Author: electricityclub (Page 56 of 441)

“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

A SYNTH IS FOR LIFE & NOT JUST FOR CHRISTMAS…

As the Yule Tide season gets into full swing, ELECTRICITYCLUB.CO.UK presents a collection of modern seasonal tunes with a more artful slant…

With a song to play on each of the 25 days in December until Christmas, some are covers with a modern approach while others gather their thoughts and emotions into original compositions. But each has their own take on the holiday period, whether happy or sad or both.

Synths at Christmas are not entirely new; ‘Last Christmas’ by WHAM! was primarily made with a Roland Juno 60 while BAND AID’s ‘Do They Know It’s Christmas? was dominated by PPG Wave 2.2 with a percussive sample taken from ‘Memories Fade’ by TEARS FOR FEARS also being key to the intro.

However the traditional nature of Christmas often dictates traditional instrumentation in its songs, which means that Christmas synth songs are comparatively uncommon and a more recent phenomenon.

Whatever your plans whether with the family or in the studio, please remember, a synth is for life and not just for Christmas… may it bring you lots of cheer! The 25 songs are presented in yearly then alphabetical order within…


BE MUSIC Rocking Carol (1982)

A Be Music production for a limited edition flexi-disc of 4400 given away at The Haçienda on Christmas Eve 1982, with the greeting “Merry Xmas From The Haçienda And Factory Records”, this was NEW ORDER covering the traditional Czech seasonal tune also known as ‘Jesus Sweetly Sleep’ and ‘We Will Rock You’ as a robotic electronic tone poem. The second track was a version of Ludwig van Beethoven’s ‘Ode To Joy’ in a similar style!

Available on the compilation album ‘Ghosts of Christmas Past (Remake)’ (V/A) via Les Disques du Crépuscule

https://www.neworder.com/


EURYTHMICS Winter Wonderland (1987)

Recorded as part of an album on behalf of Special Olympics that featured U2, Madonna, Whitney Houston, Bruce Springsteen, Bryan Adams and Alison Moyet among others, EURYTHMICS’ glistening electronic take on romance during the winter season was cited by ASCAP as now the most played version of the song which was made famous by Darlene Love on the classic 1963 album ‘A Christmas Gift For You From Phil Spector’.

Available on the compilation album ‘A Very Special Christmas’ (V/A) via Universal Music

https://www.eurythmics.com/


S.P.O.C.K White Christmas (1992)

Swedish electronic pop veterans S.P.O.C.K celebrated their 35th Anniversary in 2023; originally recorded for Energy Rekords’ ‘Virtual X-Mas 92’ EP and then a bonus song on their 1995 compilation ‘A Piece Of The Action’, this cover of the Irving Berlin standard made famous by Bing Crosby was suitably melodramatic as the holiday season was celebrated in The Neutral Zone while under threat of an alien attack.

Available on the compilation album ‘Virtual 2020 X-Mas’ (V/A) via Energy Rekords

https://www.facebook.com/StarPilotOnChannelK/


SAINT ETIENNE Featuring TIM BURGESS I Was Born On Christmas Day (1993)

Delightfully catchy with a house-laden bounce, ‘I Was Born on Christmas Day’ was written in acknowledgement of band member Bob Stanley’s birthday for an EP ‘Xmas 93’. Featuring a duet between Sarah Cracknell and special guest vocals by Tim Burgess from THE CHARLATANS, the joyful narrative saw the couple elope, confusing some fans and press who thought the press photos were for real.

Available on the SAINT ETIENNE album ’A Glimpse Of Stocking’ via PIAS

http://www.saintetienne.com/


DEAD OR ALIVE Blue Christmas (2000)

Originally recorded as a sparse ballad for the B-side of 1990 DEAD OR ALIVE single ‘Your Sweetness Is Your Weakness’, Pete Burns’ foray into the music for holiday season was given a dancier makeover in 2000 by band mate Steve Coy. In hindsight, now sounds like a stylistic blue print for PET SHOP BOYS ‘It Doesn’t Often Snow At Christmas’. The two would later work together on the excellent if menacing ‘Jack & Jill Party’ in 2004.

Available on the DEAD OR ALIVE album ‘Fragile’ via Demon Music Group

https://www.discogs.com/artist/46720-Dead-Or-Alive


SALLY SHAPIRO Anorak Christmas (2006)

With their naïve wispiness, understated cinematics and disco beats, if there act who are ably suited to Christmas pop music, it is Swedish duo SALLY SHAPIRO. A cover of a song by NiXON, the project of fellow Swede Roger Gunnarsson, the lines “The first time that I saw your face on a cold December night, it was a Tuesday on a gig with a band that we both liked” captured an innocent romance and the aural warmth of the named apparel.

Available on the SALLY SHAPIRO album ‘Disco Romance’ via Paper Bag Records

https://www.facebook.com/shapirosally


PET SHOP BOYS It Doesn’t Often Snow At Christmas (2009)

Originally recorded in 1997 for an exclusive fan club single but remixed in 2009, ‘It Doesn’t Often Snow At Christmas’ was a suitably cynical offering. Famous for keeping THE POGUES ‘Farytale Of New York’ off the 1987 UK Christmas No1 spot with their cover of ‘Always On My Mind’, while this didn’t hit those commercial heights, it provided a very PET SHOP BOYS take on the madness of the festive season.

Available on the PET SHOP BOYS EP ‘Christmas’ via EMI Records

http://www.petshopboys.co.uk/


CHEW LIPS When You Wake Up (2010)

With their last single having been released in 2012, CHEW LIPS might well have disbanded but in 2010, on the back of their only album ‘Unicorn’ and its subsequent tour, they were on a productive high. ‘When You Wake Up’ was a bonus tune recorded and given away as a Christmas gift to fans at the end of that very successful year. Delivered with lead singer Tigs’ usual feisty panache, listening back only highlights how much CHEW LIPS are missed.

Originally released as a free download via https://soundcloud.com/chewlips/when-you-wake-up

https://www.facebook.com/CHEWLiPS/


HURTS All I Want For Christmas Is New Year’s Day (2010)

With their TAKE THAT dressed as ULTRAVOX template, following the success of their debut album ‘Happiness’, Theo Hutchcraft and Adam Anderson turned their attentions to memories of “the worst Christmas of our lives”. In true Bros Go To Bavaria style, despite the mournful start, ‘All I Want For Christmas Is New Year’s Day’ transformed itself into a hopeful uplifting anthem with a big chorus and lashings of tubular bells.

Available on the HURTS album  ‘Happiness’ via Major Label / RCA

http://www.informationhurts.com/


LOLA DUTRONIC Another Christmas Without Snow (2010)

In the UK, a wet Christmas is always more likely,  but LOLA DUTRONIC’s ‘Another Christmas Without Snow’ resonated with its melancholic yet pretty demeanour. The project of Canadian producer Richard Citroen and using a flexible roster of wispy female vocalists, the tones of Lola Dee came over all dreamy like SAINT ETIENNE and conveyed the season’s mixed emotions. In 2014, they presented ‘The Christmas Disco’.

Available on LOLA DUTRONIC single ‘(Another) Christmas Without Snow’ via Lola Dutronic

https://www.facebook.com/LOLA-DUTRONIC-80232595392/


ERASURE Gaudete (2013)

Andy Bell and Vince Clarke’s version of this traditional Ecclesiastical Latin carol continued an ERASURE tradition that had first begun with ‘God Rest Ye Merry Gentlemen’ for the CD edition of the ‘Crackers International’ EP in 1988. With a precise electronic backbeat, ‘Gaudete’ was taken from its 16th Century origins and thrown into the new millennium with a cheeky ‘Ice Machine’ reference for good measure.

Available on the ERASURE album ‘Snow Globe’ via Mute Artists

http://www.erasureinfo.com/


HYPERBUBBLE A Synthesizer for Christmas (2013)

HYPERBUBBLE A Synthesizer for ChristmasWhether it was a Casio, Yamaha or Roland, everyone who ever loved synth music wanted ‘A Synthesizer For Christmas’. Texan synthesizer couple HYPERBUBBLE took that enduring memory and turned it into a delightful synthpop ditty that could resonate with electronic geeks from 8 to 80 the world over. Short but very sweet, it was another joyous “cartoon automaton symphony” from Jess and Jeff DeCuir.

Available on the HYPERBUBBLE single ‘A Synthesizer For Christmas’ via Socket Sounds

http://www.hyperbubble.net/


VILE ELECTRODES The Ghosts Of Christmas (2013)

VILE ELECTRODES The Ghosts Of ChristmasIf ‘Twin Peaks’ met ‘Leader Of The Pack’ under the mistletoe, it would probably sound like ‘The Ghosts Of Christmas’. Possibly the best Christmas tune of the last 15 years, VILE ELECTRODES’ harrowing tale of a departed loved one and three wise men dressed in blue with dreadful gifts to bear is strangely enticing, with the beautifully haunting echoes of Julee Cruise’s ‘The Nightingale’ lingering over the frozen lake.

Available on the VILE ELECTRODES EP ‘The Ghosts Of Christmas’ via Vile Electrodes

http://www.vileelectrodes.com/


HANNAH PEEL Find Peace (2014)

HANNAH PEEL Find Peace‘Find Peace’ was a Christmas song longing for the cold but merry winters of yesteryear under the modern day spectre of global warming, armed conflict and political tension. The off-kilter analogue buzzing and almost random sequences made for a striking listen as a frantic percussive death rattle and an emotive synth drone take hold to provide an appropriate backdrop for the eerie but beautiful voice of Hannah Peel.

Available on the HANNAH PEEL single ‘Find Peace’ via Snowflakes Christmas Singles Club

http://www.hannahpeel.com/


MARSHEAUX We Met Bernard Sumner At A Christmas Party Last Night (2015)

GHOSTS-OF-CHRISTMAS-PAST-twi158cd‘We Met Bernard Sumner At A Christmas Party Last Night’ was a wonderfully whispery synthpop number that capture that classic wispy MARSHEAUX vibe. The lyrics were constructed from the song and album titles of NEW ORDER to provide an imaginary narrative on Marianthi Melitsi and Sophie Sarigiannidou surreally bumping into the Manchester combo’s lead singer at a Yule Tide function.

Available on the compilation album ‘Ghost Of Christmas Past (Remake)’ (V/A) via Les Disques du Crépuscule

http://www.marsheaux.com


SPARKS Christmas Without A Prayer (2015)

On 1974’s ‘Kimono My House’ album, the Mael brothers recorded a song called ‘Thank God It’s Not Christmas’, a typically perverse SPARKS romp that had nothing to do as such with the holiday season. After their fruitful FFS collaboration with FRANZ FERDINAND, Russell and Ron ended the year with ‘Christmas Without A Prayer’, a fitting offering which also amusingly outlined that albums by WINGS were actually unwanted gifts.

Available on the SPARKS single ‘Christmas Without A Prayer’ via Lil’ Beethoven Records

http://www.allsparks.com/


VICE VERSA Little Drum Machine Boy (2015)

“A twisted cover of a cover of a cover”, this synthy reinterpretation of the tune based on a traditional Czech carol made famous by a bizarre but enjoyable version by David Bowie and Bing Crosby, saw former ABC stalwarts Mark White and Stephen Singleton reconvene as VICE VERSA to wax lyrical about 303s, 808s, 909s and a “shiny new Roland toy” in a combination of sleigh bells, squelching arpeggios and of course, drum machines…

Available as a free download via https://soundcloud.com/vice-versa-electrogenesis/little-drum-machine-boy

https://www.facebook.com/Vice-Versa-Electrogenesis-806726912703189/


ASSEMBLAGE 23 December (2016)

“Silent and alone, trying to make sense”, when you’ve had enough of Christmas shopping and the in-laws, there’s probably nothing better to let off steam than a bit of ASSEMBLAGE 23. While not exactly seasonal, Tom Shear’s Futurepop discoscape captured many of the mixed emotions endemic with the final month of the year, because in his determination to endure and to thrive, “when December ends, the pain will disappear…”

Available on the ASSEMBLAGE 23 album ‘Endure’ via Metropolis

https://www.assemblage23.com


SIN COS TAN Dead By X-Mas (2016)

A superb cover of Finnish metal glamsters HANOI ROCKS written by guitarist Andy McCoy predicticing where the band’s lifestyle could lead, this take on ‘Dead By X-Mas’ from the nocturnal synth duo SIN COS TAN came over a bit like Billy Idol gone electro, but with an elegiac twist. In 2006, the former William Broad himself issued his own collection of seasonal tunes entitled ‘Happy Holidays’ … it’s a nice day for a ‘White Christmas’!

Available as a free download via https://soundcloud.com/theofficialjorihulkkonen/sin-cos-tan-dead-by-x-mas

https://www.facebook.com/homeofsincostan/


FERAL FIVE I Want U (2017)

In a feminist call to reject the trash, with female empowerment lyrics like “I don’t need any money or a new handbag, I just need a kind of thing I’ve never had, who says you have to have some shabby gifts”, FERAL FIVE attacked tacky commercialism at Christmas in a sonic cacophony of crunchy bass guitar, big beats, sparkling electronics and chilling string machines for an alternative take on accepted practices during the seasonal festivities.

Available on the FERAL FIVE single ‘I Want U’ via Primitive Light Recordings

https://www.feralfive.com/


CIRCUIT3 I Believe In Father Christmas (2018)

Made famous by Greg Lake, CIRCUIT3 used analogue synths such as a Sequential Pro-One, Roland JX10, Korg Wavestation and Moog Sub37 to provide an eerie chill to the already cynical and  morbid 1975 song protesting at the commercialisation of Christmas. The lyricist was KING CRIMSON’s Peter Sinfield who later wrote the words to BUCKS FIZZ’s No1 ‘The Land Of Make Believe’ which warned against the evils of Thatcherism.

Available on the CIRCUIT 3 single ‘I Believe In Father Christmas’ via Diode Records

http://www.circuit3.com/


WAVESHAPER Walking In The Air (2020)

Written by Howard Blake for the 1982 animated film ‘The Snowman’ which later added a cameo intro by David Bowie, ‘Walking In The Air’ became a hit for Aled Jones although the original version was actually sung by choir boy Peter Auty. Tom Andersson is the Swedish synthesist and retro gamer known as WAVESHAPER and his symphonic instrumental synthwave cover was both respectful and beautiful.

Available as a free download via https://soundcloud.com/waveshaper-2/walking-in-the-air-waveshaper-synth-edit

https://www.facebook.com/Waveshaperofficial


RODNEY CROMWELL Cold Christmas (2022)

If Canadian post-punk quartet ACTORS did Christmas songs, then it would have probably sounded like this gothic motorik number from the ever cheerful Rodney Cromwell. Written for Cherryade Records’ ‘A Very Cherry Christmas’ compilation, its chilling ARP synth strings and driving bass guitar was in total antithesis to Cliff Richard with bleak observational lyrics “like ‘Eleanor Rigby’ turbo-charged for 2022”.

Available on the RODNEY CROMWELL single ‘Cold Christmas’ via Happy Robots Records

https://www.facebook.com/rodneycromwellartist


SOFTWAVE featuring BARNEY ASHTON-BULLOCK Will It Ever Be Christmas Again? (2022)

“Of the year behind that we survived and the future we’d wish to see”, ‘Will It Ever Be Christmas Again?’ was presented as “Probably the first synthpop Christmas song in Danish music history”, SOFTWAVE provided a hopeful message to hold back on overindulgence.  ‘Andy Bell Is Torsten’ writer Barney Ashton-Bullock made a Santa Claus cameo reminding everyone that “Self-service, doesn’t mean self, self, self…”

Available on the SOFTWAVE single ‘Will It Ever Be Christmas Again?’ via https://elasticstage.com/softwave/releases/will-it-ever-be-christmas-again-singleep

http://www.softwavemusic.com


GEMMA CULLINGFORD In The Bleak Midwinter (2023)

Something of a tradition having covered a variety of recent and traditional seasonal tunes like ‘Walking In The Air’, ‘Lonely This Christmas’ and ‘Deck The Halls’ in previous years, Norwich-based Gemma Cullingford took Christina Rossetti’s poem and Gustav Holst’s musical arrangement of ‘In The Bleak Midwinter’ into darker and colder electro dance territory, reflecting today’s divided world in a cost of living crisis.

Available on the GEMMA CULLINGFORD single ‘In The Bleak Midwinter’ via Elmo Records

https://www.gemmacullingford.co.uk/


A further varied collection of seasonal synth based tunes compiled by ELECTRICITYCLUB.CO.UK can be listened to at: https://open.spotify.com/playlist/7vIIjZkGd3cVOSarUPvX85


Text by Chi Ming Lai
2nd December 2023

FERAL FIVE Interview

Photo by Keira Anee Photography

FERAL FIVE released their debut album ‘Truth Is The New Gold’ at the start of 2023 and ahead of the game, the duo employed various AI-enhancements on a number of tracks with technology created by the German based company Birds on Mars.

Described by its members Kat and Drew Five as “A 360 degree music and art album project”, FERAL FIVE utilised electronic components with traditional guitars and live percussive elements to create their own “Feraltropolis” for a long playing commentary on AI, social media and today’s strangely dystopian post-truth world.

As the year concludes, the ‘Truth Is The New Gold’ titles song has been given a funky new remix by Martyn Ware; FERAL FIVE had performed at his ‘Picasso Portraits’ night in 2016 hosted by the National Portrait Gallery.

FERAL FIVE chatted to ELECTRICITYCLUB.CO.UK about how ‘Truth Is The New Gold’, the title song’s Martyn Ware remix, the various AI developments which have been in the news recently and much more…

This first full length album ‘Truth Is The New Gold’ has been a long time coming as FERAL FIVE first released music in 2013? Why has it taken this amount of time?

We love making music and exploring ideas. Every track is a statement, and every statement we made we opted to push out as a single fairly quickly. We believe in all killer no filler, so it took us a while to stand still for long enough to craft an album that thematically and sonically we were proud of.

Also we’re producers as well as writers and musicians, so arranging, mixing and production is an in-house job where we put our own musicianship under the microscope. The pandemic meant we weren’t in the same room for some considerable time, so while we file swapped, that definitely slowed things down a bit too. Later when we finally got to be in the same room, we decided to shelve a number of songs originally slated for the album in favour of some new ideas and these really helped to crystallize the theme of the album. So the short answer is ‘Truth Is The New Gold’ didn’t have an overly long gestation, we were just a singles band before that we guess.

With your down-to-earth approach to electronically-assisted pop, do you feel any kinship with acts such as DUBSTAR or INTERNATIONAL TEACHERS OF POP?

Yes, we love what they do and feel a real kinship. We saw an amazing INTERNATIONAL TEACHERS OF POP set supporting Róisín Murphy, but we haven’t actually met in person. Maybe we should see your description as a genre that deserves its own festival! Although, we have to say that while electronics are pretty fundamental to our sound, anything that makes a positive contribution to our sonic palette is used. So on the new album, as well as electronic and beats, we use a range of live percussion, including some very delicate crystals. We’re also both very crafty guitarists and love the raw energy that brings. I guess you could say that we are looking for the human trait in everything we do even where we use electronics and other components, we are looking to bring out an organic feel that you can still groove to.

So what makes up the “Feraltropolis”?

It’s in two places really. It’s our own personal lives that we live outside of FERAL FIVE, our hopes, fears and beliefs, which for us as a team has a lot of conjunction on the Venn diagram, as you might say. Our data sets and values are the same. Then this becomes manifest and “real” within the landscape of FERAL FIVE’s art. If you wanted us to describe it, we’d say it’s a city in the not too distant future and the surrounding landscape. This was also the location for our album journey, exploring truth and trust. It can be bleak, it can be exciting, there’s always a lot going on. There’s always hope amid the dystopia.

Before all the recent debates, FERAL FIVE utilised AI on the album, how did the idea come about?

FERAL FIVE has always been at the bleeding edge of tech, unafraid to experiment and open to new ideas, and our first vinyl release was an EP with 3D printed art that we printed ourselves. On a later track, we worked with sonified algorithms, and visual ones for the video, courtesy of new materials designer Francis Bitonti.

We’d been thinking about AI for some time and wrote a song a while back about where it was heading – ‘Pet Show’ – about AI robo-companions, set in a bar with freaky creatures that can fulfill your wildest dreams.

With our album exploring truth and trust, AI was a natural part of exploring new realities, and using the technology in the form of an AI Kat Five opened up new sonic and thematic possibilities. We hear this voice – a character – uplifting us right from the beginning of the album, despite the dark undertones, reminding us “it’s not the end”.

The AI is not composing for us, that is very much us humans, but it’s playing a role, as a kind of narrator on the journey. It reminded us of first-person narrations you get in film-noir detective movies.

Tell us about the AI created by Birds on Mars? 

Birds on Mars are based in Berlin and are doing great work in AI so it was amazing to collaborate with them. They wanted to train their AI on Kat’s spoken voice, so she decided to read some of the album lyrics out. They sounded SO different when they weren’t being sung, it was a very disconcerting experience making that recording. BOM then gave us a selection of AI models and an interface, and then we had AI Kat Five to play with to sing, speak or make non-human sounds. We could make her say things we never said which was mind-blowing.

‘Golden Rule’ was described by yourselves as an ”AI-enhanced shimmering anthem of renewal and people coming together”, please discuss?

Our album explores darkness but is ultimately about light and hope. This final track was our overarching statement, that we must work together to build change. Though not forgetting that important statements are allowed to have a groove, so this track does have a strong dance vibe. Here we used the AI Kat, particularly in the opening and the end, as both an oracle, prescient of the dangers and wonders ahead, and also as a speaker of truth.

AI can help realise an imagined world or provide speedier assistance such as isolating John Lennon’s vocal for THE BEATLES ‘Now & Then’, how do you see its useful applications in music?

It can be a great creative tool, and we love the work of pioneering artists Holly Herndon, and Portrait XO. There are AIs to get your lyrical process going – not that we ever need that kind of help, and even AI mastering, though we’ve a favourite human in the form of our go-to sonic partner Katie Tavini for that.

The use to which Peter Jackson put AI in ‘Now & Then’ was a very interesting example of using AI not in a generative compositional sense, but to clean up the audio in ways that prior to that would, as you indicated, have taken way longer, and may not have had such amazing results. In the end it’s all about the choices, as McCartney once said: “the love you take is equal to the love you make”. Some artists may use AI to speed up the process in some technical areas, but when you use generative tools that go beyond their original parameters, the question of ownership and authenticity become important. There is an interesting point along that line where someone will ask, where is the artist? Who plucked the string? Did the string pluck itself? Or do we now owe all our royalties to an app developer?

But as the ‘Joan Is Awful’ episode of ‘Black Mirror’ showed, there are potentially more sinister implications with AI… your thoughts please?

For sure. AI serfdom, stripping musicians of their value, are all possibilities and more besides. It’s why we need ethical tech, and collaborative AI. Even tech giants are calling for regulation. The thing is, any tool, no matter how sharp or blunt, can be used for good or ill. There are endless positive ways it is being and will be used to solve some of humanity’s pressing issues. One of the key considerations is who makes the decisions about the use and deployment of AI. We risk talking about AI like it’s one thing. It’s a concept and whilst it has huge medical applications for good, it definitely has its darker side, from human profiling to smart weapons. To quote POP WILL EAT ITSELF, there are at least “16 different flavours of hell”.

Social media was the theme on the songs ‘Roll It With Me’ and ‘Camouflage’, are “doom scrolling” and attention seeking taking their toll?

We love a good doomscroll at times, but there’s so much digital anxiety around caused by the incessant demands of social media, and the increasingly tense and vicious behaviour online. People have to sell themselves and their lives to please algorithms, and you often see artists announcing they have to take a break.

‘Roll It With Me’ was heavily influenced by the pandemic and having to connect with people at a distance, often on screen. It’s about valuing the human everyday moments even if they’re fleeting and bittersweet.

‘Camouflage’ is about the tension between being on display everywhere, whether by choice, or on CCTV or other public cameras, and being anonymous. It’s a longing for a simple on off switch to camouflage yourself when you’re feeling overexposed, watched, socially anxious or simply shy. It could also be a spy thriller theme though.

How has it been having to use such social media platforms to get FERAL FIVE noticed in what has become a saturated music marketplace?

In person connections are always the best! We like to see social media as an extension of our art, whether that’s asking people to share their truths with us to be part of our new live audiovisual show, or exploring visual effects. So our work there is genuine and not a deliberate attempt to go viral. We guess that makes us hardcore.

It’s getting much harder to reach people though as tech giants squeeze creators, and change their functionality all the time, so it’s good to have our own website too. Maybe we should post more photos of us with our cats!

‘Silver Sky’ has a real good ol’ groove, how was it inspired musically and lyrically?

It was inspired by the changing night sky and some confused London birds. We wanted to explore light pollution in a city that never gets dark, and think about future mitigations people might use. It was also partly inspired by having our songs played to the trees at ‘The Dark Outside’ events in Galloway Forest dark sky park, and the need for protected areas.

We set out to conjure up a sparkling groove with bubbling synths, and also played long quartz crystals as an instrument (you can see them in the video). We had many conversations when we were producing it, about how to make things sound more silver.

‘The ‘Truth Is The New Gold’ title track acted as the trailer for the album at the start of the year and has now been remixed by Martyn Ware, how was the connection made and why was that particular one chosen?

We are so excited by his brilliant uptown remix, what a groove!

Martyn Ware is an all-time inspiration, and it was great to connect with him at Music Tech Fest a few years back, and get to share creative ideas. Kat has done some visuals for him including for his mighty Power Project exhibition launch. He also invited us to perform at his ‘Picasso Portraits’ night at the National Portrait Gallery along with legends like RADIOPHONIC WORKSHOP, WHITE NOISE and SCANNER.

We were thrilled when he offered to remix a song for us, and he asked to hear the whole album ahead of release so he could decide on which track. We were curious to see what he’d pick, and were stoked that it was Truth Is The New Gold which is the statement song, and he brought in Charles Stooke as well. We’ve a glittering video for the remix on its way.

Which have been your favourite tracks on this album?

It’s hard to choose. The driving force conceptually and musically and our absolute favourite is ‘Truth Is The New Gold’.

‘Gravity’ is another favourite, the newest song we wrote. It’s about space and desire, and we love playing it live.

‘Golden Rule’ is also up there. Why, because love is that golden rule and this is an album of dystopian themes but it’s also a love letter to humanity: don’t give up. It’s a sentiment.

Photo by Keira Anee Photography

How do you intend to release music in the future, are disparate tracks released ad hoc to streaming services really the way to go or can the long playing format survive?

Both. Long formats give you more of a chance to express your vision and create exciting merch, performances, and collaborations. We worked with design legend Malcolm Garrett on the album, and it’s been amazing. He’s created the artwork, T-shirts, and a collaboration with jewellery designers Tatty Devine. Copies of everything are going into his collection at the Special Collections Museum at Manchester Metropolitan University.

What is next for FERAL FIVE?

We’re very much focusing on live and our interactive audiovisual shows, as we want to share the album in this multi-sensory way.

We’ve been working with artist / technologist Jonathan Hogg who has created algorithmic visuals that he plays live, and the first performance we did with him was incredible. Each show is unique, with the audience able to contribute to what’s on screen, and Kat singing their thoughts, as well as the album songs. Truth IS The New Gold.


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to FERAL FIVE

The album ‘Truth Is The New Gold’ is released by Reckless Yes in vinyl LP, CD and digital formats, available from https://feralfive.bandcamp.com/

The Martyn Ware remix of the title song is on the usual online platforms including at https://feralfive.bandcamp.com/album/truth-is-the-new-gold

https://www.feralfive.com/

http://www.facebook.com/FeralFive

https://twitter.com/feralfive

http://www.instagram.com/FeralFive

https://open.spotify.com/artist/6lFO7Wz038KeAcIodpRHcU


Text and Interview by Chi Ming Lai
25th November 2023

Lost Albums: RED FLAG Naïve Art

Comprising of brothers Mark and Chris Reynolds, although they were originally from Liverpool, RED FLAG were based in San Diego.

The Reynolds had lived in many places across the globe due to their father’s work as a Naval Officer, but eventually the family settled in California. Acquiring a Roland Juno 60 synthesizer, the sibling duo were very influenced by DEPECHE MODE. First recording as SHADES OF MAY, their minimal synth number ‘Distant Memories’ was included on the ‘91X Local Heroes 1984’ sampler album compiled by radio station 91X.

Invitations to perform live came thick and fast as the brothers relocated to San Diego and took their music more seriously, studying computer-based music technology and eventually changing their name to RED FLAG. With accusations that they were communist sympathizers, the pair said that “red flag” was taken from the signal used on beaches by lifeguards warning of high hazards due to rough currents. The term has since become ubiquitous as a warning sign, particularly in relationships.

While performing at a party in Southern California, the pair came to the attention of producer Jon St James who had worked with BERLIN, been a member of SSQ and was now helming the solo career of their lead singer Stacey Q.

Released in Summer 1988 as a 12” single on St James’ Synthicide Records, ‘Broken Heart’ gained airplay on the influential KROQ-FM in Pasadena via DJ Richard Blade. The Bristol-born expat had championed the likes of DURAN DURAN, DEPECHE MODE, THE PSYCHEDELIC FURS, OMD and NEW ORDER on the West Coast and by coincidence, had also been the secret boyfriend of BERLIN’s Terri Nunn when Jon St James was assistant engineer on their 1982 breakthrough EP ‘Pleasure Victim’.

After the monotone heard on ‘Distant Memories’, Mark Reynolds had developed a vocal timbre similar to Martin Gore, as well stylising a look based on him. Described on the single’s sticker as “Sonically Seductive Performers A La Mode From The Grey Ambience Of Liverpool”, ‘Broken Heart’ was what DM would have sounded like if they had worked with Giorgio Moroder instead of Daniel Miller. Throbbing and energetic, there were backing vocals from Stacey Q who had also coached the singer during the recording.

Again produced by Jon St James, the next RED FLAG single ‘Russian Radio’ released by Synthicide Records was even better. With a great chorus and a romantic view of Eastern Europe, the song was full of catchy staccato voice samples, metallic beats and digital bass syncopation to give ‘The Great Commandment’ by CAMOUFLAGE a run for its money.

Just as OMD had been fascinated by the stark Cold War era of shortwave radio broadcasts from behind The Iron Curtain, so had RED FLAG. But lyrics declaring “I feel our love is only a smile away, getting so much closer to me every day” gave a more positive outlook in the era of Glasnost lead by Soviet leader Mikhail Gorbachev. As the USSR promised more openness and transparency on the route to peace, the 12” A side was named the ‘Glasnost Club Mix’ to reflect this.

Convinced they had found the next DEPECHE MODE in the wake of their Pasadena Rose Bowl triumph, Synthicide Records’ parent label Enigma released RED FLAG’s debut album ‘Naïve Art’ in 1989. Although they were best known for releasing records by hair metal rockers POISON, they also had DEVO on their roster as well as providing an American home to more esoteric British artists such as Bill Nelson and WIRE.

Having been involved in the remixes of ‘Russian Radio’, Paul Robb of INFORMATION SOCIETY, who had found success with their Dr McCoy and Mr Spock sampling single ‘What’s on Your Mind (Pure Energy)’, was brought in to produce ‘Naïve Art’ and reshaped ‘Broken Heart’ in the process. Opening proceedings, the punchy hook-laden ‘If I Ever’ was disaffected yet euphoric HI-NRG and made a great third single.

A play on the title of the John Hughes film whose white middle class teen movies were prevalent at the time, ‘Pretty In Pity’ wallowed in melancholy while playing with lighter metallic touches and melodic rings. Coming over like ‘Heart’ by PET SHOP BOYS with added orchestra stabs, ‘Give Me Your Hand’ was swathed in chromatic filmic mystery. Likely to have been inspired by DEPECHE MODE’s flop US single ‘But Not Tonight’, ‘Save Me Tonight’ was very Gore like in its tone and approach.

However, the rest of ‘Naïve Art’ did not quite hit the highs of the first three singles or ‘Give Me Your Hand’. There was the more steadfast mid-paced ‘All Roads Lead To You’ while much speedier, ‘Count To Three’ suffered from an over long hi-hat breakdown at its conclusion. ‘I Don’t Know Why’ was not particularly adventurous lyrically, repeating the title several times over in the chorus.

Perhaps in an attempt to show that RED FLAG were more than just DEPECHE MODE clones, after the very European approach of the first nine songs, the album took an about turn with the soul ballad ‘Rain’; sounding like it wouldn’t have been out of place on a Paul Young album, there were even echoes of the Phyllis Nelson smooch slowie ‘Move Closer’. To close, there was a pleasant if almost incongruous classical piano piece ‘Für Michelle’.

Mixed by Joseph Watt of specialist remix service Razormaid whose edits and mixes were very popular in the alternative clubs of New York and Los Angeles, ‘Naïve Art’ was a promising debut that showcased the potential of RED FLAG’s songcraft. An enjoyable if derivate long player, although their music was melancholic, RED FLAG had less of the pessimistic doom that had hung over DEPECHE MODE’s output since ‘Black Celebration’ and more akin to their fourth album ‘Some Great Reward’.

Although electronic pop with danceable beats and industrial sounding samples was booming in the US at this point, a backlash in the shape of grunge was just round the corner. RED FLAG would go on to open for DEVO, BOOK OF LOVE and REAL LIFE, but with Enigma folding, the Reynolds brothers would move onto an unhappy period with IRS Records for the single ‘Machines’ in 1992. Forming their own an independent record label Plan B Records, RED FLAG issued their laid back second album ‘The Lighthouse’ in 1994, before heading towards a much darker direction by 2000’s ‘The Crypt’ and sharing live bills with emerging European acts like MESH and DE/VISION.

Releasing albums prolifically, after ‘Codebreaker t133’ which set all its songs at 133BPM, Mark Reynolds sadly took his own life in 2003. After a period of grieving, Chris Reynolds returned as RED FLAG in 2007 with ‘Born Again’ which exuded more gothic overtones and included a song called ‘Doom & Gloom’. The final RED FLAG album to date came with ‘Serenity’ in 2012.

In 2020, ‘Naïve Art’ was reissued by Pylon Records as an expanded edition. While not groundbreaking, as one of the first releases from a DEPECHE MODE influenced act (of which today there are far too many!), ‘Naïve Art’ retains a melodic and rhythmic charm that captures a much more innocent time in music that is worthy of revisiting.

The Reynolds brothers handily sounded the way they looked during this period and had credible American producers to realise their initial vision. ‘Naïve Art’ was never officially released in the UK and for that reason alone, RED FLAG remain relatively unknown in their country of birth, even among electronic pop enthusiasts.

So, if you have never heard of RED FLAG before and are curious, you know what to do…


‘Naïve Art’ is available via Pylon Records as a 30th Anniversary double vinyl LP edition from https://pylonrecords.bandcamp.com/album/naive-art-2lp-30th-anniversary

An expanded 2CD featuring radio edits and Razormaid remixes is available at
https://pylonrecords.bandcamp.com/album/naive-art-2cd-30th-anniversary

https://www.facebook.com/profile.php?id=100063543828076


Text by Chi Ming Lai
Photos by Alex Remlin
22 November 2023

CLASSIX NOUVEAUX Battle Cry

Emerging from the ashes of X-RAY SPEX who disbanded in 1979, Jak Airport (guitar) and BP Hurding (drums + sax) founded CLASSIX NOUVEAUX with Mik Sweeney (bass + synth) and Sal Solo (vocals, guitar + synth)

The Hertfordshire-based Sal Solo, who had attended St Michael’s Catholic School in Stevenage, possessed a striking persona that echoed Nosferatu while his voice had an impressive range that could be ominously deep while also hitting a piercing falsetto at its top end.

Sharing bills with acts like THE CURE, FAD GADGET, THEATRE OF HATE, OUR DAUGHTER’S WEDDING and SHOCK gave CLASSIX NOUVEAUX their post-punk futurist credentials. But with the burgeoning New Romantic movement, the band found themselves associated with the likes of SPANDAU BALLET and DURAN DURAN; although more guitar-driven, electronics were part of their modernist dressing and Sal Solo would often brandish an EDP Wasp on stage while BP Hurding would later use Simmons drums.

By the time CLASSIX NOUVEAUX were signed to the EMI-affiliated Liberty Records to release their first album ‘Night People’ in 1981, Jak Airport had left to be replaced Gary Steadman. From it was their breakthrough single ‘Guilty’ which had a video directed by Russell Mulcahy; featuring colourful extras from The Blitz Club who were even more flamboyant than Sal Solo, the video was rotated on MTV in America. As a result, singer Kim Carnes became a fan and when she released her New Romantic friendly cover of Jackie De Shannon’s cult country tune ‘Bette Davis Eyes’, its video was heavily based on ‘Guilty’, using the same set and director.

CLASSIX NOUVEAUX finally got the hit they deserved when ‘Is It A Dream?’ reached No11 in the UK singles charts in 1982. From their second album ‘La Verité’ and more optimistic than their earlier work, its brassy Stevie Wonder-inspired synth riff and Mik Sweeney’s funky fretless bass kept things upbeat and immediate while Gary Steadman’s Roland guitar synths and a vocoder triggered from an organ rhythm unit also featured prominently.

The success led to Liberty Records increasing the budget for the third CLASSIX NOUVEAUX album ‘Secret’ to enable Alex Sadkin, who had worked with THOMPSON TWINS and DURAN DURAN, to produce. However, record company politics intervened and the band were dropped. Although the album was released in 1983 without much fanfare, ‘Secret’ captured a more exotic sound palette with the sumptuous ballad ‘Never Never Comes’ becoming a cult favourite in Eastern Europe.

With all the uncertainty and upheaval, Sal Solo re-embraced his Roman Catholic faith and following a pilgrimage to San Damiano in Italy where the Miracle of St Francis of Assisi took place, released ‘San Damiano (Heart and Soul)’ in 1984; it eventually hit the high of No15 in the UK and No1 in Poland. CLASSIX NOUVEAUX were no more, until now…

Thanks to the wonders of the world wide web and remote recording, the classic CLASSIX NOUVEAUX line-up of Sal Solo, BP Hurding, Mik Sweeney and Gary Steadman reunited in 2021. Initially testing the water with a new version of ‘Inside Outside’ from ‘Night People’, the quartet have recorded 7 new songs for ‘Battle Cry’, their first brand new studio album in 40 years.

Sal Solo said: “The reason this project came about after 40 years is really because of the fans. About 10 years ago, some of the Classix fans were making Facebook pages but it didn’t really come to our attention until a couple of years back. We realised these people are really dedicated and decided to give them a kind of birthday present. I said to the guys ‘Why don’t we do a recording together and surprise the fans?’ Everybody said yes… and so we did a quick remake of one of our old songs ‘Inside Outside’ and to our surprise everyone’s immediately talking about new material!”

Appropriately, that first fruit of labour ‘Fix Your Eyes Up’ opens the album and it is appealing as a mature but classic CLASSIX NOUVEAUX song. ‘Battle Cry’ though is 6/8 prog pop that could be IT BITES with evangelical messages that reflect Sal Solo’s continuing role in the church. With Gregorian overtones, the soft ‘Wretched’ continues the theme and explores spiritual concerns in the face of sin.

‘Final Symphony’ takes its lead from LED ZEPPELIN and latter day Gary Numan in a goth rocker laced with haunting synthetic tones. But despite lyrically referencing the hit song titles of their synth-led contemporaries, ‘No Do Overs’ is a surprise ballad that begins acoustic; a reflection of the days time erased, overtones of ‘A Whiter Shade Of Pale’ or JS Bach’s ‘Air On A G string’ are thrown in, depending on your way of thinking.

Lyrically inspired by the end of The Book of Revelations, ‘Revelation Song’ is a mid-paced synth-metal number with fantasia imagery and folk brass drama added to the pot while a rework of ‘Never Never Comes’ offers lento funk. Solo is known have wished that he recorded ‘Is It A Dream?’ at a much slower tempo and this has no doubt had a bearing on the 21st Century version of ‘Inside Outside’ which kickstarted the reunion. Turned into something more atmospheric with VST chorals, its ironically sounds more like the original ‘Never Never Comes’.

The lengthy album closer ‘Colour Me The Sky’ continues the steadfast mood of the two reworked Classix favourites but in true prog style, it takes an about turn into explosive heavy metal and traditional six string sections, complete with assistance from virtual choirs and orchestration.

CLASSIX NOUVEAUX fans the world over will be very happy that they have been gifted a new record by a band who undoubtedly should have had at least the same success and cultural recognition as the Grammy Award winning A FLOCK OF SEAGULLS. Vocally, the theatrics are dialled down and musically, this is largely not the Classix of the past. As Sal Solo says in the ‘Battle Cry’ CD booklet notes: “If the music can speak to the fans as they are today, then we’ll be happy. It can still be a soundtrack for their lives, but not their lives in adolescence, it’s their lives as mature adults.”

Those who may have perhaps passed over their canon back in the day or are new to CLASSIX NOUVEAUX can listen back online to some excellent music thanks to the wider profile that will be accorded thanks to the release of ‘Battle Cry’. The internet is the reason why this album exists and why the music of CLASSIX NOUVEAUX will still be talked about today.


‘Battle Cry’ is released by Cherry Red Records as a clear vinyl LP and CD, information at https://www.cherryred.co.uk/artist/classix-nouveaux/

Digital download available from https://classixnouveaux.bandcamp.com/album/battle-cry

https://www.facebook.com/groups/16638989354


Text by Chi Ming Lai
16 November 2023

JAAKKO EINO KALEVI Chaos Magic

4 years since his ‘Dissolution’ mini-album and 5 years since the last album proper ‘Out Of Touch’, Jaakko Eino Kalevi releases a brand new double opus ‘Chaos Magic’.

“I was not planning to make a double album but somehow that is what it grew up to be” said the Finnish psych-pop voyager to ELECTRICITYCLUB.CO.UK, “I was just working on my song ideas and in the end didn´t want to drop anything out. I tried but it didn´t make sense to me.”

Inspired by his new home of Athens and the Greek word “kháos”, Jaakko Eino Kalevi has sought to find beauty in the chaotic nature of the everyday on ‘Chaos Magic’. Although written and recorded primarily in Greece, it was founded in collaboration at other locations including Germany, Estonia and Switzerland. The end result is a wide range of music covering sunny art pop, synthy new wave, cosmic jazz, electronic disco, space rock and darker baroque song experiments.

Starting it all off is the ‘Chaos Magic’ title track, a flauty jazzy instrumental with vibey reminiscences of AIR. Cut from a similar cloth, ‘Drifting Away’ does as the title suggests in a suitably sunny and breezy seaside jaunt about relaxing with wine and sax from fellow Finn Jimi Tenor.

The smooth but energetic synthpop of ‘Dino’s Deo’ recalls the Belgian electronic trio TELEX with great bubbling sequencer patterns while much more sombre in tone, ‘Hell & Heaven’ drops in phrases en Français from Franco-American anti-rock sibling duo FAUX REAL; “It was musically so dramatic so I had to go dramatically biblical in the lyrics” said Kalevi of this union. Swathed in haunting legacy of past relationships, Kalevi comes over spooked as a hypnotic bass Klangfarben and some classic European synth melodies dominate the marvellous ‘Night Walk’.

The classy mutant disco of ‘Palace In My Head’ displays a quite different demeanour from the bright start of the album with a darker claustrophobic atmosphere shaped by a demonic electronic bassline. However, French actress and singer Alma Jodorowsky who starred in the electronic music film ‘Le Choc Du Futur’ adds exquisite response vocals in the chorus recalling the central song from the film ‘Future Shock’ to offset proceedings perfectly.

An amusing comedown tune, the NEW ORDER flavoured ‘I Forget’ touches all the spectrums in its delivery with catchy synth riffs, an uplifting keyboard solo and wispy female vocals from Sigurlaug Gísladóttir who has released albums in her own right as Mr Silla. Meanwhile, ‘The Chamber Of Love’ pays homage superbly to ‘Everything She Wants’ by WHAM! in its arrangement. Less immediate but no less accomplished, ‘Cyborg’ takes the template into artier territory but still remains pop.

‘L’Horizon’ offers a full electronic funk workout with a prominent slap bass riff and Alma Jodorowsky adding more of her enticing Gallic allure. But even better is the brilliant Far Eastern flavoured ‘Galactic Romance’ sung by Yu-Ching Huang in Taiwanese Mandarin to provide an intriguing and hypnotic highlight as a romantic Moroder-esque space song.

‘Trouble Man’ stomps with more Far Eastern resonances with the rhythmic palette recalling the obscure CHINA CRISIS B-side ‘Cucumber Garden’ and in an outlier to the album’s other tracks, even features a rousing guitar solo.

Closing with the 13 minute synth and sax rock epic ‘Let’s See How Things Go’, Jimi Tenor returns along with another Finn Mikko Viljakainen aka Vilunki 3000; edited from an even longer version, with oddball girly choir chants to boot, the length creates suspension although it may be too much for casual listeners.

Cool yet catchy, this is a wondrous album and while it is a little bit long, ‘Chaos Magic’ contains some of the best music released in 2023. Eclectic and escapist, Jaakko Eino Kalevi might have even released the album of the year.


‘Chaos Magic’ is released by Weird World / Domino Recording Co on 17 November 2023 as a CD, double LP + download

Jaakko Eino Kalevi 2023 live dates include:

Berlin Arkaoda (16 November), Köln Eigelstein Torburg (17 November), Amsterdam Cinetol (18 November), Brussels Rotonde (20 November)*, Paris Point Ephémére (21 November)*, London Two Palms (22 November)*, Stockholm Stadsgårdsterminalen (13 December), Oslo Parkteatret (14 December), Copenhagen Ideal Bar (15 December), Helsinki Korjaamo (16 December)

*Special guests MINIMAL SCHLAGER

https://www.jaakkoeinokalevi.com/

https://www.facebook.com/JaakkoEinoKalevi

https://twitter.com/JaakkoEino

https://www.instagram.com/jaakkoeinokalevi/

https://jaakkoeinokalevi.bandcamp.com/


Text by Chi Ming Lai
14 November 2023

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