Swedish synthpoppers TRAIN TO SPAIN have recorded their best song yet in their new single ‘Believe In Love’.
Highly exuberant and featuring a poptastic four chord progression, the track is to first to feature producer Lars Netzel aka NOT LARS as a full-time member. ‘Believe In Love’ develops on the promise of their debut album ‘What It’s All About’ released in 2015 and significantly features more space within Jonas Rasmusson’s classic synthpop framework for lead singer Helena Wigeborn to work in.
Jonas Rasmusson has been releasing music as TRAIN TO SPAIN since 2011, but it wasn’t until the recruitment of Helena Wigeborn in 2013 that things begin to gather momentum. With Lars Netzel, who did the final mixdown of ‘What It’s All About’, now joining the duo, TRAIN TO SPAIN’s journey has taken an exciting new route while still heading towards the same destination of synth city.
In an interview earlier this year, Jonas said: “There are only good things about having Lars as a full time member. We complete each other just great”. Helena added: “On ‘What It’s All About’, Lars was putting his effort into mixing. As a full member, he will be involved from the start with all tracks and most probably write new songs together with me and Jonas, he’s got some interesting pop-tricks up his sleeve”… and indeed he has!
Since establishing itself in 2010, the Brighton based artistic co-operative Anti-Ghost Moon Ray has successfully launched acts such as GAZELLE TWIN and BERNHOLZ to a wider audience, thanks to the patronage of key veterans such as John Foxx and BLANCMANGE.
With a manifesto that “explores common ground in a strong aesthetic approach towards art, film, music, technology, science, and nature”, the collective’s founding quartet also includes ACQUAINTANCE and GREAT PAGANS. To start 2016, Anti-Ghost Moon Ray have curated a compilation entitled ‘Annual General Meeting Record – Volume 1’, with profits in aid of Médecins Sans Frontières (MSF), an organisation dedicated to providing independent aid for victims of war, disease and famine across the world.
As well as featuring new music from GAZELLE TWIN, BERNHOLZ, ACQUAINTANCE and GREAT PAGANS, ‘Annual General Meeting Record – Volume 1’ also includes a variety of artists from outside of the collective. The result is a collection of “diverse electronic music ranging from contemplative, crystalline ambience to overdriven tape canons and experimental dance”.
It begins with the cascading sequenced magic of ‘Septobel’ by Anti-Ghost Moon Ray associate BENGE; it’s a track that will be appreciated by anyone who has loved his ‘Twenty Systems’ tribute to the history of the synthesizer, or the more transcendental side of his work with JOHN FOXX & THE MATHS.
But contrasting the mood almost immediately is ‘Ravoir’, an industrial flavoured collage by AUSSCHUSS utilising chorals, metallics and gunshots. This sets the scene for three more experimental excursions, from the Gothic ambient drone of BERNHOLZ’s ‘33‘ and GREAT PAGANS’ abstract statement ‘Disquiet’ to some futuristic sound sculpturing from German artist NIKA SON. More conventional in comparison though with a chattering drum box and primitive string machine is the appropriately titled ‘Fizzy Logic’ by DEEDS.
With a distinctly uptempo template, the squidge fest of ‘Polite Applause’ by ACQUAINTANCE begins like KRAFTWERK through a drum ‘n’ bass filter. Following ROSEN’s eerie instrumental piece ‘Iliim’, GAZELLE TWIN continues to demonstrate her interest in the metaphysical with the spacious ‘Outer Body’; driven by a Geiger Counter, the glitchy patchwork of sounds merged with her voice provides an intriguing listen.
Meanwhile ‘Slipping’ is the work of DON’T LOOK, a young Hastings based bedroom producer. A Sci-Fi drama building around a hypnotic rhythm construction and assorted ‘Clangers’ noises, its inventiveness should not be entirely unexpected, given his links to VILE ELECTRODES.
FUTURE IMAGES’ digitally percussive broadcast montage ‘Resolute’ livens up the pace again, before the closing ‘New For You!’ from CARDINAL FANG begins with simultaneous radio noises in the spirit of JOHN CAGE’s ’12 Radios’; however, a lead vocal unexpectedly appears amongst the lo-fi noisescape. While possibly well-intentioned for variety, the track does spoil the continuity of what has been until this point, a cohesive wordless listening experience. But this is a minor quibble to what is in the main, a well-thought out compilation.
Despite there being twelve artists involved, the esoteric concept of this collection does provide an inventive thematic core. In an age of attention seeking and “buy me” culture, this understated compendium of artistic integrity is a worthy 49 minutes of your time, and all for a good cause too.
In August 2015, METROLAND’s sound engineer and close friend Louis Zachert, aka Passenger L, passed away.
The year had begun on a high for METROLAND with the critical acclaim for their Bauhaus conceptual opus ‘Triadic Ballet’.
Praise on the album was accorded from Andy McCluskey and Rusty Egan, two electronic pioneers who both also later witnessed METROLAND’s live presentation dedicated to Passenger L at the Electri_City_Conference in Düsseldorf.
The Brussels based duo have recorded ‘Things Will Never Sound The Same Again’, a musical eulogy created from scratch as their way of paying homage to their fellow passenger. A key figure on the Belgian independent music scene, each of the track titles describes or embodies what Louis Zachert meant to Passengers A and S, from his witty e-mail headers and the name of his recording studio to his genuine love for electronic music and life itself.
Understandably, ‘Things Will Never Sound The Same Again’ has a much darker overtone compared with the energetic colour cast of ‘Triadic Ballet’. Despite the mellower sound, there are still bright analogue melodies and pulsating rhythms that celebrate moments and memories. The opening ‘Vie (Mental Impressions Reproduced By Electronic Means)’ is an example of the darker template that embodies the obvious feelings of loss.
But as the French word for ‘life’, Louis Zachert wanted to translate impressions of daily life into soundscapes using analogue synthesizers or as METROLAND put it: “Synthetic music used to express feelings, precisely that what we tried to achieve with this tribute”.
And with the appropriately titled ‘Synthetic Sound’, Passengers A and S are doing what they do best, placing tightly sequenced patterns in cohesion with mechanical percussion and resonant arpeggios. Using grainier textures, both ‘Good Moaning’ and ‘This Little Thingy’ continue with this deeper outlook, not quite funereal but most definitely solemn.
The steady bass driven ‘Things Will Never Sound The Same Again’ title track follows along similar lines and it is certainly interesting to hear METROLAND using simulated wah-wah guitar sounds next to symphonic synth strings. But the life celebration begins in earnest with ‘Brother’ which despite its brighter melodic overtones, is offset by an honest human vocal.
“We sometimes used to tease Louis with a song by the band MODERN TALKING ‘Brother Louie’… you should then have seen the look on his face… priceless” recalled Passengers A and S, “we kindly invited someone to provide vocal samples for our brother from some Basildon rooted band that we all used to like very much. And so, with a poppy undertone, the Basildon sound and voice, this became our own ‘Brother’ (Louis) song…”
The uplifting ’Music / Machine’ with its Jarre-esque melodies and early HUMAN LEAGUE bass motif is not an original song but a METROLAND remix of MUSICOCOON, a project involving Louis and his friend Philippe Malemprée. Kindly donated, its presence is in honour of Louis as the last piece of music he ever worked on. It comes at just the right moment and does what any successful eulogy should do, providing comfort and optimism with Passenger L living on in the music.
With this in mind, the best way Passengers A and S can pay tribute to their friend is to be themselves; and this is captured on ‘Under The Roof’, probably the most characteristic METROLAND track on the collection. ‘Under The Roof’ was also the name of Louis’ mastering studio…
‘Quo Vadis’ is Latin for “Where are you going?” and has a lovely until we meet again tone about it; but it was originally recorded two decades ago with a female vocalist. “There was one song entitled ‘Passing By’, which had this mellow melody we always liked… but it never worked out. Louis’ spirit, somehow gave it what it needed, and we both believe it was Louis who made it happen this time. Louis gave us the inspiration and correct drive to finish what we started there, he was with us and still is”. And thus “The last song on this tribute sums it up” say METROLAND, “Where are you going Louis?… No matter where, you remain with us forever”
Throughout history, sadness has inspired beautiful art and wonderful music. Yes, ‘Things Will Never Sound The Same Again’, but while this chapter is tinged with sorrow, this touching memorial brings a sense of closure while not forgetting the man who helped get METROLAND to where they are today; it’s fair to say Louis Zachert would have loved this.
BLANCMANGE have had a busy couple of years, what with the ‘Semi Detached’ in the Spring of 2015 and the magnificent ‘Nil By Mouth’ in the Autumn of the same year.
The latter, certainly topped the position in the instrumental albums arena that annum, beating the likes of the mediocre ‘MG’ by Martin Gore for one. More recently, Moby said that BLANCMANGE were “Probably the most under-rated electronic act of all time”.
‘Commuter 23’ follows BLANCMANGE’s recent releases rather quickly, heralding the new era of Neil Arthur’s reign, with, no less than fourteen tracks, assuring “electronic minimalism, sharp lyrics and wintry romanticism”. The minimalism, is indeed palpable on the excellent opener ‘Red Shift (Blame Thrower)’; almost as if something from the very early HUMAN LEAGUE was transferred into the luscious musicality of today, only fresher, trashier, metallic and grabbing – especially with the echoing vocals over the stacked up synths.
The two following instrumentals, ‘Flight 2157’ and the ‘Commuter 23’ title track break up the ordinary with curious sounds describing the mundanity of modern travel. The gritty synth of the former, almost distilling in its quality, creates an uncomfortable and nervous projection of reality; while the buoyancy of the latter calms the receptors, leading to the gentle ‘I Wish I Was You’.
A true return to the roots of BLANCMANGE, this delicately mastered piece floats over with the single lyric of “I wish I was you”, repeating in a mantric pattern, bringing both calmness and nostalgia, as well as the need to break free from the ordinary. It’s a true tribute to the ambient king BRIAN ENO’s ‘Another Green World’.
‘Last Night (I Dreamt I Had A Job)’ invites with a simple guitar riff and a liquid synth, descending into sounds reminiscent of the early works of THE HUMAN LEAGUE, interspersed with PET SHOP BOYS inspired additions. The vision of having the most obscure of occupations, a six-to-two shift, consisting of packing boxes, isn’t perhaps what most of us dream about, but the majority of people do have the constrains of corporate conglomerates, even if what they actually do is described in a more appealing manner, rather than just “packing boxes”.
The sensual sounds of ‘Jack Knife’ gently descend upon the ear with an ordinary theme, according to Arthur himself, it’s a “rhyming lorry journey – all emotionless communication via cr*p mobiles, from places you don’t belong . . . loneliness”.
“So far from home, so far from home, so far, so far from home” bears a slight resemblance to Martin Gore’s lyrical obsession. The fresh beats of NEU! materialise in the instrumental ‘Elemental Change’, while ‘Waiting All The Time’ marks the transition into the über minimalist beats; slow, off the mark, ambient and almost tribal, with a dose of insecurity and fear. It’s a truly superb synth track, tying the past with the future in one seamless knot.
‘NHS’ ironically describes the “system being stretched beyond breaking point”, using the ROXY MUSIC blueprint, and ‘It’ll Pass Maybe’ experiments with synthesis and vocals with simple “no” and “yes”, canvassed upon sparse electronica, urging the listener to “experience new music”.
The cleverly titled ‘Judge Mental’ is possibly the best track on the production, jokingly laden with random lyrics like “I googled you, then I googled myself too / I thought maybe my phone is on silent”, bearing a poignant message of the breakdown in communication.
The synths, in the state no more than required, mark the simplicity and brilliance of this track, leading into the more ambient, less obvious part of the album, with tracks like ‘Scarred’, ‘St Paul’s’ and ‘Time Day_Night’. The former, being choir-based, simplistic and heavenly, is an astonishing dose of fear and hidden brilliance; the middle, with a brief vocal from Arthur, sounding better than ever, over tweeting of birds in an imaginary green open space, to the latter, with its out of time feeling.
BLANCMANGE still surprise. From the pop star, having enjoyed fame with ‘Living On The Ceiling’, through the break-up and resurrection, further abandonment and couple of excellent recent releases, including the superb ‘Nil By Mouth’, Neil Arthur still has it.
Great minimalistic sounds, interesting ambient melodies à la Eno and grabbing electronica is what is required. A true coagulation of old and new, re-packaged with poise and purpose, ‘Commuter 23’ is a must have for everyone talking synthpopia.
One of the best electronic albums of 2015 actually first broke cover in Autumn 2014.
Reissued by Heavenly Recordings, ‘Y Dydd Olaf’ by Welsh songstress Gwenno confronted issues such as media manipulation, patriarchy and the decline of minority languages, all within an enigmatic brand of captivating lo-fi electronica.
The album’s title comes from Welsh author Owain Owain’s sci-fi novel ‘Y Dydd Olaf’ where brain-invading robots overpower humanity, except for Welsh speakers whose thoughts they can’t penetrate. ‘Fratolish Hiang Perpeshki’ is possibly the collection’s most uptempo number. Utilising Linn Drum sounds, blippy synths and bursts of muted guitar, there is a hauntingly spacey musicality about it.
The track is a sonic sandwich that reflects not only Gwenno’s cultural heritage, but also her previous outings in pop, working with former Gary Numan band member Chris Payne, THE HUMAN LEAGUE’s one-time producer Martin Rushent and Australian dance combo PNAU.
‘Fratolish Hiang Perpeshki’ has just received a yesterday’s tomorrow video treatment directed by Jacek Davis. With fast cuts coupled to a grainy cerebral quality, it all comes over wonderfully like a surreal TV drama from days gone by, back when BBC1 and ITV were the only two channels on air; the first verse suggests that “Society is retreating and the town is losing ground” and that “the machines are deciding”!
With beautiful, traditionally derived melodies coming over like Hannah Peel meeting STEREOLAB and BROADCAST, Gwenno Saunders’ music encompasses cosmic moods and synthetic textures produced by her husband Rhys Edwards. Her talent has certainly been recognised across the Atlantic, with an invitation to play the prestigious Moogfest 2016 in May alongside electronic luminaries such as Gary Numan, Lauria Anderson and THE ORB.
In an international electronic pop market where many Swedish, Norwegian, German and Greek acts sing in English, Gwenno’s non-conformist approach of using the Welsh and Cornish languages provides a benchmark for what can be achieved artistically by a British artist.
‘Fratolish Hiang Perpeshki’ is from the album ‘Y Dydd Olaf’, released by Heavenly Recordings
GWENNO 2016 UK live dates include:
Nottingham Bodega Social Club (10th March), Birmingham Hare & Hounds (11th March), London Moth Club (12th March)
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‘Believe In Love’ is released as a download single, available from
follows BLANCMANGE’s recent releases rather quickly, heralding the new era of Neil Arthur’s reign, with, no less than fourteen tracks, assuring “electronic minimalism, sharp lyrics and wintry romanticism”. The minimalism, is indeed palpable on the excellent opener ‘Red Shift (Blame Thrower)’; almost as if something from the very early HUMAN LEAGUE was transferred into the luscious musicality of today, only fresher, trashier, metallic and grabbing – especially with the echoing vocals over the stacked up synths.
by Welsh songstress
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