Author: electricityclub (Page 117 of 420)

“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

“Good taste is exclusive”: NICK RHODES

STEVEN WILSON King Ghost

9 November 2020 /

“People” sang Jim Morrison, “Are Strange” and none more so than the dedicated music fan. This has been shown in the past couple of weeks with the backlash against Steven Wilson with the new single ‘King Ghost’.

This has been rumbling on for a while, in fact since ‘Permanating’ from 2017’s ‘To The Bone’, and has percolated via recent singles ‘Personal Shopper’ and ‘Eminent Sleaze’ to the fury unleashed in certain quarters against this latest release online. And the thing is, the pitchfork wielding mob who want to torch the new album ‘The Future Bites’ before it is released are wrong.

“Where are the guitars?” they moan… “It needs real drums” they cry through gnashing teeth… “Isn’t what I signed up for”, they wail as they wrap themselves in their ‘Tales of Topographic Oceans’ blanket. The answer to this and the pages and pages of other comments is, you haven’t been paying attention.

Despite being the leader of PORCUPINE TREE all these tears, Wilson has never hidden his love of pop music, this is made all the more clear in his excellent podcast ‘The Album Years’ which he hosts with NO-MAN band mate Tim Bowness. The pointers were there on his last release, especially with the aforementioned ‘Permanating’ and, more pertinently, the brooding electronica of ‘Song of I’.

‘King Ghost’ is a natural progression, something which a recognised progressive performer should always be looking to do. The track is the sound of the artist taking himself and by extension the listener in new directions. Wilson has stated it may be one of the best things he has ever done and I have to agree.

One comment on a recent YouTube post said “…it could never be as emotional as played by analog instruments” before suggesting adding a guitar solo or fretless bass. And here we have the crux of the issue taken by some listeners; the track is synthetic so must be lesser than a full band production.

Again these folk haven’t been listening. This is by a mile the best single of the year especially when married to the stunning Jess Cope video that accompanies the release.

I have been listening with interest and a fair bit of excitement, so can’t wait until the turn of the year to hear what the delayed full album has in store, with or without a full drum kit. The tasters we have had so far promise, it will be worth the wait.

‘King Ghost’ is from the album ‘The Future Bites’ released by SW Records / Caroline Records on 29th January 2021 in limited edition deluxe boxset, CD, red or black vinyl LP, cassette, Blu-ray and digital formats, pre-order from https://store.thefuturebites.com/

http://stevenwilsonhq.com/

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Text by Ian Ferguson
9th November 2020

NIGHT CLUB Discuss Their Existential Dread

7 November 2020 /

Having reflected on the ‘Scary World’ of 2018, LA based synth rock couple NIGHT CLUB go on the attack in 2020 with their excellent third album ‘Die Die Lullaby’.

Reflecting the times the world is living in, the duo of Emily Kavanaugh and Mark Brooks have delivered a record that captures the introspection and paranoia of 2020. ‘Die Die Lullaby’ will be one of those documents that commentators and historians will look back on in a few years when researching the uncomfortable and anxious emotions of the corona crisis.

For NIGHT CLUB, there has been frustration as they were travelling on an upward trajectory having opened for alternative rock supergroup A PERFECT CIRCLE in 2018 before embarking on their own headlining jaunt the following year.

Front woman Emily Kavanaugh talked to ELECTRICITYCLUB.CO.UK on behalf of NIGHT CLUB about their existential dread and riding the ‘Misery Go Round’…

As quoted from the closing track ‘Civil War’, ‘Die Die Lullaby’ is 35 minutes of “Existential dread”, so how and when did making the album begin in earnest?

We started writing songs for this album at the end of 2018. It takes us a long time to write and record an album and this one was the hardest yet. How do we grow from ‘Requiem’ and ‘Scary World’ sonically while also delving deeper into ourselves lyrically? We think / hope we succeeded in that.

You’d more or less come back from touring with A PERFECT CIRCLE and then a run of your own headlining North American shows. How had the response been?

It’s not easy to be the opener for such a beloved band in arenas (we’re only two people on stage after all) but we think we did pretty well and we’ve noticed a definite uptick in awareness in the band since then. Our headlining tour though this past Fall 2019 was by far our favorite tour yet. Gruelling but so incredibly rewarding.

We were gearing up to do another one this year – it was all booked and ready to go. But obviously Covid had other plans for us…

How was the comedown when you got home? Did your experiences naturally shape the sound of the album?

After we got off of tour with A PERFECT CIRCLE in 2018, we started writing songs for this record. A series of deaths happened at that time: our friend Jon Schnepp, Mark’s father and one of our pets. So that doom and gloom just kind of naturally permeated its way onto the record.

‘Die in The Disco’ lyrically was inspired by all of that darkness, and that was one of the first songs we ended up writing. It’s about just wanting to escape all the bad shit happening around us, but in true NIGHT CLUB fashion, making it an upbeat dance song. ‘California Killed Me’ and ‘Miss Negativity’ came next, which were definitely more autobiographical and introspective. Then 2020 rolled around: the coronavirus, quarantine and civil unrest all influenced the new songs we were writing like ‘Gossip’, ‘Misery Go Round’ and ‘The Creepshow’.

We met Courtney Taylor from THE DANDY WARHOLS in Portland during our headlining tour when he came out to our show at the Star Theater. And I remember a piece of advice he gave us was to write a song we could perform in the middle of our set that would allow us to slow down and just connect with the audience. Not a heavy song, no dancing, just an intense kind of personal moment; something ala DURAN DURAN’s ‘The Chauffeur’; and when we ended up writing ‘Civil War’, we were like… this is it!

Did you find yourselves ideally suited to working in isolation during lockdown?

Yeah, by the time the lockdown came around, we just buried our heads into finishing the album. It was such a strange but productive time. We’re used to just working together on a record, the two of us, so it was business as usual.

ELECTRICITYCLUB.CO.UK had used the “Britney Spears fronting NINE INCH NAILS” tagline a few years ago and it now seems to have stuck. But for ‘Die Die Lullaby’, you mixed the album with Dave “Rave” Ogilvie from SKINNY PUPPY member who also mixed NIN, Marilyn Manson and most importantly Carly Rae Jepsen’s ‘Call Me Maybe’, so that’s a rather perfect combination?

Yeah, we became friends with Rave several years ago when we discovered that he was digging the stuff we were making. We’re big fans of all of the stuff that he’s been involved with, so we always thought that we would work together in some way. Also, he’s one of the few people that equally loves dark underground electronics along with mainstream pop. It seemed like a no brainer that we should work together, and we’re so happy with the result.

While ‘Die Die Lullaby’ is still lyrically a heavy album, compared with ‘Requiem For Romance’ and ‘Scary World’, the more synthetic metal elements that were characteristic of those two records appear to be more restrained this time. Was that something you consciously aimed for during recording or did it come about at the mixing stage?

Not really. We try to always expand our sound and keep pushing the boundaries of what we do. We want the records to sound like us but be the next, more mature version of us. We never try to limit ourselves when we start writing; we just let it go where it wants to go.

‘Die In The Disco’ comes over as a rather wonderful homage to Giorgio Moroder and Bobby Orlando?

Yeah, that’s awesome that you think so. We’re both big fans of Moroder but also fans of so many genres of music. We view everything as an influence.

The deep pitch shifted vocals are used on ‘Die In The Disco’, ‘Sad Boy’ and on a number of other tracks, it is wonderfully creepy and suits NIGHT CLUB to a tee…

That’s one thing that we’ve been doing for years that we always love to incorporate. It gives the songs a little more texture and variance. It’s like having another singer in the band.

You introduced Indian sub-continent flavours on ‘My Valentine’, how had this come about?

When we started writing the melodies, it just naturally lent itself to Indian instrumentation using the sitar, tambora, and tablas. So we thought that would be a cool addition to the “NIGHT CLUB” sound.

With ‘Miss Negativity’, was that a narrative or autobiographical? If Britney sung it, it would be a huge hit!

100% autobiographical. When you’re told you have a black cloud over your head “x” amount of times, the only natural thing to do is write a song about it. Lemons into lemonade!

Could ‘Gossip’ be a metaphor for fake news?

Absolutely. Basically that is what’s happening everywhere. Instead of actually learning the facts about something, people just repeat the rumors they hear. And that goes for music scenes and politics.

Is it healthy to keep riding the ‘Misery Go Round’?

No, it’s probably not but it’s an addictive cycle isn’t it? And that’s what the song is about: why do you keep doing something that makes you feel bad? Why are we obsessed with things that aren’t good for us?

On ‘The Creepshow’, you sing of “a broken lullaby” that “you sing until you die!”…

We wrote this a few months into quarantine. LA was in the middle of lockdown, civil unrest and the air was filled with smoke from the forests burning around us. The song was entrenched in the thought of everything crumbling around you and wanting to escape.

‘California Killed Me’ is classic NIGHT CLUB and within this intensity is a mighty chorus and a simple but effective synth solo, how do you feel about living in LA these days?

LA is without a doubt one of our biggest songwriting “muses”. It’s a recurring character in our songs as it’s (for many reasons) one of the darkest places in the world. You have TikTok influencers making millions a year, and then thousands of mentally ill or jobless people on the streets struggling to survive with nobody taking care of them. You have new friends one minute, no friends the next. It’s endless inspiration for creating art, you just have to try and keep your head above water before it sucks you under.

The notion of a ‘Civil War’ is quite an apt observation in US Presidential Election Year although it is more personal and you talk of how “I’ve become someone I hate” and “say it will be over soon”?

Yeah, so I get these really bad migraine headaches; usually after we play live shows. They’re awful. So originally I wanted to write a song inspired by these headaches I get and how debilitating they are, and how they only seem to cruelly occur after doing something I love, which in turn makes me anxious and scared to do the thing I love (performing) for fear of getting one of these migraines afterwards.

Anyway I started writing the lyrics about having a headache- “I can’t take the pounding in my head”; but then I guess I sort of drifted off and made it about myself and my own self-loathing. And it just sort of took a more natural introspective turn lyrically. Almost like a stream of consciousness style of writing.

It just became bigger than what I originally intended, more of an existential crisis in your brain brought on by something minor like a headache. Just spiralling down and down. Mark decided ‘Civil War’ would be an apt title for it, as it’s essentially a war with myself. But yes, also taking into account the civil unrest within our own society.

Have you any particular favourites from ‘Die Die Lullaby’ and how as a whole does it compare with your previous work?

Maybe ‘Miss Negativity’ and ‘Gossip’? But honestly, we’re proud of every song on this record for different reasons. This was the album we needed to make right now and we’re happy with how it’s been received so far.

We always aspire to great songwriting bands like DEPECHE MODE where every song is good on the record. No fillers, no skips. That’s our ultimate goal: to do that every time.

It’s an uncertain world out there now, but what are your hopes (and fears) for the future?

All of our fears are already baked into the songs on this album, but hopefully one day we’ll actually be able to play them live.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to NIGHT CLUB

‘Die Die Lullaby’ is released by Gato Blanco as a CD, purple vinyl LP and download, available direct from http://nightclubband.com/

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Text and Interview by Chi Ming Lai
7th November 2020

JOHN FOXX The Quiet Man

5 November 2020 /

Over the past four decades, John Foxx has been writing short stories about ‘The Quiet Man’.

Imagining an enigmatic parallel world, various excerpts have appeared over the years in John Foxx artefacts, fanzines and spoken word albums over the years but the text has now finally made it to print as a beautifully bound book designed by Barnbrook Studios. Dressed in European grey, The Quiet Man himself chatted about it.

The ‘Quiet Men’ first appeared in the 1978 ULTRAVOX song ‘Systems Of Romance’, so who were they? Was it a reaction to the character in ‘I Want To Be A Machine’ from ‘Ultravox!’?

Well, there wasn’t a conscious connection to the ‘I Want To Be A Machine’ character, but I guess that was also concerned with stepping aside and looking on, in a detached way. The idea of the quiet man began after I bought an old grey suit from a charity shop in 1977. It was clearly from the 1950s and I got to imagining who it might have belonged to.

This prompted the phrase ‘the quiet men’ and the song followed. The quiet men seemed to be some mysterious people living discreetly among us, purpose unknown, but clearly some kind of great emotional tide in the background somewhere, while they remain completely unnoticed.

I’d found that wearing the suit allowed me to became anonymous, almost invisible.

This was a great relief, because I was beginning to get deranged by touring. The start of a long period of being gently bewildered. Onstage, you have no choice but to be the centre of attention.

So It was a delight to feel quietly unnoticed after being whirled away by all the mayhem of a rock band’s life on the road. I’m glad I experienced all that, but I’d begun to realise it wasn’t the sort of life I wanted.

Simply stepping away and wearing the grey suit prompted a flood of ideas and small stories. Then some further connections began to occur. A realistic painting a friend had – of Oxford Street and Centrepoint completely overgrown – that somehow fitted with the suit. (Perhaps via the Surrealists, who would always dress conservatively, while living and thinking surreally).

After that, I began to glean a whole body of writing and imagery – etchings by Piranesi, Rose Macauley’s book ‘Pleasure of Ruins’ old photographs of Angkor Wat in Cambodia, and so on. I sort of transposed it all into an overgrown London, and got the Quiet Man to explore it.

I’d also grown up in the north of England when the mills and factories were falling into ruin. Trees began to grow out of some of these buildings. As kids, we’d play in Lord Leverhulme’s abandoned gardens at Rivington and swim in the huge ponds by the overgrown factories at Birkacre.

When I arrived in London, Shoreditch was empty and beginning to fall into ruin, just like Lancashire. I was also periodically exploring the old, locked side of Highgate cemetery. All this resonated and gave me lots of ideas. I felt I’d hit a very rich seam of imagery, which meant a lot to me. And it literally became my way of writing myself out of the band.

Even as far back as ‘Metamatic’, you were talking in interviews about ‘The Quiet Man’, how much had been written by then?

The basic ‘Quiet Man’ section, which describes a deserted and overgrown London, was written in 1977, followed by ‘Cathedral Oceans’ and several shorter pieces. So the writing was well on its way by the time I was working on ‘Metamatic’.

How much of ‘The Quiet Man’ is autobiographical?

Oh, quite a bit, really. It was a way of exploring ideas about time – and all those fleeting sensations you get while wandering around any city. You know, I often ask myself – What is a city? Why do we make them? Aren’t they a bit like a living organism and aren’t we a little like blood cells circulating through the larger entity? Is anyone really conscious of exactly what we’re doing there?

Then there’s this question of time – I read J.W. Dunne’s book and began to question that, too. What is time? Why does it seem to change – move faster or slower, and how does this work with memory? How does architecture affect all that – and us? – and so on. The writing became a way of exploring some of that, after its primary purpose of providing raw material for songs.

In 1981, the illustrative art booklet ‘Church’ that came with early copies of ‘The Garden’ featured text from ‘The Quiet Man’, was that to test the water? Did it get the response you hoped for?

Virgin Records were happy to include a booklet in ‘The Garden’ album cover and I had the pieces written to generate the songs. So that was it. I wasn’t really looking for any sort of response. Certainly never saw myself as a literary sort of writer. Still don’t. It was initially a way of generating songs, but over the years it became a sort of world in itself. Now I look back over it and think how satisfying that an entire body of work can evolve in that way – songs, stories, images and music.

Had your hiatus from music after ‘In Mysterious Ways’ in 1985 affected your enthusiasm to finish ‘The Quiet Man’ as well?

Well, it certainly gave me more time. I was also free to wander around London, plus a few other cities, which generated lots more ideas.

A further excerpt appeared in the Extreme Voice fanzine in 1996 when you returned to music, but the book was still being finished… what was on your mind at the time?

Always uncertain about my ability as a writer, found the idea of publishing a real book a bit intimidating, so I became good at putting it off.

Then in 2009, there was a spoken word album of ‘The Quiet Man’, narrated by Justin Barton, with a piano soundtrack from yourself, how do you look back on that presentation? Does it work for you today?

Oh, yes – I really liked that. Mark Fisher and Justin Barton had just made a fascinating recording called ‘Under London’ and they sent a copy to me. I’d known Mark since he was a student and we’d been in touch for years. I found what they’d done really intriguing and asked Justin if he’d read ‘The Quiet Man’ in the same sort of way. I wanted it to seem like some half-remembered BBC radio piece from the 1950s.

So for this published edition of ‘The Quiet Man’, what was the impetus to finally get it out? Why ultimately did it take so long? In your mind, is it actually abandoned now rather than finished?

I think it’s not really the sort of thing that ever gets finished. More like a series of diary entries, or notes. Jonathan Barnbrook, Steve Malins and Rob Harris finally did the hints and prods that got me to put enough of the stuff together to make a book.

Was there much edited from the original transcript? Any difficult decisions?

A few full stops and commas, that’s all. There were plenty of pieces to choose from, and lots of others are still in the notebooks.

Do you have a favourite passage or short story from ‘The Quiet Man’?

It changes. At the moment, I like ‘The Nebula’ and ‘The Notebooks’ sections. I’m still not sure I did justice to the original idea of ‘The Nebula’, it was so mysterious an idea. Sometimes you realise you got close, but wonder if you might have done better.

You maintain your close working relationship with Jonathan Barnbrook for the book’s cover design. Did you not fancy doing this yourself, having designed several book covers yourself over the years?

It’s difficult to be objective about your own work. You’re far too close. I’ve always liked Jonathan’s work, so had no reservations at all. In fact, I was pleased he wanted to do it.

Strangely, the colour and style of his cover was exactly like some of my favourite old notebooks, the ones I most enjoyed writing the original stories in. So instinctively and telepathically, he got it exactly right.

What would be the music from your own catalogue you would recommend to have on while reading ‘The Quiet Man’, any particular albums for particular stories?

No particular track for each story, but the music that creates a suitable background, I think, might be ‘Translucence / Drift Music’, ‘London Overgrown’, of course – and ‘Nighthawks’.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to John Foxx

Additional thanks to Steve Malins at Random PR

‘The Quiet Man’ is published as a hardback book and available only from https://johnfoxxbook.com/

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Text and Interview by Chi Ming Lai
5th November 2020

BRIAN ENO Film Music 1976 – 2020

3 November 2020 /

Although Brian Eno released a 1978 studio album called ‘Music For Films’, only its final track ‘Final Sunset’ was written for an actual film as it was effectively a soundtrack show reel proposing cinematic usage.

A compilation of fragments and sketched recorded between 1975 to 1978, ‘Music For Films’ was like a cart coming before the horse, with many of its pieces later ending up in movies such as the remake of Jean-Luc Goddard’s ‘Breathless’ and John Woo’s ‘A Better Tomorrow’; ‘Film Music 1976 – 2020’ is different and could have been titled ‘Music From Films’.

Gathering 17 tracks from the five decade career of Brian Eno, the best known two are from his 1983 album ‘Apollo: Atmospheres & Soundtracks’ which comprised of material composed for the moon landing documentary film which later became known as ‘For All Mankind’.

The hovering aural sedative of ‘Deep Blue Day’ was sweetened by countrified twang of Daniel Lanois and used in the infamous toilet scene from ‘Trainspotting’. Meanwhile, closing ‘Film Music 1976 – 2020’, ‘An Ending (Ascent)’ featured a drifting but dramatic church organ-like passage that acted as the blueprint to the intro of U2’s ‘Where The Streets Have No Name’. And talking of Bono & Co, ‘Beach Sequence’, the PASSENGERS collaboration with U2 also makes an appearance.

The electro-nautical journey of ‘Under’ will be familiar to owners of Eno’s vocal album ‘Another Day On Earth’ from 2005, although the song appeared in the 1992 Kim Basinger movie ‘Cool World’ which also featured David Bowie and Moby in the soundtrack.

From Derek Jarman’s films, there are the transient sound sculptures of ‘Dover Beach’ from ‘Jubilee’ and ‘Final Sunset’ from ‘Sebastiane’. However, ‘Prophecy Theme’ off David Lynch’s ‘Dune’ sounds like it could have come from the ‘Apollo: Atmospheres & Soundtracks’ album. All three pieces though document that 1976-1984 period when Eno all but left art rock aside to indulge in more ambient forms, apart from in a production capacity with the likes of DEVO and TALKING HEADS.

‘Ship In A Bottle’ from ‘The Lovely Bones’ is serene in its presence while ‘Decline & Fall’ from ‘O Nome da Morte’ displays some exquisite sound design. From 2020, ‘Reasonable Question’ from ‘We Are As Gods’ explores a lesser heard electro-rhythmic side to Eno. Also rhythmic but in a more understated manner is ‘Late Evening In Jersey’ from ‘Heat’, where brushing is the tool to add tension.

An almost acoustic folk ballad comes in the shape of a cover of William Bell’s ‘You Don’t Miss Your Water’ from ‘Married to the Mob’ which was directed by Jonathan Demme, but the two song inclusions do spoil the flow for listeners seeking a more environmental instrumental tracklisting. But these are offset by ‘The Sombre’ from ‘Top Boy’ which does as its title suggests and the wonderful ‘Undersea Steps’ from the 2004 George Chan movie ‘Hammerhead’ which will delight Eno’s ambient fans.

This collection is of supreme quality throughout and with the majority of ‘Film Music 1976 – 2020’ being gathered from material not on Eno’s own albums or previously unreleased tracks, it is essential for completists and acts as a fine introduction to his more esoteric work.

‘Film Music 1976 – 2020’ is released by Universal Music on 13th November 2020 in double vinyl LP, CD and digital formats

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Text by Chi Ming Lai
3rd November 2020, updated 12th November 2020

NEW SPELL Of Time (Remixed) EP

1 November 2020 /

With their thoughtful dark moods influenced by the likes of MASSIVE ATTACK, LCD SOUNDSYSTEM, RADIOHEAD and PORTISHEAD, San Francisco’s NEW SPELL are an enigmatic project that began releasing music in 2011.

Spearheaded by vocalist and songwriter Leanne Kelly in collaboration with drummer Jacob Frautschi and producer Max Savage, their most significant release to date has been the ‘Of Time’ EP trilogy, an exploratory fusion of dreampop, trip-hop, goth, folk, glitch, dance, synth and indie, best exemplified by songs like ‘Future’s Wild’ and the ‘Of Time’ title song which could be mistaken for Hannah Peel.

NEW SPELL are stylistically hard to pin point. But with their newly released ‘(Remixed)’ EP, they hand over six of the tracks from the ‘Of Time’ trilogy to various collaborators for a fresh electronic spin. The best of the bunch is the VANDAL MOON remix of ‘Home’.

The two parties first worked together on ‘We Live Forever’, a moody synthwave ballad from the gothwavers’ most recent long player ‘Black Kiss’. This new version falls in a similar vein with Blake Voss from VANDAL MOON joining in with his subtle baritone, adding a glorious harmonious resonance that wasn’t on the original while still maintaining the chill of Kelly’s forlorn air.

‘Easier’ sees Akiyoshi Ehara of THE SESHEN offer a shimmering leftfield direction that remains pop but also compliments Kelly fabulous voice with a sympathetic laid-back backdrop. Meanwhile the CTRO Remix of ‘You Win’ plays with an experimental uptempo dance flavour that unfortunately loses the song part of the way through.

From pop rockers DANGERMAKER who once covered David Bowie’s ‘Ashes To Ashes’, their frontman Adam Brookes presents a phat rhythmically focussed take on ‘Like Water’. It manages to avoid death by four-to-the-floor by throwing in a few off-beats for some subtle variation and is all the more enjoyable for it as a song about connecting with others in the digital age.

With NEW SPELL having already contributed to ‘Mythic’, cybersynther SENZATIMORE returns the compliment by building up the intensity on ‘Never Change’ before letting off his drum machine-assisted attack propping up a barrage of heavy anthemic keys.

An arpeggio-laden cinematic rocker in its original form, ‘Rain’ remixed by MAITRE D is tightened into a hypnotic club friendly tune that also plays with skippy machine beats and some deep synthbass towards its rainy conclusion.

With her willingness to collaborate in a variety of spears, Leanne Kelly has already revealed her eclectic cards and this remix EP is another facet of that. Her strengths are her introspective songs and her strong voice.

So while her blend of styles and interests might confuse some, there is likely to be something for someone in the music of NEW SPELL, especially in its reflection of the present and an unpredictable future.

‘Of Time (Remixed)’ is released digitally on 30th October 2020, available direct from https://newspell.bandcamp.com/

https://www.newspellmusic.com/

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https://open.spotify.com/artist/5zMCF2GpGG7eYUxyc63SKW?si=EZQF6VWiTvaS1rF5MKOXLw

Text by Chi Ming Lai
1st November 2020, updated 5th December 2020

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