Tag: Queen Of Hearts (Page 1 of 5)

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

QUEEN OF HEARTS Interview

QUEEN OF HEARTS is the musical vehicle of Elizabeth Morphew.

Brought up to the sound of the synthesizer and learning to dance to the beat of electronic drums, she first came to public attention via RED BLOODED WOMEN, a girl group who sounded not unlike GIRLS ALOUD produced by Daniel Miller.

Following their disbandment in 2010, Morphew was crowned QUEEN OF HEARTS and a debut EP ‘The Arrival’ came not long after.

Then in 2014, her debut album ‘Cocoon’ was released, a fine collection of electropop that reflected “love, loss, heartbreak, betrayal”. The catchy glam stomper ‘Neon’ was one of its highlights and offered some deliciously wired glitterball sparkle that almost managed to out Goldfrapp GOLDFRAPP.

Keeping up the glitz, ‘Freestyle’ was a throbbing club friendly tune with a more than a hint of Moroder while ‘Shoot The Bullet’ was an energetic union with Swedish duo THE SOUND OF ARROWS.

Later expanded to a 2CD edition, the ‘Cocoon’ sessions featured three notable collaborations with the Berlin based producer Mark Reeder, ‘Suicide’, a cover of ‘Wicked Game’ and ‘United’, the latter finding a place on ‘The Electricity Club’ compilation.

Following a break from music, QUEEN OF HEARTS returned in 2018 with two new well-received songs ‘Cold’ and ‘The Water Between Us’. She invited The Electricity Club to her palace to chat about her career to date and much more…

Your debut album ‘Cocoon’ was released in 2014, how do you look back on it?

I still can’t quite believe I actually did it! You spend so long thinking about it; analysing which songs work and which to scrap and totally overthink it!

I put so much pressure on myself to make it perfect and to tell a story, which I’m so glad I did because it could have been a completely different piece of work.

‘Neon’ was a key track and has ended up on several TV shows?

‘Neon’ has been the money maker for sure! I fantasised about my songs being used in movies and TV songs but never actually thought that would happen. It’s a pretty surreal feeing to hear yourself in the background of ‘Made in Chelsea’ on a regular Tuesday evening.

‘Neon’ was then remixed by Mark Reeder and led to you doing the track ‘United’ with him, how did that come together?

Mark sent me the instrumental and I instantly found myself breaking into a ‘Vogue’-esque spoken monologue which eventually became the “no teacher can teach me and Jesus can’t reach me…” pre-hook section. I loved it so much I also made it the middle 8. I have no idea how I came about the rest of the melody, I never do really. I’m all about those hooks.

How did you come to be working together?

My good friends at TEC made the intro.

How does it feel to have ‘United’ sitting next to ERASURE and KATY PERRY on ‘The Electricity Club’ compilation?

I’ve seen worse seating plans. 😉

Whereas ‘United’ was very uptempo and rousing, ‘Suicide’ which you did also with Mark Reeder was much more personal?

I like that they are completely different. I think it’s easy to get stuck in a rut with your output so changing tempo and the overall theme automatically does that. One is playful and one is vulnerable. You can’t have one without the other.

You also did a cover of ‘Wicked Game’ together?

I LOVE that cover! I always like covering songs originally sung by a man because it naturally gives a completely new dynamic and context. I also think it’s such a classic I wanted to give it the respect it deserves, while still making it my own. Who’s hasn’t been in one of those relationships, right?!

Which songs from that period have stood the test of time for you?

‘Neon’, ‘Colourblind’, ‘Shoot The Bullet’ and ‘Tears In The Rain’.

The later 2CD version of ‘Cocoon’ tells a bigger story, it seems there were a variety of directions that the original album could have gone in?

I began putting out music in 2011 and my album came out in 2014, so naturally my sound grew and changed, as well as working with different producers and co-writers along the way. I could probably produce another two albums with the songs I didn’t end up using.

You had taken a break from the music business, why was that necessary for you?

There’s that famous quote: “Insanity is doing the same thing over and over again and expecting different results” – a bit of that I suppose: boredom, exhaustion, frustration, fear? It’s quite common to have an identity crisis in your late 20s. I needed the break.

Does the music business need more mindfulness?

The shift I’ve seen in the last decade has been a positive one. When I began working professionally in the music industry, I was constantly rejected because I didn’t ‘look’ right, and as a result didn’t particularly like or treat myself with much respect. It’s a world that appears glamourous but in reality is cut throat, superficial and money driven. You’re not warned about this and in fact expected to feel grateful about it. I think people are waking up to authenticity and having empathy and understanding of people’s mental health. We’ve got a long way to go, but it’s 1000 times better.

‘Cold’ and ‘The Water Between Us’ have been your first new recordings released for many years, what set the muse off again?

Freedom to create what I wanted to… I wasn’t writing the music for QUEEN OF HEARTS at that point. For the first time in a long time I just wrote about how I was feeling. I wasn’t trying to be clever or calculated, I just wrote. The pen rarely left the page and I’d practically finished both in the two days I’d booked the studio for. That was a really exciting feeling.

How do you think you’ve developed as a songwriter?

I’m a lot less worried about creating a product now. I think the greatest songs are written when you’re in a state of flow, zero expectation, writing from the heart. As soon as you overthink or try to make yourself sound like what you’re hearing, you lose everything that makes that song special. In a nutshell, I give less f**ks now.

Where do you think you’re heading musically?

I’m not sure. I’m trying to be really open-minded and less of a control freak. It’ll always start with a beautiful melody and it’ll always be electronic. Some things never change.

Things have changed within music considerably even since 2014, what are the positives and negatives for an independent artist like yourself in your opinion?

It’s harder to make money. My income is purely the result of sync these days, no one ‘buys’ music. What it does mean however is complete creative control and the ability for anyone who wants to make music to get it out there. I think that’s a beautiful thing.

You once said “pop is not a dirty word”, what state of health do you think it’s in as we head towards the end of the second decade of the 21st Century?

I’ve always been a pop fan and will sniff out beautiful music and do what I can to promote it. A lot of the stuff out there however is sh*t. I try not to lose too much sleep over that.

Do you still get mistaken for Taylor Swift?

If I had a pound for every time I’d been referred to as a “Poor man’s Taylor Swift”, well… we’d have a fully funded second, third and fourth album! 😉

I don’t mind it though, she’s hardly Quasimodo! I’ll take pretty much any compliment on offer. I particularly like the stuff she did with Jack Antonoff.

What next for QUEEN OF HEARTS?

I’m still riding high on the double A side I released at the end of last year ‘Cold’ / ‘The Water Between Us’ and working on my next move. You never know how a new release will go down, so I’m chuffed that people seemed to like the tracks and I don’t have to hide away in a cave somewhere. I’m also trying my hand at a bit of DIY DJ-ing with my weekly Spotify ‘Monday Mixtape’ playlists.


The Electricity Club gives its warmest thanks to QUEEN OF HEARTS

‘Cold’ and ‘The Water Between Us’ are available via the usual digital outlets

The expanded 2CD version of ‘Cocoon’ released by Night Moves is still available direct from https://iamqueenofhearts.bigcartel.com/product/cocoon-limited-edition-2cd-gatefold-digipack-pre-order

‘United’ features on ‘The Electricity Club’ 34 track 2CD compilation released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records, available direct from https://www.amour-records.com/product-page/the-electricity-club

http://www.iamqueenofhearts.com/

https://www.facebook.com/QOHofficial/

https://twitter.com/iamqueenofheart

https://www.instagram.com/qohmusic/


Text and Interview by Chi Ming Lai
25th February 2019

TEC’s 2018 End Of Year Review

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.

Those who liked their electronic music darker were well served with NINE INCH NAILS, IAMX, KIRLIAN CAMERA and HELIX, but after experimenting with the single only format for a few years, Daniel Graves announced he was taking the plunge again with a new AESTHETIC PERFECTION album.

The Sacred Bones stable provided some quality releases from THE SOFT MOON, HILARY WOODS, ZOLA JESUS and JOHN CARPENTER. Meanwhile, providing some fierce socio-political commentary on the state of the UK was GAZELLE TWIN.

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.

Aussies CONFIDENCE MAN provided some wacky dancey glitz to the pop world and after nearly four decades in the business, Canadian trailblazers RATIONAL YOUTH finally played their first ever concert in London at ‘Non Stop Electronic Cabaret’ alongside dark wave compatriots PSYCHE and Numan-influenced Swedish poptronica exponents PAGE.

Sweden was again highly productive with KARIN PARK, JOHAN BAECKSTRÖM, TRAIN TO SPAIN and VAL SOLO while Norway took their own approach with FARAOSOFT AS SNOW and ELECTRO SPECTRE setting their standard. Veteran Deutschlanders THE TWINS and PETER HEPPNER returned with new albums after notable recorded absences while next door in Belgium, METROLAND presented themselves as ‘Men In A Frame’.

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.

It was a year of interesting collaborations all-round with UNDERWORLD working with Iggy Pop, U96 linking up with Wolfgang Flür for an excellent single called ‘Zukunftsmusik’ and German techno pioneer CHRIS LIEBING recruiting POLLY SCATTERGOOD and GARY NUMAN for his Mute released album ‘Burn Slow’.

Based in Berlin, THE KVB offered up some brooding gothic moods with ‘Only Now Forever’ while Valerie Renay of NOBLESSE OBLIGE released her first solo album ‘Your Own Shadow’.

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.

IMMERSION provided a new collection of their modern Motorik as SHRIEKBACK, FISCHERSPOONER, THE PRESETS, HEARTBREAK and QUEEN OF HEARTS all made comebacks of varying degrees with audiences still eager for their work.

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.

Having been championed by RÖYSKSOPP, Wales’ MAN WITHOUT COUNTRY returned with ‘Infinity Mirror’ while riding on the well-deserved momentum from opening for OMD, Ireland’s TINY MAGNETIC PETS embarked on their first headlining tour. Representing North of the border were RYAN VAIL and HANNAH PEEL, but hailing from Scotland were WITCH OF THE VALE who proved to be one of the most interesting new acts of 2018 having supported ASSEMBLAGE 23 on their most recent UK visit.

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.

Taste is always the key, but then not everyone who loves chocolate likes Hersheys… and with that analogy, The Electricity Club bids farewell to 2018 and looks forward to a 2019 that includes the return of TEARS FOR FEARS and the first full live shows from GIORGIO MORODER, plus new releases by VILE ELECTRODESKITE, VILLA NAH, I AM SNOW ANGEL and LADYTRON.


THE ELECTRICITY CLUB Contributor Listings of 2018

PAUL BODDY

Best Album: MAN WITHOUT COUNTRY Infinity Mirror
Best Song: MAN WITHOUT COUNTRY Lafayette
Best Gig: TANGERINE DREAM at London Union Chapel
Best Video: THE SOFT MOON Give Something
Most Promising New Act: VOX LOW


IAN FERGUSON

Best Album: BLANCMANGE Wanderlust
Best Song: ELECTRO SPECTRE The Way You Love
Best Gig: OMD at Glasgow Kelvingrove Park
Best Video: NYXX Voodoo
Most Promising New Act: WITCH OF THE VALE


SIMON HELM

Best Album: DUBSTAR One
Best Song: PAGE Start (Poptronica Version)
Best Gig: DIE KRUPPS + FRONT LINE ASSEMBLY at O2 Academy Islington
Best Video: FIFI RONG Horizon
Most Promising New Act: ZANTi


CHI MING LAI

Best Album: EMIKA Falling In Love With Sadness
Best Song: FIAT LUX It’s You
Best Gig: SOFT CELL at London O2 Arena
Best Video: FAKE TEAK Bears Always Party The Exact Right Amount
Most Promising New Act: WITCH OF THE VALE


MONIKA IZABELA TRIGWELL

Best Album: GUNSHIP Dark All Day
Best Song: SHELTER Karma
Best Gig: IAMX at London Electric Ballroom
Best Video: JUNO REACTOR Let’s Turn On
Most Promising New Act: MECHA MAIKO


Text by Chi Ming Lai
8th December 2018

THE ELECTRICITY CLUB… The Next Generation?

Sitting on the sofa with my now thirteen year old daughter, who over the years has acquired a rather sarcastic sense of humour (who on Earth does she get that from?!) and pondering how to approach this task of reviewing ‘The Electricity Club’ compilation, makes us both burst out with hearty laughter.

After all, she wants to rise to the occasion properly, and review things “just like Mummy does”, or maybe not, as “Mummy always says it as it is!”

Children have the innate ability to always tell the truth; my daughter, however, has an uncontrollable need to please people, so this could really go either way. She will either be pulling her disgusted face, saying “what a load of rubbish!”, or candidly praise, without certainty.

My own adventure with music dates back many years indeed. I was brought up within, what they used to call in communist Poland, “an intelligence family”, meaning both my parents were white collar workers, rather than working class.

My father, a respectable judge, had loved his music greatly and was an avid guitar player himself, while my mum, a teacher, enjoyed listening to pretty much anything within the popular genre (usually via her radio, which, to this day, is always on).

Recalling the baby book entry, which my mum recorded when I was at the tender age of five, saying “Monika loves listening and dancing to records, she could spend all day doing so”, makes me try and remember the old record player and hundreds of vinyl albums which my parents owned.

All this said, I hold my older by ten years brother solely responsible for my eventual music choices. As I was growing up, I just had to endure what he was listening to (at great volume, may I add!).

As legal copies of western music were incredibly hard (or, simply, impossible) to get, his room was full of pirate cassette tapes of everything from THE HUMAN LEAGUE to MICHAEL JACKSON and anything and everything in between.

He would take great pride in inviting me into his musical cave and fed me with DEPECHE MODE, ERASURE, ELECTRIC LIGHT ORCHESTRA and OMD.

And all this worked… during his absence, I’d sneak in and put my favourites on, which would primarily include the works of DEPECHE MODE, with the vinyl of ‘Black Celebration’ and maxi-single vinyl of ‘Stripped’ being the firm first choices. And that’s how I acquired the electronic music bug. From then on, not much else mattered but coming home from school and playing the entire back catalogue of the Basildon boys, dotted with the works of YAZOO and ERASURE.

My Allie has had little choice, since her musical adventure dates back to being in my womb. At the age of three she would sing ERASURE’s ‘You Surround Me’ on top of her little baby voice, and her sweet childish vocal was sampled and recorded by a well-known UK electronic duo.

Her first gig was at the age of five, and she went to see ERASURE at six and DEPECHE MODE twice at the grown-up age of seven, keenly taking part in the experience.

Although since she’s found love for KATIE PERRY, ARIANA GRANDE and TAYLOR SWIFT, and electronic music hasn’t been on her radar much lately, she absolutely loved ASHBURY HEIGHTS’ ‘The Looking Glass Society’. She also has a lot of vintage DEPECHE MODE on her Spotify playlist, interestingly enough none of it past ‘Songs Of Faith & Devotion’, and plays it at least twice a week.

Having heard that, I would include her opinion in the tongue-in-cheek review of The Electricity Club compilation, she keenly decided to be a serious contributor, and so it goes…

MAISON VAGUE Synthpop’s Alive

Allie: I don’t like it but I like it…

Mon: Bit GARY NUMAN this is! But a tad laboured and rough and ready.

Allie: I like the synth sounds, the voice sounds a bit weird.

KID KASIO Full Moon Blue

Mon: Ah, my favourite of Nathan’s! Love it, love it, love it!

Allie: I like the sounds, the first bit sounds a bit like DEPECHE MODE!

Mon: Yeah, a tribute to ‘Two Minute Warning’!

Allie: That’s it! I like it a lot. I like his voice.

ELECTRONIC CIRCUS Roundabout

Allie: Oh my God! Rubbish!

Mon: Why? *cannot contain the laughter*

Allie: It’s just rubbish!

Mon: Erm, the synth is good, not sure about the vocal…

DAYBEHAVIOR It’ s A Game – Marsheaux remix

Mon: I like this, analog synth! Lovely…

Allie: I like it, like the vocal, but it’s not something I’d listen to if I had a choice.

Mon: Oh, I would. Very good song and well produced by MARSHEAUX.

MARNIE The Hunter

Allie: Reminds me of something but I don’t know what. I like it, love the vocal.

Mon: I hear a bit of LADYTRON, BJÖRK and MARSHEAUX. It’s fresh and enticing.

Allie: Yes, LADYTRON! That’s it!

NIGHT CLUB Cruel Devotion

Allie: Ohhhh, I like that!

Mon: You’ve met them last year Allie! Very good!

Allie: Oh yes, I do like this! I like the background sound and the vocals. I’d play that in my room… She doesn’t sound American! Is she American?

Mon: Yes! *laughs*

Allie: I’d make music like that!

ELEVEN ELEVEN Through The Veil

Mon: I like the beginning, bit of KYLIE there.

Allie: I don’t know who that is! I like the vocals!

Mon: I like the sound! (Note to self: “must educate Allie on KYLIE”).

QUEEN OF HEARTS United

Mon: Oh I’m liking this, fat synth and decent voice…

Allie: I like it, both synth and the vocal.

KATY PERRY Hot N Cold – Marsheaux remix

Allie: It’s KATY PERRY! I like this! I like this remix, it’s different from the original! *singing out loud*

Mon: I never liked the original and this doesn’t do it for me either.

Allie: What?! I love it! But her voice is a bit screechy, like on the normal version!

ERASURE Be The One – Paul Humphreys remix

Allie: Sounds like ERASURE…

Mon: It is!

Allie: Ah, I knew it! Is it a remix?

Mon: Yep.

Allie: I love ERASURE, this is lovely.

Mon: Totally agree.

KID MOXIE The Bailor

Allie: I don’t like her vocals.

Mon: I do, it’s a good song.

Allie: I like the music, the melody is nice.

Mon: It’s a grown up song, very atmospheric and cinematic. Great use of synth. My kind of electronica.

KEEP SHELLY IN ATHENS Oostende

Allie: I like it! The vocals are great. I’d listen to it in the car.

Mon: Yes, it’s good, both vocally and musically.

FOTONOVELA featuring JAMES NEW My Sorrow

Allie: I’ve heard it before.

Mon: Really? I haven’t! You must be thinking of something else.

Allie: It’s ok, reminds me of something you’ve played before.

GIRL ONE & THE GREASE GUNS Jessica

Allie: I don’t like it, vocals aren’t great, don’t like the music.

Mon: It’s not my cup of tea either, but I’m sure it’ll appeal to few people.

AUTOMATIC WRITING Continuous

Mon: Interesting start! It’s different, I shouldn’t like it but I do.

Allie: It’s ok, again, it reminds me of something.

METROLAND Thalys – London edit

Mon: Oh I like that. Simple arrangement and that’s all you need. Not sure about the voice sample though.

Allie: It’s very robotic, like science fiction. It’s like something from another planet. It’s KRAFTWERK!

RODNEY CROMWELL Black Dog

Allie: Yeah! That’s ok! *does a little dance*

Mon: Hmmm, not sure. It’s not unpleasant.

SIN COS TAN Trust

Allie: Don’t know, not sure about that one.

Mon: It’s ok.

Allie: Bored now!

POLLY SCATTERGOOD Other Too Endless – Vince Clarke remix

Mon: Good synth on this one. Liking this a lot. Competent vocals and arrangement, a real stand out.

Allie: Not my cup of tea.

TENEK What Do You Want?

Allie: Is that MESH? Sounds like it!

Mon: No, it’s not, it’s TENEK. It’s a good song.

Allie: Yes, I really like it. I like the instruments.

ANALOG ANGEL We Won’t Walk Away

Allie: It’s fast. Not my kind of thing.

Mon: It’s very well written. It needs more oomph! Very OMD.

ARTHUR & MARTHA Autovia

Allie: It’s not in tune… I don’t know, I don’t like it.

Mon: It’s different, not me either…

MARSHEAUX Suffer The Children

Mon: A cover. Good.

Allie: It is good, bouncy.

SECTION 25 My Outrage

Mon: Oh dear, messy! Too candied for me, bit all over the place.

Allie: Yes, I don’t think it’s good. I can’t describe it but it’s not something I’d listen to.

047 featuring LISA PEDERSEN Everything’s Fine

Allie: Clubby! Like it. Yes, I do! *bounces away*

Mon: Good, isn’t it? I like the club feel to it. A good dance song.

TAXX Is It Love?

Mon: Oh yes, good stuff! Progressive. Decent vocal too.

Allie: It’s ok, but I wouldn’t listen to it in the car. At a disco, maybe…

LIEBE I Believe In You

Allie: You know the ding-ding sounds? They remind me of PET SHOP BOYS!

Mon: “Ding-ding sounds!” To me the vocal technique resembles NEW ORDER. It’s good.

QUIETER THAN SPIDERS Shanghai Metro

Mon: It’s ok.

Allie: Too poppy, way too poppy. Chow mein? *laughs*

iEUROPEAN feat WOLFGANG FLÜR Activity Of Sound

Mon: That’s it! The synth is all there. Semi-modular synth? Very tidy!

Allie: I do actually like it! It’s club but different.

TWINS NATALIA Destiny

Mon: Not me vocally but decent synth I suppose.

Allie: I like the vocals! I don’t know, all confused now, too many songs!

Mon: No, that’s awful.

MESH Tuesday

Mon: YAZOO cover Allie!

Allie: I knew that I knew it! Is that MESH?!

Mon: Yes!

Allie: Thought so. I like anything MESH!

Mon: Now, there’s a surprise!

Allie: You know me!

MIRRORS Between Four Walls

Allie: Like this one, nice music.

Mon: Bit laboured… it’s not bad though.

OMD Time Burns – Fotonovela rework

Allie: Very robotic.

Mon: Not me!

VILE ELECTRODES Deep Red

Allie: I like the vocals, sounds a bit like Sarah Blackwood!

Mon: It’s Jane actually!

Allie: Ahhhh! Doh! I like that a lot. It’s slow! *laughs*

Mon: It is good, but no surprise there.

Allie: Is that the last song?!

Mon: Yes…

Allie: Thank god, I’m tired now!

She will sleep well! I have to say, she did surprise me with some songs and disappointed with others but that just proves to me, that tastes do indeed vary, and even if I’m vehemently against something, others will find it enticing.

‘The Electricity Club’ compilation is a marvellous collection of tunes, and that’s a given. There’s something for everyone here and what a cross-section of all electronica. Still, I come to conclusion that thirteen year olds are probably not mature enough to fully appreciate certain synth music…

Will she follow in my steps? Not for a while… if ever! The one thing we certainly have in common: WE SAY IT AS IT IS!


‘The Electricity Club’ is released on 3rd December 2018 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 can be pre-ordered 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

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

A Spotify sampler of the compilation can be listened to at: https://open.spotify.com/playlist/7xwTYTeH6b5vgCqjZudfGE

http://www.amour-records.com

https://www.facebook.com/amour.records/

https://twitter.com/Amour_Records

https://www.instagram.com/amour_records/

https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Monika Izabela Trigwell
1st December 2018

THE ELECTRICITY CLUB 2CD Compilation

Amour Records / Minos EMI / Universal Music in collaboration with Undo Records are to release a 2CD compilation compiled by The Electricity Club.

Capturing its ethos to feature the best in new and classic electronic pop music, this compilation is the culmination of a period which has seen the resurgence of the genre. Over the years, The Electricity Club appears to have reflected the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk.

Little did The Electricity Club know when it launched on 15th March 2010, it would go on to interview many of the key players in Synth Britannia, get granted an audience with two former members of KRAFTWERK and be influential in helping some of the best new synthesizer talents gain a profile within a reinvigorated scene. So it is highly apt that WOLFGANG FLÜR should make an appearance on this collection.

The Electricity Club is pleased to showcase its ethos in the form of this tangible audio artefact. Among the impressive cast, there are prime movers from the classic era like PAUL HUMPHREYS and VINCE CLARKE. Without the influence of the bands they respectively co-founded, OMD and DEPECHE MODE, electronic pop as The Electricity Club likes it would not exist.

Meanwhile the next generation are represented by acts such as KID MOXIE, NIGHT CLUB, RODNEY CROMWELL and VILE ELECTRODES. Incidentally, the latter were invited to support OMD on their 2013 German tour following ANDY McCLUSKEY’s discovery of the duo while perusing The Electricity Club’s virtual pages. The bloodline from ‘Radio-Activity’ to ‘Romance Of The Telescope’ and then to ‘Deep Red’ is easily traceable and deeply omnipresent.

The Electricity Club has always relished its diverse taste credentials. It doesn’t do retro or contemporary, just good music. No other compendium could dare to include the spiky post-punk of GIRL ONE & THE GREASE GUNS and the rousing electro-rock of MESH alongside pop princesses such as QUEEN OF HEARTS or KATY PERRY. Be it Glasgow’s ANALOG ANGEL and MARNIE, Manchester veterans SECTION 25 or Essex boys TENEK, it all fits into The Electricity Club’s avant pop playground.

With international representation also from Gothenburg’s DAYBEHAVIOR and 047, Shanghai synthpoppers QUIETER THAN SPIDERS, Texan dance duo ELEVEN: ELEVEN, Belgium’s own passengers METROLAND and the self-explanatory KEEP SHELLY IN ATHENS, the tracks gathered capture a special moment in time where innovative musical aspirations and good tunes have again manifested themselves in the same context.

The collection features a number of covers including MESH’s take on YAZOO’s ‘Tuesday’ and MARSHEAUX’s reinterpretation of TEARS FOR FEARS’ first single ‘Suffer The Children’. In addition, tracks such as MARSHEAUX’s stomping remix of KATY PERRY’s ‘Hot ‘N’ Cold’ and MIRRORS’ ‘Between Four Walls’ make their premiere in CD format.

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


‘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

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

http://www.amour-records.com

https://www.facebook.com/amour.records/

https://twitter.com/Amour_Records

https://www.instagram.com/amour_records/

https://www.minosemi.gr/

https://www.facebook.com/MinosEmi/


Text by Chi Ming Lai
12th November 2018, updated 16th January 2020

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