Tag: Midge Ure (Page 2 of 8)

The Electricity Club’s 30 SONGS OF THE DECADE 2010-2019

To narrow down ten years of electronic pop to 30 songs was always going to be a challenging task, but The Electricity Club has given it a go to offer its own subjective twist.

As the decade started, female artists like LITTLE BOOTS, LA ROUX and LADYHAWKE had appeared to have been making in-roads into the mainstream as new flag bearers for the synthesizer.

But it proved to be something of a false dawn and while those artists continue today, the music that has made the most lasting impact between 2010-2019 has been made by evergreens from Synth Britannia whose talent has not subsided or independently minded musicians who focussed on art over commerce but didn’t forget to throw in a tune along the way.

As per usual, The Electricity Club’s lists are all about rules. So this one has not only been restricted to one song per artist moniker but also to one vocalist. Hence SIN COS TAN just get the nod over VILLA NAH, while MIRRORS take preference over James New’s guest slot for FOTONOVELA on ‘Our Sorrow’ and the Midge Ure vocalled ‘Glorious’ has been chosen instead ULTRAVOX’s ‘Live’.

Presented in alphabetical order, here are The Electricity Club’s 30 SONGS OF THE DECADE 2010-2019…


AESTHETIC PERFECTION featuring NYXX Rhythm + Control – Electro Mix (2017)

With alternative songstress NYXX on additional vocals, ‘Rhythm + Control’ saw Daniel Graves take his industrial pop to the next level. The magnificent Electro Mix successfully realised an oddball blend of Darren Hayes, Britney Spears and Marilyn Manson. With a mightily elastic bassline, when asked whether The Electricity Club had gone crazy coming up with the comparison, Daniel Graves replied “God no. Spot on, guys!” adding “The goal was to cram as many features into one song and have fun with it as possible.”

Available as a download single via https://aestheticperfection.bandcamp.com/album/rhythm-control-out-of-control-mixes

http://aesthetic-perfection.net/


JOHAN BAECKSTROM Synth Is Not Dead (2015)

‘Synth Is Not Dead’ is a song close to the heart of The Electricity Club with its solidarity to the synth. A touching tribute to Messrs Clarke, Gore, Hütter and Schneider, Johan Baeckstrom said: “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 EP ‘Come With Me’ via Progress Productions

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


KARL BARTOS Without A Trace Of Emotion (2013)

‘Without A Trace Of Emotion’ saw Karl Bartos conversing with his showroom dummy Herr Karl and confronting his demons as an ex-member of the world’s most iconic electronic group. But whereas his former colleague Wolfgang Flür vented his spleen in book form with ‘I Was A Robot’, Bartos took a more ironic musical approach with the line “I wish I could remix my life to another beat” summing up a wry reference to ‘The Mix’ project which drove him out of Kling Klang!

Available on the album ‘Off The Record’ via Bureau B

http://www.karlbartos.com/


BEYOND THE WIZARD’S SLEEVE featuring HANNAH PEEL Diagram Girl (2016)

BEYOND THE WIZARDS SLEEVE’s ‘Diagram Girl’ was the work of Erol Alkan and Richard Norris of THE GRID. Featuring the unisex vocals of Hannah Peel, a deeper pitch shift provided a psychedelic out-of-this-world feel which bizarrely fitted in alongside the songstress’ dreamily breathy tones.  “They wanted me to sound like a man!” she remembered. Meanwhile the pulsing electronic soundtrack had surreal echoes of OMD, in particular their lesser known minor hit ‘Secret’.

Available on the single ‘Diagram Girl’ via Phantasy Sound

https://www.facebook.com/beyondthewizardssleeve/


CHROMATICS Shadow (2015)

Muscian, producer and Italians Do It Better head honcho Johnny Jewel, has lways been into all things Lynchian. So when CHROMATICS released the dreamy Badalamenti-inspired ‘Shadow’, it instantly recalled The Black Lodge’s red curtains in that sleepy Washington town. With Ruth Radelet’s wispy vocal and an eerie string machine for the main melodic theme, the ghostly wistful tune later came to further prominence thanks to its inclusion in ‘Twin Peaks: The Return’ in 2017.

Available on the album ‘Twin Peaks (Music from the Limited Event Series)’ (V/A) via Rhino Records

https://www.facebook.com/CHROMATICSBAND/


CHVRCHES Clearest Blue (2015)

CHVRCHES stuck to the synthpop template of their 2013 debut and as a result, delivered what LITTLE BOOTS, LA ROUX, and LADYHAWKE and HURTS all failed to do… a decent second album! The propulsive four-to-the-floor action of ‘Clearest Blue’ was wonderfully held in a state of tension before WHACK, there was a dynamic surprise in the final third that recalled the classic overtures of Vince Clarke. The song was electronic pop magnificence embroiled.

Available on the album ‘Every Open Eye’ via Virgin Records

http://chvrch.es/


RODNEY CROMWELL Black Dog (2015)

RODNEY CROMWELL is the alter-ego of Adam Cresswell, formally of ARTHUR & MARTHA. ‘Black Dog’ recalled the pulsing post-punk miserablism of SECTION 25 and was embellished by some Hooky styled bass. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there was an optimistic light at the end of the tunnel that made ‘Black Dog’ a most joyous listening experience despite its very personal themes of love, loss, depression and redemption.

Available on the album ‘Age Of Anxiety’ via https://www.happyrobots.co.uk/botshop

http://www.happyrobots.co.uk/


DURAN DURAN Being Followed (2011)

The ‘All You Need Is Now’ album saw DURAN DURAN cyclically return to the funk-led syncopated pop of their first two classic albums. A superb sequencer assisted disco number with a tingling metallic edge, ‘Being Followed’ hinted at THE CURE’s ‘A Forest’ while Nick Rhodes’ vintage string machine captured the tension of post 9/11 paranoia. Simon Le Bon gave his wayward all and while he has technically never had a great voice, what he delivered was unique AND untouchable…

Available on the album ‘All You Need Is Now’ via Tape Modern

http://www.duranduran.com/


EAST INDIA YOUTH Carousel (2015)

Despite EAST INDIA YOUTH being no more as a project, the debut long player ‘Total Strife’ pointed towards William Doyle’s potential to pen sublime pop, and with the follow-up ‘Culture Of Volume’, the album’s centrepiece was ‘Carousel’. It imagined OMD’s ‘Stanlow’ reworked during Brian Eno’s sessions for ‘Apollo: Soundtracks & Atmospheres’. With no percussive elements and over six minutes in length, Doyle gave a dramatic vocal performance resonating in beautifully crystalline melancholy.

Available on the album ‘Culture of Volume’ via XL Recordings

http://eastindiayouth.co.uk/


RUSTY EGAN featuring MIDGE URE Glorious (2016)

‘Glorious’ not only reunited Midge Ure with Rusty Egan but also Chris Payne who co-wrote ‘Fade To Grey’; Ure told The Electricity Club: “I liked the music, but I didn’t think the song / melody / lyrics were strong enough, so I rewrote all of that in my studio. I stripped the demo down to the basic track, edited it down into a more ‘song like’ format and started working on a glorious melody. I added the main melodic synth line and layered guitars over it, ending with the ‘hopefully’ uplifting solo over the outro”.

Available on the RUSTY EGAN album ‘Welcome To The Dance Floor’ via Black Mosaic

http://rustyegan.net/

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


EMIKA Promises (2018)

With ‘Falling In Love With Sadness’, EMIKA produced one of the best electronic albums of 2018. The record was a concept album of sorts, a musical reflection on generations of sadness within the Anglo-Czech musician’s family. The pacey ‘Promises’ made the most of her lower and higher vocal registers, providing an eerie cascading harmonic with some rumbling dubby tension and booming stabs driving Eastwards with solemn spine tingling qualities.

Available on the album ‘Falling In Love With Sadness’ via Emika Records

http://emikarecords.com


JOHN FOXX & JORI HULKKONEN Evangeline (2013)

John Foxx and Jori Hulkkonen had worked together previously on singular songs like ‘Dislocated’ and ‘Never Been Here Before’, but never before on a body of work with a conceptual theme. ‘European Splendour’ took on a grainier downtempo template and the lead track ‘Evangeline’ was all the more beautiful for it. Full of depth, coupled with an anthemic chorus and vibrant exchange of character throughout, this rousing yet soothingly futuristic number was quite otherworldly.

Available on the EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com


FIAT LUX It’s You (2018)

Releasing their first new material in over three decades, FIAT LUX returned with the most splendid ‘It’s You’. As well as the bassline and harmony from David P Crickmore, the sax style was a fitting tribute to the sadly departed Ian Nelson. Singer Steve Wright said: “Lyrically, I hope, it expresses feelings that possibly everyone can relate to…” in this gloriously optimistic tune about finding love again in midlife. Their long awaited debut album ‘Saved Symmetry’ finally came out in 2019.

Available on the album ‘Saved Symmetry’ via Splid Records

http://www.fiat-lux.co.uk


GOLDFRAPP Dreaming (2010)

As the title suggested, the gorgeous and sophisticated ‘Dreaming’ adopted a distinctly European flavour compared with the mid-Atlantic AOR focus of songs like ‘Rocket’, ‘Alive’ and ‘Believer’ on the ‘Head First’ album. Alison Goldfrapp’s voice resonated angelically with beautiful high-register chorus alongside the with pulsing sequences and string machine washes of Will Gregory’s primarily electronic arrangement complimented by Davide Rossi’s cinematic orchestrations.

Available on the album ‘Head First’ via Mute Records

https://www.goldfrapp.com/


IAMX Ghosts Of Utopia (2011)

The Berlin period of IAMX has maintained a special quality in that Chris Corner captured an electro Gothic aesthetic that combined the theatrics of Weimar Cabaret with themes of sex, alienation and dependency. Despite the lyrical content, Corner’s songs were always strongly melodic with an accessible grandeur. ‘Ghosts Of Utopia’ had instant appeal for a dance in the dark with exhilarating mechanical drive. His scream of ”this is psychosis” was wholly believable!

Available on the album ‘Volatile Times’ via Orphic

http://iamxmusic.com/


IAMAMIWHOAMI Hunting For Pearls (2014)

As IAMAMIWHOAMI, Jonna Lee and Claes Björklund offered icy musical art. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with beautifully rich vocals. With a mysterious falsetto reach, the air might have been cold outside but inside, things were warm if delightfully odd. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably have sounded like this. Jonna Lee continues the artistic adventure now as IONNALEE.

Available on the album ‘Blue’ via towhomitmayconcern

http://www.towhomitmayconcern.cc/


KITE Up For Life (2015)

Sweden’s KITE are probably the best synth act in Europe right now. Nicklas Stenemo and Christian Berg’s wonderfully exuberant array of sounds and rugged majestic vocals certainly deserve a much larger audience. Issuing only EPs and never albums, the magnificent progressive electronic epic ‘Up For Life’ was a two-part nine minute masterpiece, the passionate and sublime first half mutated into a beautifully surreal journey of VANGELIS-like proportions for its second.

Available on the EP ‘VI’ via Progress Productions

https://www.facebook.com/KiteHQ


KATJA VON KASSEL Someday (2018)

Asking if “it is foolish to dream”, ‘Someday’ saw Katja von Kassel questioning a moment of passionate haste. “The phrase ‘Someday’ just opened it all up and everything else just fell into place.” the chanteuse said. Capturing the beautiful melancholy of Billy Mackenzie, the doomed romantic tragedy of the sadly departed Scot was echoed by the chanteuse’s deep forlorn delivery, accompanied by Chris Payne’s hypnotic bassline and haunting vox humana treatment over a simple rhythmic loop.

Available on the EP ‘Walking In West Berlin’ via https://katjavonkassel.bandcamp.com/

https://www.facebook.com/KatjavKassel/


LADYTRON Ambulances (2011)

The beautiful ‘Ambulances’ was totally different to anything LADYTRON had done before, almost in te vein of SIOUXSIE & THE BANSHEES. Moving at a much slower pace, Helen Marnie’s voice adopted an unexpected angelic falsetto over the lush spacious mix featuring dramatic strings, synthetic timpani and an almost random hi-hat pattern. Daniel Hunt said he “wanted it to sound ethereal and otherworldly” and with a glorious crescendo, ‘Ambulances’ was certainly something to be to be savoured.

Available on the album ‘Gravity The Seducer’  via Nettwerk Productions,

http://www.ladytron.com/


MARSHEAUX Monument (2015)

A worthy of re-assessment of DEPECHE MODE ‘A Broken Frame’ was long overdue and MARSHEAUX have certainly gave a number of its songs some interesting arrangements. Their version of ‘Monument’ borrowed its bassline from latter day DM B-side ‘Painkiller’. Combined with the wispily resigned vocals of Marianthi Melitsi and Sophie Sarigiannidou, it provided a tense soundtrack. It’s not often that cover versions are better than the originals, but this was one of them.

Available on the album ‘A Broken Frame’ via Undo Records

https://www.facebook.com/marsheaux


MIRRORS Ways To An End (2010)

With their smart suits, MIRRORS presented an intense and artful approach to electronic pop that recalled Dindisc era OMD. With a dense synthetic chill and pulsing effects dominating this brilliantly uptempo electro number, ‘Ways To An End’ came over like TALKING HEADS ‘Crossed Eyed & Painless’ given a claustrophobic post-punk makeover. Sadly, MIRRORS were to only make the one album ‘Lights & Offerings’ which although under-appreciated on release, is now acknowledged as a classic of the decade.

Available on the album ‘Lights & Offerings’ via Skint Entertainment

https://www.facebook.com/theworldofmirrors/


ALISON MOYET Alive (2017)

Having worked successfully in 2013 with Guy Sigsworth on ‘the minutes’, which saw Alison Moyet return to the synthesized music forms to compliment her powerful and self-assured voice, the follow-up ‘Other’ was a natural progression. The startling orchestrated electro-dub drama of ‘Alive’ gave Moyet’s two former classmates in DEPECHE MODE a stark lesson in how to actually fully realise electronic blues. Indeed, it was ‘In Chains’, the lame opener from ‘Sounds Of The Universe’ gone right…

Available on the album ‘Other’ via Cooking Vinyl

http://alisonmoyet.com/


NEW ORDER Plastic (2015)

After the guitar dominated proceedings of the last few NEW ORDER albums, Bernard Sumner promised a return to electronic music for the Mancunians’ first album of new material without estranged founder member and bassist Peter Hook. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number mixed by Richard X with blippy echoes of ‘Mr Disco’. Dealing with the issue of superficiality, it declared “this love is poison, but it’s like gold”… beware of anything plastic and artificial!

Available on the album ‘Music Complete’ via Mute Artists

http://www.neworder.com/


GARY NUMAN And It All Began With You (2017)

With a lot less goth metal guitar and much more prominent use of synths, the ‘Savage’ album successfully outstripped ‘Splinter’. And it was the haunting ‘And It All Began With You’ that stopped all in its tracks, with an exposed and soulful vocal. Borrowing Chris Isaak’s ‘Wicked Game’ for its chorus, the subtle orchestrations and a gentle shuffling beat coupled to a steadily discordant electric piano riff to close, it beautifully brought out the best in classic Gary Numan while maintaining forward momentum.

Available on the album ‘Savage (Songs From A Broken World)’ via BMG

http://www.garynuman.co.uk/


OMD Don’t Go (2019)

OMD began their recorded career with a KRAFTWERK homage in ‘Electricity’ and four decades on, they came full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’, ‘Don’t Go’ captured the essence of OMD’s enduring electronic appeal. With crystalline synths and a spirited vocal delivery attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes, using beautiful melodies to tell terrible things…

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Universal Music

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


SIN COS TAN Trust (2012)

SIN COS TAN was the new mathematically charged project of producer Jori Hulkkonen and VILLA NAH vocalist Juho Paalosmaa. “A synthesized duo of great promise, broken dreams, and long nights”, they have certainly delivered with ‘Trust’, all draped in melancholy with emotive vocals haunted by the ghost of Billy Mackenzie. With driving hypnotic, layered strings, sampled cimbalom and Cold War dramatics, this was as Jori Hulkkonen put it: “Disco You Can Cry To”…

Available on the album ‘Sin Cos Tan’ via Solina Records

http://www.facebook.com/homeofsincostan


STOLEN Turn Black (2018)

Chinese six-piece STOLEN are reckoned by Berlin-based producer Mark Reeder to be the most exciting band since NEW ORDER and they closed the decade opening for them on tour in Europe. Certainly their debut album ‘Fragment’ was impressive with ‘Turn Black’ being one of its standout tracks. “I like the idea of mixing of rock with techno…” said growly lead vocalist Liang Yi, “we are very proud that we don’t sound like any of the other Chinese bands.”

Available on the album ‘Fragment’ via https://mfsberlin.com/

https://www.facebook.com/strangeoldentertainment/


SUSANNE SUNDFØR Fade Away (2014)

The Nordic vocalist of the decade has to be Susanne Sundfør who worked with M83, KLEERUP and RÖYKSOPP as she built her international profile as a solo artist. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s breakthrough album ‘Ten Love Songs’ caught her in rousing form with a tune that came over like Scandinavian gospel. Meanwhile, a fabulous polyphonic synth solo inspired by QUEEN’s ‘I Want To Break Free’ added another dimension.

Available on the album ‘Ten Love Songs’ via Sonnet Sound / Kobalt

http://susannesundfor.com/


VILE ELECTRODES Deep Red (2013)

First appearing online as a video exclusive in 2010, ‘Deep Red’ was inspired by Dario Argento’s ‘Profondo Rosso’. A gorgeous seven and a half minute funeral ballad that came over like CLIENT fronting classic OMD, this was tremendously dramatic stuff from Anais Neon and Martin Swan. It caught the ear of a certain Andy McCluskey who was perusing The Electricity Club and later invited VILE ELECTRODES to open for OMD in Germany during their 2013 ‘English Electric’ tour.

Available on the album ‘The future through a lens’ via https://vileelectrodes.bandcamp.com/

http://www.vileelectrodes.com/


WESTBAM feat RICHARD BUTLER You Need The Drugs

Techno DJ WESTBAM celebrated 30 years in music with an intriguing mature collection of songs under the title of ‘Götterstrasse’. While the theme of the album centred on the joy and euphoria of underground nightlife, he said ‘You Need The Drugs’ was “the first explicit electronic appeal AGAINST the use of drugs with a clear message: drugs are a bore!”. Voiced brilliantly by Richard Butler of THE PSYCHEDLIC FURS’, it featured prominently in Mark Reeder’s film ‘B Movie: Lust & Sound in West-Berlin 1979–1989’.

Available on the album ‘Götterstrasse’ via Warner Music

http://www.westbam.de/dt/en/


Text by Chi Ming Lai
28th December 2019

TEC’s 2019 End Of Year Review

2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business.

That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic…

MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again. HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.

Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.

As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.

Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA at TEC005 and Mute Records veterans KOMPUTER at TEC006.

After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of OLLIE WRIDE took a more MTV friendly direction with ‘Thanks In Advance’.

But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.

QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour.

Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel.

Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from JORJA CHALMERS who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’.

But expressing themselves on the smoother side of proceedings were CULT WITH NO NAME and notably SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest.

Touring in Europe with OMD and MIDGE URE, TINY MAGNETIC PETS unleashed two EPs ‘The Politburo Disko’ and ‘Girl In A White Dress’ as fellow Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, RICARDO AUTOBAHN, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although ERIC RANDOM’s dystopian offering ‘Wire Me Up’ added vocoder while BRIAN ENO celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock LLOYD COLE surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man GARY DALY ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, KARIN MYGRETAGEISTE and ALICE HUBBLE with their beautifully crafted avant pop.

And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths. DANA JEAN PHOENIX though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by The Electricity Club to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER.

However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019.

It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur like it was normal behaviour, forgetting that ability and talent were paramount.

This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as The Electricity Club comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever.

Artwork by Heloisa Flores

The Electricity Club had a compilation released by Amour Records gathering some of the best music from the last 10 years and reached No2 in the German POPoNAUT charts.

It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of deluded poor quality artists will contaminate the bloodline.

So The Electricity Club ends the decade with a complimentary comment by a punter after TEC006 who had also been to TEC004: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉


THE ELECTRICITY CLUB Contributor Listings of 2019

PAUL BODDY

Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING


IAN FERGUSON

Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI


SIMON HELM

Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN


CHI MING LAI

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI


RICHARD PRICE

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE + RUSTY EGAN at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC


MONIKA IZABELA TRIGWELL

Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM


Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019

TINY MAGNETIC PETS Interview

Proving the luck of the Irish, TINY MAGNETIC PETS continue their upward momentum with imminent European tours opening for MIDGE URE and OMD.

And if that wasn’t enough to keep them busy, there will be a new EP released on Happy Robots Records entitled ‘Girl In A White Dress’ to coincide. Meanwhile, the long-awaited third album ‘The Point Of Collapse’ is set for 2020 with all-new material.

The delightful Dublin trio of Paula Gilmer, Sean Quinn and Eugene Somers kindly took some time out from rehearsals to speak to The Electricity Club about all the latest goings on within the TINY MAGNETIC PETS camp.

Since opening for OMD in 2017, TINY MAGNETIC PETS have been able to undertake a number of headline dates, how have those been for you? Any particular favourite cities or gigs from those jaunts?

Seán: We are so privileged that we are now able to do our own headline shows and it was really great that people came out to see us. It was such a buzz. Synth Wave Live 2 at Electrowerkz in London was really good as we got to play with Chris Payne.

Paula: The Islington was an absolute pleasure to play. It was packed to the brim, hot, loud and sweaty! Loved every minute of it.

Eugene: There have been so many memorable moments on TMP’s journey so far but definite highlights for me it was the hot and sweaty gig in The Islington in London on our second outing on our own mini-tour 2019.

How do you look back now on your 2017 album ‘Deluxe/Debris’?

Paula: ‘D/D’ holds plenty of fond memories for me. It was a great album to write and it came together surprisingly easy. ‘Semaphore’ has become a permanent fixture on our live set and it’s a personal favourite of mine!

Seán: I love ‘D/D’ and I’m still listening to it at home. I remember the thrill of working with Wolfgang Flür! We recorded some of it in Westland Studios here in Dublin and just being in the same place where KATE BUSH, THE CURE and HORSLIPS had recorded was a real vibe. I also love that the actual song ‘Deluxe/Debris’ is not on it!

Eugene: I love our sonic progression from ‘Return Of…’ to now. I feel we have grown together as writers and performers and ‘D/D’ is a highlight in those areas for me. I loved the studio time writing and recording it and now I love playing those songs live in our set. A highlight for me in the set is and I’m sure will always be ‘Semaphore’.

What direction are you heading in for the new album ‘The Point Of Collapse’, same but different or radical? How’s it coming along?

Seán: It’s finished apart from the final sequencing which we’ll probably do over Christmas. We tend to spend a while getting the tracks in the best order. As far as direction goes, ‘same but different’ would fit, yeah but it’s a step on from ‘Deluxe…’ in that it’s a bigger album – it’s even got an orchestra on it! As the title would suggest, it’s lyrically a lot darker than its predecessors – Dystopia beckons and as much as we want to retreat into the music and blot it all out, we can’t.

Also, for the first time we got someone else to mix: Charles ‘Chicky’ Reeves who we met on the OMD tour. As well as doing OMD’s sound and ours, he recorded our live album ‘Pink/White’ without us knowing and we liked it so much we asked him to mix the new album. A couple of people asked how we could just hand our work over to someone else to mix but we’d spent a month on the road with him and we trusted him and he did an amazing job. We’re all really proud of it – it’s our best album yet.

Paula: I am proud of this album. We pushed ourselves maybe a little out of our comfort zone by getting Chicky to mix it, but it was without a shadow of doubt the right decision. ‘The Point Of Collapse’ has, as Seán says above a definite bigger sound and from a vocal point of view, well I’m very happy with how it sounds and can’t wait to get it out there!

Word has it that Seán has dug his guitar out and is singing lead vocals on a track?

Paula: Don’t believe everything you hear!

Seán: I’ve had a few comments about the guitar, but this is the only TMP album where I don’t play any. All the guitars you do hear are played by Seamus Quinn and it’s not your typical guitar playing either. It’s also him singing the lead vocal with Paula on ‘French Cinéma’, not me.

I do it live, though. We only use guitars if we have something to say with them. There are way too many people playing guitars without an idea – just whack a bit of distortion on a few barre chords and it’s ROCK! – It absolutely isn’t! It’s one of the main reasons that rock isn’t what it was – and I love rock music.

One of the tracks already premiered live from ‘Point Of Collapse’ is ‘Falling Apart In Slow Motion’, how did that come together?

Paula: Oh I do love singing this live. It’s quite an emotional song. I guess it happened when Seán came up with an initial sketch and developed from there.

Seán: I had written a sketch on guitar with a different chorus, then switched to synths with a Bhangra beat for the demo and found the chorus didn’t work, so we ditched the chorus, Eugene ditched the Bhangra, Paula did the vocal and Seamus added guitars and backing vocals. It’s about a relationship that’s ending, but they’re both trying to save it and the mixed feelings that ensue. Whether the breakup is amicable or not is not specified but despite their best efforts, it’s over. Its working title was ‘Roxy Thang’…

‘Cексичок’ takes on an unexpected rhythmic stomp, it’s almost 60s like?

Seán: It does have an odd arrangement doesn’t it? The 60s was coolest decade and I think there are quite a lot of 60s references on the new album. ‘Not My Day’ has a very BEATLES feel to it without actually sounding like them, the organ breakdown in the middle of ‘Sitting Target’ reminds me of THE SMALL FACES and take the Simmons drums out of ‘European Grey’ and it could be a 60s TV theme.

We’re huge BEATLES fans and to this day, they remain one of the oddest bands for instrumentation, production and arrangement quirks. We’re still trying to decode their messages from the 60s…

Eugene: When I presented the drums for ‘Cексичок’ Seán said and I quote: “You’re taking it down Rio way…”, so I took that as a compliment 😉 and continued down Rio way. All joking aside; I’m a big fan of 60s grooves and one groover in particular – the one and only Ringo! He is a musical drummer and I from time to time, take a leaf from his book.
Seán: Wolfgang Flür loves Ringo!

Having had Wolfgang Flür appear on two tracks for ‘Deluxe/Debris’, are you able to reveal any of the guests that you have gathered for ‘The Point Of Collapse’?

Eugene: It’s an absolute honour to have the very talented and true gent that is Chris Payne on two tracks and another hugely talented man is Erik Stein of CULT WITH NO NAME on our closing track.

Paula: Erik Stein and I do a duet on a song called ‘Cosmonaut’s Lullaby’.

After three EPs ‘Stalingrad’, ‘The NATO Alphabet’ and ‘The Politburo Disko’ over the last five years, there’s a new EP on the way via Happy Robots Records, what can you say about it and does it also have a Cold War theme?

Seán: The 21st century Cold War is boring – sitting at home hacking an election is not as cool as a stand-off with huge nukes in space and it’s down to you to save the planet… so no Cold War theme this time.

We re-recorded ‘Girl In A White Dress’ as we felt it never had a fair shake in the first place. This EP has more vintage instruments: Mellotron, Stylophone and of course the ubiquitous TR77 – sorry Paula! It’s covered in Mellotron, actually. It also has the usual false ending on one track.

A lyrical first for us is the inclusion of a song about an actual event: ‘Kicked Off In Ikea’ which is about an incident in London in 2013 where a Black Friday sale turned nasty. It’s written from the perspective of a person scoffing at the crassness of it all but the curiosity gets the better of them and they turn up to see what it’s all about. It’s a sad indictment of modern consumerism and society that people will resort to violence just to get some cheap furniture. It’s a very ‘Happy Robots’ record!

TINY MAGNETIC PETS offer good value for money by not duplicating tracks from albums on EPs and vice versa, but what has been the process in deciding what tracks go on the album and which up end on the EPs?

Seán: Given that everyone writes, we always have plenty of material to work with and as albums take shape, it’s obvious which of the recorded tracks will make the cut. Our motto is: “You know it when you hear it”. We try not to force anything, it all has to flow naturally so the opening and closing tracks usually make themselves known early on.

Once we’ve established this, then it’s a question of what’s the best track to follow the opener, what follows that and so on until we meet the closing track. We only finish the ideas we really love so there are usually five or six tracks that, for one reason or another didn’t find a place on whichever album. These usually get issued as EPs, which we view as stand-alone works so we don’t include them on albums – ‘Girl In A White Dress’ is a one-off.

Are there any particular favourite tracks from either of the two upcoming new releases?

Paula: ‘Above & Overture’ (EP) and currently ‘Echoes’ or ‘French Ciméma’ from the album. Ooooh, there’s also ‘No Time Today’ and…

Eugene: ‘Above & Overture’ is my favourite from the EP and currently ‘Dreamless’ and ‘Cosmonaut’s Lullaby’ from ‘The Point Of Collapse’ are both my favourites at the moment, but it changes week by week. Why? Because they are so beautiful TBH 🙂

Seán: It keeps changing but at the moment: ‘All The Mad Things’ on the EP, ‘Not My Day’ and the ten minute ‘At The Point Of Collapse’ (almost a title-track) on the album.

TINY MAGNETIC PETS played the W-Festival in Belgium alongside a host of big names, what’s it like as an occasion? Are you able to be choosier about what types of festivals you will play now?

Seán: We had a great time at W-Fest. It was just a nice vibe and nice to be at a festival where it didn’t rain! We hung around backstage, I did a painting and we watched the bands until it was our turn. We missed KILLING JOKE because we had to leave early as our hotel was actually in France! As regards what types of festivals – I don’t think we’re at the choosy stage just yet.

Two years on from supporting one set of Synth Britannia heroes in OMD, you’re opening for MIDGE URE on selected dates of his ‘1980’ Tour…

Seán: Hard to believe isn’t it? And we’re doing it again with OMD! We are so honoured that it’s the ‘Vienna’ / ’Visage’ tour and OMD’s 40th. Andy McCluskey once said that KRAFTWERK was in OMD’s DNA, well OMD and ULTRAVOX are in ours. Sorry we won’t be around for any of the shows with Rusty Egan

Eugene: What dreams are made of; I still have to pinch myself sometimes.

Do you have any favourite Ure-related ULTRAVOX and VISAGE tracks that you’re looking forward to hearing live?

Eugene: ‘Astradyne’ for sure, most definitely ‘Vienna’ and another of my favourite ULTRAVOX songs is ‘Dancing With Tears In My Eyes’.

Seán: ‘Astradyne’ and ’New Europeans’ for me, and of course we all want to hear ‘Fade To Grey’.

Paula: ‘All Stood Still’, ‘Vienna’ and ‘Fade To Grey’.

So with all this activity, is the new album ‘The Point Of Collapse’ more likely to have a 2020 release now?

Seán: It is going to be 2020.

Paula: Yup 2020 it is!

TINY MAGNETIC PETS have shown how a band at this independent level of modern synthpop can gain traction and make in-roads within the music industry today, so are there any words of wisdom you could offer to fellow acts who have been observing your progress and have similar aspirations?

Eugene: Keep doing what you love and what drives you!

Paula: As long as music makes you happy, just do what you love and keep going for it. Don’t hold back! It’s definitely a roller coaster of emotions, but the highs absolutely outweigh the lows!

Seán: The only advice I could possibly offer is stick to your guns when everybody is ignoring you and get out on stages and social media, make connections and LET EVERYONE KNOW YOU’RE HERE – oh! And send your music to Rusty Egan!


The Electricity Club gives its warmest thanks to TINY MAGNETIC PETS

The forthcoming ‘Girl In A White Dress’ EP will be released by Happy Robots Records on 15th November 2019 in white vinyl, pre-order from https://www.happyrobots.co.uk/product-page/tiny-magnetic-pets-girl-in-a-white-dress-ep-new-pre-order

‘Deluxe/Debris’ is still available as a CD from https://www.happyrobots.co.uk/product-page/tiny-magnetic-pets-deluxe-debris-cd

The ‘Stalingrad’, ‘The NATO Alphabet’ + ‘The Politburo Disco’ EPs are available from https://tinymagneticpets.bandcamp.com/

TINY MAGNETIC PETS 2019 live dates opening for MIDGE URE include:

Manchester Albert Hall (25th October), Liverpool Philharmonic Hall (26th October), Belfast Ulster Hall (26th October), Dublin (29th October), Bochum Ruhr Congress (6th December), Osnabrück Rosenhof (7th December), Berlin Columbia Theater (8th December), Hamburg Gruenspan (9th December), Ravensburg Konzerthaus (11th December), Munich Teknikum (12th December), Kassel Congress Palais Stadthalle (13th December), Düsseldorf Stahlwerk (14th December), Aarhus Train (17th December), Copenhagen Amager Bio (18th December), The Hague Paard Van Troje (19th December)

TINY MAGNETIC PETS 2019 live dates opening for OMD include:

Belfast Ulster Hall (23rd October), Dublin Olympia (24th October), Rostock Stadthalle (25th November), Dresden Kulturpalast (26th November), Leipzig Haus Auensee (28th November), Berlin Tempodrom (29th November), Hamburg Grosse Freiheit 36 (30th November), Berlin Tempodrom (2nd December), Stuttgart Leiderhalle (3rd December), Düsseldorf Mitsubishi Electric-Halle (5th December)

https://www.tinymagneticpets.com/

https://www.facebook.com/Tiny-Magnetic-Pets-69597715797/

https://twitter.com/TinyMagneticPet

https://www.instagram.com/tinymagneticpets/

https://www.happyrobots.co.uk/tiny-magnetic-pets

https://open.spotify.com/artist/3t3ITkzKzWOludV0CeUqYk


Text and Interview by Chi Ming Lai
23rd October 2019

RUSTY EGAN Interview

Photo by Adam Szigeti

The one thing that Rusty Egan is not short of is something to say…

It makes him the most ideal guest for talk events and ‘An Audience with Rusty Egan’ returns to London this June for a fun couple of hours in the animated company of The Blitz Club DJ and VISAGE drummer.

Loud and frank, not always subtle and occasionally angry, but always interesting and lively, his anecdotes combine laughter, tears and a vivid eye-witness account of his role as a catalyst in popular culture over the past four decades.

The Electricity Club had originally met up Rusty Egan for what was intended to be a 10 minute chat to obtain quotes for a mooted Beginner’s Guide listings article but one hour later, the interview ended and only because he had a soundcheck to do for a DJ slot at Blow Up.

The resultant career spanning conversation over several cups of tea was far too enthusiastic, amusing and informative not to make public, so this is Rusty talking, with only a few edits to stop him from going to jail…

How did VISAGE come together in 1978?

Midge Ure and I had some demo time left over after THE RICH KIDS’ demise and EMI let us have Manchester Square Studios.

We got Barry Adamson and Dave Formula from MAGAZINE, Midge and me in, during that time we did ‎’If You Want Me To Stay’, ‘In The Year 2525’, ‘The Dancer’ and ‘Eve Of Destruction’, I can’t remember much about that last one as I wasn’t a fan, it was something Steve Strange wanted.

Photo by Sheila Rock

So ‘In The Year 2525’ and ‘The Dancer’ were among the first VISAGE recordings?

We did ‘In The Year 2525’ in half a day, but it was an example of the future sound of London you could call it, it was an example of what we wanted to do, as was ‘The Dancer’; these were demos for what became VISAGE but were turned down by EMI! ‘In The Year 2525’ was just me and Midge with him doing vocals and vocoder.

We were keeping it simple and all that but it was heavily influenced by KRAFTWERK. I had my CR78 Compurhythm and drum triggering while there was that Morse codey type intro. I loved it and I think still sounds great today, although some people hate it!

‘The Dancer’ was obviously influenced by NEU! as you can hear from my drums and a little bit of ‘One Of These Days’ by PINK FLOYD, we wanted that “sccchhiiiing!” and that was one of our trademarks. As Midge was doing guitar and John McGeoch played the sax.

How come ‘‎If You Want Me To Stay’ was made during those early VISAGE sessions with Ronny singing it?

I met Ronny in Paris, she was very androgynous and she had a low voice so people were going “is it a boy, is it a girl?”. I had this song in mind, Barry Adamson absolutely loved Sly Stone and at the time, we were being VISAGE. We knocked out as much as we could, as fast as we could.

I adored that record and we had an instrumental flipside. It had a lounge type concept like ‘Cracked Actor’; we literally played it live, got it going and pressed record. I bought the Swan Vestas to have the sound of the cigarette match burning.

Ronny later met Warren Cann who then introduced her to Hans Zimmer who he was working with in HELDEN at the time. Then through them, she met Vangelis and then Peter Godwin, so her whole creative life opened up. We remained friends and I’d often see her in clubs but as far as recording went, she was doing her own thing.

You spent a period playing drums with THE SKIDS in 1979?

There’s a hell of a lot of intricate drumming on THE SKIDS, when you talk about the NEU! drumming, I was trying to be a Motorik drummer. So on ‘Charade’, I got this CR78 drum machine banging away and the producer Bill Nelson, who did a great track called ‘Living In My Limousine’, he loved working with them.

So you influenced Bill Nelson’s later use of drum machines in his work?

Yes, I worked quite closely with him on the production of ‘Days In Europa’ at Rockfield Studios in Wales.

DALEK I LOVE YOU were in the next studio, I lent them my drum machine. Funnily enough at the same time, SIMPLE MINDS were in the rehearsal room there! So I’m stuck in Wales and going “Who’s here? Oh SIMPLE MINDS in the farmhouse!”, so we all got to hang out with each other as there was nothing else to do on a farm.

Want to know why the album is called ‘Days In Europa’? THE SKIDS had a hit in Germany and we were on a TV show called ‘Scene 79’ in Munich… it always happens to me but they only had one drum kit in the studio! It’s a live mimed show, MOTORHEAD were on before us and Philthy Animal Taylor wanted ALL the drums.

So I’m waiting for the kit to be moved from MOTORHEAD’s stage and the announcer goes “Und jetzt DER SKIDS!”… I’ve not even got my f***ing drum kit and I’m standing there like “great!”, the track’s already started and the roadies are bringing me the kit but it’s a live show! *laughs*

You got involved with the New Romantic mime troupe SHOCK and recorded a cover of ‘Angel Face’ backed with ‘R.E.R.B.’ for their first single in 1980?

When VISAGE was recording demos etc, I found out Midge had a professional relationship with some 70s pop writers Bill Martin and Phil Coulter who were involved with SLIK, the bottom line is this led him to know John Hudson who worked with THE GLITTER BAND and owned Mayfair Studios. I thought “Brilliant, I don’t have to go to Wales”

We sat in the control room talking, I loved THE HUMAN LEAGUE’s cover of ‘Rock ‘N’ Roll’ and said I wanted a sound like that clap, so John went round the back and got these two floorboards with some door handles and clapped them together, that’s how they the claps did those records! I said I’d like to do this sound but with computers and triggered drums.

I said I could make a track with this trademark sound but without physically playing anything. So I told him I knew this bloke called Richard Burgess who had been doing the linking interludes on the VISAGE album and had that massive Roland System 700 modular with the Micro-composer. Richard had a Fairlight as well, he seemed to be able to get access to all this stuff via the tech companies.

Basically Richard was my tech guy, he’d got hold of Dave Simmons and got me a deal on only the brain of the synthesized drum system they were working on, cos they hadn’t got the pads as they hadn’t been made yet. He said I could trigger them which is how I got the drum fills on ‘R.E.R.B.’

So basically, doing ‘Angel Face’ was the catalyst for ‘R.E.R.B.’?

We programmed the whole thing to do a cover of ‘Angel Face’ first at Mayfair and John Hudson said “You know I can get hold of Gerry Shephard who wrote the song”, so he came along and helped us with the backing vocals… and the lead vocals! *laughs*

Meanwhile, Robert Pereno from SHOCK did ‘Top Of The Pops’ as a member of TIGHT FIT for that ‘Back To The 60s’ medley before ‘The Lion Sleeps Tonight’!

You know that Tim Friese-Greene produced ‘The Lion Sleeps Tonight’ and it was when Mark Hollis heard that, he got him to work with TALK TALK?

REALLY? Well, the sound of that was amazing! Anyway I haven’t finished!! *laughs*

So we’re talking about SHOCK, and “R.E.” Rusty Egan and “R.B.” Richard Burgess… so we had this 7 inch and 12 inch record of ‘Angel Face’ done, John went to RCA and said they loved it and would put it out, but we needed a B-side. So I quickly threw up ‘Angel Face’ and took off all the vocals and things, me and Richard sat at the piano to do that “da-da-dah” theme. I wanted to call it ‘The Red Bridge’ because it was in Luxembourg and has the most beautiful view, I had been there with Brigitte who was the girl’s voice on ‘Fade To Grey’, I wanted to get this feeling of European grandeur but we ran out of time to do any words. So ‘R.E.R.B.’ came out of ‘Angel Face’.

Now if you go back to THE SKIDS, on the album track ‘Animation’, the closing track of ‘Days Of Europa’ is ‘Animation’ backwards, but with the drums put forwards while Stuart Adamson and Richard Jobson wrote another song over it, but it was the basically same backing track. So I had this idea that you could do music over another one, so that’s what we did on ‘R.E.R.B’ with a new melody and those signature drums.

Your first remix was ‘ Burundi Black’…

It was 1980 and I’m DJing in a club. I knew Marco Pirroni from ADAM & THE ANTS and they dropped this record ‘Kings Of The Wild Frontier’ and I knew it was the Burundi drums. So I said to my then partner Jean-Philippe Iliesco who produced SPACE about wanting to get hold of it and he said he knew Eddie Barclay of Barclay Records who had released it; so he called him and got the multi-tracks for me. I just wanted the drums on their own with the tribe and no music, then I added a drum machine and some playing, I wanted this tribal feel and the future together.

I don’t believe I did a great job on that to be honest… it’s funny but recently Mark Reeder released an album ‘Mauerstadt’ and as I was listening to it, I noticed one track ‘Giant Mushrooms’ was like that, I heard the Burundi sample and loved it. I mentioned it to Mark and said “Oh, you sampled Burundi” but he replied he’d sampled someone who’d sampled Burundi! *laughs*

And that’s the world of sampling now! I might come back to that you know, I’ve got an idea based on what you can do today.

Let’s talk about ‘Yellow Pearl’…

If I’m not mistaken, ‘Yellow Pearl’ was a track that Midge was working on for the VISAGE album but hadn’t got past the drum machine stage. But I had done the break in a rehearsal room somewhere with him that lodged in his head.

After Midge did the THIN LIZZY tour, Phil Lynott came to The Blitz Club and heard the sounds there so when he was doing his solo album, he said he wanted me in on the drums. I did a few songs like ‘Kathleen’ which were very normal. Then I got this call back from Midge that Phil wanted me to do ‘Yellow Pearl’ and use that break. So I said “yeah”, turned up and I did that. Then Midge’s manager showed up with a single piece of paper and asked me to sign my life away so I did, then it got on ‘Top Of The Pops’ as the theme and I was a bit p*ssed off because I’d signed my life away!

SPACE are most famous for ‘Magic Fly’ and you did a remix of a later single ‘Tender Force’…

When I get a remix, I don’t necessarily want to put Rusty all over it, I just like something a lot and I feel that I can shine a light on it.

If you get a song which you like that didn’t make it, sometimes a remix can bring people’s attention to the original and people go “I heard this version by Rusty which I didn’t like, but then I found the original”. So I did timbale drumming cos when you’re a drummer, why don’t you do some drums?

SPACE introduced me to Didier Marouani and Jannick Top who were exceptional musicians, I thought these guys were amazing. Through them, I got on really well with Roland Romanelli and I programmed everything on his solo album ‘Connecting Flight’ which was very pioneering.

So what was ‘Do What Ya Wanna Do’ by THE CAGE featuring Nona Hendryx ‎all about?

I’d got myself a TR808 by now, I had this beat and sequence to make people dance so I’m playing around with it and thought “why don’t I do T-CONNECTION but totally electro?”, it could sound like ‘I Feel Love’. I called up Gary Barnacle who played with SOFT CELL, he brought his bass playing brother Steve and we had this little Casio out for the break, there’s this 64 bar build with the percussion before I smash a light bulb, it was literally hitting fire extinguishers, bashing everything. It was great, I was grabbing everything in the studio, bits of wood…

Through my trips to New York, I’d known Nona Hendryx was session singing having been in LABELLE who did ‘Lady Marmalade’. So Vicki Wickham who managed Dusty Springfield and Nona suggested having her on the track. It was this time that I met producer John Luongo who had remixed THE JACKSONS, so it was all about dance music for me as The Camden Palace was about to open and had the biggest sound system in the world.

The final classic VISAGE track ‘I’m Still Searching’ was moody but still very New York…

It was actually just me and Steve, mostly me although I did credit the other members of VISAGE because at the time, I didn’t believe we had split up, the fact that they weren’t there was irrelevant. VISAGE was always about a group of people where some show up and some can’t like John McGeoch, but he was still a member. So we had to do a B-side…

It’s unusual in that it was a VISAGE B-side that had a vocal…

Yeah, it was just one finger on the synth…

It sounded a bit like PET SHOP BOYS…

I’d never heard of PET SHOP BOYS back then in 1982…

Well that’s cos they didn’t exist at the time! *laughs*

HA HA!

Ok, so what’s the story about your UK remix of MADONNA’s ‘Everybody’?

I’ve been recently linking and tweeting over the years about how upset I am about this, but the reason I’m upset is based on my knowledge of Blockchain and how in the future, musicians will ALL be paid, there will be none of this not paying people and all the b*llocks that the music industry loves…

So the bottom line is we did a verbal agreement in New York that I would remix the track for Warner Bros that needed a British introduction. Basically at the time, you could make it easier in England than you could in America.

Was this a thing you sorted with Seymour Stein of Sire Records who were part of the Warners set-up?

Yes, I did a lot with Seymour, I gave him SOFT CELL whose publishing I looked after, B-MOVIE, the ‘Batcave: Young Limbs And Numb Hymns’ compilation album, we did a lot.

Everything was agreed and we put her on at The Haçienda in Manchester, that would introduce her to ‘cool’ England, the tune would be cool and I think it did the job, the press were all over it. I think I did a great mix and you can find it online. If you go to madonna.com there is information on it even though it’s not credited “Rusty Egan”, it says “UK mix” but that IS the Rusty Egan mix. I only played my mix at The Camden Palace, all the time…

So what did you do specifically on your mix that was different to make it more UK friendly?

I gave it a lot more space, it was more on vocals and guitar because I liked that rhythm thing like on ‘The Anvil’ plus I especially liked the talking. I think the regular MADONNA version is a pop song and I made it more of a seductive groove in a club, I extended the breaks, I put echoes and delays on the vocals and brought it right up.

So, let’s enter ‘The Twilight Zone’…

I had an agreement with Warner Chappell and each project they turned down, this was a Warner movie and a classic theme, I did not want to use the main theme, just the well-known sequence adding all the rest myself, bassline and string stabs and percussion. Rob Dickens of Warners came to the studio and said he would not accept the mix unless I edited in the main orchestral and organ theme. So it was released like that as ‘The Twilight Zone’, RUSTY 1 on Warner Bros Records.

That tw*t John Pitcher of MRC who stole VISAGE, ‘R.E.R.B’ and Blitz Club Records then added it to a compilation ‘Trevor Jackson ‎– Metal Dance 2: Industrial New Wave EBM Classics & Rarities 79-88’. But what Trevor did was edit out the main theme back to what I submitted, so it’s all me.

TIME ZONE ‘Wild Style’, you’ve reclaimed this one…

The story is I heard this band called YELLO and I was invited by Ian Tregoning of their label Do It Records to meet them. There was this place on the way by train where these blokes SUPERSEMPFT had made a record I liked, so we went to their studio. I sampled all these records by BLANCMANGE and KRAFTWERK into a beat, programmed the drum machine, played the bass on the Moog and did all the pieces in one night.

I had a cassette of it and went on my journey to meet YELLO, but when I got back, I sent it to Celluloid Records in New York who released a lot of French electronic music I was liking like MATHÉMATIQUES MODERNE, the French seemed to like quite odd records at the time. Anyway, next thing I know, Afrika Bambaataa loves it and suggested we go 50:50 as I’d done the music.

But over the years, people online I’ve never heard of who have claimed they wrote it by logging into this publishing database, I didn’t know about that… in 1993, Todd Terry made a record called ‘My Definition Wild Style’, all he did was take the B-side of the record and added a nice beat, that was it! We don’t mind that BUT what we mind is he claimed he wrote the f***ing thing! I was furious, then a load of other blokes claimed they wrote it, so I had to get Notting Hill Music to say 100% written by Rusty Egan and all the others can F*** OFF! But they’d all been paid for 20 years!

Anyway, I reworked it for ‘Welcome To The Dancefloor’ as ‘Wonderwerke’ because I kept saying in German “Was ist das? Ein Wonderwerke?”, so I’ve reclaimed it from Todd Terry!

To continue the German connection, what about when you worked with German act HONGKONG SYNDIKAT in 1984?

These guys sampled Ronald Reagan’s speech in Berlin for a track called ‘Berlin Bleibt Doch Berlin’ and they did this beat. I met with Gerd Plez from HONGKONG SYNDIKAT, he played me the demos for the next album and I suggested mixing it at my Trident Studios and adding overdubs. We did this song ‘Divided By’ which was literally a pocket calculator that went “9-8-7, 7-8-9, divided by-divided by”, it was hard, maybe too hard.

Then there was a song called ‘Too Much’, I introduced him recently to HP Hoeger and the chill out mix has ended up on a few ‘Buddha Bar’ albums.

Now, you formed THE SENATE and released ‘The Original Sin’…

Yeah, with Kirk Brandon… well, ‘The Original Sin’ was the one everyone says is about Kirk’s friendship with Boy George. Now the other day on The Blitz Club Facebook group, there’s a picture of Kirk Brandon which the poster labelled “closet”, what a f***ing thing to write? Don’t forget, The Blitz was a place where people who were unsure of their sexuality could go to.

While it wasn’t a gay club, you had to be open-minded so why do we have people on The Blitz Club Facebook group talking like a homophobic thug?

Well it’s rather like electronic music fans who are into KRAFTWERK ‘Europe Endless’ and ULTRAVOX ‘New Europeans’ but being staunchly pro-Brexit…

Yes, so basically this song is Kirk admitting that Boy George was a beautiful boy, as was Marilyn, and about when you’re 19-20 years old and you are unsure of your sexuality. We loved that “is it a boy, is it a girl?” time and when I heard that lyric “since you came into my life, I had to rearrange my heart”, boy did Kirk have a voice and I wanted to have this orchestrated epicness behind it, but I think I went way over the top!

Was THE SENATE meant to be a limited project?

Yes, it was one-off, me and Kirk were mates and I’d produced SPEAR OF DESTINY, ‘Mickey’ is a classic and featured Anne Dudley on strings.

PULSE’s cover version of LED ZEPPELIN ‘Whole Lotta Love’, you were having a hit again…

This was 1988, on the bottom of the rear artwork, it says “Every generation has a musical revolution…” and I was part of the 1980 musical revolution. But I was sitting in the Island Records office, working as a friend for U2 on a little salary, I’d lost my wife, my home, my car so basically I’m losing it, 80% of the people at Island were into DEACON BLUE and I was at my lowest ebb! It really wasn’t happening, I liked THE CHRISTIANS and SHRIEKBACK but I was desperately looking for something.

I knew Paul Oakenfold and all these DJs that had come to The Camden Palace so I thought to myself “something is going to happen musically to get me out of this”. But in the meantime, it wasn’t house as it hadn’t arrived yet, electro and techno had probably peaked. I did this psychedelic record sleeve and I just thought of Robert Plant, so I had this idea of doing ‘Whole Lotta Love’ with Tracy Ackerman from SHAKATAK on vocals, an amazing singer.

Dave Robinson who was Stiff Records but now Island MD at that time was linked with Trevor Horn cos of FRANKIE GOES TO HOLLYWOOD.

So I was invited down to Sarm Studios and they offered to let me use it, so we made that! Then U2 released it on their Son Records imprint…

Ah yes, Son Records released that novelty Country & Western cover of ‘The Fly’ by THE JOSHUA TRIO and ‘Riverdance’…

And again, I never got paid! *laughs*

So it all ended for a few decades but you came back with a club remix of FILTHY DUKES ‘Messages’ in 2009…

I think it’s f***ing great that mix! The late Mick Clark who signed SOUL II SOUL suggested I remix so they put me in this studio with all the parts of FILTHY DUKES, but of course I hadn’t been in one for 20 years so didn’t know what to do, it was all computerised! So I’m there with this guy Sie Medway-Smith who I was told had remixed DEPECHE MODE and I was like “WHAT?”… they said he was the right guy for me.

BUT, when you go back into the studio for the first time in ages and don’t really know how it works anymore, you tend to let other people do things and then say “I don’t like it”… but when you say “I don’t like it”, it tends to go down like nails down a blackboard! So what happened with him was he went “well, this is how it works mate!”

I just wanted it simple and I did all the synths, but everything about it was an argument! Sie Medway-Smith was way advanced and in-demand so acted like he was doing me a favour, I couldn’t p*ss him off!

So there’s this interesting side-story with LA ROUX…

Because of that mix, through Mick Clark I got the chance to see and remix LA ROUX. I went to the Notting Hill Arts Club and I heard ‘Bulletproof’. So I went back to Sie and said “I want to do this!”, but he went “it’s f***ing rubbish Rusty”! Sie pulled up the lead vocal and said “it’s terrible” and I was like “IT’S NOT! IT’S A POP SONG!”, so we basically had this argument. I’m trying to do a remix and he’s literally downing tools, doing anything to avoid finishing it! *laughs*

I was powerless cos I don’t know what to do, so we get like a half finished version to Mick Clark who said “it’s good but it’s not right and you’ve missed the deadline, they’ve gone for some drum ‘n’ bass guy and it’s blowing up!”…. I had to ask what that meant!! I was so angry! You can hear it on my Soundcloud.

Fast forward to 2014 and you do this mash-up with Antony Toga on TINY MAGNETIC PETS ‘Control Me’?

I search for stuff all the time and I found ‘Control Me’, I thought it was brilliant although the drums were sh*t, so I knew Antony Toga and his adaptation of ‘Seconds’ by THE HUMAN LEAGUE so I mashed them together and sent it to the band. I said “I think you’re great and I love your songs but you need to sort your drums out”…

Funnily enough, I said the same to them after I first saw them live in Düsseldorf 2015…

It was only supposed to be an idea, but TINY MAGNETIC PETS made a video and uploaded it saying I did it but it wasn’t me as such. They left it as it is but I suggested they contact Antony Toga to make sure he didn’t mind. They do this version live…

Some of your most high profile remixes recently were for U2?

I had always been a U2 fan, but I lost it around ‘How To Dismantle An Atomic Bomb’. I hadn’t really reconnected to their new music, their first five albums were classic as most people I think would agree, although I did like ‘Beautiful Day’. But I reconnected on this new album ‘Songs Of Experience’, I felt it had a message and that message was love. It had vocoders, synthesizers and I thought “this isn’t your rock ‘n’ roll’, I would love to do something with this”.

So I wrote to U2 asking if I could remix them, not realising 20 other DJs had already done so. They sent me a link and they were HORRIBLE, sh*tty terrible EDM! I asked to do ‘Love Is Bigger Than Anything In Its Way’ which I did with HP Hoeger, one without drums, one with drums and one in the style of ‘In The Air Tonight’ by Phil Collins.

NOW, we all know ‘In The Air Tonight’ is a Roland CR78 drum machine, it’s got this sound but I just wanted to put a beat on it, which I programmed on a plug-in. I sent it to the band and they loved this version but wanted more guitars on, so it became like the ‘band’ mix. But the Chill mix without the drums is my preferred mix…

U2 go with the ‘band’ mix which is not the one I love, but then this well-known remixer from Holland, Ben Liebrand is on YouTube and Soundcloud going “RUSTY EGAN HAS STOLEN MY DRUMS!”, so I’m like “what?”… I searched and found he had remixed a version of ‘In The Air Tonight’ in 1988, I listened to it and went “OH F*CK! It sounds like the same thing!”, but then that’s because it’s the same drum machine!

Anyway, when you Google “Drums In The Air Tonight Phil Collins”, there’s all these YouTube tutorials going “Hi! Whassup? Today we’re going to show you how to programme the ‘In The Air Tonight’ drums”… I was like “Hang on Ben Liebrand, there’s 25 guys here who can programme the ‘In The Air Tonight’, I DIDN’T do ‘In The Air Tonight’, I did U2 and used the same f***ing drum machine! There is no ‘In The Air Tonight’ drums on it, it is just SOUND!”

But using a drum sound is not like nicking a bit off an actual song…

That’s right! So if you want to get into that, I made THE ART OF NOISE drum sound! I’d brought JJ Jeczalik who did ABC into my studio, I paid him £500 to press all these buttons on a Fairlight as none of us knew how to work it, he took my sound and he had a band of his own called THE ART OF NOISE!

Was that the VISAGE ‘Beat Boy’ drum sound?

YES! You can tell ‘Beat Boy’ and THE ART OF NOISE are the same sound! We made it before! *laughs*

If Ben Liebrand had written to me privately about the similarity or whatever, we could have handled it in an “oh my god, I didn’t realise” manner. ‘Yellow Pearl’ IS my drum sound, people when they listen to music always go “oh, it sounds like…”

Let’s talk about ‘Thank You’, the closing track on your album ‘Welcome To The Dancefloor’…

‘Thank You’ is as it is, I just believe a lot of people should say “thank you” but they don’t… so I felt when I made my album, my career and everything that I am is because of that list of people.

And even if in there I thank Nikonn who worked with me on that album and I clashed with, or people that I disagreed with, it’s about the music. I even end it poignantly by saying “VISAGE”, regardless of any problems or issues that I had with Steve Strange, I am still immensely proud of the music I made with VISAGE, so I am very upset when it is imitated or faked as anybody would be…


The Electricity Club gives its warmest thanks to Rusty Egan

‘An Audience with Rusty Egan’ takes place on Wednesday 19th June 2019 at PizzaExpress Live, 99 High Holborn, London WC1V 6LF – tickets available from: https://www.pizzaexpresslive.com/whats-on/an-audience-with-rusty-egan

‘Welcome To The Remix’ + ‘Welcome To The Beach’ are released by Black Mosaic in digital formats, both available from https://rustyeganpresents1.bandcamp.com/

http://rustyegan.net/

https://www.facebook.com/rusty.egan/

https://twitter.com/DJRustyEgan

https://www.instagram.com/rustyegan/

https://soundcloud.com/rusty-egan

https://www.mixcloud.com/rustyegan/


Text and Interview by Chi Ming Lai
20th April 2019

The Electronic Legacy of EUROPE

Europe is the spiritual home of electronic music, inspiring it not just artistically but forming an important bond with the continent’s classical tradition through the romance of its historical imagery.

Continental Europe is defined as being bordered by the Arctic Ocean, the Atlantic Ocean and the Mediterranean Sea. Often considered to be separated from Asia by the watershed divides of the Ural and Caucasus Mountains, the Ural River, the Caspian and Black Seas and the waterways of the Turkish Straits, it includes the part of Russia where Moscow and St Petersburg are located.

Mark Reeder was one of the first British music personalities to fully adopt Europe, making West Berlin his home in 1978 and subsequently releasing a number of themed compilation albums such as ‘European’ in 1995 and ‘Assorted (E For Europe)’ in 1999 on his MFS label. His fellow Mancunian and friend Bernard Sumner of NEW ORDER said to The European in 2016: “I feel European, I regard myself as a European… as a musician I’ve always been massively influenced by Europe and its people”.

From Paris to Vienna back to Düsseldorf City, Europe fascinated British musicians who having been open-minded enough to use synthesizers, now embraced many different mindsets, languages, cultures and cuisines, all within a comparatively accessible geographical land mass. Meanwhile, European instrument manufacturers such as PPG, Elka, Crumar, RSF, Jen and Siel found their products in the thick of the action too.

The Electricity Club stands proud of its Eurocentric focus. Esteemed names like Hütter, Schneider, Flür, Bartos, Moroder, Jarre, Vangelis, Plank, Rother, Dinger and Froese have more than highlighted the important debt that is owed by electronic music to Europe.

While the UK may have scored an equalizer with Synth Britannia, it was the Europeans who took that crucial half time lead. So to disengage with the European tradition would be betraying everything that The Electricity Club is all about.

Presented in yearly and then alphabetical order with a restriction of one track per artist moniker, here are The Electricity Club’s favourite twenty electronic tunes that were inspired, either directly or obliquely, by the legacy of Europe…


DAVID BOWIE Warszawa (1977)

‘Warszawa’ was named after the Polish capital city but accurately captured the Cold War tensions in Europe without the need for lyricism. At Hansa Studios where the sessions were being mixed, the watch towers in East Berlin could look into the windows of the building! Tony Visconti’s production only enhanced the collaborative drama between David Bowie’s enigmatic wailing over Brian Eno’s Minimoog and Chamberlain keys. This formed part of an all instrumental suite on the ‘Low’ album’s second side.

Available on the DAVID BOWIE album ‘Low’ via EMI Records

http://www.davidbowie.com


KRAFTWERK Europe Endless (1977)

With KRAFTWERK utilising a customized 32-step Synthanorma Sequenzer and a Vako Orchestron with pre-recorded symphonic string and choir sounds sourced from optical discs, if there was such a thing as a musical European travelogue, then the romantically optimistic beauty of ‘Europe Endless’ was it. This lengthy work influenced the likes of NEW ORDER, OMD and BLANCMANGE who all borrowed different aspects of its aesthetics for ‘Your Silent Face’, ‘Metroland’ and ‘Feel Me’ respectively.

Available on the KRAFTWERK album ‘Trans Europe Express’ via EMI Records

http://www.kraftwerk.com/


THE DURUTTI COLUMN For Belgian Friends (1980)

‘For Belgian Friends’ was written in honour of Factory Benelux founders Michel Duval and the late Annik Honoré. Although not strictly electronic in the purest sense, Martin Hannett’s technologically processed production techniques made Vini Reilly’s dominant piano sound like textured synthetic strings, complimenting his sparing melodic guitar and the crisp percussion of Donald Johnson. This beautiful instrumental was one of Reilly’s best recordings, originally on the compilation ‘A Factory Quartet’.

Available on THE DURUTTI COLUMN album ‘LC’ via Factory Benelux Records

http://www.thedurutticolumn.com/


FATAL CHARM Paris (1980)

Nottingham combo FATAL CHARM supported ULTRAVOX and OMD in 1980. Their excellent first single ‘Paris’ was produced by Midge Ure and could be seen reflecting the electronically flavoured new wave template of the period. Singer Sarah Simmonds’ feisty passion gave a freshly charged sexual ambiguity to the European love story written in the days before the Channel Tunnel. Instrumentalist Paul Arnall said to The Electricity Club: “we were able to use Midge’s Yamaha synth which gave it his sound”.

Available on the FATAL CHARM album ‘Plastic’ via Fatal Charm

http://fatalcharm.co.uk/


IPPU DO German Road (1981)

Did you hear the one about the Japanese band impersonating a German band and doing it rather well? Influenced by the motorik backbeat of NEU! and also heavily borrowing form its guitarist Michael Rother’s solo track ‘Karussell’, IPPU DO’s leader Masami Tsuchiya was something of a multi-cultural sponge, later joining JAPAN for their final ‘Sons Of Pioneers’ tour in 1982. Meanwhile IPPU DO are still best known in the UK for their startlingly original cover version of THE ZOMBIES ‘Time Of The Season’.

Remixed version available on the IPPU DO album ‘Essence: The Best Of’ via Sony Music

http://www.ne.jp/asahi/masami/london/


LANDSCAPE European Man (1980)

Electronic pioneer Richard James Burgess said to The Electricity Club: “I think we all embraced this new direction because of our raw excitement over the new technology…We discussed it in the band and everyone was on board so I started working on the lyrics that became ‘European Man’”. Colin Thurston was the producer assisting in realising this new direction and interestingly, the rear artwork of the first issue featured an early use of the term “electronic dance music”.

Available on LANDSCAPE album ‘From The Tea-Rooms Of Mars…’ via Cherry Red Records

https://twitter.com/Landscape_band


SIMPLE MINDS I Travel (1980)

“Europe has a language problem” sang Jim Kerr on ‘I Travel’, adding “in central Europe men are marching”. Aware of the domestic terrorist threats that were apparent in every city they were visiting on tour, SIMPLE MINDS captured a claustrophobic tension within its futuristic frenzy like a doomy disco take on Moroder. It was a favourite of DJ Rusty Egan at The Blitz Club where its shadier spectre was highly welcomed by its clientele, reflecting their own discontent closer to home.

Available on the SIMPLE MINDS album ‘Empires & Dance’ via Virgin Records

http://www.simpleminds.com


TELEX Eurovision (1980)

TELEX’s manifesto was “Making something really European, different from rock, without guitar.” Having previously visited a ‘Moscow Disko’ and with tongues firmly in cheeks, they entered the 1980 Eurovision Song Contest with a bouncy electropop song that had deliberately banal lyrics about the whole charade itself. Performing to a bemused audience in The Hague with the sole intention of coming last, unfortunately Finland decided otherwise! Who said the Belgians didn’t have a sense of humour?!

Available on the TELEX album ‘Ultimate Best Of’ via EMI Music Belgium

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


ULTRAVOX New Europeans (1980)

If there was a song that truly represents The Electricity Club’s ethos, then the synth rock fusion of ULTRAVOX’s ‘New Europeans’ is it! Noting that “his modern world revolves around the synthesizer’s song” in lyrics largely written by drummer Warren Cann, it all pointed to an optimistic way forward “full of future thoughts and thrills” that would later be opened up by direct train travel across the channel with freedom of movement to and from the continent for “a European legacy and “a culture for today”.

Available on the ULTRAVOX album ‘Vienna’ via EMI Records

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


VISAGE Moon Over Moscow (1980)

While in his dual role as DJ at The Blitz Club and VISAGE’s drummer, Rusty Egan had become inspired by the melodic interplay of Japanese trio YELLOW MAGIC ORCHESTRA which had been European influenced: “I liked the album and played it along with TELEX and SPARKS. The sound was an influence on VISAGE. By the time we recorded ‘Moon Over Moscow’, that was to include Russia, Japan, Germany and France in our sound… the drummer was also using the same drum pads as me!”

Available on the VISAGE album ‘Visage’ via Alliance Import

http://rustyegan.net/


ASSOCIATES White Car In Germany (1981)

ASSOCIATES first musical signs of a fascination towards European influenced electronic music came with the funereal pulse of ‘White Car In Germany’. The swirling electronics, cold atmosphere and treated percussion were intended to sound as un-American as possible. Billy MacKenzie’s observational lyric “Aberdeen’s an old place – Düsseldorf’s a cold place – Cold as spies can be” accurately captured post-war tensions under the spectre of the bomb.

Available on the ASSOCIATES album ‘The Very Best Of’ via BMG

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


JOHN FOXX Europe After The Rain (1981)

Foxx admitted he had been “reading too much JG Ballard” and had thawed considerably following ‘Metamatic’. Now spending his spare time exploring beautiful Italian gardens and taking on a more foppish appearance, his new mood was reflected in his music. Moving to a disused factory site in Shoreditch, Foxx set up a recording complex which he named ‘The Garden’ and the first song to emerge was the Linn Drum driven ‘Europe After The Rain’. Foxx had now achieved his system of romance.

Available on the JOHN FOXX album ‘Modern Art: The Best Of’ via Music Club

http://www.metamatic.com/


JAPAN European Son (1981)

Recorded as a JAPAN demo for the 1979 Giorgio Moroder sessions that produced ‘Life In Tokyo’, this sequencer heavy number was rejected by the Italian disco maestro. Left dormant in the vaults of Ariola Hansa, the song was finished off under the supervision of John Punter and later given a single remix by Steve Nye with redone parts by Mick Karn. ‘European Son’ showed David Sylvian’s vocals in transition from the catty aggression of earlier albums to the Ferry-ish croon most now associated with the band.

John Punter version available on JAPAN album ‘The Very Best Of’ via BMG

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


THE MOBILES Drowning In Berlin (1981)

THE MOBILES’ were from the sleepy shores of Eastbourne; while ‘Drowning In Berlin’ may have come across as a ‘Not The Nine O’Clock News’ New Romantic parody on first listen, its decaying Mittel Europa grandeur was infectious like Hazel O’Connor reinterpreting ‘Vienna’ with The Master of Ceremonies at the Kit Kat Klub. And like ‘Vienna’, ‘Drowning In Berlin’ was inspired by a holiday romance, in this case one that singer Anna Maria had while visiting the divided city.

Available on THE MOBILES album ‘Drowning In Berlin: The Best Of’ via Cherry Red Records

https://www.discogs.com/artist/98916-Mobiles


BERLIN The Metro (1982)

Inspired by acts like ULTRAVOX and KRAFTWERK, Californian band BERLIN with their approach to synthesizers were a far cry from the way they were being used Stateside within rock. And in ‘The Metro’ with its frantic motorik drum machine and Teutonic pulses, songwriter John Crawford aimed to capture the tense filmic romance of Paris despite never having visited the city, a vibrant but detached feeling ably projected by partner and singer Terri Nunn in a similar fashion to FATAL CHARM.

Available on the BERLIN album ‘Best Of’ via Geffen Records

http://www.berlinpage.com/


DEPECHE MODE Oberkorn (1982)

Radio Luxembourg broadcasted pop music to the UK using the most powerful privately owned transmitter in the world. But when DEPECHE MODE played the country in early 1982, they were booked to perform in a small town called Oberkorn. With a glorious ambient instrumental on the B-side of the then soon-to-be-released single ‘The Meaning Of Love’ requiring a title, Martin Gore needed no further inspiration, unconsciously capturing the air of the Grand Duchy’s countryside and oceanic climate.

Available on the DEPECHE MODE boxed set ‘DMBX1’ via Columbia Records

http://www.depechemode.com/


THE MOOD Paris Is One Day Away (1982)

Before the days of the Channel Tunnel, young York based New Romantic trio THE MOOD noted the how long it took by boat and train to get to the French capital. ‘Paris Is One Day Away’ was the hit that got away; reaching No. 42, it secured a slot on ‘Top Of The Pops’. However, it was the 1982 World Cup and a match heading into extra time meant that a hasty edit was made. And it was THE MOOD’s performance as the new and unknown act that ended up on the cutting room floor!

Available on THE MOOD album ‘The Singles Collection’ via Cherry Red Records

http://www.themood.info/


RATIONAL YOUTH Saturdays in Silesia (1982)

After ‘Dancing On The Berlin Wall’, RATIONAL YOUTH mainman Tracy Howe turned his attention towards Poland. “What was it like to be young person behind the Iron Curtain? What did they do on a Saturday night anyway?” he told The Electricity Club, “Did they have clubs to go to? Probably underground ones. They’d probably break down the door. Apart from the fact that there are no ‘navy docks’ in Silesia, this record makes a jolly racket and may well be the first recorded instance of a Roland TR-808.”

Available on the RATIONAL YOUTH album ‘Cold War Night Life’ via EMI Records

https://www.facebook.com/RationalYouth/


IAN ANDERSON Different Germany (1983)

Fascinated by the likes of Thomas Dolby and Gary Numan, JETHRO TULL frontman Ian Anderson went synth in 1983. Assisted by Peter John Vitesse, ‘Different Germany’ embraced both the electronic and progressive sides of Anderson’s career perfectly with a marvellous middle section featuring a bristling keyboard solo. The end result sounded not unsurprisingly like Tull fronting ULTRAVOX; of course, the circle was completed when Midge Ure covered ‘Living In The Past’ in 1985.

Available on the IAN ANDERSON album ‘Walk Into Light’ via EMI Records

http://jethrotull.com/ian-anderson-bio/


THE STRANGLERS European Female (1983)

Born to French parents in Notting Hill, THE STRANGLERS’ bassist Jean-Jacques Burnel was a loyal European, even releasing a 1979 solo album entitled ‘Euroman Cometh’ where “a Europe strong, united and independent is a child of the future”. Taking lead vocals for the beautiful ‘European Female’, it possessed an understated quality with subtle Spanish guitar from Hugh Cornwell alongside Dave Greenfield’s sparkling synths and Jet Black’s electronic percussion to celebrate the allure of continental mystery.

Available on THE STRANGLERS album ‘The Very Best Of’ via EMI Records

http://www.thestranglers.co.uk/


Text by Chi Ming Lai
18th April 2019

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