Category: Reviews (Page 139 of 206)

REIN Freedoom EP

19 May 2017 /


Paul Rein is Sweden’s pioneer of Italo disco, no less, and had been quite popular in his country, as well as writing for world renowned artists like Christina Aguilera or Jessica Simpson.

But his daughter Joanna certainly got her musical bug, when the electronica loving dad took her to see KRAFTWERK at the age of thirteen. Joanna Reinikainen never quite fitted into her peer group and discovered that the love of harsher sounds was what she’s all about. NITZER EBB’s stomping EBM beats are what has been inspiring her own direction, however her true start was providing vocals for THE OPERATING TRACKS’ ‘Testify’.

Actively trying not to be classified into a particular genre, Reinikanen released her first ‘Rein’ EP, which hit the Swedish market with a bang and creating quite a stir, thanks to strong melodies and some powerful lyrical content.

And now follows EP number two, entitled ‘Freedoom’. The heralding single ‘C.A.P.I.T.A.L.I.S.M.’ only shares its title with ROTERSAND’s last album, even though the tendencies could be similar. Shouted out and angry, forward and right-in-your-face is what REIN goes for here.

Accompanied by the rather poignant video, showcasing all the wrongs connected with modern law, human rights, poverty, war and above all, how “we are the slaves of money”, it’s all wrapped up around a heavy EBM beat as a manifestation of youthful rebellion. It definitely isn’t an encrypted political statement; REIN goes for the throat.

‘Misfit’ is equally fight inducing, but far more musical while ‘(You Call It) Democracy’ calls for the “change of our system” with deliberate tempo changes, depicting the delusional distribution of wealth in the world. ‘Bruises’ introduces more personal lyrics, starting off fairly lightly, but soon developing into the foot stomping EBM with pronounced bass and not-so-crooning synth.

The closing track, ‘Nasty Woman’, written with Nina Mariah Donovan, is a feminist manifesto against the lack of equality. It’s neither retiring, nor is it subtle. If anyone needed the issues spelt out, it certainly happens here. All interlaced with bass heavy synth providing the canvas for the shouted out words, the very last lyric hits the American president with a proclamation that “our pussies aren’t for grabbing”.

If you like subtle, you’re not going to enjoy REIN; she’s definitely not for the shy, retiring type. Unlike the forefathers of synth, with DEPECHE MODE, ERASURE, OMD and PET SHOP BOYS, all going for a more encrypted political messages, REIN spells it out, not worried of being misunderstood or pillared. It’s a bit of a “if you don’t like it, f**k off” kind of message, all loaded with explosive synth, boots to the floor rhythm.

If you love straightforwardness and heavy EBM, you’re in for a treat.

Paul Rein, your daughter certainly is a rebel!

‘Freedoom’ is released by Playground Music and available via the usual digital platforms

https://www.facebook.com/reinofficialmusic/

https://www.instagram.com/_reinofficial_/

https://open.spotify.com/album/1ZXCCiBFeKGz0Z3AA2StTB

Text by Monika Izabela Trigwell
19th May 2017

ERASURE World Be Gone

18 May 2017 /

2014 saw ERASURE celebrate yet another success with ‘The Violet Flame’, where according to Andy Bell, he and Vince Clarke “definitely found (their) mojo again with this record”.

Following their thirtieth anniversary, the synthpop kings now return with the seventeenth studio album entitled ‘World Be Gone’. This time, self-produced by ERASURE and mixed by Matty Green, the long player sees Vince and Andy in a more pensive mood.

Joining their electronic colleagues PET SHOP BOYS and DEPECHE MODE who have both released politically charged opuses, the band reflects on the current political situation. However, ERASURE do it with an expression of faith in the future, as Bell explains: “I think there’s an under swell of opinion, and people are slowly waking up. I’m hoping that people will take the album in a positive way, that they’ll use it as optimistic rabble-rousing music.”

‘Love You To The Sky’ heralds the ten track outing. While it’s a pleasant sounding melody with Andy’s angelic voice and a rather captivating verse, the track struggles to lift to the heights which ERASURE are celebrated for. The beautifulness of the verses disperses with the repetitive chorus, making ‘Elevation’ from ‘The Violet Flame’ the winner in the battle of the first singles hands down. Still, judging by the efforts by their contemporaries, ‘Love You To The Sky’ is a charming and well-written song.

The slower paced ‘Still It’s Not Over’ searches the soul with gentle sounding musicality and simple melody, conveying a hopeful message of the continuation of everyday fights, against all odds, even though we were “left (us) to the sheer attack, and still it’s not over”.

Where the quintessential ERASURE sound comes to play, is on ‘Be Careful What You Wish For’. This excellently led tune sublimely meanders itself around a plethora of Andy Bell’s vocals. The dreamy lyrics are challenging and endearing, and the whole song is just beautifully executed.

Following on, there ushers the album’s title track, which is equally peaceful and gracefully powerful. Reminiscent of the vintage ballads by Clarke, ‘World Be Gone’ ties together with the band’s history in a seamless manner.

‘A Bitter Parting’ tells the story of a failed relationship over African inspired choirs a la ‘The Kodo Song’ by KID KASIO, elegantly penetrated by marvellous synth and added nostalgia in the lyrical content.

‘Take Me Out Of Myself’ is a gentile plea for being treated with deserved consideration, like a demure version of Otis Redding’s ‘Respect’, while ‘Sweet Summer Loving’ introduces a change in tempo with a mid-paced love song.

‘Oh What A World’ superbly escorts a twist in ERASURE’s notion; different sounds, different feels to the vocals and altogether a rather big departure from what we have come to know and love the duo for, but this is where Vince Clarke proves, yet again, that he’s an unparalleled synth magician. It’s possibly the best piece from the Bell / Clarke stable in years.

‘Lousy Sum Of Nothing’ continues the delicate theme, leading to the closing ‘Just A Little Love’. Here is where the lovers of the dancier tracks get their money’s worth. It’s a rather unassuming, yet solid piece to wrap up this wonderfully gracious offering.

As set out, Bell and Clarke bring us more than hope. ‘World Be Gone’ will probably be as commercially successful as its predecessor, and unlikely to follow the fate of the very unloved and misunderstood ‘Tomorrow’s World’.

A few will wonder as to why the production wasn’t delegated out and some will criticise. But every now and then, an easy listening piece is needed to level out the vast material ERASURE have brought us over the years.

Is it their finest? It’s different, more grown-up and maturely executed; still, it will undoubtedly be one of the best things synthpop enthusiasts will hear this year.

‘World Be Gone’ is released by Mute Artists in a variety of formats including CD, vinyl LP, cassette and digital

ERASURE 2017 live dates include Glasgow O2 Academy (27th May), Manchester Albert Hall (28th May), London Roundhouse (29th May)

They also open for ROBBIE WILLIAMS in the UK and Europe throughout July and August, see press for details

http://www.erasureinfo.com/

https://www.facebook.com/erasureinfo

https://twitter.com/erasureinfo

Text by Monika Izabela Trigwell
18th May 2017

METROLAND 12×12

17 May 2017 /

‘12×12’ sees Belgium’s favourite passengers reach the five year mark in their musical journey…

It’s the story of METROLAND so far, celebrated in a lavish 4CD boxed set with 14 beautifully informative art cards and the carefully crafted conceptual presentation that came with their second album ‘Triadic Ballet’. It is a beautiful art piece on its own, but the music contained is of a high quality as well. The journey began when their mechanised synthpop impressed audiences via the debut long player ‘Mind The Gap’, so much so that unscrupulous Russians bootleggers pirated several of the tracks and attempted to pass them off as new KRAFTWERK demos on eBay!

This undoubtedly was a back-handed compliment, especially as fans of METROLAND included Ralf, Florian, Karl and Wolfgang aficionados like Andy McCluskey and Rusty Egan. Certainly with KRAFTWERK today seemingly residing in 3D electro-cabaret, Passenger A and Passenger S have certainly filled a gap in the market. But without doubt, METROLAND have proved themselves more than just KRAFTWERK imitators over the last 60 months.

With each of the 4CDs following a distinct curative path, the ‘12≠12’ volume compiles the radio edits and short versions for an easily digestible introduction to the Mechelen duo. One thing METROLAND have especially managed better than KRAFTWERK, even in full length album form, is an understanding that tracks do NOT necessarily have to go on for ages.

‘12≠12’ is ideal for a cautious introduction with a listen over a cup of hot chocolate with friends. Beginning with the brilliance of ‘The Passenger’, a robotic number inspired by the tune which the former James Newell Osterberg wrote and recorded with a certain David Bowie, this has to be heard to be believed.

The ‘small’ version of the most recent single ‘Cube’ proves that METROLAND have moved on with the spectre of ORBITAL looming, while ‘Re-design’ acts as a fine bite-size sampler of the epic three part 11 minute adventure of ‘Design’ from ‘Triadic Ballet’.

But the touching ‘soul mix’ of ‘Brother’ is where METROLAND reveal an unexpected emotiveness in a fine tribute to their departed engineer and friend Louis Zachert aka Passenger L, thanks partly to a manipulated voice sample with echoes of angels and ghosts…

The ’12×12’ disc collects the longer versions and assorted extended remixes. Particularly enjoyable is the 12inch ‘Subway version’ of METROLAND’s tribute to Harry Beck, the London Underground’s map designer, and the previously unavailable ‘Troisieme Etape’ take on ‘Thalys’. Meanwhile, the toughened up ‘Headphone’ mix of ‘Under The Roof’ provides a powerful accompaniment on any peak time commute.

Best of all, as far as the concept curation on ‘12×12’ goes, is the ‘12+12’ disc featuring various B-sides and non-album songs. Here, some of METROLAND’s bolder experiments outside of the long playing format come into play.

The haunting trauma of ‘The Hindenburg Landing’ contains the harrowing report by journalist Herbert Morrison recorded at the time of that fiery airship disaster in New Jersey. Meanwhile the brilliant uptempo attack of ‘(We Need) Machines Without Romance’ imagines a fantasy collaboration between GARY NUMAN and KRAFTWERK.

Despite these darker offerings, METROLAND can do sunny side up too as on ‘Vers La Cote D’Azure’, while the brilliant non-album single ‘2013’ is embroiled in the bright and cheery optimism of a new annum. ‘See You’ is Passenger A and Passenger S having fun with electronic improvisations based around a vocal sample from a MARSHEAUX cover of the early DEPECHE MODE tune and while not strictly a B-side as such, the tightly packaged 7 inch version of ‘Inner City Transport’ is sheer synthetic joy.

The fourth disc bears the title ‘x+≠’ and features assorted rarities such as demo versions, unissued songs and unreleased remixes, all of which are only available in this physical format. The amusing ‘Smoking Is Not Permitted’ and the sparkling technopop of ‘The Elephant’ are among some of the great melodies previously discarded, while the more austere ‘Space Age’ offers a hazier approach that differs from what became ‘The Manifesto’.

Passenger S said: “We wanted to do something more than just a best of, we wanted to tell a story… and I hope we achieved what our fans expect from us, and that the compilation gets picked up by many others as well…”

Definitely more than just a best of,  ’12×12′ presents an anthology with side anecdotes and “what if” scenarios. There is something for everyone who is a fan of European electronic music, especially those blessed with an appreciation for something more tangibly visionary.

The ’12×12′ 4CD boxed set is released by Alfa Matrix on 26th May 2017, pre-order from http://alfa-matrix-store.com/metroland-12×12-4CD-box

An abridged digital format will also be available from https://alfamatrix.bandcamp.com/album/12×12

http://www.metrolandmusic.com/

https://www.facebook.com/metrolandmusic

Text by Chi Ming Lai
17th May 2017

OMD La Mitrailleuse

15 May 2017 /


With ‘English Electric’ in 2013, OMD produced their finest album in thirty years.

After the false restart of ‘History Of Modern’ in 2010, OMD founder members Andy McCluskey and Paul Humphreys successfully played to their strengths. There was also the return to the more experimental approaches that were pioneered on their first four landmark albums, as well as references to inanimate objects and points of history as metaphors for other, sometimes more personal topics.

Fast forward four years and OMD launch their thirteenth long player ‘The Punishment Of Luxury’ and a European tour with a striking film for a new track ‘La Mitrailleuse’, inspired by British futurist artist Christopher RW Nevinson’s 1915 painting of the same name.

Directed by Henning Lederer, the animation highlights the futility of war with some solemn battlefield imagery. The mitrailleuse was a type of late 19th Century volley gun with multiple barrels that could fire either multiple rounds at once or several rounds in rapid succession like a machine gun.

Using the ‘English Electric’ bonus track ‘Frontline’ as a blue print, ‘La Mitrailleuse’ is a “grapeshot” collage with gun sounds forming the militaristic rhythm lattice. The initial unsettling mantra of “bend your body to the will of the machine!” is counterpointed by a falsettoed cry from McCluskey.

The fact that this weapon was difficult to manage as well as being highly inaccurate made it a loose cannon, so is this piece a pointed commentary on the current political and sociological climate both here and abroad?

Who knows? But the release of ‘La Mitrailleuse’ is timely…

‘The Punishment Of Luxury’ Album Tracklisting:

01 The Punishment of Luxury
02 Isotype
03 One More Time
04 Precision & Decay
05 As We Open, So We Close
06 What Have We Done
07 Robot Man
08 Art Eats Art
09 Kiss Kiss Kiss Bang Bang Bang
10 La Mitrailleuse
11 Ghost Star
12 The View From Here

‘The Punishment Of Luxury’ will be released by White Noise Ltd on 1st September 2017 in CD, CD+DVD, yellow vinyl LP,  standard vinyl LP, cassette, digital and signed deluxe book formats. Pre-order from http://found.ee/OMD_Store or http://www.pledgemusic.com/projects/omd-the-punishment-of-luxury

OMD’s ‘The Punishment Of Luxury’ 2017 tour, Ireland + UK dates include:

Dublin Vicar Street (23rd October), Belfast Mandela Hall (24th October), Liverpool Empire (29th October), Bristol Colston Hall (30th October) , Southend Cliffs Pavillion (1st November), Ipswich Regent (2nd November), Cambridge Corn Exchange (3rd November), Leicester De Montfort Hall (5th November), Nottingham Royal Concert Hall (6th November), Sheffield City Hall (7th November), Reading Hexagon (9th November), Southampton Guild Hall (10th November), Guildford G Live (11th November), London Roundhouse (13th November), Bexhill Del La Warr Pavillion (15th November), Manchester Academy (17th November), York Barbican (18th November), Glasgow Royal Concert Hall (19th November), Birmingham Symphony Hall (21st November), Gateshead Sage (22nd November)

European dates include:

Erfut Traum Hits Festival (25th November), Hamburg Grosse Freiheit (26th November), Berlin Huxleys (28th November), Leipzig Haus Auenesse (29th November), Munich Tonhalle (30th November), Offenbach Stadthalle (2nd December), Düsseldorf Mitsubishi Electric Hall (3rd December), Tilburg 013 (5th December), Antwerp De Roma (6th December), Lausanne Les Docks (8th December)

Fan presale with VIP options will begin on 17th May, while the general ticket sale will be on 19th May

http://www.omd.uk.com/

https://www.facebook.com/omdofficial/

https://twitter.com/OfficialOMD

Christopher RW Nevinson’s ‘La Mitrailleuse’ can be viewed in the ‘1910’ display room at Tate Britain, while another work by the artist ‘Bursting Shell’ referenced in the film is displayed at Tate Liverpool

http://www.tate.org.uk/art/artworks/nevinson-la-mitrailleuse-n03177

http://www.tate.org.uk/art/artworks/nevinson-bursting-shell-t03676

Text by Chi Ming Lai
15th May 2017

PATTERN LANGUAGE Total Squaresville

14 May 2017 /

From Happy Robots Records, the stable that brought the world ARTHUR & MARTHA, RODNEY CROMWELL and HOLOGRAM TEEN, comes PATTERN LANGUAGE.

The debut mini-album ‘Total Squaresville’ offers an optimistic melodic take on the synth instrumental without going into full symphonic JEAN-MICHEL JARRE territory, while also avoiding some of the electronic dirges that often pass for avant-garde experiments in sound.

The man behind PATTERN LANGUAGE is Chris Frain from Boulder, Colorado who dabbled in indie-pop and prog-rock bands until a chance viewing of the BBC4 documentary ‘Synth Britannia’ reminded him that inventive music could be made just using synthesizers.

While partying like it’s 1978, albeit a party with only the host present, ‘Total Squaresville’ uses basic modern technology like an iPad, running apps such as the FunkBox drum machine, Moog Animoog and Genome MIDI sequencer to achieve its aims. Meanwhile, hardware like the Korg Volca, Waldorf Streichfett and Moog Little Phatty provide the tactile interplay.

Opening track ‘By the Time We Get There’ comes complete with cascading bass and straightforward synth melodies over clattering electronic percussion. Each element has its place in a retro-futurist fusion, perfect for dancing if you like to dance weirdly!

With a primitive drumbox shuffle, the moody minimalist piece ‘Deeply Recessed Windows’ recalls early HUMAN LEAGUE instrumentals with plenty of bend to add a Sci-Fi edge.

The oddball percussive template of ‘The Castellers’ glides along in waltz fashion, the rimshot processed to such effect that it resembles a castanet in outer space. The inventive programming proves again that rhythms do not have to be that inane 4/4 nonsense in dance music. Motorik rhythms shape ‘Squaresville’ in the manner of HARMONIA although the swirling interplay takes it to another world.

Meanwhile on ‘A Pattern Language’, the superbly sequenced synthbass hops up and down the scale while coupled to a syncopated backbone that fizzes to a wonderful climax.

For the AIR-tribute ‘Les Choc De Etoilles’, treated electronic bongos melt with spacey Mellotron string vibes for a lunar lounge effect.

In his book ‘Retromania: Pop Culture’s Addiction to its Own Past’, Simon Reynolds commented that the minimal synth sub-genre consisted “of groups who would have been DEPECHE MODE or SOFT CELL if they could have come up with a tune!”, even suggesting that it was invented by record dealers to get rid of vinyl they couldn’t shift!

‘Total Squaresville’ is nothing like that! With a perfect title, its six tracks of enjoyable synth geekery sans voix successfully get round the weak point of many a minimal synth record sitting dormant at a record fair…

‘Total Squaresville’ is released by Happy Robots Records on 16th June 2017 as a digital download via the usual outlets, a limited edition promo CD-R is available for pre-order from https://happyrobotsrecords.bandcamp.com/album/total-squaresville

https://www.happyrobots.co.uk/pattern-language

https://www.facebook.com/PatternLanguageMusic/

Text by Chi Ming Lai
Photo by Chris Sessions
14th May 2017

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