Before you even approach the music inside, the title of EAST INDIA YOUTH’s second album is significant in that it succinctly sums up what commercial music has steadily become over the last few years.
Advances in audio mastering techniques and listening tastes have meant that record labels now demand that their new releases sound LOUD, in the false hope that it will allow their artists to be noticed above others.
Ironically, because major radio station deploy compression and limiting at the end of their broadcast signal chain, all tracks end up sounding the same volume, so it’s a pretty futile enterprise which often results in the compromising of sound quality (DEPECHE MODE’s ‘Playing the Angel’ is a much cited example of this).
‘Culture of Volume’ is the second album by EAST INDIA YOUTH, the moniker of solo musician William Doyle. It follows ‘Total Strife Forever’ which was nominated in 2014 for the Mercury Music Prize. The album itself showcases a diverse range of influences from PET SHOP BOYS, YAZOO through to OMD and even more progressive sources like PINK FLOYD, VANGELIS and TANGERINE DREAM.
The overture to the album ‘The Juddering’, opens like a long lost VANGELIS out-take from ‘Blade Runner’, heavily flanged and staccato panned synths eventually joined by rising polyphonic portamento chords. The track, which is also heavily indebted to DAVID BOWIE’s ‘Station to Station’, then ends on a plaintive string synth melody as the gated chords fade out leading into the first vocal track ‘End Result’.
An early of the highlight of the album, ‘End Result’ is initially striking because of the complex vocal melody, it introduces Doyle’s voice perfectly, hitting a near falsetto range which glides beautifully above the musical elements which feature subtle ‘You and Me Both’ Fairlight-style tuned percussion textures.
The near Eastern inflection on the main vocal hook recalls MADONNA’s classic William Orbit produced ‘Frozen’ and helps give the track a detached Arctic melancholic feel before a progressive ending featuring overdriven live drums and a soaring, gliding synth lead.
The epic outro explores similar territories to TANGERINE DREAM’s 1978 album ‘Cyclone’ which not entirely successfully, tried to mix live drums with synths, sequencers and vocals. Hannah Peel additionally features on this track and is credited on strings throughout the album too.
The intro of ‘Beaming White’ is unashamedly poppy and saccharine (maybe a little too much so) but with its “conversation stretched to fill the night” lyric, gives the track a more darker feel in places. The underpinning Latin percussion (often underused in current electronic pop) and the sheer melody of the piece could easily have you imagining Neil Tennant providing vocals for the track instead of Doyle.
‘Turn Away’ starts with a wobbling LFO-based synth and almost jazz-inflected ride cymbals and syncopated drums – the track quickly shifts up a gear with rich ascending synths which track Doyle’s vocal constantly throughout. The song’s money shot and “YES!” moment is at 2’16” where a massive synth lead and drum break and shifting time signature completely restores faith that there are still a few current electronic producers out there that aren’t afraid to write soaring melodies and use dynamics in their compositions. After a break for the chorus, ‘Turn Away’ ends after a final flourish with a slightly odd, but effective combination of resonant Moog bass notes and what sounds like sleigh bells.
Mid-album instrumental ‘Entirety’ is very much a homage to UNDERWORLD and stops ‘Culture of Volume’ from becoming too introspective, its aggressive bass and mix of 4/4 electronic drums climaxing in a simple synth melody which again leads back into the track’s main motif.
The album’s centerpiece is ‘Carousel’, other reviews have compared this to early SCOTT WALKER, but the opening half of OMD’s ‘Stanlow’ looms large over this song. It takes an element of bravery to strip a track back this much and eschew any percussion over nearly six and a half minutes, but Doyle manages this with an exposed dramatic vocal performance that is full of melancholy, generating an almost religious atmosphere at points.
‘Don’t Look Backwards’ evokes PET SHOP BOYS again without ever becoming a straight rip-off, whilst ‘Hearts That Never’ comes across as a ‘Dark Side of the Moon’-era PINK FLOYD writing an electronic dance track with imperial phase UNDERWORLD.
‘Culture of Volume’ is an album that throws a hell of a lot of influences into one big melting pot, yet somehow manages via some superb songwriting to emerge the other end as a satisfying and cohesive body of work.
The only negative point (especially considering the title of the album) is that ‘Culture of Volume’ is really heavily mastered in places…
Maybe this is a bit of an in-joke, but it does detract in places during some of the more dynamic sections.
At this rate and with the slew of glowing reviews that it’s gaining, there’s every chance that ‘Culture of Volume’ will secure another Mercury nomination – Doyle is not afraid to sidestep most of the current fads in current electronic music production, and as a result creates something which will be less transient and have far more longevity. You will be hard pushed to hear a better song-based electronic album this year.
EAST INDIA YOUTH with special guest HANNAH PEEL play the following UK dates:
Manchester Deaf Institute (27th May), Glasgow King Tuts (28th May), Sheffield Plug (30th May), Norwich Arts Centre (31st May), Bristol Exchange (2nd June), Brighton The Haunt (3rd June), London Village Underground (4th June), Ramsgate Music Hall (5th June)
With a less intense release schedule than last year, it was a bit more straightforward to choose the songs of 2014.
Whereas 2013 had a short list of 45 songs, 2014 was closer to 35 although not the struggle to find 30 as was the case in 2012. So just missing out are CLIENT, KLEERUP and ToddTerje featuring Bryan Ferry, although not by much.
As usual, they are listed in alphabetical order and all have been released either in physical formats, or digitally as purchasable or free downloads during the calendar year. Thus although the excellent video for LIEBE’s ‘I Believe In You’ gained traction on MTV Europe in 2014, the song was actually released in 2013.
Tracks which are exclusive to streams, videos or DJ only promos are also not included; so QUIETER THAN SPIDERS ‘The Land Of Lost Content’ is not eligible. Limited to one song per artist moniker, here are the 30 Songs of 2014…
ANALOG ANGEL The Last Time
The transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling. From their third album ‘Trinity’, its closer ‘The Last Time’ was a big surprise, featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards. Recalling THE SISTERS OF MERCY’s ‘This Corrosion’, the virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
‘Scream’ launched Margaret Berger’s first album ‘New Religion’ since 2006’s ‘Pretty Scary Silver Fairy’ although as yet, the new opus has yet to emerge. The Norwegian Idol finalist effectively revived her career with ‘I Feed You My Love’ which came fourth in Eurovision 2013. ‘Scream’ saw her continuing the Robyn meets DEPECHE MODE template of her Eurovision smash and possessed an inherent industrialised darkness in an approach to quality pop that set itself apart.
Available as a download single via iTunes Norway through Macho Records
The original first lady of cinematic electronic pop surprised everyone when she appeared on the cover of her third album ‘Where Else…’ with a guitar strapped to her back. But while the record had a folk and blues influence, the synthesized textures that Ms Brücken has been best known for were still very much part of the package. The launch single ‘Nevermind’ could be seen as a musical reply to OMD’s ‘Stay With Me’. A lovely mix of electronics and acoustic, she appears to be driven by a new artistic zest.
Available on the album ‘Where Else…’ via Cherry Red Records
DAVIDGE is best known for his work with MASSIVE ATTACK and has been involved in game and film soundtracks for many years. His first solo album ‘Slo Light’ was an impressive debut, containing many of the elements that marked his work with the Bristolian triphoppers. ‘Sleepwalking’ was a haunting number beautifully voiced by Eim Green which recalled the ethereal quality of COCTEAU TWINS’ Elizabeth Fraser and the electronically assisted Weimer Cabaret of ‘Felt Mountain’ era GOLDFRAPP.
Available on the album ‘Slo Light’ via 7Hz Recordings
Following the disappointment of 2011’s FRANKMUSIK driven ‘Tomorrow’s World’, ‘The Violet Flame’ produced by Richard X saw ERASURE express an infectious zest for the future. The songs began with pre-recorded dance grooves from Vince Clarke as represented by the euphoric opening track ‘Dead Of Night’. The best number from the package turned out to be a ballad remixed by Paul Humphreys who added some of the beautiful Synth-Werk magic that characterised OMD’s ‘English Electric’ to ‘Be The One’.
Available on the boxed set edition of ‘The Violet Flame’ via Mute Artists / Pledge Music
Released in time for their DEPECHE MODE support tour in Europe, ‘Wild Love’ was far more dance-oriented than anything FEATHERS attempted on their debut album ‘If All Now Here’. While a heavy beat dominated, the essential component of a song remained, building to a suitably epic chorus providing that euphoric lift. The gated trance elements in the second chorus were a particular highlight, especially when backed by a screeching falsetto counterpoint. But just as it got going, it faded out!
The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers including John Foxx, Gary Numan and Clint Mansell. Her second album ‘Unflesh’ has allowed the Brighton based songstress to extract her demons with some artistic violence. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’. Its uneasy resonance was aided by Bernholz’s harsh, deadpan commentary.
Available on the album ‘Unflesh’ via Anti-Ghost Moon Ray
This mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past two years including ‘Jessica 6’, a frantic salvo sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION. But GIRL ONE & THE GREASE GUNS revealed a much softer side with ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might sound a like this.
Available on the download EP ‘No Longer Spellbound’ via Squirrel Records
HERCULES & LOVE AFFAIR feat JOHN GRANT I Try To Talk To You
Imagine Jim Morrison getting it on down at The Danceteria circa 1982! ‘I Try To Talk To You’ featuring the expansive baritone vocals of John Grant combined the best of classic New York electro disco and grand piano theatrics with an emotively soulful vocal. The courageous lyrics found Grant recalling when he discovered he was HIV positive. “I asked John to dig deep with his lyrical contribution” recalls HERCULES & LOVE AFFAIR mainman Andy Butler, “I had no idea he would dig so deep”.
Available on the album ‘The Feast Of The Broken Heart’ via Moshi Moshi
‘I Can’t Figure You Out’ sounds like another product of Scandinavia but in fact, HUGH hail from South London. The captivating, naive lead vocal from Izzy Brooks states “you know just how I feel” as she makes handle with care pleas like “don’t toy with me” and “careful with my heart” while the intensity builds like a pressure cooker. And this is all before a time signature change and some frustrating despair is released with her spirited jazzy refrain of “No, I can’t figure you out!” Now, who hasn’t been here before?
Available on the download EP ‘I Can’t Figure You Out’ via Hughlovehugh
IAMAMIWHOAMI, the electronic multimedia project fronted by Jonna Lee and produced by Claes Björklund returned with their second opus ‘Blue’. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with a beautifully rich vocal from Lee. With a mysterious falsetto reach, the air may be cold outside but inside, things are warm. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.
Available on the album ‘Blue’ via towhomitmayconcern
Deep from within the Adirondack Mountains comes the beautifully gentle electronica of I AM SNOW ANGEL. The self-produced vehicle of singer / songwriter Julie Kathryn, the music evokes images of icy landscapes and crystalline hydro basins. The best track from her debut EP, ‘Let Me Go’ is rich in understatement and a Nordic styled tour de force swathed in melancholy, full of dreamy escapism. The full length album ‘Crocodile’ released in the Autumn did not disappoint either with its quietly subversive nature.
Available on the download EP ‘I Am Snow Angel’ via Amazon
With a breathier, more continental direction towards cinematic pop, The Kid effectively grew up with her second album ‘1888’. KID MOXIE’s widescreen soundscapes and dreamy demeanour saw a much more focussed work. ‘Lacuna’ means “an empty space” yet this song is filled with an enigmatic mystery as Elena Charbila applied some of the je nais se quoi first piloted on 2008’s ‘La Romance D’Hiver’ to the drifting, almost abstract electronic soundscape… and then there’s the pretty isolated piano ending!
Available on the download album ‘1888’ via Undo Records
Having delivered one of the best synth based debut albums in recent years, any new Kleerup recording now lives with a high degree of expectation. ‘Let Me In’ featuring Susanne Sundfør, who voiced several tracks on RÖYKSOPP’s ‘The Inevitable End’ album, came over like Karin Park if she had joined latter day ROXY MUSIC. Retaining the original appeal of Kleerup’s debut, ‘Let Me In’ was brilliantly classic and yet modern with its more organic template and even funky template.
Available on the download EP ‘As If We Never Won’ via Warner Music
MACHINISTA’s pairing of John Lindqwister and Richard Flow specialise in synthpop with a rock’n’roll edge. Their best offering from their debut album ‘Xenoglossy’ was the schaffel propelled ‘Pushing The Angels Astray’. Despite discussing the spectre of immortality, the sombre aura was balanced with a marvellous melodic line and fabulous chorus like ALPHAVILLE in their prime. The Nordic region continually shows how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.
Available on the download album ‘Xenoglossy’ via Juggernaut Music Group
Released in the week of the Scottish Independence Referendum, MARNIE’s ‘Wolves’ was an appropriately soaring anthem “for anyone that doesn’t believe in sticking with the status quo, for anyone who has the heart to try and make a difference”. Certainly, the positive response she received for her debut long player ‘Crystal World’ and a return to her homeland has no doubt inspired her own independence. But with MARNIE due to release a second solo album in 2015, what does this all mean for LADYTRON?
Available as a download single via Les Disques du Crépuscule
‘Trans Europe Express’ 21st Century style as Belgium’s favourite passengers METROLAND embarked on a maroon coloured rail journey through France and Germany via the Benelux basin on ‘Thalys’. The full length 11 minute version rhythmitised metal on metal while there were also London, Paris and Düsseldorf edits in this musical tie-in with the Thalys high speed train operator.
Available on the download EP ‘Thalys (London)’ via Alfa Matrix
Frisky vocalist Emily Kavanaugh and moody producer Mark Brooks began writing songs as NIGHT CLUB with the goal of creating dark – yet commercially accessible – synthpop. Developing on the Britney gone electro goth sound of their glorious 2013 single ‘Poisonous’, ‘She Wants To Play With Fire’ treaded on the darker, sleazy side of life and dysfunctional relationships with Kavanaugh out to take on her demented love rival.
Available on the download EP ‘Black Leather Heart’ via Gato Blanco
Issued as a trailer for her new album ‘Apocalypse Pop’, ‘Look What You’ve Done’ is a feisty development of ‘Restless’ from Karin Park’s previous album ‘Highwire Poetry’. Wrestling within a fiery glam schaffel and a catchy chorus like an angry GOLDFRAPP, with THE KNIFE venturing into more uncompromising climes, the ‘other’ Karin ably fills the void now left vacant by the Drejers in avant pop. ‘Look What You’ve Done’ is a fine example of the Swede’s ambition to fit into both pop and experimental worlds.
Available as a download single via State Of The Eye Recordings
With LITTLE BOOTS having gone dance and LA ROUX veering away from synthpop, there is now a vacancy for a new kooky homegrown female synth talent. One of the possible candidates is PAWWS, otherwise known on her passport as Lucy Taylor. She has labelled her music “upsetting disco” and ‘Give You Love’ lives up to that description. Certainly those who prefer their music with rough edges and are averse to female fronted synthpop will have their touch paper lit even further with this exquisite pop number.
Available on the download EP ‘Sugar’ via Best Fit Recordings
Since playing with John Foxx, Hannah Peel’s own music has used more electronics alongside her beloved violin, musicbox, piano and trombone. ‘Fabricstate’ starts as a beautiful understated number before being bolstered by an unexpected but amazing whirring synth solo around a series of percussive clusters. When the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid can result in a quietly subversive organic and technological fusion.
Available on the download EP ‘Fabricstate’ via My Own Pleasure
One musician taking electronic music into some intriguing fusions is Beijing born Fifi Rong. ‘Next Pursuit’ crosses the vocal mystery of Kelli Ali and the quirkiness of MOLOKO while throwing in a touch of Lana Del Rey and MAZZY STAR too. Crucially, the intriguingly soulful ‘Next Pursuit’ also adds in rhythmical variation as the rhythms click into action during the higher register vocal refrains while the verses are held together with a smokey allure.
Available on the download EP ‘Next Pursuit’ via Ditto Music
ROBYN & RÖYKSOPP Monument (The Inevitable End Version)
Edited and rethought for ‘The Inevitable End’ album, ‘Monument’ was originally a spacey 10 minute epic now tightened to a more bite size and dare one say it, more enjoyable format sans saxophone over a hypnotic two chord structure. As usual, Robyn’s vocals are edgy and nonchalant while RÖYKSOPP’s electronic soundtrack ably hit the spot with its energized octave-jumping bassline.
Available on the album ‘The Inevitable End’ via Dog Triumph / Cooking Vinyl
With their third album in as many years, Finnish duo SIN COS TAN went the concept album route for ‘Blown Away’, a midlife crisis story of a man who becomes a drug courier and goes on a journey of excess, fast money and hedonism. First single ‘Love Sees No Colour’ dressed NEW ORDER’s love technique in an OMD stylee with the result being a kaleidoscopic tune that managed to mix sunshine with melancholy.
Available on the album ‘Blown Away’ via Solina Records
The Nordic vocalist of the moment has to be Susanne Sundfør who has worked with M83 and Kleerup. But she is probably best known for her work with fellow Norwegians RÖYKSOPP. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s forthcoming album ‘Ten Love Songs’ sees her in rousing form with a tune that at times sounds almost like Scandinavian gospel. Meanwhile, a fabulous synth solo gets thrown into the bargain too.
Available as a download single via Sonnet Sound / Kobalt
One act establishing themselves in 2014 were TRUST from Toronto. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was a excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of LEONARD COHEN. ‘Peer Pressure’ was a frantic but funky uptempo number featuring Alfon’s trademark vocal pitch shift technique that proved misery and dancing could actually go together.
Available on the album ‘Joyland’ via Arts & Crafts
Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, TWINS NATALIA conjured up memories of holiday romances with pretty German frauleins and flirty French mademoiselles. Debut long player ‘The Destiny Room’ was many years in the making and did not disappoint. With the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’, the song theatrically climaxed like a pomped up ‘Rent’ as a wonderful slice of joie de vivre to finish the main act.
Available on the album ‘The Destiny Room’ via Anna Logue Records
While the romantically uptempo ‘Become’ was inevitably the focal point of Midge Ure’s ‘Fragile’ album, there were other songs that were easily its equal. The most notable of these was ‘Dark, Dark Night’, an online collaboration with Moby. Though derived from ‘Rockets’ on Moby’s ‘Destroyed’ opus, Ure exploited the original’s rich symphonic string sounds and chilled vibes. Building to an amazing climax with melodic screeches and a tremendous guitar solo from Ure, this was a partnership made in heaven.
Available on the album ‘Fragile’ via Hypertension Music
VILE ELECTRODES capitalised on their profile from supporting OMD’s German tour in 2013 by snaring prestigious Schallwelle Awards for Best International Act and Best International Album for their debut ‘The future through a lens’. ‘Pandora’s Box’ was an excellent previously unreleased song full of wobbling analogue vigour that initially came with the lavish ‘Pack Of Wolves’ three CD package and set the scene for a much anticipated follow-up long player.
WRANGLER’s manifesto is to harness “lost technology to make new themes for the modern world”. And their signature track is ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era John Foxx but with a modern twist. Stephen Mallinder’s voice manipulations range from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable, but the mood is distinctly unsettling and dystopian when the screeching steam powered Logan string machine kicks in.
With 2013 having been one of the strongest years in electronic pop since its post-punk heyday, 2014 was always going to struggle to compete,
This was despite it being the 50th Anniversary of the Moog synthesizer’s first prototype demonstration at the Audio Engineering Society convention in October 1964.
While 2014 was nowhere near in terms of the high profile releases of 2013 or even 2011, it certainly surpassed the comparatively quiet year of 2012.
But there were still a lot of live shows as momentum continued in support of the previous year’s releases with NINE INCH NAILS, GARY NUMAN, DEPECHE MODE, CHVRCHES, FEATHERS, GOLDFRAPP, COVENANT and SOFT METALS among those doing the rounds.
Electronic pioneer KARL BARTOS began the year with his first concert tour since 2003 in Germany. His ‘Off the Record’ live presentation highlighted the best of his KRAFTWERK co-compositions alongside excellent new material.
Coincidentally, on the same night Herr Bartos opened in Cologne, Ralf Hütter picked up a Lifetime Achievement Grammy on behalf of KRAFTWERK, thus finally validating electronic music in the traditionally synthphobic territory of the USA. And by the end of the year, there was even a belated nomination for The Rock ‘N’ Roll Hall Of Fame.
Staying in Germany, cult trio CAMOUFLAGE celebrated over 30 years in the business with a lavish package ‘The Box 1983-2013’ and a best of CD ‘The Singles’.
CLAUDIA BRÜCKEN though surprised everyone by strapping on an acoustic guitar for her third solo album ‘Where Else?’, but its mix of electronics and six string proved to be well received by her fans.
And on the subject of Germanic influences, Belgian duo METROLAND returned with their Kling Klang flavoured technopop courtesy of the multi-formatted single ‘Thalys’, a tie-in with the European high speed train operator and a rather original cover of ‘Close To Me’ for ‘A Strange Play – An Alfa Matrix Tribute To THE CURE’. Meanwhile, iEUROPEAN teamed up with Wolfgang Flür for some ‘Activity Of Sound’. Flür himself delighted KRAFTWERK fans by announcing he would be playing London gigs in the New Year.
MemeTune Studio in London’s trendy Shoreditch proved to be a hotbed of electronic activity throughout 2014.
Already the location for the largest array of vintage synthesizers in the UK, from the complex emerged fabulous music from the likes of HANNAH PEEL, GAZELLE TWIN and WRANGLER featuring ex-CABARET VOLTAIRE frontman Stephen Mallinder.
MemeTune even found time to curate its own live event ‘MUS_IIC.01’.
Well known for his connections with that stable, JOHN FOXX came back from a break (by his recent prolific standards) with the audio / visual collaboration ‘Evidence Of Time Travel’ in partnership with STEVE D’AGOSTINO.
Other Synth Britannia stalwarts were in action too. OMD celebrated their ‘Dazzle Ships’ era with a pair of concerts at the Museum Of Liverpool and SIMPLE MINDS continued their grandiose demeanour with ‘Big Music’. Meanwhile, MIDGE URE released a fine collection of songs entitled ‘Fragile’, his first of original solo material in 12 years; it also featured a great collaboration with MOBY entitled ‘Dark Dark Night’. As well as that, he worked on a track with Dutch composer Stephen Emmer for an orchestral laden crooner album called ‘International Blue’ which additionally featured his pal Glenn Gregory.
Mr Gregory wasn’t idle either, recording ‘Pray’ b/w ‘Illumination’, HEAVEN 17’s first new material since 2005’s Before After’.
He even found time to impersonate DAVID BOWIE for some special live shows performing ‘The Man Who Sold The World’ with Tony Visconti and Woody Woodmansey as HOLY HOLY.
After last year’s seasonal offering ‘Snow Globe’, ERASURE made a full return in 2014 with ‘The Violet Flame’, the marriage of Andy Bell and Vince Clarke showcasing their best work since 2005’s ‘Nightbird’. Interestingly, ‘The Violet Flame’ was launched via the crowdfunding platform Pledge Music, although this appeared to be more as a promotional tool and fan networking opportunity.
CHINA CRISIS went the Pledge Music route too, announcing their first album in 20 years entitled ‘Autumn In the Neighbourhood’ while also crowdfunded, YELLO’s Boris Blank delivered ‘Electrified’, a solo box set of unreleased material.
Not to be outdone, his YELLO bandmate Dieter Meier responded with his grouchy solo offering ‘Out Of Chaos’ which appeared to be a tribute to Tom Waits. And unexpectedly on the back of ‘Don’t You Want Me?’ becoming a terrace chant for Aberdeen FC’s Scottish League Cup victory, ex-HUMAN LEAGUE member Jo Callis launched a new project called FINGER HALO.
The enduring legacy of many of these veterans was celebrated in ‘Mad World: An Oral History of the New Wave Artists and Songs That Defined the 1980s’, possibly the best book of its kind about that musical era which the Americans like to refer to as New Wave. Featuring brand new interviews with key protagonists like GARY NUMAN, OMD, NEW ORDER, DURAN DURAN, YAZOO, ULTRAVOX, A-HA and HEAVEN 17, it was a high quality publication that made up for some previously clumsy attempts by others at documenting the period.
Also a good read was Bernard Sumner’s memoirs ‘Chapter and Verse’ which covered his career to date with JOY DIVISION and NEW ORDER.
Coincidentally, Mark Reeder, the man often credited with introducing electronic dance music to Sumner, had a career spanning compendium called ‘Collaborator’ issued containing his earlier work as a member SHARK VEGAS, right up to his more recent remixes of DURAN DURAN’s John Taylor and Sumner’s various projects with BLANK & JONES and WESTBAM.
It was a particularly active year for the industrial scene; AESTHETIC PERFECTION toured Europe with their more accessible but still aggressive ‘Til Death’ opus while ASSEMBLAGE 23 frontman Tom Shear continued developing his SURVEILLANCE side project with ‘Oceania Remixed’. Swedish trio LEGEND gained acclaim for their live performances in support of their debut album ‘Fearless’, Texan duo IRIS released a new album ‘Radiant’ and DIE KRUPPS blasted their way into the South East of England for their first UK dates since 2008.
In more contemporary circles, LA ROUX finally released a second album, appropriately named ‘Trouble In Paradise’. Singer Elly Jackson had split with silent partner Ben Langmaid due to good old fashioned musical differences and as expected, the songs were less synthpoppy than the self-titled debut. Reaching for more disco orientated leanings such as CHIC, GRACE JONES and TOM TOM CLUB, this was if nothing, a more superior offering to either what LITTLE BOOTS or LADYHAWKE managed with their sophomore albums. North of the border, MARNIE did her bit for the Scottish Independence Campaign with the rousingly anthemic ‘Wolves’.
The delightfully eccentric IMOGEN HEAP showcased her innovative collaborative developments in music technology via her new album ‘Sparks’ and even squeezed in a collaboration with pop princess TAYLOR SWIFT for the latter’s million selling album ‘1989’.
ELECTRICITYCLUB.CO.UK commented in 2012 about how CHVRCHES‘ ‘The Mother We Share’ sounded like “Taylor Swift gone electro”, so in a give some, take some back move, the young songstress came up with ‘Out Of The Woods’, a ditty quite obviously influenced by the Glaswegian trio and a synth laden tune entitled ‘New Romantics’ on the bonus edition.
By coincidence with her slight passing resemblance to Miss Swift, QUEEN OF HEARTS launched her debut musical charter ‘Cocoon’ after several years in the making to confirm that pop was indeed not a dirty word.
In the leftfield electronica arena, Warp Records issued ‘High Life’, a collaboration by KARL HYDE and BRIAN ENO while there was also the long awaited new album from APHEX TWIN entitled ‘Syro’. And former MASSIVE ATTACK producer DAVIDGE released an impressive debut collection of songs ‘Slo Light’ that featured SANDIE SHAW, CATE LE BON and EMI GREEN among its vocalists.
One act establishing themselves as major players in the modern electronic scene were Canada’s TR/ST. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was an excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of Leonard Cohen.
Meanwhile, Brooklyn minimal duo XENO & OAKLANDER gave the world ‘Par Avion’, possibly their most accessible and colourful work yet. Also from the area came the shadowy huskiness of AZAR SWAN and the alternative mystique of REXXY. Over in LA, NIGHT CLUB showed further promise with their best offering yet in their third EP ‘Black Leather Heart’ while in San Antonio, HYPERBUBBLE launched an ‘Attack Of The Titans’.
Baltimore’s FUTURE ISLANDS however divided opinion; their fans included Andy McCluskey, Vince Clarke, Martyn Ware, Rusty Egan and Jori Hulkkonen, but their unintentionally amusing live appearance on ‘The David Letterman Show’ performing ‘Seasons’ came over to some observers like a ‘Saturday Night Live’ skit on the 80s. However, with two sold out dates at London’s Roundhouse in March 2015, Samuel T. Herring and Co are the ones having the last laugh.
The Nordic region proved itself again to be the centre of electronic creativity. The dream partnership of ROBYN and RÖYKSOPP reconvened after the success of 2010’s ‘The Girl & The Robot’ to ‘Do It Again’ while RÖYKSOPP themselves released what they announced to be their last album, appropriately titled ‘The Inevitable End’.
Also featuring on that album was Nordic vocalist of the moment SUSANNE SUNDFØR who has her own new eagerly awaited long player ‘Ten Love Songs’ out in 2015.
KARIN PARK and MARGARET BERGER provided another united Scandinavian front when they performed together at Norway’s Melodi Grand Prix while Finnish duo SIN COS TAN delivered their third long player in as many years with a concept album called ‘Blown Away’.
From Sweden came the welcome return of KLEERUP with ‘As If We Never Won’, the first of two new EPs before an album to follow-up the brilliant self-titled debut from 2008. Meanwhile, EMMON delivered her fourth album ‘Aon’ as well as a baby. There was more glacial oddness from IAMAMIWHOAMI with her second album ‘Blue’ while the brooding Nordic Noir pop of stunning identical twins SAY LOU LOU started to gain a foothold in readiness for their first long player ‘Lucid Dreaming’.
Nordic friendly music blog Cold War Night Life curated possibly the best electronic event of the year with ‘An Evening With The Swedish Synth’ at London’s 93 Feet East. In a bill supported by the promising TRAIN TO SPAIN and synth rock duo MACHINISTA who delivered a great debut album in ‘Xenoglossy’, the event was headlined by synthpop veterans PAGE. Incidentally, Eddie Bengtsson of PAGE’s solo project SISTA MANNEN PÅ JORDEN produced some interesting covers of OMD and DEVO, both reworked i Svenska.
And all this while ELECTRICITYCLUB.CO.UK bore witness to a puzzled British musician who actually asked with a straight face “What’s so special about Sweden then?”!! ‘An Evening With The Swedish Synth’ was a fine example of what could be achieved when an electronic event was actually curated by electronic music enthusiasts, as this was not always the case in several instances during 2014.
Following a four year hiatus, CLIENT rebooted and released ‘Authority’ with new singer Client N doing a fine impersonation of MARNIE on the single ‘Refuge’. After a long gestation period, Anglo-German collective TWINS NATALIA released their debut long player ‘The Destiny Room’ and pleasantly wallowed in the neu romance of classic synthpop, dressing it with the vocal styles of GRACE JONES and ABBA.
TWINS NATALIA’s ‘The Destiny Room’ was released on Anna Logue Records who in 2015 will issue ‘Signs Of life’, the debut album from enigmatic South East Asian combo QUIETER THAN SPIDERS. Possibly the best new synthpop act to emerge in 2014, as befitting their name, they made their music, edited some videos and just discretely got on with it, thus proving the theory that those who shout loudest are not always necessarily the best…
MARSHEAUX celebrated ten years in the business with a compilation called ‘Odyssey’ on the prestigious Les Disques Du Crépuscule label. They also announced an unusual project for 2015, an album covering DEPECHE MODE’s ‘A Broken Frame’ in its entirety. Also on Undo, KID MOXIE released her second album ‘1888’ featuring a collaboration with acclaimed film score composer Angelo Badalamenti to compliment her new cinematic pop approach. Meanwhile, one-time Undo label mates LIEBE started getting traction on MTV Europe and MIKRO maintained their position as Greece’s premier power pop band with their seventh album ‘New’ despite the departure of singer Ria Mazini following its unveiling.
From Dublin came the filmic ambience of POLYDROID while cut from a similar cloth, there was the haunting soundscapes of Trans-Belgian pairing MARI & THE GHOST. There were also several other promising female led talents ranging from the sugary pop of PAWWS and the quietly subversive electro of I AM SNOW ANGEL to the soulful moodiness of HUGH and the mysteriously smoky allure of FIFI RONG.
VILE ELECTRODES confirmed their position as the best independent electronic act in the UK currently when they snared not just one, but two Schallwelle Awards in Germany.
Miss Blackwood gave spirited live vocal performances of several songs from her own career as part of a singing DJ set including ‘Justice’, her recent collaboration for the FOTONOVELA album ‘A Ton Of Love’. There was additionally the bonus of her duetting with SPEAK & SPELL on ‘A Question Of Time’ during their ‘101’ performance celebrating the film’s 25th anniversary.
Possibly the best independently released album of 2014 came from Glasgow’s ANALOG ANGEL who freed themselves of their industrial shackles to produce a collection of sophisticated synthpop entitled ‘Trinity’.
Having been around since 2009 and with two albums already to their name, the Scottish trio put their money where their mouths were. Their decision to avoid crowdfunding and invest in their own music was an applaudable decision, especially when other bands, who were still yet to prove themselves, were out with the begging bowls.
Indeed, 2014 was a strange year in which ego appeared to overtake ability and none more so than on the live circuit, where that old adage about needing to learn to walk before running ran true. Wanabee promoters with no notable experience bit off more than they could chew by playing Fantasy Festival, as was proven by the Alt-Fest debacle.
Despite a much publicised crowdfunding exercise, the simple use of a pocket calculator would have shown that an event of such magnitude could not be underwritten by such a comparatively small amount of cash and anticipated ticket sales. When rumours abounded that Alt-Fest was to be cancelled due to a lack of funds, the organisers’ silence and lack of resolve caused much resentment. Risk is all part of the game, but live ventures require solid finance, spirited commitment and an attempt at least to get in the black.
However, a few promoters appeared to want to make life difficult for themselves from the off. In its investigations, ELECTRICITYCLUB.CO.UK found that with one poorly attended event back in 2013, there was no way the event could have balanced its books, even if it had sold out its ticket capacity!
Meanwhile, there was another gig in 2014 publicised so covertly with restricted social media and bizarre pricing structures, it was as if the promoters didn’t want anyone to attend! Of course, there was also that tactic of announcing an event almost a year in advance without confirming any of the acts for several months, as if the event was more important than any of the music!
As Whitby Goth Weekend’s Jo Hampshire pointed out:“Alt-Fest had put its tickets on sale while still booking acts including headliners, which is potentially disastrous”! Despite the general feeling that independently curated live initiatives should be anti-corporate, everything is about business at the end of the day.
However, a number of promoters at this end of the market failed to realise this. Any artists performing must be paid their expenses and fees as per any agreement, regardless of the final ticket sales unless terms such as door percentages or ticket sale buy-ons have been arranged.
But as one-time TECHNIQUE singer Xan Tyler pointed out: “Musicians get ripped off at every turn, online stores take a huge cut, Spotify don’t remunerate artists properly, venues expect you to play for bugger all (and in some case they expect you to pay to play). If you want to make money from the music industry, don’t be a musician!”
ELECTRICITYCLUB.CO.UK is coming into its fifth anniversary and continues to maintain a readership of discerning music fans, despite protestations in some quarters to the contrary.
The site’s manifesto has always been about celebrating the best in new and classic electronic pop music.
It has never made claims about supporting unsigned acts or any music that happens use a synthesizer.
As Client A put it franklyin the Autumn: “in the electronica age, anyone can be a musician but that also makes it a free for all with every tom, dick or curly clogging up the internet with their crap music…”
Meanwhile, NIGHT CLUB added: “People forget about things so quickly these days because the internet is so inundated with crap…”
So ELECTRICITYCLUB.CO.UK considers what music it features very, very carefully. it may not manage to be first, like many so-called buzz blogs try to be, but it has always had longevity in mind, even if that is difficult to predict.
ELECTRICITYCLUB.CO.UK Contributor Listings of 2014
PAUL BODDY
Best Album: TODD TERJE It’s Album Time
Best Song: RÖYKSOPP & ROBYN Do It Again
Best Gig: NINE INCH NAILS at Nottingham Arena
Best Video: MAPS You Will Find A Way
Most Promising New Act: TODD TERJE
DEB DANAHAY
Best Album: RÖYKSOPP The Inevitable End
Best Song: RÖYKSOPP featuring JAMIE IRREPRESSIBLE Something In My Heart
Best Gig: COVENANT + LEGEND at Gothenburg Electronic Summer Festival
Best Video: PRINCESS CENTURY Das Schlimmste
Most Promising New Act: LEGEND
IAN FERGUSON
Best Album: MIDGE URE Fragile
Best Song: MIDGE URE Dark, Dark Night
Best Gig: THE RADIOPHONIC WORKSHOP at Glasgow Quayside
Best Video: IMOGEN HEAP The Listening Chair
Most Promising New Act: WRANGLER
MONIKA IZABELA GOSS
Best Album: ERASURE The Violet Flame
Best Song: ANALOG ANGEL Drive
Best Gig: DEPECHE MODE at Strasbourg Zénith
Best Video: DIE KRUPPS Robo Sapien
Most Promising New Act: PAWWS
STEVE GRAY
Best Album: RÖYKSOPP The Inevitable End
Best Song: RÖYKSOPP featuring JAMIE IRREPRESSIBLE I Had This Thing
Best Gig: GARY NUMAN at Hammersmith Apollo
Best Video: KID MOXIE Lacuna
Most Promising New Act: TWINS NATALIA
CHI MING LAI
Best Album: MIDGE URE Fragile
Best Song: ANALOG ANGEL The Last Time
Best Gig: KARL BARTOS at Cologne Live Music Hall
Best Video: LIEBE I Believe In You
Most Promising New Act: QUIETER THAN SPIDERS
SOPHIE NILSSON
Best Album: ERASURE The Violet Flame
Best Song: SISTA MANNEN PÅ JORDEN Stadens Alla Ljus
Best Gig: ANDY BELL in ‘Torsten The Bareback Saint’ at London St James Theatre
Best Video: ANDY BELL I Don’t Like
Most Promising New Act: PULSE
RICHARD PRICE
Best Album: ERASURE The Violet Flame
Best Song: POLLY SCATTERGOOD Subsequently Lost
Best Gig: PET SHOP BOYS at Brighton Dome
Best Video: JOHN FOXX B-Movie
Most Promising New Act: PAWWS
Xan Tyler is perhaps best known in electronic music circles as the vocalist of cult synthpop duo TECHNIQUE.
The brainchild of multi-instrumentalist Kate Holmes, the concept was a female interpretation of PET SHOP BOYS crossed with NEW ORDER’s post-punk edge, hence the moniker after the Mancunian quartet’s fifth album.
The pair had two minor hit singles ‘Sun Is Shining’ and ‘You & Me’ in 1999, both under the auspices of acclaimed producer Stephen Hague while a mini-album ‘Pop Philosophy’ belatedly came out in 2001. As a result, TECHNIQUE were booked to support DEPECHE MODE in Europe but Tyler was unavailable for the tour, rumoured to be AWOL. DUBSTAR’s Sarah Blackwood was recruited to replace her and the new duo eventually became CLIENT in 2002.
Meanwhile, Xan Tyler continued to work on a variety of projects and has now unleashed a new EP ‘Into The Blue’ which adopts an electro-acoustic flavour not entirely dissimilar from Hannah Peel, particularly on the spacious piano-led title track. The jazz flavoured ‘Rainmaker’ could be a British take on Julee Cruise while ‘No One Like You’ is a pretty, atmospheric number with sweeps and beeps alongside some acoustic strumming. ‘Stop The Clock’ adds a drum machine to the EP’s template but ‘If’ takes an even more electronic stance with the beats taking a more prominent role. Closing with ‘This Room’, it is this one that perhaps is most reminiscent of TECHNIQUE despite the six string picking.
Now based in Scotland, Xan Tyler kindly spoke to ELECTRICITYCLUB.CO.UK about her career, the new approach to her music and heading ‘Into The Blue’…
You first became known to the synth world as part of TECHNIQUE with Kate Holmes. How do you look back on that time?
Really fondly… before that, I had been a jobbing singer, touring and doing the odd session here and there. Then all of a sudden I was doing live telly, making expensive videos and partying on expenses. I had a great time.
TECHNIQUE were signed to Creation but were out of place with the post-Britpop mood of the times. The music environment was not as sympathetic to electronic pop, particularly fronted by women, then as it is now… the press appeared to be quite hostile to you?
Well, not all of them were hostile, we did get some great press but yeah, it was tough here in the UK. We did better in Europe and Japan in that respect. The British press just couldn’t get past Kate’s relationship with Alan McGee. Despite her being an established artist in her own right years before she met Alan, the British press were just obsessed with it and it really got in the way. Also, I do think musically we were a bit early. We paved the way for others… including CLIENT!
But TECHNIQUE were vindicated when ‘You & Me’ became a hit in China via a cover version by Coco Lee in 2000?
Well, it was covered by Coco, so obviously I had very little to do with that but I was chuffed for Kate because she did well out of it. It was a nice two fingers up to all the doubters.
TECHNIQUE worked with Stephen Hague and seven tracks appeared on the ‘Pop Philosophy’ mini-album via Poptones in 2001 after Creation folded. Mr Hague is known for his ‘painstaking’ approach’, how close were you to finishing a full length album?
‘Pop Philosophy’ was always going to be a mini-album. It’s a cracking little album and I still get messages from TECHNIQUE fans that say they listen to it often. Stephen Hague is a genius.
TECHNIQUE supported DEPECHE MODE on tour in 2001 but you were not part of it and the group eventually morphed into CLIENT. What’s your side of the story and do you have any regrets?
At the time, I was working with Timo Maas on Positiva and I was involved with a club night in London that clashed with the tour. It was only one night that clashed as I remember and with hindsight I probably shouldn’t have blown out the whole DM tour for it but no, I don’t regret it. That time was an important turning point for me personally and career-wise… it was meant to be. If Sarah Blackwood hadn’t come in at that point, CLIENT wouldn’t have happened… that was also meant to be. Kate and I wouldn’t have evolved into CLIENT. Besides, if I had done the tour, I wouldn’t have had the enjoyment of reading press reports that described me as AWOL!
You subsequently worked in the dance scene. How did you find this compared with TECHNIQUE and which of your tracks/collaborations were your particular highlights?
It wasn’t all dance music after TECHNIQUE. I also did a dub album with MAD PROFESSOR, which featured a guest vocal from Lee Scratch Perry. That was released on Poptones too. ORINOKO was the highlight of my dance chapter. I collaborated with Timo Maas and Martin Buttrich on that track and at the time, the two of them were massive. Positiva was a really cool label and they were putting out amazing stuff – it was nice being a part of that scene.
In 2011, there came the surprising news that you were to join CLIENT. But what happened there?
It was after Sarah had left CLIENT and I visited Kate in Wales. At the time, Kate was busy setting up her Client London brand but she knew she wanted to do another album and that there might be a tour. She asked me if I would stand in on any gigs and I said yes. It was only ever going to be for live shows and as it turned out, nothing came in before the start of the album. Kate and I are good mates. Who knows, we might collaborate again in the future.
You’ve finally gone solo and have a brand new EP ‘Into the Blue’ which, while having an electronic base, explores more acoustic territory?
Yeah, I’ve always listened to wide mix of different music and I wanted to make something that reflected my varied tastes. Stuart Crossland (producer) and I were involved in the London underground scene near the end of my involvement with TECHNIQUE. We shared a lot of ideas about music across a lot of genres and it was only a matter of time before we would collaborate on some kind of creative project. We have bonded over everything from folk, pop, deep house to techno. We didn’t feel we needed to restrict ourselves during this project. We finally got together in 2013 when Stuart found time from his busy schedule at Artspace Studios. It was a collaboration that was destined to happen and it brought together a whole load of influences and artists to create an interesting mix of sounds.
What is the story behind ‘This Room’, which is probably the track that’s a good entry point for anyone who has been aware of your previous work?
I actually feel any of the last three songs on the EP are a good starting point for those people as they are all more rooted in an electronic vein.
‘This Room’ is about a break up but it’s also about the sense you can get when you’re in a relationship that you’ve lost yourself and don’t recognise who you once were. The industrial noises and beats really give a sense of that loneliness. But above and beyond, it’s simply a really good dance track.
What are your particular favourites from the ‘Into the Blue’ EP and why?
The first track, ‘Into the Blue’ is about strength and courage coming from a delicate source. I wanted it to be spacious and light. When the flugelhorn and trombone come in during the chorus it feels bright and hopeful. I love that moment because it sounds exactly the way I heard it in my head when I wrote it!
Stuart and I both wanted a retro sound for ‘Rainmaker’ and Jamie Fisher came in and put down these incredible Mark Ronson-esque drums. They are perfection. On ‘No One Like You’ I really love the double bass played by Andy Tolman. The song is about unrequited love and somehow the double bass gives both sadness and hope. It’s lovely. I’ll never tire of hearing those horns (Titch Walker and Kieron O’Neill) kick in either… I’m a sucker for a horn section!
‘If’ is a bit of a nod to James Figurine (DNTEL) who Stuart and I both rate. I really love the production of that track and the beats are sublime.
I’m aware that the tracks are all quite different from each other but I think there is a thread running through them that ties them together. My voice and writing style alongside Stuart’s incredible production… I think it works, hopefully others will too.
This is your first release without label backing. So what is the future for an artist of your position in this modern music world? Is it crowdfunding? Or does an artist now have to aim for it to perhaps be a sustainable hobby while juggling a day job?
It’s really hard to make money through music now more than ever. The industry is going through a shake up and big bands are giving away their music. Musicians get ripped off at every turn, online stores take a huge cut, Spotify don’t remunerate artists properly, venues expect you to play for bugger all (and in some case they expect you to pay to play). If you want to make money from the music industry, don’t be a musician!
As for me, I’m putting together a live set and rehearsing for gigs next year. I’m promoting this EP and already writing songs for the next one.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Xan Tyler
Following her synth assisted ‘Fabricstate’ EP earlier this year, multi-instrumentalist singer / songwriter HANNAH PEEL has recorded her most overtly electronic song yet and it’s a seasonal offering too.
Recorded with synth collector extraordinaire and Chief Mathematician Benge at the renowned MemeTune Studio in Hoxton, ‘Find Peace’ is a Christmas song longing for the cold but merry winters of yesteryear under the modern day spectre of global warming, armed conflict and political tension. It is certainly a suitably poignant message for the festive season.
Following her previous collaborations with OMD and JOHN FOXX, the delightful Miss Peel has been steadily turning her hand to more synthesized instrumentation, inspired by the likes of female electronic pioneers like Delia Derbyshire and Suzanne Ciani. With hints of fellow MemeTune resident and musician GAZELLE TWIN, the off-kilter analogue buzzing and almost random sequences make for a striking listen as a frantic percussive death rattle and an emotive synth drone take hold to provide an appropriate backdrop for Miss Peel’s eerie but beautiful voice.
HANNAH PEEL first became known to the synth world via her debut EP ‘Rebox’ in 2010 which featured musicbox covers of ‘Tainted Love’ made famous by SOFT CELL, NEW ORDER’s ‘Blue Monday’, OMD’s ‘Electricity’ and COCTEAU TWINS’ ‘Sugar Hiccup’. She continues this tradition on the flipside of ‘Find Peace’ with a cover of GREG LAKE’s 1975 hit, ‘I Believe In Father Christmas’.
Certainly after the recent madness of Black Friday 2014, the song’s lyrical protest, that the traditional values of Christmas as a time of family warmth, love and a feeling of acceptance have been lost in the midst of commercialism, is suitably apt again.
With thanks to Marietta Longley at Outpost Media
‘Find Peace’ b/w ‘I Believe In Father Christmas’ is released by Snowflakes Christmas Singles Club on snow white 7” vinyl single as a limited edition of 500 and available from from http://snowflakes.bigcartel.com/
The single is also available as a download from iTunes, Amazon and other digital outlets
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Before you even approach the music inside, the title of EAST INDIA YOUTH’s second album is significant in that it succinctly sums up what commercial music has steadily become over the last few years.
‘Don’t Look Backwards’ evokes PET SHOP BOYS again without ever becoming a straight rip-off, whilst ‘Hearts That Never’ comes across as a ‘Dark Side of the Moon’-era PINK FLOYD writing an electronic dance track with imperial phase UNDERWORLD.
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