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:
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
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:
2016 will forever be remembered as the year when a significant number of cultural icons and popular musical figures left us; DAVID BOWIE, PRINCE, TOMITA, PETE BURNS, COLIN VERNCOMBE, KEITH EMERSON, DON BUCHLA and LEONARD COHEN were just some of the names who sadly departed.
But despite sadness that loomed, the year did produce some good music, particularly in the second half of the year.
GARY NUMAN launched an ambitious Pledge Music campaign and released some excellent collaborations with JOHN FOXX & THE MATHS, JEAN-MICHEL JARRE and TITÁN. But with his retrospective tour of material from his three most popular albums taking up much of his year, his new crowdfunded album did not meet its planned October release deadline.
Meanwhile JEAN-MICHEL JARRE had an excess of material and issued the second volume of his ‘Electronica’ project which also featured YELLO and PET SHOP BOYS, plus a third instalment to his classic opus ‘Oxygène’.
YELLO and PET SHOP BOYS also released new albums to a positive reception, proving again that partnerships featuring personnel over the age of 60 can still create music that is fresh and relevant.
Incidentally, one of YELLO’s young vocalists FIFI RONG continued to maintain her artistic profile with successful campaigns for her releases ‘Forbidden Desires’ and ‘Alone’.
2016 saw two concept albums emerge in ‘The Ship’ from BRIAN ENO, a solemn art piece with poignant anti-war messages and ‘Awake But Always Dreaming’, a very personal musical statement by HANNAH PEEL on the traumas of dementia. It was a busy year for Miss Peel with her also contributing her voice to BEYOND THE WIZARDS SLEEVE and JOHN FOXX & THE MATHS, as well as showcasing her own MARY CASIO side project.
WRANGLER released a new album ‘White Glue’ which exuded a less rigid format compared to its predecessor ‘LA Spark’ and collaborated with JOHN GRANT at the Rough Trade 40 live celebrations, while the prolific Neil Arthur issued another new BLANCMANGE album in ‘Commuter 23’ while also launching a new side project NEAR FUTURE with BERNHOLZ.
The Manchester veteran ERIC RANDOM issued ‘Words Made Flesh’, the second album of his recent return to the music while RUSTY EGAN finally presented ‘Welcome To The Dancefloor’ which despite its title, was actually a collection of classic styled synthpop. After many years of trials and tribulations for the co-founder of VISAGE, the long player featuring MIDGE URE, TONY HADLEY and CHRIS PAYNE who co-wrote ‘Fade to Grey’ exceeded expectations.
Space travel and synths were just made to go together, so JØTA and VANGELIS conceived projects covering The Cold War space race and the more recent Rosetta probe respectively. Meanwhile, WHITE LIES again showed they are as synthy as they are guitary on their ‘Friends’ album, and even started to sound like A-HA!
So again, Sweden still proved it was special with SILENT WAVE and MY GOD DAMN TERRITORY exhibiting varying degrees of potential. But it was REIN in particular who was causing a stir within the ranks of EBM, while the country’s best kept secretKITE toured North America and Asia. However, neither of these two latter artists figured in the line-up of Gothenburg’s Electronic Summer 2016 festival.
The Nordic region saw the welcome return of VILLA NAH with the album ‘Ultima’ after a five year absence, while TRENTEMØLLER made the case again as to why he is still the perfect producer for DEPECHE MODE with his new long player ‘Fixion’.
Greece was still the word with LIEBE, KID MOXIE and MARSHEAUX all presenting brand new releases, while SARAH P. maintained her profile with a series of inventive promo videos highlighting the ongoing issues of equality for women within the music industry. Embracing the same issue on the other side of the Atlantic, I AM SNOW ANGEL immersed herself in setting up the FEMALE FREQUENCY collective while also releasing her own music.
Over in LA, NIGHT CLUB developed on the promise of their EP trilogy and got a bit heavier on their debut long player ‘Requiem For Romance’, ending up sounding not unlike Britney fronting NINE INCH NAILS in the process!
Meanwhile the instrumental front, Texan couple HYPERBUBBLE provided some ‘Music To Color By’, Brussels duo METROLAND touchingly paid tribute to their late friend Louis Zachert with ‘Things Will Never Sound The Same Again’ and ULRICH SCHNAUSS went ‘No Further Ahead Than Today’. And MOBY offered a gift to profound relaxation with his free ‘Long Ambients 1: Calm. Sleep.’ download package.
PERTURBATOR’s ‘The Uncanny Valley’ became a flag bearer for the synth wave movement, along with the acclaimed soundtrack by SURVIVE members Kyle Dixon and Michael Stein for the absorbing Netflix drama ‘Stranger Things’.
But totally unexpected was ‘Silver City Ride’, a full length electro album from MARC ALMOND in collaboration with STARCLUSTER featuring his most synth laden body of work since SOFT CELL.
The biggest surprise of 2016 was ‘Fly’ the soundtrack souvenir to ‘Eddie The Eagle’, the light hearted biopic of the bespectacled Olympic ski jumper; featuring new material by members of FRANKIE GOES TO HOLLYWOOD, SOFT CELL, SPANDAU BALLET, ULTRAVOX, ERASURE and OMD in collaboration with TAKE THAT’s Gary Barlow, this looked like a terrible idea on paper.
But it was brilliantly executed and the resultant album was a largely enjoyable collection of retro flavoured pop.
Electronic acts actually got to headline the Glastonbury Festival in 2016, albeit on The Other Stage as opposed the main event; NEW ORDER and CHVRCHES wowed the crowds when they shared the bill on the Saturday night. There were rumours that KRAFTWERK and DEPECHE MODE might feature in 2017 but this was not to be, although both acts sent social media into overdrive when they announced major tours.
Among those accorded career spanning multi-disc boxed sets were ERASURE, MARC ALMOND, DEAD OR ALIVE and THE HUMAN LEAGUE. Somehow though, SIMPLE MINDS managed to milk a six disc variant of ‘New Gold Dream’ in the third of their classic album deluxe box editions; it was an amazing feat seeing as only ten songs were completed during the original sessions! The collection boasted no less than twelve takes of the aptly titled ‘Promised You A Miracle’; but the latest incarnation of the Glaswegians combo’ first big hit with KT TUNSTALL for their ‘Acoustic’ album proved to be one version too many.
Much better value for the money for the discerning music fan were the four ASSOCIATES double CD reissues, supervised by Alan Rankine and Michael Dempsey. Based around their first three albums and a ‘Very Best Of’ compilation, each additionally featured a plethora of rare and previously unreleased songs; they were a fitting tribute to the late Billy MacKenzie.
Nostalgia was very much a part of 2016, with HEAVEN 17, OMD and PETER HOOK & THE LIGHT all touring popular albums. And following the success in recent years of retro festivals such as ‘Rewind’ and the strangely named ‘Let’s Rock’, classic synthpop finally found itself part of the holiday camp circuit.
Part of the Butlins Music Weekender series, ‘Electric Dreams’ featuring OMD, MARC ALMOND, HEAVEN 17, BLANCMANGE and HOLLY JOHNSON almost went badly off-piste with the addition of GO WEST and THE ZOMBIES (!?!) to the programme. But the organisers pulled an unexpected surprise and booked modern synth acts like MARSHEAUX and AVEC SANS to support the bill.
Hardened retro festival goers are notorious for not embracing new music, but this ethos has to be welcomed and could provide an interesting new model for the future of event based entertainment. However, based on photographic evidence, the presence of inflatable pink flamingos and coloured wigs indicated the crowd atmosphere might have been no different to any of the usual nostalgia outings, but with a roof and central heating added!
And while TEC004 featuring MARSHEAUX, KID KASIO and RODNEY CROMWELL was not in the same league, it was a fine showcase for the best in independent synthpop.
Both events proved again that the best electronic music events are those actually curated by electronic music enthusiasts, something that is not the case with several other events.
In all, 2016 was not a vintage year for electronic pop. If there was a lesson this year, it’s been to cherish and appreciate great life’s moments where possible, especially with the number of music figures that have been lost in the last 12 months.
Things cannot go on forever sadly…
Best Album: PERTURBATOR The Uncanny Valley
Best Song: SOULWAX Transient Program for Drums & Machinery
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BATTLE TAPES featuring PARTY NAILS Solid Gold
Most Promising New Act: VOX LOW
Best Album: VILE ELECTRODES In The Shadows Of Monuments
Best Song: ASSEMBLAGE 23 Barren
Best Gig: ASSEMBLAGE 23 at Denver Oriental Theatre
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: VOX LOW
Best Album: ERIC RANDOM Words Made Flesh
Best Song: RATIONAL YOUTH This Side Of The Border
Best Gig: Troika! featuring KITE BASE, HANNAH PEEL + I SPEAK MACHINE at Shacklewell Arms
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: ZANIAS
CHI MING LAI
Best Album: VILLA NAH Ultima
Best Song: VILE ELECTRODES The Vanished Past
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BEYOND THE WIZARD’S SLEEVE Diagram Girl
Most Promising New Act: ANI GLASS
Best Album: MARSHEAUX Ath.Lon
Best Song: RODNEY CROMWELL Baby Robot
Best Gig: GARY NUMAN at Norwich UEA
Best Video: MARSHEAUX Like A Movie
Most Promising New Act: DISQO VOLANTE
MONIKA IZABELA TRIGWELL
Best Album: APOPTYGMA BERZERK Exit Popularity Contest
Best Song: KID KASIO Full Moon Blue
Best Gig: SPEAK & SPELL at Islington Academy
Best Video: BLACK NEEDLE NOISE featuring JENNIE VEE Heaven
Most Promising New Act: JOHAN BAECKSTRÖM
Overall, 2016 was not a vintage year, but there were plenty of quality songs on offer throughout the year and a number were significantly outstanding.
Rounding down to a final 30 songs is always difficult and among the acts in the initial shortlist were ADAM IS A GIRL, BRIAN ENO, DELERIUM, EMIKA, KALEIDA, LADYHAWKE, METROLAND, PRESENCE OF MIND, REIN, FIFI RONG, SPRAY, WHITE LIES and the now disbanded ANALOG ANGEL.
After much deliberation and with a restriction of one song per artist moniker, here are The Electricity Club’s 30 Songs of 2016 in alphabetical order…
APOPTYGMA BERZERK Rhein Klang
Futurepop veteran Stephan Groth certainly put his head on the line releasing an instrumental Sci-Fi concept album as an APOPTYGMA BERZERK long player. But with influences like KRAFTWERK, TANGERINE DREAM and JEAN-MICHEL JARRE, ‘Exit Popularity Contest’ was an undoubted artistic success and perhaps what ‘MG’ should have sounded like. Full of Groth’s electronic lifeblood, ‘Rhein Klang’ was a wonderful oscillating slice of synth motorik in tribute to NEU!
JOHAN BAECKSTRÖM has been involved in electronic music for several decades, but it wasn’t until 1994 that he gained recognition as part of DAILY PLANET with vocalist Jarmo Ollila. His first album ‘Like Before’ in 2015 drew favourable comparisons to Vince Clarke. A competent vocalist himself, the long player’s title song got a standalone release in 2016 and instantly recalled the glory days of ERASURE with its precise, yet emotive synthpop with a message to “swim the oceans like before”.
Crossing CRYSTAL CASTLES with YELLOW MAGIC ORCHESTRA, the husband and wife DIY duo BATTERY OPERATED ORCHESTRA released their first album ‘Incomplete Until Broken’ in 2014. Inspired by a poltergeist experience after a gig in Hamburg, the ‘Radiation’ album’s title song synthetically apes WIRE and TUBEWAY ARMY as it searches for its shadow in vain. Yes, there are musical references to the past, but the tune is fully Battery Operated.
Possibly one of the songs of 2016, BEYOND THE WIZARDS SLEEVE’s ‘Diagram Girl’ was the work of Erol Alkan and Richard Norris, formally of THE GRID. Featuring the unisex vocals of HANNAH PEEL, a deeper pitch shift provided a psychedelic out-of-this-world feel which bizarrely fitted in alongside the songstress’ dreamily breathy tones. Meanwhile the pulsing electronic soundtrack had surreal echoes of OMD, in particular their lesser known minor hit ‘Secret’.
BLACK NEEDLE NOISE featuring KENDRA FROST Warning Sign
It can be tricky keeping up with the prolific studio legend John Fryer. Following the critical success of his projects MURICIDAE and SILVER GHOST SHIMMER, BLACK NEEDLE NOISE employed a flexible lead vocal policy and did away with the idea of albums or EPs, focussing on just single songs. Magically breathy, ‘Warning Sign’ employed the soaring vocals of Kendra Frost from KITE BASE against a spacious backdrop of synths, beats and guitars for a brooding sonic amalgam.
With the sort of mighty Linn Drum engine room that would make Martyn Ware proud and punctuated with some rugged lead synth, ‘Hundred Hands’ was the best track on CIRCUIT3’s debut album. The work of Dublin based musician Peter Fitzpatrick, he even dropped in hints of KRAFTWERK’s ‘Showroom Dummies’ by way of a musical tribute. The parent album ‘siliconchipsuperstar’ was classic styled synthpop made by someone weaned on classic synthpop.
The elegiac ‘Thank You’ utilised some ‘Endless Endless’ vocodered stylings over layers of sweeping synthetic strings and a gentle metronomic pulse. A list of RUSTY EGAN’s musical heroes and associated beneficiaries in no particular order, this tone poem was a touching acknowledgement of electronic music’s marvellous history. A simple yet highly effective idea, the beauty is in its realisation. Appropriately, it ends with a touchingly poignant “VISAGE… thank you”.
A previously unreleased song for a compilation of Foxx’s song based work in the new millennium, ‘A Man & A Woman’ was a surprise in that it was less rigid than previous JOHN FOXX & THE MATHS recordings. Featuring some enchanting whispers from the seemingly ubiquitous HANNAH PEEL, it was an interesting departure that even featured some subtle acoustic guitar flourishes. Foxx’s work is still under-appreciated, so for many ‘21st Century: A Man, A Woman And A City’ provided an opportunity to catch up.
Welsh songstress ANI GLASS served her apprenticeship with girl groups GENIE QUEEN and THE PIPETTES and worked with Andy McCluskey and Martin Rushent respectively along the way. ‘Y Ddawns’ (‘The Dance’) was a wonderfully exhilarating pop art adventure. Swathed in synths and driven by a metronomic beat, it was a declaration of hope, deeply voiced in the verse with a gorgeous soaring resonance in the chorus, about “finding solace and meaning in music, dance, art and culture”.
Helsinki-based Ringa Manner has been making crystalline sine waves as THE HEARING. Her second album ‘Adrian’ boasted the sub-eight minute epic ‘Kabeldon’. A outstanding electronic work with an affinity to Norwegian songstress SUSANNE SUNDFØR, there were also bows to DAVID BOWIE’s ‘I’m Deranged’ when the mad cascading piano kicked in alongside the frantic drum ‘n’ bass and steadily building cacophony of noise. Then, when it appeared all over, the song mutated into an eloquent Nordic dubstep ballad!
Available on the album ‘Adrian’ via Solina Records
The project of Julie Kathryn, the haunting tension of ‘Losing Face’ accentuates a variety of electronic and organic colours. A muted chop’ n’ chuck provides the percussive backbone while an eerie soundscape is steadily configured as Kathryn succumbs to lust. “You’re different when you’re on top of me… how I hate the state I’m in” she paradoxically reflects, as bubbling detuned synth swirls and acoustic guitar penetrate the foreboding atmosphere in the vein of ‘Felt Mountain’ era GOLDFRAPP.
JEAN-MICHEL JARRE & CYNDI LAUPER Swipe To The Right
After decades of composing lengthy synth symphonies, there must have been times when the France maestro must have just wanted to do a four minute pop tune. This JEAN-MICHEL JARRE managed in a quirky collaboration with Brooklyn’s CYNDI LAUPER. No stranger to electronic forms, particularly with her under rated ‘Bring Ya To The Brink’ album of 2007, ‘Swipe To The Right’ had big bass riffs galore for a great poptastic exploration, while reflecting on the use of Tinder in modern relationships.
KID MOXIE is Elena Charbila, the Greek born singer and actress who likes to make music with friends. Working best in collaboration, her well-received album ‘1888’ showed she had blossomed and displayed an inventive maturity following the gutter pop of her early releases. From her best body of work yet in ‘Perfect Shadow’, the seductive ‘Still High’ was gloriously cinematic synthpop with a touch of maiden iciness that affirmed this artistic progression.
One-time label mates of MARSHEAUX, LIEBE are the electro disco duo comprising of George Begas and Dimos Zachariadis who could be considered the Greek PET SHOP BOYS. Sitting on that difficult bridge between pastiche and post-modern, their romantic disco friendly sound mines Europop while adding the vocal drawl of Jarvis Cocker. The magnificent JEAN-MICHEL JARRE goes Italo disco of ’The Box’ was the highlight of their wonderfully escapist pop album ‘Revolution Of Love’.
Recorded in London and Athens, a new approach saw MARSHEAUX’s trademark wispiness blended in with a subtle tone of aggression. The opening song on ‘Ath.Lon’, the album title of which was derived from the cities of Athens and London, ‘Burning’ was a harsh but sexy slice of synth expressionism. While clearly referencing darker electronica forms with its hypnotising percussive motif, it crucially maintained the essence of a good tune.
With their new album ‘Looking Skyward’, MESH alleviated any fears that they might not be able to sustain the artistic momentum seeded by 2013’s ‘Automation Baby’. Despite the lyrically negative nature of ‘The Fixer’, a driving bass triplet attached to a solid four-to-the-floor beat and an anthemic topline shed a light of optimism amongst the gloom. MESH have firmly carved their own niche and any disillusioned DEPECHE MODE fans should consider joining the fold immediately…
Buoyed by the acclaim of their EP trilogy and their power as a live act, NIGHT CLUB experimented with a more aggressive synth rock disco sound for their debut long player ‘Requiem For Romance’. Playing around with a range of unsettling vocal pitch shifts and religious imagery for the sinister overtones of ‘Pray’, Emily Kavanaugh and Mark Brooks have more than substantiated their position as one of North America’s best independent electronic pop duos.
It’s been a busy year for HANNAH PEEL; layered with staccato voice samples and uplifting bursts of symphonic strings, the driving arpeggio laden ‘All That Matters’ was her calling card, not just as her most synthpop offering yet but also as a mantra to live in the moment. The opening track of her second album ‘Awake But Always Dreaming’, her very personal musical journey themed around memory and the effects of dementia was a startling artistic triumph.
Never mind their age, PET SHOP BOYS are still ‘The Pop Kids’ and ‘Twenty-something’ ones at that. But on the moodier ‘The Dictator Decides’, there comes one of those politically laced introspective numbers in the vein of ‘My October Symphony’ and ‘Don Juan’ that Tennant and Lowe always do so well. As Tennant deadpans “if you get rid of me, we can all be free”, the song provides an amusing surreal narrative of a tyrannical politician bored of his outright power and wanting to live a normal life.
From the Cold War Night Life curated ‘Heresy: A Tribute To Rational Youth’, one of the highlights from the collection is PSYCHE’s take on ‘Ring The Bells’ from appropriately, RATIONAL YOUTH’s ‘Cold War Night Life’ debut. The clattering 808 beat and elegantly haunting sweeps combined with Darrin Huss’ mournful vocal provide an atmospheric reworking that betters the original and reflects the decades long kinship between RATIONAL YOUTH and PSYCHE.
Greek electropop goddess SARAH P. started her music career as the frontwoman of KEEP SHELLY IN ATHENS. With ‘I’d Go’ she said: “Most of the people do not get that this song is not as happy as it sounds at a first listen”. 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!” – her full length debut long player ‘Who Am I?’ is eagerly awaited.
Available on the mini-album ‘Free’ via EraseRestart
Enigmatic Gothenburg electronic trio SILENT WAVE possess the hauntronica hallmarks of fellow Swedes THE KNIFE. ‘War’ is a reminder of how that sibling duo once combined tunes with their experimentation. With a suitably dark Nordic vibe, it could easily have come off ‘Silent Shout’ and while the template is undoubtedly derivative, ‘War’ is extremely well executed.
Available on the download single ‘War’ via Silence Records
With his career spanning 10 CD box set ‘Trials Of Eyeliner: Anthology 1979-2016’, the last thing anyone expected from MARC ALMOND this year was an electronic pop album. Almond first recorded with Anglo German production duo STARCLUSTER in 2008. A great cover version, ‘To Have & Have Not’ was originally recorded by RONNY and retains the stern manner of the former Parisian model, while giving this slice of modern Weimar Cabaret a new lease of life.
Available on the album ‘Silver City Ride’ via Closing the Circle / Private Records
An appearance at the 2015 ELECTRI_CITY_CONFERENCE in Düsseldorf reinforced TINY MAGNETIC PETS’ reputation as an intriguing live act by winning over figures such as Rusty Egan and Andy McCluskey. The soulful ‘Not Giving In’ makes the most of Paula Gilmer’s enticingly wispy voice. With detuned pulses contrasting the digital chimes and staccato voice samples, an unusual stuttering reggae inflected beat enhances the atmosphere.
Highly exuberant and featuring a poptastic four chord progression, ‘Believe In Love’ was TRAIN TO SPAIN’s first recording to feature producer Lars Netzel aka NOT LARS as a full-time member. It developed on the promise of songs like ‘Passion’ from their debut album ‘What it’s All About’ released in 2015 and significantly gave more space within Jonas Rasmusson’s classic synthpop framework for lead singer Helena Wigeborn to exude her charm in. But it seems TRAIN TO SPAIN are back to a duo again…
‘River In Me’ was an unusual TRENTEMØLLER recording in that Jehnny Beth from SAVAGES actually came to his home studio in Copenhagen to lay down her vocals. The end result possessed a Gothic intensity, yet was vibrant and melodic with Beth’s Siouxsie-like tones complimenting the hybrid synth laced soundscape. While some complained that ‘River In Me’ was not as dark as the Dane’s previous work, it was his most immediate offering yet with a fine balance of accessibility and mood.
It’s the avant pop approach reminiscent of early OMD that sets VILE ELECTRODES apart from and makes them so captivating. ‘The Vanished Past’ is a potent successor to the drama of ‘Deep Red’, complete with a mighty drum cacophony à la OMD’s ‘Navigation’. Bleak and wonderful, “not everything is as it seems” as a forlorn stranger joins in. As the seven minute adventure unfolds like a lost OMD epic, that stranger begins to sound like a certain George Andrew McCluskey!
From their superb second album ‘Ultima’, ‘Stranger’ was a brilliant return for VILLA NAH after a five year absence. Front man Juho Paalosmaa said: “‘Stranger’ is a play on words; how somebody you’ve known can turn stranger over the span of time… and end up as a complete stranger in the process. I don’t think it’s a track I would’ve written as a 20 year old. It requires some years of age and experience to really understand how time can change people, including yourself.”
Available on the album ‘Ultima’ via Solina Records
If CABARET VOLTAIRE had hijacked Compass Point Studios in The Bahamas while TALKING HEADS were recording ‘Speaking In Tongues’, the end result might have ended up sounding a bit like this. ‘Stupid’ sees Stephen Mallinder in warped falsetto mode over a hypnotic sequence of menacing synths from Benge and Phil Winter. The track’s rhythmic heart creates an almost robotic, yet electro-funk feel for one of the undoubted highlights on WRANGLER‘s ‘White Glue’ album.
Despite 37 years of making music together, the distinctive sound of YELLO remains intriguing and distinctly European and the new album ‘Toy’ delighted fans. On the superb ‘Electrified II’ (the original version appeared on Boris Blank’s boxed set of the same name), Dieter Meier has his mind blown by the velvet voice of Malia. As she exclaims “Life’s a bitch and I’m no witch”, this could be Shirley Bassey indulging in some seductive energetic electro-cabaret.
Available on the album ‘Toy’ via Polydor / Universal Music
LIEBE are the Greek electropop duo comprising of George Begas and Dim Zachariadis.
Hailing from the Hellenic art capital of Thessaloniki, LIEBE released their debut album ‘Club Royal’ in 2010. Their second album ‘Somewhere in Time’ came out on Undo Records back in 2012 and really did as the title suggested, harking back to a period when Giorgio Moroder and Bobby Orlando were models of dancefloor cool.
Sitting on that difficult bridge between pastiche and post-modern, LIEBE’s love of synthpop and Italo disco continued on their third album ‘Airport’. The lead single ‘I Believe In You’ imagined PULP’s Jarvis Cocker joining PET SHOP BOYS circa 1987 and was accompanied by an alluring promo video which gained traction on MTV Europe.
Their most recent album ‘Revolution Of Love’ developed on the sunny, holiday vibe of ‘Airport’ and has won the duo some new fans including Rusty Egan.
Ultimately an optimistic experience shaded in melancholy, ‘Revolution Of Love’ is a wonderfully escapist pop record.
LIEBE vocalist George Begas kindly chatted to The Electricity Club about the duo’s career so far.
LIEBE’s music has a very retrospective visual element to it, as well as being danceable?
We think that our music is not dance music, some songs have a high tempo but the core and melody gives more of a radio pop friendly character.
‘Flamingo Nights’ does take you back to love boats and cruises…
‘Flamingo Nights’ is a different side of the music we like. We try to sometimes sound a bit different from our main electropop sound. It is a song written in an easy listening mood with us thinking of Burt Bacharach and Stan Getz.
Who are LIEBE’s main musical influences?
Main musical influences? Hmmm… from disco to easy listening and electro 80s music to indie pop and new wave, both of us like similar bands and sounds.
Is the musical vibe of LIEBE almost inevitable when you are living somewhere that is sunny?
In Greece, the sun is shining a lot and gives us a feeling of a free spirit. With a more easy going style of everyday life, the music we make could lead to bossa nova and easy listening summer grooves. But unfortunately our music is full of dark and melancholic areas with slow drums and chaotic synths… it’s not the sunniest music you can hear.
Is the Jarvis Cocker afflicted droll in the vocals accidental, like on ‘Meet The Stars’?
We both like PULP and sometimes we pay a bit of a tribute to the voice and maybe some lyrics. That had more of a preaching style, but there is some Jarvo into it.
What makes Italo disco so maligned by some, but loved by others?
Italians do it better I suppose, this 70s piano music that makes the people dance is back in a fresh new edition. A flashback to music is always welcome, especially with such super sounds.
‘I Believe In You’ is possibly one of your best songs and a good introduction to LIEBE. How was the song conceived?
It’s just another song we have written for our third album, I can say that it has all the elements and sounds that LIEBE is fond of. Thank you for the compliment, but it’s hard for us to rate and to put in a favourite scale to our songs, but it is definitely one of our favourites.
The video for ‘I Believe In You’ proved to be very popular on MTV Europe. Where did the concept come from?
We asked a dance school to make a choreography for the song; the idea was to make something different from our other video clips and to avoid our own main role on the screen. The girls did a fantastic job and gave a nice view to our music.
SARAH P. who was in KEEP SHELLY IN ATHENS says there is not much of an electronic music scene in Greece, what do you think and how has that helped or hindered you?
Music in Greece or the music industry in Greece is pure Greek lyrics and R‘n’B, hip-hop and traditional bands. There is a music scene in Greece playing pop, indie, new wave and electro but the audience is limited. Radio, TV and magazines give a poor recommendation to bands like that. However, we have an international view for our music.
Your most recent album, ‘Revolution Of Love’ perhaps has an indirect political message too? Has the economic mood in Greece had any effect on the music you make?
Things in Greece over the last few years are not the same as they used to be. The bad economy gives a really hard time to the society and us. The idea was to make a revolution made by love and for love, let’s make a revolution for a good reason, pure and crystal love with a will not for a need, but peace and togetherness. The problems in our country had no effect to our way of writing songs and to the feelings behind them.
LIEBE have explored some new directions like on ‘The Box’ which sounds a little like JEAN-MICHEL JARRE?
‘The Box’ has these synths and pianos of Jarre, but the chorus goes a bit NEW ORDER in their ‘Regret’ era. With dark and big synths, it’s one of our good ones in our live set.
‘Sound Of The Moments’ explores a more house based club direction?
It’s our dancey song on the album, a bit of PSB kind of singing, like telling a story about flirting in a bar under this music. The end has a more classic summer feeling with the trumpet leading the way to the end.
You both undertake a variety of projects outside of LIEBE?
Dim is writing songs for his personal project, in a dancey, slow disco, funky style with some Italo moments. I make some pop songs, indie stuff and a bit of easy listening guitar music.
What’s next for LIEBE?
At the moment, we are rehearsing with a drummer, guitarist and trumpet player to make a full live band for our forthcoming live shows. I hope one day we will play in UK, but until then, all the best…
The Electricity Club gives its grateful thanks to LIEBE
Special thanks to Thanos Avratoglou
‘Revolution Of Love’ is released by Emerald & Doreen Recordings and available from the usual digital retailers
LIEBE are the Greek electro disco duo comprising of George Begas and Dimos Zachariadis.
Hailing from Thessaloniki, they released their 2010 debut album ‘Club Royal’ on Planetworks; their second long player ‘Somewhere In Time’ came out on Undo Records in 2012.
Sitting on that difficult bridge between pastiche and post-modern, their romantic disco friendly sound mines Italo and synthpop.
But whatever retrospective tendencies LIEBE may have, they do it with panache and style. The sexy video for ‘I Believe In You’ from LIEBE’s third album ‘Airport’ is a good example of this and gained traction on MTV Europe in 2014.Their fourth album ‘Revolution Of Love’ develops on the sunny, synth assisted holiday vibe of ‘Airport’.
While it generally has a dance friendly momentum, it opens steadily with a very authentic, Jarvis Cocker afflicted droll from Begas on ‘Meet The Stars’. The groovy dance template of ‘Reasons’ ups the tempo and comes over like a collaboration between PET SHOP BOYS and PULP, while things head slightly Trans-Atlantic with the Moroder-esque rock disco of the title track; it’s a path that ’This Way’ also follows.
The more house laden ‘Sound of The Moments’ amusingly and enjoyably imagines Jarvis Cocker guesting for THE GRID and even adds a trumpet solo from Kostas Katsaros to authentic things further. The classic European synth melodies on ‘Vienna’s Dreams’ give the song some widescreen drama while unsurprisingly, ‘Riviera’ conjures up images open top cars along the Mediterranean coast.
’Orlando’ brings some soppiness and flautist textures to proceedings, but this comparative lull is countered by the magnificent JEAN-MICHEL JARRE goes Italo disco of ’The Box’. Then there’s a total surprise with ’Skyline’, an incongruous but fun clashing of CHINA CRISIS with SOUL II SOUL, before the electric Latin bounce of instrumental ’Date3’. With the presence of a deep Italiano voice sample, it acts as a Hellenic answer to NEW ORDER’s ‘Tutti Frutti’ to close proceedings.
A good and optimistic pop album, ‘Revolution Of Love’ is wonderfully escapist, something everyone needs at this moment in our turbulent times. LIEBE may not have strayed from their sound too much, but why should they? They are very good at what they do… ΥΓΕΙΑ!
With thanks to Thanos Avratoglou
‘Revolution Of Love’ is released by Emerald & Doreen Recordings, available from the usual digital retailers