Tag: Little Boots (Page 2 of 2)

25 FAVOURITE ARTIST COLLABORATIONS

Artist collaborations can be seen in several ways.

They are either a chance to take the best elements of great bands to form an even greater supergroup, or as has happened in many cases, there is a watering down of prime concepts which results in a fragmented mess of little interest to anyone.

So here are 25 artist collaborations that actually worked; the list is restricted to one song per main act, defined as being the one who released the parent album.

That means PET SHOP BOYS, who have been among the most ubiquitous and willing of conspirators, get to appear as themselves and as guests of ELECTRONIC and David Bowie while NEW ORDER’s Bernard Sumner appears as part ELECTRONIC as well as also moonlighting for THE CHEMICAL BROTHERS and Philip Oakey of THE HUMAN LEAGUE gets in there twice as a guest.

Over more recent years, there appears to have much more freedom for artists to collaborate, notably with SPARKS recently unveiled collaboration with Glasgow based art rockers FRANZ FERDINAND, named rather straightforwardly FFS. And this is reflected by this list here which has a bias towards new millennium recordings, although ELECTRICITYCLUB.CO.UK is pleased to say, this is a Calvin Harris free zone 😉


SYLVIAN SAKAMOTO Bamboo Houses (1982)

After ‘Taking Islands In Africa’, David Sylvian and Ryuichi Sakamoto making their artistic presence felt outside of JAPAN and YELLOW MAGIC ORCHESTRA. Coupled with ‘Bamboo Music’, ‘Bamboo Houses’ expanded on the electro-acoustic textures of ‘Tin Drum’. Sylvian delivered his usual mournful vocal but Sakamoto’s monologue and marimba gave the track that extra ethnic authenticity.

Available on the DAVID SYLVIAN compilation ‘A Victim of Stars 1982-2012’ via Virgin Records

http://www.davidsylvian.com/

http://sitesakamoto.com/


MIDGE URE & MICK KARN After A Fashion (1983)

‘After A Fashion’ was a blistering sonic salvo that crossed the best of JAPAN’s rhythmical art muzak with ULTRAVOX’s ‘The Thin Wall’. Karn later played on Ure’s ‘Remembrance Day’ in 1988 and Ure briefly joined JBK, the band formally known as JAPAN sans David Sylvian for an aborted project in 1992 that resulted in two songs ‘Cry’ and ‘Get A Life’. Sadly Karn passed away in 2011 after losing his battle against cancer.

Available on the MIDGE URE album ‘No Regrets’ via Music Club Deluxe

http://www.midgeure.co.uk/

http://mickkarn.net/


SHARPE & NUMAN Change Your Mind (1985)

Bill Sharpe was pianist with jazz fusion group SHAKATAK and with their drummer Roger Odell, they had written a piece of computerised electrofunk that needed a vocal. Engineered by Nick Smith who had also been working with Gary Numan, he suggested that the former Mr Webb would be ideally suited. They very much looked the odd couple with the curly haired jazz funk aficionado next to The Iceman but it worked!

Available on the SHARPE & NUMAN album ‘Automatic’ via Cherry Pop

http://www.numan.co.uk

http://www.billsharpe.com


LES RITA MITSOUKO & SPARKS Singing In The Shower (1990)

In France, LES RITA MITSOUKO had hits such as ‘Marcia Baïla’ and ‘C’est Comme Ça’. Catherine Ringer and Fred Chichin were influenced by the eccentric overtures of SPARKS and with a moniker in a similar vein to the Mael Brothers’ breakthrough LP ‘Kimono My House’, an artistic union was inevitable. “Feeling dirty and feeling clean”, the catchy ‘Singing In The Shower’ was a hit in Europe.

Available on the LES RITA MITSOUKO album ‘Marc & Robert’ via Virgin France

http://www.catherineringer.com/

http://allsparks.com/


ELECTRONIC featuring PET SHOP BOYS The Patience Of A Saint (1991)

‘The Patience Of A Saint’ from ELECTRONIC’s debut was undoubtedly the highlight of that album. Featuring the involvement of both PET SHOP BOYS, the witty exchange between Bernard Sumner and Neil Tennant was accompanied by a gorgeous backing track of drum machine, swimmy string synth and minimal guitar.

Available on the ELECTRONIC album ‘Electronic’ via Warner Music

http://www.feeleverybeat.co.uk/

http://www.petshopboys.co.uk/


808 STATE featuring IAN McCULLOCH Moses (1993)

‘Gorgeous’ was 808 STATE’s first album as a three piece featuring early mash-up experiments based around UB40, THE JAM and JOY DIVISION, one of the wholly original compositions though was ‘Moses’, a rare electronically backed outing by Ian McCulloch. Sounding like NEW ORDER with a Scouse snarl, the unusual but enjoyable partnership was the highlight of the album.

Available on the 808 STATE album ‘Gorgeous’ via ZTT Records

http://www.808state.com/

http://www.bunnymen.com/


ELEKTRIC MUSIC featuring ANDY McCLUSKEY Kissing The Machine (1993)

Recorded for his ELEKTRIC MUSIC project after leaving KRAFTWERK, Karl Bartos’ collaboration with OMD’s Andy McCluskey featured one of his best synth melodies. Bartos said “We picked some cassettes and finally I found the opening notes of ‘Kissing The Machine’. A month later he sent me a demo”. With fabulously surreal lyrics about a love affair with a sexy robot, it was resurrected by OMD in 2013.

Available on the ELEKTRIC MUSIC album ‘Esperanto’ via SPV Records

http://www.karlbartos.com/

http://www.omd.uk.com/


LEFTFIELD LYDON Open Up (1993)

John Lydon had shown himself to be a willing collaborator following 1984’s ‘World Destruction’ as TIME ZONE with electro rap pioneer Afrika Bambaataa. But ‘Open Up’ with dance duo LEFTFIELD came as something of a surprise. Lydon was suitably angry as he reflected on the tensions of his adopted home with a screaming “Burn Hollywood, burn!” over an intense electronic soundtrack.

Available on the LEFTFIELD album ‘A Final Hit’ via Sony Music

http://www.leftfieldmusic.com/

http://www.johnlydon.com/


DAVID BOWIE featuring PET SHOP BOYS Hallo Spaceboy (1996)

BLUR’s Alex James once remarked that having a PET SHOP BOYS remix was like having your dog being taken for a walk, but then, when it came back, it was a different dog! PET SHOP BOYS certainly re-produced this Bowie/Eno composition from ‘1.Outside’ into a much more commercial proposition, even utilising the cut-up technique to decide which words Neil Tennant would sing.

Available on the DAVID BOWIE album ‘Nothing Has Changed’ via EMI Music

http://www.davidbowie.com/

http://www.petshopboys.co.uk/


THE CHEMICAL BROTHERS featuring BERNARD SUMNER Out Of Control (1999)

‘Out Of Control’ was THE CHEMICAL BROTHERS’ sonic template actually fulfilling its potential within a song based format with Bernard Sumner as the willing conspirator. ‘Out Of Control’ had everything from a bombastic backbeat and cerebral sequences to bizarre lyrics, especially when Sumner resigned that “maybe my moustache is too much…”

Available on THE CHEMICAL BROTHERS album ‘Singles 93-03’ via Virgin Records

http://www.thechemicalbrothers.com/

http://www.neworder.com


SYSTEM F featuring MARC ALMOND Soul On Soul (2001)

Ferry Corsten had a huge international hit in 1999 with ‘Out Of The Blue’ under his SYSTEM F moniker. It highlighted the spiritual connection between synthpop and trance so to substantiate the link further, the Rotterdam based producer recruited MARC ALMOND to guest on the blinding ‘Soul On Soul’ for a spirited, club friendly workout.

Available on the album ‘Out Of The Blue’ via Tsunami Records

http://www.ferrycorsten.com/

http://www.marcalmond.co.uk/


X-PRESS2 featuring DAVID BYRNE Lazy (2002)

The Dumbarton born TALKING HEADS frontman was back in the mainstream limelight for the first time since the band disbanded in 1991 with this superb online collaboration with British DJ duo X-PRESS2. David Byrne gave his best afflicted ‘Psycho Killer’ meets ‘Once In A Lifetime’ warble for what became a No2 UK chart hit.

Available on the X-PRESS2 album ‘Muzikizum’ via Skint Records

http://www.skintentertainment.com/artists/skint/x-press-2

http://davidbyrne.com/


JUNKIE XL featuring DAVE GAHAN Reload (2003)

‘Reload’ was a welcome relief after DEPECHE MODE’s paradoxically titled ‘Exciter’. The brief sojourn with Dutch producer Tom Holkenborg aka JUNKIE XL proved once and for all how well Dave Gahan’s voice worked on uptempo electronic dance tracks. The parent album also featured guest vocals from Gary Numan…

Available on the JUNKIE XL album ‘Radio JXL: A Broadcast From the Computer Hell Cabin’ via EMI Music

http://www.junkiexl.com/

http://www.davegahan.com


ERASURE featuring CYNDI LAUPER (2007)

Ms Lauper was heading towards a career renaissance with her excellent ‘Bring Ya To The Brink’ album in 2008 so her collaboration with ERASURE in 2007 was quite timely. A soulful slice of Trans-Atlantic synthpop, ‘Early Bird’ was an enjoyable duet that was one of the more memorable tracks from the lukewarm ‘Light At The End Of The World’ sessions.

Available on the ERASURE EP ‘Storm Chaser’ via Mute Records

http://www.erasureinfo.com/

http://www.cyndilauper.com


LITTLE BOOTS featuring PHILIP OAKEY Symmetry (2009)

When ‘Symmetry’ was unveiled, THE HUMAN LEAGUE had not released any new material since 2001. With a fabulous chorus and Victoria Hesketh doing her best Susanne Sulley impression, when it was Phil talking, it was magic. “Tell me your dreams and I’ll tell you all my fears” he announced, as they complimented each other in a way that had not really even been heard on a League record before.

Available on the LITTLE BOOTS album ‘Hands’ via 679 Recordings

http://www.littlebootsmusic.co.uk

http://www.thehumanleague.co.uk


MY ROBOT FRIEND featuring ALISON MOYET Waiting (2009)

MY ROBOT FRIEND aka Howard Rigberg famously created the song ‘We’re The Pet Shop Boys’ in honour of Messrs Tennant and Lowe, who subsequently covered it by way of a reverse compliment. Rigberg went recruited Alison Moyet for her first purely electronic adventure since the YAZOO days on ‘Waiting’.

Available on the MY ROBOT FRIEND album ‘Soft-Core’ via Double Feature/Worried Rainbow

http://www.myrobotfriend.com/

http://www.alisonmoyet.com/


PET SHOP BOYS featuring PHILIP OAKEY This Used To Be The Future (2009)

‘This Used To Be The Future’ was a dream trioet, exclusive to ‘Yes etc’, that featured Neil Tennant, Philip Oakey and Chris Lowe. With Lowe actually singing as opposed to just speaking, this triumphant celebration of yesterday’s tomorrow saw Oakey deadpan in that classic disappointed tone that things didn’t quite turn out how Raymond Baxter predicted on ‘Tomorrow’s World’!

Available on the PET SHOP BOYS album ‘Yes: Further Listening 2008-2010’ via EMI Music

http://www.petshopboys.co.uk/

http://www.thehumanleague.co.uk


RÖYKSOPP featuring ROBYN The Girl & The Robot (2009)

The centrepiece of RÖYKSOPP’s third album ‘The Girl & The Robot’ was perhaps the culmination of Robyn’s steady rise as a truly independent female artist. Her superiors at BMG reacted negatively to her new electropop aspirations inspired by fellow Swedes THE KNIFE. Frustrated, ROBYN bought herself out of her contract, giving her the freedom to work with whoever she wanted.

Available on the RÖYKSOPP album ‘Junior’ via Wall Of Sound / PIAS

http://royksopp.com/

http://robyn.com/


BLANK & JONES featuring CLAUDIA BRÜCKEN Don’t Stop (2010)

The German dance duo had previously worked with Miss Brücken on ‘Unknown Treasure’, a most gorgeous electrobeat ballad from 2003. ‘Don’t Stop’ was a progression on that but with a wider texture pallet and more abstract electronic overtones. Despite being less song based, vocally it is classic Claudia with its spoken verse and sexy ice maiden delivery in chorus.

Available on the BLANK & JONES album ‘The Logic Of Pleasure’ via Kontor Records

http://www.blankandjones.info

http://www.claudiabrucken.co.uk


CRYSTAL CASTLES featuring ROBERT SMITH Not In Love (2010)

Re-recorded for single release, Alice Beer took a breather to allow guest Robert Smith from THE CURE to take lead vocals on ‘Not In Love’, a dark but accessible number from CRYSTAL CASTLES’ second album. Smith more than fitted in with the Canadian duo’s aggressive and occasionally chaotic electronic template on this frantic uncovering of a song by obscure Toronto new wave combo PLATINUM BLONDE.

Available on the CRYSTAL CASTLES featuring ROBERT SMITH single ‘Not In Love’ via Last Gang/Fiction Records

http://www.crystalcastles.com/

http://www.thecure.com


MOTOR featuring MARTIN L GORE Man Made Machine (2012)

MOTOR’s electro stomper ‘Man Made Machine’ featured vocals by DEPECHE MODE’s Martin Gore in a collaboration which came over a bit like a camp Iggy Pop. Gore certainly sounded a touch nervous and uneasy, luring over the duo’s brand of harder edged schaffel techno which only enhanced its appeal.

Available on the MOTOR album ‘Man Made Machine’ via CLR

http://www.wearemotor.com

http://www.martingore.com


FOTONOVELA featuring MIRRORS Our Sorrow (2013)

Not content with producing MARSHEAUX and collaborating with OMD on ‘Helen Of Troy’, Greek duo FOTONOVELA released a second album featuring a number of  international vocalists entitled ‘A Ton Of Love’. ‘Our Sorrow’ featured James New from the much missed MIRRORS. In the vein of classic OMD, New’s majestic vocal touching the heartstrings, the wonderful melancholy was perfect, soulful electronic pop.

Available on the FOTONOVELA album ‘A Ton of Love’ via Undo Records

http://www.facebook.com/undofotonovela

http://www.facebook.com/theworldofmirrors


JOHN FOXX & JORI HULKKONEN Evangeline (2013)

John Foxx and Jori Hulkkonen had worked together previously on various one-off songs like ‘Dislocated’ and ‘Never Been Here Before’ but had never before attempted a body of work with a conceptual theme. ‘European Splendour’ was an EP with a grainier downtempo template. The lead track ‘Evangeline’ featured an anthemic chorus and vibrant exchange of overworldly character.

Available on the JOHN FOXX & JORI HULKKONEN EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com


SIN COS TAN featuring CASEY SPOONER Avant Garde (2013)

SIN COS TAN’s Jori Hulkkonen first found fame as part of TIGA & ZYNTHERIUS in 2001 at the height of the Electroclash movement. ‘Avant Garde’ saw Casey Spooner from the scene’s flag bearers FISCHERSPOONER make a guest appearance although track it was more like THE CURE produced by PET SHOP BOYS. Spooner provided a cynical snarl to contrast Juho Paalosmaa’s impassioned lost boy cry.

Available on the SIN COS TAN album ‘Afterlife’ via Solina Records

http://sincostan.net/

http://www.fischerspooner.com


iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound (2014)

The marvellous electronic number ‘Activity Of Sound’ was recorded by Wolfgang Flür in collaboration with iEUROPEAN. The project of Dublin based artist Sean Barron, the additional female monologue  was provided by Barron’s wife, Izabella. The track saw Herr Flür quoting an archive interview with the late avant garde composer John Cage to a soundtrack of hypnotic synthetic bliss.

Available on the iEUROPEAN featuring WOLFGANG FLÜR download single ‘Activity Of Sound’ via Subculture Records

https://www.facebook.com/pages/iEuropean/149564838461817

http://www.musiksoldat.de


A playlist entitled ‘Collaborations Don’t Work… Or Do They?’ containing all 25 tracks listed here and many more can be listened to via
https://open.spotify.com/playlist/16qeOhJoUaCbjSa8MJaltp


Text by Chi Ming Lai
25th May 2015

Introducing PAWWS

PAWWS_press_shot_credit-SIMON_WISBEY

Photo by Simon Wisbey

With LITTLE BOOTS having gone dance and LA ROUX brandishing a guitar on her forthcoming second album, there is now a vacancy for a new kooky homegrown talent to take on the female electropop challenge laid down by Norway’s ANNIE back in 2007.

One of the possible candidates is PAWWS, otherwise known to her parents as Lucy Taylor.

PAWWS is what CHVRCHES would sound like if they were an all-female concern ie a blokey free zone. Throw in some Scandipop influences plus a dose of second hand Roland JX-8P and the end result is some sweet, sugary electronically driven pop.

Certainly those on a calorie controlled diet will need to be careful. Sparkling and sprightly, ELECTRICITYCLUB.CO.UK was drawn to the coy, feline magnetism of ‘Slow Love’, a track that was the B-side of her 2013 debut single ‘Time To Say Goodbye’ while several of the team spotted her supporting HURTS.

Slightly moodier, ‘Time To Say Goodbye’ took on a more dramatic pace but was no less impactful, like LYKKE LI or IAMAMIWHOAMI on extra helium. Whether the classically trained North Londoner will last the course eventually to take on ROBYN and ANNIE or disappear into the wilderness like SUNDAY GIRL is not important right now. That her music exists and is good is all that really matters.

Her new EP ‘Sugar’ uses the short-chain, soluble carbohydrate as a metaphor for the pitfalls of love… after all, who hasn’t pursued something that may actually be harmful for you in the long term? The title track has been described “As if Kylie had worked with OMD” by The Sunday Times.

Meanwhile Lucy Taylor herself has labelled her music “upsetting disco” and ‘Give You Love’ from the EP lives up to that template. Certainly those who prefer their music with rough edges and have an aversion to female fronted synthpop will have their touch paper lit even further with the rich, smooth offerings that are ‘Sugar’ and ‘Give You Love’ 😉

‘Sugar’ is released on 16th June 2014 as a download EP by Best Fit Recordings but there will also be a limited edition 12” pink vinyl and most importantly, a CD… yes, at last, there is an artist and label who together are seeing sense and recognising there is still a demand for the silver digital discs!


The ‘Sugar’ EP is released by Best Fit Recordings

PAWWS plays The Lexington in London on Monday 12th May 2014

https://www.pawwsmusic.co.uk

https://www.facebook.com/PawwsMusic

https://www.instagram.com/pawwslucy/

https://www.soundcloud.com/pawws


Text by Chi Ming Lai
9th May 2014, updated 7th July 2014

LITTLE BOOTS Nocturnes

What Goes Up Has To Go Down…

LITTLE BOOTS won the BBC Sound Of 2009, was dubbed the next big thing and even the future of music!

Equipped with her Yamaha Tenorion, MicroKorg and Poly6, the Blackpool songstress Victoria Hesketh certainly made the right noises with her Moroder-esque calling card ‘Stuck On Repeat’ produced by HOT CHIP’s Joe Goddard, the thumping GARY NUMAN meets TIMBERLAND stutter of ‘Meddle’ and her subsequent collaborations with both Mr. Numan himself and THE HUMAN LEAGUE’s Phil Oakey.

Her time in DEAD DISCO had also proved she was certainly capable of something that was still pop but a bit edgier. However, within these synthesized aspirations was pressure from her label 679 / Atlantic to turn her into the next Kylie Minogue… productions by Greg Kurstin, Biff Stannard and the ubiquitous RedOne were evidence of that. Despite great songs on her debut ‘Hands’ such as ‘Earthquake’, ‘Symmetry’, ‘Ghost’, ‘Tune Into My Heart’, ‘Mathematics’ and ‘Remedy’, there was a major watering down of her synth girl concept and things were not helped when LA ROUX came along and stole her thunder with No1s and Grammy Awards.

There was room for a new female synthpop star but the public decided it was to be Elly Jackson. No matter the marmite nature of Jackson’s falsetto from the ghetto, LA ROUX’s eponymous debut was conceived as an album and mixed by producer/collaborator Ben Langmaid with laptops in mind to suit the modern listening habits of a young audience. ‘Hands’ tried to cover too many bases despite Victoria Hesketh’s obvious talent and ruined by a label who were confused as to how best to market her. ‘New In Town’ in particular was a poor choice for the launch single when there were so many good songs available.

Fast forward to 2013 and lessons have been learnt on both sides. 679/Atlantic allowed LITTLE BOOTS’ label mate MARINA & THE DIAMONDS to have more artistic control and the end result was a distinct identity for 2010 debut album ‘The Family Jewels’, while her pop concept follow-up ‘Electra Heart’ reached No1 in the UK. Meanwhile, Hesketh has parted ways with 679/Atlantic and certainly their failing to exploit the potential of LITTLE BOOTS will forever stand as a missed opportunity. Now solely independent via her On Repeat imprint, it is within this context that Miss Hesketh finally releases her second album ‘Nocturnes’.

Four years is a long time in music and during that time, acts such as CHVRCHES have moved the goalposts as far as traditional synthpop is concerned while EDM has cracked America. The lure of clubland and nightlife (hence the album’s title) appears to be where Miss Hesketh’s head is at right now.

She said to This Is Fake DIY about her new material: “It’s less 80s synth pop influenced, it’s quite an upbeat album, which I think has stemmed from the fact I have been DJing a lot, and listening to a lot of dance music”. However, the previews have not been promising. Comeback single ‘Shake’ released in late 2011 was an enjoyable if rather pedestrian house excursion while ‘Every Time I Say A Payer’ lacked memorable hooks. Another taster ‘Headphones’ did not improve the situation and has now been left off the new album altogether.

So what is ‘Nocturnes’ like and will it win back the audience lost in the post-BBC Sound Of 2009 backlash that ensued? While album opener ‘Motorway’ attaches some dreamy soundscapes that recall dance anthem ‘Let Me Be Your Fantasy’, it is missing that killer topline. If you are going to make dance records, you’ve got to stun the brain and hit the feet… but this doesn’t do that. In fact, it is a bit of a nocturnal wash.

Now, if LITTLE BOOTS was being accused of being too much like Pop Kylie on ‘Hands’, then ‘Confusion’ is more Deconstruction-era Dance Kylie. Like with ‘Shake’ and ‘Motorway’, it’s all pleasant enough but lacks impact. ‘Broken Record’ is better and starts with neo-SASH! bassline pulsing while the bridge is quite wonderful; however it feels incomplete. Meanwhile, ‘Beat Beat’ gets the full funky mirrorball treatment and does Disco Kylie. There’s nothing wrong with imitating the Aussie pixie but none of these tracks are ‘Spinning Around’ or ‘Can’t Get You Out Of My Head’.

Continuing on, ‘Crescendo’ is much more mid-tempo and shows hints of the inventiveness that Miss Hesketh is capable of with some great percolating and spacey electronic sounds. It highlights what is actually missing from ‘Nocturnes’; that avant textural weirdness that made ‘Stuck On Repeat’, ‘Meddle’ and ‘Symmetry’ so special. There’s also too much of that dated Italo House piano stabbing. As the album progresses, ‘Strangers’ is almost barely noticeable while ‘All For You’, although a move away from the out-and-out dance template of ‘Nocturnes’, is quite forgettable.

But the saving grace comes last with the glorious ‘Satellites’. With tightly sequenced bass, crashing effects, siren-like synths and a catchy chorus, it is bleepingly euphoric and miles ahead of anything else on the album. And with lyrics such as “What goes up has to go down… I’m falling down to earth”, it could be seen as autobiographical. ‘Satellites’ is great, so why isn’t the rest of ‘Nocturnes’?

There are flashes of brilliance but this is not a patch on ‘Hands’ or even what exists of CHVRCHES’ small but impressive catalogue. While the future may not see LITTLE BOOTS being able to carry the momentum of being a popstar in her own right, a possible career as a songwriter for hire in the vein of Cathy Dennis, Alison Clarkson or Linda Perry beckons it would seem.

ALTERED IMAGES’ Clare Grogan remarked to Word Magazine back in 2006 about the reaction to their second LP ‘Pinky Blue’: “…the people who loved you weren’t just disappointed in your next album, they were heartbroken”. It feels like that with ‘Nocturnes’ and it’s a shame because there is so much about LITTLE BOOTS that could have been 🙁


‘Nocturnes’ is released on 6th May 2013 via On Repeat Records

LITTLE BOOTS plays the following UK live dates: London Rough Trade East (10th May), Manchester Gorilla (14th May), London Bethnal Green Working Men’s Club (15th May)

http://www.littlebootsmusic.co.uk

http://www.facebook.com/littleboots


Text by Chi Ming Lai
2nd May 2013, updated 9th November 2013

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