Tag: Priest

Introducing POLYCHROME

POLYCHROME describe themselves as “Neon Segawave”, probably an apt term of reference given their flirtations with synthwave and dreampop.

Modern glitch effects like PURITY RING with the girly synthpop resonance of Miami’s PRIEST and the chillwave air of the Sarah P. era of KEEP SHELLY IN ATHENS permeate through the sounds of POLYCHROME, as exemplified by ‘The Call’.

However, the London-based independent duo themselves name the usual suspects of M83, COCTEAU TWINS and CHROMATICS as well as the polarising sub-genre of shoegaze as influences. Fronted by the angelic presence of Victoria Harrison, she is ably partnered by Oliver Price and both contribute vocals as well as production.

“We love it Lo-Fi, old drum machines, vintage microphones and Sega Mega drives!” the duo say, affirming their more rustic approach to electronic pop. Much of the POLYCHROME’s self-titled debut album released in 2018 was written in isolation around the serene surroundings of Grianain Eco Lodge near Fort William and it shows.

The ‘Drive’ influenced ‘Synesthesia’ reflects the union of the senses as suggested by its title, with its synthetic and vocal layers providing an electro-organic wash, accompanied by a rainswept video shot through glass for that suitably hazy effect.

The album closer ‘Don’t Be A Stranger’ provides an airy twist on the ‘Stranger Things’ theme with a slower variation on its iconic pulsing arpeggio, it could be considered POLYCHROME’s mission statement as to their next artistic intent as they move further into combining synthwave with dreampop.

Concluding their debut album campaign with a ‘Final Kiss’ and a manipulated voice hook, the song recalls the sedate synthpop of Canadian duo ELECTRIC YOUTH with chiming guitars and electronic drums complimenting the backdrop.

It will be interesting to see where POLYCHROME head next with many possible paths on the crossroads and while there is still perhaps some focussing to do dynamically, the musical potential is there.


‘Polychrome’ is available as a download album from https://soundofpolychrome.bandcamp.com/

http://soundofpolychrome.com/

https://www.facebook.com/soundofpolychrome/

https://twitter.com/soundofpolychro

https://www.instagram.com/polychromesounds/

https://soundcloud.com/soundofpolychrome


Text by Chi Ming Lai
23rd April 2019

Introducing SOL FLARE

SOL FLARE are the up-and-coming London based trio comprising of Jenny Jones (vocals), Dominic Wood (synths + programming) and Matt Marlow (guitars) who recently unleashed their first single ‘Easy Line’.

While Wood’s lush electronics and drum machine beats provide the vital musical backbone to SOL FLARE, it is Jones’ magnificent voice, ranging from a piercing high soprano down to a powerful contralto growl reminiscent of Rindy Ross from Portland soft rockers QUATERFLASH, which gives them their USP.

Indeed, if QUARTERFLASH had been a synth wave act, they would probably sound a bit like SOL FLARE. Evoking images of widescreen sunsets and neon lights, SOL FLARE began their account with the impressive ‘Not Holding On’, offered as a free download via their Soundcloud. Inevitably, the ‘Drive’ soundtrack sprang to mind although ‘Not Holding On’ was far more direct and uptempo.

‘Easy Line’ develops on this introductory template with a pulsing four-to-the-floor bassline and Jones’ haunting vocals punching to the heart, embellished by Marlow’s subtle scratchy rhythmic six string and Wood’s cascading synths.

The visual  accompaniment created by Jesse Dvorak captures carefree youth in Reagan-era LA with echoes of the late Eric Watson’s video for PET SHOP BOYS ‘Domino Dancing’, as a love triangle and homo-erotic ruck in the sea provide the key moments of the storyline.

An engaging live act, particularly with Jones’ charismatic stage presence, there is more to come from SOL FLARE with the stomping ‘Find You’ and stuttering dance oriented essence of ‘The Hunter’ both highlights in their current set.

Sitting comfortably alongside acts such as NINA, AVEC SANS, PRIEST and FEATHERS, if they maintain the upward artistic trajectory that has seen them cross synth wave and classic synth pop with AOR and melodic new wave, then SOL FLARE might overtake them all and join CHVRCHES.

Having already impressed at Synth Wave Live, SOL FLARE possess an attractive style blend that could see them appeal to many more.


‘Easy Line’ b/w ‘Hide’ is available as a download single from https://solflare.bandcamp.com/

http://solflare.co.uk/

https://www.facebook.com/Solflaremusic/

https://twitter.com/SolFlareMusic

https://soundcloud.com/solflare/


Text by Chi Ming Lai
19th August 2017

TEC’s 2015 End Of Year Review

There are no illegal connections…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo by Madeleine Berg

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

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

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

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

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

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

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

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

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

MYSADCAT2015

Photo @MYSADCAT

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

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

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

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

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

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


PAUL BODDY

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


DEB DANAHAY

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


IAN FERGUSON

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


MONIKA IZABELA GOSS

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


SIMON HELM

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


CHI MING LAI

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


RICHARD PRICE

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


Text by Chi Ming Lai
16th December 2015

PRIEST Priest

priest-album-cover-640x581PRIEST were introduced to The Electricity Club’s readers a few months ago after mentions in many 2014 end of year polls. And now after just over a year, their new, self-titled album is finally out.

The Orlando based duo consisting of the dainty singer and keyboard player Madeline Priest and producer and guitarist David Kazyk formed in 2013.

They started experimenting with electronic beats and soon signed to the Stockholm based Emotion label in December 2013.

After their successful EP ‘Samurai’, the LP is an evolution to their sound, which is said to take its influences from DEPECHE MODE, DURAN DURAN, TEARS FOR FEARS, KATE BUSH, PAT BENATAR, STEVIE NICKS, and more recently CHVRCHES, PHANTOGRAM and GWEN STEFANI. Madeline has described the production as “dreamy-kind of up in the clouds”.

‘The Game’ has a ringing sound reminiscent of TEARS FOR FEARS. The cheerful vocals enhance the song’s coherent melody with its interesting string elements and candied synth combos. The provocative line “if that’s not enough, we’ll always have tonight” almost contradicts Madeline’s girly voice, making the tune more sexy sounding.

‘Heartbeats’ enters with poppy beats and candied digitally enhanced vocals, yet somehow is uninspired and laboured. This is followed by ‘White Nights’, which bears a gentle melody with more coherent elements and a softer voice which seems to lend itself better to slower tunes like this one. The instrumentation is also richer and sharpened, making it one of the better tracks on the album. ‘Staring At The Walls’ features an electronically enhanced voice once more, over a sweet, sugary-synth background. It comes over as naive and in dire need of maturity, both musically and lyrically. The gentle synth elements are ear engaging, yet sadly, instantly forgettable.

PRIEST_strong hearts‘Broken’ is lyrically stronger and its electronic melody interspersed with DURAN DURAN -type guitar elements are establishing this track as one of the highlights on the album. The ending uncanningly rings of DEPECHE MODE influences.

‘Strong Hearts’ according to Madeline, has the qualities of their new “evolving sound”. A systematic track with autotune enhanced vocals is care free, but somehow unimaginable. Pleasing to the ear, however, it has all the elements of a decent synth tune.

‘When The Strings Are Gone’ opens with a section reminiscent of MADONNA’s ‘Holiday’, and instantly places the tune in line with songs of that era. Heavily manufactured and bearing the signs of how songs used to be produced a couple of decades ago in New York’s studios, it is barely current, but it may well appeal to a younger generation of electronica listeners.

‘Day Drinking’ continues with the retro production, practically indistinguishable from the previous track, while ‘Waiting For The End To Come’ comes heavy with bell sounds and sustains the character of the record; predictable and inconspicuous. ‘Lying On Your Grave’ closes the production, with the continuation of the candy floss voice, depicting a more serious lyrical content, leaving the listener unimpressed however.

PRIEST broken1PRIEST certainly possess all the necessary ingredients to engage the listener with catchy synth tunes and young sounding, delicate female vocals. However, the duo have yet to prove worthy to be placed alongside the classic legends they cite as their influences, only time can tell if they will. As a first album, ‘Priest’ is a competent record with fair amount of adequate tunes. Notwithstanding, it lacks the necessary confidence to be distinguished between the acceptable and brilliant. The “dreamy” description by Madeline is spot on; the production is easy listening and relaxing.

If you’re in need of a simple, undisturbed pleasure, then this is your tool. Interestingly enough, the ‘Samurai’ EP was more gutsy and wholesome; with ‘Priest’, one imagines a cloud-free Florida sky to a soundtrack that perhaps is more TAYLOR SWIFT than GWEN STEFANI.


‘Priest’ is released by Emotion and available now via the usual digital outlets including iTunes

http://priestofficial.com

https://www.facebook.com/xpriestxofficial


Text by Monika Izabela Goss
5th May 2015

Introducing PRIEST

Priest-JenniferMedina-2015-Press-2So while starlets such as TAYLOR SWIFT have been flirting with synthpop, a whole brace of new acts have also emerged from North America.

And from Orlando come forth PRIEST, the slinky synthesized project of vocalist / keyboardist Madeline Priest and producer / guitarist David Kazyk. Forming in 2013, they soon developed a gorgeous Scandipop influenced sound.

A synth duo with an understated but seductive musical elegance, the dreamy ‘Samurai’ title track from their 2014 debut EP featured some superb bassline sequencing from Kazyk that was almost funky as it syncopated alongside the precise, but lively synthetic rhythm. And when Madeline Priest cooed “you’re the only one” over the chilling synth, it was wonderful honey coated bliss that recalled the best of Canadian contemporaries ELECTRIC YOUTH.

‘Isn’t It So?’ was just as good with its vibey tones complimenting a pulsating backbone. Despite the presence of electronically treated voices, the aural futurism was countered by some muted guitar to provide a pinch of organic seasoning.

In an air of gloom, the midtempo ‘Enemy Mind’ featured a wispily enticing chorus reminiscent of Scandipodean twins SAY LOU LOU. Meanwhile with a sweeping, almost pentatonic feel, ‘Sophie K’ oozed a widescreen demeanour as a plea of “don’t lose your way” took hold. With Madeline Priest’s background in ballet, the parallel ethos of interpretation allowed for an honest delivery of PRIEST’s quietly sedate but sensitive output.

With their debut album soon to be unleashed, the pair have now released ‘The Game’ as a trailer. Developing on the shimmering sonics of ‘Samurai’ and with more six string texturing added too, Madeline Priest is wholly provocative, especially when she tells the subject of her affections that “if that’s not enough… we’ll always have tonight”; PRIEST most certainly have an alluring front woman.

CHVRCHES, PURITY RING and GRIMES have been the acts that other commentators have been quoting as references to PRIEST’s sleek sound… perhaps less leftfield than those, PRIEST are following a new line of great North American female fronted synthpop acts that also include NIGHT CLUB and ELEVEN: ELEVEN.

But overall, maybe think MARSHEAUX, FEATHERS and KID MOXIE… no, Madeline Priest is not Greek, but there is that sunnier disposition over an essentially Nordic styled melancholy which stops things from getting too frosty. There is warmth amongst all that emotional resignation, something that the title of so far unreleased track ‘Dark Sun’ appropriately captures.


PRIEST_PHOTO_PRESS_BLUEVISOR[Credit_JenniferMedina]‘The Game’ is released as a download single by Emotion, ‘Samurai’ is still available as a download EP while PRIEST’s debut album is set for release in May 2015

http://priestofficial.com/

https://www.facebook.com/xpriestxofficial

https://soundcloud.com/xpriestx


Text by Chi Ming Lai
Photos by Jennifer Medina
4th March 2015