Author: electricityclub (Page 146 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

RENARD Waking Up In A Different World

28 September 2020 /

The tale of WOLFSHEIM will be known to any self-respecting lover of darker electronica, although relatively alien to English listeners, unless one had European connections or sought after more unusual sounds outside Britain in the last two decades of the 20th Century.

The Hamburg based duo with the superb voice of Peter Heppner and hit producing magician Markus Reinhardt released numerous gems such as ‘Once In A Lifetime’ or ‘The Sparrows & The Nightingales’, turning out superb albums, with ‘Spectators’ or ‘Casting Shadows’ to name just a couple. But the good streak wasn’t to last, with the group disbanding into a monumental hiatus, seeing Heppner going solo or helping on other artist’s releases, with that ever haunting voice of his; Reinhardt stayed somewhat behind, only to return for what he calls “his reinvention”.

“The end of WOLFSHEIM motivated me to reinvent myself. A process that was urgently needed. With RENARD, I’m more with myself. My album combines the sound and mood of the 80s with the stylistic devices of today.”

Any sound manipulator needs a vocalist to showcase the uniqueness of their work and RENARD doesn’t settle on one. Why stick to the same voice when you are in a position to pick who you’d like to really bring variety and much needed diversity to your output? ‘Waking Up In A Different World’ is a debut, but it’s unlike any other debut, as in this case the debutant is not an inexperienced musician, promoting unknown vocalists.

So for the first single, Reinhardt chooses ‘Travel In Time’ with Pascal Finkenauer to take the reins of the vocals. A fellow German songwriter, guitarist and vocalist, Finkenauer’s melancholic voice sounds mistakenly like Heppner’s, bringing somewhat confusing connotations. In previous outings, Finkenauer can sound more or less like the original WOLFSHEIM boy, but one has to question the sense in this particular choice, especially with Reinhardt’s pledge to be more like himself on this record.

Nevertheless, this is a magnificent song, with a great dose of sorrow and longing. One cannot reject the obvious WOLFSHEIM connotations in the arrangement; it’s like the band have been resurrected for one tune. Well, if he can’t use the WOLFSHEIM name, then…

Joseh features on ‘Junkyards’, where guitar leads the SUEDE-esque intro, blossoming into an easy listening piece where the voice doesn’t sound like Heppner’s, but more natural and free flowing.

Joseh also guests on ‘The Meissen Figurine’, which combines a coalescence of modern elements with vintage components over a moderately unobtrusive tune, while Marietta Fafouti finds herself ‘Restless’. A prolific Greek composer, songwriter, and a well-known figure in her native land, Fafouti sings her soul away over a simplistic melody.

DUBSTAR’s Sarah Blackwood wrote the melody and lyrics to ‘Heresy’, which is commensurate with her own band’s output, both currently and back in the day. The song was written ten years ago and by Blackwood’s own admission containing words very personal to her. As always, it is superbly simplistic, cleverly put together and sung with the heart; the heart which “will have a speaking part, the first time in ages”.

Marian Gold of ALPHAVILLE joins the party on ‘Hotel’. With its NEW ORDER-like guitar presence, the song actually brings back the good old days when the German collective ruled with ‘Big In Japan’. Gold returns on ‘Damn Happy’ where he’s clearly “happy to be unhappy”, sadly in a quite forgettable manner. Interestingly enough, the production nods towards SUEDE again it its execution, although the song itself is missing the vital ingredient to make it worth replaying.

Thankfully, Eliza Hiscox of ROYALCHORD leads with the magnificent ‘My Heart’s Still Shaking’ which is not just magic in its vocal delivery but also in the symbiosis of the instrumentation and her voice. The closing ‘Intelligent Design’ ushers in a heavy plucked bass synth, progressing gently over eight bars of pure joy with yodelled voices, sculpting the ending beautifully.

Although altogether the album is a rather mixed bag, RENARD really is ‘Waking Up In A Different World’, bringing this multi-faceted, emotion laden production into life in the current climate of uncertainty, fear and new reality. May he achieve similar success to Peter Heppner with his solo ventures.

‘Waking Up In A Different World’ is released by Metropolis Records in CD, vinyl LP and digital formats on 9th October 2020, pre-order from https://renard.bandcamp.com/album/waking-up-in-a-different-world

http://www.renard-official.com/

https://www.facebook.com/Renard-1391654787606169

https://www.instagram.com/renard_official/

Text by Monika Izabela Trigwell
28th September 2020

MANI NEUMEIER + ZEUS B HELD The Secret Lives

26 September 2020 /

‘The Secret Lives’ is the overdue union of two German cult legends, Mani Neumeier and Zeus B Held.

The pair met in 1973 at a festival in Frankfurt; Mani Neumeier was there as the drummer and leader of kosmische trailblazers GURU GURU while Zeus B Held was a newcomer joining progressive rockers BIRTH CONTROL on keyboards. They each went on to establish notable careers.

Zeus B Held moved on to becoming a solo artist and producer, with his breakthrough coming from working with GINA X PERFORMANCE in 1979 when the single ‘No GDM’ became an underground club favourite.

As a result, he worked with the likes of FASHION, DEAD OR ALIVE, DIE KRUPPS, ALPHAVILLE, SIMPLE MINDS and TRANSVISION VAMP as well as John Foxx and Gary Numan. Later, Held moved into jazz and World Music while more recently, he formed DREAM CONTROL with Steve Schroyder, a former member of TANGERINE DREAM.

Mani Neumeier has maintained a 50 year career in GURU GURU with over 30 albums while working on various side-projects with his notable German contemporaries.

He was the drummer on the second HARMONIA album ‘Deluxe’ while his popularity in Japan, which led to working with acts like psychedelic rock ACID MOTHERS TEMPLE, saw a figure of him being made for a Tokyo waxwork museum.

Up there with CAN’s Jaki Liebezeit in technique, his drumming was so tight on ‘Speed Display’, a collaboration with Conny Plank and Dieter Moebius for the one-off long player ‘Zero Set’ in 1983, that observers cited the mad hyperactive collage of drums, bubbling electronics and treated robotic vocals as an example of proto-techno!

Spontaneous, colourful, lively and oddball, much of the recording of ‘The Secret Lives’ was done at the SynxsS-Studio in Offenbach with its distinguished proprietor Bernd-Michael Land contributing analogue sequencing from the vast array of modular equipment within his complex.

Tracks began with Neumeier tapping percussive moods on the Haken Continuum Fingerboard or using electronic drum pads while Held built chord structures and sequences before Neumeier overdubbed his acoustic drum kit at Freiburg KG Beat Studio. Opener ‘Fox Nr. 7’ is a good example of this approach with stark electronic keys offset by freeform percussion, punctuated with jabs of organ and a hallucinogenic monologue about foxes…

Meanwhile with a deep sequence of synth, ‘Drei Tage Funk’ sees Neumeier go on rhythmic bender augmented by Luigi Archetti on sustained guitar while Held does his Chick Corea impression. With chattering rimshot and syncopated keys, ‘Pfeif Drau’ takes an unusual cosmic ska influence…

There are more abstract adventures too with the collage of mind bending discordant noise forming ’The Secret Lives of Der Lurch’ being more sound sculpture than song, while ‘Ghost Ritual’ is a gong experiment. Then ‘Back 2 Nature’ recalls CLUSTER in its Morgenspaziergang ambience although the klanky guitar dressing adds some menace to the journey.

‘Volcano Dance’ uses an improvised jazz approach with all manner of instruments hovering simultaneously… all that’s missing is a Miles Davis trumpet. The self-explanatory ‘Sex Mit Siri’ though utilises passages of treated percussion with some amazing electronic sounds with one particularly whirring away via a Kaossilator like a dysfunctional Stylophone!

‘Threesome Railway’ is more spacey with drums used as much for colour as well as structure, but a vocoder is dug out for the moody PINK FLOYD inspired closer ‘Wish I Was There’ which also throws in some exotic tablas before some beautiful E-bow to end.

This is the sound of two veterans having rather a lot of fun. At times indulgent, occasionally quirky but with musicianship that cannot be faulted, ‘The Secret Lives’ won’t be for everyone.

But if you are into the idea of a couple of German septuagenarians jamming with a bit of wild jazz thrown into a kosmische and electronic amalgam, then this might just be for you.

‘The Secret Lives’ is released by Bellerophon Records, available from https://bellerophonrecords.bandcamp.com/album/the-secret-lives

http://mani-neumeier.de/

https://www.facebook.com/Mani.Neumeier1/

http://zeusbheld.com/

https://www.facebook.com/Zeus-B-Held-162448230492382

https://www.facebook.com/bellerophon.records

Text by Chi Ming Lai
26th September 2020

THE SMASHING PUMPKINS Cyr

23 September 2020 /

Them SMASHING PUMPKINS have now added a “THE” to prefix their name and surprised many with a splendid synth friendly single entitled ‘Cyr’.

Not only does it have synths but ‘Cyr’ is also quite pop in an almost DURAN DURAN vein!

So THE SMASHING PUMPKINS go synthpop? Well, not quite because the conventional format of guitars and drums is still there, although the hooks are very much of an electronic bent, particularly the synthetic bass. There’s even some delicious backing vocals from Katie Cole and Sierra Swan to act as a counterpoint.

But despite all this, Billy Corgan and Co have not compromised; the music maintains a gothic austere and still sounds like a band, but no doubt computers have been at work. Meanwhile the front man still sounds like he could do with going outside to play some Frisbee with his bandmates as he declares that “Fragments form the mind, shadows hold the mist, fractured as this wish, shattered I resign, we’re on the verge”!

The hooks are very reminiscent of ‘Enjoy The Silence’ and with this point of familiar reference, the magnificence of ‘Cyr’ only highlights the hopelessness of the more recent material from DEPECHE MODE. ‘Cyr’ is the sort of song that Martin Gore is more than capable of writing if he put his mind to it… but he can’t be bothered, hence the lazy dire results of ‘Spirit’ and its “this will do” attitude. And when THE SMASHING PUMPKINS are making better DEPECHE MODE records than DEPECHE MODE, well…

Could THE SMASHING PUMPKINS be about to release their most accessible album in their history? The new material so far from the forthcoming double album has exhibited much more of a classic British post-punk sensibility but then again, Billy Corgan has always been a fan of bands such as DEPECHE MODE, NEW ORDER and THE CURE; ‘The Colour Of Love’, the single prior to ‘Cyr’ was a highly effective borrowing and reworking of ‘A Forest’.

Previously there was the cover of ‘Never Let Me Down Again’ for the DEPECHE MODE tribute album ‘For The Masses’ in 1998 while Corgan also duetted with NEW ORDER on ‘Turn My Way’, a song from the 2001 album ‘Get Ready’ while acting as a guest musician with Manchester’s finest on their US tour that same year.

More details of THE SMASHING PUMPKINS’ new album are still to be revealed but the website has a clock counting down the days and a button asking fans to “explore the ritual”. Looking like a computer game designed by Tim Burton, the plot thickens.

‘Cyr’ is released by Sumerian Records / Warner Music Group and available now via digital platforms, the double album of the same name is released on 27th November 2020

https://smashingpumpkins.com/

https://www.facebook.com/smashingpumpkins

https://twitter.com/SmashingPumpkin/

https://www.instagram.com/smashingpumpkins/

Text by Chi Ming Lai
23rd September 2020

FEMMEPOP Tom Dooley

21 September 2020 /


Behind FEMMEPOP is the Irish singer and musician Margaret O’ Sullivan. She released her debut album ‘From A Girl Who Never Sleeps’ in 2014 while she followed it up with ‘Dancing With Myself’ in 2017.

But 2018 could be seen as the breakthrough year of FEMMEPOP; there were collaborations with Robert Parker and Hayley Stewart aka MECHA MAIKO while the ‘CYM’ EP which saw O’Sullivan develop her synth sound further for her best work yet.

2019’s ‘London’ EP surprised as an instrumental affair, but for her new single, FEMMEPOP has returned to songs but with a folk twist.

Margaret O’ Sullivan told ELECTRICITYCLUB.CO.UK: ”I live alone so lockdown was really hard. I was thinking of old songs I used to hear as a child and I remembered a song my Aunt used to sing ‘Tom Dooley’. I used to imitate my Aunt singing this song, as she used to sing it a lot. So I copied her and even at the age of 4 or 5, I loved the dark story within the lyrics.”

‘Tom Dooley’ is a ballad about the 1866 murder of a woman named Laura Foster in Wilkes County. It was allegedly committed by Tom Dula ; a local poet named Thomas Land wrote a song about the tragedy, titled ‘Tom Dooley’ shortly after Dula (which was pronounced “Dooley”) went to the gallows.

“I decided to do a cover and see what I would come up with” said O’Sullivan, “I was drawn to darkness of the song, the line ‘met her on the mountain stabbed her with my knife’ especially interested me as it’s just so stark and poignant.”

The recording of ‘Tom Dooley’ also saw a new side to FEMMEPOP. “Production wise, this song has the most tracks I have ever used on a song” said O’Sullivan remembered, “It contains 28 tracks. I used a lot of ideas for this, I wanted a rich sounding orchestral sound. There’s viola, piano, guitar, and strings on there as well as about 4 different drum tracks and 5 vocal tracks. Getting the drums right was the hardest part. That took quite a while. There are 5 verses in the song and I wanted to bring in the drums at the right point.”

One of the unexpected was the rhythmic climax: “I wanted to keep the softness of the ballad at the beginning then surprise people with the marching drums that come in and then slowly build to a crescendo at the end, along with the strings and piano. My vocals too emphasise this towards the end as I sing ‘ To die, to die, lay down, lay down.’ This song means a lot to me as it reminds me of my childhood but I have brought it into the year 2020 and I don’t think there is another version out there quite like this.”

The video put FEMMEPOP into a forlorn setting with another eerie twist: “It was shot in Cork city in August, outside an old, closed down, mental institution called St Kevins. So there was a very dark and eerie feeling about the place. It was directed and shot by a very talented film maker called Zoe Kavanagh from Dublin who has won several awards for her horror based films. The video was shot in one day and had me climbing through brambles and bushes on a boiling day in a dress and fishnet stockings!”

With ‘Tom Dooley’, FEMMEPOP makes a statement on several artistic levels, capturing the human condition’s challenges in coping with current world events.

‘Tom Dooley’ is released as a download single on 25th September 2020, available direct from https://femmepop.bandcamp.com/

https://www.femmepop.com/

https://www.facebook.com/Femmepop

https://twitter.com/Femmepop_

https://www.instagram.com/femmepop/

Text by Chi Ming Lai with thanks to Margaret O’ Sullivan
21st September 2020

TWICE A MAN Interview

19 September 2020 /

In the dark times, will there also be singing? Yes, there will also be singing, about the dark times – Bertolt Brecht (1939)

It is almost forty years since TWICE A MAN first took to the London stage. Sweden’s godfathers of electronic music first played a show at Heaven—on a bill organised by the legendary Final Solution—in the winter of 1981.

The fall of 2020 finds them with a new album, ‘On the Other Side of the Mirror’, expressing concern about the state of our planet. And it really is in a state. The view from their northern shore is an unhappy one, full of decay.

It wasn’t that long ago that TWICE A MAN were writing that ‘Everything Is Possible,’ but that gave way to ‘A Time of Terror.’ Now they sing about ‘A Rain of Shame.’ Their hopes for the world have diminished, even if their instincts for melody and atmosphere have not.

The band is currently a trio, composed of Dan Söderqvist, Karl Gasleben and Jocke Söderqvist. Their catalogue includes twenty-one studio albums, many of which are regularly cited as influences by other Scandinavian artists. Starting with 1982’s ‘Music for Girls’, TWICE A MAN have cut a distinctive path, combining its members’ progressive rock and new wave roots with modern tools and sounds.

‘On the Other Side of the Mirror’ invades the alternative dancefloor with epic chords (‘A Rain of Shame’) and strident beats (‘Naked’). It sweeps the bodies aside with thundering rhythms (‘Modern World’) and magnificent swells (‘Breath’). The Viking spirit is impressed into the tracks, as if overseen by Odin’s birds. Linked up remotely, TWICE A MAN spoke from their homes in Sweden to discuss the new album, their plans, and the prospects for political change.

How did the album come together? Was there a definite theme or sound that you were aiming for?

Jocke: The basic tracks were created at the same time that we were working on ‘Cocoon’. We started to make songs in other ways that were not fit for that album. We took a break, but Karl cannot do that. So, he made a lot of the basic tracks, and he had some basic lyrics, too. Normally, we all come in with things as a start, and we have a discussion how to do this next album or what direction we are going to go.

Dan: We didn’t want to make ‘Presence 2’. We wanted to do something that was different from Presence. There were a number of possible frameworks for what the album should be about.

We were talking about other influences. Like, we talked about the things from the 70s—bands like early GENESIS. We talked about the movement of surrealism. We talked about a lot of different themes that come into this picture. We called it ‘On the Other Side of the Mirror’, but it’s also mirroring ourselves when we made things in the 80s.

Was the album recorded with a view to the dystopian world we are living in now? Did the changes led by Covid-19 have any impact?

Dan: We recorded it in 2019, so before the Covid-19 situation. We were thinking about the kind of society that we are living in today.

Jocke: In a way, we were living in a situation where a change was bound to come, whether it was climate change or horrific wars or whatever. Covid-19 was a surprise, but it was not a surprise that something was going to happen.

Dan: You can see this on ‘Presence’, as well, of course. Trump and Boris Johnson were not around when we made that. Perhaps it doesn’t matter who is the President of the United States, but it is starting to be even more right-wing. The oligarchs are more openly running the show in England and in the United States—and here, in Sweden, too. The people have no one to speak for them; and, if they come—someone like Corbyn in England or Bernie Sanders in the US —then they are taken out.

Songs like ‘High in the Clouds’ sounded the alarm on the risks of environmental catastrophe. People have been unable to use their cars or fly in the normal way for many months. Do you think that the lessons from that will be learned?

Jocke: I’m very afraid that that the main thing on the agenda now is to get the wheels rolling again. I’m not sure, but everything needs to be up again, like usual. Then you sort of skip the climate for a while, because it is more important to get everything back to normal again. Maybe not flying but getting all the factories and so on back to where it was.

Karl: I think the only thing that maybe we change is that video conferencing is a more common way of meeting than it used to be; people don’t fly to every meeting. In the future, maybe that’s the only thing we can get out of this as a positive thing.

Disinformation and conspiracy theories are working to dumb down society in general. Do you think the rich and powerful are taking advantage of this, applying the theory of divide and rule? And do you think this is our ‘Modern World’?

Dan: Yes, that is one angle of that song, but it is very difficult to know what the truth is. It has become more and more difficult to know what who you can trust. You don’t have enough time to really perform research on everything that is happening. We have this for the virus—how to handle it? Should I wear the mask? It’s not possible to decide in every case who is right and who is wrong. I tend not to believe in anyone.

The new songs from ‘On the Other Side of the Mirror’ are fewer but longer, compared to ‘Presence’. They generally exceed radio play times. Is that a statement in itself?

Karl: They just became the length that they needed to be.

Jocke: I think also that, when we were making these songs, we weren’t really sure that it was going to be an album. We were searching, but we weren’t really sure. Maybe that let us have more freedom to let the songs be what whatever they wanted to be. Maybe that’s why they were longer.

The material doesn’t shy away from the dancefloor. The single version of ‘Naked’ comes with a number of remixes. Were you aiming for a danceable style over the ambience of ‘Cocoon’?

Dan: No, it is more in the area of ‘Presence’ and our 80s albums. If you take ‘Modern World,’ the end of it is like a flow, and that has a lot to do with our ambient stuff. It’s a little more aggressive in the sound, but it’s got this mantra feeling.

Karl: Because some of the songs we did parallel while working on ‘Cocoon’, we have a kind of injection of that style.

Karin My provides background vocals. What does Karin bring to the songs for you?

Dan: We have been working with Karin My for ten years now, on and off. We know her well by now and besides that she is a wonderful person, she has a voice that works very well with mine.

Jocke: Her voice—a female voice—there is a reserved space for it in our music. It really adds something.

Dan: Karin brought us together with Daniel Kaufeldt, who is now the producer for both Karin´s own work and for TWICE A MAN´s ‘Presence’ and ‘The Other Side of the Mirror’.

Karl: He is like a fourth member of the band, too, because in the mixing he put a lot of his own instruments in. It’s a good collaboration with him now.

How would you sum up the feeling of the album? Is there hope for change after everything that has happened?

Karl: Within the lyrics, the perspective is of the little man looking at the society from his chambers. You know, we can be the silence in the voice. That’s why it can be depressing—because I don’t think we leave any doors open to a bright future. It’s one for reflecting.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to TWICE A MAN

‘On the Other Side of the Mirror’ is released as a CD, vinyl LP, cassette and download by Ad Inexplorata, available from http://www.explorata.net/shop/index_eng.php

http://www.twiceaman.com/

https://www.facebook.com/twiceaman/

Text and Interview by Simon Helm
Additional Questions by Chi Ming Lai
19th September 2020

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