Category: Reviews (Page 138 of 206)

KITE BASE Latent Whispers

KITE BASE comprise of two bass guitars, electronics, a Tempest drum machine named Alan and the haunting vocals of Kendra Frost.

Defined as: “One of the main starting points found in origami, an opening move made with simple folds to generate a firm and fertile foundation for creativity. It can become whatever you want it to be- simple or complex- based on the imagination of the creator, inspiration and chance”, KITE BASE started as a side project of SAVAGES bassist Ayşe Hassan.

While that quartet’s sound is distinctly conventionally driven, their association with TRENTEMØLLER has seen the band’s various members experimenting with technologically derived textures, notably on a remix of ‘Surrender’ and Jehnny Beth’s collaboration ‘River In Me’ for the Danish producer’s solo album ‘Fixion’. And now comes KITE BASE’s debut longer player Latent Whispers’.

Beginning with the wonderfully hypnotic ‘Transition’, the juxtaposition of rhythm machine and sequenced blops with rugged melodic four string inevitably recalls NEW ORDER. It’s a fine slice of modern gothic that captivates thanks to Frost’s forlorn voice. It is also undoubtedly the album’s highlight.

The appropriately named ‘Dadum’ is more steadfast with the cacophony of voices and bass noise fused into a cascading wall of sound. The stuttering ‘Blueprint’ provides a backdrop for buzzing synths and pronounced bass motifs, while the moody ‘Erase’ with its unusual rhythmic template of claps and flat toms is kept minimal, allowing Frost’s vocals to flourish.

On ‘Soothe’, Frost and Hassan offer plenty of feisty energy, tribal percussive mantras and deep programmed bass; it’s moody although less obviously electronic than ‘Transition’.

Synthetic percussion shapes ‘Peripheral Vision’ while with a penetrating live feel, ‘Nineteen’ makes more of the gritty scissored bass action. The even livelier ‘Grids’ exudes a percussive rumble that JOY DIVISION would be proud of. However, ending with ‘Miracle Waves’, it is a shame that the more transient and superior single remix version isn’t included.

While there’s room for further development within their twin bass guitar / electronic mix, ‘Latent Whispers’ acts as a promising first salvo to showcase KITE BASE and particularly the vocal presence of Kendra Frost. And with Frost’s appearance on a number of tracks for THIS MORTAL COIL studio legend John Fryer and his BLACK NEEDLE NOISE project, it’s a good job done.


‘Latent Whispers’ is available as a CD, vinyl LP and download via https://kitebase.pmstores.co/

http://kiteba.se/

https://www.facebook.com/kitebasemusic/

https://twitter.com/KiteBaseMusic

https://www.instagram.com/kiteba.se/


Text by Chi Ming Lai
28th May 2017

DAILY PLANET Play Rewind Repeat

DAILY PLANET came into being when two Swedes, Jarmo Ollila and Johan Baeckström decided to form a synthpop band in 1994.

Having released two noteworthy singles and a long player two years later, the band stopped with few promises of albums never quite materialising. Surprisingly eighteen years on in 2014, the duo brought out an excellent comeback with ‘Two’, released by Progress Productions, home of the highly acclaimed KITE.

Neither of the two gents rested on their laurels however, with Baeckström bringing out his debut solo outing ‘Like Before’ shortly after. With the very obvious connotations to ERASURE and their sweetly synthesised gems, ‘Like Before’ sounded grown up and optimistic, proving that he could hold the notes as well as Ollila, sounding like Andy Bell himself in places.

But now DAILY PLANET are back with another surprising opus, which will turn heads and make folk reach for their dancing shoes. ‘Play Rewind Repeat’ hits straight up with ‘Goodbye Late Nights’, which doesn’t shy from using Clarke / Bell sound signatures, but as James Nice of the prestigious Belgian record label Les Disques du Crépuscule once put it: “I have no problem at all with something new being imitative, as long as it’s good”.

More thought provoking is ‘Grains Of Sand’ with its immaculate tempo changes and ‘Fire In Me’, which is reminiscent of the early works of DEPECHE MODE. The title ‘Set Me Free’ to any self-respecting DEPECHE MODE fan will bring back memories of the B-Side to ‘Master And Servant’, but here it is faster and happier. And no, it’s not a cover. The mindful ‘Drown’ calms things down with elaborate synth masterdom and almost filigree textures in the production.

Cult British New Romantic act WHITE DOOR make an appearance on ‘Heaven’, with Mac Austin lending his vocal. The singer himself expressed his gratitude for the opportunity, saying that he was “so honoured to sing for my talented friends on this wonderful track”. Musically, this is an eclectic mix of the best of what the synth era has achieved; uncomplicated but very poignant, very DURAN DURAN.

‘Why’ is a bit A-HA, and with that, rather superb. No need for the time machine to go back thirty years. It’s ERASURE meets early DM, with an amazing amalgamation of analogue. The sweetest ‘Over Water’ exhibits elements of CAMOUFLAGE and the shine of ‘Silver Moon’ expands itself with wonderfully warm vocals and lovely musicality.

While ‘Tranquility’ isn’t tranquil at all, ‘Vicious Circle’ alludes to “going backwards in time”, which is a very fitting statement for the entire album. The long player is closed with the dreamy ‘Weeping’, which sits supremely between PET SHOP BOYS and DM, and it wraps up the “time machine experience” beautifully. Time to rewind…

‘Play Rewind Repeat’ is simply what it says in the tin; you’ll play, you’ll rewind and you’ll certainly repeat, with the moods lifted and your feet sore. So what if it reminds you of certain ERASURE, DM or YAZOO tracks? Johan Baeckström certainly doesn’t mind the comparisons.

Chatting to ELECTRICITYCLUB.CO.UK last year, he said that “In my book, the two YAZOO albums are the pinnacle of electronic pop. It can’t get any more perfect than that”, adding “I can still remember exactly where I was when I first heard ‘Nobody’s Diary’, which was the song that opened a whole new world of synthpop for me. I think it’s only natural that this reflects in my own music and it is, by far, the most common comparison people make, which of course is flattering”.

The good memories are continuing, with new ones being built upon this capable production. DAILY PLANET, we are loving having you back!


‘Play Rewind Repeat’ is released by Progress Productions in CD and download formats, available from http://progress-productions.com/

https://www.facebook.com/dailyplanetband/


Text by Monika Izabela Trigwell
26th May 2017

MARNIE Strange Words & Weird Wars


Helen Marnie has established herself as a solo artist with her magnificent first opus ‘Crystal World’, which having been recorded in Iceland, had a feel of cold and serene, yet volatile atmosphere.

Of course, better known as the front face of LADYTRON, Marnie’s own sound will always be compared with that of the band which made her popular, but her musicianship runs deep. Having studied classical piano at the Royal Scottish Academy Of Music & Drama and music at the University Of Liverpool, Marnie is a songwriter and instrumentalist in her own right.

Having been remixed by names like Mark Reeder and Stephen Morris, Marnie quotes KATE BUSH, MARIA CALLAS, CHVRCHES and GRIMES as her favourites. And now her long awaited second album ‘Strange Words & Weird Wars’ announces itself with the first single ‘Alphabet Block’. A burst of pure pop, sounding like a cross between MEL C, KYLIE MINOGUE and GRIMES, the song is deliciously melodic with the addition of that candied voice, all the ready to challenge pop and electronic charts alike.

‘Bloom’ ushers a decent dose of synth in, while continuing to be a hook laden gem… so why haven’t we sent Marnie to do the Eurovision again? Meanwhile ‘G.I.R.L.S’ bears the signs of the synth revival girls LA ROUX and LADYHAWKE.

From girls to boys, ‘Summer Boys’ brings in slower paced commodities of dreamy electronica and classic pop, but where are Don Henley’s ‘Boys Of Summer’? Back onto girls, ‘Invisible Girl’ pays homage to the classic pop of the late 20th Century, combined with something LADY GAGA wouldn’t be ashamed of. Meanwhile, ‘A Girl Walks Home Alone At Night’ brings back the feel of the tracks John Fryer used to produce during the shoegazing era.

‘Electric Youth’ stands out with a perfect pop utilisation à la TIFFANY or even DEBBIE GIBSON. With ‘Little Knives’, Marnie is as close as she can get to GRIMES; it’s a grown up CHVRCHES inspired track, which in places could have been a LADYTRON piece. However, it’s quite clear here that the darker influences of LADYTRON never originated with Marnie.

‘Lost Maps’ is simply stunning; urgent, yet patient, full bodied, yet uncomplicated. It’s an instant hit. The long player is wrapped up with ‘Heartbreak Kid’, which beefs up the synths and extends Marnie’s vocal abilities, genuinely showcasing the lady’s capabilities.

What can Marnie’s solo project be described as? It’s like LADYTRON, minus the darkness or gothica, but with an added genuine love of pop music, often in a Scandinavian style.

However this is not a happy clappy record; under the aura of sweetness, there are real issues, but they’re freshly packaged and positively delivered. This is a worthy body of work from the Scottish songstress.


With thanks to Paul McCallum at A Badge of Friendship

‘Strange Words & Weird Wars’ is released on 2nd June 2017 by Disco Piñata in vinyl LP, digital and limited edition CD-R formats, pre-order from https://helenmarnie.bandcamp.com/

http://www.helenmarnie.com/

https://www.facebook.com/helen.marnie.official/

http://discopinata.com/artist/marnie/


Text by Monika Izabela Trigwell
24th May 2017

FIFI RONG The Same Road

 

Beijing-born songstress FIFI RONG pulls off a surprise with her latest single ‘The Same Road’.

More uptempo than she has even been before with a driving nocturnal resonance, ‘The Same Road’ is accessible while still retaining the airy mystery of her previous work. The synthy soundscape is particularly enticing along with Rong’s distinctive vocal interplay, while the rhythmic guitar and reverbed drum sound adds some of the Trans-Atlantic vibe that CHVRCHES successfully adopted on their second album ‘Every Open Eye’.

Mixed by Max Dingel whose credits have included THE KILLERS, WHITE LIES, MUSE and GOLDFRAPP, ‘The Same Road’ is the possibly the most pop that FIFI RONG has ever been with the latter’s ‘Head First’ looming over it.

While the single sees FIFI RONG move away from her more artful downtempo roots, she says “‘The Same Road’ falls into one of my recurring themes of such inherent paradox and emotional cocktail of vulnerability and strengths.”

Directed by her regular visual collaborator Paris Seawell, the video for ‘The Same Road’ sees Rong in enigmatic dance motion choreographed by Dam Van Huynh, with the hazy effect enhanced by striking UV glow make-up…

Following the success of her previous campaigns, FIFI RONG begins a new Pledge Music project for her next two single releases. One of the options available is the possibility of her recording a cover version of your choice, while also available are the usual opportunities for private gigs, personalised lyric sheets and a signed limited edition compilation vinyl LP of her career to date.

With appearances at SXSW 2017 and The Great Escape, along with her noted collaboration with Swiss electronic pioneers YELLO, FIFI RONG is undoubtedly on an upward trajectory with her brand of world futurism.


‘The Same Road’ is released on 16th June 2017 via AWAL through the usual digital outlets

FIFI RONG launches ‘The Same Road’ with a live show at The Waiting Room in London’s Stoke Newington on 13th June 2017

Information on FIFI RONG’s current Pledge Music campaign can be viewed at: http://www.pledgemusic.com/projects/fifirong-2singles

http://www.fifirong.com/

https://www.facebook.com/fifirongmusic/

https://twitter.com/fifirong


Text by Chi Ming Lai
Photos by Paris Seawell
24th May 2017

THE RADIOPHONIC WORKSHOP Burials In Several Earths

 

THE RADIOPHONIC WORKSHOP was the legendary group of musicians / engineers that were set up in a BBC department ‘Room 13’ to provide music and sonic effects for radio and television programmes.

Most famous for Delia Derbyshire’s iconic interpretation of Ron Grainer’s ‘Dr Who Theme’, the collective also scored the music for ‘The Hitchhiker’s Guide to the Galaxy’ and ‘The Living Planet’. Due to financial constraints, the Workshop was wound down in 1998, but in 2009 several ex-members including Peter Howell, Roger Limb, Dr Dick Mills and Paddy Kingsland, along with “long-time associate composer” Mark Ayres reunited for some live shows.

‘Burial In Several Earths’ sees the first official studio release since 1985 with the music being inspired by an unfinished poem by Sir Francis Bacon. The spirit of Workshop co-founder Daphne Oram lives on within the album as she once treated a section of the Bacon work as a manifesto for the operation and its commitment to producing innovative electronic avant-garde sound.

The reunited collective’s manifesto for ‘Burials In Several Earths’ was to “…see what happened if we allowed people to react together with their machines in a very unplanned and spontaneous way” with “the computers and sequencers switched off” leading to a “very human interaction between all of us”. The album also features guest appearances from Martyn Ware and Grammy-award winning mixing engineer for THE CHEMICAL BROTHERS, UNKLE, and NEW ORDER, Steve ‘Dub’ Jones.

Ware discussed the making of the album with ELECTRICITYCLUB.CO.UK recently and the very improvised nature of most of the compositions featured, saying “No words were spoken as to what we were going to do, it was completely spontaneous. At first, it felt incredibly awkward and childish in a strange sort of way, but as things loosened up a bit and we played off each other in a classic ‘jazz’ style, what emerged was spasmodically transcendental.”

With the opening eponymous track clocking in at close to nineteen minutes and a subsequent pair of twenty plus minute tracks, you know that this album isn’t going to be one that requires a cursory listening. The epic piece seamlessly moves through several sections from peaceful piano through to howling EMS synth freakouts.

Cyclical piano starts ‘Things Buried in Water’ with background siren-like synths, and an echoed guitar texture adding to the atmosphere. At this point, this appears to be the most melodic track so far until a huge blast of white noise materialises at around the four minute mark to disturb the peace. Halfway through, an octave / filtered arpeggiator riff comes in with an ever-increasing tempo, but drops out of the mix pretty much as quickly as it appears.

‘Some Hope of Land’ is another challenging piece, constantly evolving with a mix of John Cage inspired ambience and blippy sequencer parts. The ending of the track is almost an electro-blues section, with the kind of guitar riff that Martin Gore would be more than happy to rock out. In comparison, the short four minute ‘Not Come To Light’ is more concise and is split between full-on analogue distortion, through to a beautifully pristine synthetic aesthetic.

‘The Stranger’s House’ starts with an echoed Virgin-era TANGERINE DREAM-style sequencer pattern; short fragments of electronic sound punctuate before a deep John Carpenter-esque bass joins the mix. Three minutes in and a thinly EQ’d guitar helps to give the track a Krautrock feel, whilst the bass reveals itself as a sequencer pattern itself when other notes are additionally triggered. The additional of more real piano really evokes the playing of Edgar Froese and the mixture of live instrumentation and synthetics works brilliantly here.

With acts like Tim Gane’s CAVERN OF ANTI-MATTER perpetuating the influence and sound of THE RADIOPHONIC WORKSHOP in recent releases, it’s undeniably brilliant to still have several original members creating vibrant and challenging electronic work. In places this is not an easy listen, but with repeated revisits ‘Burials In Several Earths’ is a rewarding album and one can imagine the makers of the album having a huge amount of fun making it.


‘Burials In Several Earths’ is released by Room 13 Records as a 4 x 10” vinyl boxset, double CD and download

THE RADIOPHONIC WORKSHOP play live in Surround Sound at the IMAX Theatre in London’s Science Museum on Friday 16th June 2017. The evening will also feature an onstage panel Q&A hosted by Dr Tim Boon – tickets are available from http://www.sciencemuseum.org.uk/visitmuseum/Plan_your_visit/events/exhibition_events/radiophonic-workshop

http://www.theradiophonicworkshop.co.uk/

https://www.facebook.com/theradiophonicworkshop/


Text by Paul Boddy
20th May 2017

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