With the release of their excellent breakthrough album ‘Fragment’ on MFS in Autumn 2018, STOLEN solidified their position leading the new generation of Chinese artists combining East and West.
‘Fragment’ was produced by Mark Reeder and Micha Adam in Berlin. Their Sinomatic techno-rock sound impressed NEW ORDER enough to invite the Chengdu sextet to open for them in Europe during Autumn 2919.
STOLEN were due to open for NEW ORDER again in Spring 2020 in Japan but with the escalating corona crisis, these dates along with an extensive tour of China were cancelled and the band was forced into lockdown for over six weeks.
After the restrictions were lifted in China, the moment that the band were allowed to go out, they immediately went to their practice studio and performed an live internet lockdown gig, in solidarity with all those people still in lockdown, or at worst, facing the prospect of one.
Led by the growly vocal presence of Liang Yi, songs from the NEW ORDER support set like the KRAFTWERK inspired ‘Why We Chose to Die in Berlin’, the mighty PINK FLOYD gone Techno of ‘Turn Black’, the buzzy extended jam of ‘The Loop Sin’ and the band’s hypnotic signature tune ‘Chaos’ were performed.
Other tracks featured included the poignant electro-metal rush of ‘Why We Follow?’ and the Middle Eastern flavoured ‘Aamir’ from their debut record ‘Loop’ which may appeal to modern day Numanoids. But proceedings were emotively concluded with the haunting Eno-esque ‘Drown With Me’.
The hour long set was broadcast live on 16th March 2020 and attracted over 200,000 viewers worldwide on social media. With virtually the whole world now in a state of isolation, this show has now been made available for all to stream via YouTube. Capturing aspects of the exhilarating audio-visual nature of their live presentation, it acts as a fine introduction to those who are curious about STOLEN.
With 2020 being the 40th anniversary of his passing, the late Ian Curtis of JOY DIVISION eerily captured the current situation in the lyrics of ‘Isolation’: “In fear every day, every evening – He calls her aloud from above – Carefully watched for a reason – Painstaking devotion and love – Surrendered to self preservation from others who care for themselves – A blindness that touches perfection but hurts just like anything else”
It was obvious there was gap waiting to be filled for a quality web publication that featured the best in new and classic electronic pop without having to lower itself to using the dreaded “80s” label. The Electricity Club was it and became reality on 15th March 2010.
Electronic pop music didn’t start in that Thatcher decade and certainly didn’t end there either. So there was even an editorial diktat which banned The Electricity Club’s writers from using the lazy”80s” term as a reference. Tellingly, several PR representatives said that one of the site’s main appeals was that it avoided the whole nostalgia bent that had been presented by both virtual and physical media.
At the time, kooky female fronted keyboard based pop like LA ROUX, LITTLE BOOTS, LADYHAWKE, LADY GAGA and MARINA & THE DIAMONDS were among those touted as being the future at the time. But it proved to be something of a red herring, as those acts evolved back into what they actually were, conventional pop acts.
The Electricity Club preferred the sort of innovative synthpop as outlined in BBC4’s Synth Britannia documentary with the next generation of artists like MARSHEAUX, VILE ELECTRODES, VILLA NAH and MIRRORS more than fitting the bill and that ethos of featuring pop music using synthesizers stuck too.
Meanwhile, The Electricity Club’s portfolio expanded swiftly with key personalities such as Rusty Egan, Sarah Blackwood, Richard James Burgess, Warren Cann, Chris Payne, Thomas Dolby, John Foxx, Andy McCluskey, Neil Arthur, Alan Wilder, Mark Reeder, Gary Langan, Jori Hulkkonen, Howard Jones, Mira Aroyo, Sarah Nixey and Hannah Peel among those giving interviews to the site during its first two years.
The Electricity Club has always prided itself in asking the questions that have never usually been asked, but which fans want to know the answers to. And it was with this reputation for intelligent and well researched interviewing that in March 2011, the site was granted its biggest coup yet.
Speaking to Stephen Morris of the then-on hiatus NEW ORDER, the drummer cryptically hinted during the ensuing chat that Manchester’s finest would return by saying “I never say never really”; and that is exactly what happened in Autumn of that year and the band have been there since, as popular as ever and still making great music with the release of ‘Music Complete’ in 2015.
Monday 21st March 2011 was an interesting day that partied like it was 1981 when it saw the release of albums by DURAN DURAN, THE HUMAN LEAGUE and JOHN FOXX & THE MATHS. Also in 2011, Mute Records celebrated their influential legacy with a weekender also at London’s Roundhouse which culminated in ERASURE, YAZOO and THE ASSEMBLY performing in the same set.
Despite the ‘Brilliant’ return of ULTRAVOX, 2012 paled in comparison after such a fruitful year and several acts who were featured probably would not have gained as much coverage in more competitive periods. With pressure from outsiders as to what was hot and what was not, this was the only time The Electricity Club felt it was obliged to support a domestic scene.
But realising acts like HURTS and STRANGERS were actually just jumping on an apparent synth bandwagon and possessing more style than substance, The Electricity Club decided to change tact and only featured acts it felt truly passionate about, even if it meant upsetting the wider synth community. The reasoning being that just because a band uses a synthesizer doesn’t mean it is good.
During this time, MIRRORS sadly disbanded while VILLA NAH mutated into SIN COS TAN. But the year did see the launch of CHVRCHES who stood out from the crowd with their opening gambit ‘Lies’. With their Taylor Swift gone electro template, Lauren Mayberry and Co managed to engage an audience who didn’t know or care what a Moog Voyager was, to listen to synthpop!
2013 turned out to be one of the best years for electronic pop since its Synth Britannia heyday. What The Electricity Club achieved during this year would take up a whole article in itself… there were high profile interviews with Alison Moyet, Gary Numan and Karl Bartos while OMD released the album of the decade in ‘English Electric’. PET SHOP BOYS made up for their ‘Elysium’ misstep with ‘Electric’ while there was finally a third volume in BEF’s ‘Music Of Quality & Distinction’ covers series.
Although 2014 started tremendously with The Electricity Club being invited to meet Karl Bartos and Wolfgang Flür in Cologne, the year suffered next to quality of 2013.
The interviews continued, particularly with key figures from the Synth Britannia era including Midge Ure and the often forgotten man of the period Jo Callis who was a key member of THE HUMAN LEAGUE during their imperial phase.
But the year saw grandeurs of delusion at their highest, with one artist of a far too normal disposition in particular failing to realise that in order for a crowdfunding campaign to succeed, they needed to actually have quite a few fans in the first place!
Then, there was the similarly clueless Alt-Fest debacle which saw the organisers play Fantasy Festival with no cash to underwrite the infrastructure to enable it to actually happen!
Sadly today, there are still egotistic chancers organising events with zero budget and the money from ticket sales being fleeced to fund their holidays. But these artificial factors are rarely considered and so long as there are lower league artists desperate to play for nowt and a misguided enhancement in profile that is often on a platform that provides minimal exposure anyway, then the confidence tricks will continue.
2015 saw the local emergence of Rodney Cromwell and Gwenno, while the majestic Swedish duo KITE proved that they were the best synth act in Europe with the ‘VI’ EP and their impressive live show.
It was also the year when ERASURE front man Andy Bell gave his first interview to The Electricity Club to offer some revealing insights.
Making something of a comeback after a recorded absence of nearly eight years, Jean-Michel Jarre presented his ambitious two volume ‘Electronica’ project which saw collaborations with a varied pool of musicians including Pete Townsend, Lang Lang, John Carpenter, Vince Clarke, Hans Zimmer, Cyndi Lauper, Sebastien Tellier and Gary Numan.
VILLA NAH returned in 2016, as did YELLO with Fifi Rong as one of their guest vocalists while APOPTYGMA BERZERK went instrumental and entered the ‘Exit Popularity Contest’. Riding on the profile generated from their ‘A Broken Frame’ covers album, MARSHEAUX released their biggest-selling long player to date, a two city concept in ‘Ath.Lon’. This was also the year that The Electricity Club first became acquainted with the analogue synthesizer heaven of Johan Baeckström, a modern day Vince Clarke if ever there was one.
However DEPECHE MODE unleashed their most dire record yet in ‘Spirit’, a dreary exercise in faux activism bereft of tunes. Salt was rubbed into the wound when they merely plonked an underwhelming arena show into a stadium for their summer London show.
The trend was to continue later in 2019 as DEPECHE MODE just plonked 14 albums into a boxed set, while OMD offered an album of quality unreleased material in their ‘Souvenir’ package.
And with DEPECHE MODE’s sad descent into a third rate pseudo-rock combo during the last 15 years to appease that ghastly mainstream American institution called The Rock and Roll Hall Of Fame with guitars and drums, Dave Gahan in particular with his ungrateful dismissal of the pioneering synth-based material with which he made his fortune with, now has what he has always coveted.
And don’t get The Electricity Club started on the 2019 Moog Innovation Award being given to Martin Gore, a real insult to true synth pioneers if ever there was one, including Daniel Miller, Vince Clarke and Alan Wilder, the three men who actually did the electronic donkey work on those imperial phase DEPECHE MODE albums! Gore may have been a very good songwriter during that time, but a synth innovator? Oh come on!?!
With regards Synth Britannia veterans, new albums in 2017 from Richard Barbieri and Steve Jansen saw a revived interest in JAPAN, the band with which they made their name.
Despite releasing their final album ‘Tin Drum’ in 1981, as a later conversation with one-time guitarist Rob Dean proved, cumulatively from related article views, JAPAN became the most popular act on The Electricity Club.
The return of SOFT CELL dominated 2018 with a lavish boxed set that was not just comprised of previously released long players, new songs, new books, a BBC documentary and a spectacular farewell show at London’s O2 Arena.
EMIKA was ‘Falling In Love With Sadness’ and Swedish songstress IONNALEE showcased one of the best value-for-money live presentations in town, with a show that surreal imagined Kate Bush at a rave!
But from China came STOLEN, one of the most exciting bands in years who were then later rewarded for their graft with a European tour opening for NEW ORDER.
2019 was the year when synthwave graduates Dana Jean Phoenix and Ollie Wride were coming into their own as live performers, while electronic disco maestro Giorgio Moroder embarked on a concert tour for the first time with his songs being the true stars of the show.
Gary Daly of CHINA CRISIS gave his first interview to The Electricity Club to tie in with his solo album ‘Gone From Here’, while a pub lunch with Mark White and Stephen Singleton mutated into an extensive chat about their days in ABC. Lloyd Cole adopted a more synthesized template on ‘Guessworks’ and Britpop went synth as GENEVA’s Andrew Montgomery formed US with Leo Josefsson of Swedish trio LOWE.
Partly because of this success, some of those who were less talented felt aggrieved despite feeling a narcisstic entitlement to be featured. A few deluded artists even went as far as to blame The Electricity Club publically for their lack of traction! NoW that’s what The Electricity Club calls deluded!
If an act is good enough, the fact that The Electricity Club hasn’t featured them should not matter, especially as other electronic and synth blogs are available. After taking its eye of the ball once before in 2012, The Electricity Club maintained a trust of its own gut instinct.
Meanwhile, its stance has been tested by those shouting loudest who instantaneously champion what they perceive as the next big thing like sheep, without really looking ahead at a wider picture. However, TRAVIS on VSTs is just not The Electricity Club’s thing frankly…
The Electricity Club’s participation in the annual ELECTRI_CITY_CONFERENCE in Düsseldorf for on-stage interviews with Rusty Egan, Chris Payne, Mark Reeder and Zeus B Held was another high profile engagement to be proud of. Then there were six TEC branded live events and five rounds of hosting ‘An Audience with Rusty Egan’ in one of the most unenviable but highly entertaining refereeing assignments in music 😉
Other highlights over the last ten years have included The Electricity Club’s 2015 career retrospective on German trio CAMOUFLAGE being edited and used as booklet notes for the Universal Music sanctioned compilation CD ‘The Singles’.
There was also ‘The Electricity Club’ 2CD released by Amour Records in 2019 which included TEC featured acts like MESH, SECTION 25, SIN COS TAN, KID KASIO, NIGHT CLUB, QUIETER THAN SPIDERS, ELECTRONIC CIRCUS, DAYBEHAVIOR, LIEBE, TWINS NATALIA, KID MOXIE, GIRL ONE & THE GREASE GUNS, ELEVEN: ELEVEN, AUTOMATIC WRITING, FOTONOVELA and QUEEN OF HEARTS among its 34 excellent tracks, including a bangin’ MARSHEAUX remix of Katy Perry!
As 2020 settles in, highly regarded artists within the electronic community continue to engage with The Electricity Club. Neil Arthur recently gave his seventh interview as BLANCMANGE and his tenth interview overall, taking into account his side projects FADER and NEAR FUTURE. Not far behind, Martyn Ware has also been a regular interviewee having spoken to the site on six occasions while Paul Humphreys has been interviewed no less than five times.
The Electricity Club is still pushing the envelope, continuing to reflect the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk. With artists like ANI GLASS, IMI, KNIGHT$, NINA, MECHA MAIKO, GEISTE and PLASMIC among those on the cusp of a wider breakthrough, there is still more excellent music still to be created, discovered and savoured.
One inferior revivalist platform featuring far too much normal rubbish once complained that The Electricity Club “only feature bands that are popular…”; what they actually mean is “only feature bands that are really good”! 😉
The Electricity Club gives its sincerest thanks to everyone who has taken the time read any article on the site over the last ten years, it is greatly appreciated.
‘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:
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
Please note this product is NOT on sale through The Electricity Club website and only via retailers
Text by Chi Ming Lai
Image Design by Volker Maass
16th March 2020
Over the last 10 years, The Electricity Club has been a voice for the discerning enthusiast of electronic pop.
With a balancing act of featuring the classic pioneers of the past alongside the emergent new talent for the future, The Electricity Club has become well known for its interviews and reviews, asking the questions people have always wanted to ask while celebrating the continuing development of the synthesizer in popular music. All this while holding to account those who deliver below expectations, assuring the listener that if they are perhaps not hearing the genius that some devoted fans are declaring, then The Electricity Club is there to assist in affirming or denying that assessment.
But when artists do deliver, they tend to build a strong relationship with The Electricity Club. So with the site celebrating its first 10 years, presented here are greetings and messages from some people who you might know…
Rusty Egan, VISAGE
TEC is 10 years old with the synth knowledge of a 50 year old. If I can’t remember something electronic I don’t Google, I TEC!
Glenn Gregory, HEAVEN 17
The Electricity Club and its wonderful leader Chi is like the League Of Super Heroes for Electronic Music. Our future is safe in his hands.
I have been involved in electronic music making for 40 years, yet one half hour conversation with Chi makes me realise how little I know. From then to now, he’s knows!
Neil Arthur, BLANCMANGE
Chi has been brilliantly supportive of BLANCMANGE, for which I am very grateful. We’ve always managed to have a good laugh during our interviews, as he would ask me about the darkness and gloom lying within a given BLANCMANGE song! I look forward to our next chat.
The Electricity Club has a very important place and a role to play, in spreading the news of electronic music, new and old, far and wide. Here’s to the next ten years. Well done and good luck.
Gary Daly, CHINA CRISIS
Thanks for all your wonderful support Chi, so glad someone has taken the time to ask some great questions…
Sarah Blackwood, DUBSTAR
I love The Electricity Club website. It’s a treasure trove of informative articles, both a very readable historical archive and a forward looking platform for encouraging new talent. In what can be traditionally and lazily categorised as a very male dominated scene, Chi encourages great music regardless of gender and I enjoy the updated Spotify playlist if I’m ever stuck for what to listen to whilst running.
As regards interviews, it’s always enjoyable – Chi is a bit too easy to talk to and his passion for music and synth geekery shines through – heaven forbid you try sneaking a (cleared) sample past him, he will spot it!
Is it 10 years already? Happy birthday TEC!
Chris Payne, DRAMATIS
With 18,000 likes and 12,000 Facebook followers; The Electricity Club under the guidance of its purveyor Chi Ming Lai, has become the leading place for the Electronic Music fan. Intelligent, well written and well researched journalism with a great team of writers presenting an array of brilliant fascinating new acts (and some older ones as well!), hopefully it will continue for at least another 10 years.
Tracy Howe, RATIONAL YOUTH
Congratulations to The Electricity Club on ten years of brilliant reporting of, and support to, the electronic pop scene. TEC is the authoritative publication “of record” for fans and makers of synthpop alike and is the international rallying point and HQ for our music. We look forward to many more years of in-depth interviews and probing articles, all in the beautifully written TEC style. Happy birthday TEC!
Mark White, ABC + VICE VERSA
Chi Ming Lai and Paul Boddy are two of the most learned, nay, erudite music journalists I’ve had the pleasure of meeting, a rare experience indeed to be quizzed by a pair who know their onions. And unusual integrity. Chi promised me if we asked, he would turn off the tape recorder and it would never appear in print. And has been true to his word. This has literally never happened in my career. Also these two chaps are bloody good fun. I laughed til I cried. Go see the movie!
Rob Dean, JAPAN
10 years of The Electricity Club? Only one for me (yes, I know…), but it’s heartening to know that Chi and the crew have created a site so cutting edge for us die-hard fans of electronica. Having read the highly entertaining VICE VERSA chaps interview, I was delighted to be asked to do my own, confident that the questions would be thoughtful and intelligent and yes, a little bit probing too. Here’s to the next 10 and thank you!
Richard Silverthorn, MESH
On several occasions I have done interviews for The Electricity Club. Every time I felt like they actually cared about the music and scene and put some educated thought into the questions. It’s good to feel that enthusiasm.
Tom Shear, ASSEMBLAGE 23
Congratulations on 10 years of covering and supporting the scene! Here’s to another 10 and beyond…
Sophie Sarigiannidou, MARSHEAUX
I first met Chi at Sparrowhawk Hotel, Burnley in November 2000 for an OMD convention. It took me 13 hours to reach by train to Burnley from London due to bad weather.
I saw him playing live (!!!!) with his covers band THE MESSERSCHMITT TWINS, they were having their time of their life, dancing and singing, so so happy! Us too of course!! From that moment on we became friends.
Then he supported our band MARSHEAUX from the very early beginning and I thank him a lot for that! It’s always great having Chi asking questions for interviews . We as a band had our best interviews with The Electricity Club! We spent a lot of hours talking about the history of electronic music and the future of synthpop. My favourite articles on TEC are the “A Beginners Guide To…” series, you have a lot to learn from these pages!!! Happy Anniversary Chi, we’ve indeed had 10 amazing years with TEC. I hope and wish the next 10 to be even better.
Erik Stein, CULT WITH NO NAME
The Electricity Club elected not to review earlier CWNN albums, so we just had to keep making better and better records until they would finally relent. They finally gave in from album number 7 onwards, and it was well worth the wait. The writing was spot on and not a single DEPECHE MODE reference in sight.
Mark Reeder, MFS BERLIN
Congratulations and a very Happy 10th Birthday TEC! Over the past 10 years, The Electricity Club website has developed into becoming the leading website for all kinds of electronic synthpop music. It has become a familiar friend, because it is something I can personally identify with, as it is maintained by fans, for fans.
However, it is not only commendable, but can also be quite critical too, and that is a rare balancing act in the contemporary media world. It has been a great source of regular electronic music information. I have discovered and re-discovered many wonderful electronic artists, and regularly devour the in-depth interviews and features.
Through TEC, I have been introduced to and worked with some of the wonderful artists presented on your pages, such as QUEEN OF HEARTS or MARSHEAUX and in return, it has supported my work, my label and my artists too, and I thank them for that! We can all celebrate ten years of TEC and together, look forward to the next 10 years of inspiring electronic music.
Per Aksel Lundgreen, SUB CULTURE RECORDS
The Electricity Club is a highly knowledgeable and very passionate site! They are digging out rarities from the past as well as exploring and discovering new acts, giving them attention and writing about them often before anybody else around have even heard of them.
This makes TEC a very interesting page to follow, as their in-depth stories about older bands “missing in action” as well as the latest stuff “in the scene” gets perfectly mixed together, giving you all you want basically in a one-stop-site for everything electronic. I also love the way they give attention to unsigned / self-released bands and small indie-labels, giving everybody a fair chance as long as the music is good enough. Congrats on the 10th Anniversary, well deserved!
Jane Caley aka Anais Neon, VILE ELECTRODES
When VILE ELECTRODES were just starting out, we heard through the Facebook grapevine about a new electronic music blog called The Electricity Club. We had a London gig coming up, and had recently made a promo video for our song ‘Deep Red’, so we dropped them an email about both, not expecting to hear back, since we were virtually unknown. However it transpired they really liked our sound, likening us to “Client B born and raised in the Home Counties fronting Dindisc-era ORCHESTRAL MANOEUVRES IN THE DARK”.
The Electricity Club subsequently gave this very description to Andy McCluskey, which piqued his interest such that he checked out our music. We were invited to tour Germany with OMD as a direct result!
George Geranios, UNDO RECORDS
Chi is a really rare quality of a man. He is passionate about music which is so obvious of course while reading The Electricity Club. Through our mutual love for OMD, we discovered that we have the same musical taste. TEC helped us promote all of Undo Records projects and finally we ended collaborating and releasing this brilliant TEC double CD compilation! Chi, I wish you health and to continue writing the best music texts in the industry!!
Adam Cresswell, HAPPY ROBOTS RECORDS
Some people say The Electricity Club doesn’t support the scene but I’ve not found that to be the case; having been a part of two TEC gigs and the recent CD, I know how much blood, sweat and tears they put into what they do. TEC might get a few people’s back-up, but they know their stuff when it comes to synth-driven music and I’m massively grateful that they have supported so many Happy Robots artists since 2010.
Stuart McLaren, OUTLAND
It’s no secret that the burgeoning new synthwave genre shares a common history with the great synthesizer acts and pioneers of the 80s, like Dolby, Jones, Luscombe, Wilder, Daly et al who created new soundscapes with what we now define as vintage synths.
These sounds are brought back to life by pioneers in their own right like FM ATTACK, GUNSHIP, ESPEN KRAFT and BETAMAXX to name a few.
The Electricity Club and Chi Ming Lai have always been at the forefront of championing, interviewing and reviewing the luminaries of this great instrument past to present, and are likely to remain the de facto voice of the synth scene well into the future… we agree on one thing and that is FM-84’s singer Ollie Wride is deffo one to watch as a star for the future!
Paula Gilmer, TINY MAGNETIC PETS
Happy Birthday TEC. thank you for your support. You never fail to impress with your encyclopedic knowledge of synthpop. Here’s looking forward to 10 more!
Mr Normall, NUNTIUS
I’ve been following most of my favourite artists since they were brand new and often this means 30+ years, yet reading articles and interviews by The Electricity Club, I have learned every time something new about of my favourites.
Following The Electricity Club have made me paid attention to several new acts that I would likely know nothing about if they hadn’t appeared on the page.
Catrine Christensen, SOFTWAVE
An outstanding magazine supporting new and upcoming artists whom they choose carefully as they have great taste of music regarding to their huge knowledge within the synthpop genre, when it comes to their writing and promotion – there’s no one like them. Happy birthday 😘
Elena Charbila, KID MOXIE
Happy 10th birthday TEC! Your love and commitment to the synth community is unparalleled and your support has meant a lot to me on a professional but also on a personal level. Here’s to the next 10 years! 😘
Alexander Hofman aka Android, S.P.O.C.K
I’m a fan of The Electricity Club for several reasons. You showed up when I perceived the majority of the electronic scene had turned more and more harsh; as much as I can appreciate an occasional emotional outburst, I’m a happy guy and thus I’m into pop – TEC showed, and still shows me that there’s still electronic pop music being made. Good electronic pop! Which makes me glad, as I find the greater part of the generally popular darker scene to be of lower musical quality.
Moreover, TEC writes in an amazingly happy tone – remember, I’m a happy guy, so it’s right up my alley. Add the fact that TEC regularly publishes interesting articles, using intelligent and varied vocabulary, shows enormous knowledge and interest of the theme, the style, the scene – and I’m hooked. Thanks for being around – keep up the good work, it’s much needed! And congratulations – let’s grab a beer again! 🍻
Szechuan six-piece STOLEN are part of a new generation of Chinese artists combining East and West.
Following on from FIFI RONG guesting with YELLO and Re-TROS supporting DEPECHE MODE, STOLEN undertaking a prestigious six date European tour opening for NEW ORDER has possibly been the most important moment for Chinese pop music in the 21st Century yet.
With influences such as JOY DIVISION, PORTISHEAD, BLUR, MASSIVE ATTACK, KRAFTWERK, NEW ORDER, RADIOHEAD and APHEX TWIN, they released their excellent breakthrough album ‘Fragment’ on MFS in Autumn 2018. Recorded and produced by Mark Reeder and Micha Adam in Berlin, their Sinomatic techno-rock sound has been exemplified by songs such as ‘Chaos’, ‘Turn Black’, ‘Why We Chose To Die In Berlin’ and ‘Copyshop’.
Liang Yi, the growly charismatic lead singer of STOLEN said to The Electricity Club in 2018: “It is our basic principle to try and separate our sound from other music. We can let others hear our influence, but we don’t want to become a ‘copy shop’ ourselves! We are trying to inspire others to join us and create our own Sino-sound.”
Capturing the nature of modern China, where traditional values can clash with mass industrialisation and capital growth, aspiration has always been part of the ethnic psyche.
And while STOLEN have successfully toured and played festivals in their homeland, they had ambitions to take their music to Europe.
Bernard Sumner had already declared his enthusiasm for them on the NEW ORDER website in 2018: “STOLEN are a young Chinese electronic band trying to carve out their own unique sound in a sometimes overwhelming environment of commercial ‘junk music’. I think this is a brave new album from STOLEN and I commend their efforts to shape the future sound of China.”
“The tour came together after Bernard asked me if I thought STOLEN would be interested in supporting NEW ORDER in Berlin.” remembered Mark Reeder, “I immediately said yes, without hesitation. A few months previously, I had been on a trip to Gdansk with Bernard and told him I had just finished producing an album by a young Chinese band called STOLEN, and that I was preparing to release it on my freshly rejuvenated MFS label”.
For Reeder who had introduced electronic dance music to Sumner and ultimately influenced the direction of the band that was once JOY DIVISION, the NEW ORDER front man was curious, especially about their working-class background and the obstacles that a band still has to overcome in China. “So we spent the best part of our trip talking about how STOLEN were the spearhead of an evolving new underground music scene in China and listening to their album ‘Fragment’” Reeder recalled, “I think he asked if they wanted to support NEW ORDER in Berlin because he knew himself what it was like to be in their position”.
But then about an hour later, NEW ORDER’s manager asked Reeder, who was now also acting as STOLEN’s European manager, that if STOLEN were going coming to Berlin for one gig, would they be interested in supporting NEW ORDER on the entire European tour? It was an offer that Reeder, who had supported NEW ORDER himself as part of SHARK VEGAS in 1984, could not refuse…
“I was preparing dinner in the kitchen when I got the news from Mark called and told me” said Liang Yi, “it didn’t register at first. Then I suddenly realised what it all meant. Once I told everybody in the band, our whole team had a sleepless night, we were so excited! The idea that we would be playing with the band who have been our constant companion in our Walkman or CD players, we just couldn‘t believe it. We will be opening for them! It was something each of us had always secretly dreamt of, but we never really thought it would ever be possible.”
But back in China, things were not so straightforward for STOLEN in their preparations; “It was probably nerves in most cases” Liang Yi confirmed, “We had some problems in work habits and communication, but we managed to solve them.”
It was here that Reeder’s experience came to the fore as although STOLEN wanted to make as best an impression as possible, there were the practicalities of being a support act from another continent that was only a cog in a much bigger operation. “Mark told us to practice setting up our stuff and taking it down, as well as performing the songs, because we had a short time limit between bands.” said Liang Yi, “So, by the time we came to play on stage I think we were a very well-oiled machine.”
While being their mentor, Reeder still had the important balance of allowing the band to maintain their artistic integrity: “I asked the band to decide which songs they wanted to play. I told them to think it over carefully though, because this could be their one and only opportunity to make a positive impression to a Western audience. Once they had decided which songs they wanted to play, my only suggestion was to swap the position of one of the songs.”
“We chose the songs which we knew always received the most excited or positive reaction from our fans when we are performing in China” Liang Yi added, “We wanted to see if European audiences would also dance or move to our music just like Chinese audiences do…”
As the tour headed towards its opening night in Prague, there were the usual tour nerves and tensions, not just for STOLEN but for NEW ORDER too.
“At the start of the tour, everyone was tense”, Reeder observed, “It was NEW ORDER’s first gig in Prague, just as much as it was STOLEN’s. So, everyone who was there, actually saw a small piece of music history.”
Liang Yi could not hide his excitement about the reality that was unfolding: “We were really moved when we arrived at the huge Prague venue and heard the first notes of ‘Atmosphere’ during the sound check. It was such a thrill for us to finally see NEW ORDER perform live too. It was really a dream come true. At the same time, we felt very nervous. We were going to have to face a bigger stage and thousands of hardcore NEW ORDER fans, all who have grown up with the history of modern rock music. It was a huge challenge for us.”
Not everyone had been positive about the opportunity that had been accorded to STOLEN. “On a few social media platforms, some even questioned why NEW ORDER had chosen a band from China over a local support band. A band from China? It probably sounded incredulous to most people” said Reeder, perhaps mindful of his own memories with SHARK VEGAS, “The crowds at first appeared to be rather sceptical and after the gigs, people came and told us they were very curious at first. We had no idea how the hardcore NEW ORDER fans would receive STOLEN. Support acts usually play to a disinterested audience, whose sole purpose seems to be clambering for a place at the bar.”
Reeder needn’t have worried, with an overwhelmingly positive reaction from the Prague crowd: “It was a wonderful feeling and a huge relief, to see how NEW ORDER’s audience accepted STOLEN, with encouraging clapping hands, and it was like that throughout the entire tour.”
Liang Yi’s reaction to what happened on this first night of the tour was a combination of ecstasy and relief: “We were very, very nervous and excited indeed! We had no idea how the Czech audience would react towards us. Secretly each of us thought the same thing, would they like our music? Would they accept us? In our hearts, we all wanted them to like our music and for our live performances to be seen and recognised by the Western World.”
STOLEN’s case was helped by them putting on a very visual, energetic and enthusiastic show. Not unlike NEW ORDER themselves, STOLEN’s other band members Fangde, Duan Xuan, Yufeng and Jun are multi-instrumentalists, often swapping mid-song. Meanwhile, their live performance was boosted by the striking often blood red tinged visuals of French-born on-stage VJ Formol who impressed Bernard Sumner so much, that he was asked to create and perform the visuals for ‘Fine Time’ during the headline NEW ORDER set.
On to Germany and Berlin was a sort of homecoming for STOLEN as they had recorded ‘Fragment’ with Mark Reeder there. One of the concepts Reeder had when making the record, was how the album should be more of a listening experience with a few quieter songs and its own atmosphere, as opposed to the full-raw power in almost every song during their live performances.
One musician keenly observing the fortunes of STOLEN with interest has been New York-based singer and producer Zachery Allan Starkey who was asked to remix ‘Chaos’ for the expanded Japanese digital edition of ‘Fragment’.
“The essence of STOLEN’s appeal are their hard edged electronics matching up with Liang Yi’s fluid, expressive, and androgynous voice.” said the American, “The band are incredible in terms of their songwriting and arrangements, use of synth, and Liang Yi is a really special singer.”
Starkey had an interesting approach to his restyling of ‘Chaos’: “As STOLEN’s original version of the song is very Techno oriented, I didn’t want to do a Techno remix. Liang Yi has a very sensual and androgynous voice that reminds me, in its tonal fluidity, of gay disco icon Sylvester, and this resulted in me taking my remix in a very Patrick Cowley meets New York leather bar direction… I have spent a lot of time in New York leather bars, so I know the vibe.”
Berlin’s Tempodrom is an impressive structure that inside perhaps isn’t unlike London’s Roundhouse but much taller and therefore bigger. Now whether the audience arrived early to get a prime standing spot for NEW ORDER or to actually see STOLEN, there was already a sizeable crowd inside the iconic venue as Mark Reeder took to the stage to introduce Chengdu sextet.
In his preamble, Reeder talked about how he brought an unknown band called JOY DIVISION into the divided city during one cold January in 1980. Now with walls fallen, it was to be STOLEN’s opportunity to play in front of Berliners.
And how appropriate it was that in the capital city of the artistic underground, STOLEN opened impressively with ‘Why We Chose to Die in Berlin’. And as it burst into its middle section inspired by KRAFTWERK’s 1991 reboot of ‘Radio-activity’, the sort of frantic flashing lights they put warning notices about at concert venues filled out the domed confines of the Tempodrom.
They continued the hypnotic momentum with what has now become the band’s signature tune ‘Chaos’ and the mighty PINK FLOYD gone Techno of ‘Turn Black’, all illustrated by surreal collages and stark graphics. The eerie ‘Vampire Lovers’ allowed for a comparative breather before STOLEN concluded their support set with the disciplined but exhilarating jam of ‘The Loop Sin’.
“Knowing that STOLEN were going through the same challenges that I have when I’ve played with NEW ORDER on the ‘Music Complete’ tour, I thought STOLEN’s opening set for NO in Berlin was fantastic.” Zachery Allan Starkey remarked, “They owned the stage, each member gave the set their all, and they were raw, unique, theatrical, bold, and thrilling. I loved it. Opening for NEW ORDER is both a great honour, and a great challenge.”
Also in attendance and totally enthused was Volker Maass, presenter of the ‘Operating / Generating’ radio show on Hamburg’s LautFM who confirmed that: “STOLEN was THE discovery 2018 for me, an intense experience full of energy. Like a raw diamond and exactly how Mark Reeder aptly put it: The future sound of China”.
NEW ORDER themselves did not disappoint, playing a host of fan favourites like ‘Bizarre Love Triangle’, ‘Temptation’ and ‘Your Silent Face’.
But there was also room given to lesser known singles like ‘Subculture’ and magnificent new numbers such as ‘Plastic’ alongside ‘True Faith’, ‘Regret’ and ‘Blue Monday’. Accompanied by a spectacular light show, NEW ORDER certainly appeared to visibly enjoy performing live much more than back in their Factory Records days.
In acknowledgement of their JOY DIVISION heritage, Bernard Sumner, Stephen Morris, Gillian Gilbert, Phil Cunningham and Tom Chapman also gave explosive renditions of ‘Transmission’ and ‘She’s Lost Control’ as well as a faithful and respectful ‘Decades’ for the first encore before closing the set with ‘Love Will Tear Us Apart’.
After the show, the STOLEN boys went over to the merchandise stall only to be mobbed. “After Berlin, we had no more CDs left” said Reeder with a smile and perhaps caught slightly by surprise, “If we had brought double the amount of CDs and vinyl with us, we could have probably sold all that too. Some people bought two or three copies of their releases. I think people saw it as a one-off opportunity to get a STOLEN CD or vinyl and get it signed by the band, at the gig.”
Indeed, by the end of the tour, STOLEN had no more of their MFS double vinyl, thus affirming the long held theory that physical product is one of the keys to generating and maintaining support, if a band is able to impress on a platform such as opening for a major band. VILE ELECTRODES who had opened for OMD on their 2013 German tour had a trilogy of CD EPs available which ultimately became collector’s items and built-up that vital early bond with their burgeoning fanbase.
But the tour was not over yet. In fact STOLEN had their own headlining club show at Maze with a host of Berlin-based talent including Taiwanese DJ BB Deng and French theatrical artist Valerie Renay, best known as the vivacious front woman of NOBLESSE OBLIGE as well as Zachery Allan Starkey. “STOLEN are lovely human beings” he said, “it was really nice to hang out with them and especially with Liang Yi. His voice is unique and incredible, he hits so many notes”.
“For STOLEN, their main concern was what did NEW ORDER themselves think of them?” said Reeder, “They were so relieved and happy to hear their praise and how enthusiastic and encouraging NEW ORDER were.” Indeed, STOLEN had made such an impression on NEW ORDER during the first few dates of the tour having seen their performance each night, they came on their day-off to see them perform at Maze.
Paris, Brussels and Amsterdam were the next cities to visit and having settled into the Autumnal weather and European food, STOLEN and Reeder began to allow themselves some “fun-fun-fun” on the autobahn. But the tour was not without its hitches.
“Poor Liang Yi arrived in Prague complaining of toothache.” recalled Reeder of the singer’s unfortunate dental misadventure, “After piles of painkillers, I managed to get him to the dentist in Berlin and she said he needed either special root canal treatment or to have his tooth pulled. I explained to her that Liang Yi was the singer of a band, currently on tour and that he had to sing.”
This was turning out to be the most unusual experience Mark Reeder ever had to deal with during his varied forty year music career: “Two days later we were leaving for Paris, and in the early morning before departure, I went with Liang Yi to the dentist to have his tooth pulled. This was a first-time experience for him and he was duly concerned. Yet, it went very smoothly and painlessly and the relief of having no more toothache offset the fact that his tooth had been pulled.”
Tooth extracted, Liang Yi began to savour his time in Europe: “I seemed to like the food here in Europe a lot better than I did before! Language was also much easier. We realised how much our English has improved since our last visit to Berlin when we were recording ‘Fragment’ and it was pleasantly surprising to us how well we could communicate. Especially when going out with Bernard and having an in-depth chat.”
There is the old joke that the English rather like to talk about the weather but then by coincidence, so do the Chinese: “We were actually very lucky with the weather. It wasn’t so bad. It rained in Prague and Munich and a bit in Berlin, but it was over 20°C in Paris. I just hope next time when we come to Europe, it will be warmer, because every time we come to Europe it always seems to be cold and wintery.”
Over at the Forest National in Brussels, German NEW ORDER fan Sony Pusteblume felt she had just seen something special: “STOLEN was a sovereign opening act that fitted like a ‘fist to the eye’ of NEW ORDER. I got goosebumps when they started playing. They caught the attention of the audience quickly and the crowd danced and applauded to the music; an absolutely successful support.”
After the concert, she could see a lot of people were buying vinyl and merchandise so she opted to chat first. “I had a nice small talk with Mr Reeder. He was totally happy about the gig and about ‘his’ band. I am sure they are on the right way.” she said, “The STOLEN guys were very friendly and thankful for all the good words which people said. After I also bought some CDs and vinyl, I also told them that I loved the gig and hope they come back to Europe, hopefully Germany.”
And as STOLEN’s European jaunt ended with a final club headliner in Strasbourg, there was time to reflect on what was a very successful tour with NEW ORDER. “The crowds were really encouraging” said Reeder, a man who has been very much at the heart of unity throughout his life, “it was a great feeling knowing we were bringing people and cultures together purely through music and showing European audiences that China actually has its own new music scene too.”
“Almost all of the cities on this tour gave us a lot of encouragement” added Liang Yi, “We got a lot of praise and active support. The audiences were very welcoming and it reflected in the way the crowd came to us after the gigs to have selfies and buy our merch. We almost sold out of all the band’s merchandise that we brought from China with us.”
“We could also see how the concerts had been received by how fast the merch we had brought with us, rapidly diminished.” Reeder affirmed. At the end of the day, the sign is not how many people watch the support band at the start, but now many are remaining by the end of the set and who then go over to buy an album in their chosen format. Vinyl remains the ultimate artefact, but CDs can be popped into pockets and played straight away in the car on the drive home.
So which city on the tour was the favourite? Although all the gigs went down very well, the majority had standing areas so reaction was less straightforward to gauge. But at the prestigious Bavarian music centre of Philharmonie im Gasteig which was all seated, things were more explicit as Mark Reeder recollected: “The best reaction was probably in Munich, where the gig was held in a classical concert hall. STOLEN got a standing ovation there. No one expected that. Even the crew who have seen every kind of support act play before NEW ORDER, said they had never seen a support act get a standing ovation, ever! So that was quite an emotional moment for everyone. The band were floored by that response.”
For Liang Yi though, the significance of the tour as a whole made choosing much more difficult: “I think it is very hard to choose one favourite city, because it’s all new for us and we really only spent a few moments in each one, hardly getting a chance to really see them, only a few sights. Our time was mainly spent hanging about the venues waiting for our soundcheck. We can only evaluate the reaction of the crowds each night. In Munich, the audience were very enthusiastic and in Brussels too. I hope to have a chance to get to know more about these cities and be able to make a better judgment in the future.”
A few months on, Mark Reeder felt it turned out rather well: “I think I can safely say NEW ORDER liked them too.”
And with the next stage prepared, Liang Yi had one final word on STOLEN’s first significant cross-cultural milestone: “Our hopes are to reach an even wider audience in 2020, maybe with a few festival shows and we would like to play a club tour and make a new album and continue to attract new fans. A dream came true to play with New Order in 2019.“
The Electricity Club gives its warmest thanks to Liang Yi, Mark Reeder, Zachery Allan Starkey, Volker Maass and Sony Pusteblume
Along with FIFI RONG and Re-TROS, STOLEN are part of a new generation of Chinese creatives combining East with West.
Having released their excellent breakthrough album ‘Fragment’ last year and undertaken a successful domestic live tour, the Szechuan six-piece consolidate with a new single ‘Enter The Gap’.
Recorded and produced by Mark Reeder and Micha Adam, while ‘Copyshop’, ‘Turn Black’ and the self-explanatory ‘Why We Chose To Die In Berlin’ have exemplified STOLEN’s hybrid sound, their post-punk techno rock takes a breather on the whispery and almost psychedelic ‘Enter The Gap’.
A moody Sinomatic piece that showcases STOLEN’s musical diversity, ‘Enter The Gap’ has a visual presentation written and directed by Formol. Using the mysterious twist of the band’s distinctive red logo as an inquisitive focal point, it makes a symbolic statement on the clash between traditional values and capital growth, capturing the nature of modern China.
China’s Szechuan province is an area that specialises in some of the world’s hottest cuisine, thanks to their locally grown peppercorns. And now in STOLEN, the region has the hottest band in South East Asia.
STOLEN confess to being influenced by the likes of JOY DIVISION, PORTISHEAD, BLUR, MASSIVE ATTACK, KRAFTWERK, NEW ORDER, RADIOHEAD, DEPECHE MODE and APHEX TWIN.
But as Liang Yi, the growly charismatic lead singer of STOLEN said to The Electricity Club during an 2018 interview: “It is our basic principle to try and separate our sound from other music. We can let others hear our influence, but we don’t want to become a ‘copy shop’ ourselves! We are trying to inspire others to join us and create our own Sino-sound.”
STOLEN open for NEW ORDER on the following European live dates:
Prague Lucerna Praha (3rd October), Munich Philharmonie Im Gasteig (5th October), Berlin Tempodrom (7th October), Paris Le Grand Rex (11th October), Brussels Forest International (14th October), Amsterdam AFAS Live (17th October)