Tag: The Fallout Club

MUSIK, MUSIC, MUSIQUE 1980: The Dawn Of Synth Pop

1977 is often seen as Year Zero for synthpop, thanks to hit singles by DONNA SUMMER, SPACE and JEAN-MICHEL JARRE.

But it was not until 1979 with TUBEWAY ARMY reaching No1 with ‘Are Friends Electric?’ that the sound of synth truly hit the mainstream.  Although ‘No1 Song In Heaven’ by SPARKS had actually been a hit a few months earlier, ‘Are Friends Electric?’ was the beginning of the synth being accepted as a worthy mode of expression, rather than as a novelty. But as synths became more affordable, they became the perfect tool of youthful expression.

From Cherry Red, makers of the excellent ’Electrical Language: Independent British Synth Pop 78-84’ 4CD boxed set, comes ‘Musik Music Musique’; subtitled ‘1980: The Dawn Of Synth Pop’, this 3CD 58 track collection explores the arrival of synth pop and the dawn of a new musical era. This was the year before the synth became the rule rather than the exception with the success of SOFT CELL and DEPECHE MODE.

The set starts appropriately with OMD and ‘Messages’, one of the first tunes showcasing the warmer side of electronics following the colder wave led by Messrs Numan and Foxx. But as if to counter this next generation of youngsters, ‘Messages’ is immediately followed by the collection’s vocoder laden title song ‘Musik Music Musique’ from Zeus B Held and the superb proto-industrial ode to loveless sex ‘Coitus Interruptus’ by the much missed FAD GADGET.

Zeus B Held was later to make his impression on popular culture remixing ALPHAVILLE and SIMPLE MINDS as well producing the likes of FASHION, DEAD OR ALIVE, SPEAR OF DESTINY and TRANSVISION VAMP, but his wider breakthrough came as part of GINA X PERFORMANCE in 1979 with The Blitz Club favourite ‘No GDM’; on this compendium, the lesser-known but just as worthy ‘Vendor’s Box’ from their second album ‘X-Traordinaire’ is deservedly provided a platform.

The best producers often earn their spurs as artists and realising their limitations, use their accumulated studio nous to subvert the mainstream via pop. ‘Astroboy’ by BUGGLES sees Trevor Horn develop his sonic architecture to prove that he had another song that wasn’t ‘Video Killed The Radio Star’. Meanwhile the welcome inclusion of NEW MUSIK’s other hit ‘This World Of Water’ allows Tony Mansfield to showcase the crafted sparkle that would later go on to adorn records by CAPTAIN SENSIBLE, VICIOUS PINK, A-HA and NAKED EYES.

It may seem strange to see SPANDAU BALLET as part of this package but when they first appeared, they were considered a synthesizer band; ‘Glow’ was a UK double A side single with ‘Musclebound’ in 1981 and while it was the last synth-led track they did, their funk soul aspirations were there for all to hear. In fact, songwriter Gary Kemp had conceived ‘Glow’ with a brass section in mind, so it is now something of a curio that could be seen as a precursor to ‘Chant No1’.

SPANDAU BALLET were produced by Richard James Burgess who co-designed the Simmons SDSV; his electro-jazz combo LANDSCAPE figure with the Colin Thurston helmed ‘European Man’ which was actually designated “electronic dance music” on its single artwork some three decades before it was appropriated and abbreviated to become EDM…

Many of the usual suspects from the period like VISAGE, JAPAN, JOHN FOXX, THE HUMAN LEAGUE and OUR DAUGHTER’S WEDDING are all present and correct with familiar recordings, but interestingly (although not for the better), it’s the original version of PHIL LYNOTT’s ‘Yellow Pearl’ without the Rusty Egan drums or the Midge Ure remix that gets the nod!

One of the main beauties of these thoughtfully curated collections is to be able sway away from the obvious and feature a known-name with a lesser-known work; in the case of ULTRAVOX, it’s the occasionally Eno-inspired and Conny Plank produced ‘Waiting’ which was the B-side to their first Midge Ure fronted single ‘Sleepwalk’. Meanwhile, SUICIDE are represented by the excellent Ric Ocasek produced ‘Diamonds, Fur Coat, Champagne’ and YELLO with ‘Bimbo’, the oddball opener of the Swiss trailblazers’ debut long player ‘Solid Pleasure’.

SILICON TEENS get to feature with something other than ‘Memphis Tennessee’ and it’s the Daniel Miller‘s self-penned instrumental ‘Chip N Roll’ that has the honour, while the Mute Records founder gets another track in with ‘Brushing Your Hair’, a gloriously vibrant instrumental production and co-write for Alex Fergusson of ALTERNATIVE TV.

There’s additionally tracks by lesser known international acts or those bands that faded from view after effectively being one hit wonders. The entire career of M may have been overshadowed by the ubiquitous ‘Pop Muzik’ but Robin Scott did go on to release three albums and work with Ryuichi Sakamoto; the sombre ‘Official Secrets’ may not really have much of a hook but it contains some percolating bleepy sections that pre-date KRAFTWERK’s ‘Home Computer’ by one year.

‘A Circuit Like Me’ from Australian combo, THE METRONOMES actually sounds very 21st century with its detached female vocal and charming monosynths, while the gallop of ‘Drawn & Quartered’ by THE KORGIS is a worthy find. Now while ROCKETS found fame with a catchy robotic flavoured cover of ‘On The Road Again’ with the help of Zeus B Held, the silver faced Italians found that the vocoder suited their performance art poise and reapplied it for the self-penned space rocker ‘Galactica’.

Also possessing a bit of a gallop is LORI & THE CHAMELEONS’ wispy Morricone-influenced single ‘The Lonely Spy’ although with its acoustic strum, it is quite different from the understated electronic disco of their best known track ‘Touch’. Cut from a similar melodic post-punk cloth, the Martin Hannett produced ‘Sympathy’ from PAULINE MURRAY & THE INVISIBLE GIRLS is a reminder of how women were coming to the fore after punk in synth-assisted new wave, a fact borne out on ‘Musik Music Musique’ by the inclusion of more obscure works from TOYAH, KIM WILDE and HAZEL O’CONNOR.

‘Musik Music Musique’ is also an opportunity to become reacquainted with lost tunes of yore and ‘The Eyes Have It’ by KAREL FIALKA will be remembered by those who owned the 1980 Virgin Records compilation ‘Machines’, as will the octave driven ‘Destiny’ by DALEK I LOVE YOU. Some enjoyably avant pop adventures come courtesy of XYNN’s ‘Computed Man’ and SCIENCE’s ‘Tokyo’, while one of the more bizarre but successful experiments included is ‘I’m A Computer’ by THE GOO-Q.

One of the lesser known acts featuring with the eccentric ‘Money’ is MOEBIUS, not the member of German duo CLUSTER but an American art rock band with a penchant for DEVO. ‘Doctor …?’ by BLOOD DONOR is another wonderful discovery while of the more experimental art pieces included, NINI RAVIOLETTE’s ‘Suis-Je Normale’ delightfully comes over like a collaboration between Jane Birkin and Laurie Anderson.

Düsseldorf is often seen as the spiritual home of electronic music and there is worthy representation from DER PLAN and ‘Da Vorne Steht Ne Ampel’ illustrating how there were other dimensions to German electronic music other than that engineered by KRAFTWERK. But closing the set is the band named after the Electri_City itself, LA DÜSSELDORF with the light-hearted ‘Dampfriemen’; a quirky slice of synth “Oompah” with comedic chants and a kazoo section, it sums up the manic oddball nature of the former NEU! drummer Klaus Dinger.

There are many other tracks that have merit, but textures which reoccur on ‘Musik Music Musique’ to date stamp the period are the icy chill of the affordable ARP Quartet string machine and squawky sax, although not in an overblown jazz funk way.

Despite ‘Musik Music Musique’ comprising of a carefully researched tracklisting, a few errors do slip through; as well as the SPANDAU BALLET track being released in 1981 as already mentioned (although it was available on a very scarce Japanese-only promo sampler in late 1980), the version of ‘Kebabträume’ by DAF is the 1982 Conny Plank version from the Virgin album ‘Für Immer’ and not the Bob Giddens produced Mute Records five piece band recording which actually came out in 1980.

Then in the booklet, the Foxx fronted 1977 line-up of ULTRAVOX! gets illustrated as opposed to the New Romantic suited Midge Ure one, while LA DÜSSELDORF’s Hans Lampe is referred to as a “Keyboard Whizz” when he is actually a drummer and now performs with Michael Rother who was Klaus Dinger’s partner in NEU!; in fact Dinger handled keyboards himself under the pseudonym of Nikolaus Van Rhein.

Those are minor quibbles though, because this set is very good value and acts as a great music history lesson as well as offering the chance to hear some new vintage synth. While many may have heard of BERLIN BLONDES, THE PASSAGE, THE FALLOUT CLUB and EYELESS IN GAZA, only a few will have heard their music.

‘Musik Music Musique’ offers something of a low risk opportunity to make some new friends while becoming reacquainted with a few old and lost ones. Here’s to the 1981 follow-up set…


‘Musik Music Musique – 1980: The Dawn Of Synth Pop’  is released on 31st July 2020 as a 3CD boxed set by Cherry Red Records

https://www.cherryred.co.uk/product/musik-music-musique-1980-the-dawn-of-synth-pop-various-artists-3cd/


Text by Chi Ming Lai
13th July 2020

ANI GLASS Mirores

Following her acclaimed first EP ‘Ffrwydrad Tawel’ in 2017, ANI GLASS releases her long-awaited debut album ‘Mirores’.

It is an observational electronic travelogue based around the idea of movement and progress in her hometown of Cardiff.

That might sound overly conceptual but this is a melodic pop record that also gathers ambience of the urban landscape, traffic, people and nature, all coming together to create the score of a city’s symphony.

Fluent in Welsh and Cornish, ANI GLASS uses a play on words for the album’s title which incorporates the name of one of her favourite artists Joan Miró – along with the Cornish word ‘miras’ which means “to look”. Therefore, ‘Mirores’ essentially translates as “Observer”.

An experienced hand who has previously worked with OMD’s Andy McCluskey and the late Martin Rushent, ANI GLASS opted to self-produce ‘Mirores’; she said to The Electricity Club: “I’m really excited about curating the presentation of this album; conceptually and visually. I have a lot of ideas about how I might involve and engage with people who may not be instinctively interested in Welsh electronic music.”

Beginning with ‘The Ballet Of A Good City’ and a folk choir, the subtle arpeggios paint an ambient air which recalls Vangelis, one of the album’s main sonic influences that also includes Martin Rushent, Giorgio Moroder, Jean-Michel Jarre and Arthur Russell.

With the dulcet tones of Welsh newsreader Huw Edwards within the voice collage, an eerie uplifting quality permeates on ‘Peirianwaith Perffaith’; translated as ‘Perfect Machinery’ and with the vibe of Autumnal discontent, the haunting detuned backdrop is perfect for her socially conscious Welsh expressionism and a celebration of devolution. With a wonderfully swirling leadline reminiscent of THE FALLOUT CLUB’s ‘Dream Soldiers’ and a suitably penetrating bass pulse, it is a search for identity in a moving city that is starkly industrial.

With a lovely higher vocal register, the Euro-disco of ‘Ynys Araul’ is rich in traditional melody, offering a pop sensibility and a wonderful triplet bassline. More mature and earnest in tone, ‘Y Cerrynt’ is unusual in having an almost minimal bass presence which gives it a unique quality. But ‘Cariad’ is a solemn set-piece, with sparse contemplative backing like one of OMD’s experiments in vertical take-off.

Following a short taped gospelly interlude ‘IBT’, the ‘Mirores’ title song itself is pure Cmyru synthpop brilliance with wonderful harmonies and a fabulously liberating vocal middle eight. It depicts the journey from dark desperation to motivation and inspiration, so despite the inherent melancholy, the newly married songstress gets to radiate an inspired mood of optimism..

Playing off a claustrophobic soundscape and a bouncy off-beat in the vein of GRIMES, some fabulous icy strings make their presence felt on ‘Goleuo’r Sêr’. Singing in English over a staccato bassline and bell-like rings, ‘Cathedral In The Desert’ is an affectionate reminder musically of what EURYTHMICS once sounded like before they went all rock ‘n’ roll. Continuing in English but in a spoken word fashion, ‘Agnes’ swiftly returns to Welsh with its deeper resonances rich within the sparse synthscape as a touching tribute to artist Agnes Martin .

Closing with ‘The Rising Of The Moon’, a collage of male speech and ANI GLASS’ own layered voices counterpoint as night time covers the city.

Taking a leaf out of her mentor Andy McCluskey and OMD albums such as ‘Dazzle Ships’ and ‘English Electric’, ‘Mirores’ has enticing synthpop songs sitting together with more conceptual found sound adventures.

It is one woman’s artistic vision celebrating her heritage and home, empowered by the freedom and democracy opened up via electronic music.


‘Mirores’ is released on 6th March 2020 by Recordiau Neb, available direct from http://www.recordiauneb.com/siop

Download version available from https://aniglass.bandcamp.com/album/mirores

http://www.recordiauneb.com/ani-glass

https://www.facebook.com/aniglasscymru/

https://twitter.com/Ani_Glass

https://www.instagram.com/ani_glass/

https://soundcloud.com/aniglass


Text by Chi Ming Lai
26th February 2020

Introducing VON KONOW

From the same stable as VILLA NAH, SIN COS TAN and THE HEARING comes Marko von Konow.

The flamboyant Finnish art rocker says he is all about contradictions. Combining European cabaret, progressive rock and synthpop within his strange but accessible world, his sound was premiered on his 2017 album ‘Lieder’ and featured the epic single ‘Horses Run With Me’.

Unsurprisingly, von Konow looks towards Nietzsche and Sartre for literary inspiration while within popular culture, the chameleon presence of Bowie, Mercury and Gaga all loom. Embarking on a journey to distant places, his songs tell of the survival of outsiders.

With rousing avant pop melodies and dramatic orchestrations, the lead single ‘On A Hill’ from the new album ‘For All & None’ sonically echoes THE PSYCHEDELIC FURS cult favourite ‘Love My Way’ with its charming marimba hook. In a superbly picturesque monochromatic video directed by Tommi Pietiläinen with costumes designed by Suvi Hänninen, von Konow exudes an enigmatic demeanour dressed with a thoughtful glam edge.

Utilising von Konow’s inherent theatrics, other highlights on the impressive new album include a filmic jazz inflected duet with Salla Seppälä entitled ‘True As a Dream’ and ‘Away To Harbourside’ which comes over like an Owen Pallett collaboration with PET SHOP BOYS.

The intensely adventurous baroque of ‘Overtaken’ is appropriately Bowie-esque while the vivid colours of ‘Lucid Sound’ bounce like THE DIVINE COMEDY meeting LLOYD COLE & THE COMMOTIONS, but with unexpected bursts of synth for good measure alongside the strings and woodwinds.

With themes of love and death, these dramatic widescreen overtures could appeal to fans of ASSOCIATES, FIAT LUX and THE FALLOUT CLUB.


‘For All & None’ is released by Solina Records in digital formats

https://vonkonow.net/

https://www.facebook.com/vonkonowmusic/

https://www.instagram.com/vonkonowartist/

https://solinarecords.com/von-konow-for-all-and-none/


Text by Chi Ming Lai
1st July 2019

THE FALLOUT CLUB Dangerous Friends

THE FALL OUT CLUB may have only released three singles in their brief existence, but have become one of those bands that have fallen into cult legend.

Featuring singer Trevor Herion, drummer Paul Simon, bassist Matthew Seligman and a young synthesizer upstart named Thomas Dolby, the intensity of their best song ‘Dream Soliders’ from 1981 captured the anxiety and tribulations of young manhood in a manner not dissimilar to Northern English acts of the period such as THE WILD SWANS, HAMBI & THE DANCE, BOX OF TOYS, BLACK and FIAT LUX.

And now, Paul Simon has reissued six songs that originally appeared on THE FALLOUT CLUB’s three singles as ‘Dangerous Friends’, a mini-album bolstered by a number of remixes featuring the addition of his brother one-time ULTRAVOX Robin Simon on guitar and vocalist Gina Watson.

Swathed in synths and attached to a precise militaristic beat, ‘Dream Soliders’ was produced by Thomas Dolby and saw Herion give a mournful majestic vocal which reflected a battle with depression that haunted him throughout his short life.

Meanwhile solely composed by Dolby, the B-side ‘Pedestrian Walkway’ utilised pulsing sequencers married to a stark electro-funk backdrop and some afflicted vocalisation from Herion.

But THE FALLOUT CLUB began in 1980 with just Herion and Simon on the debut single ‘The Falling Years’. It was a drum machine propelled cocoon of sound with vocals recalling Russell Mael of SPARKS. It was something that ‘Desert Song’, the slightly overwrought B-side of ‘Wonderlust’ also had lingering within it.

Their third single ‘Wonderlust’, co-written with Thomas Dolby, saw a big leap in sound quality thanks to Dolby’s production skills and came with a dramatic Spaghetti Western flavour, lushly sculpted using electronics.

Although THE FALLOUT CLUB disbanded, Dolby found success as an artist in his own right in 1982 and Trevor Herion secured a solo deal with Interdisc, a subsidiary of Island Records.

With CULTURE CLUB producer Steve Levine on board, the melodic promise shown in THE FALLOUT CLUB looked like it might be fully realised, but the album ‘Beauty Life’ released in 1983 was unable to gain traction due to a lack of hit singles, despite the rich quality of the Chanson influenced ‘Kiss Of No Return’ and the Ferry-esque ‘Love Chains’.

Eventually overcome with severe depression, Herion sadly took his own life in October 1988.

So in a fitting tribute, the new versions of ‘Dream Soldiers’ and ‘Pedestrian Walkway’ with extra guitar and female vocals add more eerie textures to the space freed up by the cleaned up mixes.

While ‘Dangerous Friends’ still sounds comparatively rough by 21st Century standards, the important thing is that these songs are readily available again to hear, especially the wondrous lost classic that is ‘Dream Soldiers’.


Dedicated to the memory of John Trevor Herion 1959 – 1988

‘Dangerous Friends’ is released by Stratotester Records and available digitally via the usual online outlets

http://www.ajantamusic.com/Albums.aspx

https://www.discogs.com/artist/685999-The-Fallout-Club

https://open.spotify.com/album/1fsFxtYGgGUMcjJVIiKiYH


Text by Chi Ming Lai
29th August 2017