Tag: Me The Tiger

TEC’s 2015 End Of Year Review

There are no illegal connections…

System100 CakeThe user manual for the Roland System 100 semi-modular synthesizer profoundly stated “there are no illegal connections…”

And in modern electronic music, that is still the case with the accomplished artists of today very much connected to the synth pioneers of yesteryear like KRAFTWERK, OMD, DEPECHE MODE and THE HUMAN LEAGUE.

Belgian duo METROLAND would not exist without the tradition established at Klingklang, while EAST INDIA YOUTH’s interest in BRIAN ENO and Motorik beats curated a sound that has enabled parallels to be drawn with the artful template of the similarly influenced Paul Humphreys and Andy McCluskey.

GWENNO by Jacek Davis PhotographyAnd although SUSANNE SUNDFØR was already an established singer / songwriter in her homeland of Norway, attention was not fully drawn on her new synth based direction until she performed a sympathetic cover of ‘Ice Machine’ with RÖYKSOPP in late 2012. Even the exquisite lo-fi Welsh language electronica of GWENNO can be traced to Sheffield, thanks to the songstress’ previous pop excursions which involved working on an album with the late Martin Rushent.

As JEAN-MICHEL JARRE said: “Electronic music has a family, a legacy and a future…” so to deny the glorious heritage of electronic music when assessing new acts would be futile. Indeed, acknowledging history is very much part of The Electricity Club’s style and it appears to have been appreciated, especially in regard to the feature ‘Five Years of TEC: 30 Favourite Albums 2010 – 2014’, one of a quintet of special articles to celebrate the site’s fifth birthday in March…

“Huge thanks to The Electricity Club” said avid reader Hugh David, “A victory for well-written, artfully conveyed content curation once again… you knew exactly what to say to sell me on one artist or another. That rare ability of a reviewer to pinpoint the precise comparisons that enable me to decide to seek something out based on my own tastes is something lacking in so many other outlets; love that you’ve got that in spades”

Another reader David Sims added: “TEC is a great way of discovering artists you might not otherwise be aware of. A bit like when a friend used to come round your house clutching an LP or C90 saying ‘I really love this, have a listen’, introducing you to new music that makes your neck hairs stand up in ovation”

NEW ORDER2015-Roger Kamp-072014 was a comparatively lean 12 months, but this year found many veterans returning to the fold. NEW ORDER released ‘Music Complete’, a much discussed comeback that was not only the Mancunians’ first album for Mute, but also without estranged bassist Peter HookMARC ALMOND released ‘The Velvet Trail’, his first pop album for many years while ANDY BELL embarked on further solo adventures in support of ‘Torsten The Bareback Saint’.

SPARKS joined forces with FRANZ FERDINAND as FFS while telling everyone to ‘P*ss Off’ and proved that collaborations do work. Electronic music legend JEAN-MICHEL JARRE also went the collaborative root. His first album for several years ‘Electronica 1 – The Time Machine’ featured the likes of LITTLE BOOTS, JOHN CARPENTER, TANGERINE DREAM, AIR, ARMIN VAN BUUREN, GESAFFELSTEIN, MOBY, MASSIVE ATTACK and VINCE CLARKE.

Wolfgang Flur 2015Another legend GIORGIO MORODER made his statement of intent with ‘74 Is The New 24’ and released ‘Déjà Vu’, a disco pop record featuring the likes of SIA, BRITNEY SPEARS, FOXES and KYLIE MINOGUE.

Meanwhile, his artier counterpart ZEUS B HELD gave us some ‘Logic of Coincidence’ and WOLFGANG FLÜR made his solo debut with ‘Eloquence’, his first length album project since 1997.

Liverpool duo CHINA CRISIS delivered ‘Autumn In The Neighbourhood’, their first original material since 1994’s ‘Warped By Success’ while HOWARD JONES showed he could still innovate at 60 years of age when he launched ‘Engage’, “a highly interactive live experience designed to immerse audiences in an audio / visual feast”. A-HA came back after disbanding in 2010 with ‘Cast In Steel’ and DURAN DURAN recruited an all-star cast that included Nile Rodgers, John Frusciante, Kiesza and Lindsay Lohan for the rather disappointing EDM blow-out ‘Paper Gods’.

MG-PRBLANCMANGE’s ‘Semi Detached’ was Neil Arthur’s first without long-time partner Stephen Luscombe and he even found time to release a wonderful instrumental collection entitled ‘Nil By Mouth’. Indeed, there were quite a few instrumental opuses in 2015, with GHOST HARMONIC’s wonderful ‘Codex’ featuring JOHN FOXX and the electronic pioneer’s own glorious ‘London Overgrown’. TUXEDOMOON joined forces with CULT WITH NO NAME for ‘Blue Velvet Revisited’ while not wishing to be left out, DEPECHE MODE’s Martin Gore released the tutorial for his new Eurorack modular system as the simply titled ‘MG’.

2015 saw the 25th anniversary of DEPECHE MODE’s ‘Violator’ and to ignore its significance, as some DM fan related platforms did, would have been incredibly short sighted. However, there was none of that from premier DM tribute band SPEAK & SPELL who played their biggest UK gig yet with a splendid boutique showcase of that landmark album at London’s Islington Academy.

camouflage1__12314_(Credit_Klaus_Mellenthin)CAMOUFLAGE, a band who started off very much under the influence of the Basildon boys, issued the mature statement of ‘Greyscale’ while continuing the DEPECHE MODE album theme, Athens based synth maidens MARSHEAUX gave a worthy of re-assessment of ‘A Broken Frame’ and procured a number of interesting arrangements for some under rated songs.

DIE KRUPPS got more metal than machine on their fifth opus ‘V – Metal Machine Music’. Fellow Germans BEBORN BETON made up for a ten year absence with ‘A Worthy Compensation’ while SOLAR FAKE and SYNTHDECADE also got in on the action too.

CHVRCHES-2015-02CHVRCHES continued their quest for world domination with something that LITTLE BOOTS, LA ROUX, LADYHAWKE and HURTS never managed… a decent second album. But PURITY RING, the Canadian act whose template CHVRCHES borrowed, must have looked over with a touch of envy at the Glaswegian’s success so responded with ‘Another Eternity’.

HANNAH PEEL released an interim mini-album ‘Rebox 2’ which blended centuries of music technology while VILE ELECTRODES came up with the gorgeous ‘Captive In Symmetry’, possibly one of the songs of 2015. EURASIANEYES heeded all the guidance available to them to produce their most accomplished song yet in ‘Call Your God’ and ANALOG ANGEL went on a well-received tour supporting Swedish veterans COVENANT with a message to listeners of ‘Don’t Forget To Love’.

RODNEY CROMWELL -NASAElsewhere in the British Isles, CIRCUIT3RODNEY CROMWELL and SUDDEN CREATION made their first excursions into the long player format just as KID KASIO and KOVAK each delivered album number two while Berlin based Brit EMIKA helpfully titled her third opus ‘Drei’.

“So, what’s so special about Sweden then?” someone once rather cluelessly asked TEC. Well, it is the modern hub of inventive, electronic pop. KARIN PARK offered her profanity laden fifth album ‘Apocalypse Pop’ while SAY LOU LOU finally gave the world their ‘Lucid Dreaming’. SISTA MANNEN PÅ JORDEN offered to ‘Translate’ while TRAIN TO SPAIN told the world ‘What It’s All About’. And this was without feisty youngsters like ME THE TIGER and comparatively experienced hands such as PRESENCE OF MIND, DESTIN FRAGILE, CLUB 8, 047 and HILTIPOP all entering the equation too.

Photo by Madeleine Berg

Still in Sweden, DAYBEHAVIOR went all female PET SHOP BOYS with the Italo flavoured ‘Cambiare’ and MACHINISTA followed up their debut ‘Xenoglossy’ with ‘Garmonbozia’. while there was also the unexpected return of alternative synthpopsters ASHBURY HEIGHTS. But best of all were the mighty KITE; their ‘VI’ EP was a masterclass in epic, majestic electronic pop.

In the rest of Europe, there was an influx of darker female fronted acts such as Hungary’s BLACK NAIL CABARET, Italy’s ELECTROGENIC, Greece’s SARAH P. and Germany’s NINA; the latter’s ‘My Mistake’ even ended up on a Mercedes TV advert. The male contingent did their bit too with Slovenia’s TORUL unleashing their second offering ‘The Measure’ while the prolific Finnish duo SIN COS TAN took things a little bit easier in their fourth year with just an EP ‘Smile, Tomorrow Will Be Worse’, having already released three albums since 2012.

SILVER GHOST SHIMMEROslo based studio legend John Fryer returned with two new projects, SILVER GHOST SHIMMER and MURICIDAE featuring vocalists Pinky Turzo and Louise Fraser respectively. Both reminded listeners of his work with COCTEAU TWINS and THIS MORTAL COIL, but with an Americanised twist. The Icelandic domiciled Denver singer / songwriter JOHN GRANT added some funkier vibes to his continuing electronic direction while IAMX moved from Berlin to Los Angeles, and did no harm to his art with the brooding ‘Metanoia’ album.

On the brighter side of North America, PRIEST’s self-titled debut long player became reality following their dreamy ‘Samurai’ EP, while HYPERBUBBLE made available their wacky award winning soundtrack to the short film ‘Dee Dee Rocks The Galaxy’ and joyous 2014 London show. And GRIMES caught the music biz on the hop when she released a new album ‘Art Angels’, having scrapped an album’s worth of material in 2014.

NIGHT CLUB Nov2015But despite North America itself being one of the territories flying the flag for the synth with acts like NIGHT CLUB, BATTLE TAPESAESTHETIC PERFECTION and RARE FACTURE all figuring, the worst single of 2015 actually came from the USA; decades of synth heritage were eminently obliterated in five soul destroying minutes… was this really what the Electronic Revolution was fought for? This is cultural history and it needs to be protected.

Although the year had flashes of brilliance, it was generally less impressive overall for fledgling electronic artists, with a number forgetting that all important factor of a good tune! Eddie Bengtsson of SISTA MANNEN PÅ JORDEN remarked last year that synthpop was becoming a dying art.

And in 2015, synthpop’s credibility was further tarnished with lazy use of the term by the mainstream press for acts like YEARS & YEARS; one could argue that TAYLOR SWIFT and her ‘1989’ opus is possibly more synthpop than YEARS & YEARS have ever been! In a market where EDM appears to be king and clubbers are happy to witness DJs miming their two hour sets, there is clearly something wrong. Things were not helped by certain media outlets insisting that dance music was the only way; it was as if electronic music had somehow managed to jump from KRAFTWERK to Detroit techno with nothing happening in between.

jarre clarkeAnd then, there were those who had never particularly enjoyed music from that key Synth Britannia period, who were trying to dictate how modern electronic music was being presented and pretending it had popped out of thin air! Some bands were not doing themselves any favours either, showing little empathetic connection to the history of electronic music in their deluded optimism that they were crafting something completely new! As JEAN-MICHEL JARRE amusingly quipped to Sound-On-Sound magazine: “Lots of people in America think that electronic music started with AVICII and it’s not exactly the truth…”

The lack of accuracy in a number of publications over the last 18 months was also shocking, particularly within magazines and online media that continued to employ writers with a history of not knowing their tape recorders from their drum machines. This simply proved the old adage that just because someone is employed as a professional writer, it doesn’t actually mean they are a good writer!

MYSADCAT2015

Photo @MYSADCAT

The domestic live scene had its challenges too with slow ticket sales and a number of events cancelled. But even when some true legends in electronic music were booked, ticket sales could not be guaranteed and efficient promotion was needed to maximise potential.

Some observers were bemoaning a lack of support for the scene, but if line-ups are not particularly appealing, then audiences cannot be expected to invest time and money to attend.

A number of organisational infrastructures also lacked credibility; if a promoter doesn’t have at least some idea if they’re going to sell fifty tickets or five thousand, then they really shouldn’t be in the business! The question that has to be asked then is, has anybody actually learnt from the Alt-Fest debacle of 2014?

ES2015-Marsheaux+TrainToSpainWhile ‘A Secret Wish’ and SOS#2 were a couple of the year’s better UK events, Europe showed once again how things should be done. Electronic Summer in Gothenburg and the Electri_City_Conference in Düsseldorf were two of the most notable electronic music events of 2015; the inherent knowledge and sense of understanding in both differed immensely to some British promoters. This perhaps could explain why electronic pop has generally flourished more in territories across the North Sea.

Electronic pop needs to continue to develop, but quality control must be maintained to ensure the genre is not publically misrepresented. SOFT CELL once sang about ‘Monoculture’ while KID MOXIE declared how everyone was just content with ‘Medium Pleasure’. If all that’s heard is the best of a bad bunch, then younger listeners (and therefore potential future synth oriented musicians) will not be inspired. That is why it is important that CHVRCHES and EAST INDIA YOUTH consolidate their positions as modern electronic pop’s representatives in the mainstream.

Rusty vs Andy - Chi Ming LaiIt is not good practice to support mediocre music just because it happens to be electronic. The finest examples need to be set so as to show what can be achieved; now if that means possibly referencing back to the golden age of synthpop, then so be it. Only then will the synth baton be able to taken up by a new generation who can then truly reinvigorate it.


PAUL BODDY

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Restless
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: BATTLE TAPES Valkyrie
Most Promising New Act: BATTLE TAPES


DEB DANAHAY

Best Album: IAMX Metanoia
Best Song: KITE Up For Life
Best Gig: NODE at The Royal College of Music
Best Video: IAMX Oh Cruel Darkness Embrace Me
Most Promising New Act: KITE


IAN FERGUSON

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: KITE Count The Days
Best Gig: ASSEMBLAGE 23 at SOS#2 Festival
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL


MONIKA IZABELA GOSS

Best Album: SILVER GHOST SHIMMER Soft Landing
Best Song: IAMX Happiness
Best Gig: IAMX at London Koko
Best Video: TORUL The Balance
Most Promising New Act: SYNTHDECADE


SIMON HELM

Best Album: LAU NAU Hem Någonstans
Best Song: ME THE TIGER As We Really Are
Best Gig: SISTA MANNEN PÅ JORDEN at A Secret Wish
Best Video: JUNO Same To Me
Most Promising New Act: REIN


CHI MING LAI

Best Album: SUSANNE SUNDFØR Ten Love Songs
Best Song: KITE Up For Life
Best Gig: FFS at The Troxy
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL


RICHARD PRICE

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Plastic
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: KITE


Text by Chi Ming Lai
16th December 2015

ME THE TIGER Vitriolic

ME THE TIGER VitriolicFalun in Sweden is the hometown to yet another superb electronic act from this Nordic land.

Gabriella Åström (vocals synths), Tobias Andresson (synths / guitars) and Jonas Martinsson (drums / programming) are the trio who comprise ME THE TIGER.

Given the fact that the band set out on their journey only in 2012, they can boast about such achievements as playing alongside none other than VINCE CLARKE, PANDA DA PANDA, TEC favourites KITE and many others.

Their hometown awarded the band a diversity scholarship and their work has been nominated for a number of awards. Having recently played at Electronic Summer 2015 in Gothenburg with great success, the band are already well established and popular with the synth fanatics.

‘Vitriolic’ opens with ‘As We Really Are’; delicate girly vocals gently ease the audience into a massive bridge and chorus, which is larger than life, with heavy drums and a powerful guitar. ‘Never Said I’ classifies as a perfect dance tune, depicting a complicated love story, while ‘What Promises Are Worth’, the first single from the production, hits with synthy scenery, another powerful chorus, instantly making the tune a dance anthem of the new era.

‘Control’ is a short, semi-instrumental track but lyrically full however. ‘Myheroine’ steps in with fast tempo, MESH-like synths and controversial lyrics, another larger than life but rounded tune. Starting with a Eurovision-esque sequence, ‘Heartbeats’ is a riven, energetic and spirited panorama of sound with a perfect danceability factor.

‘Headlines’ opens with a dirty, interesting synth, instantly making it the best song on the album. Gritty vocal over simple, yet sophisticated melody, resembling solo outings from Melanie Chisholm. The following ‘Apart’ sounds like a fresh take on the dance floor anthems of the gone by years, fully twinkling with fresh electronica and persevering drums, it is big and bold.

ME THE TIGER‘We Sell For Free’ is marked by calmer synergy of gentle vocal and subdued resonance, while ‘Like Feathers’ comes back with faster, quirkier tonality.

‘Dreams’ calms the senses again for a short while, leading to ‘2013, It’s Finally Over’, which is the closing track of the album. Keeping it harmonious in unison of slower and gentler tone, the song perfectly rounds up the production.

ME THE TIGER have been described as “the next generation of electronic music”, and the “vitriolic wind of change in the deadlocked electronic music scene”. With strong lyrics, powerful choruses and anthemic tunes, they are likely to succeed in what they are aiming for, to “contaminate your ears and the dance floors”.

Driven and forward thinking, they represent a fresh approach to modern electronica, which is gutsy and in-your-face, yet melancholic and subdued at the same time. Best observed live, the band surely have many successes to come their way.


‘Vitriolic’ is released on CD and digital formats by Repo Records

http://methetiger.com/

https://www.facebook.com/MeTheTiger


Text by Monika Izabela Goss
7th September 2015

ELECTRONIC SUMMER 2015 at Gothenburg Brewhouse

Norse Code

ES2015-Marsheaux+TrainToSpainThe Electricity Club has said many times before: “There are electronic music events… and there are electronic music events…”

And the best sort of electronic music events are those curated by electronic music enthusiasts, people who actually enthuse about the genre, recognise its history and expel a passion to see it continue as a defined artform.

Two such people are Henrik Wittgren and Sebastian Hess, whose organisation Depeche Mode Party Gothenburg have been running successful music events in the Swedish city for several years. Electronic Summer started as a DEPECHE MODE fan event in 2012 with none other than Alan Wilder as guest of honour, while the live headliners were MESH and DE/VISION.

ES2015-Psyche+JenniferSince then, the event has developed with DAF and APOPTYGMA BERZERK headlining in 2013, while the 2014 event featured COVENANT, ASSEMBLAGE 23 and AESTHETIC PERFECTION.

With VNV NATION, SOLAR FAKE, MARSHEAUX, KARIN PARK and PYSCHE featuring in the Electronic Summer 2015 line-up, a sell-out crowd at the Brewhouse Arena was eagerly anticipating a great weekend of music and culture.

Such was the community spirit of the occasion that musicians from local acts such as TRAIN TO SPAIN were also in attendance. To start proceedings, early arrivals were welcomed to an enjoyable pre-party featuring AVANTGARDE, XHILE, PRESENCE OF MIND and DESTIN FRAGILE. Each act had appeared on the cult Swedish synthpop compilation ‘Circuit One’ and gathered to celebrate its 20th anniversary.

ES2015-PresenceOfMindPRESENCE OF MIND were particularly impressive with their brand of dark, but melodic synthrock. Their debut album ‘Interpersonal’ was only released in 2014, but it is a indicator as to why Swedish acts are generally holding their own against competition from around the world. Meanwhile, DESTIN FRAGILE showcased songs from their ‘Halfway To Nowhere’ album released this year and some observers have considered it one of the best synth flavoured long players of 2015.

Day 1 began in the late afternoon with Nordic friendly blog Cold War Night Life hosting a DJ set in The Outsider bar area. As music fans prepared themselves for a nine hour night, DJ combo Spacelab aka Alexander Hofman and Johan Billing from S.P.O.C.K. continued the electronic soundtrack.

ES2015-PeterSjoholmThroughout the weekend, there were enjoyable DJ sets based around the themes of Mute, DEPECHE MODE, NITZER EBB and ERASURE but there was also just great electronic pop by artists of all generations ranging from KRAFTWERK, SOFT CELL and NEW ORDER to CLUB8, TRUST and SUSANNE SUNDFØR. The first live act of the day was the milk loving PETER SJÖHOLM who gave his distinctive quirky take on electronic pop.

But that was followed by the unusual sight of Day 2 headliners VNV NATION taking to the stage at 19:00 hours. Performing what was billed as an alternative set, it contained a collection of their lesser played works from their vast catalogue like ‘Kingdom’ and was a suitable dress rehearsal for their headline slot. Following on, NATTSKIFTET and VIRTUAL VOICES kept the crowds warm in preparation for Canadian darkwave trailblazers PSYCHE.

ES2015-PsycheAccompanied by Stefan Rabura, Darrin Huss led a spirited performance that was fittingly poignant following the recent sad passing of his brother and PSYCHE founder member Stephen. This was particularly evident on ‘The Brain Collapses’ from ‘Insomnia Theatre’, their debut album together.

The magnificent ‘The Saint Became A Lush’ from ‘Unveiling The Secret’ was another pivotal moment while that album’s title track and the single ‘Uncivilized’ were other treats. Huss recited his synthpop knowledge too, dropping in snatches of EURYTHMICS’ ‘Sweet Dreams’ and YAZOO’s ‘Bring Your Love Down (Didn’t I)’ during the set.

ES2015-KarinPark02KARIN PARK gave another of her towering performances, the aggressive synth glam of ‘Look What You’ve Done’ fully exploiting the presence of her metalhead drummer brother David and lively new keyboardist Kine Sandbæk Jensen aka PIECES OF JUNO. Meanwhile ‘Stick To The Lie’ and ‘Ashes’ demonstrated that despite her intense stage demeanour, Miss Park does supreme electronic pop. To climax the set, the charismatic Swede led a three way drum barrage to conclude the mighty ‘Thousand Loaded Guns’.

PROJECT PITCHFORK concluded the evening with a suitably Teutonic fist of aggression; their in-yer-face pounding ensured any remaining energy left in the audience after a long day was put to efficient use. If nothing, it ensured a good night’s sleep in preparation for Electronic Summer 2015’s second instalment.

ES2015-HiltipopDay 2 began with HILTIPOP, the solo project of Magnus Johansson from the YAZOO influenced duo ALISON.

His promising FAD GADGET meets KRAFTWERK template was an ideal way to ease everyone back into the synthetic groove and many watching including George Geranios of Undo Records and Darrin Huss were impressed. 

Following on, STURM CAFÉ gave their localised take on electro body music. With enough flashes of DAF to wake anyone who was still sleepy, the Alte Schule sound was not totally unexpected from a band who soundtracked a movie called ‘Die Zombiejäger’. 

ES2015-MeTheTigerMeanwhile, ME THE TIGER were another Swedish band on the second day’s very international bill and notably reflected their country’s solidarity values. With their synth assisted new wave songs like ‘Ariana’ and ‘Pocket Sized Edition Ending’, the trio showcased their YEAH YEAH YEAHS influenced pop augmented by punky guitars and lively drums.

In Gabriella Åström, ME THE TIGER have a feisty front woman full of energy and attitude, something that was particularly evident on anthemic numbers like ‘Heartbeats’ and ‘What Promises Are Worth’. Even a broken kick pedal didn’t dampen their enthusiasm and this was promptly repaired without a flutter.

ES2015-Marsheaux02The event maintained its original DEPECHE MODE roots with the presence of Athens based synth maidens MARSHEAUX performing selections from their acclaimed reinterpretation of ‘A Broken Frame’. The wispy renditions of ‘My Secret Garden’, ‘Monument’ and ‘Leave In Silence’ were particular highlights while there was the surprise inclusion of ‘See You’ B-side ‘Now This Is Fun’. Best of of all though was an angelic rendition of ‘The Sun & The Rainfall’.

But it wasn’t all about Basildon as MARSHEAUX impressed the Devotee dominant crowd with their own cracking tunes like ‘Hanging On’, ‘Dream Of A Disco’, ‘Come On Now’ and ‘Breakthrough’.

ES2015-SolarFakeGerman duo SOLAR FAKE led by Sven Friedrich kept the crowd moving with their Goth infused electro, a tone that was not entirely surprising given Friedrich’s roots in cult alternative band DREADFUL SHADOWS. ‘I Hate You More Than My Life’ was a more than ideal overture while ‘Under Control’ provided a trancey focal point with hints of COVENANT. The remainder of their set was enjoyably accessible dark synthpop that suited the duo’s striking look.

To conclude the weekend, VNV NATION blasted their way through a hits set of their characteristic Futurepop, the duo of Ronan Harris and Mark Jackson certainly providing lashings of “Victory Not Vengeance”.

ES2015-VNV2011’s ‘Space & Time’ and the 1999 vintage of ‘Standing’ were just two of the stomping crowd pleasers while the more epic electro rock inclined ‘Perpetual’ made a fitting set closer. Throughout the weekend, there was an enormously warm and friendly atmosphere. The event had something for everyone so as different factions of the audience moved between their preferred acts, there was plenty of time for passionate discussion in the various bars.

Despite fierce debate about the merits of synthpop versus industrial, most shared an intense dislike of EDM and agreed that its inane DJ culture was ruining electronic music. However, when there were differences in opinion as the well-known Nordic enjoyment for liquid refreshment kicked in, no-one took it personally. There was plenty of mutual laughter as chat varied from whether ‘MG’ was actually a Eurorack YouTube tutorial put to record, to the use of the word ‘Marmite’ as a descriptive term in music journalism.

ES2015-CWNL+friendsElectronic Summer has developed into a fine annual platform showcasing the best in independent synth driven talent from around the world. The 2015 variant was a truly worldwide event, again proving what can be done when event organisers actually enjoy and understand the music they are dealing in.

It was indeed, a fine benchmark for other event organisers to aspire to.


ES2015-TeamThe Electricity Club gives its sincerest thanks to Henrik Wittgren and Sebastian Hess at Depeche Mode Party Gothenburg

Thanks also to Simon Helm at Cold War Night Life

www.electronicsummer.se

www.anachronsounds.de/

www.solarfake.de/enES2015-Spacelab

www.marsheaux.com/

www.methetiger.com/

www.facebook.com/sturmcafe

https://soundcloud.com/sem-hilti-johansson

www.project-pitchfork.eu/ES2015-TEC+KarinPark

www.karinpark.com/

www.psyche-hq.de/

www.facebook.com/nattskiftetmusik

http://members.tripod.com/~virtual_voices/

www.facebook.com/peter5joholm

www.facebook.com/destin.fragile.pop

www.facebook.com/PresenceOfMindSweden

www.discogs.com/artist/129276-Xhile

www.facebook.com/pages/Avantgarde/


Text by Chi Ming Lai
Photos by Chi Ming Lai, Simon Helm, Jennifer Last and Madeleine Berg
5th September 2015