A year since their last single ‘Athletes’, Brooklyn based electronic pop duo THE MYSTIC UNDERGROUND are back.
With the likes of PET SHOP BOYS, INFORMATION SOCIETY, KON KAN and NEW ORDER onimpresent in their sound, Vladimir Valette on vocals and Benedetto Socci on keyboards first started releasing music together back in 2010.
Their 2016 debut album ‘Protagonist’ gathered their best songs recorded over a six years period. But three years on, their new EP ‘Simple Minds, Simple Pleasures’ has nowt to do with Jim Kerr & Co and contains a declaration to “cast away your dreams and all those precious schemes”
Lead track ‘Tempted By The Sound Of Violence’ doesn’t deviate too far from previous works as they continue the pair “life, set to a dance beat”. With bleepy electro, house piano and a sample of snarl accompanying some dour but spirited vocals, there’s a blistering synth solo to lighten the tension.
‘Storm & Stress’ is very New York, with break beats and rhythmic squelches in a dystopian club setting, a pop song for “the disenchanted, disillusioned and disenfranchised” as declared in previous mission statements.
But darker and more polarising with a sombre call to revolution, ‘Paper Tigers’ states “the hypocrites are plenty, the sycophants are ready”; it’s THE MYSTIC UNDERGROUND’s answer in spirit to DEPECHE MODE’s ‘Scum’.
With many things flaming vitriol and ignorance Stateside, Valette’s mournful voice suits the unsettling state of the nation and the sentiments of THE MYSTIC UNDERGROUND on ‘Simple Minds, Simple Pleasures’ challenge that.
2016 will forever be remembered as the year when a significant number of cultural icons and popular musical figures left us; DAVID BOWIE, PRINCE, TOMITA, PETE BURNS, COLIN VERNCOMBE, KEITH EMERSON, DON BUCHLA and LEONARD COHEN were just some of the names who sadly departed.
But despite sadness that loomed, the year did produce some good music, particularly in the second half of the year.
GARY NUMAN launched an ambitious Pledge Music campaign and released some excellent collaborations with JOHN FOXX & THE MATHS, JEAN-MICHEL JARRE and TITÁN. But with his retrospective tour of material from his three most popular albums taking up much of his year, his new crowdfunded album did not meet its planned October release deadline.
Meanwhile JEAN-MICHEL JARRE had an excess of material and issued the second volume of his ‘Electronica’ project which also featured YELLO and PET SHOP BOYS, plus a third instalment to his classic opus ‘Oxygène’.
YELLO and PET SHOP BOYS also released new albums to a positive reception, proving again that partnerships featuring personnel over the age of 60 can still create music that is fresh and relevant.
Incidentally, one of YELLO’s young vocalists FIFI RONG continued to maintain her artistic profile with successful campaigns for her releases ‘Forbidden Desires’ and ‘Alone’.
2016 saw two concept albums emerge in ‘The Ship’ from BRIAN ENO, a solemn art piece with poignant anti-war messages and ‘Awake But Always Dreaming’, a very personal musical statement by HANNAH PEEL on the traumas of dementia. It was a busy year for Miss Peel with her also contributing her voice to BEYOND THE WIZARDS SLEEVE and JOHN FOXX & THE MATHS, as well as showcasing her own MARY CASIO side project.
WRANGLER released a new album ‘White Glue’ which exuded a less rigid format compared to its predecessor ‘LA Spark’ and collaborated with JOHN GRANT at the Rough Trade 40 live celebrations, while the prolific Neil Arthur issued another new BLANCMANGE album in ‘Commuter 23’ while also launching a new side project NEAR FUTURE with BERNHOLZ.
The Manchester veteran ERIC RANDOM issued ‘Words Made Flesh’, the second album of his recent return to the music while RUSTY EGAN finally presented ‘Welcome To The Dancefloor’ which despite its title, was actually a collection of classic styled synthpop. After many years of trials and tribulations for the co-founder of VISAGE, the long player featuring MIDGE URE, TONY HADLEY and CHRIS PAYNE who co-wrote ‘Fade to Grey’ exceeded expectations.
Space travel and synths were just made to go together, so JØTA and VANGELIS conceived projects covering The Cold War space race and the more recent Rosetta probe respectively. Meanwhile, WHITE LIES again showed they are as synthy as they are guitary on their ‘Friends’ album, and even started to sound like A-HA!
So again, Sweden still proved it was special with SILENT WAVE and MY GOD DAMN TERRITORY exhibiting varying degrees of potential. But it was REIN in particular who was causing a stir within the ranks of EBM, while the country’s best kept secretKITE toured North America and Asia. However, neither of these two latter artists figured in the line-up of Gothenburg’s Electronic Summer 2016 festival.
The Nordic region saw the welcome return of VILLA NAH with the album ‘Ultima’ after a five year absence, while TRENTEMØLLER made the case again as to why he is still the perfect producer for DEPECHE MODE with his new long player ‘Fixion’.
Greece was still the word with LIEBE, KID MOXIE and MARSHEAUX all presenting brand new releases, while SARAH P. maintained her profile with a series of inventive promo videos highlighting the ongoing issues of equality for women within the music industry. Embracing the same issue on the other side of the Atlantic, I AM SNOW ANGEL immersed herself in setting up the FEMALE FREQUENCY collective while also releasing her own music.
Over in LA, NIGHT CLUB developed on the promise of their EP trilogy and got a bit heavier on their debut long player ‘Requiem For Romance’, ending up sounding not unlike Britney fronting NINE INCH NAILS in the process!
Meanwhile the instrumental front, Texan couple HYPERBUBBLE provided some ‘Music To Color By’, Brussels duo METROLAND touchingly paid tribute to their late friend Louis Zachert with ‘Things Will Never Sound The Same Again’ and ULRICH SCHNAUSS went ‘No Further Ahead Than Today’. And MOBY offered a gift to profound relaxation with his free ‘Long Ambients 1: Calm. Sleep.’ download package.
PERTURBATOR’s ‘The Uncanny Valley’ became a flag bearer for the synth wave movement, along with the acclaimed soundtrack by SURVIVE members Kyle Dixon and Michael Stein for the absorbing Netflix drama ‘Stranger Things’.
But totally unexpected was ‘Silver City Ride’, a full length electro album from MARC ALMOND in collaboration with STARCLUSTER featuring his most synth laden body of work since SOFT CELL.
The biggest surprise of 2016 was ‘Fly’ the soundtrack souvenir to ‘Eddie The Eagle’, the light hearted biopic of the bespectacled Olympic ski jumper; featuring new material by members of FRANKIE GOES TO HOLLYWOOD, SOFT CELL, SPANDAU BALLET, ULTRAVOX, ERASURE and OMD in collaboration with TAKE THAT’s Gary Barlow, this looked like a terrible idea on paper.
But it was brilliantly executed and the resultant album was a largely enjoyable collection of retro flavoured pop.
Electronic acts actually got to headline the Glastonbury Festival in 2016, albeit on The Other Stage as opposed the main event; NEW ORDER and CHVRCHES wowed the crowds when they shared the bill on the Saturday night. There were rumours that KRAFTWERK and DEPECHE MODE might feature in 2017 but this was not to be, although both acts sent social media into overdrive when they announced major tours.
Among those accorded career spanning multi-disc boxed sets were ERASURE, MARC ALMOND, DEAD OR ALIVE and THE HUMAN LEAGUE. Somehow though, SIMPLE MINDS managed to milk a six disc variant of ‘New Gold Dream’ in the third of their classic album deluxe box editions; it was an amazing feat seeing as only ten songs were completed during the original sessions! The collection boasted no less than twelve takes of the aptly titled ‘Promised You A Miracle’; but the latest incarnation of the Glaswegians combo’ first big hit with KT TUNSTALL for their ‘Acoustic’ album proved to be one version too many.
Much better value for the money for the discerning music fan were the four ASSOCIATES double CD reissues, supervised by Alan Rankine and Michael Dempsey. Based around their first three albums and a ‘Very Best Of’ compilation, each additionally featured a plethora of rare and previously unreleased songs; they were a fitting tribute to the late Billy MacKenzie.
Nostalgia was very much a part of 2016, with HEAVEN 17, OMD and PETER HOOK & THE LIGHT all touring popular albums. And following the success in recent years of retro festivals such as ‘Rewind’ and the strangely named ‘Let’s Rock’, classic synthpop finally found itself part of the holiday camp circuit.
Part of the Butlins Music Weekender series, ‘Electric Dreams’ featuring OMD, MARC ALMOND, HEAVEN 17, BLANCMANGE and HOLLY JOHNSON almost went badly off-piste with the addition of GO WEST and THE ZOMBIES (!?!) to the programme. But the organisers pulled an unexpected surprise and booked modern synth acts like MARSHEAUX and AVEC SANS to support the bill.
Hardened retro festival goers are notorious for not embracing new music, but this ethos has to be welcomed and could provide an interesting new model for the future of event based entertainment. However, based on photographic evidence, the presence of inflatable pink flamingos and coloured wigs indicated the crowd atmosphere might have been no different to any of the usual nostalgia outings, but with a roof and central heating added!
And while TEC004 featuring MARSHEAUX, KID KASIO and RODNEY CROMWELL was not in the same league, it was a fine showcase for the best in independent synthpop.
Both events proved again that the best electronic music events are those actually curated by electronic music enthusiasts, something that is not the case with several other events.
In all, 2016 was not a vintage year for electronic pop. If there was a lesson this year, it’s been to cherish and appreciate great life’s moments where possible, especially with the number of music figures that have been lost in the last 12 months.
Things cannot go on forever sadly…
Best Album: PERTURBATOR The Uncanny Valley
Best Song: SOULWAX Transient Program for Drums & Machinery
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BATTLE TAPES featuring PARTY NAILS Solid Gold
Most Promising New Act: VOX LOW
Best Album: VILE ELECTRODES In The Shadows Of Monuments
Best Song: ASSEMBLAGE 23 Barren
Best Gig: ASSEMBLAGE 23 at Denver Oriental Theatre
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: VOX LOW
Best Album: ERIC RANDOM Words Made Flesh
Best Song: RATIONAL YOUTH This Side Of The Border
Best Gig: Troika! featuring KITE BASE, HANNAH PEEL + I SPEAK MACHINE at Shacklewell Arms
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: ZANIAS
CHI MING LAI
Best Album: VILLA NAH Ultima
Best Song: VILE ELECTRODES The Vanished Past
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BEYOND THE WIZARD’S SLEEVE Diagram Girl
Most Promising New Act: ANI GLASS
Best Album: MARSHEAUX Ath.Lon
Best Song: RODNEY CROMWELL Baby Robot
Best Gig: GARY NUMAN at Norwich UEA
Best Video: MARSHEAUX Like A Movie
Most Promising New Act: DISQO VOLANTE
MONIKA IZABELA TRIGWELL
Best Album: APOPTYGMA BERZERK Exit Popularity Contest
Best Song: KID KASIO Full Moon Blue
Best Gig: SPEAK & SPELL at Islington Academy
Best Video: BLACK NEEDLE NOISE featuring JENNIE VEE Heaven
Most Promising New Act: JOHAN BAECKSTRÖM
THE MYSTIC UNDERGROUND are Brooklyn based duo Vladimir Valette on vocals and Benedetto Socci on keyboards. Daniel Cousins joins them live to showcase the hereditary Big Apple’s electro disco genre, born out of the legends of like PET SHOP BOYS, DEPECHE MODE, KON KAN, INFORMATION SOCIETY and NEW ORDER.
Having started to write songs about “life, set to a dance beat”, the duo gained popularity within the New York live circuit, supporting the likes of A PLACE TO BURY STRANGERS and FREEZEPOP along the way.
The self-professed “soundtrack of your trials and tribulations, injecting a generous dollop of drama along with extra helpings of synths and sass into an otherwise dreary and desolate musical landscape”, THE MYSTIC UNDERGROUND have released a few EPs and now the long player ‘Protagonist’ is being aired to satisfy any self-respecting lover of Britpop, new wave, alternative dance and electronica.
The opening ‘Evelyn, You’ll Be The Death Of Me’, having previously featured on the ‘Dreamers & Lovers’ EP, sounds like a slowed down Eurotrack, bearing the hallmarks of a good club number; systematic and measured however.
‘War Of The Roses’ and ‘In The Waking Hour’ push the envelope, both being grown up electro dance tracks with a twist. The feeling prevails that THE MYSTIC UNDERGROUND open the door to something new entirely, while still respecting their musical roots.
The motto of “pop songs for the disenchanted, disillusioned and disenfranchised” can be heard in ERASURE-esque ‘Laughter Turns To Tears’, while the futuristic ‘Carry On, Young Men’ is a hypnotic anthem á la HEAVEN 17.
The liquid electronica sips through vocally superb ‘That’s How Rumours Start’; ‘A Future In Film’ however, takes on a very Europop approach. More subdued pieces are showcased in ‘Here In My House’, which although slower, is still very synth charged and poignantly moody.
The tempo changes altogether with the PET SHOP BOYS’ style induced musical coma of ‘Those Evil Urges’ which vocally is rather reminiscent of MARC ALMOND.
The best has been left to last, where ‘Remember Me’ enters with its guitars reminiscent of NEW ORDER’s ‘Leave Me Alone’. The bass leads the melody in a manner which THE CURE wouldn’t be ashamed of and the reversed drums with string synth complete the sombre atmosphere of the track.
THE MYSTIC UNDERGROUND claim they’re “looking to grab a foothold in the minds and hearts of listeners everywhere, (…) want to serve as a reminder that the term ‘pop music’ isn’t an obscenity. We write songs with something to say and aren’t afraid to push the envelope and have you singing along in the process”
With ‘Protagonist’, they’ve pretty much achieved just that.
It was a weak year musically overall, but a number of acts with great potential emerged.
So here are The Electricity Club’s 30 Songs of 2012, listed in alphabetical order. All have been released either in physical formats or digitally as purchasable or free downloads during the calendar year. However, the list is limited to one song per artist
It also does not include tracks which are exclusive to streams and videos or DJs only promos like the remix of REPUBLICA’s ‘Christiana Obey’… so maybe next year perhaps?
AUTOMATIC WRITING Continuous
Consisting of the Merrick Brothers, AUTOMATIC WRITING are the angry OMD if you can imagine that! Their sombre, ENO influenced template is like Wirral’s finest have been given a contemporary anthemic facelift by having WHITE LIES Harry McVeigh recruited as lead vocalist! ‘Continuous’ whirs and spins while driven by mutant motorik beats and dysfunctional claustrophobia. The flip ‘Falling’ is a more mid-tempo cousin and is another worthy addition to the duo’s developing sound.
BRIGHT LIGHT BRIGHT LIGHT is Welsh songwriter/producer Rod Thomas who adopted his ‘Gremlins’ referencing moniker to prevent being mistaken for an acoustic act which he clearly now is not, despite his folkie roots. As the opener to the long awaited album ‘Make Me Believe In Hope’, ‘Immature’ is a great start as it rhythmically percolates in the manner of THE POSTAL SERVICE before a terrific synth section unexpectedly lifts the whole piece several notches. This is a superbly emotive and sensitive piece of pop.
Available on the album ‘Make Me Believe in Hope’ via The Blue Team/Aztec Records
From ‘The Lost Are Found’ album produced by Stephen Hague which also features versions of songs originally by PET SHOP BOYS, DUBSTAR and STINA NORDENSTRAM among others, CLAUDIA BRÜCKEN’s lively reinterpretation of Bowie’s ‘Everyone Says Hi’ from ‘Heathen’ unveils a previously hidden heartfelt connection, a call for contact like Major Tom in ‘Space Oddity’. Dressed with catchy synth riffs and fuzzy shades, it combines ice maiden chill and organic warmth for an artful sound.
Available on the album ‘The Lost Are Found’ via There (there)
ROBYN doing an electro cover of ‘The Whole Of The Moon’ may not sound immediately appealing in concept but that’s how this punchy number starts before elevating into a rousing, spirited synth anthem. CHVRCHES could become the next electro combo to shake up the mainstream pop world since LA ROUX. A great song with great melodies and weird noises, herein ‘Lies’ the bridge between leftfield and bubblegum pop. The follow-up ‘The Mothers We Share’ underlines this promising Glaswegian trio’s capability.
VINCE CLARKE Featuring ANE BRUN Fly On The Windscreen
Novelist Tonya Hurley commissioned her brother-in-law VINCE CLARKE to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist ANE BRUN as part of promotion for her literary trilogy ‘The Blessed’. While the guitar-like textures appear to have been borrowed from the original in an act of artistic continuity, the rest of the arrangement is quite different as the vulnerable feminine twist acts as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.
Available as a download single via iTunes and Amazon
COMPUTE is Ulrika Mild, a Gothenburg girl who discovered synthpop via DEPECHE MODE’s ‘Speak and Spell’. ‘Light As a Feather’ is a bouncy but melancholic ditty which suggests a snow mountain of vulnerability. That is certainly apparent in Ulrika’s sweet, fragile voice. It’s beautifully sequenced with layers of eerie string machine for that distinctive Nordic chill.
Available on download album ‘The Distance’ via iTunes and Amazon
Roberta Fidora shows yet another fine turn of aggressive resignation like SIOUXSIE SIOUX in a padded cell while instrumentalist Macaulay Hopwood picks out his unsettling bass notes to full effect. While this CURXES tune is perhaps more guitar driven than what would normally be expected of most electronica, ‘Spectre’ is positively Spartan with symphonic synth stabs and industrial beat snaps…it’s the sound of the overground or Goth ‘n’ Bass…or even Gotham Bass; geddit? Simply exhilarating!
Available as a download single via Amazon and iTunes
DIVINE KNIGHTS Clouds (THE SANFERNANDO SOUND remix)
Goth laden PET SHOP BOYS from the theatrical Aussie duo dreamily remixed by THE SANFERNANDO SOUND. This is richly synthesized with lashings of atmosphere and accessible melancholy. The extrovertly camp pair have even subverted the realm of the talent show by getting into the semi-finals of ‘Australia’s Got Talent’. Dannii Minogue said: “I think DIVINE KNIGHTS are brave for coming on a show like this because not everybody is going to get them…but I really hope they do well!”
Available as a download single via Amazon and iTunes
Texan duo ELEVEN:ELEVEN comprise the feline vocals of Sicca with the instrumentation of Jake Childs and throw in a variety of influences including Italo Disco, Hi-NRG and Electroclash. ‘No Words’ recalls MISS KITTEN & THE HACKER, capturing a tense nightlife seediness. Short but sweet with a swirling middle section, who needs an extended dance mix when the point is made in two and a half minutes? ELEVEN:ELEVEN have proved danceable electronic pop music can be made that’s syncopated and subtle.
GAZELLE TWIN Changelings (JOHN FOXX & THE MATHS remix)
Stark and mysterious, the living art of GAZELLE TWIN is the moniker of Elizabeth Walling, the Brighton based songstress whose brooding, unsettling Hauntronica has impressed in all the right circles. JOHN FOXX & THE MATHS’ version of one of her best tracks ‘Changelings’ sees Mr Foxx adding his own Cathedral Oceans sweeps to Benge’s Mathematical solutions. In an productive year profile wise, her music was used in the promotion for the film ‘Prometheus’.
Available on the album ‘The Entire City Remixed’ via Anti-Ghost Moon Ray Records
GRIMES is the kooky Montreal sensation that is Clare Boucher and this LYKKE LI fronting KRAFTWERK tune is sumptuously infectious. Despite almost unintelligible vocals, ‘Oblivion’ is probably the most immediate track on the ‘Visions’ album although other tracks like ‘Genesis’ and ‘Be A Body’ explore similarly accessible synthesized avenues. ‘Oblivion’ is ideal for those looking for subtler percussive colours and synthesized tapestries in a leftfield lady meets pop princess fusion.
HUSKI first came to public attention on the trendy Shoreditch electro scene back in 2007 with ‘Take Me Your Picture’. The late lamented Word magazine described ‘Close To The Edge’ as sounding “not unlike how Clare Grogan might if she took a guest slot with THE HUMAN LEAGUE”. As both THE HUMAN LEAGUE and ALTERED IMAGES worked with the late Martin Rushent, that is not as peculiar as it first sounds and it brims with a cutesy allure.
IAMAMIWHOIAMI is the enigmatic electronic multimedia project fronted by Jonna Lee. From her first full length album ‘Kin’, ‘Drops’ is uptempo but almost trancelike. The beats are subtle with just layers of ice and chill to compliment. The clattering fits of noise and metallic textures add to the hypnotism. Jonna Lee’s piercing larynx will polarise listeners but this is Nordic weirdness in all its wonderful glory.
Available on the album ‘Kin’ via Co-Operative Music/To Whom It May Concern
Hailing from Belgrade and featuring the nucleus of vocalist Jelena Miletić and instrumentalist Jovan Vesić, INJE have had the pleasure of supporting HURTS and FAITHLESS in their home country. Their chromatic East European charge will almost certainly please followers of LADYTRON. The excellent ‘Kofein I CO2’ from their EP ‘Protok’ is sort of DUBSTAR in Serbo-Croat meets DAVID LYNCH soundtrack, possessing an aural magnetism that is gorgeously layered with an air of wispy innocence.
‘Killer Boots’ is cooing new wave electropop with an immediately catchy Italo vibe…think ‘Self Control’ or even ‘Touch Me’! Appropriately decadent and sexy, this catchy song is produced by GARY NUMAN collaborator Andy Gray. Colourful, energetic and glamourous, KOVAK are like BLONDIE meeting DRAGONETTE and GWEN STEFANI through a TUBEWAY ARMY voltage controlled filter.
Is it dubstep or is it electro? ‘Keep On Dreaming’ actually sounds more like the latter. When the half beat/two step influences kick in, luckily they do so without the irritating, skipping CD nightmares that devilishly plague most dubstep. But like with all crossover songs, it is the flavour rather than the full blown experience that often wins favour. Confused? Just enjoy… this number by young Stockholm songstress Josefine Jinder features lots of lovely synths!
From the creative minds of former MIRRORS man Ally Young and Lee Newell from one-time indie darlings VIVA BROTHER, ‘Braveface’ is a chilling but uplifting piece of mood music which comes over like OMD fronted by HARD FI! With its Cool Britannia meets Synth Britannia fusion via the Big Apple, LOVELIFE’s genre blend may be confusing indie and electronic music fans alike but at least it’s different.
Since slimming down to a trio, MIRRORS have been heading for a sparser, textural direction which is perhaps less immediate than their debut album ‘Lights & Offerings’ but nevertheless rewarding with further listens. The beautifully stark drama of ‘Between Four Walls’ is sublime and full of post 3am drama. With echoes of OMD, CHINA CRISIS and THE BLUE NILE, it is high end atmospheric electronic balladry at its best. “Do you ever wonder how you’ll ever get there when you never turn back around?”
Comprising of Glen Wisbey on synths and the suave persona of Christopher Beecham on vocals, MODOVAR’s most immediate number is the emotively rousing ‘Clearly’. Beecham is a man with a self-confessed admiration of ALISON MOYET so ‘Clearly’ connects as a song of love in the first degree. It is just one of their “melodic, anthemic, chorus led songs, lyrically focused on the undercurrents of love and the human condition”. Also check out their cover of ROXY MUSIC’s ‘Same Old Scene’.
Available on the download EP ‘Clearly’ via Amazon and iTunes
MOTOR’s electro stomper ‘Man Made Machine’ features vocals by DEPECHE MODE’s Martin Gore in a collaboration that sounds not unlike a camp IGGY POP being backed by an angry GOLDFRAPP. In the absence of DM material in 2012, this has been a worthy substitute with Gore luring nervously over the duo’s brand of harder edged techno electro. Incidentally, the same titled parent album also features guest such as GARY NUMAN and NITZER EBB’s Douglas J McCarthy.
New York domiciled Anglophile duo THE MYSTIC UNDERGROUND’s make “pop songs for the disenchanted, disillusioned and disenfranchised”. Featuring Vladimir Valette on vocals and Benedetto Socci on keyboards, their “life…set to a dance beat” touches a nerve and now more so than the NEW ORDER influenced ‘Remember Me’. An emotive guitar assisted number in the vein of ‘Leave Me Alone’, it is slightly mournful and despaired but melodically secure.
Available on the download EP ‘Dreamers & Lovers’ via Stereosonic Recordings
BJÖRK goes synthy via THE KNIFE on ‘Thousand Loaded Guns’, a danceable tune that provides a degree of accessibility into the world of darker Nordic climes. Hailing from the forests of Djura in Sweden, KARIN PARK is yet another child of Drejer-Andersson, straddling between electropop and artier aspirations. Her sound is sonically awkward, albeit in a liberating artistic way. Scandinavia is a great place to be musically at the moment.
Available on the album ‘Highwire Poetry’ via State Of The Eye Recordings
Following her Arrival in 2011, QUEEN OF HEARTS graced the music world with a glitzy slice of electro schaffel appropriately entitled ‘Neon’. On first hearing this live, The Electricity Club gleefully pronounced that this managed to out Goldfrapp GOLDFRAPP. While this had the obvious hallmarks of Lady Alison’s glam stomp, Queenie added her own cooing poptastic flavour, recalling RACHEL STEVENS’ under rated and great lost album ‘Come & Get It’.
Available on the download EP ‘Neon’ via All Things Go Records
Hailing from downtown Los Angeles, RITUALS comprise vocalist Neil Popkin and electronic producer Julian Denis. ‘James’ is rousing neo-NEW ORDER meets THE BRAVERY (remember them?) stomper which is only slightly short of being outstanding due to its demo-ish production…but the song resonates with an appealing doom. ‘Walk Away’ from their 2011 debut EP is another fine example of their potential.
SIN COS TAN Trust SIN COS TAN is the new mathematically charged project of ace producer Jori Hulkkonen and VILLA NAH’s 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. This is subtle, hypnotic dance music with layered strings, sampled cimbalom and Cold War dramatics, it is one of the songs of the year.
Available on the album ‘Sin Cos Tan’ via Solina (Europe) and Sugarcane Recordings (Rest of World)
Bristol’s SINESTAR are a full blown five-piece band with drums, bass and guitar as well as synths and their MESH derived synthesized rock has the potential to crossover into several electronic sub-genres. With a so far small but impressive body of work as showcased on the ‘I Am The Rain’ EP, the terrific ‘Hurricane’ is like FAITHLESS gone rock! Catchy, tuneful and anthemic, they just need to work on the production.
Available on the download EP ‘I Am The Rain’ via Dead Rat Recordings.
STRANGERS have been perilously close to COLDPLAY territory on occasions. But on ‘Safe/Pain’, a moody slice of sweeping synth noir with a lonely piano intro, the big surprise comes when a series of rave stabs cut in for the ultimate euphoric lift, crossed with a bit of dubstep! The BBC loved ‘Safe/Pain’ and used it for a clip compiling Team GB’s immense cycling achievements at the end of the London 2012 Olympics. Following prestigious support slots with BLANCMANGE and CLAUDIA BRÜCKEN under their belt, David Maddox-Jones, Raife Hacking and Piers Sherwood Roberts are well on their way!
‘It’s Dark’ could be RAMMSTEIN reincarnated as DEPECHE MODE with fewer the flame throwers! TITANS’ vocalist Dan Von Hoyel sounds like a lower register Dave Gahan winning a fight with a less Teutonic Till Lindemann. In an electronic sub-genre known for its shouting, ‘It’s Dark’ manages to sound menacing without forcing the aggression. The edgy electronic backing from Fredrik Mattsson and Jimmy Svensson blends marvellously with the band’s doompop manifesto.
Available on the download album ‘For The Long Gone’ via Progress Productions
There were so many songs that could have been chosen but with this opener from their err… Brilliant comeback album was ULTRAVOX’s optimistic message of intent. Musically, ‘Live’ is ‘Dancing With Tears In My Eyes’ without the imminent nuclear holocaust! The instrumental breakdown, which drops to a magnificent pulsing sequence, piano and lone bass drum before the climax, is pure LA DÜSSELDORF and really is something to be savoured.
Available on the album ‘Brilliant’ via Eden Recordings/EMI Records
While recording their long awaited new album ‘Inhale’, MARSHEAUX added to their remix portfolio with a terrific reworking of a track dating back to 1969 by Japanese classic singer SAORI YUKI. Adding incessant beats, infectious pulsing synth and melancholic washes of sound to the more organic re-recording with PINK MARTINI from 2011, this brings Kayokyoku (a style of Japanese music thatabsorbs various Western styles) into the electro age with a Melody For a New Dawn.
Brooklyn duo THE MYSTIC UNDERGROUND release their EP ‘Dreamers & Lovers’ to bring their intelligent, thought provoking pop to a wider audience.
Vladimir Valette and Benedetto Socci started writing their songs about “life, set to a dance beat” in 2004 and have been steadily building a following, playing support slots for the likes of FREEZEPOP and A PLACE TO BURY STRANGERS along the way. Opening ‘Dreamers & Lovers’ is the passionate buzzy glam stomp of the excellent ‘Discord & Panic’ with its hints of MOTOR and DEPECHE MODE.
Also included are an INIVISIBLE KID 4/4 club variation of that same number and the BEBORN BETON remix of their internet hit ‘Pride of St. Mark’s’ which takes on a slightly off-kilter direction from the frantic electropop of the original.
The EP’s highlight though is the fine ‘Remember Me’ which is reminiscent of NEW ORDER’s guitar based numbers like ‘Leave Me Alone’ or ‘Mesh’. With its sparing reverbed drums, melodic bass and chilling string synth, the addition of Valette’s contemplative voice suits the sombre atmosphere perfectly.
Meanwhile, ‘Evelyn, You’ll Be The Death of Me’ sounds like the title of something HURTS might do but while it is very European, it is more slowed down Eurodisco than monochromatic arthouse. But all in all, the EP is a fine introduction to THE MYSTIC UNDERGROUND, thanks to the inclusion of two of their best songs they have recorded so far.
The ‘Dreamers & Lovers’ EP is released as a download on 3rd July 2012 through Stereosonic Recordings