Greek electropop goddess SARAH P. started her music career in 2010 as the frontwoman of KEEP SHELLY IN ATHENS who had a number of acclaimed releases including the ‘In Love With Dusk’ EP and the album ‘At Home’.
After she parted company with KEEP SHELLY IN ATHENS in early 2014, SARAH P. relocated to Berlin to explore more pop oriented climes. There had been signs of her wanting to pursue a more accessible direction on her final KEEP SHELLY IN ATHENS track ‘Old Time Glory’.
So it was no great surprise when her debut mini-album ‘Free’ turned out to be her most direct work yet. ‘I’d Go was possibly its standout track and with an afflicted demeanour of optimism, she announced “I’m not afraid, why should I be? Now I’m free…”
Showing her making faces at the camera and finding solace in a giant cuddly rabbit, the video also features paradoxical footage of SARAH P. as the forlorn figure she is sometimes assumed to be. In her own words she confesses: “I’m a childish woman and nobody can stop me from being one” and adds “If there’s anything I stand for with all my heart is the ‘Go be you’ motto!”
Slowly but surely, the real SARAH P. is being revealed.
‘I’d Go’ features on the mini-album ‘Free’ released by EraseRestart via the usual digital outlets
The voice of Sarah P. is both spooky and captivating, like a cross between Polly Scattergood, Alison Goldfrapp and Elizabeth Fraser while shaped by the spectre of Nancy Sinatra and Tracey Thorn.
Formally the frontwoman of Greek duo KEEP SHELLY IN ATHENS, a project with the mysterious producer / musician RΠЯ, the Athenian pairing recorded a number of acclaimed EPs that explored chillwave and dubstep. Following the release of their first full length album ‘At Home’ in 2013 which featured their crowning moment ‘Oostende’, Sarah P. parted company with KEEP SHELLY IN ATHENS. After a period of soul searching amid the turmoil of the social-economic crisis in Greece, she made a home for herself in Berlin to begin a new phase of creativity.
She launched her solo career with the release of ‘Free’ at the end of 2015. An eight song mini-album chronicling “a couple of years that have been rough and weird”, ‘Free’ is an ambitious debut release that combines a variety of emotions and textures for an enticing listening experience. Sarah P. kindly gave her time for a fascinating chat about her hopes, fears and ideals as a solo artist…
Congratulations on ‘Free’, it is a very worthy opening statement. It also appears somewhat more direct than your previous work, sad yet hopeful?
Thank you! It is more direct, isn’t it? I’ve been through a couple of rough years and ‘Free’ serves as diary of mine, both to not forget, but also to document and share my experiences. The whole record is about moving forward and leaving the past behind. That thought itself is sad yet hopeful, somehow bittersweet. Although it’s all cited from my perspective, I can imagine that many people can relate to what the concept of ‘Free’ is. I think that no matter where we come from and no matter which our background is, there is always something in our lives that’s bugging us, leaving us with no choice but to break free from it.
Photo by Bertrand Bosrédon
You were at a crossroads when you left KEEP SHELLY IN ATHENS. What inspired you to keep going with music, as there were other artistic avenues you could have pursued, like acting?
Haha, I get asked this question quite often. I think that the statement of the band and of my then label was a bit ambiguous, but there was never ever a single point I said I am done with music. In fact, shortly after leaving KEEP SHELLY IN ATHENS, I hid in the studio to work on various collaborations and features like THE BILINDA BUTCHERS, SUNDAYMAN, and a collaboration EP with SUN GLITTERS. I even started a short-lived side project with ambient producer Hior Chronik – techno pop, back in those days I didn’t want to sing that much.
In the same year, I released my first solo output ‘I Misbehave’. I was never gone – I just started making different music. As for the acting, if anything, while being in KEEP SHELLY IN ATHENS, I wasn’t allowed to chase roles. In 2015, I got the opportunity to be part of a couple of casts and relive the magic of cinematography. I’m super happy to be in ‘Finding Sigi’, the winning short film of the Berlin 48h Festival, as Suzanne Smidt, casted by the super talented director Aviv Kosloff and among amazing actors and an amazing crew. The film will be premiered at Filmapallooza early 2016 🙂
What motivated your move to Berlin?
I needed a fresh start and I needed it desperately. At that point, nothing was really going my way. I was advised to move to Berlin by people who abandoned me right after I said I’d go for it. I decided to give Berlin a chance. I packed my stuff and moved here – I had nothing to lose! I didn’t move away because of the crisis, I didn’t move to Germany to make it big, because I would never make it in Greece. I love Greece, I love Athens, but I am of a restless spirit and I cannot sit still. I lived for 24 years in Athens and back in the summer of 2014, I felt ready to open my wings and seek new adventures. And so I did. I’ve been so lucky, you have no idea! Moving to Berlin has been one of the best decisions I’ve ever made.
Was Athens not the right environment for you to progress with your music?
No matter how hard things are, Greeks will always have music! My hometown happens to have an amazing underground, indie scene. If your question is about whether I would fit in that scene then my answer is no, since the sound of Athens is more guitar based. But if your question is about Athens (and Greece) being in the middle of all this Financial Drama and therefore doomed with a dark cloud / heavy atmosphere, then I have to admit that sweet old Athens was and will always be my muse, no matter where I am.
Athens is a beautiful, vibrant city. It’s super multiculti and open which makes it the perfect environment for any artist of any field. Especially during those times when everything is boiling, Greeks are giving it all for a better life which, to my eyes, seems truly inspiring. So, to answer your question, I never left Athens, I am just looking at it from a different perspective. My family is there, the people who are responsible for who I am and where I stand as a person. I left my hometown only physically – other than that I carry it in my heart.
Photo by Christoph Neumann
‘I’d Go’ is perfect melancholic pop and has an important personal message too. Has recording ‘Free’ been a cathartic process for you?
Sincerely, thank you for saying so. Most of the people do not get that this song is not as happy as it sounds at a first listen. ‘Free’ helped me understand many things about myself. The songwriting, the recordings and the release of this EP have all been part of a crazy journey. What was living in my head became tangible! It wasn’t easy but who said it would be? My personal catharsis came with the release of the record, when I realized that everything is where I wanted them to be.
The idea behind ‘Free’ is to take the listener by the hand, help him / her get out of the dark tunnel and walk together towards the bright light of redemption. On ‘I’d Go’, one sees the light already and actively marches towards it. I wanted the EP to end with a song like ‘Golden Deer’ (a collaboration with Greek producer Hiras) which creates a magical landscape. During the whole record, I perpetually pat the shoulder of the listener and whisper in their ears that it’s ok.
All the songs on ‘Free’ are songs one should sing in front of the mirror, you know? If people are lacking something these days that’s confidence – not in a superficial way, that’s abundant. Confidence in a sense that whatever we do makes us happy and helps us get going, because we know we are on the right path of life. ‘I’d Go’ is about this exact thing, ‘Free’ is about this exact thing.
Photo by Christoph Neumann
Which artists musically have influenced this more accessible pop direction? For example, I think I hear GOLDFRAPP in ‘Dirty Sunday’…
I would say that Santigold has been a major influence, especially her first EP when she was called SATOGOLD. BLOC PARTY too… I wonder how people do not hear that on ‘Dishes’, to me it is very obvious *giggles*
Madonna because she is the most badass chameleon of pop. Kate Bush is always an inspiration because she is a magical creature. And dark wave / post punk as a scene that taught me how to not sound angry when I’m boiling. I guess that’s it.
But you are still exploring leftfield avenues, as on ‘Let It Go’ and ‘You Wouldn’t Understand’. How are you finding trying to keep the balance?
I just follow my instinct! I promised to myself that I will never be prisoner of a music genre. I experiment a lot and try around – that’s the only way to make music, in my opinion. If you’re too busy being bound with an atmosphere or a genre, you’re losing the whole point. Unless you play math rock or something.
You described ‘Free’ as “a vivid commentary on all kinds of relationships, vices, social and political scenery of our times”. What do you say to those people who feel that music and politics should not mix?
Oh well, don’t get me started! Unless those people were born in the 00s, there is no excuse. From the 00s and on, what’s been popular is all about kissing a boy, kissing a girl, gimme dat booty and so on. Convenient enough and during years when epic wars have been taking place all around the world, pop music kept away from politics with very few exceptions (MJ, Madonna, Morissey and a few more) who’ve been treated as the wacky kids, and were often excommunicated from the star system.
I’ll tell you what… I come from Greece, I live in those days when horrible things are happening in the world, I read the news and try to stay informed and on top of that, I am a woman active in a very conservative industry of men (mostly). I have things to say and I will, whether that’s through my music or through my texts. For some this might be too much, but for me it’s staying true to my ideals.
Photo by Christoph Neumann
You have collaborated a lot with other artists in the run up to ‘Free’; was there a particular moment when it was clear that you could now do this on your own and be ‘Moving On’?
‘Free’ covers the period from early 2014 (when I left KEEP SHELLY IN ATHENS) to now. Since I had to leave the band for various reasons, it was more than clear to me that I would be on my own. I had to find a way to do so. But I love working with other people. There are things coming up I cannot announce yet, involving collaborations with extremely talented people. I’ve been ‘Moving On’ – the entire of ‘Free’ is ‘Moving On’.
But I am not a lone wolf; I prefer to have a pack around me, if you know what I mean. I have been blessed with a great team of people who understand my vision and add up to it. Technically there has been no moment, I’ve been entirely alone. I always have my people backing me up.
When writing and recording solo now, what has been the most fundamentally different aspect for you, compared with the past?
I had to learn how to orchestrate the whole thing. Till that point, I’ve been following orders. For a person who was raised to always be humble and accepting, embracing a more bossy side of mine was a big challenge. In 2015, I learned how to make decisions and how to not compromise. Before this year, I tended to agree on things just to not make a fuss, even if I had to go through a personal conflict.
When I’m writing and recording my own music or working on a feature, I do it all my way. I’ll put together the sounds I like, I’ll play the melodies that I think they fit. I think that finding the balance between the Sarah before and after has also helped me in my everyday life. I’ve become more assertive and all because of a computer program and the zillions of decisions I had to make to be able to hold my record in my hands.
Photo by Christoph Neumann
An extended EP is a good way to start your solo career so will you do another EP or go the full album route? Is there a place for the album format in modern music consumption?
My LP is already in the making. There is a whole concept behind it and I am very much looking forward to sharing it, although I’ve got to hold back and wait! As for the second part of your question, if I am brutally honest, I will have to say no, there is no place for an album, there’s barely place for an EP or even for a single. The attention span of the people is so short that if you are an independent artist, your music will probably get lost in a pile of unread emails.
The Internet has made it all faster and since we’re humans and not robots, we can simply not keep up with that pace. The music industry has changed a lot, the media (press, blogs, radio) have changed a lot and lately everybody seems to spend time and money on social media campaigns that seem so pointless, I could laugh and cry at the same time. You put out your song and you hope it will be featured on a ‘strong’ playlist on Spotify and that this will bring new followers to your music. It’s a constant fight for a glimpse of attention.
Unless you are Taylor Swift (or Adelewho is signed to an independent label, but currently has big advertisements EVERYWHERE and all for a poorly produced, old-fashioned album), you’re granted one second of fame. It’s such a big bubble, all that happens is that more and more artists (even the indie ones) work on writing the so called ‘hits’, in order to get a place in the music industry and get under the radar of the important people who usually are so ridiculous, it’s painful… that being said, you must think I am crazy for making an LP.
One needs to drink gallons of idealism in order to keep their heads up. And so I do, so does my team. I believe that nobody wants it to be that way – that meaningless struggle of trying to keep up with the fast pace of life. If we see it as an analogy (I love analogies), we’re on a fast train that’s driving to somewhere – nobody knows to where. It’s up to each and every of us to get off, say “I am sorry, that’s my stop”. I won’t play with other people’s rules, I set mine, according to my ideals and ethics.
What is next for you? How are you feeling about playing live as a solo artist?
Live shows, songwriting, producing and recording my album. As for the gigs, I am very much looking forward to playing shows. I share the stage with two super talented gentlemen, Owen Howells and Marv Rudnick who also happen to be good friends of mine, so touring with them will be great fun.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Sarah P.
Additional thanks to Robert Helbig at Hellbig Music.
Sarah Anna Psalti aka SARAH P. started her music career in 2010 as the frontwoman of KEEP SHELLY IN ATHENS.
Working with the mysterious producer / musician RΠЯ, the pair actually did hail from the Greek capital, but sounded like they’d emerged from a frozen Fjord in Narvik. With hints of MARSHEAUX crossed with Polly Scattergood, their best track was possibly the dream laden chillwave of ‘Oostende’; it was what COCTEAU TWINS might have actually sounded like had they been a synth duo.
Called an “Electro pop Goddess” by Sound Injections, after she parted company with KEEP SHELLY IN ATHENS in early 2014, she relocated to Berlin to explore a pop / R’n’B hybrid direction while collaborating with artists including THE NEW DIVISION, THE BILINDA BUTCHERS and SUN GLITTERS.
Her debut eight song mini-album ‘Free’ is an artistic diary chronicling “a couple of years that have been rough and weird”, where she was “shyly and slowly moving from the ultimate darkness towards the light”. Fully utilising her gorgeously spooky voice, the end result is somewhat more direct than her previous work, maintaining a stark beauty while remaining eerie and sinister.
Opening song ‘Dirty Sunday’ gathers together a cacophony of abstract half beats and ethereal atmospheres like Polly Scattergood collaborating with Fifi Rong. There are hints of a sparser GOLDFRAPP too with ‘You’ll Never Know’ being an obvious reference point. The following ‘Let It Go’ has haunting Bush-like mannerisms over the inflected sub-bass, while the passionate, piano marked ‘Little Soul’ is almost a declaration of anger.
The immediate but avant statement of ‘I’d Go’ is wonderful slice of modern pop with a great chorus. With an afflicted demeanour of optimism, she announces “I’m not afraid, why should I be? Now I’m free…”
The kooky ‘Dishes’ is delightfully odd and uptempo, a brilliantly buzzy vintage synth solo making its presence felt towards the climax. ‘Moving On’ is even more driven and dramatic, possibly a comment from SARAH P. on leaving KEEP SHELLY IN ATHENS or even the economic-political situation in Greece. An incessant arpeggio dominates and with sweeping layers also joining proceedings, ‘Moving On’ is quite a captivating listen.
More subtle GOLDFRAPP references adorn ‘Golden Deer’ which is also great slice of dreamy electronic disco, before ‘Free’ closes with the off-kilter, leftfield electronica of ‘You Wouldn’t Understand’.
Varied and enticing, ‘Free’ is a vivid commentary on relationships and politics. As SARAH P. herself put it: “FREE is for all the lost souls out there. FREE is for my broken generation. FREE is for everyone who ever wished to start over. FREE is for everyone who ever felt lost. You’re not alone. We’re not alone. We have each other. And we’ll always have music!”
Over the five years since its inception on 15th March 2010, ELECTRICITYCLUB.CO.UK has aimed to highlight the best new music within the electronic pop world.
But with so much music and only a finite allocation of time, songs have slipped under the radar occasionally, or perhaps only received a glancing mention. However, a bit of time and distance can reveal if these recordings really are actually lost gems and whether the site missed the boat. So here are 30 songs from the cover the period between March 2010 to December 2014 which are worthy of rediscovery.
They have been released as physical product or purchasable / free downloads and are listed in chronological and then alphabetical order.
YVY DEMINA Alley of Aces (2010)
Sounding like night meeting day with an omnipresent gothic allure, YVY DEMINA has been making music since 2007 but despite having songs on compilations, so far she has yet to have a release in her own right. A debut EP scheduled for July 2009 never materialised but the excellent ‘Alley Of Aces’ crept out on the ‘Zwischenfall – A New Decade Vol. 01’ compendium which also featured XENO & OAKLANDER. No more has been heard since…
Available on the compilation album ‘Zwischenfall – A New Decade Vol. 01’ via Real Voice Of Underground
Seductive, Weimer Cabaret styled electropop with a rich, layered atmosphere, ‘Sternentanz’ was a gloriously vibrant song from this promising German songstress. But aside from three mixes of ‘Sternentanz’ and another track titled ‘Kein Weg Zu Weit’ on the single release, that was it. LYLEE’s website has long since gone offline so despite Google, there appears to be no extra information on her whatsoever… so a song and artist truly lost.
Available as a download single via Batleth Records, extended version available on the compilation album ‘electropop.5’ via Conzoom Records
Sick of female fronted synthpop? Well, tough! We want “synths with balls” cry the electro fraternity still stuck in their shouty, chauvinistic cauldron! But as the feminist synth combo TIKKLE ME put it on their song ‘Remind The World’: “I’ve got no balls you see… I’ve already checked!”. This Swedish collective certainly made a positive impression with some thought provoking lyrics on their feisty self-titled debut album and have tunes too! Their second album ‘What Is Real’ is even better!
Available on the download album ‘Tikkle Me’ via Gaphals
047 Featuring LISA PEDERSEN Everything’s Fine (2011)
With some rich Scandipop in the vein of ROBYN courtesy of guest vocalist LISA PEDERSEN, ‘Everything’s Fine’ showed that Swedish electronic duo 047 could produce quality song based material. Sebastian Rutgersson and Peter Engström started out as a chiptune act before expanding their sonic template on their second album proper, ‘Elva’. It is territory they’re continuing in with the much anticipated follow-up, currently being recorded.
JOHAN AGEBJÖRN & LE PRIX featuring LAKE HEARTBEAT Watch The World Go By (2011)
JOHAN AGEBJÖRN is better known as cult Swedish songstress SALLY SHAPIRO’s right hand man, but for his debut solo album, he brought in a number of guest vocalists like QUEEN OF HEARTS for ‘Casablanca Nights’, a rather danceable electronic pop album. ‘Watch The World Go By’ was an uptempo highlight with a longing, melancholic vocal from Janne Kask of LAKE HEARTBEAT that was treated to the point of being almost feminine.
Available on the download album ‘Casablanca Nights’ via Paper Bag
Produced by FRANZ FERDINAND’s Alex Koupranos, CITIZENS! ‘True Romance’ had a hint of HOT CHIP collaborating with Vince Clarke about it. Catchy and quirky, it was released in late 2011 and even had a slight passing resemblance to the CCS remix of LYKKE LI’s ‘Little Bit’. From a so-called indie band, ‘True Romance’ had a fresh, synth assisted approach that didn’t involve too many guitar interventions.
HIGH PLACES are a duo based in Brooklyn. Dark but danceable, Mary Pearson’s half spoken / half wispy vocals on the haunting ‘Year Off’ are unearthly. As a percussive mantra takes hold, the cacophony of synthetic sound produced by musical partner Rob Barber only enhances the cerebral experience of this magnificent track, with an electronic bassline solid enough to knock your head on.
Available on the album ‘Original Colors’ via Thrill Jockey Records
While quite obviously derived from THE KNIFE and the hanutronica mood of the times, ‘Mother Protect’ was a great brooding tune from NIKI & THE DOVE. Malin Dahlstrom had a menacing growl that strangely sat between Karin Dreijer and Cyndi Lauper on this doom laden percussive rattle. The pair had potential and while THE KNIFE go to Eurovision of ‘DJ, Ease My Mind’ was another good tune in their cannon, they lacked consistency and the debut album ‘Instinct’ was not quite as impressive.
Full of European melancholy, ‘Darkest Days’ did what it said on the tin and appeared on the ‘Electropop.6’ compilation alongside VILE ELECTRODES and OBLIQUE. The vehicle of French producer Peter Rainman whose remixed for artists on labels such as Dependent, A Different Drum and Out Of Line, to date this has been his last offering as SPLENDOR PROJEKT. It is often quite puzzling how some musical ventures never get beyond a few released songs, while other less satisfactory acts keep going on and on…
Available on the compilation album ‘electropop.6’ via Conzoom Records
PATRICK WOLF once claimed to have had his image and act nicked by LA ROUX, but he seemed to do alright for himself as a kind of 21st Century’s answer to MARC ALMOND. With the synthetically accessible Richard X remix of ‘This City’, he actually came over like the lost Glaswegian band H20 through a Eurodisco filter. If Wolf actually stopped worrying about having his thunder stolen and actually did more stuff like this, he might then be able to outstrip LA ROUX.
Available on the download single ‘In The City’ via Hideout Recordings
Hailing from Portland, CHROMATICS were one of the brace North American electronic acts who appeared on the ‘Drive – Original Motion Picture Soundtrack’ with their song ‘Tick Of The Clock’. ‘Kill For Love’ from their fourth album of the same name could have been THE JESUS & MARY CHAIN if they were a female fronted synth band. With a lo-fi, punkier edge to their sound, CHROMATICS straddle several camps and bring a unique template to the alternative music table.
Available on the album ‘Kill For Love’ via Italians Do It Better
Gothenburg’s Ulrika Mild is COMPUTE whose first two releases ‘This’ in 2009 and ‘The Distance’ in 2012 impressed with their wispy, emotive DIY synthpop. Since then, she also found time to record a fabulous cover of ‘Goodbye’, written by Paul McCartney and first recorded by Mary Hopkin, for a tribute CD that also featured Swedish synth veterans PAGE with a great electro version of SLADE’s ‘Coz I Luv You’. Known for taking her time over things, COMPUTE’s third release is still eagerly awaited.
Available on the download compilation album ‘The Seventies Revisited’ via Friends of Electronically Yours
Following the second disbandment of A-HA in 2010, MORTEN HARKET has sat again in that awkward artistic hinterland where he has the voice and the cheekbones, but is more challenged in the songwriting department. However, the spritely ‘Scared Of Heights’ written by Espen Lind, a mentor on the Norwegian version of ‘The Voice’, recalled the best of A-HA’s classic singles with Harket’s trademark falsetto allowed to let rip. However, Harket is unlikely to ever escape A-HA…
Available on the album ‘Out Of My Hands’ via Island / Universal Music
While bandmate Sean McBride was busy with his MARTIAL CANTEREL solo project, XENO & OAKLANDER’s Liz Wendelbo took a parallel busman’s holiday and contributed string synths and vocals to some tracks recorded by Xavier Paradis of AUTOMELODI fame. Perhaps lighter than XENO & OAKLANDER and more obviously in key, ‘Rien À Paris’ captured Wendelbo’s Gallic charms in a manner than was Francoise Hardy rather than her usual Jane Birkin.
The act that influenced CHVRCHES, Edmonton duo PURITY RING combined synths and glitch techniques with a clattering, off-kilter drum machine backbone. Megan James’ vocals aren’t that far off Lauren Mayberry’s sweet tones but while ‘Belispeak’ was a good tune full of invention and atmosphere, overall PURITY RING have perhaps lacked the pop oriented immediacy and focus of their Glaswegian contemporaries. Where they head next in the light of this will be interesting…
The enticing project of NEW PONY CLUB’s Lou Hayter and Jean-Benoît Dunckel from AIR, ‘So Long My Love’ was a wonderfully motorik number with hypnotic drum machine, brash synth effects and sexy nonchalance all thrown into the bargain. Such an interesting combination had so much potential, but the resultant self-titled album released in 2013 lacked the vibrancy of this calling card and was sadly a disappointment.
Available on the album ‘Tomorrow’s World’ via Homebase
Released on Sweden’s Labrador Records who launched THE SOUND OF ARROWS, ‘Stop Taking My Time’ was proof that a danceable electronic tune didn’t have to be a journey into death by four-to-the-floor or longer than five minutes. With Karolina Komstedt’s dramatically assertive vocal and a bursting bassline, CLUB 8 showed in a crisp 180 seconds that glorious, uplifting synthpop could still have an impact.
Available on the album ‘Above The City’ via Labrador Records
Like fellow Mancunians HURTS, DELPHIC were hailed as one of the great hopes for male fronted electronic pop with a sound not unlike A CERTAIN RATIO gone right! Their debut album ‘Acolyte’ showed what they could be capable of, if they could only turn their extended jams into songs. However, the follow-up album ‘Collections’ disappointed with a misguided excursion into rap. The launch single ‘Baiya’ though was a cracker, combining the anthemic vocal pomp of MUSE with the rhythmical overtures of PRINCE.
Available on the album ‘Collections’ via Polydor Records
Ghostly are the innovative label founded by American electronic musician MATTHEW DEAR and home to electro-punksters ADULT. Their roster also includes a number of interesting acts like London based FORT ROMEAU. The project of producer Michael Greene, ‘Stay True’ takes on a pulsating electro influence, but is allowed to breathe and progress with the space permitted by the length of the piece.
ISAAC JUNKIE featuring GLENN GREGORY Something About You (2013)
Having toured both ‘Penthouse & Pavement’ and ‘The Luxury Gap’, HEAVEN 17 really needed to record new material to maintain their credibility. It could be argued that this collaboration with Mexican producer ISAAC JUNKIE and GLENN GREGORY went part of the way in kick starting that. A marvellously trancey electronic dance tune, the only thing that stops ‘Something About You’ from being perfect is the way Mr Gregory’s vocals have been processed and distorted.
Available on the single ‘Something About You’ via Isaac Junkie Records
Like MARSHEAUX crossed with POLLY SCATTERGOOD, the dream laden chillwave of ‘Oostende’ showcased what COCTEAU TWINS might have sounded like had they been a synth duo. Comprising of the gorgeous afflicted voice of Sarah P,. and the mysterious RΠЯ, KEEP SHELLY IN ATHENS actually hailed from the Greek capital, but sounded like they’d emerged from a frozen Fjord in Narvik. Sarah P. subsequently departed in 2014, but KEEP SHELLY ATHENS continue today with new singer Myrtha.
Despite having released their five EPs in five years, this Swedish duo have tended to be overlooked. There was a two year wait for KITE’s most recent EP ‘V’, but it was worth the wait when Nicklas Stenemo and Christian Berg offered some fine, if mournful electropop in the shape of ‘The Rhythm’. With layers of exuberant synth sounds and Stenemo’s almost chant like vocals full of brooding sadness but with a glimmer of hope, the next EP ‘VI’ is set for a Spring 2015 release.
NATTEFROST is Danish musician Bjørn Jeppesen whose tenth album ‘Futurized’ encompassed many of the spacey elements of yesterday’s tomorrow that fans of JEAN MICHEL JARRE and KRAFTWERK would enjoy. Featuring as a guest vocalist, Michel Moers of Belgian synth subversives TELEX, his Gallic nonchalance on ‘Will I Get to Your Heart?’ is particularly good with sequenced percussive effects and rich synth sweeps providing some old fashioned synthpop.
Available on the album ‘Futurized’ via Sireena Records
MULU featuring RUSSELL MAEL David – Frozen Smoke Remix (2013)
SPARKS have never just been an exclusively synthpop act but with the Mael Brothers more orchestrated in their instrumental template these days, it is rare to hear the magnificent nuances of Russell Mael on an electronic track in the 21st Century. This rather good collaboration with MULU remained strangely unreleased until dance act FROZEN SMOKE threw caution to the wind and let their synth dominated remix with its meaty snare sounds out. Singer Laura Campbell sounded totally glorious next to the younger Mael.
Originally available as a free download via Soundcloud, currently unavailable
Art rockers NIGHT ENGINE are possibly the most interesting guitar driven band to come out of the UK for some time. What separates them from the pack is their use of whirring synths for their solos. The rousing ‘Give Me A Chance’ fuses DAVID BOWIE and TALKING HEADS before digressing into a punchy end section which would conscript the quartet into TUBEWAY ARMY. And this is without mentioning that lanky vocalist / guitarist Phil McDonnell has that menacing air of Thin White Duke about him too.
Available on the download EP ‘Night Engine’ via Demand Vinyl / Something In Construction
Mining the heritage of Italo disco, enigmatic Greek singer / songwriter TAXX aka Taxiarchis Zolotas successfully combined atmospherics, propulsive bass sequences and a solid electro beat on the immensely catchy ‘Is It Love?’. With a moodiness reminiscent of PET SHOP BOYS, but with spacey buzzes and a harder kick, TAXX’s homage to the club based sub-genre was a worthy excursion into classic European pop.
Available on the download single ‘Is It Love?’ via Undo Records
TRENTMØLLER featuring SUNE ROSE WAGNER Deceive (2013)
Anders Trentemøller made a name for himself when he remixed DEPECHE MODE’s ‘Wrong’ in 2009. He succeeded not only in stamping his own vision with a far superior interpretation but highlighted shortcomings in DM’s production department. The muted synth trumpets and spacey swirls of ‘Deceive’ driven by an incessant drum machine made for a positively nocturnal atmosphere . And when crossed with an eerie vocal turn by Sune Rose Wagner, it all came over brilliantly like DM meeting DEATH IN VEGAS.
Hailing from Canada, ELECTRIC YOUTH’s collaboration with COLLEGE entitled ‘A Real Hero’ was included on ‘Drive – Original Motion Picture Soundtrack’ in 2011. Their debut album ‘Innerworld’ finally came out in Autumn 2014 and one of its highlights was another collaboration, this time with ROOM8 called ‘Without You’. The bridge and chorus are particularly tremendous. Now if this electronic ditty had come out thirty years ago, there is no doubt it would have ended up in a Brat Pack movie.
Available on the album ‘Innerworld’ via Last Gang Entertainment / Secretly Canadian
Pitch shifted to an almost asexual resonance, EMIKA delivered a wonderfully unique cover of one of Bowie’s best known tunes. The stabbing synth melody only vaguely sounds like it may have been derived from the original ‘Let’s Dance’. Indeed, this is more of a tribute with EMIKA herself describing it as “A new time-travel, gender twisting experiment in honour of one of my favourite artists…” – indeed, DURAN DURAN’s ‘Union Of The Snake’ sounds more obviously like a cover of ‘Let’s Dance’ than this does 😉
Available on the CD ‘David Bowie – Recovered’ free with Rolling Stone Germany – May 2014
The now New York based pop princess moved away from her Nashville roots for her first overtly pop album ‘1989’. Whereas tracks like ‘Blank Space’ and ‘Out Of The Woods’ merely flirted with synthpop in the mould of CHVRCHES, the appropriately titled deluxe bonus track ‘New Romantics’ almost went the full hog! In fact, if Miss Swift’s inherent Americanisms were not so apparent, this enticing number could easily be mistaken for the dreamy allure of Scandipodean twins SAY LOU LOU.
Available on the album ‘1989 – Deluxe edition’ via Big Machine Records
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‘I’d Go’ features on the mini-album ‘Free’
captured Wendelbo’s Gallic charms in a manner than was Francoise Hardy rather than her usual Jane Birkin.
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