Category: Introducing (Page 25 of 25)

Introducing KATJA VON KASSEL

23 April 2010 /


Electro Weimar Cabaret is the easiest way to describe the music of Katja von Kassel.

She sings in both German and English, often within the same song in a sultry Marlene Dietrich tone. After working within the UK music scene for several years including a stint as a guitarist on ‘X-Factor’, she was going to head back to Germany.

But luckily met producer and LADYHAWKE collaborator Alex Gray who co-wrote ‘My Delirium’ and ‘Dusk ‘Til Dawn’. He introduced her to the joys of electronic instrumentation and now with her synthetic torch songs, she appears to be in the right place, at the right time with the right music. Songs like ‘Goodbye Was Never Said’, ‘Riding The Horses’ and ‘Lili Marlene’ are electronic dance numbers with a cool, elegant charm. Alex Gray’s intricate production can be fully appreciated alongside Katja’s magnificent vocal presence. The arrangements are busy but uncluttered, giving plenty of space for Katja to hypnotise with her drama.

Add to that, the Wagnerian quality of Katja’s Götterdämmerung delivery when she’s lets rip with her emotions and you have a very unique style of modern electro that possesses a classic quality, electro revival or not! Katja’s moodier numbers ‘Raindrops’ and ‘Der Himmel Brennt’ not only recall ‘Deer Stop’ or ‘Horse Tears’ from GOLDFRAPP’s marvellous cinematic debut ‘Felt Mountain’, but also the influence of Berthold Brecht.

Her tremendous song ‘Lies’ features strong traditional European influences like French accordions and ‘Vienna’ piano but also has hints of being a dancier version of Grace Jones ‘I’ve Seen That Face Before’. Not entirely surprising as both songs are routed in the same dance… the tango. The stylish promo which accompanies it echoes her own words… it’s “1930s meets the future”. Welcome to the world of Katja von Kassel.

https://www.facebook.com/KatjavKassel/

https://twitter.com/katjavonkassel

Text by Chi Ming Lai
23rd April 2010

Introducing THE VANITY CLAUSE

6 April 2010 /

Originally a duo consisting of David Woods and Russell Harris, THE VANITY CLAUSE were in various rock bands until the chance acquisition of various vintage synths, courtesy of an emigrating pal.

One of these included the Moog Liberation, a beast so huge that David admitted it was probably heavier than him!

Having gigged to just about anyone who would listen, the Essex duo soon developed a synth sound that was heavily influenced by early ULTRAVOX, LADYTRON, Some Bizarre and Mute Records.

Their material, which included futuristic titles such as ‘Fluotexine’ and a cover of FAD GADGET’s ‘Back To Nature’, was promising with the emphasis on big ‘played’ synths sitting on top of sequences and urgent rhythm construction.

However, THE VANITY CLAUSE were open to new directions so recruited vocalist and synth girl Louisa Strachan to augment the line-up. The result? Songs that combined their original systematic edge with a romantic warmth… a system of romance if you will!

So with the brilliant ‘Lifeline’, David takes the lead in a blistering burst of energetics on a slice of alt-pop reminiscent of SOFT CELL’s ‘Forever The Same’. Louisa compliments David’s Marc Almond-like mannerisms with an appropriate (if you recall the Wigan Casino roots of ‘Tainted Love’) Northern Soul tone. The stuttering video captures that rabid tension between boy and girl, human and machine.

On ‘No’,  a raw sequencer opens, followed by busy percussion heavy backing. Menacing ‘Martin-esque’ string bursts and analogue riffage accompanied by Louisa’s echoey lead vocals go well with David’s counterpoints. Her confident delivery is also a reminder of that under rated cult new wave band FATAL CHARM who supported ULTRAVOX and OMD in their time.

Meanwhile, their new single ‘Time’ is a natural development of ‘Lifeline’ and ‘No’. There’s electro potential there in THE VANITY CLAUSE and a marvellous combination of the current female fronted electro pop revolution with the style of the classic synthesizer duo.

THE VANITY CLAUSE say “We’ve been compared to John Foxx-era Ultravox, described as ‘Pet Shop Boys-esque’ and told we’re ‘Nothing like those popular jangly guitar bands, not one little bit’. We think we sound like a pair of blokes with too many old keyboards knocking around”. Actually, they now sound like a pair of blokes and a girl with too many old keyboards knocking around!!

‘Time’ is now available to download now from Amazon while their debut album ‘Fractured’ is expected later this year.

www.myspace.com/thevanityclause

Text by Chi Ming Lai
6th April 2010

Introducing ARTHUR & MARTHA

30 March 2010 /

Independent alternative synth duo ARTHUR & MARTHA are rather confusingly, Adam Cresswell and Alice Hubley.

Presenting lo-fi electro for happy robots to dance to, ARTHUR & MARTHA have been described as “Gilbert & George, disguised as The Carpenters, stealing the hits of Kraftwerk and bashing them out on an old Moog in the style of SECTION 25”.

With an impressive arsenal of old analogue synths and augmented by quirky instruments like melodica, stylophone and Theremin,  they released their debut album ‘Navigation’ last year.

The superb first track ‘Autovia’ was one of the lost songs of 2009 in a year teaming with quality electro from all quarters. With a charming slightly off-key vocal from Alice and driven by a synthetic motorik beat, ‘Autovia’ is perfect fahr’n-fahr’n-fahr’n musik for English eccentrics heading north up the M1, as can be seen in the video.

The ‘Navigation’ album is also worth checking out with its variety of styles ranging from early NEW ORDER and CRYSTAL CASTLES to the sort of quirky instrumentals that would accompany the weird East European animations they used to show on BBC2 in the ’70s!

If you’re into Brighton’s highly acclaimed KATSEN, you might like ARTHUR & MARTHA too!

‘Navigation’ is released on CD by Happy Robots

www.facebook.com/Arthur-and-Martha-6821029194/

www.myspace.com/arthurandmartha

Text by Chi Ming Lai
30th March 2010

Introducing MIRRORS

27 March 2010 /

As recently recommended by Andy McCluskey, MIRRORS are electronic pop-noir with roots in North by North West new wave gloom despite hailing from sunny Brighton!

Just back from supporting DELPHIC, this quartet with an instrumental line-up of three synths and electronic percussion will delight fans of ORCHESTRAL MANOEUVRES IN THE DARK’s early pioneering work.

MIRRORS look the part too, possessing a stylish sense of European modernism. While brilliant songs such as ‘Fear Of Drowning’ and ‘Somewhere Strange’ may echo the musical template of Wirral’s finest, vocally MIRRORS recall the young manhood and revolutionary spirit of lost Merseyside acts such as THE WILD SWANS and BOX OF TOYS.

Their most recent single ‘Into The Heart’ possesses a beautiful slice of melancholic rush while ‘Look At Me’ which was released last year is more downtempo with a chilling sonic cathedral grandeur alongside a percolating Linn Drum pattern that sounds like JOY DIVISION produced by Martin Rushent. With both songs, the inevitable words wistful and evocative spring to mind.

Meanwhile on the other side of the synth spectrum, ‘Searching In The Wilderness’ is an early DEPECHE MODE pastiche given New Life. But it succeeds because it’s a good danceable tune with some added screeching effects. Party like it’s 1981? It could be one of those Futurist nights at ‘Crocs’ all over again! One dictionary definition of mirror is: “A pattern for imitation; exemplar: a man who was the mirror of fashion. Something worthy of imitation”

So, it looks like HURTS aren’t going to have it all their own way then!

‘Look At Me’ and ‘Into The Heart’ are available via the usual platforms

https://www.facebook.com/theworldofmirrors/

Text by Chi Ming Lai
27th March 2010

Introducing SHH

15 March 2010 /


Electropop is spreading its analogue wings across the globe and the next region to be falling under its spell is South America.

So it is therefore appropriate that the country with the most European influence, Argentina should become the leading exponent.

There’s already been the Anglo-Argentine duo HEARTBREAK with their 21st Century take on Italo-Disco but now we have a full-blooded beat combo in the wonderful SHH with theirElectronic Pop Buenos Aires Style.

SHH hail from Buenos Aires and have had domestic success with their own brand of sun-kissed electronic power pop.

Although the two albums ‘SHH’ and ‘Gaucho Boy’ released by Argentine indie label Oui Oui were sung mostly in Spanish, they’ve now adapted their sound with newly translated English lyrics for the prestigious Northern European electro market. Fronted by the alluring peroxide blonde Diana Huarte on vocals with Daniel Gorgostegui on synths and programming to complete the line-up, they recently played an energetic set at London’s Water Rats as part of their campaign for future international stardom.

Schooled in opera and brimming with charm, Diana’s vocals display a magnificent range which suits both uptempo opener ‘Tiger’ (‘Donde’ on ‘Gaucho Boy’) and ERASURE-esque ballads such as ‘Sleepless’ (‘Sin Dormir’ on ‘SHH’). The accented touch provides a sexy warmth to proceedings while the strong production values drive the tunes along with strong melodies and danceable techno rhythms.

They give us one of their earlier songs in Spanish called ‘Ausencias’ which features traditional accordion sounds and influences amongst all the electronica – you know when you’ve been tango-ed! Maybe TV dance show ‘Strictly Come Dancing’ (or ‘Dancing With The Stars’ for those of you reading from abroad) will feature a SHH song next time the gorgeous Ola Jordan tries to tackle the Argentine Tango with a hapless celebrity!! Meanwhile ‘Elena Hernandez’ is another ballad but possesses some of the percussive snap of BLANCMANGE plus a smattering of Tijuana brass!!

One of the highlights is ‘Hunt’ (‘Carceria’ from ‘Gaucho Boy’) which, as the title suggests, is a ferocious attack with a rockier edge to boot! It’s on songs like this where Diana’s spirited stage persona comes to the fore. They say Latinas are fiery and there certainly is a provocative passion in her live performance.

But the stand-out track from the set and the ‘Gaucho Boy’ album is ‘Wonderful Night’. Reminiscent of Greek power popsters MIKRO, it turns out the UK-domiciled Diana is a big fan and saw their debut London performance at The ICA in 2007. The chunky pulsing sequences to a solid beat and a rousing chorus are in the similar vein to MIKRO’s brilliant ‘Robonation’ or ‘Kalinihta’ so fans should certainly find the blissful optimism of SHH to their taste. After several well received appearances in England and Spain, further live dates are planned.

SHH’s music is available via iTunes and their MySpace.

www.myspace.com/shhsounds

Text by Chi Ming Lai
15th March 2010

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