Tag: Sin Cos Tan (Page 1 of 5)

The Electricity Club’s 30 SONGS OF THE DECADE 2010-2019

To narrow down ten years of electronic pop to 30 songs was always going to be a challenging task, but The Electricity Club has given it a go to offer its own subjective twist.

As the decade started, female artists like LITTLE BOOTS, LA ROUX and LADYHAWKE had appeared to have been making in-roads into the mainstream as new flag bearers for the synthesizer.

But it proved to be something of a false dawn and while those artists continue today, the music that has made the most lasting impact between 2010-2019 has been made by evergreens from Synth Britannia whose talent has not subsided or independently minded musicians who focussed on art over commerce but didn’t forget to throw in a tune along the way.

As per usual, The Electricity Club’s lists are all about rules. So this one has not only been restricted to one song per artist moniker but also to one vocalist. Hence SIN COS TAN just get the nod over VILLA NAH, while MIRRORS take preference over James New’s guest slot for FOTONOVELA on ‘Our Sorrow’ and the Midge Ure vocalled ‘Glorious’ has been chosen instead ULTRAVOX’s ‘Live’.

Presented in alphabetical order, here are The Electricity Club’s 30 SONGS OF THE DECADE 2010-2019…


AESTHETIC PERFECTION featuring NYXX Rhythm + Control – Electro Mix (2017)

With alternative songstress NYXX on additional vocals, ‘Rhythm + Control’ saw Daniel Graves take his industrial pop to the next level. The magnificent Electro Mix successfully realised an oddball blend of Darren Hayes, Britney Spears and Marilyn Manson. With a mightily elastic bassline, when asked whether The Electricity Club had gone crazy coming up with the comparison, Daniel Graves replied “God no. Spot on, guys!” adding “The goal was to cram as many features into one song and have fun with it as possible.”

Available as a download single via https://aestheticperfection.bandcamp.com/album/rhythm-control-out-of-control-mixes

http://aesthetic-perfection.net/


JOHAN BAECKSTROM Synth Is Not Dead (2015)

‘Synth Is Not Dead’ is a song close to the heart of The Electricity Club with its solidarity to the synth. A touching tribute to Messrs Clarke, Gore, Hütter and Schneider, Johan Baeckstrom said: “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 EP ‘Come With Me’ via Progress Productions

https://www.facebook.com/bstrommusic/


KARL BARTOS Without A Trace Of Emotion (2013)

‘Without A Trace Of Emotion’ saw Karl Bartos conversing with his showroom dummy Herr Karl and confronting his demons as an ex-member of the world’s most iconic electronic group. But whereas his former colleague Wolfgang Flür vented his spleen in book form with ‘I Was A Robot’, Bartos took a more ironic musical approach with the line “I wish I could remix my life to another beat” summing up a wry reference to ‘The Mix’ project which drove him out of Kling Klang!

Available on the album ‘Off The Record’ via Bureau B

http://www.karlbartos.com/


BEYOND THE WIZARD’S SLEEVE featuring HANNAH PEEL Diagram Girl (2016)

BEYOND THE WIZARDS SLEEVE’s ‘Diagram Girl’ was the work of Erol Alkan and Richard Norris of THE GRID. Featuring the unisex vocals of Hannah Peel, a deeper pitch shift provided a psychedelic out-of-this-world feel which bizarrely fitted in alongside the songstress’ dreamily breathy tones.  “They wanted me to sound like a man!” she remembered. Meanwhile the pulsing electronic soundtrack had surreal echoes of OMD, in particular their lesser known minor hit ‘Secret’.

Available on the single ‘Diagram Girl’ via Phantasy Sound

https://www.facebook.com/beyondthewizardssleeve/


CHROMATICS Shadow (2015)

Muscian, producer and Italians Do It Better head honcho Johnny Jewel, has lways been into all things Lynchian. So when CHROMATICS released the dreamy Badalamenti-inspired ‘Shadow’, it instantly recalled The Black Lodge’s red curtains in that sleepy Washington town. With Ruth Radelet’s wispy vocal and an eerie string machine for the main melodic theme, the ghostly wistful tune later came to further prominence thanks to its inclusion in ‘Twin Peaks: The Return’ in 2017.

Available on the album ‘Twin Peaks (Music from the Limited Event Series)’ (V/A) via Rhino Records

https://www.facebook.com/CHROMATICSBAND/


CHVRCHES Clearest Blue (2015)

CHVRCHES stuck to the synthpop template of their 2013 debut and as a result, delivered what LITTLE BOOTS, LA ROUX, and LADYHAWKE and HURTS all failed to do… a decent second album! The propulsive four-to-the-floor action of ‘Clearest Blue’ was wonderfully held in a state of tension before WHACK, there was a dynamic surprise in the final third that recalled the classic overtures of Vince Clarke. The song was electronic pop magnificence embroiled.

Available on the album ‘Every Open Eye’ via Virgin Records

http://chvrch.es/


RODNEY CROMWELL Black Dog (2015)

RODNEY CROMWELL is the alter-ego of Adam Cresswell, formally of ARTHUR & MARTHA. ‘Black Dog’ recalled the pulsing post-punk miserablism of SECTION 25 and was embellished by some Hooky styled bass. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there was an optimistic light at the end of the tunnel that made ‘Black Dog’ a most joyous listening experience despite its very personal themes of love, loss, depression and redemption.

Available on the album ‘Age Of Anxiety’ via https://www.happyrobots.co.uk/botshop

http://www.happyrobots.co.uk/


DURAN DURAN Being Followed (2011)

The ‘All You Need Is Now’ album saw DURAN DURAN cyclically return to the funk-led syncopated pop of their first two classic albums. A superb sequencer assisted disco number with a tingling metallic edge, ‘Being Followed’ hinted at THE CURE’s ‘A Forest’ while Nick Rhodes’ vintage string machine captured the tension of post 9/11 paranoia. Simon Le Bon gave his wayward all and while he has technically never had a great voice, what he delivered was unique AND untouchable…

Available on the album ‘All You Need Is Now’ via Tape Modern

http://www.duranduran.com/


EAST INDIA YOUTH Carousel (2015)

Despite EAST INDIA YOUTH being no more as a project, the debut long player ‘Total Strife’ pointed towards William Doyle’s potential to pen sublime pop, and with the follow-up ‘Culture Of Volume’, the album’s centrepiece was ‘Carousel’. It imagined OMD’s ‘Stanlow’ reworked during Brian Eno’s sessions for ‘Apollo: Soundtracks & Atmospheres’. With no percussive elements and over six minutes in length, Doyle gave a dramatic vocal performance resonating in beautifully crystalline melancholy.

Available on the album ‘Culture of Volume’ via XL Recordings

http://eastindiayouth.co.uk/


RUSTY EGAN featuring MIDGE URE Glorious (2016)

‘Glorious’ not only reunited Midge Ure with Rusty Egan but also Chris Payne who co-wrote ‘Fade To Grey’; Ure told The Electricity Club: “I liked the music, but I didn’t think the song / melody / lyrics were strong enough, so I rewrote all of that in my studio. I stripped the demo down to the basic track, edited it down into a more ‘song like’ format and started working on a glorious melody. I added the main melodic synth line and layered guitars over it, ending with the ‘hopefully’ uplifting solo over the outro”.

Available on the RUSTY EGAN album ‘Welcome To The Dance Floor’ via Black Mosaic

http://rustyegan.net/

http://www.midgeure.co.uk/


EMIKA Promises (2018)

With ‘Falling In Love With Sadness’, EMIKA produced one of the best electronic albums of 2018. The record was a concept album of sorts, a musical reflection on generations of sadness within the Anglo-Czech musician’s family. The pacey ‘Promises’ made the most of her lower and higher vocal registers, providing an eerie cascading harmonic with some rumbling dubby tension and booming stabs driving Eastwards with solemn spine tingling qualities.

Available on the album ‘Falling In Love With Sadness’ via Emika Records

http://emikarecords.com


JOHN FOXX & JORI HULKKONEN Evangeline (2013)

John Foxx and Jori Hulkkonen had worked together previously on singular songs like ‘Dislocated’ and ‘Never Been Here Before’, but never before on a body of work with a conceptual theme. ‘European Splendour’ took on a grainier downtempo template and the lead track ‘Evangeline’ was all the more beautiful for it. Full of depth, coupled with an anthemic chorus and vibrant exchange of character throughout, this rousing yet soothingly futuristic number was quite otherworldly.

Available on the EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com


FIAT LUX It’s You (2018)

Releasing their first new material in over three decades, FIAT LUX returned with the most splendid ‘It’s You’. As well as the bassline and harmony from David P Crickmore, the sax style was a fitting tribute to the sadly departed Ian Nelson. Singer Steve Wright said: “Lyrically, I hope, it expresses feelings that possibly everyone can relate to…” in this gloriously optimistic tune about finding love again in midlife. Their long awaited debut album ‘Saved Symmetry’ finally came out in 2019.

Available on the album ‘Saved Symmetry’ via Splid Records

http://www.fiat-lux.co.uk


GOLDFRAPP Dreaming (2010)

As the title suggested, the gorgeous and sophisticated ‘Dreaming’ adopted a distinctly European flavour compared with the mid-Atlantic AOR focus of songs like ‘Rocket’, ‘Alive’ and ‘Believer’ on the ‘Head First’ album. Alison Goldfrapp’s voice resonated angelically with beautiful high-register chorus alongside the with pulsing sequences and string machine washes of Will Gregory’s primarily electronic arrangement complimented by Davide Rossi’s cinematic orchestrations.

Available on the album ‘Head First’ via Mute Records

https://www.goldfrapp.com/


IAMX Ghosts Of Utopia (2011)

The Berlin period of IAMX has maintained a special quality in that Chris Corner captured an electro Gothic aesthetic that combined the theatrics of Weimar Cabaret with themes of sex, alienation and dependency. Despite the lyrical content, Corner’s songs were always strongly melodic with an accessible grandeur. ‘Ghosts Of Utopia’ had instant appeal for a dance in the dark with exhilarating mechanical drive. His scream of ”this is psychosis” was wholly believable!

Available on the album ‘Volatile Times’ via Orphic

http://iamxmusic.com/


IAMAMIWHOAMI Hunting For Pearls (2014)

As IAMAMIWHOAMI, Jonna Lee and Claes Björklund offered icy musical art. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with beautifully rich vocals. With a mysterious falsetto reach, the air might have been cold outside but inside, things were warm if delightfully odd. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably have sounded like this. Jonna Lee continues the artistic adventure now as IONNALEE.

Available on the album ‘Blue’ via towhomitmayconcern

http://www.towhomitmayconcern.cc/


KITE Up For Life (2015)

Sweden’s KITE are probably the best synth act in Europe right now. Nicklas Stenemo and Christian Berg’s wonderfully exuberant array of sounds and rugged majestic vocals certainly deserve a much larger audience. Issuing only EPs and never albums, the magnificent progressive electronic epic ‘Up For Life’ was a two-part nine minute masterpiece, the passionate and sublime first half mutated into a beautifully surreal journey of VANGELIS-like proportions for its second.

Available on the EP ‘VI’ via Progress Productions

https://www.facebook.com/KiteHQ


KATJA VON KASSEL Someday (2018)

Asking if “it is foolish to dream”, ‘Someday’ saw Katja von Kassel questioning a moment of passionate haste. “The phrase ‘Someday’ just opened it all up and everything else just fell into place.” the chanteuse said. Capturing the beautiful melancholy of Billy Mackenzie, the doomed romantic tragedy of the sadly departed Scot was echoed by the chanteuse’s deep forlorn delivery, accompanied by Chris Payne’s hypnotic bassline and haunting vox humana treatment over a simple rhythmic loop.

Available on the EP ‘Walking In West Berlin’ via https://katjavonkassel.bandcamp.com/

https://www.facebook.com/KatjavKassel/


LADYTRON Ambulances (2011)

The beautiful ‘Ambulances’ was totally different to anything LADYTRON had done before, almost in te vein of SIOUXSIE & THE BANSHEES. Moving at a much slower pace, Helen Marnie’s voice adopted an unexpected angelic falsetto over the lush spacious mix featuring dramatic strings, synthetic timpani and an almost random hi-hat pattern. Daniel Hunt said he “wanted it to sound ethereal and otherworldly” and with a glorious crescendo, ‘Ambulances’ was certainly something to be to be savoured.

Available on the album ‘Gravity The Seducer’  via Nettwerk Productions,

http://www.ladytron.com/


MARSHEAUX Monument (2015)

A worthy of re-assessment of DEPECHE MODE ‘A Broken Frame’ was long overdue and MARSHEAUX have certainly gave a number of its songs some interesting arrangements. Their version of ‘Monument’ borrowed its bassline from latter day DM B-side ‘Painkiller’. Combined with the wispily resigned vocals of Marianthi Melitsi and Sophie Sarigiannidou, it provided a tense soundtrack. It’s not often that cover versions are better than the originals, but this was one of them.

Available on the album ‘A Broken Frame’ via Undo Records

https://www.facebook.com/marsheaux


MIRRORS Ways To An End (2010)

With their smart suits, MIRRORS presented an intense and artful approach to electronic pop that recalled Dindisc era OMD. With a dense synthetic chill and pulsing effects dominating this brilliantly uptempo electro number, ‘Ways To An End’ came over like TALKING HEADS ‘Crossed Eyed & Painless’ given a claustrophobic post-punk makeover. Sadly, MIRRORS were to only make the one album ‘Lights & Offerings’ which although under-appreciated on release, is now acknowledged as a classic of the decade.

Available on the album ‘Lights & Offerings’ via Skint Entertainment

https://www.facebook.com/theworldofmirrors/


ALISON MOYET Alive (2017)

Having worked successfully in 2013 with Guy Sigsworth on ‘the minutes’, which saw Alison Moyet return to the synthesized music forms to compliment her powerful and self-assured voice, the follow-up ‘Other’ was a natural progression. The startling orchestrated electro-dub drama of ‘Alive’ gave Moyet’s two former classmates in DEPECHE MODE a stark lesson in how to actually fully realise electronic blues. Indeed, it was ‘In Chains’, the lame opener from ‘Sounds Of The Universe’ gone right…

Available on the album ‘Other’ via Cooking Vinyl

http://alisonmoyet.com/


NEW ORDER Plastic (2015)

After the guitar dominated proceedings of the last few NEW ORDER albums, Bernard Sumner promised a return to electronic music for the Mancunians’ first album of new material without estranged founder member and bassist Peter Hook. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number mixed by Richard X with blippy echoes of ‘Mr Disco’. Dealing with the issue of superficiality, it declared “this love is poison, but it’s like gold”… beware of anything plastic and artificial!

Available on the album ‘Music Complete’ via Mute Artists

http://www.neworder.com/


GARY NUMAN And It All Began With You (2017)

With a lot less goth metal guitar and much more prominent use of synths, the ‘Savage’ album successfully outstripped ‘Splinter’. And it was the haunting ‘And It All Began With You’ that stopped all in its tracks, with an exposed and soulful vocal. Borrowing Chris Isaak’s ‘Wicked Game’ for its chorus, the subtle orchestrations and a gentle shuffling beat coupled to a steadily discordant electric piano riff to close, it beautifully brought out the best in classic Gary Numan while maintaining forward momentum.

Available on the album ‘Savage (Songs From A Broken World)’ via BMG

http://www.garynuman.co.uk/


OMD Don’t Go (2019)

OMD began their recorded career with a KRAFTWERK homage in ‘Electricity’ and four decades on, they came full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’, ‘Don’t Go’ captured the essence of OMD’s enduring electronic appeal. With crystalline synths and a spirited vocal delivery attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes, using beautiful melodies to tell terrible things…

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Universal Music

http://www.omd.uk.com/


SIN COS TAN Trust (2012)

SIN COS TAN was the new mathematically charged project of producer Jori Hulkkonen and VILLA NAH vocalist Juho Paalosmaa. “A synthesized duo of great promise, broken dreams, and long nights”, they have certainly delivered with ‘Trust’, all draped in melancholy with emotive vocals haunted by the ghost of Billy Mackenzie. With driving hypnotic, layered strings, sampled cimbalom and Cold War dramatics, this was as Jori Hulkkonen put it: “Disco You Can Cry To”…

Available on the album ‘Sin Cos Tan’ via Solina Records

http://www.facebook.com/homeofsincostan


STOLEN Turn Black (2018)

Chinese six-piece STOLEN are reckoned by Berlin-based producer Mark Reeder to be the most exciting band since NEW ORDER and they closed the decade opening for them on tour in Europe. Certainly their debut album ‘Fragment’ was impressive with ‘Turn Black’ being one of its standout tracks. “I like the idea of mixing of rock with techno…” said growly lead vocalist Liang Yi, “we are very proud that we don’t sound like any of the other Chinese bands.”

Available on the album ‘Fragment’ via https://mfsberlin.com/

https://www.facebook.com/strangeoldentertainment/


SUSANNE SUNDFØR Fade Away (2014)

The Nordic vocalist of the decade has to be Susanne Sundfør who worked with M83, KLEERUP and RÖYKSOPP as she built her international profile as a solo artist. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s breakthrough album ‘Ten Love Songs’ caught her in rousing form with a tune that came over like Scandinavian gospel. Meanwhile, a fabulous polyphonic synth solo inspired by QUEEN’s ‘I Want To Break Free’ added another dimension.

Available on the album ‘Ten Love Songs’ via Sonnet Sound / Kobalt

http://susannesundfor.com/


VILE ELECTRODES Deep Red (2013)

First appearing online as a video exclusive in 2010, ‘Deep Red’ was inspired by Dario Argento’s ‘Profondo Rosso’. A gorgeous seven and a half minute funeral ballad that came over like CLIENT fronting classic OMD, this was tremendously dramatic stuff from Anais Neon and Martin Swan. It caught the ear of a certain Andy McCluskey who was perusing The Electricity Club and later invited VILE ELECTRODES to open for OMD in Germany during their 2013 ‘English Electric’ tour.

Available on the album ‘The future through a lens’ via https://vileelectrodes.bandcamp.com/

http://www.vileelectrodes.com/


WESTBAM feat RICHARD BUTLER You Need The Drugs

Techno DJ WESTBAM celebrated 30 years in music with an intriguing mature collection of songs under the title of ‘Götterstrasse’. While the theme of the album centred on the joy and euphoria of underground nightlife, he said ‘You Need The Drugs’ was “the first explicit electronic appeal AGAINST the use of drugs with a clear message: drugs are a bore!”. Voiced brilliantly by Richard Butler of THE PSYCHEDLIC FURS’, it featured prominently in Mark Reeder’s film ‘B Movie: Lust & Sound in West-Berlin 1979–1989’.

Available on the album ‘Götterstrasse’ via Warner Music

http://www.westbam.de/dt/en/


Text by Chi Ming Lai
28th December 2019

A Synth Is For Life & Not Just For Christmas…

Remember, a synth is for life and not just for Christmas...As the Yule Tide season gets into full swing, The Electricity Club presents a collection of modern seasonal tunes with a more artful slant…

With a song to play on each of the Twelve Days of Christmas, some are covers while others are original compositions. But each has their own take on the holiday period, whether happy or sad or both.

Synths at Christmas are not entirely new; ‘Last Christmas’ by WHAM! was primarily made with a Roland Juno 60 while BAND AID’s ‘Do They Know It’s Christmas? was dominated by PPG Wave 2.2 with a percussive sample taken from ‘Memories Fade’ by TEARS FOR FEARS also being key to the intro.

Whatever your plans whether with the family or in the studio, please remember, a synth is for life and not just for Christmas… may it bring you lots of cheer 🎹🎄😉


CHEW LIPS When You Wake Up (2010)

CHEW LIPS may be on hiatus but in 2010, on the back of their only album ‘Unicorn’ and its subsequent tour, they were on a productive high. ‘When You Wake Up’ was a bonus tune recorded and given away as a Christmas gift to fans at the end of that very successful year. Delivered with lead singer Tigs’ usual feisty panache, listening back only highlights how much CHEW LIPS are missed.

Originally released as a free download

https://www.facebook.com/CHEWLiPS/


ERASURE Gaudete (2013)

ERASURE GaudeteAndy Bell and Vince Clarke’s version of this traditional Ecclesiastical Latin carol continued an ERASURE tradition that had begun in 1988 with ‘God Rest Ye Merry Gentlemen’ for the CD edition of the ‘Crackers International’ EP in 1988. With a precise electronic backbeat, ‘Gaudete’ was taken from its 16th Century origins and thrown into the new millennium whilst still retaining its original essence with a cheeky ‘Ice Machine’ reference for good measure.

Available on the album ‘Snow Globe’ via Mute Artists

http://www.erasureinfo.com/


HURTS All I Want For Christmas Is New Year’s Day (2010)

Hurts-christmasWith their TAKE THAT dressed as ULTRAVOX template having achieved great success in Europe, courtesy of their debut album ‘Happiness’, Theo Hutchcraft and Adam Anderson parradoxically turned their attentions to memories of “the worst Christmas of our lives”. In true Bros Go To Bavaria style, despite the mournful start, ‘All I Want For Christmas Is New Year’s Day’ steadily transformed itself into a hopeful anthem with a big chorus and lashings of tubular bells.

Available on the download single ‘All I Want for Christmas Is New Year’s Day’ via Major Label / RCA

http://www.informationhurts.com/


HYPERBUBBLE A Synthesizer for Christmas (2013)

HYPERBUBBLE A Synthesizer for ChristmasWhether it was a Casio, Yamaha or Roland, everyone wanted ‘A Synthesizer For Christmas’. Texan couple HYPERBUBBLE took that enduring memory and turned it into a delightful synthpop ditty that could resonate with electronic geeks from eight to eighty the world over. Short but sweet, it was another joyous “cartoon automaton symphony” from Jess and Jeff.

Available on the download single ‘A Synthesizer For Christmas’ via Socket Sounds

http://www.hyperbubble.net/


LOLA DUTRONIC Another Christmas Without Snow (2010)

Lola Dutronic-Christmas without snowIn the UK, a wet Christmas is always more likely,  but LOLA DUTRONIC’s ‘Another Christmas Without Snow’ resonated with its melancholic yet pretty demeanour. The project of Canadian producer Richard Citroen and using a flexible roster of wispy female vocalists, the tones of Lola Dee came over all dreamy like SAINT ETIENNE and conveyed the season’s mixed emotions.

Available on the download single ‘(Another) Christmas Without Snow’ via Lola Dutronic

https://www.facebook.com/LOLA-DUTRONIC-80232595392/


MARSHEAUX We Met Bernard Sumner At A Christmas Party Last Night (2015)

GHOSTS-OF-CHRISTMAS-PAST-twi158cd‘We Met Bernard Sumner At A Christmas Party Last Night’ is a wonderfully whispery synthpop number that is classic MARSHEAUX. The lyrics are constructed from the song and album titles of NEW ORDER to provide an imaginary narrative on Marianthi Melitsi and Sophie Sarigiannidou surreally bumping into the Manchester combo’s lead singer at a Yule Tide function.

Available on the album ‘Ghost Of Christmas Past Remake)’ (V/A) via Les Disques du Crépuscule

http://www.marsheaux.com


HANNAH PEEL Find Peace (2014)

HANNAH PEEL Find Peace‘Find Peace’ is a Christmas song longing for the cold but merry winters of yesteryear under the modern day spectre of global warming, armed conflict and political tension. It is certainly a suitably poignant message for the festive season. With hints of GAZELLE TWIN, the off-kilter analogue buzzing and almost random sequences make for a striking listen as a frantic percussive death rattle and an emotive synth drone take hold to provide an appropriate backdrop for HANNAH PEEL’s eerie but beautiful voice.

Available on the download and 7 inch single ‘Find Peace’ via Snowflakes Christmas Singles Club

http://www.hannahpeel.com/


PET SHOP BOYS It Doesn’t Often Snow At Christmas (2009)

Pet_Shop_Boys_-_ChristmasOriginally recorded in 1997 for an exclusive fan club single but remixed in 2009 for an official release, ‘It Doesn’t Often Snow At Christmas’ was a suitably camp offering that couldn’t have been anyone else. Famous for keeping THE POGUES ‘Farytale Of New York’ off the 1987 UK Christmas No1 spot with their cover of ‘Always On My Mind’, while this didn’t hit those commercial heights, it provided a very PET SHOP BOYS take on the madness of the festive season.

Available on the EP ‘Christmas’ via EMI Records

http://www.petshopboys.co.uk/


SIN COS TAN Dead By X-Mas (2016)

A cover of Finnish metal glamsters HANOI ROCKS, this take on ‘Dead By X-Mas’ from the nocturnal synth duo SIN COS TAN aka Juho Paalosmaa and Jori Hulkkonen came over a bit like BILLY IDOL gone electro, but with an elegiac twist. Bizarrely in 2006, the former William Broad issued his own collection of seasonal themed tunes entitled ‘Happy Holidays’ … it’s a nice day for a ‘White Christmas!

Available as a free download

https://www.facebook.com/homeofsincostan/


SPARKS Christmas Without A Prayer (2015)

SPARKS Christmas Without A PrayerBack in 1974 for their ‘Kimono My House’ album, the Mael brothers recorded a song called ‘Thank God It’s Not Christmas’, a typically perverse SPARKS romp that had nothing to do as such with the holiday season. Currently enjoying their highest profile since their pop heyday, thanks to their FFS collaboration with FRANZ FERDINAND, Russell and Ron ended the year with ‘Christmas Without A Prayer’, a fitting offering which also amusingly outlined that albums by WINGS were actually unwanted gifts.

Available on the download single ‘Christmas Without A Prayer’ via Lil’ Beethoven Records

http://www.allsparks.com/


VICE VERSA Little Drum Machine Boy (2015)

“A twisted cover of a cover of a cover”, this synth laden reinterpretation of the tune (based on a traditional Czech carol) made famous by a bizarre but highly enjoyable version by David Bowie and Bing Crosby, saw former ABC stalwarts Mark White and Stephen Singleton reconvene as  VICE VERSA to wax lyrical about 303s, 808s, 909s and a “shiny new Roland toy”. It was a fabulous combination of sleigh bells, squelching arpeggios and of course, drum machines…

Available as a free download

https://www.facebook.com/Vice-Versa-Electrogenesis-806726912703189/


VILE ELECTRODES The Ghosts Of Christmas (2013)

VILE ELECTRODES The Ghosts Of ChristmasIf ‘Twin Peaks’ met ‘Leader Of The Pack’ under the mistletoe, it would sound like this. Possibly the best Christmas tune of the last five or ten years, Anais Neon’s harrowing tale of a departed loved one is strangely enticing, with the beautifully haunting echoes of JULEE CRUISE’s ‘The Nightingale’ lingering over the frozen lake.

Available on the EP ‘The Ghosts Of Christmas’ via Vile Electrodes

http://www.vileelectrodes.com/


A further varied collection of seasonal synth based tunes compiled by The Electricity Club can be listened to at: https://open.spotify.com/playlist/7vIIjZkGd3cVOSarUPvX85


Text by Chi Ming Lai
9th December 2018, updated 21st December 2019

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

FISCHERSPOONER Sir

Having started as a group of performers, the enterprise that is now FISCHERSPOONER consists of core members Warren Fischer and Casey Spooner, who are joined by a troupe of dancers and singers.

Fischer is a classically trained musician, while Spooner has his fingers in many pies, including performing in experimental theatre, fashion and producing various types of art.

Their first album came in 2001, named ‘1’, cleverly released on many labels, to be followed by ‘Odyssey’

With their third opus, ‘Entertainment’, the duo went to Jeff Saltzman to aid the production and the current offering ‘Sir’ is being produced by none other than Michael Stipe from REM.

‘Sir’ follows Spooner’s art exhibition of the same name, which centres around nudity, featuring himself and many of his former partners, friends and lovers in assorted sorts of nakedness. “We’re living through this sexual revolution. Everyone has a camera. People are redrawing their boundaries of what they share and what they don’t” claims Spooner, introducing his saucy enterprise, to which the newest album is a perfect accompaniment.

With the tone being “aggressively homosexual”, with love moans being used as part of the soundtrack, Spooner showcases the liberated states of today’s society.

‘Have Fun Tonight’ heralds the album as the first single, and what an entrance it is! Big, bold, full of defined synth but not devoid of good melody and sexually charged vocals by Spooner. Mantric drum rolls and arpeggiated electronic elements flow freely throughout this sublime dance track, leading into sweet oblivion.

‘Togetherness’ with CHAIRLIFT’s Caroline Polachek, sounds like vintage PET SHOP BOYS meets GOLDFRAPP, with love pains present. ‘Butterscotch Goddam’ describes the vocalist’s long standing relationship which ended, resulting in Spooner’s liberation and the discovery of endless sensual possibilities.

The apparent sleazy Brazilian trysts are being described in ear-ringing ‘Top Brazil’, which marries marvellous synth a la DEPECHE MODE with filthy lyrics, as one can never have enough of gay sex! ‘Stranger Strange’ with its offbeat tribal simplicity boils up to a hallucinating psychedelic plea to be “fixed up”, while ‘Everything Is Just Alright’ brings a heavier synth line into play.

Multiple vocals on ‘Discreet’ frolic within the realms of simple melody depicting the urgency of “now” in sexual relations, leading gently onto ‘Strut’ with its club feel euphoria and contributions from Juho Paalosmaa of VILLA NAH and SIN COS TAN. While Spooner admits: ‘I Need Love’, he also needs to ‘Get It On’.

Andy LeMaster joins in on ‘Try Again’; an arpeggiated gem full of sadness in the lyrical content, where the desperate cries for “everything I ever wanted, everything I ever needed” prevail.

‘Oh Rio’ with Holly Miranda closes the opus with an alternative twist to wrap up the record of sexual freedom, the power of choice and the beauty of partying and being able to do what one wishes, no strings attached.

Spooner muses: “When I started, the record was optimistic because I was in a happy, open, long-term relationship”, but it wasn’t to be; otherwise the eclectic, sex laden product would never surface. Fischer agrees with “The best thing that happened to this record is you getting dumped.”

‘Sir’ marks the time to play and explore and Spooner is grabbing the opportunities with both hands: “Everyone thinks I’m having a midlife crisis, and maybe I am”…

And if it wasn’t for his midlife crisis, we wouldn’t be listening to the marvel that ‘Sir’ is!


‘Sir’ is released by Ultra Records

https://fischerspooner.com

https://www.facebook.com/FischerspoonerMusic/

https://twitter.com/fischerspooner

https://www.instagram.com/fischerspooner/


Text by Monika Izabela Trigwell
20th February 2018

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