Category: Lists & Beginner’s Guides (Page 13 of 24)

A Beginner’s Guide To GARY NUMAN

11 November 2017 / electricityclub

Photo by Chi Ming Lai

It cannot be denied that it was Gary Numan who became the world’s first synthesizer pop star.

Born Gary Anthony James Webb, he joined Paul Gardiner in THE LASERS at the height of punk although the band soon morphed into TUBEWAY ARMY. Then as now, Webb was shy, so crucially it was Gardiner who handed over a demo tape to Beggars Banquet on learning of the record store chain’s intention to start a label.

Beggars Banquet saw some potential and signed TUBEWAY ARMY to take on GENERATION X with speedy pop punk tunes like ‘That’s Too Bad’ and ‘Bombers’. Webb changed his surname to Valerian and then to Numan after seeing a directory listing for a firm named Neumann in Yellow Pages. But he was starting to tire of punk and began to see electronics as the way to realise his concept of machine rock, having become inspired by the likes of ULTRAVOX, THE HUMAN LEAGUE and THE NORMAL.

Numan’s debut album as TUBEWAY ARMY was not an immediate commercial success, but it was championed by John Peel while his unusual detached vocal style was beginning to attract media attention. In late 1978, he provided the voice to ‘Don’t Be A Dummy’, a song in a TV advertisement for Lee Cooper jeans.

Still using the band name of TUBEWAY ARMY at the behest of Beggars Banquet, the astoundingly long ‘Are Friends Electric?’ with its diabolus in musica structure reached No1 in the UK singles chart in 1979 and became many an electronic music fan’s entry point into the genre. A few months later under his solo moniker, ‘Cars’ followed ‘Are Friends Electric?’ to the top spot and became a huge international hit, even making sinewaves in the more conservative territory of North America where it reached the Top 10. As a result, he won the Best Male Singer category at the 1979 British Rock and Pop Awards, the-then equivalent of the BRITS.

But despite scoring three UK No1 albums in less than two years and having a loyal legion of fans who were dubbed Numanoids, not everyone could accept the synthesizer or the man behind it. This was all beginning to take a toll on the man who had realised most of his musical dreams by the time he was 23 years old. So Numan retired from touring with three spectacular farewell shows at Wembley Arena in April 1981.

Having got his flying licence in 1980, Numan had other ambitions so later in 1981, he followed his dream of flying around the world. His first attempt ended in arrest in India for espionage after an emergency landing, but the second attempt was more successful and completed on Christmas Eve 1981.

Numan subsequently returned to touring in the summer of 1982 with a low-key jaunt in North America before a full blown UK tour in 1983. Since then, he has played live regularly while the rollercoaster ride of highs and lows and highs during his 40 year recording career have been well documented; the recent documentary ‘Android In La La Land’ revealed many of the fears and insecurities that had lingered throughout his career.

Now firmly established as a highly influential music figure with a significant number of artistic contribution awards to his name, his songs have been covered by artists as diverse as Robert Palmer, NINE INCH NAILS, FOO FIGHTERS, Beck, Marilyn Manson and Afrika Bambaataa. Meanwhile SNOOP DOGG, SUGABABES, ARMAND VAN HELDEN and BASEMENT JAXX are among those who sampled Numan’s work.

Not a best of listing, this expanded twenty-two track Beginner’s Guide chronicles the varied musical adventures of Gary Numan through his own work and collaborations, with a restriction of one track per album project.

TUBEWAY ARMY Listen To The Sirens (1978)

Despatched by Beggars Banquet to record his debut album at Spaceward Studios in Cambridge, Numan discovered a Minimoog left behind from a previous session and had that legendary Eureka moment when he tried it. He now turned his punk songs into electronic ones, although essentially ‘Tubeway Army’ was still very much a new wave record; “Mr Webb, there is no way out” was a line from album opener ‘Listen To The Sirens’ that would forever haunt him!

Available on the TUBEWAY ARMY album ‘Tubeway Army’ via Beggars Banquet

TUBEWAY ARMY Down In The Park (1979)

Whereas the TUBEWAY ARMY debut featured punk tunes with synthesizer added almost as an afterthought, ‘Replicas’ would be where Numan would see his Philip K Dick inspired vision become reality with electronic songs to soundtrack his dystopian Sci-Fi stories featuring android characters. Originally written on a second hand upright piano, ‘Down In The Park’ was the first of these songs and while it was not a hit, it was to pave the way for the success of ‘Are Friends Electric?’

Available on the TUBEWAY ARMY album ‘Replicas’ via Beggars Banquet

GARY NUMAN M.E. (1979)

With the success of ‘Are Friends Electric?’, Numan was able to drop the TUBEWAY ARMY moniker and for his next offering, he opted to make an album using no guitars. What this meant was that the power had to be arrived in a more inventive fashion, so synths were fed through guitar effects pedals to add a more sinister metallic tone. ‘M.E’, a story about the last computer on earth where humanity no longer exists, was where this aural desolation was at its most effective.

Available on the GARY NUMAN album ‘The Pleasure Principle’ via Beggars Banquet

GARY NUMAN Telekon (1980)

By 1980, the negative side of fame was beginning to linger into Numan’s occasionally paranoid psyche, and while his songs were never the most cheery, his new material was starting to take on a more personal downbeat nature away from the Sci-Fi nature of the previous work. Held down by a snaky Compurhythm backbeat and squealing synth, the title track of the resultant ‘Telekon’ album captured that neuroticism with a detached hum and some sinister horror flick piano.

Available on the GARY NUMAN album ‘Telekon’

PAUL GARDINER Stormtrooper In Drag (1981)

With Numan’s retirement from live performance, bassist Paul Gardiner opted not to join DRAMATIS with the other band members. Sadly, he went into a downward spiral as a heroin addict. An attempt to give his friend since the TUBEWAY ARMY days something to focus on musically came with this collaboration between the pair, which Numan provided the lead vocal for. Gardiner sadly died in 1984 due to drug related complications; Numan later wrote ‘A Child With The Ghost’ as a tribute.

Available on the GARY NUMAN album ‘Dance’ via Beggars Banquet

GARY NUMAN & DRAMATIS Love Needs No Disguise (1981)

Live band members RRussell Bell, Chris Payne, Ced Sharpley and Denis Haines formed DRAMATIS and signed to Rocket Records to release their only album ‘For Future Reference’. On a visit to see his old band mates, Numan was played a hypnotically percussive song they had recording about their days out on the road. He loved it so much, that he asked if he could do the lead vocal. Some pretty guitar and viola were the final touches to a track that was barer than most Numan fans were used to.

Available on the GARY NUMAN album ‘Premier Hits’ via Beggars Banquet

GARY NUMAN Noise Noise (1982)

After the downtempo nature of ‘Dance’, Numan got more energetic again with ‘Music For Chameleons’ and the subsequent ‘I Assassin’ album. On the B-side was what was considered at the time, a strange collaboration with DOLLAR or more specifically, Thereza Bazar on a track that saw Numan’s first use of sung female vocals on one of his recording. Heavy and electronic, he was back on form and the song would be a mainstay of live sets for several years to come.

Available on the GARY NUMAN album ‘I Assassin’ via Beggars Banquet

GARY NUMAN My Car Slides 1 (1983)

By 1983, Numan was making a full live comeback after retiring in 1981. To add another dimension to what was to become the ‘Warriors’ album, Bill Nelson was signed up as producer but the two quickly fell out in the studio. One track that the pair completed was ‘My Car Slides 1’, a beautiful ballad featuring Nelson’s distinctive E-bowed guitar. Alas, it was not included in Numan’s revision of the ‘Warriors’ concept while modest sales saw the end of his relationship with Beggars Banquet.

Available on the GARY NUMAN album ‘Warriors’ via Beggars Banquet

GARY NUMAN I Still Remember (1985)

Co-produced with PPG operators The Wave Team, ‘The Fury’ was Numan’s best album since ‘Telekon’. Although very much with the times and in line with acts like FRANKIE GOES TO HOLLYWOOD and DEAD OR ALIVE, the hard but bright digital sound complimented Numan’s downbeat lyrical outlook. One particular highlight was the haunting closing track ‘I Still Remember’, effectively a vocal reimagining of the 1979 instrumental ‘Random’ and featuring ‘Blade Runner’ saxophonist Dick Morrissey.

Available on the GARY NUMAN album ‘The Fury’ via Eagle Records

RADIO HEART featuring GARY NUMAN Radio Heart (1987)

In an unexpected collaboration, Numan teamed up with Hugh Nicholson, a former member of Scottish soft rockers MARMALADE for his RADIO HEART project. The eponymous song was catchy and got airplay, enough for Numan to attain a UK Top 40 singles chart placing despite, like ‘Change Your Mind’ with Bill Sharpe of SHAKATAK, not having written the song . Two other RADIO HEART singles ‘London Times’ and ‘All Across The Nation’ were issued but failed to make any further impact.

Available on the NICHOLSON / NUMAN album ‘1987-1994’ via The Record Label

SHARPE & NUMAN Voices (1987)

When the excellent ‘Change Your Mind’ was released as a single in 1985, it gained extensive radio play and reached No17 in UK and gave Numan a brief commercial renaissance. A SHARPE & NUMAN album was recorded and ‘Voices’, which had originally been the B-side to ‘No More Lies’ stood up as one of the best songs from what has now been considered to be his wilderness years. Indeed, Polydor in Germany had considered it so good, they released it as a single in its own right complete with a 12 inch mix!

Available on the SHARPE & NUMAN album ‘Automatic’ via Cherry Pop

NUMAN & DADADANG Like A Refugee (1994)

Despite the funk rock excursions of the ‘Metal Rhythm’, ‘Outland’ and ‘Machine & Soul’ albums, the biggest curio in the Numan catalogue has to be ‘Like A Refugee’. Composed again by Hugh Nicholson, it was a rousing number featuring strummed acoustic guitars and Uillean pipes in collaboration with DADADANG, a robotic Italian marching band! “An Intergalactic Close Meeting”, it was melodic number if nothing else and would have actually made a good Eurovision entry.

Available on the NICHOLSON / NUMAN album ‘1987-1994’ via The Record Label

GARY NUMAN A Question Of Faith (1994)

The ‘Machine & Soul’ album in 1992 had all but killed Numan’s career, but then he met Gemma O’Neill, the lady who would become his wife; she made him understand that he needed to become more of a Numan fan to understand what Numanoids saw in him. The final album to be released on his Numa label which he started in 1984 and using DEPECHE MODE’s ‘Songs Of Faith & Devotion’ as its template, ‘Sacrifice’ was his most Numan record since his heyday and ‘A Question Of Faith’ was its dark calling card.

Available on the GARY NUMAN album ‘Sacrifice’ via Eagle Records

DUBSTAR Redirected Mail (2000)

Following recording a sexily deadpan cover of the masturbation anthem ‘Every Day I Die’ for the ‘Random’ tribute album, DUBSTAR actually collaborated with the man himself on one of the B-sides to ‘The Self Same Thing’ EP. Of this almost Beatle-esque number, vocalist Sarah Blackwood said: “I was in Manchester when we recorded ‘Redirected Mail’ but Steve and Chris actually went down to Gary’s and sat and had ham and chips with him. They had a right laugh and had a really good time”.

Available on the DUBSTAR EP ‘The Self Same Thing’ via Food Records

GARY NUMAN Prayer For The Unborn – Andy Gray Mix (2001)

By 2000’s ‘Pure’, Numan had fallen under the spell of NINE INCH NAILS and embraced an intense rock gothique with industrial metal guitar on songs like ‘Rip’ and ‘Listen To My Voice’ that won him a new audience, but there were more delicate moments too. Inspired by his own personal tragedy, the heartfelt blippy cacophony of ‘A Prayer For The Unborn’ remixed by Andy Gray was a triumph that bridged the gap between his classic synth and current rock styles.

Available on the GARY NUMAN album ‘Exposure: The Best of’ via Artful Records

AFRIKA BAMBAATAA Featuring GARY NUMAN & MC CHATTERBOX Metal (2004)

Aside from KRAFTWERK, one of the other key influences on AFRIKA BAMBAATAA & THE SOUL SONIC FORCE was Gary Numan with the drum breaks of the late Cedric Sharpley, who played on ‘The Pleasure Principle’, particularly appealing to the youth of Urban America. So it was no big surprise that the rap and hip-hop pioneer covered ‘Metal’, a key track from the album and even persuaded Numan himself to duet on his meaty electro reworking.

Available on the AFRIKA BAMBAATAA album ‘Dark Matter Moving At The Speed Of Light’ via Tommy Boy Records

GARY NUMAN The Fall (2011)

2006’s ‘Jagged’ had a one-dimensional sound that proved underwhelming and stalled Numan’s momentum after the positive reception for ‘Pure’. But he returned with ‘Dead Son Rising’ which started life as a set of discarded demos from previous projects, but quickly took on a life of its own. Wearing his NINE INCH NAILS influences proudly on his sleeve, the industrial beats and blistering chorus of ‘The Fall’ combined for the beginning of a creative recovery.

Available on the GARY NUMAN album ‘Dead Son Rising’ via Mortal Records

GARY NUMAN My Last Day (2013)

The ‘Splinter’ album took a long time to realise but when it was finally released, it won Numan some of the best reviews of his career. While there was still a heavy rock element, two of the album’s slower numbers ‘Lost’ and ‘My Last Day’ proved to be album highlights. Beautifully dramatic, ‘My Last Day’ pictured blood red skies with the vox humana synths providing a most chilling musical mantra to soundtrack the apocalypse before a chilling close with some lonely casading piano.

Available on the GARY NUMAN album ‘Splinter (Songs From A Broken Mind)’ via Mortal Records / Cooking Vinyl

JOHN FOXX & THE MATHS featuring GARY NUMAN Talk (2016)

‘Talk’ has been used by John Foxx to explore different approaches from a singular idea with other kindred spirits. Retitled ‘Talk (Are You Listening To Me?)’, Numan’s take naturally screamed alienation and fully exploited his haunting classic synth overtures. “John Foxx has been a hero of mine for my entire adult life” said Numan, “It was a real honour to finally have the chance to contribute to one of his tracks… it was every bit as creative, unusual, demanding, and rewarding, as I always expected it to be”.

Available on the JOHN FOXX album ’21st Century: A Man, A Woman And A City’ via Metamatic Records

JEAN-MICHEL JARRE & GARY NUMAN Here For You (2016)

For his ambitious ‘Electronica’ project, Jean-Michel Jarre sought out collaborators and worked with them in person as opposed to remotely online. The unlikely friendship that developed between Jarre and Numan resulted in ‘Here For You’. Possibly the darkest thing that the French maestro had ever recorded, he described it as “Oscar Wilde Techno”. Significant in its absence of the crunching guitars that characterise much of Numan’s later work, the track wonderfully combined the best of both artists.

Available on the JEAN-MICHEL JARRE album ‘Electronica 2: The Heart Of Noise’ via Columbia / Sony Music

TITÁN Featuring GARY NUMAN Dark Rain (2016)

In collaboration with Mexican electro rockers TITÁN, the resultant ‘Dark Rain’ was a brilliant slice of electronically assisted Gothic disco. Propelled by a superb syncopated bassline and thunderous drums while layered with classic vox humana lines, interestingly the guitars only appeared about two thirds of the way through before a magnificent burst of foreboding synth into the final chorus! Numan himself was in great form, “waking like wings upon your shoulder”.

Available on the TITÁN album ‘Dama’ via ATP Recordings

GARY NUMAN And It All Began With You (2017)

With a lot less goth metal guitar and much more prominent use of synths, ‘Savage’ successfully outstripped ‘Splinter’. And it was the haunting ‘And It All Began With You’ that stopped all in its tracks, with an exposed and soulful vocal. Borrowing Chris Isaak’s ‘Wicked Game’ for its chorus, the subtle orchestrations and a gentle shuffling beat coupled to a steadily discordant electric piano riff to close, it beautifully brought out the best in classic Numan while maintaining forward momentum.

Available on the GARY NUMAN album ‘Savage (Songs from a Broken World)’ via BMG

For further information on GARY NUMAN, please visit his social media platforms

http://www.garynuman.co.uk/

https://www.facebook.com/GaryNumanOfficial/

https://twitter.com/numanofficial

https://www.instagram.com/garynuman/

Text by Chi Ming Lai
11th November 2017

30 Lost Art School Bops Of The Digital Era

29 September 2017 / electricityclub

Here are 30 songs which may have escaped attention as the world went grunge and then had an ongoing hangover in the wake of Britpop.

Denied mainstream recognition and now lost when looking from a UK perspective even within the dwindling synth music community, these offerings come from artists who have mostly remained in total obscurity. However, some are highly established in their own right, albeit not necessarily within the electronic pop field while others have drifted away.

As with the 30 Lost Obscure Alternatives Of The 45 RPM Era feature, acts who have since been featured on ELECTRICITYCLUB.CO.UK like ARTHUR & MARTHA, DE/VISION, ONE DOVE, PEACH, WOLFSHEIM and YOUNGER YOUNGER 28s have not been included on this list.

Starting from 1992 when the CD established itself as the dominant format to the year before ELECTRICITYCLUB.CO.UK came into being, here are 30 Lost Art School Bops listed by year and then in alphabetical order…

VEGAS Walk Into The Wind (1992)

What happens when you cross FUN BOY THREE, EURYTHMICS and SHAKESPEARS SISTER? This lovely under rated electro-reggae tune featuring Terry Hall, David A Stewart and Siobhan Fahey! VEGAS was a one-off project when Hall and Stewart were between bands, with the former’s forlorn opening gambit of “You have to learn to love by loving” more than suiting the latter’s lush cinematic backdrop on the captivating noir of ‘Walk Into The Wind’.

Available on the album ‘Vegas’ via RCA Records

https://www.discogs.com/artist/1343740-Vegas-8

SVEN VÄTH L’Esperanza (1993)

Sven Väth is a Frankfurt based DJ whose his career started in 1982. Mixmag rated his album ‘Accident In Paradise’ one of the Top 50 dance albums of all time. From that, this synthpopped remix of its most accessible track ‘L’Esperanza’ recalled ‘Magic Fly’ by SPACE and captured the tranquillity of a swim with dolphins. The melodies sang despite the tune being totally instrumental while the groove drove along without being intrusive.

Available on the single ‘L’Esperanza’ via Eye Q / WEA Records

https://www.facebook.com/SvenVaethOfficial/

2WO THIRD3 Hear Me Calling (1994)

Hear Me Calling captured the spirit of early ultrapop DEPECHE MODE and even had CULTURE CLUB backing singer Helen Terry thrown into the mix of this infectiously catchy number. Although a publicly a trio, there was a silent fourth songwriting member who was represented by a cartoon character called Biff in the band’s promotional material. Biff was actually Richard Stannard who has since written songs for KYLIE MINOGUE, LITTLE BOOTS, MARINA & THE DIAMONDS and SPICE GIRLS.

Available on the single ‘Hear Me Calling’ via Epic Records

http://www.discogs.com/artist/2wo+Third3

INTASTELLA Grandmaster (1996)

INTASTELLA were formally indie rockers LAUGH, until they discovered singer Stella Grundy and adapted their sound to a more dance-orientated style in a vein not dissimilar from fellow Mancunian’s HAPPY MONDAYS. Having had a minor hit with the SAINT ETIENNE flavoured cover of the FRANK VALLI Northern Soul favourite, the funkier electrovibe of ‘Grandmaster’ was the follow-up and later featured on the soundtrack of the ‘9½ Weeks’ sequel ‘Love In Paris’.

Available on the album ‘What You Gonna Do’ via Planet 3 Records

https://www.facebook.com/Intastellastellagrundy/

INAURA Soap Opera (1996)

INAURA combined NINE INCH NAILS and DURAN DURAN, with the latter every much in mind when the band were signed to EMI. Produced by Steve Osborne, the metallic finish of ‘Soap Opera’ gave a rock edge to the electronically driven sound. But despite securing a support slot with THE HUMAN LEAGUE, the band got emboiled in internal record company politics with EMI actively trying to bury the band. The shelved album ‘One Million Smiles’ eventually secured an independent release in 1998.

Available on the album ‘One Million Smiles’ via ORG Records

https://www.discogs.com/artist/61052-Inaura

ORLANDO Just For A Second (1996)

Melody Maker’s Simon Price announced the arrival of a new scene of New Romantic revivalists, with a bold headline declaring “ROMO – The Future Pop Explosion!”; from these Romantic Modernists came ORLANDO who combined stylish, synthesized dance-pop with a love of classic songwriting. ‘Just For A Second’ was their best song, with elements of PET SHOP BOYS euphoric flavour as reimagined by the boy bands of the day, combined with an emotive lyrical backdrop.

Available on the album ‘Passive Soul’ via Blanco Y Negro Records

https://www.discogs.com/artist/125280-Orlando-4

MONO Life In Mono (1996)

MONO were Siobhan de Maré and Martin Virgo, who found their cinematic sound lumped in with trip hop movement that spawned SNEAKER PIMPS and PORTISHEAD. A mysterious Gallic flavour crossed with samples from John Barry’s soundtrack to ‘The Ipcress File’ provided the song’s spy drama chill. The track was later incorporated into a contemporary film adaptation of ‘Great Expectations’ which starred Ethan Hawke, Gwyneth Paltrow and Hank Azaria. SPICE GIRLS’ Emma Bunton recorded a cover of it in 2006.

Available on the single ‘Life in Mono’ via Echo Records

https://www.discogs.com/artist/1564-Mono

SEXUS The Official End Of It All (1996)

Also seen as part of the Romo movement were SEXUS, a Manchester duo comprising of David Savage and Paul Southern Signed by ZTT, ‘The Official End Of It All’ was their second single and recalled ELECTRONIC’s ‘Getting Away With It’. The pair recorded a full album with Trevor Horn but it remains unmixed and unreleased. The duo would later team up again musically under the name PSYCHODELICS.

Available on the single ‘The Official End Of It All’ via ZTT Records

http://www.psychodelicates.com/sexus.htm

BROADCAST Come On Let’s Go (2000)

The late Trish Keenan’s ice maiden cool was instrumental to BROADCAST’s cognoscenti appeal and with their experimental electronica, they won many fans among the cognoscenti. ‘Come On Let’s Go’ was their most accessible offering with its spy drama feel, vintage organic textures and Keenan’s sweet nonchalant vocal tones. Futuristic yet with a Cold War chill, this pushed all the tender buttons. The band were a favourite of Matt Groening, creator of ‘The Simpsons’.

Available on the album ‘The Noise Made By People’ via Warp Records

http://warp.net/records/broadcast

QUEEN OF JAPAN I Was Made For Loving You (2000)

QUEEN OF JAPAN were a colourful European trio consisting of singer Koneko alongside eccentric producers Jo Ashito and Jason Arigato. Specialising in dance covers of an incongruous origin like JOHN LENNON and QUEEN, their fun electronic sound took on a distinct sinister turn with this brilliant synthesized interpretation of rock legends KISS’ neo-discofied 1977 anthem. The track gained prominence after being included as part of 2 MANY DJ’s ‘As Heard On Radio Soulwax Part 2’ DJ set in 2003.

Available on the album ‘Headrush’ via Echohammer Records

http://www.queenofjapan.net

DOT ALLISON Substance (2002)

Following Ms Allison’s pop flavoured debut album ‘Afterglow’ in 1999 and prior to her ‘Aftersun’ collaboration with MASSIVE ATTACK, the former ONE DOVE vocalist experimented with some lo-fi electro sounds alongside some more folky acoustic excursions on her album ‘We Are Science’. Playing squelch games over stuttering percussive loops, Allison’s enigmatic breathy vocal style almost acts as another instrument in a mildly hallucinogenic dance fashion.

Available on the album ‘We Are Science’ via Mantra Recordings

http://www.dotallison.com

THE DEVILS Big Store (2002)

Before Nick Rhodes got involved in the full DURAN DURAN reunion, he and fellow founder member Stephen TIN TIN Duffy dusted off a few of the pre-Le Bon demos. The results show how avant pop the original DURAN DURAN concept was with Big Store sounding like Moroder crossed with Iggy Pop! With a camp cynical snarl of “I like going shopping …shopping in the big store”, how great this must have sounded at Barberella’s back in the day!

Available on the album ‘Dark Circles’ via Tape Modern Records

https://www.discogs.com/artist/214868-The-Devils

MANNEQUIN Take Me To The Club (2003)

Apparently based on true events, ‘Party Monster’ starring Macaulay Culkin, Seth Green and Chlӧe Savigny was effectively ‘Electroclash – The Movie’; ‘Take Me To The Club’, written and produced by Bruno Coviell, captured the tension and euphoria of nightlife. Electrofied slap bass and sinister sequences added some gothic grandeur to the aural hedonism. “I only feel right under bright lights… take me to the club” was the profound proclamation!

Available on the album ‘Party Monster’ (V/A) via TVT Soundtrax

https://www.facebook.com/partymonsterfan

SYNTAX Pray (2003)

‘I Feel Love’ meets THE PSYCHEDELIC FURS on this duo’s amazing debut single, SYNTAX consisted of Jan Burton and ex-FLUKE member Mike Tournier. The 8 minute full length version possessed a pulsing hypnotic quality while spacey Sci-Fi synths and full-fat sequences recalled a bygone disco age but updating the template for a new century. Dark but immensely danceable!

Available on the album ‘Meccano Mind’ via Illustrious/Sony Music

http://www.syntax.uk.com/

WHITE TOWN Whenever I Say Hello (2003)

WHITE TOWN aka Jyoti Mishra had a freak No1 hit with ‘Your Woman’ in 1997 but kept a low profile, carving out an independent musical career with little regard for public profile. Influenced by his heroes OMD and DEPECHE MODE, ‘Whenever I Say Hello’ first appeared on Ninth Wave’s ‘Electricity 2’ compilation and was the highlight of his album ‘Don’t Mention The War’, eventually released in 2006. A wonderful lonely paean to lost love, this does sound like ‘Things You Said’ reimagined for ‘A Broken Frame’.

Available on the album ‘Don’t Mention The War’ via Bzangy Records

http://www.whitetown.co.uk

DARREN HAYES I Like The Way (2004)

Sony Music were none too happy when the former SAVAGE GARDEN front man veered from his drippy ballads to go electro! ‘I Like The Way’ was the highlight from his album ‘The Tension & The Spark’, the title of which came from the chorus of this spiky piece of synthpop. Like ERASURE gone all aggressive if you can believe that, Hayes and Sony Music parted ways following this fuzzy excursion.

Available on the album ‘The Tension & The Spark’ via Sony Music

http://www.darrenhayes.com

VIC TWENTY Txt Msg (2004)

THE great lost act of the synthesizer revival has to be VIC TWENTY. Blowing away ERASURE while supporting them on their muted covers tour, Piney Gir and Adrian Morris showed promise with their cartoon-like girl/boy synthpop. One of the highlights in their live set was an ironic electronic reconstruction of ‘Sweet Child O’ Mine’. Released on Mute, ‘Text Msg’ was their only single as a duo, a quirky narrative of the modern generation who can only dump hapless lovers by mobile phone.

Available on the single ‘Txt Msg’ via Mute Records

http://www.victwenty.free-online.co.uk

DELAYS Valentine (2005)

After the succes of THE KILLERS, indie bands were starting to embrace synths again and DELAYS almost went the full hog with this Trevor Horn assisted electronic disco number. The pulsing sequences and syncopated rhythm section were just pure DURAN DURAN, while Greg Gilbert’s raspy falsetto in the soaring chorus and choppy guitar ensured the band weren’t totally detached from their roots.

Available on the single ‘Valentine’ via Rough Trade Records

http://www.thedelays.co.uk

JULIET Avalon (2005)

Before he worked with MADONNA, NEW ORDER, THE KILLERS, KYLIE MINOGUE, TAKE THAT and PET SHOP BOYS, Stuart Price produced and co-wrote most of the only album by Philadelphia songstress Juliet Richardson. Driven by a heavy percussive mantra coupled to a deep bass rumble, her sultry soulful vocals worked well within the cool electro backing to provide a wonderful sexually charged atmosphere. Richardson is now a yoga teacher with a young family.

Available on the album ‘Random Order’ via Virgin Records

https://www.discogs.com/artist/93024-Juliet

THE MODERN Jane Falls Down (2005)

This promising band took the best of New Romantic thrill and a tight Stephen Hague production for a brilliant single with a killer chorus and solid beats, reinforced by a big reverberating bassline. Despite a support slot with HEAVEN 17, a chart scandal involving over enthusiastic management on their second single ‘Industry’ destroyed all momentum and the band retreated, re-emerging later as MATINEE CLUB before becoming THE MODERN again! Nathan Cooper has since reappeared as KID KASIO.

Available on the single ‘Jane Falls Down’ via Universal Music

https://www.themodernband.com/

LUKE HAINES Off My Rocker At The Art School Bop – Richard X Mix (2006)

Once referred to as the Adolf Hitler of Britpop by the music press, Luke Haines’ memoir ‘Bad Vibes: Britpop & My Part In Its Downfall’ suggested that BLUR’s Damon Alban deserved to be nominated for that title far more! An installation of danceable pop terrorism by THE AUTEURS and BLACK BOX RECORDER leader, with a full fat octave driven electro mix by Richard X, this gleefully satirised the Shoreditch club scene with a bitter attack on its array of poseurs.

Available on the single ‘Going Off My Rocker At The Art School Bop’ via Fantastic Plastic

http://www.lukehaines.co.uk

PROTOCOL Love Is My Drug (2006)

PROTOCOL had some Romo flair and despite being almost entirely based on ‘Atomic’ by BLONDIE, second single ‘Where’s The Pleasure?’ secured that all important radio play. But despite this, Polydor pulled the plug on their excellent follow-up ‘Love Is My Drug’ and the promising debut album ‘Rules Of Engagement’ despite sending out promos to the press and filming a promo video. Lead singer John Pritchard took another punt at stardom by participating in the 2013 series of ‘The Voice’.

Available on the album ‘Rules Of Engagement’ via https://protocoluk.bandcamp.com/

https://rkukmedia.co.uk/Protocol/

STEFY Chelsea (2006)

This was an excellent ‘Sweet Dreams’ pastiche from vocalist Stefy Rae and producer Jimmy Harry. Aimed at the teen pop market with its Orange County brat subject matter, ‘Chelsea’ was more sophisticated than it appeared and was probably three years ahead of its time. Co-written by the soon-to-be ubiquitous producer Greg Kurstin and accompanied by a video featuring an Adam West cameo, if this had come out in 2009, it probably would have been a Top 10 hit.

Available on the album ‘The Orange Album’ via Wind-Up Records

https://www.discogs.com/artist/558653-Stefy-2

DEAD DISCO You’re Out (2007)

Victoria Hesketh before she was LITTLE BOOTS, she came to together with Lucy Catherwood and Marie France at Leeds University to produce a series of well-received spikey pop numbers before splitting. Their final single ‘You’re Out’ was produced by Greg Kurstin and the start of a more electronic sound in the mix. Treated guitars, fuzzy bass and subtle synths all merged together in a feisty cocktail and the seed of the raw excitement found its way into songs like ‘Meddle’.

Available on the single ‘You’re Out’ via 679/Atlantic Records

https://www.discogs.com/artist/526693-Dead-Disco

FROST Sleepwalker (2007)

Consisting of Aggie Peterson and Per Martinsen, FROST have described their music as upbeat space-pop. This was beautiful electronic dance music from the enigmatic Norwegian duo with Peterson’s soaring soprano and the gorgeous synth vibrato putting minds into a marvellous trance. ‘Sleepwalker’ was the sort of song you would want to play at a rave in the snow! their cool cover of OMD’s ‘Messages’, from the ‘Love! Revolution’ album which ‘Sleepwalker’ came, is also a worthy listen.

Available on the album ‘Love! Revolution!’ via Frost World Recordings

http://www.frostworld.no

HEARTBREAK We’re Back (2008)

Italo disco was a much maligned form of electro kitsch but was rooted in GIORGIO MORODER which eventually influenced NEW ORDER and PET SHOP BOYS; Anglo-Argentine duo HEARTBREAK revived the genre, complete with accents, “wo-woah-ah” chants and heavy dance rhythms. On great catchy songs such as ‘We’re Back’, the sweaty impassioned charisma of vocalist Sebastian Muravchik was more than convincing while Ali Renault provided the meaty electronic backing.

Available on the album ‘Lies’ via Lex Records

http://lexprojects.com/releases/heartbreak-lies/

POLARKREIS 18 The Colour Of Snow (2008)

The Dresden sextet were a dreamy but epic cross between A-HA and SIGUR RÓS. Singer Felix Räuber’s falsetto voice polarised but the frantic driven tempo, dramatic electronic strings and rousing melancholic chorus of ‘The Colour Of Snow’ made it a fine follow-up their German No1 ‘Allein Allein’ and gave the band enough of a reputation to be invited to support DEPECHE MODE at their Leipzig gigs in 2009.

Available on the album ‘The Colour of Snow’ via Vertigo Records

http://www.polarkreis18.de

RED BLOODED WOMEN You Made Your Bed (2008)

Pure octave shift disco heaven on this ode to the IKEA generation by modern electronic take on BANANARAMA. Despite being all under 25, these three ladies grew up to the sound of the synthesizer and learned to dance to the beat of electronic drums via their mothers’ ERASURE and A-HA singles. Paying girl group homage to both YAZOO and DEPECHE MODE, RED BLOODED WOMEN sounded not unlike GIRLS ALOUD produced by Daniel Miller!

Available on the album ‘Electronically Yours Vol 1’ (V/A) via Undo Records

https://www.discogs.com/artist/1202070-Red-Blooded-Women

KATSEN Florian (2009)

KATSEN were a short lived Brighton duo comprising of Donna Grimaldi and Chris Blackburn who crossed CRYSTAL CASTLES with YELLOW MAGIC ORCHESTRA for their own brand of quirky synthpop. ‘Florian’ with its mournful melodica line inspired by ‘Kommetenmelodie 2’ was yet another in a tradition of songs dedicated to the enigmatic quiet man of KRAFTWERK which have included ‘V2 Schneider’ and ‘Rolf & Florian Go Hawaiian’ (sic).

Available on the album ‘It Hertz!’ via Thee Sheffield Phonographic Corporation

http://katsen.com/

SPUTNIKO! The Google Song (2009)

SPUTNIKO! (real name Hiromi Ozaki) showcased her brand of laptop pop around London where she was based. “Exploring intersections between technology and popular culture” as reflected by titles such as ‘The Skype Song’ and ‘The Mixi Song’, her most immediate track has been ‘The Google Song’, a story of love in the modern computer age. Too shy to approach the object of her desire, she simply went home to her faithful laptop and googled him!! “I like you” she proclaimed. It was tremendously catchy too!

Available on the DVD ‘Parakonpe 3000’ via 360° Records

http://sputniko.com/

Text by Chi Ming Lai
29th September 2017

30 Lost Obscure Alternatives Of The 45 RPM Era

14 September 2017 / electricityclub

Vinyl still holds a special affection with the emotional attachment given to a piece of music captured on bit of plastic almost unparralled.

So here are 30 synth friendly obscure alternatives from the era when vinyl was king, which for whatever reason, have been lost in the mists of time. These are great but obscure singles and album tracks from places as far flung as Australia, Japan and Canada that were overlooked at their time of release in the UK.

Please note that acts who nearly made it but have since been featured on ELECTRICITYCLUB.CO.UK like B-MOVIE, BLUE ZOO, DRAMATIS, THE FALLOUT CLUB, FATAL CHARM, FIAT LUX, HARD CORPS, THE MOOD, OUR DAUGHTER’S WEDDING, VICE VERSA, VIENNA and WHITE DOOR along with solo artists Robert Marlow and Paul Haig have not been included on this list.

The songs which all deserve critical reappraisal are listed by year and then in alphabetical order…

PLASTIC BERTRAND Tout Petit La Planète (1978)

Although best known for his pseudo-punk hit ‘Ça Plane Pour Moi’, the Belgian BILLY IDOL recorded this superb electronic Eurodisco single with vocoders galore that would have done Giorgio Moroder and Cerrone and SPACE proud. ‘Tout Petit La Planète’ featured a template that would be later borrowed by many Italo disco records. Featuring Dan Lacksman of fellow Belgians TELEX on synths, they released their own robotic cover of ‘Ça Plane Pour Moi’ shortly after.

Available on the album ‘Greatest Hits’ via Horvergnugen Records

http://www.plasticbertrand.com

DALEK I Destiny (1980)

Pre-OMD, the synth duo on The Wirral was DALEK I LOVE YOU. However, by the time their debut album ‘Compass/Kum’pas’ was released, OMD were already having hits and keyboards man Dave Hughes left to join their live band. Shortening their name, ‘Destiny’ was their most accessible song with a precise KRAFTWERK percussive appeal, while Alan Gill’s vocals were eccentrically nasal. Hughes left OMD to form GODOT with Kevin Hartley who later joined DALEK I LOVE YOU!

Available on the album ‘Compass/Kum’Pas’ via Mercury Records

http://www.discogs.com/artist/Dalek+I

DIE DORAUS & DIE MARINAS Fred Vom Jupiter (1981)

The project of German musician Andreas Dorau, ‘Fred Vom Jupiter’ was a quirky curio released as a single in the UK by Mute, created during a project week at the Otto-Hahn-Gesamtschule in Hamburg. The then 16 year old Dorau composed the music while fellow students Natalia Munoz Valderrama, Nicole Kahl and Birgit Mensur provided the lyrics about a “very attractive and also very muscular” Kosmonaut; the vocals came from a quintet of school girls during a far more innocent time.

Available on the album ‘Hauptsache Ich – Retrospektive 1981-2014’ via Bureau B

https://www.facebook.com/andreasdorau/

FOX Electro People (1981)

FOX were Kenny Young and kooky Australian singer Noosha Fox. They had numerous hits like ‘S-S-S-Single Bed’ but disbanded in 1977. The pair reunited for ‘Electro People’, written as the theme music for ‘The Kenny Everett Show’ which came over like a quirky Middle Eastern flavoured synthpop take on ALTERED IMAGES in a tribute to Synth Britannia; altogether now: “Ultra-Human-Depeche Mode-Tubeway-Kraftwerk-Soft-Manoeuvres-Gary-Orchestal-Army-Duran-League”!

Available on the album ‘Images ’74-’84’ via Cherry Red

https://www.discogs.com/artist/356308-Fox-3

IPPU DO Time Of The Season (1981)

The success of the band JAPAN gave a number of opportunities for Japanese musicians to show off their talents. One was Masami Tsuchiya of IPPU DO whose eccentric wailing guitar style coupled with German electronic influences caught the attention of David Sylvian who invited him to join JAPAN for their final tour. ‘Time Of The Season’ is a brilliant pentatonic take on the old ZOMBIES hit with mad warbling vocals and frantic percussion to produce a startlingly original cover version.

Available on the album ‘Essence: The Best of’ via Sony Music Japan

http://lifeintokyo.net/familytree_tsuchiya.html

MATHÉMATIQUES MODERNES Disco Rough (1981)

Comprising of Claude Arto and Edwige Belmore, the pair emerged from the Parisian club scene with their arty nouveau music. On ‘Disco Rough’, pulsing synths and staccato vocals were punctuated by unusual stabs of sax. Their only album ‘Les Visiteurs Du Soir’ fused filmic strings and brass sections with electronic backing and baroque melodies. Sadly both Arto and Belmore have passed away, but have left their mark via Gallic tinged duos STEREO TOTAL.

Available on the album ‘Les Visiteurs Du Soir’ via Celluloid Records

https://www.discogs.com/artist/45920-Mathématiques-Modernes

JAH WOBBLE, JAKI LIEBEZEIT & HOLGER CZUKAY How Much Are They? (1981)

Although dominated by PUBLIC IMAGE LIMITED refugee Wobble’s full-on bass, his icy synth flourishes alongside Czukay’s chattering beatbox and Dictaphone were essentials to the wonderful machine dub of ‘How Much Are They?’ while Liebezeit added some abstract avant garde trumpet. Originally featuring on the ‘Trench Warfare’ EP, the music was dedicated to JOY DIVISION’s Ian Curtis and a fitting instrumental celebration of his enigmatic aura.

Available on the album ’12” 80s Alternative’ (V/A) via UMC

http://jahwobble.com/

http://www.czukay.com/

E.M.A.K. Filmmusik (1982)

E.M.A.K. stands for Elektronische Musik Aus Köln and was a technology based sound project by Kurt Mill and Matthias Becker using a similar visual aesthetic to NEU! Using strict motorik rhythm programming and incessant pulsing sequences, ‘Filmmusik’ was a fine example of the instrumental blueprint of Michael Rother and Klaus Dinger synthesized for the new decade. This template was later borrowed by SIMPLE MINDS on ‘Androgyny’ and ORBITAL on ‘Pants’.

Available on the album ‘A Synthetic History Of’ via Soul Jazz Records

http://www.discogs.com/artist/EMAK

PETER GODWIN Images Of Heaven (1982)

A member of the group METRO, Peter Godwin was well placed for success as a regular visitor to The Blitz Club and mate of MIDGE URE who produced his debut solo single ‘Torch Songs For The Heroine’. ‘Images Of Heaven’ was a big potential hit single with chunky synths and dominant Simmons drums from ULTRAVOX’s Warren Cann. Despite not reaching the charts, Godwin had his bank balance enhanced in 1983 when David Bowie covered his song ‘Criminal World’ on the ‘Let’s Dance’ album.

Available on the album ‘Images of Heaven’ via Phoenix Recordings

http://www.facebook.com/PeterGodwinFans

IGNATIUS JONES Like A Ghost (1982)

Despite Australian Top 5 success in JIMMY & THE BOYS, Ignatius Jones went solo and released ‘Like A Ghost’. Like Gary Numan lost in the Outback, the song was written by Steve Kilbey of THE CHURCH whose ‘Walking Under The Milky Way’ appeared on the ‘Donnie Darko’ soundtrack. He also recorded a cover of Jules Shear’s ‘Whispering Your Name’ which was a hit for Alison Moyet in 1994. Latterly, Jones directed the closing ceremony of the 2000 Sydney Olympics.

Originally released as a single by WEA Records, currently unavailable

http://www.discogs.com/artist/Ignatius+Jones

LEISURE PROCESS Love Cascade (1982)

Featuring Ross Middleton and Gary Barnacle with production by Martin Rushent, ‘Love Cascade’ is the missing link between PETE SHELLEY and THE HUMAN LEAGUE. The vocals are virtually unintelligible as the clattering LinnDrum, pulsing synths, squawky guitar and sax merge together for a cool dancefloor friendly tune that’s full of the decadent spirit of the times. LEISURE PROCESS released three more singles on Epic Records before splitting.

12 inch version available on the album ‘Retro: Active Vol 5’ (V/A) via Hi-Bias Records Canada

http://www.discogs.com/artist/Leisure+Process

POEME ELECTRONIQUE The Echoes Fade (1982)

The project of David Hewson, POEME ELECTRONIQUE was very much a family affair, as it also involved brother Les Hewson plus cousins Julie Ruler and Sharon Abbott. The spacey synthpop coupled to a vocal template crossing Grace Jones and ABBA caught the ear of John Peel. Returning in 2007, the material they recorded back in the day was finally issued, while members of the combo also appeared as part of Anglo-German collective TWINS NATALIA.

Available on the album ‘The Echoes Fade’ via Hwesonics

http://www.poeme-electronique.com/

SANDII &THE SUNSETZ Living On The Front Line (1982)

Another Japanese act who got a leg up from David Sylvian was the beautifully voluptuous Sandii O’Neale and her band of men THE SUNSETZ whose first album together ‘Heat Scale’ was produced by Haruomi Hosono of YELLOW MAGIC ORCHESTRA. Opening for JAPAN on their final tour in 1982, this dreamily percussive ditty featured Sylvian’s lyrics and vocals; when he harmonised with Sandii’s Kate Bush-like tones, it was the ultimate marriage of West and East, both wonderfully cultured and coutured!

Available on the album ‘Immigrants’ via Alfa Records Japan

http://www.sandii.info

BOX OF TOYS I’m Thinking Of You Now (1983)

Like a cross between their Merseyside neighbours OMD and CHINA CRISIS, BOX OF TOYS were mix of synths and woodwinds with a prominent percussive attack. The majestic vocals have almost an English choir boy quality and dominate the track. A strange romantic warmth comes across with images of meadows, forests and blue skies. Its moody follow up ‘Precious In The Pearl’ almost 34 years on now sounds like the prototype version of MIRRORS!

Originally released as a single by Inevitable Records, currently unavailable

http://music-isms.blogspot.com/2008/01/box-of-toys-3d-light-1982-1986.html

CARE My Boyish Days (1983)

When THE WILD SWANS split, two thirds formed THE LOTUS EATERS while its singer Paul Simpson teamed up with producer Ian Broudie. Combining strummed acoustic guitars with strong synthesizer melodies and melancholic vocals, ‘My Boyish Days’ had a very traditional feel despite the incumbent technology. But the duo split before their debut album was completed. Simpson reformed THE WILD SWANS while Broudie became THE LIGHTNING SEEDS.

12 inch version available on the album ‘Diamonds & Emeralds’ via Camden/BMG Records

http://music-isms.blogspot.com/2007/12/care-singles-1983-1984.html

ENDGAMES Love Cares (1983)

The success of ABC and HEAVEN 17 heralded a new age of technologically enhanced blue-eyed soul. One band with aspirations in that field were ENDGAMES. The Glawegian combo had European support slots with Howard Jones and EURYTHMICS. ‘Love Cares’ was like a funky CHINA CRISIS walking into the recording of ‘The Lexicon Of Love’. By coincidence, singer David Rudden had a passing resemblance to CHINA CRISIS’ Gary Daly!

Originally released as a single on Virgin Records, currently unavailable

https://www.discogs.com/artist/50709-Endgames

MATT FRETTON It’s So High (1983)

Fans of DEPECHE MODE’s post Vince Clarke pop period may remember a skinny lad in a pink suit who was their support act through 1983 to 1984. ‘It’s So High’ was a catchy tune 6/8 time featuring a strong synth bassline, big band brass and backing vocals by Eddi Reader. Alas, Fretton was dropped by Chrysalis despite getting a Smash Hits front cover. He became a classical music promoter, but sadly took his own life in 2013 following the tragic passing of his partner Sussie Ahlburg.

Originally released as a single by Chrysalis Records, currently unavailable

https://www.discogs.com/artist/86051-Matt-Fretton

INDIANS IN MOSCOW Miranda (1983)

Led by the vivacious Adele Nozdar, INDIANS IN MOSCOW were a kind of TRANSVISION VAMP with synths. ‘Miranda’ was a macabre tale about a psychotic girl murdering her criminally minded father. A crisp production came from Nigel Gray who worked with THE POLICE and SIOUXSIE & THE BANSHEES. An irritating-to-the-point-of-catchy synth portamento combined with Adele’s ghoulish scream provided a unique if polarising take on electronic pop.

Available on the album ‘Indians in Moscow’ via Planet Of Sound

http://www.indiansinmoscow.com

THE LOTUS EATERS You Don’t Need Someone New (1983)

‘You Don’t Need Someone New’ was neither a hit nor originally included on THE LOTUS EATERS’ debut album ‘Sense Of Sin’. More synth dominated than ‘The First Picture of You’, it was produced by Alan Tarney who went on to work his magic on A-HA’s ‘Take On Me’ and ‘The Sun Always Shines On TV’. With hints of CHINA CRISIS, this was wonderfully light and even came in a picture disc with a real flower pressed into it! But the band wanted a purer sound and dropped Tarney as producer.

Available on the album ‘No Sense Of Sin’ via Cherry Red Records

http://thelotuseaters.com/

MARTHA Light Years From Love (1983)

The stunning Martha Ladly was more than just a pretty face; she was a musician, vocalist, artist and designer. Following her stints with MARTHA & THE MUFFINS, ASSOCIATES and doing paintings for Peter Saville’s NEW ORDER sleeve artwork, she teamed up with fellow Canadian Brett Wickens on this charming pop tune that echoed THE HUMAN LEAGUE’s ‘Open Your Heart’. Peter Hook provided his distinctive melodic six-string bass and dynamic production came from Steve Nye.

Originally released as a single by Island Records, currently unavailable

http://samemistakesmusic.blogspot.com/2009/01/charmed-life-of-martha-ladly_22.html

RATIONAL YOUTH Holiday In Bangkok (1983)

The classic RATIONAL YOUTH line-up of Tracy Howe, Bill Vorn and Kevin Komoda gained acclaim for their 1982 debut album ‘Cold War Night Life’, which became one of the biggest-selling Canadian independent albums at the time and secured a deal with Capitol Records. However, Vorn left to continute his university studies, but contributed synth programming to this typically overwrought warning about the dangers of drug running.

Originally released on the EP ‘Rational Youth’ by Capitol Records, re-recorded version available on the album ‘Heredity’ via Capitol Records

https://rational-youth.com/

SEONA DANCING More To Lose (1983)

Pre-fame Ricky Gervais with his university pal Bill McRae came up with a pretentious name, donned New Romantic togs and delivered the kind of stereotypical synthpop that was being satirised by ‘Not The Nine O’Clock News’. While it’s not exactly the most original work of the period, it fared well in the tuneage department and became a cult favourite in The Philippines! Comedian Paul Merton later sarcastically remarked to Gervais on ‘Room 101’: “David Bowie’s nicked all your stuff!”

Extended Mix available on the album ‘Retro: Active Vol 5’ (V/A) via Hi-Bias Canada

http://www.rickygervais.com/

S.P.K. Metal Dance (1983)

‘Blue Monday’ met EINSTÜRZE NEUBAUTEN in this electronic metal bashing extravaganza featuring vocals by Sinan Leong. Robotic sequencers and found objects were both equally prominent in the mix of ‘Metal Dance’. Much more musical than their German counterparts, this group of Aussies named after the radical Marxist group Sozialistisches Patientenkollektiv provided a danceable interpretation of musique concrete and collapsing new buildings. Stark and scary!

Available on the album ‘Trevor Jackson Presents Metal Dance’ (V/A) via Strut Records

https://www.facebook.com/SPKindustrial/

EYELESS IN GAZA Sunbursts In (1984)

Nuneaton’s artful musical duo of Martyn Bates and Peter Becker described their music as “veering crazily from filmic ambiance to rock and pop, industrial funk to avant-folk styles”. Always more of a cult proposition, ‘Sunbursts In’ was EYELESS IN GAZA’s most commercial offering, sounding like a cross between prime TEARS FOR FEARS and OMD. A synthetic brass riff compliments a strong if nasally vocal, driven by a stuttering drum machine sound.

Available on the album ‘The Cherry Red Vintage Collection’ on Cherry Red Records

http://www.eyelessingaza.com

THOMAS LEER International – Global Mix (1984)

Leer was a reluctant electro pioneer who first came to prominence in 1978 with ‘Private Plane’. A song called ‘International’ was its B-side but this was a completely different composition altogether. ‘International’ appeared to be a pleasant song about jetsetting, but was actually a social commentary about the trafficking heroin across the continents, telling of “travelling across the world, selling it to boys and girls… a secret compartment holds the Chinese white”.

Available on the album: ‘Scale Of Ten’ via BMG Records

http://www.thomasleer.co.uk/

BILL NELSON Acceleration – US Remix (1984)

The former BE BOP DELUXE guitarist took an early interest in synths and drum machines after going solo and while he always had the legacy of David Bowie hanging over him, he was a fine exponent of the E-Bow. This allowed solos to merge in with electronics without standing out in a clichéd rockist manner. ‘Acceleration’ was his energetic flirtation with the dancefloor and benefited from this US remix by John Luongo.

Available on the album ‘Chimera’ via UMC

http://www.billnelson.com

VITAMIN Z Circus Ring (1985)

TEARS FOR FEARS and A FLOCK OF SEAGULLS had demonstrated that a rock guitar oriented sound seasoned by modern electronics could do wonders across the Atlantic on MTV. Sheffield’s VITAMIN Z were one of the bands who showed some spark, ‘Circus Ring’ sounding like a cross between TEARS FOR FEARS and ICEHOUSE. A support slot with Midge Ure raised hopes of success but it was not to be. However, vocalist Geoff Barradale now manages ARCTIC MONKEYS!

Available on the album ‘Rites Of Passage’ via Renaissance Records USA

http://pages.interlog.com/%7Edolphind/vitz.html

PSYCHE The Saint Became A Lush (1986)

Hailing from Ontario, darkwavers PSYCHE comprised of brothers Darrin and Stephen Huss who were one of the main trailblazers for independent electronic music in North America. The magnificent sweeping blip drama of ‘The Saint Became A Lush’ was probably the pinnacle of their creative partnership with a suitably detached vocal performance from the older sibling. Stephen sadly passed away in 2015 but Darrin Huss, now based in Germany, continues as PSYCHE with Stefan Rabura.

Available on the album ‘Unveiling The Secret’ via Artoffact Records

http://www.psyche-hq.de/

TWO PEOPLE Heaven (1987)

An earlier single ‘Mouth Of An Angel’ had been produced by Martin Rushent, but TWO PEOPLE’s sound was more typical of a conventional duo dressed with synths like CHINA CRISIS. ‘Heaven’ sounded like THE LOTUS EATERS fused with THE TEARDROP EXPLODES. With punchy brass, aspirational lyrics and modern production by Chris Porter, this was a perfect pop song in anyone’s ears but failed to catch the imagination of the record buying public despite radio airplay.

Originally released as a single by Polydor Records, currently unavailable

http://www.discogs.com/artist/Two+People

WHEN IN ROME The Promise (1988)

WHEN IN ROME were vocalists Clive Farrington and Andrew Mann with keyboardist Michael Floreale. The oddly styled trio’s ‘The Promise’ was a glorious cross between ULTRAVOX and THE WALKER BROTHERS. It failed to gain a UK chart foothold, but was used in the 2004 cult movie ‘Napoleon Dynamite’. However, the renewed interest only heightened tensions between the estranged vocal and instrumental factions, with each laying claim to the name…

Available on the album ‘When In Rome’ via Virgin Records

https://www.facebook.com/FarringtonMannUK/

http://wheninrome2.com/

Text by Chi Ming Lai
14th September 2017

A Beginner’s Guide To JORI HULKKONEN

26 August 2017 / electricityclub

Jori Hulkkonen is one of Europe’s most highly regarded electronic producers, yet remains something of a hidden secret.

While a fan of synthesized music such as PET SHOP BOYS, NEW ORDER and John Foxx, Hulkkonen’s love of Detroit techno and house music has brought a rhythmical edge to his many productions and remixes. Hulkkonen released his first album ‘Selkäsaari Tracks’ in 1996, but he first came to the world’s wider attention as ZYNTHERIUS with TIGA on their 2001 electro cover of ‘Sunglasses At Night’.

As well as solo long players such as 2010’s acclaimed ‘Man From Earth’ and collaborative projects like KEBACID, STOP MODERNISTS, PROCESSORY, SIN COS TAN and THE TANIA & JORI CONTINENTS, he has DJ-ed around the world, presented his own radio shows and remixed artists as diverse as Robyn, Kid Cudi and Joe Jackson.

Born in the small town of Kemi, he had The Cold War, the Inari missile-incident and the Tschernobyl disaster right next door, but Hulkkonen found his aesthetics for escapism from the ever-so-imminent nuclear war in electronic music.

Based in Turku on the southwest coast of Finland, Hulkkonen recently downsized the amount of hardware in his AlppIVhouz Studios, although he still retains a Korg PS3100, Emulator II, Roland Jupiter 4, Roland SH101, Roland TR808, Roland TB303, Siel Orchestra and the ubiquitous Eurorack Modular system.

Always up for the odd spot of artistic mischief, he assembled THE ACID SYMPHONY ORCHESTRA, an experimental avant-garde techno ensemble of nine fellow conspirators each controlling a Roland TB-303, conducted and mixed by Hulkkonen; the collective famously supported KRAFTWERK on their Helsinki date in 2009.

More recently, Hulkkonen has teamed up with fellow Finn Jimi Tenor for a touring presentation of their silent art movie ‘Nuntius’. Starring Mr Normall as its central alien character, it features a live improvised soundtrack ranging from blippy ambient to frantic motorik; none of the music is to be released. So with each performance being unique, ‘Nuntius’ provides a cerebral audio / visual experience for who are able to witness it.

With such a varied catalogue of work and projects, ELECTRICITYCLUB.CO.UK looks back at the career of Jori Hulkkonen in the shape of this eighteen track Beginner’s Guide, arranged in chronological order and with a restriction of one track per album / project…

TIGA & ZYNTHERIUS Sunglasses At Night (2001)

This Corey Hart cover was adopted by the Electroclash movement and came about when Hulkkonen was in Montreal promoting his ‘Helsinki Mix Sessions’ CD released on TIGA’s Turbo label. “The synthline just felt very cool to use with the 808 beat” he said, “I’m glad I used a pseudonym for that release as even though I loved a lot of the music that was around and connected with Electroclash, the whole scene felt a bit distant to me.”

Available on the TIGA & ZYNTHERIUS single ‘Sunglasses At Night’ via City Rockers / International Deejay Gigolo Records

http://tiga.ca/

JORI HULKKONEN featuring JOHN FOXX Dislocated (2005)

“’Metamatic’ is one of my all-time favourite albums” said Hulkkonen, “and for me it was a fantastic opportunity to get a chance to work with one of the people who had shaped my musical world. ‘Dislocated’ was written by me, with John and the sound of ‘Metamatic’ in mind”. It sounded like what the title suggested and the pair worked together again in more collaborative manner in 2008 on ‘Never Been Here Before’; it wouldn’t be for the final time either…

Available on the JORI HULKKONEN album ‘Dualizm’ via F Recordings

http://www.metamatic.com/

TIGA High School (2006)

Work had actually begun on a TIGA & ZYNTHERIUS album, but the pair both felt that keeping the project as a one hit wonder was a much cooler alternative. However, several songs from those recording sessions ended up on their various solo albums, with ‘Dying In Beauty’ appearing on Hulkkonen’s ‘Dualizm’, while ‘High School’ with its hypnotic synth sequence and latent machine groove found a home on Tiga’s debut long player ‘Sexor’.

Available on the TIGA album ‘Sexor’ via PIAS

https://twitter.com/tiga

JORI HULKKONEN featuring JUSTINE ELECTRA Errare Machinale Est (2008)

2008 could be considered Hulkkonen’s Down Under phase and for the title track of his sixth solo record, he recruited Electra, a Melbourne-based singer / songwriter / musician / DJ to add her wispy nonchalant voice to this expansive mood piece with an extended ambient intro. The track utilised grainy Emulator II strings in an aesthetic that was to become one of his trademarks. The album also featured a tune fittingly titled ‘Forgive Me Father For I Have Synth’.

Available on the JORI HULKKONEN album ‘Errare Machinale Est’ via Solina Records

https://www.facebook.com/JustineElectraOfficial/

THE PRESETS This Boy’s In Love – Jori Hulkkonen Remix (2008)

Australian duo Julian Hamilton and Kim Moyes made their international breakthrough with ‘This Boy’s In Love’, an uptempo ASSOCIATES flavoured highlight from their second album ‘Apocalypso’. Hulkkonen stretched out the track out for almost ten minutes in a beat laden squelch fest and described it as: “a 10 out of 10 remix on my standards. It’s difficult to say why but somehow everything just clicked when I was making it and it still sounds fresh”.

Available on THE PRESETS single ‘This Boy’s In Love’ via Modular Recordings

https://www.facebook.com/thepresets/

CLIENT Can You Feel – Jori Hulkkonen Remix (2009)

Co-written with one-time KILLING JOKE bassist Martin Glover aka Youth, Hulkkonen’s remix adopted a deep framework and applied a pulsing club friendly vibe to the dark cool of Client A and Client B’s Cold War Chic, while “dancing on a ticking bomb”. Growing up in Finland during that era with The Bear next door looming would have had a profound effect on Hulkkonen in shaping his soundscapes.

Available on the CLIENT album ‘Command’ via Out Of Line

https://www.facebook.com/ClientMusic/

TIGA Sex O’Clock (2009)

Like its predecessor, TIGA’s ‘Ciao’ was mostly co-produced by Belgian brothers SOULWAX, although James Murphy of LCD SOUNDSYSTEM gave a helping hand on another track originally intended for TIGA & ZYNTHERIUS. Hedonistic and sweaty like a clubby Marc Almond, Tiga however could never quite escape the DJ tag to establish himself a fully-fledged artist in his own right. Indeed, he once congratulated LADYTRON “for escaping Electroclash”.

Available on the TIGA album ‘Ciao!’ via PIAS

https://www.facebook.com/officialtiga/

JOHN FOXX & LOUIS GORDON Neuro Video – Jori Hulkkonen Remix (2010)

‘Neuro Video’ came out of Foxx and Gordon’s ‘From Trash’ recording sessions and reflected Foxx’s known love of old science-fiction B-Movies which had influenced much of earlier solo work. For his remix, Hulkkonen stripped the track down and made it less percussively frantic, procuring a spacious groove for the bubbling electronics to work within. This remix and another of ‘Impossible’ were originally made available as a free download via Foxx’s Metamatic web platform.

Available on the JOHN FOXX & LOUIS GORDON album ‘Sideways’ via Metamatic Records

https://www.facebook.com/johnfoxxmetamatic/

VILLA NAH Ways To Be (2010)

Hailing from East Helsinki, Juho Paalosmaa and Tomi Hyyppä’s superb debut album ‘Origin’ was co-produced by Hulkkonen. He said at the time: “The guys had written a lot of songs in the previous couple of years, so someone outside their songwriting duo having a fresh pair of ears was crucial in picking a group of songs that would make a good album… They have a lot going on for them though; great songwriting, a very good debut album to build on and definitely not least, Juho’s magical voice”.

Available on the VILLA NAH album ‘Origin’ via Keys Of Life

https://www.facebook.com/villanah/

PROCESSORY Take Me To Your Leader (2011)

“We were both going through on a very deep phase with THE SMITHS” said Hulkkonen of ‘Lo-Fiction’, his first collaboration with reclusive vocalist Jerry Valuri in 2005. With their ambitious joint project PROCESSORY, the aim was “to create its own little universe” with various space travel themed concepts. With a lo-fi anguished gothique, ‘Take Me To Your Leader’ concocted some very introspective moods at The Finland Station… however, nothing has been proved.

Available on the PROCESSORY album ‘Change Is Gradual’ via Sugarcane Recordings

https://www.facebook.com/Processory/

STOP MODERNISTS feat CHRIS LOWE Subculture (2011)

A cover of the lost NEW ORDER single from 1985, Hulkkonen remembered: “The idea was to take what me and STOP MODERNISTS partner Alex Nieminen felt was an underrated song, make a late 80s deep house interpretation and bring some extra twist with having Chris on the vocals. It’s very hard – impossible, actually – to explain how important this record is to me. PET SHOP BOYS have been the most important musical influence for me”.

Available on the STOP MODERNISTS single ‘Subculture’ via Keys Of Life

https://www.facebook.com/stopmodernists

SIN COS TAN Trust (2012)

When VILLA NAH went on hiatus, Hulkkonen and Paalosmaa formed SIN COS TAN. Explaining the difference, Paalosmaa said: ”With VILLA NAH, I’ve been solely responsible for the songwriting, so I knew that would be different with SIN COS TAN. With Jori, we both bring our ideas to the table”. Very nocturnal in tone, ‘Trust’ was a superb 21st Century answer to ‘Enjoy The Silence’, described by Hulkkonen as “Disco You Can Cry To”. Indeed, like that iconic tune, ‘Trust’ had been written as a ballad.

Available on the SIN COS TAN album ‘Sin Cos Tan’ via Solina Records

http://solinarecords.com/sincostan/

BILLY MACKENZIE Boltimoore – Original JiiHoo Bootmix (2012)

The magnificent voice of Billy Mackenzie from his stark cover of Randy Newman’s ‘Baltimore’ was flown into a hypnotic tech house bootleg constructed by Hulkkonen. With deliberate incorrect spelling of our hero’s name to mask its illegal nature, it was a haunting ghostly return from the heavens to the dancefloor. Mackenzie would have loved it and had he been alive today, he would have almost certainly been working with Hulkkonen; what magic that would have been…

Available on the 12” vinyl release ‘Boltimoore’ via Kojak Giant Sounds

http://www.billymackenzie.com/

JOHN FOXX & JORI HULKKONEN Evangeline (2013)

Despite their collaborations, Foxx and Hulkkonen had never worked together on a body of work with a conceptual theme, but the opportunity came with the ‘European Splendour’ EP. Using the grainier downtempo template of PROCESSORY, ‘Evangeline’ was full of depth. Coupled with an anthemic chorus and vibrant exchange of character throughout, this rousing yet soothingly futuristic number was quite otherworldly.

Available on the JOHN FOXX & JORI HULKKONEN EP ‘European Splendour’ via Sugarcane Recordings

https://twitter.com/jorihulkkonen

SIN COS TAN featuring CASEY SPOONER Avant Garde (2013)

Hulkkonen first found fame during the Electroclash era and a noted personality from that scene made an appearance on the second SIN COS TAN album ‘Afterlife’. ‘Avant Garde’ featured Casey Spooner who provided a suitably cynical snarl to contrast Paalosmaa’s lost boy cry on a track that sounded like THE CURE being produced by PET SHOP BOYS. Paalosmaa was particularly thrilled, saying “I’ve been a big FISCHERSPOONER fan since their debut in 2001, so it was a very cool honour”.

Available on the SIN COS TAN album ‘Afterlife’ via Solina Records

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

JORI HULKKONEN Italian Love Affair (2015)

A brilliant slice of uptempo electronic pop with more than just a hint of Giorgio Moroder and NEW ORDER, ‘Italian Love Affair’ was Italo Disco laced with a soaring vocal and a fabulous neon lit groove. Despite having shied away from singing throughout the majority of his career, Hulkkonen took on vocals himself on this highlight from his ninth solo album, with the end result sounding not unlike a cross between Jerry Valuri and Juho Paalosmaa.

Available on the JORI HULKKONEN album ‘Oh But I Am’ via My Favorite Robot Records

https://www.facebook.com/JoriHulkkonen/

FEELS If You’d Meet Me Tonight – Jori Hulkkonen Remix (2016)

FEELS are a Helsinki based indietronica band comprising of Sofi Meronen, Mikael Myrskog and Jooel Jons; when Hulkkonen saw them band play live in Turku, he became a fan and asked if he could work on their material. Speeded up considerably and pracatically changing the entire character of the song, his remix of ‘If You’d Meet Me Tonight’ was highly danceable, but still retained the trio’s glorious Nordic melancholy for some more of that “Disco You Can Cry To”.

Available as a free download via https://soundcloud.com/feelsfeels/if-youd-meet-me-tonight-jori-hulkkonen-remix

http://www.feelsfeels.com/

VILLA NAH Stranger (2016)

VILLA NAH unexpectedly returned after six years and Hulkkonen was there to assist again as co-producer. Of the magnificent track with which they returned, Paalosmaa said: “‘Stranger’ is a play on words; how somebody you’ve known can turn stranger over the span of time… and end up as a complete stranger in the process”. This was classic crystalline synthpop with a modern twist at its best, in a fine juxtaposition of swirling arpeggios and melodic tension.

Available on the VILLA NAH album ‘Ultima’ via Solina Records

https://twitter.com/villanah

JORI HULKKONEN Tintån Terdel (2017)

Hulkkonen has released several EPs and singles over the last couple of years in the build-up to a new long player, while a new single ‘Don’t Believe In Happiness’ is set to be unleashed. A cinematic synth wave instrumental with a dripping percussive template, ‘Tintån Terdel’ signals a possible future in film work. It’s an avenue already being explored by himself and Jimi Tenor in a live context via the unique presentations of their silent Sci-Fi movie ‘Nuntius’.

Available on the JORI HULKKONEN EP ‘I Am The Night’ / ‘Tintån Terdel’ via My Favorite Robot Records

https://soundcloud.com/theofficialjorihulkkonen/

Text by Chi Ming Lai with thanks to Tapio Normall
26th August 2017

A Beginner’s Guide To MIDGE URE

15 August 2017 / electricityclub

Midge Ure needs no introduction as one of the UK’s most highly regarded songwriters and musicians.

Best known for his involvement in ULTRAVOX’s ‘Vienna’, voted “the UK’s favourite No2 of all time” in a BBC Radio2 poll in 2013, the diminutive Glaswegian first found fame as the front man of SLIK. Their single ‘Forever & Ever’ became a UK No1 in 1975 and turned Ure briefly into a teen idol while the band had their own comic strip in Look-In magazine.

Luckily, SLIK could play their instruments and write their own material so in 1977 under the name PVC2, they released ‘Put You In The Picture’ on Zoom Records, a punkish single that sold more than anything by SIMPLE MINDS during their tenure on the label.

Having become fascinated by KRAFTWERK when they hit the UK charts with ‘Autobahn’ in 1975, he purchased his first synth, a Yamaha CS50 in 1977. So when Ure joined RICH KIDS and met drummer Rusty Egan, it was to change the course of his career when he subsequently founded VISAGE and joined ULTRAVOX.

VISAGE had been started in 1978 by Ure and Egan as a project to make up for the shortage of suitable European styled electronic dance music to play at The Blitz Club where the latter was the resident DJ. Needing a front man, they turned its doorman Steve Strange to act as Pied Piper to the colourful clientele who were later to be dubbed the New Romantics. Ure would subsequently help to deliver the movement’s signature song ‘Fade To Grey’.

Others involved in VISAGE included MAGAZINE’s John McGeoch, Dave Formula and Barry Adamson but also crucially Billy Currie, taking a break to heal his wounds from a recently fragmented ULTRAVOX following the departure of leader John Foxx. At the suggestion of Egan, Ure joined the band and the rest is history.

Photo by Brian Griffin

The classic ULTRAVOX line-up of Ure, Billy Currie, Chris Cross and Warren Cann had a run of twelve consecutive Top 40 hits singles in the UK before they imploded due to good old fashioned musical and personal differences, in the wake of Ure’s parallel solo career and his charity work with the Band Aid Trust.

But Ure was always been happiest in the studio and during his first ULTRAVOX phase, he also produced tracks for FATAL CHARM, MODERN MAN and MESSENGERS as well as Ronny, Phil Lynott and Peter Godwin, all while working on the second VISAGE album ‘The Anvil’.

The last ten years have been particularly busy for Ure. A regular on the live circuit with his endearingly intimate acoustic gigs featuring career highlights in stripped back form, he also undertook a number of key musical collaborations with European producers. But his most high profile project was the reformation of the classic ULTRAVOX line-up in 2009.

Following the winding down of ULTRAVOX after an arena tour opening for SIMPLE MINDS in late 2013, Ure returned to the acoustic format for two live tours backed by INDIA ELECTRIC CO. But Autumn 2017 sees Ure returning to synthesizers and electric guitars with his BAND ELECTRONICA tour.

He said on his website: “I want to revisit some material that I’ve not really been able to perform with the recent acoustic line-up, so you can expect to hear songs that haven’t been aired for a while as well as the classics and a couple of surprises! I’ve really enjoyed touring with a band and now I want to expand back to a four piece and return to a more electronic based format”

With that in mind, here is a look back at the career of Midge Ure and his great adventure in electronic music via this twenty track Beginner’s Guide, arranged in chronological order and with a restriction of one track per album / project…

RICH KIDS Marching Men (1978)

Ousted from THE SEX PISTOLS, Glen Matlock offered Ure a place in his new power-pop combo RICH KIDS. An anti-Fascist anthem produced by the late Mick Ronson, ‘Marching Men’ was notable for Ure’s first use of his Yamaha CS50 on a recording, much to the dismay of Matlock. The band imploded with Matlock and Steve New thinking guitars were the way to go, while Ure and Rusty Egan felt it was electronics.

Available on the RICH KIDS album ‘Ghosts Of Princes In Towers’ via EMI Music

http://www.glenmatlock.com/

VISAGE Tar (1979)

The first VISAGE demo of ‘In The Year 2525’ attracted the attention of producer Martin Rushent who wanted to release the collective’s music via his Genetic imprint through Radar Records. ‘Tar’ was a cautionary tale about smoking dominated by John McGeoch’s sax and Billy Currie’s ARP Odyssey. Alas, Radar Records had funding pulled from its parent company Warners just as the single was released, stalling any potential it had.

Available on the VISAGE album ‘Visage’ via Spectrum

http://www.therealvisage.com/

ULTRAVOX All Stood Still (1980)

It was testament to Conny Plank’s faith in the band that he continued to work with ULTRAVOX after John Foxx left. On ‘All Stood Still’, Ure put his live experience with THIN LIZZY to good use on this barrage of synth heavy metal about a nuclear holocaust. Driven by Chris Cross’ triggered Minimoog bass and Warren Cann’s powerhouse drums, the interplay between Ure’s guitar and Currie’s ARP Odyssey was awesome.

Available on the ULTRAVOX album ‘Vienna’ via EMI Music

http://www.ultravox.org.uk/

FATAL CHARM Paris (1981)

Nottingham combo FATAL CHARM supported ULTRAVOX and OMD in 1980. Their excellent first single ‘Paris’ was produced by Ure and their sound could be seen reflecting the synth flavoured new wave template of the period. Singer Sarah Simmonds’ feisty passion gave a freshly charged sexual ambiguity to the long distance love story written in the days before the Channel Tunnel. Instrumentalist Paul Arnall said: “We were able to use Midge’s Yamaha synth which gave it his sound”.

Available on the FATAL CHARM album ‘Plastic’ via Fatal Charm

http://fatalcharm.co.uk/

PHIL LYNOTT Yellow Pearl – Remix (1981)

German music formed a large part of the music at The Blitz Club and even Irish rocker Phil Lynott frequented it. ‘Yellow Pearl’ was a LA DÜSSELDORF inspired co-composition with Ure, while Rusty Egan later played drums on the remix which became the ‘Top Of The Pops’ theme. A VISAGE track in all but name, ‘Yellow Pearl’ was so draped in the involvement of Ure and Egan that it was almost forgotten that this was the frontman of THIN LIZZY!

Available on the THIN LIZZY album ‘Greatest Hits’ via Universal Music

http://www.thinlizzy.org/phil.html

ULTRAVOX The Voice (1981)

Co-produced by Conny Plank, with the Motorik thrust of NEU! and a marvellous symphonic pomp, ‘The Voice’ highlighted the creative tension that had now emerged between Ure and Chris Cross on one side, and Billy Currie on the other. Characterised by the swimmy Yamaha SS30 string machine, a magnificent ARP Odyssey solo and piano run was the icing on the cake. The song took on a life of its own in a concert setting with an extended closing percussive barrage.

Available on the ULTRAVOX album ‘Rage In Eden’ via EMI Records

https://www.facebook.com/UltravoxUK/

VISAGE The Damned Don’t Cry (1982)

It seemed business as usual with the second album ‘The Anvil’ and its launch single ‘The Damned Don’t Cry’. Very much in the vein of ‘Fade To Grey’, it was full of synthesized European romanticism. But with Steve Strange and Rusty Egan now finding success with their club ventures and ULTRAVOX becoming ever more popular, it was unsurprising that ‘The Anvil’ lacked the focus of its predecessor. Internally, things had gone awry and tensions with Egan led to Ure bidding adieu to VISAGE.

Available on the VISAGE album ‘The Anvil’ via Rubellan Remasters

https://www.facebook.com/therealvisage/

MIDGE URE & CHRIS CROSS Rivets (1982 – released 1984)

Midge Ure and Chris Cross’ involvement in ‘Rivets’ came about when Levi’s® were about to launch their expensive new TV advertisment… an executive, unhappy with the soundtrack shouted “What we need on there is ‘Vienna’”! The campaign was a successful one and Ure was commissioned to submit music for the next commercial entitled ‘Threads’; however his ’633 Squadron’ inspired electronic tune was subjected to demands for rewrites by the paymasters so tired of the politics, Ure withdrew the track… that piece of music became ‘Love’s Great Adventure’. Levi’s® sponsored ULTRAVOX’s ‘Set Movements’ tour and ‘Rivets’ was part of a cassette that came with the souvenir programme!

Originally released on ULTRAVOX ‘Set Movements 1984 Interview’ cassette, currently unavailable

https://twitter.com/CCrossky

MIDGE URE & MICK KARN After A Fashion (1983)

‘After A Fashion’ was a blistering sonic salvo that crossed the best of JAPAN’s rhythmical art muzak with ULTRAVOX’s ‘The Thin Wall’. However, it stalled at No39 in the UK singles charts and sadly, there was to be no album. But Mick Karn later played on ‘Remembrance Day’ in 1988 and Ure briefly joined JBK, the band formally known as JAPAN sans David Sylvian for an aborted project in 1992. Sadly Karn passed away in 2011 after losing his battle against cancer.

Available on the MIDGE URE album ‘No Regrets’ via EMI Gold

http://mickkarn.net/

MESSENGERS I Turn In (1983)

Glaswegian duo MESSENGERS were Danny Mitchell and Colin King whose only album ‘Concrete Scheme’ as MODERN MAN in 1980 was produced by Ure. The pair toured with ULTRAVOX as support during the ‘Quartet’ tour, as well as joining them on stage to augment their live sound. MESSENGERS’ debut single ‘I Turn In (To You)’ was also produced by Ure but criticised for being ULTRAVOX lite, although the song held its own with its dramatic widescreen passages.

Originally released as a single via Musicfest, currently unavailable

http://www.discog.info/modern-man-messengers.html

ULTRAVOX Man Of Two Worlds (1984)

An electro Celtic melodrama in four and a half minutes, the magnificent ‘Man Of Two Worlds’ was the highlight from ULTRAVOX’s self-produced ‘Lament’ long player. Featuring an eerie female Gaelic vocal from Stock Aitken & Waterman backing vocalist Mae McKenna, the doomed romantic novel imagery capturing a feeling of solitude with haunting synths, programmed Motorik rhythms and manual funk syncopation was an unusual template, even for the period.

Available on the ULTRAVOX album ‘Lament’ via EMI Music

https://twitter.com/UltravoxUK

MIDGE URE If I Was (1985)

‘No Regrets’ had been a big solo hit in 1982 so with ULTRAVOX on break, Ure took a busman’s holiday and recorded his first solo album ‘The Gift’. A song demoed by Danny Mitchell of MESSENGERS for their aborted long player, while there was a big anthemic chorus and vibrant string synth interludes, ‘If I Was’ was a very different beast from ULTRAVOX in that this was a love song. Featuring LEVEL 42’s Mark King on bass, it became a UK No1 single.

Available on the MIDGE URE album ‘The Gift’ via EMI Music

http://www.midgeure.co.uk/

MIDGE URE Man Of The World (1993 – released 1996)

Ure went back to basics with his ‘Out Alone’ tour in 1993 which featured acoustic renditions of his own songs and covers assisted by a pre-programmed keyboard. One song was Peter Green’s ‘Man of the World’, a bittersweet song about a man who has everything he wants, except love. A live recording ended up as a bonus track on the ‘Guns & Arrows’ single, but a studio version appeared on 2008’s ’10’ covers album.

Live version available on the MIDGE URE double album ‘Pure + Breathe’ via Edsel Records

https://www.facebook.com/midge.ure/

JAM & SPOON Something To Remind Me (2003)

For Jam El Mar and Mark Spoon’s attempt at a ‘pop’ album, the German dance duo featured vocals on all the tracks and among those recruited were Dolores O’Riordan of THE CRANBERRIES and SIMPLE MINDS’ Jim Kerr. For his return to full blown electronica, Midge Ure’s contribution ‘Something To Remind Me’ was big on beats. Recording coincided with the ‘Sampled Looped & Trigger Happy’ tour which saw Ure use a more technologically driven format for live shows.

Available on the JAM & SPOON album ‘Tripomatic Fairytales 3003’ via Universal Music

https://www.facebook.com/Jam-Spoon-59220848974/

X-PERIENCE Personal Heaven – Desert Dream radio mix (2007)

Thanks to his continued popularity in Germany, Ure was much in demand as a guest vocalist and was persuaded to record a song he had written with HEAVEN 17’s Glenn Gregory by dance production team X-PERIENCE. Duetting with Claudia Uhle, who provided her own sumptuous vocals to compliment the electronics and muted synthetic guitars, the punchy Desert Dream radio mix was particularly effective.

Available on the CD single ‘Personal Heaven’ via Major Records

http://www.x-perience.de/

SCHILLER Let It Rise (2010)

Named after the German poet and dramatist Friedrich Schiller, Christopher von Deylen’s domestically popular ambient electro project recruited Ure to sing on the dramatically widescreen ‘Let It Rise’; he said: “SCHILLER’s got his very own, very good and distinctive style which is much more of a laid back, trip-hop dance thing”. Ure revisited the track for his own ‘Fragile’ album in a more stripped back arrangement.

Available on the SCHILLER album ‘Atemlos’ via Universal Music

http://www.schillermusic.com/

ULTRAVOX Rise (2012)

In 2009, the impossible happened and the classic line-up of ULTRAVOX reunited for the ‘Return To Eden’ tour. Things went well enough for a new album to be recorded and writing took place at Ure’s retreat in Canada, Produced by Stephen J Lipson, several of the tracks like ‘Live’ and ‘Satellite’ recalled former glories while with this take on Giorgio Moroder, the percolating sequences and rhythmic snap of ‘Rise’ could be seen a robotic 21st Century update of ‘The Thin Wall’.

Available on the ULTRAVOX album ‘Brilliant’ via EMI Music

https://www.instagram.com/ultravoxuk/

LICHTMOND Endless Moments (2014)

LICHTMOND is an ambitious audio-visual project led by sound architects Giorgio and Martin Koppehele to “Experience Dreamlike Time”. Very progressive in its outlook with “A magic triangle of electronics, ethno and rock songs”, Ure featured on lead vocals and said on the album notes: “For me LICHTMOND is a unique combination of music, visuals and brilliant imagination. All coming together to make one great big piece of art. Enjoy it!”

Available on the LICHTMOND album ‘Days Of Eternity’ via Blu Phase Media

http://www.lichtmond.de/

MIDGE URE Become (2014)

Although Ure had been regularly touring and playing festivals, there was a gap of 14 years between the ‘Move Me’ and ‘Fragile’ long players. The ULTRAVOX reunion was the spark he needed to get his sixth solo album of original material finished. The lead single was ‘Become’, a romantic and less abrasive take on ‘After A Fashion’. With a danceable metronomic beat, it had a classic synthpop sound that Ure admitted he was “kind of harking back to early VISAGE”.

Available on the MIDGE URE album ‘Fragile’ via Hypertension ‎Music

https://twitter.com/midgeure1

RUSTY EGAN PRESENTS Glorious (2016)

‘Glorious’ not only reunited our hero with Rusty Egan but also Chris Payne who co-wrote ‘Fade To Grey’; Ure said: “I liked the music, Chris Payne and Rusty had done a great job but I didn’t think the song / melody / lyrics were strong enough… I stripped the demo down to the basic track, edited it down into a more ‘song like’ format and started working on a glorious melody. I added the main melodic synth line and layered guitars over it, ending with the ‘hopefully’ uplifting solo over the outro”.

Available on the RUSTY EGAN PRESENTS album ‘Welcome To The Dance Floor’ via Black Mosaic

http://rustyegan.net/

Midge Ure’s BAND ELECTRONICA 2017 live dates include:

Frankfurt Batschkapp (Sep 27), Munich Technikum (Sep 28), Cologne Kantine Kulturbetriebe GmbH (Sep 29), Bochum Zeche (Oct 01), Hamburg Gruenspan (Oct 03), Berlin Columbia Theater (Oct 04), Glasgow Royal Concert Hall (Oct 10), Liverpool Philharmonic Hall (Oct 11), Bournemouth Pavillion Theatre (Oct 13), Guildford G Live (Oct 14) , Milton Keynes Theatre (Oct 15), New Theatre Oxford (Oct 17), High Wycombe Swan Theatre (Oct 18), Folkestone Leas Cliff Hall (Oct 19), Skegness The Embassy (Oct 20), Edinburgh Playhouse (Oct 22), Dundee Caird Hall (Oct 23), Gateshead Sage (Oct 24), Manchester Opera House (Oct 25), Dartford Orchard (Oct 27), Basingstoke Anvil (Oct 28), Sheffield City Hall (Oct 29), Halifax Victoria Theatre (Oct 31), Buxton Opera House (Nov 01), Birmingham Town Hall (Nov 02), York Grand Opera House (Nov 03), Southport Theatre (Nov 04), Blackpool Grand Theatre (Nov 05), London Shepherds Bush Empire (Nov 07), Torquay Princess Theatre (Nov 08), Portsmouth Guildhall (Nov 09), Salisbury City Hall (Nov 10), Truro Hall for Cornwall (Nov 11), Nottingham Royal Concert Hall (Nov 14), Eastbourne Devonshire theatre (Nov 15), St Albans Arena (Nov 17)

Further information at http://www.midgeure.co.uk/shows.html

Text by Chi Ming Lai
15th August 2017

Category: Lists & Beginner’s Guides (Page 13 of 24)

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