Category: Reviews (Page 145 of 200)

KID KASIO Full Moon Blue

15 September 2016 /

Formerly of THE MODERN and later MATINEE CLUB, Nathan Cooper debuted as KID KASIO with the long player ‘Kasiotone’ in 2012. And with his latest single ‘Full Moon Blue’, he simply couldn’t get any Wilder…

Performing alongside MARSHEAUX and RODNEY CROMWELL on SATURDAY 5TH NOVEMBER 2016 in Norwich, Cooper is a man who is plainly honest about where his influences lie. His love of electronic acts such as HOWARD JONES and OMD permeates throughout his work. His most recent album ‘Sit & Wait’ is a fine collection of playful synthpop that is unafraid to nails its colours to the mast in a totally unpretentious manner.

Now imagine if DEPECHE MODE were fronted by Nik Kershaw instead of Dave Gahan? With ‘Full Moon Blue’, this musical fantasy is fully realised with a clever interpolation of ‘Two Minute Warning’, one of the songwriting contributions from Alan Wilder on ‘Construction Time Again’. The recording had originally started life as a cover version, but mutated into its own entity.

‘Full Moon Blue’ comes accompanied with a promo video sourced from home movie footage; “It’s compiled from footage of an old VHS tape a friend found in a box in his mum’s attic. It’s a film we made on camcorder when we were 18. A kung fu film” said Cooper, “I’ve just kind of thrown it together, but it kind of works. It’s certainly not a video I would have planned for the song, but I think that’s better sometimes. I was keen not to spend 2 years making a video this time around, like I did with ‘The Kodo Song’ and this came with a ready-made back story, so I thought ‘why not?’”.

Having previously worked with the likes of Stephen Hague who produced ERASURE, NEW ORDER and PET SHOP BOYS, KID KASIO has a quality background.

He said to ELECTRICITYCLUB.CO.UK in 2015: “Whether I release it in 2013 or 2016, it’s still going to sound like 1985!” – in the case of ‘Full Moon Blue’, KID KASIO parties like its 1983!

KID KASIO Full Moon Blue‘Full Moon Blue’ is released as a download single and also available on the album ‘Sit & Wait’

KID KASIO plays Epic Studios, 114 Magdalen Street, Norwich, Norfolk NR3 1JD on SATURDAY 5TH NOVEMBER 2016

http://www.kidkasio.com/

https://www.facebook.com/kidkasio/

https://twitter.com/KidKasio

Text by Chi Ming Lai
15th September 2016

VILLA NAH Ultima

13 September 2016 /

Having released one of the best electronic pop albums of 2010 in their debut ‘Origin’, Helsinki’s VILLA NAH went quiet after a well-received UK tour supporting OMD.

But childhood friends Juho Paalosmaa and Tomi Hyyppä are now back after a five-year hiatus. During that break, Paalosmaa formed SIN COS TAN with ‘Origin’ co-producer Jori Hulkkonen and their three albums to date filled the void left by VILLA NAH. ‘Ultima’ sees the duo and Hulkkonen present an escapist soundtrack for a Nordic summer, swathed in dreamy synthesizers.

While Paalosmaa’s vocals are as forlorn as ever, there is a cautious air of optimism too. Beginning the album in earnest, the ‘Ultima’ title instrumental is a gently atmospheric waltz that would make a fine theme to a romantic art movie.

A sweet pizzicato movement shapes ‘Vortex’ with its marvellous synthscape retaining the filmic characteristics of the album’s intro before the beat kicks in. ‘Mistakes’ takes things more uptempo as gorgeous synth vibrato and some harp-like runs sit over an inventive rhythm construction. It all proves that modern electronica doesn’t have to be set to the retarded 4/4 monotony of most generic club music; the song’s uplifting choral qualities and soaring chorus make this an early album highlight.

While VILLA NAH’s debut showcased an affinity with OMD, both ‘Life is Short’ and ‘Love Chance’ echo another Merseyside act CHINA CRISIS; the former is punctuated with synthetic brass tones while the latter exudes a distinctly exotic flavour with plenty of wistful melodies in keeping with the song’s title. The wonderful “new romance” of ‘Love Chance’ also sees prominent but subtle use of rhythmic guitar in the vein of Messrs Daly and Lundon.

A gentle piano motif introduces ‘Heaven’ before more downcast overtones and guitar textures make their presence felt. Meanwhile things get darker on ‘Clockwork’, a mood piece that is possibly the most sombre offering on the album.

‘Spy’ takes on a nostalgic feel by borrowing the theme music for the vintage computer game ‘Spy Vs. Spy’ with the blessing of its composer Nicholas Scarim. This clever interpolation for the song’s lead melody is a perfect fit for VILLA NAH’s template, harking back to ‘Ways To Be’ from ‘Origin’. As the layers build, Paalosmaa even starts to sound like Robert Smith of THE CURE guesting on a fantasy track for JEAN-MICHEL JARRE’s ‘Electronica 3’!

The magnificent ‘Stranger’ can be held up as an example as to why Paalosmaa’s melancholic songwriting prowess and Hyyppä’s technical knowhow gained VILLA NAH so many new fans when they opened for OMD in 2010; the detuned synths provide drama and tension while still retaining a vital sense of melody.

To finish ‘Ultima’, the serene ‘Proxima’ canters along and beautifully rings like a grown-up lullaby.

‘Ultima’ is a welcome return for VILLA NAH as a mature successor to ‘Origin’. While there are fewer uptempo, dance friendly songs compared to its predecessor, the passing years have naturally provoked a more sophisticated outlook that will appeal to all generations of classic synthpop aficionados.

Hienoa että olette palanneet…

With thanks to Tom Riski at Solina Records and Tapio Normall

‘Ultima’ is released by Solina Records in vinyl LP and digital formats

https://www.facebook.com/villanah/

https://twitter.com/villanah

http://solinarecords.com/villa-nah-ultima/

Text by Chi Ming Lai
Photo by Kimmo Virtanen
13th September 2016

IAMX Everything Is Burning

5 September 2016 /

Since Chris Corner aka IAMX has made sunny Los Angeles his home and has showcased his sixth studio album ‘Metanoia’ extensively throughout Europe and the US, his public therapy seems to be working extremely well.

The troubled artist, having suffered streaks of depression which accompanied him throughout his seven year love affair with Berlin, nearly said goodbye to music altogether. Only later had he realised that “it wasn’t the music that was hurting me, it was just that I had to reprogram myself to approach things in a different way, and it became very clear to me that I still wanted to make music more than ever”.

‘Metanoia’ was a culmination of the act of bringing together many ideas to create a laid back, no pressure record and turned out to be an immense success on both sides of the Atlantic, gaining Corner many a new fan.

This month sees a further seven new tracks being released under the umbrella of ‘Everything Is Burning’, as an ‘Addendum’ to ‘Metanoia’, together with new remixes of songs featured on the original 2015 release.

The title track heralds the outing, with an outstanding metallic sound of non-conformist synth, buzzing guitar and that longing vocal, which never adjusts to the norm. The freshness, yet deepened nostalgia weaves itself through the peculiarity of the production, leading into ‘Dead In This House’. The surprising change of rhythm ushers a new era of IAMX’s rule; silky, smooth and ragged and rough at the same time.

Now enters ‘Triggers’, acting as Corner’s reflection on the reality of life. “You may lock your doors but you’ll never keep them out” offers a pessimistic outlook onto the everyday. The howling strings mark the entrance of ‘Scars’; a poignant autobiography with a tear jerking element to it, thanks to the filigree musical additions and honesty of the lyrics.

‘The Void’ continues the notion of melancholia, while ‘Eternity’ bears self-scars from Corner’s existence, where he begs to be completed. The closing ‘Turning Crimson’ sees the X ponder the modern world once more, all disguised as a gentle ballad, but the uncertainty and pain remains.

The rest of the production consists of remixes of few ‘Metanoia’ tracks, such as three mixes of ‘North Star’, triple dose of ‘Oh Cruel Darkness Embrace Me’, a ‘Marat Sad Remix’ of ‘Look Outside’ and two remixes of ‘Happiness’ including a take by Gary Numan.

Although IAMX claims to have become cleansed since living in America, his acute perception of reality and cutting observations of human psyche are still prevalent in the lyrical content if his works. Musically, he’s on top form, and his production towers above most. Although the “becoming X” is complete, Corner has far more to showcase and does so without remorse. It’s a superb addition to an already superb album.

‘Everything Is Burning (Metanoia Addendum)’ is released in 2CD and digital formats, available from https://www.musicglue.com/iamx/products/everything-is-burning-metanoia-addendum-cds-2/

IAMX plays London Shepherds Bush Empire on Saturday 29th October 2016

https://iamxmusic.com/

http://www.facebook.com/IAMXOFFICIAL

https://twitter.com/IAMX

https://www.instagram.com/iamx/

Text by Monika Izabela Trigwell
5th September 2016

LES PANTIES Cold Science

3 September 2016 /


‘Cold Science’ is a new singles anthology by Brussels cold wave indietronica combo LES PANTIES.

Founded by Hugo Fernandez (drums), Sebastien Decupere (guitars) and Paul Normann (bass), LES PANTIES are fronted by the deep, pronounced voice of Sophie Frison which at times, powerfully recalls Siouxsie Sioux. While their sound echoes other Belgian acts like THE NAMES, the modern electronic sheen of SOULWAX also makes its presence felt.

Like SAVAGES’ Jehnny Beth, Sophie Frison exudes a stylish gothique. Released on the iconic Les Disques du Crépuscule and compiling material released between 2011 to 2015, inevitably the spectre of JOY DIVISION and THE CURE looms over ‘Cold Science’. But with Frison’s vocals and the presence of sparkling string synths, the mood is lighter but still laced with tension.

Beginning with the brooding ‘Velvet’, while a conventional backbone dominates, the use of technology is one of LES PANTIES’ distinguishing attributes. The melodic bass and scratchy guitars of ‘The Gate’ are offset by swirling synths and one could imagine this being covered by MARSHEAUX if the syncopated percussion mantra was replaced by a Motorik drum machine beat.

‘Diving’ actually sees a drum machine and synthesized melodies taking on a more central role; both remain as constants in the musical core as the lengthy track percussively builds to a sexy, passionate climax. Meanwhile, the retro-futuristic indiepop of ‘Factory’ unsurprisingly sounds like early NEW ORDER while ‘Hazy Days’ comes over as if Siouxsie had joined Robert Smith’s combo back in the day, as opposed to the other way round!

The moody ‘White Tiger’ is layered with prominent keyboards to boost the angst ridden atmosphere but as it progresses, the guitars get much heavier. This trend continues with LES PANTIES’ more conventional debut single pairing ‘Porkshop’ and ‘Westie’, as the tracklisting moves along in reverse chronological order.

However, the best is saved until last with a superb sequencer assisted ‘L’Arrivée V2’ as a bonus track. Already an excellent disco inflected tune in its original guise, it is considerably enhanced with the use of more electronics and even tighter drum programming, courtesy of producer Ian Caple whose previous credits have included SHRIEKBACK, TINDERSTICKS, A-HA and EMILIE SIMON. It is in here in its second half that the SOULWAX influences really punch their way through.

It’s an indicator of how good LES PANTIES could become if they pursue this indie electro hybrid direction. Whatever happens next, ‘Cold Science’ makes a promising shop window for now.

‘Cold Science’ is released by Les Disques du Crépuscule in CD and download formats

http://lespanties.tumblr.com/

https://www.facebook.com/LESPANTS/

http://lesdisquesducrepuscule.com/cold_science_twi1227cd.html

Text by Chi Ming Lai
3rd September 2016

ASSEMBLAGE 23 Endure

1 September 2016 /

Seattle based musician Tom Shear has carved a justifiably successful career over the past 20 or so years with acclaimed releases such as ‘Compass’ and ‘Storm’.

2012’s ‘Bruise’ album saw a move towards a more mature sound which was complimented by a remix disc featuring reworks by the likes of ex-COVENANT man Daniel Myer. In the interim, Shear returned to a harder EBM style with the side project SURVEILLANCE, made possible via a hugely successful crowdfunding campaign.

The same approach has been deployed for the latest ASSEMBLAGE 23 release ‘Endure’, once again to similar success. This album sees that more sophisticated sound used on ‘Bruise’ and apply it to startling and in places, quite beautiful effect.

This is an unusual album in the ASSEMBLAGE 23 canon as it goes against not only the accepted genre types, but also in many ways what Shear himself has done before. This is evident from the start with an actual title track which is also an instrumental. It’s obvious the John Carpenter albums have been on heavy rotation in the Shear household, as this driving piece would not be out of place on the ‘Lost Themes’ releases.

Next up is an apocalyptic tale in the shape of ‘Afterglow’. One of A23’s main strengths, which stands them apart from many contemporaries, is the use of actual melody. Shear is openly a fan of many Synth Britannia bands and that is obvious on this, one of the album’s standout tracks. It’s here we get a first taste of one of those shifts in sound in the production on Shear’s vocals which foregoes the usual EBM / Industrial effects to allow a more upfront, dry performance.

This in turn throws Tom’s lyrics into sharper relief than before. These lyrics are especially fine on the next track ‘Bravery’ on which we are reminded that we all have self-doubt, fight personal battles and that “some days just waking up is an act of bravery…” – all this is underpinned by a thumping backing track.

Next up is ‘Salt The Earth’, a more straightforward EBM track which is not to take away from the strength of the songwriting, but placed on the album between ‘Bravery’ and the track that follows, it fails to stand out. ‘Static’ opens with a very un-A23 way with a plaintive piano motif, which is duplicated as the song builds by synth plucks and then strings. Again, the confidence that Shear has in his voice is demonstrated by the dry production he employs. ‘Call The Dawn’ and ‘Butterfly Effect’ act as strong album tracks, again enforcing the maturity of the overall delivery of both instrumentation and vocals. This is also true of the later track ‘Grid’.

Then comes one of the highlights of ‘Endure’, the excellent ‘Barren’; all of the parts that make up the album come together here beautifully to deliver a track that is in turn, a piece that can be listened to thoughtfully but also sounds fantastic through a club PA. This is destined to become a staple of A23 live shows for years to come.

After the aforementioned ‘Grid’, we come to the album closer ‘December’. Again Shear isn’t afraid to let his voice do the talking and carry the emotional weight of a song dripping sadness and regret belying the dance driven instrumentation.

So what of the 2016 incarnation of ASSEMBLAGE 23? It’s evident that this is an enormously enjoyable release. It stands with ‘Bruise’ as an example of what can be achieved by a musician working with a clear goal, that also delivers what his audience wants with a few surprises along the way.

This week, it was announced that once again VNV NATION will headline the 2017 Amphi Festival in Germany, one of the scene’s biggest events. It’s a surprise that this slot isn’t occupied by ASSEMBLAGE 23 as they have the tunes without the bombast employed by Ronan Harris and his band. ‘Endure’ is a highly recommended release.

‘Endure’ is released by Metropolis Records on 9th September 2016 in CD, deluxe 2CD, vinyl and digital variants, available from http://www.assemblage23.com/store

ASSEMBLAGE 23 tour North America throughout September and October 2016, please visit
http://www.assemblage23.com/ for more information

https://www.facebook.com/Official-Assemblage-23-138651156153800/

https://twitter.com/Assemblage_23

https://soundcloud.com/assemblage-23/sets/endure

Text by Ian Ferguson
Photos by Bob Libby and Tom Shear
1st September 2016

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