Tag: Marsheaux (Page 1 of 14)

The Electronic Legacy of VARIOUS ARTISTS

So come on, whose first album was a various artists compilation?

They were the biggest sellers for a decade and had dominated the UK album charts so much so that they were given their own!

In 1966, the Canadian budget household gadget firm K-Tel diversified into the territory of compilation albums with ‘25 Country Hits’; it was a surprise success and this comparatively new idea of collecting a number of artists onto an album based around a single theme was expanded further.

K-Tel negotiated directly with artists and labels for the rights to reproduce the original recordings, but where this was not possible, the company would contract “one or more of the original artists” to make a new recording for the compilation, under the premise that the general public generally could not tell the difference between a re-recording and the original.

However, UK budget label Pickwick Records via their Hallmark imprint went one step further in 1968 by producing compilations of the latest hits but as rush-recorded soundalike cover versions under the title ‘Top Of The Pops’ which had nothing to do whatsoever with the BBC TV show; it was all perfectly legal thanks to an oversight by the corporation on trademark.

Purchasers unknowingly got treated to unique interpretations of ‘Autobahn’ and ‘The Model’ by anonymous session musicians who quite obviously had only learnt the song ten minutes before entering the studio. Although demand for such records had dimmed by 1981, acts such as SOFT CELL were still unable to escape with ‘Say Hello Wave Goodbye’ hilariously reduced to geezer pub rock! The singer was revealed to be one Martin Jay who a few years earlier had treated the world to his cloak and dagger take on ‘Are Friends Electric?’.

The albums from K-Tel attempted to cram as many songs as possible onto the 12 inch vinyl format. In order to accommodate this philosophy within its physical limitations, many of the tracks were usually faded out early or came in unusual and often clumsy edits, but even these versions were sought after by loyal fans, thus making the records they came from valued collector’s items.

The various artists compilation album changed forever in 1983 when Virgin and EMI joined forces to produce the ‘Now That’s What I Call Music’ series which at the last count had reached ‘Now 106’ and spawned numerous spin-offs and even cable TV channels. In 1984, Sony BMG and Warner Music joined in the action with the ‘Hits’ series, but such was the domination in the UK of these types of albums that in 1989, they were given their own chart and excluded from the main one!

For electronic pop, ‘Machines’ released by Virgin Records in 1980 was one of the first attempts to gather music using synthesizers into one place, but the entry point for many new fans was 1981’s ‘Modern Dance’ on K-Tel. This well-thought out collection saw youngsters saving up their pocket money for their first record purchase or asking Santa to put it into their Christmas stocking, thanks to Radio1 DJ Peter Powell declaring that ‘Modern Dance’ was “The best of total danceability, the sounds of modern dance, on one LP!”.

As with greatest hits albums, what makes a great various artists compilation is a seamless listening experience where possible, or at least more killer than filler. However the continuous DJ mix was a particular irritant running through compilations for a period and rarely worked with classic material or recordings not specifically aimed at the clubland.

However, staying within theme on a compilation is VERY important and straying just slightly can spoil a whole concept, especially if it has been outlined in the title. Soul Jazz Records’ lushly packaged ‘Deutsche Elektronische Musik’ sets over two volumes contained a wide range of freeform experimental works from Germany, but occasionally forgot about the Trade Descriptions Act implications of its title. Meanwhile, ‘Reward’ by post-punk trip-poppers THE TEARDROP EXPLODES had a regular place on collections such as ‘Club For Heroes’, ‘New Romantic Classics’, ‘It’s Electric’ and ‘Our Friends Electric’ despite being brass dominated.

But the nadir came with ‘Synth Pop’, a 3CD collection by Sony Music in 2015 which totally missed the point by featuring AZTEC CAMERA and HAIRCUT 100!??! Now while the inclusion of IMAGINATION’s ‘Body Talk’ with its iconic Moog bassline could be justified, the set highlighted just how much the modern day definition of “synth pop” had become particularly blurred…

Now while some listeners just want endless hits on various artists compilations, others want to be informed and introduced to some lesser-known or rare songs. However, this latter approach can meet with mixed results.

For example, Cherry Red’s ‘Close To The Noise Floor’ and the Trevor Jackson’s ‘Metal Dance’ series were historically fascinating, but not always easy collections to listen to in one sitting. With some of the music close to being unlistenable, it could be akin to studying a hefty text book… highly educational but not always entirely fun!

So The Electricity Club takes a personal look at the electronic legacy of various artists via twenty notable compilation albums, each with valid reasons for their inclusion, presented in yearly and then alphabetical order within.

Yes, several songs reoccur over a number of these releases, but perhaps that is more an indication of their timeless nature. These were tunes that were dismissed by the press and wider public back in the day, but are now considered classic and part of the cultural heritage.


MACHINES (1980)

Having seen the future and signed THE HUMAN LEAGUE as well as OMD through their Dindisc subsidiary, Virgin Records had the foresight to issue a long playing showcase of acts that used synthesizers as their primary instrumentation. As well as their two great hopes, among the outsiders on board were TUBEWAY ARMY, FAD GADGET, SILICON TEENS and DALEK I LOVE YOU. While XTC’s B-side ‘The Somnambulist’ appeared to be incongruous, this was from the band’s synth experimentation period before going more acoustic on 1982’s ‘English Settlement’.

‘Machines’ was released by Virgin Records

https://www.discogs.com/Various-Machines/master/59149


METHODS OF DANCE (1981)

This compilation had actually been the idea of David Sylvian, hence why it was named after the JAPAN song although their contribution would be ‘The Art Of Parties’. Virgin presented their embarrassment of riches including BEF, DEVO, DAF, SIMPLE MINDS and MAGAZINE while the primary selling point was a new special dub edit of THE HUMAN LEAGUE’s ‘Do Or Die’ acting as a trailer to ‘Love & Dancing’. The cassette featured more tracks including John Foxx and the actual undanceable ‘Methods Of Dance’ song in place of ‘The Art Of Parties’!

‘Methods Of Dance’ was released by Virgin Records

https://www.discogs.com/Various-Methods-Of-Dance/master/43926


MODERN DANCE (1981)

1981 was when the sound of electronic pop was virtually everywhere, so the release of ‘Modern Dance’ was perfect synthchronicity. Featuring superb singles from the stellar cast of OMD, THE HUMAN LEAGUE, HEAVEN 17, JAPAN, DEPECHE MODE, SIMPLE MINDS, VISAGE, LANDSCAPE, FASHION and THE CURE as well as synth trailblazers John Foxx and Gary Numan, an indicator of how supreme this compilation was came with the fact that its most obscure track ‘A World Without Love’ by little known combo THE NEWS was rather good!

‘Modern Dance’ was released by K-Tel Records

https://www.discogs.com/Various-Modern-Dance/release/504872


SOME BIZZARE ALBUM (1981)

Stevo Pearce’s compendium of new Futurist acts has gone into folklore, having launched the careers of DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE and B-MOVIE. Several of acts who didn’t make it were also superb. THE FAST SET’s cover of Marc Bolan’s ‘King Of The Rumbling Spires’ was enjoyable electro-macabre while ‘Tidal Flow’ by ILLUSTRATION is one of the great lost songs of the era, the band themselves disappearing despite securing the services of Martin Hannett to produce their debut single ‘Danceable’, but it was never finished…

‘Some Bizzare Album’ was released by Some Bizzare

https://www.discogs.com/Various-Some-Bizzare-Album/master/2754


CLUB FOR HEROES (1992)

It took a few years for people to realise just how good the music from the New Romantic era was, so how better than to celebrate it than a compilation named after one of Steve Strange and Rusty Egan’s club nights. Featuring the all-star cast of DURAN DURAN, SPANDAU BALLET, ULTRAVOX, VISAGE, SOFT CELL and JAPAN, other acts who also got entry into the party were YAZOO, ABC, TALK TALK and CLASSIX NOUVEAUX while most welcome were ICEHOUSE with their eponymous single.

‘Club For Heroes’ was released by Telstar Records

https://www.discogs.com/Various-Club-For-Heroes/master/120444


IT’S ELECTRIC (1994)

Gathering nineteen “Classic Hits From An Electric Era” including the full length ‘Blue Monday’ from NEW ORDER, ‘It’s Electric’ was largely, a more purist synth collection than ‘Club For Heroes’. Alongside the usual suspects were A FLOCK OF SEAGULLS, TEARS FOR FEARS, BRONSKI BEAT, KRAFTWERK, EURYTHMICS, BRONSKI BEAT and ERASURE. However, this collection featured the album version of ‘Tainted Love’ instead of the single, a mistake that would be repeated again and again even on SOFT CELL’s own compilations.

‘It’s Electric’ was released by Dino Entertainment

https://www.discogs.com/Various-Its-Electric-Classic-Hits-From-An-Electric-Era/master/37974


DAWN OF ELECTRONICA (2000)

A tie-in with Uncut magazine celebrating “a music synonymous with futurism”, ‘Dawn Of Electronica’ included the album version of ‘From Here To Eternity by Giorgio Moroder and for the first time on CD, the Some Bizzare version of ‘Remembrance Day’ by B-MOVIE. With the likes of DAF, SUICIDE, ASSOCIATES, CABARET VOLTAIRE, PROPAGANDA, THE ART OF NOISE and YELLO alongside TUBEWAY ARMY, ULTRAVOX, JAPAN and SOFT CELL, this compilation was something a bit different compared to the ones that had come before.

‘Dawn Of Electronica’ was released by Demon Music Group

https://www.discogs.com/Various-Dawn-Of-Electronica-Uncut/release/577680


ELECTRIC DREAMS (2002)

Like ‘Teenage Kicks’ for punk and new wave, there are far too many compilations named ‘Electric Dreams’. This 2CD affair from Virgin Records comprised of thirty-eight “synth pop classics”. For once, this was a compilation documenting the different electronic pop phases including trailblazing analogue electro and the advent of digital sampling that actually worked. From ‘The Model’ and ‘Electricity’ to ‘Relax’ and ‘19’, with ‘We Are Glass’, ‘Yellow Pearl, ‘Say Hello Wave Goodbye’ and ‘Absolute’ in between, this was one of the best releases of its type.

‘Electric Dreams’ was released by Virgin Records

https://www.discogs.com/Various-Electric-Dreams/release/322736


THIS IS NOT THE 80s (2002)

Subtitled “A Nu-Wave Electro Compilation”, this modern collection brought out the electro in Electroclash with gloriously klanky drum machines in abundance. The undoubted star was Miss Kittin with four tracks including the mighty scene anthem ‘You & Us’ with Michael Amato aka THE HACKER; meanwhile the man himself and Anthony Rother each had three contributions in various guises. FPU, DOPPLEREFFEKT and ADULT. were among those helping to bring the sound of vintage electronic pop into the 21st Century for the club crowd.

‘This Is Not The 80s’ was released by Incredible / Sony Music

https://www.discogs.com/Various-This-Is-Not-The-80s-A-Nu-Wave-Electro-Compilation/master/375573


THIS IS TECH-POP (2002)

Compiled by Ministry Of Sound, ‘This Is Tech-Pop’ was a representative snapshot of electronic music at the start of the 21st Century. However the “Tech-Pop or Electroclash or Synth-Core or Neu-Electro” legend in the booklet highlighted the dance music’s daft obsession with categorisation. But the music from the likes of FISCHERSPOONER, TIGA & ZYNTHERIUS, FC KAHUNA, WALDORF, ZOOT WOMAN, LADYTRON, SOVIET, FELIX DA HOUSECAT, CIRC and GREEN VELVET was mostly excellent, although DJ mixing the tracks together clouded the listening experience.

‘This Is Tech-Pop’ was released by Ministry Of Sound

https://www.discogs.com/Various-This-Is-Tech-Pop/release/50649


ELECTRICITY 2 An Electronic Pop Sampler (2003)

‘Electricity 2’ came at a time when the only platform for UK and Irish synth acts seemed to be Ninthwave Records in the USA. It featured HEAVEN 17’s first new song for six years in the ‘Music Sounds Better With You’ influenced ‘Hands Up To Heaven’ as well as material by WHITE TOWN, SPRAY and EMPIRE STATE HUMAN. Among the highlights were ‘The Machines’ by MASQ which sounded like a bizarre Gaelic synthpop take on Gary Numan and the comical ‘Alan Cumming’ by TURD FERGUSON which satirically sent up ‘Frank Sinatra’ by MISS KITTIN & THE HACKER.

‘Electricity 2’ was released by Ninthwave Records

https://www.discogs.com/Various-Electricity-2-An-Electronic-Pop-Sampler/release/730718


ROBOPOP Volume 1 (2003)

Compiled by Wayne Clements of Essex duo MACONDO for his own Lucky Pierre imprint, ‘Robopop’ was possibly the closest thing to the ‘Some Bizzare’ album in the 21st Century. Heading the line-up were the-then newly configured CLIENT and MY ROBOT FRIEND while Mute stalwarts KOMPUTER contributed the previously unreleased ‘My Private Train’. The stand-outs though were machine funksters ALPINE STARS, irreverent retro-poppers BAXENDALE and VIC TWENTY featuring Piney Gir with a delicious synth cover of Lynsey de Paul’s ‘Sugar Me’.

‘Robopop Volume 1’ was released by Lucky Pierre Recordings

https://www.discogs.com/Various-Robopop-Volume-I/release/296881


RETRO:ACTIVE 5 (2006)

Compiled by Alex Hush, now of U2 and ERASURE remixers DAYBREAKERS, ‘Retro:Active 5’ pulled off the feat of gathering twelve classic 12 inch extended versions into a listenable programme. Longer takes of ‘I’ve Been Losing You’ by A-HA and ‘Pretty In Pink’ by THE PSYCHEDLIC FURS led the way with BLANCMANGE and DEAD OR ALIVE in support. But the biggest selling points were the ultra-rare ‘Love Cascade’ from LEISURE PROCESS and ‘More To Lose’ by SEONA DANCING, the synthpop duo fronted by Ricky Gervais.

‘Retro:Active 5’ was released by Hi-Bias Records

https://www.discogs.com/Various-RetroActive5-Rare-Remixed/release/719639


ROBOPOP The Return (2006)

For ‘Robopop The Return’, Wayne Clements was joined by production duo MANHATTAN CLIQUE who co-released the compilation via their own Planet Clique label. Described as “Essential Electro Pop”, it was a much higher profile release than its predecessor with GOLDFRAPP, THE KNIFE, TIGA and DRAGONETTE all on board. Also present were THE MODERN relaunching themselves as MATINEE CLUB while HUSKI, FORMATIC, LORRAINE and SOHO DOLLS were among the worthy lesser-known inclusions. A bonus DJ mix by MANHATTAN CLIQUE also featured.

‘Robopop – The Return’ was released by Planet Clique / Lucky Pierre

https://www.discogs.com/Various-Manhattan-Clique-Robopop-The-Return/release/1410368


CHILLTRONICA A Definition No1 (2008)

Electronic music of a more downtempo disposition compiled by BLANK & JONES, perhaps unsurprisingly, the most exquisite tracks featured female vocalists with Sarah Nixey just pipping the highlight honours on her cover of JAPAN’s ‘Ghosts’ with INFANTJOY over Claudia Brücken guesting on the hosting trance DJ duo’s ‘Don’t Stop’. ‘Ghost Trains’, a solo tune by KINGS OF CONVENIENCE and RÖYKSOPP vocalist Erlend Øye was a livelier number that actually worked alongside chilled out tracks by THE GRID, BLISS, SPOOKY, MARCONI UNION and DEPECHE MODE.

‘Chilltronica – A Definition No1’ was released by Soundcolours

https://www.discogs.com/Blank-Jones-Chilltronica-A-Definition-No1/release/1714901


ELECTRI_CITY 1_2 Elektronische Musik Aus Düsseldorf (2016)

Tying in with Rudi Esch’s book about the German city of Düsseldorf’s music heritage, ‘ELECTRI_CITY 1_2’ gathered the more accessible elements of Deutsche Elektronische Musik, Kosmische and Neue Deutsche Welle. Featuring RIECHMANN, DAF, DER PLAN, DIE KRUPPS, LIAISONS DANGEREUSES, RHEINGOLD, HARMONIA, LA DÜSSELDORF, NEU! and pre-PROPAGANDA girl group TOPLINOS featuring a very young Claudia Brücken and Susanne Freytag, this two volume collection was like a journey of discovery with the benefit of a local tour guide.

‘ELECTRI_CITY 1_2 – Elektronische Musik Aus Düsseldorf’ was released by Grönland Records

https://www.discogs.com/Various-ELECTRI_CITY-1_2/release/8919263


NEW ORDER Presents Be Music (2017)

Be Music was the moniker of NEW ORDER used to cover studio production work by all four members of the band. This boxed set gathered these varied recordings which involved either Bernard Sumner, Peter Hook, Stephen Morris, Gillian Gilbert and combinations thereof, with notable solo tracks from Marcel King, Paul Haig and Winston Tong alongside those of 52ND STREET, SECTION 25, THE BEAT CLUB, SHARK VEGAS and AD INFINITUM’s cover of ‘Telstar’ which many believed was NEW ORDER in disguise but actually only featured Hooky.

‘NEW ORDER Presents Be Music’ was released by Factory Benelux

https://www.factorybenelux.com/new_order_presents_be_music_fbn60.html


ELECTRICAL LANGUAGE Independent British Synth Pop 78-84 (2019)

From the team that put together the ‘Close To The Noise Floor’ series, the 4CD ‘Electrical Language – Independent British Synth Pop 78-84’ did as it said on the tin and with a far more accessible template, was all the better for it. With THE HUMAN LEAGUE, OMD, THE NORMAL and FAD GADGET included to draw in the more cautious consumer, purchasers were treated to a plethora of wonderful lesser known acts like FIAT LUX, BOX OF TOYS, LORI & THE CHAMELEONS, PASSION POLKA, TESTCARD F, EDDIE & SUNSHINE and JUPITER RED. Meanwhile, the best novelty item was a Schaffel driven cover of Alvin Stardust’s ‘My Coo Ca Choo’ by BEASTS IN CAGES; half of the band went on to form HARD CORPS!

‘Electrical Language – Independent British Synth Pop 78-84’ was released by Cherry Red Records

https://www.cherryred.co.uk/product/electrical-language-independent-british-synth-pop-78-84-various-artists-4cd-48pp-bookpack/


THE ELECTRICITY CLUB (2019)

Comprising of thirty-four tracks from 2009 to 2015, ‘The Electricity Club’ compilation has stood the test of time, scrutiny and repeated plays. With ERASURE heading the line-up alongside a MARSHEAUX remix of Katy Perry and acts such as MIRRORS, SIN COS TAN, VILE ELECTRODES, NIGHT CLUB, ARTHUR & MARTHA, KID MOXIE, MESH and ELECTRONIC CIRCUS. In hindsight, the weakest link comes surprisingly from one of the star attractions, coming as a result of the licencing compromises that often have to be made when the first and second choices get declined 😉

‘The Electricity Club’ was released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records

http://www.electricityclub.co.uk/the-electricity-club-2cd-compilation/


THE TEARS OF TECHNOLOGY (2020)

Compiled by Pete Wiggs and Bob Stanley of SAINT ETIENNE, what ‘The Tears Of Technology’ had was a heartfelt suite of music which captured the essence of its title. At its centre was OMD’s sub-eight minute adventure ‘Sealand’ alongside synthy diversions by THE TEARDROP EXPLODES and THE PALE FOUNTAINS, with the Merseyside connection extended to CARE and CHINA CRISIS. Scotland got also got a look in courtesy of Paul Haig and Thomas Leer. The rare ‘Direct Lines’ by Chris Payne’s ELECTRONIC CIRCUS found itself a place too.

‘The Tears Of Technology’ was released by Ace Records

https://acerecords.co.uk/bob-stanley-pete-wiggs-present-the-tears-of-technology-1


Text by Chi Ming Lai
2nd August 2020

THE ELECTRICITY CLUB’S 25 Synth B-Sides Of The 21st Century

There is nothing like the other side of life. As a companion to its favourite 25 Classic Synth B-sides, The Electricity Club presents a listing looking at the 21st Century equivalent.

B-sides often take on a cult following, provoking discussions among fans about why they might have missed inclusion on the parent album.

On why artists occasionally overlook a track when it is clearly good enough, Richard Silverthorn of MESH said “Sometimes you can’t see the wood for the trees”.

Then there are the occasional abstract studio experiments which often fail but occasionally work and the occasional cover versions which don’t always find favour with some listeners but are infinitely more preferable over pointless remixes of the A-side!

But how is a modern B-side been defined? There is a wider definition now due to digital and streaming formats, so they can include flipsides of vinyl, bonus tracks on CD singles and non-album tracks released as part of a download single or EP bundle. Despite all this, the term “B-side”, like “album” and “video”, still remains.

So for the purposes of this listing as before with the 25 Classic Synth B-sides, B-sides featured on the original issue of a full length album, or subsequently included on a new one are NOT included. However, those added as bonus tracks on later reissues, deluxe editions or compilations are permitted. Rules are good, rules help control the fun! 😉

So with a restriction of one track per artist moniker, presented in date and then alphabetical order within, these are The Electricity Club’s 25 Synth B-Sides Of The 21st Century…


LADYTRON Oops Oh My (2003)

LADYTRON surprised their audiences during live shows in support of the ‘Light & Magic’ album by closing with a feisty synthpunk cover of TWEET’s ‘Oops Oh My’. Co-written by Missy Elliot, the Timbaland produced original with a DEVO sample had been a hip-hop favourite but the aggressive Riot Grrrl styled take on this risqué song about self-love with lyrics like “There goes my skirt, droppin at my feet” added a rockier edge to their sound.

Available on the LADYTRON single ‘Evil’ via Telstar Records

http://www.ladytron.com/


CLIENT Can’t See Me Now (2003)

“This was written in response to the Iraq War” said Sarah Blackwood aka Client B, “I remember endless discussions with Toast Hawaii boss Fletch about whether it was the right decision and with heavy hearts, watching endless shelling and firefighting, from the 24 hour news coverage on far flung European hotel TVs. It was the first time I had felt that disconnection and frustration with my home country, the ‘not in my name’ ringing loudly in my ears. Bit late to the party but that’s the story of my life.”

Available on the CLIENT single ‘Here & Now’ via Toast Hawaii / Mute Records

https://www.facebook.com/ClientMusic


GOLDFRAPP Gone To Earth (2004)

The eloquence and surreal atmospheres of the first GOLDFRAPP album ‘Felt Mountain’ may have taken a back seat on its follow-up ‘Black Cherry’ but the experimentation continued on the B-sides of the album’s singles. ‘White Soft Rope’ combined the unsettling imagery of bondage with a chorus sung a school choir, but ‘Gone To Earth’ was even more otherworldly. The reverberating bassline combined with swirling synths and dreamy glides while Alison’s alternate cosmic language startled with a spacey hypnotism.

Available on the GOLDFRAPP single ‘Black Cherry’ via Mute Records

http://goldfrapp.com/


THE MODERN Model #426 (2005)

Nathan Cooper who was in THE MODERN said: “The inspiration came from ROXY MUSIC’s ‘In Every Dream Home A Heartache’ which was about a blow up doll, we took that a step further and Model# 426 is about some kind of sex droid!! ‘Model #426’ was always the song that would get the audience talking because singer Emma would open a trunk on stage and lead a gimp out on a collar into the bemused looking audience!! I think it was actually that stunt that got us signed to Universal!”.

Originally on THE MODERN EP ‘Eastern Bloc’, now available on the album ‘Life In A Modern World’ via Pie & Mash Recordings Ltd

https://www.themodernband.com/


PET SHOP BOYS Party Song (2006)

Interpolating KC & THE SUNSHINE BAND’s ‘That’s The Way (I Like It), the self-produced ‘Party Song’ was naturally a throbbing disco driven affair outshone the horrendous Diane Warren penned ballad ‘Numb’ which comprised the main act. Lyrically inspired by the classic Joan Collins and Leonard Rossiter fronted Campari adverts that, it began life as a dance cover of NIRVANA’s ‘Smells Like Teen Spirit’ suggested by Elton John and intended as a single for a new PET SHOP BOYS ‘Greatest Hits’!!

Originally the B-side of ‘Numb’, now available on the PET SHOP BOYS album ‘Format’ via EMI Music

https://www.petshopboys.co.uk/


ARTHUR & MARTHA Japanese Kiss (2008)

‘Japanese Kiss’ was from the debut release on Happy Robots from Alice Hubley and Adam Cresswell. “This was the first track I wrote for ARTHUR & MARTHA” he recalled, “mostly recorded in the bedsit I’d moved into after splitting up with my girlfriend. I was absorbed in self-pity, comforting myself with Japanese-horror movies and the company of my ARP Quartet, Moog Rogue and the DR-55. Living my best life!”; 11 years later as Rodney Cromwell, Cresswell did a NEW ORDER inspired ‘KW1’ remix.

Available on the ARTHUR & MARTHA single ‘Autovia’ via Happy Robots

https://www.facebook.com/arthurandmarthaband


MARSHEAUX Bizarre Love Duo (2008)

Basing its title on the well-known NEW ORDER tune, as with a number of the B-sides listed here, ‘Bizarre Love Duo’ outshone the main act ‘Ghost’. It all began with a pitch shifted groan sample repeated with hypnotic effect over some squelchy backing. But during the second half, the track built itself to a fabulous but abstract electrodisco number with a marvellously catchy refrain. While not quite a song and not quite an experiment, ‘Bizarre Love Duo’ was enjoyable tune in the MARSHEAUX canon.

Originally the B-side of ‘Ghost’, now available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records

https://www.facebook.com/marsheaux


ANTHONIO Angel Face (2009)

A cover of a cover, namely SHOCK’s take on THE GLITTER BAND’s 1974 Top5 hit; playing the role of the Latin lothario in response to the Annie song ‘Anthonio’, Sebastian Muravchik of HEARTBREAK and now SNS SENSATION remembered:Richard X produced this version of ‘Angel Face’ as a side B in his single ‘Annie’. I sang both sides, which kind of shows two sides of Anthonio’s personality in a way. It was a fantastic experience – Richard is a great guy and über pro, so really a win-win.”

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters ‎

https://www.facebook.com/wearesns


LITTLE BOOTS Catch 22 (2009)

“Positive and negative can only attract” sang Victoria Hesketh on the bouncy ‘Catch 22’, a lesser known LITTLE BOOTS track which initially only appeared on the 7 inch single of ‘Earthquake’ in the UK. Gloriously synthpoppy, in hindsight along with other songs that did not make it onto the final tracklisting of her debut album ‘Hands’, it highlighted a possible direction that could have been taken, but which was ultimately watered down for wider acceptance after she was named BBC Sound Of 2009.

Originally the B-side of the single ‘Earthquake’, now available on the LITTLE BOOTS deluxe album ‘Hands’ via On Repeat Records

https://www.littlebootsmusic.co.uk/


VILLA NAH Benny’s Burning (2010)

Continuing a great tradition among the synthpop acts of the past, VILLA NAH had ‘Benny’s Burning’ and ‘Daylight’ as part of their B-side armoury as well as the brilliant debut album ‘Origin’. Highlighting the inherent talent of Juho Paolosmaa and Tomi Hyyppä, ‘Benny’s Burning’ was a smoother and more atmospheric side of VILLA NAH compared with the uptempo technopop impressions of its A-side ‘Rainmaker’. The Helsinki duo later opened for OMD during the UK leg of 2010’s ‘History Of Modern’ tour.

Available on the VILLA NAH single ‘Rainmaker’ via Keys Of Life

https://www.facebook.com/villanah


ERASURE Never Let You Down (2011)

Produced by Vince Clarke, ‘Never Let You Down’ was free of the many autotune treatments that Frankmusik had applied when helming the disappointing ‘Tomorrow’s World’ album in his attempts to make ERASURE sound more modern and contemporary. As a result, that heartfelt soul often associated with Andy Bell made its presence felt over a glorious galloping synthpop tune in the classic ERASURE vein, especially during the middle eight section in Spanish.

Available on the ERASURE single ‘Be With You’ via Mute Artists

http://www.erasureinfo.com/


MIRRORS Falls By Another Name (2011)

In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Any number of them are worthy of mention but the nod goes to ‘Fall By Another Name’ as it was accessible enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir hence its likely relegation to flipside, the bright pulsing melodies and James New’s Dave Gahan impression made this sound rather like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’.

Available on the MIRRORS single ‘Into the Heart’ via Skint Records

https://www.facebook.com/theworldofmirrors


APOPTYGMA BERZERK Dead Air Einz (2013)

While the A-side was a faithful cover version of Peter Schilling’s anthemic ‘Major Tom’, ‘Dead Air Einz’ was a self-composed song by APOPTYGMA BERZERK mainman Stephan Groth that was eagerly welcomed at the time, thanks to it being his first original new track for four years. Utilising distorted radio broadcasts in its backdrop, it also featured some Korg MS20 from Jon Erik Martinsen and was something of a grower with its steadfast drum machine shuffle.

Available on the APOPTYGMA BERZERK single ‘Major Tom’ via Pitch Black Drive Productions

http://www.theapboffice.com/


CHVRCHES Now Is Not The Time (2013)

Making their initial impression with the mighty ‘Lies’ in 2012, Glasgow trio CHVRCHES actually became the mainstream saviours of synthpop that LITTLE BOOTS and LA ROUX had promised but ultimately failed to deliver on. ‘Now Is Not The Time’ was a fantastic midtempo tune with a great chorus that like ‘The Mother We Share’ sounded like Taylor Swift gone electro. However, it got relegated to B-side status despite being superior to several songs on their debut long player ‘The Bones Of What You Believe’.

Available on the CHVRCHES single ‘Recover’ via Virgin Records

https://chvrch.es/


DEPECHE MODE All That’s Mine (2013)

In a pattern similar to the ‘Sounds Of The Universe’ boxed set only track ‘Oh Well’, the best song from ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy Eurocentric austere, all the perfect ingredients for a classic DM tune! While it was no doubt rejected for not fitting into the faux blues aspirations of modern DEPECHE MODE, it made up for the dreary notions of the A-side ‘Heaven’ which were more like hell…

Originally the B-side of the single ‘Heaven’, now available on the DEPECHE MODE deluxe album ‘Delta Machine’ via Columbia Records

http://www.depechemode.com/


OMD Time Burns (2013)

OMD’s twelfth album ‘English Electric’ was notable for combining conceptual art pieces alongside supreme electronic pop in a manner reminiscent of their fourth long player ‘Dazzle Ships’ and KRAFTWERK’s ‘Radio-Activity’. Although four of these concepts made it onto the final running order of the album, one that didn’t was ‘Time Burns’, a intriguing sound collage comprising of clock movements, chimes and digital watch alarms over rumbles of sub-bass and profound computer generated speech.

Originally the B-side of the single ‘The Future Will Be Silent’, now available on the OMD EP ‘Night Café’ via BMG

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


QUEEN OF HEARTS United (2013)

A stomping electro disco number produced by Mark Reeder and Micha Adam, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provided the heat! However, ‘United’ has ended up as the B-side. Reeder said ”I saw a piece posted on The Electricity Club about QUEEN OF HEARTS and I was curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.”

Originally the B-side of ‘Secret’, now available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves

http://iamqueenofhearts.com/


VILE ELECTRODES Little Death Capsule (2013)

With an alluringly haunting vocal from Anais Neon, the eerily stark ‘Little Death Capsule’ saw VILE ELECTRODES tell the story of early space travel when these primitive craft were sent out of the earth’s atmosphere effectively sitting on inter-continental ballistic missiles, with burning up also a possibility on return. With pulsing instrumentation from Martin Swan, it featured the sort of sterling analogue treatments that would make KRAFTWERK and YELLOW MAGIC ORCHESTRA proud.

Available on the VILE ELECTRODES EP ‘The Last Time’ via Vile Electrodes

http://www.vileelectrodes.com/


JOHAN BAECKSTRÖM Synth Is Not Dead (2015)

A touching tribute to Messrs Clarke, Gore, Hütter and Schneider with hints of YAZOO’s ‘In My Room’, Johan Baeckström said of ‘Synth Is Not Dead’: “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.

Available on the JOHAN BAECKSTRÖM single ‘Come With Me via Progress Productions

https://www.facebook.com/bstrommusic/


METROLAND (We Need) Machines Without Romance (2015)

METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius. Gropius theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked towards the 21st Century interpretation of that goal. Now imagine if Gary Numan had actually joined KRAFTWERK in 1979? Then the brilliantly uptempo ‘(We Need) Machines Without Romance’ would have surely been the result.

Originally the B-side of ‘Zeppelin’, now available on the METROLAND boxed set ’12×12′ via Alfa Matrix

http://www.metrolandmusic.com/


MESH Paper Thin (2016)

Of the superbly rousing ‘Paper Thin’, Richard Silverthorn of MESH recalled: “Mark Hockings presented me with a demo at the time we were writing material for ‘Looking Skyward’. On first listen, I wasn’t too sure about the track as I thought it didn’t really fit with the overall feeling of the album so it kind of got shelved. The record company asked ‘what about the B-side?’ so Mark suggested ‘Paper Thin’ again. The bassline, drums and many other lines were changed and the new version came to life.”

Available on the MESH single ‘Kill Your Darlings’ via Dependent Records

http://www.mesh.co.uk/


KNIGHT$ So Cold (2017)

After SCARLET SOHO, James Knights busied himself with a new Britalo inspired solo project. With hints of NEW ORDER’s ‘Subculture’ and found on KNIGHT$ debut EP ‘What’s Your Poison?’, he said “’So Cold’ is the second or third song I wrote as KNIGHT$. It’s a little darker than my other material, and the only song I’ve recorded using a marxophone (a fretless zither which I borrowed from my friend Alun Davies). It didn’t make it onto my debut album, but it’s still a song the audience enjoy, as do I.”

Available on the KNIGHT$ EP ‘What’s Your Poison?’ via Speccio Uomo ‎

https://knights101.com/


PSYCHE Truth or Consequence (2017)

PSYCHE co-founder Darrin Huss said of ‘Truth Or Consequence’: “It started out under the title ‘Life On Trial’ and was about the Bradley Manning (now Chelsea) situation. It’s about the NSA surveillance, whistleblowers, etc. It’s also about the confusion between what is Truth, and what are the consequences of telling it, living it? Do we have safety in numbers? etc. It’s all in the lyrics. It’s a very PSYCHE song with even a nod to ‘The Brain Collapses’ with our use of that song’s drum machine the Oberheim DMX.”

Available on the PSYCHE single ‘Youth Of Tomorrow’ via Artoffact Records

http://www.psyche-hq.de/


SOFT CELL Guilty (2018)

That Marc Almond and Dave Ball reunited for a farewell gig and new material was a pleasant surprise. The frustration and anger expressed in ‘Guilty (Cos I Say You Are)’ with the lines “I can denounce you just because I can, I didn’t have the life I wanted, I didn’t do the things I dreamed” saw SOFT CELL continue where they left of in 2003. With dark resonances like ‘The Omen’ gone disco, its eerie gothique countered the celebratory electro-soul of A-side ‘Northern Lights’

Originally the B-side of ‘Northern Lights’, now available on the SOFT CELL album ‘Keychains & Snowstorms – The Singles’ via Universal Records

https://www.softcell.co.uk/


INTERNATIONAL TEACHERS OF POP Another Brick In The Wall – Remoaner mix (2019)

Inheriting the mantle of THE HUMAN LEAGUE in the modern synthpop stakes, INTERNATIONAL TEACHERS OF POP impressed with their self-titled debut album. With the single release of ‘The Ballad Of Remedy Wilson’ was a timely Remoaner mix of PINK FLOYD’s ‘Another Brick In The Wall’ sung in German that made a bold musical and political statement. Headteacher Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.

Available on the INTERNATIONAL TEACHERS OF POP single ‘The Ballad Of Remedy Nilsson’ via Desolate Spools

https://www.facebook.com/internationalteachersofpop


Text by Chi Ming Lai with thanks to all the artists who contributed
19th July 2020

Lost Albums: KID MOXIE Selector

As KID MOXIE, Elena Charbila has been on a most interesting musical journey, one which has included collaborating with Angelo Badalamenti on an updated version of ‘The Mysteries Of Love’, the ‘Blue Velvet’ song best known in its original form voiced by Julee Cruise.

Her most recent release was the soundtrack to Greek film ‘Not To Be Unpleasant, But We Need to Have a Serious Talk’ which was released on the Grammy-nominated label Lakeshore Records, home to the physical editions of ‘Drive’ and ‘Stranger Things’.

While KID MOXIE achieved a breakthrough with the ‘1888’ album in 2014, it all started slightly less conspiciously. Having released a debut EP entitled ‘Human Stereo’ in 2007, a long playing statement was made in 2009 with ‘Selector’. At the time of its making, KID MOXIE was a duo comprising of Elena Charbila and Erica Zabowski.

Elena Charbila kindly chatted to The Electricity Club about how her journey began on ‘Selector’ and may have led her down the artistic paths she follows today…

Despite ‘Selector’ being the debut KID MOXIE album, it sounds quite transitional now?

11 years have passed and I am a different person and that is reflected musically on this album. It’s like growing up and seeing your development through your music, like a public diary. Any song you write, any album you make, there’s a public diary of where you’re at during each stage of your life.

So like reading your diary from high school, you cringe! But it also rings true to you because you remember how you feel and what you wanted to sound like. Looking back at ‘Selector’, I wasn’t as honest and free with myself as I feel now. I was not as mature or savvy, instrumentation or production-wise *laughs*

When I was in my 20s, I was mostly going out for style rather than substance. I was thinking “I’m going to make an electropop record, it’s supposed to sound like this and I’m supposed to sing it like Madonna in her early years etc!”… it was like Paris Hilton in the nid-2000s or whatever! *laughs*

So it was very nubile and adolescent, it was very immature, the way I sounded, the way I wrote! But there was something endearing because it’s like looking at an old picture of yourself when you’re a kid, so this album was more “Baby Moxie”!

Creatively, what would have been the dynamic within KID MOXIE at this point?

I had just moved to my first apartment in LA and my roommate Erica who was a violinist and I found in the LA Times, we started KID MOXIE together, she was a big fan of electropop. We were composing and rehearsing in our living room but then, we were later evicted for making too much noise!

We had a garage space so we were practicing there. It was so hot in LA that summer that we even had naked practice days on Tuesdays, wearing bikinis! It was like a sauna in there, 110 degrees in that garage.

We had a producer walk by while he was getting coffee and he heard what we were doing. He thought we were interesting and fresh so invited us to record in his studio on the same block. So that’s how the ‘Selector’ album started! We were practicing pretty much naked and doing this kind of obnoxious electropop and this producer saw something in that! *laughs*

At that point, I was writing most of the music and Erica was co-writing the lyrics with me. But even then, although I enjoyed being in the band set-up, I still knew that I was a bit of a Billy Corgan, I liked to do things my way and wanted full control. I was never comfortable sharing the creative experience of making music, minus having a producer to make things sound better sonically. So the process back then was very different because there were more people involved and you can hear it. We were very young and trying to get into the new scene in LA at the time, which was very bleepy and poppy and fun.

What sort of music would you have been listening to as inspiration?

I was always listening to a lot of GOLDFRAPP but by no means did I sound like that, but I loved that style. I also listened to BELLE & SEBASTIAN, French pop and a big fan of DAFT PUNK and AIR.

Plus just though my contacts in Greece, I loved MARSHEAUX and close to them as we were friends and I felt sonically that I belonged in this group. Inevitably, if you feel you belong somewhere, you emulate it. So the Undo Records crowd of the late 2000s was very much shaping my sound.

Around this time, you recorded a cover of Madonna’ ‘Burning Up’ which is not on the album and has never been released, is this an indicator of your mindset during this stage of KID MOXIE?

For sure, I was listening to a lot of early Madonna… as she got older, her music got better I felt and her voice… she never had an excellent voice but the songs were great. But in the early 80s, stuff like ‘Burning Up’ and ‘Borderline’ was a massive influence, probably more than anybody. I was like “Hey! I think I can sound like that!”, the spoilt girly type of thing, I thought I could do that…

One thing that has been a continuing artistic thread is vocalising en Francais which you did on ‘French Disco In Space’, had done before on ‘Ma Romance D’Hiver’ on your first EP and did later on ‘Lacuna’ from ‘1888’?

I studied French at school and got quite fluent; being Greek, you have to learn more than your own language. English is a given when you are in first grade, and most Greek kids take another language and it’s either French or German.

I think it’s the most beautiful language, I like the sound of it and it sounds great in a song format. It’s so crisp and has such a beautiful ring to it. ‘Ma Romance D’Hiver’ and ‘French Disco In Space’ which actually has a French rap, both got on major TV shows.

‘Ma Romance D’Hiver’ was used in ‘The L-Word’ and ‘French Disco In Space’ got in the film ‘Yoga Hosers’ which was directed by Kevin Smith and produced by Johnny Depp, it stars their daughters. So these early songs, they got on big media productions.

‘What Kind Of Girl’ is an interesting track and has a gothic resonance, like a girly IAMX in retrospect?

I was very happy with that song because even then, without really knowing it, there was composition… it had violins and things that go beyond a pop format, it intrigued me. I was feeling really good that I could write something that included real instruments and bring it into a pop format. I would explore this more years later, bringing me to this point where I’m doing a lot more scores and stuff for film and TV. So that was kind of like the seed in an odd way.

I love classical stuff, I come from a classical background having been trained on piano as a kid, so it was refreshing to have done this little something among all the bleepy girly attitude, it felt more redeeming.

The title song and ‘Medium Pleasure’ were quite poppy, but they ended up much better when remixed by FOTONOVELA and MARSHEAUX respectively, have you any thoughts on that?

They were… the original production was way better than I could have achieved but FOTONOVELA and MARSHEAUX put them both in a new light and better than the originals.

In my next album ‘1888’, you can hear the different sonically because I introduced different producers for different tracks that made them sound so much more solid and crisp than on ‘Selector’, so I definitely learnt that lesson from these two remixes. Also ‘Tsunami’ was remixed by Serafim Tsotsonis and got a ton of airplay, and still gets played on the biggest Greek radio station as their “signal”.

‘Tsunami’ was an attempt at the more atmospheric music with that ‘Twin Peaks’ feel that came later with KID MOXIE and the backing sounds like OMD. It’s quite naïve but do you now see it as an indicator of where you were heading?

I think yes, you’re spot on. Again as with ‘What Kind Of Girl’, ‘Tsunami’ is a favourite from this record as it create atmosphere with very few words. All the other songs were verse-chorus-verse-chorus, this one was ethereal vocals maybe for the first time and more sparse; it became my signature later on. It much more what I’m about now. I wrote it on my MicroKorg in my bedroom and it felt like an accomplishment at the time. It came out of a dream and I basically reiterated the dream. But that remix was much better and that’s why it became a radio hit in Greece.

‘Neon Tears’ and ‘Dream In Pale Blue’ are moody tracks that also perhaps signal ‘1888’… it would appear that the rhythmic side needed work, it this as a result of limited equipment and experience?

I don’t feel that was the case for ‘Dream In Pale Blue’. Serafim Tsotsonis who remixed ‘Tsunami’ only worked on that one track and did the rhythm section, that still hits a chord with me, I am still feeling that one. But ‘Neon Tears’? Absolutely, that’s a very loose song, it could have been done way better like a lot of stuff on this album, I do cringe at a lot of aspects of ‘Neon Tears’.

‘Polytechnic’ sees you sounding like THE B-52s, was this conscious?

Oh God! It might have been! It was just two chicks being arsey and wordy, giving attitude!

It had that 60s pop vibe going on and to me, it sounds so hollow right now, it’s like my diary at 15! *laughs*

Were you’re still figuring out how best to use your voice?

Yes, I was still working out what to do with my voice; I was working with a male producer and perhaps looking back subconsciously, there was some kind of male-pleasing aspect to my singing at the time although I wasn’t about that. The dudes I was hanging around with liked that so I kind of went with it. The producer though the girly thing was very appealing. But honestly, I was trying to figure out my voice, but I don’t I think I did during that album! I died trying! *laughs*

That airy continental vocal style you’re known for now is nowhere on this album, so how did that eventually emerge?

There a tiny bit of it on ‘Tsunami’ as a precursor… I worked on a lot of different projects for various Greek producers; I tested myself on their tracks. That liberated me from fabricating this persona that I had in mind that I should be following or doing. So I decided I would follow their music and see how my voice translated onto other people’s stuff. And eventually, I brought it into my own sound and crystallised it because it has sounded so good then. That other work shaped my new voice on ‘1888’.

So was ‘The Bailor’, which came a few years after ‘Selector’, the breakthrough song where you found your sound?

Yes, I love that tune, it still speaks to me. I’m proud of it and feel ‘that’s’ my voice.

And here we are today, do you see ‘Selector’ as an important album to your development as an artist or would you have preferred it not to have been released in hindsight?

I’m going to reply to this in a very personal way! I look on this like any relationship I’ve had that I’m not happy with. I’ve made mistakes in my life and I’m not one of those people who is proud of everything I’ve done and wouldn’t change a thing, like why? If I had the power to go back in time, I would have changed a few things. But it did feel right at the time…

I wish it was sonically better, I wish I had found my voice earlier and done a different job with it. At the same time, I look on it endearingly (like at my teen diary) even though I cringe. It’s like my first crush, my first time.

It was my first attack in a record and a production, I messed so many things up. I wish I could have changed them but I can’t so I look as it now as an endearing time of my life.


The Electricity Club gives its grateful thanks to Elena Charbila

‘Selector’ is available as a name your price download direct from https://kidmoxie.bandcamp.com/album/selector-2

http://www.facebook.com/kidmoxie

https://twitter.com/KIDMOXIEMUSIC

https://www.instagram.com/kid.moxie/


Text and Interview by Chi Ming Lai
30th May 2020

Ten Years Of TEC: BIRTHDAY GREETINGS FROM SOME PEOPLE WHO YOU MIGHT KNOW…

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! 🍻


Text compiled by Chi Ming Lai
15th March 2020

Ten Years Of TEC: 30 TRACKS THAT SHAPED THE ELECTRICITY CLUB

So how did The Electricity Club arrive at its discerning musical ethos?

It probably all began with a very liberal and Bohemian junior school teacher named Miss Nielsen who played KRAFTWERK’s ‘Autobahn’, PINK FLOYD’s ‘Echoes’ and the soundtrack of ‘A Clockwork Orange’ to the class, with the unusual sound of all three providing an otherworldly, yet captivating listen.

Later on, various parts of the 22 minute ‘Autobahn’ track appeared on the end credits of BBC children’s drama ‘Out Of Bounds’ and opened ‘Newsround Extra’, but 1977 was to become the true Year Zero in electronic pop. With ‘Oxygène’, ‘Sound & Vision’, ‘Magic Fly’ and ‘I Feel Love’ all hitting the UK Top 3 within months of each other, this was effectively the beginning of synths designing the future.

To celebrate the 10th birthday of the site, here is a very personal list of 30 tracks that shaped The Electricity Club. These are primarily songs that solidified and expanded the interest in synth or later provided hope in the face of real music snobbery and the return of the guitar in the wake of Britpop.

There will be grumbles that the likes of YELLOW MAGIC ORCHESTRA, HEAVEN 17, YAZOO, DURAN DURAN, TALK TALK, PROPAGANDA, CLIENT, RÖYKSOPP and others are not featured, and certainly if this list was a 40, they would all be included. But this list is an impulsive snapshot of The Electricity Club’s own journey in music, as opposed to being a history of electronic pop or a best of.

What? No industrial, acid house, techno or dubstep you ask? Well, that’s because The Electricity Club disliked the majority of it. While this is not always the case, the site has generally about synthpop ie pop music using synthesizers, as can be seen from this rather esteemed electronic roll of honour 😉

This is the history that the too cool for school media, who think everything jumped from KRAFTWERK to Detroit Techno in one fell swoop, don’t like to mention…

With a restriction of one track per artist moniker and presented in yearly and then alphabetical order featuring music from before the site came into being, here is why The Electricity Club is how it is…


JEAN-MICHEL JARRE Oxygène (1976)

For many including Jean-Michel Jarre, ‘Popcorn’ for their first experience of a synthpop hit and he released his own version under the moniker of THE POPCORN ORCHESTRA in 1972. But while working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from the late Gershon Kingsley’s composition as the main theme of what was to become the project’s lead single. That composition was ‘Oxygène IV’ and the rest is history.

Available on the album ‘Oxygène’ via Sony Music

https://jeanmicheljarre.com/


DAVID BOWIE Sound & Vision (1977)

Exploring a “whole new school of pretension” with his new creative muse Brian Eno, ‘Sound & Vision’ saw David Bowie capture a tense European aesthetic. Utilising an uplifting rhythm guitar hook and an ARP Solina string machine, the most distinctive feature was the pitch shifted percussion, produced by Tony Visconti feeding the snare drum though an Eventide H910 Harmonizer. The half instrumental track was a taster of the approach that was to come with the half instrumental parent album ‘Low’.

Available on the album ‘Low’ via EMI Music

https://www.davidbowie.com/


SPACE Magic Fly (1977)

SPACE was the brainchild of Didier Marouani who went under the pseudonym of Ecama and formed the collective in 1977 with Roland Romanelli and Jannick Top. Together with compatriot Jean-Michel Jarre and a certain Giorgio Moroder also in the charts, the space disco of the iconic ‘Magic Fly’ heralded the start of a new European electronic sound within the mainstream. With its catchy melody and lush accessible futurism, ‘Magic Fly’ sold millions all over the world.

Available on the album ‘Magic Fly’ via Virgin France

https://marouani.space/


DONNA SUMMER I Feel Love (1977)

Working with Donna Summer on an album called ‘I Remember Yesterday’, producer Giorgio Moroder wanted to feature a track that represented “the sound of the future”. Employing the Moog Modular system with an 8-step analogue sequencer plus a triplet delay to create the pulsing synthesizer lines and metronomic beat, ‘I Feel Love’ changed the course of music. Summer’s hypnotic Middle Eastern falsetto was an accident, coming as a result of the track being laid down outside of her usual vocal range.

Available on the album ‘I Feel Love: The Collection’ via Spectrum

http://donnasummer.com/


KRAFTWERK The Model (1978)

Using a Micromoog for its iconic hook, ‘The Model’ was inspired by KRAFTWERK’s visits to night clubs in the more vibrant city of Cologne 30km down the road from Düsseldorf where their iconic Kling Klang studio was based. There, they would observe beautiful models drinking champagne and seek their company. It was quite the antithesis of the robot image that the quartet were portraying. Sonically ahead of its time, it became a UK No1 four years after its initial release in 1982.

Available on the album ‘The Man Machine’ via EMI Music

http://www.kraftwerk.com/


SPARKS No1 Song In Heaven (1979)

In a creative rut following their massive UK success in the glam-era, the Mael Brothers had found ‘I Feel Love’ awe inspiring. A journalist friend put SPARKS into contact with Giorgio Moroder who had aspirations to work with a band and set to work with them immediately. The first result was the tremendous ‘No1 Song In Heaven’ where Russell Mael’s flamboyant falsetto fitted well with the electro-disco sound, while the programmed backing meant Ron Mael could maintain his image of doing nothing.

Available on the SPARKS album ‘No1 In Heaven’ via Repertoire Records

http://allsparks.com/


TUBEWAY ARMY Are Friends Electric? (1979)

Still using the group name of TUBEWAY ARMY at the behest of Beggars Banquet, the astoundingly long ‘Are Friends Electric?’ with its diabolus in musica structure became the entry point for many into electronic music. It was Synth Britannia’s ‘Starman’ moment when it was featured on ‘Top Of The Pops’ and Old Grey Whistle Test’ during the same week. When it reached No1 in the UK, life was never the same for Gary Numan, the pale-faced front man of what turned out to be a phantom band.

Available on the album ‘Replicas’ via Beggars Banquet

http://garynuman.com/


JOHN FOXX Underpass (1980)

Departing ULTRAVOX after the ‘Systems Of Romance’ album and now making music along with an ARP Odyssey, Elka Rhapsody and a Roland CR78 Compurhythm, John Foxx realised his own starker vision of electronic music. Engineered by Gareth Jones who was to later notably work with DEPECHE MODE, ‘Underpass’ channelled the dystopian writings of JG Ballard in his lyrical imagery, with Foxx added that the English novelist was “addressing what I’d come to call ‘the unrecognised present’.”

Available on the album ‘Metamatic’ via Metamatic Records

http://metamatic.com/


THE HUMAN LEAGUE The Black Hit Of Space (1980)

A track that “weighed more than Saturn”, ‘The Black Hit Of Space’ sounded extraordinary when it opened the second album by THE HUMAN LEAGUE. The Sci-Fi lyrics about an infinite pop hit were strangely out there while harsh screeching frequencies from overdriving the mixing desk; “We were also experimenting with guitar pedals” Martyn Ware told The Electricity Club, “All that was a reaction to the cleanness of the previous album so we overcompensated.”

Available on the album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk/


JAPAN Quiet Life (1980)

The resonant heart of ‘Quiet Life’ was a Roland System 700 driven by Richard Barbieri’s snappy eight step Oberheim Mini-sequencer. Complimented by Mick Karn’s distinctively fluid fretless bass, Rob Dean’s clean guitar lines and David Sylvian’s lyrical conclusion that the band were outsiders in the environment they were born into, it was a sure-fire hit… but not yet as Ariola Hansa release it as a single in the UK until 1981. But meanwhile, JAPAN had invented DURAN DURAN!

Available on the album ‘Quiet Life’ via Sony Music

http://www.nightporter.co.uk/


OMD Messages (1980)

Within the environment of colder electronic pioneers such as Gary Numan and John Foxx, OMD were perhaps the first of the warmer synthesizer bands. ‘Messages’ utilised a pulsing ‘Repeat’ function on a Korg Micro-Preset shaped by hand twisting the octave knob. Re-recorded from the original album version under the helm of producer Mike Howlett, he harnessed a template of basic primary chord structures and one fingered melodies, netting a No13 UK chart hit.

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Virgin Records

http://www.omd.uk.com


ULTRAVOX Astradyne (1980)

Of ‘Astradyne’, Billy Currie told The Electricity Club: “Midge started with that strong melody, Chris’ bass was also a very strong feature. I played a piano counter melody behind. The track was so strong that we felt at ease to lengthen it with a long textural piano bit that is sort of bell-like with the metronomic bass drum beats and the violin tremolo solo… Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is very celebratory at the end…”

Available on the album ‘Vienna’ via Chrysalis/EMI Records

http://www.ultravox.org.uk/


VISAGE Fade To Grey (1980)

Conceived during soundchecks under the working title of ‘Toot City’ while they were playing on Gary Numan’s first concert tour, Chris Payne, Billy Currie and Ced Sharpley had recorded the track at Genetic Studios as a souvenir keepsake. Midge Ure later came up lyrics and a melody when the track was added to the debut VISAGE album and the rest was history. Capturing the cinematic pomp of the New Romantic movement in all its glory, ‘Fade To Grey’ became a No1 hit in West Germany.

Available on the album ‘Visage’ via Polydor Records

http://www.therealvisage.com/


DEPECHE MODE New Life (1981)

Written by Vince Clarke and produced by Daniel Miller, DEPECHE MODE fulfilled the Mute label founder’s vision of a teenage pop group with synthesizers that he had imagined and conceived for SILICON TEENS. Despite its danceable bubblegum appeal and catchy synthesizer hooks, ‘New Life’ also featured some intricate folk vocal harmonies which made it quite distinct from the chanty nature of THE HUMAN LEAGUE’s ‘The Sound Of The Crowd’ which was also out at the same time.

Available on the album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/


SIMPLE MINDS Theme For Great Cities (1981)

The expansive instrumental ‘Theme for Great Cities’ was initially been given away as a freebie having initially been part of ‘Sister Feelings Call’, a seven track EP given gratis to early purchasers of SIMPLE MINDS’ breakthrough fourth album ‘Sons & Fascination’. Starting with some haunting vox humana before a combination of CAN and TANGERINE DREAM takes hold, the rhythm section covered in dub echo drove what is possibly one of the greatest synth signatures ever!

Available on the album ‘Sons & Fascination / Sister Feelings Call’ via Virgin/EMI Records

http://www.simpleminds.com


SOFT CELL Tainted Love (1981)

SOFT CELL’s cover of ‘Tainted Love’ became ubiquitous as Synth Britannia’s first true crossover record, reaching No1 in UK, Germany, Australia and Canada while also breaking the US Top 10 a year later. Written by Ed Cobb, ‘Tainted Love’ was recorded by Gloria Jones and became a Wigan Casino favourite on the Northern Soul scene. As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory, while Marc Almond added an honestly spirited vocal.

Available on the album ‘Non-Stop Erotic Cabaret’ via Mercury Records

https://www.softcell.co.uk/


ASSOCIATES Party Fears Two (1982)

With its iconic honky tonk piano line and sophisticated arrangement, ‘Party Fears Two’ was a magnificent song about dealing with the perils of schizophrenia, made all the more resonant by Billy Mackenzie’s operatic prowess. It also kick started a brief period when ASSOCIATES subverted the UK charts with an avant pop approach that fitted in with the Synth Britannia template of the times. A Top10 hit and emotive to the nth degree, the original single version is still the best and total perfection.

Available on the album ‘The Very Best Of’ via Union Square

https://www.facebook.com/theassociatesofficial/


BLANCMANGE I’ve Seen The Word (1982)

Harrow College of Art students Neil Arthur and Stephen Luscombe were unlikely pop stars, but an appearance on the ‘Some Bizzare Album’ led to a deal with London Records as well as support slots with DEPECHE MODE and JAPAN. Using a Korg MS20 synched to a Linn Drum Computer as its rhythmic backbone, the haunting melancholy of ‘I’ve Seen The Word’ fused the sombre lyricism of JOY DIVISION with the melodies and textures of OMD via a Roland Jupiter 8.

Available on the album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk/


CHINA CRISIS Christian (1982)

Merseyside duo CHINA CRISIS are probably the most under rated band of their generation. The haunting ‘Christian’ was a song about the fate of soldiers in the trenches during World War One. Slow and melancholic, ‘Christian’ was as unlikely a hit single as ‘Ghosts’ by JAPAN was, but in a far more open-minded and diverse period in pop music than today, acts with a less obvious rock ‘n’ roll outlook were generally in with a chance; it reached No12 in the UK singles charts.

Available on the album ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ via Caroline International

https://www.facebook.com/chinacrisisofficial/


NEW ORDER Temptation (1982)

‘Temptation’ was NEW ORDER’s self-produced electronic breakthrough away from the haunting legacy of JOY DIVISION. The recording itself was marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while band members could also be heard calling instructions and tutting. The pulsing hypnotism of the triggered ARP Quadra and the iconic “oooh-oo-ooh” vocal refrain made ‘Temptation’ rather joyous and magical.

Available on the album ‘Singles’ via WEA Records

http://www.neworder.com/


BRONSKI BEAT Smalltown Boy (1984)

When Jimmy Somerville, Steve Bronski and the late Larry Steinbachek made their first ever TV appearance performing on BBC2’s ‘ORS’, BRONSKI BEAT were nothing short of startling, thanks to their look, their minimal synth sound and Somerville’s lonely earth shattering falsetto. The trio had sought to be more outspoken and political in their position as openly gay performers and the tale of ‘Smalltown Boy’ about a gay teenager leaving his family and fleeing his hometown made an important statement.

Available on the album ‘The Age Of Consent’ via London Records

http://www.bronskibeat.co.uk/


PET SHOP BOYS West End Girls (1985)

It was with the re-recorded Stephen Hague version of ‘West End Girls’ that PET SHOP BOYS hit No1 in both the UK and US in 1986. Interestingly, the character of its distinctive bass synth was achieved by Hague coercing a reluctant Chris Lowe into hand playing the riff. Meanwhile, the track fulfilled Neil Tennant’s concept of the duo sounding “like an English rap group” with a dour demeanour that was the antithesis of WHAM! It started an imperial phase for PET SHOP BOYS which included three more No1s.

Available on the album ‘PopArt’ via EMI Music

https://www.petshopboys.co.uk/


CAMOUFLAGE The Great Commandment (1988)

In today’s world, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which the Basildon boys had all but abandoned from ‘Black Celebration’ onwards. Probably the best single DM never recorded. while ‘The Great Commandment’ was a hit in Europe and the US, it made no impression in Britain.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

http://www.camouflage-music.com/


ERASURE A Little Respect (1988)

Produced by Stephen Hague, ‘A Little Respect’ was perfection from the off with its lively combination of Vince Clarke’s pulsing programming and strummed acoustic guitar. As the busy rhythmical engine kicked in, Andy Bell went from a tenor to a piercing falsetto to provide the dynamic highs and lows that are always omnipresent in all the great pop songs like ‘Dancing Queen’ and ‘Careless Whisper’. Something of a crossover record for ERASURE, ‘A Little Respect’ was covered by WHEATUS in 2000.

Available on the album ‘Total Pop! – The First 40 Hits’ via Mute Records

http://www.erasureinfo.com/


DUBSTAR Not So Manic Now (1995)

DUBSTAR straddled Britpop with a twist of Synth Britannia. ‘Not So Manic Now’ was a song by Wakefield indie band BRICK SUPPLY, but the trio made it their own with the Northern lass earthiness of Sarah Blackwood providing the chilling commentary of an attack on a helpless pensioner. Stephen Hague’s wonderful production fused programmed electronics with guitars and cello in fine fashion, while the incessant programmed rhythms drove the song along without being obtrusive to the horrifying story.

Available on the album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/


GOLDFRAPP Lovely Head (2000)

It is interesting to think that GOLDFRAPP were initially labelled as a trip-hop act. Their superb stratospheric debut ‘Felt Mountain’ had Ennio Morricone’s widescreen inflections but to accompany an ascent to the Matterhorn rather than a trek through a Sergio Leone Spaghetti Western. The opening song ‘Lovely Head’ was laced with deviant sexual tension. Will Gregory’s mad Korg MS20 treatments on Alison Goldfrapp’s operatic screaming produced some thrilling musical moments.

Available on the album ‘Felt Mountain’ via Mute Records

https://www.goldfrapp.com/


MISS KITTIN & THE HACKER You & Us (2001)

Describing the relationship between artist and fan, this was another throbbing Moroder-inspired cacophony of electronic dance from Michel Amato with a dirty clanking Korg KR55 Rhythm used to great effect. Deliciously hypnotic, the swimmy ARP synths drowned any sorrows as the pulsing euphoria took a hold. Miss Kittin didn’t sing as much as deadpan her thoughts, but her sexy Grenoble charm carried off what was a rather superb Electroclash anthem.

Available on the album ‘The First Album’ via Nobodys Bizzness

http://www.misskittin.com/


LADYTRON Seventeen (2002)

LADYTRON became one of the first bands for many years to primarily use synthesizers as their tools of expression and attain critical acclaim. Their debut ‘604’showed electro potential in their initial quest to find ‘yesterday’s tomorrow’. With octave shifts galore to satirical lyrics about the X-Factor/Next Year’s Top Model generation, ‘Seventeen’ demonstrated the tactile nature of analogue synthesis that was key to a revival in fortunes for electronic pop in the 21st Century.

Available on the album ‘Light & Magic’ via Nettwerk

http://www.ladytron.com/


THE KNIFE Silent Shout (2006)

Probably the most influential electronic act to come out of Sweden are THE KNIFE. Those long winter nights certainly had their effect on siblings Karin and Olof Dreijer. ‘Silent Shout’ was hypnotic understated rave with the a quota of creepy Nordic eccentricity. The sharp appregiator and ambient percussion melted with Karin Dreijer’s heavily pitch-shifted low register vocals providing a menacing counterpoint to her younger brother’s vibrant electronic lattice.

Available on the album ‘Silent Shout’ via Brille Records

https://theknife.net/


MARSHEAUX Dream Of A Disco (2007)

Is a cover or is it Memorex? This interpolation of ‘Space Age Love Song’ by A FLOCK OF SEAGULLS provided MARSHEAUX with their most immediate number yet. Borrowing the uniformed look of CLIENT but applying a pure synthpop template, Marianthi Melitsi and Sophie Sarigiannidou became notable for their marketing masterstrokes. The parent ‘Peek-A-Boo’ CD included a paper bag ghost mask. Fans wore it, took pictures and sent them to the duo… around 3,500 pictures were gathered!

Available on the album ‘Peek-A-Boo’ via Undo Records

https://www.marsheaux.com/


Text by Chi Ming Lai
13th March 2020

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