Cult electronic duo MIKADO have a new expanded version of their anthology ‘Forever’ released by Les Disques du Crépuscule, the Belgian label who issued their first single ‘Par Hasard’ in 1982.
Comprising of chanteuse Pascale Borel and instrumentalist Grégori Czerkinsky, the pair joined forces in 1982 to create a bittersweet chi-chi sound. Czerkinsky used a Wilson Condor T organ with its rhythm box, a Jen Pianotone J-600 and later a Micromoog to complement Borel’s wispy vocal tones. Continue Reading ›
While acts like THE ART OF NOISE and DEPECHE MODE pioneered the use of sampling found sounds to use as new virtual instrumentation, eventual improvements in the technology meant whole recognisable phrases could be cut, manipulated and looped to create new compositions and arrangements.
So The Electricity Club has put aside some of its snobbery to seek out 25 of the most inventive, and some would say, sacrilegious uses of classic synth samples in popular music. Continue Reading ›
After JAPAN split at the end of 1982, drummer Steve Jansen and keyboardist Richard Barbieri partnered up for the JVC commissioned instrumental work ‘Worlds In A Small Room’ released in Spring 1985 to accompany a documentary on the Space Shuttle Challenger.
But for their song-based project, the pair named themselves THE DOLPHIN BROTHERS and issued a long player entitled ‘Catch The Fall’ in Autumn 1987 on Virgin Records. Continue Reading ›
Steve Jansen was just 18 years old when he recorded his first album as the drummer of JAPAN. Signing to Ariola Hansa, JAPAN eventually found their sound with the sophisticated art rock of their third album ‘Quiet Life’.
Jansen did not actually release his first solo album until ‘Slope’ in 2007. With his latest solo offering 'The Extinct Suite' recently released, he kindly chatted to The Electricity Club about his varied career and vast catalogue of work. Continue Reading ›
‘From Deewee’ is the first studio album from Belgium’s SOULWAX in twelve years, the core of the act are brothers Stephen and David Dewaele and their return has seen a shift towards using more real drums, employing JAMIE T’s Victoria Smith, TURBO WOLF’s Blake Davies and SEPULTURA’s Igor Cavelera to help achieve this vision.
The usage of live / acoustic drums with electronic music has often been a contentious issue amongst the synthpop fraternity. Continue Reading ›