Author: electricityclub (Page 82 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

Carry On Synthpop: ELECTRICITYCLUB.CO.UK Reacts to DEPECHE MODE’s News Conference October 4th 2022

8 October 2022 /

Unlike the 2013 Paris press event when the band didn’t even know the name of their new album, DEPECHE MODE’s recent news conference at Berliner Ensemble at least revealed that the as-yet-unfinished long player due out in Spring 2023 is to be called ‘Memento Mori’, a Latin phrase meaning “Remember That You Must Die!”

As with the lamentable ‘Spirit’ from 2017, it has been produced by James Ford, best known for his work with poshboy folkies and Dave Gahan’s favourite band MUMFORD & SONS.

In front of an invited audience, Martin Gore and Dave Gahan spoke to their UK publicist Barbara Charone about “boring boring” Arsenal and possibly paying tribute to their late departed bandmate Andy Fletcher by playing an old song that he liked on the upcoming concert tour; how The Drumhead Christian Eigner and The Noodler Peter Gordeno will ruin it has yet to be confirmed.

There then came a few inaudible questions from those present and replying to that almost insanely predictable question about performing “unplugged”, even the now-ungratefully synthpop-phobic Dave Gahan responded to confirm that DEPECHE MODE are “an electronic band”!

The news of fresh DEPECHE MODE activity with new sketched on a fag packet artwork by Anton Corbijn has polarised the electronic music community again; while some have been getting rather over-excited, others have taken to Photoshop to portray Gahan and Gore as successors to Laurel & Hardy.

Using a key bunker scene from the acclaimed film ‘Downfall’, Chris Mines has assembled this highly amusing and entertaining send-up of ELECTRICITYCLUB.CO.UK – best known as the synthpop satirist SUDDEN CREATION who has never met Vince Clarke, his video focusses on numerous well-documented rants about DEPECHE MODE and Devotees over the years as a kind of greatest hits… please note, this video will probably be meaningless if your first language is German unless you turn the sound down!

The phrase “underwhelming arena show plonked into a stadium” of course makes an appearance and while ELECTRICITYCLUB.CO.UK frequently likes to highlight Dave Gahan’s criminal past, it was during DEPECHE MODE’s acceptance speech into that dinosaur institution The Rock & Roll Hall Of Fame in 2020 when Dave Gahan remarked to his bandmates that “I dunno what the hell I would have been doing if I didn’t find music to be quite honest…”, that Fletch retorted “YOU’D HAVE BEEN STILL STEALING CARS DAVE!”

The ‘Memento Mori’ world tour comes to London Twickenham Stadium on Saturday 17th June 2023 and among the many ticket options are a Gold Circle Early Entry Package at £275. While this has been the only UK date confirmed so far, many observers predict that further dates where DEPECHE MODE will be able to downscale and plonk an underwhelming theatre show into several arenas will be announced; although many Devotees pride themselves in following a band can play in stadiums and in the rain, it is so much better indoors…

Many London-based electronic music fans will be relieved that they will have already purchased tickets on that date for PET SHOP BOYS at Wembley Arena where Messrs Tennant and Lowe will perform the songs that made them famous and that their audience actually want to hear.

However, ELECTRICITYCLUB.CO.UK predicts utter travel chaos in the capital as next door in Wembley Stadium, as occasional synthpop exponent Harry Styles will be presenting the fourth night of his ‘Love On Tour’ residency at the iconic Middlesex complex.

Unlike their beloved Arsenal, DEPECHE MODE have actually yet to play at Wembley Stadium…

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Chris Mines aka SUDDEN CREATION

Cold War Night Life’s more comprehensive review of Dave & Martin’s Laugh-In at Berliner Ensemble can be read at https://www.coldwarnightlife.com/2022/10/04/depeche-mode-announce-tour-album/

Official news and updates on the new DEPECHE MODE album ‘Memento Mori’ and the 2023 tour of underwhelming arena shows plonked into stadiums can be found at http://www.depechemode.com

The SUDDEN CREATION albums ‘One Man Party’ + ‘Synth Boys Don’t Smile’ are available as CDs or downloads from https://suddencreation1.bandcamp.com/

Text by Chi Ming Lai
Photo by Anton Corbijn
8th October 2022

ULTRAFLEX Infinite Wellness

7 October 2022 /


For their second album ‘Infinite Wellness’, the Berlin-based Nordic twosome ULTRAFLEX have got naughty.

Kari Jahnsen and Katrín Helga Andrésdóttir first came together in 2020 for a sexy sport and fitness inspired debut long player entitled ‘Visions Of Ultraflex’.

Compared to their debut, the approach to ‘Infinite Wellness’ feature more variations in style while being pop and more experimental simultaneously. There is more of a Mediterranean feel but there are inflections of funk, soul and even jazz, but it is all pushed passed through the ULTRAFLEX filter.

With a dose of ingles, opening song ‘Relax’ is a crystalline and gently funky. salute to Autonomous Sensory Meridian Response. ‘Baby’ though the song is about romantic endeavours although it is also all about ULTRAFLEX’s creative chemistry; the end result is a bright and breezy romp with a solid electro-disco backbone.

With jazzier cocktail grooves and “Mascara down your cheeks, Bacardi in your drinks”, ‘Rhodos’ celebrates those favourite sunny destinations such as Mallorca, Ibiza and Rhodes, inspired by their own experiences of avoiding sunburn, binge drinking and laughing at pasty boys with beer bellies.

With a fluent flirtation of body language, ‘Mi Vuoi’ featuring Italian performance artist Kuntessa places steel drums and sax chatter over a clubby trance house setting to display their faux innocence and devious charm. With a more R ’n’ B slant and inspired by Usher’s ‘Climax’, the soulful and moody ‘Melting Away’ is less boisterous and adds ULTRAFLEX’s girly club rap.

With chilled sea air vibes, ‘Ultrasex’ is a provocative play on the duo’s name with the resulting groove, saxophone and ‘wah-wah’ recalling a vintage erotica soundtrack. Meanwhile ‘Under The Spell’ begins with nonchalant spoken words but sparkles as our heroines get seduced.

Closing with the gorgeous sweetness of ‘Run’, the laidback cuteness gets its point across in just 2 minutes.

Balancing out their electronic template with more live elements like drums, saxophone and guitar, ‘Infinite Wellness’ shows development in the ULTRAFLEX sound while continuing with the coy playfulness that made their first album so appealing.

‘Infinite Wellness’ is released by Street Pulse Records as a vinyl LP and download, available from https://ultraflexband.bandcamp.com/album/infinite-wellness-album

https://www.facebook.com/ultraflexband

https://twitter.com/ultraflexband

https://www.instagram.com/ultraflexband

https://www.tiktok.com/@ultraflexband

https://open.spotify.com/album/21vIQzY1gxMUMmNWjl5lhn

Text by Chi Ming Lai
Photo by Blair Alexander
7th October 2022

DAWN TO DAWN Postcards From The Sun To The Moon

6 October 2022 /

First coming together in late 2018, Montreal trio DAWN TO DAWN are releasing their first full length album ‘Postcards From The Sun To The Moon’.

Comprising of Tess Roby, Adam Ohr and Patrick Lee, DAWN TO DAWN combines Roby’s forlorn introspection as heard on her first two solo albums ‘Beacon’ and ‘Ideas Of Space’ with Ohr and Lee’s dance-derived templates as THE BEAT ESCAPE.

With no-one style dominating over the other, this sonic sandwich has produced an intriguing sound to be savoured. A slow burner in its realisation, the songs were created through communal jam sessions with off-the-cuff lyrical interventions before editing and processing. With a gentile start, ‘Anniversary’ drifts into the ether to welcome the listener into the world of DAWN TO DAWN with ethereal vocals, synthetic soundscapes and absorbing drum machine mantras.

‘Meridian’ is a fine example of this more uptempo approach of DAWN TO DAWN compared to solo Tess Roby productions; while the songs have a dreamy melancholy in common, moving from low to high in its fabulous multi-faceted vocal arrangement, there is a understated danceable quality within the subtle textures.

Expanding the template, ‘Care’ is interesting and unconventional in that a sung lyric doesn’t appear until almost halfway through the track. Nocturnal yet rhythmic, with an alluring folk-tinged vocal to offset the understated synthetic overtures, there are enigmatic skatted vocals in the vein of Dot Allison for the first two minutes before Roby presents her more coherent contralto over its hypnotic synthbass and crisp rhythmic construction.

Adopting a bouncing percussive groove, ‘Samba’ features some very absorbing multi-layers and manages to not be too forceful while almost harp led, ‘A Colour Named By You’ is much sparser and devoid of drum machine, coming over more audibly reminiscent of Tess Roby’s own solo work.

Presenting an important message, the trance soundscapes of ‘Ecology’ are crystalline and hypnotic in their aural expression which could even be considered to be romantic. ‘With U’ is proof that danceable rhythmic music can be understated and doesn’t need to be overtly loud with hints of Finnish duo SIN COS TAN in its pretty keyboard motifs.

Photo by Christopher Honeywell

Meanwhile ‘Stereo’ captures that joy of music which can be a communal or solitary experience, functional or incidental, is marvellously infectious with a breezy allure captured and understated synthesized danceability.

Acting as a fine and fitting closing number, the beautiful ‘Lanes’ is inspired by the tranquillity and seasonal deserts of British seaside towns like Brighton; with a soft forlorn air and the eerie moods of the late Julee Cruise, it displays an artistic kinship with Jorja Chalmers whose recent album ‘Midnight Train’ was inspired by her home seaside town of Margate.

‘Postcards From The Sun To The Moon’ is a wonderful toe-tapping record that captures the 2am wind down of a house party where some people still want to dance, albeit in more a more tranquil, less boisterous manner while others quietly do some tidying up but no-one wants to leave yet. As DAWN TO DAWN themselves say “this album is meant to be enjoyed with or without a fixed destination in mind”.

‘Postcards From The Sun To The Moon’ is released by SSURROUNDSS in CD and digital formats, available via https://dawntodawn.bandcamp.com/album/postcards-from-the-sun-to-the-moon

https://www.facebook.com/dawntodawnmusic

https://twitter.com/dawntodawnmusic

https://www.instagram.com/dawn__to__dawn/

http://soundcloud.com/dawntodawn

https://open.spotify.com/album/1hNCHq8wGfNFyBji6oRpgy

Text by Chi Ming Lai
6th October 2022

UNIFY SEPARATE Music Since Tomorrow

5 October 2022 /


This is ‘Music Since Tomorrow’…

The Scottish Swedish pairing of Andrew Montgomery from GENEVA and Leo Josefsson of LOWE release their second album together, but their first under their extended UNIFY SEPARATE moniker. As the duo formally known as US, they impressed with their 2019 debut album ‘First Contact’ which successfully combined the soaring vocal aspects of British indie with the melodic melancholy of Nordic synth. Shaped by the worldwide pandemic and Montgomery’s own confidence crisis following the end of a relationship, ‘Music Since Tomorrow’ looks at the future in an uncertain world.

As a result, a denser sound is presented, augmented by more guitars than before. The album also benefits from Josefsson’s intense study of music theory and studio reinvention during lockdown. In some ways, this record is also Montgomery’s reconnection of sorts with his past as the front man of indie band GENEVA, reinforced by UNIFY SEPARATE opening for former Nude label mates SUEDE on their recent ‘Coming Up’ 25th anniversary show at Stockholm Annexet.

Documenting a period of personal struggle, ‘Music Since Tomorrow’ attempts ‘Closure’ and this epic album opener sets the scene with a building atmospheric trance tune that simply mesmerises, especially when Andrew Montgomery hits his trademark falsetto. Meanwhile ‘Dying On The Vine’ provides a slice of industrial Schaffel not dissimilar to Swedish doompopsters TITANS but with an impassioned vocal high instead of a deep baritone.

Like DEPECHE MODE meeting MUSE before bursting with spicy arpeggios, ‘Solitude & I’ morphs from a drum ‘n’ bass lilt into a blistering mutant attack. Montgomery does not let up with his Jeff Buckley inspired delivery, reflecting his isolation and unsettlement.

First released in 2021 and one of the best songs of that year, the outstanding ‘Embrace The Fear’ touches on the existential crisis at a life’s crossroads. Josefsson’s machines channel DAFT PUNK and NEW ORDER while guitarist Christian Persson chops in to ramp up the intensity. With a topline inspired by MUSE’s ‘Uprising’ and / or Billy Idol’s ‘White Wedding’, despite its emotive melancholy, ‘Embrace The Fear’ possesses a defiant motivational message.

Taking the pace down as “it is time for us to go”, ‘Visitors’ is balladeering close to U2 territory with its guitar inflections and military percussion. However, the rhythmic electronic rock of ‘The Void’ sees Richard Oakes from SUEDE do a masterful guitar turn as schizo children’s voices ask “where are you?” like a haunting journey into The Upside Down, while rousing NEW ORDER-styled synthetic strings settle into the coda.

‘Radio Waves’ has echoes of GENEVA with its chopping virtual string section and why not, while with a simple but strong distorted hook, ‘The After’ looks at post-traumatic stress following heartbreak with a thumping electro-indie backdrop.

Using rugged electric bass to provide the gloomy austere, ‘Way To Love’ displays some weary expressionism as church chimes get dropped into a mix that features guitars, synths and drums galore for a towering climax. Bouncing into a weighty Schaffel two-thirds in, ‘Waiting Game’ points towards a spirited adventure with strident six string interventions courtesy of Richard Oakes.

Then with a hypnotic mantra comprising of voices and keys like a Philip Glass miniature-symphony, ‘In Over My Head’ eerily closes the album on an icy note and as Montgomery emotes like a tortured soul, Josefsson provides additional drama with bursts of Jarre-like laser harp.

A darker, more indie sounding album than the US debut, although ‘Music Since Tomorrow’ is swathed in expressions of emotional conflict, anxiety and self-doubt, unlike THE CURE’s ‘Disintegration’, there is light at the end of the tunnel in its indie-electro cinematics.

Despite the midlife sorrows, UNIFY SEPARATE have provided a collection of glorious pandemic pop to savour.

‘Music Since Tomorrow’ is released on 7th October 2022, available direct from https://unifyseparate.bandcamp.com/

http://www.unifyseparate.com

https://www.facebook.com/usmusicspace

http://www.instagram.com/unify_separate

https://open.spotify.com/album/6jPsbHt8uoSM0kEacwynyx

Text by Chi Ming Lai
Photos by Mehdi Bagherzadeh
5th October 2022

KNIGHT$ + THEO SAYERS Live at The Hope & Anchor

3 October 2022 /

For KNIGHT$, his first London gig in nearly 3 years was a sort of homecoming.

The Britalo vehicle of James Knights, although now based near the South Coast of England, the capital was where he had spent his formative musical years in the more indie pop SCARLET SOHO. Taking on a more optimistic and direct electro approach, KNIGHT$ began in 2016 and steadily gained a cult following in Sweden and Germany.

The worldwide pandemic affected all artists but for KNIGHT$ whose favourable reputation was gained from engaging live performances, this was especially difficult. He went down the home live stream route with varying degrees of success although it was not the same.

Come 2022 and things kicked back into action with a European tour supporting TRANS-X while a prestigious opening slot at Infest got things going again back home. KNIGHT$ appearance at The Hope & Anchor was his first London appearance since Halloween 2019; the venue is best known for hosting JOY DIVISION in December 1978, although only three people turned up! Despite a national train strike, KNIGHT$ had a very good turn out from those looking to forget the high energy crisis for a few hours.

Opening the evening just as he had done on Halloween 2019 was Theo Sayers. Little did he know at the time that his then-forthcoming single ‘My Nose Is A Little Runny’ would have such poignant resonance with lyrical quips like “sleazes cause diseases”. The resulting video ended up being a scene or two short, something which the Cambridge lad dwelled on after his performance of the quirky but appealing SLEAFORD MODS-styled track.

Accompanied by KNIGHT$ family member Jasmine Jasmine on vocals, Sayers presented his playful humourous songs in a matter-of-fact manner like a blokey Kate Nash. New numbers such as ‘Ramen For Two’ and his streetwise cover of Prince’s ‘When Doves Cry’ outlined his brand of scampy English hip-hop; he releases his first full-length album also called ‘Ramen For Two’ in 2023.

Opening with ‘What We Leave Behind’, James Knights got quickly into his stride aided by a bottle of Benylin®. With some distance since the release of his debut album ‘Dollars & Cents’ in Spring 2019, what stood out tonight was how well his songs have lasted the distance, something that is not always the case with much of today’s independent British synthpop.

Produced by Italo disco legends Fred Ventura and Paolo Gozzetti in their ITALOCONNECTION guise as well as remixed by the notable Italo DJ Flemming Dalum, the wonderful ‘Gelato’ was given a sensual live boost by regular keys player Nina Casey on backing vocals. Her presence also allowed for the first live performance of the BOYTRONIC duet ‘Proving A Point’ with the diminutive German providing her own stamp on the feisty Holger Wobker part.

James Knights has been very open about the influence of BRONSKI BEAT on his sound and ‘Hijack My Heart’ was a fine example of him aping the Jimmy Somerville-led version of the band. But he paid tribute directly to the Mark 2 version of BRONSKI BEAT fronted by John Jøn Foster with a cover of the frantic ‘Hit That Perfect Beat’, aided by Julz J of CAPITAL X on guest saxophone.

‘What’s Your Poison?’ was a reminder of how it all started for KNIGHT$ while another ITALOCONNECTION produced track, the ‘Dollars & Cents’ title song doffed its shades to the disco-menergy of the late Patrick Cowley. But it was time to celebrate the most recent KNIGHT$ single ‘Boom Bang Boom’ and while ‘Two Steps from Heartache’ was a look back to his SCARLET SOHO days, ‘Alligator’ prompted “Snap! Snap!” actions from the audience as it amusingly satirised the perils of modern dating.

A fine return to the London stage that entertained all present including an unsuspecting Arsenal fan who was curious as to the goings-on in the clearly marked “HOME FANS ONLY” venue, James Knights said afterwards: “Well, what can I say. The energy in the room was electric. So good to connect with the audience again and play some of the rarer songs we’ve not played live before. You couldn’t hand pick a better fanbase than the KNIGHT$ one! I’m currently working on a new EP / vinyl release for 2023, and I’m sure there will be more live shows to mark that. We also have the 40th anniversary gigs of BOYTRONIC’s ‘Working Model’ album to look forward to as well… It’s good to be back.”

KNIGHT$ is proof that pop is not a four letter word…

KNIGHT$ ‘Boom Bang Boom’ is released by Specchio Uomo in various formats, available from https://knights101.bandcamp.com/

http://knights101.com/

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

https://twitter.com/JPSKNIGHTS

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

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

‘My Nose Is A Little Runny’ by Theo Sayers is available as a digital single direct from https://theosayers.bandcamp.com/

https://www.facebook.com/theosayersmusic/

https://twitter.com/theosayers

https://www.instagram.com/theosayers/

https://open.spotify.com/artist/0iaqiCh8ozGLtdBjR7BdZJ

Text by Chi Ming Lai
Photos by Richard Price
4th October 2022

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