Category: Reviews (Page 122 of 206)

CREEP SHOW Mr Dynamite

14 March 2018 /

CREEP SHOW is an electronic meeting of minds between eclectic US singer / songwriter John Grant and the dark analogue electro of WRANGLER, the trio comprising Stephen Mallinder, Phil Winter and Benge.

Brought together for the Rough Trade 40th Anniversary celebrations in 2016, the first fruit of this collaboration is ‘Mr Dynamite’ – an album which was recorded in Cornwall following the move of Benge’s Memetune studio from its original Hoxton location. Opening with the title track, ‘Mr Dynamite’ sees Grant’s vocal cut-up, pitch-changed and split over different keys on a vintage AKAI sampler. This is then laid over a minimalist drum machine, bass pulse and a signature John Grant synth lead.

‘Modern Parenting’ sees a hybrid of funky bass synth and echoed sequenced synths with a typical quirky Grant vocal. The addition of female backing vocals give the overall impression of TALKING HEADS ditching their guitars and going fully electronic instead; the surreal chorus hook of “when your doggy jumps the fence and sets its sights on you” also adds to the playful, funky nature of the track.

‘Tokyo Metro’ is a KRAFTWERK-inspired 8-bit Chip-Tune style piece, the vocodered vocal very reminiscent of ‘Dentaku’, their Japanese version of ‘Pocket Calculator’.

‘Endangered Species’ is a chilled glitchy piece with a floaty string synth; the track also gives Grant a chance to go into his full-on crooner mode and take a squealing lead synth solo. The song ramps up a level with the unexpected addition of CULTURE CLUB’s original backing vocalists Mary Pearce, Maria Q and Zee Asher; having originally toured with Grant, they give the slightly creepy “You are the endangered species” hook a brilliantly quirky resonance. For those familiar with Grant’s work, the nearest comparison here would be his solo tracks ‘Voodoo Doll’ and ‘Black Belt’; the ones where he mixes vitriol and downright bitchiness…

On the final two lengthy tracks ‘Fall’ and ‘Safe & Sound’, the band go full-on KRAFTWERK and GIORGIO MORODER; the songs are given room to breathe and reveal themselves gradually with some wonderfully warmly melodic synth parts. On ‘Fall’, there are tiny slithers of voices which float over the instrumental backing and on ‘Safe & Sound’, Grant reins in the quirkiness to deliver a hazy vibrato-filled vocal.

‘Mr Dynamite’ is a really fresh and uncontrived sounding album, it’s not over-produced and comes across as a piece of work that all involved had a real blast making. It would have been interesting if the band had pursued the sound of the final track a little further though. There still remains a gaping hole in the market for retro synthesizer-based tracks featuring a real vocalist, not just someone that’s appears to have been drafted in as an afterthought (see: some underperforming UK-based synth acts).

The CREEP SHOW album really plays to the combined strengths of WRANGLER and John Grant; the latter’s vocals being the icing on the proverbial electronic cake and ensuring the listener will undoubtedly reacquaint themselves with ‘Mr Dynamite’ time and time again and again.

‘Mr Dynamite’ is released on 16th March 2018 by Bella Union

CREEP SHOW 2019 live dates:

Sheffield The Foundry (5th October), Liverpool Arts Club Loft (6th October), Bristol Trinity Centre (8th October), London Scala (9th October), Hove Old Market (10th October), Newcastle Boiler Shop (12th October), Glasgow Art School (14th October)

http://creepshowmusic.com

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Text by Paul Boddy
14th March 2018, updated 26th June 2019

KATJA VON KASSEL Walking In West Berlin EP

10 March 2018 /

The captivating German songstress Katja von Kassel follows up her debut EP with a three song plus bonus variants compendium entitled ‘Walking In West Berlin’.

Having worked previously with LADYHAWKE collaborator Alex Gray, ‘Walking In West Berlin’ sees a change of direction in a new writing partnership with former Numan keyboardist Chris Payne, fresh from a rebooting of his ELECTRONIC CIRCUS side-project and his successful stint writing with Rusty Egan where his contributions were sung by luminaries such as Midge Ure and Tony Hadley.

“The tragedy of life is always a good inspiration to me” Katja once said and this is none more apparent on the airy magnificence of ‘Someday’. Capturing the beautiful melancholy of ASSOCIATES’ Billy Mackenzie, the doomed love affair is echoed by the chanteuse’s deep forlorn delivery, accompanied by Payne’s hypnotic synth bassline and haunting Numan-esque vox humana over a simple but hypnotic rhythmic loop.

And when some gentle piano cascades into the song’s second half, it generates an emotional lift which takes ‘Someday’ into a dreamy stratosphere; a sparse alternate Cinematic take of the song prolongs the song’s inherently introspective mood sans percussion.

Exuding purer electro Weimar cabaret with her Dietrich-like overtones, ‘Radio Symphony’ is more dramatic with a harder percussive edge, but still distinctly European and technolstagic in its Kraftwerkian fascination of the broadcast medium’s highly contrasting moods and motivations.

The ‘Walking In West Berlin’ title track is laced with Europäisch Neu Romantisch, to the point that it almost sounds as it is going to burst into ‘Fade To Grey’, the German No1 for VISAGE in 1981 which Chris Payne co-wrote with Billy Currie and Midge Ure; there are also hints of Scott Walker in his lonely Jean-Paul Satre phase too within the poetic grandeur of Katja’s delivery.

Bolstered by versions of all the tracks in Deutsch, this EP contains a thematically cohesive trio of songs that showcase the best in the musical sensibilities of both Fraulein von Kassel and Monsieur Payne.

If not a full-length album, then a follow-up EP is a must. It really would be a shame if the chemistry and compatibility of the von Kassel / Payne partnership was not artistically furthered.

The eight track ‘Walking In West Berlin’ EP featuring German versions of the songs is available as a download or CD from https://katjavonkassel.bandcamp.com/

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

https://twitter.com/katjavonkassel

http://www.electroniccircus.co.uk

http://www.chrispaynemusic.com/

https://www.facebook.com/Chris-Paynes-Electronic-Circus-1871328086461350/

Text by Chi Ming Lai
10th March 2018

GUSGUS Lies Are More Flexible

1 March 2018 /

GUSGUS started within cinematography but gained international acclaim for their electronic productions.

As an eclectic troupe, with various members weaving in and out of the collective over the years, the Icelandic duo of Daniel Ágúst Haraldsson and Birgir Þórarinsson have been the only constants.

Taking their name from a mispronunciation of “cuscus” in a German film ‘Ali: Fear Eats The Soul’, the Reykjavik sound manipulators have always marvelled at being able to play with various styles and genres, mainly producing dance pieces spanning from Euro-disco, through ambient to house.

Whatever the description, the quality of GUSGUS’ fruit has shone brightly over the last nine studio releases and number ten, ‘Lies Are More Flexible’ is no different.

A collection of four vocal and four instrumental tracks is as eclectic as any previous work from the talented bunch, seeing the two founding members hard at work to showcase their ever changing, yet familiar sound.

Starting with stunning synth arpeggios on ‘Featherlight’, bringing back the good old memories of classic ambient dance tracks, the atmosphere is set on cold and icy with occasional specks of warming hope. If they ‘Don’t Know How To Love’ in its progressive house alignments, maybe John Grant, who Þórarinsson once produced, could help on backing vocals? The track is a desperate plea to be taught “how to love”, over a stencil of found sounds and haunting synth.

But now comes the ‘Fireworks’, enveloping the club feel of a perfect dance track, followed by ‘Lifetime’, which is equally bouncy and grabs with its sweet synth punches and exquisite melody. From the word full to word none, ‘No Manual’ offers life affirming capabilities with an equivocal undercoat, while the title track reminisces the familiarity of vintage video games.

‘Towards Storm’ ebbs and flows endlessly, with the album closing on ‘Fuel’, continuing to carry the light and warmth of hope, peace and weightlessness, so consistent in GUSGUS’ offerings. It is refreshing to listen to a shorter product, where the length of the opus means no lesser amount of work and no compromise in the quality of the recordings.

Those who marvel at Haraldsson’s voice will enjoy their treat, while the others lose themselves in the appreciation of the instrumental only pieces. Both match the high quality that GUSGUS have been known and loved for many years now. Maybe ‘Lies Are More Flexible’, but the truth is the duo are hitting new levels of brilliance with their latest offering.

‘Lies Are More Flexible’ is released by Oroom in digital formats

https://www.gusgus.com

https://www.facebook.com/GusGusOfficial/

https://twitter.com/GusGusOfficial

Text by Monika Izabela Trigwell
1st March 2018

COMPUTER MAGIC Danz

26 February 2018 /

Photo by Chad Kamenshine

“Background noise, breakquest, reverb, spending time, large hadron collider, warp drive, the empire”… that’s how New York based shinnichi Danz Johnson aka COMPUTER MAGIC describes her interests.

Johnson actually released her first album ‘Scientific Experience’ as a Japanese only release in 2012, while her first album proper ‘Davos’ emerged in 2015. There have been EPs and singles as well, with enjoyably escapist ‘Obscure But Visible” EP possibly her best body of work yet. But now at last comes another COMPUTER MAGIC simply titled ‘Danz’; however Johnson has declared that it is a far darker and more personal companion to ‘Davos’.

The bubbling spaciness of ‘Amnesia’ is an ideal dream pop opener but appears with a clouded tinge to Johnson’s voice. This is a statement that tunes like ‘Lonely Like We Are’ from her last EP will not be figuring. Seguing into ‘Nebraskaland’, while obviously using synths, Johnson shares Bruce Springsteen’s solemn 1982 musical picture of the region.

The mood lifts with ‘Ordinary Life (Message From an A.I. Girlfriend)’, but despite offering bright synth passages to classic Linn Drum sounds, it’s a twist to Philip K. Dick’s ‘Do Androids Dream of Electric Sheep?’ where Artificial Intelligence has allowed a robot to aspire to more than just being a love companion… meanwhile as a variation to the theme, the amusingly titled ‘Delirium (Don’t Follow The Sheep)’ sees rumbling bass drones over a drum loop with a suitably detached Johnson.

Photo by Randy Smith

The wonderful instrumental ‘Teegra’ adds some loungey vibes to proceedings echoing AIR when they were on their ‘Moon Safari, while borrowing from the same part of Western Europe, the nonchalant overtones of ‘Perfect Game’ come over like a less Gallic-centric STEREOLAB.

The sombre string synths and mechanised outlook of ‘Data’ see a shift eastwards to Deutschland for an album interlude before the very sparse and haunting ‘Space and Time / Pale Blue Dot’. Almost to the point of crying, Johnson’s forlorn demeanour offsets the track’s pretty arpeggios in a cacophony of light and shade.

Adopting a live percussive feel with sombre string synths for the introspective manner of PET SHOP BOYS, ‘Drift Away’ draws the curtains before the departing flight of ‘Clouds’; “Take me with you” she exclaims before cathartically admitting she is “lost again above the clouds”.

Those used to the appealingly kooky and cutesy manner of COMPUTER MAGIC from ‘Been Waiting’ will be surprised by ‘Danz’. But this is a mature and more thoughtful Danz Johnson in action here. Reflecting the mood across the Atlantic, she is among those who are prepared to do some thinking at a time when ignorance appears to be the leading philosophy.

‘Danz’ is released by Channel 9 Records in digital formats worldwide, limited green vinyl LP edition is available from http://www.channel9records.com

http://www.thecomputermagic.com/

https://www.facebook.com/computermagic/

https://twitter.com/zdanz

https://www.instagram.com/danz_cm/

Text by Chi Ming Lai
26th February 2018, updated 27th February 2018

FISCHERSPOONER Sir

20 February 2018 /

Having started as a group of performers, the enterprise that is now FISCHERSPOONER consists of core members Warren Fischer and Casey Spooner, who are joined by a troupe of dancers and singers.

Fischer is a classically trained musician, while Spooner has his fingers in many pies, including performing in experimental theatre, fashion and producing various types of art.

Their first album came in 2001, named ‘1’, cleverly released on many labels, to be followed by ‘Odyssey’

With their third opus, ‘Entertainment’, the duo went to Jeff Saltzman to aid the production and the current offering ‘Sir’ is being produced by none other than Michael Stipe from REM.

‘Sir’ follows Spooner’s art exhibition of the same name, which centres around nudity, featuring himself and many of his former partners, friends and lovers in assorted sorts of nakedness. “We’re living through this sexual revolution. Everyone has a camera. People are redrawing their boundaries of what they share and what they don’t” claims Spooner, introducing his saucy enterprise, to which the newest album is a perfect accompaniment.

With the tone being “aggressively homosexual”, with love moans being used as part of the soundtrack, Spooner showcases the liberated states of today’s society.

‘Have Fun Tonight’ heralds the album as the first single, and what an entrance it is! Big, bold, full of defined synth but not devoid of good melody and sexually charged vocals by Spooner. Mantric drum rolls and arpeggiated electronic elements flow freely throughout this sublime dance track, leading into sweet oblivion.

‘Togetherness’ with CHAIRLIFT’s Caroline Polachek, sounds like vintage PET SHOP BOYS meets GOLDFRAPP, with love pains present. ‘Butterscotch Goddam’ describes the vocalist’s long standing relationship which ended, resulting in Spooner’s liberation and the discovery of endless sensual possibilities.

The apparent sleazy Brazilian trysts are being described in ear-ringing ‘Top Brazil’, which marries marvellous synth a la DEPECHE MODE with filthy lyrics, as one can never have enough of gay sex! ‘Stranger Strange’ with its offbeat tribal simplicity boils up to a hallucinating psychedelic plea to be “fixed up”, while ‘Everything Is Just Alright’ brings a heavier synth line into play.

Multiple vocals on ‘Discreet’ frolic within the realms of simple melody depicting the urgency of “now” in sexual relations, leading gently onto ‘Strut’ with its club feel euphoria and contributions from Juho Paalosmaa of VILLA NAH and SIN COS TAN. While Spooner admits: ‘I Need Love’, he also needs to ‘Get It On’.


Andy LeMaster joins in on ‘Try Again’; an arpeggiated gem full of sadness in the lyrical content, where the desperate cries for “everything I ever wanted, everything I ever needed” prevail.

‘Oh Rio’ with Holly Miranda closes the opus with an alternative twist to wrap up the record of sexual freedom, the power of choice and the beauty of partying and being able to do what one wishes, no strings attached.

Spooner muses: “When I started, the record was optimistic because I was in a happy, open, long-term relationship”, but it wasn’t to be; otherwise the eclectic, sex laden product would never surface. Fischer agrees with “The best thing that happened to this record is you getting dumped.”

‘Sir’ marks the time to play and explore and Spooner is grabbing the opportunities with both hands: “Everyone thinks I’m having a midlife crisis, and maybe I am”…

And if it wasn’t for his midlife crisis, we wouldn’t be listening to the marvel that ‘Sir’ is!

‘Sir’ is released by Ultra Records

https://fischerspooner.com

https://www.facebook.com/FischerspoonerMusic/

https://twitter.com/fischerspooner

https://www.instagram.com/fischerspooner/

Text by Monika Izabela Trigwell
20th February 2018

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