“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE
A new companion release to ‘Under Mitt Skinn’ which came out in Summer 2020, PAGE issue their third EP in six months entitled ‘Aska’.
The trailblazing Swedish duo of Eddie Bengtsson and Marina Schiptjenko have been fairly prolific of late and partying like it’s 1979. In acknowledgement of Synth Britannia, TUBEWAY ARMY and early ULTRAVOX have been very much the key influence in the recent work of PAGE, most notably with the ‘Start’ EP and the long player ‘Fakta För Alla’.
In defence of his nostalgic but affectionate ethos, Bengtsson said to Zero Magazine: “Since neither Numan nor Foxx engage in that type of electronic pop anymore, PAGE is allowed to do it instead!”
Mixed by Richard Flow of MACHINISTA who ably assists PAGE into realising themselves as a retro-futuristic post-punk electronic band, Bengtsson added “All the music is made on synths, but I try to emulate different instruments and create the illusion that ‘here is a bassist, here is a drummer and here is a keyboardist’”.
A second cousin to ‘Saint Anastase’ from the ‘Under Mitt Skinn’ EP, ’Stefansplatz’ is an enjoyably progressive instrumental opening in the vein of THE HUMAN LEAGUE when Martyn Ware and Ian Craig Marsh were at the synthesizer helm. But tackling the sensitive subject of burn out, the ‘Aska’ title song sees service resumed in the Vox ‘N’ Foxx department.
The delightful ‘En Kamera Ser’ though is quirky elektronisk pop bursting with synth hooks, echoing a more Motorik ‘Ett SOS’ and the nostalgic technological observations of KRAFTWERK where cameras were once tactile entities of their own, not a side function in a phone alongside bank accounts.
‘Hög Som Jag’ celebrates the joy of music that is classic PAGE, while ‘Bara Tryck På Play’ pays homage to TUBEWAY ARMY’s ‘Bombers’ or THE STRANGLERS’ ‘(Get A) Grip (On Yourself)’ where listeners are free to choose, depending on their thinking.
To close the main act, PAGE take out full Numanoid membership on ‘Jag Var Så Nära’ as the dark but melodic adventure mines the glory that is ‘I Die: You Die’.
Using tracks originally featuring on its predecessors, ‘Aska’ is supplemented by a poppier remix of ‘Ta det som en man’ by SOCIAL AMBITIONS and a punk cover of ‘Under Mitt Skinn’ from ATTENTAT, but the best bonus comes from DATAPOP who adopt a minimal machine approach to ‘Panik’ that turns it into ‘Home Computer’.
Twinned with ‘Under Mitt Skinn’, ‘Aska’ forms a combination album that becomes reality via a limited vinyl edition that presents these sessions as a body of work with a clear vision. “Good music should be given all the time, attention and concentration it deserves!” says Bengtsson as he remains creatively in the Moog. After all, it is all just a matter of pleasure and principle.
It was something of a sign for 2020 when WE ARE REPLICA’s first attempt at a full length album was lost when a feral cat got into their studio over the New Year holidays and urinated all over their computer!
But the London-based Franco German dark synth duo of Nadège Préaudat and Martin Kinz soldiered on and now have ‘Cleared Vision’.
“We always liked heavy music as much as electronic music and therefore often use synths like electric guitars” said Kinz while Préaudat affirmed “That helps to capture emotions in its rawest state”.
So it is something of a pleasant surprise amongst all the intensity from life in isolation during a difficult 2020, WE ARE REPLICA have introduced an enchanting avant pop element to their sound. With a muted down aggression towards the mindset that the album’s title suggests, is this possibly some optimism finding its way in through the back door?
‘Only The Best’ brings in some piercing noise but there is a refinement to provide some accessible punky synth. ‘Miami’ though unexpectedly offers a comparatively sunny disposition with Kinz almost perky like a German Eno, although Préaudat offsets all that but even she sounds less intense compared to WE ARE REPLICA’s previous work.
‘Sanitize Me’ is kind of business as usual though and will connect with anyone affected by the lockdown. It may be a bit too close to home, but it is an honest statement and Préaudat is still strangely sexy despite the doom and gloom. Some relief comes from a delightful closing section of cascading keys.
Previous singles ‘Parallele Universen’ and ‘Angel’ feature lyrics in German and French respectively as a homage to Neue Deutsche Welle and French New Wave. But the language is no barrier, acting more like additional instrumental elements.
‘Parallele Universen’ nods towards Robert Görl and sees Kinz in previously unheard territory actually singing. Meanwhile despite the sinister discomfort of ‘Angel’, Préaudat is wonderfully alluring with her deep Gallic tongue. Like Siamese Twins thanks to their common concept, they are separated by the brooding ‘Opus 5’ which is more abstract like a schizophrenic gothic art piece.
Kinz and Préaudat have a deadpan exchange on the creepy and monotone ‘For Whom The Dove Cried’ for the most foreboding and experimental track on ‘Cleared Vision’, before the mantric drone-laden ‘Isolated Star’ screeches with sharp synth lines and a steadfast rhythmic lattice over a concluding eight minutes. Heavy music for heavy times, ‘Cleared Vision’ is like life, up and down and up before descending into a mental breakdown after a pop focussed start.
This album won’t be for everyone but in its enigmatic expression and artful sound sculpture, it reflects our strange dark times. There is light at the end of the tunnel, but whether that light is an escape the other side or a truck heading towards you is another story!
It has been a tough 2020 for everyone, but one of the shining escapist highpoints has been ‘Megawave’, the most recent album from Toronto synthwave siren Dana Jean Phoenix.
Recorded in partnership with Viennese electro-rockers POWERNERD, ‘Megawave’ expands on their previous collaborations over a full-length DJPNRD work, lending a thematic consistency that has perhaps not been captured on her previous releases.
Futuristic, danceable and fun, ‘Megawave’ has been just the intergalactic tonic that this planet has needed. Dana Jean Phoenix kindly took time out to talk about the making of the album and the new ‘Cobra Kai’ inspired promo video for the slinky title song.
How did you first come together with POWERNERD?
Powernerd Paddy initially reached out to me to collaborate on the song ‘Flame’ from POWERNERD’s album ‘Testosterossa’. We played live together in Vienna, and continued collaborating on tracks for my album ‘PixelDust’ and their album ‘Far From Human’. It’s always such a wicked time whenever we collab and play live together.
In terms of creative dynamic and chemistry, what was the process with regards writing and recording?
We initially talked about what vibe we wanted for the album. Paddy would send me tracks and I’d get to work on the vocals. I felt I could lose my inhibitions more at the microphone because Paddy was so game to try anything. Then, we’d touch base about each track to see what tweaks or additions were needed. It was a very fun, exciting, and reciprocal exchange back and forth.
You’ve played live across the world over the past few years, had that been a factor in the eventual sound of the ‘Megawave’ album? It’s a quite joyous record!
Thanks, and absolutely! For me, capturing the energy of live synthwave shows I’ve played was important in creating these songs. I’ve been fortunate enough to tour Europe, Canada, and the US a few times, and it’s afforded me the opportunity to see which songs really resonate with an audience in real time.
It’s also allowed me to discover things about myself as a performer and what kind of music feels most exciting and joyful to play and share with others.
How did it feel to be making a cohesive album artistically as a body of work as it would be fair to say that in the past because you’ve worked with lots of different producers, your previous albums have been more collections of songs?
I really enjoyed this approach. I often like the different moods and perspectives that emerge from working with various producers and their unique styles. With Paddy, he’s quite prolific and versatile and there’s always an edge and playfulness to his ideas. It always felt fresh and it kept me inspired to try new things, all while keeping cohesiveness and a good flow throughout.
Photo by Hayley Stewart
Although you concentrated on lyrics and vocals on this album, you got your keytar out a couple of tracks on the album?
Performing with my keytar, Jareth, is the best. When I play the keytar, it feels like I’m donning a superhero cape – some other side of me emerges, particularly during a solo moment. I’m sure guitar players can relate. So, it was fun to jam on solos for ‘Figure Me Out’ and for ‘Fight These Robots’. Jan-Friedrich Conrad played some absolutely killer key solos on ‘Sunrise Stance’ and ‘Living Rent Free’ and Paddy’s guitar solo on ‘Figure Me Out’ is pure fire.
So what is ‘Figure Me Out’ about, or is the answer in the question? That choosing a different cassette intro is also a nice variation on what has maybe now become an overused idea 😉
I was really into solving Rubik’s cubes at the time, and the song for me is about likening the complexities of a relationship to the world’s most famous 3D puzzle. The process of finding solutions (or learning algorithms) can be extremely frustrating and requires patience, consistency, and understanding. Sometimes it can feel like you’re taking several steps backward in gaining clarity, but perseverance, belief in yourself, and allowing yourself to see from a different perspective can carry you through.
I love the cassette intro – a sort of subtle way to set the listener up for a nice easy-going synthwave album, and then bam, the opening beat of ‘Figure Me Out’ is like a sucker punch. It lets the listener know they’re in for a fun and funky ride.
The ‘Figure Me Out’ lyric video with you doing the Rubicks Cube was such a great concept, a lesson to many as to what can be done with presenting a visual aspect to music, how did you put it together?
The director of the video, PHATT al, suggested I solve a Rubik’s cube as the lyrics of the song floated across the screen. I loved that idea and thought it would be so cool to have Powernerd Paddy and I interact too, (despite me being in Toronto, and him in Vienna). The most fun was sending Paddy a matching cube to make it look like we were sharing the same one 😉 It’s a really well directed video and a fun way to introduce the first single of the album.
What was going through your head when you wrote ‘Fight These Robots’, was this harking back to your childhood and watching ‘Transformers’ cartoons?
To me, ‘Fight These Robots’ is a metaphor for resisting complacency and questioning the status quo. It’s arguing that societal change happens when people join forces and fight for the greater good collectively – a plea for togetherness, not divisiveness.
The ‘Transformers’ cartoons are definitely cool and all – but I gotta say, that ‘Metalhead’ episode of ‘Black Mirror’ definitely shook me. I was envisioning those shoulda-been-cute, but terrifying robot dogs while I was singing “dee da deee da doo dee doo”.
Was ‘Megawave’ both you and POWERNERD channelling some of those classic Jam & Lewis productions?
Personally, Jam & Lewis are always a part of the vibe I’m channelling. My obsession with them started when I saw them in Janet Jackson’s ‘Control’ music video and realized they were the producers for so many of her best songs. Then when I discovered THE TIME and realized they were in that band too – it cemented in my mind that they were the coolest dudes ever. Their music always makes me smile, and they have such an unapologetically signature sound.
How did the video concept come together? Are you a fan of ‘The Karate Kid’ and ‘Cobra Kai’?
Filip Vukcevic, the director, approached me with the idea of paying homage to ‘The Karate Kid’ and ‘Cobra Kai’, which was perfect, as I had just finished ‘Cobra Kai’ season 2 and totally loved it. It’s such a funny and well-executed spin-off of the movies. Filip is an amazing director who I also worked with on my ’Only For One Night’ video.
He has a real passion for storytelling, for going all out, and thinking outside the box. We had a great time planning, casting, and shooting. I’m proud of how our nod to the ‘The Karate Kid’ turned out and it’s always an added bonus when a music video gives a song new context. I feel ‘Megawave’ video captures the young-love message of the song, but also makes it about finding strength in oneself.
‘Living Rent Free’ plays with some soft midnight funk?
If you’re talking sexy funk, then yes, that was mission number one with the album. ‘Living Rent Free’ was the first track Paddy and I created for the album. When he sent the instrumental, I was in the midst of rehearsals for a theatre production. On my lunch break, I remember waiting in line at a local coffee shop and listening to the instrumental for the first time on my headphones. I was very excited and couldn’t help but dance in line, as it was exactly the sound I had in mind for the album. We had talked for a few weeks about the vibe, and direction, and then Paddy delivered 1000% from the first track.
There’s a delicious dancey groove to ‘Sunrise Stance’ and some great synth solos, had it been a conscious decision to keep the ‘Megawave’ album quite lively and uptempo?
Oh yeah. Performing the songs live is always a consideration when creating an album, and it’s so fun to perform lively, up-tempo songs. Jan-Friedrich Conrad’s synth solo added such magic and captured the intensity and playfulness of the lyrics.
Saying that, ‘New Technology’ takes things down a bit and is more soulful, have you any particular influences in this area and what is the song itself about?
I was definitely feeling a Sylvia Striplin ‘You Can’t Turn Me Away’ energy, but in a falling in love with a cyborg kind of way. I was also listening to a ton of Jamiroquai’s album ‘The Return Of The Space Cowboy’ at the time, so that was definitely an influence.
It’s about that buzz and excitement you feel when you interact with someone on a similar frequency, and how technology allows us to connect with people we never had the opportunity to do so with before. The synthwave scene in general is a great example of likeminded people coming together because of technology.
You chose to bolster the album with remixes of ‘Figure Me Out’ and ‘Fight These Robots’? Was there any particular thinking behind this?
It’s always awesome to include more talented friends on the album. STRAPLOCKED and I collab’ed on the songs ‘All Day Heat’ and ‘Iron Fist’ and performed together at NEON Retrofest in Rhode Island. I love NEW ARCADES’ music and it was so great to hang out with them in London when we played an Outland show together in 2018, and again when I played an Outland show in London in 2019. Both artists did amazing remixes.
‘Moves Moves Moves’ is back on the dancefloor and closes ‘Megawave with more electro-funk vibes, how do you look back on the making of this album?
The making of this album occurred during a time of significant personal transition for me. In hindsight, I was on the precipice of having to make some really tough but necessary decisions in my life. Songs that make me want to dance really hit me, as they can offer pure joy and a way to celebrate good times, and also offer catharsis and a way to cope through trying times.
For me, the album is about self-discovery, empowerment, and remembering to spread joy and positivity, even in times of uncertainty. It’s also a love letter to collaboration, nostalgia, and good times. I wouldn’t be here without the help and guidance of so many key people I’ve worked with, which includes Stu and Brett of Outland Recordings. I’m quite chuffed (see what I did there?) to have the album on their label.
You recently did a song called ‘Freedom Pass’ for the ‘Vehlinggo Presents: 5 Years’ compilation with DIAMOND FIELD, is he someone you would like to do more work with?
Of course! Working with DIAMOND FIELD on ‘Freedom Pass’ allowed me to explore a different sound in the retro scene. I really dig the pure beachy / summery feel but with a more pop / rock edge in that song. It was fun to sing about being independent while also embracing my super girly side. DIAMOND FIELD is a really great guy to work with, and so super talented.
Have you been back to the studio yet? Is there anything on the horizon?
There’s been so much to digest and unpack this year – some pretty heavy questions about what the future holds, and how we can best move forward with more kindness, understanding, and more time for reflection. I’ve been writing and journaling quite a lot lately and jamming on some ideas for new material. I’m really excited to hunker down in the New Year to take those ideas off the page – and hopefully, when safe to do, onto the stage.
With everything going on, what are your own hopes and fears for the future?
My hope is that we all get to experience and share music together under one roof again someday soon.
My fear is that it may take a little longer than we initially anticipated. I feel incredibly lucky to be a part of a scene that fans continue to engage and support with so much enthusiasm online.
This past year has shown me that despite difficult times, the human spirit is incredibly resilient. With that knowledge, now more than ever, I feel optimistic about the future and the day we can all come together again.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Dana Jean Phoenix
Poland is not normally on par with the European electronica, however acts like ZAMILSKA managed to break the cycle and establish themselves outside the heart shaped Central European nation.
That said, the country has always been massively into synth music, with enormous fan bases for DEPECHE MODE, ERASURE and CAMOUFLAGE, amongst many other acts of the golden electronic era.
IŻOL is Robert Jeżewski, an accomplished songwriter and producer, having founded a popular Polish DM tribute band ICE MACHINE, which evolved into an original band with four albums under their belt.
Having gone solo, Jeżewski continued the electro trend, releasing two albums ‘The Vagabond’s Wish’ (2017) and ‘Control’ (2019). Based in gloomy Silesia, a place which RATIONAL YOUTH once wrote a synthpop cult classic about, IŻOL is no stranger to melancholic soundscapes, often being based on the provisions from his idols, presented in a fresh and progressive manner.
‘A Lonely House’ is a belter, merging the artist’s love of DEPECHE MODE, with a pinch of CAMOUFLAGE and sounding very similar to Germany’s MINERVE. Preserving the tradition of ultra-melodic ditties, wrapped in a thin veil of nostalgia, with expertly written lyrics and more than decent vocal, the Pole gives many of his contemporaries a run for their money, including those in the UK.
Add a clever video, and you get yourself a powerful addition to your synth favourites. And if you’re stuck for live music during lockdowns, IŻOL performed an online gig this year too. TERAZ POLSKA!
From his home in Los Angeles, Bon Harris of NITZER EBB has presented a series of streamed live performances under the title of ‘Songs From The Lemon Tree’.
Accompanied by his system comprising of an Octatrack MK2, Roland MC101 and two rows of 104 HP modular plus a vibraphone, Harris impressed all with his wonderfully compelling upper vocal range and unusual esoteric electronic covers.
He told Reflections Of Darkness: “I wanted to sing songs that were light-hearted and optimistic – outdoors among the trees in the sunshine…” – while predictably, much of the alternative music media focussed on ‘Compulsion’ by Brummie post-punk musician Joe Crow (which Martin Gore recorded for the 1989 ‘Counterfeit’ covers EP) in Episode 01 and the laid back jazz-tinged rework of DEPECHE MODE’s ‘Ice Machine’ in Episode 02, it was the Episode 03 featuring an eclectic quartet of classic songs that was the most captivating.
Beginning with an emotive rendition of ‘Love & Affection’, the breakthrough hit of Joan Armatrading, the biggest surprise came with the eerie carousel ride of ‘My Happiness’; written in 1933 by Borney Bergantine, although the version with lyrics by Betty Peterson Blasco as performed by Harris was first published in 1947, it was made famous by Connie Francis in 1958 but was also notable as one of the two songs that Elvis Presley recorded at Sun Studios in Memphis as a gift to his mother.
Meanwhile, the introduction to Paul Weller’s ‘That’s Entertainment’ sounded as if it might drift into ‘But Not Tonight’, but the set ended with a marvellous thumping dance take on the 1970 Diana Ross hit ‘Remember Me’ which was one of several world famous songs including ‘Ain’t No Mountain High Enough’, ‘Reach Out & Touch (Somebody’s Hand)’ and ‘I’m Every Woman’ from the portfolio of husband and wife songwriting team Nickolas Ashford and Valerie Simpson.
Reinterpretation is an artform and ELECTRICITYCLUB.CO.UK always prefers a thoughtfully crafted genre crossing cover version any day of the week, over a tedious remix by the man on the street with a DAW. In his autobiography ‘Fast Forward: Confessions Of A Post-Punk Percussionist – Volume II’, Stephen Morris of NEW ORDER hit the nail on the head when he said “The worst of it for me was all the remixes. A VERY big thing in the 90s; I have never got to the end of most of them. I don’t think any of us have, to be honest.”
“Each of the songs from the three episodes have had a special place in my life and experience since I first heard them” said Harris. This love and affection has been quite obviously apparent in his arrangements and vocal delivery for ‘Songs From The Lemon Tree’, demonstrating his sympathetic understanding of the music and the quality of the songs.
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