Tag: Rob Dean (Page 1 of 2)

ROBERT DEAN & MARTIN BIRKE Triptych+

A triptych is defined as “a set of three associated artistic, literary, or musical works intended to be appreciated together”.

Described as “An engaging mixture of dark atmospherics, pulsating electronics and imaginative textural guitar”, ‘Triptych+’ is the expanded mini-album from Robert Dean and Martin Birke.

Initially released on Bandcamp in 2019, its four tracks explore the more soundscape-inclined directions of notable guitarists like Manuel Göttsching, Michael Brook and in particular Robert Fripp.

Robert Dean is best known as having been a member of JAPAN who played guitar on all their albums up to ‘Gentlemen Take Polaroids’ before moving on to work with Gary Numan and Sinead O’Connor. In a particularly rejuvenated return to music, this reissue of ‘Triptych+’ comes just a few months after the release of ‘Dimensions’, the debut long player from his more song-based project LIGHT OF DAY.

Meanwhile, Martin Birke is a former drummer turned electronic musician who as GENRE PEAK has worked with Dean’s former bandmates Steve Jansen, Richard Barbieri and Mick Karn, as well as avant garde trumpeter Jon Hassell who collaborated with David Sylvian on ‘Brilliant Trees’ and ‘Words With The Shaman’.

Dean is a noted exponent of E-bow, a hand-held battery powered device patented in 1978 that opened up the possibilities of the electric guitar. By vibrating a string to create infinite sustain and high harmonics similar to feedback, the E-bow challenged players into introducing new techniques and inventive ideas while using the traditional six string.

‘Locust Storm’ captures its title with a flock of E-bowed echo locks over deep drones before steadily morphing into an understated percussive presence reminiscent of FUTURE SOUND OF LONDON ambient offshoot AMORPHOUS ANDROGYNOUS.

Continuing the use of repeats, ‘Amber Field’ is superb with the captivating soundscape reminiscent Robert Fripp’s work with  on 2004’s ‘The Equatorial Stars’ and its crisp minimalist structure also recalling ‘Drawn From Life’, Eno’s earlier collaboration with J Peter Schwalm.

Based around an electronic sequence, ‘Avigation’ is gently rhythmic with Dean’s virtuoso passages providing bite as Birke builds his patterns before a pulsing synth bass leads into a tense section which is all the more urgent in its realisation.

Over 11 minutes, ‘Guidance Is Internal’ is the addition to the original ‘Triptych’ that sees layers of infinite sustain over an icy plate of hypnotic shimmer that moves into an otherworldly drift suddenly woken by a synthetic noise mantra at its climax.

At around 31 minutes in length, ‘Triptych+’ is an intriguing set of aural sculptures and sound paintings. Fitting nicely into the catalogue of experimental instrumental adventures by former JAPAN members, it will find favour with listeners who enjoy an occasional trek into the world of imaginary spaces and environmental escapism.


‘Triptych+’ is released by Last Word Music on 14th August 2020 and available on CD from Burning Shed at https://burningshed.com/store/lastwordmusic/robert-dean-and-martin-birke_triptych-plus_cd or Bandcamp at https://robertdeanmartinbirke.bandcamp.com/releases where downloads are available as well

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Text by Chi Ming Lai
10th August 2020, 3rd September 2020

LIGHT OF DAY Interview

LIGHT OF DAY is the new musical vehicle of one-time JAPAN member Rob Dean in partnership with Costa Rican singer / songwriter Isaac Moraga.

With his skilled fretwork, Rob Dean featured prominently on JAPAN’s first four albums ‘Adolescent Sex’, ‘Obscure Alternatives’, ‘Quiet Life’ and ‘Gentlemen Take Polaroids’ as well as the standalone Giorgio Moroder produced single ‘Life In Tokyo’.

After stints working with Gary Numan, Sinéad O’Connor and ABC while moving between the US, the UK, and Australia, he eventually settled for a more idyllic life in Costa Rica, becoming a respected ornithologist and illustrator.

The debut LIGHT OF DAY album is the eclectic ‘Dimensions’ and marks Rob Dean’s return to music after more than 20 years. The self-produced record was conceived over a two year period and features ambient guitar-based soundscapes, deep expansive song structures, melodic rock and perhaps not surprisingly, the rhythmic flavours of the Central American surroundings it was made in.

Having given one of the site’s most popular interviews in its history reminiscing about his time in JAPAN, Rob Dean kindly chatted The Electricity Club again about LIGHT OF DAY and the making of ‘Dimensions’…

What was the catalyst for LIGHT OF DAY and how did its style emerge?

Originally Isaac came to me, (I knew him through a friend), and asked me to produce an album for him.

I agreed, without really knowing what I was letting myself in for and from the start, I approached it with a good deal of trepidation as it had been so long since I had done any work of any degree of intensity in a recording studio. But the idea nonetheless intrigued me enough to stick with it and after a couple of false starts, we entered the studio.

As preparation, Isaac played some vague themes on guitar for me one afternoon at my house. It wasn’t very developed at all, little more than a series of musical themes but I liked his ideas and it made me more animated about the project. I also didn’t want to have very much planned before starting the recordings. I always did work best with more or less a clean slate.

Anyway, once in the studio it soon became clear that it was going to be a project for the both of us and ideas came flooding out. Straight away concepts were formed and the old comfort I gained from being in the recording studio environment came flooding back. We wanted a series of tracks that evolved, some circular, others arriving at an entirely different end. We wouldn’t concentrate on standard song structures either. Ultimately, we wanted it to be a positive journey for the listener.

How would you describe the creative dynamic with Isaac Moraga and how it compares with the other combos that you have been part of?

Working alongside Isaac is probably the easiest partnership I’ve ever had. Our ideas, although ostensibly coming from different places really had the same aims and whichever ideas we came up with, the other understood and went along with. It was quite uncanny, considering we really didn’t know each other that well. The majority of my past experiences in the studio, with a few exceptions, were either working with strong-minded people who had their own agenda (which I was required to comply with, of course), or equally strong egos that lacked direction (yes, you know who you are!). I’m happy to say that this in comparison was a walk in the park.

The album seems infused with the feel of bands like TOY MATINEE and JELLYFISH with an almost pop/prog approach to the arrangements. Were there any particular influences that you brought to the project? And how did these differ from Isaac’s?

I’m not familiar with the first band you mention, but I loved the first JELLYFISH album. There are certainly pop elements and prog elements. Personally there’s 50-odd years of influences swimming about in my brain and some inevitably surfaced at some point during these recordings.

THE BEATLES have been and always will be a strong influence for me as they are I know for Isaac too. Fripp and Eno soundscapes are a clear influence for me personally and the fact that TALK TALK are constantly on my home playlist, I would have to mention them too.

Over time I have ‘educated’ Isaac to a fair selection of stuff he wasn’t too aware of before. His own influences range from THE CURE and BJÖRK to 90s punk bands, the Argentinian band SODA STEREO and their leader Gustavo Cerati and Frank Zappa, which is where we meet some more common ground. So either way, you have two adventurous souls, both with strong pop sensibilities.

‘Dimensions’ is recorded using a band with live drums and percussion on most tracks, how did you find the process in the studio? Was the production quite straightforward?

As I said before, we really started with not much more than the bare bones of an idea for each track. The album was recorded in two blocks, over 6 months apart. There was an ‘organic’ feel to the entire project. Keyboards for instance, although we knew they would be quite an integral part of the album were the last to be added without a clear idea as to what they would be.

Most of the electric guitar parts were made up on the spot. So it was pretty much the same with the drums and bass, but everything came together remarkably quickly. I would say bass parts took longest mostly because we both had a pretty clear idea what we wanted and sometimes that was harder to explain.

The track ‘Find the Light’ started with live drums and bass guitar but later we opted to eschew these for a drum loop and synth bass.

Conversely ‘The Vastness’ revolves around a recorded drum loop which fades in and out which Isaac felt really strongly about from the beginning and I understood his vision.

There is, as to be expected, a Latin feel to a number of the grooves. How does playing with that rhythmic feel differ to the Asian and African drumming of Steve Jansen?

The only track that we consciously saw as having a Latin feel was ‘Still Time’ which we knew we wanted to evolve from a simple Peruvian Charrango motif into a full blown rock epic. The basic rhythm is a cumbia, a very popular Costa Rican dance rhythm. We really just wanted to turn that tradition upside down and on its head!

The track ‘Harlequin’s Carnival’ had been lying around since the 80s-something I’d recorded on 4-track with Roger Mason of MODELS and Numan fame (we were both in the short-lived ILLUSTRATED MAN). We decided to rework that, and the carnival aspect seemed to work with a somewhat Latin rhythm. It wasn’t really a conscious effort to make it this way.

As for difference in drumming styles, you just adapt to what the drummer and / or percussionist has to offer, I think. I would say invariably you find they deliver something you hadn’t really thought about. Whichever drummer I have worked with in the past or the present has brought something of themselves to the track and we were always open to try any of the musicians’ ideas.

Was there improvisation, especially the interlude pieces? 

Apart from the aforementioned ‘Harlequin’s Carnival’, everything was for the most part improvised from the germ of an original idea or two, arrangement-wise. We liked the idea of having fairly short instrumental ‘breathing spaces’ within the context of the album.

These would basically start with a simple guitar motif which we would improvise around. They would be pieces that really didn’t require vocal embellishments but would be strong on atmosphere and in their own way would be just as integral a part of the whole.

How did you come to work with Ed Buller on the remix of ‘Suddenly’?

I first met Ed when I was based in LA and he played keyboards for THE PSYCHEDELIC FURS. We became friends and later, in London we lived in the same Hackney neighbourhood and so we hung out socially a lot. I always liked his productions with SUEDE, so I asked him to mix for us. Originally we’d hoped he could mix several tracks but he was just too busy working with Hans Zimmer at the time. We’re just glad we got him to do the one. Perhaps on later projects we can find the time for him to do more – I certainly hope so.

‘Doll’ appears to have elements of THE BLUE NILE despite its quite lively percussive backdrop?

Yes, it does, somehow. Purely coincidental. I think it comes from respect. Again, all made up on the spot. Of all the tracks, this came together the quickest. The bass again, took the longest. In hindsight I would love to have recorded live strings on it but it was beyond our budget. It was incredible how Marco, the keyboard player and Pachi, the drummer instinctively knew what to play on this track. Even the mix just fell into place….

Much of the guitar work is textural, using E-Bow and loops?

Yes on most of the tracks there is an element of atmospheric guitar somewhere or the occasional loop. This, I think is one of the key factors which holds the album together and it’s also a strong part of me as a guitarist and arranger, I realise now. But, I think I should state that in no way do I see this as a ‘guitar album’. Yes, there are plenty of guitars, (since both Isaac and I play), but mostly as you say it’s textures rather than guitar solos and riffing. I want to make that clear!

How have you found attempts to develop the trusty six string technologically over the years from guitar synths, the SynthAxe and the keytar? What had been your experience of these?

In the early JAPAN days, I tried using a SynthAxe on one or two tracks of the debut album ’Adolescent Sex’.

I also tried to work with the Roland G303 at a later point. In those days, the triggering was less than great and I was not that happy with the results of either. I used a remote keyboard with Gary Numan in the US too – but under duress and as minimally as possible, I managed to limit it to just one performance of ‘Cars’ on the Merv Griffin show – don’t bother trying to find it, it’s not available, honest!

Over time, the concept of a guitar triggering synth sounds never really appealed. Now, with the advancement of effects technology, I honestly don’t see the need to use one. I think above all, it’s important for the guitar to retain its own voice, however heavily treated, which can thankfully be more varied than ever now.

What happened to the cover of ‘Tomorrow Never Knows’ that had been previewed? Why did you choose this one out of all of THE BEATLES catalogue?

Originally we were happy enough with our version of the song to include it on the album but with time restrictions, we couldn’t allow 13 tracks on the vinyl disc so we decided to take it off. It is available as a digital download at the moment, though. It’s possible we may release it in some other format in the future.

As a lifetime fan of THE BEATLES, it always seems natural for me to revisit their catalogue. I saw this as one of theirs that is most open to reinterpretation and I could envision it working within our album’s structure. I had a fair idea in my head what I wanted it to sound like. Above all, I have always maintained that with any recording of a cover version, you must do something else with it. I don’t see the point of doing a cover that sounds like the original and I think ours is different enough to meet that criteria. At least I hope so!

What are your own personal highlights from ‘Dimensions’?

The most successful tracks for me are ‘Dimensions, ’Doll’, ’Harlequin’s Carnival’, ’Naive’ and ‘Escape’ but I am genuinely proud of all of it. I figured after being away from ‘the scene’ for so long, I had something to prove. Hopefully the music bears this out.

‘Dimensions’ is being stocked by Burning Shed, the retail platform of Tim Bowness from NO-MAN, do you see him as a kindred spirit?

I don’t know Tim personally, but I’m very happy that he and Burning Shed agreed to handle our album. Yes I suppose in a way, he could be regarded as a kindred spirit. To a certain extent I do see similarities between our approach and his various projects, musically. I just see it as an ideal platform for us.

Does your day job influence your music in any ways?

Well, there are no tropical bird song recordings on it if that’s what you mean….! I don’t think it does other than a heightened consciousness about our environment due to where we both live, the air we breathe and how we interpret that through our music. ’Dimensions’, without getting deeply into it, is really about searching for answers and exploring possibilities. It’s definitely a journey, above all else. The natural world does play its part in some way, I suppose.

What are the long term plans for the project? Any live work, current situation depending?

It all depends how the album is received, certainly as far as the possibilities of live work are concerned. But right now, live work is a big question mark for all of us anyway, isn’t it?

All going well, I would only consider it in some form if the demand warrants it. Someone suggested we video a live show and post it online – that’s a reasonable option I suppose.

We did play one gig at an open air festival here in my home town last year which was an eye-opener in many ways. Like the album itself, it was something of an experiment. Other than that, we will consider more recording when the time seems right.


The Electricity Club gives its sincerest thanks to Rob Dean

‘Dimensions’ is released by LOD Recordings / Last Word Music, available as a translucent amber vinyl LP from https://burningshed.com/light-of-day_dimensions_amber-vinyl

The album is also available as a CD from https://burningshed.com/light-of-day_dimensions_cd

‘Tomorrow Never Knows’ can be obtained as a standalone download from LIGHT OF DAY’s Bandcamp at https://lightofdaycr.bandcamp.com/track/tomorrow-never-knows

https://www.facebook.com/groups/teamlightofday/

https://www.facebook.com/lastwordmusiclabel/

https://open.spotify.com/album/7xtFNlj9vApAmlMWuitAk7


Text by Chi Ming Lai
Interview by Chi Ming Lai and Ian Ferguson
3rd June 2020

Ten Years Of TEC: ANOTHER ANNIVERSARY RETROSPECTIVE

Paul Boddy, freelance producer, musician and writer looks back on ten years of The Electricity Club.

I had known Chi Ming Lai previously via another now defunct website which I used to contribute a variety of bootleg remixes of THE HUMAN LEAGUE and DEPECHE MODE. Once we were on each other’s radars and had moved on, I was very flattered when Chi asked me to start contributing to The Electricity Club.

One of the first pieces I did was an interview with ADAMSKI in 2012. Looking back, this was one of the most nerve-wracking things I’d done and completely out of my comfort zone at the time. This was primarily because a) he was a bit of a musical hero of mine as a previous band I was in had covered ‘Killer’ and b) I was faced with the proposition of trying to interview the guy over the phone and then record it using a mobile digital recorder (untried technology for me).

Despite his mobile signal dipping in and out (as he was ambling around London at the time I interviewing him) and the batteries running out on my recorder half-way through, the interview went well and I got a huge sense of achievement once the piece had been transcribed and eventually published.

The main enjoyment I get from occasionally contributing to the site is the ability to interview bands and people within the scene, Chi has kindly put some interviews my way including WANG CHUNG, SHRIEKBACK, KOSHEEN, CHICANE, WRANGLER and CREEP SHOW as well as two of my own personal favourites John Foxx and Ulrich Schnauss. Having the platform to interact with these kind of artists is mind-blowing for me, especially the ones who I have admired and in some places influenced my own musical development. My other approach and contribution to the site is tracking down (some may call this stalking!) artists via social media and approaching them with a view to TEC featuring them in its ‘Missing in Action’ series.

Although a bit hit and miss as some artists don’t always respond when messaged, it has borne fruit with many artists accepting and using the opportunity to reflect and look back on their tenure in the music industry.

In terms of the people I’m most proud of ‘snagging’ in this manner are Scott Simon (OUR DAUGHTER’S WEDDING), Dave ‘Dee’ Harris (FASHIØN), Jerome Froese (TANGERINE DREAM) and Rob Dean (JAPAN). Because of the big interviews already done on the site by Chi, I find that this gives a lot of traction when cold approaching these kind of artists.

However, the icing on the cake was when Chi and myself spent a glorious few hours in a Liverpool Street pub with Stephen Singleton and Mark White from ABC and VICE VERSA. Getting this interview was a long process which started when Stephen contacted me in 2015 with regards to reviewing the VICE VERSA box set; this led to linking up with Mark and after a long period of negotiation and Facebook messenger chats, a face to face interview in 2019 with lots of laughter.

For me this has definitely been my highlight of TEC and although the transcribing of the interview was one of the longest processes I’ve done (the guys LOVED to chat!), the sense of achievement upon completion was huge.

Moving away from the artists themselves and onto electronic synth music itself, Chi and myself have quite differing tastes in music, but with enough crossover that we can still happily work together. The material I favour tends to be male-fronted, often dance-inflected and also with elements of guitars thrown into the mix (see BATTLE TAPES, MAPS, MAN WITHOUT COUNTRY and SPLEEN UNITED).

If you are a reader of the site, you won’t be surprised to hear that along with the other TEC contributors, I continue to be disappointed with the lack of decent UK based synth acts and the exposure that so many second-rate bands continue to get. For a country that has such an amazing heritage of electronic music (like DEPECHE MODE, YAZOO, THE HUMAN LEAGUE, EURYTHMICS, OMD… I can go on), why is it that there are so few acts of quality which are continuing the tradition of these incredible acts?

What grinds my gears the most is the complete lack of emphasis on quality vocals that some UK synth bands have; for many it appears that once a synth backing track has been made, the process of adding vocals is treated as an afterthought. Very little attention is paid to crucial things like tuning / character / lyrics, all traits which have made vocalists such as Alison Moyet and Annie Lennox titans in their field. Whether this will improve and we will get another CHVRCHES or MIRRORS is doubtful, but I live in hope!

Although the original music that I write and produce (J-Pop / K-Pop) isn’t the kind of thing that TEC would champion, it still features a lot of electronics and I have been fortunate to have had success with some major Japanese artists including ARASHI and E-GIRLS (who covered YMO’s ‘Rydeen’).

I continue to write and produce for this market which is great fun. I continue to enjoy performing live as well in various cover bands.

Signing off, TEC has been a wonderful platform for me and has enabled me to interact with many of my musical heroes and also review some of their work too, long may it continue…


Text by Paul Boddy
17th March 2020

Ten Years Of TEC: STILL PUSHING THE ENVELOPE

The Electricity Club celebrates its tenth birthday and it really has been synthly the best.

At the HEAVEN 17 aftershow party for their triumphant gig at The Magna Science Park on 6th March 2010, following chats with Glenn Gregory, Martyn Ware, Paul Humphreys and Claudia Brücken, interview opportunities opened up.

It was obvious there was gap waiting to be filled for a quality web publication that featured the best in new and classic electronic pop without having to lower itself to using the dreaded “80s” label. The Electricity Club was it and became reality on 15th March 2010.

Electronic pop music didn’t start in that Thatcher decade and certainly didn’t end there either. So there was even an editorial diktat which banned The Electricity Club’s writers from using the lazy”80s” term as a reference. Tellingly, several PR representatives said that one of the site’s main appeals was that it avoided the whole nostalgia bent that had been presented by both virtual and physical media.

At the time, kooky female fronted keyboard based pop like LA ROUX, LITTLE BOOTS, LADYHAWKE, LADY GAGA and MARINA & THE DIAMONDS were among those touted as being the future at the time. But it proved to be something of a red herring, as those acts evolved back into what they actually were, conventional pop acts.

The Electricity Club preferred the sort of innovative synthpop as outlined in BBC4’s Synth Britannia documentary with the next generation of artists like MARSHEAUX, VILE ELECTRODES, VILLA NAH and MIRRORS more than fitting the bill and that ethos of featuring pop music using synthesizers stuck too.

Meanwhile, The Electricity Club’s portfolio expanded swiftly with key personalities such as Rusty Egan, Sarah Blackwood, Richard James Burgess, Warren Cann, Chris Payne, Thomas Dolby, John Foxx, Andy McCluskey, Neil Arthur, Alan Wilder, Mark Reeder, Gary Langan, Jori Hulkkonen, Howard Jones, Mira Aroyo, Sarah Nixey and Hannah Peel among those giving interviews to the site during its first two years.

The Electricity Club has always prided itself in asking the questions that have never usually been asked, but which fans want to know the answers to. And it was with this reputation for intelligent and well researched interviewing that in March 2011, the site was granted its biggest coup yet.

Speaking to Stephen Morris of the then-on hiatus NEW ORDER, the drummer cryptically hinted during the ensuing chat that Manchester’s finest would return by saying “I never say never really”; and that is exactly what happened in Autumn of that year and the band have been there since, as popular as ever and still making great music with the release of ‘Music Complete’ in 2015.

Monday 21st March 2011 was an interesting day that partied like it was 1981 when it saw the release of albums by DURAN DURAN, THE HUMAN LEAGUE and JOHN FOXX & THE MATHS. Also in 2011, Mute Records celebrated their influential legacy with a weekender also at London’s Roundhouse which culminated in ERASURE, YAZOO and THE ASSEMBLY performing in the same set.

Despite the ‘Brilliant’ return of ULTRAVOX, 2012 paled in comparison after such a fruitful year and several acts who were featured probably would not have gained as much coverage in more competitive periods. With pressure from outsiders as to what was hot and what was not, this was the only time The Electricity Club felt it was obliged to support a domestic scene.

But realising acts like HURTS and STRANGERS were actually just jumping on an apparent synth bandwagon and possessing more style than substance, The Electricity Club decided to change tact and only featured acts it felt truly passionate about, even if it meant upsetting the wider synth community. The reasoning being that just because a band uses a synthesizer doesn’t mean it is good.

During this time, MIRRORS sadly disbanded while VILLA NAH mutated into SIN COS TAN. But the year did see the launch of CHVRCHES who stood out from the crowd with their opening gambit ‘Lies’. With their Taylor Swift gone electro template, Lauren Mayberry and Co managed to engage an audience who didn’t know or care what a Moog Voyager was, to listen to synthpop!

2013 turned out to be one of the best years for electronic pop since its Synth Britannia heyday. What The Electricity Club achieved during this year would take up a whole article in itself… there were high profile interviews with Alison Moyet, Gary Numan and Karl Bartos while OMD released the album of the decade in ‘English Electric’. PET SHOP BOYS made up for their ‘Elysium’ misstep with ‘Electric’ while there was finally a third volume in BEF’s ‘Music Of Quality & Distinction’ covers series.

Although 2014 started tremendously with The Electricity Club being invited to meet Karl Bartos and Wolfgang Flür in Cologne, the year suffered next to quality of 2013.

The interviews continued, particularly with key figures from the Synth Britannia era including Midge Ure and the often forgotten man of the period Jo Callis who was a key member of THE HUMAN LEAGUE during their imperial phase.

But the year saw grandeurs of delusion at their highest, with one artist of a far too normal disposition in particular failing to realise that in order for a crowdfunding campaign to succeed, they needed to actually have quite a few fans in the first place!

Then, there was the similarly clueless Alt-Fest debacle which saw the organisers play Fantasy Festival with no cash to underwrite the infrastructure to enable it to actually happen!

Sadly today, there are still egotistic chancers organising events with zero budget and the money from ticket sales being fleeced to fund their holidays. But these artificial factors are rarely considered and so long as there are lower league artists desperate to play for nowt and a misguided enhancement in profile that is often on a platform that provides minimal exposure anyway, then the confidence tricks will continue.

2015 saw the local emergence of Rodney Cromwell and Gwenno, while the majestic Swedish duo KITE proved that they were the best synth act in Europe with the ‘VI’ EP and their impressive live show.

It was also the year when ERASURE front man Andy Bell gave his first interview to The Electricity Club to offer some revealing insights.

Making something of a comeback after a recorded absence of nearly eight years, Jean-Michel Jarre presented his ambitious two volume ‘Electronica’ project which saw collaborations with a varied pool of musicians including Pete Townsend, Lang Lang, John Carpenter, Vince Clarke, Hans Zimmer, Cyndi Lauper, Sebastien Tellier and Gary Numan.

VILLA NAH returned in 2016, as did YELLO with Fifi Rong as one of their guest vocalists while APOPTYGMA BERZERK went instrumental and entered the ‘Exit Popularity Contest’. Riding on the profile generated from their ‘A Broken Frame’ covers album, MARSHEAUX released their biggest-selling long player to date, a two city concept in ‘Ath.Lon’. This was also the year that The Electricity Club first became acquainted with the analogue synthesizer heaven of Johan Baeckström, a modern day Vince Clarke if ever there was one.

2017 saw a bumper crop of great albums from the likes of I SPEAK MACHINE, LCD SOUNDSYSTEM, SOULWAX, IAMX, GOLDFRAPP and DAILY PLANET, while veterans such as Alison Moyet and Gary Numan produced their best work of the 21st Century.

However DEPECHE MODE unleashed their most dire record yet in ‘Spirit’, a dreary exercise in faux activism bereft of tunes. Salt was rubbed into the wound when they merely plonked an underwhelming arena show into a stadium for their summer London show.

The trend was to continue later in 2019 as DEPECHE MODE just plonked 14 albums into a boxed set, while OMD offered an album of quality unreleased material in their ‘Souvenir’ package.

And with DEPECHE MODE’s sad descent into a third rate pseudo-rock combo during the last 15 years to appease that ghastly mainstream American institution called The Rock and Roll Hall Of Fame with guitars and drums, Dave Gahan in particular with his ungrateful dismissal of the pioneering synth-based material with which he made his fortune with, now has what he has always coveted.

And don’t get The Electricity Club started on the 2019 Moog Innovation Award being given to Martin Gore, a real insult to true synth pioneers if ever there was one, including Daniel Miller, Vince Clarke and Alan Wilder, the three men who actually did the electronic donkey work on those imperial phase DEPECHE MODE albums! Gore may have been a very good songwriter during that time, but a synth innovator? Oh come on!?!

With regards Synth Britannia veterans, new albums in 2017 from Richard Barbieri and Steve Jansen saw a revived interest in JAPAN, the band with which they made their name.

Despite releasing their final album ‘Tin Drum’ in 1981, as a later conversation with one-time guitarist Rob Dean proved, cumulatively from related article views, JAPAN became the most popular act on The Electricity Club.

The return of SOFT CELL dominated 2018 with a lavish boxed set that was not just comprised of previously released long players, new songs, new books, a BBC documentary and a spectacular farewell show at London’s O2 Arena.

Meanwhile, adopting a much lower profile were LADYTRON with their comeback and an eventual eponymous sixth album. A Non Stop Electronic Cabaret saw Canadian veterans RATIONAL YOUTH play their first ever UK gig alongside PAGE and PSYCHE, but coming out of Brooklyn to tour with ERASURE was REED & CAROLINE.

EMIKA was ‘Falling In Love With Sadness’ and Swedish songstress IONNALEE showcased one of the best value-for-money live presentations in town, with a show that surreal imagined Kate Bush at a rave!

But from China came STOLEN, one of the most exciting bands in years who were then later rewarded for their graft with a European tour opening for NEW ORDER.

2019 was the year when synthwave graduates Dana Jean Phoenix and Ollie Wride were coming into their own as live performers, while electronic disco maestro Giorgio Moroder embarked on a concert tour for the first time with his songs being the true stars of the show.

Gary Daly of CHINA CRISIS gave his first interview to The Electricity Club to tie in with his solo album ‘Gone From Here’, while a pub lunch with Mark White and Stephen Singleton mutated into an extensive chat about their days in ABC. Lloyd Cole adopted a more synthesized template on ‘Guessworks’ and Britpop went synth as GENEVA’s Andrew Montgomery formed US with Leo Josefsson of Swedish trio LOWE.

If The Electricity Club does have a proudest achievement in its first ten years, then it is giving extensive early coverage to VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, six acts who were later invited to open on tour for OMD.

Partly because of this success, some of those who were less talented felt aggrieved despite feeling a narcisstic entitlement to be featured. A few deluded artists even went as far as to blame The Electricity Club publically for their lack of traction! NoW that’s what The Electricity Club calls deluded!

If an act is good enough, the fact that The Electricity Club hasn’t featured them should not matter, especially as other electronic and synth blogs are available. After taking its eye of the ball once before in 2012, The Electricity Club maintained a trust of its own gut instinct.

Meanwhile, its stance has been tested by those shouting loudest who instantaneously champion what they perceive as the next big thing like sheep, without really looking ahead at a wider picture. However, TRAVIS on VSTs is just not The Electricity Club’s thing frankly…

The Electricity Club’s participation in the annual ELECTRI_CITY_CONFERENCE in Düsseldorf for on-stage interviews with Rusty Egan, Chris Payne, Mark Reeder and Zeus B Held was another high profile engagement to be proud of. Then there were six TEC branded live events and five rounds of hosting ‘An Audience with Rusty Egan’ in one of the most unenviable but highly entertaining refereeing assignments in music 😉

Other highlights over the last ten years have included The Electricity Club’s 2015 career retrospective on German trio CAMOUFLAGE being edited and used as booklet notes for the Universal Music sanctioned compilation CD ‘The Singles’.

There was also ‘The Electricity Club’ 2CD released by Amour Records in 2019 which included TEC featured acts like MESH, SECTION 25, SIN COS TAN, KID KASIO, NIGHT CLUB, QUIETER THAN SPIDERS, ELECTRONIC CIRCUS, DAYBEHAVIOR, LIEBE, TWINS NATALIA, KID MOXIE, GIRL ONE & THE GREASE GUNS, ELEVEN: ELEVEN, AUTOMATIC WRITING, FOTONOVELA and QUEEN OF HEARTS among its 34 excellent tracks, including a bangin’ MARSHEAUX remix of Katy Perry!

As 2020 settles in, highly regarded artists within the electronic community continue to engage with The Electricity Club. Neil Arthur recently gave his seventh interview as BLANCMANGE and his tenth interview overall, taking into account his side projects FADER and NEAR FUTURE. Not far behind, Martyn Ware has also been a regular interviewee having spoken to the site on six occasions while Paul Humphreys has been interviewed no less than five times.

The Electricity Club is still pushing the envelope, continuing to reflect the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk. With artists like ANI GLASS, IMI, KNIGHT$, NINA, MECHA MAIKO, GEISTE and PLASMIC among those on the cusp of a wider breakthrough, there is still more excellent music still to be created, discovered and savoured.

One inferior revivalist platform featuring far too much normal rubbish once complained that The Electricity Club “only feature bands that are popular…”; what they actually mean is “only feature bands that are really good”! 😉

The Electricity Club gives its sincerest thanks to everyone who has taken the time read any article on the site over the last ten years, it is greatly appreciated.


‘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

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

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


Text by Chi Ming Lai
Image Design by Volker Maass
16th March 2020

Ten Years Of TEC: BIRTHDAY GREETINGS FROM SOME PEOPLE WHO YOU MIGHT KNOW…

Over the last 10 years, The Electricity Club has been a voice for the discerning enthusiast of electronic pop.

With a balancing act of featuring the classic pioneers of the past alongside the emergent new talent for the future, The Electricity Club has become well known for its interviews and reviews, asking the questions people have always wanted to ask while celebrating the continuing development of the synthesizer in popular music. All this while holding to account those who deliver below expectations, assuring the listener that if they are perhaps not hearing the genius that some devoted fans are declaring, then The Electricity Club is there to assist in affirming or denying that assessment.

But when artists do deliver, they tend to build a strong relationship with The Electricity Club. So with the site celebrating its first 10 years, presented here are greetings and messages from some people who you might know…


Rusty Egan, VISAGE

TEC is 10 years old with the synth knowledge of a 50 year old. If I can’t remember something electronic I don’t Google, I TEC!


Glenn Gregory, HEAVEN 17

The Electricity Club and its wonderful leader Chi is like the League Of Super Heroes for Electronic Music. Our future is safe in his hands.

I have been involved in electronic music making for 40 years, yet one half hour conversation with Chi makes me realise how little I know. From then to now, he’s knows!


Neil Arthur, BLANCMANGE

Chi has been brilliantly supportive of BLANCMANGE, for which I am very grateful. We’ve always managed to have a good laugh during our interviews, as he would ask me about the darkness and gloom lying within a given BLANCMANGE song! I look forward to our next chat.

The Electricity Club has a very important place and a role to play, in spreading the news of electronic music, new and old, far and wide. Here’s to the next ten years. Well done and good luck.


Gary Daly, CHINA CRISIS

Thanks for all your wonderful support Chi, so glad someone has taken the time to ask some great questions…


Sarah Blackwood, DUBSTAR

I love The Electricity Club website. It’s a treasure trove of informative articles, both a very readable historical archive and a forward looking platform for encouraging new talent. In what can be traditionally and lazily categorised as a very male dominated scene, Chi encourages great music regardless of gender and I enjoy the updated Spotify playlist if I’m ever stuck for what to listen to whilst running.

As regards interviews, it’s always enjoyable – Chi is a bit too easy to talk to and his passion for music and synth geekery shines through – heaven forbid you try sneaking a (cleared) sample past him, he will spot it!

Is it 10 years already? Happy birthday TEC!


Chris Payne, DRAMATIS

With 18,000 likes and 12,000 Facebook followers; The Electricity Club under the guidance of its purveyor Chi Ming Lai, has become the leading place for the Electronic Music fan. Intelligent, well written and well researched journalism with a great team of writers presenting an array of brilliant fascinating new acts (and some older ones as well!), hopefully it will continue for at least another 10 years.


Tracy Howe, RATIONAL YOUTH

Congratulations to The Electricity Club on ten years of brilliant reporting of, and support to, the electronic pop scene. TEC is the authoritative publication “of record” for fans and makers of synthpop alike and is the international rallying point and HQ for our music. We look forward to many more years of in-depth interviews and probing articles, all in the beautifully written TEC style. Happy birthday TEC!


Mark White, ABC + VICE VERSA

Chi Ming Lai and Paul Boddy are two of the most learned, nay, erudite music journalists I’ve had the pleasure of meeting, a rare experience indeed to be quizzed by a pair who know their onions. And unusual integrity. Chi promised me if we asked, he would turn off the tape recorder and it would never appear in print. And has been true to his word. This has literally never happened in my career. Also these two chaps are bloody good fun. I laughed til I cried. Go see the movie!


Rob Dean, JAPAN

10 years of The Electricity Club? Only one for me (yes, I know…), but it’s heartening to know that Chi and the crew have created a site so cutting edge for us die-hard fans of electronica. Having read the highly entertaining VICE VERSA chaps interview, I was delighted to be asked to do my own, confident that the questions would be thoughtful and intelligent and yes, a little bit probing too. Here’s to the next 10 and thank you!


Richard Silverthorn, MESH

On several occasions I have done interviews for The Electricity Club. Every time I felt like they actually cared about the music and scene and put some educated thought into the questions. It’s good to feel that enthusiasm.


Tom Shear, ASSEMBLAGE 23

Congratulations on 10 years of covering and supporting the scene! Here’s to another 10 and beyond…


Sophie Sarigiannidou, MARSHEAUX

I first met Chi at Sparrowhawk Hotel, Burnley in November 2000 for an OMD convention. It took me 13 hours to reach by train to Burnley from London due to bad weather.

I saw him playing live (!!!!) with his covers band THE MESSERSCHMITT TWINS, they were having their time of their life, dancing and singing, so so happy! Us too of course!! From that moment on we became friends.

Then he supported our band MARSHEAUX from the very early beginning and I thank him a lot for that! It’s always great having Chi asking questions for interviews . We as a band had our best interviews with The Electricity Club! We spent a lot of hours talking about the history of electronic music and the future of synthpop. My favourite articles on TEC are the “A Beginners Guide To…” series, you have a lot to learn from these pages!!! Happy Anniversary Chi, we’ve indeed had 10 amazing years with TEC. I hope and wish the next 10 to be even better.


Erik Stein, CULT WITH NO NAME

The Electricity Club elected not to review earlier CWNN albums, so we just had to keep making better and better records until they would finally relent. They finally gave in from album number 7 onwards, and it was well worth the wait. The writing was spot on and not a single DEPECHE MODE reference in sight.


Mark Reeder, MFS BERLIN

Congratulations and a very Happy 10th Birthday TEC! Over the past 10 years, The Electricity Club website has developed into becoming the leading website for all kinds of electronic synthpop music. It has become a familiar friend, because it is something I can personally identify with, as it is maintained by fans, for fans.

However, it is not only commendable, but can also be quite critical too, and that is a rare balancing act in the contemporary media world. It has been a great source of regular electronic music information. I have discovered and re-discovered many wonderful electronic artists, and regularly devour the in-depth interviews and features.

Through TEC, I have been introduced to and worked with some of the wonderful artists presented on your pages, such as QUEEN OF HEARTS or MARSHEAUX and in return, it has supported my work, my label and my artists too, and I thank them for that! We can all celebrate ten years of TEC and together, look forward to the next 10 years of inspiring electronic music.


Per Aksel Lundgreen, SUB CULTURE RECORDS

The Electricity Club is a highly knowledgeable and very passionate site! They are digging out rarities from the past as well as exploring and discovering new acts, giving them attention and writing about them often before anybody else around have even heard of them.

This makes TEC a very interesting page to follow, as their in-depth stories about older bands “missing in action” as well as the latest stuff “in the scene” gets perfectly mixed together, giving you all you want basically in a one-stop-site for everything electronic. I also love the way they give attention to unsigned / self-released bands and small indie-labels, giving everybody a fair chance as long as the music is good enough. Congrats on the 10th Anniversary, well deserved!


Jane Caley aka Anais Neon, VILE ELECTRODES

When VILE ELECTRODES were just starting out, we heard through the Facebook grapevine about a new electronic music blog called The Electricity Club. We had a London gig coming up, and had recently made a promo video for our song ‘Deep Red’, so we dropped them an email about both, not expecting to hear back, since we were virtually unknown. However it transpired they really liked our sound, likening us to “Client B born and raised in the Home Counties fronting Dindisc-era ORCHESTRAL MANOEUVRES IN THE DARK”.

The Electricity Club subsequently gave this very description to Andy McCluskey, which piqued his interest such that he checked out our music. We were invited to tour Germany with OMD as a direct result!


George Geranios, UNDO RECORDS

Chi is a really rare quality of a man. He is passionate about music which is so obvious of course while reading The Electricity Club. Through our mutual love for OMD, we discovered that we have the same musical taste. TEC helped us promote all of Undo Records projects and finally we ended collaborating and releasing this brilliant TEC double CD compilation! Chi, I wish you health and to continue writing the best music texts in the industry!!


Adam Cresswell, HAPPY ROBOTS RECORDS

Some people say The Electricity Club doesn’t support the scene but I’ve not found that to be the case; having been a part of two TEC gigs and the recent CD, I know how much blood, sweat and tears they put into what they do. TEC might get a few people’s back-up, but they know their stuff when it comes to synth-driven music and I’m massively grateful that they have supported so many Happy Robots artists since 2010.


Stuart McLaren, OUTLAND

It’s no secret that the burgeoning new synthwave genre shares a common history with the great synthesizer acts and pioneers of the 80s, like Dolby, Jones, Luscombe, Wilder, Daly et al who created new soundscapes with what we now define as vintage synths.

These sounds are brought back to life by pioneers in their own right like FM ATTACK, GUNSHIP, ESPEN KRAFT and BETAMAXX to name a few.

The Electricity Club and Chi Ming Lai have always been at the forefront of championing, interviewing and reviewing the luminaries of this great instrument past to present, and are likely to remain the de facto voice of the synth scene well into the future… we agree on one thing and that is FM-84’s singer Ollie Wride is deffo one to watch as a star for the future!


Paula Gilmer, TINY MAGNETIC PETS

Happy Birthday TEC. thank you for your support. You never fail to impress with your encyclopedic knowledge of synthpop. Here’s looking forward to 10 more!


Mr Normall, NUNTIUS

I’ve been following most of my favourite artists since they were brand new and often this means 30+ years, yet reading articles and interviews by The Electricity Club, I have learned every time something new about of my favourites.

Following The Electricity Club have made me paid attention to several new acts that I would likely know nothing about if they hadn’t appeared on the page.


Catrine Christensen, SOFTWAVE

An outstanding magazine supporting new and upcoming artists whom they choose carefully as they have great taste of music regarding to their huge knowledge within the synthpop genre, when it comes to their writing and promotion – there’s no one like them. Happy birthday 😘


Elena Charbila, KID MOXIE

Happy 10th birthday TEC! Your love and commitment to the synth community is unparalleled and your support has meant a lot to me on a professional but also on a personal level. Here’s to the next 10 years! 😘


Alexander Hofman aka Android, S.P.O.C.K

I’m a fan of The Electricity Club for several reasons. You showed up when I perceived the majority of the electronic scene had turned more and more harsh; as much as I can appreciate an occasional emotional outburst, I’m a happy guy and thus I’m into pop – TEC showed, and still shows me that there’s still electronic pop music being made. Good electronic pop! Which makes me glad, as I find the greater part of the generally popular darker scene to be of lower musical quality.

Moreover, TEC writes in an amazingly happy tone – remember, I’m a happy guy, so it’s right up my alley. Add the fact that TEC regularly publishes interesting articles, using intelligent and varied vocabulary, shows enormous knowledge and interest of the theme, the style, the scene – and I’m hooked. Thanks for being around – keep up the good work, it’s much needed! And congratulations – let’s grab a beer again! 🍻


Text compiled by Chi Ming Lai
15th March 2020

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