Tag: Italians Do It Better (Page 1 of 3)

Introducing GLÜME

From the Italians Do It Better stable, home to the likes of CHROMATICS and DESIRE, comes rather a lovely eerie ‘Twin Peaks’ styled cover of ‘Come Softly To Me’ from the mysterious but glamourous GLÜME.

Her bio says GLÜME was born and raised in the City of Angels. She worked as a child actress and then juggled her time between training her voice, exploring music and wrestling with her health, a situation that perhaps adds a vulnerable edge to her doll-like demeanour and leaves her feeling incompatible with the outside world.

Written and made famous by THE FLEETWOODS in an almost acapella rendition in 1958, GLÜME’s version of ‘Come Softly To Me’ (exec produced by Italians Do It Better head honcho Johnny Jewel) is more chilling and metronomic, capturing the innocence of forgotten yesterdays in the pursuit of today.

In some respects, the hypnotic arrangement with its lush but tragic Marilyn Monroe meets Julee Cruise delivery and the original acapella hook transferred to synth has the air of a 21st Century take on ‘I Know How You Love Me’ by THE PARIS SISTERS; it was used when Becky was being driven away by Steven in his Thunderbird convertible during episode 5 of ‘Twin Peaks: The Return’.

The first GLÜME single ‘Body’ was positively Autumnal, capturing an aural wash of fading colours with its mix of synths arpeggios, digital drum machine, distortion and six string strum in a manner not unlike COMPUTER MAGIC who herself covered ‘Rockin’ Back Inside My Heart Rockin’ from episode 14 of the original ‘Twin Peaks’.

Meanwhile, adopting a Marilyn does Britney approach, the B-side of ‘Body’ saw GLÜME perform a stripped down interpretation of ‘Baby One More Time’ with accompaniment from Johnny Jewel on guitar. As GLÜME puts it herself: “…I’m Not Whispering…It’s A Scream!…”


‘Come Softly To Me’ and ‘Body’ are released as digital singles via Italians Do It Better

https://italiansdoitbetter.com/glume/

https://www.facebook.com/babyglume

https://www.instagram.com/babyglume/


Text by Chi Ming Lai
10th October 2020

KRAKÓW LOVES ADANA Interview

Deniz Çiçek and Robert Heitmann formed KRAKÓW LOVES ADANA after months of eyeing each other up at the same nightclubs in Germany.

Their bond led them to make melancholic dream pop together and their debut album ‘Beautywhich’ was released in 2010 with a second ‘Interview’ following in 2012. Their third offering ‘Call Yourself New’ in 2017 saw the pair form their own record label Better Call Rob, but while its 2018 follow-up ‘Songs After The Blue’ was issued via this independent platform, they came to the attention of Italians Do It Better, home to CHROMATICS and DESIRE.

Their first fruit of labours for the prestigious label was ‘Follow The Voice’, a rhythm heavy tune swathed in synths, followed swiftly by the more anxious ‘Young Again’, a song made all the more resonant by Çiçek’s contralto expressionism.

Recorded over two years at their home studio in Hamburg, KRAKÓW LOVES ADANA present ‘Darkest Dreams’. Produced and mixed by Çiçek herself, but sounding completely at home within the stark red colours of Italians Do It Better family, it is a thirteen song compendium comprising of synths and electronic drums walking hand-in-hand with gothic guitars.

The album is trailed by the enjoyably poetic pop of ‘‘The Ocean Between Us’, with the lyrical couplet “You say it is a phase, wild summer in your gaze” recalling the bittersweet memories of a holiday romance. Deniz Çiçek spoke to The Electricity Club about an album that explores the human condition’s deepest fantasies and desires.

You have been releasing music since 2010 and already have four albums to your name, how do you feel you have developed musically over the past decade?

I think that every record we made actually got us to the point where we are now. It was good to try different things out and now I feel happy with where we stand musically.

How did Italians Do It Better become interested in KRAKÓW LOVES ADANA?

We just sent them our demo and they liked it. It’s good to reach out to people whose music you like and give it a shot.

What is the German alternative music scene like? Do you feel like a part of it?

There isn’t one specific alternative scene over here, it’s more like a mish-mash of bands that are friends with and/or work with certain kind of people. We don’t belong to a certain scene, not because there aren’t any other musicians around but because besides having a band and having a day-job, we rarely find the time to socialize with other bands.

But truth be told, there really aren’t many people in Hamburg whose music I find interesting. Releasing music for the last decade and watching bands come and go, I feel like most of them are a copy of a copy and neither daring nor innovative.

So how is ‘Darkest Dreams’, your first album for Italians Do It Better different from your most recent album ‘Songs After The Blue’, what approach did you take?

I always have the same goal and that is to not repeat myself. Without certain songs I wrote in the past, some newer songs wouldn’t exist. All my songs exist in specific universes, some exist in darker places than others, some are there to make you look inside yourself and others to make you understand your role in the world.

The difference on this record is that the process of producing it was definitely more challenging because I put more time and work in every detail of this album.

How would you describe the creative dynamic within KRAKÓW LOVES ADANA?

We’ve got a strict division of work in the band – I write and produce the music, we play live together, do all the visuals together and Rob handles the business side of it. This form of working together has developed over the years and we feel like it is the best way for us to move forward as a band.

Lyrically, KRAKÓW LOVES ADANA are very bittersweet and pained which adds to the dense atmosphere of your music, where do you draw inspiration?

I think it is just the way I am built as a person. We all have these different personality traits that sometimes stand in contrast to another. Writing song lyrics helps me to understand what I think and feel. Also, with everything going on in the world, I want to make people dream and at least for a moment escape the dread of reality.

‘The Ocean Between Us’ is a fabulous balance between art and pop as a tale about a holiday romance, is the song a conscious move to be more accessible?

With ‘The Ocean Between Us’, I wanted to write a song that captures the contrast between the lightness most people associate with summer and the burden I feel to enjoy myself during this season. The music feels light but the lyrics are heavy.

I never had the privilege to travel a lot, neither as a kid nor as an adult, I always had to work my ass off growing up and haven’t had a vacation since I was 16. During summer I always feel much more isolated from the world than usual because I feel this pressure to enjoy myself and live my best life but I love to work and I love to work on my art so just imagining myself sitting in a sunny park with a guitar in my hand makes me wanna die. So in a way this song is about me displaying my hate for summer.

Does Johnny Jewel being involved help bring in this new perspective to your work?

Johnny produced ‘Follow The Voice’ but otherwise he hasn’t directly been involved in the songwriting process. But I have to say that his work undeniably had a huge impact on mine and I am very proud that he and IDIB have our back and believe in us.

Is there a reason your previous Italians Do It Better singles ‘Follow The Voice’ and ‘Young Again’ are not on ‘Darkest Dreams’?

Those two songs are way older than the songs on ‘Darkest Dreams’ and I didn’t feel that they matched the mood of the record.

Which are your own personal favourite tracks on ‘Darkest Dreams’ and why?

I don’t have any favourite tracks but I can’t wait to share the cover version of ARCHERS OF LOAF‘s ‘White Trash Heroes’ with the world. It is a track that has accompanied me and Rob since the day we met and in a way I recorded this song for him.

KRAKÓW LOVES ADANA opened for CHROMATICS and DESIRE on selected dates of the 2019 ‘Double Exposure’ tour; the show was so well designed from the bottom upwards as a well-designed ITIB event. How did it feel to be a part of it. What were the audience reactions like?

It was a unique experience to open for two bands whose music has been part of my life for quite some time. The reactions were great in general but I definitely felt that in Germany, people had their difficulties to believe that a band from Hamburg could be part of the IDIB universe.

What are your hopes and fears as you prepare to release you first long playing record on Italians Do It Better?

I had some doubts when we first released on IDIB, fearing how people would receive our music but we’ve been welcomed with open arms by a lot of people and I can’t wait to share the new record with them this fall.


The Electricity Club gives its sincerest thanks to KRAKÓW LOVES ADANA

Special thanks to Frankie Davison at Stereo Sanctity

‘Darkest Dreams’ will be released by Italians Do it Better on 25th Septmber 2020, but the single ‘The Ocean Between Us’ is available on digital platforms now

https://italiansdoitbetter.com/krakow-loves-adana/

https://www.facebook.com/krakowlovesadana

https://twitter.com/krakwlovesadana

https://www.instagram.com/krakowlovesadana/

https://krakowlovesadana.bandcamp.com/

https://open.spotify.com/artist/2LgLvxq44FkRvstBiPFjsN


Text and Interview by Chi Ming Lai
2nd July 2020, updated 24th August 2020

CHROMATICS Teacher

In Autumn 2019, CHROMATICS broke a seven year silence between albums with the release of ‘Closer To Grey’.

However, scrutiny revealed ‘Closer To Grey’ to have a ‘VII’ subtitle in blood red on the artwork, despite it being their sixth long player. That was because an album called ‘Dear Tommy’ had been announced in 2015 and yet to be released as album number six.

Legend has it that producer and Italians Do It Better head honcho Johnny Jewel decided he wasn’t happy with the record, so destroyed all 15,000 CDs and 10,000 vinyl copies that had already been pressed.

One record that suffered a similar fate was ‘Techno Pop’ by KRAFTWERK which was actually advertised in the German press in 1983 before being delayed and reworked. It was then released as the disappointing ‘Electric Café’ in 1986 with some additional new tracks, while its original lead single ‘Tour De France’ was omitted. Then in a bizarre revisionist twist, it was remastered and renamed ‘Techno Pop’ with a slightly amended tracklist in 2009!

The ‘Dear Tommy’ saga has become much talked about by observers and fans with speculation rife that it had been shelved. But in the interim, the quartet of Johnny Jewel, Ruth Radelet, Adam Miller and Nat Walker have continued to release singles while also touring the world.

The ‘Dear Tommy’ announcement has been trailed by a purple hazed video for a great new airy synth driven song entitled ‘Teacher’, of which Johnny Jewel says “The apple obscured in fog is enigmatic & open to the interpretation of the viewer. Are we sinking into the unknown or rising from beyond the grave?”

As with KRAFTWERK, the original ‘Dear Tommy’ lead single ‘Shadow’ has now been dropped from the revised tracklist having become ubiquitous, thanks to its inclusion’ in ‘Twin Peaks: Revisited’; also missing are ‘Cherry’, ‘Camera’, ‘In Films’ and ‘I Can Never Be Myself When You’re Around’ which have all now been previously released in one form or another.

But included are the previous singles ‘Time Rider’ and ‘Just Like You’, while many of the eighteen tracks announced appear to be completely new with only a few like ‘Fresh Blood’, ‘She Says’, ‘Endless Sleep’ and the title track remaining from the original ‘Dear Tommy’.

A release date for ‘Dear Tommy’ has yet to be confirmed so this saga could go on. However with so much expectation, this album is in danger of underwhelming audiences like ‘Electric Café’ did. With that in mind, it therefore something of a strange coincidence that CHROMATICS and KRAFTWERK had both been due to perform on the same bill at London’s All Points East festival in May.


‘Teacher’ is released by Italians Do It Better via the usual digital outlets

https://italiansdoitbetter.com/chromatics/

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

https://twitter.com/chromatics

https://www.instagram.com/chromaticsmusic/

https://twitter.com/idib

https://www.instagram.com/italiansdoitbetter/


Text by Chi Ming Lai
22nd April 2020

JORJA CHALMERS Live in London

Jorja Chalmers’ debut LP ‘Human Again’ was something of a conceptual observation on the human condition, a musical reality check following the artifice of adulation.

Conceived and sketched in hotel rooms around the world while in her dayjob as the sax / keys player for ROXY MUSIC’s Bryan Ferry, it captured the comedown of emptiness and alienation often arising from living the dream and touring to packed houses around the world.

The primarily instrumental suite was released in September 2019 by Italians Do It Better, home to CHROMATICS, DESIRE and HEAVEN, as well as being co-mixed by head honcho Johnny Jewel. While the Australian multi-instrumentalist has been something of a live veteran, having been part of the London music scene as a member of HOTEL MOTEL in the mid-noughties, Jorja Chalmers’ set at The Lexington was her first ever solo performance.

Backed by Ali Renault, best known as the synth man from Italo-influenced duo HEARTBREAK, the intimate London space was ideal for the introspective downtempo nature of the ‘Human Again’ material.

The organic spiritual tones of ‘Black Shadow’ began proceedings to create an uneasy ambience and a desolate air of mystery in keeping with its title.

But the set was not just about instrumentals as ‘She Made Him Love Again’ saw Chalmers put her breathy but spooky voice to good effect. A song of a sombre synthy disposition in the vein of the ‘Blade Runner’ soundtrack, a more prominent deep intervention of sax than on the record added an extra human quality, echoing the cult movie’s own blues.

The more rhythmic ‘Red Light’ added vocal ad-libs to counter its sinister claustrophobic Cold War atmosphere, all very Berlin in its mood with a variety of chilling dissonant keyboards.

New number ‘Don’t Think’ recalled the electro-dubby wash of lost Glaswegian trio ONE DOVE while the doomy metallic chill on ‘Copper Bells’ was given resonance, thanks to the meaty combination of pulsing arpeggios and a layer of Klaus Schulze-like string machine.

On the ‘Human Again’ title song, our heroine took to her sax and mic again. Like a forlorn Enya wandering into ‘Twin Peaks’, her emotive declaration that “I’ve been on my own for so long” captured the feeling of solitude in company, an often discussed post-gig condition.

Closing with two new songs, the comparatively boisterous ‘Warrior’ fused a distinctive marimba line with sax, but the sexy synth ‘n’ sax of ‘You Should Love Me Tonight’ was even more of a surprise.

Very avant pop in its construction, this slinky tune was a considerable departure from the more understated tracks collected on ‘Human Again’, coming over like a brilliant art school take on Cyndi Lauper.

It was a captivating half hour presentation which showed that material from the ‘Human Again’ album could work effectively within a live context and hold the attention of an audience. But having displayed a song-based prowess in the newer material, where Jorja Chalmers will take her music in the future is deliciously intriguing. So watch this space!


With thanks to Frankie Davison at Stereo Sanctity

‘Human Again’ is released by Italians Do it Better in CD, vinyl LP and digital formats, available from https://italiansdoitbetter.com/product/jorja-chalmers-human-again/

https://www.instagram.com/jorjachalmers/

https://twitter.com/IDIB

https://open.spotify.com/artist/4AB4sOhd7x98tjAMB4SgNY


Text and Photos by Chi Ming Lai
31st January 2020

TEC’s 2019 End Of Year Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo by Johnny Jewel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Artwork by Heloisa Flores

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

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

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

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


THE ELECTRICITY CLUB Contributor Listings of 2019

PAUL BODDY

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


IAN FERGUSON

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


SIMON HELM

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


CHI MING LAI

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


RICHARD PRICE

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


MONIKA IZABELA TRIGWELL

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


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

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