Tag: Mirrors (Page 1 of 9)

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

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

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

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

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

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

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

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


LADYTRON Oops Oh My (2003)

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

Available on the LADYTRON single ‘Evil’ via Telstar Records

http://www.ladytron.com/


CLIENT Can’t See Me Now (2003)

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

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

https://www.facebook.com/ClientMusic


GOLDFRAPP Gone To Earth (2004)

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

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

http://goldfrapp.com/


THE MODERN Model #426 (2005)

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

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

https://www.themodernband.com/


PET SHOP BOYS Party Song (2006)

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

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

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


ARTHUR & MARTHA Japanese Kiss (2008)

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

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

https://www.facebook.com/arthurandmarthaband


MARSHEAUX Bizarre Love Duo (2008)

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

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

https://www.facebook.com/marsheaux


ANTHONIO Angel Face (2009)

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

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters ‎

https://www.facebook.com/wearesns


LITTLE BOOTS Catch 22 (2009)

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

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

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


VILLA NAH Benny’s Burning (2010)

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

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

https://www.facebook.com/villanah


ERASURE Never Let You Down (2011)

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

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

http://www.erasureinfo.com/


MIRRORS Falls By Another Name (2011)

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

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

https://www.facebook.com/theworldofmirrors


APOPTYGMA BERZERK Dead Air Einz (2013)

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

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

http://www.theapboffice.com/


CHVRCHES Now Is Not The Time (2013)

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

Available on the CHVRCHES single ‘Recover’ via Virgin Records

https://chvrch.es/


DEPECHE MODE All That’s Mine (2013)

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

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

http://www.depechemode.com/


OMD Time Burns (2013)

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

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

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


QUEEN OF HEARTS United (2013)

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

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

http://iamqueenofhearts.com/


VILE ELECTRODES Little Death Capsule (2013)

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

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

http://www.vileelectrodes.com/


JOHAN BAECKSTRÖM Synth Is Not Dead (2015)

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

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

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


METROLAND (We Need) Machines Without Romance (2015)

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

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

http://www.metrolandmusic.com/


MESH Paper Thin (2016)

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

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

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


KNIGHT$ So Cold (2017)

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

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

https://knights101.com/


PSYCHE Truth or Consequence (2017)

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

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

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


SOFT CELL Guilty (2018)

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

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

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


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

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

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

https://www.facebook.com/internationalteachersofpop


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

Ten Years Of TEC: STILL PUSHING THE ENVELOPE

The Electricity Club celebrates its tenth birthday and it really has been synthly the best.

At the HEAVEN 17 aftershow party for their triumphant gig at The Magna Science Park on 6th March 2010, following chats with Glenn Gregory, Martyn Ware, Paul Humphreys and Claudia Brücken, interview opportunities opened up.

It was obvious there was gap waiting to be filled for a quality web publication that featured the best in new and classic electronic pop without having to lower itself to using the dreaded “80s” label. The Electricity Club was it and became reality on 15th March 2010.

Electronic pop music didn’t start in that Thatcher decade and certainly didn’t end there either. So there was even an editorial diktat which banned The Electricity Club’s writers from using the lazy”80s” term as a reference. Tellingly, several PR representatives said that one of the site’s main appeals was that it avoided the whole nostalgia bent that had been presented by both virtual and physical media.

At the time, kooky female fronted keyboard based pop like LA ROUX, LITTLE BOOTS, LADYHAWKE, LADY GAGA and MARINA & THE DIAMONDS were among those touted as being the future at the time. But it proved to be something of a red herring, as those acts evolved back into what they actually were, conventional pop acts.

The Electricity Club preferred the sort of innovative synthpop as outlined in BBC4’s Synth Britannia documentary with the next generation of artists like MARSHEAUX, VILE ELECTRODES, VILLA NAH and MIRRORS more than fitting the bill and that ethos of featuring pop music using synthesizers stuck too.

Meanwhile, The Electricity Club’s portfolio expanded swiftly with key personalities such as Rusty Egan, Sarah Blackwood, Richard James Burgess, Warren Cann, Chris Payne, Thomas Dolby, John Foxx, Andy McCluskey, Neil Arthur, Alan Wilder, Mark Reeder, Gary Langan, Jori Hulkkonen, Howard Jones, Mira Aroyo, Sarah Nixey and Hannah Peel among those giving interviews to the site during its first two years.

The Electricity Club has always prided itself in asking the questions that have never usually been asked, but which fans want to know the answers to. And it was with this reputation for intelligent and well researched interviewing that in March 2011, the site was granted its biggest coup yet.

Speaking to Stephen Morris of the then-on hiatus NEW ORDER, the drummer cryptically hinted during the ensuing chat that Manchester’s finest would return by saying “I never say never really”; and that is exactly what happened in Autumn of that year and the band have been there since, as popular as ever and still making great music with the release of ‘Music Complete’ in 2015.

Monday 21st March 2011 was an interesting day that partied like it was 1981 when it saw the release of albums by DURAN DURAN, THE HUMAN LEAGUE and JOHN FOXX & THE MATHS. Also in 2011, Mute Records celebrated their influential legacy with a weekender also at London’s Roundhouse which culminated in ERASURE, YAZOO and THE ASSEMBLY performing in the same set.

Despite the ‘Brilliant’ return of ULTRAVOX, 2012 paled in comparison after such a fruitful year and several acts who were featured probably would not have gained as much coverage in more competitive periods. With pressure from outsiders as to what was hot and what was not, this was the only time The Electricity Club felt it was obliged to support a domestic scene.

But realising acts like HURTS and STRANGERS were actually just jumping on an apparent synth bandwagon and possessing more style than substance, The Electricity Club decided to change tact and only featured acts it felt truly passionate about, even if it meant upsetting the wider synth community. The reasoning being that just because a band uses a synthesizer doesn’t mean it is good.

During this time, MIRRORS sadly disbanded while VILLA NAH mutated into SIN COS TAN. But the year did see the launch of CHVRCHES who stood out from the crowd with their opening gambit ‘Lies’. With their Taylor Swift gone electro template, Lauren Mayberry and Co managed to engage an audience who didn’t know or care what a Moog Voyager was, to listen to synthpop!

2013 turned out to be one of the best years for electronic pop since its Synth Britannia heyday. What The Electricity Club achieved during this year would take up a whole article in itself… there were high profile interviews with Alison Moyet, Gary Numan and Karl Bartos while OMD released the album of the decade in ‘English Electric’. PET SHOP BOYS made up for their ‘Elysium’ misstep with ‘Electric’ while there was finally a third volume in BEF’s ‘Music Of Quality & Distinction’ covers series.

Although 2014 started tremendously with The Electricity Club being invited to meet Karl Bartos and Wolfgang Flür in Cologne, the year suffered next to quality of 2013.

The interviews continued, particularly with key figures from the Synth Britannia era including Midge Ure and the often forgotten man of the period Jo Callis who was a key member of THE HUMAN LEAGUE during their imperial phase.

But the year saw grandeurs of delusion at their highest, with one artist of a far too normal disposition in particular failing to realise that in order for a crowdfunding campaign to succeed, they needed to actually have quite a few fans in the first place!

Then, there was the similarly clueless Alt-Fest debacle which saw the organisers play Fantasy Festival with no cash to underwrite the infrastructure to enable it to actually happen!

Sadly today, there are still egotistic chancers organising events with zero budget and the money from ticket sales being fleeced to fund their holidays. But these artificial factors are rarely considered and so long as there are lower league artists desperate to play for nowt and a misguided enhancement in profile that is often on a platform that provides minimal exposure anyway, then the confidence tricks will continue.

2015 saw the local emergence of Rodney Cromwell and Gwenno, while the majestic Swedish duo KITE proved that they were the best synth act in Europe with the ‘VI’ EP and their impressive live show.

It was also the year when ERASURE front man Andy Bell gave his first interview to The Electricity Club to offer some revealing insights.

Making something of a comeback after a recorded absence of nearly eight years, Jean-Michel Jarre presented his ambitious two volume ‘Electronica’ project which saw collaborations with a varied pool of musicians including Pete Townsend, Lang Lang, John Carpenter, Vince Clarke, Hans Zimmer, Cyndi Lauper, Sebastien Tellier and Gary Numan.

VILLA NAH returned in 2016, as did YELLO with Fifi Rong as one of their guest vocalists while APOPTYGMA BERZERK went instrumental and entered the ‘Exit Popularity Contest’. Riding on the profile generated from their ‘A Broken Frame’ covers album, MARSHEAUX released their biggest-selling long player to date, a two city concept in ‘Ath.Lon’. This was also the year that The Electricity Club first became acquainted with the analogue synthesizer heaven of Johan Baeckström, a modern day Vince Clarke if ever there was one.

2017 saw a bumper crop of great albums from the likes of I SPEAK MACHINE, LCD SOUNDSYSTEM, SOULWAX, IAMX, GOLDFRAPP and DAILY PLANET, while veterans such as Alison Moyet and Gary Numan produced their best work of the 21st Century.

However DEPECHE MODE unleashed their most dire record yet in ‘Spirit’, a dreary exercise in faux activism bereft of tunes. Salt was rubbed into the wound when they merely plonked an underwhelming arena show into a stadium for their summer London show.

The trend was to continue later in 2019 as DEPECHE MODE just plonked 14 albums into a boxed set, while OMD offered an album of quality unreleased material in their ‘Souvenir’ package.

And with DEPECHE MODE’s sad descent into a third rate pseudo-rock combo during the last 15 years to appease that ghastly mainstream American institution called The Rock and Roll Hall Of Fame with guitars and drums, Dave Gahan in particular with his ungrateful dismissal of the pioneering synth-based material with which he made his fortune with, now has what he has always coveted.

And don’t get The Electricity Club started on the 2019 Moog Innovation Award being given to Martin Gore, a real insult to true synth pioneers if ever there was one, including Daniel Miller, Vince Clarke and Alan Wilder, the three men who actually did the electronic donkey work on those imperial phase DEPECHE MODE albums! Gore may have been a very good songwriter during that time, but a synth innovator? Oh come on!?!

With regards Synth Britannia veterans, new albums in 2017 from Richard Barbieri and Steve Jansen saw a revived interest in JAPAN, the band with which they made their name.

Despite releasing their final album ‘Tin Drum’ in 1981, as a later conversation with one-time guitarist Rob Dean proved, cumulatively from related article views, JAPAN became the most popular act on The Electricity Club.

The return of SOFT CELL dominated 2018 with a lavish boxed set that was not just comprised of previously released long players, new songs, new books, a BBC documentary and a spectacular farewell show at London’s O2 Arena.

Meanwhile, adopting a much lower profile were LADYTRON with their comeback and an eventual eponymous sixth album. A Non Stop Electronic Cabaret saw Canadian veterans RATIONAL YOUTH play their first ever UK gig alongside PAGE and PSYCHE, but coming out of Brooklyn to tour with ERASURE was REED & CAROLINE.

EMIKA was ‘Falling In Love With Sadness’ and Swedish songstress IONNALEE showcased one of the best value-for-money live presentations in town, with a show that surreal imagined Kate Bush at a rave!

But from China came STOLEN, one of the most exciting bands in years who were then later rewarded for their graft with a European tour opening for NEW ORDER.

2019 was the year when synthwave graduates Dana Jean Phoenix and Ollie Wride were coming into their own as live performers, while electronic disco maestro Giorgio Moroder embarked on a concert tour for the first time with his songs being the true stars of the show.

Gary Daly of CHINA CRISIS gave his first interview to The Electricity Club to tie in with his solo album ‘Gone From Here’, while a pub lunch with Mark White and Stephen Singleton mutated into an extensive chat about their days in ABC. Lloyd Cole adopted a more synthesized template on ‘Guessworks’ and Britpop went synth as GENEVA’s Andrew Montgomery formed US with Leo Josefsson of Swedish trio LOWE.

If The Electricity Club does have a proudest achievement in its first ten years, then it is giving extensive early coverage to VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, six acts who were later invited to open on tour for OMD.

Partly because of this success, some of those who were less talented felt aggrieved despite feeling a narcisstic entitlement to be featured. A few deluded artists even went as far as to blame The Electricity Club publically for their lack of traction! NoW that’s what The Electricity Club calls deluded!

If an act is good enough, the fact that The Electricity Club hasn’t featured them should not matter, especially as other electronic and synth blogs are available. After taking its eye of the ball once before in 2012, The Electricity Club maintained a trust of its own gut instinct.

Meanwhile, its stance has been tested by those shouting loudest who instantaneously champion what they perceive as the next big thing like sheep, without really looking ahead at a wider picture. However, TRAVIS on VSTs is just not The Electricity Club’s thing frankly…

The Electricity Club’s participation in the annual ELECTRI_CITY_CONFERENCE in Düsseldorf for on-stage interviews with Rusty Egan, Chris Payne, Mark Reeder and Zeus B Held was another high profile engagement to be proud of. Then there were six TEC branded live events and five rounds of hosting ‘An Audience with Rusty Egan’ in one of the most unenviable but highly entertaining refereeing assignments in music 😉

Other highlights over the last ten years have included The Electricity Club’s 2015 career retrospective on German trio CAMOUFLAGE being edited and used as booklet notes for the Universal Music sanctioned compilation CD ‘The Singles’.

There was also ‘The Electricity Club’ 2CD released by Amour Records in 2019 which included TEC featured acts like MESH, SECTION 25, SIN COS TAN, KID KASIO, NIGHT CLUB, QUIETER THAN SPIDERS, ELECTRONIC CIRCUS, DAYBEHAVIOR, LIEBE, TWINS NATALIA, KID MOXIE, GIRL ONE & THE GREASE GUNS, ELEVEN: ELEVEN, AUTOMATIC WRITING, FOTONOVELA and QUEEN OF HEARTS among its 34 excellent tracks, including a bangin’ MARSHEAUX remix of Katy Perry!

As 2020 settles in, highly regarded artists within the electronic community continue to engage with The Electricity Club. Neil Arthur recently gave his seventh interview as BLANCMANGE and his tenth interview overall, taking into account his side projects FADER and NEAR FUTURE. Not far behind, Martyn Ware has also been a regular interviewee having spoken to the site on six occasions while Paul Humphreys has been interviewed no less than five times.

The Electricity Club is still pushing the envelope, continuing to reflect the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk. With artists like ANI GLASS, IMI, KNIGHT$, NINA, MECHA MAIKO, GEISTE and PLASMIC among those on the cusp of a wider breakthrough, there is still more excellent music still to be created, discovered and savoured.

One inferior revivalist platform featuring far too much normal rubbish once complained that The Electricity Club “only feature bands that are popular…”; what they actually mean is “only feature bands that are really good”! 😉

The Electricity Club gives its sincerest thanks to everyone who has taken the time read any article on the site over the last ten years, it is greatly appreciated.


‘The Electricity Club’ is released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation be purchased from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

The tracklisting is:

CD1

01 MAISON VAGUE Synthpop’s Alive
02 KID KASIO Full Moon Blue
03 ELECTRONIC CIRCUS Roundabout
04 DAYBEHAVIOR It’s A Game (Marsheaux remix)
05 MARNIE The Hunter
06 ELEVEN:ELEVEN Through The Veil
07 NIGHT CLUB Cruel Devotion
08 QUEEN OF HEARTS United
09 KATY PERRY Hot ‘N’ Cold (Marsheaux remix)
10 ERASURE Be The One (Paul Humphreys remix)
11 KID MOXIE The Bailor
12 KEEP SHELLY IN ATHENS Oostende
13 FOTONOVELA featuring JAMES NEW Our Sorrow (Original mix)
14 GIRL ONE & THE GREASE GUNS Jessica 6
15 AUTOMATIC WRITING Continuous
16 METROLAND Thalys (London Edit)
17 RODNEY CROMWELL Black Dog

CD2

01 SIN COS TAN Trust
02 POLLY SCATTERGOOD Other Too Endless (Vince Clarke remix)
03 TENEK What Do You Want? (Alternate TEC version)
04 ANALOG ANGEL We Won’t Walk Away
05 ARTHUR & MARTHA Autovia
06 MARSHEAUX Suffer The Children
07 SECTION 25 My Outrage
08 047 featuring LISA PEDERSEN Everything’s Fine
09 TAXX Is It Love?
10 LIEBE I Believe In You
11 QUIETER THAN SPIDERS Shanghai Metro
12 iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound
13 TWINS NATALIA Destiny
14 MESH Tuesday
15 MIRRORS Between Four Walls
16 OMD Time Burns (Fotonovela rework)
17 VILE ELECTRODES Deep Red

Please note this product is NOT on sale through The Electricity Club website and only via retailers


Text by Chi Ming Lai
Image Design by Volker Maass
16th March 2020

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

A Beginner’s Guide To OMD

Celebrating their 40th Anniversary, OMD are one of the acts from the Synth Britannia era whose creative powers now are as strong as their chart heyday.

Setting a high standard of romantic retro-futurism with lyrical gists ranging from technology and war to deceased religious figures and long distance relationships, OMD released their debut single ‘Electricity’ in 1979, a statement about the environment that would have made today’s young campaigner Greta Thunberg proud.

Those who complain that OMD’s music is not dark enough often forget that within their highly melodic songs, subjects have included the suicide of a charismatic musician, the suicide of a woman who worked as a stripper because she had no other means of supporting herself, the racially motivated massacre of five innocent demonstrators by the Ku Klux Klan, the death of over 140,000 people by nuclear attack and most notably on two hit singles, the brutal execution of a teenage girl!

Founder members Andy McCluskey and Paul Humphreys began an impressive run of acclaimed albums and hit singles, starting with the Mike Howlett produced ‘Messages’ in 1980. The huge European popularity of the follow-up ‘Enola Gay’ captured the Cold War angst of the times under the spectre of Mutually Assured Destruction, while ‘Maid Of Orleans’ became the biggest selling single of 1982 in West Germany when Der Bundesrepublik was the biggest Western music market after the USA and Japan.

Long-time drummer Mal Holmes and live keyboardist Martin Cooper joined the fray as full band members for 1983’s ‘Dazzle Ships’ album, but things went creatively awry for OMD as McCluskey and Humphreys found themselves in an existential crisis, following journalistic criticism that songs about dead saints were not going to change the world. The more politically charged and experimental album failed to sell, but has since been re-evaluated in the 21st Century as a meisterwerk.

Bruised and under commercial pressure, OMD opted to pursue more conventional ambitions and traditions to stay in the black and scored the Top5 US hit ‘If You Leave’ from the John Hughes movie ‘Pretty In Pink’ in 1986. However a North American tour opening for DEPECHE MODE in 1988 failed to sustain momentum. In the backdrop of the resultant fallout and the inevitable musical differences, Humphreys, Holmes and Cooper departed, leaving McCluskey with the OMD brand name.

However, the split precipitated a number of interesting artistic and creative diversions for McCluskey and Humphreys which despite the triumphant reunion of the classic line-up in 2007 and the success of OMD’s most recent album ‘The Punishment Of Luxury’ in 2017 , continue in varying degrees today in parallel with band activities.

In his most recent interview with The Electricity Club, Paul Humphreys said: “I still find it utterly amazing and rather fantastic that after 40 years, OMD is still alive and well, selling out big tours and making what even our harshest critics consider to be relevant new records.”

By way of a Beginner’s Guide to showcase the diverse facets of OMD, The Electricity Club has selected a hefty 25 tracks of interest from their career, although largely eschewing those made famous by singular consumption.

But with so many tracks available and the list already being VERY long, links to the OMD family tree like THE ID as well as contributions to the soundtracks of ‘For The Greater Good’, ‘Eddie The Eagle’ and ‘The D-Train’ (which between them saw McCluskey working with notable names such as Danny Boyle, Gary Barlow, Hugh Jackman and Jack Antonoff) have been omitted.

With a restriction of one track per album project, they highlight how two lads from The Wirral have maintained their standing as a creative and cultural force four decades on, despite their numerous ups and downs.


OMD The Messerschmitt Twins (1980)

With their passion for military aircraft and German music, Andy McCluskey and Paul Humphreys were nicknamed ‘The Messerschmitt Twins’; this mournful Compurhythm driven synth ballad of the same name had mournful if cryptic lyrics which could be seen as the thoughts of aircrew during wartime missions, pondering whether they would return to home. The bleak fatalistic narrative was given further resonance by Andy McCluskey’s resigned vocalisation.

Available on the OMD album ‘Orchestral Manoeuvres In The Dark’ via Virgin Records

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


OMD 2nd Thought (1980)

The ‘Organisation’ album saw OMD purchase their first polyphonic synthesizer, a Sequential Circuits Prophet 5 which allowed Paul Humphreys to explore more haunting gothic timbres away from the cheesier chords of the Vox Jaguar organ. Shaped by eerie choir textures and a repeating two note synthbass motif set to Mal Holmes’ simple marching snare pattern, the beauty of ‘2nd Thought’ echoed the third section of KRAFTWERK’s ‘Autobahn’ and displayed a maturity in OMD’s developing sound.

Available on the OMD album ‘Organisation’ via Virgin Records

https://www.facebook.com/omdofficial/


OMD Sealand (1981)

Running at almost eight minutes, the nautical adventure of ‘Sealand’ demonstrated OMD’s mastery of the epic, mysteriously beginning with a ghostly collage of melodica and reed horns before sad synths and progressive sweeps made their presence felt. Featuring just a minute of vocals in the sparse middle section, the penultimate movement collapsed into a fit of industrial noise before a slow misty reprise of the main melodic theme, like a lost ship in the fog.

Available on the OMD album ‘Architecture & Morality’ via Virgin Records

https://twitter.com/OfficialOMD


OMD International (1983)

Like ‘Maid Of Orleans’, the harrowing ‘International’ was musically inspired by the skippy waltz of ‘Back In Judy’s Jungle’ by Brian Eno. The introductory news report about “a young girl from Nicaragua whose hands had been cut off at the wrists by the former Somoza guards…” acted as one of the fuels for Andy McCluskey to express his anger about economic corruption, political hypocrisy and torture in captivity, all topics which are still sadly relevant today.

Available on the OMD album ‘Dazzle Ships’ via Virgin Records

https://www.instagram.com/omdhq/


THE PARTNERSHIP Sampling The Blast Furnace (1984)

THE PARTNERSHIP was an unrealised side project of Peter Saville cohort and ex-SPOONS member Brett Wickens with Roger Humphreys (no relation) who recorded as CERAMIC HELLO. Produced by William Orbit,  the pulsatingly uptempo ‘Sampling The Blast Furnace’ featured guest vocals from Andy McCluskey alongside vocodered voices and chants by Martha Ladly. While this version remains unreleased, the slower McCluskey-less demo was on the reissue of CERAMIC HELLO’s only album.

Not officially released, alternate version available on the CERAMIC HELLO album ‘The Absence Of A Canary V1.1’ via Vinyl On Demand

https://www.studiobrettwickens.com/


OMD Apollo (1984)

After the critical mauling that ‘Dazzle Ships’ received, OMD were in debt to Virgin Records and realised that they would have to sell more records to survive. The commercial pressure led to a trip to the sunnier climes of AIR Studios in Monserrat and the musically diverse ‘Junk Culture’. A song about McCluskey’s intimate liaison with a local girl, the bizarre mix of carnival whistles, soca, Mellotron choir, rhythm guitar and 808 driven electro came over a bit like AZTEC CAMERA produced by Arthur Baker.

Available on the OMD album ‘Junk Culture’ via Universal Music

https://www.last.fm/music/Orchestral+Manoeuvres+in+the+Dark


OMD Stay (1986)

1985’s ‘Crush’ was Stephen Hague’s first full album production and opened the doors for OMD’s ambitions in the US. Following the success of ‘If You Leave’, ‘The Pacific Age’ continued the partnership and was intended to reinforce momentum. The opening song ‘Stay’ threw in the kitchen sink from Mal Holmes’ mighty drums to layers of synthetic strings plus the addition of soulful female backing singers, brass and heavy metal guitar. But the esoteric elements that made OMD so appealing were being wiped away.

Available on the OMD album ‘The Pacific Age’ via Virgin Records

https://www.setlist.fm/setlists/orchestral-manoeuvres-in-the-dark-73d6ba31.html


ETIENNE DAHO & OMD So In Love (1986)

The suave and sophisticated Etienne Daho was seen as France’s answer to George Michael. While OMD were in Paris recording ‘The Pacific Age’ at Studio de la Grande Armée, they took part in a ‘Les Enfants Du Rock’ French TV special also which also saw their French label mate interviewing his musical influences like Françoise Hardy and  Serge Gainsbourg. The DAHOMD duet saw Daho and McCluskey low voices blend well over the original Stephen Hague produced single from ‘Crush’.

Available on the ETIENNE DAHO deluxe album ‘Pop Satori’ via Virgin Records

https://dahofficial.com/

ARTHUR BAKER & THE BACKBEAT DISCIPLES Walkaway (1989)

Producer Arthur Baker gathered a studio collective to make a pop record tracing his love of soul, synthpop, disco, HI-NRG and Europop. His first since the fragmentation of OMD, Andy McCuskey contributed lyrics, keyboards and vocals to the electro-reggae of ‘Walkaway’ which threatened to turn into CULTURE CLUB’s ‘Do You Really Want To Hurt Me?’. The vocal cast of the ‘Merge’ album included Al Green, Martin Fry, Jimmy Somerville and Etienne Daho.

Available on the ARTHUR BAKER & THE BACKBEAT DISCIPLES album ‘Merge’ via A&M Records

https://twitter.com/arthurhbaker


OMD Walking On Air (1991)

Going it alone as OMD, Andy McCluskey became open to collaboration. Meeting Stuart Kershaw and Lloyd Massett from pop rap combo RAW UNLTD, the pair set about modernising the rhythmic elements of McCluskey’s new songs. The ghostly ‘Walking On Air’ referenced ‘Statues’ from ‘Organisation’ while the mechanical bossa nova evoked the mellow moods of Bryan Ferry. Kershaw has since taken over the drum stool from Mal Holmes who left OMD in 2014 for health reasons.

Available on the OMD album ‘Sugar Tax’ via Virgin Records

https://www.youtube.com/user/OMDenglishelectric


THE LISTENING POOL Where Do We Go From Here? (1993)

With bursts of sampled choir, electric piano and wah-wah guitar, ‘Where Do We Go From Here?’ came from THE LISTENING POOL’s only album ‘Still Life’ released in 1994. Driven by a gently percolating drum machine programmed by Mal Holmes, the understated air reminiscent of CHINA CRISIS was sweetened by Martin Cooper’s soprano set with Paul Humphreys vocally pondering their creative situation with the threesome having now departed the OMD camp.

Available on the THE LISTENING POOL album ‘Still Life’ via Telegraph Records

https://malholmes.com/the-listening-pool/


ELEKTRIC MUSIC Kissing The Machine (1993)

Recorded for his ELEKTRIC MUSIC project after leaving KRAFTWERK, Karl Bartos’ collaboration with Andy McCluskey featured one of his best melodies synth melodies. Bartos told The Electricity Club: “He suggested we do something together and I was up for it… We picked some cassettes and finally I found the opening notes of ‘Kissing The Machine’”. With fabulously surreal lyrics about a love affair with a sexy robot, the song was later resurrected with new backing from Paul Humphreys for ‘English Electric’.

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

http://www.karlbartos.com/


OMD Best Years Of Our Lives (1993)

On a commercial roll and aiming for a younger pop market, ‘Liberator’ featured lots of busy modern dance effects but saw Andy McCluskey losing his way in the song department. Its confused schizophrenic nature was compounded by the pure genius of darker numbers like ‘King Of Stone’ and ‘Christine’. The symphonic string laden ‘Best Years Of Our Lives’ was another of the better tracks, borrowing its solemn topline from ‘Spanish Harlem’, a song made famous by Ben E King.

Available on the OMD album ‘Liberator’ via Virgin Records

https://www.youtube.com/user/OMDVEVO/videos


OMD The New Dark Age (1996)

After the muted reception for 1993’s painfully poppy ‘Liberator’, Andy McCluskey brought in a more conventional rock sound for 1996’s ‘Universal’. However, the OASIS sounding ‘Walking On The Milky Way’ failed to get major traction. One of its B-sides ‘The New Dark Age’ gave a haunting nod to ‘Statues’ using the auto-accompaniment on the Elgam Symphony organ and was the last great synth song of the solo era as the OMD vehicle was quietly retired by McCluskey… for now!

Available on the OMD single ‘Walking On The Milky Way’ via Virgin Records

https://www.discogs.com/artist/9462-Orchestral-Manoeuvres-In-The-Dark


ATOMIC KITTEN Right Now – Demo version (2000)

When Andy McCluskey joined Stuart Kershaw to make some dysfunctional pop for a girl group, most thought he had lost his marbles. The original project HONEYHEAD was stillborn, but when three girls from Liverpool were recruited to form ATOMIC KITTEN, it eventually led to a UK No1 single with ‘Whole Again’. However, the demo of the first single ‘Right Now’ sounded like disco evergreen ‘Never Can Say Goodbye’ arranged like ‘Sugar Tax’ era OMD, but with female vocals!

Available on the ATOMIC KITTEN single ‘Right Now’ via Innocent Records

https://www.atomickitten.com/


THE GENIE QUEEN What A Girl Goes Through (2005)

Having been ousted from Team AK by coup d’état, Andy McCluskey licked his wounds and recruited another three local girls to form THE GENIE QUEEN. Featuring soon-to-be WAG / top model Abbey Clancy and future TV presenter Anna Ord, ‘What A Girl Goes Through’ was an appealing pop R ’n’ B number based around samples of ‘Souvenir’. The project disbanded without being signed, but a track intended for THE GENIE QUEEN called ‘Pulse’ appeared on ‘History Of Modern’ featuring the girls.

Never officially released

https://twitter.com/anna_ord


ONETWO Anonymous (2007)

Paul Humphreys and Claudia Brücken released their only album as ONETWO in 2007 and from it was ‘Anonymous’, a song that began life as a demo from the aborted PROPAGANDA reunion and which had also been co-written with Andy McCluskey. The pretty ringing melodies and elegiac atmospheres were very reminiscent of classic OMD. But the collaboration had been unusual as at the time of the song’s conception, as Humphreys had not yet committed to rejoining McCluskey in his old band.

Available on the ONETWO album ‘Instead’ via https://theremusic.bandcamp.com/album/instead

http://www.claudiabrucken.co.uk/


BLANK & JONES featuring BERNARD SUMNER Miracle Cure – Paul Humphreys Onetwo remix (2008)

Having worked with THE CURE’s Robert Smith, trance duo Piet Blank and Jaspa Jones had Bernard Sumner of NEW ORDER high on their list of vocalists for their album ‘The Logic Of Pleasure’, which also featured Claudia Brücken. The German duo remixed ONETWO’s ‘Kein Anschluß’, so naturally the gesture was reciprocated when Paul Humphreys offered his smooth offbeat atmospheric rework of ‘Miracle Cure’ in what could be seen as the nearest thing to a NEW ORDER vs OMD collaboration.

Available on the BLANK & JONES single ‘Miracle Cure’ via Soulfood

http://www.blankandjones.com/


OMD Green (2010)

Of this ‘History Of Modern’ highlight, Paul Humphreys told The Electricity Club: “It was a song Andy did many, many years ago with Stuart and I think it was done in the 90s. He played it to me and it sounded a bit like a rock ballad. I said ‘I think the vocal tune’s great, but everything else has to go. Give me the vocal stem and I’ll do a whole new track for it’, so I came to my studio and completely reworked it.” – the result was mesmerising and even dropped in ROXY MUSIC’s ‘If There Is Something’ at the close.

Available on the OMD album ‘History Of Modern’ via Blue Noise

https://twitter.com/stukershaw


MIRRORS Secrets – Andy McCluskey remix (2011)

Mal Holmes once said that “MIRRORS do OMD better than OMD do OMD!”… originally a ten minute epic split into three movements, ‘Secrets’ closed MIRRORS’ outstanding ‘Lights & Offerings’ long player, driven by an intense percussive tattoo and a shifting octave bass riff that was pure Klingklang. While pushing forward the synthetic claps, Andy McCluskey stripped down and the backing and shortened proceedings, making it much less claustrophobic and militaristic than the original.

Originally on the MIRRORS deluxe album ‘Lights & Offerings’ via Undo Records, currently unavailable

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


PAUL HUMPHREYS & DOUGLAS COUPLAND Electric Ikebana (2012)

A collaboration between ‘Generation X’ author Douglas Coupland, and Paul Humphreys, ‘Electric Ikebana’ was an audio visual installation to act as the voice of the network for French telecoms company Alcatel-Lucent. The beautiful piece had conceptual hints of KRAFTWERK’s ‘The Voice Of Energy’ while there was also a charming mathematical formula recital “x = [-b +- √(b² -4ac)] / 2a” to the tune of the nursery rhyme ‘Pop Goes The Weasel’ which recalled ‘ABC Auto-Industry’ from ‘Dazzle Ships’.

Not officially released

https://www.coupland.com/


OMD Helen Of Troy (2013)

Of ‘Helen Of Troy’, Andy McCluskey said to The Electricity Club: “George Geranios and Nick Bitzenis of FOTONOVELA were our label bosses in Greece via their Undo Records and they sent me this track…the demo had Nick going “Helen Of Troy – Helen Of Troy” so I took his vocal off as you do, chopped it all up and rearranged it… it’s gorgeous! I have used some of Nick’s backing vocals… I love it to bits! And ‘Helen Of Troy’ is much more of a metaphor than either of the ‘Joan Of Arcs’ were.”

Available on the OMD album ‘English Electric’ via BMG

https://www.facebook.com/undofotonovela/


ERASURE Be The One – Paul Humphreys remix (2014)

Andy Bell’s debut solo album ‘Electric Blue’ had been produced by ONETWO’s backing band THE MANHATTAN CLIQUE and featured two duets with Claudia Brücken. ‘The Violet Flame’ album saw ERASURE express an infectious zest for the future with songs beginning as pre-recorded dance grooves from Vince Clarke. But the best number from the sessions was ‘Be The One’ remixed by Paul Humphreys who added some of the beautiful Synthwerk magic that characterised ‘English Electric’.

Available on the compilation album ‘The Electricity Club’ (V/A) via Amour Records

http://www.erasureinfo.com


VILE ELECTRODES The Vanished Past (2016)

The avant pop approach of VILE ELECTRODES is reminiscent of early OMD, with ‘Deep Red’ capturing Andy McCluskey’s interest enough to invite the duo to support the German leg of the ‘English Electric’ tour. With its potent drama, ‘The Vanished Past’ came complete with a mighty drum climax like ‘Navigation’. Bleak and wonderful, “not everything is as it seems” as a forlorn stranger joins in after five minutes. As the adventure unfolds like a lost OMD epic, that stranger reveals himself to be Mr McCluskey!

Available on the VILE ELECTRODES album ‘In the Shadows of Monuments’ via https://vileelectrodes.bandcamp.com/album/in-the-shadows-of-monuments

http://www.vileelectrodes.com/


OMD Don’t Go (2019)

OMD began their recorded career with a KRAFTWERK homage and four decades on, have come full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’ but refined for BBC Radio 2 airplay, ‘Don’t Go’ captures the essence of OMD’s enduring electronic appeal. With crystalline synth melodies from Humphreys and a spirited vocal delivery from McCluskey attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes.

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

https://open.spotify.com/artist/7wJ9NwdRWtN92NunmXuwBk


The ‘Souvenir’ 5CD + 2DVD deluxe boxed set is released on 4th October 2019 by Universal Music

OMD Souvenir 40th Anniversary 2019 – 2020 European + UK Tour, dates include:

Lisbon Aula Magna (15th October), Porto Casa da Musica (16th October), Madrid Riviera (19th October), Barcelona Apolo (21st October), Belfast Ulster Hall (23rd October), Dublin Olympia (24th October), Nottingham Royal Concert Hall (26th October), York Barbican (27th October), Hull Arena (28th October), Gateshead Sage (30th October), Glasgow Royal Concert Hall (31st October), Manchester Apollo (1st November), Sheffield City Hall (3rd November), Liverpool Empire (4th November), Birmingham Symphony Hall (5th November), Leicester De Montford Hall (7th November), Bath Pavilion (8th November), Oxford New Theatre (9th November), Guildford G Live (11th November), Portsmouth Guildhall (12th November), Watford Colosseum (13th November), Cambridge Corn Exchange (15th November), Ipswich Regent (16th November), Bexhill De La Warr Pavilion (17th November), Bournemouth Pavilion (19th November), London Hammersmith Apollo (20th November), 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), Frankfurt Jahrhunderthalle (6th December), Krakow Studio (3rd February), Warsaw Progresja (4th February), Oslo Rockefeller Musichall (7th February), Stockholm Berns (9th February), Malmo KB (10th February), Copenhagen Vega (12th February), Brussels Ancienne Belgique (14th February), Utrecht Tivoli (15th February), Paris La Cigale (16th February)


Text by Chi Ming Lai
29th August 2019, updated 16th April 2020

KITE Live at Stockholm Slaktkyrkan

KITE, “Sweden’s best kept pop-secret”, made their long awaited return to the live stage with a trio of sold-out shows at the Stockholm Slaktkyrkan.

Having produced some of the best electronic pop in the last decade, the enigmatic duo of Nicklas Stenemo and Christian Berg were on the crest of wider international success in 2017 with a new EP ‘VII’ in the can. But KITE had to cancel their German tour following concerns over Stenemo’s health later that Autumn.

The period of music afterwards was empty without KITE, so when Stenemo and Berg announced their return a year later with a one-off date at the Slaktkyrkan, excitement was in the air. Ticket demand led to the Slaktkyrkan date becoming a weekend residency as well as the announcement of more gigs in Sweden.

As Brian Eno and his lengthy landmark in electronic ambience ‘Discreet Music’ set the mood for the start, the unmanned stage looked impressive with ten synths of various vintages including a Roland JX8P, Korg Micro Preset, Dave Smith Prophet 08, Roland RS101, Dave Smith Pro-2, Korg Sigma and Studio Electronics SE1 plus tubes of fluorescent orange lighting set in rows of six around the stage and large Paiste cymbals fixed vertically to act as reflectors.

As ‘Discreet Music’ faded out after 15 minutes amongst increasing plumes of smoke, KITE took their positions with Berg in a black poncho capeing him like a Norse Rick Wakeman by his six keyboards.

Meanwhile Stenemo stood tall and stoic with his slightly more modest four keyboards,  like a victorious tribal leader returning from the wilderness after another hard won battle, this time against the trials and tribulations of the human condition. With that in mind, the rousing ‘I Just Wanna Feel’ was a perfect way to open proceedings and affirm their comeback.

With its splitting Alan Wilder-esque bassline, I Can’t Stand’ resonated off the orange tube light set now at full brightness, recalling those radiant electric bar heaters of old and giving off almost as much energy as the music.

Taking in a deeper textural mood, ‘Count The Days’ offered some emotive respite; the song has by Stenemo’s own confession, prophetically documented an autobiographical warning to his recent burnout, with words that “I’ve become my own worst enemy in a world on fire I’m safe at home, live in denial but the pressures on and I justify it with the sleepless nights” being particularly poignant.

The gloriously majestic ‘Up For Life’ from 2015 has also taken on greater resonance with Stenemo’s rugged emotive cry admitting “Life to me you see don’t come so easily, but I’m up for tears, up for life, I’m up for heartache”. But despite the melancholy, there was optimism, especially alongside Berg’s expansive synth interplay which turned into VANGELIS after an extended ambient interlude reminiscent of MIRRORS’ ‘Secrets’, both ambitious  works clocking in at over 9 minutes.

Fittingly ‘Demons & Shame’, KITE’s darkest and most epic offering yet followed. Confronting the despair that his life threw up while pursuing his dreams, Stenemo’s harrowingly powerful delivery had the audience enthralled. Surrounded by ritualistic drum mantras and Berg’s eerie bass drones, if Ennio Morricone had composed music for Nordic Noir dramas, it would have sounded like this.

For many KITE fans, ‘The Rhythm’ from 2013 is still considered one of their best songs with its trancey backbone and chanty gothic rock edge coming over like JEAN-MICHEL JARRE meeting IAMX at Berghain. Bursting with catchy crossover potential, it probably drew the biggest physical reaction of the evening from the crowd, with Stenemo making the odd leg kick in support.

The whirring pulsing atmospheres of ‘True Colours’ allowed for a breather, albeit one with a nightfall intensity before the dial was set back again to dance mode.

Effectively their first single, the throbbing synthpop of ‘Ways To Dance’ was a reminder of how far the duo have evolved since their beginnings in 2008, before the bouncy whistling poptronica of the 2010 fan favourite ‘Jonny Boy’ played around with some Scandinavian folk traditions.

‘Dance Again’ was a wonderful spiralling hands in the air moment before KITE closed the evening in magnificent dramatic style with ‘Nocturne’; a mysteriously captivating ballad, it progressively rotated itself into a spacey widescreen continuum, thanks to Stenemo’s electronically treated vocals and Berg’s mighty percussive soundscapes.

One of the things about KITE and their releases to date is that being confined to EPs only, they don’t outstay their welcome and present the highest quality material possible. And that was the case with their impressive live show, with Stenemo and Berg departing the stage after an hour to the roars of a rapturous audience wanting more but appreciative of what they saw.

KITE are probably the best modern electronic pop act in Europe at the moment, possibly the world. With this confident return to the public arena after a short hiatus, their secret garden should be not so secret anymore…


KITE’s entire back catalogue is available digitally direct from https://kitehq.bandcamp.com/

KITE 2019 live dates include:

Arbis Norköpping (17th May), Huskvarna Park Sounds (18th May), Gothenburg Pustervik (19th May)

https://www.facebook.com/KiteHQ

https://www.instagram.com/kitehq/

https://open.spotify.com/artist/0nhhoDCycjsJVHS8sk4vzW

https://www.discogs.com/artist/1230554-Kite-6


Text by Chi Ming Lai
Photos by Simon Helm, Chi Ming Lai and Madeleine Berg
7th April 2019

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