-Sides’, a playlist comprising of a number of flips from several eras can be listened to at https://open.spotify.com/playlist/44O9vvXs2sAJv24kdPQ9tC


Text by Chi Ming Lai
11th June 2020

The Electricity Club’s 30 SONGS OF THE DECADE 2010-2019

To narrow down ten years of electronic pop to 30 songs was always going to be a challenging task, but The Electricity Club has given it a go to offer its own subjective twist.

As the decade started, female artists like LITTLE BOOTS, LA ROUX and LADYHAWKE had appeared to have been making in-roads into the mainstream as new flag bearers for the synthesizer.

But it proved to be something of a false dawn and while those artists continue today, the music that has made the most lasting impact between 2010-2019 has been made by evergreens from Synth Britannia whose talent has not subsided or independently minded musicians who focussed on art over commerce but didn’t forget to throw in a tune along the way.

As per usual, The Electricity Club’s lists are all about rules. So this one has not only been restricted to one song per artist moniker but also to one vocalist. Hence SIN COS TAN just get the nod over VILLA NAH, while MIRRORS take preference over James New’s guest slot for FOTONOVELA on ‘Our Sorrow’ and the Midge Ure vocalled ‘Glorious’ has been chosen instead ULTRAVOX’s ‘Live’.

Presented in alphabetical order, here are The Electricity Club’s 30 SONGS OF THE DECADE 2010-2019…


AESTHETIC PERFECTION featuring NYXX Rhythm + Control – Electro Mix (2017)

With alternative songstress NYXX on additional vocals, ‘Rhythm + Control’ saw Daniel Graves take his industrial pop to the next level. The magnificent Electro Mix successfully realised an oddball blend of Darren Hayes, Britney Spears and Marilyn Manson. With a mightily elastic bassline, when asked whether The Electricity Club had gone crazy coming up with the comparison, Daniel Graves replied “God no. Spot on, guys!” adding “The goal was to cram as many features into one song and have fun with it as possible.”

Available as a download single via https://aestheticperfection.bandcamp.com/album/rhythm-control-out-of-control-mixes

http://aesthetic-perfection.net/


JOHAN BAECKSTROM Synth Is Not Dead (2015)

‘Synth Is Not Dead’ is a song close to the heart of The Electricity Club with its solidarity to the synth. A touching tribute to Messrs Clarke, Gore, Hütter and Schneider, Johan Baeckstrom said: “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.

Available on the EP ‘Come With Me’ via Progress Productions

https://www.facebook.com/bstrommusic/


KARL BARTOS Without A Trace Of Emotion (2013)

‘Without A Trace Of Emotion’ saw Karl Bartos conversing with his showroom dummy Herr Karl and confronting his demons as an ex-member of the world’s most iconic electronic group. But whereas his former colleague Wolfgang Flür vented his spleen in book form with ‘I Was A Robot’, Bartos took a more ironic musical approach with the line “I wish I could remix my life to another beat” summing up a wry reference to ‘The Mix’ project which drove him out of Kling Klang!

Available on the album ‘Off The Record’ via Bureau B

http://www.karlbartos.com/


BEYOND THE WIZARD’S SLEEVE featuring HANNAH PEEL Diagram Girl (2016)

BEYOND THE WIZARDS SLEEVE’s ‘Diagram Girl’ was the work of Erol Alkan and Richard Norris of THE GRID. Featuring the unisex vocals of Hannah Peel, a deeper pitch shift provided a psychedelic out-of-this-world feel which bizarrely fitted in alongside the songstress’ dreamily breathy tones.  “They wanted me to sound like a man!” she remembered. Meanwhile the pulsing electronic soundtrack had surreal echoes of OMD, in particular their lesser known minor hit ‘Secret’.

Available on the single ‘Diagram Girl’ via Phantasy Sound

https://www.facebook.com/beyondthewizardssleeve/


CHROMATICS Shadow (2015)

Muscian, producer and Italians Do It Better head honcho Johnny Jewel, has lways been into all things Lynchian. So when CHROMATICS released the dreamy Badalamenti-inspired ‘Shadow’, it instantly recalled The Black Lodge’s red curtains in that sleepy Washington town. With Ruth Radelet’s wispy vocal and an eerie string machine for the main melodic theme, the ghostly wistful tune later came to further prominence thanks to its inclusion in ‘Twin Peaks: The Return’ in 2017.

Available on the album ‘Twin Peaks (Music from the Limited Event Series)’ (V/A) via Rhino Records

https://www.facebook.com/CHROMATICSBAND/


CHVRCHES Clearest Blue (2015)

CHVRCHES stuck to the synthpop template of their 2013 debut and as a result, delivered what LITTLE BOOTS, LA ROUX, and LADYHAWKE and HURTS all failed to do… a decent second album! The propulsive four-to-the-floor action of ‘Clearest Blue’ was wonderfully held in a state of tension before WHACK, there was a dynamic surprise in the final third that recalled the classic overtures of Vince Clarke. The song was electronic pop magnificence embroiled.

Available on the album ‘Every Open Eye’ via Virgin Records

http://chvrch.es/


RODNEY CROMWELL Black Dog (2015)

RODNEY CROMWELL is the alter-ego of Adam Cresswell, formally of ARTHUR & MARTHA. ‘Black Dog’ recalled the pulsing post-punk miserablism of SECTION 25 and was embellished by some Hooky styled bass. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there was an optimistic light at the end of the tunnel that made ‘Black Dog’ a most joyous listening experience despite its very personal themes of love, loss, depression and redemption.

Available on the album ‘Age Of Anxiety’ via https://www.happyrobots.co.uk/botshop

http://www.happyrobots.co.uk/


DURAN DURAN Being Followed (2011)

The ‘All You Need Is Now’ album saw DURAN DURAN cyclically return to the funk-led syncopated pop of their first two classic albums. A superb sequencer assisted disco number with a tingling metallic edge, ‘Being Followed’ hinted at THE CURE’s ‘A Forest’ while Nick Rhodes’ vintage string machine captured the tension of post 9/11 paranoia. Simon Le Bon gave his wayward all and while he has technically never had a great voice, what he delivered was unique AND untouchable…

Available on the album ‘All You Need Is Now’ via Tape Modern

http://www.duranduran.com/


EAST INDIA YOUTH Carousel (2015)

Despite EAST INDIA YOUTH being no more as a project, the debut long player ‘Total Strife’ pointed towards William Doyle’s potential to pen sublime pop, and with the follow-up ‘Culture Of Volume’, the album’s centrepiece was ‘Carousel’. It imagined OMD’s ‘Stanlow’ reworked during Brian Eno’s sessions for ‘Apollo: Soundtracks & Atmospheres’. With no percussive elements and over six minutes in length, Doyle gave a dramatic vocal performance resonating in beautifully crystalline melancholy.

Available on the album ‘Culture of Volume’ via XL Recordings

http://eastindiayouth.co.uk/


RUSTY EGAN featuring MIDGE URE Glorious (2016)

‘Glorious’ not only reunited Midge Ure with Rusty Egan but also Chris Payne who co-wrote ‘Fade To Grey’; Ure told The Electricity Club: “I liked the music, but I didn’t think the song / melody / lyrics were strong enough, so I rewrote all of that in my studio. I stripped the demo down to the basic track, edited it down into a more ‘song like’ format and started working on a glorious melody. I added the main melodic synth line and layered guitars over it, ending with the ‘hopefully’ uplifting solo over the outro”.

Available on the RUSTY EGAN album ‘Welcome To The Dance Floor’ via Black Mosaic

http://rustyegan.net/

http://www.midgeure.co.uk/


EMIKA Promises (2018)

With ‘Falling In Love With Sadness’, EMIKA produced one of the best electronic albums of 2018. The record was a concept album of sorts, a musical reflection on generations of sadness within the Anglo-Czech musician’s family. The pacey ‘Promises’ made the most of her lower and higher vocal registers, providing an eerie cascading harmonic with some rumbling dubby tension and booming stabs driving Eastwards with solemn spine tingling qualities.

Available on the album ‘Falling In Love With Sadness’ via Emika Records

http://emikarecords.com


JOHN FOXX & JORI HULKKONEN Evangeline (2013)

John Foxx and Jori Hulkkonen had worked together previously on singular songs like ‘Dislocated’ and ‘Never Been Here Before’, but never before on a body of work with a conceptual theme. ‘European Splendour’ took on a grainier downtempo template and the lead track ‘Evangeline’ was all the more beautiful for it. Full of depth, coupled with an anthemic chorus and vibrant exchange of character throughout, this rousing yet soothingly futuristic number was quite otherworldly.

Available on the EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com


FIAT LUX It’s You (2018)

Releasing their first new material in over three decades, FIAT LUX returned with the most splendid ‘It’s You’. As well as the bassline and harmony from David P Crickmore, the sax style was a fitting tribute to the sadly departed Ian Nelson. Singer Steve Wright said: “Lyrically, I hope, it expresses feelings that possibly everyone can relate to…” in this gloriously optimistic tune about finding love again in midlife. Their long awaited debut album ‘Saved Symmetry’ finally came out in 2019.

Available on the album ‘Saved Symmetry’ via Splid Records

http://www.fiat-lux.co.uk


GOLDFRAPP Dreaming (2010)

As the title suggested, the gorgeous and sophisticated ‘Dreaming’ adopted a distinctly European flavour compared with the mid-Atlantic AOR focus of songs like ‘Rocket’, ‘Alive’ and ‘Believer’ on the ‘Head First’ album. Alison Goldfrapp’s voice resonated angelically with beautiful high-register chorus alongside the with pulsing sequences and string machine washes of Will Gregory’s primarily electronic arrangement complimented by Davide Rossi’s cinematic orchestrations.

Available on the album ‘Head First’ via Mute Records

https://www.goldfrapp.com/


IAMX Ghosts Of Utopia (2011)

The Berlin period of IAMX has maintained a special quality in that Chris Corner captured an electro Gothic aesthetic that combined the theatrics of Weimar Cabaret with themes of sex, alienation and dependency. Despite the lyrical content, Corner’s songs were always strongly melodic with an accessible grandeur. ‘Ghosts Of Utopia’ had instant appeal for a dance in the dark with exhilarating mechanical drive. His scream of ”this is psychosis” was wholly believable!

Available on the album ‘Volatile Times’ via Orphic

http://iamxmusic.com/


IAMAMIWHOAMI Hunting For Pearls (2014)

As IAMAMIWHOAMI, Jonna Lee and Claes Björklund offered icy musical art. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with beautifully rich vocals. With a mysterious falsetto reach, the air might have been cold outside but inside, things were warm if delightfully odd. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably have sounded like this. Jonna Lee continues the artistic adventure now as IONNALEE.

Available on the album ‘Blue’ via towhomitmayconcern

http://www.towhomitmayconcern.cc/


KITE Up For Life (2015)

Sweden’s KITE are probably the best synth act in Europe right now. Nicklas Stenemo and Christian Berg’s wonderfully exuberant array of sounds and rugged majestic vocals certainly deserve a much larger audience. Issuing only EPs and never albums, the magnificent progressive electronic epic ‘Up For Life’ was a two-part nine minute masterpiece, the passionate and sublime first half mutated into a beautifully surreal journey of VANGELIS-like proportions for its second.

Available on the EP ‘VI’ via Progress Productions

https://www.facebook.com/KiteHQ


KATJA VON KASSEL Someday (2018)

Asking if “it is foolish to dream”, ‘Someday’ saw Katja von Kassel questioning a moment of passionate haste. “The phrase ‘Someday’ just opened it all up and everything else just fell into place.” the chanteuse said. Capturing the beautiful melancholy of Billy Mackenzie, the doomed romantic tragedy of the sadly departed Scot was echoed by the chanteuse’s deep forlorn delivery, accompanied by Chris Payne’s hypnotic bassline and haunting vox humana treatment over a simple rhythmic loop.

Available on the EP ‘Walking In West Berlin’ via https://katjavonkassel.bandcamp.com/

https://www.facebook.com/KatjavKassel/


LADYTRON Ambulances (2011)

The beautiful ‘Ambulances’ was totally different to anything LADYTRON had done before, almost in te vein of SIOUXSIE & THE BANSHEES. Moving at a much slower pace, Helen Marnie’s voice adopted an unexpected angelic falsetto over the lush spacious mix featuring dramatic strings, synthetic timpani and an almost random hi-hat pattern. Daniel Hunt said he “wanted it to sound ethereal and otherworldly” and with a glorious crescendo, ‘Ambulances’ was certainly something to be to be savoured.

Available on the album ‘Gravity The Seducer’  via Nettwerk Productions,

http://www.ladytron.com/


MARSHEAUX Monument (2015)

A worthy of re-assessment of DEPECHE MODE ‘A Broken Frame’ was long overdue and MARSHEAUX have certainly gave a number of its songs some interesting arrangements. Their version of ‘Monument’ borrowed its bassline from latter day DM B-side ‘Painkiller’. Combined with the wispily resigned vocals of Marianthi Melitsi and Sophie Sarigiannidou, it provided a tense soundtrack. It’s not often that cover versions are better than the originals, but this was one of them.

Available on the album ‘A Broken Frame’ via Undo Records

https://www.facebook.com/marsheaux


MIRRORS Ways To An End (2010)

With their smart suits, MIRRORS presented an intense and artful approach to electronic pop that recalled Dindisc era OMD. With a dense synthetic chill and pulsing effects dominating this brilliantly uptempo electro number, ‘Ways To An End’ came over like TALKING HEADS ‘Crossed Eyed & Painless’ given a claustrophobic post-punk makeover. Sadly, MIRRORS were to only make the one album ‘Lights & Offerings’ which although under-appreciated on release, is now acknowledged as a classic of the decade.

Available on the album ‘Lights & Offerings’ via Skint Entertainment

https://www.facebook.com/theworldofmirrors/


ALISON MOYET Alive (2017)

Having worked successfully in 2013 with Guy Sigsworth on ‘the minutes’, which saw Alison Moyet return to the synthesized music forms to compliment her powerful and self-assured voice, the follow-up ‘Other’ was a natural progression. The startling orchestrated electro-dub drama of ‘Alive’ gave Moyet’s two former classmates in DEPECHE MODE a stark lesson in how to actually fully realise electronic blues. Indeed, it was ‘In Chains’, the lame opener from ‘Sounds Of The Universe’ gone right…

Available on the album ‘Other’ via Cooking Vinyl

http://alisonmoyet.com/


NEW ORDER Plastic (2015)

After the guitar dominated proceedings of the last few NEW ORDER albums, Bernard Sumner promised a return to electronic music for the Mancunians’ first album of new material without estranged founder member and bassist Peter Hook. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number mixed by Richard X with blippy echoes of ‘Mr Disco’. Dealing with the issue of superficiality, it declared “this love is poison, but it’s like gold”… beware of anything plastic and artificial!

Available on the album ‘Music Complete’ via Mute Artists

http://www.neworder.com/


GARY NUMAN And It All Began With You (2017)

With a lot less goth metal guitar and much more prominent use of synths, the ‘Savage’ album successfully outstripped ‘Splinter’. And it was the haunting ‘And It All Began With You’ that stopped all in its tracks, with an exposed and soulful vocal. Borrowing Chris Isaak’s ‘Wicked Game’ for its chorus, the subtle orchestrations and a gentle shuffling beat coupled to a steadily discordant electric piano riff to close, it beautifully brought out the best in classic Gary Numan while maintaining forward momentum.

Available on the album ‘Savage (Songs From A Broken World)’ via BMG

http://www.garynuman.co.uk/


OMD Don’t Go (2019)

OMD began their recorded career with a KRAFTWERK homage in ‘Electricity’ and four decades on, they came full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’, ‘Don’t Go’ captured the essence of OMD’s enduring electronic appeal. With crystalline synths and a spirited vocal delivery attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes, using beautiful melodies to tell terrible things…

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Universal Music

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


SIN COS TAN Trust (2012)

SIN COS TAN was the new mathematically charged project of producer Jori Hulkkonen and VILLA NAH vocalist 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. With driving hypnotic, layered strings, sampled cimbalom and Cold War dramatics, this was as Jori Hulkkonen put it: “Disco You Can Cry To”…

Available on the album ‘Sin Cos Tan’ via Solina Records

http://www.facebook.com/homeofsincostan


STOLEN Turn Black (2018)

Chinese six-piece STOLEN are reckoned by Berlin-based producer Mark Reeder to be the most exciting band since NEW ORDER and they closed the decade opening for them on tour in Europe. Certainly their debut album ‘Fragment’ was impressive with ‘Turn Black’ being one of its standout tracks. “I like the idea of mixing of rock with techno…” said growly lead vocalist Liang Yi, “we are very proud that we don’t sound like any of the other Chinese bands.”

Available on the album ‘Fragment’ via https://mfsberlin.com/

https://www.facebook.com/strangeoldentertainment/


SUSANNE SUNDFØR Fade Away (2014)

The Nordic vocalist of the decade has to be Susanne Sundfør who worked with M83, KLEERUP and RÖYKSOPP as she built her international profile as a solo artist. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s breakthrough album ‘Ten Love Songs’ caught her in rousing form with a tune that came over like Scandinavian gospel. Meanwhile, a fabulous polyphonic synth solo inspired by QUEEN’s ‘I Want To Break Free’ added another dimension.

Available on the album ‘Ten Love Songs’ via Sonnet Sound / Kobalt

http://susannesundfor.com/


VILE ELECTRODES Deep Red (2013)

First appearing online as a video exclusive in 2010, ‘Deep Red’ was inspired by Dario Argento’s ‘Profondo Rosso’. A gorgeous seven and a half minute funeral ballad that came over like CLIENT fronting classic OMD, this was tremendously dramatic stuff from Anais Neon and Martin Swan. It caught the ear of a certain Andy McCluskey who was perusing The Electricity Club and later invited VILE ELECTRODES to open for OMD in Germany during their 2013 ‘English Electric’ tour.

Available on the album ‘The future through a lens’ via https://vileelectrodes.bandcamp.com/

http://www.vileelectrodes.com/


WESTBAM feat RICHARD BUTLER You Need The Drugs

Techno DJ WESTBAM celebrated 30 years in music with an intriguing mature collection of songs under the title of ‘Götterstrasse’. While the theme of the album centred on the joy and euphoria of underground nightlife, he said ‘You Need The Drugs’ was “the first explicit electronic appeal AGAINST the use of drugs with a clear message: drugs are a bore!”. Voiced brilliantly by Richard Butler of THE PSYCHEDLIC FURS’, it featured prominently in Mark Reeder’s film ‘B Movie: Lust & Sound in West-Berlin 1979–1989’.

Available on the album ‘Götterstrasse’ via Warner Music

http://www.westbam.de/dt/en/


Text by Chi Ming Lai
28th December 2019

Lost Albums: TALK TALK The Party’s Over

Following the sad passing of Mark Hollis, front man and songwriter of TALK TALK, many of the obituaries that followed focussed on their final two records ‘Spirit Of Eden’ and ‘Laughing Stock’.

But very little mention was made of TALK TALK’s 1982 debut long player ‘The Party’s Over’. Even Alan Wilder, executive producer of the 2012 tribute ‘Spirit Of Talk Talk’, in an interview with The Electricity Club admitted that although “I liked the sound of the singles ‘Today’ and ‘Talk Talk’”, he had “never heard the first album” adding “In fact I still haven’t heard that album in full.”

Synthpop has often had a credibility problem, especially among “too cool for school” hipster writers and even so-called commentators of electronic music. But ‘Spirit Of Eden’ and ‘Laughing Stock’ might not have happened had TALK TALK not had single success in 1982 during one of the most exciting and enjoyable years in music.

It was a year that saw ASSOCIATES, SOFT CELL, SIMPLE MINDS and JAPAN slugging it out in the Top40 alongside ABC, DURAN DURAN, SPANDAU BALLET, YAZOO, THE HUMAN LEAGUE, VISAGE, ULTRAVOX, DEPECHE MODE and BLANCMANGE, while HEAVEN 17, CHINA CRISIS and B-MOVIE were knocking on the door and looking for a way in.

At the time, TALK TALK comprised of Paul Webb on bass, Lee Harris on drums and crucially Simon Brenner on keyboards who came armed with a Roland RS09 and Oberheim OBXa. Signing to EMI, TALK TALK were originally dismissed by the press as DURAN DURAN copyists as they shared the same label, the same producer in Colin Thurston and even had a repeated word name!

Released in July 1982, ‘The Party’s Over’ was an impressive synth flavoured collection devoid of guitar that very much captured the sound of the era with its thundering Simmons drums and fretless bass. It opened with the very immediate ‘Talk Talk’, a heated song which began life in 1977 as a song for THE REACTION, a punk band that Hollis was in, which was co-written by his brother Eddie Hollis who managed EDDIE & THE HOT RODS.

Although it flopped on its initial single release in April 1982, it belatedly became a hit later that Autumn in a remix by ROXY MUSIC producer Rhett Davies. ‘Talk Talk’ possessed an anguish and frustration in Hollis’ voice like Bryan Ferry through clenched teeth and it was a seed that was to serve him well through the band’s small recorded portfolio.

A band composition, ‘It’s So Serious’ was a delightful number influenced by OMD with catchy hooks and the then state-of-the-art production techniques. But things were to get even better. The moody ‘Today’ dominated by Webb’s melodic bass playing showed TALK TALK had more in common with artistically thoughtful bands like JAPAN rather than more obvious pop combos like DURAN DURAN; it reached No14 in the UK singles charts but deserved to go much higher.

The template of Sylvian & Co was taken further with the magnificent title track, another band composition which made impressive use of penetrating oriental overtones and an epic gothic backdrop for the track’s conclusion.

Beginning the second side, the aggressive chant-laden ‘Hate’ did as the title suggested, frantically laced with Harris’ reverberant percussive barrages reminiscent of ULTRAVOX’s live version of ‘The Voice’ from that period.

The serious lyrical matter of the solemn ‘Have You Heard the News?’ with a narrative about the aftermath of a car accident highlighted how TALK TALK were indeed not part of the SPANDAU BALLET league. But the album exposed its weak link with the ploddy ‘Mirror Man’, surprisingly issued as the first TALK TALK single with its noticeable BEATLES-influenced string aesthetics.

But it all got back on track with ‘Another Word’, a song from the solo pen of Paul Webb and his only one in the TALK TALK catalogue. With an enjoyably memorable chant and uptempo rhythm construction, it was released in its own right as a single in Germany thanks to its use in the domestic TV detective series ‘Derrick’.

That German single was backed with ‘Candy’ which closed ‘The Party’s Over’. Here, TALK TALK aped FOREIGNER and featured some fabulous piano playing from Brenner; it was a final moment that was to be symbolic.

Although there was an excellent interim non-album single ‘My Foolish Friend’ produced by Rhett Davies and co-written by Brenner in 1983, the keyboardist left TALK TALK with good old fashioned musical differences cited.

In 1984, Mark Hollis said to Electronics & Music Maker: “Each album should be a definite move on from the one before it. Now y’see some people understand that and other people don’t understand that. Some people think that if you have a hit with something like ‘Today’ then what you should do is maintain that style and that will ensure more hits right?”

Simon Brenner’s departure was to be significant as for TALK TALK’s second album ‘It’s My Life’, Hollis was to find his ideal collaborator in producer Tim Friese-Greene.

He had been an unlikely writing partner as his credits included STIFF LITTLE FINGERS and somewhat bizarrely TIGHT FIT’s ‘The Lion Sleeps Tonight’, but it was to be the start of a fruitful partnership.

Although the more sonically adventurous ‘It’s My Life’ album sold well in Europe, TALK TALK would not actually have another UK Top20 hit until 1986 with ‘Life’s What You Make It’. It was here where Hollis headed into the more traditional instrument direction he craved and was to become lauded for with ‘The Colour Of Spring’ album.

And as if to prove that TALK TALK were maybe ahead of their time, the ‘It’s My Life’ single finally became the UK Top20 smash it deserved to be on its 1990 re-release to promote the excellent singles compendium ‘Natural History’

Becoming reclusive artist in the mould of Scott Walker and David Sylvian who each also had successful pop careers before venturing into more experimental territory, Mark Hollis left a legacy of artistic ambition over commercial success. But without the latter, as with the aforementioned Walker and Sylvian, it might not have happened.

While ‘The Party’s Over’ is very much of its time, as a result, it still retains much of its charm.

Despite being generally glossed over in TALK TALK history, the album is an excellent under rated synthpop jewel that has aged well, thanks to the quality of its songs and is probably a better body of work than say ‘Quartet’ by ULTRAVOX from the same year.


In memory of Mark Hollis 1955 – 2019

‘The Party’s Over’ is still available in CD, vinyl LP and digital formats via Universal Music

https://spiritoftalktalk.com/

https://www.facebook.com/SpiritOfTalkTalk/


Text by Chi Ming Lai with thanks to Peter Fitzpatrick
2nd December 2019

LUSTANS LAKEJER + PAGE Live in Malmö

Two of Sweden’s best loved acts of a more synthy disposition LUSTANS LAKEJER and PAGE gathered together at Malmö’s Babel for a celebration of classic songs and artistic progression.

Located in the shell of an old brick-built church, while Babel’s soundsystem and views of the stage were superb, its tedious entrance infrastructure left a lot to be desired as a large number of music fans were still left queuing in the rain as the evening’s music proceedings began.

PAGE released their first single ‘Dansande Man’ in 1983 and while line-ups have varied over the decades, the duo of Eddie Bengtsson and Marina Schiptjenko is universally seen as the classic incarnation. But while Bengtsson has often been considered Sweden’s answer to Vince Clarke, more recently he has been re-exploring the post-punk synth innovations of TUBEWAY ARMY and ULTRAVOX.

2017’s ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ even featured a cover of ‘Tracks’, but it was 2018’s ‘Start’ EP and the new album ‘Fakta För Alla’ that saw PAGE totally get into the Moog.

And it was to a smoke machine on overdrive that Bengtsson and Schiptjenko arrived on stage for a lively poptronica set mined mainly from those three releases.

‘Krasch’ and the ‘Fakta För Alla’ title song set the scene and armed with a Little Phatty and Sub 37 respectively, Bengtsson and Schiptjenko indulged in a spot of delightful Moog wars with oscillators set to stun. ‘Kloner’ and ‘Start’ continued the riff laden pleasure of principle while with washes of string machine and piercing vibrato, ‘Blöder Du’ came over more introspective.

‘Som ett skal’ from 2014’s ‘Hemma’ and ‘Kom så andas vi’ from the 2010 comeback record ‘Nu’ illustrated PAGE’s enduring knack for a good synth tune, while the more recent ‘Första Smällen’ provided some spritely poptronica to continue that tradition

But when Bengtsson went to reimagine Gary Numan meeting Billy Currie on ‘Puls’ with his Sub Phatty on an ARP Odyssey aping setting, the keyboard was just slightly too off-tune to continue playing it. Despite playing only 21st Century PAGE material, the duo finally conceded with an oldie in ‘Förlåt’ from 1995, its space march chants drawing participation and appreciation from the audience to close their set.

Although PAGE’s set attracted a good attendance despite the delays of getting into the venue, it began to pack considerably as the pre-show music offered the likes of VISAGE, DEPECHE MODE and THE HUMAN LEAGUE, with the crowd comprising of old and new romantics, the presence of young Lustans Lookalikes being very much in evidence.

While Johan Kinde is the only founder member of LUSTANS LAKEJER, he was accompanied by drummer Christer Hellman who played on their gold third long player ‘En plats i solen’ produced by Richard Barbieri of JAPAN.

Meanwhile, there was also long standing sidemen bassist Julian Brandt and Anders Ericson on guitar, plus keyboardist Tom Wolgers who joined in 1981 for their second album ‘Uppdrag i Genève’ and took the band in a more electronic direction, before returning the fold in 1999.

The mature quintet were augmented by two younger keyboard players Fredrik Hermansson and Lisa Lindal, the latter also providing some sumptuous backing vocals. Tonight’s set was to celebrate the 20th Anniversary of ‘Åkersberga’, LUSTANS LAKEJER’s comeback album which saw Kinde adopt a more crooner friendly, laid back demeanour.

Opening song ‘En kvinnokarls död’ evoked the cinematic moods of a Nordic Noir drama, while the brilliant ‘Cynisk’ realised Kinde’s concept of what Barry White would sound like reinterpreting ‘Walking In My Shoes’ by DEPECHE MODE, complete with guitar solo.

The epically orchestrated ‘För njutningen, för spänningen’ captivated with its chanson influences but spicing up the tempo, ‘Vackra Djur Gör Fula Saker’ pulsed like ULTRAVOX in recognition of the classic unga moderna template which made LUSTANS LAKEJER’s one of the most popular bands in Sweden.

‘Här & Nu’ played with stylish Svenka reggae with Julian Brandt particularly starring, but the rhythmic ‘Som en dröm’ brought in a Mediterranean tinged dance flavour which set the hearts racing.

Meanwhile, indulging in some Scott Walker fantasies and referencing the mannerisms of ‘Deadlier Than The Male’, detuned synth arpeggios provided an interesting avant counterpoint to Kinde’s smoother vocal overtones on ‘Begär har förgiftat mitt blod’.

The Latin template returned for the bossa nova driven ‘En natt som denna natt’ before closing the ‘Åkersberga’ segment of the set with the filmic ballad ‘Samma gamla sång’. The Babel had no backstage area as such, so rather than trudge through the audience and return again for the encore routine, LUSTANS LAKEJER retained their positions for a performance of old favourites.

‘En Främlings Ögon’ from ‘En Plats I Solen’ exuded its JAPAN influence with its ring modulated synths and Hellman’s distinctive Simmons drum mantra, while the superb sequencer driven ‘Diamanter’ partied like it was 1982, drawing one of the biggest cheers and the first audience singalong of its evening.

Kinde even threw in a few of his old New Romantic arm sways and in an amusing S&M bromance with Anders Ericson, percussively whipped him to a frenzy!

A new synth dominated song ‘Svarta segel’ got its live premiere and with its dark lyrical gist, reflected on the current madness in world politics.

Launching with the distinctive clatter of a Compurythm, ‘Stilla nätter’ allowed Kinde to revisit his earlier Sylvian-Le Bon cross while from the same ‘Uppdrag I Genève’ long player, the more frantic electro ‘Män av skugga’ amusingly came over a bit like finding Jona Lewie having a party in Ikea.

Finishing the evening with the marvellous syncopated disco of ‘Rendez-Vous I Rio’, it was a reminder as to how LUSTANS LAKEJER laid claim to releasing a song referencing Brazil’s second-most populous municipality before DURAN DURAN.

In all, it was a glorious evening featuring the best in classic Swedish pop as influenced by Synth Britannia, rich in hooks, tunes, melodies and mood without the need for a translator; tack tack! 🇸🇪😀


LUSTANS LAKEJER ‘Åkersberga’ is reissued as a vinyl LP, available via their Facebook page

https://www.facebook.com/LustansLakejer/

https://www.instagram.com/lustanslakejerofficial/

https://open.spotify.com/artist/3oB3e3MPyQBX5NttDmNUNN

PAGE ‘Fakta För Alla’ is released by Energy Rekords as a CD and vinyl LP, available from https://hotstuff.se/page/x-7640

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/

https://open.spotify.com/album/6LvrfFcS2FXlRiQBrRtpvp?si=4rkmExzsQ_ecq0MaSNUp_Q


Text by Chi Ming Lai
Page Photos by Simon Helm
Lustans Lakejer Photos by Petter Duvander
4th October 2019

« Older posts