Tag: Tenek (Page 1 of 2)

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

TEC’s 25 FAVOURITE SYNTH INSTRUMENTALS Of The 21ST CENTURY

Today, electronic instrumental music is everywhere, but often in the form of tedious dance tracks with no tunes all over Beatport and social media.

Luckily, there are still exponents of the classic synth instrumental, and thanks to the rise of the Synthwave sub-genre, there is currently a sympathetic environment for more esoteric and melodic musical offerings.

The key to a good instrumental is it either has to be very melodic to make up for the lack of vocals or very unobtrusive so that while the music is interesting enough to be listened to, it can also be ignored. Thus a Eurorack modular tutorial cannot credibly count as a valid release… 😉

As a follow-up to TEC’s 25 SYNTH INSTRUMENTALS Of The CLASSIC ERA, with a limit of one track per artist, The Electricity Club presents its 25 FAVOURITE SYNTH INSTRUMENTALS Of The 21ST CENTURY in chronological and then alphabetical order…


SYSTEM F Insolation (2000)

While Dutch producer Ferry Corsten hit paydirt with club hits such as ‘Out Of The Blue’ and ‘Cry’ as SYSTEM F, the debut album pointed towards the Trance’s link to electronic pop. As well as a collaboration with Marc Almond entitled ‘Soul On Soul’, the long player included the beautifully majestic classic instrumental ‘Insolation’ which took a breather from the usual four-to-the floor format.

Available on the album ‘Out Of The Blue’ via Premier

http://www.ferrycorsten.com/


PPK ResuRection – Perfecto Edit (2001)

PPK were a Russian trance duo comprising of  Sergei Pimenov and Alexander Polyakov. The original melody of ‘ResuRection’ came from Eduard Artemyev’s synthesized theme from the epic 1979 Soviet movie ‘Siberiade’ which won the Grand Prix at the Cannes Film Festival. Easily mistaken for JEAN-MICHEL JARRE, the thrusting seven minute ‘Perfecto Edit’ in particular was like an exuberant rocket launch set to music.

Originally released by Perfecto Records, currently unavailable

http://promodj.com/ppk


LADYTRON Turn It On (2002)

With a piercing synthphonic riff, scat vocoder, robotic bass and a rigid programmed beat, ‘Turn It On’ saw LADYTRON take a bleep forward with an attempt at a KRAFTWERK track for the 21st Century via Liverpool, Glasgow and Sofia. But as it headed towards its final third, it detoured back to Liverpool and turned into ‘Electricity’ in a cheeky homage to Merseyside’s original electronic trailblazers OMD.

Available on the album ‘Light & Magic’ via Telstar

http://www.ladytron.com/


FROST Klong (2003)

A Norwegian electronic duo consisting of Aggie Peterson and Per Martinsen, FROST released their second album ‘Melodica’ to a positive response, thanks to some production assistance by RÖYKSOPP on two tracks. The beautiful Arctic serenity of ‘Klong’ featuring local trumpeter Nils Petter Molvær alongside layers of gorgeous crystalline synths was one of the album’s highlights that easily outdid anything by GROOVE ARMADA and didn’t rely on using samples either.

Available on the album ‘Melodica’ via Frost World Recordings

https://frostnorway.com/


MYLO Emotion 96.8 (2004)

‘Destroy Rock & Roll’ was the well-received debut album by Scottish DJ Myles MacInnes that alongside DAFT PUNK and BASEMENT JAXX, summed up the sample laden dance music that was prevalent at the time. Produced on a computer in his own bedroo, the album’s best track however was the more downtempo, MOBY-esque richness of ‘Emotion 96.8’ with its beautiful sweeping synth melodies and unobtrusive rhythm structure. A follow-up to the long player has yet to appear.

Available on the album ‘Destroy Rock & Roll’ via Breastfed

http://www.mylo.tv/


ORBITAL Pants (2004)

With a hypnotic Motorik rhythm, pulsating bleeps and spacey whirs driving a moodier template along the lines of cult German experimentalists EMAK, Phil and Paul Hartnoll continued their primarily instrumental template on their ‘Blue Album’, although SPARKS contributed vocals to a totally unrelated track called ‘Acid Pants’. The brothers split shortly after the long player’s release, but returned in 2009 to play The Big Chill Festival.

Available on the album ‘Blue Album’ via Orbital Music

http://orbitalofficial.com/


MOBY Homeward Angel (2005)

From ‘Hymn’ to ‘First Cool Hive’ to ‘A Seated Night’, the man born Richard Melville Hall is a master of the instrumental. The solemn ‘Homeward Angel’ closed MOBY’s comparatively conventional and sample-less ‘Hotel’ album with a solemn yet uplifting slice of mood music that in retrospect, was incongruous with the main act. However, since leaving Mute in 2008, his more recent self-released albums such as ‘Destroyed’ and ‘Innocents’ have displayed this more esoteric quality.

Available on the album ‘Hotel’ via Mute Records

http://moby.com/


RÖYKSOPP Alpha Male (2005)

A ten minute instrumental epic, ‘Alpha Male’ came from RÖYKSOPP’s under rated second long player, one that moved away from the chill-out climes of ‘Melody AM’ into much darker sonic territory. The track’s lengthy ambient intro was interrupted by a mighty metronomic beat and the sort of progressive synth overtures that would have made JEAN-MICHEL JARRE proud.

Available on the album ‘The Understanding’ via Wall Of Sound Records

http://royksopp.com/


JOHN FOXX Kurfurstdendam (2006)

Since his musical return in 1997 with ‘Shifting City’, JOHN FOXX has practically had albums coming out of his ears in song-based, ambient and soundtrack formats, both solo and in collaboration with other artists. The spacey mechanical Schaffel of ‘Kurfurstdendam’ came from an imaginary soundtrack he called ‘Tiny Colour Movies’, inspired by a friend’s birthday screening of a private film collection comprising of random surveillance clips and offcuts from Hollywood.

Available on the album ‘Tiny Colour Movies’ via Metamatic Records

http://www.metamatic.com/


SISTA MANNEN PÅ JORDEN Space-Elevator (2007)

Few acts actually genuinely sound like their name… SISTA MANNEN PÅ JORDEN, which translates as “the last man in space”, is the solo project of Swedish synthpop trailblazer Eddie Bengtsson, he of PAGE and S.P.O.C.K fame. The frantic ‘Space-Elevator’ with its swimmy string synths and Sci-Fi derived melody acted as an effective Moroder-esque interlude on his excellent sixth album ‘Tredje Våningen’.

Available on the album ‘Tredje Våningen’ via Energy Rekords

http://www.moonbasealpha.space/


TENEK Ice Fields (2007)

Borrowing the distinctive bassline from SIMPLE MINDS’ 1981 single ‘Love Song’, the British duo put together this lively danceable instrumental for their debut TENEK EP. With a modern mechanical groove coupled to their trademark synth rock, the almost funky ‘Ice Fields’ became an early live favourite, although the duo have focussed on more song based adventures for their three albums to date, ‘Stateless’, ‘On The Wire’ and ‘Smoke & Mirrors’.

Available on ‘EP1+’ via https://tenek.bandcamp.com/album/ep1

http://www.tenek.co.uk/


KLEERUP Hero (2008)

In 2007, Andreas Kleerup, producer and one-time drummer for THE MEAT BOYS, undertook his first mainstream collaboration with fellow Swede ROBYN. The success of ‘With Every Heartbeat’ led to the recording of his self-titled debut album which featured a number of brilliant instrumentals. ‘Hero’ was its perfect start and with a solid bassline and strong choral timbres, it had the vibe of how OMD might have sounded if they had formed in the 21st Century.

Available on the album ‘Kleerup’ via EMI Music

http://kleerup.net/


DAFT PUNK Tron Legacy – End Titles (2010)

While most of the ‘Tron Legacy’ soundtrack album was arranged and orchestrated by Joseph Trapanese, DAFT PUNK’s spiky electronics and drum machine were kept in alongside the epic strings for the end titles of the sequel to the 1982 movie ‘Tron’. There were nods to Wendy Carlos who composed the score to the original film, with Thomas Bangalter focusing on the heroic themes while Guy-Manuel de Homem-Christo was more inclined to generating the darker elements.

Available on the soundtrack album ‘Tron Legacy’ via Walt Disney Records

https://www.daftpunk.com/


047 Kanpai! (2011)

Forming in 2001, Swedish duo 047 began their chiptune experiments thought a mutual appreciation of vintage video games. But after their debut long player, Peter Engström and Sebastian Rutgersson began to incorporate melodic song based elements and vocals into their music. The end results led to the impressive second album ‘Elva’, but they celebrated their chiptune influenced roots with the jolly YELLOW MAGIC ORCHESTRA salute of ‘Kanpai!’

Available on the album ‘Elva’ via Killing Music

http://www.047.se/


MARSHEAUX Now & Never (2012)

‘The E-Bay Queen Is Dead’ was collection of rarities from the MARSHEAUX archives. While Marianthi Melitsi and Sophie Sarigiannidou have done a fair number of cover versions in their time, they are not really known for doing instrumentals. But the electro-boppy ‘Now & Never’ was a very promising wordless demo that Vince Clarke would have approved of; as one of his former DEPECHE MODE colleagues once sang: “words are very unnecessary…”

Available on the album ‘The E-Bay Queen Is Dead’ via Undo Records

http://marsheaux.com/


SOFT METALS Hourglass (2012)

Fusing Detroit techno with more European experimental forms, Patricia Hall and Ian Hicks’ second SOFT METALS album ‘Lenses’ featured the fabulous instrumental ‘Hourglass’. As Hall put it: “I really wanted to write lyrics for that one, but was never quite satisfied with what I came up with. I decided it would be better to let that one be an instrumental. I think it holds up on its own. It’s nice to give the listener a chance to interpret its meaning on its own rather than direct them with words”.

Available on the album ‘Lenses’ via Captured Tracks

https://www.facebook.com/SOFTMETALS/


VILE ELECTRODES The future through a lens (2013)

Anais Neon and Martin Swan’s tribute to ‘Assault On Precinct 13’, ‘The future through a lens’ was a moody but booming instrumental that began their excellent debut longer player of the same name, which later netted a Schallewelle Award for ‘Best international Album’ in 2014. With their vast array of analogue synthesizers and exquisite taste for sound textures, it won’t be too surprising if VILE ELECTRODES aren’t offered some soundtrack opportunities in the near future.

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

http://www.vileelectrodes.com/


TODD TERJE Delorean Dynamite (2014)

Although making his name within EDM circles, the Norwegian producer born Todd Olsen paid a musical tribute to ‘Back To The Future’ and its futuristic gull-wing doored Delorean DMC-12 car with this suitably driving Synthwave instrumental. Unlike other so-called dance producers, Terje is conversant with electronic music history and possesses a wry sense of humour, as evidenced by the witty wordplay of track titles like ‘Inspector Norse’ and his own DJ moniker.

Available on the album ‘It’s Album Time’ via Olsen Records

http://toddterje.com/


BLANCMANGE Cistern (2015)

After the first phase of BLANCMANGE, Neil Arthur and Stephen Luscombe worked within the TV and film industry, scoring soundtracks and incidental music. Although best known for his voice, Neil Arthur’s instrumentals have been a continual form of expression. The brilliant ‘Cistern’ comes over like an imaginary Bond Theme for a retro-futuristic world. The wordless wonder that is the parent album ‘Nil By Mouth’ is an unsung masterpiece.

Available on the album ‘Nil By Mouth’ via Blanc Check

http://www.blancmange.co.uk


RODNEY CROMWELL Baby Robot (2015)

Adam Cresswell’s sombre vocals and the darker lyrical themes on his debut RODNEY CROMWELL album ‘Age Of Anxiety’ took a breather with the bright and breezy ‘Baby Robot’. With sweet synthesizer melodies, pretty glints of glockenspiel and a bouncy beatbox, the instrumental was inspired by birth of his son. “Yes, ‘Baby Robot’ is the one track on the album that’s 100% upbeat as it is about the experience of being a father” he gleefully told The Electricity Club.

Available on the album ‘Age Of Anxiety’ via https://happyrobotsrecords.bandcamp.com/

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


DARKNESS FALLS Thunder Roads (2015)

While Danish duo DARKNESS FALLS are better known for their melancholic Nordic vocals and neo-gothic overtones on songs like ‘The Void’, the dark synthy instrumental ‘Thunder Roads’ proved to be one of the most striking tracks on their second album ‘Dance & Cry’. With a punchy drum machine mantra and menacing reverberant sequence, it was augmented by guitar screeches and sombre six string basslines reminiscent of JOY DIVISION and THE CURE.

Available on the album ‘Dance & Cry’ via Fake Diamond Records

http://darknessfallsmusic.com/


JEAN-MICHEL JARRE & BOYZ NOISE The Time Machine (2015)

JEAN-MICHEL JARRE’s first album for since ‘Teo & Tea’ in 2007 was a two volume opus entitled ‘Electronica’; it features collaborations with a number of synth pioneers and modern day dance artists including BOYZ NOISE aka Berlin DJ Alexander Ridha. This climactic track took on a new life as the set closer on the French synth maestro’s ‘Electronica’ world tour, with a lasered 3D visual feast that required no special glasses! BUT BEWARE OF FLASHING IMAGES! 😉

Available on the album ‘Electronica 1 – The Time Machine’ via Columbia Records

http://jeanmicheljarre.com/


JOHN CARPENTER Utopian Façade (2016)

The horror film king recorded his ‘Lost Themes’ series in collaboration with his son Cody and his godson Daniel Davies as standalone pieces, without the pressure of having to put the music to moving images. The second volume was completed on a tighter schedule to accompany a world concert tour and thus replicated some of the challenging moods in his soundtrack work with tracks like ‘Utopian Façade’ recalling his classic movie soundscapes.

Available on the album ‘Lost Themes II’ via Sacred Bones

http://www.theofficialjohncarpenter.com/


KYLE DIXON & MICHAEL STEIN Stranger Things (2016)

Dixon and Stein are members of the Texan group SURVIVE and their accompanying music to ‘Stranger Things’, a cross between ‘ET’, ‘The Goonies’ and ‘Alien’, sent electronic music fans into online meltdown with its use of vintage analogue synths. With a soundtrack influenced by the horror flicks of Dario Argento and of course John Carpenter, the one minute opening title music to the acclaimed drama series said all that was needed to be said in its brooding dissonant tones.

Available on the soundtrack album ‘Stranger Things – Volume 1’ via Invada Records

https://www.facebook.com/survivesurvive/


TINY MAGNETIC PETS Klangfarben (2016)

As would be expected from a title like ‘Klangfarben’, this vibrant instrumental from Dublin trio TINY MAGNETIC PETS is an enjoyable homage to Germanic music forms, with a loose percussive feel that still maintains that vital degree of Motorik. A word meaning “soundcolour”, it refers to a technique whereby a musical line is split between several instruments, rather than assigning it to just one instrument, thereby adding timbre and texture to proceedings.

Available on the EP ‘The NATO Alphabet EP’ via https://tinymagneticpets.bandcamp.com/

https://www.facebook.com/Tiny-Magnetic-Pets-69597715797/


Text by Chi Ming Lai
25th April 2017

Five Years of TEC: 30 Favourite Gigs 2010 – 2014

In the five years since its formation, The Electricity Club has reviewed over a hundred gigs and witnessed some fabulous live performances as well as some not so great ones… one was so bad in fact, TEC declined to submit a review in the end!

There have been sell-out concerts and also ones where literally one man and their dog have been attendance, until the dog realised it was at the wrong gig and left!

Despite the downturn in music sales overall, the live scene has been vibrant with gigs and events sympathetic to electronic music springing up all over Europe. Again, the quality of these has been variable, but at least acts using synthesizers no longer have to necessarily perform on incongruous bills alongside indie bands, folkies and rapper MCs.

Listed in chronological order with a restriction of one headline gig per artist, here are The Electricity Club’s 30 favourite gigs from the period between 2010 to 2014… modesty prevents The Electricity Club from listing its own TEC001, TEC002 and TEC003 events 😉


LA ROUX + HEAVEN 17 at BBC Maida Vale (2010)

th17_larouxIn a performance for BBC6 Music, when Glenn Gregory took the lead on the verses of ‘In For The Kill’, any scepticism lingering about the connection between LA ROUX, HEAVEN 17 and early HUMAN LEAGUE was quashed. Before ‘Temptation’, Martyn Ware gleefully told everyone that Gregory only got 78% doing it on ‘SingStar’. While Elly Jackson might not have a natural soul voice, she certainly hit those high notes. An uptempo cover of TERENCE TRENT D’ARBY’s ‘Sign Your Name’ finished a unique evening.

http://laroux.co.uk/


DEPECHE MODE at Royal Albert Hall (2010)

Part of the Teenage Cancer Trust series of gigs, rumours that DEPECHE MODE had something special up their sleeves were spreading like wild fire among The Devoted as they gathered from all over the world in South Kensington. And it came in the shape of the much missed Alan Wilder appearing with DM for the first time since 1994 to accompany Martin Gore on a rendition of ‘Somebody’ during the encore. “A proud moment for me knowing that most people were so happy about it” Wilder said.

http://www.depechemode.com/


ULTRAVOX at Hammersmith Apollo (2010)

ultra3Following their triumphant reunion in 2009, ULTRAVOX returned for a second leg with an expanded setlist. The line-up of Warren Cann, Chris Cross, Billy Currie and Midge Ure were much more relaxed and with a stripped down lightshow, it was all about the music. Highlights included an even more Kraftwerkian rendition of ‘Mr X’, ‘I Remember (Death In the Afternoon)’ where Currie opted to do the closing piano motif one-handed and the effervescent quadruple drum action climax to ‘The Voice’.

http://www.ultravox.org.uk/


EMILIE SIMON at The Jazz Café (2010)

EmilieSimon-JazzCafeFrench songstress EMILIE SIMON is an embodiment of the truly independent female artist. And as in the PET SHOP BOYS song ‘Opportunities’, she really did study at the Sorbonne. Her one woman performance at The Jazz Café showcased her range of musical devices such as a Yamaha Tenorion, an amazing ‘effects’ gauntlet and a futuristic Casio guitar synth alongside her faithful keyboards. The brilliant avant pop of ‘Dreamland’ wonderfully highlighted her inventive use of electronics.

http://www.emiliesimon.com/


MARINA & THE DIAMONDS at The Roundhouse (2010)

marina101112_1With some eccentric Fe-Mael intuition, Marina Diamandis was possibly the nearest thing to SPARKS meeting LENE LOVICH. She arrived on the stage  like Aphrodite, the Olympian Goddess of Love and Beauty, all dressed up to the nines in a most elegant full length black gown. Fabulously quirky songs like ‘I Am Not A Robot’, ‘Oh No!’ and her attack on WAG culture ‘Girls’ showed she was no poppet. ‘Shampain’ and the so far unreleased ‘Jealousy’ proved she could do classic synthpop too.

http://www.marinaandthediamonds.com/


GOLDFRAPP at Hammersmith Apollo (2010)

On a cold Autumn evening, something unusual was happening; Alison Goldfrapp was having fun! It was if the thigh booted ice queen of yore had melted and turned into Olivia Newton-John. The ‘Head First’ album dominated the middle part of this show and was tailor made for the dynamics of live performance. The bouncy FM synth rock numbers ‘Alive’, ‘Believer ‘and ‘Rocket’ had that punch the air feeling and sat well alongside the Schaffel stomps of ‘Ooh La La’, ‘Train’ and ‘Strict Machine’.

http://goldfrapp.com/


A-HA at Wembley Arena (2010)

It says something about a band’s standing when the song that gets the biggest applause is a new one, and the one that everyone thinks should have been played is also new… A-HA’s ‘Foot Of The Mountain’ was a true return to form for the Norwegian trio and its title track was the best received moment of the show at Wembley. Sadly, ‘Nothing Is Keeping You Here’ wasn’t played, but with so many great songs in their catalogue, that didn’t matter in a glorious live celebration of their career before disbanding.

http://a-ha.com/


CLAUDIA BRÜCKEN at The Scala (2011)

CLAUDIA BRÜCKEN gathered a number of friends to celebrate her career. As well as Paul Humphreys, Andy Bell, Glenn Gregory and Martyn Ware, there was the wonderful 3/4 reunion of PROPAGANDA with Susanne Freytag and Ralf Dörper on ‘Dr Mabuse’ and ‘P Machinery’. There was also a surprise performance of HEAVEN 17’s demo version of ‘Temptation’ where a suitably detached vocal from Ms Brücken enhanced the song’s more electronic origins, along with material from her projects ONETWO and ACT.

http://www.claudiabrucken.co.uk/


DURAN DURAN at Shepherds Bush Empire (2011)

duran2DURAN DURAN proved they could recapture the performing zest of their glory days, but now thanks to the ‘All You Need Is Now’ album, they had the new material to back it up too. Beginning in true DURAN DURAN style with a Bond Theme overture delivered by a string quartet of blonde, brunette, red and raven haired beauties, the band launched into a glorious set of hits and highlights from the new long player. And best of all, they didn’t bother with their horrendous cover of ‘White Lies (Don’t Do It)’ 😉

http://www.duranduran.com/


IAMX at Cologne Essigfabrik (2011)

IAMX have captured an electro Gothic aesthetic that combines the theatrics of Weimar Cabaret with themes of sex, alienation and dependency which have appealed more in Europe than at home. So it was appropriate that the contradiction theme of ‘Think Of England’ was a live centrepiece that evening in Cologne. Delivering a mechanical cabaret with a deluge of haunting East European scales and neo-classical flourishes, the disturbingly militaristic cinematic waltz of ‘President’ was a great finish.

http://www.iamx.eu


MIRRORS at Cologne Gebäude 9 (2011)

trumps6Pop Noir quartet MIRRORS were an outstanding live act with their powerful synthetic sound resonating alongside their grainy impressionistic film projections and stark lighting. On their first headlining tour of Germany, the extra setlist time allowed for the premiere of the neo-electro disco of ‘Toe The Line’ and their 10 minute epic ‘Secrets’. New’s majestic vocal style took a backseat in the song’s third movement as he adopted a sub-Ian Curtis persona and screamed out during the screeching military tattoo of its climax.

http://mirrorsofficial.bandcamp.com/


Short Circuit Presents Mute at The Roundhouse (2011)

NITZEREBBMikeCooper (2)This two day celebration of Mute Records had everything except DEPECHE MODE themselves. Alan Wilder appeared as RECOIL with Doug McCarthy of NITZER EBB joining him for a performance of ‘Personal Jesus’, while Andy Fletcher and Martin Gore each did DJ sets. The live centrepiece was a special set featuring ERASURE, YAZOO and THE ASSEMBLY, although one memorable moment of the day was non-musical with Flood’s lecture on the making of ‘Enjoy The Silence’ and his goofy mimicking of Martin Gore!

http://mute.com/


LADYTRON at The Forum (2011)

HMV1SteveGrayKorg is a four letter word…but then so is love. LADYTRON pulled off that rare feat of being an electronic based act that appealed to rockers, emos, indie kids and synthpopsters alike. Their only UK gig of 2011 was drawn from all of their albums. Mira Aroyo’s distinctive Bulgarian over the mechanical buzz of ‘True Mathematics’, a fabulously frantic cover of DEATH IN JUNE’s ‘Little Black Angel’ and old favourite ‘Discotraxx’ with its repeated claptrap fill were key show highlights.

http://www.ladytron.com/


The Electronic Phuture Revue at Royal Festival Hall (2011)

vintage-TMDR2‘The Electronic Phuture Revue’ curated by Martyn Ware and Mark Jones featured a stupendous line-up of HEAVEN 17, ONE TWO, THOMAS DOLBY, MIRRORS, ONETWO, RECOIL and MOTOR. And although not there, the musical legacy of Martin Gore lingered in the sets of the latter three. But the event was clouded by a poor attendance, caused by the high ticket price from hosts The Vintage Festival charging gig goers a compulsory extra £50 to enter a clothing fayre that they were never going to attend…

http://www.backtothephuture.net/


BEF at The Roundhouse (2011)

BEF2-richardFeaturing Sandie Shaw, Boy George, Kim Wilde, Green Gartside, Polly Scattergood, Midge Ure and of course, Glenn Gregory, Martyn Ware’s ambitious BEF covers project became a live entity for the first time. As well as the great and varied music on offer, one of the highlights was Boy George’s unsurprisingly camp take of ‘These Boots Are Made For Walking’. His onstage tale about going with Martyn Ware to see Gary Glitter in concert and getting the convicted felon’s autograph was priceless: “…I don’t think it’s worth much now” he quipped!

http://www.heaven17.com/bef/


JOHN FOXX & THE MATHS at XOYO (2011)

Foxx and Mathematical partner Benge took to the road on a national tour and in the backing band were the glamourous duo of Hannah Peel and Serafina Steer handling synths among several other conventional instruments. With ‘Interplay’ being Foxx’s most complete body of work since ‘Metamatic’, material from both albums sat comfortably side-by-side within the set. But it was Hannah Peel’s eerie violin contributions on the ‘Metamatic’ era songs like ‘Burning Car’ and ‘He’s A Liquid’ that were probably the show’s biggest revelation.

http://www.metamatic.com/


Ja Ja Ja 3rd Birthday Party at The Lexington (2012)

Sin cos tan-duoLondon based Nordic music night ‘Ja Ja Ja’ celebrated its third birthday where the beautiful and the bearded mingled alongside musical figures from different generations such as KARIN PARK and RUSTY EGAN. It featured the first live performance outside Finland of SIN COS TAN. The highlight of SIN COS TAN’s set was marvellous extended workout of ‘Trust’. A cold dark evening and synthesizers… it was a concoction made in heaven. Concluding the evening, headliner MØ was impressive too, coming across like LANA DEL REY trapped in a frozen Fjord.

http://jajajamusic.com/


REPUBLICA, TENEK + KOVAK at The Garage (2013)

REPUBLICA’s gig at London’s Garage had a superb line-up of supporting players. There was the enjoyable disco pop of KOVAK fronted by the very sexy Annelies Van de Velde and the electro rock fusion of the almost equally sexy TENEK. Like two parts Toyah: one part Siouxsie at a warehouse party, Saffron provided the feisty focus while Tim Dorney and Jonny Glue acted as complimentary foil to recreate the punchy REPUBLICA sound. With luminaries like SAMANTHA FOX and RUSTY EGAN also in the audience, it was a fun filled occasion for all.

http://www.republicamusic.co.uk/

http://www.tenek.co.uk/

http://kovak.co.uk/


KARIN PARK at The Lexington (2013)

Karin-park-live4KARIN PARK’s fourth album ‘Highwire Poetry’ was a steady burner embraced through word of mouth, but its embracement couldn’t have prepared audiences for the spectacle of her live show. With an obviously towering presence, her animated stares and jerky movements had the crowd transfixed. In an unusual set-up featuring her heavy metal loving brother David primarily on drums, the siblings showed themselves to be impressive multitaskers with David even venturing onto keyboards while Karin dabbled with a Korg MS20 and keytar.

http://www.karinpark.com/


MESH, DE/VISION + TORUL at Islington O2 Academy (2013)

Bristolian electro-rock duo MESH ended their successful European tour in style with a rousing show at the O2 Academy in London’s Islington district. Supporting an excellent bill were TORUL, a promising trio hailing from Slovenia and German veterans DE/VISION. But MESH’s set sprang into technological life as screens and projections set the scene for a live presentation of their best album yet ‘Automation Baby’. With songs such as ‘Born To Lie’, ‘Adjust Your Set’ and ‘Taken For Granted’, MESH were at the height of their powers.

http://www.mesh.co.uk/

http://www.facebook.com/pages/DEVISION/24741337633

http://www.torul-recordings.net/


CHVRCHES at Village Underground (2013)

Chvrches 2013 village undergndTickets for CHVRCHES gigs were exchanging hands at ridiculous prices but it was easy to see why as there was an endearing charm about them. Pulling out the stops with a huge laser display at Village Underground, singer Lauren Mayberry surreally remarked that it would have been cruel for anyone to have brought their cat to the show!! ‘Lies’, ‘Science & Vision’ and ‘The Mother We Share’ showcased what was to come with their debut LP while PRINCE’s ‘I Would Die 4 U’ was a good choice in the “we haven’t got enough songs, let’s do a cover” conundrum that haunts new acts.

http://www.chvrch.es/


OMD + VILE ELECTRODES at Cologne E-Werk (2013)

OMD-4-KarenBuxtonVILE ELECTRODES got to play their most OMD derived number ‘Deep Red’ on the final night of their German tour supporting their heroes. Meanwhile, new OMD material such as ‘Dresden’ and ‘Kissing The Machine’ satisfied the crowd alongside the usual OMD favourites. Live duds ‘So In Love’ and ‘Walking On The Milky Way’ were also dropped for the welcome, good natured surprise (due to audience demand) of ‘Secret’. The almost frightening Teutonic shout of “ZU-GA-BE” by the audience in time to the closing drum machine of ‘Enola Gay’ was another unforgettable moment.

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

http://www.facebook.com/vileelectrodes


HEAVEN 17 + SCRITTI POLITTI at Koko (2013)

H17-V40-06For Virgin Records 40th Anniversary, THE HUMAN LEAGUE were invited to play a special concert but declined. Instead, founder member Martyn Ware stepped into the breach. Loaded with surprises such as a ‘Marianne’, ‘Circus Of Death’ and ‘WXJL Tonight’, Glenn Gregory relished the vocal challenge while Ware took to the mic himself for a new rendition of IGGY POP’s ‘Nightclubbing’. HEAVEN 17’s hits satisfied members of the audience who still weren’t quite sure of the connection and with support provided by SCRITTI POLITTI, it was an unforgettable evening.

http://www.heaven17.com/

http://www.scritti.net/


GARY NUMAN at The Roundhouse (2013)

Numan2013-05Numan’s shows in last ten or so years have been frustrating, often with great highs but then spoiled by severe lows, thanks to the one dimension nature of numbers from the ‘Jagged’ album. But with the ‘Splinter’ album and tour, Numan got it right. Free of the ballast from ‘Jagged’ and incorporating the best elements of ‘Replicas’, ‘The Pleasure Principle’, ‘Telekon’, ‘Pure’ and ‘Dead Son Rising’, The Roundhouse show was back to Numan at his formidable best. The dynamic and tempo variation plus the return to more electronics appeared to have done the trick…

http://www.numan.co.uk/


KARL BARTOS at Cologne Palladium (2014)

Karl Bartos-Koeln2014-08KARL BARTOS’ ‘Off The Record’ show was a perfect multi-media history of electronic pop that celebrated the innovation of the past while moving forward musically. While the sounds are meatier, the technology more versatile and the tools much simpler to operate, what remains are the melodies, the traditions and the soul. It may be an unusual way to describe things related to Kling Klang, but with an evening of solo and KRAFTWERK material that coincided with Ralf Hütter receiving a Lifetime Achievement Grammy on behalf of the Düsseldorf quartet, this couldn’t have been truer.

http://www.karlbartos.com/


HANNAH PEEL at MemeTune Studio (2014)

Hannah-01MemeTune2014A little basement studio in Hoxton houses one of biggest collections of vintage synths and within it, the delightful Miss Peel launched her marvellous ‘Fabricstate’ EP with an intimate performance using primarily just synths and samplers. On the title track, Peel launched into an amazing whirring synth solo on a DS Mopho x4 while with the haunting award winning ‘Chloe’, she showed her sensitivity. There was also a treat in a music box driven cover of PAUL BUCHANAN’s ‘Cars In The Garden’ with the said antique sequencer operated by a member of the audience.

http://www.hannahpeel.com/


An Evening With The Swedish Synth at 93 Feet East (2014)

Featuring synth veterans PAGE alongside comparative newcomers MACHINISTA and TRAIN TO SPAIN, Nordic friendly music blog Cold War Night Life’s ‘An Evening With The Swedish Synth’ proved what could be achieved when a genuine electronic music enthusiast curated an electronic event. A fair number of Swedes and Norwegians were in attendance so with the added cocktail of that Scandinavian sense of enjoyment and their insatiable appetite for liquid refreshment, it was a fun, good natured occasion that captured the spirit of how great music can unite people.

http://www.coldwarnightlife.com/


DIE KRUPPS at The Garage (2014)

Die Krupps-LaLeLu03DIE KRUPPS are rightly cited as a huge influence on the likes of NITZER EBB, FRONT 242, DEPECHE MODE and most significantly RAMMSTEIN. Vocalist and founder member Jürgen Engler is still a great front man, playing up to Teutonic clichés and bashing metal with aplomb, particularly on a frenzied cover of VISAGE’s ‘The Anvil’ with special guest Sarah Blackwood. With big, sequenced basslines from Ralf Dörper, Marcel Zürcher’s crushing guitars and powerful drumming by Bradley Bills, it was a strangely joyful mechanised experience that was indeed, metal machine music.

http://www.diekrupps.de/


MUS_IIC Festival.01 at Shoreditch Red Gallery (2014)

MUS_IIC-wrangler-by-chiMemeTune, the acclaimed London studio and label curated its first festival featuring WRANGLER, GAZELLE TWIN and MINNY POPS. While MINNY POPS’ provocative art school antics divided opinion, the sheer anonymity of GAZELLE TWIN combined with some unsettling put powerful music made her voyeuristically enticing. But it was WRANGLER led by ex-CABARET VOLTAIRE man Stephen Mallinder who most had come to see. And he delighted his followers with reworked versions of ‘Sensoria’ and ‘Crackdown’ alongside great new dystopian material such as ‘Lava Land’.

http://memetune.net


ERASURE at The Forum (2014)

ERASURE2014-09‘The Violet Flame’ was ERASURE’s return to more uptempo material with a reinvigorated energetic zest within the duo. A number of hits were reprogrammed into a more disco format, but this was balanced with preserving the integrity of the original songs. It didn’t spoil the fun as a guessing game element was added to proceedings. In tour programme foreword, Mute supreme Daniel Miller quoted Seymour Stein of Sire Records who said “the reason ERASURE are so great is because they make people feel good about themselves”.

http://www.erasureinfo.com/


Text by Chi Ming Lai
17th February 2015

RUSTY EGAN Speaks Out…

rusty modelThere is a new VISAGE album but the majority of its founder members have not been involved.

John McGeoch passed away in 2004 and although Barry Adamson played on the first two albums, he gave up his equity in the collective after the first single ‘Tar’.

Whilst Dave Formula has contributed one song ‘Dairies Of A Madman’, Midge Ure and Billy Currie did not participate.

The collective’s original catalyst Rusty Egan did take part in the initial stages as musical director of the project, but withdrew due to artistic differences and disagreements over production values.

Then in November 2012,  Steve Strange announced on German TV that he was writing songs with Midge Ure which proved to be incorrect while various sources reported on the fallout to confirm that all was not well.

Thus Steve Strange is the only ingredient from the original Blitz Club days who appears throughout the resultant album entitled ‘Hearts & Knives’. Although there are guest appearances by notable players from the scene such as ex-ULTRAVOX guitarist Robin Simon and ex-SIMPLE MINDS keyboardist Mick MacNeil, this album to many ears is not a real VISAGE album.

Rusty Egan spoke to TEC about the background of ‘Hearts & Knives’ and how he intends to pursue his own musical interests in the future…

How did the idea for a new VISAGE album come about?

I was consulted about the possibility of a new VISAGE album on the basis that royalties due to me, the estate of John McGeoch and to Dave Formula had been misappropriated by Steve Strange over a period of eight years. The proposition was that the only way to recover the misappropriated royalties was to produce a fourth VISAGE album and pay Steve Strange a reduced royalty share until the misappropriated funds were restored. I was only willing to be involved in the production of an album that would do credit to the heritage of VISAGE. I spoke with all the members to establish their willingness to reform which was a tough call, and one by one they all declined.

So what did you do then?

I then thought “If I was going to form VISAGE today, who would I invite?” I talked with Chris Payne who co-wrote ‘Fade To Grey’ for writing and keyboards, SPANDAU BALLET’s Steve Norman for sax and percussion, ex-ULTRAVOX guiarist Robin Simon, Didier Marouani of SPACE and as producer, Brian Tench who had worked with KATE BUSH and OMD as well as VISAGE.

But some might say your concept for a new VISAGE is no more valid than this solo Steve Strange version?

Of course, a VISAGE album without a contribution from Midge would be crazy. When the team started to come together, Midge kindly offered a song called ‘Become’.

But early in the production cycle, it became clear to me that the company who were funding the production had no intention of meeting my production values nor matching the quality of the team that I had pulled together with an album that would show them or the VISAGE heritage in a good light.

So why is ‘Hearts & Knives’ not a VISAGE album then in your opinion?

Midge Ure and I alone came up with the concept for VISAGE. That is a matter of historical fact. VISAGE was and is our intellectual and emotional property. The album has been produced and released without the consent of Midge or myself.

‘Hearts & Knives’ I presume alludes to love and death. Well I loved VISAGE, but this album is the death of everything that VISAGE represented. This collection of songs/music does not represent the heritage and musical values of VISAGE. It is a Steve Strange album. I believe that no-one would be interested in a Steve Strange album so using the name VISAGE is the only way to market the album.

So what have you thought about the end result?

Given this background, I have really struggled to be impartial about this album. ‘Lost In Static’ is the only track on the album that actually works, just because it’s simple. It has a decent drum and bass track. There’s one song ‘Never Enough’ which was very SIMPLE MINDS; but it could be good if we worked on the lyrics, got some great guitar and pumped that bass… the final version sounds like a home recording that was submitted as a demo. The production company has only added some guitars.

VISAGE Blitz‘Shameless Fashion’ is OK but does not sound like VISAGE. ‘She’s Electric’ is also OK but nothing special; the ‘Fade To Grey’ CR78 drum track has been copied as an intro. The thin drums once again sound like a demo as if the producer has said “We’ll do the drums later” but never got around to it. I hate the vocal delays. ‘Diaries Of A Madman’ is the only song written by Steve and he had recorded it a few years ago with Dave Formula.

‘Dreamer I Know’ appears to have some potential…

That song is the one that I am most upset about. I met Arno Carstens at the Isle Of Wight Music Festival after I saw his performance. I just had to ask him about this song, he said it had been released but without any great take up. “I love it” I said, “It is like DEPECHE MODE, can I use it for VISAGE but make some changes?” Arno said “Sure, just do it and let me hear it”. I hope he does NOT EVER hear this VISAGE version… I had nothing to do with it. I have done this song the justice it deserves.

So what are you going to do music wise?

I have continued to write with Chris Payne and an amazing writer Gerard O’ Connell who co-wrote ‘Welcome To The Dancefloor’. We have done an amazing job on ‘Dreamer’; Youth co-wrote that with Arno, I have to say the mixes are simply wonderful.

I have six more amazing songs co-written with Chris Payne and other songwriters. Didier plays his style keys, Steve Norman plays some nice sax which is very ROXY MUSIC.

Now I must say I am so much more content now to just do ‘Rusty Egan Presents…’ and release some tracks AFTER this album has gone away.

You’ve previewed ‘Welcome To The Dancefloor’ which is a collaboration with TENEK. It’s like GIORGIO MORODER meets DAFT PUNK…

Well, collaboration is really the way forward. TENEK, Robin, Gerard , Didier, Brian Tench… there are many talented people I come across. If you listen to the radio show there are some amazing new bands that I would love to work with; SIN COS TAN really do it for me, METROLAND and KARIN PARK too.

Rusty & Tenek‘Welcome To The Dancefloor’ is an example of how I have always worked. TENEK had an amazing bassline with synth stabs that grabbed me, but what I could hear was an electro style uplifting track and I wrote this on the roof of the villa in Ibiza… I just looked and thought “Welcome To The Dancefloor of THE WORLD”. It’s here and as a DJ, I am and always was inspired in Ibiza and will head there again this summer and write some more… we wrote that track and recorded it very simply and then sent it to Robin Skouteris who did the final mixes.

I first came across Robin when I heard his amazing ‘Wonderful’ mix featuring HURTS. We just clicked and he did exactly what I wanted with the finished mixes… we are working on every track together first, then some friends want to remix. We are speaking with Paul Oakenfold, Richard Grey, Michael Gray and Tim Overdijk. And I’m excited to be in contact with METROLAND.

Although you did the deep backing vocals on VISAGE songs like ‘Fade to Grey’ and ‘Night Train’, you’re not known for singing. So will all the songs be vocodered like ‘Welcome To The Dancefloor’ or do you have other plans?

Rusty & KarinI always did backing vocals on everything and I sung ‘Dancefloor’ then got Gerard to do it pre-vocoder. On ‘Night Train’, I do the whole answer verses and on all my current stuff, I just sing it badly and then Gerard does it better.

I could sing it but it would be in the Bowie/ Iggy low baritone and I love that style but I am not a frontman. I would love VIKTORIA MODESTA rather than me.

Once I have the songs recorded… well, all I can do is make some calls and hope people like them. I would just love KARIN PARK to sing on them, I have two songs that I know would suit her and also Theo from HURTS or the guys in MIRRORS. There are so many perfect singers out there.

So now I just want to get the songs and the music right, the only good sign I have is that when I ask people to work with me, they hear the simple music and say “YES I love it, let’s do it” … that is the way I know I am doing something right.

Are there any other plans for the project?

I hope to play drums with RRussell Bell and Chris Payne in DRAMATIS so I hope there is a need for RRussell’s guitar… I have Robin Simon playing on one song and it’s perfect, he just sounds like the Robin of the ‘Systems Of Romance’ era.

How are you finding doing the radio shows?

I say “Less Talk, More Music” as I really think The Electricity Club is about the NEW MUSIC and the inspired classics. I am just the link… people love the tracks I select and that’s always been the case. I find bands / songs / music and say “I love this”… success!

It may take a year or four albums like with SIMPLE MINDS and ULTRAVOX but I can hear it, first time… and my track listings will show that we have found great talent; it may take time… but it’s QUALITY!


The Electricity Club gives its warmest thanks to Rusty Egan

Additional thanks to Art Bennett

RUSTY EGAN’s radio shows can be listened to on Mixcloud at
http://www.mixcloud.com/tag/rusty-egan/

http://www.facebook.com/djRustyEgan

http://rustyegan.blogspot.co.uk/

https://soundcloud.com/rusty-egan

https://twitter.com/DJRustyEgan


Text and Interview by Chi Ming Lai
29th May 2013, updated 18th June 2013

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