Author: electricityclub (Page 127 of 440)

“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

GLÜME The Internet

Described as “black lodge music for the blue youth of the internet age”, GLÜME is the Los Angeles-born “Walmart Marilyn Monroe”.

Like a tattooed Norma Jeane Mortenson dropped into Twin Peaks, having been a child actress and studies music before being diagnosed with a serious heart condition, GLÜME often reflects on her fragile hold onto life and how it keeps her detached from the real world in which she has live in.

But while her music often projects a tragic heartfelt quality, it is also strangely engaging and delightful.

Beginning with the forlorn Marilyn homage ‘Arthur Miller’, the afflicted drama accompanied by electric piano, organ, solemn strings and music box signals the forgotten yesterday mood that colours her first long player ‘The Internet’. Meanwhile ‘What Is A Feeling’ places GLÜME into a synthwave backdrop of sombre staccato bassline sand melancholic counter melodies. Highlight her own insecure emotions with the world are “my undoing”, this contrast of Norman Jean meeting ‘Drive’ only makes the scenario even more otherworldly and engaging.

The indie synth anxiety of ‘Nervous Breakdown’ dials largely down the Marilyn coos for some appealing melancholic pop while more off-kilter and detuned is ‘Crushed Velvet’ which recalls Nordic artists such as FARAO and GRETA.

Constructed around a distorted synth arpeggio, the haunting ‘Body’ reflects on illness with an emotive resigned acceptance with further tension provided by electric guitar. But things get glorious for the brilliant roller coaster of ‘Get Low’, the combination of rumbling synthbass and electronic stabs musically not that far off an experimental OMD B-side or LADYTRON!

The eerie chill of ‘Blossom’ outlines American suburban wifey aspirations like a ‘Twin Peaks’ song that Lana Del Rey wouldn’t shy away from and as the dream decays, GLÜME asks “which god do you prey to?” before stating “you can be really mean?”. 

The vibey ‘Don’t @ Me’ is a metronomic spoken word piece with echoes of JOY DIVISION’s ‘Decades’ in its repeated riff while utilising real strings blended with sparkles of synth, the finger-clicking album title song confronts online trolls and stalkers with references to a “worldwide bitch”.

A burst of a brass ensemble punctuates the film noir atmosphere of ‘Heatwave’ with some frantic if understated guitar work to accompany GLÜME’s Lana-like delivery albeit without the rasp. ‘Porcelain’ offers Trans-Atlantic trip-hop, before the orchestrated ballad ‘Chemicals’ closes ‘The Internet’ with the frustrations of medication and wanting them to “play nice”.

While it does not include her marvellous chilling cover of THE FLEETWOODS’ ‘Come Softly To Me’, ‘The Internet’ will satisfy anyone intrigued by GLÜME’s singles. With a variation of atmospheres and tempos plus an aura of charming vulnerability, featuring one of the best songs of the year in ‘Get Low’, the album is more than consistent with the Italians Do It Better brand identity and showcases GLÜME as their shimmering new star.


‘The Internet’ is released by Italians Do It Better on 30th April 2021

https://italiansdoitbetter.com/glume/

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Text by Chi Ming Lai
29th April 2021

Carry On Synthpop: LIVE AT THE NECROPOLIS Lords Of Synth

“There is only one hope for humanity… the synthesizer!”

Adult Swim is the night time wing of the Cartoon Network and frequently airs adult animation, mockumentaries and sketch comedy. Although ‘Live At The Necropolis: Lords Of Synth’ first aired in 2016, this little gem of a video is the gift that keeps giving for any fan of electronic music, especially the originators: Vangelis, Wendy Carlos and Giorgio Moroder.

For those that haven’t had the pleasure of seeing it, the skit adopts a wonderfully droll US sports commentary-style approach to a ‘synth-off’ (or as they word it, a “battle of fingoric dexterity”) between Xangelix, Carla Wendos and Morgio Zoroger. Each of the synth heroes are lovingly characterised with Zoroger being portrayed as a hard-drinking Italian (who harbours a long-running grudge against Xangelix and an ex-relationship with Wendos), Xangelis (a reclusive musician who is rarely seen in public) and Carlos Wendos (previously known as Carlton Wendos).

Also worthy of mention are the two US sports-style commentators, both named in homage to German electronic pioneers TANGERINE DREAM (Edgar Tangram and Zedd Centuari) who oversee the musical scoring of the return of Halley’s Comet to earth. The winner being subsequently crowned ‘Lord Of Synth’.

The parody was inspired by Greek-American musician Yanni’s extravagant 1993 ‘Live At The Acropolis’ concert which was seen in 65 countries and Public Broadcasting Service who originally promoted it. What adds to the overall enjoyment factor of ‘Live at the Necropolis’ is the attention to detail throughout, there are so many fantastic touches that it’s impossible to highlight all of them.

For a start, the synth equipment on stage is all appropriate to the individual ‘synth lords’ with Wendos having a Moog modular system, Moroger with a Jupiter 8 (fed through guitar pedals a la Johannes Schmoelling of TANGERINE DREAM) and a variety of other classic synths (including an Emulator I and a Prophet 5).

When it come apparent that Halley’s Comet is going to destroy earth and none of the Synth Lords (individually) will be able to halt its deadly trajectory, our trio combines forces and after sending a synth Morse Code to each other, metamorphosize into a streamlined all-white wearing synth ‘power trio’ with new keyboards to match.

With their collaborative performance, the “sheer coolness of the jam” cuts the heat from Halley’s Comet, a star constellation of Pegasus is summoned and a final triumphant chord sends a beam of light to the heavens and freezes the comet before it obliterates the Earth. Once it becomes apparent that humanity has been saved, former US President Gerald Ford returns (he had previously evacuated in a space pod) to bestow gold medals on our three Synth Lords.

ELECTRICITYCLUB.CO.UK can’t recommend ‘Live At The Necropolis: Lords Of Synth’ highly enough, it is a joy from start to finish and repeated viewings reveal many fantastic comedic touches that may get missed first time around.


The Adult Swim YouTube channel is at https://www.youtube.com/channel/UCgPClNr5VSYC3syrDUIlzLw

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Text by Paul Boddy
27th April 2021

PAGE Fakta För Alla Göteborg DVD


An observer in a music documentary once stated “Oh God, from Sweden? Pop? How can that work?”

But the Scandinavians are having the last laugh these days, having produced some of the best electronic pop of the last decade or more and certainly surpassing much of the derivative fare emerging from the UK and Germany, two nations who were the trailblazers but have since been left behind.

However, this pop domination would not have been possible without those Swedish acts inspired by the likes of Messrs Hütter, Schneider, Bartos, Flür, Numan, Foxx, Marsh, Ware, McCluskey, Humphreys and Clarke. One of those was acts was PAGE; the classic incarnation of Eddie Bengtsson and Marina Schiptjenko released their first single ‘Dansande Man’ in 1983.

In October 2019, they performed at Gothenburg’s Sticky Fingers venue for their first concert video presentation ‘Fakta För Alla Göteborg’. Produced by Swedish friendly media and culture platform Cold War Night Life, ‘Fakta För Alla Göteborg’ comprises of footage captured by a combination of professional camera operators and audience members, coupled to a supremely fine-tuned and well recorded live sound.

More recently Bengtsson has been re-exploring the post-punk synth innovations of TUBEWAY ARMY and this ethos to “Numanize” the sound of PAGE is reflected in a setlist drawn primarily from material released since their 2010 reunion. The ‘Fakta för alla’, ‘Det är ingen vacker värld men det råkar vara så det ser ut’ and ‘Nu’ albums are represented although only one song from the 2014 long player ‘Hemma’ is present.

In a sea of vertical neon tubes, strobes and a misty mauve tinge to the stage lighting, Bengtsson and Schiptjenko come armed with a Little Phatty and Sub 37 respectively to indulge in a delightful battle of the Moogs with oscillators set to stun.

The ‘Fakta för alla’ song and ‘Kloner’ see Bengtsson enthusiastically getting into the Moog with his soloing while the ‘Tracks’ inspired ‘Start’ from the 2018 EP of the same name showcases one of the best adaptations of the machine music era of Gary Numan for the 21st Century. Meanwhile, the stark heart murmur of ‘Blöder du?’ adds a touch of mood to the Moog but the more Vince Clarke derived ‘Som ett skal’ provides some respite from the Numan mining, as does the delightfully catchy ‘Kom så andas vi’, the latter  from the 2010 comeback album ‘Nu’.

The pacey ‘Lägger av’ makes the most of Bengtsson expressive stage persona in his engagement with the crowd, while ‘Ett SOS’ provides some glam Schaffel relief, showcasing another of PAGE’s musical influences. Having only played 21st Century material, the duo finally concede with something from their dim and distant past in the encore with the chanty ‘Förlåt’ from 1995’s ‘Glad’, supplemented by another album favourite ‘Står i din väg’.

And that final pair of songs highlights that if there is a fault with ‘Fakta För Alla Göteborg’, it’s the lack of earlier material and hits with ‘Dansande Man’ being the most noticeable absentee. Also with the emphasis on promoting ‘Fakta för alla’, the Numan-esque buzzes and whirs do at times get tiresome.

But synth hooks galore, Schiptjenko’s wonderful smile, Bengtsson’s animated delivery and a variety of camera angels, the energy of a show is projected in successfully bursts if confined by the limitations of the small screen.

As with most concert videos, you have to have been there or one before to truly appreciate the spectacle, as an independent synth duo on a small stage can only do so much despite the number of cameras of various capabilities on hand. Saying that, as a document to remind us all why concerts are very special events, ‘Fakta För Alla Göteborg’ does a fine job and will be greatly appreciated by PAGE aficionados.


‘Fakta För Alla Göteborg’ is released through Cold War Night Life as a limited edition bundle that combines a Vimeo streaming licence with a physical package comprising a DVD with extra features; a numbered photo book; and a unique Polaroid photograph of the band; it will be available for pre-order from https://hotstuff.se/page/x-7640

The unlimited streaming licence on Vimeo is available from 30th April 2021 at https://vimeo.com/ondemand/faktaforallagoteborg

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/


Text by Chi Ming Lai
24th April 2021

VILE ELECTRODES The Vanished Past


The breathtaking new video by VILE ELECTRODES for their 2016 song ‘The Vanished Past’ highlights that despite having not released an album in five years, they are still one of the best independent synth acts in the UK.

Their most recent album ‘In The Shadows Of Monuments’ was a bleak affair containing just under an hour of unnerving electronica and it closed with the potent cinematic drama of ‘The Vanished Past’.

With a mighty militaristic drum climax to end the seven minute cinematic epic, alongside the haunting forlorn vocal of Anais Neon after the fifth minute is the familiar but ghostly voice of Andy McCluskey. The avant pop approach of VILE ELECTRODES is reminiscent of early OMD and it was McCluskey’s love of ‘Deep Red’ which closed their debut long player ‘The future through a lens’ that led to the duo being invited to support the German leg of the ‘English Electric’ tour in 2013.

“Not everything is as it seems” and returning to the scene of the ‘Deep Red’ video of 2010, the fitting visual accompaniment for ‘The Vanished Past’ took advantage of a low tide calm sunrise on the picturesque South English coastline at St Leonards near Hastings.

“It really was a gorgeous morning!” said Anais Neon, “I wish we’d taken a tripod and planned some of the shots a bit more, but it was pretty spur of the moment, so we just kind of winged it, wandered and waded!”. On the spiritual and aesthetic connection with ‘Deep Red’, she added “It was the closer on our first album and has a video on the same beach at sunset, so a sunrise video for the second album closer seemed fitting!”

While VILE ELECTRODES have continued to maintain a discrete live presence, opening for Nordic acts APOPTYGMA BERZERK and LAU NAU, new material from Anais Neon and Martin Swan is still eagerly awaited and while a third album is in the works with songs such as ‘Drive’, ‘We Are A Prism’ and ‘The Kill The Cure’ already premiered in a concert setting, no release date has yet been confirmed.


‘The Vanished Past’ is from the album ‘In The Shadows Of Monuments’, available as a single CD or special double CD editions via http://vileelectrodes.bigcartel.com/

The download version of the album is available from http://vileelectrodes.bandcamp.com/album/in-the-shadows-of-monuments

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https://open.spotify.com/album/1Bbn9XPxGx4akSPJbdQIOF


Text by Chi Ming Lai
22nd April 2021

Lost Albums: ALAN VEGA Mutator

Sacred Bones Records release the lost album from Alan Vega, entitled ‘Mutator’.

Vega was best known as a member of the trailblazing electronic-punk duo SUICIDE with Martin Rev who confused audiences with their lack of a drummer and would go on to influence the likes of SOFT CELL and SIGUE SIGUE SPUTNIK.

Vega sadly passed away in 2016 but he left a vault of previously unreleased work at his New York studio. ‘Mutator’ was recorded during 1995-1996 with Liz Lamere who became his wife and key collaborator in his solo career.

It wasn’t intentionally shelved, but so prolific was Vega with his numerous projects that eventually included 11 solo albums, he was already focussing on another work before this was completed. “Our primary purpose for going into the studio was to experiment with sound, not to ‘make records” remembered Lamere, “I was playing the machines with Alan manipulating sounds”

Given a final production treatment in partnership with fellow Vega collaborator Jared Artaud 25 years after the material was first put to tape, ‘Mutator’ will be the first in a series of previously unheard recordings to be made public. Influenced by the streets of New York, Vega makes his presence felt with a collection of moments that are at times uneasy, but also paradoxically beautiful.

As an introduction, the drone sound sculpture ‘Trinity’ is a ghostly séance as if Vega is communicating from the other side. Meanwhile the album starts formally with ‘Fist’ as its percussive variation shaped by repetitive rhythm construction, coming over suitably gothic and gloomy.

The rumble of ‘Muscles’ provides a sinister backdrop for Vega’s preaching but the gorgeous ‘Samurai’ is poignant with Vega giving a resonant speech before shouting “GOODBYE- GOODBYE- GOODBYE”, reflecting on life with a backdrop that could have come off the ‘Twin Peaks’ soundtrack.

The slow industrial of ‘Filthy’ utilises a combination of distorted mechanical noise and a nail bed of ice, with Vega stamping his wayward personality throughout while ‘Nike Soldier’ rises and reverberates in a manner akin to THE SISTERS OF MERCY reworking a DEPECHE MODE B-side.

Doing away with percussion, the sombre ‘Psalm 68’ relies on a bassline pulse and uncomfortable screeching ambience for its effect before ‘Mutator’ closes with the sustained synthesizer collage ‘Breathe’, with Vega eerily proclaiming “the show is now over”

“’Mutator’ bridges the gap between the past and present” Jared Artaud said, “It’s something we feel he would have been really proud of, seeing this lost album released today. In so many ways, his music is needed now more than ever.”

A fitting epitaph to the experimental spirit of Alan Vega, anyone who has ever enjoyed cult SUICIDE classics such as ‘Ghost Rider’ and ‘Frankie Teardrop’ will find much to savour on the eight tracks that form ‘Mutator’.


‘Mutator’ is released by Scared Bones Records on 23rd April 2021 in various LP formats as well as CD and digital, available from https://www.sacredbonesrecords.com/products/sbr271-alan-vega-mutator

https://www.alanvega.com/

https://www.facebook.com/officialalanvega/

https://twitter.com/alanvegahq

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Text by Chi Ming Lai
20th April 2021

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