Author: electricityclub (Page 68 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 Short Conversation with BUNNY X

New York’s BUNNY X mined high school nostalgia for their debut long player ‘Young & In Love’ released in 2021.

Partying like it was 1986, it was a straightforward pop statement that unashamedly recalled John Hughes movies and MTV. But the duo comprising of Abigail Gordon and Mary Hanley are now sophomores and their thoughts turn to ‘Love Minus 80’.

Joining the Sci-Fi club, they have become more dystopian in their outlook as novels, films, television shows and interstellar romances take over as inspiration. Abigail Gordon chatted to ELECTRICITYCLUB.CO.UK on behalf of BUNNY X on what many artists call that difficult second album and how despite the darkness, love is still the key…

What prompted BUNNY X to conceive a Sci-Fi themed album in ‘Love Minus 80’ after the high school nostalgia of ‘Young & In Love’?

At the very early stages of the writing process for this album, we realized that we wanted to do something in stark contrast to ‘Young & In Love’ and all that the record embodied such as themes of high school nostalgia and first crushes.

We knew pretty much at the outset that we wanted our next release to be much darker and more introspective than the debut record, but we honestly didn’t realize until we had a few songs done (or mostly done) that we wanted to take things in a Sci-Fi themed direction. In fact, the first song we wrote for the album was ‘Good Love Gone Bad’ which was inspired by a Don Dellpiero song called ‘Good Deal Gone Bad’. I think I may have actually sent the early demo over to David (Don Dellpiero) but we ended up creating completely new music for it as it ended up taking on a life of its own.

‘Something To Rely On’ was written shortly after that one and it became clear we were absolutely going in a darker direction but it wasn’t until the title track ‘Love Minus 80’ started to come together that we realized this was going to mostly end up being a Sci-Fi / Futuristic themed album.

Had the real life events of the world in the past 18 months had a bearing on your mindset for ‘Love Minus 80’?

Yes and no. In honesty, ‘Young & in Love’ was more inspired by those events and was truly healing to work on during an unbelievably stressful time for all of us. Some of those tracks (like ‘Perfect Paradise’ and ‘Can’t Wait’) were 100% inspired by feelings and emotions that were present during the height of the pandemic.

I had Mary in my mind for example when I wrote the lyrics for ‘Perfect Paradise’ as we weren’t able to spend as much time with each other in those days and it was a good reminder that the simple things in life (like staying up late talking with a dear friend over a glass of wine) are the most important and what bring about true joy and peace – or paradise as it were.

As for ‘Love Minus 80’, life was beginning to fully resume when the album started to take shape and things were becoming more and more hectic after a long period of quietude. I’m sure many of us had a similar experience and went through that feeling of being pulled in a million directions all of a sudden.

I’m not sure if this ended up shaping the overall mood of the record or not, but I was definitely in a stressful place when some of the earlier songs were crafted and it’s quite possible that those emotions creeped their way onto the album.

A case in point in relation to current events could be ‘The Forever War’ and its subject matter tracing a love story between two soldiers attempting to find each other again after being separated in battle?

For better or worse, this seems to be a longstanding and ongoing theme throughout many of our releases.

The searching-for-your-long-lost-loved-one-somewhere-in-deep-space was certainly the plot in ‘Unknown Places’ (2018) and appears again on the album in what is largely a sequel track to ‘Unknown Places’, ‘The Darkest Place’. Apparently we are obsessed with vague and mysterious places haha. But yes, this same theme is ever present in ‘The Forever War’, in ‘Breaking Away (Song for Chevette & Rydell)’ and to a slightly lesser extent in the title track ‘Love Minus 80’ as well. We love ourselves a romance saga set in deep space what can we say? Ha!

While the entire record is pretty personal, ‘The Forever War’ is especially so as my dad lent me the book which ended up inspiring the song in its entirety. It’s a fascinating read by the way, the author is Joe Haldeman and I highly recommend it to anyone that’s into military science fiction as it’s quite thought provoking and is actually an anti-war book according to the author.

In any event, when I told my dad about the song idea, he got pretty excited about it and then proceeded to rewrite the lyrics which is reason #98,674 why I love him and why anyone reading this would too if they met him. He also wrote some of the lyrics on ‘Unknown Places’ so if anyone needs help with song lyrics, particularly if the theme is Sci-Fi, my dad is your guy.

‘The Darkest Place’ could be considered as a metaphor for more personal matters despite the Sci-Fi inspiration?

Absolutely. It’s essentially a song about losing someone and wanting to get them back but also about feelings of regret and even shame for having lost them (or let them go) in the first place. These are widely universal emotions and we’re always trying to tap into that as I think it’s so important to be able to relate to and see yourself in the music you’re listening to. We are all flawed and we all make bad choices sometimes. Sometimes those choices can have a lifelong impact and sometimes we never fully recover and that’s okay. It’s part of life and it’s something we all experience at one time or another.

Having worked with producer GOSTEFFECTS on ‘Young & In Love’, how was the creative dynamic this time round with that experience behind you, as ‘Love Minus 80’ does come across as being more assured?

All I have to say is: I still thank the sun, moon, stars, planets and even the exoplanets that I happened upon GOSTEFFECTS’ profile one day in a random fit of frustration I was having with being unable to get my mixes to the next level. After working with GOSTEFFECTS on the first album, I knew there was no going back and, as you alluded to, this last go round was even easier than the first since he and I have become true collaborators at this point. He’s become a bit of a mind reader in that he usually knows what I’m hoping to accomplish without me having to go into any lengthy description and just kind of understands what the brief is from the jump. I’m eternally grateful to GOSTEFFECTS for helping us bring these projects to life.

You have worked with SELLOREKT / LA DREAMS again and adapted two of his previously released instrumentals on ‘Breaking Away (Song for Chevette & Rydell)’ and ‘Chiba City Blues’?

Kevin of SLA Dreams is an absolute diamond of a person and has there ever been a more prolific artist in the synthwave genre? I honestly don’t think so as he churns out the hits like an absolute wizard again and again. It’s been awesome working with Kevin off and on over the past few years and we’re extremely grateful that he keeps having us back and even more so that he trusts us with his incredible compositions and allows us to add onto them. Aside from our collaborations with him, I’m looking forward to hearing what he’s been cooking up with Roxi Drive and Mayah Camara. The boy doesn’t sleep!

‘Something To Rely On’ is the outlier on ‘Love Minus 80’ in that it’s not Sci-Fi related, so how did it creep onto the album?

This was the second track we worked on for the album and was created before we settled on our Sci-Fi theme.

Once the rest of the tracks started to take shape and I realized it didn’t really fit in with the overarching aesthetic, I was concerned that this one wouldn’t work on the record. However, we felt that the moodiness of and driving BPM on the track fits with the overall vibe we were going for and I’m glad we included it. The song has a bit of an end of the world feeling to me, perhaps because the characters in the song have become so toxic and destructive to one another such that there’s nothing much left for them to give. Fun!

The theme of unrequited love is explored again on ‘Daydreaming’ and you used ‘Dancing On My Own’ by Robyn as the rhythmic template?

Yep. We can’t seem to help ourselves when it comes to unrequited love and themes of lost love and longing. I think it’s because it’s just such a universal feeling that we’ve all had and I think even when you’re happy, and in a good partnership, and / or a good place in your life, we can’t help but think about the roads not taken and the paths not explored. I think it’s just part of the human condition to wonder or daydream as it were about other places, lives and people and how you may (or may not) have been happy and fulfilled living those other lives. I think a lot of sci-fi readers are also kind of obsessed with parallel universes and alternate timelines and ‘Daydreaming’ is somewhat inspired by that.

I definitely wanted us to do a more upbeat, danceable track on this album since most of the songs are pretty midtempo and so what better template to use than Robyn’s iconic ‘Dancing on My Own’ and ‘Call Your Girlfriend’ era bops to accomplish that?!

The ‘Love Minus 80’ title song presents a catchy duet with THOUGHT BEINGS and uses more futuristic sounds? 

How gorgeous are Orion’s vocals on this track though? Not gonna lie, when Mary and I first heard the mix he sent, we blushed like some dang schoolgirls! Phew! I had a feeling the duet would lend the song some serious depth and power but I had no idea just how great Mary and Orion’s voices would blend together. I must have first reached out to Orion about the duet idea in mid-2022 kind of around the time we were working on our recent freestyle collabs (ie ‘Cross The Line’ and ‘Promised’) and fortunately for us, he agreed to the project right away. It took me a second to get him the final demo of memory serves and then he sent us his mix not long after that and really breathed some new life into the song.

In terms of the futuristic sounds on the track, I have to give full credit to GOSTEFFECTS for that – that was his pure genius mind at work there. We decided to add in a little sample from my favorite sci-fi movie ‘Logan’s Run’ so there’s also a little Easter egg in there for any fans of the film (I see you Marc!).

‘Good Love Gone Bad’ is perhaps icier than we are used to with regards BUNNY X?

Totally. While ‘Young & in Love’ was earnest and sweet nostalgia, this album – particularly songs like ‘Good Love Gone Bad’ and ‘Something To Rely On’ – is teeming with some much darker and heavier elements like rage and resentment and fear and loneliness. I’m not entirely sure what inspired all this but I guess looking around at the state of things here at home and elsewhere, it’s perhaps not so surprising that some of these songs came out how they did.

‘Good Love Gone Bad’ is also a frustrating Catch 22 in that even when the relationship (or “war” in this case) is over, nothing really changes as so much can remain unresolved long after an ending. It’s possible that I’m completely overanalyzing it all now with the benefit / lens of time, but so much of what we’re seeing on our screens are the same problems over and over again with no real evidence that things will improve anytime soon. I think we experience this hopelessness in our own personal relationships that have failed but we also see it play out in the news every day.

Which songs from the album are your own favourites?

They are all really dear to me and some I’ve spent more time with than others but I personally love them all for different reasons as they bring up a range of emotions.

I find myself listening to ‘Breaking Away’ fairly often because I love the dreamy vibe of it. Similarly, ‘Love Is An Empire’ also has that gauzy, hazy quality that I enjoy so I’ve been listening to that one a bunch as well.

‘Love Is An Empire’ was actually a last minute addition to the record but now that it’s an integral part of it, I can’t imagine the track not being there. It was pure joy to work with Don Dellpiero on that and have him give us his blessing to add onto his work.

What’s next for BUNNY X, there were hints of a return to Italo Disco?

We do have a few more collabs in the works that we started on some time ago so we want to see those through now that this project has wrapped.

I’m also thinking it may be high time we put out a collection of all the Italo songs we’ve released over the years so everything is in one place. I also think it would be great to get some of the older tracks remastered and perhaps include some previously unreleased Italo tracks cuz we sure do have ’em!


ELECTRICITYCLUB.CO.UK gives its warmest thanks to BUNNY X

‘Love Minus 80’ is released by Aztec Records on 26th May 2023, available as a CD, vinyl LP, cassette and download from https://bunnyx.bandcamp.com/

https://www.facebook.com/BunnyXmusic

https://twitter.com/bunnyxmusic

https://www.instagram.com/bunny_xmusic/

https://open.spotify.com/artist/1Jm30qu7cd4QfXkJSoYL6y


Text and Interview by Chi Ming Lai
6th May 2023

KNIGHT$ vs SNS SENSATION INTERVIEW

Despite Spring seemingly not arriving in the UK, plans for the Summer and lashings of ice cream are being made by some…

KNIGHT$ returns to London for a special birthday gig after a three show Mexican stand-off opening for Los Angeles darkwave duo DRAB MAJESTY; the glitterball Britalo vehicle of James Knights, his previous support sojourns have included A FLOCK OF SEAGULLS and HEAVEN 17. Featuring ‘What’s Your Poison?’, ‘Alligator’ and ‘Gelato’, his debut full-length album ‘Dollars & Cents’ was one of those fine immediate electronic pop records, ideal for these turbulent and uncertain times.

With a ‘Boom Bang Boom!’, James Knights will be performing songs from his SCARLET SOHO and BOYTRONIC portfolio as well as new KNIGHT$ material.

There will also be a DJ set by Berlin-based Dame Bonnet while opening the evening will be a live set from SNS SENSATION; the solo moniker of Argentine-born Sebastian Muravchik, he is perhaps best known as the charismatic front man of HEARTBREAK who shared stages with THE PRESETS, LA ROUX, LITTLE BOOTS and on their return, ITALOCONNECTION and BLANCMANGE. A support slot with FIAT LUX in 2022 fired up Muravchik to perform live more as SNS SENSATION.

In a joint interview James Knights and Sebastian Muravchik chatted to ELECTRICITYCLUB.CO.UK about their first meeting, Italo Disco, the state of the modern music industry and much more.

The last time the two of you shared a stage together was in different guises in 2018 at The Moth Club for Hypnotic Tango in London when ITALOCONNECTION came over, what are your memories of that event?

James: I bumped into Sebastian at the train station before the soundcheck and we had a really nice chat on the way to the venue. That was the first time we’d met in person! I performed my song ‘Alligator’ with ITALOCONNECTION, then I was able to enjoy the rest of the night as a spectator, it was great.

Sebastian: An unforgettable night, it was fantastic. There was a unique energy in the room – the HEARTBREAK set was as if there had been no break at all! James and I met in person for the first time that day and had really good chats. Everyone was very impressed by James’ surprise performance with Fred and Paolo. I enjoy what James does on stage very much indeed and look forward to seeing a whole set at The Black Heart.

How did you become aware of each other?

James: Sebastian’s previous project HEARTBREAK was inspiring. To see people on stage pushing it to the max and challenging the audience is great. I always had the impression they didn’t give a damn what was in vogue at the time, and they would perform alongside almost any other artist, in any genre. Totally fearless and unapologetic, the way it should be!

Sebastian: It was via messages on social media. I think James was aware of some of the work I had done before I took a break from music, and we got talking. I was impressed with how involved he was with the Italo Disco world and how much influence he had taken from it in his own productions. He’s also a very nice fellow indeed, proof that you can be a great performer with no need for big egos.

So you both share this love of Italo Disco which is often unfairly maligned in the UK. Do you think there has been a renaissance as a result of documentaries like ‘Italo Disco Legacy’, ‘Dons Of Disco’ and ARTE TV’s Italo special?

Sebastian: I think the Italo scene is small but quite established now, certainly a lot more than it was when Ali Renault and I started HEARTBREAK, there was next to nothing in the UK back then. At the same time, some of us were moving in somewhat different directions, like DJ Casionova embracing Kosmische and ambient and other things, Ali’s emphasis on industrial electro, Road to Rimini generally doing less, me looking into somewhat darker territories etc.

Italo changed our lives and will always be loved by us, and still be an influence, but this artistic journey is unpredictable and you gotta go where you gotta go. And at any rate, we’ll always have Flemming Dalum 🙂

Personally, the pandemic had a huge impact on my music, and enhanced the darkness brought by Brexit and the rise of the far right, as well as my own existentialist preoccupation with death and oblivion, and the philosophical concern with living authentically through measures of poetry and abstraction.

James: I think the phenomenon is mostly down to the music itself being so good and a little bit innocent. It seems like it’s being appreciated and shared between people more and more, and for once the algorithm is working well, and serving people more hidden gems they haven’t heard yet.

What Italo Disco tracks (not necessarily your favourites) would you recommend as entry points for those who are interested because they like your music but not wholly familiar with the genre?

James: Den Harrow’s ‘Mad Desire’ in its 1984 12” version with vocals from Silver Pozzoli and not the album version (which was re-recorded by Tim Hooker), ‘Marinero’ by Lucia and also from 1985, ‘Late Night Satellite’ by BOYTRONIC…

Sebastian: Amnésie ‘Turas’, Blackway ‘New Life’, Helen ‘Witch’ and ‘Le Camion’ by DEUX (if I can get away with calling this Italo…)

What are your favourite tracks by the other?

James: I have a soft spot for SNS SENSATION’s ‘Discoboom’ because Sebastian was kind enough to submit the track for our Specchio Uomo ‘Trans-Global Excess’ compilation album. It’s massive and I love how raw it is! Then ‘Robot’s Got the Feeling’ from HEARTBREAK, because it’s amazingly dynamic with these amazing stop start rhythms.

Sebastian: ‘Miami Knights’, I love the bassline and vibe. ‘Alligator’, both the original and ITALOCONNECTION’s remix. There’s cool aggressive undertones to the singing and the energy of the productions. It’s the tune James sang with Fred and Paolo at the Moth Club, so it also left an impression that way.

What can audiences expect from your upcoming sets at The Black Heart?

Sebastian: I think having the talent that is Dame Bonnet DJ-ing on the night is a massive plus; he did a stunning remix of my ‘Your Door’ and James’ ‘Julia’, and his own stuff is excellent – as well as his bass work for CURSES. I look forward to playing some new tunes like ‘Diamond Dream’ and others, and I look forward to seeing James’s set and meeting music lovers in the audience. The fans of these kinds of music tend to be very positive people, so it should be a really fun night.

James: I’m sure there will be something, but not sure what! I was playing around with an Elton John track the other day…

Any new material or album / EP releases on the horizon?

James: Yes! I’m just wrapping up a new EP as we speak. The vinyl should be ready later this year, and I’ll be playing the lead track at the show on June 2nd!

Sebastian: I will continue to release singles for now, but I am beginning to consider an EP soon. A cassette release of some sort is definitely on the horizon.

How are you finding adapting to the ever changing music environment and the emphasis on metrics? What are your upcoming plans?

Sebastian: I love the opportunities that independent DIY artists have to release and promote their work, it’s so exciting! And there’s so much stuff released all the time that it inspires you to produce and release only your very best.

I’ve also found more of a sense of camaraderie and community via social media than ever before. At the same time, there seems to be less attention span for music that transcends or does not fall strictly within genre boundaries. ZANIAS recently tweeted about how she felt this affects her career progression. This playlist culture is discouraging for artists that remain committed to the process with no compromise; I guess the key is to keep doing what you do and not giving too much of a f*ck.

James: I’m always trying to get my head down and write as many songs as I can, whilst playing as many shows as I can. Everything else is noise in the end. I can only measure success on how I’m feeling, so if the writing and performing is going well, I’m happy.

Sebastian: My plan is to continue to release music I can be proud of, and keep developing as an artist – never stop learning and trying new things out.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights and Sebastian Muravchik

KNIGHT$ + SNS SENSATION with DJ Dame Bonnet play The Black Heart, 2-3 Greenland Place,  London NW1 0AP on Friday 2nd June 2023, nearest underground Camden Town – tickets in advance from https://www.seetickets.com/event/knight-special-guests/the-black-heart/2632539

http://knights101.com/

https://www.facebook.com/Knights101/

https://twitter.com/JPSKNIGHTS

https://www.instagram.com/knights101/

https://knights101.bandcamp.com/

https://open.spotify.com/artist/07xFYhAkgObJY8VBkIy1O4

https://www.facebook.com/wearesns/

https://twitter.com/sns_wave

https://www.instagram.com/sns_discopop_noir/

https://wearesns.bandcamp.com/

https://open.spotify.com/artist/77pgZLgAxmVYtNaJm96m7P


Text and Interview by Chi Ming Lai
4th May 2023

ZANIAS Chrysalis

Following one of the most traumatic periods of her life which also led to one of her most artistically prolific, Alison Lewis is back as her solo alter-ego Zoe Zanias to present ‘Chrysalis’.

As the title of the album suggests, ‘Chrysalis’ is a rebirth. Her emotional catharsis to music is ever present, but there is also an emergent avant-pop sensibility providing hope, despite the dark times that the world finds itself with a new Cold War and environmental catastrophe looming.

Alison Lewis made her name as a member of the acclaimed minimal synth duo LINEA ASPERA with Ryan Ambridge. While they delivered an excellent comeback album ‘LPII’ in 2020, her focus has since been as ZANIAS with the most recent album ‘Unearthed’ emerging in 2021.

‘Chrysalis’ was seeded by a number of unfortunate events in Lewis’ life but using her own music as therapy, she has weaved a cocoon of hope from the despair. Song topics include the human condition, burnout, disillusionment, bereavement and the toxicity of capitalism. Written and recorded between her adopted home of Berlin and the rainforest of Queensland in Australia, despite the various foods for thought, this is the possibly the most accessible ZANIAS album yet.

The excellent ‘Simulation’ opens and is a bittersweet ode to Berlin where “This city is a fable, nowhere else to go. This city has enabled us all and it’s breaking my soul”. Despite the introspection as expressed by a hauntingly contralto vocal, the backdrop glistens. Capturing “a broken reality” where “everything’s shattering”, a joyful escapist euphoria counters those feelings.

The swaying avant pop of ‘Metrics’ is beat-centric, ghostly yet danceable with a catchy buzz. Meanwhile if Madonna had more gothic tendencies around her ‘Bedroom Stories’ period, the dark and ethereal ‘Burial’ might have been the end result. Its lush synth strings and voiced-derived layers points towards the “Global Pop” of PRAISE but is much deeper.

With glorious arpeggios and lush synth strings, ‘Lovelife’ is wonderfully trance, bolstered with bass guitar by live bandmate Laura Bailey aka NEU-ROMANCER while an array of pitch-shifted voice samples act as an abstract lead vocal before the actual one kicks in. With ominous tones reminiscent of THE CURE’s ‘A Forest’, ‘Closing’ uses a number of interesting vocal treatments which provide intensity over the snappy rhythmics.

In a departure, ‘Teatree’ features virtual strums and could be considered an eerie ZANIAS folk ballad while also taking a more sedate approach, ‘Departure’ projects a more atmospheric tone with rung textures and a white noise backbone. To close, the ‘Chrysalis’ title song goes for a full acoustic intro before beats and electronics make their presence felt as our heroine emerges from her sheltered state into her next stage of growth.

Evocative and captivating, ‘Chrysalis’ is the best Zoe Zanias long player to date. Alison Lewis remains independent and true to her art while providing a new found immersive immediacy that will help her music reach a wider audience. That balance is no easy feat to achieve but with some new approaches, she has managed it.


‘Chrysalis’ is released by Fleisch as a limited edition black/blue or blue/green vinyl LP, CD + digital release, available direct from https://zanias.bandcamp.com/

http://www.zanias-music.com/

https://www.facebook.com/zoe.zanias/

https://twitter.com/Zanias__

https://www.instagram.com/zoe_zanias/

https://www.patreon.com/zanias


Text by Chi Ming Lai
Photos by Hidrico Rubens
1st May 2023

CAUSEWAY Interview

Photo by Khoa Nguyen

With the likes of GLÜME, MOTHERMARY, JOON, KID MOXIE & NINA attracting attention for their longer form releases on Italians Do It Better, one act also deserving equal recognition are CAUSEWAY.

The Idaho-based dreamwave duo of Allison Rae and Marshall Watson, CAUSEWAY first appeared on the Italians Do It Better compilation ‘After Dark 3’ in 2020 with the song that would become the title song of their debut album ‘We Were Never Lost’.

With a few more singles and a cover of ‘Crazy For You’ for their label’s Madonna tribute album under their belt, their floaty melodramatic aura revealed itself to be the perfect soundtrack for unrequited and failed romances.

Despite appearing to be enigmatic and veiled in mystery, the duo are actually very friendly and down-to-earth when engaged in conversation about their music. ELECTRICITYCLUB.CO.UK spoke to Allison Rae and Marshall Watson about the making of CAUSEWAY’s first long playing record and much more…

It appeared as though CAUSEWAY came out of nowhere with ‘We Were Never Lost’ featuring on the ‘After Dark 3’ compilation in the Fall of 2020?

Marshall: We kinda did. Allie and I had worked together on a couple of small projects way back in 2012 or so and had lost touch. Fast forward to late 2019 and I was working on an early version of ‘We Were Never Lost’ and Allie messaged me asking what I was up to musically. We started talking about what lyrics might look like and if she had interest etc. It took a few months but we finished ‘We Were Never Lost’ and on a whim I sent it to the Italians Do It Better via Soundcloud.

Megan Louise of IDIB got back to us within the day and said she loved it and would like to put it out on an upcoming compilation. She was a bit cryptic and I didn’t realize she was talking about ‘After Dark 3’. We didn’t know it at the time, but they’d made room for us. Johnny Jewel was nearly finished mixing the whole comp and they were just waiting on finals from a couple other artists. They snuck us in at the end. We didn’t even have a name for the project yet, it all happened so fast. Soon after that, ‘Riverdale’ licensed it for a pivotal shot in one of their episodes and things just kinda took off.

Allison: In 2016 I moved back to Boise. I actually never told him. There was just so much going on, it slipped my mind. So when I reached out to him, it was kinda funny. He told me that he sent a couple emails to my old work email address and didn’t get a reply. When I reached out to him, he told me that he thought that I was ignoring him. Then we got to work!

Photo by Khoa Nguyen

Which artists, films or TV shows influenced the aural aesthetic of CAUSEWAY? Had you always intended to be synth-based?

Marshall: I can definitely hear THE CURE, NEW ORDER and early new wave stylings, but I don’t intentionally set out to do that. I definitely wanted CAUSEWAY to be synth forward and more song structured than my other output. As a solo artist, I make lots of different kinds of music, most of it ambient / downtempo / chill or house / techno and mostly instrumental. For CAUSEWAY, I set out with the intention to create more lyrical tracks and get back into a vibe that I’d been into years ago. As for films, John Hughes movies, Kubrick’s films and lots of Sci-Fi.

How would you describe your creative dynamic in CAUSEWAY, do you sit in a room together or is it more remote by necessity?

Marshall: We started out during the pandemic and worked entirely remotely. In 2021 my wife and I moved up here to Boise and for a brief time Allie and I worked together in a room, but we kinda realized that we both needed space to process and work through stuff, so eventually we went back to working remote when it came to the creation process. That said, we have a pretty strict rehearsal schedule that we adhere to, and twice a week meet up for band practice for the live set. It’s been really neat to go from a learning curve to really enjoying playing together. I still send Allie demo tracks and she will send back lyrical ideas.

Allison: Typically, Marshall will send me a rough instrumental track. I’ll listen and add in lyrics and sing them to a scratch melody line. We use Drive to share our ideas and files. Once I have a rough demo, I send it back to Marshall. Sometimes he’ll make notes to the lyrics and usually change up the melody line. We go back and forth until the idea is finalized. This process works well for us. It’s been a blast working with Marshall.

How did the Italians Do It Better become interested in releasing an album and what did Johnny Jewel bring to the final mix?

Marshall: I guess they just heard something they liked in ‘We Were Never Lost’. As for Johnny Jewel, I love working with him and he cracks me up. He actually made a point to stay hands off on the mixing most of the album. He mixed ‘WWNL’, ‘Hide & Seek’ and ‘Your Silent Face’ as singles, but after that when we were starting to really go deep into the rest of the album, he said that we’d created a really solid sonic palette and he didn’t want to step on that. He does, however, have mix notes on everything, lol. EVERYTHING. Most of that is level, eq and whatnot but occasionally he’ll have an idea we explore that is a little deeper.

For example, during the mix of our latest single ‘Wear The Night Out’, he had this amazing chord progression he heard that didn’t exist, and he played it for me super-fast— I wouldn’t say it ‘changed’ the song, but it definitely gave it something it was missing—and it made it better. So, he’s there, but he’s not always all up in it. Mostly.

Allison: I don’t know what their pull was to us, but they have been amazing to work with and I’m loving every minute of it. They are so supportive and always hook us up with the best feedback and artwork.

‘Let Me Love You’ is an epic start to the ‘We Were Never Lost’ album and makes a statement both lyrically and musically, it reminds me a bit of ‘Oostende’ by KEEP SHELLEY IN ATHENS…

Marshall: That is my ‘Plainsong’ moment I guess. That song went through several face lifts but we’d always kinda thought it would be a good opener. I wanted it to be big, both sonically and emotionally. In fact I’d say we’re going all-in on the emotive thing on most of our tracks. Lotta pain.

Allison: Lyrically ‘Let Me Love You’ comes from so much pain and grief from my last relationship. Wanting things in a relationship to be like they were in the beginning, wanting to pretend everything is fine when it absolutely isn’t. The line “Let me love you like we’re alright” I think says a lot in a sentence. When I write, I try to say more with less. The tail end of our album was written during my separation and divorce, and I think my writing was greatly influenced by that even though it wasn’t intentional. It’s interesting listening back and it’s so obvious. I guess my feelings had to get out somehow.

The first rendition of this song was my absolute favorite. Marshall knows, but he broke my heart when he changed it. The wall of sound he created had so much feeling. If you could put a sound on how you feel right before you cry, that what it sounded like. It was so beautiful. Marshall also has an amazing ability to see a project on a larger scale, and the first rendition didn’t fit with the album. He was able to see that. I didn’t. I eventually came around, and he was right. I am so happy with the result!

I have since added ‘Oostende’ to my playlist. Thank you for the comparison! We are flattered.

Yearning is a recurring theme on and this is quite vivid on ‘Hide & Seek’?

Marshall: Yes. We write a lot about pain and loss.

Allison: Haha, yes we do. I think the yearning in ‘Hide & Seek’ comes from a desire to be wanted. It speaks to every person that feels lonely in a relationship and the wandering eye that comes with it.

‘I’m Falling Apart’ which later appeared on ‘After Dark 4’ has this gorgeous disco lento feel about it, what was its genesis?

Marshall: That was one of the few tracks that I wrote most of the lyrics, and I guess we needed a slow chugger that might work on a dance floor. That was another one that had many faces before the final version. I’m into slow disco.

Allison: This song was almost entirely all Marshall, other than me showing up to sing. Love performing this one live!

You’ve said that ‘Loser’ is about a desire for deviance, are you able to say what your deviance is? 😉

Marshall: Allie wrote the ‘Loser’ lyrics… maybe she can speak to that?

Allison: I think it would be a deviance to go against the norm. The line “I wanna be your loser, I wanna feel so lonely with you” is the idea that society has rejected you as an outcast, a loser… but you would rather be alone with your person and be their loser than care about the rest of the world. I could explain the literal meaning behind this song, but once the cat’s outta the bag, it ruins the mystery.

‘Running To You’ appropriately has this real drive to it with arpeggios and staccato voice samples?

Marshall: Those choppy vocals bits are taken from Allie’s vocals. It was Johnny’s idea to add them in and I think it helped elevate the track.

Allison: ‘Running To You’ was a song that Marshall and I wrote together in his studio. We prefer to write separately, but this track was fun to write together. It came with challenges. Mostly, not wanting to look or say something stupid. Ha! But I think we are both over that now.

‘Crazy For You’ was originally recorded for the ‘Italians Do It Better’ Madonna tribute album, what led to your choice and how you went about the arrangement?

Marshall: When IDIB asked us about participating, I went through a bunch of Madonna tracks that I liked and would possibly work with a modern arrangement and I kept coming back to ‘Crazy For You’. I worked on the arrangement of that track for months. In my mind I heard a more industrial, almost psychotic version where she was “cray cray” for you, à la stalker, and less about the gentle 8th grade slow dancer. We open our live show with it… there’s something about when Allie sings “Swaying room when the music starts” just before that huge kick comes in. Thus far, people go nuts when that first drop happens.

Allison: Yeah, Marshall kept texting me song titles and I kept replying “no” to everything he sent. Then at the end of the day he texted me “What about ‘Crazy For You’?” and I immediately responded “That’s it!”

CAUSEWAY tackled another cover in ‘Your Silent Face’ which happens to be my favorite NEW ORDER song; it was interesting that on your version, the main symphonic string hook didn’t appear until halfway through?

Marshall: That is one of my fave NEW ORDER songs too. I love the whole ‘Power, Corruption & Lies’ album. I’d been working on a cover of ‘Your Silent Face’ for years before Allie and I tackled it through CAUSEWAY. I held off on the synth line because I wanted to have a little more tension and I also knew that most people might not recognize it until that line came in, so I’m using it as a tension / release thing. Maybe going back to my techno roots a bit with that.

‘Birthday’ closes the album featuring solemn lines such was “How has it been another year?” and “I wish that you were here”, was this an autobiographical narrative?

Marshall: ‘Birthday’ is another one that I wrote most of the words for. I had a dream / nightmare about everyone I loved dying and I was left alone grieving. The line “I brought you flowers for my birthday, how has it been another year” was just going round and round in my head… it woke me up, and I wrote it down. The next day I got up and wrote the rest of the track. I had a demo of that one in about a day, it was one of the few times the writing process went really fast. The track isn’t autobiographical per se, but it is all about grief which is universal. I don’t think any of our songs are autobiographical, but we do try to tap into the story of pain and suffering, love and loss.

Allison: This one is one of my favorites! Marshall nailed this one.

Which are your own favourites on the ‘We Were Never Lost’ album?

Marshall: Hard to say for me. I’ve worked so hard on all of them I’m kinda numb to them at this point. ‘Let Me Love You’, ‘Birthday’ and ‘Crazy For You’ maybe?

Allison: ‘Loser’, ‘Let Me Love You’ and ‘Hide & Seek’, I think I love these tracks the most because the feeling behind them is still raw. Another favorite again is ‘Birthday’, it’s just beautiful.

CAUSEWAY did several live performances recently, how were they for you and did they light the desire to do more? 

Marshall: At first I was completely against playing live. I didn’t think the tracks would translate well in a live setting. With some nudging from Allie, I agreed to do our first show in Oakland, which ended up being riddled with sound issues. It was a shame too because the venue was packed and the crowd was really up for it.

We had trouble with Allie’s mic but we survived. I thought we might be done with live performance but we just finished playing SXSW and Treefort, and that was a blast. For SXSW we had a decent crowd but here in Boise for Treefort, the Neurolux was packed front to back. I was shocked. Treefort was the first time we were playing without the IDIB label machine behind us, which usually has its own power to bring people in. When you are playing on the same bill as ORION, GLÜME, MOTHERMARY and DESIRE… people tend to show up. But here, we were on our own and it turned out amazing.

JOON was also on but much later, and there were punk bands in-between. When the first drop of ‘CFY’ hit, the whole room went off—it was exhilarating. As for the future, we don’t know yet. We’ve discussed adding a few other tracks to the set and maybe playing locally. Flying with a synth and gear is a hassle, but I could see us doing some gigs in PDX or SLC or more in Boise.

Allison: I absolutely love performing live. It’s addictive. Can’t wait for more live shows.

What prompted you to choose to cover ‘Nobody’s Diary’ by YAZOO live?

Allison: This was Marshall’s idea. So I’ll let him speak more about the decision. I absolutely love singing this song live. There is so much drama and mood in the track. You can see us live here if you are interested.

Marshall: ‘Nobody’s Diary’… just like LCD in ‘Losing My Edge’… I wanted to make a YAZ record… kinda. YAZOO was a huge influence for me growing up and ‘Nobody’s Diary’ is one of my favorite tracks. I thought it might be ambitious to tackle that one, and it’s taken quite a while to hone in on the sound for the cover, but ultimately I love how it has turned out. Every single time Allie sings “If I wait for just a second more… “, I kinda lose it inside, and can’t wait to drop it on folks. Right now we have been playing it last in our sets and I LOVE when I can hear people recognize it… I guess it’s some sort of weird validation—I feel like an old raver then… tryna teach the people about something they should know. I just hope we do it justice.

Your new single ‘Wear The Night Out’ is with R. MISSING which is a quite fitting musical union like your label mates KID MOXIE & NINA, is this an indicator of another direction that CAUSEWAY is heading with collaborations?

Marshall: I dunno. I really like R.MISSING and I hit them up on Insta and asked if they’d be into collaborating. I sent Sharon a few demos and she picked one she thought she’d want to work on. It was really seamless and they are amazing artists. She wrote the lyrics and did the heavy lifting on the vocals and I did all the music production and added Allie in, almost as a character for call and response. Blending the two voices was really interesting to me because they are quite different but worked together really well. As for an indicator of future collaborations or direction, I’ve done one other ‘remix’ for an artist that DESIRE was working with but that’s about it. I’m open to collaborations, but it’s all about fit. Most don’t work out so well.

Allison: We had a blast working with Sharon! She killed it. Her instincts were spot on, and Marshall made our voices blend so well together. It was a great fit! We don’t have any collaborations in the pipeline but doesn’t mean it won’t happen.

What is next for CAUSEWAY?

Marshall: Working on new music. IDIB want another album. We’ve got 3 tracks ready (which we’ve been playing in our live set) and a 4th just about ready and several sketches. I’d say sometime this year we’ll have a new one. We’ll see. Our schedules dictate that quite a bit. Maybe more live shows? We’ll see 🙂

Allison: My goals for CAUSEWAY would be more live shows, a killer second album. Mean dirty break up album. Haha! I would love to make another music video. Dream big, right?!


ELECTRICITYCLUB.CO.UK gives its warmest thanks to CAUSEWAY

The new single ‘Wear The Night Out’ with R.MISSING can be heard via https://idib.ffm.to/wearthenight

The album ‘We Were Never Lost’ is released by Italians Do It Better and available on the usual digital platforms including https://wearecauseway.bandcamp.com/

https://italiansdoitbetter.com/causeway/

https://www.facebook.com/wearecauseway

https://twitter.com/WeAre_Causeway

https://www.instagram.com/weare_causeway/

https://www.instagram.com/araehaller/

https://www.instagram.com/marshallwatsonmusicsf/

https://open.spotify.com/artist/3V6PIgndeEbvQu6ThnLQ5i


Text and Interview by Chi Ming Lai
29th April 2023

FINLAY SHAKESPEARE Illusion + Memory

A graduate in audio engineering and an independent musical device manufacturer, Finlay Shakespeare founded Future Sound Systems to build modular synthesizer components predominantly for the Eurorack format.

Also a producer of music, Finlay Shakespeare released his first album ‘Domestic Economy’ in 2019 and opened for BLANCMANGE on their ‘Wanderlust’ tour. His second long player ‘Solemnities’ was a more structured progression. Developing on the debut’s complex modular construction and anxious theatrics, it maintained a distinct post-punk anguish that dreamt of wires rather than guitars and was one of the best albums of 2020.

Ultimately, Finlay Shakespeare is an electronic pop fan with a love of KRAFTWERK, THROBBING GRISTLE, THE HUMAN LEAGUE, ASSOCIATES, OMD and JAPAN so with his third album proper ‘Illusion + Memory’, the Bristolian presents his most pop collection of songs yet, continuing the good work showcased on ‘Solemnities’.

Opening with ‘Your Side of the River’, this deep and sombre ballad has hints of the more recent material of BLANCMANGE and THE HUMAN LEAGUE’s early work, while mechanical and call sign elements of OMD’s ‘Dazzle Ships’ album creep in almost unnoticed before a percussive build and a vocal delivery that is more restrained but no less honest than before.

The anguish of the past returns on ‘Always’ but there are exotic melodies and infectious machine rhythms that groove like a more steadfast take on Peter Gabriel’s ‘Shock The Monkey’. In a change from the scheduled programme, a more lovelorn side is revealed on ‘Theresa’ which features a snappy percussive backbone reminiscent of the late Ryuichi Sakamoto and his early standalone solo single ‘Warhead’.

The more experimental ‘Climb’ hits harder techno territory with anxious vocal stylings but on the album’s longest track, ‘Ici’ surprises with bursts of synthbrass and off-beats though a more structured form unveils itself about a third of the way in with squelchy electronic bass and what sounds like guitars. Meanwhile ‘I Saw You’ is shaped by sort the tight frenetic sequences that characterised much of Finlay Shakespeare’s previous work with his typically feisty vocal delivery.

The glorious album highlight ‘Ready Ready’ is almost Motorik in presence with a wonderfully pulsing drive and gorgeous synth tones as our hero doesn’t refrain from his spirited feelings; if this was by NATION OF LANGUAGE, it would be on the BBC 6 Music ‘A’ list. After all the action, ‘Upcoming’ surprises as a sparse ballad with no drum sounds but the tones, sweeps and buzzes form a haunting soundscape of Vangelis proportions to close an excellent album.

If you have enjoyed Finlay Shakespeare’s music before, you will love ‘Illusion + Memory’. Meanwhile, those who have been crying out and bemoaning that there is no good music anymore, well it’s right here. More varied than his previous albums and even introducing a romantic element to proceedings, Finlay Shakespeare has shown again that he is the real deal with a genuine heart for sonically immersive electronic pop.


‘Illusion + Memory’ released by Alter on 28th April 2023, available in vinyl LP and online formats via https://lnk.to/IllusionMemory

http://finlayshakespeare.com/

https://www.facebook.com/FinShakespeare/

https://twitter.com/FinShakespeare

https://www.instagram.com/finlayshakespeare

https://www.futuresoundsystems.co.uk/

https://alterstock.org

https://open.spotify.com/album/2jZ49Dr0AsyPhkC90sj8Ti


Text by Chi Ming Lai
26th April 2023

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