Don’t watch that, watch this… this is the heavy heavy sound of NIGHT CLUB!
While Emily Kavanaugh’s voice may playfully echo that of Britney Spears, lyrically she comes over like a vengeful angel of doom. Meanwhile, Mark Brooks’ exploration of rock and metal using only synthesizers gives NIGHT CLUB their rather unique sound as they resist pressure to use drummers and guitars.
Having reflected on the ‘Scary World’ of 2018, the duo of Emily Kavanaugh and Mark Brooks go on the attack in 2020 with their new album ‘Die Die Lullaby’.
With song titles like ‘Die In The Disco’, ‘Misery Go Round’, ‘California Killed Me’ and ‘Civil War’, the NIGHT CLUB motto of “Keep your friends close and your enemies in your songs” is undoubtedly being maintained.
But in a slight twist, the superb first single ‘Miss Negativity’ returns to the uptempo danceable synthpop of their third EP ‘Black Leather Heart’ despite its dark austere. Poignantly capturing the zeitgeist, Kavanaugh sings: “No, I don’t want to go out cos I won’t have any fun, I am sick and infected with pure pessimism…”
NIGHT CLUB describe the video to ‘Miss Negativity’ as being “trapped in your own personal hell. Struggling to find positivity in a world gone wrong” and when Kavanaugh is creepily pitched shifted to announce “Who’s gonna save me from myself? I’m no good for my health, I’m cryin’ out for help, I’m beggin’ you”, she is eerily covered in blood in a flaming homage to ‘Carrie’…
Opening for alternative rock supergroup A PERFECT CIRCLE for their 2018 North American arena tour and significantly expanding their audience, NIGHT CLUB were able to embark on their own headlining jaunt the following year.
On the cusp of a wider breakthrough, NIGHT CLUB have been riding on an upward momentum since they were commissioned to provide the soundtrack to the Comedy Central animated series ‘Moonbeam City’ starring the voice of Rob Lowe in 2017. Their track ‘Cruel Devotion’ from ‘Black Leather Heart’ also appeared on ‘The Electricity Club’ compilation alongside the likes of ERASURE, OMD, SIN COS TAN, MESH, MARSHEAUX and VILE ELECTRODES.
With the mix of the airy feel of MARSHEAUX and darker connotations of ZOLA JESUS, California based KANGA is no stranger to insidious sounds, having worked on the music for horror movies such as ‘Nightmare’, ‘The Devils Carnival II’, ‘Insidious III’, and ‘The Conjuring II’.
Kanga Duchamp creates an unforgettable symbiosis of hard and ethereal, wrapped in electronic soundscapes of Los Angeles. She likes mixing pop into her darker electro roots, not because pop sells but because the good hooks make a good song.
Her 2016 self-titled album, featuring SKINNY PUPPY guitarist Matthew Setzer and mixed by Rhys Fulber of FRONT LINE ASSEMBLY, created a buzz that continues to fuel the energy pushing the Santa Ana artist out into the open with her new mini album ‘Eternal Daughter’.
As all good things come in small packages, and EPs as well as mini albums seem to capture the listeners’ attention more readily, KANGA decided to release a bite size provision, full of punchy tunes, which are leading her all the way to the Numan support slots.
‘Burn’ doesn’t disappoint from the onset, weaving in the elements of vintage LADYTRON alongside layered vocals a la Greek goddesses MARSHEAUX. All that wrapped around gritty synth, melodic hooks and a fast paced musicality.
None of that stops, with the Persian inspired sounds of ‘Daughter’. Here the bass is heavy, with cinematic progressions and very cleverly inserted metallic elements. The outcome is rather Numan-esque but somehow fresher and readier.
‘Run’ resembles the achievements of KANGA’s LA colleagues NIGHT CLUB, with the vocal similar of that of Emily Kavanaugh’s while ‘Cocaine’ fuels the electronic fire further with inspiration from the artist she often mentions in interviews and clearly takes a lot of musical advice from, NINE INCH NAILS. Their sound magician has clearly had a massive impact of KANGA’s musical direction, with many describing her as a “female Trent Reznor”.
The closing ‘Control’ is a coagulation of rough and ready eclectic mix of sounds, punctuated by melodic inserts, driven vocals and immediate femininity, bursting with energy and wielding the power of objectification.
With total musical freedom and steering clear from constricting pigeon holes, KANGA’s style is difficult to classify; it is supposed to be a darker electronica with popular music elements, but the outcome is so much more than that. She’s contemporary, unconventional and current, without being too quirky and audience limiting, self-indulgent to the point of becoming too niche.
KANGA is your new mainstream alternative and simply superb.
Deeply ominous and alluringly transfixing, Los Angeles-based synthrock duo NIGHT CLUB, who The Electricity Club once affectionately described as sounding like “Britney fronting NINE INCH NAILS”, will be embarking on their first headlining tour of North America this Autumn.
Visiting over twenty cities, the extensive tour is apt reward for Emily Kavanaugh and Mark Brooks who impressed audiences while opening for noted aggrotech exponents COMBICHRIST and alternative rock supercombo A PERFECT CIRCLE in 2018.
Having released a trilogy of EPs and two albums ‘Requiem for Romance’ and ‘Requiem’, as well as producing the soundtrack to the animated Comedy Central cop show ‘Moonbeam City’, the couple have just unleashed a sinister self-directed visual presentation for ‘Your Addiction’, one of the highlights from ‘Scary World’.
With a majestic synth boom that is both heavy and funky, ‘Your Addiction’ exploits Kavanaugh’s disturbed feline presence to the max with a cry of “these are your sins”. The video sees her preaching at The Church of the Anti-Heart where the gathered congregation comprises of those who have lost their hearts through their addictions. With them finding solace in this dark mutant cult, the imagery wouldn’t look out of place in John Carpenter horror flick, although some may consider the conclusion a gothic twist on a controversial scene from ‘Indiana Jones & The Temple Of Doom’!
NIGHT CLUB told The Electricity Club in 2018: “‘Your Addiction’ is sort of like ‘Dear Enemy pt. 2’. That one fell together quickly and has a very personal vendetta behind it. In fact it’s about the same person as ‘Dear Enemy’”. Keeping their friends close and their enemies in their songs, they added “There’s nothing more impactful than having a friend turn into an enemy.”
Strung out by some unsettling deep vocal pitch shifting, the couple said: “We got tired of the vocals being one dimensional. So we started layering the vocals and fucking them up to create something new and original… we just like to tweak them to expand the sonic palette.”
With NIGHT CLUB’s live show centred around the intense moods and feisty motions of Kavanaugh, the tour appropriately begins at a place called Bar Sinister… “tell me you like the way it hurts!”
NIGHT CLUB 2019 North American live dates include:
San Francisco Bottom of The Hill (2nd October), Vancouver Astoria Pub (4th October), Seattle Chop Suey (5th October), Portland Star Theater (6th October), Salt Lake City Urban Lounge (8th October), Denver Streets (9th October), Chicago Cobra Lounge (11th October), Detroit The Sanctuary (12th October), Kent The Outpost (13th October), Brooklyn Sunnyvale (15th October), Philadelphia Voltage Lounge (16th October), Washington DC9 (17th October), Louisville The Tiger Room (18th October), Merriam Aftershock (19th October), Dallas Lizard Lounge (20th October), Austin Elysium (21st October), Albuquerque Moonlight Lounge (23rd October), Mesa Club Red (24th October), Las Vegas Backstage Bar and Billiards (25th October), Costa Mesa The Wayfarer (26th October), San Diego Brick By Brick (27th October) – tickets available from http://nightclub.soundrink.com
2018 saw JEAN-MICHEL JARRE celebrate 50 years in the business and whether the world really needed another of his compilations, ‘Planet Jarre’ was probably one of the better collected representations of his work for casual admirers.
But not standing still and releasing his fourth new album in three years, ‘Equinoxe Infinity’ continued the story as the French Maestro tuned 70.
SOFT CELL made a totally unexpected return for a huge one-off farewell gig at London’s O2 Arena; and with it came a boxed set, the ‘Northern Lights’ single and other new recordings which have raised hopes for a new album.
From the same era, FIAT LUX announced plans for their debut album ‘Save Symmetry’ with an excellent lead track ‘It’s You’, while B-MOVIE came up with their most synth-propelled single yet in ‘Stalingrad’.
But one act who actually did comeback with a brand new album in 2018 were DUBSTAR; now a duo of Sarah Blackwood and Chris Wilkie, as ‘One’ they reminded audiences as to why they were the acceptable face of Britpop with their bridge to Synth Britannia.
IONNALEE finally released her debut opus ‘Everyone Afraid To Be Forgotten’ and her tour which included choice cuts from IAMAMIWHOAMI, proved to be one of the best value-for-money live experiences in 2018, one that was even endorsed by Welsh songstress Charlotte Church.
CHVRCHES offered up their third album ‘Love Is Dead’ and continued their role as international flagwavers for quality synthpop, while EMIKA presented her best album yet in ‘Falling In Love With Sadness’, an exquisite electronic record with a Bohemian aura.
JOHN GRANT was on an artistic roll both solo and in partnership with WRANGLER as CREEP SHOW with two new albums. However, he was beaten by Neil Arthur who managed three albums over a 12 month period as NEAR FUTURE and BLANCMANGE including ‘Wanderlust’, possibly the latter’s best body of work in its 21st Century incarnation.
It was a busy year for STEVE JANSEN with a new solo ambient work ‘Corridor’, the well-received vinyl reissue of JAPAN’s two Virgin-era studio albums and his epic, more organically flavoured band project EXIT NORTH with their debut long player ‘Book Of Romance & Dust’.
SARAH NIXEY went on some ‘Night Walks’ for her best solo album yet, a wonderful collection of everything she had ever been musically all wonderfully rolled into one.
Meanwhile TRACEY THORN went back to the ‘Dancefloor’ with her ‘Record’ which content wise was right up there with some of ALISON MOYET’s electronica output from the last five years.
Hungary’s BLACK NAIL CABARET offered some noirish ‘Pseudopop’ and promising Norwich youngsters LET’S EAT GRANDMA got more deeply into electronica without losing any of their angsty teenage exuberance on their second album ‘I’m All Ears’.
Less intense and more dreamy were GLASSHOUSE, the new duo fronted by former TECHNIQUE singer Xan Tyler.
While the new HEAVEN 17 album ‘Not For Public Broadcast’ is still to be finished, Glenn Gregory teamed by with live keyboardist Berenice Scott as AFTERHERE. Their long-time friend Claudia Brücken performed as xPROPAGANDA with Susanne Freytag and partnered up with one-time TANGERINE DREAM member Jerome Froese, releasing the ‘Beginn’ album in the process.
Highly appealing were a number of quirky Japanese influenced female artists from around the globe including COMPUTER MAGIC, MECHA MAIKO and PLASMIC. But there were also a number of acts with Far Eastern heritage like STOLEN, FIFI RONG, DISQO VOLANTE and SHOOK who continued to make a worthy impression with their recorded output in 2018.
Heavy synth rock duo NIGHT CLUB presented their ‘Scary World’ on the back of tours opening for COMBICHRIST and A PERFECT CIRCLE while also from across the pond, NYXX and SINOSA both showcased their alluring potential.
At the poppier end of the spectrum, Holger Wobker used Pledge Music to relaunch BOYTRONIC with their most recent vocal incumbent James Knights in an unexpected twist to once again prove the old adage to “never say never” as far as the music industry is concerned.
Meanwhile, Chris Payne co-wrote and co-produced the excellent ‘Walking In West Berlin’ EP with KATJA VON KASSEL while also revealing plans for an autobiography and opening for his old boss…
The surprise album of the year was CHRIS CARTER with his ‘Chemistry Lessons Volume One’ while using a not dissimilar concept with their second album ‘Hello Science’, REED & CAROLINE took their folk laden synthpop out on a US tour opening for ERASURE.
STEVEN JONES & LOGAN SKY harked back to the days when GARY NUMAN and OMD would release two albums in one year by offering ‘Hans Und Lieselotte’ and ‘The Electric Eye’ in 2016. Those veteran acts themselves celebrated their 40th anniversaries by going orchestral, something which SIMPLE MINDS also did when they opted to re-record ‘Alive & Kicking’ for the ’80s Symphonic’ collection although Jim Kerr forgot how a third of the song went!
With SIMPLE MINDS also performing a horrible and barely recognisable ‘Promised You A Miracle’ during BBC’s ‘The Biggest Weekend’, making up for the live joke that his former band have become was one-time bassist Derek Forbes with the album ‘Broken Hearted City’ as ZANTi with Anni Hogan of MARC & THE MAMBAS fame. Other former members of high-profile bands were busy too with Ian Burden, formally of THE HUMAN LEAGUE returning with the Floydian ‘Hey Hey Ho Hum’ while A FLOCK OF SEAGULLS reformed briefly for an orchestral re-run of their catalogue.
With the release of their second album ‘Kinetik’, EKKOES handed over THE HUMAN LEAGUE support baton to SHELTER who came up with their best body of work yet in the more introspective shades of ‘Soar’
That darker approach manifested itself on singer Mark Bebb’s side project FORM with Keith Trigwell of SPEAK & SPELL whose debut long player ‘defiance + entropy’ also came out in 2018.
There was a good showing from UK acts in 2018 with RODNEY CROMWELL, ANI GLASS, THE FRIXION, NEW ARCADES, OLLIE WRIDE and FAKE TEAK all issuing some excellent synth tinged songs for public consumption. However, the side was let down by the conveyor belt of lame profanity laden offerings from a number of British acts afflicted with deluded normality.
NINA’s long awaited debut album ‘Sleepwalking’ was a fine hybrid of synthpop and the currently fashionable Synthwave aesthetic; her live double billing with Canadian synthpopsters PARALLELS was one of the hottest tickets of the year. The sub-genre was indeed making waves and there were some very enjoyable artists coming out of it like GUNSHIP, DANA JEAN PHOENIX and MICHAEL OAKLEY.
However, the endless AOR excesses, moonlight sax breaks and highly unimaginative band monikers using numbers between 80 to 89 affixed to an archaic technology reference, illustrated by yet another neon sunset, VCR grid and Lamborghini, were becoming tiresome.
As Synthwave cynics, The Electricity Club’s touch paper was being lit big time! The whole point of the synthesizer’s role during the Second British Invasion of the US was to fight against the insipid overtures of AOR like TOTO, CHICAGO and JOURNEY, NOT to make music coated with its horrid stench as THE MIDNIGHT did in 2018 with their long player ‘Kids’.
But there was naivety within some quarters too; electronic music did not begin in 2011 with ‘Drive’, an above average film with a good if slightly over rated soundtrack. However, its cultural influence has led to a plethora of meandering tracks made by gamer boys which sounded like someone had forgotten to sing on them; perhaps they should have gone back to 1978 and listened to GIORGIO MORODER’s ‘Midnight Express Theme’ to find out how this type of instrumental music should be done?
Many of the newer artists influenced by Synth Britannia that The Electricity Club has featured have sometimes been accused of being stuck in the past, but a fair number of Synthwave acts were really taking the soggy biscuit with their retro-obsession.
Rock band MUSE’s use of glowing artwork by Kyle Lambert of ‘Stranger Things’ fame on their eighth album ‘Simulation Theory’ sent sections of the Synthwave community into meltdown. There were cries that they had “stolen the aesthetics and concept” and how “it’s not relevant to their sound”! But WHAM! had Peter Saville designed sleeves and never sounded like NEW ORDER or OMD, while electropop diva LA ROUX used a visual stylisation for ‘In For The Kill’ that has since been claimed by Synthwavers as their own, despite it being from 2009 when Ryan Gosling was peddling graveyard indie rock in DEAD MAN’S BONES 😉
This was one of the bigger ironies of 2018, especially as MUSE have always used synths! One of Matt Bellamy and co’s biggest musical inspirations is ULTRAVOX, indicating the trio probably have a better understanding of the fusion between the synthesizer, rock and classical music, as proven by the ‘Simulation Theory’ bookends ‘Algorithm’ and ‘The Void’, than any static laptop exponent with a Jan Hammer fixation.
It is interesting to note today how electronic music has split into so many factions, but there’s still the assumed generalisation that it is all one thing and that synthpop fans must also like Synthwave, Deep House, EDM, Industrial and those tedious beach chill-out remixes.
Back in the day and even now, some fans of THE HUMAN LEAGUE didn’t like OMD, DEPECHE MODE fans only liked DEPECHE MODE and rock fans had a token favourite electronic band. Out of all the synth based pop acts of the Synth Britannia era, The Electricity Club had very little time for THOMPSON TWINS despite their huge international success, but their leader Tom Bailey’s 2018 solo recorded return ‘Science Fiction’ was warmly received by many.
Just as COLDPLAY and SNOW PATROL fans don’t all embrace ELBOW, it is ok to have preferences and to say so. Not liking the music of an artist does not make you a bad person, but liking everything does not make you a better person either… in fact, it shows you probably have no discerning taste! In 2002, SOFT CELL warned of a ‘Monoculture’, and if there is no taste differentiation in art and music, it will spell the end of cultural enhancement.
2018 was a year of good songs rather than good albums, with many of long players not as consistent or as of high a standard as the bumper crop from the Class of ’17.
However, The Electricity Club had plenty of material to choose from for its 30 SONGS OF 2018 and while it can’t include everything, worthy mentions go to ANI GLASS, BLACK NAIL CABARET, BRÜCKEN FROESE, DANA JEAN PHOENIX, DISQO VOLANTE, DUBSTAR, EKKOES, FAKE TEAK, FRAGRANCE, THE FRIXION, GUNSHIP, HILTIPOP, IAMX, LIZETTE LIZETTE, TRAIN TO SPAIN and WITCH OF THE VALE who were in this year’s shortlist.
Interestingly, three graduates from the ‘Some Bizarre Album’ made it into the final list, thus highlighting the longevity of that particular vinyl showcase some 37 years on!
So with a restriction of one song per artist moniker, here are The Electricity Club’s 30 SONGS OF 2018 presented in alphabetical order…
AFTERHERE Breaking Rules
AFTERHERE is the brand new project of HEAVEN 17 singer Glenn Gregory and live keyboardist Berenice Scott, but with their roles reversed. Exploring their inner GOLDFRAPP but in a funkier vein, with groovy reminisces of ‘Twist’ and ‘Yes Sir’, the song seductively boasted a captivating sexually charged electronic energy. Berenice Scott said to The Electricity Club: “We always wanted to have a driving track on the album that you could hopefully move your feet to, party to… possibly get in a little trouble!”
Available on the AFTERHERE album ‘Addict’ via Manners McDade
While the Clarke was strong with this one, the first impression that came across with ‘Utopia’ was that things became a slight bit darker in the world of JOHAN BAECKSTRÖM. Despite that, there was a rousing chorus and percolating sequences to savour as he pointed out the futility of seeking that perfect future, when life has so much more on offer. “I wouldn´t describe the album as dark though” the DAILY PLANET synthesist helpfully told The Electricity Club, “it´s absolutely a pop album.”
Available on the JOHAN BAECKSTRÖM album ‘Utopia’ via Progress Productions
For BLANCMANGE, ‘Distant Storm’ was rather unusual with its dance beat, reverberant Moog bassline and dreamy processed vocoder aesthetic. With a rousing, almost spiritual quality and elements of JAMES’ ‘Come Home’ creeping in for good measure, it displayed Neil Arthur’s comfort in working with producer Benge on effectively their third album together. “I wanted to sing it as though it was really detached with my voice being synthesized” he told The Electricity Club.
Available on the BLANCMANGE album ‘Wanderlust’ via Blanc Check Records
Veteran Mansfield quartet B-MOVIE made their most electronic pop single to date with the chilling aesthetics of ‘Stalingrad’. Complete with an infectious synth melody, an eerie mezzo-soprano and using the crucial Second World War battle as a metaphor for a doomed relationship, it was possibly Steve Hovington, Paul Statham, Rick Holliday and Graham Boffey’s best song since their 21st Century reformation; appropriately, its B-side was called ‘Something Cold’…
Available on the B-MOVIE EP ‘Repetition’ via Loki Records
‘Get Out’ may have acted as a superb launch single, but starting off their ‘Love Is Dead’ album was the wonderful ‘Graffiti’. This was a classic kaleidoscopic CHVRCHES tune that punched the sky with some rousing vocals. It was also a supreme singalong showcasing Lauren Mayberry, Iain Cook and Martin Docherty in full bouncy Taylor mode. Despite the downcast lyrical demeanour on lost youth and the passing of time, this was still a grand pop statement.
Australian duo CONFIDENCE MAN were a ray of sunshine in 2018 with their own brand of campy dork pop, being everything SCISSOR SISTERS should have been. ‘Don’t You Know I’m In A Band’ was an amusing satire on ego and sense of entitlement in the music industry. With an electro take on the groovy swoop of WAR’s ‘Low Rider’, a pitch shifted Sugar Bones came over like an inebriate Teddy Pendergrass while Janet Planet delightfully counterpointed in her alluring girly manner.
CREEP SHOW is the meeting of minds between eclectic singer / songwriter John Grant and the dark analogue electro of WRANGLER whose members comprise Stephen Mallinder, Benge and Phil Winter. On ‘Safe & Sound’, the quartet explored a spacious KRAFTWERK and GIORGIO MORODER hybrid to reveal gradually some wonderfully warm melodic synth textures to accompany Grant’s passionate lead croon. The project led to Benge also working on Grant’s ‘Love Is Magic’ album also released in 2018.
Driven by a meaty electronic bassline and metronomic backbone, the marvellous vocoder-laden ‘Comrades’ by RODNEY CROMWELL captured a really chilling Cold War atmosphere, bathed in an ensemble of sweeping synth oboes and cosmic string machines. “I ended up thumping at the MicroKorg and came up with the opening riff” he said. Rich with melody and a panoramic resonance, it surreally captured the sound of Moroder being played through a Soviet Foxtrot submarine intercom system.
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 in her most personal statement yet. 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.
Taking in more synthetic ambitions, FARAO’s second album ‘Pure-O’ was a playful bleep forward. While ‘The Ghost Ship’ saw Kari Jahnsen focussed on her forlorn little girl lost lyrics, the wonderfully uptempo ‘Marry Me’ offered an accessible PET SHOP BOYS flavour and romantic layers of vocals masking a deep scepticism of the institution of marriage, while the lush backing and chugging electronic backbone carried the air of her compatriot SUSANNE SUNDFØR.
Available on the FARAO album ‘Pure-O’ via Western Vinyl
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…” – their long awaited debut album ‘Saved Symmetry’ is expected in 2019.
Available on the FIAT LUX single ‘It’s You’ via Splid Records
The ‘Everyone Afraid To Be Forgotten’ album was easily equal to Jonna Lee’s work with IAMAMIWHOAMI. Best of the set was possibly the marvellous closing number ‘Fold’. Featuring exotic cascading timbres and spacey pulsars, distorted string synths added tan appropriate chill as Lee’s passionate vocals completed the filmic vibe. Less mysterious, the IONNALEE transition was a triumph, especially with one of the best value-for-money live presentations of 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 ASSOCIATES’ 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.
Despite their age, LET’S EAT GRANDMA have a feisty but mature musical ambition, as successfully realised on ‘Donnie Darko’, an 11 minute tribute to the troubled teenager haunted by a monstrous rabbit-like figure. Utilising a sedate start before morphing into a wonderful movement of cascading electronics set to a metronomic beat, there were passionate reflections on the subject of human suffering. It all went a bit “batsh*t crazy” into a glorious synthony before calming to its conclusion!
Available on the LET’S EAT GRANDMA album ‘I’m All Ears’ via Transgressive Records
CHRIS LIEBING featuring POLLY SCATTERGOOD And All Went Dark
Noted techno exponent CHRIS LIEBING teamed up with Mute label mate POLLY SCATTERGOOD on a stark polyrhythmic number appropriately titled ‘And All Went Dark’. The brooding minimalist electronic piece with its eerily poetic spoken contribution from Miss Scattergood saw the Essex songstress haunted by a “dark shadow on my shoulder” and telling how “a sickness took hold early on”.
Available on the CHRIS LIEBING album ‘Burn Slow’ via Mute Artists
With the name transcending Toronto based Hayley Stewart’s fascination with Japanese culture, cyber space and a love of vintage synthesis, ‘Mad But Soft’ was her first album as MECHA MAIKO. The magically crystalline ‘False Memories’ could have been part of the ‘Stranger Things’ soundtrack. Uncomplicated on the surface yet multi-layered and airy, this day-glow pink neo-instrumental concoction was well-thought through and deliciously produced.
One-time RÖYSKSOPP collaborator Ryan A James continues to hone and develop his hybrid mix of luxuriant synthetics and subtle guitar textures as MAN WITHOUT COUNTRY. He said about the gorgeous electronic bubblebath of ‘Lafayette’: “It’s really a song about the end of a relationship, disguised as a song about Scientology, and how defectors of Scientology are disowned by their loved ones. The name comes from the religion’s founder Lafayette Ron Hubbard.”
Available on the MAN WITHOUT COUNTRY album ‘Infinity Mirror’ via Killing Moon Records
“Beware! It’s a scary world” and with their BRITNEY SPEARS fronting NINE INCH NAILS template, NIGHT CLUB took their sweet but sinister synth rock sound to its zenith with the title track of their second album. And when the children’s choir joined in the chorus to sing of demons everywhere, this was a musical trick or treat that no parent would want their offspring to be part of, the message being “they only love you if you swallow”!
A fabulously optimistic closer to NINA’s debut album, ‘80s Girl’ came beaming over like some missing song from the film ‘Mannequin’. With big Simmons drums, sampled orchestra stabs and driving synthbass triplets, it was however delivered with subtlety and restraint so that it wasn’t a HEART or STARSHIP pastiche. Dedicated to her mother, it had a telling message of “don’t let the past hold you back”.
Perhaps best known as the alluring if slightly blunt chanteuse of BLACK BOX RECORDER, SARAH NIXEY released her best solo album to date in ‘Night Walks’, a quality record with air and presence, collecting everything she has ever been musically, all rolled into one. One of its key tracks was the delightful ‘Journey’, a glorious number of the type that Marc Almond has often been so good at, laced with crystalline synths and gorgeously breathy vocal tones à la Jane Birkin.
Available on the SARAH NIXEY album ‘Night Walks’ via Black Lead Records
The ‘Savage’ album turned out to be both an artistic and commercial vindication for GARY NUMAN. ‘It Will End Here’ from ‘The Fallen’ EP was a natural progression from that, exploring a heavy but melodic electronic sound without relying on the predictable backing of rock guitars. With and anthemic chorus and the apocalypse is looming over the aural desert, there was even a soaring vocal pitch shift up at the song’s conclusion which added an extra eerie vampiric quality.
NYXX is very much her own woman, like the Greek goddess of night she is named after, a figure of power and beauty with a Britney-like vocal presence that sweetly offsets some of her darker overtones. A collaboration with Daniel Graves of AESTHETIC PERFECTION who contributed a glorious evangelical middle eight, she said “It would not be what it is without him. I came in with a sketch of a song, a melody and lyric of another song… Daniel heard nuances in it and we built what is now ‘Voodoo’.”
Available on the NYXX single ‘Voodoo’ via Close To Human Music
Eddie Bengtsson and Marina Schiptjenko initially came together in PAGE releasing their first single ‘Dansande Man’ in 1983. Since then, the pair have parted and reunited on a number of occasions but the mission for the ‘Start’ EP was to party like it’s 1979 when GARY NUMAN was No1. ‘Nere För Räkning’ was an urgent slice of pulsing synthrock with a piercing vibratoed lead line akin to the keyboard interventions heard on ‘The Pleasure Principle’.
Available on the PAGE EP ‘Start’ via Energy Rekords
From Mission Viejo in California, PLASMIC describes herself as an “Orange County one-woman dervish” and in a vivid haze that’s pretty in pink, “your abused Barbie doll from childhood”. Combining J-Pop with CRYSTAL CASTLES and DEVO, the undoubted standout from her ‘Validation Nation’ EP was ‘Baby Machine’, an immensely catchy feminist electropop anthem utilising a mixture of vintage Casio and Yamaha sounds that challenged the expectations of women to bear children.
Championed by none other than Vince Clarke, REED & CAROLINE successfully combine tunes with electronic experimentation. The haunting ‘Entropy’ was a tribute to a departed friend and a fabulously touching GARY NUMAN homage to his ‘Dance’ period, in particular ‘Cry The Clock Said’. The hypnotic soundtrack of gentle preset rhythms and eerie electric piano, courtesy of a Buchla modular synth, was complimented by Schutz even adopting the phrasing of the man born Gary Anthony James Webb.
Weird and wonderful, ‘Red Moon Voyage’ was a ghostly 10 minute epic comprising of glitchy voices and varying rhythm constructions recorded especially for Halloween. Free of album concepts and the pop song format, this was FIFI RONG at her most adventurous yet, delightfully adding her native Mandarin language towards the third part. She told The Electricity Club: “having a long journey means you can get very deep and lots of moods and transitions”.
Marc Almond and Dave Ball were the boys who came back-back-BACK as SOFT CELL in 2018. ‘Northern Lights’ reminisced about their days at the Wigan Casino and recaptured the pop essence that led to the duo having five consecutive Top 10 hits! Despite the grittiness and energetics, the duo always had melody and that came back in abundance on their welcome recorded return. The darker B-Side ‘Guilty (‘Cos I Say You Are)’ affirmed that as a creative force, SOFT CELL still had it.
Chinese six-piece STOLEN are reckoned by Berlin-based producer Mark Reeder to be possibly the most exciting band he has seen since NEW ORDER. Certainly their debut album ‘Fragment’ was impressive and one of the best of 2018, with ‘Turn Black’ being one of the 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.”
Ingo Hauss and Hayo Lewerentz handed back the BOYTRONIC brand to Holger Wobker and returned to being U96, teaming up with former KRAFTWERK percussionist Wolfgang Flür for the best track by either party in recent years. Stark and Teutonic with stark robotic vocoder aesthetics, the union of two German musical heavyweights from different generations was equal to Flür’s ‘Activity Of Sound’ collaboration with Ireland’s iEUROPEAN.
Combining piano, synths, field recordings, drones, occasional beats, old string instruments and HILARY WOODS’ wonderfully forlorn voice in the vein of Julee Cruise, ‘Jesus Said’ questioned the existence of God. Described by the Irish songstress herself as “a song that seeks catharsis”, her child-like expression over the drifting synthesized tones and hypnotic drum machine to augment her beautiful piano playing gave ‘Jesus Said’ a gentle meditative quality.
Available on the HILARY WOODS album ‘Colt’ via Sacred Bones