“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
Not an album at all of course, but Beth Ditto’s self-titled four track EP from early 2011 showed what she was capable of when presented with a juicy electronic soundtrack away from the funk laden punk of GOSSIP.
Following their first collaboration ‘Cruel Intentions’ on SIMAN MOBILE DISCO’s album ‘Temporary Pleasure’ in 2010, the dance duo of James Ford and Jas Shaw acted as producers on this brilliant solo EP. Their ethos allowed Ms Ditto’s very present personality to shape the character of the tracks without detracting from the inherent dancefloor mood.
The result was four tracks that successfully crossed over into both GOSSIP’s indie punk audience and SIMIAN MOBILE DISCO’s more club inclined crowd. Opening track ‘I Wrote The Book’ was a close cousin of ‘Cruel Intentions’ and pulsed in a marvellous Detroit techno fashion that was immediate.
‘Goodnight Good Morning’ was driven by a solid groove and that would be the word that would ably describe this EP. Despite all the technology used to craft these four numbers, they possessed a warm humanity while the music itself retained a sparkling New York vibe.
‘Open Heart Surgery’ was driven by white noise percussion and a bassline reminiscent of THE HUMAN LEAGUE’s early work and while not frantic in tempo, it did begin like a dreamboat collaboration between Da League and Donna Summer.
The EP ended with ‘Do You Need Someone?’; digital claps took the lead while Ms Ditto’s passionate yearning added soul to the sparkling electronic groove. The melodic Polymoog-like tones of KRAFTWERK towards the song’s close were a marvellous aesthetic touch. Throughout the four songs, Ditto’s voice was rich, emotive and powerful.
On the evidence of this EP, a solo career in electronic dance music could have beckoned post-GOSSIP. She would have made a most perfect disco diva and certainly later offerings by GOSSIP like the suitably titled ‘Move In My Direction’ indicated that could be the case.
Alas, her debut solo album ‘Fake Sugar’ ventured into Ditto’s Southern rock roots, but at least this electronic EP existed as an indicator of what could have been. It also showed how James Ford could not be blamed for the lemon that was DEPECHE MODE’s ‘Spirit’ 😉
‘Beth Ditto’ is still available as a CD EP or download via Deconstruction Records
Since 1983, the Hamburg based BOYTRONIC have dazzled with non-quintessential electronica, not quite fitting into any box.
Throughout the last two decades of the 20th century, the band have paved the way for the synth bands of all sorts, being one of the most important electronic acts of their time. Many line-up changes ensured freshness but guaranteed durability. After ten years since their previous opus ‘Dependence’, they’re back with a dazzling ‘Jewel’. It marks the 2017 reincarnation of the trio with Ingo Hauss, Hayo Lewerentz and James Knights.
ELECTRICITYCLUB.CO.UK had the pleasure of chatting to Hayo Lewerentz of BOYTRONIC just in time for their eleventh studio release.
1983… a long long time ago…
Yes, very long… it feels like a lifetime 😉
The line-up changes over the years can be a tad confusing…
True, but BOYTRONIC was always more of a project than a band. There was a time in the beginning with Holger Wobker singing two albums. Then he left and we put an ad in Melody Maker searching for a new singer and found Mark Wade from London for another two albums. After that time, we established a new project called U96 which was more ‘techno’ and it became a huge success with Number 1 chart positions and millions of records sales, so BOYTRONIC was put on ice for some time.
But in 2002, I met Holger again and we recorded a new album together called ‘Autotunes’ which was in parts produced by English producer legend Gareth Jones. This was the first time we actually did some live shows with BOYTRONIC.
At the same time, I established my label Major Records where I released bands like IAMX, LADYTRON, MESH or NITZER EBB, so we didn`t have much time anymore for BOYTRONIC and Holger recorded a new album on his own entitled ‘Dependence’ which wasn’t matching our expectations at all. This was the point where everyone lost interest in BOYTRONIC…
Then in 2016, we recorded some demos with James Knights for another project that we planned and realized, that it sounded very BOYTRONIC-ish. This was the moment where we decided to relaunch the project again but Holger had lost interest in the meantime…
…Holger was good, but…
…he was never very keen on playing live although I think that you need to play live to keep things running. Our fans are very happy as they say to see us perform now on a regular base. We love it also and can`t wait to play more shows – maybe also in the UK soon we hope.
James Knights seems a perfect successor though?
Yes, he is the perfect successor as it seems. His voice is in a similar range and also the old classics sound very “BOYTRONIC” with him. Many fans told us that they love his presence and voice and that it matches to the older songs very well.
The BOYTRONIC sound has always been one of the kind?
Well, it changed with the times but it still is BOYTRONIC and always will be.
What makes Germany a true leader in the electronic genre?
I don`t know… nowadays there are also many artists from other parts of the world who make great electronic stuff like THE CHEMICAL BROTHERS, UNDERWORLD, LADYTRON, IAMX etc. But I guess KRAFTWERK left a big footprint out there and also some of the other electronic pioneers such as NEU! or “Die kosmischen Kuriere”. We grew up listening only to electronic music in our teenage years but we also loved DAVID BOWIE, ROXY MUSIC or IGGY POP to name a few.
Do you continue with other projects such as U96 or similar?
Yes. We have just finished a new U96 album which we really are proud of. We are planning releases of tracks first until we will release the entire album though. We will also take U96 on tour next year. One of the tracks on that album is a collaboration with former KRAFTWERK member Wolfgang Flür by the way and we will release that track as a single in November.
Was the plan for ‘Jewel’ to bring back the original sounds of BOYTRONIC or introduce newer textures into your creations?
Both really. Of course we are influenced by new music as we listen to a lot of new stuff; but with James, we have a singer that matches the true BOYTRONIC sound, so I guess it is a good mixture.
What’s the primary inspiration behind BOYTRONIC in terms of influences?
Well… the inspiration was many songs we wrote that came to life with James finally 😉
In the early years it was listening to everything 80s, New Wave and electronic artists. We were all die-hard Bowie fans in our teenage times.
You describe yourselves as never having been “pure DEPECHE MODE devotees”. Would you expand on that?
We love DEPECHE MODE, don`t get me wrong. It is just that we do not want to be one of these bands that try to sound like them. There are many of those bands here in Germany. We think there are so many great other artists too and we are very open minded musically.
James’ voice is reminiscent of that of the younger Marc Almond. Was that intentional?
No…how can this be intentional? Marc Almond is obviously a great singer and was very influential on other artists too, but James voice is James voice – he was born that way 😉
What’s the story behind your U2 cover on ‘Jewel’?
We had some chords, a little layout for a new song and when James heard it, he sang a part of ‘New Years Day’ to it. As we realized that the chords were close to the U2 song, we decided to record the song as a cover instead. To have similar chords to an existing song happens sometimes unintentionally, but we don`t wanna be Copycats 😉
Will ‘Jewel’ be taken out on tour?
Yes, definitely. We have already played 7 shows this year and we will go on tour with the new album in early 2018. We will also play a lot of festivals like the WGT in Leipzig and more to come.
What does the future hold for BOYTRONIC?
We hope a lot. With James as the new singer, we are very inspired to write and record more material. Also we have a release with ‘Jewel’ in the US for the first time and we hope to play some concerts there too.
ELECTRICITYCLUB.CO.UK gives its grateful thanks to BOYTRONIC
Special thanks to Jessica Schellberg at Result Promotion
‘Jewel’ is released by SPV Records in Europe and Metropolis Records in North America on 3rd November 2017
Coming over like the love child of Richard Butler and Neil Tennant, KNIGHT$ is making waves with his self-confessed brand of sparkly Britalo!
Formally of London duo SCARLET SOHO who were capable of a good tune or two as proven by ‘Gigolo’ and ‘Two Steps From Heartache’, James Knights has a new electropop anthem in ‘Alligator’ co-produced by Martin Dubka. With its unashamedly glitterball disco drive, KNIGHT$ plays on his crowd pleasing nature like KID KASIO collaborating with LES RYTHMES DIGITALES.
The B-side ‘Playin’ It Cool’ doesn’t stray too far from the formula, but is evidence why he was chosen for a parallel role as the lead singer in the current live incarnation of veteran German electropopsters BOYTRONIC.
Shiny danceable pop might be what KNIGHT$ is all about, but he knows and understands his synthpop history, as exemplified by the covers that have featured in his live set. ‘Uncivilized’ was originally recorded by Canadian darkwave trailblazers PSYCHE, while at the other end of the spectrum is PET SHOP BOYS‘ fourth UK No1 single ‘Heart’.
These influences were all successfully mutated together for the impressive debut EP ‘What’s Your Poison?’ which came out in 2016. From it, ‘What We Leave Behind’ took up the mantle of Giorgio Moroder, while the playful neo-instrumental ‘Miami Knight$’ fitted right in with the current vogue for sun kissed synthwave. Then there was the loose electro-funk of the title song while borrowing from NEW ORDER’s ‘Subculture’, ‘So Cold’ more than affirmed KNIGHT$’ Britalo aspirations.
It is often very easy for a promising artist to make a good first impression only to lose it by the release of the first album, but KNIGHT$ still has the poptastic IAMX of ‘Cards On The Table’ up his sleeve. With a recent slot opening for HEAVEN 17 and an upcoming tour supporting Peter Heppner of cult German act WOLFSHEIM in November, things are certainly heading on the right trajectory for KNIGHT$.
‘Alligator’ featuring remixes from ITALOCONNECTION and SUPER HEXAGON is released on 13th October 2017 by Mirrorman / SpecchioUomo via the usual digital outlets
The Amazing Adventures Of Mr Normall have gained a loyal cult following within the post-punk and electronic music world.
With a handshake, big smile, good guy profile, the Finnish music fan’s charming photographs with members of SPARKS, JAPAN, ULTRAVOX, BLANCMANGE, HEAVEN 17, DEPECHE MODE, VISAGE and MARSHEAUX among many, have endeared visitors to his website chronicling his travels.
After appearances in a number of promo videos including Kim Wilde and BEF’s cover of ‘Every Time I See You I Go Wild’ , Mr Normall was more recently cast as the star of the silent art movie ‘Nuntius’.
The film with its live soundtrack by Jimi Tenor and Jori Hulkkonen has played to audiences around the world, with Mr Normall occasionally joining the musicians with on stage cameos at selected performances.
ELECTRICITYCLUB.CO.UK had the pleasure of catching up with Mr Normall for another chat about his continuing amazing adventures…
Since ELECTRICITYCLUB.CO.UK last spoke to you in Spring 2011, your fame spread far and wide in some unexpected places. Richard Barbieri wanted his photo taken with you, what was the story here?
Oh yes… that was a surprise and very positive one. We had been friends on Facebook for some time, but I had no idea that he knew who I was or that he had paid any attention to me. Then last December – all of a sudden – he tags me and comments “it’s my ambition to have a photo with you”.
Of course it was humour, but I was very pleased nevertheless. JAPAN is my No 1 favourite band and to be sort of acknowledged by one of them was very cool. Mr Barbieri had his wish come true three months later in Birmingham where I went to see him play live. Richard Barbieri is a first-class artist and a very nice person.
You were also recognised by someone in 2014?
I did speak with Jonathan Ross at the SPARKS aftershow at the Union Chapel in December 2013 but he didn’t recognise me, I would have been really surprised if he did. The subject of our chat was ULTRAVOX. He prefers the John Foxx version of the band.
Do you think this recognition all escalated after Jori Hulkkonen asked you to appear in the ‘Take Me To Your Leader’ video for PROCESSORY?
In Finland, a few people did comment about the music video when meeting me but I don’t remember it happening anywhere else. However, I’m certain that ‘Take Me To Your Leader’ video made Mr Normall better known, even if I haven’t got much feedback about it.
The music video was done and released in spring 2011. I was really hoping to see it on TV back then, but it was just about that time when music videos disappeared from TV altogether.
The idea on me appearing on Jori Hulkkonen’s music video started actually almost a year before at the night when ULTRAVOX was playing live in Jori’s home town of Turku. After the gig was over, I and several other people – including Warren Cann – went to the unofficial ULTRAVOX after party at the club called Dynamo. There I told Jori, that if he’s interested to feature me on a music video in the future, I’m game. Few months later Jori contacted me about the subject and the result was ‘Take Me To Your Leader’ music video.
I must tell you this… after the ULTRAVOX gig in Turku when we arrived at the Dynamo club, I had a really good “Steve Strange moment”: The gig venue was quite far from city centre, so we took a big taxi to get the posse to the club. When we got to the Dynamo, I was walking in first and Warren Cann right behind me.
The DJ was playing ‘Fade To Grey’ by VISAGE and at that moment I felt just like that bit on the VISAGE music video tape where Steve Strange arrives a club in Paris and ‘Fade To Grey’ is playing in the background. That was THE way to enter to the club.
Of course after this, Jori and his musical partner Jimi Tenor asked you to appear in their film ‘Nuntius’, this had an interesting concept?
Jori Hulkkonen and Jimi Tenor had talked about making a film, but I suppose they didn’t have clear idea what it should be about. In July 2013 I met both of them at the Turku Modern festival and said that I would like to be in their film if they were interested.
The big idea was to make a silent film that would be shown only with live soundtrack by Tenor and Hulkkonen themselves. The film and its music would never be released in any format or be ever available online. Live performances only.
First days of filming ‘Nuntius’ were in May 2014. We started the car journey from Central Finland where I live and drove next to the Russian border in South-East Finland. The destination was an amazing place called Parikkalan Patsaspuisto (Parikkala sculpture park). We stopped to film where ever the scenery looked right. As far as I know, there wasn’t any actual plot ready when we started.
The only rough plot in the beginning was that “I’m being sent from one place to another to get something from there” and the genre is going to be Sci-Fi, perhaps something à la Tarkovsky.
What was filming like for you?
Those first two days of filming in May 2014 were the most fun and memorable for me. Maybe because it was a new situation and the realisation that this is really happening. Also the car journey itself with Jimi, Jori and Marjaana was fun.
There was three more filming days in 2014 and they were mainly done in an art studio in Helsinki. The studio is very high inside and it has a round platform which moves up and down, and also rotates. The studio was made in 1950s and it was made for the sculptor Kalervo Kallio, who was a son of Finland’s President Kyösti Kallio. The studio is the setting for the “other place” where Mr Normall is being sent somewhere else to get something. I would have never spent time at this special place if it wasn’t for ‘Nuntius’.
In May 2015, there were two days of filming in Helsinki for the second version of ‘Nuntius’. Those shoots were done at several locations. The latest shoots were just recently in July 2017 when we filmed around Estonia over three days.
It was much like the first shoots three years earlier because also this time we drove around the country and stopped where scenery was suitable to be filmed. There are strange ex-military places in Estonia that have been deserted after the Russian Army left them when Estonia got independent. Those were exciting days and I definitely wouldn’t had ever visited those places without ongoing ‘Nuntius’ production.
I don’t know yet what will become of all the new shots; will it be the third version of ‘Nuntius’ with a lot of new stuff or will they became a whole new entity à la ‘Nuntius – Part 2’ or something like that?
You made a new friend named Louis while riding a motorcycle?
Louis the dog was only one year old, but he was already a real pro. There was one shot with Louis which could have ended badly… I was driving a sidecar motorcycle in a tunnel in Helsinki and Louis was sitting in the sidecar. It was a public road and there was other traffic too. The shot had to be done several times and if Louis had jumped out of the sidecar, he might have been hit by a car.
He had a collar and a leash was around my arm, but I’m not sure what would have happened if Louis wanted to jump out of very loud old motorcycle. Luckily he was very cool all the time and it seemed like he knew what we were doing.
I saw Louis again last year and he wouldn’t stop barking at me. I’m not sure what he meant by that.
‘Nuntius’ has taken you around the world with you making cameos while Jori and Jimi are performing. Which locations or events have you found most interesting? Any funny stories?
I have attended several ‘Nuntius’ shows in Finland and also few abroad. Berlin was special because that day was also Jimi Tenor’s 50th birthday, so that evening at the Lido was also his birthday party.
The Sonar Festival 2015 in Barcelona: ‘Nuntius’ was on Saturday afternoon and DURAN DURAN played at the festival the same night. There was my big chance to meet them but it didn’t happen. Barcelona in June is hot even late in the evening and I was wearing a heavy 3-piece suit. Not the best possible choice when everyone else had T-shirt and shorts.
The most important ‘Nuntius’ performance for me has been the one in Düsseldorf in October 2016 where it was a part of the ELECTRI_CITY_CONFERENCE. ‘Nuntius’ was the last item of the two day conference – or rather a festival of electronic music – and right before it, the stage was occupied by John Foxx and co for their ‘Evidence Of Time Travel’ performance.
What made this particular ‘Nuntius’ showing so special was that there was several of my favourite artists in the audience, as well as friends whom I have seen at gigs before. Jori summed it up very well: “The audience wasn’t big but it was a good quality audience”.
I have been watching John Foxx on my TV screen hundreds of times and now he was watching me on the big screen. Surreal.
One more special memory… my first – and so far only – visit to Berlin was in March 2015. After arriving to the city and finding my hotel, I went out to have my first ever walk in Berlin. Kreuzberg was only few minutes away so I went that way. Soon I saw some gig posters on a wall – not THE wall – and among them was the special ‘Nuntius’ poster made for the evening’s show. My first time in this big city and when I step out of my hotel there’s a poster featuring a photo of me. It was a unique and strange moment for a visitor from the Finnish countryside.
You’ve made a number of other appearances in videos and photoshoots, are there anymore in the offing?
We are likely to do more shots for ‘Nuntius’ later this year but that’s all. It would be nice to feature in a music video again, especially by an artist that I like. It would be great to experience that again.
Peter Hook had an amusingly and typically Mancunian response when you introduced yourself to him in Düsseldorf?
What was it that he said? I think his kind reply was “there’s nothing normal about you” when I introduced myself. I disagree, of course 😉
Tony Visconti has just about seen it all, so what was your encounter with him like?
I did meet him briefly a few times when HOLY HOLY played live in London and Sheffield during September 2014. I was also at the ICA to listen to Tony Visconti and Woody Woodmansey talk about making the album ‘The Man Who Sold The World’. Both of them were very friendly and didn’t mind signing a few Bowie CD sleeves for me. Getting records signed is a good excuse to approach an artist and it gives you a moment to have a brief chat.
MIRRORS were your favourite new synth act but sadly they are no more. Is there anyone you’ve listened to who you would you rate today?
I suppose you mean new or relatively new acts? Hannah Peel makes good music with often unusual and interesting arrangements. One new band that I like is TINY MAGNETIC PETS. I’ve been listening to their new album on Spotify quite a lot.
Your portfolio has grown over the last few years, but is there anyone left you would still like to meet and be photographed with?
I have met quite a few artists but there are still many of my “official favourites” that I haven’t met yet. With some it’s already too late, but for those still in this dimension I would say David Sylvian and DURAN DURAN are the most important not-yet-met-artists.
Then there’s several others like one ex-member of KRAFTWERK whom everyone else seems to have met but not me. I’m not done yet with these ‘Close Encounters Of The Third Kind’.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mr Normall
Electropop duo AVEC SANS gave a wonderfully assured performance on the final night of their UK tour in London’s Hoxton Square Bar & Kitchen with a dazzling combination of sound, colour and passion.
Since the release of their well-received debut album ‘Heartbreak Hi’ in June 2016, Alice Fox and Jack St James have been very much in demand for live shows where AVEC SANS have made the biggest impression.
While the pair have been compared to CHVRCHES and PURITY RING, Fox’s bittersweet vocal expression has a deeper resonance compared to the occasionally shrill voices of Lauren Mayberry or Megan James. Meanwhile in a concert setting, St James’ use of three back flipped Novation Launchpads alongside a Nord keyboard and electronic drums has solved that age old authenticity conundrum in electronic music to clarify what is live and what is Memorex…
Beginning with the moody synthwave of ‘When You Go’, cheers greeted the familiar blips of ‘Perth’, AVEC SANS’ electro cover of BON IVER’s folkie lament inspired by the late Australian actor Heath Ledger.
With its gliding arpeggios and spacey vocal manipulations, ‘The Answer’ proved equal to ‘My Mistake’ Mercedes-Benz favourite NINA, while the driving pop of album highlight ‘Hold On’ ensured the enthused dancing in the first few rows was maintained.
‘Resonate’ and ‘History’ both explored the offbeat sub-bass whips of PURITY RING before a catchy synthpop tune with an essence of CHVRCHES was offered in the marvellous ‘We Are’.
AVEC SANS pay close attention to detail in their live presentation from Fox’s glowing mic lead to the effective use of St James’ flashing controllers as both visual and connective tools; the platinum blonde singer punched the air with aplomb while the baseball capped instrumentalist multi-tasked with a joyful demeanour.
The swirly ‘Shiver’ and the R’n’B tinged fervour of ‘Heartbreak Hi’ title track concluded an energetic set but now established as a fan favourite, there was the bonus of an enjoyable cover of the Kate Bush classic ‘Running Up That Hill’ as an encore.
Having impressed with their crisp debut album, AVEC SANS now move onto their follow-up long player. With all the experience acquired since their formation in 2012, Fox and St James have the potential to deliver an opus to take them to the level of their lauded Scottish and Canadian contemporaries.
Professional, organised and hardworking, many acts could learn from AVEC SANS’ approach to live presentation, visual image, media engagement and audience networking. It may seem obvious to have a range of photos for press into organised folders but quite a few bands don’t even manage that!
With these basics sorted, AVEC SANS have climbed the first steps of the ladder.
The album ‘Heartbreak Hi’ is released by Beverly Martel, available via the usual digital outlets as well as CD and vinyl LP
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. It marks the 2017 reincarnation of the trio with Ingo Hauss, Hayo Lewerentz and 
co-produced by Martin Dubka. With its unashamedly glitterball disco drive, KNIGHT$ plays on his crowd pleasing nature like 
which came out in 2016. From it, ‘What We Leave Behind’ took up the mantle of Giorgio Moroder, while the playful neo-instrumental ‘Miami Knight$’ fitted right in with the current vogue for sun kissed synthwave. Then there was the loose electro-funk of the title song while borrowing from NEW ORDER’s ‘Subculture’, ‘So Cold’ more than affirmed KNIGHT$’ Britalo aspirations.
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