In modern electronic music terms, London-based Berliner NINA is the crucial link between synthpop and synthwave. She achieved her breakthrough with ‘My Mistake’ in 2014; the song was picked up by Mercedes-Benz the following year for a worldwide TV and radio advertisement campaign.
NINA kindly spoke to The Electricity Club about the making of her ‘Sleepwalking’ album and how she has applied various life experiences into her evolving artistic expression. Continue Reading ›
After first getting international attention in 2012 for their second single ‘Julian’, highly photogenic Scandipodean twins SAY LOU LOU have finally released their debut full length album ‘Lucid Dreaming’.
Elektra and Miranda Kilbey were shortlisted in the BBC Sound of 2014, but the album has undergone all sorts of delays. The question is after all that time, have SAY LOU LOU been able to deliver on their brand of shimmering but accessible escapism? Continue Reading ›
And here it is! Another digital marvel from Andy Bell and Vince Clarke, celebrating nearly 30 years of songwriting and having sold 25 million albums, eagerly awaited 16th studio album, ‘The Violet Flame’.
A rather different approach was adopted for preparing this one, which follows the success of 2013 Christmas album ‘Snow Globe’. The collaborative writing process took place in Miami, with Vince's pre-recorded dance grooves, which Andy Bell found "very inspiring". Continue Reading ›
Hailing from Brooklyn, THE HUNDRED IN THE HANDS are Eleanore Everdell and Jason Friedman, a girl-boy duo who combine the electronic and the organic into a sultry new wave fusion. Following their debut single ‘Dressed In Dresden’ on Pure Groove in 2009, they signed to the ultra-hip Warp Records and released their first EP ‘This Desert’.
Their self-titled debut came in late 2010 and on it, the fantastic opener ‘Young Aren’t Young’ produced by Richard X was a dreamy Italo-disco number layered with the type of chordial guitar that would have made Bernard Sumner proud. Continue Reading ›
RACHEL STEVENS's vastly under rated electro-oriented album 'Come & Get It' peaked at No 28 in the UK which in manufactured pop terms, was deemed a total disaster.
The writers and producers, all experienced hands, probably foresaw that Stevens' pop career was likely to flop so used their contributions to the album as an excuse to experiment and have fun. The end result is a collection of pop songs bursting with inventive, fun and risqué ideas. Continue Reading ›