Author: electricityclub (Page 230 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 JONES & LOGAN SKY Hans und Lieselotte

25 January 2018 /

Steven Jones met Logan Sky through the legendary Steve Strange, both being mutual friends of the late singer.

Sky established himself as a familiar name in the electronic music circles, having tinkered with synths for VISAGE, working with Nick Rhodes while playing and DJ-ing alongside CLIENT, LADYTRON and HOT CHIP, to name a few. Jones, a multitalented individual, dividing his attention between love of vocal wizardry and teaching of yoga, has worked with Sky on many previous releases, including numerous EPs and the long player ‘Corrupt State’, which featured Strange before his untimely demise.

The pair take their inspiration from the usual suspects like DAVID BOWIE, ULTRAVOX, JAPAN and DEPECHE MODE. They create “music to evoke the restlessness and romance of international travel, cinematic loneliness of modern urban life and the deceptive seductiveness of the photographed image…”

The beginning of 2018 brings the follow-up to ‘Corrupt State’; ‘Hans und Lieselotte’. The album was recorded in one week and it represents “a new collection of shimmering electronics and the result of a dynamic musical experiment, an honouring of the random creative impulse.”

The title, taken from a German learning course, which features the daily life of a typical Deutsch family, The Schaudis, whose son Hans had a lady friend Lieselotte. Although rather superficial and totally absurd, the lessons taught perfect High German, even reaching cult status, with the grammatically correct, yet ridiculous sentences derived from it being quoted left, right and centre.

Indeed the opening ‘Lieselotte is not an Object’ could be one of them… Kraftwerkian style! ‘Girls Like It From Above’ brings to life the notion of vintage disco, rubbing shoulders with “chaotic creative channeling” as per AND ONE’s ‘Virgin Superstar’ in its style. The perfect arpeggios meet arty notions, performed with poise and passion. Do girls really “like it from above”? Do they “only crave this kind of love”? Perhaps, if it’s sung by Jones.

‘Syria’ features Eastern musical elements not too dissimilar from BLANCMANGE’s ‘Living On The Ceiling’; this time “desert fires (are) burning”. But the originality shines through the superb ‘Oysters Without You’, which could have been a starting point for THE HUMAN LEAGUE sans the girls on ‘Reproduction’ or ‘Travelogue’. A parodical tale of consuming oysters alone, rather than with a lover, the moral is “never eat your oysters alone”.

The faraway travel continues with the music stripped ‘Talk India’. As it says on the tin, here we are “talking India”. A rather hilarious narration of Jones’ visit to India, intertwined with Hindu music, telling the tale of drink, food, visiting of Taj Mahal, Jaypur, Rishikesh (renowned for meditation and yoga in its temples and ashrams), wrapped into a memento of a memorable journey.

Clearly the narrated pieces are of a liking for the duo, as ‘A Packet Of Something’ follows in that very notion. Here we see Jones “arising from the void of light”, boosted by sci-fi musical fixtures. The slower, rather JAPAN-like ‘Waiting for The Evening’ is a majestic combination of excellent synth and capable vocals. This is what synth arpeggios are supposed to sound like, boys and girls! ‘My Obscurity’ punctuates the record with its tribal meet nature feel, while ‘Logan Loves It’ is what Sky loves, the instrumental way with very vintage Depeche rhythms.

‘Peppersack’ marks the album’s end, if we take out the three remixes that follow, and it’s a tale of enigma with the atmosphere of uncertainty and pain, or perhaps not… additionally we are presented with two remixes of ‘Lieselotte Is Not An Object’, including a masterful version by Man Parrish and ‘Hans und Lise’, also by the Godfather Of Electro.

Another success? Definitely. Logan Sky’s love of experimental synth shines through ‘Hans und Lieselotte’. The classical trained pianist, turned keyboard player has always seen himself “as an inventor” and his graft is served here with a dose of melancholy, joy, laughter and nostalgia, creating a listen worthy record with a twist.

‘Hans und Lieselotte’ is released by Etrangers Musique, available as a CD or download from https://etrangersmusique.bandcamp.com/album/hans-und-lieselotte

https://www.etrangersmusique.com

https://www.facebook.com/etrangersmusique/

https://www.facebook.com/loganskyofficial/

https://twitter.com/etrangers

Text by Monika Izabela Trigwell
25th January 2018

TECHNIQUES BERLIN Breathing

23 January 2018 /

History has been kind to Canada with regards its position in the pioneering electronic pop.

The trailblazing by the likes of RATIONAL YOUTH, PSYCHE, SKINNY PUPPY, FRONT LINE ASSEMBLY and MEN WITHOUT HATS successfully built the foundations for the nation’s modern crop including PURITY RING, GRIMES, TR/ST, AUSTRA, ELECTRIC YOUTH and PARALLELS. Formed in 1984 by Andreas Gregor and David Rout, Toronto’s TECHNIQUES BERLIN have returned with a new body of work ‘Breathing’, twinned with a bonus album of previously unreleased material and alternate versions of tracks from the vaults of their Bombshelter label, which issued the two volume ‘Back Issue’ series in 1992.

Considered too alternative to pop, and too pop to be alternative by the record labels of the day, the more open environment of the World Wide Web has renewed interest in TECHNIQUES BERLIN. With Dina Naskos added to the line-up, Gregor and Rout have delivered an album recalling the days of when experimental electronic pop could go mainstream, albeit with the refined benefits of modern technology in tandem with vintage gear like the Yamaha CS40M, Multivox MX-202 string / brass ensemble and Korg KPR-77 rhythm unit.

Opening song ‘Deep End’ is reminiscent of fellow Canadians TRANS-X with its swirling arpeggios, clanky drum machine and dispassionate vocals. Often a weak point in the Minimal Synth sub-genre, Gregor and Naskos’ voices however provide the desired effect without being too wayward. With the stark rhythmic template and dystopian synths on ‘Cold War’, it does exactly what it says on the tin and will please fans of RATIONAL YOUTH as it also features Tracy Howe; incidentally, Dave Rout was a member of the combo between 1998-99.

The octave shift driven ‘Serendipity’ is less satisfying with the vocals drifting off too much, while ‘Damage’ blips away in a percussive collage of sound. At a much less frantic pace, ‘Burning Down’ is musically impressive but is again let down by the vocals; use of Sprechstimme techniques might have turned this one into a winner…

Interestingly, Sprechstimme is adopted on the industrial lite of ‘Hollow Graphic Haze’, with Naskos’ harmony providing an enticing counterpoint, but ‘Driving Force’ is again spoilt by the vocals, left exposed by the minimal musical structure. Relief comes with the excellent ‘Chances’ which works well as a slice of bouncy synthpop with its dual monotone voices, while the ‘Breathing’ title song could be considered a speedier second cousin. Closing the main act with ‘Salvation’, it provides a lengthy conclusion to an album that is enjoyable musically, if occasionally less satisfactory vocally.

Taken in smaller doses, the most accomplished recordings on the first part of ‘Breathing’ would have made an excellent EP. But for those who enjoy a slightly more melodic take on Minimal Synth, this collection with its archive recordings bonus will be an essential purchase.

‘Breathing’ is released as a double vinyl LP or download on 2nd February 2018 by Nadanna Records, available from https://nadanna.bandcamp.com/album/breathing

http://techniquesberlin.wixsite.com/home

https://www.facebook.com/techniques.berlin/

Text by Chi Ming Lai
23rd January 2018

KIRLIAN CAMERA Hologram Moon

21 January 2018 /

The quaint Italian city of Parma is possibly best known for three things: ham, cheese and KIRLIAN CAMERA.

The latter, of the inedible kind, unless one salivates upon the deliciousness of Elena Alice Fossi, has been a celebrated dark electronica pursuit since late 1979. Angelo Bergamini is the man responsible for the rise of the project, which took many line-up changes to become the enormous success that it is now, almost 40 years after.

The beginnings of KIRLIAN CAMERA were promising from the onset, with the band being the first Italian act signed to Virgin Records, and rubbing shoulders with such legends as John Fryer, known for working with COCTEAU TWINS, DEPECHE MODE and NINE INCH NAILS.

With the instability of vocalists, the real change occurred when the multi-talented, Susanna Rigacci’s protégé, Elena Alice Fossi came on board. The group’s sound progressed to one of much darker undertones, while Fossi and Bergamini enjoyed their side projects, STALINGRAD (with the pair indulging with monumental size musicality), as well as Fossi’s own ALICE NEVE FOX, SPECTRA PARIS and SIDERARTICA.

‘Hologram Moon’ is the latest offering from the pair, proving that KIRLIAN CAMERA isn’t ready to retire yet. Indeed ‘Hologram’ sees Fossi’s clear voice lead into a world of spectacular sound and unparalleled musical know how.

Joined by Sweden’s own Eskil Simonsson on the very vintage COVENANT sounding ‘Sky Collapse’ and quirky ‘Polar-IHS’, the multifaceted Elena showcases her vocal ingenuity, intertwined with a magnificent marriage of synth and strings.‘Lost Islands’ is deliciously loaded with bass heavy synthesis, romantically meandering in the foreign worlds, to reach The Moon, the ‘Hologram Moon’.

The haunting instrumental ‘Helium 3’ introduces ‘Kryostar’, a sci-fi inspired piece of mantric electronic disco, while ‘I Don’t Sing’ presents a male vocal option over super poignant lyrics. ‘The Storm’ smoothes the atmosphere, but we are far from comfort, what’s hidden out there? The ‘Eyes Of The Moon’, they see the truth in the hypnotic rhythm, with arpeggiated “spreading of wings” and bubbling electricity.

Is it the darkness of the ‘Haunted River’ that’s drawing into its synthy depths, delving into the plethora of ubiquitous sounds, all very gothic influenced and rather black? Or is it the simplistic piano of the closing ‘Traveller’s Testament’, bearing the faint signs of hope nearly whispered by Fossi?

We are all travellers of the world, searching for answers. Is the Moon a mere hologram? Are we fed untruths and if so, who is benefiting from the lies? Will we ever learn, who can tell? Perhaps KIRLIAN CAMERA don’t have all the answers… what they have however, is a superb album to shake the beliefs, electronic style.

Earthly or not, ‘Hologram Moon’ proves the Italians have cooked it up fresh, juicy and ready for consumption, so go ahead… inhale the atmosphere and revel in the deliciousness of Bergamini and Fossi.

‘Hologram Moon’ is released by Dependent Records in CD, deluxe 2CD and double vinyl LP formats

http://www.kirliancamera.com

https://www.facebook.com/kirliancamera.official/

http://en.dependent.de/artists-dependent/kirlian-camera/

Text by Monika Izabela Trigwell
21st January 2018

PARALLELS Interview

19 January 2018 /

Photo by Lolly Orbell

Canadian synthpop trio PARALLELS rode on some well-deserved international momentum in 2017 following the release of their third album ‘Metropolis’.

Championed by the likes of Rusty Egan, the Toronto combo formed in 2008 and released the 2010 debut long player ‘Visionaries’.

However, PARALLELS went through some personnel changes prior to the recording of their sophomore offering ‘XII’.

In 2018, the line-up comprises of Holly Dodson, her brother Nick and one-time CLIENT collaborator Oliver Blair. With their catchy sweetly flavoured songs like the ‘Metropolis’ title song, ‘Catch’ and ‘Heart Of The Wild’, PARALLELS’ third long player was an audio document of how “we travelled… fell in and out of love… rediscovered the places we call home…”, with the end result sitting down well alongside the likes of PURITY RING, CHVRCHES and AVEC SANS.

Singer, songwriter and synthesist Holly Dodson took time out from rehearsals to chat about the continuing progression of PARALLELS and their first live appearance in London which is happening alongside German songstress NINA in March…

Canada appears to have become a centre for modern electronic pop with the likes of PURITY RING, ELECTRIC YOUTH, GRIMES, AUSTRA and TR/ST. What inspired you to head in this direction as PARALLELS?

Starting out, we were very inspired by Italo disco and synthpop from the 80s. Piano was my first instrument, so synthesizers were sort of the next step for me when I got more into production. I love the colour that synths add. And we wanted to make upbeat dance music with pop vocals… plus we didn’t know how to play guitar so it was partly a matter of circumstance 🙂

Your third album ‘Metropolis’ appears to have been your breakthrough internationally, how has the reception looked from your end?

I’m really truly grateful for the reaction it’s gotten so far! I’m usually most nervous to find out what our long-time fans think of new stuff… I really just want them to be happy and excited from the getgo. Thankfully it *seems* like it was well received. It’s been an introduction for new fans as well, which is wonderful. As long as it’s connecting on some level… any level… I’m thrilled.

How have you viewed the band’s progression over the years since your 2010 debut ‘Visionaries’?

Seems like yesterday! I’ve sort of ended up being the thread that’s tying it together – which I didn’t anticipate. We went through some line-up changes that at the time were pretty emotionally challenging, but so many bands do. For me, it’s always been about making music and playing shows… so I wanted to keep focus on that. The seeds were planted so let’s grow the garden. It’s been truly rewarding on many levels, creatively, and I’m really looking forward to going deeper.

Your lovely version of ‘Moonlight Desires’ on your second long player ‘XII’ points to perhaps a youth possibly spent watching John Hughes and Brat Pack movies?

So happy you like it! I’m a child of the 80s, so naturally, yeah… plus GOWAN is Canadian. We hear the original version it all the time in Canada. It’s always fulfilled all the necessary criteria – incredible hooks, the moon, magic melodies, nostalgia 🙂

I just recently learned that GOWAN’s actually heard the cover… and approves!! Which is SUCH a relief haha… you never know.

Do you feel any affinity with North America’s current interest in the Synthwave sub-genre?

It definitely seems to be having a moment right now – it feels very buzzy and grassroots which is wonderful. It also seems like a bit of a gateway for new listeners to get into synth music and an excuse for long-time listeners to get re-excited. I love knowing these communities are forming and have some dear friends involved in the scene – so it’s inspiring to see it coming together.

Photo by Sarah Llewylen

The ‘Metropolis’ title track does have a CHVRCHES vibe, has the success of Glaswegians been an indicator that a potential worldwide audience is out there?

I’m definitely a big fan of CHVRCHES – it’s so cool to see synthpop rise to that level! I’d love to write with them one day. Yes, I’m a firm believer that synthpop is for everyone whether or not they know it 😉

In 2016 – the year everyone wants to forget – I had a big binge on PRINCE’s music, which inspired ‘Metropolis’.

Actually, until the last minute, it didn’t have bass on it because ‘When Doves Cry’ doesn’t, but I realized I was just grieving and so recorded the bass… it brought a bit closure 🙂

There’s a hint of ‘Running Up That Hill’ in ‘Catch’, how important has KATE BUSH been in shaping your take on music?

‘Running Up That Hill’ is one of my absolute favourite songs of all time – KATE BUSH is my home for inspiration. If I have insecurities or self-doubt, I put on her records. When I first played my demos to a family friend of ours, when I was 17 or so, he said my voice reminded him of KATE BUSH… and at that time I had no idea who she was. So I went and listened to the ‘Hounds Of Love’ album and, I’m not joking, everything made sense.

She changed how I understood creativity and represents freedom of expression in its truest form. Some people spend so much time trying to fit in that they forget to find their own voice. With KATE BUSH, it seems like she knew – and wasn’t afraid to experiment and take risks, push boundaries with grace. And I love and admire that so much. I could talk about this for hours… obviously.

You’re releasing a great new RADIO WOLF remix of ‘The Last Man’ as the new PARALLELS single. It’s quite different from the album version, what was the thinking behind having the track reworked?

Our good friend (turned band mate) Oliver Blair had wanted to do a remix – he said he wanted to speed it up and “paint it red”. I love what he did with the remix. He really brought out the edge in that song. The song is about holding ourselves accountable for our actions toward the earth and each other… which is becoming more and more urgent. So I think he really picked up on that with his interpretation.

So which have been your own favourite songs on ‘Metropolis’ and why?

Well in case the songs are listening, I love them all equally. But… Isadora’ is one of my favourites – it’s sort of a séance song. I’ve never been a part of one but would love to at some point.

‘Tell The World’ and ‘Metropolis’ are ones that mean a lot to me. They remind me of home, my family and friends. ‘Tell The World’ is about story-telling, learning from the past and how stories connect us. It makes me emotional when I hear it, but I’m really happy with how it turned out.

Photo by Sarah Llewylen

PARALLELS covered NEW ORDER’s ‘Age Of Consent’ for the ‘Civilisation’ EP in 2015, what made you choose that and do you have any other songs you would be interested in reinterpreting?

There’s a list! I’m working on one now but want to keep it a surprise. We used to jam to ‘Age Of Consent’ during practises and it’s one of my favourite NEW ORDER songs… it reminds me of being a teenager and not having the words to express my emotions. I’d just say… listen to this song… this is how I feel.

Electronic music appears to have more sister / brother combinations eg THE KNIFE, XYLO, FAKE TEAK than say in rock, why do you think that might be and how is your creative relationship with your sibling Nick?

True, I never realized that. Nick joined in 2011… I said “I’m looking for a drummer… want to join PARALLELS?” and he said “well, I play metal but I guess I could play your stuff” 🙂

He’s a true talent and one of my best friends – always there for a critical critique, and I trust his opinion.

PARALLELS are coming to London in March 2018; as well as the gig with NINA, what else are you hoping to do while you’re here?

We are! It’s our UK debut – we’re so thrilled to be playing with NINA. Would love to see Abbey Road, Soho… our band mate Oliver lived in London for years, so we’re hoping he will be our tour guide. Any insider advice?

ELECTRICITYCLUB.CO.UK gives its warmest thanks to PARALLELS

The RADIO WOLF remix of ‘The Last Man’ is released on the usual digital platforms, available as a download from https://parallels.bandcamp.com/track/the-last-man-radio-wolf-remix

‘Metropolis’ is available as a CD or download from https://parallels.bandcamp.com/album/metropolis

PARALLELS play Zigfrid von Underbelly, 11 Hoxton Square, London N1 6NU with NINA on SATURDAY 31ST MARCH 2018

http://www.iloveparallels.com/

https://www.facebook.com/Parallels/

https://twitter.com/iloveparallels

https://www.instagram.com/iloveparallels/

https://soundcloud.com/parallels

Text and Interview by Chi Ming Lai
19th January 2018, updated 7th February 2018

THE SOFT MOON Criminal

17 January 2018 /


THE SOFT MOON is essentially a one-man project comprising of multi-instrumentalist and producer Luis Vasquez.

Hailing from Oakland in the USA, THE SOFT MOON gained wider exposure when they supported DEPECHE MODE on the EU leg of their ‘Delta Machine’ tour.

With a sound that distills both synth-heavy Krautrock and dark Post-Punk guitars+bass, ‘Criminal’ is the outfit’s fourth album following their emergence in 2010 with their eponymous debut.

Opening track ‘Burn’ is a take no prisoners kind of track, combining a lo-fi electronic kick with a flanged guitar sound favoured by John McGeoch from SIOUXSIE & THE BANSHEES; the guitar riff itself helps differentiate the track from your typical angsty NINE INCH NAILS fare and ‘Burn’ provides a strong opener to ‘Criminal’.

‘Choke’ slows the tempo with a vocal buried in a fuzz of what could be synths or guitars, the mixed up wall of sound obscuring the detail in the individual elements. Dirty, but hypnotic, the three minute track doesn’t outstay its welcome and signals to the listener that ‘Criminal’ isn’t going to be an easy ride…

’Give Something’ is a reverb drenched piece with the first real slivers of a more melodic vocal line from Vasquez; showcasing a bass part which recalls Simon Raymonde from COCTEAU TWINS, the song features a nifty gliding synth solo. The dark and twisted chorus hook “Give, give me something, when I give nothing” is wonderfully catchy and pinpoints ‘Give Something’ as a real highlight here and a certainty to be a candidate for a future single.

‘Like A Father’ initially revolves around a filthy EBM bass synth sequencer part, live / electronic drums and another densely textured vocal / guitar wall. The main elements which save the track from being one chord repetitive filler is the mix of time signatures which keeps the listener on their toes and a middle eight breakdown which takes ‘Like A Father’ on a welcome diversion with a driving live bassline entering the mix.

‘The Pain’ takes you on a cathartic journey with another bass heavy delivery, a self-doubting Vasquez intones “How can you love someone like me?” and climaxes the piece with a drum-less MY BLOODY VALENTINE-inspired ending.

‘It Kills’ is a dense tom-driven piece with another Banshee-inspired guitar line and a fuzzed-up chorus which recalls mid-period NINE INCH NAILS, the synth-based finish to the piece provides a welcome respite from the full-on assault of distortion.

‘ILL’, ‘Young’ and ‘Born Into This’ all mine a similar sound to their predecessors, before the title track ‘Criminal’ shares some welcome musical DNA with the direction that GARY NUMAN is currently following. The usage of a Roland CR78 loop and bolt-like shots of distorted noise help to reinforce this and a more melodic vocal from Vasquez brings the album to an epic close.

Ultimately it’s the live guitar and bass sound here which saves ‘Criminal’ from sounding overtly like a NINE INCH NAILS pastiche; but this aside, if you are a fan of the UK Post-Punk scene and favour flanged / reverbed guitars, then there is plenty to lap up here.

Another couple of tracks along the lines of ‘Give Something’ would have been welcome, but for fans of the darker side of electronica combined with live instrumentation, ‘Criminal’ would be a welcome addition to their musical collection.

‘Criminal’ is released by Sacred Bones Records in CD, vinyl LP and digital formats on 2nd February 2018

THE SOFT MOON 2018 European Tour dates include:

Baden One of a Million Festival (2nd February), Marghera CS Rivolta (3rd February), Copenhagen Pumpehuset (6th February), Gothenburg Pustervik (7th February), Stockholm Slaktkyrkan (8th February), Oslo Bla (9th February), Berlin Urban Spree (11th-12th February), Paris Le Trabendo (14th February), Amsterdam, Paradiso Noord (15th February), London The Dome (16th February), Brussels Orangerie Botanique (17th February), Luxembourg, LU – De Gudde Wëllen (18th February), Yverdon Les Bains L’Amalgame (20th February), Milan Magnolia (21st February), Rome Monk (22nd February), Napoli Lanificio (23rd February), Bologna Covo (24th February), Munich Kranhalle (7th March), Leipzig UT Connewitz (8th March), Hamburg Hafenklang (9th March), Cologne Gebäude 9 (10th March), Saarbrucken Garage Club (11th March), Nijmegen Doomroosje (13th March), Lille Les Paradis Artificiels (14th March), Nantes Stereolux (15th March), Lyon Epicerie Moderne (16th March)

http://www.thesoftmoon.com

https://www.facebook.com/thesoftmoon/

https://twitter.com/thesoftmoon

https://www.sacredbonesrecords.com

Text by Paul Boddy
17th January 2018

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