Tag: Undo Records (Page 2 of 6)

SARAH P. Millennial Girl

‘Millennial Girl’ by SARAH P. is a musical commentary on societies’ obsession with perfection and the perception that others’ lives seem so much more accomplished.

More guitar assisted and faster paced than her more dreamy but afflicted offerings, ‘Millennial Girl’ does capture a spacey vibe despite the use of more live sounding elements. With a hint of sarcasm, the Greek songstess sings “So I strive, I strive, I strive for perfection every time – But see no purpose – And I buy, I buy, I buy hip, cool stuff I see online – To scratch the surface”

Filmed on location near Athens by George Geranios, he of Undo Records fame and now establishing his new Amour Records imprint, Sarah’s hair and make-up on a brand new visual accompaniment was by none other than Sophie Sarigiannidou of MARSHEAUX in the ultimate Hellectro connection. Meanwhile, the colour touching of the video was undertaken by Norman Treffkorn.

SARAH P. said on her Facebook: “This video – an odyssey in itself, was filmed earlier this summer, but was supposed to come out last year ?

The song is obviously sarcastic – I chose to pick on my fellow millennial girls (w/o excluding myself), because I know that they can take a joke ❣

Girls (of all ages) have always been told how to do things: how to do our hair, what to wear, how to lose weight, how to look pretty. Superficial worries have been passed on from generation to generation, only to keep us busy for a lifetime trying to get what we don’t have. I couldn’t be more proud and grateful for all the women worldwide who are challenging this narrative and breaking all these stupid, outdated stereotypes. To all the ladies here and everywhere – YOU ARE PERFECTION, just the way you are! I’m really excited to share with you my upcoming records and projects, inspired by female empowerment in the past, in the present and in the future. The Who Am I era is closing – the Maenads era is about to begin!”


‘Millennial Girl’ is from the digital album ‘Who Am I’ released by EraseRestart Records, available direct from https://sarahpofficial.bandcamp.com/

The CD of ‘Who Am I’ is released by Amour Records, available direct from https://www.amour-records.com/product-page/sarah-p-who-am-i-cover

http://sarahpofficial.com/

https://www.facebook.com/sarahpofficial/

https://twitter.com/sarahpofficial

https://www.instagram.com/sarahpofficial/

https://www.amour-records.com/sarah-p


Text by Chi Ming Lai with thanks to Robert Helbig
Photo by George Geranios
10th September 2017

MARSHEAUX To The End

Despite the absence of new material lately, Greek synth maidens MARSHEAUX have been busy on the live circuit with a number of prestigious gigs including at Hansa Studios in Berlin and Electronic Winter in Gothenburg.

Following the success of their previous album ‘Ath.Lon’ which came out in 2016, MARSHEAUX have backtracked to 2013 for a brand new video to the song ‘To The End’ from the ‘Inhale’ album, filmed at various London locations including the city’s underground system and the trendy enclave of Hoxton.

The visual accompaniment directed and choreographed by Guillem Manzanres sees the film’s leading lady Mireia Oriol in various unsettling states of inhale and movement following was appears to be the untimely demise of her boyfriend Strong The…

Marianthi Melitsi and Sophie Sarigiannidou have been keeping their loyal followers happy with the digital release of ‘Our Girls On Film’, a nine track collection featuring alternate versions of songs such as ‘Heaven’, ‘Dream Of A Disco’, ‘August Day’ and ‘Sorrow’. All originally submitted to film makers for synchronisation purposes, the highlight of the set is undoubtedly a mighty cinematic take on ‘The Beginning Is The End Is The Beginning’.

Meanwhile, the girls have also made public their covers of DEPECHE MODE’s ‘Get The Balance Right’ and TEARS FOR FEARS’ ‘Suffer The Children’.

MARSHEAUX will play the W-Festival in Mont-De-L’enclus, Belgium on 18th August 2018 which has snared a selection of the highest quality acts including DAF, MIDGE URE, HEAVEN 17, D:UEL, MARC ALMOND, COVENANT, DIE KRUPPS, FRONT LINE ASSEMBLY, A FLOCK OF SEAGULLS, ALTERED IMAGES and ABC for its four day event.


‘To The End’ is from the album ‘Inhale’ is released by Undo Records, available from http://undorecords.bigcartel.com/products

‘Our Girls On Films’, ‘Get The Balance Right’ and ‘Suffer the Children’ can be found on the usual digital platforms

http://www.marsheaux.com/

https://www.facebook.com/marsheaux/

https://twitter.com/marsheaux

https://www.instagram.com/marsheaux/

http://www.undorecords.com/


Text by Chi Ming Lai
26th April 2018

GIRL ONE & THE GREASE GUNS The Strange Little Lies That Humans Draw In The Dust

Of GIRL ONE & THE GREASE GUNS, Undo Records say “Imagine a place where THE HUMAN LEAGUE meet LUSH, but on the way they stumble on Sarah Records’ Heavenly and all together, they finally meet Alan Vega and SUICIDE!!! Confused, that’s the point!!”

GIRL ONE & THE GREASE GUNS are shrouded in mystery…

Their names Sissy Space Echo, Warren Betamax, Charles Bronson Burner and Bruce LeeFax confirm their intentions “to thrive on causing confusion with a mixture of pure synthpop and more experimental electronic sounds”.

They came to the attention of small UK indie label Squirrel Records by placing a cassette under the windscreen wiper of a car outside the label’s HQ!

Since 2013, they have released a series of vinyl singles. But now, all their recordings have been compiled on a singular CD by Undo Records, snappily titled ‘The Strange Little Lies That Humans Draw In The Dust’. Containing the dysfunctional indie synthpop of ‘Driving Without Headlights (Once Again)’ and the noise fest of ‘(I’m A) Willing Receiver’, this pair of paranoid dystopian ditties served as the opening gambit of GIRL ONE & THE GREASE GUNS.

But it was their accessible second single ‘Jessica 6’ that got the mysterious combo some wider attention. A tribute to the cult Sci-Fi favourite ‘Logan’s Run’, the eerie post-punk cacophony of sound laced with icy Yamaha string machine and a frantic reverbed backbeat was a frantic salvo that came over like THE PIPETTES fronting an OMD assisted JOY DIVISION.

The brilliantly titled ‘Bring On The Dancing Horse Meat’ on the flip showcased some sexily nonchalant vocals from Sissy alongside a barrage of low-fi guitars and a battered Casio. Despite being capable of melody, GIRL ONE & THE GREASE GUNS couldn’t help their progressive mechanical desolation, as proven by their third single ‘(Here Come) The Catastrophe Machines’, basically ‘Nag Nag Nag’ but more violent!

Indeed, ultra-violence was a recurring theme as titles like ‘Hitting The Brick Wall’, ‘The Nightmare Room’ and ‘Bashed, Beaten & Broken (Trip The Switch)’ proved. But despite this, a song like ‘The Shatterproof Man’ sparkled with pretty melodies like early OMD meets THE RONETTES despite the detuned synth backing.

GIRL ONE & THE GREASE GUNS actually revealed a much softer side with their marvellous fourth single ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might have sounded like this.

All bases were covered with a version of ‘Veronica’ originally by punksters THE MANHATTAN LOVE SUICIDES treated with some frantic pulsing electronics, while the feisty ‘Suburban Robot’ recalled the magic of early LADYTRON. An unsettling dysfunctional waltz shaped ‘The Creep Circus’ which only added to the oddball but tuneful fun and this was without THE NORMAL inspired ‘Jesus On The Grille’.

With their DIY noise and motorik backbone, this compilation of GIRL ONE & THE GREASE GUNS is like the winter of discontent set to music and an ideal soundtrack for the current frosty climate. Yes, it’s time to fuel that paraffin heater until the combo release their first album proper…


With thanks to Undo Records

‘The Strange Little Lies That Humans Draw In The Dust’ is released on CD by Undo Records

http://www.squirrelrecords.co.uk/girl-one-and-the-grease-guns/

https://www.facebook.com/pages/Girl-One-And-The-Grease-Guns/440754999339179

http://www.undorecords.com


Text by Chi Ming Lai
26th November 2017

MARSHEAUX Ath.Lon – Rejected Demos

Following the success of MARSHEAUX’s most recent long player ‘Ath.Lon’, Marianthi Melitsi and Sophie Sarigiannidou present a limited edition cassette EP comprising of seven rejected demos from those recording sessions.

Entitled ‘Ath.Lon – Rejected Demos’, the release is limited to 300 copies of the revived analogue format pioneered by Philips in 1962 which provided the provided hours of fun as the late 20th Century’s equivalent of illegal downloading.

“Home Taping Is Killing Music” bore the legend on the paper inner sleeves of LP releases when the UK record industry lobbied the government to impose a blank tape levy in 1982. But with ‘Ath.Lon – Rejected Demos’, MARSHEAUX readily show how the modern day version of home taping is skill in music.

Driven by throbbing sequences and laced with rawer vocals than normally expected of MARSHEAUX, the tape’s opener ‘Just Don’t’ lyrically references of another outtake ‘How Does It Feel?’

Following on, the metallic textures used on ‘Satellites Of Love’ closely resemble MARSHEAUX’s remix of KID MOXIE’s ‘Dirty Air’ as a prominent guide vocal from producer Nick Bitzenis provides an production insight into the demo process.

The uptempo instrumental ‘Lush’ is like synthpop interpretation of Miki Berenyi’s same named indie combo and it’s a shame that there is isn’t a vocal from the duo’s more deeper voiced Sophie Sarigiannidou to join the dots. The imposing ’Behind’ is a track with lots of potential in its mighty metronomic beat and eerie synths but ends suddenly after just two minutes while the almost punky ‘I Don’t Care’ utilises a LADYTRON styled snarl.

‘Life Goes On’ recalls the crispness of OMD’s ‘Helen of Troy’ although offset with an incomplete wispy vocal and prolonged male voices, but the sombreness of ‘Slowdown’ shows a rarely heard side of MARSHEAUX with an unusual (for them) sub-bass thrown into the mix, although the rhythm track is very bare and sans hi-hats.

Releasing this collection on a cassette has a hissy novelty value but is very restrictive and as anyone with a memory of more than twenty years will recall, the format’s most distinctive analogue audio trait was the horrible noise it made when the tape was chewed!

‘Ath.Lon – Rejected Demos’ acts as a ready companion to the 2012 rarities compendium ‘The E-bay Queen Is Dead’.

It will be interesting if any of these MARSHEAUX demos are developed further, because in the case of ‘Lush’ and ‘Behind’, there may be some synthpop classics lurking within.

MARSHEAUX kindly chatted to The Electricity Club about these rejected demos…

It’s been a year since ‘Ath.Lon’ was released, how do you look back on it and the critical response after?

‘Ath.Lon’ was a special album as it was recorded simultaneously in two cities, while communicating by emails and meeting a couple of times. We had a great response from our fans and people in general said it was much better than ‘Inhale’ album. Looking back, we have to say we are quite satisfied with the result.

So how come you have managed to stockpile seven rejected demos?

While working on ‘Athlon’ we wrote over 25 tracks. Some we put only on ‘The.Ath.Lon’ limited CD box, some in the digital version of the album and the rest of it is going to be released this week on this cassette. There are also some more which we didn’t finish, as time was pressuring us to release ‘Ath.Lon’.

But why cassette? It is analogue but the biggest analogue noise it makes it when the tape chews… 😉

Ha ha indeed. Maybe we are affected by the cassette hype, it is a medium though that both of us love very much. We are going to sell them in our concerts with a pencil that says ”undo rewind”

Why did you feel these songs did not fit with the character of ‘Ath.Lon’?

As we said before, when we were about to decide which songs would fit on ‘Ath.Lon’, we all had different opinions. For example, ‘Safe Tonight’ wasn’t going to be in the album and it turned out to be our first single. Everything is subjective. ‘Lush’ could easily be a single, but it ended up as one of the rejected demos. Looking back, we remember deciding which songs we were going to use while on tour in Spain last year.

Which ones do you think could have made it into any one of the MARSHEAUX albums and which?

This is a difficult one. Each one of our albums was created and worked under other concept every time. For example in ‘Lumineux Noir’, we would never use any of the ‘Ath.Lon’ tracks and vice versa. On the other side, no other album of ours has a ‘Mediterranean’. It’s one of our favourite songs and could easily be the tribute to YAZOO that we always wanted to do.

You will be playing inside the legendary Hansa studios in Berlin, how did this come about and do you have anything different planned for it?

Yes, we had this offer and we didn’t have a second thought about it, it is fantastic to play in the same space were Bowie recorded his Berlin trilogy and DM recorded ‘Black Celebration’ and ‘Some Great Reward’. We are very excited that we are going to play and also stay there. We hope we’ll catch some of the aura of the space.

This is the day before DEPECHE MODE play in Berlin. Having met as Devotees, have you any thoughts on the new album ‘Spirit’?

We’ll be honest. ‘Spirit’ is the most weak DM album. Even ‘Delta Machine’ was far better than ‘Spirit’. Although ‘Going Backwards’ is a fantastic and classic DEPECHE MODE track, the rest of album is like they are trying to imitate and remember what they were.

What is next for MARSHEAUX?

There’s just been a new video released for ‘Now You Are Mine’, but we’re going to have some time off to relax and from September, we’ll continue touring. We need to rest and think about our next move.


‘Ath.Lon – Rejected Demos’ is released as a limited edition cassette by Undo Records, available only from http://undorecords.bigcartel.com/product/marsheaux-the-rejected-demos-cass-ep-ltd

MARSHEAUX play ‘Depeche Mode Berlin Party’ at Hansa Studio 2 in Berlin on Wednesday 21st June 2017 – details at https://www.facebook.com/events/1319695858122742/

https://www.facebook.com/marsheaux/

https://twitter.com/marsheaux

https://www.instagram.com/marsheaux/

http://www.undorecords.com/


Text by Chi Ming Lai
11th June 2017

TEC004 featuring MARSHEAUX, KID KASIO + RODNEY CROMWELL

tec004-johnnewstead-005Following the very successful TEC003 event in 2014 with VILE ELECTRODES, SPEAK & SPELL plus guests including Mark Reeder and Sarah Blackwood, as well as a DEPECHE MODE memorabilia exhibition by Deb Danahay, The Electricity Club went back on the road.

Their latest event TEC004 graced the beautiful Norfolk city of Norwich at Epic Studios.

The day was kicked off by a marvellous memorabilia exhibition of items from the Synth Britannia era. Deb Danahay’s collection mainly depicted the early years of DEPECHE MODE circa 1981. Deb shared her very first DM fan club information sheets, photos, backstage passes, newspaper cuttings as well as YAZOO fan club photos, backstage passes and personal notes. Meanwhile, one of the UK’s most devoted fans of DEPECHE MODE, Michael Rose treated eager observers to some excellent pieces of rare memorabilia.

tec004-johnnewstead-031These included tour programmes from the ‘Some Great Reward’, ‘Music For The Masses’ and ‘Violator’ eras. There were the Bong fan club publications as well, plus letters and assorted promo photographs.

And there was the famous jacket Dave Gahan wore on the iconic ‘The World We Live In and Live In Hamburg’ video of nearly from the 1984 ‘Some Great Reward’ Tour, and also the first video release by the band.

Stephen Roper provided his keepsakes relating to GARY NUMAN. He collated a book about the Numan’s imperial era entitled ‘Back Stage-A Book Of Reflections’, which featured contributions from the man himself. More recently, Roper has ventured into gig promotion, hosting a successful live appearance by former KRAFTWERK member WOLFGANG FLÜR and joined forces with The Electricity Club to present TEC004.

The Electricity Club’s own Paul Boddy, who also doubles as one quarter of the modern SPEAK & SPELL’s set up, kicked the “music bit” off with a fabulous DJ Set, containing the likes of ERASURE, FAD GADGET, DEPECHE MODE, THOMAS DOLBY, JOHN FOXX, LADYTRON and BATTLE TAPES.

tec004-simon-watson-029The happy crowd milling around the venue consisted of diehard fans of electronica, studded with the likes of Sarah Blackwood ex-CLIENT and DUBSTAR, Anais Neon and Martin Swan from VILE ELECTRODES and George Geranios of Undo Records. Also along for the fun were Keith Trigwell of SPEAK & SPELL, Simon Helm of Nordic friendly music blog Cold War Night Life plus radio DJs Rob Green and Chris Watts.

The compère for the evening was the lovely Caroline Rose, who was probably the only person in The Electricity Club’s circle who could pronounce “Les Disques du Crépuscule” and managed to get the audience properly geared up for the evening’s festivities as well as provided interesting info on the night’s acts.

tec004-johnnewstead-027TEC004’s guest DJ James Nice graced the gathering with a variety of new and vintage tunes.

He recently resurrected the prestigious Belgian label Les Disques du Crépuscule and its sister Factory Benelux offshoot, as platforms to issue a plethora of archive and experimental material, as well as releasing new music by MARNIE, MARSHEAUX, DEUX FILLES and LES PANTIES.

Nice, who is a music publisher and writer, with an accomplished 2010 book ‘Shadowplayers: The Rise And Fall Of Factory Records’, now looks after both labels, curating its heritage as well as taking care of new acts.

The sleeve notes for these releases are written by the man himself, but as he told TEC in his recent interview: “My notes tend to be honest rather than gushing or pseudo-academic, and that’s probably why I rarely get commissioned to write liner notes for other releases!”

tec004-johnnewstead-014In front of a TEC004 audience that had gathered from as far as Switzerland, Holland, Ireland, Liverpool and London, RODNEY CROMWELL took to the stage first. Led by Adam Cresswell, his short but sweet set of tunes including ‘Baby Robot’ and ‘Black Dog’ from debut long player ‘Age Of Anxiety’, chronicled his own personal problems with depression. There was also the terrific bonus of his older ARTHUR & MARTHA track ‘Autovia’ featuring bandmate Alice Hubley on lead vocals.

He was pleased with the early crowd turnout as he had told TEC earlier this year: “I think it’s harder to get gigs now… maybe that’s because electronic music’s not as fashionable, because back in the mid-noughties, it was on the back of Electroclash and that hipster thing!”. Well, it was a very successful set too and he managed it without blowing up one of his Korgs, like he had done at the warm-up gig in London the day before!

tec004-johnnewstead-008The golden boy of 2016, Nathan Cooper aka KID KASIO showcased his talents next during a lively 40 minute set. Cooper has had a successful couple of years, releasing his stunning retro-inspired album ‘Sit and Wait’ with such gems as ‘Full Moon Blue’ and ‘The Kodo Song’, which were both performed to a rather appreciative audience.

tec004-johnnewstead-007Previously of THE MODERN and MATINEE CLUB, Cooper has been involved in electronic music for years and worked with all the big names like Stephen Hague.

Most recently, he opened a fabulous recording studio Fiction Studios in London, together with his oh-so-famous actor brother Dominic. Cooper managed to pick up a parking fine during rehearsals, so he amusingly pleaded to the audience to buy at least six CDs to cover his loses!

His set went down tremendously well; with massively upbeat and entertaining tracks like ‘The Story Of Kid Charlemagne’ and the über fast ‘The End’, the crowd did not want to let KID KASIO off stage.

tec004-johnnewstead-006KID KASIO certainly prepared the audience for Greek Goddesses MARSHEAUX, whose hour-long set was simply stunning. The duo are soon to play at the first African electronic music festival in Senegal and kicked off with tunes from their latest acclaimed album ‘Ath.Lon’, accompanied by arty background projections.

But the big hits like ‘Breakthrough’ from ‘Lumineux Noir’ were also included and inevitably got the audience pumping.

Apart from being pleasing to the eye, Marianthi Melitsi and Sophie Sarigiannidou also know how to get the crowd going and a few certainly got involved in a very articulated manner. The audience were dancing and singing to the brilliant ‘Inhale’ and the mood continued with DEPECHE MODE’s ‘The Sun & The Rainfall’. With exquisite harmonies brought by the girls, a few people in the audience actually said they preferred MARSHEAUX’s cover album of ‘A Broken Frame’ to the original.

tec004-simon-watson-006After the show to an advanced preview of The Electricity Club’s upcoming modern synthpop compilation to be released on Undo Records, many rushed to purchase ‘Ath.Lon’ with its stunning sleeve, dutifully signed by the duo. The demand was such that certain items on the merchandise stand flew out so fast, that a few missed out on goodies such as the lush luminous sleeved ‘Ghost’ 7 inch vinyl.

At TEC004, the happy crowd was entertained and everybody was having a great time. Now, this is what happens when electronic music events are curated by electronic music enthusiasts.


TEC004 DJ sets

tec004-johnnewstead-022James Nice – Les Disques du Crépuscule

MIKADO ‘Par Hasard’
HARD CORPS ‘Porte de Bonheur’
TELEX ‘Moskow Diskow’
CRYSTAL CASTLES ‘Intimate’
VITALIC ‘Flashmob’
GRACE JONES ‘She’s Lost Control’
KAS PRODUCT ‘So Young But So Cold’
FACTORY FLOOR ‘Fall Back’
SPARKS ‘Tryouts For The Human Race’


tec004-johnnewstead-012Paul Boddy – The Electricity Club

6/8 Set #1
MESH ‘Born To Lie’
DEPECHE MODE ‘Personal Jesus [Alex Metric remix]’
THE HUMAN LEAGUE ‘Empire State Human [Chamber’s Reproduced remix]’
OMD ‘Sailing On The Seven Seas [Larrabee mix]’
GOLDFRAPP ‘Beautiful’
ERASURE ‘Love Is A Loser’
FAD GADGET ‘Swallow It’
SOFT CELL ‘Where Did Our Love Go?’

4/4 Set #2
tec004-simon-watson-012HARD CORPS ‘Je Suis Passé’
DIE KRUPPS ‘Der Amboss’
KIM WILDE ‘Cambodia [EMP re-edit]’
YAZOO ‘Goodbye 70s’
TORUL ‘Mad World [Rob Dust remix]’
GIORGIO MORODER ‘The Chase [Jaia Express remix]’
DONNA SUMMER ‘I Feel Love [Afrojack remix]’


‘The Electricity Club’ preview

tec004-simon-watson-009SIN COS TAN ‘Trust’
POLLY SCATTERGOOD ‘Other Too Endless (Vince Clarke remix)’
TENEK ‘What Do You Want? (Alternate TEC version)’
ANALOG ANGEL ‘We Won’t Walk Away’
ARTHUR & MARTHA ‘Autovia’
MARSHEAUX ‘Suffer The Children’
SECTION 25 ‘My Outrage’
047 featuring LISA PEDERSEN ‘Everything’s Fine’
tec004-simon-watson-015TAXX ‘Is it Love?’
LIEBE ‘I Believe In You’
QUIETER THAN SPIDERS ‘Shanghai Metro’
iEUROPEAN featuring WOLFGANG FLÜR ‘Activity Of Sound’
TWINS NATALIA ‘Destiny’
MESH ‘Tuesday’
MIRRORS ‘Between Four Walls’


tec004-simon-watson-001The Electricity Club gives its warmest thanks to all the bands, DJs, venue crew, team, helpers and attendees who made TEC004 such a great success

http://www.marsheaux.com/

http://www.kidkasio.com

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

tec004-johnnewstead-013http://www.lesdisquesducrepuscule.com/

http://factorybenelux.com/

https://soundcloud.com/paul-boddy-emp-remixes

http://www.epic-tv.com/

http://www.johnnewstead.co.uk/

http://simonwatson-photography.co.uk/


Text by Monika Izabela Trigwell
Photos by John Newstead and Simon Watson
12th November 2016

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