MOOD TAEG are a detached combo split between Düsseldorf and Shanghai.
From the likes of CAN, CLUSTER, NEU! and HARMONIA to more recent exponents of the form like CAVERN OF ANTI-MATTER and IMMERSION, MOOD TAEG follow in the tradition of instrumental kosmische experimentation.
Just like those records of cosmic yore, their debut album ‘Exophora’ on Happy Robots Records comprises of five lengthy tracks exploring the rhythmic hypnotism of Apache beats, half speed guitar and expansive electronic soundscaping.
With a heart that is both analogue and metronomic, over the course of just under ten minutes, the mantic opening number ‘2MR’ pays respectful homage to ‘Hallo Gallo’ from the first NEU! album. Running at just six minutes, ‘Deictics’ adds a synthy rumble to proceedings with schizophrenic voices before a bass guitar run morphs in, adding to the mind bending trance laden effect.
The frantically motorik ‘Corpora’ comes closest to being a pop tune despite the gargoyle grumblings and glistens with a cristallo shine that has pulsing electronic keys acting as a melodic engine room as well as a rhythmic one.
‘Interrogative’ displays an affinity with HARMONIA using a offbeat and a psychedelic vibe, but ‘Mood Block’ changes tact with a delightful rhythm unit on a speedy Schaffel setting while Mellotron derived pipe passages add a blurry haze to the spacey cocoon of bleepy sound.
This music is not wholly avant garde, so if a blended cacophony of drifting textures and occasional melody over some tightly rigid rhythm construction appeals, then ‘Exophora’ will satisfy the ears and minds of many kosmische enthusiasts, sitting nicely not far from the most recent FUJIYA & MIYAGI.
Over the last 10 years, ELECTRICITYCLUB.CO.UK has been a voice for the discerning enthusiast of electronic pop.
With a balancing act of featuring the classic pioneers of the past alongside the emergent new talent for the future, the site has become well known for its interviews and reviews.
It asks the questions people have always wanted to ask while celebrating the continuing development of the synthesizer in popular music.
All this while holding to account those who deliver below expectations, assuring the listener that if they are perhaps not hearing the genius that some devoted fans are declaring, then ELECTRICITYCLUB.CO.UK is there to assist in affirming or denying that assessment.
But when artists do deliver, they tend to build a strong relationship with ELECTRICITYCLUB.CO.UK. So with the site celebrating its first 10 years, presented here are greetings and messages from some people who you might know…
Rusty Egan, VISAGE
ELECTRICITYCLUB.CO.UK is 10 years old with the synth knowledge of a 50 year old. If I can’t remember something electronic I don’t Google, I visit ELECTRICITYCLUB.CO.UK!
Glenn Gregory, HEAVEN 17
ELECTRICITYCLUB.CO.UK and its wonderful leader Chi is like the League Of Super Heroes for Electronic Music. Our future is safe in his hands.
I have been involved in electronic music making for 40 years, yet one half hour conversation with Chi makes me realise how little I know. From then to now, he’s knows!
Neil Arthur, BLANCMANGE
Chi has been brilliantly supportive of BLANCMANGE, for which I am very grateful. We’ve always managed to have a good laugh during our interviews, as he would ask me about the darkness and gloom lying within a given BLANCMANGE song! I look forward to our next chat.
ELECTRICITYCLUB.CO.UK has a very important place and a role to play, in spreading the news of electronic music, new and old, far and wide. Here’s to the next ten years. Well done and good luck.
Gary Daly, CHINA CRISIS
Thanks for all your wonderful support Chi, so glad someone has taken the time to ask some great questions…
Sarah Blackwood, DUBSTAR
I love the website. It’s a treasure trove of informative articles, both a very readable historical archive and a forward looking platform for encouraging new talent. In what can be traditionally and lazily categorised as a very male dominated scene, Chi encourages great music regardless of gender and I enjoy the updated Spotify playlist if I’m ever stuck for what to listen to whilst running.
As regards interviews, it’s always enjoyable – Chi is a bit too easy to talk to and his passion for music and synth geekery shines through – heaven forbid you try sneaking a (cleared) sample past him, he will spot it!
Is it 10 years already? Happy birthday ELECTRICITYCLUB.CO.UK!
Chris Payne, DRAMATIS
With 18,000 likes and 12,000 Facebook followers; ELECTRICITYCLUB.CO.UK under the guidance of its purveyor Chi Ming Lai, has become the leading place for the Electronic Music fan. Intelligent, well written and well researched journalism with a great team of writers presenting an array of brilliant fascinating new acts (and some older ones as well!), hopefully it will continue for at least another 10 years.
Tracy Howe, RATIONAL YOUTH
Congratulations to ELECTRICITYCLUB.CO.UK on ten years of brilliant reporting of, and support to, the electronic pop scene. ELECTRICITYCLUB.CO.UK is the authoritative publication “of record” for fans and makers of synthpop alike and is the international rallying point and HQ for our music. We look forward to many more years of in-depth interviews and probing articles, all in the beautifully written style. Happy birthday ELECTRICITYCLUB.CO.UK!
Mark White, ABC + VICE VERSA
Chi Ming Lai and Paul Boddy are two of the most learned, nay, erudite music journalists I’ve had the pleasure of meeting, a rare experience indeed to be quizzed by a pair who know their onions. And unusual integrity. Chi promised me if we asked, he would turn off the tape recorder and it would never appear in print. And has been true to his word. This has literally never happened in my career. Also these two chaps are bloody good fun. I laughed til I cried. Go see the movie!
Rob Dean, JAPAN
10 years of ELECTRICITYCLUB.CO.UK? Only one for me (yes, I know…), but it’s heartening to know that Chi and the crew have created a site so cutting edge for us die-hard fans of electronica. Having read the highly entertaining VICE VERSA chaps interview, I was delighted to be asked to do my own, confident that the questions would be thoughtful and intelligent and yes, a little bit probing too. Here’s to the next 10 and thank you!
Richard Silverthorn, MESH
On several occasions I have done interviews for ELECTRICITYCLUB.CO.UK. Every time I felt like they actually cared about the music and scene and put some educated thought into the questions. It’s good to feel that enthusiasm.
Tom Shear, ASSEMBLAGE 23
Congratulations on 10 years of covering and supporting the scene! Here’s to another 10 and beyond…
Sophie Sarigiannidou, MARSHEAUX
I first met Chi at Sparrowhawk Hotel, Burnley in November 2000 for an OMD convention. It took me 13 hours to reach by train to Burnley from London due to bad weather. I saw him playing live (!!!!) with his covers band THE MESSERSCHMITT TWINS, they were having their time of their life, dancing and singing, so so happy! Us too of course!! From that moment on we became friends. Then he supported our band MARSHEAUX from the very early beginning and I thank him a lot for that!
It’s always great having Chi asking questions for interviews. We as a band had our best interviews with ELECTRICITYCLUB.CO.UK! We spent a lot of hours talking about the history of electronic music and the future of synthpop. My favourite articles are the “Beginners Guide To…” series, you have a lot to learn from these pages!!! Happy Anniversary Chi, we’ve indeed had 10 amazing years with ELECTRICITYCLUB.CO.UK. I hope and wish the next 10 to be even better.
Mark Reeder, MFS BERLIN
Congratulations and a very Happy 10th Birthday! Over the past 10 years, ELECTRICITYCLUB.CO.UK has developed into becoming the leading website for all kinds of electronic synthpop music. It has become a familiar friend, because it is something I can personally identify with, as it is maintained by fans, for fans.
However, it is not only commendable, but can also be quite critical too, and that is a rare balancing act in the contemporary media world.
It has been a great source of regular electronic music information. I have discovered and re-discovered many wonderful electronic artists, and regularly devour the in-depth interviews and features.
Through ELECTRICITYCLUB.CO.UK, I have been introduced to and worked with some of the wonderful artists presented on your pages, such as QUEEN OF HEARTS or MARSHEAUX and in return, it has supported my work, my label and my artists too, and I thank them for that! We can all celebrate ten years of ELECTRICITYCLUB.CO.UK and together, look forward to the next 10 years of inspiring electronic music.
Per Aksel Lundgreen, SUB CULTURE RECORDS
ELECTRICITYCLUB.CO.UK is a highly knowledgeable and very passionate site! They are digging out rarities from the past as well as exploring and discovering new acts, giving them attention and writing about them often before anybody else around have even heard of them.
This makes ELECTRICITYCLUB.CO.UK a very interesting page to follow, as their in-depth stories about older bands “missing in action” as well as the latest stuff “in the scene” gets perfectly mixed together, giving you all you want basically in a one-stop-site for everything electronic. I also love the way they give attention to unsigned / self-released bands and small indie-labels, giving everybody a fair chance as long as the music is good enough. Congrats on the 10th Anniversary, well deserved!
Jane Caley aka Anais Neon, VILE ELECTRODES
When VILE ELECTRODES were just starting out, we heard through the Facebook grapevine about a new electronic music blog called ELECTRICITYCLUB.CO.UK. We had a London gig coming up, and had recently made a promo video for our song ‘Deep Red’, so we dropped them an email about both, not expecting to hear back, since we were virtually unknown.
However it transpired they really liked our sound, likening us to “Client B born and raised in the Home Counties fronting Dindisc-era ORCHESTRAL MANOEUVRES IN THE DARK”.
ELECTRICITYCLUB.CO.UK subsequently gave this very description to Andy McCluskey, which piqued his interest such that he checked out our music. We were invited to tour Germany with OMD as a direct result!
George Geranios, UNDO RECORDS
Chi is a really rare quality of a man. He is passionate about music which is so obvious of course while reading ELECTRICITYCLUB.CO.UK. Through our mutual love for OMD, we discovered that we have the same musical taste. ELECTRICITYCLUB.CO.UK helped us promote all of Undo Records projects and finally we ended collaborating and releasing this brilliant double CD compilation! Chi, I wish you health and to continue writing the best music texts in the industry!!
Adam Cresswell, HAPPY ROBOTS RECORDS
Some people say ELECTRICITYCLUB.CO.UK doesn’t support the scene but I’ve not found that to be the case; having been a part of two gigs and the recent CD, I know how much blood, sweat and tears they put into what they do. ELECTRICITYCLUB.CO.UK might get a few people’s back-up, but they know their stuff when it comes to synth-driven music and I’m massively grateful that they have supported so many Happy Robots artists since 2010.
Stuart McLaren, OUTLAND
It’s no secret that the burgeoning new synthwave genre shares a common history with the great synthesizer acts and pioneers of the 80s, like Dolby, Jones, Luscombe, Wilder, Daly et al who created new soundscapes with what we now define as vintage synths.
These sounds are brought back to life by pioneers in their own right like FM ATTACK, GUNSHIP, ESPEN KRAFT and BETAMAXX to name a few.
ELECTRICITYCLUB.CO.UK and Chi Ming Lai have always been at the forefront of championing, interviewing and reviewing the luminaries of this great instrument past to present, and are likely to remain the de facto voice of the synth scene well into the future… we agree on one thing and that is FM-84’s singer Ollie Wride is deffo one to watch as a star for the future!
Paula Gilmer, TINY MAGNETIC PETS
Happy Birthday ELECTRICITYCLUB.CO.UK. thank you for your support. You never fail to impress with your encyclopedic knowledge of synthpop. Here’s looking forward to 10 more!
Mr Normall, NUNTIUS
I’ve been following most of my favourite artists since they were brand new and often this means it’s a period of 30+ years, yet when reading articles and interviews by ELECTRICITYCLUB.CO.UK, I have learned every time something new about of my favourites.
Following ELECTRICITYCLUB.CO.UK have made me pay attention to several new acts that I would likely know nothing about if they hadn’t appeared on the page.
Catrine Christensen, SOFTWAVE
An outstanding magazine supporting new and upcoming artists whom they choose carefully as they have great taste of music regarding to their huge knowledge within the synthpop genre, when it comes to their writing and promotion – there’s no one like them. Happy birthday ?
Elena Charbila, KID MOXIE
Happy 10th birthday ELECTRICITYCLUB.CO.UK! Your love and commitment to the synth community is unparalleled and your support has meant a lot to me on a professional but also on a personal level. Here’s to the next 10 years! ?
Alexander Hofman aka Android, S.P.O.C.K
I’m a fan of ELECTRICITYCLUB.CO.UK for several reasons. You showed up when I perceived the majority of the electronic scene had turned more and more harsh; as much as I can appreciate an occasional emotional outburst, I’m a happy guy and thus I’m into pop – ELECTRICITYCLUB.CO.UK showed, and still shows me that there’s still electronic pop music being made. Good electronic pop! Which makes me glad, as I find the greater part of the generally popular darker scene to be of lower musical quality.
Moreover, ELECTRICITYCLUB.CO.UK writes in an amazingly happy tone – remember, I’m a happy guy, so it’s right up my alley. Add the fact that ELECTRICITYCLUB.CO.UK regularly publishes interesting articles, using intelligent and varied vocabulary, shows enormous knowledge and interest of the theme, the style, the scene – and I’m hooked. Thanks for being around – keep up the good work, it’s much needed! And congratulations – let’s grab a beer again! ?
Roman Angelos is the moniker of Brooklyn-based producer, composer and multi-instrumentalist Rich Bennett.
Specialising in library electronica for this particular vehicle, Bennett has also spread his wings diverse group of musical projects including proto-punk band THE SHAGGS, dream-poppers MAHOGANY, and Brazilian funk group LIMONCELLO.
Released by Happy Robots Records, ‘Spacetronic Lunchbox’ is rather like a KPM library album.
It all harks back to the days when a temporary fault would interrupt a VHF TV broadcast and an announcement was made that there would be “some music” until it was all fixed. Rather like the ‘Spitting Image’ sketch on theme tune composer Ronnie Hazlehurst who was portrayed as someone that couldn’t write a tune longer than 20 seconds, ‘Spacetronic Lunchbox’ whizzes though 11 songs in 10 minutes for a spacey tea break exuding cheery sonic nostalgia.
Paying tribute to early electronica, muzak and video game music, ‘Spacetronic Lunchbox’ beginning with the longue bossa nova of ‘Please Hold The Elevator’, the portamento on the synthline being a particular delight. Moving on, the brilliantly titled ‘Himalayan Cats With AK47s’ swiftly captures some synths and vibes.
The quirky ‘I’m In Love With The Family Robot’ could be the label’s theme tune while the jazz swing of ‘Secret Secret’ is something of a toy pop jingle. With glorious synths and noise percussion, ‘Farewell To Love’ has the makings of a longer funkier romp while ‘The Clock Winder’ recalls the theme tune to ‘Robin’s Nest’.
‘Fall Off’ is far gloomier though with an element of dystopian Sci-Fi but this is offset by the wonderful synthpop overtones of ‘The Undercroft’ which comes over like a swift ULTRAVOX demo with hints of BLONDIE’s ‘Call Me’ as well! With tempo changes, ‘Highway Chase’ utilises a brilliantly tight synth bass pattern that varies to suit the pace, but the quite lo-fi ‘Electric Zone’ fades into oblivion before it really gets going.
The best comes last with the longest track at just under two minutes; ‘Why Am I Old’ has elements of electronic citypop and the air of YELLOW MAGIC ORCHESTRA but its potential is cut painfully short.
While Roman Angelos is a platform for Rich Bennett to explore his fascination with vintage library recordings, there is frustration in the listening process.
However, this is a fun escapist collection of music which might go well with a latte or cappuccino in the café of the Design Museum during a visit to the new Terence Conran exhibition.
2019 was good for new music. The first two thirds of the year was particularly strong for up-and-coming talent, while a number of veterans returned to making music with synths for the first time in many years.
Inevitably, the quality of new releases couldn’t be sustained and things tailed off during the Autumn period as artists shifted their focus towards the live arena. The launch of debut full-length releases by relative newcomers has tended to focus towards the winter in order to pitch to the deluge of tastemaker polls that are now prevalent both in mainstream and online media.
Of course, ELECTRICITYCLUB.CO.UK is unable to include everything in its 30 SONGS OF 2019, so worthy mentions go to SHOOK, CIRCUIT 3, KANGA, FRAGILE SELF, NINA, THE HEARING, JAKUZI, TR/ST, SPELLLING, I AM SNOW ANGEL, PET SHOP BOYS, NO-MAN, RIDER, FRAGRANCE. and T.O.Y. for their output this year.
As per usual with a restriction of one song per artist moniker and presented in alphabetical order, these are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2019…
APOPTYGMA BERZERK A Battle For The Crown
Over the 25 years since his debut album ‘Soli Deo Gloria’ , Stephan Groth has straddled EBM, synthpop, futurepop, alternative rock and more recently instrumentals with APOPTYGMA BERZERK. For his first new material since 2016’s ‘Exit Popularity Contest’, the upcoming EP ‘Nein Danke!’ sees a return to the synthpop / new wave format. Part of a teaser single, ‘A Battle For The Crown’ offered a suitably matted austere but crucially did not forget the hooks or the melodies.
Available on the EP ‘Nein Danke!’ via Pitch Black Drive
Stark Massachusetts duo BOY HARSHER formed through an urgent need to produce and consume, so Jae Matthews and Augustus Muller utilised their minimal electronics and intense mindset to create a compelling narrative of deterioration. ‘LA’ featured a wonderfully incongruous mix of icy string synths and orchestra stabs for an enticing display of mutant electronic disco, all brilliantly sinister thanks to its varied use of effects and Matthews’ mournful demeanour.
Available on the album ‘Careful’ via Nude Club Records
Jorja Chalmers is the sax and keys player for Bryan Ferry but while it was recorded in her boss’ studio, her first solo album ‘Human Again’ exuded a more sombre filmic disposition. Conceived and sketched in hotel rooms during the come down from playing to packed theatres around the world. ‘She Made Him Love Again’ was a song where Chalmers’ breathy vocals possessed a gorgeous forlorn allure and when the icy string machine and deep sax joined in, proceedings lifted to another level.
Available on the album ‘Human Again’ via Italians Do It Better
Lloyd Cole had recorded an experimental electronic album ‘Selected Studies Vol 1’ with Hans-Joachim Roedelius of CLUSTER in 2013, while there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’. But he put all of that modular knowhow into a song based format with the charming synthy single ‘Violins’ which saw him turn into OMD! However the King of Glum Rock didn’t totally alienate his main fan base, with guitars making their presence felt in amongst all the machinery at the halfway point.
CHINA CRISIS have been an unlikely influence on acts such as VILLA NAH and MIRRORS, but while these days their synthwork is less pronounced, front man and keyboardist Gary Daly took the plunge with a full length solo record entitled ‘Gone From Here’. The wonderful first single ‘I Work Alone’ acted as both a statement of intent and an affirmation in self-belief. A lovely whimsical piece of Casiotone folktronica, Daly said “it’s very much ‘Neon Lights’ meets ‘Autobahn’”
With a range of tempo variation, ‘Based On A True Story’ was the undoubtedly the best album of Swedish trio DAYBEHAVIOR’s long if sporadic career. Including a number of more danceable numbers to counterpoint the more laid back aspects of their cinematic sound without losing any of their exquisite aesthetics, one of the best examples could be heard in the fabulous Europop number ‘Driving In My Car’. It was just one part of a priceless collection of quality Scandipop.
Available on the album ‘Based On A True Story’ via Graplur
Nearly four decades is a long time to wait for a debut album, but with Wakefield’s FIAT LUX, it was been worth it. Recalling BLACK and CHINA CRISIS, the guarded optimism of ‘We Can Change The World’ provided a call to action in these turbulent times within an uptempo setting dressed with bubbling synths and rousing dual vocals sweetened by smooth sax. Steve Wright and David P Crickmore honoured their late band mate Ian Nelson in the best way possible with their recorded and live return.
Georgia Barnes is the daughter of LEFTFIELD’s Neil Barnes and the former drummer for Kate Tempest. Although her eponymous debut album possessed a more urban DIY feel, her sound has recently moved into more accessible electronic pop territory. From upcoming second album ‘Seeking Thrills’, the gloriously throbbing workout of ‘About Work The Dancefloor’ took its lead from ROBYN with its rousing Scandipop sheen, offset by a creepy distorted vocal refrain.
A Copenhagen domiciled German, classically schooled Greta Louise Schenk teamed up with Norwegian producer FARAO to enter a dreamy synthpop universe. With its unusual rhythmic structure and chromatic overtones, ‘White’ could have been an art rock number? “I often wonder how this song came out of me” she said, “I actually wrote it on my Irish bouzouki, which may explain the chords. I was listening a lot to LANA DEL REY and it was quite a dark time in my life.”
Another project of Johnny Jewel, HEAVEN first came to wider attention with the ‘Lonesome Town’ EP. Fronted by the enigmatic allure of singer and keyboardist Aja, the brilliant ‘Truth Or Dare’ perhaps unsurprisingly sounded like CHROMATICS but with more synths and drum machine. While on tour as keyboardist with DESIRE, Aja took the title literally when they performed a cover of NEW ORDER’s ‘Bizarre Love Triangle’ and Jewel watched nearby…
Available on the single ‘Truth Or Dare’ via Italians Do It Better
ALICE HUBBLE is the new solo project of Alice Hubley, previously best known for fronting ARTHUR & MARTHA and COSINES. Hubley’s synth earth mother demeanour came to the fore on the sub-OMD of ‘We Are Still Alone’. While the lilting bass and elegiac transistorised melody were glorious, when the synth strings responded in that ASHRA style, it became perfect avant pop with Hubley sadly resigning to herself that she “couldn’t find the way to make me better”.
Available on the album ‘Polarlichter’ via Happy Robots Records
Leeds based singer / songwriter IMI is gifted with a most glorious soprano but she applies that and her love of analogue synths to an intelligent avant pop aesthetic. ‘I Feel Alright’ with its sharp melodic call and ethereal voices headed into assertive optimism. This most promising young synth talent said to ELECTRICITYCLUB.CO.UK: “This song was written after a few years of struggling with some personal issues and it was a celebration of finally feeling ok and feeling hopeful about the future.”
Hailing from Sheffield, INTERNATIONAL TEACHERS OF POP and their world of academia would make “eccentric Northern electronic pop” compulsory on the curriculum. From their vibrant and accessible self-titled debut album, the bubbly ‘Love Girl’ was a luscious cross between DUBSTAR and THE HUMAN LEAGUE. Cosmic but catchy, their intelligent musical escapism has been just the tonic in these turbulent times. One of their manifesto statements is “Smile at the neon and the mirrorball”.
Producing his most synthpop work in ages, originally from the ‘Eddie The Eagle’ film sessions, Howard Jones said of ‘Hero In Your Eyes’: “I was really drawn to the part where his parents were amazing, continuing to believe in him when he was obviously not really very good at what he’d chosen to do, they kept supporting him. So him being a hero in their eyes always, that ‘I’ll be there for you’ feeling, I thought that it was something a lot of people could relate to”
Available on the album ‘Transform’ via Dtox Records
Coming over like the love child of Richard Butler and Neil Tennant, KNIGHT$ made synthwaves with his sparkly Britalo on his energetic debut album ‘Dollars & Cents’. The Hi-NRG romp of ‘Hijack My Heart’ aped BRONSKI BEAT complete with a closing bursts of falsetto as the Winchester lad tightened his glitzy clubbing trousers to full effect and even dropped in a blistering synth solo to add to the fun. It was a highlight on one of the best albums of 2019.
LADYTRON produced their last offering ‘Gravity The Seducer’ in 2011. Their recent heavier self-titled reboot saw the quartet of Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu entering the ‘Deadzone’. Unsettlingly percussive and full of tension but hitting the spot with the right dose of melodic elements intertwined with haunting grit and grime, LADYTRON were back with a sucker punch. All in all, it was a fantastic comeback.
LIZETTE LIZETTE is Lizette Nordahl, a gender neutral Swedish / Peruvian producer and performance artist whose first mini-album album ‘Queerbody’ was released 2017. The beautifully sad Nordic synth ballad ‘Computer Game’ was written in tribute to a departed friend. Showcasing Nordahl’s more emotive side, it was a quality that had not been obviously apparent in LIZETTE LIZETTE’s more danced-based recordings.
Reflecting gloomier times, ‘Anthropocene’ saw MACHINISTA produce their most consistent body of work yet. Vocalist John Lindqwister and instrumentalist Richard Flow took their time in a refinement of their anthemic signature sound and the addition of some conventionally flavoured twists. The title song took its lead from the dark electronic pop of Norway’s APOPTYGMA BERZERK and owed more than a debt to the haunting riff of ‘Burning Heretic’ in the ultimate sorcerer’s apprentice spell.
Available on the album ‘Anthropocene’ via Infacted Records
Behind the quirky avant pop of MECHA MAIKO is the talented Canadian Hayley Stewart. ‘Apathy’ from her new album ‘Let’s!’ can only be described as delightfully nuts, with an inventive mix of a jazz swing Charleston vibe, frantic techno dance beats and vibrant synthpop hooks. It showed she was not afraid to blend seemingly incongruous influences to get an end result and with a slight sprinkling of Japanese instrumentation to close, the eclectic creative cycle was complete!
Swedish songstress Karin My sang with veteran combo TWICE A MAN on their poignant environmental catastrophe warning ‘High In The Clouds’ in 2105. Her solo single ‘The Silence’ was one of the first truly great songs of 2019. Swathed in beautiful synths and embroiled in that wonderful Scandinavian melancholy, her gorgeous vocals evoked a forlorn abandonment just as a wintery chill set in with the sad dilemma of whether to give up…
Available on the single ‘The Silence’ via Ad Inexplorata
The mighty Italo Disco statement of ‘Left Behind’ came complete with obligatory orchestra stabs and a rousing chorus, gleefully fusing SAVAGE, RAF, PET SHOP BOYS and BEE GEES within a big Trevor Horn styled kitchen sink! But despite the fun laden octave shift frenzy, the lyrics were concerned with midlife reflection. Michael Oakley said: “the song is about me feeling like everyone around me was getting settled in their career, getting married and taking out a mortgage.”
Available on the album ‘Introspect’ via NewRetroWave
Every now and then, the world needs a lively unpretentious synth instrumental record. With the second OBLONG album ‘The Sea At Night’, the trio of Benge, Dave Nice and Sid Stronarch delivered a collection of rustic electro-acoustic organically farmed electronica! With mood and pace, ‘Echolocation’ was a classic synth instrumental with its crystalline textures and charming slightly off-key blips, aurally reflecting the remote moorland location in Cornwall where it was recorded.
OMD began their recorded career with a KRAFTWERK homage and four decades on, they came full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’ but refined for BBC Radio 2 airplay, ‘Don’t Go’ captured the essence of OMD’s enduring electronic appeal. With crystalline synth melodies from Humphreys and a spirited vocal delivery from McCluskey attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes.
Feisty, fiery and on-message as “your abused Barbie doll from childhood”, Lauren Lusardi, better known as PLASMIC dropped yet another synth bomb with a vivid narrative on the fame game where women have to compromise and serve the male gaze to get to where they want. While pink is her colour, the rugged lo-fi cocoon of anxious sound penetrated the soul with a raging reminder that if “You wanna be famous?”, then really “Don’t be so f*cking brainless!”
Available on the single ‘Famous’ via CandyShop Recordings
“Beautiful melodies telling me terrible things” said a cartoon meme… with echoes of OMD, the life and death of the tragic Soyuz 1 cosmonaut Vladimir Komarov was captured poignantly in this instrumental by QUIETER THAN SPIDERS from their brilliant debut album ‘Signs Of Life’; Yi Fan from the anonymous Chinese synth trio said: “we were moved by the human story behind it all together with the haunting backdrop of primitive space experimentation.”
Danish duo SOFTWAVE have been gaining momentum with endorsements from luminaries such as ex-members of THE HUMAN LEAGUE Jo Callis and Ian Burden, while improving enormously since their 2016 debut EP ‘Together Alone’. Punctuated by machines of ice, ‘No Need To Hide’ was undoubtedly Clarkean, celebrating positivity in possibly SOFTWAVE’s finest moment yet with one of those rousing Scandipop choruses and coming over not unlike Celine Dion fronting ERASURE.
The powerful electro R’N’B tinged ‘Way Out’ was the first English language taster from Beijing-born songstress’ ambitious new Anglo-Mandarin bilingual album project. Fifi Rong said of her concept: “I’m making a double album. One album in Chinese and the other in English. Not the typical type of translation type of bilingual album from one language to another… So the two albums are all individual songs interlinked in sounds, themes, vibes.”
Andrew Montgomery, best known as the vocalist of GENEVA who scored hits with ‘Into The Blue’ and ‘Best Regrets’ in 1997, teamed up with Leo Josefsson of Stockholm trio LOWE to form the electronic duo US. If Jeff Buckley had dumped his Fender Telecaster for a Korg MS20, then that is the dark anthemic sound of US. ‘Voyager’ went all spacey avant trance in a wonderful cross-pollination of styles that came over a bit like MUSE at Gatecrasher.
It was a big year for WITCH OF THE VALE as their highly spirited otherworldly sound, deeply rooted in Celtic folklore and Wiccan beliefs, found a sympathetic audience at Infest 2019. The eponymous track from their second EP introduced serene, yet uncertain feelings channelled via clear but eerie vocals over the croon from a raven. This angelic ballad put all the fears to sleep and demonstrated how Erin and Ryan Hawthorne sound are like nothing else within the world of modern electronica.
Although best known as the lead vocalist for FM-84 on ‘Running In The Night’, Ollie Wride unleashed his debut solo album in 2019. The Driver’ put into dynamic realisation as to what SIMPLE MINDS might have sounded like had Moroder-graduate Keith Forsey produced the 1985 ‘Once Upon A Time’ album instead of Jimmy Iovine and Bob Clearmountain. The superb grouchy synth rock saw the Brighton boy successfully pull off a cross between Jim Kerr and Billy Idol!
Over four songs and four instrumentals on her impressive debut album ‘Polarlichter’, ALICE HUBBLE makes the perfect synth earth mother.
Behind ALICE HUBBLE is London-based musician Alice Hubley, previously best known for fronting cult favourites like ARTHUR & MARTHA and COSINES. Despite her roles as a lead vocalist, this is the first time she has ventured out musically on her own.
With her forlorn vocal presence and endearing instrumental charm, courtesy of her array of vintage keyboards, ‘Polarlichter’ is an impressive solo debut that is a soundscape of pastoral solace.
Released on Happy Robots Records, home of RODNEY CROMWELL and TINY MAGNETIC PETS, the first single ‘Goddess’ has already been declared one of the singles of 2019 by BBC 6 Music’s Steve Lamacq, while the sub-OMD of ‘We Are Still Alone’ with its the lilting bass and elegiac transistorised melody is wonderfully glorious.
Alice Hubley chatted about the genesis of ‘Polarlichter’ and much more…
‘Polarlichter’ as a title is perfect for the album, but what inspired you to use that particular word, as opposed to other variants and languages?
The title track initially came from the artwork from the LP which I bought in a flea market in Berlin a few years ago. I like the way it sounds and rolls off the tongue, I probably don’t do the best job of pronouncing it though!
Some would say this is the album people have been waiting for from you since ARTHUR & MARTHA? Who were your key influences for this record?
That’s very nice of you to say. I do think this LP is very self-indulgent and it’s been the most fun I’ve ever had recording and putting out a record. The tracks were generally influenced by places and people / personal interactions. I don’t necessarily set out to borrow from other artists, I enjoy seeing what people pick up on when reviewing the record. There are definitely some surprises and Googling I’ve had to do, but I know I do wear my heart on my sleeve.
Was it the intention to make a half song / half instrumental album? What do you get as a musician from one form that you can’t get from the other?
I didn’t set out for that initially. When I first started the project, I was really looking to do more instrumental tracks and attack the writing process in a different way to how I have approached song writing in the past. I got a lot out of changing round my processes.
The song tracks developed along the way, mainly ‘cause they just come out of me. I think my instrumental tracks are representative of what I’m trying to get across when writing them, but it’s definitely easier to tell as a story with a song.
You began the compositional process on an iPad before bringing in analogue synths, which particular instruments did you use?
The main apps I’ve used are Tabletop and the Moog Model 15 synth app along with Garage Band and a few effects.
Where do you sit on that hardware versus software debate?
Ha, it is a contentious debate, I created a hushed silence in a room with a band (I won’t divulge who!) once when I said I liked the Moog iPad app! The thing I like about some apps is that they encourage a different way of thinking to playing a keyboard, recording can be quite immediate and you can come up with different ideas when things are more off cuff.
I personally feel if the sound fits the track and is good enough quality then why not use an app sound. I think I re-recorded the majority of the Model 15 tracks ‘cause they sounded better on the Prodigy, but the Tabletop sounds are very prominent on the LP.
‘Ruby Falls’ is a lively opening statement that paints pictures in the listener’s mind. When you go travelling, what sort of places do you like to visit and how does it stimulate your music?
I like to visit places of natural beauty and those more off the beaten path; this year, for contrast this year I’ve visited the Alhambra in Granada and a nuclear bunker in Prague. It’s nice to be taken out of the familiar, I’ve found travelling is inspiring and also triggers creativity for me.
The single ‘Goddess’ has had a very positive response, what was its genesis?
‘Goddess’ was one of the first tracks I wrote for the LP. I’d always liked the idea of writing a song called ‘Goddess’, it’s a word that is bold, beautiful and distinctly female. Through thinking about Goddesses and goddess worship came the idea of the destructive nature of the male gaze when taken to extremes, which the song explores lyrically.
I think the bass riff came in first before the song, it was written over such a long time. I then wanted to go for this chorused / filtering synth sound, which I remember worrying after it was done that it was too intense to listen to on headphones. I’m really delighted by the response it has got though, so I guess I was wrong!
The choral laden ‘Atlantis Palm’ is rather gorgeous…
Thank you!
The key track on the album is ‘We Are Still Alone’, it’s a bit like OMD meeting ASHRA?
That’s very kind, both bands are big touch points for me.
The main melodic theme of ‘We Are Still Alone’ reoccurs on ‘The Golden Age’ and ‘Still Polarlichter’, is this all part of a bigger story?
Ha, well spotted. The solo from ‘We Are Still Alone’ was at one point quite prominent in ‘The Golden Age’. It wasn’t intentional but it does help to pull the record together.
‘Kick The Habit’ goes all electro-glam, like a synthy Suzi Quatro?
Totally! I wrote the track after coming off tour supporting the psychedelic rock band BLACK MOUNTAIN, they have a lot of songs with big guitar riffs in them and this was my attempt at writing a big riff song.
Other touch points for me were second / third LP GOLDFRAPP and LADYTRON.
There’s a lot of flute sounds on the album, are they real ones?
I wouldn’t be adverse to a real flute on a record, but it’s all the beautiful sound of the Mellotron.
Which tracks on ‘Polarlichter’ are your own favourites and why?
I like them all for different reasons, though I’m particularly fond of ‘Still Polarlichter’ and ‘Atlantis Palm’. ‘Still Polarlichter’ because we went on such a journey in the studio with that song, it’s so sinister and also I love playing it live. With ‘Atlantis Palm’, it just feels so different from anything I’ve done in the past, it’s so simple but a big statement.
You are undertaking a headlining tour having opened for DAMO SUZUKI and TINY MAGNETIC PETS earlier in the year. How were those experiences and how will your approach change as you move into the role of headliner?
Both shows were a lot of fun, it was such a great experience playing with Damo and TINY MAGNETIC PETS and they were both very sweet to me.
It is a bit daunting but I am looking forward to the headline shows, I’m not planning on bringing anyone into the band as of yet, but I am looking to expand the set in some ways. Come along and see for yourself!
Will there be more from ALICE HUBBLE in the future, how has the solo experience been for you compared to being part of a band?
Yes, there is definitely more ALICE HUBBLE in the works, I’m actually in the middle of preparing to go back into the studio in September to start recording for the next release.
The whole ALICE HUBBLE process has been a dream, being solo means you can work at your own pace and can be quick at making decisions. It can get lonely at times, but I make a point of working with people I enjoy being around and try to have fun with it.
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to ALICE HUBBLE
Manchester Salford Eagle Inn (3rd October), Glasgow Nice N Sleazy (4th October), Sheffield Hatch (5th October), London Servants Jazz Quarters (5th November)
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