Category: Live Reports (Page 9 of 37)

KNIGHT$, ROXI DRIVE + THEO SAYERS at The Roadtrip & The Workshop

1 November 2019 /

Halloween might be the time in the liturgical year dedicated to remember the dead, but KNIGHT$ kept things alive and kicking at The Roadtrip & The Workshop in London’s Hoxton.

For James Knights, it’s been a very busy year with albums released as KNIGHT$ and with BOYTRONIC, a UK tour opening for A FLOCK OF SEAGULLS plus assorted European gigs and notable music industry figures knocking on his door, taking an interest in his progress.

Getting through setbacks such as the collapse of Pledge Music, James Knights has shown resilience and strength of character, both much needed skill sets in music. He has also maintaned a down-to-earth demeanour free of ego and delusion, the latter two characteristics now being far too normal in modern society.

But to begin proceedings was Cambridge’s Theo Sayers who released his most recent EP ‘Ado Perma’ last July. Dressed in a similar skeleton costume to the one that his younger self adorned the cover of that said EP, he presented his unusual brand of English hip-hop, like an urban Jona Lewie. Exuding humour and a sense of fun, the set also included his streetwise take on PRINCE’s ‘When Doves Cry’.

Next came the up-and-coming synthwave starlet Roxy Drive, a girl with a self-confessed crush on Ryan Gosling and a voice not far off Pat Benatar. Her debut album ‘Strangers Of The Night’ released in 2018 showed promise and tonight, she aired a number of its highlights as well as premiering some new material.

Accompanied by an electronic percussionist, among the set highlights were the energetic neon drenched first single ‘Run All Night (Chase This Dream)’ and the more recent ‘Dangerous’ from the upcoming album ‘Electric Heart’. The latter showcased a refined development of her MTV friendly sound. She certainly looked the part and her live persona can only grow stronger as she gains more live experience.

For headliner KNIGHT$, it was to be an evening of celebration of ‘Dollars & Cents’, a contender for best electronic pop album of 2019 if ever there was one. Apart from the NEW ORDER derived electronic disco drive of ‘So Cool’, the set was largely drawn from the long player.

Accompanied by the alluring presence of Nina Casey and Jasmine Brady, both on keyboards, James Knights gave yet another of his charismatic performances bursting with energy and enthusiasm.

From the Eurobeat thrust of ‘What We Leave Behind’ and the heavenly pop ‘Playin It Cool’ to the amorous ‘Gelato’ and the snappy ‘Alligator’, Knights was hitting that perfect beat, entering the audience and somehow managing to avoid getting mic feedback. Engaging the audience masterfully, Knights asked everyone who had travelled the furthest to be at the gig. At first, it looked like it was Claudia and Tiffany, both from Berlin. But the undoubted winner was Ana who had ventured all the way from New York.

The brilliant ‘Hijack My Heart’ saw Knights tightening his trousers slightly, although the ceiling was so low at the intimate club venue, it did restrain his usual mic stand swinging antics. However, a pair of covers were thrown in. While PET SHOP BOYS ‘Heart has been a regular staple of the KNIGHT$ live set, there was a supervise inclusion of ‘The Never Ending Story’, a song that has come to prominence again thanks to its inclusion in ‘Stranger Things 3’.

By his own admission “unrehearsed”, with the assistance of a lyric sheet Knights embarked on a fun if slightly shambolic duet with Roxi Drive on the Giorgio Moroder produced classic, but no-one really minded as Roxi held her own and everyone else joined in.

Ending the evening with the album title song and new single, the catchy ‘Dollars & Cents’ captured the essence of the sparkly Britalo that Knights has well and truly mastered.

What a year it has been for the Winchester lad; after years treading the boards with SCARLET SOHO and knocking on the door several times, James Knights has finally found his sound and vocation as KNIGHT$.

With a European Union flag hung at the back of the stage in defiance, KNIGHT$ is just the escapist tonic in these bizarre times and a shining example how much better things are when people are united through music and more.

KNIGHT$ ‘Dollars & Cents’ released by Specchio Uomo is available in various formats as well as the new single including remixes by ITALOCONNECTION + THE HIDDEN MAN from https://knights101.bandcamp.com/album/

http://knights101.com/

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

https://twitter.com/JPSKNIGHTS

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

Roxi Drive ‘Strangers Of The Night’ is available as a download album direct from: https://roxidrive.bandcamp.com/album/strangers-of-the-night

https://www.roxidrivemusic.com/

https://www.facebook.com/RoxiDrive/

https://twitter.com/RoxiDrive

https://www.instagram.com/roxidrive/

Theo Sayers ‘Ado Perma’ EP is available as a download EP direct from https://theosayers.bandcamp.com/

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

https://twitter.com/theosayers

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

Text and Photos by Chi Ming Lai
1st November 2019

CHROMATICS, DESIRE + DOUBLE MIXTE Live in London

29 October 2019 /

Photo by Roger Kamp

It may have been ‘Double Exposure’ but the Italians Do It Better triple bill at The Roundhouse in London was a conceptual artistic triumph from the bottom up.

Headlined by CHROMATICS, the line-up also included their label mates DESIRE and DOUBLE MIXTE with all three acts having the multi-instrumentalist, producer and IDIB head honcho Johnny Jewel in common. The audience entered The Roundhouse under hazes of red light with a slide show of the Italians Do It Better roster projected onto the three stage screens.

It was obvious this was not going to be any old rock and roll show. More like an arthouse cinema presentation, many of images had family members such as HEAVEN, IN MIRRORS, DOUBLE MIXTE, GLASS CANDY, KRAKÓW LOVES ADANA, JORJA CHALMERS, DESIRE and of course CHROMATICS captured in superbly designed mock movie posters, emphasising the cinematic thread running through the label. And with accompanying music from the likes of TESS ROBY and ZOLA JESUS, the artistic circle was complete.

Photo by Chi Ming Lai

Beginning the live proceedings were brooding Parisian duo DOUBLE MIXTE, coming over like a modern day Jane Birkin and Serge Gainsbourg but with a lively techno backbone.

The Gauloises flavoured film noir synergy of Clara Apolit and Thomas Maan came over in a combination of feminine Gallic prose over fat bursts of synths for a dark disco soundtrack that had decadent cool written literally all over it.

This was especially evident on their debut IDIB single ‘Romance Noire’ and the striking visuals of rotating tape reels and VU meters certainly aided the DOUBLE MIXTE presentation cause in what can only be described as an impactful opening set.

Next on stage came DESIRE, the IDIB project fronted by Megan Louise, the charismatic PVC dressed Canadian other half of Johnny Jewel. With the band featuring Johnny Jewel and CHROMATICS drummer Nat Walker with the stylish enigmatic figure of Aja, singer of HEAVEN on keyboards, the quartet fielded their distinctly danceable style of classic synthpop, as exemplified by ‘Mirroir Mirroir’, ‘Don’t Call’ and ‘If I Can’t Hold You’. Living up to Megan Louise’s more brazen persona, things got particularly saucy during an enjoyable note-for-note cover of NEW ORDER’s ‘Bizarre Love Triangle’.

Photo by Roger Kamp

Megan Louise literally got into the spirit of the song’s title and had a snog with Aja in full-view of her boyfriend on the opposite side of the stage.

Closing the DESIRE set with ‘Under Your Spell’ from the influential soundtrack to the Ryan Gosling film ‘Drive’, Megan Louise certainly warmed things up although as she departed, Aja and Johnny Jewel stared each other out in a sustained and ferocious drone duel of the Korg 700 synths.

And with that, the classic synthpop vibe did not subside with Romy Madley Croft of THE XX providing a superb DJ set of synthpop classics including tunes by YAZOO, OMD’s evergreen ‘Messages’, the Italo cult classic ‘Spacer Boy by CHARLIE and Q LAZZARUS’ ‘Goodbye Horses’, a song which appeared in the Jonathan Demme directed movies ‘Married To The Mob’ and ‘Silence Of The Lambs’.

Photo by Roger Kamp

Jewel and Walker returned to the stage with guitarist Adam Miller as CHROMATICS prepared to open their headlining set with an abridged ‘Tick Of The Clock’ before the captivating presence of the stunning Ruth Radelet entered the room for a wonderful rendition of ‘Lady’.

While there was glamour, her aura exuded a darker fatalistic quality after the provactive sass of DESIRE. ‘Kill For Love’ from the 2012 album of the same name highlighted their cross of NEW ORDER styled indie guitar pop and electronic grandeur.

While it all combined to give CHROMATICS their unique selling point, there were also doses of shoegaze derived creative distortion.

The carefully considered visuals were particularly striking with ‘Night Drive’, ‘Back From The Grave’ and ‘I Can Never Be Myself When You’re Around’ accompanied by images ranging from Korg Mono/Poly synths and blood stained guitars to speedy clocks.

Radelet’s exquisite visage would look like a Hollywood starlet one moment and then distort into an image more unsettling the next. While material from the recent stop-gap album ‘Closer To Grey’ was noticeably absent, concessions were made to newer material like the single ‘Time Rider’ released earlier in 2019.

Photo by Roger Kamp

Miller took to the mic for the lengthy electro art funk of ‘These Streets Will Never Look the Same’ before Radelet’s breathy vocal return on ‘I Want Your Love’.

The eerie ‘Cherry’ with bubbles of bright synth and treated guitar showed CHROMATICS at their best with a sinister groove to accompany Radelet’s forlorn vocal delivery, before a Neil Young cover in the shape of ‘Into The Black’ closed the main set leaving behind a suitably doom laden mood and an extended keyboard passage from Jewel.

For the encore, Radelet returned alone to give an enticing solo interpretation of Springsteen’s ‘I’m on Fire’, but for the casual fans of CHROMATICS in the audience, at last came ‘Shadow’, the ghostly wistful number that came to prominence thanks to its inclusion in ‘Twin Peaks: The Return’. However, although Radelet’s wispy vocal performance was superlative throughout, the use of guitar rather than string machine for the main melodic theme perhaps lacked the emotive chill of the studio recording.

Photo by Roger Kamp

To end the evening, a respectful rhythmic version of Kate Bush’s ‘Running Up That Hill’ gave Johnny Jewel an opportunity to fully exploit the buzzing capabilities of his Korg 700.

And as each member of the band walked off the stage in turn, Jewel was still there at the end, knob twiddling until it was obvious that it was way past curfew! Stylishly conceived and presented, many established acts could learn from how Italians Do It Better curated ‘Double Exposure’.

From the visuals to the lighting, to the outfits to the DJ and finally to the live music itself, it was like a danceable art installation. While the CHROMATICS set list wasn’t particularly ambitious and had changed little since their last London appearance in 2013, it was part of a complete experience that engaged on many levels. And with that, ELECTRICITYCLUB.CO.UK left The Roundhouse suitably entertained…

Special thanks to Frankie Davison at Stereo Sanctity

https://www.facebook.com/CHROMATICSBAND/

https://twitter.com/chromatics

https://www.instagram.com/chromaticsmusic/

https://www.facebook.com/PRIMITIVEDESIRE/

https://twitter.com/primitivedesire

https://www.instagram.com/desire_megan/

https://www.facebook.com/doublemixtemusic/

https://twitter.com/Double_Mixte_

https://italiansdoitbetter.com/

https://twitter.com/idib

https://www.instagram.com/italiansdoitbetter/

Text by Chi Ming Lai
29th October 2019

FM ATTACK + FUTURECOP! Live in London

28 October 2019 /

Outland presented an enticing synthwave double billing with Vancouver’s FM ATTACK and Manchester’s FUTURECOP! at Electrowerkz in London.

The London-based promoters have had a busy year where they undertook their most ambitious undertaking yet in Toronto during the summer featuring DANA JEAN PHOENIX, MECHA MAIKO, PARALLELS, MICHAEL OAKLEY, KALAX, TIMECOP1983 and FM ATTACK.

It was the success of FM ATTACK’s appearance at the event that led to mainman Shawn Ward’s visit to London and Dublin.

But to start proceedings in an already packed Electrowerkz was FUTURECOP! The musical vehicle of synthwave stalwart Manzur Iqbal, his most recent album ‘Voltrana’ featured the vocals of PARALLELS and COMPUTER MAGIC.

In a set more akin to a DJ styled experience and accompanied on stage by Will Cunningham on visuals, Iqbal presented pre-prepared song-based material wispily vocalised by the likes of Holly Dodson and Danz Johnson such as ‘Edge Of The Universe’, ‘We Belong’ and ‘Star’.

‘1988 Girls’ from ‘The Movie’ drew the biggest cheers while musically cut from a similar cloth, ‘Starworshipper’ showcased Iqual’s Sci-Fi mysticism.

As a show, FUTURECOP! did lack a live element, but the audience happily danced throughout and Iqbal did a good job of warming everyone up in anticipation of FM ATTACK. While there was no sign of the new NINA voiced single ‘Against the Tide’, there was a closing playback of the Giorgio Moroder-produced ‘Never Ending Story’ by Limahl, a song now being enjoyed by a new younger audience thanks to its inclusion in the final episode of ‘Stranger Things 3’.

Sporting a gold lame suit and with a Roland Juno 60 taking centre stage, Shawn Ward was grinning as he took his position to play his first London gig as FM ATTACK. With ‘Drive’ star Ryan Gosling a notable FM ATTACK admirer, Ward has concocted a unique hybrid electronic sound combining Gino Soccio and Giorgio Moroder with Italo disco, French house, new wave and post-punk.

From 2009’s ‘Dreamatic’ album although in instrumental form, the groovy electro-disco of ‘Yesterday’ opened up the gates, but the funkier ‘I Saw Her Dancing’ saw Ward delightfully take to vocoder. With some lovely synth keys and rhythmic fervour, ‘Dreamer’ kept up the neon-lit robotic pace while ‘A Million Miles Away’ added some mood to go with the dance.

Another number from ‘Dreamatic’, ‘Sleepless Nights’ did what it said on the tin, crossing arpeggios with octave lilts for an Italo flavoured romp before the comparatively recent bleep bop of ‘Little Angel’. ‘Shadows’ closed the main set with a gloriously filmic synth laden space journey, but Ward got a well-deserved encore and came back from ‘A Million Miles Away’ with a sparkling tune that was swathed in an enigmatic gothic allure, thanks to his obvious affection for THE CURE.

With regards FM ATTACK’s live presentation, Shawn Ward deserved full kudos for accepting his limitations as a one-man synth act and therefore, selecting material to suit the format. He could have so easily relied on playback to virtually recreate the presence of the numerous guest vocalists on his albums, but he chose not to and that must be applauded.

With another well-attended event under their belt, Outland are steadily building their community. Always exuding a warm friendly atmosphere, any serious synth enthusiast should pay them a visit, even if only out of curiosity.

Special thanks to Stuart McLaren at Outland

FM ATTACK ‘New World’ is released by Starfield Music in vinyl LP, cassette and digital formats, available from https://fmattack.bandcamp.com/

https://www.facebook.com/fmattackmusic/

https://twitter.com/fmattack

FUTURECOP! ‘Voltrana’ is released by New Retro Wave Records as a download album, available from https://newretrowave.bandcamp.com/album/voltrana

https://www.futurecop.info/

https://facebook.com/futurecopofficial/

https://twitter.com/futurecopx

The next Outland events feature OLLIE WRIDE at London Camden Assembly on Saturday 16th November 2019 and Glasgow Classic Grand on Friday 29th November 2019

https://www.weloveoutland.com/

https://www.facebook.com/outlandsynth/

https://twitter.com/OutlandSynth

Text and Photos by Chi Ming Lai
28th October 2019

FIAT LUX Live at St Clements C of E Church

26 October 2019 /

Between 1982-1985, FIAT LUX released six singles which showcased their electronically assisted melancholic pop sound with a distinct dual vocal harmony and a rooted emotional centre.

The trio of Steve Wright, David P Crickmore and Ian Nelson were critically acclaimed with BBC Radio1 airplay and a notable appearance on ‘Old Grey Whistle Test’ as part of a synthesizer special alongside KRAFTWERK and Jean-Michel Jarre.

Meanwhile, FIAT LUX also opened on tours for BLANCMANGE and Howard Jones. They even had a Channel 4 TV special which later became the ‘Commercial Breakdown’ video release in 1985 but by then, the trio had disbanded under the spectre of disillusionment following the shelving of their already complete debut album by Polydor Records.

Ian Nelson sadly passed away in 2006 but interest in FIAT LUX continued through the internet with the leaking of that debut album under the title of ‘Fac Ut Vivas’. Fast forward to 2019 and it’s rather a nice time to be a FIAT LUX fan.

Not only have Steve Wright and David P Crickmore reunited as FIAT LUX, but there has finally been a debut album of all-new material ‘Saved Symmetry’. Meanwhile, that unreleased debut album has been issued by Cherry Red Records using the title ‘Ark Of Embers’ as a bonus disc with a definitive singles compilation ‘Hired History Plus’.

Churches formed part of the backdrop in ‘Commercial Breakdown’, so St Clements C of E Church in Bradford was the ideal serene setting for the first FIAT LUX concert in 35 years. Opening with the desolate filmic drama of ‘Tuesday’, multi-instrumentalist Crickmore took to the stage first on acoustic guitar.

With the song’s understated vocals holding off until nearly three minutes in to create mood and tension, Wright joined his bandmate before deputising for the late Ian Nelson, Will Howard arrived on clarinet to counterpoint the pre-programmed washes of Morricone-styled synthetic strings.

Before there was time for a breather, the incessant drum machine of ‘Feels Like Winter Again’ echoed around the church. The very first FIAT LUX single (produced by Bill Nelson, brother of Ian), its ambiguous despair and forlorn chill reflecting the trauma of young manhood was perfect for a cold rainy night in the North of England’.

From the oldest FIAT LUX single to the most recent, ‘Everyday In Heaven’ declared that getting older was actually a positive with up-for-life lyrics about embracing second chances. Following on, the gorgeously evocative ‘Photography’ looked back with photos of the original projected as a backdrop with Howard doing a superb job of emulating his talented predecessor.

The progressive ‘Hold Me While You Can’ showed how FIAT LUX are still not afraid to merge contrasting musical templates with a steady build from piano and woodwinds suddenly turning into TUBEWAY ARMY’s ‘We Have A Technical’.

‘The Moment’ from ‘Ark Of Embers’ mellowed proceedings with the solemn air of Scott Walker before ‘We Can Change The World’ made a call to action in a lively uptempo manner like BLACK meeting CHINA CRISIS. At this point after an understandably nervous start, Wright began to loosen up with some dancing and flashes of those animated arm movements that characterised his appearance on ‘Old Grey Whistle Test’ all those many years ago.

Meanwhile, moving between acoustic and electric guitar, bass and Roland Jupiter 50, Crickmore performed like he had never been away from FIAT LUX, his facial expressions unable to hide his bouncing delight at being able to perform these wonderful songs to an appreciative audience.

Described by their producer Hugh Jones as the slowest song he had ever recorded, ‘Embers’ recalled PINK FLOYD’s ‘Wish You Were Here’ to gently subside the mood, but well-positioned to provide another rhythmic lift was ‘It’s You’; the first new FIAT LUX song for 33 years at the time of its release in 2018, it lyric about finding love again in midlife was a sentiment that many present could totally relate to.

The elegiac cinematics of ‘Calling On Angels’ allowed for another moment of musical contemplation with more superb sax playing from Will Howard, until it was time for the brilliant widescreen synthpop of ‘Solitary Lovers’, a tune that was effectively the last FIAT LUX song until 2018.

On the home straight, ‘Splurge’ offered some enjoyably screechy gothic disco with Crickmore playing the guitar hero, until the main set closed with the magnificent ‘Blue Emotion’, a song that really should have been a huge hit in 1984.

Reflecting the gung-ho zeitgeist of the times, its stark observations were now more than relevant in today’s unpleasant political climate. Returning for a well-deserved encore, it had to be the haunting ‘Secrets’.

A 1983 single which highlighted the deeper introspection that set FIAT LUX apart from many of their contemporaries, it has over the years become their signature song, as signified by the 2017 re-recording that heralded a tentative return.

However, it took a few false starts but once Wright got through the first verse, there was an almighty cheer from the audience and smiles from the band, probably through a sense of relief that this first FIAT LUX show for three and a half decades was finally now done and dusted. A fabulous evening exuding charm and warmth, Wright was in fine voice and ably supported by Crickmore, while Will Howard played the perfect tribute to Ian Nelson.

It was a largely flawless display of old and new angst and affection that proved how FIAT LUX were criminally overlooked back in the day. But now is the perfect time for them to get some well-deserved recognition. With a vinyl LP release of ‘Ark Of Embers’ on the way, FIAT LUX are indeed back-back-BACK!

Yes, it was well worth the 35 year wait!

‘Saved Symmetry’ is released by Splid Records through Proper Music Distribution, available in CD and digital formats from https://www.propermusic.com/splidcd21-saved-symmetry.html

‘Hired History Plus’ is released by Cherry Red Records in double CD and digital formats featuring ‘Ark Of Embers’, available from https://www.cherryred.co.uk/product/fiat-lux-hired-history-plus-2cd-expanded-edition/

‘Ark Of Embers’ gets a standalone vinyl LP release on 15th November 2019 via Splid Records

http://www.fiat-lux.co.uk

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

https://open.spotify.com/artist/2GGpvPlY3LVxXSvYuOUUqL

Text and Photos by Chi Ming Lai
26th October 2019

LUSTANS LAKEJER + PAGE Live in Malmö

4 October 2019 /

Two of Sweden’s best loved acts of a more synthy disposition LUSTANS LAKEJER and PAGE gathered together at Malmö’s Babel for a celebration of classic songs and artistic progression.

Located in the shell of an old brick-built church, while Babel’s soundsystem and views of the stage were superb, its tedious entrance infrastructure left a lot to be desired as a large number of music fans were still left queuing in the rain as the evening’s music proceedings began.

PAGE released their first single ‘Dansande Man’ in 1983 and while line-ups have varied over the decades, the duo of Eddie Bengtsson and Marina Schiptjenko is universally seen as the classic incarnation. But while Bengtsson has often been considered Sweden’s answer to Vince Clarke, more recently he has been re-exploring the post-punk synth innovations of TUBEWAY ARMY and ULTRAVOX.

2017’s ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ even featured a cover of ‘Tracks’, but it was 2018’s ‘Start’ EP and the new album ‘Fakta För Alla’ that saw PAGE totally get into the Moog.

And it was to a smoke machine on overdrive that Bengtsson and Schiptjenko arrived on stage for a lively poptronica set mined mainly from those three recent releases.

‘Krasch’ and the ‘Fakta För Alla’ title song set the scene and armed with a Little Phatty and Sub 37 respectively, Bengtsson and Schiptjenko indulged in a spot of delightful Moog wars with oscillators set to stun. ‘Kloner’ and ‘Start’ continued the riff laden pleasure of principle while with washes of string machine and piercing vibrato, ‘Blöder Du’ came over more introspective.

‘Som ett skal’ from 2014’s ‘Hemma’ and ‘Kom så andas vi’ from the 2010 comeback record ‘Nu’ illustrated PAGE’s enduring knack for a good synth tune, while the more recent ‘Första Smällen’ provided some spritely poptronica to continue that tradition

But when Bengtsson went to reimagine Gary Numan meeting Billy Currie on ‘Puls’ with his Sub Phatty on an ARP Odyssey aping setting, the keyboard was just slightly too off-tune to continue playing it.

Despite playing only 21st Century PAGE material, the duo finally conceded with an oldie in ‘Förlåt’ from 1995, its space march chants drawing participation and appreciation from the audience to close their set.

Although PAGE’s set attracted a good attendance despite the delays of getting into the venue, it began to pack considerably as the pre-show music offered the likes of VISAGE, DEPECHE MODE and THE HUMAN LEAGUE, with the crowd comprising of old and new romantics, the presence of young Lustans Lookalikes being very much in evidence.

While Johan Kinde is the only founder member of LUSTANS LAKEJER, he was accompanied by drummer Christer Hellman who played on their gold third long player ‘En plats i solen’ produced by Richard Barbieri of JAPAN.

Meanwhile, there was also long standing sidemen bassist Julian Brandt and Anders Ericson on guitar, plus keyboardist Tom Wolgers who joined in 1981 for their second album ‘Uppdrag i Genève’ and took the band in a more electronic direction, before returning the fold in 1999.

The mature quintet were augmented by two younger keyboard players Fredrik Hermansson and Lisa Lindal, the latter also providing some sumptuous backing vocals. Tonight’s set was to celebrate the 20th Anniversary of ‘Åkersberga’, LUSTANS LAKEJER’s comeback album which saw Kinde adopt a more crooner friendly, laid back demeanour.

Opening song ‘En kvinnokarls död’ evoked the cinematic moods of a Nordic Noir drama, while the brilliant ‘Cynisk’ realised Kinde’s concept of what Barry White would sound like reinterpreting ‘Walking In My Shoes’ by DEPECHE MODE, complete with guitar solo.

The epically orchestrated ‘För njutningen, för spänningen’ captivated with its chanson influences. But spicing up the tempo, ‘Vackra Djur Gör Fula Saker’ pulsed like ULTRAVOX in recognition of the classic unga moderna template which made LUSTANS LAKEJER’s one of the most popular bands in Sweden. ‘Här & Nu’ played with stylish Svenka reggae with Julian Brandt particularly starring, but the rhythmic ‘Som en dröm’ brought in a Mediterranean tinged dance flavour which set the hearts racing.

Meanwhile, indulging in some Scott Walker fantasies and referencing the mannerisms of ‘Deadlier Than The Male’, detuned synth arpeggios provided an interesting avant counterpoint to Kinde’s smoother vocal overtones on ‘Begär har förgiftat mitt blod’.

The Latin template returned for the bossa nova driven ‘En natt som denna natt’ before closing the ‘Åkersberga’ segment of the set with the filmic ballad ‘Samma gamla sång’. The Babel had no backstage area as such, so rather than trudge through the audience and return again for the encore routine, LUSTANS LAKEJER retained their positions for a performance of old favourites.

‘En Främlings Ögon’ from ‘En Plats I Solen’ exuded its JAPAN influence with its ring modulated synths and Hellman’s distinctive Simmons drum mantra, while the superb sequencer driven ‘Diamanter’ partied like it was 1982, drawing one of the biggest cheers and the first audience singalong of its evening.

Kinde even threw in a few of his old New Romantic arm sways and in an amusing S&M bromance with Anders Ericson, percussively whipped him to a frenzy! A new synth dominated song ‘Svarta segel’ got its live premiere and with its dark lyrical gist, reflected on the current madness in world politics. Launching with the distinctive clatter of a Compurythm, ‘Stilla nätter’ allowed Kinde to revisit his earlier Sylvian-Le Bon cross.

Meanwhile from the same ‘Uppdrag I Genève’ long player, the more frantic electro ‘Män av skugga’ amusingly came over a bit like finding Jona Lewie having a party in Ikea. Finishing the evening with the marvellous syncopated disco of ‘Rendez-Vous I Rio’, it was a reminder as to how LUSTANS LAKEJER laid claim to releasing a song referencing Brazil’s second-most populous municipality before DURAN DURAN.

In all, it was a glorious evening featuring the best in classic Swedish pop as influenced by Synth Britannia, rich in hooks, tunes, melodies and mood without the need for a translator; tack tack! ???

LUSTANS LAKEJER ‘Åkersberga’ is reissued as a vinyl LP, available via their Facebook page

https://www.facebook.com/LustansLakejer/

https://www.instagram.com/lustanslakejerofficial/

https://open.spotify.com/artist/3oB3e3MPyQBX5NttDmNUNN

PAGE ‘Fakta För Alla’ is released by Energy Rekords as a CD and vinyl LP, available from https://hotstuff.se/page/x-7640

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/

https://open.spotify.com/album/6LvrfFcS2FXlRiQBrRtpvp?si=4rkmExzsQ_ecq0MaSNUp_Q

Text by Chi Ming Lai
Page Photos by Simon Helm
Lustans Lakejer Photos by Petter Duvander
4th October 2019

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