Category: Reviews (Page 149 of 206)

ULRICH SCHNAUSS No Further Ahead Than Today

7 November 2016 /



The new ULRICH SCHNAUSS album marks a departure for the established German synthesist in that it is the first that he has created primarily “in the box”, ie it was produced mainly using software synths rather than the enviable collection of hardware equipment which resides in his London studio.

In spite of a different work ethic, all of the Schnauss trademarks are present and correct here; from the skippy / swung drum programming through to the euphoric/uplifting synth parts and the wall of sound Shoegaze elements.

First track ‘Melts Into Air’ doesn’t mess around and soon hits the ground running in optimistic “up” mode; full of major chords and detuned / wavering synths. At two minutes in, the track takes an unexpected diversion into slightly darker territory and continues in full-pelt wall of sound mode before reaching a more chilled out conclusion. ‘The Magic in You’ betrays a little of Schnauss’ Drum ‘n’ Bass roots, with its raised tempo and offbeat drum pattern. Also featuring a male vocal buried deep in the mix, the track recalls an electronic MY BLOODY VALENTINE.

‘Thoughtless Motion’ has an instrumental DEPECHE MODE vibe to it with some ‘Violator’-esque synth bass, analogue percussion sounds and a short burst of squelchy Roland TB303. The title track initially hinges around a selection of motorik analogue drum machine samples before lifting into an “up” bridge chord sequence. The track finally bursts joyfully into beautiful synthetic waves of sound after being joined by another distant male vocal low in the background.

With their fast interlocking synth parts and 32nd beat Christopher Franke-inspired sequencer work, the consecutive trio of ‘Wait for Me’, ‘New Day Starts at Dawn’ and ‘Negative Sunrise’ are the most TANGERINE DREAM-influenced tracks here; all give ample evidence as to why EDGAR FROESE introduced Schnauss into the band shortly before his passing in 2013. Musically, the former track’s main riff distantly recalls BRONSKI BEAT’s ‘Smalltown Boy’ whilst ‘New Day Starts at Dawn’ shifts between bell-like synthesis and ambient pad washes.

‘Negative Sunrise’ is not dissimilar to TANGERINE DREAM’s ‘Love On A Real Train’ with melodic musical shifts cycling around a central unchanging sequencer part; three minutes in and an uplifting synth part joins the mix. Closing track ‘Illusory Sun’ has pseudo military-style drum rolls to accompany its shifting synth pads; the last three minutes of the track are super hypnotic with melody parts swamped in reverb to produce another “epic” piece.

At approximately 50 minutes in overall length, ‘No Further Ahead Than Today’ doesn’t outstay its welcome, each of the tracks are pretty direct in nature and avoid the temptation with some ambient electronica to drift aimlessly, taking ages to actually progress anywhere.

As with much of Schnauss’ work, the emphasis here is on textural synthesis rather than the more direct melodic nature of (say) JEAN-MICHEL JARRE. If there is a criticism, some of the tracks sound a little ‘samey’ in places, but repeated listens are needed to reveal the contrasting elements between the pieces.

With ULRICH SCHNAUSS’ position in TANGERINE DREAM now secured, it will be interesting to see how a) he will influence them and b) how being part of this legendary band will impact upon his own music. Whatever happens, there is no denying that ‘No Further Ahead Than Today’ is the work of a musician who is at the top of his game and will provide nearly an hour’s worth of quality listening for fans of primarily instrumental electronica.

With thanks to Sarah Puttock at Waveform Press

‘No Further Ahead Than Today’ is released through Scripted Realities

Ulrich Schnauss has an in-store performance at London’s Rough Trade East on Tuesday 8th November at 1:00pm, entry is free

http://www.ulrich-schnauss.com/

https://www.facebook.com/ulrichschnauss/

https://soundcloud.com/ulrich-schnauss

Text by Paul Boddy
7th November 2016

FIFI RONG Future Never Comes

2 November 2016 /

London based FIFI RONG, who fled her birthplace Beijing having been perceived as “weird” and totally misunderstood in her musical endeavours, has been busy polishing her unusual sound for a few years now.

Coagulating her Chinese folk influences with styles of artists such as MAZZY STAR and COCTEAU TWINS, Rong has been creating her own electronica hybrid with such devotion and conscience, that none other than Boris Blank of YELLO noticed her unparalleled distinctive expression.

The fruits of their collaboration can be heard on no less than three tracks on YELLO’s ‘Toy’ album. Furthermore, Rong performed live alongside the Swiss masters during their recent Berlin shows.

Her latest EP, ‘Forbidden Desire’ caused a stir within the more arty lovers of high end electronica, showcasing the songstress’ “snapshot of (her) latest development”. The filigree vocals meander through the plethora of fascinating sounds, creating an aura of mysteriousness and uncertainty, which to Rong is “very individual and intimate language that I speak, with unfiltered and naked feelings of my own, for those who want to join me and listen to something real”.

And now the ‘Future Never Comes’…

Co-written and produced by long-time fan Mark Rose via the PledgeMusic campaign, Rong showcases the sound of an artist at top of her game.

Indeed, the dainty Chinese electro princess admits that: ”’Future Never Comes’ is by far the most epic-sounding track I’ve made, with a lyrical theme going back to my initial breakthrough of the fear for pursuing my dream and answering my calling. Making this track as a collaboration feels like taking a glorious vacation away from being immersed building my own island”

‘Future Never Comes’ is available via the usual digital outlets

FIFI RONG plays London’s Century Club on 4th November 2016

http://www.fifirong.com/

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

Text by Monika Izabela Trigwell
2nd November 2016

ARCTIC SUNRISE When Traces End

30 October 2016 /

Citing influences from DEPECHE MODE, ULTRAVOX, HEAVEN 17, VISAGE, BLANCMANGE and other gems of the electronica era, Germany’s ARCTIC SUNRISE are Torsten Verlinden on vocals and Steve Baltes in charge of production.

Having accomplished one album ‘A Smarter Enemy’ already plus a few EPs, the duo have already established themselves within the followers of synthpop beats, especially within the devoted fans of DE/VISION, due to the obvious sound similarities between the bands.

Indeed, taking the contemporary approach to otherwise classic elements of synth play, Baltes is capable of creating a decent collection of tunes. ‘When Traces End’ follows its predecessor with a bunch of elaborate sound manipulations, and the inclusion of few dance numbers further enriches the outing.

Although the unavoidable DE/VISION comparison cannot be ignored, specifically on ‘Tell The Truth’ or ‘Forever Yours’; the former reminiscent of Keth/Adam’s works on ‘Two’, it has to be said that both songs carry a powerful concoction of atmosphere and clever treatment of sound.

‘Let It Rain’ provides further connection to the D/V boys, with the exception of enhanced vocal techniques, while ‘Changing’ is deliciously synth laden with a perfect bass line. The title track evokes positive emotions thanks to ERASURE-esque background noises, wrapped around irresistible sound treatments and fresh vocals by Verlinden.

‘Silent Tears’ is a mix of vintage SIMPLE MINDS and THE CURE, with a pinch of grunge-laced tonality on the lead vocal. The foundation for the track is built on Roland System 100M arpeggios with bass guitar played by Verlinden himself. The slower paced ‘Mine Forever’ shines with simplicity of the production and ‘Over Me’, sounding like the works of AND ONE, only a bit dirtier, is wholesome and polished.

The closing ‘Your Eyes’ wraps up the release with classic HUMAN LEAGUE sound effects combined with those modern noises made by APOPTYGMA BERZERK on their latest long player. All that, plus poignant lyrics and a complex musicality, add up to the most notable track on the opus.

Even with the very obvious influences from their countrymen DE/VISION, ARCTIC SUNRISE definitely have a lot of potential to shine in their own light. The second album syndrome doesn’t apply here and the duo certainly did their homework.

It is clear that the LP was recorded with the help of many a vintage synthesiser and drum machine, and Baltes isn’t a stranger to capable productions.

‘When Traces End’ is an accomplished body of work, worth a repeat listen.

‘When Traces End’ is released by Echozone in CD and digital formats

https://www.facebook.com/wearearcticsunrise/

http://www.echozone.de

Text by Monika Izabela Trigwell with thanks to Simon Worboys
30th October 2016

COVENANT The Blinding Dark

27 October 2016 /

It’s been twenty two years since COVENANT ‘s legendary opus ‘Sequencer’, featuring the exquisite ‘Stalker’, was aired.

Further albums followed with ‘United States Of Mind’, ‘Northern Light’ and ‘Skyshaper’ being the most notable. With Eskil Simonsson in charge of synths, vocals, programming and production joined by Joakim Montelius who looks after execution, lyrics and engineering, the pair form the core of modern COVENANT. ‘The Blinding Dark’ as an album number nine, promises a return to the darker matter of serious futurepop, without being too nostalgic towards ‘Sequencer’.

The production’s motto is “There is No Berlin Wall to defiantly dance on any more”, but the listener is invited into the “void”, which welcomes the “unstoppable Nautilus through the black waters, straight towards the future, never looking back”.

The matters of “confronting the dark side of self” manifest themselves in the advance single ‘Sound Mirrors’. Relating to the sound mirrors from World War Two’s Britain, which were the concrete anti-aircraft installations deflecting the enemy planes, the track touches upon the modern state of Europe as we see today, with refugee problems of mass scale, affecting the Continent’s safety and security while plunging into the nasty depths of human nature. Of course, all the signature COVENANT elements are combined here, including the ominous voice of Simonsson.

Indeed, the deep probing auras are raised immediately on the opening instrumental ‘Fullwell’, and they’re further developed on ‘I Close My Eyes’. A more progressive, “implosive instead of explosive” and “fuelled by a cold fury rather than a roaring fire”, the cutting sounds resemble shaking off the shackles into the arty, futuristic sound.

The first ‘Interlude’ to ‘Dies Irae’ works as a catalyst for the fusion of Carpenter Brut and Leonard Cohen with the mediaeval Catholic requiem mass. The peculiarities of the track seem to work, thanks to the simplicity of the electronica and a poignant vocal. The second ‘Interlude’ to ‘If I Give My Soul’ introduces a hopeful moment towards the wishful attitude of the latter number, laced with bass and captivating synth.

A more sombre mood is portrayed in a haunting duet for ‘A Rider On A White Horse’. This spectacular cover of a 1977 country hit by Lee Hazlewood, comes as an unexpected turn, proving that even a western track can be revamped as a superb electronic tune. Further proof that COVENANT know their synths, yet do not shy away from further development of their signature sound, lies in ‘Morning Star’. Lyrically, the song mentions the album title over a plethora of disturbingly apt sound variations, opening a brand new chapter for the Swedish masters.

‘Cold Reading’ only reminds the listener that COVENANT are superb at trance-inducing, alternative dance tracks, even as a newly found quintet with Andreas Catjar, Daniel Jonasson and Daniel Myer, the latter returning for ‘The Blinding Dark’, having left in 2013 citing “too many egos” as the reason for his departure.

The tribal, almost “ritual noise”, heralds the closing ‘Summon Your Spirit’, bearing an uncanny resemblance to the latest instrumental works of GAZELLE TWIN. If COVENANT wanted to reincarnate the ‘Sequencer’ sound, they certainly achieved that on ‘The Blinding Dark’, without repeating themselves. The long player definitely puts its predecessor ‘Leaving Babylon’ to shame.

The Swedish maestros themselves described “the dystopian, unforgiving music of the reflective shadows we all carry within us, but often lack the courage to take a good look at” by creating a “triumphant embrace of the strengths and resilience of the soul”.

A triumph it is.

‘The Blinding Dark’ is released by Dependent Records on 4th November 2016 in a variety of formats

COVENANT tour Germany throughout November, please visit the official website for more details and other dates in Europe

http://www.covenant.se/

https://www.facebook.com/Covenant-OFFICIAL-156626197713557/

http://en.dependent.de/covenant-the-blinding-dark.html

Text by Monika Izabela Trigwell
Photos by Chris Ruiz
27th October 2016

BLANCMANGE You Keep Me Running Round & Round

18 October 2016 /

‘You Keep Me Running Round & Round’ is an original film by Playworks.tv exploring the life of Irish electronic music enthusiasts during the fledgling days that corresponded with the Synth Britannia revolution across the water. It recently won an Award of Merit from IndieFest, while it has been nominated for the ‘Best Music Documentary’ category at UKMVA 15.

In 1982, BLANCMANGE released their debut album ‘Happy Families’ and thirty years later, it was re-imagined as ‘Happy Families Too’. The documentary centres on the recollections of a number of men (…and yes, they are ALL men 😉 !) from the Dublin electronic scene attending BLANCMANGE’s first ever gig in the Irish capital during the subsequent tour.

It is the story of their journey, waiting three decades to see one of the bands who helped ignite their love of electronic music. The synth heads gathered include personnel from assorted local acts such as EMPIRE STATE HUMAN, PolyDROID, KUBO, THE CASSANDRA COMPLEX and CIRCUIT3. And they are all a passionate bunch who can tell their drum machines from their tape recorders, unlike some so-called electronic music journalists.

Their entertaining monologues are inter-dispersed with excellent live footage of BLANCMANGE from that Dublin gig, with ‘Feel Me’, ‘Blind Vision’, ‘Waves’, ‘Living On The Ceiling’ and ‘I Can’t Explain’ all figuring. The fact that the songs featured are all in full-length form is one of the documentary’s major strengths. This is a relief after all the song butchering and fast editing that has occurred in Channel 4 music programmes aimed at attention deficit inflicted youngsters over the last few years.

In 1982, there was very little electronic music in Ireland. Rock was God with the nation focussed on U2, THIN LIZZY or traditional music. It was a time when there was no YouTube and very few people even had a VHS recorder. So finding an electronic pop record imported from the UK was the Saturday adventure for a discerning synth inclined teenager.

Around this time, BLANCMANGE had just signed to London Records and began recording the songs that would eventually form ‘Happy Families’. While ‘Living On The Ceiling’ was to become the hit that brought BLANCMANGE into many teenagers’ homes, the pivotal track was its predecessor ‘Feel Me’.

On how the song came about, Neil Arthur told ELECTRICITYCLUB.CO.UK: “Stephen Luscombe came round with this cassette and on it was this rhythm which was the backing of ‘Feel Me’. It was a great bassline and we blasted it in the studio through these big speakers and I did this kind of ad-lib vocal. I had this idea that went ‘feel me now – feel the pain – feel the strain’… simple rhyming, repetitive words”.

One key point made in ‘You Keep Me Running Round & Round’ is that synthpop is about synthesizers, and that there is no other music form that has such a broad spectrum of possibilities within one track.

It ultimately has a sensibility that not only encompasses shiny pop but also the avant-garde and is often coupled with dark lyrical matter. “With the line ‘Your hand’s in the pocket – pocket of a friend’, it was just to get people thinking that the song was going one way but then to say ‘what do you feel?’, ‘what do you think?’… for me, it’s just a song to be interpreted or misinterpreted any number of ways” remembered the BLANCMANGE frontman, “It’s like ‘Here comes a love song – there goes a banister’, what could it be? It could be a sexual reference, it could be a reference to relationship intensity. It’s not exactly a very melodic vocal line so the intensity had to build throughout. On reflection, I always thought it was more David Byrne than Ian Curtis, but there was never any intention” 

Using synthesizers was about control as well and not needing a drummer! Arthur recalls: “We didn’t own any of the synths we used for ‘Happy Families’. We hired a Roland Jupiter 8, an ARP sequencer and a Korg MS20 plus a Linn LM-1 Drum Computer which Stephen and I programmed up”.

And it was also about unlimited creativity and unconventional thinking: “The catch on the bassline of ‘Feel Me’ is having that pick-up on the sixteenth beat coming into the one… that was the thing that got me when Stephen came in with that. It was put together with a TR808 initially using the cowbell as the trigger to the synth. That was replicated using the Linn with the bass part being the Jupiter and Korg. David Rhodes’ E-bowed guitar melody is doubled with a keyboard”

But of course, many in the documentary did not have access to this kind of technology at first, but the use of cheaper synths as a starting point allowed for punk’s DIY ethic to be applied. It was the same for BLANCMANGE before they were signed and the approach they had to take for their first release ‘Irene & Mavis’.

“Everything then had been recorded on a Sony cassette machine; we had another cassette machine purely for playback with decent speakers on it” recalled Arthur on those fledgling days, “We would take a line-out and feed it into a mono input and do the other track live at the same time. Or we would overdub by playing in the room and having the backing track playing from the extension. We combined that and a borrowed 4 track machine with varispeed on it”

The one term that keeps reoccurring in ‘You Keep Me Running Round & Round’ is “synthpop”… yes, that’s synthpop, pop songs with synthesizers, NOT “dance” or “electronica”! There is an unashamed embracement of synthpop by all concerned. Now while the Acid House and dance revolution is briefly touched upon towards the end and helped make electronic music credible enough for music hacks to want to write about it, it largely took songs out of the equation. And let’s face it, those club-oriented excursions were generally pointless without the use of substances!

But course, with the return of the synthesizer in an avant pop context, it’s not about harking back to the past, but looking forward to the future. On reworking ‘Feel Me’ for 2013, Neil Arthur said to ELECTRICITYCLUB.CO.UK: “My new version is more stripped down. There’s so many VST plug-ins you can put on top of things. Unless your ideas are good, it’s not worth it. I tried to remember what it was like in that room when I first heard that rhythm Stephen had put together. David came in to play his great guitar on it again. The vocals are my daughter, myself and a vocoder… I wanted to keep it really simple. Hopefully it still works. At least doing ‘Happy Families Too’, I wasn’t going to tear myself apart over the songs… they are written for better or for worse”

In all, ‘You Keep Me Running Round & Round’ is an enjoyable hour of music history, presented in a refreshing, intelligent manner. Indeed it is the antithesis of those ‘I Love The 80s’ type cheesefests that often portray synthpop in the worst way possible, as something to be derided and mocked. In fact, it would make rather good viewing on BBC4.

With thanks to Patti Carbonell, Poppy Seekins  and Tone Davies at Playworks.tv

Additional thanks to Neil Arthur and Peter Fitzpatrick

For further information on ‘You Keep Me Running Round & Round’, please visit www.ditto.tv/ditto-is-running-round-and-round/ or email campfire@playworks.tv

https://www.blancmange.co.uk

https://www.facebook.com/BlancmangeMusic/

http://www.playworks.tv/

Text and Interview by Chi Ming Lai
12th September 2015

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