Tag: Eleven:Eleven (Page 1 of 2)

THE ELECTRICITY CLUB… The Next Generation?

Sitting on the sofa with my now thirteen year old daughter, who over the years has acquired a rather sarcastic sense of humour (who on Earth does she get that from?!) and pondering how to approach this task of reviewing ‘The Electricity Club’ compilation, makes us both burst out with hearty laughter.

After all, she wants to rise to the occasion properly, and review things “just like Mummy does”, or maybe not, as “Mummy always says it as it is!”

Children have the innate ability to always tell the truth; my daughter, however, has an uncontrollable need to please people, so this could really go either way. She will either be pulling her disgusted face, saying “what a load of rubbish!”, or candidly praise, without certainty.

My own adventure with music dates back many years indeed. I was brought up within, what they used to call in communist Poland, “an intelligence family”, meaning both my parents were white collar workers, rather than working class.

My father, a respectable judge, had loved his music greatly and was an avid guitar player himself, while my mum, a teacher, enjoyed listening to pretty much anything within the popular genre (usually via her radio, which, to this day, is always on).

Recalling the baby book entry, which my mum recorded when I was at the tender age of five, saying “Monika loves listening and dancing to records, she could spend all day doing so”, makes me try and remember the old record player and hundreds of vinyl albums which my parents owned.

All this said, I hold my older by ten years brother solely responsible for my eventual music choices. As I was growing up, I just had to endure what he was listening to (at great volume, may I add!).

As legal copies of western music were incredibly hard (or, simply, impossible) to get, his room was full of pirate cassette tapes of everything from THE HUMAN LEAGUE to MICHAEL JACKSON and anything and everything in between.

He would take great pride in inviting me into his musical cave and fed me with DEPECHE MODE, ERASURE, ELECTRIC LIGHT ORCHESTRA and OMD.

And all this worked… during his absence, I’d sneak in and put my favourites on, which would primarily include the works of DEPECHE MODE, with the vinyl of ‘Black Celebration’ and maxi-single vinyl of ‘Stripped’ being the firm first choices. And that’s how I acquired the electronic music bug. From then on, not much else mattered but coming home from school and playing the entire back catalogue of the Basildon boys, dotted with the works of YAZOO and ERASURE.

My Allie has had little choice, since her musical adventure dates back to being in my womb. At the age of three she would sing ERASURE’s ‘You Surround Me’ on top of her little baby voice, and her sweet childish vocal was sampled and recorded by a well-known UK electronic duo.

Her first gig was at the age of five, and she went to see ERASURE at six and DEPECHE MODE twice at the grown-up age of seven, keenly taking part in the experience.

Although since she’s found love for KATIE PERRY, ARIANA GRANDE and TAYLOR SWIFT, and electronic music hasn’t been on her radar much lately, she absolutely loved ASHBURY HEIGHTS’ ‘The Looking Glass Society’. She also has a lot of vintage DEPECHE MODE on her Spotify playlist, interestingly enough none of it past ‘Songs Of Faith & Devotion’, and plays it at least twice a week.

Having heard that, I would include her opinion in the tongue-in-cheek review of The Electricity Club compilation, she keenly decided to be a serious contributor, and so it goes…

MAISON VAGUE Synthpop’s Alive

Allie: I don’t like it but I like it…

Mon: Bit GARY NUMAN this is! But a tad laboured and rough and ready.

Allie: I like the synth sounds, the voice sounds a bit weird.

KID KASIO Full Moon Blue

Mon: Ah, my favourite of Nathan’s! Love it, love it, love it!

Allie: I like the sounds, the first bit sounds a bit like DEPECHE MODE!

Mon: Yeah, a tribute to ‘Two Minute Warning’!

Allie: That’s it! I like it a lot. I like his voice.

ELECTRONIC CIRCUS Roundabout

Allie: Oh my God! Rubbish!

Mon: Why? *cannot contain the laughter*

Allie: It’s just rubbish!

Mon: Erm, the synth is good, not sure about the vocal…

DAYBEHAVIOR It’ s A Game – Marsheaux remix

Mon: I like this, analog synth! Lovely…

Allie: I like it, like the vocal, but it’s not something I’d listen to if I had a choice.

Mon: Oh, I would. Very good song and well produced by MARSHEAUX.

MARNIE The Hunter

Allie: Reminds me of something but I don’t know what. I like it, love the vocal.

Mon: I hear a bit of LADYTRON, BJÖRK and MARSHEAUX. It’s fresh and enticing.

Allie: Yes, LADYTRON! That’s it!

NIGHT CLUB Cruel Devotion

Allie: Ohhhh, I like that!

Mon: You’ve met them last year Allie! Very good!

Allie: Oh yes, I do like this! I like the background sound and the vocals. I’d play that in my room… She doesn’t sound American! Is she American?

Mon: Yes! *laughs*

Allie: I’d make music like that!

ELEVEN ELEVEN Through The Veil

Mon: I like the beginning, bit of KYLIE there.

Allie: I don’t know who that is! I like the vocals!

Mon: I like the sound! (Note to self: “must educate Allie on KYLIE”).

QUEEN OF HEARTS United

Mon: Oh I’m liking this, fat synth and decent voice…

Allie: I like it, both synth and the vocal.

KATY PERRY Hot N Cold – Marsheaux remix

Allie: It’s KATY PERRY! I like this! I like this remix, it’s different from the original! *singing out loud*

Mon: I never liked the original and this doesn’t do it for me either.

Allie: What?! I love it! But her voice is a bit screechy, like on the normal version!

ERASURE Be The One – Paul Humphreys remix

Allie: Sounds like ERASURE…

Mon: It is!

Allie: Ah, I knew it! Is it a remix?

Mon: Yep.

Allie: I love ERASURE, this is lovely.

Mon: Totally agree.

KID MOXIE The Bailor

Allie: I don’t like her vocals.

Mon: I do, it’s a good song.

Allie: I like the music, the melody is nice.

Mon: It’s a grown up song, very atmospheric and cinematic. Great use of synth. My kind of electronica.

KEEP SHELLY IN ATHENS Oostende

Allie: I like it! The vocals are great. I’d listen to it in the car.

Mon: Yes, it’s good, both vocally and musically.

FOTONOVELA featuring JAMES NEW My Sorrow

Allie: I’ve heard it before.

Mon: Really? I haven’t! You must be thinking of something else.

Allie: It’s ok, reminds me of something you’ve played before.

GIRL ONE & THE GREASE GUNS Jessica

Allie: I don’t like it, vocals aren’t great, don’t like the music.

Mon: It’s not my cup of tea either, but I’m sure it’ll appeal to few people.

AUTOMATIC WRITING Continuous

Mon: Interesting start! It’s different, I shouldn’t like it but I do.

Allie: It’s ok, again, it reminds me of something.

METROLAND Thalys – London edit

Mon: Oh I like that. Simple arrangement and that’s all you need. Not sure about the voice sample though.

Allie: It’s very robotic, like science fiction. It’s like something from another planet. It’s KRAFTWERK!

RODNEY CROMWELL Black Dog

Allie: Yeah! That’s ok! *does a little dance*

Mon: Hmmm, not sure. It’s not unpleasant.

SIN COS TAN Trust

Allie: Don’t know, not sure about that one.

Mon: It’s ok.

Allie: Bored now!

POLLY SCATTERGOOD Other Too Endless – Vince Clarke remix

Mon: Good synth on this one. Liking this a lot. Competent vocals and arrangement, a real stand out.

Allie: Not my cup of tea.

TENEK What Do You Want?

Allie: Is that MESH? Sounds like it!

Mon: No, it’s not, it’s TENEK. It’s a good song.

Allie: Yes, I really like it. I like the instruments.

ANALOG ANGEL We Won’t Walk Away

Allie: It’s fast. Not my kind of thing.

Mon: It’s very well written. It needs more oomph! Very OMD.

ARTHUR & MARTHA Autovia

Allie: It’s not in tune… I don’t know, I don’t like it.

Mon: It’s different, not me either…

MARSHEAUX Suffer The Children

Mon: A cover. Good.

Allie: It is good, bouncy.

SECTION 25 My Outrage

Mon: Oh dear, messy! Too candied for me, bit all over the place.

Allie: Yes, I don’t think it’s good. I can’t describe it but it’s not something I’d listen to.

047 featuring LISA PEDERSEN Everything’s Fine

Allie: Clubby! Like it. Yes, I do! *bounces away*

Mon: Good, isn’t it? I like the club feel to it. A good dance song.

TAXX Is It Love?

Mon: Oh yes, good stuff! Progressive. Decent vocal too.

Allie: It’s ok, but I wouldn’t listen to it in the car. At a disco, maybe…

LIEBE I Believe In You

Allie: You know the ding-ding sounds? They remind me of PET SHOP BOYS!

Mon: “Ding-ding sounds!” To me the vocal technique resembles NEW ORDER. It’s good.

QUIETER THAN SPIDERS Shanghai Metro

Mon: It’s ok.

Allie: Too poppy, way too poppy. Chow mein? *laughs*

iEUROPEAN feat WOLFGANG FLÜR Activity Of Sound

Mon: That’s it! The synth is all there. Semi-modular synth? Very tidy!

Allie: I do actually like it! It’s club but different.

TWINS NATALIA Destiny

Mon: Not me vocally but decent synth I suppose.

Allie: I like the vocals! I don’t know, all confused now, too many songs!

Mon: No, that’s awful.

MESH Tuesday

Mon: YAZOO cover Allie!

Allie: I knew that I knew it! Is that MESH?!

Mon: Yes!

Allie: Thought so. I like anything MESH!

Mon: Now, there’s a surprise!

Allie: You know me!

MIRRORS Between Four Walls

Allie: Like this one, nice music.

Mon: Bit laboured… it’s not bad though.

OMD Time Burns – Fotonovela rework

Allie: Very robotic.

Mon: Not me!

VILE ELECTRODES Deep Red

Allie: I like the vocals, sounds a bit like Sarah Blackwood!

Mon: It’s Jane actually!

Allie: Ahhhh! Doh! I like that a lot. It’s slow! *laughs*

Mon: It is good, but no surprise there.

Allie: Is that the last song?!

Mon: Yes…

Allie: Thank god, I’m tired now!

She will sleep well! I have to say, she did surprise me with some songs and disappointed with others but that just proves to me, that tastes do indeed vary, and even if I’m vehemently against something, others will find it enticing.

‘The Electricity Club’ compilation is a marvellous collection of tunes, and that’s a given. There’s something for everyone here and what a cross-section of all electronica. Still, I come to conclusion that thirteen year olds are probably not mature enough to fully appreciate certain synth music…

Will she follow in my steps? Not for a while… if ever! The one thing we certainly have in common: WE SAY IT AS IT IS!


‘The Electricity Club’ is released on 3rd December 2018 by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation can be pre-ordered from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

Please note this product is NOT on sale through The Electricity Club website and only via retailers

A Spotify sampler of the compilation can be listened to at: https://open.spotify.com/playlist/7xwTYTeH6b5vgCqjZudfGE

http://www.amour-records.com

https://www.facebook.com/amour.records/

https://twitter.com/Amour_Records

https://www.instagram.com/amour_records/

https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Monika Izabela Trigwell
1st December 2018

THE ELECTRICITY CLUB 2CD Compilation

Amour Records / Minos EMI / Universal Music in collaboration with Undo Records are to release a 2CD compilation compiled by The Electricity Club.

Capturing its ethos to feature the best in new and classic electronic pop music, this compilation is the culmination of a period which has seen the resurgence of the genre. Over the years, The Electricity Club appears to have reflected the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk.

Little did The Electricity Club know when it launched on 15th March 2010, it would go on to interview many of the key players in Synth Britannia, get granted an audience with two former members of KRAFTWERK and be influential in helping some of the best new synthesizer talents gain a profile within a reinvigorated scene. So it is highly apt that WOLFGANG FLÜR should make an appearance on this collection.

The Electricity Club is pleased to showcase its ethos in the form of this tangible audio artefact. Among the impressive cast, there are prime movers from the classic era like PAUL HUMPHREYS and VINCE CLARKE. Without the influence of the bands they respectively co-founded, OMD and DEPECHE MODE, electronic pop as The Electricity Club likes it would not exist.

Meanwhile the next generation are represented by acts such as KID MOXIE, NIGHT CLUB, RODNEY CROMWELL and VILE ELECTRODES. Incidentally, the latter were invited to support OMD on their 2013 German tour following ANDY McCLUSKEY’s discovery of the duo while perusing The Electricity Club’s virtual pages. The bloodline from ‘Radio-Activity’ to ‘Romance Of The Telescope’ and then to ‘Deep Red’ is easily traceable and deeply omnipresent.

The Electricity Club has always relished its diverse taste credentials. It doesn’t do retro or contemporary, just good music. No other compendium could dare to include the spiky post-punk of GIRL ONE & THE GREASE GUNS and the rousing electro-rock of MESH alongside pop princesses such as QUEEN OF HEARTS or KATY PERRY. Be it Glasgow’s ANALOG ANGEL and MARNIE, Manchester veterans SECTION 25 or Essex boys TENEK, it all fits into The Electricity Club’s avant pop playground.

With international representation also from Gothenburg’s DAYBEHAVIOR and 047, Shanghai synthpoppers QUIETER THAN SPIDERS, Texan dance duo ELEVEN: ELEVEN, Belgium’s own passengers METROLAND and the self-explanatory KEEP SHELLY IN ATHENS, the tracks gathered capture a special moment in time where innovative musical aspirations and good tunes have again manifested themselves in the same context.

The collection features a number of covers including MESH’s take on YAZOO’s ‘Tuesday’ and MARSHEAUX’s reinterpretation of TEARS FOR FEARS’ first single ‘Suffer The Children’. In addition, tracks such as MARSHEAUX’s stomping remix of KATY PERRY’s ‘Hot ‘N’ Cold’ and MIRRORS’ ‘Between Four Walls’ make their premiere in CD format.

The tracklisting is:

CD1

01 MAISON VAGUE Synthpop’s Alive
02 KID KASIO Full Moon Blue
03 ELECTRONIC CIRCUS Roundabout
04 DAYBEHAVIOR It’s A Game (Marsheaux remix)
05 MARNIE The Hunter
06 ELEVEN:ELEVEN Through The Veil
07 NIGHT CLUB Cruel Devotion
08 QUEEN OF HEARTS United
09 KATY PERRY Hot ‘N’ Cold (Marsheaux remix)
10 ERASURE Be The One (Paul Humphreys remix)
11 KID MOXIE The Bailor
12 KEEP SHELLY IN ATHENS Oostende
13 FOTONOVELA featuring JAMES NEW Our Sorrow (Original mix)
14 GIRL ONE & THE GREASE GUNS Jessica 6
15 AUTOMATIC WRITING Continuous
16 METROLAND Thalys (London Edit)
17 RODNEY CROMWELL Black Dog

CD2

01 SIN COS TAN Trust
02 POLLY SCATTERGOOD Other Too Endless (Vince Clarke remix)
03 TENEK What Do You Want? (Alternate TEC version)
04 ANALOG ANGEL We Won’t Walk Away
05 ARTHUR & MARTHA Autovia
06 MARSHEAUX Suffer The Children
07 SECTION 25 My Outrage
08 047 featuring LISA PEDERSEN Everything’s Fine
09 TAXX Is It Love?
10 LIEBE I Believe In You
11 QUIETER THAN SPIDERS Shanghai Metro
12 iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound
13 TWINS NATALIA Destiny
14 MESH Tuesday
15 MIRRORS Between Four Walls
16 OMD Time Burns (Fotonovela rework)
17 VILE ELECTRODES Deep Red


‘The Electricity Club’ is released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation be purchased from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

Please note this product is NOT on sale through The Electricity Club website and only via retailers

http://www.amour-records.com

https://www.facebook.com/amour.records/

https://twitter.com/Amour_Records

https://www.instagram.com/amour_records/

https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Chi Ming Lai
12th November 2018, updated 16th January 2020

Five Years of TEC: 25 Favourite Artist Introductions 2010 – 2014

TEC 5 years-02When The Electricity Club became reality on 15th March 2010, it was on the back of a resurgence in electronic pop music.

New starlets such as LITTLE BOOTS and LA ROUX were acknowledging pioneers such as GARY NUMAN and HEAVEN 17, while the use of synthesizers for melodies as well as effects was becoming more common again and not just as a mocking gimmick.

TEC’s ‘Introducing…’ feature was a platform to showcase promising new talent within the genre and proved that electronic music had not been killed off by Britpop. Around 70 acts have been featured and from these, a number of worthy graduates from the Synth Britannia school and the like emerged. Meanwhile a number were just promising, their talent stifled by line-up changes, record company politics and even geography.

So here are TEC’s 25 favourite artist introductions, listed in the chronological order that they were originally featured on the site…


SHH (2010)

shh_bed1Electronic Pop Buenos Aires Style, SHH were the first act to be introduced by TEC. Led by the vivacious Diana Huarte, they had a sexy blissful optimism that made them a very entertaining live act. They say Latinas are fiery and there was certainly a provocative passion in her performance. Schooled in opera and brimming with charm, Diana’s vocals displayed a magnificent range that suited both uptempo sun-kissed pop like ‘Tiger’ and ERASURE-esque ballads such as ‘Sleepless’.

Their stand-out song was ‘Wonderful Night’ which was reminiscent of Greek power popsters MIKRO with its solid beat and rousing chorus. A third album has yet to be finished, but SHH still make occasional appearances on London’s live circuit, most recently supporting SIGUE SIGUE SPUTNIK.

https://www.facebook.com/Shhsounds


MIRRORS (2010)

Mirrors-also-boxMIRRORS were the second act to have an ‘Introducing…’ feature on The Electricity Club and are still very much the band that new synth acts are judged against. Their fans included Andy McCluskey, Paul Humphreys, Neil Arthur and Eddie Bengtsson. Qualitatively, many a band have been rejected at TEC HQ, simply because “they’re not MIRRORS”. Having delivered a magnificent album in ‘Lights & Offerings’, it is a travesty that MIRRORS’ electronic pop-noir was not embraced by the wider community.

Sadly after founder member Ally Young left in Autumn 2011 due to musical differences, the band appeared to wind down after two releases as a trio. And yet while MIRRORS seem to have been mothballed, far inferior synth acts go on and on and on…

https://www.facebook.com/theworldofmirrors


ARTHUR & MARTHA (2010)

Almost as soon as ARTHUR & MARTHA were the third act introduced on TEC, they disappeared! The duo comprised of, rather confusingly, Adam Cresswell and Alice Hubley, described as “Gilbert & George, disguised as The Carpenters, stealing the hits of Kraftwerk and bashing them out on an old Moog in the style of SECTION 25”. Driven by a synthetic motorik beat, ‘Autovia’ was the superb highlight from their only album ‘Navigation’ which played with a variety of styles ranging from NEW ORDER to CRYSTAL CASTLES.

While ARTHUR & MARTHA are no more, Hubley formed indie act COSINES while Cresswell recently re-emerged as RODNEY CROMWELL.

https://www.facebook.com/Arthur-and-Martha-6821029194/


THE VANITY CLAUSE (2010)

vanityOriginally a duo consisting of David Woods and Russell Harris, THE VANITY CLAUSE‘s potential was blighted by endless line-up changes before a terminal blow. With a synth sound that was heavily influenced by early ULTRAVOX, LADYTRON and Mute Records, it involved big played synths over chunky sequences and urgent rhythm construction. The classic line-up included vocalist and synth girl Louisa Strachan, but never actually released a full length album. An album, appropriately titled ‘Fractured’, was issued after David Woods’ departure, but was disappointing.

The Woods sessions were released eventually as ‘Pre-Stress’ while THE VANITY CLAUSE soldiered on with Mk3 and Mk4 variants. The latter produced an excellent single ‘The Scream’ but the creative momentum could not be maintained. Russell Harris joined ELECTRO KILL MACHINE for a brief period but now makes music as GO YOKO.

https://www.facebook.com/thevanityclauseofficial


KATJA VON KASSEL (2010)

katja1The Electro Weimar Cabaret of KATJA VON KASSEL was a fine sultry presence on the independent music scene. Singing in both German and English, often within the same song in an alluring Marlene Dietrich tone, she had a number of cool elegant songs like ‘Goodbye Was Never Said’, ‘Riding The Horses’ and ‘Lili Marlene’ which were produced with LADYHAWKE collaborator Alex Gray. Her best song ‘Lies’ had strong traditional European influences like French accordions and ‘Vienna’ piano set to a template in a manner that recalled GRACE JONES’ ‘I’ve Seen That Face Before’.

With her “1930s meets the future” twist, she supported ERASURE on their German dates in 2011 and as a result, was signed by a major label. Sadly as has been the case with several acts on the list, that partnership didn’t work out. While record company politics have so far prevented any releases, she intends to have material out soon.

http://www.myspace.com/katjamusic


THE SOUND OF ARROWS (2010)

sound of arrows with dogTHE SOUND OF ARROWS were Stefan Storm and Oskar Gullstrand, said by Popjustice to be “the HURTS you can dance to”. Their self-made CGI assisted visual imagery was described as “Disney meets Brokeback Mountain”! The duo garnered a lot of attention at the end of 2009 with the dreamy widescreen pop of ‘Into The Clouds’ and they were subsequently signed to Geffen Records. The label attempted to push them into a more Ibiza rave friendly sound but eventually, a parting of ways was agreed.

The debut album ‘Voyage’ was eventually released independently in 2011 and was wonderfully swathed in a beautiful Nordic melancholy. There was the poptimistic chant of ‘Magic’ as well as the vibrant Gallic disco number ‘My Shadow’ and the magnificent supreme synthpop of ‘Longest Ever Dream’. THE SOUND OF ARROWS went quiet after that, but Stefan Storm later did some terrific collaborations with QUEEN OF HEARTS

http://www.thesoundofarrows.com


VILE ELECTRODES (2010)

vileint1At the time a trio, VILE ELECTRODES had been making a good impression on the London club scene when they were featured on The Electricity Club in 2010. There are not many acts that could get away with an enigmatic video showcasing a seven and a half minute synth ballad, let alone a fledgling one… but get away with it they did with ‘Deep Red’. VILE ELECTRODES’ love of OMD, NEW ORDER, THE SMITHS and CLIENT combined to procure a fresh approach to a music form that many had dismissed as being 80s.

Some less worthy bands claim to have reinvigorated the 21st Century electronic music scene in the UK, but VILE ELECTRODES did exactly that. So it was not entirely surprising when they were invited to support OMD on their 2013 German tour and the journey began…

https://www.facebook.com/vileelectrodes


HYPERBUBBLE (2010)

Quirky Texan synthesizer couple HYPERBUBBLE delivered a species of cartoonish synthpop that the duo themselves called “Bionic Bubblepunk”. With Jess as the electro Emma Peel and Jeff being the obedient robotic version of John Steed, their mantra was “guitars are retro and sequencers are the key to the future”. Their third album ‘Candy Apple Daydreams’ was a tasty fairground ride that took in influences as diverse as YELLOW MAGIC ORCHESTRA and OUR DAUGHTERS WEDDING to THE OHIO EXPRESS and THE CAPTAIN & TENNILLE, all with a shiny sense of humour.

While a fourth album has not yet been forthcoming, a series of soundtrack and collaborative EPs have maintained HYPERBUBBLE’s profile while they played London for the first time in Autumn 2014.

http://www.hyperbubble.net


SUNDAY GIRL (2010)

sunday4Jade Williams got her stage name from a part time job she had in a pet shop where she was known simply as SUNDAY GIRL. With a raspy voice that appeared to have been shaped from smoking far too many Gauloises in a Paris café, she was signed to Geffen Records. Her first two singles, ‘Four Floors’ and a cover of Italo standard ‘Self Control’ were more ELLIE GOULDING in demeanour. But it was ‘Stop Hey!’ with its piercing MIRRORS meets MGMT template which showed her potential. The unreleased ‘24 Hours’ was wonderfully claustrophobic post-punk but best of all was ‘All The Songs’, a brilliant slice of avant pop powered by pulsing electronic bass and layers of vibrato synth.

However, Geffen Records had other ideas and pushed her into covers of songs made famous by STEPS and THE PIXIES! Once LANA DEL REY hit the airwaves internationally, it was all over bar the shouting and the debut album never came out. Today, Jade Williams is involved in a more conventional pop project under the less mysterious moniker of WHINNIE WILLIAMS.

http://www.wearesundaygirl.com


MAISON VAGUE (2011)

maisonIn 2008, PARRALOX declared “We believe in electric love”! In 2011, “Synthpop’s alive!” was the MAISON VAGUE battlecry! Consisting of lone American-born German based keyboardist / programmer Clark Stiefel, the title track of MAISON VAGUE’s album was a musical reply to a YouTube video that proclaimed “Synthpop is dead”. With a template of GARY NUMAN meets DEVO, MAISON VAGUE combined aggression with eccentricity, but all the songs possessed a sly tongue-in-cheek irony as well as a gloriously vintage synth sound.

A second album has yet to appear but Clark Stiefel still continues with his day job in the classical music world.

http://www.maisonvague.com


QUEEN OF HEARTS (2011)

queenQUEEN OF HEARTS is the talented Elizabeth Morphew who first came to public attention via RED BLOODED WOMEN, a girl group who sounded not unlike GIRLS ALOUD being produced by Daniel Miller. She once said “pop is not a dirty word” and this was reflected in her electro wonderland. Her debut EP ‘The Arrival’ contained enticing songs like the Moroder-esque throb of ‘Freestyle’ and a gorgeous cover of FOALS’ ‘Spanish Sahara’. But best of all was 2012’s ‘Neon’ with its deliciously wired glitterball sparkle that managed to out Goldfrapp GOLDFRAPP.

Her work attracted interest from producers like Mark Reeder who reworked ‘Neon’ and collaborated on ‘United’, although the Stuart Price produced ‘Feel’ has still to officially see the light of day. Her well received debut album ‘Cocoon’ was released in 2014 and she is presently in the studio working on new songs.

http://www.iamqueenofhearts.com/


KID KASIO (2011)

kid kasio-4-700x1024KID KASIO is Nathan Cooper, one-time member of those once great white hopes THE MODERN aka MATINEE CLUB who in their time, supported HEAVEN 17 and released the excellent single ‘Jane Falls Down’ mixed by Stephen Hague. With a debut album ‘Kasiotone’ under his belt, KID KASIO’s vintage but modern flavoured sound updated the one man and his synth template pioneered by HOWARD JONES.

‘The Reason’, ‘Not For Turning’ and ‘Telephone Line’ were fine examples of his bouncy riff laden ditties with catchy choruses reminiscent of imperial phase DURAN DURAN. But the best KID KASIO number was ‘I Miss You’ which sounded like ‘Forbidden Colours’ reworked by LA ROUX. A second album is currently being finished.

http://www.kidkasio.com


CURXES (2011)

Curxes-Lucy-GoodaleCURXES have been continuing their development into a more aggressive post-punk template with wonderful songs such as the haunting staircase mystery of ‘Spectre’ and the CHVRCHES gone aggro stand point of ‘Avant-Guarded’. But when the Blitz Poppers first made a splash on the scene back in Summer 2011, they were “a decorative set of bones, channelling the ghosts of discothèques past” in a manner of DEPECHE MODE being eaten by SIOUXSIE & THE BANSHEES. This material was released as a mini-album ‘Precurxor’ in 2014.

Where they are heading next may be less overtly synthy but is still technologically dynamic and inventive. Their debut album ‘Verxes’ has been a long time coming but if tracks such as ‘Valkyrie’ are anything to go by, it will have been worth the wait.

http://www.curxes.com/


SOFT METALS (2011)

SOFT METALS colourMore immediate than XENO & OAKLANDER and much shinier than CRYSTAL CASTLES, SOFT METALS took their arsenal of cool vintage synths into ORBITAL territory with a rugged squelch ‘n’ bleep framework driven by Roland Rhythm Composers. Comprising of Patricia Hall and Ian Hicks, the duo have proven their artistic worth with a hypnotic sound on their first self-titled album. The synthetically charged joy of ‘Voices’ was a great calling card while ‘Do You Remember?’ and ‘Eyes Closed’ showcased Patricia Hall’s flirtatious demeanour over a Detroit Techno influenced backbone.

The second album ‘Lenses’ was a natural development of the debut and tracks like ‘Tell Me’, ‘No Turning Back’ and ‘Hourglass’ have indicated there is still more great music to come in that delicious Métaux Mous vein.

https://www.facebook.com/softmetals


ELEVEN: ELEVEN (2012)

111-Sicca-thumbComprising of the seductively celestial voice of Sicca and the instrumentation of Jake Childs, Texan duo ELEVEN:ELEVEN have an electronic dance sound that recalls a variety of influences including Italo Disco, Hi-NRG, Electroclash and the band BERLIN. Their impressive debut ‘Through The Veil’ showed subtle, crafted thinking within EDM as well as hypnotic hints of BOBBY O and GIORGIO MORODER.

With range of rhythmical dynamics on songs such as ‘Little White Lies’, ‘No Words’ and the brilliantly sparkling title track, ELEVEN: ELEVEN’s songs rarely clock in above four minutes, thus avoiding the death-by-four-to-the-floor syndrome that afflicts the majority of club music.

http://weare1111.com/


CHVRCHES (2012)

CHVRCHES-in-fieldThe Electricity Club took a punt at covering CHVRCHES after just one song, but it all turned out rather well. Introduced to the band by the wonderful CURXES, CHVRCHES’ brilliant opening gambit ‘Lies’ was ‘The Whole Of The Moon’ re-imagined by DEPECHE MODE but fronted by ROBYN. With electronic drum tattoos, meaty piercing synths and a great tune, the Glaswegian trio of Lauren Mayberry, Iain Cook and Martin Doherty certainly made an impression.

‘The Mother We Share’ proved it was not a fluke while ‘Now Is Not The Time’ showed CHVRCHES were in a position to regulate great songs to B-sides. Support slots with DEPECHE MODE, a never ending tour and a well-received debut album in ‘The Bones Of What You Believe’ have been further evidence of CHVRCHES impact in the international arena.

http://www.chvrch.es/


TITANS (2012)

TITANSImagine if RAMMSTEIN were reincarnated as DEPECHE MODE but without the flame throwers? TITANS‘ vocalist Dan Von Hoyel sounds like a lower register Dave Gahan crossed with a less Teutonic Till Lindemann. In a sub-genre known for its shouting, TITANS’ mighty calling card ‘It’s Dark’ was menacing but melodic. The parent album ‘For The Long Gone’ was an enjoyable listen too, energetic without being bombastic and tuneful without being twee.

The foreboding synth atmospheres of ‘All There Is’ were reminiscent of a doomy CAMOUFLAGE while the Olympian effort of the title track could have been ULTRAVOX meeting RAMMSTEIN for an electronic collaboration. While an EP ‘My Sorrow’ with new songs came out in 2013, a second album is eagerly awaited.

http://www.facebook.com/TitansOfficial


SAY LOU LOU (2013)

say lou lou4Stunning identical twins Elektra and Miranda Kilbey have been labelled the female HURTS and certainly their second single ‘Julian’ is still one of their best songs, full of tension, angst and intrigue like a Nordic Noir mini-series compressed into a three minute pop song. Like HURTS, their music could do with a kick occasionally but numbers such as ‘Everything We Touch‘ are like a sophisticated Scandipop take on HEART, driven by a togetherness that can only come from two siblings.

The forthcoming release of their debut album ‘Lucid Dreaming’ will confirm whether SAY LOU LOU have been able to deliver on their brand of shimmering but accessible escapism.

http://www.sayloulou.com/


GIRL ONE & THE GREASE GUNS (2013)

GIRL ONE GREASE GUNS PHOTOWho are GIRL ONE & THE GREASE GUNS? Nobody really knows for sure, but this mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past few years. There was the ‘Logan’s Run’ tribute ‘Jessica 6’, an eerie post-punk cacophony of sound laced with icy string machine sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION while a winter of discontent overtone sat on the dysfunctional indie synthpop of ‘Driving Without Headlights (Once Again)’.

However in 2014, a much softer side was revealed on ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synths and grainy vox samples, it would have been the theme tune to ‘Twins Peaks’ had the series been set in The Lake District.

http://www.squirrelrecords.co.uk/girl-one-and-the-grease-guns/


NIGHT CLUB (2013)

NIGHT CLUBForming in 2011, vocalist Emily Kavanaugh and producer Mark Brooks began writing songs that combined the pure pop of PINK and BRITNEY SPEARS with the heavier spectre of SLAYER into a danceable, electronic underworld. They truly arrived on their second EP ‘Love Casualty’, with the highlight being ‘Poisonous’ which reimagined EURYTHMICS’ ‘Sweet Dreams’ fronted by Britney if she had gone Goth.

And with their third EP ‘Black Leather Heart’, NIGHT CLUB delivered their best body of work yet. Featuring a dark disco cover of INXS ‘Need You Tonight’, it was trumped by the sinister yet playfully feline ‘She Wants To Play With Fire’ and the Electroclash flavoured ‘Cruel Devotion’. Based on the evidence trajectory so far, NIGHT CLUB’s fourth EP looks like it will be a blinder!

http://nightclubband.com/


QUIETER THAN SPIDERS (2013)

quieter than spidersCould The Electricity Club have found another MIRRORS in QUIETER THAN SPIDERS? But whereas MIRRORS openly flaunted their Gilbert & George look, QUIETER THAN SPIDERS have been totally anonymous. Their “Shanghai Synthpop …using home-made electronic sounds played by hand” has certainly made an impact with ‘Shanghai Metro’ recalling the obvious melodic elements of classic OMD.

Then there was the haunting dreamscape of ‘Hibakusha’ with its modern, processed twist while the simply wonderful ‘The Land Of The Lost Content’ glided with a glacial beauty that was not only appealing to the ear, but could be danced to as well. The long awaited debut album ‘Signs Of Life’ is to be released on Anna Logue Records sometime in 2015.

https://www.facebook.com/QTSpiders


I AM SNOW ANGEL (2014)

i am snow angel -julieI AM SNOW ANGEL’s music evokes images of icy landscapes and crystalline hydro basins but with a North American twist. Her self-titled debut EP introduced enticingly understated numbers like ‘Grey White December’ and ‘Let Me Go’, but it was her debut album ‘Crocodile’ that united a countrified twang with her dreamy, whispery world to produce a unique and quietly subversive sound within electronica.

There was the excellence of the title track while ‘Walking On Wires’ recalled THE POSTAL SERVICE. But just when you thought there could be no more surprises, there was her drum ‘n’ bass take on BRUCE SPRINGSTEEN’s ‘I’m On Fire’!

http://iamsnowangel.com/


MACHINISTA (2014)

Machinista_bandThe Swedish pairing of John Lindqwister and Richard Flow have declared themselves “synthpop with a rock’n’roll edge” but MACHINISTA have shown themselves to be far weightier with songs such as the superb Brechtian drama of ‘Summersault’ and the midlife pondering ‘Pushing The Angels Astray’. Their debut album ‘Xenoglossy’ delivered on the promise already shown with their first EP ‘Arizona Lights’ and an appearance at ‘An Evening With The Swedish Synth’.

Combining the best elements of both ALPHAVILLE and THE CURE into an enjoyably well produced template of anthemic electro, they even had the bottle to do a cover of DAVID BOWIE’s ‘Heroes’ and did a pretty good job of it too.

http://www.machinistamusic.com/


FIFI RONG (2014)

FifiRong-01FIFI RONG has been building her repertoire using a wide range of influences such as dubstep, trip hop and Chinese folk music while also name checking the likes of COCTEAU TWINS and MAZZY STAR. She also collaborated with TRICKY and her first album ‘Wrong’ came with a rework of her TRICKY track retitled as ‘Only If I Knew’ which was by far a more beautiful interpretation and fully exploited the song’s potential.

Her best number so far though has is ‘Next Pursuit’, which combines the vocal mystery of KELLI ALI and the quirkiness of MOLOKO. Adding rhythmical variation and avoiding clichés, FIFI RONG has manifested her own dream laden underground electronica. She is currently working with BORIS BLANK of YELLO fame.

http://www.fifirong.com


PAWWS (2014)

Pawws2PAWWS is what CHVRCHES would sound like if they were an all-female concern ie a blokey free zone. With some Scandipop influences and a dose of second hand Roland JX-8P, the end result is some sweet, sugary electronically driven pop. The coy, feline magnetism of ‘Slow Love’ showcased PAWWS aka Lucy Taylor’s brand of “upsetting disco” and ‘Give You Love’ from the following ‘Sugar’ EP also lived up to that template.

Meanwhile, The Sunday Times described the EP title track “As if Kylie had worked with OMD”. If there is one lady who could fill the female fronted synthpop void that has been vacated by LA ROUX and LITTLE BOOTS, it is PAWWS. With the warm reception accorded to the first two releases, more music is on the way from Miss Taylor…

https://www.pawwsmusic.co.uk


Text by Chi Ming Lai
7th March 2015, updated 22nd May 2016

ELEVEN:ELEVEN Through The Veil

111-Sicca2After almost a year’s delay, Texan duo ELEVEN:ELEVEN have finally released their debut album ‘Through The Veil’.

Combining elements of Italo Disco, Hi-NRG and Electroclash with the feisty template Of Terri Nunn’s BERLIN and the Mittel Europa romanticism of VISAGE, ELEVEN:ELEVEN deliver a melodic but edgy style of electronic dance music which doesn’t cause death by four-to-the-floor!

Fronted by the feline demure of Sicca and powered by the crisp electronic backing of Jake Childs, ELEVEN:ELEVEN have been described as the musical love child of GIORGIO MORODER and ADULT.

The duo’s debut EP ‘Infection’, with exquisite songs like ‘Infection’, showcased the subtle dynamics of their futuristic disco friendly sound influenced by the likes of producers such as Bobby Orlando as well as the man whose name is Giorgio. The original promotional concept of ‘Through The Veil’ had been to the release a track one-at-a-time before culminating in a finished ten track album but after six were premiered, things went quiet while the duo were signed to Canadian label Cliché Musique, part of Universal Music.

It comes as a big surprise though after all the delays that the whole album has been given away as a free download… but what a freebie! The songs are uncluttered, and allowed space to breathe rather than just having the kitchen sink thrown in. Punching forth at the start is ‘Escape’ which combines atmosphere, danceability and emotion for a superb opener.

111-MesmerizeTaking on a more Eurocentric countenance with a hint of A-HA’s ‘Take On Me’ is ‘Essence’ although Sicca doesn’t try to attempt falsetto.

With a moodier percussive outlook, creepier synths hook-in at a steadier pace on ‘Mesmerize’ with Sicca all haunted and exclaiming “You’re toxic, mesmerise me… I waste away”; it all gives ‘Through The Veil’ a kind of sexy gothic allure.

‘The Play’ explores bondage chic, a theme often referenced in ELEVEN:ELEVEN’s artwork. Feeling the need for speed, it is more frantic than the other numbers running through the core of ‘Through The Veil’.

There’s plenty of highs and lows in its two minutes. The exploration continues on ‘The Chains’ and at four plus minutes, is the longest song on the album. Strangely, it does sound a little too long…

The synthetic seediness of ‘No Words’ is reminiscent of MISS KITTIN & THE HACKER but whereas Ms Herve would just speak, Sicca coos with a sultry allure… it actually makes a change to hear a singer on an electronic backing track like this rather than the expected deadpan monologue. Driven by an arpeggiated bassline and analogue drum machine clatter, ‘Little White Lies’ is rather divine with Sicca sounding quite seductively resigned over some great syncopation, club friendly without being overbearing.

‘Isolate’ and ‘Justified’ maintain the quality of the album and don’t veer too much away from the ‘Through The Veil’ template. But the best number comes last with the brilliantly sparkling title track which put quite simply, is just great angelic synthpop.

An impressive debut, the main noticeable trait of ‘Through The Veil’ other than its quality dance stance is that the songs are all short and sweet. There’s no unnecessary 20 inch dance mixes needed as the point can be made in less than three minutes… so DJs and dance acts, PLEASE LEARN!

At thirty-two minutes, ‘Through The Veil’ does not outstay its welcome and with its enjoyable ten variations of a theme, it showcases how there is subtle, crafted thinking within EDM from this promising electronic duo.


‘Through The Veil’ is available via the usual digital platforms

http://www.facebook.com/the.eleveneleven

https://twitter.com/weare1211


Text by Chi Ming Lai
19th November 2013, updated 8th July 2018

TEC’s 2012 End Of Year Review

Close Encounters Of The Synth Kind

Steven Spielberg with ARP2500

The year began with the housewives’ favourite astronomer Brian Cox naming several synth friendly classics like OMD’s ‘Messages’ and DURAN DURAN’s ‘Friends Of Mine’ in his choices for ‘Desert Island Discs’ as well as declaring an appreciation of ULTRAVOX.

The confessions of the one-time keyboard player of DARE and D:REAM proved once again that electronic music is the preserve of the intelligent, discerning listener.

And as with the strap line to ‘Close Encounters Of The Third Kind’ which featured the use of an ARP 2500 to communicate with the aliens incidentally!), it proved to many a synth enthusiast that “we are not alone”!

Speaking of ULTRAVOX, they made the comeback of the year with ‘Brilliant’, the first long player featuring the classic line-up of Warren Cann, Chris Cross, Billy Currie and Midge Ure since 1984’s ‘Lament’.

While the album could have probably done with being two tracks shorter, it was the best of the bunch in a line of returns from the last few years by Synth Britannia veterans OMD, BLANCMANGE and THE HUMAN LEAGUE; not bad considering most of the band are now in their early sixties!

The Dreaded Pink Thing has now been truly buried!

GARY NUMAN continued to tour like there was no tomorrow and reunited with his old backing band DRAMATIS on several of his ‘Machine Music’ shows in tribute to the late Ced Sharpley who had drummed for both. From the same management stable, JOHN FOXX & THE MATHS unleashed their third album in 18 months entitled ‘Evidence’ while CLAUDIA BRÜCKEN released only her second solo album in just over 20 years with a soothing collection of reinterpretations called ‘The Lost Are Found’.

With only Synth-Werk plug-in hoaxes and Belgian clones METROLAND to keep Klingklangers entertained with new material, KRAFTWERK themselves undertook a 3D residency at New York’s MoMA featuring their eight most recent works with a controversial two tickets per customer policy. As most of these albums clocked in at just over 30 minutes, there was still an hour’s other favourites to savour for those lucky enough to get their names on the list.

This electronic extravaganza will be reprised at London’s Tate Modern in February 2013. As a former power plant, the location is wholly appropriate although the occasion will be tainted by the ticket fiasco that preceded it! Ex-member KARL BARTOS was probably observing with amusement as he will be returning in 2013 with a new album ‘Off The Record’ and world tour. Disgruntled fans who missed out on the Tate Modern shows are now likely to be venturing his way for their KRAFTWERK fix!

Danny Boyle’s London 2012 Olympics Opening Ceremony attempted to showcase the best of British so with UNDERWORLD as musical directors, OMD, NEW ORDER, PET SHOP BOYS, BRIAN ENO and EURYTHMICS all figured during the evening.

And in keeping with the Games message to “inspire a generation”, promising new act STRANGERS had their single ‘Safe / Pain’used by the BBC in a montage of Team GB’s cycling success during the Olympics. The trio also shone at BASII, a Basildon electronic music festival celebrating the legacy of their most famous sons DEPECHE MODE and went on to support BLANCMANGE and CLAUDIA BRÜCKEN.

Also present at BASII was SARAH BLACKWOOD who DJ-ed and gave tremendous solo renditions of songs such as ‘Price Of Love’ and ‘Not So Manic Now’. A new DUBSTAR album is currently being finished with producer Stephen Hague. DEPECHE MODE themselves announced a new album and tour for 2013 in a bizarre press conference that appeared to have no actual news!

But this was not before Dave Gahan guested with SOULSAVERS and Martin Gore did a cameo for MOTOR; He also reunited with former bandmate Vince Clarke for the rather polarising techno project VCMG. And in a year that saw all members of the extended DM family busy, former bandmate Alan Wilder helped compile a tribute album to one-time synthpoppers TALK TALK and released the RECOIL concert film ‘A Strange Hour In Budapest’.

MARSHEAUX returned to London with a triumphant performance at TEC002 featuring The Blitz Club’s legendary Rusty Egan on electronic percussion during an encore of ‘Come On’, a song from their forthcoming fourth long player ‘Inhale’.

They also released a double headed single with the marvellous TWINS NATALIA, exponents of vintage synthpop fashioned for an imaginary 21st Century Weimar Republic; MARSHEAUX covered their cult favourite ‘When We Were Young’ to compliment TWINS NATALIA rendition of ‘Radial Emotion’.

After the label and personnel upheavals of last Autumn, MIRRORS regrouped as a trio and made a welcome return with a starker sound. While this new material perhaps lacked the immediacy of their ‘Lights & Offerings’ debut, songs like ‘Between Four Walls’ and ‘Dust’ captured a depth of mood that grew with each listen. MIRRORS off-shoot LOVELIFE decamped to make their fortune in New York and unveiled a promising number in ‘Brave Face’ which crossed OMD with HARD-FI.

Among the best songs of 2012 was ‘Trust’ by Finland’s SIN COS TAN, a new project from VILLA NAH’s Juho Paalosmaa and ace producer Jori Hulkkonen. The parent eponymous album was impressive too and showed once again that the Nordic region was the perfect environment for the genesis of inventive leftfield synthpop.

Sweden proved its prowess with COMPUTE who beefed up her sound for second EP ‘The Distance’ while IAMAMIWHOAMI took her mysterious audio visual experience into the physical album arena for the first time with ‘Kin’ where the enigmatic electronic soundtrack stood up on its own. Just down the road, there was the RAMMSTEIN reincarnated as DEPECHE MODE menace of TITANS.

Electro crooners JULIAN & MARINA showcased their lounge crooner synthpop with a cover of a Hollywood-era Elvis number ‘A House That Has Everything’ and DAYBEHAVIOR released their third album ‘Follow That Car!’ after a year’s delay.

From across the Atlantic, Canadians CRYSTAL CASTLES and PURITY RING were the darlings of the hipster cognoscenti along with GRIMES who hit the black keys of her Juno-G and impressed with her latest album ‘Visions’. She also made a timely appearance on ‘Later With Jools Holland’ which recalled the TV debut of LITTLE BOOTS back in 2008.

Sadly, Victoria Hesketh left behind her synth girl persona to head for the less challenging climes of clubland. Big rival LA ROUX was taking her time recording her second album while LADYHAWKE proved that she was always a rock chick in the first place with her second long player ‘Anxiety’sounding like it had been recorded down a drainpipe!

But in Diamond Jubilee Year, QUEEN OF HEARTS flew the electro flag with a glitzy slice of electro schaffel appropriately entitled ‘Neon’. A further single ‘Warrior’ proved it was not a fluke as the young royal turned into CLAUDIA BRÜCKEN meeting Emo KYLIE!

The UK found itself a few promising female-led electronic acts in the charmingly kooky …OF DIAMONDS, the Italo-led KOVAK and the dark but dreamy EVOKATEUR. But virtually out of nowhere came Glasgow’s new synth sensations CHVRCHES. Despite only unleashing two songs ‘Lies’ and ‘The Mother We Share’ for public consumption, both were corkers; their much vaunted live performances met expectations, displaying both inventive synth arrangements and a vital pop sensibility.

The boys weren’t idle either with BRIGHT LIGHT BRIGHT LIGHT and KID KASIO unleashing their long awaited debut albums while on the newer side of the tracks, there was the angry OMD of AUTOMATIC WRITING, the FAITHLESS gone rock of SINESTAR and the ERASURE for the new millennium of MODOVAR.

After the excitement of the years between 2008 and 2011, this was a comparatively quiet year for the sound of the synth with regards special events. There was no Short Circuit or gatherings on the scale of Tomorrow Is Today, the Vintage Electronic Phuture Revue or the BEF Weekender.

Within the mainstream, the majors were keen to support electronic music just so long as it was dance oriented. Notably, EMI pushed the generic foil of SWEDISH HOUSE MAFIA and the ubiquitous DAVID GUETTA as the new acceptable faces of electronic music via their flawed ‘Electrospective’ promotional campaign; by default, this also involved Daniel Miller, Martyn Ware and Andy McCluskey due to the label’s ownership of the Virgin and Mute back catalogues! But some glaring schoolboy errors on their website and the use of quotes from COLDPLAY’s Chris Martin showed they didn’t really understand electronic pop…

There had been signs at the end of 2011 that the major record companies thought a rave revival would save their corporate bacons. Swedish synthpop duo THE SOUND OF ARROWS said that during their brief tenure with Geffen Records, the A&R had wanted them to sound more Ibiza club friendly.

Their one-time label mate SUNDAY GIRL, who originally had a promising GOLDFRAPP meets JOY DIVISION sound, was reduced to covering dance numbers made famous by STEPS… her debut album originally slated for 2010 is still nowhere to be seen!

Meanwhile, MARINA & THE DIAMONDS‘ very good in places second album ‘Electra Heart’ had several of its songs spoiled by overdriving club beats! Is this really the only way to make people dance? It all seems a little brain dead! “NAME THAT TUNE…” snarled Rusty Egan on Facebook, “…if you can hear one?”

So should The Electricity Club settle down with a pipe and slippers? While TEC prefers to “dance to disco” cos we “don’t like rock”, there must be more to electro than shallow repetitive four-to-the-floor thuds and glowsticks?

The Electricity Club likes a tune and doesn’t pretend to love every variation of the electronic theme. And from conversations TEC has had with several DJs, it would appear clubland doesn’t want to be associated with the classic synthpop world anymore than the classic synthpop world wants to be lumped in with dance culture… so why attempt to centralise everything?

Modern beat driven flavours and other influences can be appreciated but a full blown experience is not always what is required! As the marvellous new Texan duo ELEVEN:ELEVEN have proved, danceable electronic music can be made that is subtle and syncopated. And all this without the need of an annoying dubstep remix, or a 10 minute techno rework with no melodic elements!

It’s cool to be discerning…


THE ELECTRICTY CLUB Contributor Listings of 2012

PAUL BODDY

Best Album: DEADMAU5 >album title goes here<
Best Song: ORBITAL New France (Tom Middleton Cosmos remix)
Best Gig: RAMMSTEIN at London O2 Arena
Best Video: SPLEEN UNITED Days Of Thunder
Most Promising New Act: TITANS


STEVE GRAY

Best Album: ULTRAVOX Brilliant
Best Song: CHVRCHES Lies
Best Gig: HEAVEN 17 at London Shepherds Bush Empire
Best Video: SINESTAR I Am The Rain
Most Promising New Act: CHVRCHES


CHI MING LAI

Best Album: SIN COS TAN Sin Cos Tan
Best Song: SIN COS TAN Trust
Best Gig: BAS II
Best Video: IAMAMIWHOAMI Drops
Most Promising New Act: CHVRCHES


RICHARD PRICE

Best Album: SIN COS TAN Sin Cos Tan
Best Song: ULTRAVOX Rise
Best Gig: BAS II
Best Video: KID KASIO Telephone Line
Most Promising New Act: KARIN PARK


JOHAN WEJEDAL

Best Album: METROLAND Mind The Gap
Best Song: COMPUTE Dawning Days
Best Gig: KRAFTWERK at Way Out West Festival, Gothenburg
Best Video: PARRALOX Sharper Than A Knife 2012 (Lyric Video)
Most Promising New Act: PLANET R


Text by Chi Ming Lai
16th December 2012

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