Author: electricityclub (Page 75 of 420)

“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE

“Good taste is exclusive”: NICK RHODES

DUBSTAR Token

Photo by Andy Earl

It is not long before the new DUBSTAR album is released. Entitled ‘Two’, it will be out on 6th May 2022. But until then, a fabulous new song ‘Token’ has been premiered as an enticing trailer.

Co-produced by Stephen Hague, ‘Token’ sounds like DUBSTAR doing ERASURE, while others have remarked that it sounds like PET SHOP BOYS. Whatever, it is possibly Sarah Blackwood and Chris Wilkie’s most overt synthpop statement yet.

Chris Wilkie said “Most often it’s the song itself which informs the style and sound of a track, but sometimes, once an album is underway, it becomes clearer what is working or what is lacking”. And it was the necessary social distancing due to lockdown that played a part in dictating the instrumentation: “We found ourselves naturally gravitating to our electronic side over the pandemic, because it lends itself more practically to remote production. We couldn’t sit around jamming with guitars or experimenting together in real time, for instance”.

Working from home remotely, “I can program MIDI parts in Tyneside, and if not 100% happy with the way it’s sounding, the program is easily pinged over to Haguey down in Sussex who can use the same program to trigger different gear. It’s a protracted way of working but more versatile than you’d think. After ‘Hygiene’ and ‘Outside’, we were already some of the way down a particular road. Having Hague involved certainly got us thinking about those kind of artists, but there wasn’t a conscious decision to channel them. Some artists just become part of your DNA when you grow up with them.”

Very much a collaborative effort with the Portland-born producer, Wilkie remembered: “Stephen played me a very symphonic piano riff, and I was challenged to write a song which might incorporate it in some way. I wrote the chorus straight away to fit chords which would hopefully accommodate the piano intro at some point, and then the bridge. I only had placeholder lyrics which I wasn’t confident about for the verses, so I asked Sarah and Hague to muck in with those. It felt like writing in reverse. I usually start at the start and keep going”.

But is the ‘Token’ referring to a prize or representation or a minor gesture? “It’s both!!!!” revealed Sarah Blackwood, “I’m singing about how the tormentor can help themselves to the things we shared together; inviting them to take a “tender token”. ‘Tender’ is simultaneously sentimental and weak. And ‘token’ is both a material trophy and a minor gesture. It was only after the whole song was finished that it seemed that the word ‘token’ seemed to be the centre of gravity, hence the title.

“Chris got the idea from Haguey after talking about NEW ORDER” the DUBSTAR singer added, “The word ‘regret’ is incidental and floats-by unnoticed in that song, you would never spend long contemplating it, but the word ‘Regret’ is monolithic and meaningful when isolated as a title. In our song, the word ‘Token’ almost raises psychological alarms as a title, but it’s appearance in the song defuses it, which hopefully encourages people to consider what the word really means to them”.

The video was filmed in Manchester and it was also the first time Blackwood and Wilkie had actually seen each other in person since 2019 – “We couldn’t even hug but we still managed to be over-emotional.” she remembered, “Mancunians are too cool to stare but I did clock bewildered glances as some wondered who the hell we were and why we were filming, especially in the middle of a storm (Barra). The irony was, we had prayed for rain as it can look very cinematic. Classic case of beware of what you wish for…… Dom F, our resident George Lucas, was having to negotiate Market Street backwards to film, Chris and Paul B our helper clearing the way forward for him, whilst loudly and helpfully pointing out people for me to avoid with the very large brolly……”

The weather conditions naturally presented a number of dramas; “I was trying to look serene whilst wrestling the wind vs brolly and avoid a Mary Poppins moment, sing to the camera at double speed (aloud with headphones in, no wonder they were staring ?) and try to not to look cold…” said Blackwood, “All whilst avoiding puddles, uneven paving slabs, frantic Christmas shoppers and the driving blooming rain……marketing man Matt D kept the seats warm in Night and Day where we thawed our toes between takes, looked through the rushes and realised the umbrella was undoubtedly the star of the show. We dried out in my friend Claire’s jazz bar Matt & Phred’s and shared a pizza with Adrian Dunbar from ‘Line of Duty’…… Chris’s mum was so terribly impressed……”


‘Token’ is released as a digital single via Northern Writes, stream at https://dubstar.fanlink.to/token

The new album ‘Two’ is released on 6th May 2022

https://www.dubstarofficial.co/

http://www.facebook.com/dubstaruk/

https://twitter.com/dubstarUK

https://www.instagram.com/dubstaruk/


Text and Interview by Chi Ming Lai
2nd February 2022

ALANAS CHOSNAU & MARK REEDER Širdis

With the dark clouds of war looming, it’s as if The Cold War never ended…

With tensions on the Eastern Front between two of the largest nations in Europe, what is needed is some heart. Meaning “Heart” in Lithuanian, ‘Širdis’ is the first song to be recorded in the native language of Alanas Chosnau in his fruitful collaboration project with Mark Reeder. Chosnau is one of the biggest music stars in his home country while Reeder is the Berlin-based Mancunian known for his remix work for NEW ORDER and DEPECHE MODE.

‘Širdis’ is a heartfelt plea to friends, as from a distance, we wait for their decision. The damage has been done, yet we can’t let love turn to fear. They don’t know which road to take and as it brings confusion and uncertainty, they each know that someone is going to get hurt. Who will carry the burden of responsibility? Who will be the couriers of peace?

But friends and family are the ones who have to choose sides and live with the consequences in the aftermath. Having grown up in the former Soviet Union, Chosnau knows first-hand what this is like… so this is a plea for love and peace between friends.

The pair have touched on politics before with 2020’s ‘Heavy Rainfall’, a song seemingly having an environmental reference but actually reflecting on the world’s increasingly disturbing political climate. As can be expected from Alanas Chosnau, he presents ‘Širdis’ as a suitably panoramic performance video directed by Aleksandras Brokas.

A moody emotive ballad, Reeder even brings a Balalaika into the instrumental palette for added regional authenticity alongside his usual synths, bass and guitar. The English language version of ‘Širdis’ will feature on the upcoming album by Mark Reeder and Alanas Chosnau to follow-up their excellent debut long player ‘Children of Nature’; “I’m waiting, respond to me” sings Chosnau in translation as he dedicates the song to all who are walking towards their goal.


‘Širdis’ is released by MFS on the usual digital platforms including https://markreeder.bandcamp.com/track/irdis

https://alanaschosnau.com/

https://www.facebook.com/alanaschosnau/

https://www.instagram.com/alanaschosnau/

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

https://twitter.com/markreedermfs

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

https://mfsberlin.com/


Text by Chi Ming Lai with thanks to Mark Reeder
Photo by Martyn Goodacre
1st February 2022

Introducing VALENTINA MORETTI

Valentina Moretti is an up-and-coming singer, songwriter and producer with a love of vintage synthesizers.

Using a wispy feminine vocal style, her synth laced dance tunes have utilised classics such as the Roland TR808, Roland TR707, Roland TB303, E-mu SP12, Roland Juno 106, Roland Juno60, Roland HS-60, Ensoniq SQ80, Oberheim OB8 and Korg MS20, as well as more recent technologies like the Korg Minilogue, Nord Lead 1 and the latest in the Roland TR series. A former pupil of Mauricio Rojas AKA DJ Klang from her time studying at the G Martell College of Music in Mexico City, her self-titled album collected most of her material since 2018.

Valentina Moretti’s full length debut is impressive with an astute understanding of electronic dance pop that hits that difficult middle ground of appealing to roly-poly synth heads and glowstick waving clubbers. Meaning “heaven” in Spanish, ‘Cielo’ is superb and enthralling, with its bleeps, pulses and squelches all having a melodic presence while providing euphoria for the dancefloor.

Making the most of a punchy uptempo synthwave template, the coy ‘Neon Lover’ imagines a club-friendly MARSHEAUX while the more strident chill of ‘Killed Love’ adopts the afflicted delivery of their Greek neighbour Sarah P.

Despite its lyrical limitations, ’Roller Derby Girls’ is charming nu disco although the wispy ‘Galactic Feelings’ is darker and spacier. The chunky backbone of ‘Disco Sex’ recalls Miss Kittin but with a Latin American vibe but ‘Stranger Kiss’ moves out of the discothèque into something artier and breathier with deep rumbling swirls thrown in for good measure. However with the engaging instrumental ‘Acid Galaxies’, it’s back to nu disco with subtle accents on the drum machine to achieve dynamic effect.

Valentina Moretti had the accolade of her music being sent to the moon courtesy of the SETI Institute working in association NASA and has been developing the use of Artificial Intelligence in music creation, as well as acting as an ambassador for Novation, Arturia, Native instruments and Ableton.

The music of Valentina Moretti is immediate, colourful and groovy, with uplifting moods to counterpoint the retro-futuristic melancholy. Her precocious talent is obvious and shines brightly amongst the newer generation of electronic pop artists.


‘Valentina Moretti’ is available as a pink vinyl LP and download from https://valentinamoretti.bandcamp.com/album/valentina-moretti-lp

https://www.facebook.com/valentinamorettimusic/

https://twitter.com/vmorettii

https://www.instagram.com/valentiinamoretti/

https://open.spotify.com/artist/1smi39GfJBKzbFCPwogmRS


Text by Chi Ming Lai with thanks to Mark Reeder
29th January 2022

MOTHERMARY I Am Your God


Inspired by the Prayer of the Blessed Virgin, the strikingly photogenic twins Elyse and Larena are like real-life ‘Twin Peaks’ characters, with the backstory being that they escaped their strict Mormon family in remote Montana.

Elyse hitched a ride to Salt Lake City before uprooting to Brooklyn and attempted a solo music career. But unhappy with how producers failed to see her vision, when Larena joined her in The Big Apple, MOTHERMARY came into existence to reclaim their sexuality and womanhood, having been brainwashed to “Have children, procreate, but don’t be sexual beings!”

Released on Italians Do It Better, with an appealing contrast of light and shade, their debut album ‘I Am Your God’ highlights religious hypocrisy with resigned contralto vocals and immersive synthetic instrumentation. This is exemplified by an electro-take on Madonna’s ‘Like A Prayer’ which brings the tone of the song’s lyrical content more in line with its true meaning about the euphoria of oral sex. Making a similarly profound statement, ‘Burn With Desire’ utilises a steadfast synthwave backdrop to encapsulate the twin’s repressed sexuality.

Opening the album with the swung presence of ‘Catch Fire’, it’s a number that gradually develops its power while ‘Wearing Me Thin’ introduces a slow soulful groove. There’s dancier material too; sounding like haunting Anglo-German art pop duo KALEIDA but with an acid house squelch, ‘Pray’ is a highly provocative highlight with gritty references to a “sacrificial offering” and confirmation that “We’ll pray for you…”

In line with the album’s recurring religious imagery, ‘Resurrection’ is undoubtedly another bedroom metaphor, enhanced by a barrage of sleazy synth smothering, but despite its understated R ‘n’ B rhythms, ‘Coming For You’ morphs with strident synthbass in a statement of desire which when the glitch vocals take their place, presents more of a creepy stalker mentality like ‘You’ set to an electronica soundtrack.

‘Give It Up’ follows a similar arrangement template although the message is more resigned. The closing ‘I Am Your God’ title track also brings in deep vocal pitch shifting for an unsettling demonic twist.

Reminiscent of KALIEDA but with more urban derived beats, the ‘I Am Your God’ album captures a haunting anguish and despair that channels the twins’ pain and uncertainty into the music with a collective repression.

“Women can be mothers and nurturing and caring and smart, and we also get to have f***ing sex drives” MOTHERMARY said, “We get to enjoy our bodies. We get to enjoy pleasure. We get to orgasm if we want to.”


‘I Am Your God’ is released by Italians Do It Better on 28th January 2022 , pre-order at https://idib.ffm.to/i-am-your-god

https://www.mothermary.band/

https://www.facebook.com/1800mthrmry/

https://twitter.com/mothermarymusic

https://www.instagram.com/mothermarymusic/


Text by Chi Ming Lai
27th January 2022

From The Port To The Bridge: The Story of THOMAS LEER & ROBERT RENTAL

First established as an exhibition in Greenock during the Autumn of 2018, ‘From The Port To The Bridge: The Story of Thomas Leer & Robert Rental’ recently made its London debut at The Horse Hospital in Russell Square.

Released at the end of 1979, ‘The Bridge’ was the only album by Port Glaswegians Thomas Leer and Robert Rental whose respective solo singles ‘Private Plane’ and ‘Paralysis’ were among 1978 pioneering electronic independent releases which also included THE HUMAN LEAGUE, THE NORMAL and CABARET VOLTAIRE.

To launch the London leg of the exhibition which was attended by luminaries such as John Foxx, Stephen Mallinder and Brian Griffin, a special event was held featuring talk by Daniel Miller who had toured in the guise of THE NORMAL with Robert Rental as a duo opening for Ulster punk bank STIFF LITTLE FINGERS in Spring 1979. As well as loaning his still-working Korg 700s with which he made ‘Warm Leatherette’ for display, his label Mute will be reissuing ‘The Bridge’ as a white vinyl LP edition and CD via their imprint The Grey Area.

Thomas Leer and Robert Rental had met working as gardeners and shared a love of TONTO’S EXPANDING HEAD BAND. Using just two EDP Wasp synthesizers, an EDP Spider sequencer, a guitar and recording equipment provided by THROBBING GRISTLE who originally released the album on their Industrial Records, ‘The Bridge’ is considered a landmark in DIY and experimental electronic music.

As stated on the back of the cover: ”This album was recorded at home on 8 track equipment, provided for us by Industrial Records. It was produced in two weeks dating 18th June to 2nd July. All blips clicks & unseemly noises were generated by refrigerators & other domestic appliances & are intrinsic to the music.”

Comprising of a side of five songs and a side with four ambient instrumentals, the best known track on ‘The Bridge’ is the pulsating dystopia of ‘Day Breaks, Night Heals’ which found itself playlisted regularly at The Blitz Club.

Other highlights included the appropriately titled ‘Attack Decay’ which undoubtedly influenced John Foxx in his ‘Metamatic’ period, the hopeless claustrophobia of ‘Connotations’ and the spacey Eno-inspired soundscape of ‘Interferon’.

The uneasy creative tension between Thomas Leer and Robert Rental revealed itself in the eventual recordings, especially with THROBBING GRISTLE deliberately withholding their best equipment. In a short film of interviews shown as part of the evening, Chris Carter and Cosey Fanni Tutti confirmed it was all part of their mind games to ensure the Scottish pair captured the spirit of their demos and retained their own unique sound, whilst gaining an improvement in sound quality. Carter set up the equipment in the shy and introverted Rental’s London flat and with minimal guidance, let them get on with their voyage of discovery with a deadline of a week (later extended by another week) to complete the album.

It was within the THROBBING GRISTLE axis that Robert Rental had met Daniel Miller, leading eventually to the release of the ‘Double Heart’ single as MUTE 010 but in-between, they played a number of shows together and it was this aspect of the story that the conversation with Daniel Miller hosted by exhibition curator Simon Dell focussed on.

Among the amusing stories, Miller talked of how due to the touch-sensitive membrane keyboard of the Wasp, it would play by itself when overheating under stage lights while with regards to the upcoming reissue of ‘The Bridge’, how important it was not to clean the album up too much although to make it sound good on Spotify, the trick was to “compress the f*ck out of it”.

After the release of the raw ‘Live at West Runton Pavilion, 6-3-79’ one-sided album on Rough Trade, Robert Rental went on to produce the soundtrack for The Comic Strip’s 1984 feature ‘A Fistful of Traveller’s Cheques’. But despite the support of Daniel Miller to continue in music, ever the perfectionist and concerned that Mute might release material that he felt was not of the required standard, Rental retired from the industry; he sadly passed away in 2000.

Thomas Leer went on to release the album ‘Scale Of Ten’ on Arista in 1985 and formed ACT with Claudia Brücken who recorded just one long player ‘Laughter Tears & Rage’ for ZTT in 1988. After a career break, he began releasing music again in 2001.

Photo by Chris Carter

Now living in Greenock and unable to attend the exhibition launch in person, Leer was represented by an insightful new interview filmed by his brother just a few weeks before. One of the highlights in his forthright anecdotes was his dismay at how DIY was misperceived by the too cool for school crowd as his Fairlight programming was done at home before entering the studio, making it valid as a DIY product as much his 1982 album ‘Contradictions’ on Cherry Red Records.

With records, photographs, press cuttings, film and equipment including an EDP Wasp and Boss Dr Rhythm DR55 drum machine to tell one of the forgotten stories of Synth Britannia, the pioneering legacy of Thomas Leer & Robert Rental deserves greater recognition and this exhibition provides just that.


‘From The Port To The Bridge: The Story of Thomas Leer & Robert Rental’ runs at The Horse Hospital in London until 10th February 2022, entry to the exhibition is free but pre-booking is required at https://www.thehorsehospital.com/events/from-the-port-to-the-bridge

‘The Bridge’ is reissued by The Grey Area in limited edition white vinyl LP, CD and digital fomats, pre-order or pre-save via https://mute.ffm.to/TheBridge

https://www.facebook.com/leerandrentalexhibition

https://twitter.com/leer_and


Text by Chi Ming Lai with thanks to Simon Helm
24th January 2022

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