Tag: Kid Kasio (Page 1 of 5)

Lost Albums: THE MODERN Life In A Modern World

The Electricity Club first saw THE MODERN opening for HEAVEN 17 at The Scala in December 2005.

With a colourful stage presence and an immediately catchy sound, they were the one of the new modern synthpop hopes with their debut single ‘Jane Falls Down’ making a good first impression.

Comprising of front woman Emma Cooke, with Nathan Cooper and Chi Tudor-Hart on vocals and synths plus Robert Sanderson on guitar and Bob Malkowski on drums, THE MODERN were signed by Mercury Records, home of TEARS FOR FEARS and DEF LEPPARD.

The band began recording an album under the working title ‘Life In A Modern World’ with producer Stephen Hague, best known for his work with OMD, PET SHOP BOYS, THE COMMUNARDS, ERASURE, NEW ORDER and DUBSTAR. However, after their single ‘Industry’ was disqualified from the UK singles charts in early 2006, THE MODERN were dropped by their label and found themselves out on a limb.

Changing their name to MATINEE CLUB, the album finally saw the light of day in late 2007, now retitled ‘Modern Industry’ and issued as a download only by Planet Clique. It also saw a CD release with a revised tracklisting as ‘The Modern LP’ through Ninth Wave Records in the US, while a 2CD special edition by EQ Music Singapore for the South East Asian market in 2009 saw another tracklisting with B-sides and bonus songs added.

Around this time, the founding trio Emma Cooke, Nathan Cooper and Chi Tudor-Hart returned to being called THE MODERN. But in 2010, Cooper bid adieu and became KID KASIO while Cooke and Tudor-Hart continued as THE MODERN, releasing a brand new album ‘Revenge’ in 2018.

In 2013, ‘Modern Industry’ was reissued under the title ‘Life In A Modern World’ as an album by THE MODERN in an expanded tracklisting which largely resembled the South East Asian 2CD edition.

In whatever variant, the debut album by THE MODERN often provokes many “what if” debates among electronic pop enthusiasts.

The Electricity Club was extremely pleased to be able to chat to Emma Cooke, Nathan Cooper and Chi Tudor-Hart about the joys and the setbacks that came with its making and marketing.

When THE MODERN signed to Mercury, did you more or less get despatched to record an album first, or was it very much in steps?

Nathan: We’d never thought of ourselves as an album band. The whole concept was quite alien to us. Every time we wrote a song it was with the intention of it being a single, so when the label started talking to us in terms of an album we just always saw it as a collection of singles with no fillers or anything.

Emma: First thing the label wanted was to find a producer. We were happy with Nick Zart but the label wanted someone known. This took longer than we thought as we were also touring.

How did Stephen Hague become involved in producing THE MODERN?

Nathan: Mercury had sent us round the houses with various different producers. We tried a different track with each producer that we had shortlisted with the label.

Chi: Remember Jeremy Wheatley? We tried recording ‘Discotheque Français’ with him. He was a total knob. He got really upset because Bob ate some of his Jelly Babies that were next to the mixing desk that turned out to be his. He didn’t get us at all and he sulked for the rest of the day over his sweets!

Nathan: We’d been dispatched to Sweden to work with Tore Johansen whose work with Franz Ferdinand was getting massive airplay at that time. I remember him picking us up from the airport in a battered old Volvo and explaining to us the importance of efficiency, which sounded to me like he just wanted to get us in and out as quickly as he could!

The label was obsessing about adding this “indie edge” to the sound, hence FRANZ FERDINAND’s producer, but I was much more interested in chatting to him about his work with ROXETTE which sadly for me he had no interest in discussing! The label had this idea that they wanted us to sound like BLONDIE who of course we all loved, but it became clear quite quickly the live drum sound just wasn’t working for us.

Emma: The sound just didn’t sound big enough for us. Mind you, I quite like listening to his version of ‘Jane Falls Down’ and the vocals on his version were amazing. We then met Stephen Hague and worked with him at Peter Gabriel’s Real World studio. Beautiful place, the studio overlooked a lake with swans swimming around. The start of the session was a disaster as we couldn’t get the drums sounding right. But by the end of the weekend Stephen had ‘Closing Door’ sounding awesome. That nailed it for us to get him to produce the whole album.

Nathan: Rather than record the whole album in Wiltshire, Stephen booked The Strong Rooms in Shoreditch for us to record the album.

Chi: Nick Zart’s production on our demos was so good we got Nick to work on the whole album with us, so really being our 6th member of the band.

Nathan: Stephen was an obvious choice for us. It had dawned on us and the label by this time we were a full on synth pop band and he was the king of that genre, he had worked with all our favourites PET SHOP BOYS, ERASURE, OMD, NEW ORDER.

Stephen Hague worked on ‘Industry’, ‘Jane Falls Down’, ‘Closing Door’, ‘Questions’ and ‘Sometimes’, rather than the whole album, was this down to budget? So how did you go about shortlisting the songs that he would work on?

Chi: No, Stephen produced the whole album. The only track he didn’t do was ‘Suburban Culture’. Matt Jagger, head of Mercury and our champion, hated that track! We loved it so stuck Nick Zart’s version of it on the album anyway.

Emma: Yeah ‘Suburban Culture’ had to be on the album as before we were signed that track was the first song that got radio play on XFM and was always a favourite to play live as it always set the tone.

What was Stephen Hague like to work with, he’s known to be very meticulous with a big focus on vocals?

Nathan: I think our days mixing the album with him in The Strong Rooms in East London were some of my favourites in the band’s history. It really felt like we had taken control and were working with someone who finally understood what we were trying to do.

I have only happy memories of those sessions. I do remember being a bit put out when trying to extract some exciting tit bits of information about his early work with OMD, only for him to confess he didn’t really like synth pop and he had fallen into the genre completely inadvertently, and he actually preferred rock!! He actually said that!

Emma: I agree, I loved recording at The Strong Rooms and really felt Stephen Hague understood us, and as a band and really captured our group dynamic in the recordings

Nathan: I do remember the vocals being particularly difficult for me. Emma sailed through hers but I remember having to do the chorus of ‘Jane Falls Down’ about 100 times. It didn’t fill me with confidence either when after take 82, he said over the talkback that my voice reminded him of a foghorn!

Did you know ‘Smash Hits’ nickname for Tony Hadley was “Foghorn”? 😆

Nathan: Ok I don’t feel so awful now!

‘Sometimes’ sounded like it could have been one of Stephen Hague’s productions for ERASURE’s album ‘The Innocents’, while ‘Questions’ has this frantic energy, where did this stem from?

Nathan: The majority of the album was songs that had begun life as demos myself, Chi and Emma had written over the previous four years with Nick Zart producing. I think there were four songs on the album which had come about in a totally different way, these were ‘Questions’, ‘Jane Falls Down’, ‘Closing Door’ and ‘Sometimes’.

These came from instrumentals that Robert Sanderson our guitarist had made. Myself, Chi and Emma would go to his tiny bedroom studio and just take turns trying out different vocal top lines and ideas over these backings. Loads of really good stuff came out of those sessions, it was competitive but in a friendly super productive kind of way.

We’d be there sitting on Robert’s bed in this little room and he’d blast the verse out of the speakers and you’d have about 10 minutes to sit there and work out something in your head!! You’d be right in the middle of writing down a killer lyric or humming a melody in your head when someone would obliterate your concentration with a cry of “I’ve got something” and run up to the microphone to record it! It was a really strange way to do things but it really worked!!

I think that’s where the frantic energy on ‘Questions’ comes from. It’s sitting in that room desperately trying to get your idea crystallized onto a piece of paper before someone shouts “I’ve got it!”; the song has two choruses crammed into one song vying for attention!

‘Jane Falls Down’ was mighty, were hopes running on this being THE MODERN’s breakthrough?

Nathan: We all hoped as the first single that it would do well. I remember sitting listening to the chart rundown on Radio1 on a Sunday evening and hearing it was at number 32. None of us in the band had been that happy with the way the video turned out and I think the fact it had charted at all with so little airplay was testament to the song and the people who’d bought the single off the back of the live shows.

‘Industry’ was reminiscent of A FLOCK OF SEAGULLS, did Mike Score’s lawyers come knocking on the door?

Nathan: We knew nothing about this until half way through promotion for the single. We’d just finished a sound check somewhere and had been ushered into a local radio station to do a promotional interview for the single. We were sat there in the radio studio with headphones on and the presenter plays both songs back to back, and then goes live to air and asks us if we copied them on purpose!!! I just remember being completely dumbfounded.

Truth is that this one must be my fault because very early versions of the song had come from a demo I’d recorded. The song had been through loads of transitions since then but the vocal melody in the verse had remained the same. I’d always been a big fan of A FLOCK OF SEAGULLS and had a VHS with ‘The More You Live, The More You Love’ on it. I think these things happen subconsciously sometimes. We thought about dropping it from the set when we supported A FLOCK OF SEAGULLS a few years later, but we went and had a chat with Mike Score and he was completely lovely about it.

What was the story behind ‘Closing Door’? It seemed to become oddly prophetic when it ended up as the B-side of ‘Industry’?

Nathan: This was another one that started as one of Robert’s instrumental demos; I think it was touted as a single for a short while. I think the lyrics might have been vaguely about some decisions we had had to make as a band regarding management etc. I actually think it’s one of the most positive songs on the album. It always went down well live that one.

The events that led to THE MODERN being dropped by Mercury in 2006 and the band morphing into MATINEE CLUB are well documented, but how complete was the album at this point?

Chi: The album was completely done and dusted. Mercury got a new head of label, Jason Iley, and he did not like us. This guy was all that is wrong with the industry. When asked what bands he liked, he answered with a straight face, “Bands that sell”… total tw*t! His efforts went into promoting his new signing Matt Willis.

Matt Jagger, who signed us, was ousted, so we no longer had our champion. The chart fiasco happened and the label ghosted us!

How did Planet Clique become interested in releasing what was now the MATINEE CLUB album?

Emma: So when Matt Jagger left Mercury he started a new label under Universal, Europa. He signed us and paid for us to shoot a video for ‘Discotheque Français’. The idea Matt had with Planet Clique was for them to promote us on the underground dance scene.

Europa’s other band was INFERNAL and just had a big hit with From Paris to Berlin so I think they liked the idea of ‘Discotheque’ coming out of the clubs like INFERNAL ’s track.

Chi: Yeah, then true to our luck Europa went under and Planet Clique then offered to release the album on their label, download only, just to get it out there.

Were there many challenges in acquiring the masters for the album now titled ‘Modern Industry’ for release by Planet Clique?

Chi: Lucian Grange, head of Universal, was very nice about giving over all our masters. He always liked THE MODERN.

‘Discotheque Français’ was solely produced by Nick Zart and was released as the lead single for the album, what was the song inspired by?

Nathan: The original song was written in 2001 under the band name DIRTY BLONDE. We had a studio in Hackney at the time and there was a whole collective of producers and remixers living in this massive old factory called The Sweatshop. A friend in the studio next door to us heard us recording it and asked if they could do a remix.

Once a month there would be these massive parties at The Sweatshop and the remix of the song got played there. Somehow from there Eddie Temple Morris got hold of it and played it on his show on XFM. We released it as a white label, which I had a listen to the other day. It sounds like BUGGLES meets THE TOURISTS!

I think the lyric idea in the chorus had stemmed from the summers me and Chi used to spend at my mum’s place in southern France. The highlight of the holidays would be going to these tiny discos in these French villages and dancing to Eurodance music. The house was in the middle of nowhere in rural south west France and there was one radio station we could pick up called radio NRJ.

I used to religiously sit by the ghettoblaster all day long recording these fantastic Eurodance tracks onto cassette, so I’d have them long before they’d be released in the UK. I remember hearing ‘Rhythm Of The Night’ by CORONA about 6 months before it was released over here.

Emma: Actually Eddie Temple Morris got a hold of Ed Solo’s remix of ‘Suburban Culture’. It’s on the 2015 album release, Arts and Craft mix; The Sweatshop lot remixed ‘Suburban’ after the success of ‘Discotheque’.

Stephen did a version of ‘Discotheque ‘but it never came together. He admitted never feeling it.

The cover of David Bowie’s ‘Modern Love’ can be considered either very brave or very foolish, what led you to record it? What do you think about it in retrospect? 😆

Chi: God, I foolishly love our cover!

Nathan: There were a couple of covers we’d sometimes do in the live set that always used to go down well. My favourite was ‘Strange Little Girl’ by THE STRANGLERS. We did a really interesting take on that. We also covered ‘Over You’ by ROXY MUSIC and got the chance to record our version with Phil Manzanera playing guitar! Although I’m pretty sure that never saw the light of day.

Another one was ‘Under My Skin’ by Cole Porter, we did this great minimalistic icy electronic version of that. ‘Modern Love’ came about entirely because of the association with the band’s name and a club night we were doing at the time at Filthy McNasty’s in Islington called Modern Love. I’m pretty sure it was Nick Zart’s idea. In hindsight it might have been foolish, I certainly wouldn’t dare take on such a classic now, let alone a Bowie classic but I thought we brought something to it.

Emma: Filthy McNasty’s! Yes, great club night. We did it every fortnight and THE LIBERTINES did the other weeks.

How do you think ‘Modern Industry’ was received when it finally came out in 2007? There was a loss of momentum but how did it affect the band?

Nathan: I think if we’d brought out the album in 2005 it would’ve looked very different. Maybe it would have had ten tracks on it and been a bit more cohesive, but because there was this massive gap by the time it was released, it almost became a kind of retrospective of everything we’d done over the past seven years. It ended a kind of being a “Best Of” in a way.

It was a strange period for physical formats so were you disappointed the album came out as a download only?

Nathan: That was just the way things were going. No-one in their right mind would’ve released a vinyl album in 2007. It was a time of real change and people were still adjusting to it and trying to work it all out. No ‘Smash Hits’, no ‘Top Of The Pops’, we were in a right muddle!

In 2008, you returned to being called THE MODERN again, what were your reasons?

Emma: We changed the name to MATINEE CLUB as Europa were keen to relaunch us, phoenix from the ashes, but we always felt THE MODERN suited us so we just went back to that.

THE MODERN soldiered on for a few years but then the line-up fragmented in 2010?

Chi: Nathan had much more he wanted to do musically and Emma was doing a lot of acting work so KID KASIO was born. Emma and I have carried on and Rees Bridges, our original drummer came back to us after touring with DIRTY VEGAS. We released ‘Revenge’ in 2018, many of the tracks co-written with Nathan.

‘Modern Industry’ was given an expanded reissue as a release by THE MODERN under the new title of ‘Life In A Modern World’ in 2013, what was the thinking behind this?

Chi: Pure laziness. It just took us this long to get the album in its entirety out there.

Looking back, how do you think the album as a whole stands up? Which are your own favourite tracks?

Nathan: I think all of it still stands up well. My favourites on there are ‘Seven Oceans’ and ‘Sometimes’ and I really like ‘Travelogue’ (which is just on the 2013 re-release). It’s a great set of songs and an album that I’m really proud to have been part of.

Emma: I love ‘Sometimes’. The whole album still sounds fresh to me.

Chi: ‘Questions’ and ‘Nothing Special’. I’m so proud of the whole album.

If you had your time in THE MODERN again, how differently would you have done things?

Emma: We should have released singles and album much faster as back then there was a real coming back of synth bands like THE BRAVERY, FISCHERSPOONER and GOLDFRAPP but by the time we released it, THE ARCTIC MONKEYS got out there and it all went the way of indie guitar.

Chi: Nothing I’d change. I loved it.

Nathan: Yeah same, I wouldn’t have changed anything. The touring got stressful sometimes but on the whole when I look back, I just think of the fun we had and the great songs that came out of it.


The Electricity Club gives its warmest thanks to Emma Cooke, Nathan Cooper and Chi Tudor-Hart

‘Life In A Modern World’ is available now via Pie & Mash Recordings from the usual digital outlets

https://www.themodernband.com/

https://www.instagram.com/themodernofficial/


Text and Interview by Chi Ming Lai
6th August 2020

THE ELECTRICITY CLUB… The Next Generation?

Sitting on the sofa with my now thirteen year old daughter, who over the years has acquired a rather sarcastic sense of humour (who on Earth does she get that from?!) and pondering how to approach this task of reviewing ‘The Electricity Club’ compilation, makes us both burst out with hearty laughter.

After all, she wants to rise to the occasion properly, and review things “just like Mummy does”, or maybe not, as “Mummy always says it as it is!”

Children have the innate ability to always tell the truth; my daughter, however, has an uncontrollable need to please people, so this could really go either way. She will either be pulling her disgusted face, saying “what a load of rubbish!”, or candidly praise, without certainty.

My own adventure with music dates back many years indeed. I was brought up within, what they used to call in communist Poland, “an intelligence family”, meaning both my parents were white collar workers, rather than working class.

My father, a respectable judge, had loved his music greatly and was an avid guitar player himself, while my mum, a teacher, enjoyed listening to pretty much anything within the popular genre (usually via her radio, which, to this day, is always on).

Recalling the baby book entry, which my mum recorded when I was at the tender age of five, saying “Monika loves listening and dancing to records, she could spend all day doing so”, makes me try and remember the old record player and hundreds of vinyl albums which my parents owned.

All this said, I hold my older by ten years brother solely responsible for my eventual music choices. As I was growing up, I just had to endure what he was listening to (at great volume, may I add!).

As legal copies of western music were incredibly hard (or, simply, impossible) to get, his room was full of pirate cassette tapes of everything from THE HUMAN LEAGUE to MICHAEL JACKSON and anything and everything in between.

He would take great pride in inviting me into his musical cave and fed me with DEPECHE MODE, ERASURE, ELECTRIC LIGHT ORCHESTRA and OMD.

And all this worked… during his absence, I’d sneak in and put my favourites on, which would primarily include the works of DEPECHE MODE, with the vinyl of ‘Black Celebration’ and maxi-single vinyl of ‘Stripped’ being the firm first choices. And that’s how I acquired the electronic music bug. From then on, not much else mattered but coming home from school and playing the entire back catalogue of the Basildon boys, dotted with the works of YAZOO and ERASURE.

My Allie has had little choice, since her musical adventure dates back to being in my womb. At the age of three she would sing ERASURE’s ‘You Surround Me’ on top of her little baby voice, and her sweet childish vocal was sampled and recorded by a well-known UK electronic duo.

Her first gig was at the age of five, and she went to see ERASURE at six and DEPECHE MODE twice at the grown-up age of seven, keenly taking part in the experience.

Although since she’s found love for KATIE PERRY, ARIANA GRANDE and TAYLOR SWIFT, and electronic music hasn’t been on her radar much lately, she absolutely loved ASHBURY HEIGHTS’ ‘The Looking Glass Society’. She also has a lot of vintage DEPECHE MODE on her Spotify playlist, interestingly enough none of it past ‘Songs Of Faith & Devotion’, and plays it at least twice a week.

Having heard that, I would include her opinion in the tongue-in-cheek review of The Electricity Club compilation, she keenly decided to be a serious contributor, and so it goes…

MAISON VAGUE Synthpop’s Alive

Allie: I don’t like it but I like it…

Mon: Bit GARY NUMAN this is! But a tad laboured and rough and ready.

Allie: I like the synth sounds, the voice sounds a bit weird.

KID KASIO Full Moon Blue

Mon: Ah, my favourite of Nathan’s! Love it, love it, love it!

Allie: I like the sounds, the first bit sounds a bit like DEPECHE MODE!

Mon: Yeah, a tribute to ‘Two Minute Warning’!

Allie: That’s it! I like it a lot. I like his voice.

ELECTRONIC CIRCUS Roundabout

Allie: Oh my God! Rubbish!

Mon: Why? *cannot contain the laughter*

Allie: It’s just rubbish!

Mon: Erm, the synth is good, not sure about the vocal…

DAYBEHAVIOR It’ s A Game – Marsheaux remix

Mon: I like this, analog synth! Lovely…

Allie: I like it, like the vocal, but it’s not something I’d listen to if I had a choice.

Mon: Oh, I would. Very good song and well produced by MARSHEAUX.

MARNIE The Hunter

Allie: Reminds me of something but I don’t know what. I like it, love the vocal.

Mon: I hear a bit of LADYTRON, BJÖRK and MARSHEAUX. It’s fresh and enticing.

Allie: Yes, LADYTRON! That’s it!

NIGHT CLUB Cruel Devotion

Allie: Ohhhh, I like that!

Mon: You’ve met them last year Allie! Very good!

Allie: Oh yes, I do like this! I like the background sound and the vocals. I’d play that in my room… She doesn’t sound American! Is she American?

Mon: Yes! *laughs*

Allie: I’d make music like that!

ELEVEN ELEVEN Through The Veil

Mon: I like the beginning, bit of KYLIE there.

Allie: I don’t know who that is! I like the vocals!

Mon: I like the sound! (Note to self: “must educate Allie on KYLIE”).

QUEEN OF HEARTS United

Mon: Oh I’m liking this, fat synth and decent voice…

Allie: I like it, both synth and the vocal.

KATY PERRY Hot N Cold – Marsheaux remix

Allie: It’s KATY PERRY! I like this! I like this remix, it’s different from the original! *singing out loud*

Mon: I never liked the original and this doesn’t do it for me either.

Allie: What?! I love it! But her voice is a bit screechy, like on the normal version!

ERASURE Be The One – Paul Humphreys remix

Allie: Sounds like ERASURE…

Mon: It is!

Allie: Ah, I knew it! Is it a remix?

Mon: Yep.

Allie: I love ERASURE, this is lovely.

Mon: Totally agree.

KID MOXIE The Bailor

Allie: I don’t like her vocals.

Mon: I do, it’s a good song.

Allie: I like the music, the melody is nice.

Mon: It’s a grown up song, very atmospheric and cinematic. Great use of synth. My kind of electronica.

KEEP SHELLY IN ATHENS Oostende

Allie: I like it! The vocals are great. I’d listen to it in the car.

Mon: Yes, it’s good, both vocally and musically.

FOTONOVELA featuring JAMES NEW My Sorrow

Allie: I’ve heard it before.

Mon: Really? I haven’t! You must be thinking of something else.

Allie: It’s ok, reminds me of something you’ve played before.

GIRL ONE & THE GREASE GUNS Jessica

Allie: I don’t like it, vocals aren’t great, don’t like the music.

Mon: It’s not my cup of tea either, but I’m sure it’ll appeal to few people.

AUTOMATIC WRITING Continuous

Mon: Interesting start! It’s different, I shouldn’t like it but I do.

Allie: It’s ok, again, it reminds me of something.

METROLAND Thalys – London edit

Mon: Oh I like that. Simple arrangement and that’s all you need. Not sure about the voice sample though.

Allie: It’s very robotic, like science fiction. It’s like something from another planet. It’s KRAFTWERK!

RODNEY CROMWELL Black Dog

Allie: Yeah! That’s ok! *does a little dance*

Mon: Hmmm, not sure. It’s not unpleasant.

SIN COS TAN Trust

Allie: Don’t know, not sure about that one.

Mon: It’s ok.

Allie: Bored now!

POLLY SCATTERGOOD Other Too Endless – Vince Clarke remix

Mon: Good synth on this one. Liking this a lot. Competent vocals and arrangement, a real stand out.

Allie: Not my cup of tea.

TENEK What Do You Want?

Allie: Is that MESH? Sounds like it!

Mon: No, it’s not, it’s TENEK. It’s a good song.

Allie: Yes, I really like it. I like the instruments.

ANALOG ANGEL We Won’t Walk Away

Allie: It’s fast. Not my kind of thing.

Mon: It’s very well written. It needs more oomph! Very OMD.

ARTHUR & MARTHA Autovia

Allie: It’s not in tune… I don’t know, I don’t like it.

Mon: It’s different, not me either…

MARSHEAUX Suffer The Children

Mon: A cover. Good.

Allie: It is good, bouncy.

SECTION 25 My Outrage

Mon: Oh dear, messy! Too candied for me, bit all over the place.

Allie: Yes, I don’t think it’s good. I can’t describe it but it’s not something I’d listen to.

047 featuring LISA PEDERSEN Everything’s Fine

Allie: Clubby! Like it. Yes, I do! *bounces away*

Mon: Good, isn’t it? I like the club feel to it. A good dance song.

TAXX Is It Love?

Mon: Oh yes, good stuff! Progressive. Decent vocal too.

Allie: It’s ok, but I wouldn’t listen to it in the car. At a disco, maybe…

LIEBE I Believe In You

Allie: You know the ding-ding sounds? They remind me of PET SHOP BOYS!

Mon: “Ding-ding sounds!” To me the vocal technique resembles NEW ORDER. It’s good.

QUIETER THAN SPIDERS Shanghai Metro

Mon: It’s ok.

Allie: Too poppy, way too poppy. Chow mein? *laughs*

iEUROPEAN feat WOLFGANG FLÜR Activity Of Sound

Mon: That’s it! The synth is all there. Semi-modular synth? Very tidy!

Allie: I do actually like it! It’s club but different.

TWINS NATALIA Destiny

Mon: Not me vocally but decent synth I suppose.

Allie: I like the vocals! I don’t know, all confused now, too many songs!

Mon: No, that’s awful.

MESH Tuesday

Mon: YAZOO cover Allie!

Allie: I knew that I knew it! Is that MESH?!

Mon: Yes!

Allie: Thought so. I like anything MESH!

Mon: Now, there’s a surprise!

Allie: You know me!

MIRRORS Between Four Walls

Allie: Like this one, nice music.

Mon: Bit laboured… it’s not bad though.

OMD Time Burns – Fotonovela rework

Allie: Very robotic.

Mon: Not me!

VILE ELECTRODES Deep Red

Allie: I like the vocals, sounds a bit like Sarah Blackwood!

Mon: It’s Jane actually!

Allie: Ahhhh! Doh! I like that a lot. It’s slow! *laughs*

Mon: It is good, but no surprise there.

Allie: Is that the last song?!

Mon: Yes…

Allie: Thank god, I’m tired now!

She will sleep well! I have to say, she did surprise me with some songs and disappointed with others but that just proves to me, that tastes do indeed vary, and even if I’m vehemently against something, others will find it enticing.

‘The Electricity Club’ compilation is a marvellous collection of tunes, and that’s a given. There’s something for everyone here and what a cross-section of all electronica. Still, I come to conclusion that thirteen year olds are probably not mature enough to fully appreciate certain synth music…

Will she follow in my steps? Not for a while… if ever! The one thing we certainly have in common: WE SAY IT AS IT IS!


‘The Electricity Club’ is released on 3rd December 2018 by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation can be pre-ordered from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

Please note this product is NOT on sale through The Electricity Club website and only via retailers

A Spotify sampler of the compilation can be listened to at: https://open.spotify.com/playlist/7xwTYTeH6b5vgCqjZudfGE

http://www.amour-records.com

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https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Monika Izabela Trigwell
1st December 2018

THE ELECTRICITY CLUB 2CD Compilation

Amour Records / Minos EMI / Universal Music in collaboration with Undo Records are to release a 2CD compilation compiled by The Electricity Club.

Capturing its ethos to feature the best in new and classic electronic pop music, this compilation is the culmination of a period which has seen the resurgence of the genre. Over the years, The Electricity Club appears to have reflected the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk.

Little did The Electricity Club know when it launched on 15th March 2010, it would go on to interview many of the key players in Synth Britannia, get granted an audience with two former members of KRAFTWERK and be influential in helping some of the best new synthesizer talents gain a profile within a reinvigorated scene. So it is highly apt that WOLFGANG FLÜR should make an appearance on this collection.

The Electricity Club is pleased to showcase its ethos in the form of this tangible audio artefact. Among the impressive cast, there are prime movers from the classic era like PAUL HUMPHREYS and VINCE CLARKE. Without the influence of the bands they respectively co-founded, OMD and DEPECHE MODE, electronic pop as The Electricity Club likes it would not exist.

Meanwhile the next generation are represented by acts such as KID MOXIE, NIGHT CLUB, RODNEY CROMWELL and VILE ELECTRODES. Incidentally, the latter were invited to support OMD on their 2013 German tour following ANDY McCLUSKEY’s discovery of the duo while perusing The Electricity Club’s virtual pages. The bloodline from ‘Radio-Activity’ to ‘Romance Of The Telescope’ and then to ‘Deep Red’ is easily traceable and deeply omnipresent.

The Electricity Club has always relished its diverse taste credentials. It doesn’t do retro or contemporary, just good music. No other compendium could dare to include the spiky post-punk of GIRL ONE & THE GREASE GUNS and the rousing electro-rock of MESH alongside pop princesses such as QUEEN OF HEARTS or KATY PERRY. Be it Glasgow’s ANALOG ANGEL and MARNIE, Manchester veterans SECTION 25 or Essex boys TENEK, it all fits into The Electricity Club’s avant pop playground.

With international representation also from Gothenburg’s DAYBEHAVIOR and 047, Shanghai synthpoppers QUIETER THAN SPIDERS, Texan dance duo ELEVEN: ELEVEN, Belgium’s own passengers METROLAND and the self-explanatory KEEP SHELLY IN ATHENS, the tracks gathered capture a special moment in time where innovative musical aspirations and good tunes have again manifested themselves in the same context.

The collection features a number of covers including MESH’s take on YAZOO’s ‘Tuesday’ and MARSHEAUX’s reinterpretation of TEARS FOR FEARS’ first single ‘Suffer The Children’. In addition, tracks such as MARSHEAUX’s stomping remix of KATY PERRY’s ‘Hot ‘N’ Cold’ and MIRRORS’ ‘Between Four Walls’ make their premiere in CD format.

The tracklisting is:

CD1

01 MAISON VAGUE Synthpop’s Alive
02 KID KASIO Full Moon Blue
03 ELECTRONIC CIRCUS Roundabout
04 DAYBEHAVIOR It’s A Game (Marsheaux remix)
05 MARNIE The Hunter
06 ELEVEN:ELEVEN Through The Veil
07 NIGHT CLUB Cruel Devotion
08 QUEEN OF HEARTS United
09 KATY PERRY Hot ‘N’ Cold (Marsheaux remix)
10 ERASURE Be The One (Paul Humphreys remix)
11 KID MOXIE The Bailor
12 KEEP SHELLY IN ATHENS Oostende
13 FOTONOVELA featuring JAMES NEW Our Sorrow (Original mix)
14 GIRL ONE & THE GREASE GUNS Jessica 6
15 AUTOMATIC WRITING Continuous
16 METROLAND Thalys (London Edit)
17 RODNEY CROMWELL Black Dog

CD2

01 SIN COS TAN Trust
02 POLLY SCATTERGOOD Other Too Endless (Vince Clarke remix)
03 TENEK What Do You Want? (Alternate TEC version)
04 ANALOG ANGEL We Won’t Walk Away
05 ARTHUR & MARTHA Autovia
06 MARSHEAUX Suffer The Children
07 SECTION 25 My Outrage
08 047 featuring LISA PEDERSEN Everything’s Fine
09 TAXX Is It Love?
10 LIEBE I Believe In You
11 QUIETER THAN SPIDERS Shanghai Metro
12 iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound
13 TWINS NATALIA Destiny
14 MESH Tuesday
15 MIRRORS Between Four Walls
16 OMD Time Burns (Fotonovela rework)
17 VILE ELECTRODES Deep Red


‘The Electricity Club’ is released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation be purchased from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

Please note this product is NOT on sale through The Electricity Club website and only via retailers

http://www.amour-records.com

https://www.facebook.com/amour.records/

https://twitter.com/Amour_Records

https://www.instagram.com/amour_records/

https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Chi Ming Lai
12th November 2018, updated 16th January 2020

KID KASIO & KAL-Q-LUS One Chance

The video for the final single from KID KASIO’s 2015 ‘Sit & Wait’ album has an interesting back story as mainman Nathan Cooper told The Electricity Club:

“Back in 1991, Lewisham Council ran a ‘Search For A Video Star’ competition.

The idea behind the initiative was to provide a platform for young local performers to showcase their talent and foster a sense of community between local musicians and the beleaguered council, who had recently had their arts funding slashed.

The ‘video’ angle set the contest apart from your run of the mill talent showcase, and tied in neatly with the launch of a local cable TV station, which was scheduled for later in the year (it never happened).

Woolworths had got on board, and a futuristic looking booth was erected in the Riverdale shopping centre and the whole affair advertised in the pages of the local Newshopper. I turned up one sunny summer morning in that July of 1991 with my friend KAL-Q-LUS clutching a cassette demo of a song we had recently recorded.

It took some persuading to let the engineer put our tape into the overdubbing machine, as most people turning up that day had been encouraged to sing over popular hits of the time, but after 20 renditions of RIGHT SAID FRED’s ‘I’m Too Sexy’ and BEVERLY CRAVEN’s ‘Promise Me’, I think he was secretly quite pleased to be hearing something different.”

“We stepped inside the booth and stood in front of the green screen as the sound of our scratchy demo drifted over the speakers. It was a shame that my mum, who had accompanied us on the day, insisted that my young cousin Toby joined us in the booth. In hindsight though it was Toby’s dancing that really stole the show that day.

As we exited the booth we were asked to choose a backdrop for the video that would be super imposed onto the green behind us. We chose a random series of acid house style patterns called something like ‘future rave’ and we headed home excitedly clutching a VHS tape of our masterpiece.

The following week the local paper printed a Top 10 of what they deemed were the best performances from the weekend of the booths stay at the Riverdale centre. We didn’t make the Top 10…”

Now some of the facts in this story may not be entirely true… but as the late and much missed Tony Wilson of Factory Records fame once said: “When forced to pick between truth and legend, print the legend.”

Directed by Ed Crofts and filmed at the synthtastically equipped Fiction Studios in Central London, this tongue-in-cheek video certainly helps perpetuate this KID KASIO myth.


Special thanks to Nathan Cooper

‘One Chance’ is from the album ‘Sit & Wait’, both are available via the usual digital platforms

http://www.kidkasio.com/

https://www.facebook.com/kidkasio/

https://twitter.com/KidKasio

https://www.instagram.com/kidkasio/


Text by Chi Ming Lai
18th June 2018

VAL SOLO Songs From Another Time… And Space

If you describe your influences as the “softer” side of synthpop and cite NIK KERSHAW, HOWARD JONES, YAZOO, HEAVEN 17, together with ABBA and ELECTRIC LIGHT ORCHESTRA as your inspirations and have been making popular synth music since 1983, the good chance is that your name is VAL SOLO.

Valdi Solemo started up in Sweden in a Malmö band POP-OUT, before deciding to relocate to Bulgaria to work with some of the cream of local musicians, producing and writing there.

The music hungry sound shifter produced DR. FONKENSTEIN, before coming back home after ten years to join S.P.O.C.K. Now, VAL SOLO presents his “alone” project, with the exception of remixes from such recognised figures as Johan Baeckström of DAILY PLANET and NASA’s Patrik Henzel in charge of mastering.

‘Songs from Another Time… And Space’ can be best described as a younger brother to the UK’s own KID KASIO, where the prevailing love affair with the synth during its most prolific era is the theme.

The album cover features the music magician surrounded by good old vintage cars depicted in black and white, where Val looks into the future, preserving the feel of the times when life was simpler.

If you’re after a sophisticated, masterfully poignant electronica, you won’t find it here. If however, you’re looking for a cheery, uncomplicated and easy listening pieces to take you back in time, ‘Songs From Another Time… And Space’ are for you.

Is it the super vintage ‘Why Would You Tell Me’, the era love affair of ‘Dream Girl (Purple Eyes)’, or the ‘Star Wars’ inspired ‘Party Like A Stormtrooper’ with its synths a la AND ONE, there’s something for everyone here. The latter even bears the musical blueprint of Essex boys MODOVAR.

‘I’m In Space (Cabdriver Dreams)’ is a perfect disco track with its mantric refrain and fun execution in such a way, there’s nothing left to do but let your hair down and party.

The opening ‘Why Don’t You Talk To Me’ with its additional three remixes, notably one by Johan Baeckström, is the most accomplished number on the opus, reminiscent of YAZOO and early DEPECHE MODE.

Who says synthpop has to be serious… VAL SOLO proves that having fun isn’t a bad thing, especially in the world of today, where we are all bombarded with negativity, politics and dystopian ideas.

Solo’s “solo” is unostentatious, modest and not at all fussy. It’s music for those willing to be transported to much simpler times, with much purer ideas and uncomplicated rhythms.

‘I Believe’ it’s vital to shed the shackles of the ordinary existence and let yourselves go… “let it happen, life is just what you want it to be”.


‘Songs from Another Time… And Space’ is released by Zoolemo Music and available as a download or CD from https://valsolo.bandcamp.com

https://www.facebook.com/ValSoloPop/


Text by Monika Izabela Trigwell
6th January 2018

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