Author: electricityclub (Page 49 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

2022 END OF YEAR REVIEW

22 December 2022 /

Photo by Tapio Normall

It was hoped to be a year of positive electricity but with the oddball burst of negative waves, 2022 was summed up by the title of its best album.

The product of Finnish duo SIN COS TAN, ‘Living In Fear’ captured the anxieties of living with The Bear Next Door in a post-pandemic world. With billionaires taking over social media with the intent of allowing the extreme right wing an increased voice, it was as if the lessons of Trump and Bolsonaro had not been learned.

‘The Wolves Are Returning’ warned xPROPAGANDA on a track from their excellent album ‘The Heart Is Strange’, the message coming from two Germans whose grandparents’ generation “did nothing” and had made the mistake of opening up the door to the Nazis was extremely poignant.

It was as if The Cold War had never ended; the poetry of one who has escaped ethnic genocide and been separated from next of kin as a refugee has substance. So for Alanas Chosnau on his second album with Mark Reeder, this was ‘Life Everywhere’ and provided a deeper statement on life during wartime. Meanwhile China’s STOLEN presented their ‘Eroded Creation’ and explained ‘Why We Follow’.

Battles both worldwide and personal were being reflected in music everywhere with ‘War’ by I SPEAK MACHINE being another example. Things did not get much cheerier with Rodney Cromwell whose long-awaited second long player ‘Memory Box’ provided commentary on a sadly post-truth world, the so-called “alternative facts” as Donald Trump’s extremely dim advisor Kellyanne Conway liked to put it.

The decade so far has not been a barrel of laughs and the likes of UNIFY SEPARATE, BOY HARSHER, O+HER, NNHMN, VANDAL MOON and ADULT. captured the zeitgeist of the past 3 years.

Meanwhile, MECHA MAIKO maintained it was still ‘NOT OK’, I AM SNOW ANGEL felt it was now a ‘Lost World’ and Swedish duo SALLY SHAPIRO made their comeback by reflecting on ‘Sad Cities’.

As sardonic as ever, DUBSTAR presented their second collection of kitchen sink dramas since they reconfigured as a duo with ‘Two’ and reunited with producer Stephen Hague for their most acclaimed record since their 1995 debut ‘Disgraceful’.

On a more optimistic note, Italians Do It Better brought their cinematic world to London with headline shows by DESIRE and MOTHERMARY who each had new long form releases to air, while shyness was nice for the most promising breakthrough act of the year Gemma Cullingford who got all ‘Tongue Tied’ on her second long player. Meanwhile DAWN TO DAWN, ULTRAFLEX and H/P offered electronically escapist solutions to the year,

But KID MOXIE was happy to ‘Shine’ with the best video of 2022 while CZARINA got mystical with ‘Arcana’, Karin Park looked back at her ‘Private Collection’ and Patricia Wolf explored ambience on ‘See-Through’. Other female talent that shone brightly in 2022 included Norway’s SEA CHANGE, Sweden’s Hanna Rua, Alina Valentina from The Netherlands, Mexican Valentina Moretti and Anglo-French avant songstress Julia-Sophie but sister / brother duos MINIMAL SCHLAGER and SPRAY proved siblings could continue to work well together in synth.

40 years after the release of their debut album ‘Happy Families’, BLANCMANGE returned home to London Records for a ‘Private View’ while mainman Neil Arthur was keeping himself busy with FADER too. Having being shelved for 30 years, the second ELECTRIBE 101 album ‘Electribal Soul’ finally saw the light of day. And some 39 years after it was first conceived, the lost Warren Cann and Hans Zimmer opus ‘Spies’ was released in a new 21st Century recording by the HELDEN Project’s lead vocalist Zaine Griff.

Although PET SHOP BOYS celebrated their career with the magnificent ‘Dreamworld’ tour for the best live event of 2022 and joined SOFT CELL in the ‘Purple Zone’, Marc Almond and David Ball presented the disclaimer ‘*Happiness Not Included’ before announcing that they would be performing at a run of outdoor events in 2023 despite having stated their 2018 O2 extravaganza would be their last.

Also having declared a final album in 2014, RÖYKSOPP returned with the triple volumed ‘Profound Mysteries’ that featured Susanne Sundfør and Alison Goldfrapp.

Veterans Howard Jones, William Orbit, Jean-Michel Jarre and Wolfgang Flür as well as long-standing Nordic combos LUSTANS LAKEJER and A-HA released new albums but while the quality across the releases was mixed, fans were loyal and happy. After various trials and tribulations, TEARS FOR FEARS returned with ‘The Tipping Point’ and erased memories of the lacklustre 2004 comeback ‘Everybody Loves A Happy Ending’, but the duo were unable to capitalise when the majority of the UK concert tour of stately homes was cancelled due to an unfortunate accident that befell Curt Smith.

Creating a dehumanised technologically dependent Sci-Fi world, DIE KRUPPS opted for more machine than metal under their EBM pseudonym DIE ROBO SAPIENS. With NASA making its first steps back to the moon with the Artemis project, fittingly Italian producer EUGENE spent ‘Seven Years In Space’ and Ireland’s CIRCUIT3 looked back at space travel’s past on ‘Technology For The Youth’. Back on earth, THE WEEKND was still being accused of stealing from synthwave while coming up with the song of the year in ‘Less Than Zero’. In the meantime, having infuriated audiences by saying “f*ck that ‘synthwave’ stuff as u name it” in 2018, KAVINSKY was ‘Reborn’ with a second album that had much less of the wave and expanded into broader electronically generated templates with the occasional funkier overtones.

Celebrating ‘40 Years Of Hits’ on a sell-out arena tour and issuing a new album ‘Direction Of The Heart’ which featured a guest appearance by Russell Mael of SPARKS on the single ‘Traffic’ with the obligatory ‘Acoustic Mix’, as the excellent book ‘Themes For Great Cities’ by Graeme Thomson highlighted, the best years of SIMPLE MINDS are now well behind them. They are a poor facsimile of the great band they once were and as a special Summer concert in Edinburgh in honour of ‘New Gold Dream’ proved, Jim Kerr and Co can’t even play their best album properly.

Music-related books continued to be popular with Martyn Ware and Karl Bartos respectively writing their memoirs ‘Electronically Yours Vol1’ and ‘The Sound Of The Machine’. In a wider historical context, that crucial 1978-1983 period where electronic pop was more or less invented got documented in the encyclopaedic ‘Listening To The Music The Machines Make’ by Richard Evans.

2022 saw several prominent figures depart for the jukebox in the sky; Vangelis, Manuel Göttsching, Angelo Badalamenti, Julee Cruise, Dave Smith, Herb Deutsch, Terry Hall, Robert Marlow and Andy Fletcher will be sadly missed but ELECTRICITYCLUB.CO.UK was particularly devasted by the passing of German electronic legend Klaus Schulze only 4 days after he gave a rare interview to the site.

Meanwhile Dave Gahan and Martin Gore announced yet another tour of underwhelming arena shows plonked into stadiums for an as-yet-unfinished album that at least had a title ‘Momento Mori’. Ticketscalper took advantage with so-called dynamic pricing (or legalised touting) as hapless Devotees were fleeced thousands of dollars in North America… all this just to see a continually ungrateful frontman (who didn’t even sing is own words on a DEPECHE MODE song until 2005) gesture with a microphone in the air on a catwalk rather than actually singing on it and to possibly hear a pre-1985 song performed that will inevitably ruined by The Drumhead and The Noodler!

As Juls Garat of Massachusetts goth band PILGRIMS OF YEARNING observed via social media: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. With the lack of curiosity amongst audiences who were content with nostalgia and the like, it was a difficult year for independent acts.

There is no easy answer and as the old saying goes, you can take a horse to water but you can’t force it to drink. But one promoter that did hit on an innovative idea was Duskwaves who came up with afternoon synth gigs. Hosted at various locations in the South East of England with the aim of drumming up daytime weekend business at venues, events started at 2.00pm and ended by 6.00pm to allow for an easy journey home or possibly dinner afterwards. Artists such as YOUNG EMPRESS, INFRA VIOLET, STRIKE EAGLE and AUW joined in the family friendly fun and while the concept was unusual, with classic synth audiences not getting any younger, it has potential.

While the worldwide situation remains uncomfortable and unsettling, for The Cold War generation, it all seemed strangely familiar. As Jori Hulkkonen of SIN COS TAN said in an interview with ELECTRICITYCLUB.CO.UK recently: “It feels kind of comfortable to be back in that same state of mind that you grew up in!! It’s like you grew up in not a nice place, but you get 20-30 years out of it and then you get drawn back into The Cold War state of mind. It’s where I come from and there’s nothing good about it, but somehow feels very familiar so you can handle it in a different way”.

The Cold War inspired songs such as ‘Enola Gay’, ‘Fireside Favourite’, ‘All Stood Still’, ‘Let’s All Make A Bomb’, ‘I Melt With You’, ‘Dancing With Tears In My Eyes’ and ‘Five Minutes To Midnight’ which encapsulated the nuclear paranoia of the times. So if the current tensions go on any longer, how will artistic expression be affected and driven?

But as Synthesizer Patel actor Sanjeev Kohli wittily remarked of the UK’s 41 day Prime Minister aka Mad Lizzie following her successful leadership bid: “Liz Truss has now been trusted with the nuclear button. I honestly wouldn’t trust her with the bossanova button on a broken Yamaha keyboard”.

In a year which saw the bizarre scenario of a black vicar worshipping Enoch Powell on the repulsive gammon TV channel GB News and the truth about Tory PPE scandals becoming clearer, Richy Sunak, Ugly Patel, Cruella Braverman and Krazi Kwarteng continued to be the ultimate race traitors in their Westminster tribute band A FLOCK OF SIEG HEILS. Failing to look in the mirror, their role as collaborators was all as part of a wider self-serving mission to help keep the whites Reich and line the pockets of their already loaded banker mates instead of paying nurses a fair wage. Nurses are for life and not just for Covid. So what did happen to that £350 million promised for the NHS by that pompous lying posh boy Boris Johnson if Brexit happened? As Tim Burgess of THE CHARLATANS summed it all up rather succinctly on Twitter: “Worth remembering that the real enemy travels by private jet, not by dinghy” ✊😉

ELECTRICITYCLUB.CO.UK’s 2022 playlist ‘Stay Negative To Be Positive’ playlist can be listened to at https://open.spotify.com/playlist/4Mw0Fn10yNZQcrGzod98MM

Text by Chi Ming Lai
22nd December 2022

STOLEN Eroded Creation

19 December 2022 /

A well-thought out, well-crafted album with plenty of adventure, space and mystery within its multi-genre cocoon, STOLEN’s ‘Fragment’ appealed to electronic, techno, prog and alternative rock enthusiasts alike.

Comprising of five Chinese musicians and a French VJ, STOLEN were founded in 2009 when three of their number were studying at the Sichuan Conservatory of Music. Their second album but the first with the Berlin-based production partnership of Mark Reeder and Micha Adam, the acclaim for ‘Fragment’ led to STOLEN opening for NEW ORDER on a six date European tour in 2019.

Further 2020 dates in Japan with the Mancunians were arranged but then the worldwide pandemic hit. While STOLEN have recovered to maintain their position as one of the most popular alternative bands in China, international momentum has stalled somewhat but now they present their ‘Eroded Creation’.

In circumstances that were very different to the making of ’Fragment’, the versatile sextet of Liang-Yi (vocals + synths), Duan-Xuan (piano, keyboards, sequencers + guitar), Fangde: (guitars + synths), Wu Jun Yang (bass Guitars + iPhone), Yu Yuan Feng Xiao Yuan (drums + percussion) and Formol (visuals + atmospheres) recorded the tracks in Chengdu but they were produced and mixed by Reeder and Adam in Berlin.

Opening with a song released earlier in 2022 by Alanas Chosnau and Mark Reeder on their ‘Life Everywhere’ album, STOLEN get to offer their vision of ‘The Void Empire’ with a deeper interpretation echoing ‘Ultra’ era DEPECHE MODE in its percussive loops and denser austere.

But making a mighty 11 minute statement, the segue of ‘Capture The Star’ into ‘Space Intruders’ is sonically magnificent: every element has its place from drums to guitar solos in this progressive Sinographic adventure. More sedate and sung in Mandarin with bubbling arpeggiators, chilling strings and melodic guitar, ‘Hibernation Pod’ could be a Chinese MUSE, especially when Liang-Yi hits some quasi-operatic falsetto tones.

With ominous bass pulses and Middle Eastern overtones, ‘Secret Agenda’ offers something more gothic as virtual orchestrations enhance the drama while ‘Shirt Of Darkness’ offers absolution in its chilly disposition that grows with every listen.

Much rockier though is ‘Never Believe’ although Liang Yi is himself vocally restrained to provide an interesting contrast to the tension.

However, the growly frontman lets rip on the techno rock of ‘Pay’ where the backdrop unexpectedly twists and turns and thrusts with a pulsing synth middle section suddenly interrupted by a burst of jagged metal!

With a prominent mechanised stomp, ‘Why We Follow’ comes in Mark Reeder’s Follow Me Remix and angrily makes its point, augmented by a blasting guest rap from PSY.P who made his breakthrough a member of the Chinese hip-hop collective HIGHER BROTHERS.

To a slight offbeat, ‘Pressure’ features some impeccable live elements in the drum breaks and enticing ivory runs reminiscent of David Bowie’s ‘I’m Deranged’. But as ‘Eroded Creation’ concludes, the sparse backdrop of ‘Waiting’ moves to the unexpected with a piano shaped ballad supported by understated embellishments from all of the band.

Developing on the propulsive grit and mystical cinematics of ‘Fragment’, STOLEN have made a fine and worthy follow-up in ‘Eroded Creation’. They continue not to be tied down to any particular style, using an amalgam of influences to create a cerebral elation in its mix of psychedelic-tinged rock and electronics. ‘Eroded Creation’ puts STOLEN back on track and is a reminder as to why NEW ORDER were so supportive of their endeavours.

‘Eroded Creation’ is released in digital formats and available from https://stolenstolen.bandcamp.com/album/eroded-creation

https://mfsberlin.com/stolen/

https://www.facebook.com/STOLENfromChina

https://www.instagram.com/stolen_official/

https://open.spotify.com/album/30HYYg8IbkFLNcC43aU8wy

Text by Chi Ming Lai
19th December 2022

Lost Albums: DENIS & DENIS Čuvaj Se

15 December 2022 /

In what was then Yugoslavia, cult synth duo DENIS & DENIS formed when vivacious vocalist Marina Perazić met synth player Davor Tolja in the Croatian port city of Rijeka in 1982.

Out of all the communist states during The Cold War, Yugoslavia was the most liberal with its citizens entering Jeux Sans Frontiers and Miss World including the 1983 contestant Bernada Marovt who had controversially appeared in nude photo sessions! Meanwhile as with today, the beautiful Adriatic coastline was a desirable holiday destination for Western Europeans.

The more open environment under the rule of Marshal Tito allowed the duo to hear the classic synthpop emerging from the UK such as YAZOO and EURYTHMICS, both of whom DENIS & DENIS were compared to, thanks to Tolja’s high production values and Perazić’s deep enigmatic voice which was laced with that Eastern Bloc allure.

Thanks to good quality demos being sent to the major radio stations of Yugoslavia and assorted live gigs, there was a domestic media buzz about DENIS & DENIS by the middle of 1983. Meaning “Take Care!”, the ‘Čuvaj Se!’ album was released on the state record label Jugoton in 1984.

The opening title song was suitably lively and accessible. It was up there with some of the best electronic music from Western Europe, with an appeal for those with English language ears like Scandinavian or Gallic pop. Telling the story of a lonely woman in an endless search for comfort, Perazić’s vocals were alluringly contralto while the combination of Linn Drum rhythms and percolating sequences came over like a less frantic YAZOO meeting the DEPECHE MODE-connected French synthpop trio VIENNA.

Maintaining the standard in an exploration of mundane daily routines, ‘Dvadeset I Osam Minuta Do Pet’ (“28 Minutes To Five”) was frantic synthpop laced with incessant sequencers as some wonderfully staccato vocal phrasing manifested itself by necessity to keep up with the pace. Meanwhile the catchy ‘Ti I Ja’ (“You and Me”) grabbed an Italo-styled resonance with a rugged machine hook and a Vince Clarke aping middle eight section.

Considered their best known song, ‘Program Tvog Kompjutera’ (“Your Computer Programme”) was like a sister song to ‘Dvadeset I Osam Minuta Do Pet’, but with Davor Tolja providing a vocal turn as well; the end result came over not unlike the 21st CENTURY YAZOO-influenced Swedish duo ALISON, especially in the chorus.

Another duet based around the passing of time, ‘Tek Je Sedam Sati’ (“It’s Just About 7”) was more directly YAZOO in arrangement with a distinctly Europop chorus amongst a backdrop of bleeps and solid metronomic rhythms. Also a duet, ‘Telefon’ drove into middle of the road territory as possibly the most conventional song on the album; despite the synths and drum machines, it was far less quirky in its emotive desire for reconciliation.

An enigmatic midtempo set piece about a relationship, Tolja took the lead vocal on ‘Sačuvaj Nešto’ (“Keep Something”), but with solid bass sequencing and squawking tremeloed guitar, ‘Doba Noćnih Kiša’ (“Rainy Nights”) stuttered into some bleeping autumnal electro-funk. To close and possibly shaped by the surrounding spectre of The Cold War, paranoia was the theme of the closing number ‘Dio Refrena’ (“Part Of The Refrain”), an atmospheric building synth ballad with spacey textures that ended the album on a more pessimistic note.

The release of ‘Čuvaj Se!’ led to several appearances on Yugoslavian national television while there was an ‘Album Of The Year’ award in the domestic music magazine ‘Rock’. But despite the acclaim, as with a number of acts in the West, things were never the same again and the magic was never to be repeated. The second album ‘Ja Sam Lažljiva’ (“I Am A Liar”) issued in 1985 was not so much an album, but a 5 track EP with bonus alternate versions. Stylistically, things became more confused, indicating conflicts between the pair in musical direction.

‘Soba 23’ (“Room 23”) took its lead from Howard Jones’ ‘What Is Love?’ while working the other way round, the guitar-driven ballad ‘Voli Me Još Ovu Noć’ (“Love Me More Tonight”) is said to have been the inspiration for the 1999 Ricky Martin song ‘She’s All I Ever Had’. Much jauntier than their previous material, the ‘Ja Sam Lažljiva’ title track grabbed a pseudo Caribbean feel, no doubt following the lead of CULTURE CLUB with timbale rolls thrown in for good measure. But it was the antithesis of the moodier introspection of ‘Noć’ (“Night”) which had more of a spiritual connection with their earlier material.

After the bland final non-album single ‘Oaze Snova’ (“Oases of Dreams”) in 1986, Perazić left to embark on a solo career. Tolja recruited Edi Kraljić who had provided backing vocals on ‘Čuvaj Se’ to front a rebooted DENIS & DENIS. However, not only did the all-male line-up change the visual dynamic but the ‘Budi Tu’ album in 1988 was more rock oriented, away from the synthy sound that had made DENIS & DENIS so appealing in the first place.

There were farewell reunion concerts with Perazić and Tolja in 2012 while in 2013, the instrumentalist relaunched the DENIS & DENIS name with a new female frontwoman Ruby Kolić and a new album ‘Restart’; but it didn’t and nothing could recapture poise or the glory days of the Marina Perazić fronted period and its playful charm.

Along with much of the best European synthpop from four decades ago, ‘Čuvaj Se’ has aged well and lasted the distance, sounding fresh and vibrant even now. The joys of DENIS & DENIS and this album in particular deserve to be discovered by the many ears worldwide that would have been unable to experience the duo back in their creative heyday.

All the tracks from ‘Čuvaj Se’ appear on ‘The Best Of Collection’ released by Croatia Records, available via the usual online platforms

Text by Chi Ming Lai
15th December 2022

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2022

12 December 2022 /

During lockdown, electronic music displayed its emotional empathy with isolation and solitary working.

But as during The Cold War in its breakthrough years, it read the room again with the onset of worldwide and domestic conflicts, both armed and political.

There were times in 2022 that were as if The Cold War had never ended and in amongst the turmoil, artists reflected their anxieties on top of those already existing.

Jori Hulkkonen of SIN COS TAN said: “Overall, this decade has been a real downer with the pandemic and now the war, so if we are trying to look for silver linings here, I think it will be interesting for the creative community to get something out of it, the frustration, the fears and all that.”

As further pandemic songs were released as well, what emerged were songs of varying moods and while there was fresh optimising in the air, there were calls to arms and resignation looming too. Overall, 2022 saw many great individual tracks issued and mention must be made of NNHMN, NATION OF LANGUAGE, O+HER, DIE ROBO SAPIENS, DESIRE and MOTHERMARY who were among those shortlisted for this year’s listing.

As ever on ELECTRICITYCLUB.CO.UK, rules help control the fun… so restricted to tracks available on the usual online retail platforms with a restriction of one song per artist moniker, here are the 30 SONGS OF 2022 in alphabetical order by artist…

ANNIEE featuring VON HERTZOG Danger Electricity

Bubbling with a dynamic thrust, the angelic voice of Anniee evoked the excitement of a night clubbing while Von Hertzog provided the hypnotic backing and beautiful soundscape. “I was jogging in London and came across the words in the sidewalk ‘danger electricity’” she said, “I had always wanted to create a dance track – something that reflected my love for EDM, what I felt when I first heard it as a teenager, visiting clubs in Mallorca. Also the feeling I still get now taking the train to NYC and the energy of the city”.

Available on the single ‘Danger Electricity’ via Anniee and Von Hertzog

https://www.instagram.com/anniee_music/

ALANAS CHOSNAU & MARK REEDER All You Need To Love

For Alanas Chosnau and Mark Reeder, the ongoing world tensions were a symbol of ‘Life Everywhere’. Like a Harry Palmer film given an electro soundtrack and hidden behind the facade of love songs, their second album together poignantly made a statement on life during wartime. With a speedy conga mantra and a dominant digital clap, ‘All You Need Is Love’ entered funky electronic disco territory with roots in Reeder’s SHARK VEGAS days to emulate the propulsive air of NEW ORDER.

Available on the album ‘Life Everywhere’ via MFS

https://alanaschosnau.com/

https://www.facebook.com/markreeder.mfs

RODNEY CROMWELL The Winter Palace

Intended as a soundtrack to a sadly post truth world, Rodney Cromwell returned with his second album ‘Memory Box’. Despite questioning selective memories, album closer ‘The Winter Palace’ was all about wanting to forget a former beau because “I dream of you regardless, whether I am asleep or awake”. With hints of classic NEW ORDER and OMD, the wonderfully icy number embraced motorik mechanisation within a hypnotic electronic backdrop and providing a glorious synth solo for a hopeful uplift to savour.

Available on the album ‘Memory Box’ via Happy Robots Records

https://www.facebook.com/rodneycromwellartist

BOY HARSHER Machina featuring Ms. BOAN

BOY HARSHER made a short horror movie ‘The Runner’ and a soundtrack to go with it which stood up in its own right. Although comprising of their usual dark and danceable electronic pop, it proved to be their most diverse collection yet featuring several special guests. Sung in Spanish and English, ‘Machina’ featuring Ms. BOAN aka Mariana Saldaña was aimed at the dancefloor, recalling the Latino electronic disco of Bobby Orlando, particularly PET SHOP BOYS ‘A Man Could Get Arrested’.

Available on the album ‘The Runner’ via Nude Club / City Slang

https://boyharsher.com/

CIRCUIT3 Valentina Fly

For his third CIRCUIT3 album ‘Technology For The Youth’, Peter Fitzpatrick presented a retro-futuristic narrative on the world before the space shuttle. Valentina Tereshkova whose 1963 adventure in Vostok 6 made her the first woman in space was celebrated with ‘Valentina Fly’, the minimal structure and string machines of the wonderful piece evoking OMD. “She’s not a celebrated as Yuri Gagarin” said the Dubliner, but “in some respects, what she achieved was much greater.”

Available on the album ‘Technology For The Youth’ via https://circuit3.bandcamp.com/

http://www.circuit3.com/

GEMMA CULLINGFORD Tongue Tied

If Yoko Ono’s ‘Walking On Thin Ice’ had been reconfigured as a Balearic friendly electronic disco number, then it would have come out like ‘Tongue Tied’, the title track of the second album by Gemma Cullingford. With a nonchalant but sensual vocal style reminiscent of Sarah Nixey, ‘Tongue Tied’ exuded a positive if nervous energy in a purer metronomic adoption of electronics. “My boyfriend provided the lyrics knowing that I often get tongue tied and mince my words so he knew they’d mean something to me” she helpfully added. Shyness is nice…

Available on the album ‘Tongue Tied’ via Elmo Recordings

https://www.facebook.com/gemcullingford

DAWN TO DAWN Stereo

Canadian danceable dreampop trio DAWN TO DAWN celebrated the joy of music in times of adversity with ‘Stereo’. Driven by a Roland TR909, the song touched on the acceptance of confinement where “I wait for no one to ask ‘when do we go?’”. Embracing the notion that “you’re here – on the stereo”, in its romantic reflection of good times, a breezy infectious allure was captured while maintaining an understated synthesized danceability and a promise of better things to come.

Available on the album ‘Postcards From The Sun To The Moon’ via SSURROUNDSS

https://www.facebook.com/dawntodawnmusic

DUBSTAR Token

Since Sarah Blackwood and Chris Wilkie reconfigured DUBSTAR as a duo, there was always the impression that the comeback album ‘One’ was a warm-up. Opening album ‘Two’  was ‘Token’, possibly their most overt synthpop statement yet. Co-produced by Stephen Hague, it pointed to his work with PET SHOP BOYS and ERASURE. A song full of resilience, its narrative about leaving behind abusive relationships and minor gestures was a topic that many could relate to.

Available on the album ‘Two’ via Northern Writes

https://www.dubstarofficial.co/

EMMON The Battle

Since releasing her first sassy pop album ‘The Art & The Evil’ in 2007, Emma Nylen has got progressively darker and harder while still retaining an enigmatic presence. While most of her ‘Recon’ album headed in an EBM direction influenced by NITZER EBB and FRONT 242, synthpop with a syncopated backbone was the sound on the ‘Black Celebration’ inflected mission that was ‘The Battle’, a timely commentary on world and deomestic events. With an absorbing metallic chill, it was the highlight of her fifth long player proper.

Available on the album ‘Recon’ via Icons Creating Real Art

https://www.facebook.com/emmonsweden

FADER Serpentine

As with previous FADER works, Benge worked alone on the instrumentation at his Memetune Studios complex in Cornwall while Neil Arthur did his lyrics and vocals at his home studio. Their third album together ‘Quartz’ was an understated artistic statement inspired by incidental atmospheric music used in vintage TV shows. Minimalistic structures provided a reflective and elegiac backdrop. The icy waltz ‘Serpentine’ opened the album with its sparse keys like Gary Numan meeting Brian Eno and reminiscent of the former’s ‘Dance’ album from 1981.

Available on the album ‘Quartz’ via Blanc Check Records

https://www.facebook.com/WeAreFader

THE GOLDEN FILTER Drive

A reinterpretation of THE CARS’ mournful classic from 1984 which had already been a hit in its own right before becoming associated with Live Aid, this chilling version of ‘Drive’ by THE GOLDEN FILTER simply captured the zeitgeist in amongst the turmoil of world events… the work of Penelope Trappes and Stephen Hindman who released their first album ‘Volupsa’ in 2010, the duo defied people not to well up on hearing the words “Who’s gonna tell you when it’s too late? Who’s gonna tell you things aren’t so great?”.

Available on the single ‘Drive’ via The Golden Filter

https://www.thegoldenfilter.com/

H/P Vicinities

Based in Limoges, H/P were formally known as HAPPINESS PROJECT, issuing their first album ‘Remove Or Disable’ in 2008. For their H/P debut ‘Programma’, the trio not only shortened their moniker but also adopted a minimal synth approach. Acknowledging the debt of influence to cult French act MARTIN DUPONT, their bassist Alain Seghir guested on the glorious album closer ‘Vicinities’. Applying a complex spiral of delicate blips, it was enclosed is an emotional centre that recalls OMD for possibly the album’s stand-out song.

Available on the album ‘Programma’ via BOREDOMproduct

https://www.facebook.com/hp.programma

I SPEAK MACHINE War

Adopting the dishevelled persona of a satanic Libertas, ‘War’ by I SPEAK MACHINE was another album that captured the zeitgeist, although the lyrics were much more personal to Tara Busch. Short and sweet with hints of Gary Numan’s ‘Metal’, the screeching title song opener set the scene and the album’s intentions with a rumbling backdrop. “It definitely has ‘Metal’ in there as an influence” she said, “It came about from me messing with my Casio SK1 and then running that through a Moogerfooger ClusterFlux to make it all bendy and provide actual notes from the feedback.”

Available on the album ‘War’ via https://ispeakmachine.bandcamp.com/

https://www.ispeakmachine.com

KAREN HUNTER Don’t Call My Name

Veteran singer Karen Hunter was a live band member on Gary Numan’s ‘Berserker’ and ‘The Fury’ tours and recorded a wonderful cover of the ballad ‘Don’t Call My Name’ in support of The Ced Sharpley Drumming Bursary. The original was the closing track on the 1988 album ‘Metal Rhythm’ and the haunting song is given a serene feminine twist. As well as being produced by music veteran Steve Hunter who played with Peter Gabriel and Lou Reed, Numan associates Chris Payne and Andy Coughlan also contributed.

Available as a digital single ‘Don’t Call My Name’ via Living Ornaments

https://karenhunter.hearnow.com/

KAVINSKY Outsider

Vincent Belorgey aka Kavinsky made his name with ‘Night Call’ featuring vocals by Lovefoxxx of CSS. But after the track was featured in the cult movie ‘Drive’ in 2011, the Frenchman found it was becoming something of an albatross around his neck. He upset people when he said “f*ck that ‘synthwave’ stuff as u name it”. Seeming taking an age to record his follow-up to the ‘OutRun’ album, he made a statement to be ‘Reborn’. Channelling his inner Moroder circa ‘Midnight Express, ‘Outsider’ was a magnificent instrumental laced with orchestrated drama and tension.

Available on the album ‘Reborn’ via Record Makers / Protovision

https://kavinsky.com/

KID MOXIE Shine

Compared with the previous works of KID MOXIE, there were darker and harder aesthetics at play on ‘Shine’ in collaboration with German EBM producer FADERHEAD. Taking both musical and lyrical inspiration from DEPECHE MODE’s ‘Never Let Me Down Again’, front woman Elena Charbila assertively declared “I’m taking the lead in the back seat”. “We definitely channelled some DM vibes” she remembered, “it was even a running joke while we were in studio recording it with FADERHEAD”.

Available on the album ‘Better Than Electric’ via Pasadena Records

http://www.facebook.com/kidmoxie

KITE Panic Music

As the wait for the ‘VII’ EP continues, “Sweden’s best kept pop-secret” returned with an interim single. ‘Panic Music’ exuded a fierce anxiety with front man Nicklas Stenemo presenting his characteristic screaming delivery. Over an epic neo-gothic backdrop now associated with KITE, Christian Berg continued his fascination for electronic drones and swoops while there was also the surprise of a guitar solo in the middle eight. The stress and strain of the past two years and a very uncertain future was effectively captured in song.

Available on the digital single ‘Panic Music’ via Astronaut Recordings

https://www.facebook.com/KiteHQ

LEATHERS Runaway

From Vancouver in British Columbia, ACTORS keyboardist Shannon Hemmett continued with her more synth focussed solo project LEATHERS. Not completely divorced from the main band family, frontman Jason Corbett acts as producer and collaborator, just as Daniel Hunt did with Helen Marnie on her solo work during the LADYTRON hiatus. ‘Runaway’ was gorgeous dreamy synthpop to elope to, “About breaking free and letting go, it provides a pop of color against the mundane routine of everyday life”.

Available on the digital single ‘Runaway’ via Artoffact Records

https://www.facebook.com/leathersmusic

MECHA MAIKO Sunny, Softly (I Feel Love)

Hayley Stewart returned as MECHA MAIKO with ‘NOT OK’ to highlight the various social-political flashpoints that emerged during the pandemic. But focussing on warmer moments and feeling the force of some mighty electro, ‘Sunny, Softly (I Feel Love)’ threw in the iconic throb from the Giorgio Moroder produced Donna Summer hit for a glorious beat driven statement enhanced by an angelic delivery. “There’s a weightlessness to her song that I wanted to have play through the listener’s mind at the same time that they were listening to mine” she said.

Available on the album ‘NOT OK’ via New Retro Wave

https://www.mechamaiko.com/

MINIMAL SCHLAGER Submission

Sister and brother duo MINIMAL SCHLAGER began in 2020 as a consequence of the pandemic. Based between London and Berlin, Alicia Macanás and Francisco Parisi began to develop a brand of synth heavy dreampop. While bubbling with glistening synths, ‘Submission’ was a more of a new wave number with subtle guitar and a rhythmic bounce that set it apart from the other songs on their first album ‘Love, Sex & Dreams’ with an exhilarating chorus is that declares “For a second, I know I can win!”

Available on the album ‘Love, Sex & Dreams’ via Duchess Box Records

https://www.facebook.com/minimalschlager

R.MISSING New Present City

Fronted by enigmatic Sharon Shy, having released some fabulously ethereal singles in the shape of ‘Verónica Pass’, ‘Placelessness’, ‘Saturnining’ and ‘Crimeless’ in the past 18 months, New York-based darklings R. MISSING presented the sinister beauty of ‘New Present City’. In their embracement of the fragility of life with gently propelled soundscapes swathed in icy melancholia, this slice of electronic pop noir fittingly filled a gap left by the now disbanded CHROMATICS.

Available on the digital single ‘New Present City’ via Terminal Echo

https://rmissing.com/

RÖYKSOPP & ALISON GOLDFRAPP Impossible

When RÖYKSOPP released their most recent long playing opus ‘The Inevitable End’ in 2014, it was said to be their final album and made a fine farewell. But after various singles, archive releases and soundtrack commissions, they returned with the ‘Profound Mysteries’ trilogy. Featuring Alison Goldfrapp, the delicious ‘Impossible’ was a mighty avant disco excursion that was both seductive and functional. With the uplifting high soprano middle eight drifting into an intergalactic twist, it could be rightly considered one of the songs of 2022.

Available on the album ‘Profound Mysteries’ via Dog Triumph

http://royksopp.com/

HANNA RUA Light In Your Dark

Swedish songstress Hanna Rua has a dreamy electronic pop sensibility with the emphasis on the pop, but her debut EP ‘Light Up Your Dark’ also demonstrated her scope and capability using darker aesthetics. With a wonderfully gritty austere, the title song played with gothier influences while remaining melodic, coming over like a Nordic NINA in her more recent work. A battle against the demons, the brooding presence recalled unga moderna veterans LUSTANS LAKEJER and their 1999 single ‘Cynisk’.

Available on the EP ‘Light Up Your Dark’ via Aztec Records

https://www.hannarua.com/

SALLY SHAPIRO Fading Away

Although they announced a retirement of sorts in 2016, Swedish duo SALLY SHAPIRO joined the Italian Do It Better family in 2021 to make an unexpected return. ‘Fading Away’ was an epic dance tune to close the ‘Sad Cities’ comeback album. Perhaps unexpectedly originating from an ambient improvisation session, this atmospheric template was merged with a relentless disco synthwave hybrid, utilising a glorious plethora of trancey electronics and thumping rhythms across its seven minutes.

Available on the album ‘Sad Cities’ via Italians Do It Better

https://www.facebook.com/shapirosally

SIN COS TAN Endless

With the bear next door, the title of SIN COS TAN’s fourth album ‘Living In Fear’ resonated with anyone resident in Finland or anywhere in the civilised world; “Do you fear the dark, love, war, or yourself? Whatever the answer, you can be certain: Fear is a powerful thing.” The windswept electro-motorik of ‘Endless’ used the melodic synthy highs of OMD to counter the melancholic expression and drone laden backdrop, acting as a burst of escapist optimism despite surrounding tensions.

Available on the album ‘Living In Fear’ via Solina Records

http://solinarecords.com/sincostan/

SOFT CELL Nighthawks

Originally a Dave Ball instrumental issued as a single that came with the boxed set of his autobiography ‘Electronic Boy’, the tense industrialised pulse of ‘Nighthawks’ recalled the sweaty alternative club overtures of one-time Some Bizzare stable mates CABARET VOLTAIRE. Featuring a deranged expletive laden rap from American drag performance artist Christeene, SOFT CELL fans were even treated to the deep growly voice of Mr Ball himself repeating the title alongside Marc Almond while ‘Staying Alive’ backing vocals provided another counterpoint.

Available on the album ‘*Happiness Not Included’ via BMG

http://www.softcell.co.uk

UNIFY SEPARATE Closure

Documenting a period of personal struggle, the new UNIFY SEPARATE album ‘Music Since Tomorrow’ attempted ‘Closure’ and this epic album opener set the scene with a building atmospheric trance tune that simply mesmerised, especially when front man Andrew Montgomery hit his trademark falsetto. Instrumentalist Leo Josefsson cited influences such as MODERAT, FLOATING POINTS, NITZER EBB, UNDERWORLD and FRONT 242 for the sound while there was also inspiration from the movie ’28 Days Later’.

Available on the album ‘Music Since Tomorrow’ via How Music Group

http://www.unifyseparate.com

BELLA UNWIN Cold Breeze

Bella Unwin has been releasing music since 2018 but this year saw an artistic leap. With shades of Alison Goldfrapp, Hannah Peel and the often forgotten Stella Grundy, the positively feline and angelic ‘Cold Breeze’ was the London-based Aussie’s best song yet. With subtle rhythmic lattices and chattering synthesizer goodness, the additional production and mix by Finlay Shakespeare boosted the punchy and immediate machine funk that was laced with wispy and alluringly coy vocals.

Available on the single ‘Cold Breeze’ via GOTO Records

https://www.facebook.com/bellaunwinmusic

THE WEEKND Less Than Zero

After ‘Blinding Lights’ and ‘Save Your Tears’, THE WEEKND again reminded the mainstream of the emotive beauty that can come from classic synthpop with ‘Less Than Zero’. ‘Less Than Zero’ itself sounded not unlike Michael Jackson produced by Tony Mansfield. The cross of catchy hooks, glorious counter-melodies and acoustic strums were reminiscent of Mansfield’s own combo NEW MUSIK who had UK hits with ‘Living By Numbers’, ‘This World Of Water’ and ‘Sanctuary’ in 1980; Tony Mansfield himself later went on to produce most of A-HA’s debut album ‘Hunting High & Low’.

Available on the album ‘Dawn FM’ via by XO / Republic Records

https://www.theweeknd.com

xPROPAGANDA The Wolves Are Returning

One of the best numbers on the Stephen J Lipson produced ‘The Heart Is Strange’, a stark warning on rise again of the far right was highlighted on ‘The Wolves Are Returning’. Despite its bounce and sonic interventions, the message coming from two Germans whose grandparents’ generation had made the mistake of opening up the door to the Nazis and “did nothing” was poignant. Claudia Brücken and Susanne Freytag provided a worthy follow-up to ‘A Secret Wish’ as xPROPAGANDA.

Available on the album ‘The Heart is Strange’ via ZTT Records

https://www.xpropaganda.co.uk/

A selection of ELECTRICITYCLUB.CO.UK’s favourite music of 2022 is featured in its ‘Stay Negative To Be Positive’ playlist at https://open.spotify.com/playlist/4Mw0Fn10yNZQcrGzod98MM

Text by Chi Ming Lai
12th December 2022

MANUEL GÖTTSCHING 1952 – 2022

12 December 2022 /

The pioneering German musician Manuel Göttsching sadly passed away peacefully on 4th December 2022 aged 70.

During a career spanning over five decades, he released over 30 albums in a variety of guises, working with the likes of Conny Plank, Harald Grosskopf, Lutz Ulbrich and the late Klaus Schulze who died earlier this year. His website simply said in tribute: “When your fingers touched the strings of a guitar, the world stood still. May it stands still and bring you back to us whenever we hear you play. The void he leaves behind we want to fill with his music and loving memories.”

Having studied classical guitar from an early age but with ambitions to be a drummer, Göttsching began his recorded career with Klaus Schulze in ASH RA TEMPEL; their self-titled album in 1971 was engineered by Conny Plank and seeded from sessions of free-form improvising. Comprising of just one track per side of vinyl, the building eerie atmospheres of ‘Traummaschine’ and the noisier rock of ‘Amboss’, the record was hailed as a Kosmiche landmark.

After Schulze departed, Göttsching continued ASH RA TEMPEL with other musicians and collaborated with psychedelic advocate and acid guru Timothy Leary on ‘Seven Up’ in 1972. But it was obvious that the Berlin-based multi-instrumentalist felt restricted by the band format, as evidenced by a solo record ‘Inventions For Electric Guitar’ which was billed as the sixth ASH RA TEMPEL album.

Signing to Virgin Records in 1977 who also had other German acts like FAUST and TANGERINE DEAM on their roster, he shortened the moniker to ASHRA and released what many consider to be his first masterpiece ‘New Age Of Earth’.

Exploring more progressive instrumental territory, Göttsching used an Eko Rhythm Computer, ARP Odyssey and his signature keyboard, a Farfisa Synthorchestra to compliment his meditative transient six string style that was for texture as much as it was for melody. The wonderful 20 minute ‘Nightdust’ and the gently percussive ‘Sunrain’ were just two of the jewels on this beautiful treasure trove of a record while ‘Ocean Of Tenderness’ captured a glorious widescreen ambience.

While Göttsching continued solo on 1978’s worthy follow-up ‘Blackouts’, he expanded the line-up of ASHRA to include drumming synthesist Harald Grosskopf and guitarist Lutz Ulbrich on the next two Virgin albums ‘Correlations’ and the more rock and vocal-led ‘Belle Alliance’. In a 2020 interview with ELECTRICITYCLUB.CO.UK, Harald Grosskopf remembered: “We never talked about commercial intentions. Our main interest was having fun and producing something original. I liked the freedom of not thinking about whom we could reach or sell to what we had made. The combination of the three of us simply made it what it was. Everybody had ideas and had the chance to put them into the album. Manuel played a very melodic guitar. In those days, maybe Carlos Santana was a bit of an influence on him.”

Göttsching’s next masterpiece came almost by accident; having reunited with Klaus Schulze for a concert tour and returned home, he decided to improvise an extended piece based around an understated Prophet 10 sequence as something to listen to on his recently purchased Walkman for an upcoming flight. Influenced by minimalist trailblazers Steve Reich and Philip Glass, the end result was the hour long ‘E2-E4’ which was eventually released in 1984.

Using a gentle but hypnotic backbone and an extended guitar solo in the second half, despite press criticisms on its initial release that it was inconsequential muzak, ‘E2-E4’ became an influence in the development of Balearic house and ambient techno, so much so that it was sampled for the club track ‘Sueño Latino’ in 1989 which was a favourite at New York’s Paradise Garage. Manuel Göttsching also composed music for fashion designers such as Claudia Skoda and Wolfgang Joop as well as theatre productions like ‘Dracula’ while continuing to perform live; an ASHRA band reunion in Japan with Harald Grosskopf and Lutz Ulbrich resulted in the release of two live documents in 1998.

Previously unreleased archive recordings such as the wonderful ‘Dream & Desire’ collection and the six volume series ‘The Private Tapes’ would also attract interest. 2000 saw Manuel Göttsching and Klaus Schulze return as ASH RA TEMPEL to play the Royal Festival Hall in London for Julian Cope’s Cornucopea Festival and release an album ‘Friendship’. A few years later, there were live performances of ‘E2-E4’ including one at the esteemed Berlin techno club Berghain in 2006 to celebrate the 25th Anniversary of its recording. In 2013, Göttsching returned to London to perform at Oval Space with deep house producer Henrik Schwarz.

Manuel Göttsching appeared live as recently as September 2022 performing with Hans-Joachim Roedelius of CLUSTER at the Zodiak festival in Berlin.

https://www.manuel-goettsching.com

Text by Chi Ming Lai
12th December 2022

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