Tag: Goldfrapp (Page 1 of 10)

THE ELECTRICITY CLUB’S 25 Synth B-Sides Of The 21st Century

There is nothing like the other side of life. As a companion to its favourite 25 Classic Synth B-sides, The Electricity Club presents a listing looking at the 21st Century equivalent.

B-sides often take on a cult following, provoking discussions among fans about why they might have missed inclusion on the parent album.

On why artists occasionally overlook a track when it is clearly good enough, Richard Silverthorn of MESH said “Sometimes you can’t see the wood for the trees”.

Then there are the occasional abstract studio experiments which often fail but occasionally work and the occasional cover versions which don’t always find favour with some listeners but are infinitely more preferable over pointless remixes of the A-side!

But how is a modern B-side been defined? There is a wider definition now due to digital and streaming formats, so they can include flipsides of vinyl, bonus tracks on CD singles and non-album tracks released as part of a download single or EP bundle. Despite all this, the term “B-side”, like “album” and “video”, still remains.

So for the purposes of this listing as before with the 25 Classic Synth B-sides, B-sides featured on the original issue of a full length album, or subsequently included on a new one are NOT included. However, those added as bonus tracks on later reissues, deluxe editions or compilations are permitted. Rules are good, rules help control the fun! 😉

So with a restriction of one track per artist moniker, presented in date and then alphabetical order within, these are The Electricity Club’s 25 Synth B-Sides Of The 21st Century…


LADYTRON Oops Oh My (2003)

LADYTRON surprised their audiences during live shows in support of the ‘Light & Magic’ album by closing with a feisty synthpunk cover of TWEET’s ‘Oops Oh My’. Co-written by Missy Elliot, the Timbaland produced original with a DEVO sample had been a hip-hop favourite but the aggressive Riot Grrrl styled take on this risqué song about self-love with lyrics like “There goes my skirt, droppin at my feet” added a rockier edge to their sound.

Available on the LADYTRON single ‘Evil’ via Telstar Records

http://www.ladytron.com/


CLIENT Can’t See Me Now (2003)

“This was written in response to the Iraq War” said Sarah Blackwood aka Client B, “I remember endless discussions with Toast Hawaii boss Fletch about whether it was the right decision and with heavy hearts, watching endless shelling and firefighting, from the 24 hour news coverage on far flung European hotel TVs. It was the first time I had felt that disconnection and frustration with my home country, the ‘not in my name’ ringing loudly in my ears. Bit late to the party but that’s the story of my life.”

Available on the CLIENT single ‘Here & Now’ via Toast Hawaii / Mute Records

https://www.facebook.com/ClientMusic


GOLDFRAPP Gone To Earth (2004)

The eloquence and surreal atmospheres of the first GOLDFRAPP album ‘Felt Mountain’ may have taken a back seat on its follow-up ‘Black Cherry’ but the experimentation continued on the B-sides of the album’s singles. ‘White Soft Rope’ combined the unsettling imagery of bondage with a chorus sung a school choir, but ‘Gone To Earth’ was even more otherworldly. The reverberating bassline combined with swirling synths and dreamy glides while Alison’s alternate cosmic language startled with a spacey hypnotism.

Available on the GOLDFRAPP single ‘Black Cherry’ via Mute Records

http://goldfrapp.com/


THE MODERN Model #426 (2005)

Nathan Cooper who was in THE MODERN said: “The inspiration came from ROXY MUSIC’s ‘In Every Dream Home A Heartache’ which was about a blow up doll, we took that a step further and Model# 426 is about some kind of sex droid!! ‘Model #426’ was always the song that would get the audience talking because singer Emma would open a trunk on stage and lead a gimp out on a collar into the bemused looking audience!! I think it was actually that stunt that got us signed to Universal!”.

Originally on THE MODERN EP ‘Eastern Bloc’, now available on the album ‘Life In A Modern World’ via Pie & Mash Recordings Ltd

https://www.themodernband.com/


PET SHOP BOYS Party Song (2006)

Interpolating KC & THE SUNSHINE BAND’s ‘That’s The Way (I Like It), the self-produced ‘Party Song’ was naturally a throbbing disco driven affair outshone the horrendous Diane Warren penned ballad ‘Numb’ which comprised the main act. Lyrically inspired by the classic Joan Collins and Leonard Rossiter fronted Campari adverts that, it began life as a dance cover of NIRVANA’s ‘Smells Like Teen Spirit’ suggested by Elton John and intended as a single for a new PET SHOP BOYS ‘Greatest Hits’!!

Originally the B-side of ‘Numb’, now available on the PET SHOP BOYS album ‘Format’ via EMI Music

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


ARTHUR & MARTHA Japanese Kiss (2008)

‘Japanese Kiss’ was from the debut release on Happy Robots from Alice Hubley and Adam Cresswell. “This was the first track I wrote for ARTHUR & MARTHA” he recalled, “mostly recorded in the bedsit I’d moved into after splitting up with my girlfriend. I was absorbed in self-pity, comforting myself with Japanese-horror movies and the company of my ARP Quartet, Moog Rogue and the DR-55. Living my best life!”; 11 years later as Rodney Cromwell, Cresswell did a NEW ORDER inspired ‘KW1’ remix.

Available on the ARTHUR & MARTHA single ‘Autovia’ via Happy Robots

https://www.facebook.com/arthurandmarthaband


MARSHEAUX Bizarre Love Duo (2008)

Basing its title on the well-known NEW ORDER tune, as with a number of the B-sides listed here, ‘Bizarre Love Duo’ outshone the main act ‘Ghost’. It all began with a pitch shifted groan sample repeated with hypnotic effect over some squelchy backing. But during the second half, the track built itself to a fabulous but abstract electrodisco number with a marvellously catchy refrain. While not quite a song and not quite an experiment, ‘Bizarre Love Duo’ was enjoyable tune in the MARSHEAUX canon.

Originally the B-side of ‘Ghost’, now available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records

https://www.facebook.com/marsheaux


ANTHONIO Angel Face (2009)

A cover of a cover, namely SHOCK’s take on THE GLITTER BAND’s 1974 Top5 hit; playing the role of the Latin lothario in response to the Annie song ‘Anthonio’, Sebastian Muravchik of HEARTBREAK and now SNS SENSATION remembered:Richard X produced this version of ‘Angel Face’ as a side B in his single ‘Annie’. I sang both sides, which kind of shows two sides of Anthonio’s personality in a way. It was a fantastic experience – Richard is a great guy and über pro, so really a win-win.”

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters ‎

https://www.facebook.com/wearesns


LITTLE BOOTS Catch 22 (2009)

“Positive and negative can only attract” sang Victoria Hesketh on the bouncy ‘Catch 22’, a lesser known LITTLE BOOTS track which initially only appeared on the 7 inch single of ‘Earthquake’ in the UK. Gloriously synthpoppy, in hindsight along with other songs that did not make it onto the final tracklisting of her debut album ‘Hands’, it highlighted a possible direction that could have been taken, but which was ultimately watered down for wider acceptance after she was named BBC Sound Of 2009.

Originally the B-side of the single ‘Earthquake’, now available on the LITTLE BOOTS deluxe album ‘Hands’ via On Repeat Records

https://www.littlebootsmusic.co.uk/


VILLA NAH Benny’s Burning (2010)

Continuing a great tradition among the synthpop acts of the past, VILLA NAH had ‘Benny’s Burning’ and ‘Daylight’ as part of their B-side armoury as well as the brilliant debut album ‘Origin’. Highlighting the inherent talent of Juho Paolosmaa and Tomi Hyyppä, ‘Benny’s Burning’ was a smoother and more atmospheric side of VILLA NAH compared with the uptempo technopop impressions of its A-side ‘Rainmaker’. The Helsinki duo later opened for OMD during the UK leg of 2010’s ‘History Of Modern’ tour.

Available on the VILLA NAH single ‘Rainmaker’ via Keys Of Life

https://www.facebook.com/villanah


ERASURE Never Let You Down (2011)

Produced by Vince Clarke, ‘Never Let You Down’ was free of the many autotune treatments that Frankmusik had applied when helming the disappointing ‘Tomorrow’s World’ album in his attempts to make ERASURE sound more modern and contemporary. As a result, that heartfelt soul often associated with Andy Bell made its presence felt over a glorious galloping synthpop tune in the classic ERASURE vein, especially during the middle eight section in Spanish.

Available on the ERASURE single ‘Be With You’ via Mute Artists

http://www.erasureinfo.com/


MIRRORS Falls By Another Name (2011)

In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Any number of them are worthy of mention but the nod goes to ‘Fall By Another Name’ as it was accessible enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir hence its likely relegation to flipside, the bright pulsing melodies and James New’s Dave Gahan impression made this sound rather like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’.

Available on the MIRRORS single ‘Into the Heart’ via Skint Records

https://www.facebook.com/theworldofmirrors


APOPTYGMA BERZERK Dead Air Einz (2013)

While the A-side was a faithful cover version of Peter Schilling’s anthemic ‘Major Tom’, ‘Dead Air Einz’ was a self-composed song by APOPTYGMA BERZERK mainman Stephan Groth that was eagerly welcomed at the time, thanks to it being his first original new track for four years. Utilising distorted radio broadcasts in its backdrop, it also featured some Korg MS20 from Jon Erik Martinsen and was something of a grower with its steadfast drum machine shuffle.

Available on the APOPTYGMA BERZERK single ‘Major Tom’ via Pitch Black Drive Productions

http://www.theapboffice.com/


CHVRCHES Now Is Not The Time (2013)

Making their initial impression with the mighty ‘Lies’ in 2012, Glasgow trio CHVRCHES actually became the mainstream saviours of synthpop that LITTLE BOOTS and LA ROUX had promised but ultimately failed to deliver on. ‘Now Is Not The Time’ was a fantastic midtempo tune with a great chorus that like ‘The Mother We Share’ sounded like Taylor Swift gone electro. However, it got relegated to B-side status despite being superior to several songs on their debut long player ‘The Bones Of What You Believe’.

Available on the CHVRCHES single ‘Recover’ via Virgin Records

https://chvrch.es/


DEPECHE MODE All That’s Mine (2013)

In a pattern similar to the ‘Sounds Of The Universe’ boxed set only track ‘Oh Well’, the best song from ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy Eurocentric austere, all the perfect ingredients for a classic DM tune! While it was no doubt rejected for not fitting into the faux blues aspirations of modern DEPECHE MODE, it made up for the dreary notions of the A-side ‘Heaven’ which were more like hell…

Originally the B-side of the single ‘Heaven’, now available on the DEPECHE MODE deluxe album ‘Delta Machine’ via Columbia Records

http://www.depechemode.com/


OMD Time Burns (2013)

OMD’s twelfth album ‘English Electric’ was notable for combining conceptual art pieces alongside supreme electronic pop in a manner reminiscent of their fourth long player ‘Dazzle Ships’ and KRAFTWERK’s ‘Radio-Activity’. Although four of these concepts made it onto the final running order of the album, one that didn’t was ‘Time Burns’, a intriguing sound collage comprising of clock movements, chimes and digital watch alarms over rumbles of sub-bass and profound computer generated speech.

Originally the B-side of the single ‘The Future Will Be Silent’, now available on the OMD EP ‘Night Café’ via BMG

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


QUEEN OF HEARTS United (2013)

A stomping electro disco number produced by Mark Reeder and Micha Adam, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provided the heat! However, ‘United’ has ended up as the B-side. Reeder said ”I saw a piece posted on The Electricity Club about QUEEN OF HEARTS and I was curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.”

Originally the B-side of ‘Secret’, now available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves

http://iamqueenofhearts.com/


VILE ELECTRODES Little Death Capsule (2013)

With an alluringly haunting vocal from Anais Neon, the eerily stark ‘Little Death Capsule’ saw VILE ELECTRODES tell the story of early space travel when these primitive craft were sent out of the earth’s atmosphere effectively sitting on inter-continental ballistic missiles, with burning up also a possibility on return. With pulsing instrumentation from Martin Swan, it featured the sort of sterling analogue treatments that would make KRAFTWERK and YELLOW MAGIC ORCHESTRA proud.

Available on the VILE ELECTRODES EP ‘The Last Time’ via Vile Electrodes

http://www.vileelectrodes.com/


JOHAN BAECKSTRÖM Synth Is Not Dead (2015)

A touching tribute to Messrs Clarke, Gore, Hütter and Schneider with hints of YAZOO’s ‘In My Room’, Johan Baeckström said of ‘Synth Is Not Dead’: “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 JOHAN BAECKSTRÖM single ‘Come With Me via Progress Productions

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


METROLAND (We Need) Machines Without Romance (2015)

METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius. Gropius theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked towards the 21st Century interpretation of that goal. Now imagine if Gary Numan had actually joined KRAFTWERK in 1979? Then the brilliantly uptempo ‘(We Need) Machines Without Romance’ would have surely been the result.

Originally the B-side of ‘Zeppelin’, now available on the METROLAND boxed set ’12×12′ via Alfa Matrix

http://www.metrolandmusic.com/


MESH Paper Thin (2016)

Of the superbly rousing ‘Paper Thin’, Richard Silverthorn of MESH recalled: “Mark Hockings presented me with a demo at the time we were writing material for ‘Looking Skyward’. On first listen, I wasn’t too sure about the track as I thought it didn’t really fit with the overall feeling of the album so it kind of got shelved. The record company asked ‘what about the B-side?’ so Mark suggested ‘Paper Thin’ again. The bassline, drums and many other lines were changed and the new version came to life.”

Available on the MESH single ‘Kill Your Darlings’ via Dependent Records

http://www.mesh.co.uk/


KNIGHT$ So Cold (2017)

After SCARLET SOHO, James Knights busied himself with a new Britalo inspired solo project. With hints of NEW ORDER’s ‘Subculture’ and found on KNIGHT$ debut EP ‘What’s Your Poison?’, he said “’So Cold’ is the second or third song I wrote as KNIGHT$. It’s a little darker than my other material, and the only song I’ve recorded using a marxophone (a fretless zither which I borrowed from my friend Alun Davies). It didn’t make it onto my debut album, but it’s still a song the audience enjoy, as do I.”

Available on the KNIGHT$ EP ‘What’s Your Poison?’ via Speccio Uomo ‎

https://knights101.com/


PSYCHE Truth or Consequence (2017)

PSYCHE co-founder Darrin Huss said of ‘Truth Or Consequence’: “It started out under the title ‘Life On Trial’ and was about the Bradley Manning (now Chelsea) situation. It’s about the NSA surveillance, whistleblowers, etc. It’s also about the confusion between what is Truth, and what are the consequences of telling it, living it? Do we have safety in numbers? etc. It’s all in the lyrics. It’s a very PSYCHE song with even a nod to ‘The Brain Collapses’ with our use of that song’s drum machine the Oberheim DMX.”

Available on the PSYCHE single ‘Youth Of Tomorrow’ via Artoffact Records

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


SOFT CELL Guilty (2018)

That Marc Almond and Dave Ball reunited for a farewell gig and new material was a pleasant surprise. The frustration and anger expressed in ‘Guilty (Cos I Say You Are)’ with the lines “I can denounce you just because I can, I didn’t have the life I wanted, I didn’t do the things I dreamed” saw SOFT CELL continue where they left of in 2003. With dark resonances like ‘The Omen’ gone disco, its eerie gothique countered the celebratory electro-soul of A-side ‘Northern Lights’

Originally the B-side of ‘Northern Lights’, now available on the SOFT CELL album ‘Keychains & Snowstorms – The Singles’ via Universal Records

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


INTERNATIONAL TEACHERS OF POP Another Brick In The Wall – Remoaner mix (2019)

Inheriting the mantle of THE HUMAN LEAGUE in the modern synthpop stakes, INTERNATIONAL TEACHERS OF POP impressed with their self-titled debut album. With the single release of ‘The Ballad Of Remedy Wilson’ was a timely Remoaner mix of PINK FLOYD’s ‘Another Brick In The Wall’ sung in German that made a bold musical and political statement. Headteacher Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.

Available on the INTERNATIONAL TEACHERS OF POP single ‘The Ballad Of Remedy Nilsson’ via Desolate Spools

https://www.facebook.com/internationalteachersofpop


Text by Chi Ming Lai with thanks to all the artists who contributed
19th July 2020

Ten Years Of TEC: 30 TRACKS THAT SHAPED THE ELECTRICITY CLUB

So how did The Electricity Club arrive at its discerning musical ethos?

It probably all began with a very liberal and Bohemian junior school teacher named Miss Nielsen who played KRAFTWERK’s ‘Autobahn’, PINK FLOYD’s ‘Echoes’ and the soundtrack of ‘A Clockwork Orange’ to the class, with the unusual sound of all three providing an otherworldly, yet captivating listen.

Later on, various parts of the 22 minute ‘Autobahn’ track appeared on the end credits of BBC children’s drama ‘Out Of Bounds’ and opened ‘Newsround Extra’, but 1977 was to become the true Year Zero in electronic pop. With ‘Oxygène’, ‘Sound & Vision’, ‘Magic Fly’ and ‘I Feel Love’ all hitting the UK Top 3 within months of each other, this was effectively the beginning of synths designing the future.

To celebrate the 10th birthday of the site, here is a very personal list of 30 tracks that shaped The Electricity Club. These are primarily songs that solidified and expanded the interest in synth or later provided hope in the face of real music snobbery and the return of the guitar in the wake of Britpop.

There will be grumbles that the likes of YELLOW MAGIC ORCHESTRA, HEAVEN 17, YAZOO, DURAN DURAN, TALK TALK, PROPAGANDA, CLIENT, RÖYKSOPP and others are not featured, and certainly if this list was a 40, they would all be included. But this list is an impulsive snapshot of The Electricity Club’s own journey in music, as opposed to being a history of electronic pop or a best of.

What? No industrial, acid house, techno or dubstep you ask? Well, that’s because The Electricity Club disliked the majority of it. While this is not always the case, the site has generally about synthpop ie pop music using synthesizers, as can be seen from this rather esteemed electronic roll of honour 😉

This is the history that the too cool for school media, who think everything jumped from KRAFTWERK to Detroit Techno in one fell swoop, don’t like to mention…

With a restriction of one track per artist moniker and presented in yearly and then alphabetical order featuring music from before the site came into being, here is why The Electricity Club is how it is…


JEAN-MICHEL JARRE Oxygène (1976)

For many including Jean-Michel Jarre, ‘Popcorn’ for their first experience of a synthpop hit and he released his own version under the moniker of THE POPCORN ORCHESTRA in 1972. But while working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from the late Gershon Kingsley’s composition as the main theme of what was to become the project’s lead single. That composition was ‘Oxygène IV’ and the rest is history.

Available on the album ‘Oxygène’ via Sony Music

https://jeanmicheljarre.com/


DAVID BOWIE Sound & Vision (1977)

Exploring a “whole new school of pretension” with his new creative muse Brian Eno, ‘Sound & Vision’ saw David Bowie capture a tense European aesthetic. Utilising an uplifting rhythm guitar hook and an ARP Solina string machine, the most distinctive feature was the pitch shifted percussion, produced by Tony Visconti feeding the snare drum though an Eventide H910 Harmonizer. The half instrumental track was a taster of the approach that was to come with the half instrumental parent album ‘Low’.

Available on the album ‘Low’ via EMI Music

https://www.davidbowie.com/


SPACE Magic Fly (1977)

SPACE was the brainchild of Didier Marouani who went under the pseudonym of Ecama and formed the collective in 1977 with Roland Romanelli and Jannick Top. Together with compatriot Jean-Michel Jarre and a certain Giorgio Moroder also in the charts, the space disco of the iconic ‘Magic Fly’ heralded the start of a new European electronic sound within the mainstream. With its catchy melody and lush accessible futurism, ‘Magic Fly’ sold millions all over the world.

Available on the album ‘Magic Fly’ via Virgin France

https://marouani.space/


DONNA SUMMER I Feel Love (1977)

Working with Donna Summer on an album called ‘I Remember Yesterday’, producer Giorgio Moroder wanted to feature a track that represented “the sound of the future”. Employing the Moog Modular system with an 8-step analogue sequencer plus a triplet delay to create the pulsing synthesizer lines and metronomic beat, ‘I Feel Love’ changed the course of music. Summer’s hypnotic Middle Eastern falsetto was an accident, coming as a result of the track being laid down outside of her usual vocal range.

Available on the album ‘I Feel Love: The Collection’ via Spectrum

http://donnasummer.com/


KRAFTWERK The Model (1978)

Using a Micromoog for its iconic hook, ‘The Model’ was inspired by KRAFTWERK’s visits to night clubs in the more vibrant city of Cologne 30km down the road from Düsseldorf where their iconic Kling Klang studio was based. There, they would observe beautiful models drinking champagne and seek their company. It was quite the antithesis of the robot image that the quartet were portraying. Sonically ahead of its time, it became a UK No1 four years after its initial release in 1982.

Available on the album ‘The Man Machine’ via EMI Music

http://www.kraftwerk.com/


SPARKS No1 Song In Heaven (1979)

In a creative rut following their massive UK success in the glam-era, the Mael Brothers had found ‘I Feel Love’ awe inspiring. A journalist friend put SPARKS into contact with Giorgio Moroder who had aspirations to work with a band and set to work with them immediately. The first result was the tremendous ‘No1 Song In Heaven’ where Russell Mael’s flamboyant falsetto fitted well with the electro-disco sound, while the programmed backing meant Ron Mael could maintain his image of doing nothing.

Available on the SPARKS album ‘No1 In Heaven’ via Repertoire Records

http://allsparks.com/


TUBEWAY ARMY Are Friends Electric? (1979)

Still using the group name of TUBEWAY ARMY at the behest of Beggars Banquet, the astoundingly long ‘Are Friends Electric?’ with its diabolus in musica structure became the entry point for many into electronic music. It was Synth Britannia’s ‘Starman’ moment when it was featured on ‘Top Of The Pops’ and Old Grey Whistle Test’ during the same week. When it reached No1 in the UK, life was never the same for Gary Numan, the pale-faced front man of what turned out to be a phantom band.

Available on the album ‘Replicas’ via Beggars Banquet

http://garynuman.com/


JOHN FOXX Underpass (1980)

Departing ULTRAVOX after the ‘Systems Of Romance’ album and now making music along with an ARP Odyssey, Elka Rhapsody and a Roland CR78 Compurhythm, John Foxx realised his own starker vision of electronic music. Engineered by Gareth Jones who was to later notably work with DEPECHE MODE, ‘Underpass’ channelled the dystopian writings of JG Ballard in his lyrical imagery, with Foxx added that the English novelist was “addressing what I’d come to call ‘the unrecognised present’.”

Available on the album ‘Metamatic’ via Metamatic Records

http://metamatic.com/


THE HUMAN LEAGUE The Black Hit Of Space (1980)

A track that “weighed more than Saturn”, ‘The Black Hit Of Space’ sounded extraordinary when it opened the second album by THE HUMAN LEAGUE. The Sci-Fi lyrics about an infinite pop hit were strangely out there while harsh screeching frequencies from overdriving the mixing desk; “We were also experimenting with guitar pedals” Martyn Ware told The Electricity Club, “All that was a reaction to the cleanness of the previous album so we overcompensated.”

Available on the album ‘Travelogue’ via Virgin Records

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


JAPAN Quiet Life (1980)

The resonant heart of ‘Quiet Life’ was a Roland System 700 driven by Richard Barbieri’s snappy eight step Oberheim Mini-sequencer. Complimented by Mick Karn’s distinctively fluid fretless bass, Rob Dean’s clean guitar lines and David Sylvian’s lyrical conclusion that the band were outsiders in the environment they were born into, it was a sure-fire hit… but not yet as Ariola Hansa release it as a single in the UK until 1981. But meanwhile, JAPAN had invented DURAN DURAN!

Available on the album ‘Quiet Life’ via Sony Music

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


OMD Messages (1980)

Within the environment of colder electronic pioneers such as Gary Numan and John Foxx, OMD were perhaps the first of the warmer synthesizer bands. ‘Messages’ utilised a pulsing ‘Repeat’ function on a Korg Micro-Preset shaped by hand twisting the octave knob. Re-recorded from the original album version under the helm of producer Mike Howlett, he harnessed a template of basic primary chord structures and one fingered melodies, netting a No13 UK chart hit.

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Virgin Records

http://www.omd.uk.com


ULTRAVOX Astradyne (1980)

Of ‘Astradyne’, Billy Currie told The Electricity Club: “Midge started with that strong melody, Chris’ bass was also a very strong feature. I played a piano counter melody behind. The track was so strong that we felt at ease to lengthen it with a long textural piano bit that is sort of bell-like with the metronomic bass drum beats and the violin tremolo solo… Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is very celebratory at the end…”

Available on the album ‘Vienna’ via Chrysalis/EMI Records

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


VISAGE Fade To Grey (1980)

Conceived during soundchecks under the working title of ‘Toot City’ while they were playing on Gary Numan’s first concert tour, Chris Payne, Billy Currie and Ced Sharpley had recorded the track at Genetic Studios as a souvenir keepsake. Midge Ure later came up lyrics and a melody when the track was added to the debut VISAGE album and the rest was history. Capturing the cinematic pomp of the New Romantic movement in all its glory, ‘Fade To Grey’ became a No1 hit in West Germany.

Available on the album ‘Visage’ via Polydor Records

http://www.therealvisage.com/


DEPECHE MODE New Life (1981)

Written by Vince Clarke and produced by Daniel Miller, DEPECHE MODE fulfilled the Mute label founder’s vision of a teenage pop group with synthesizers that he had imagined and conceived for SILICON TEENS. Despite its danceable bubblegum appeal and catchy synthesizer hooks, ‘New Life’ also featured some intricate folk vocal harmonies which made it quite distinct from the chanty nature of THE HUMAN LEAGUE’s ‘The Sound Of The Crowd’ which was also out at the same time.

Available on the album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/


SIMPLE MINDS Theme For Great Cities (1981)

The expansive instrumental ‘Theme for Great Cities’ was initially been given away as a freebie having initially been part of ‘Sister Feelings Call’, a seven track EP given gratis to early purchasers of SIMPLE MINDS’ breakthrough fourth album ‘Sons & Fascination’. Starting with some haunting vox humana before a combination of CAN and TANGERINE DREAM takes hold, the rhythm section covered in dub echo drove what is possibly one of the greatest synth signatures ever!

Available on the album ‘Sons & Fascination / Sister Feelings Call’ via Virgin/EMI Records

http://www.simpleminds.com


SOFT CELL Tainted Love (1981)

SOFT CELL’s cover of ‘Tainted Love’ became ubiquitous as Synth Britannia’s first true crossover record, reaching No1 in UK, Germany, Australia and Canada while also breaking the US Top 10 a year later. Written by Ed Cobb, ‘Tainted Love’ was recorded by Gloria Jones and became a Wigan Casino favourite on the Northern Soul scene. As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory, while Marc Almond added an honestly spirited vocal.

Available on the album ‘Non-Stop Erotic Cabaret’ via Mercury Records

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


ASSOCIATES Party Fears Two (1982)

With its iconic honky tonk piano line and sophisticated arrangement, ‘Party Fears Two’ was a magnificent song about dealing with the perils of schizophrenia, made all the more resonant by Billy Mackenzie’s operatic prowess. It also kick started a brief period when ASSOCIATES subverted the UK charts with an avant pop approach that fitted in with the Synth Britannia template of the times. A Top10 hit and emotive to the nth degree, the original single version is still the best and total perfection.

Available on the album ‘The Very Best Of’ via Union Square

https://www.facebook.com/theassociatesofficial/


BLANCMANGE I’ve Seen The Word (1982)

Harrow College of Art students Neil Arthur and Stephen Luscombe were unlikely pop stars, but an appearance on the ‘Some Bizzare Album’ led to a deal with London Records as well as support slots with DEPECHE MODE and JAPAN. Using a Korg MS20 synched to a Linn Drum Computer as its rhythmic backbone, the haunting melancholy of ‘I’ve Seen The Word’ fused the sombre lyricism of JOY DIVISION with the melodies and textures of OMD via a Roland Jupiter 8.

Available on the album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk/


CHINA CRISIS Christian (1982)

Merseyside duo CHINA CRISIS are probably the most under rated band of their generation. The haunting ‘Christian’ was a song about the fate of soldiers in the trenches during World War One. Slow and melancholic, ‘Christian’ was as unlikely a hit single as ‘Ghosts’ by JAPAN was, but in a far more open-minded and diverse period in pop music than today, acts with a less obvious rock ‘n’ roll outlook were generally in with a chance; it reached No12 in the UK singles charts.

Available on the album ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ via Caroline International

https://www.facebook.com/chinacrisisofficial/


NEW ORDER Temptation (1982)

‘Temptation’ was NEW ORDER’s self-produced electronic breakthrough away from the haunting legacy of JOY DIVISION. The recording itself was marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while band members could also be heard calling instructions and tutting. The pulsing hypnotism of the triggered ARP Quadra and the iconic “oooh-oo-ooh” vocal refrain made ‘Temptation’ rather joyous and magical.

Available on the album ‘Singles’ via WEA Records

http://www.neworder.com/


BRONSKI BEAT Smalltown Boy (1984)

When Jimmy Somerville, Steve Bronski and the late Larry Steinbachek made their first ever TV appearance performing on BBC2’s ‘ORS’, BRONSKI BEAT were nothing short of startling, thanks to their look, their minimal synth sound and Somerville’s lonely earth shattering falsetto. The trio had sought to be more outspoken and political in their position as openly gay performers and the tale of ‘Smalltown Boy’ about a gay teenager leaving his family and fleeing his hometown made an important statement.

Available on the album ‘The Age Of Consent’ via London Records

http://www.bronskibeat.co.uk/


PET SHOP BOYS West End Girls (1985)

It was with the re-recorded Stephen Hague version of ‘West End Girls’ that PET SHOP BOYS hit No1 in both the UK and US in 1986. Interestingly, the character of its distinctive bass synth was achieved by Hague coercing a reluctant Chris Lowe into hand playing the riff. Meanwhile, the track fulfilled Neil Tennant’s concept of the duo sounding “like an English rap group” with a dour demeanour that was the antithesis of WHAM! It started an imperial phase for PET SHOP BOYS which included three more No1s.

Available on the album ‘PopArt’ via EMI Music

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


CAMOUFLAGE The Great Commandment (1988)

In today’s world, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which the Basildon boys had all but abandoned from ‘Black Celebration’ onwards. Probably the best single DM never recorded. while ‘The Great Commandment’ was a hit in Europe and the US, it made no impression in Britain.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

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


ERASURE A Little Respect (1988)

Produced by Stephen Hague, ‘A Little Respect’ was perfection from the off with its lively combination of Vince Clarke’s pulsing programming and strummed acoustic guitar. As the busy rhythmical engine kicked in, Andy Bell went from a tenor to a piercing falsetto to provide the dynamic highs and lows that are always omnipresent in all the great pop songs like ‘Dancing Queen’ and ‘Careless Whisper’. Something of a crossover record for ERASURE, ‘A Little Respect’ was covered by WHEATUS in 2000.

Available on the album ‘Total Pop! – The First 40 Hits’ via Mute Records

http://www.erasureinfo.com/


DUBSTAR Not So Manic Now (1995)

DUBSTAR straddled Britpop with a twist of Synth Britannia. ‘Not So Manic Now’ was a song by Wakefield indie band BRICK SUPPLY, but the trio made it their own with the Northern lass earthiness of Sarah Blackwood providing the chilling commentary of an attack on a helpless pensioner. Stephen Hague’s wonderful production fused programmed electronics with guitars and cello in fine fashion, while the incessant programmed rhythms drove the song along without being obtrusive to the horrifying story.

Available on the album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/


GOLDFRAPP Lovely Head (2000)

It is interesting to think that GOLDFRAPP were initially labelled as a trip-hop act. Their superb stratospheric debut ‘Felt Mountain’ had Ennio Morricone’s widescreen inflections but to accompany an ascent to the Matterhorn rather than a trek through a Sergio Leone Spaghetti Western. The opening song ‘Lovely Head’ was laced with deviant sexual tension. Will Gregory’s mad Korg MS20 treatments on Alison Goldfrapp’s operatic screaming produced some thrilling musical moments.

Available on the album ‘Felt Mountain’ via Mute Records

https://www.goldfrapp.com/


MISS KITTIN & THE HACKER You & Us (2001)

Describing the relationship between artist and fan, this was another throbbing Moroder-inspired cacophony of electronic dance from Michel Amato with a dirty clanking Korg KR55 Rhythm used to great effect. Deliciously hypnotic, the swimmy ARP synths drowned any sorrows as the pulsing euphoria took a hold. Miss Kittin didn’t sing as much as deadpan her thoughts, but her sexy Grenoble charm carried off what was a rather superb Electroclash anthem.

Available on the album ‘The First Album’ via Nobodys Bizzness

http://www.misskittin.com/


LADYTRON Seventeen (2002)

LADYTRON became one of the first bands for many years to primarily use synthesizers as their tools of expression and attain critical acclaim. Their debut ‘604’showed electro potential in their initial quest to find ‘yesterday’s tomorrow’. With octave shifts galore to satirical lyrics about the X-Factor/Next Year’s Top Model generation, ‘Seventeen’ demonstrated the tactile nature of analogue synthesis that was key to a revival in fortunes for electronic pop in the 21st Century.

Available on the album ‘Light & Magic’ via Nettwerk

http://www.ladytron.com/


THE KNIFE Silent Shout (2006)

Probably the most influential electronic act to come out of Sweden are THE KNIFE. Those long winter nights certainly had their effect on siblings Karin and Olof Dreijer. ‘Silent Shout’ was hypnotic understated rave with the a quota of creepy Nordic eccentricity. The sharp appregiator and ambient percussion melted with Karin Dreijer’s heavily pitch-shifted low register vocals providing a menacing counterpoint to her younger brother’s vibrant electronic lattice.

Available on the album ‘Silent Shout’ via Brille Records

https://theknife.net/


MARSHEAUX Dream Of A Disco (2007)

Is a cover or is it Memorex? This interpolation of ‘Space Age Love Song’ by A FLOCK OF SEAGULLS provided MARSHEAUX with their most immediate number yet. Borrowing the uniformed look of CLIENT but applying a pure synthpop template, Marianthi Melitsi and Sophie Sarigiannidou became notable for their marketing masterstrokes. The parent ‘Peek-A-Boo’ CD included a paper bag ghost mask. Fans wore it, took pictures and sent them to the duo… around 3,500 pictures were gathered!

Available on the album ‘Peek-A-Boo’ via Undo Records

https://www.marsheaux.com/


Text by Chi Ming Lai
13th March 2020

MOLINA Vanilla Shell

Originally signed to the Danish label No3, Danish Chilean vocalist Rebecca Molina released her debut EP ‘Corpus’ in 2017 and has since put out a series of singles on Tambourhinoceros in 2018-2019.

‘Vanilla Shell’ neatly rounds up all of these alongside additional tracks ‘Fastfood Widow’ and the EP’s eponymous title work. Citing a wide range of influences from APHEX TWIN and KRAFTWERK through to KATE BUSH and COCTEAU TWINS, ‘Vanilla Shell’ takes the listener on a trip though MOLINA’s eclectic psyche and is anything but a predictable listen…

In today’s pervading climate of overproduced and overmastered pop, the beat less ‘Vanilla Shell’ bravely starts off in acapella mode (“I’m like mermaid with a special tail”) before inviting the listener on an eclectic musical ride, taking in FM electric piano arpeggios, pastoral acoustic guitar and flute along the way. ‘Vanilla Shell’ makes for an intriguing EP start, showcasing MOLINA’s mixing of electronics and real instrumentation and in places being reminiscent of GOLDFRAPP.

‘Mike’ starts with a vintage pentatonic synth riff before launching into a cheekily recreated drum pattern from CHINA CRISIS’ ‘Wishful Thinking’ whilst melding it with the vocal stylings/oblique track structuring of early KATE BUSH and THOMAS DOLBY. In a tale about a “messy shoe wearing” character who’s a bit clueless, the middle of ‘Mike’ sees a return to the intro acapella, but with subtle vocoder layering before a fully produced outro brings the track to its conclusion.

‘Parásito’ is a blissed-out track sung entirely in Spanish and with its main hook “Soy un parásito” (I’m a parasite), the song’s lyrical content counterpoints the dreamy Balearic usage of acoustic guitar throughout.

In her press bio, MOLINA explains: “I feel Spanish amplifies my message. The drama in the language makes it easier and more natural for me to be extrovert and emotional”.

Menacing string breaks punctuate the track and listeners will let the song wash over them before hastily reaching for the repeat button to luxuriate it in again…

‘Hey Kids’ starts with a gritty lo-fi drum machine loop and a hazy BOARDS OF CANADA aesthetic and features the hookiest chorus vocal here, one which will lodge in the brain after the track has concluded.

All of the songs on ‘Vanilla Shell’ keep the listener on their toes and the curveball here is a wonderful multi-layered vocal breakdown with choral parts and sampled voices merging together seamlessly. ‘Fastfood Widow’ is the only real filler track on the EP, but is still worthy of a listen if only for the way that Rebecca Molina phrases the word “widow” as “weirdo”…

The centrepiece of ‘Vanilla Shell’ is however ‘Venus’, a truly stunning piece of songwriting with a chorus that evokes some of the COCTEAU TWINS very finest work. In many ways ‘Venus’ is a distant counterpart of KATE BUSH’s ‘Breathing’ which was a song presented from the perspective of a child in a post-apocalyptic era in the womb.

‘Venus’ though is sung from the mother’s perspective as “I feel, it growing inside me. A big life. On the other side. A hall of fluids. Thick skin, underneath, the opening”. The Shoegazey elements here are beautifully combined with deep synthesizer bass frequencies and if there was any wish with regards to ‘Venus’, it would be to hear a Spanish language interpretation of it.

Just as she did with her previous EP ‘Corpus’, Rebecca Molina and her collaborators here (notably including Luke Smith who did programming on DEPECHE MODE’s ‘Sounds Of The Universe’) have crafted a body of work which is unique and definitely more than the sum of its component parts and influences.

One can only hope that this EP will help MOLINA reach a wider audience outside of Denmark and still shows that when it comes to vibrant, original and well-crafted electronic music, the Scandinavians are still the ones to beat. Very highly recommended.


‘Vanilla Shell’ is released Tambourhinoceros on 24th January 2020 via the usual digital platforms or direct from https://corpusmolina.bandcamp.com/album/vanilla-shell

https://www.facebook.com/molinamarble/

https://www.instagram.com/rebbemolina

https://soundcloud.com/corpusmolina


Text by Paul Boddy
Photo by Sarah Liisborg
22nd January 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

TEC’s 2019 End Of Year Review

2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business.

That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic…

MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again. HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.

Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.

As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.

Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA at TEC005 and Mute Records veterans KOMPUTER at TEC006.

After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of OLLIE WRIDE took a more MTV friendly direction with ‘Thanks In Advance’.

But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.

QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour.

Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel.

Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from JORJA CHALMERS who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’.

But expressing themselves on the smoother side of proceedings were CULT WITH NO NAME and notably SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest.

Touring in Europe with OMD and MIDGE URE, TINY MAGNETIC PETS unleashed two EPs ‘The Politburo Disko’ and ‘Girl In A White Dress’ as fellow Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, RICARDO AUTOBAHN, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although ERIC RANDOM’s dystopian offering ‘Wire Me Up’ added vocoder while BRIAN ENO celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock LLOYD COLE surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man GARY DALY ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, KARIN MYGRETAGEISTE and ALICE HUBBLE with their beautifully crafted avant pop.

And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths. DANA JEAN PHOENIX though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by The Electricity Club to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER.

However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019.

It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur like it was normal behaviour, forgetting that ability and talent were paramount.

This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as The Electricity Club comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever.

Artwork by Heloisa Flores

The Electricity Club had a compilation released by Amour Records gathering some of the best music from the last 10 years and reached No2 in the German POPoNAUT charts.

It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of deluded poor quality artists will contaminate the bloodline.

So The Electricity Club ends the decade with a complimentary comment by a punter after TEC006 who had also been to TEC004: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉


THE ELECTRICITY CLUB Contributor Listings of 2019

PAUL BODDY

Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING


IAN FERGUSON

Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI


SIMON HELM

Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN


CHI MING LAI

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI


RICHARD PRICE

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE + RUSTY EGAN at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC


MONIKA IZABELA TRIGWELL

Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM


Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019

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