“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
SOFT CELL instrumentalist Dave Ball sadly passed away in his sleep on 22nd October 2025, he was 66.
While he had not been in good health for a number of years, he had completed work on a new SOFT CELL album ‘Danceteria’ to be released in 2026 and performed with band mate Marc Almond at the Rewind Festival in Henley-on-Thames back in August.
Ball began his adventure in music with a Fender Telecaster guitar, twin stylus Stylophone and second hand Akai reel-to-reel tape recorder but when he purchased a MiniKorg 800DV duophonic synthesizer, he never looked back. Enrolling on a Fine Art degree at Leeds Polytechnic, on his first day he asked for directions from a second year student wearing a leopard skin printed shirt and gold lame jeans; that student was Marc Almond and the pair were to make history as SOFT CELL…
The rise of SOFT CELL to have the second biggest UK selling single of 1981 in their cover of the Northern Soul favourite ‘Tainted Love’ is more than well documented and led to an imperial phase where the duo scored no less than five Top4 UK hit singles with ‘Bedsitter’, ‘Say Hello Wave Goodbye’, ‘Torch’ and ‘What’ following on in little more than 12 months.
The debut SOFT CELL album ‘Non-Stop Erotic Cabaret’ produced by Mike Thorne was a triumph, but while it was the state-of-the-art NED Synclavier that dominated the aural template with the Roland TR808 providing the rhythmic backbone, it was Ball’s much more basic Roland Synthe-Bass SB100 which provided the record with a very distinct sound.
But Ball and Almond were art school boys and expressed their discomfort with being pop stars and tabloid fodder. Inevitably, the next two albums ‘The Art Of Falling Apart’ and ‘This Last Night In Sodom’ captured that implosion. Although SOFT CELL disbanded in 1984 with Almond going solo and Ball eventually finding solace in the burgeoning house scene, side projects had been part of SOFT CELL’s agenda from the start.
While Almond would have MARC & THE MAMBAS, Ball would produce VICIOUS PINK PHENOMENA and release a solo album ‘In Strict Tempo’ featuring guest vocalists Genesis P-Orridge of THROBBING GRISTLE and Gavin Friday of VIRGIN PRUNES, as well as providing keyboards and “Rhythm Assistance” on CABARET VOLTAIRE’s 1983 album ‘The Crackdown’.
The association with VIRGIN PRUNES would continue with production on 1986’s ‘The Moon Looked Down & Laughed’ but in 1988, he formed THE GRID with Richard Norris after the pair had worked with Genesis P-Orridge’s PSYCHIC TV on the ‘Jack the Tab – Acid Tablets Volume One’ album; THE GRID’s first album ‘Electric Head’ in 1989 featured the chill-out classic ‘Floatation’ and the more disco-oriented ‘A Beat Called Love’ which both in their remixed single forms entered the lower reaches of the charts.
During this time, there was also a reunion with Almond on his 1991 album ‘Tenement Symphony’ to co-write three of the album’s best songs ‘Meet Me In My Dream’, ‘I’ve Never Seen Your Face’ and ‘My Hand Over My Heart’, planting seeds for an eventual first reunion.
Ball and Norris became in-demand remixers and collaborators with remixes for PET SHOP BOYS, ERASURE and SPARKS as well as productions for Vic Reeves, Kylie Minogue and Billie Ray Martin, the latter’s No6 hit ‘In Your Loving Arms’ being one which Ball later told ELECTRICITYCLUB.CO.UK was one of the 5 tracks he felt the most satisfaction from, along with ‘Baby Doll’, ‘Floatation’, ‘My Hand Over My Heart’ and ‘Say Hello, Wave Goodbye’.
Further remixes would be commissioned for David Bowie, David Sylvian & Robert Fripp, Brian Eno, Neil Arthur, Boy George Sophie B. Hawkins while THE GRID themselves would have their day in the UK Top3 with the cowpunk techno of ‘Swamp Thing’ in 1994.
SOFT CELL officially got back together for the start of the 21st Century and two brand new songs for 2002’s ‘Very Best of’ collection along with the ‘Cruelty Without Beauty’ album were duly delivered. But despite successfully playing festivals in Europe, an American tour did not go so well. There had been plans to do more shows and another record, but Almond had a motorcycle accident in 2004 which left him with very serious injuries. “That was it almost” said Ball to ELECTRICITYCLUB.CO.UK in 2018, “we sort of lost touch and didn’t speak for about 15 years…”
While Ball did form a new band NITEWRECKAGE and was among the last people to work with producer Martin Rushent on their 2011 album ‘Take Your Money And Run’, the legacy of SOFT CELL kept looming and a reunion could not be resisted; a show at London’s O2 Arena took place in 2018.
While it was billed as being “One Night, One Final Time”, the chemistry between Ball and Almond was rekindled, tentatively at first with a single ‘Northern Lights’, a ‘Non- Stop Erotic Cabaret’ 40th anniversary tour in 2021 and then an album ‘*Happiness Not Included’ the year after; one of the highlights was ‘Nighthawks’, a track that began life as a Dave Ball instrumental issued as a single with the boxed set of his autobiography ‘Electronic Boy’ and would feature his deep growly voice alongside that of Almond.
But Ball’s health began to take its toll and he was unable to perform at SOFT CELL shows from 2022 until he returned in Summer 2023 for a show at Hampton Court Palace Festival, performing in a motorised wheelchair; he had joked to ELECTRICITYCLUB.CO.UK: “Once I’m on stage and I’m locked in, so long as I don’t start wheeling backwards, I’ll be fine!”
As well as SOFT CELL, Ball had been working on new tracks for THE GRID with Richard Norris while ‘Ecce Homo’, an album he produced for Gavin Friday had been released in 2024. ELECTRICITYCLUB.CO.UK had the pleasure of meeting Dave Ball on several occasions over the years and interviewed him three times … he will be missed.
Marc Almond said in his tribute on the SOFT CELL website: “Thank you Dave for being an immense part of my life and for the music you gave me. I wouldn’t be where I am without you” and it wouldn’t be unfair to say that without Dave Ball, PET SHOP BOYS probably wouldn’t be here either…
With an aim to “destroy authenticity in pop” and “embrace the superficial”, when FISCHERSPOONER were launched at a lavish art space event in London, Casey Spooner turned to his musical partner Warren Fischer and said “Warren, press play…”
Some would call it performance art while others thought the mimed escapade was an affront to real music and reacted angrily… despite much press hype, the single ‘Emerge’ stalled at No25 in 2002 and Ministry Of Sound who had signed FISCHERSPOONER internationally were left with egg on their faces. Q magazine would later place the parent album ‘#1’ in their 2006 list of “The 50 Worst Albums Ever!”
What came to be called electroclash was not considered cool by a wider public that was still drunk after the hangover that was Britpop! Like New Romantic before it, electroclash seen as self-indulgence by elitist poseurs but despite being ridiculed, longevity is nothing to be scared of. Today, the music of 1977-1983 has proved its worth as KRAFTWERK, THE HUMAN LEAGUE, NEW ORDER, DURAN DURAN and their like continue to fill arenas and festival fields around the world.
So now is the time for a re-evaluation of ‘When The 2000s Clashed’ and presented ”Machine Music For A New Millennium”; comprising of 5 themed CDs, the set has been compiled by Jonny Slut, founder of London club nite Nag Nag Nag and Mark Wood of READERS WIFES who DJed at the SOFT CELL reunion shows with superb sets that focussed on the songs, doing away with the self-important mixing and beat matching that afflicts many egocentric deckmeisters…
Just as New Romantic had a range of names which didn’t stick like Blitz Kids, peacock punks, futurists and the dreaded Cult With No Name, designations like synthcore, tech-pop and Romo were banded about before electroclash stuck. It became the all-encompassing term for this glittery yet gritty variant of electronic dance pop where klanky drum machines did battle with analog arpeggios, throbbing basslines on the oompah radar and often, snarly or spoken rather than sung vocals!
CD1 comprises of “Fundamentals” and here, superb trailblazing tracks such as ADD N TO (X)’s ‘Plug Me In’, JEANS TEAM’s ‘Keine Melodien…1, 2, 3, 4’, ZOMBIE NATION’s ‘Kernkraft 400’, ‘Hand To Phone’ by ADULT. and ‘Rippin’ Kittin’ featuring Miss Kittin take their place alongside PET SHOP BOYS’ Orange Alert Mix of ATOMIZER’s ‘Hooked On Radiation’ and LEGOWELT’s sinister ‘Disco Rout’. But it’s Peaches who steals the show with the feisty buzzy lo-fi romp of ‘F*ck The Pain Away’!
FISCHERSPOONER lead CD2’s “Essentials” summary with ‘Emerge’ and offering fine support are THE KNIFE with ‘We Share Our Mother’s Health’ and Richard Norris’ THE DROYDS with the reworded DURAN DURAN cover ‘Girls On Pills’. Although ‘Seventeen’ from LADYTRON is the undoubted classic of this set, other highlights include ‘What Was Her Name?’ from Dave Clarke featuring CHICKS ON SPEED and ‘Take A Walk’ by Andreas Bolz while DETROIT GRAND PUBAS offer the enjoyably bizarre ‘Sandwiches’!
CD3’s “Developments” documents the crossover of what many perceived as the electroclash sound into the mainstream charts with HOT CHIP, GOLDFRAPP, MGMT, LCD SOUNDSYSTEM and YEAH YEAH YEAHS as well as Annie and Róisín Murphy all present if not necessarily correct with THE CHEMICAL BROTHERS remix of ‘Slow’ chosen rather than ‘Come Into My World’, Kylie Minogue’s collaboration with FISCHERSPOONER.
Meanwhile it’s the Princess Superstar voiced take on ‘Exceeder’ as ‘Perfect’ rather than Mason’s superior original instrumental that is included. That aside, Khia’s ‘My Neck My Back’ can now be seen as a forerunner of Marie Davidson.
The “Evolutions” themed CD4 opens with the still outstanding ‘We Are Your Friends’ from JUSTICE VS SIMIAN but while also including DIGITALISM, SOULWAX, CSS and NEW YOUNG PONY CLUB, this particular part of the collection proves to be the most hit and miss of the entire box, but it’s all just a matter of taste…
CD5 looks back at the “Origins” of electroclash with the usual suspects like KRAFTWERK, SPARKS, THE NORMAL, CABARET VOLTAIRE, THE HUMAN LEAGUE, GINA X PERFORMANCE, NEW ORDER, HEAVEN 17, FAD GADGET, VISAGE and SOFT CELL all included. But while is it wonderful that a track other than ‘Homosapien’ in the brilliant ‘Telephone Operator’ is included from the Pete Shelley back catalogue alongside the Germanic quirkiness of ‘Fred Vom Jupiter’ by DIE DORAUS UND DIE MARINAS and ‘Zauberstab’ by ZaZa, this could almost be any other alternative collection of influential electro works.
Instead, this fifth disc could have gathered tracks from the period by THE HACKER, THE FAINT, FC KAHUNA, GREEN VELVET, NORTHERN LITE, SYNTAX or TECHNOVA next to DJ Hell, Felix Da Housecat, Anthony Rother, Tiga or Ferry Corsten, with the latter’s ‘Whatever!’ nonchalantly voiced by Esmee Bor Stotijn from 2006 being a slice of prime cut electroclash.
The way it was in the past 25 years ago, this boxed set shows that the back-to-basics approach of many of these tracks provided an excitement that led to an albeit short-lived reinvigoration of electronic pop by acts whose names began with an “L” like Little Boots, La Roux, Lady Gaga and Ladyhawke.
Gathering a diverse selection of artists, producers and remixers ranging from the biggest starlets and synthpop duos to cult bands and underground DJs, ‘When The 2000s Clashed: Machine Music For A New Millennium’ highlights that the passing of time has finally been kind to electroclash and in selecting from the best of its type, what is left is great electronic pop music. So when synthwave is reassessed in 10 years time and gets the boxed set treatment, will it too have evergreens that have stood the test of time? It will but it probably won’t have as many as ‘When The 2000s Clashed: Machine Music For A New Millennium’.
First known as the front woman of acclaimed London-based synth duo LINEA ASPERA, Australian-born Alison Lewis relocated to Berlin and launched her solo project ZANIAS in 2016.
Lewis has been particularly prolific in recent years as ZANIAS, as well as reuniting with Ryan Ambridge in LINEA ASPERA and running Fleisch Records. 2023’s ‘Chrysalis’ as the album title suggested was something of a rebirth while the glossolalia swathed ‘Ecdysis’ a year later saw the musical shedding of an outer cuticular layer into a new self.
While delivering a potent political message with assertive fervour and playful sincerity, the new ZANIAS album ‘Cataclysm’ fuses a variety of genres in pursuit of pure artistry but with a sense of light after the heavier if ethereal moods of its predecessors. Written and produced by Alison Lewis, on board shaping the final mix is Trey Frye of American darkwave duo KORINE.
The determined premise is a refusal to give in to despair despite civilisation and the ecosystem on the brink of total collapse. In that respect, the fight instead of flight kicks in and for ‘Cataclysm’, Alison Lewis adopts a striking sword wielding oceanic warrior persona reminiscent of fellow independent female artist CZARINA.
The opening ‘Cataclysm’ title track captures anxious upheaval in the battle for survival but the tempo changes in almost an instant with ‘Naiad’ where the incessant rhythms punch and shuffle in honour of water nymphs in Greek mythology. The hymn-like ‘Whiteout’ takes the mood down to something almost spiritual. But utilising the science fiction horror novel ‘Annihilation’ by Jeff VanderMeer in the verses of ‘Ghostbird’, pointy rave stabs compliment the unusual abstract backdrop with an array of voices in the headspace.
The breezy acoustic strum of ‘Ashes’ throws off the scent, but the cultured cacophony of icy atmospheres and absorbent beats return on the rapturous ‘Dawn’ while the multi-rhythmic spectre of ‘The Spire’ is reverberant with cutting bass and sharp arpeggios. Offset by deep drones, snappy drum ‘n’ bass rhythms propel the frantic pace of ‘Serpentsmile’ to 190 BPM.
Photo by Apostolos Zanias
The thumping ‘Human’ goes full on melancholic techno and is maybe the most accessible ZANIAS statement yet, reflecting on life and the universe. To finish, the “Gatecrasher meets Berghain” exhilaration of ‘Happy Endings’, while sombre in tone, offers the title not as irony but as a hopeful possibility in the face of adversity!
With her known deep attachment to humanity and the environment, Alison Lewis has her very own signature within her post-industrial ethereal wave. After the storm comes fresher air and put simply, ‘Cataclysm’ is the best ZANIAS album to date.
“MIRRORS formed probably in a very similar way to a lot of other bands; we were in a pub, we were being very scathing and cynical about the current crop of musical hopefuls and obviously assumed at the same time we could do it better. So before we knew it, we picked up a couple of old synthesizers and we were bashing out some tunes…”: James New
MIRRORS may have only released one full length album ‘Light & Offerings’ in early 2011 but while the lack of success may have precipitated their premature disbandment, with the qualitative lull in British synth music in the years following meant that ‘Light & Offerings’ was discovered retrospectively by electronic pop fans who had missed the band first time around.
MIRRORS released their first two self-produced singles ‘Look At Me’ and ‘Into The Heart’ in 2009. As the quartet began to perform live with cerebral projections as visual accompaniment, they fostered a suited look based around 20th Century European Modernism inspired by Gilbert & George and designated their music pop noir. Signing to Brighton’s Skint Records, after abortive recording sessions with Ed Buller and Richard X, the band opted to self-produce their debut long player and locked themselves away in a rural Sussex farmhouse for several weeks.
Despite having only one long player to their name, MIRRORS became known for their B-sides and remixes while since the band’s fragmentation in late 2011 and quiet disbandment in mid-2013 after their final gig in the Czech Republic, there have been number of new projects and collaborations. Of the classic line-up, front man James New has been the most prolific, working with Saint Raymond, Lauren Aquilina and Laura Welsh in a production / writing partnership with Josef Page alongside his own solo work and various guest appearences. Meanwhile outside of music, James Arguile entered the teaching profession while Ally Young trained to become a chef.
ELECTRICITYCLUB.CO.UK has managed to assemble a Beginner’s Guide comprising of 20 tracks from The World of MIRRORS. As per usual, rules help to control the fun and the selections have been made from standalone releases whether physical product or digital downloads (both purchasable or available initially for free); they are placed in chronological order…
MUMM-RA She’s Got You High (2007)
James New and James Arguile had their first taste of near-fame in indie-pop hopefuls MUMM-RA named after the primary villain in the animated series ‘ThunderCats’. Reaching No41 in the UK Singles Chart, ‘She’s Got You High’ later appeared in ‘(500) Days of Summer’, an episode of ‘The Inbetweeners’ and a Waitrose advert. Despite supporting THE KILLERS, the band split and New started listening to KRAFTWERK…
“Bored of tradition”, James New met Ally Young and began formulating ideas “to do something that was considered from the ground up”. Joined by James Arguile who embraced the idea of making soulful electronic pop, the first fruit of labour was ‘Look At Me’; recorded on GarageBand with sonic distortion creeping in, it was released as a one sided red vinyl single on Pure Groove with the sleeve sticker outlining the MIRRORS manifesto.
WHITE LIES A Place To Hide – Un Autre Monde mix by MIRRORS (2009)
The WHITE LIES connection came about as James New was friends with live keyboardist Tommy Bowen; a song from the debut ‘To Lose My Life…’ which also included ‘Farewell To The Fairground’, the trio’s post-punk influenced synth rock influenced by THE TEARDROP EXPLODES was given a doom-laden machine-percussive edge. “The WHITE LIES one was our first remix actually” recalled James New in 2010, “that’s probably the one I like the least”.
Originally available a free download, currently unavailable
With Josef Page joining the line-up, MIRRORS were now a synth quartet and their second single on Moshi Moshi was a much more soaring statement after the comparatively understated ‘Look At Me’. Within its detuned shimmering tones, here was an accessible Cold War centric pop number with a majestic singalong that proved Synth Britannia influences were nothing to be ashamed of.
Originally available as the single ‘Into The Heart’ via Moshi Moshi Records, re-recorded version on the album ‘Lights & Offerings’ via Skint Entertainment
Known for their whimsical feminine synthpop, AU REVOIR SIMONE closed their third album ‘Still Night, Still Light’ with the minimally understated ‘Tell Me’; remixed in his bedroom in half a day, James New’s brilliant version made the American female keyboard trio of Erika Forster, Annie Hart and Heather D’Angelo sound delectably suicidal; “That was the plan…”, he said in 2010, “sort of gothic disco I was going for there!”
Available on the AU REVOIR SIMONE album ‘Night Light’ via Moshi Moshi Records
‘Ways To An End’ saw MIRRORS’ intense and artful approach to dancing was very different to the ‘hands in the air’ culture of their home base of Brighton. Synthetic chills and pulsing effects dominated this brilliantly uptempo electro number that rhythmically recalled TALKING HEADS ‘Crosseyed & Painless’ while the claustrophobic production was very post-punk while wonderfully dense and swathed in melodic drama.
In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Originally the flipside of ‘Ways To An End’, the emotive ‘Broken By Silence’ exploited the sad melancholy often associated with OMD; “It’s one of my favourite tracks of ours!” said James New and it became the title song of a special CD EP made available during MIRRORS shows opening for OMD.
OMD Sister Marie Says – MIRRORS Un Autre Monde Mix (2010)
With the European tour opening for OMD came an invitation to remix ‘Sister Marie Says’, the most immediate song on their comeback album ‘History Of Modern’. Much was anticipated in as the apprentice casttheir homework on the sorcerer’s spell. Using a dark abstractly percussive approach minus the song apart from bursts of choir samples and the whispered title phrase, this reconstruction polarised OMD and MIRRORS fans alike.
Originally available on the single ‘Sister Marie Says’ via Blue Noise Records, currently unavailable
“It’s a bit of a guilty pleasure…” said Ally Young of ‘Falls By Another Name’, a B-side catchy enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir, the bright pulsing melodies and James New’s Dave Gahan impression made this sound like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’; “…we do have a habit of writing quite big melodies and choruses” added the MIRRORS singer, “we come from a poppy sort of place”.
MIRRORS revealed an interesting musical diversion with this haunting take of a rootsy country number originally recorded by Karen Dalton. Written by Dino Valenti of psychedelic rockers QUICKSILVER MESSENGER SERVICE, ‘Something On Your Mind’ was a touching ballad with its tortured yearning suiting the quartet’s pop noir aspirations. Ally Young said: “It was very nice for us to be able to apply our aesthetic to someone else’s song.”
Originally a 10 minute epic split into three movements, ‘Secrets’ closed MIRRORS’ debut long player, driven by an intense percussive tattoo and a shifting octave bass riff that was pure Klingklang. While pushing forward the synthetic claps and allowing in some air, Andy McCluskey stripped down the backing and shortened proceedings, making it much less claustrophobic and militaristic than the original cut.
Originally available a free download, currently unavailable
ANOTHERS BLOOD Lost Communication – MIRRORS remix (2011)
Behind the cerebral alt-rock act ANOTHERS BLOOD was producer Richard Frenneaux. His rousing ‘Lost Communication’ was given an electro-gothic austere by MIRRORS that subdued the vocal into a background of slowly throbbing bass synths. ANOTHERS BLOOD later covered NEW ORDER’s ‘Lonesome Tonight’ for Mojo Magazine in 2012 while Frenneaux released his debut solo album ‘Fluoxetine Times’ in 2020.
Available on the ANOTHERS BLOOD single ‘Lost Communication’ via Family Records
LADY GAGA Judas – MIRRORS Une Autre Monde Mix: Nuit (2011)
In their biggest remix commission yet, MIRRORS contributed two remixes, subtitled ‘Jour’ et ‘Nuit’; the best of these was the latter night version which added the discordant backing on the verse that let Lady Gaga get away with her bizarre intonation saying “arse”. With the very poppy chorus removed, his provided a darker resonance to the implied blasphemy while a pulsing middle eight added to the edgier synthpop adaptation.
Following the departure of founder member Ally Young and a parting of ways with Skint Records, MIRRORS came back with an independently distributed EP of new material. Also including previously unreleased home demos, it was snappily titled ‘This Year, Next Year, Sometime?’; the first of the demos ‘Blood Diamond’ was a marvellous percussive surprise with a tribal TALKING HEADS attack and James New’s spirited chanting!
Available on the MIRRORS EP ‘This Year, Next Year, Sometime…?’ via Bandcamp
On slimming down to a trio, MIRRORS headed towards a sparser textural direction with ‘Dust’ and ‘Hourglass’ than on ‘Lights & Offerings’, but this was nevertheless rewarding with further listens. The beautifully stark drama of ‘Between Four Walls’ was full of post 3:00am drama. Asking “Do you ever wonder how you’ll ever get there when you never turn back around?”, it was high end atmospheric electronic balladry at its best.
Available on the MIRRORS single ‘Hourglass’ via Bandcamp
After Ally Young left MIRRORS, his first port-of-call was to produce the second album by OASIS-inspired indie band VIVA BROTHER. But when things floundered and the band split, he teamed up with their singer Lee Newell, relocated to New York and LOVELIFE was born. ‘Brave Face’ was a chilling but uplifting piece of mood music which came over like OMD fronted by HARD FI in its Cool Britannia meets Synth Britannia fusion.
Available on the LOVELIFE EP ‘El Regreso’ via Lovelife
Not content with producing MARSHEAUX and collaborating with OMD on the ‘English Electric’ track ‘Helen Of Troy’, Greek production duo FOTONOVELA unveiled a new sophomore opus which was more song based using a number of prominent international vocalists. One of the numbers ‘Our Sorrow’ featured the majestic voice of James New. This sad string synth laden ditty was in the vein of classic OMD.
Available on the FOTONOVELA album ‘A Ton Of Love’ via Undo Records
MARSHEAUX featuring JAMES NEW Now This Is Fun (2015)
MARSHEAUX included some interesting arrangements covering DEPECHE MODE’s second album ‘A Broken Frame’. But the 2CD deluxe edition boasted a bonus track in a cover of the ‘See You’ B-side ‘Now This Is Fun’ featuring James New on lead vocals. Whereas the original version went through a series of frantic tempo changes, MARSHEAUX kept the pace constant and moody while the MIRRORS front man remained anxiously impassioned.
Available on the MARSHEAUX deluxe album ‘A Broken Frame’ via Undo Records
James New returned to his indie guitar roots to reform MUMM-RA while also working with others. The project of Sander Van Doorn, this PURPLE HAZE collaboration saw New add his forlorn vocals to the dreamy acoustic electronic hybrid of ‘Fall In’ which exhibited all the potential qualities of MIRRORS; there were bangin’ dance remixes by LYNDSCAPE and Zonderling but New issued his own solo guitar-oriented take in 2018.
Available on the PURPLE HAZE album ‘SPECTRVM’ via Doorn Records
Despite James New teasing that he might return to synth with acoustic covers of ‘Don’t You Want Me’ and ‘A Real Hero’, his new project VIRENS was actually an alt-folk duo. His partner Louisa Connolly-Burnham had a voice akin to Hope Sandoval of MAZZY STAR, so it was fitting that ‘We’re Still Cool’ was like THE JESUS & MARY CHAIN meeting Bowie’s ‘Heroes’; it also saw New reunite with Josef Page who co-wrote and produced the track.
Greek duo PARADOX OBSCUR are forever evolving and from their more minimal roots, they have now readily embraced more explicitly dance-based influences onto their new album ‘IKONA’.
Eschewing the use of computers for their music, Kriistal Ann and Toxic Razor combine honest impassioned vocal expression with hardware electronics, resulting in a dark intensive allure that is simultaneously nostalgic and futuristic. PARADOX OBSCUR have performed at numerous European festivals including Wave Gotik Treffen, Extramuralhas, Waveteef and Kalisz Fest while the duo have been a live draw across South America.
From the sinister mutant disco of ‘Vulgar Sequence’ that “f*cks your brains” and the rousing trance instrumental ‘Luminous’ to the stark darkwave cabaret of ‘Personal’, ‘IKONA’ is their most expressionistic work to date.
With a catalogue dating back to 2014 that includes six albums and numerous EPs, Kriistal Ann and Toxic Razor chatted to ELECTRICITYCLUB.CO.UK about the development of PARADOX OBSCUR through the years and the making of ‘IKONA’.
‘IKONA’ is your sixth LP, how did you set out this to make it different from your previous albums?
Toxic Razor: ‘IKONA’ is a natural evolution from our previous album ‘Morphogenesis’. This time, we wanted to take things in a more dance-oriented direction, while still preserving the melodic elements and keeping a human, emotional touch at the core of the music.
Another key difference is in the production approach—I leaned more towards digital hardware synthesizers for this album, as opposed to the analog-heavy sound of our earlier work. The exception is the track ‘Like A Freak’ which is entirely analog-driven and stands out with that raw, classic feel.
There were a series of standalone singles ‘Escape’, ‘Attention’, ‘Slap It’ and ‘Reach The Stars’ before the album but these are not part of ‘IKONA’, but were they important parts of the journey?
Kriistal Ann & Toxic Razor: ‘Attention’, ‘Slap It’, and ‘Escape’ were written specifically for our anniversary EP, ‘Attention’. They belonged to that moment, that celebration, and were never meant to be part of ‘IKONA’.
‘Reach The Stars’ is a different story. It’s one of our oldest songs—written in the very first year of PARADOX OBSCUR. It stayed hidden for years, waiting. The time never felt right to include it on an album, so we finally released it as a standalone. It’s a song that means a lot to us.
Over time, our sound has evolved. What started as minimal synth has grown into something more layered, more dimensional. ‘IKONA’ reflects that shift—an album shaped by rich and diverse electronic textures, a step forward in our sonic journey.
How would you describe your creative dynamic, is it important for you to be sitting in a room together during the writing process?
Kriistal Ann: Not at all. We’ve never expected to create like twins—mirroring each other in the same room at the same time. We are two separate forces—each with our own rhythms, moods, and timing. Sometimes we sync, sometimes we drift apart. Both are necessary.
What matters is the chemistry. The silent dialogue. That endless ping-pong of inspiration that flows between us. It’s what gives our sound its shape—and its soul.
You remain DAWless for this new album, have you tried the “cut and paste” method of making music? What are your feelings about analog versus digital?
Toxic Razor: Yes, we’ve remained DAWless for this album. When we record and mix a track, we avoid the typical copy-and-paste or automation techniques that are so common in today’s music production. We prefer a hands-on approach—working directly with real instruments and mixing consoles, rather than being confined to a virtual environment, which I find lacks that tactile connection.
We use all kinds of hardware synthesizers, both analog and digital, but we don’t use virtual instruments at all. That said, subtractive synthesis remains our favourite approach—it’s where we feel most at home creatively.
Do you have your favourite tools of creation, what synths and drum machines do you prefer?
Toxic Razor: When it comes to drum machines, one of our favourites is the Korg Electribe MX. It’s a powerful and incredibly versatile tool for programming beats. We also make use of other drum sources, including some classic Roland gear, depending on the sound we’re after.
As for synthesizers, I enjoy working with a wide range of models. The Access Virus and Korg MS2000 are long-time favourites, offering a great mix of flexibility and character. On the analog side, machines like the Behringer Crave and the Arturia MatrixBrute really stand out—they’re capable of delivering massive, raw sounds when we want that extra punch.
Ultimately, every piece of gear has its role in the recording process. It’s about finding the right combination to bring each track to life.
You are not afraid to experiment with vocal treatments and pitch shifts on your music while retaining a very honest style of delivery?
Kriistal Ann: We’re not afraid to break away from any label or identity that’s been placed on this project. We enjoy experimenting—with sound, with style, with unexpected blends of genres. When it comes to vocals, though, we usually keep things simple. No heavy processing, no corrections—more stripped back, more human.
Toxic Razor: What makes the difference is emotion. Anna has a gift for inhabiting each song completely, whether it needs seduction, sorrow, defiance, or softness. It’s not about pitch shifts or effects. It’s about truth. And that truth always finds its way through the voice.
‘Evo-Devo’ from 2022’s ‘Morphogenesis was included on CURSES’ ‘NEXT WAVE ACID PUNX – DEUX’ compilation, does PARADOX OBSCUR feel an affinity with other acts on it such as DINA SUMMER, ULTRA SUNN, NUOVO TESTAMENTO and ESSAIE PAS?
Kriistal Ann & Toxic Razor: It was an honour to be part of such a strong and thoughtfully curated compilation. There are some truly great artists on that roster. That said, this kind of question might be better answered by listeners. They’re the ones who perceive connections, overlaps, and shared energies between acts.
From our side, the kinship we feel is rooted in the shared act of creation—we’re all in the field of music-making, carving our paths. But we also believe deeply in artistic individuality. Every band should cultivate its own identity, its own voice. That’s what keeps the scene alive and evolving.
How do you now look back on the development of your sound from the 2014 debut EP ‘Noir’ and songs like ‘Dark Fortress’?
Kriistal Ann & Toxic Razor: Our actual debut was the self-titled album ‘Paradox Obscur’, released by the British label Peripheral Minimal. ‘Noir’ came shortly after, and that’s where ‘Dark Fortress’ found its home. Looking back, our sound has evolved significantly. What began as a minimal synth approach has gradually transformed into something more layered, more rhythmic—something groovier, more alive, and danceable.
We’ve let go of the fear of how purists or die-hard fans might react. Not out of rebellion, but out of deep respect—for our own growth, and for their ears. Music needs space to breathe and shift. And so do we.
‘Vulgar Sequence’ from ‘IKONA’ is quite sinister and is themed around gaslighting, was this from personal experience or is there a wider context?
Kriistal Ann: That’s a thoughtful question – thank you.
Yes, we’ve all been “victims” of manipulation in one form or another. But ‘Vulgar Sequence’ isn’t rooted in a single personal experience. It speaks to something wider. Think of the manipulation of the masses—a topic explored by thinkers from Freud to Chomsky. In today’s world, it’s become more widespread because people are increasingly disconnected from their true needs. Many seek validation through others, through societal stereotypes, rather than from within.
So yes, the song touches on gaslighting, but not just on a personal level. It reflects a larger commentary on the ways truth is distorted—socially, psychologically, even politically.
How did the idea to cover Armin Van Buuren’s ‘Lose This Feeling’, especially as it is quite a recent song?
Toxic Razor: I spend a lot of time exploring the sounds of different producers, moods, and musical worlds. When ‘Lose This Feeling’ came on, it immediately grabbed my attention. There was something about its pulse, the speed, and the distant electronic vocals that resonated with me. The lyrics felt perfect for a romantic electronic ballad. I could already imagine Anna’s voice weaving through it – soft yet powerful, human and filled with longing.
I wanted to bring some heart to the track, and Anna delivered that effortlessly. Her voice transformed it from a programmed piece into something deeply felt.
‘Luminous’ is possibly your most trancey and ravey track yet? What was it inspired by?
Toxic Razor: There are quite a few tracks – some still unreleased – that carry that same trancey energy, so we felt it was time to include something in that direction on the new PARADOX OBSCUR album. ‘Luminous’ was the result of that intention. I’ve always listened to genres like Trance, Eurodance and Electro House, so the inspiration came naturally. It felt like the right moment to channel those influences into a track that’s both ravey and melodic, while still fitting within our sound.
Who are the “freaks” in ‘Like A Freak’?
Kriistal Ann: Haha, love that question! We’re all the freaks in ‘Like A Freak’. It’s that wild part inside us that wants to break free—to dance, to feel, to escape the roles we’ve been assigned and push past the edges of comfort. But how many of us truly dare to step into that space of freedom? To shake off the weight of how others see us and finally chase our real dreams, our hidden desires? In the end, the message is simple: if we’ve stepped into the dance – let’s dance. Fully, freely, like a freak!
Which are your own favourite tracks on ‘IKONA’?
Kriistal Ann: That’s a question that always makes me struggle. At first, everything feels exciting—you finish a track and think, “this is fantastic”! But over time, as you listen more closely, you start to notice things that could’ve been different, maybe even better. That’s when doubt creeps in. Maybe it’s the perfectionist in me, but I always try to stay honest with myself. Still, one track that leaves a lingering sense of joy is ‘Switch To Love.’ There’s something in it that continues to feel sincere and emotionally alive, even after many listens.
Toxic Razor: It’s always hard to pick favorites, especially since every track on IKONA was carefully crafted and selected from a much larger pool of material. Each one represents a different mood or idea, so they all hold their own significance. That said, I really enjoy ‘Iconic B’ for its driving, danceable energy – it captures the kind of pulse I love in electronic music. ‘Like A Freak’ is another standout for me; the bassline turned out exactly how I envisioned it – raw and powerful. And then there’s ‘Impulse’, which keeps pulling me in every time I hear it. Anna’s vocal performance on that track is exceptional, and the atmosphere it creates is truly captivating.
Aside from the ‘IKONA’ album, for those who are hearing of PARADOX OBSCUR for the first time, what 3 songs from your back catalogue would recommend as being good starting points for potential new fans?
Kriistal Ann: For anyone discovering us through streaming platforms, we’d say start with a few tracks that show the range of our sound. Try ‘Words Without Voices’ or ‘Drone’ if you’re into darker, minimal synth vibes – those represent our early roots. Then give ‘A Different Hum’ or ‘Présage’ a listen. They’re more atmospheric, melodic, and show a shift in our sound. And for something a bit more intense and danceable, go for ‘Cocoon’ or ‘Evo-Devo’ – tracks that lean into a more experimental, beat-driven direction. Of course, we’d love for you to dive into ‘IKONA’ too—it’s where we feel most fully realized at this moment.
Toxic Razor: For those discovering PARADOX OBSCUR for the first time, I’d recommend starting with ‘Animal Reactor’, ‘Afterhours’, and ‘Sin Barreras’. These tracks really capture the essence of our sound, blending powerful, hypnotic energy with rhythm and emotion. I believe they offer a strong introduction to what we do and can pull new listeners into our world pretty quickly.
What is next for you, either as PARADOX OBSCUR, solo or in collaboration with others?
Kriistal Ann: Right now, our main focus is promoting the new PARADOX OBSCUR album, ‘IKONA’. We’re putting a lot of energy into getting the music out to listeners, connecting with our audience, and possibly organizing some live shows. We also have a few collaborations and remixes in the works, which we’ll be revealing soon—but for now, ‘IKONA’ remains our top priority.
Toxic Razor: Apart from PARADOX OBSCUR, I’m really excited about my upcoming METAL DISCO album, which will be released soon. I’m also working on new material for my HARDWARE PULSE project, continuing to explore new sonic directions. Another project I’m involved in is COPHEAD STATE, an industrial metal act. We’re currently working on our second full-length album – a challenging but rewarding endeavour that I’m really looking forward to completing.
Kriistal Ann & Toxic Razor: Thank you for taking the time to conduct this interview. Greetings from Hellas!
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to PARADOX OBSCUR
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