While acts like THE ART OF NOISE and DEPECHE MODE pioneered the use of sampling found sounds to use as new virtual instrumentation, eventual improvements in the technology meant whole recognisable phrases could be cut, manipulated and looped to create new compositions and arrangements.
So The Electricity Club has put aside some of its snobbery to seek out 25 of the most inventive, and some would say, sacrilegious uses of classic synth samples in popular music. More Inside ›
Quality instrumental electronic music is often overlooked these days at the expense of vocal driven synth material.
The halcyon days, of when artists such as JEAN-MICHEL JARRE, KLAUS SCHULZE and TANGERINE DREAM were all at their peak, are all but a distant memory. However, there are still artists that are producing quality work in this vein and this led TEC to investigate this release. 'Synthwaves' is a collaboration between TD members Thorsten Quaeschning and Ulrich Schnauss. More Inside ›
‘Particles’ is the latest double album release by TANGERINE DREAM and contains a diverse mixture of new material, reinterpretations of older tracks from their extensive back catalogue and a version of the ‘Stranger Things’ TV theme which fairly recently caught the Zeitgeist for many synth fans.
The album which originally came out at the end of last year has been re-issued by the Invisible Hands label and is available on vinyl, CD and download. More Inside ›
Over the last six years, The Electricity Club has written a large number of features that fall outside of the standard interview or review format.
Articles have included new artist introductions, lost albums, song listings based around a variety of topics, beginner’s guides on highly regarded personalities and TEC’s tongue-in-cheek Carry On Synthpop series. These Transmissions have been archived on a page in reverse chronological order. More inside ›
More Inside ›
The new ULRICH SCHNAUSS album marks a departure for the established German synthesist in that it is the first that he has created primarily “in the box”, ie it was produced mainly using software synths rather than the enviable collection of hardware equipment which resides in his London studio. In spite of a different work […] More Inside ›