From Orange County 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, like a deviant West Coast cousin to the wonderful Canadian songstress MECHA MAIKO, Lauren Lusardi is the precocious talent behind PLASMIC.
It could be reasoned that PLASMIC is an artistic consequence of Lusardi reacting to her comparatively conservative surroundings. She studied electronic music at a local community college and with her knack of detonating infectious lo-fi synth bombs while full of femme rage fuelled by childhood anxiety, PLASMIC also adds some political fervour into the equation.
Already a veteran of three EPs releases, the undoubted standout from her latest release ‘Validation Nation’ is ‘Baby Machine’, an immensely catchy feminist electropop anthem utilising a mixture of vintage Casio and Yamaha sounds that challenges the expectations of women to bear children.
Meanwhile, the powerful ‘Validation Nation’ title track observes how modern society’s narcissistic desperation for “being known” has become the dominant motivator in this age of social media and online celebrity…
Also from ‘Validation Nation’, ‘Sister’ takes on a more dancefloor friendly template while ‘Compliance’ is a song confronting the continuing issue of patriarchy in the #METOO era, like BLONDIE meeting NEW ORDER at The Hacienda! Recently, there was the release of a delightful cover version of ‘Female Trouble’ to celebrate the birthday of the late actor and HI-NRG diva DIVINE.
Lusardi’s own favourite song is called ‘Revenge’, a gritty rallying cry to kill rapists from her self-titled EP released in 2017 which she describes the writing of as being “the most fun and cathartic time of my life”.
A feisty performer with a portable Yamaha strapped round her neck and an energetic punk attitude like Siouxsie Sioux genetically mutated with Molly Ringwald if she was into Gothic Lolita fashion, the independently minded art of PLASMIC offers some delightfully odd artistic escapism, but with a mission to deconstruct societies many stereotypes.
Happy Robots Records and The Electricity Club are pleased to announce that ARTHUR & MARTHA will reunite for a one-off performance at TEC005 on SATURDAY 2ND MARCH at The Islington in London. Also joining the bill will be PLASMIC from Orange County California and RAINLAND from Glasgow.
ARTHUR & MARTHA’s blend of electronica was branded ‘cutie krautrock’ or ‘tweetronica’ – they used using toy and playground electronic gizmos, battered old synth and cheapo drum machines to create gentle, tinny yet poignant pulsebeats that propel their achingly pretty, minor-chord melodies. Imagine, if you will, SAINT ETIENNE in space or KRAFTWERK playing THE FIELD MICE at a freshers’ disco.
ARTHUR & MARTHA were Alice Hubley and Adam Cresswell; the lo-fi electro duo released their only album ‘Navigation’ in 2009 to critical acclaim with favourable reviews from The Word, The Guardian, Artrocker and NME. The synthetic motorik of ‘Autovia’ was one of its highlights while the LADYTRON go Krautrock of ‘Squarewave To Heaven’ and the delightfully mournful NEW ORDER tribute ‘Turn to Dust’ captured their peculiarly English essence.
Described as “Gilbert & George, disguised as The Carpenters…”, the pair quietly parted ways for a few years after the release of ‘Navigation’ but in 2015, Cresswell made a surprise return to music as RODNEY CROMWELL with the superb ‘Age Of Anxiety’ while 2019 will see Hubley release her first solo record as ALICE HUBBLE. Their reunion as ARTHUR & MARTHA will see a special live presentation to celebrate the 10th anniversary of ‘Navigation’.
Supporting the bill will be PLASMIC, described as “your abused Barbie doll from childhood”. Combining J-Pop with CRYSTAL CASTLES and DEVO, Lauren Lusardi is the precocious talent behind PLASMIC. She studied electronic music at a local community college where she developed her knack of detonating infectious lo-fi synth bombs.
The undoubted standout from PLASMIC’s ‘Validation Nation’ EP was ‘Baby Machine’, an immensely catchy feminist electropop anthem utilising a mixture of vintage Casio and Yamaha sounds that challenges the expectations of women to bear children. Her most recent single release was a delightful cover version of ‘Female Trouble’ to celebrate the birthday of the late actor and HI-NRG diva DIVINE. Meanwhile on the other side of the coin, she has also covered ‘Every Day Is Halloween’ by MINISTRY!
Opening TEC005 will be Weegie synthpop duo RAINLAND. Although they have so far only one EP ‘Touch’ to their name, Ian Ferguson and Derek MacDonald are experienced hands having been the musical lynchpins of their previous band ANALOG ANGEL, best known for songs such as ‘We Won’t Walk Away’ and ‘Drive’.
Now free of the industrial shackles that occasionally held them back, their self-titled number ‘Rainland’ was a stomping synthpop statement in the vein of ULTRAVOX with Ferguson’s vocal stylings not dissimilar to a certain Midge Ure while ‘Touch’ with its digital slapped bass and HI-NRG flavour is a nod to BRONSKI BEAT. Having accompanied ASSEMBLAGE 23 on two UK tours, their rousing stage manner make them perfect as cheerleaders to begin any live presentation.
With ‘Autovia’ by ARTHUR & MARTHA, ‘Black Bog’ by RODNEY CROMWELL and ‘We Won’t Walk Away’ by ANALOG ANGEL all featuring on ‘The Electricity Club’ 2CD compilation released by Amour Records / Minos EMI / Universal Music, TEC005 will also act as a launch party for its release. Simon Helm of Cold War Night Life will DJ between each live set.
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