Category: Reviews (Page 1 of 198)

CAT TEMPER From A Whisker To A Scream

17 January 2025 /

While people get the willies over the Jaguar cars rebrand, the other cat is back…

CAT TEMPER is the alter-ego of Mike Langlie, the most prolific meowsician in synthwave. At last count, he has issued 15 full length albums since 2019, mixing synthpop, electro, punk, hair metal with the sounds of 8-bit videogames. The ‘Furio’ album got an unexpected boosted when DURAN DURAN shared its ‘Rio’ homage artwork on their socials.

“I started making music in the 1980s and my style hasn’t changed much through the years.” Mike Langlie told ELECTRICITYCLUB.CO.UK, “Thankfully retro synthpop is back in fashion! I still use gear I’ve had since then and a lot of soft synths recreating classic hardware I sold or could never afford. Roland Juno basses and pads, Yamaha DX7 bells and leads, Jupiter-4 arpeggios, LinnDrum and Simmons drums among others. Also plenty of weird sounds from my first and favorite synth, the Casio CZ-101 which appears on almost all of my songs.”

Following-up the most recent CAT TEMPER album ‘Still Just A Cat In A Rage’ released just a few months ago, ‘From A Whisker To A Scream’ promises a more cosmic journey that ranges from “a gentle purr to a growling crescendo”.

Opening with the swooping synths and rich melodies of ‘Across The Stratosfur’, TANGERINE DREAM are paid tribute to, with spacey array of sequencer patterns and icy string machine interventions of the Berlin School also shaping ‘Force Meowjeure’ while ‘Alpha Catauri’ adopts more ominous downbeat tones. But the best track comes with ‘Dark Kitty’ which takes a diversion as swathed in melodrama, synthetic orchestrations do battle against a barrage of pizzicato.

On the more synthwave side of things and playing with the same Roland Jupiter arpeggiator used on DURAN DURAN’s ‘Save A Prayer’ for the intro, ‘Turn Of The Tail’ mutates into a neon-lit set piece. ‘Purrallel Worlds’ explores windier melodics over a vintage drum machine backbeat while a sinister rhythmic swing dominates ‘Remote Mewing’. Away from the cosmic, ‘Birdwatcher’ goes all metal but has cinematic diversions in between while ‘Escape Claws’ pays homage to Jean-Michel Jarre’s more dramatic mid-period.

Full of lush synths, whirling arpeggios and soaring solos, some may tire of the pawsome feline puns. But ‘From a Whisker To A Scream’ has cattitude and knowing references, so doesn’t take itself too seriously to ensure it never comes over pompous. You are either a CAT TEMPER person or you are not.

‘From A Whisker To A Scream’ is available as a splatter vinyl LP and download via https://cattemper.bandcamp.com/

https://www.cattemper.com/

https://www.instagram.com/cattempermeow/

https://www.threads.net/@cattempermeow

https://bsky.app/profile/cattemper.bsky.social

Text by Chi Ming Lai
17 January 2025

ELA MINUS DIA

14 January 2025 /

Following up her 2020 long playing debut ‘acts of rebellion’, Colombian artist and producer Ela Minus presents ‘DIA’.

Having been weaned on FUGAZI and played in hardcore punk bands, she gradually drifted towards synthesizers as they allowed her to work alone and more swiftly. Recorded all around the world in various hotels and rented rooms, ‘DIA’ is an album about becoming and self-discovery that collectively asks where we go from here?

While the politically charged ‘acts of rebellion’ was exemplified by the minimal avant technopop and IDM of songs such as ‘they told us it was hard, but they were wrong’, ‘el cielo no es de nadie’ and ‘megapunk’, Ela Minus has sonically expanded her sound into something more rugged.

Originating from a rented cabin in the mountains of Mexico and titled after a phrase commonly used in Colombia referring to the act of opening paths through dense foliage, ’ABRIR MONTE’ provides an esoteric drone instrumental that segues into the precise uplifting electronic pop statement of ‘BROKEN’; building towards being rhythmic and trance-like, this is an anthem about enduring suffering that belies its euphoric qualities as our heroine questions “how did we end up here?”

Loving her drones and strident keys, ‘IDOLS’ shuffles along as Ela Minus offers her afflicted expressions in the manner of Karins Dreijer and Park. Meanwhile the noisier ‘IDK’ throws forward a distorted wall of kerrang and although it will not be for everyone, the end result is nothing short of spirited.

Photo by Alvaro Ariso

Playing with creative distortion further, this time also on the vocals, ‘QQQQ’ percolates along in a jagged cacophony but ‘I WANT TO BE BETTER’ eases off the distortion slightly and builds to an arty rhythmic intensity that recalls FEVER RAY before the thumping thrill of ‘ONWARDS’ does battle with drops galore and tuning signals acting as hooks.

‘UPWARDS’ springs a surprise among its unsettling swoops and frantic beats as rather incongruously but enjoyably, the main vocal topline recalls ‘Brand New Key’ by Melanie from 1971; it all brings an unusual counterpoint to the fierce cut ‘n’ thrust of the punk-influenced techno backdrop.

A song of resilience, ‘COMBAT’ presents another surprise in a beautiful cinematic ballad in the vein of IONNALEE that makes a fitting closer and eschews the beats and distortion, replacing them with a wonderfully layered dose of angelic magic.

With ‘DIA’, Ela Minus has revealed even more of herself. But while there is broader palette of sonic experimentation and dynamic variation to make a generally more forthright record than its predecessor, there are also catchy choruses that provide a pop immediacy amongst the deeper lyrical expression. This indeed captures her life so far.

‘DIA’ is released on 17 January 2025 by Domino Recordings on red vinyl, black vinyl, CD and digitally.

Ela Minus plays the following 2025 EU + UK live dates opening for CARIBOU:

Paris Zenith (3 February), Luxembourg Rockhal (4 February), Utrecht Tivoli (5 February), London Roundhouse (6-8 February), Leeds O2 Academy (9 February), Bristol Beacon (10 February), Brussels Ancienne Belgique (11-12 February), Berlin Velodrom (14 February)

https://www.elaminus.com/

https://www.facebook.com/ElaMinus/

https://www.instagram.com/elaminus/

https://www.threads.net/@elaminus

Text by Chi Ming Lai
14 January 2025

CHIKISS Between Time & Laziness

5 December 2024 /

The self-proclaimed Cyrillic songstress and “DIY producer of everything” Galina Ozeran is back under her solo nom de théâtre of CHIKISS after her 2022 album ‘Metamorphoses’ with Turkish musician Etkin Çekin as GOD IS GOD.

Ozeran grew up in Belarus playing classical piano before becoming a professional musician, self-releasing her first mini-album as CHIKISS in 2007. Her most recent CHIKISS album ‘Something Natural’ was a collection of lo-fi instrumental avant-garde works in a variety of different styles, so ‘Between Time & Laziness’ is a return to song-based material. Her willing conspirator in the process as co-producer is Athens-based Finn Jaakko Eino Kalevi whose own double album ‘Chaos Magic’ was the best release of 2023.

With tensions in her homeland and a war with its neighbours, Ozeran’s exile to Berlin sees her weighing darkness and light. As existential, psychological, and philosophical concerns shape her most polished vocal album to date, she expresses the turbulence of the world around her as it appears to go full circle into the uncertainty that exemplified the Soviet era.

Photo by Epiq Sty

With a delicious exotic groove, ‘Evil Sky’ enters an atmospheric cocoon of mysterious cinematic synth and stark spoken word to open ‘Between Time & Laziness’ proper. But true to her eclectic colours, ‘DKN’ plays with jazz swing rhythms and filmic synth textures…. conventional this certainly isn’t!

With ominous bass and whirring electronic lines, ‘Nevesta’ canters at a near funereal pace; however the ‘Between Time & Laziness’ title track develops on this bed and speeds it into a glorious spy drama passage of squelch, freeform soloing , icy strings, random organ and breathy vocals that will delight those into sonic randomness with some structure.

Embroiled in resignation, ‘Train Schedule’ is deep in contralto with a gothic allure, but when the glorious arpeggiated sparkles and chordial layers appear alongside the synthetic drums rolls, it recalls the elegiac moods of PET SHOP BOYS ‘Kings Cross’. Although drone-laden, ‘4:45’ is moody synthpop possessing that classic rainy European chic inspired by the moment in Rapid Eye Movement sleep when the illusion feels most real.

Photo by Anna Eckold

With memories of the first space race, ‘Into The Void’ goes into dark romantic synthpop with a nouvelle vague drama that even sees disco syndrums and some wonderfully anachronistic Spaghetti Western whistling from Jaakko Eino Kalevi come into the picture.

Across 11 minutes ‘Don’t Be Afraid’ utilises a long ambient intro before entering into an electronic take on JOY DIVISION’s ‘I Remember Nothing’ in its bass and rhythmic movements although the orchestrated synth lines are haunting and strident in their appeal, especially as they get more epic as the time flies by… closing with ‘Forever’, this hope of a better future sees Ozeran playing with eerie vocal ad libs over an incessant drum machine for a less song based variation of the title track.

Like a history of electronic expression, there is an aural familiarity to ‘Between Time & Laziness’ but none of the influences are blatant, presenting more of an impressionistic amalgam that offers reassurance in its musical empathy as an essential comfort amongst the disquiet.

With the aim “to find an outlet for accumulated emotions, and transform them into music and light”, Ozeran has succeeded in producing an absorbing body of work that while accessible, is tinged with sadness and melancholy so runs deeper in its emotions and sentiment than a regular pop record.

‘Between Time & Laziness’ is released in vinyl LP, CD + digital formats by Bureau B via https://chikissecrets.bandcamp.com/

https://www.bureau-b.com/chikiss.php

https://www.facebook.com/Chikiss/

https://www.instagram.com/chikissecrets/

Text by Chi Ming Lai
5 December 2024

PISTON DAMP Mastermind Vol 1: No Points For Trying

28 November 2024 /

Having made an attempt at ‘Making The World Great Again’ on 2021, Norwegian based electronic pop duo PISTON DAMP are back with the follow-up ‘Mastermind Vol 1: No Points For Trying’.

Compromising of Jonas Groth whose past work has been mostly with his older brother Stephan in his band APOPTYGMA BERZERK and the classically trained Truls Sønsterud, the subtitle ‘No Points For Trying’ indicates an air of resignation. What is not often known is Norway actually has a border with Russia so world events will have heightened tension.

Opening song ‘The Netherworld’ is swathed in an epic melancholy with an array classic synth sounds but what is this “hell” that Jonas Groth is referring to? There are many candidates. However the pace changes with the spritely Europop of ‘I’m Losing You (A New Tale)’ while ‘To My Knees’ co-produced by Stephan Groth (who is involved in all the album’s final mixes with the duo and Magne Johansen) utilises infectious sequencer patterns and synthetic swoops to good effect.

The ominous ‘Revolve’ is far moodier with layered vocal harmonies but displaying a kinship to ERASURE’s ‘The Circus’ period, the carousel motifs on ‘Waste’ provide a suitably unsettling ride for full cause and effect as there are “No Points For Trying”.

The speedy cut and trust of ‘Downfall’ ventures into electronic goth pop for its verses although the rousing choruses twist the plot somewhat. ‘Now You Know’ presents some great rewards in its sound design but showing opposing poles, the detuned riffs of ‘So Much To Like (Too Little To Do)’ are infectious.

‘Sacrifice’ with additional vocals from Truls Kristian Nygaard takes on much more sombre tones before the lo-fi vocodered tone poem ‘Down, Pt. 3’ interlude segues into ‘The Day Of Departure’, a marvellously wistful tune with cascading keys and shimmering leadlines to close.

Photo by Trygve Sorli

Despite the less optimistic tone compared to its predecessor, ‘Mastermind Vol 1: No Points For Trying’ is a worthy follow-up to ‘Making The World Great Again’ and a continuing development in the art of classic Nordic melancholy. Yes, this album is set to “depressed mode” and this would explain the absence of upbeat bangers.

But PISTON DAMP were so prolific in this second album phase and recorded enough material in a variety of styles for a double album. Thus “Vol 1” is where all the dark and moody songs have ended up for the onset of winter but “Vol2” promises to be more upbeat and pure synthpop in time for next summer. The story continues…

PISTON DAMP use the following synthesizers: Roland Juno 60, Roland Juno 106, Roland Jupiter 4, Roland System 500, Roland RS-505, Minimoog Voyager, Moog Matriarch, Moog Grandmother, Moogerfoogers, Korg MS20, Elektron Nord Lead 3, Analogue Systems Vostok 2000, ARP Odyssey and tons of Eurorack (mainly for percussion and sequencing)

‘Mastermind Vol 1: No Points For Trying’ is released on 29 November 2024 by Sub Culture Records as a limited edition vinyl LP, CD and download, available from https://subculturerecords.bandcamp.com/

https://www.pistondamp.com/

https://www.facebook.com/pistondampcom

https://www.instagram.com/pistondamp/

Text by Chi Ming Lai
28 November 2024

XENO & OAKLANDER Via Negativa (in the doorway light)

14 November 2024 /

Minimal electronic duo XENO & OAKLANDER are back with their eight album ‘Via Negativa (in the doorway light)’.

Albums over the past 18 years like ‘Vigils’, ‘Sets & Lights’, ‘Par Avion’ and ‘Vi/deo’ have demonstrated and reinforced Liz Wendelbo and Sean McBride’s talents as the Jane Birkin and Serge Gainsbourg of synth. From their Connecticut laboratory bubble, the new album sees a further refinement to their precise yet spirited productions.

With songs starting as embryonic piano sketches before McBride applied his modular and vintage synth knowhow, the opening title song makes a powerful statement in a cacophony of synths and percussion while the call and response duet between Liz Wendelbo and Sean McBride provides the fitting contrast of sweetness and starkness to play with the mindset. Less in your face but no less effective is the moodier ‘Mercury Mind’ with brighter hooks doing battle with far grittier distorted interventions.

Despite a seemingly impenetrable wall of synthetic sound, ‘The Unknown Side’ is gloriously bouncy, with Liz Wendelbo providing her alluring Je n’sais quoi to offset Sean McBride’s flatter snarl. ‘Lost & There’ takes XENO & OAKLANDER unexpectedly into a stuttering backdrop and the end result is something almost psychedelic as Wendelbo and McBride harmonise with their blend creating a Neil Tennant stylisation.

‘Actor’s Foil’ adopts a more rugged industrial synthpop template for some EBM sensibilities while with an immediate rhythmic bounce, ‘Magic of the Manifold’ is classic XENO & OAKLANDER reminiscent of ‘The Staircase’ from 2011’s ‘Sets & Lights’ with its squelchy bassline programming being a prominent feature.

A bilingual ode to bloodstones which are said to clear out negative energy, the speedy ‘O Vermillion’ is more minimal compared with other songs on the album and brings in Cossack chants for that Cold War edge that is suitably fitting with the spy drama end. The album concludes with the steadfast ‘Strange Fellows’ which lowers the tempo and plays around with shoegaze impressionism as Wendelbo and McBride vocally delightful spar.

This is another accessible and enjoyable XENO & OAKLANDER record that utilises technology and poetry with spikiness and sweetness, to present the dystopian and the utopian in a cerebral study of “what not to do, a negative image of a positive, the other side, the other”.

‘Via Negativa (in the doorway light)’ is released by Dais Records on 15 November 2024, available as a red, splatter or black vinyl LP, CD and download from https://xenoandoaklander.bandcamp.com/album/via-negativa-in-the-doorway-light

https://www.daisrecords.com/collections/xeno-and-oaklander

https://www.facebook.com/xenoandoaklndr

https://twitter.com/XenoOaklander

https://www.instagram.com/xenoandoaklander/

https://www.daisrecords.com/collections/xeno-and-oaklander

Text by Chi Ming Lai
14 November 2024

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