RODNEY CROMWELL’s debut gig at The Victoria in Dalston turned out to be a fitting reunion of ARTHUR & MARTHA, a quirky duo whose only album ‘Navigation’ in 2009 was a promising debut.
The work of electronic music enthusiasts Alice Hubley and Adam Cresswell, the long player’s highlight was ‘Autovia’, a synthetically motorik soundtrack that was ideal for motorway journeys north of Watford Gap.
Since then, Hubley has formed the indie band COSINES while after a musical break of several years, Cresswell has returned as RODNEY CROMWELL. The lo-fi aesthetic of ARTHUR & MARTHA is still very much in evidence on his recently released debut album ‘Age Of Anxiety’. The live performance in July saw Hubley joining Cresswell on a Moog Rogue, while the frontman brought along his trusty Korg MS10.
Utilising a combination of vintage synths, computer backing, bass and guitar, the show climaxed with ‘Black Dog’, a part duet with Hubley. The lengthy, but tremendous closer of ‘Age Of Anxiety’ has now been released as a single with an accompanying video. Possibly one of the best songs of 2015, ‘Black Dog’ recalls the pulsing post-punk miserablism of SECTION 25 and is embellished with the beauty of Cresswell’s Hooky bass.
Of course, ‘Black Dog’ not actually about a dark coloured canine. Of the album, Cresswell told ELECTRICITYCLUB.CO.UK: “It’s all broadly linked to experiences in my life over the last ten years; themes of love, loss, depression, redemption”. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there is an optimistic light at the end of the tunnel that makes ‘Black Dog’ a most joyous listening experience.
”The vocals might not always be pitch perfect, the guitars and synths a bit rough round the edges” says Cresswell, “but those records got soul!”
‘Black Dog’ is can be downloaded from iTunes or listened to on Spotify
DAVID BOWIE, AIR, NINE INCH NAILS, YAZOO, GARY NUMAN… now that that diverse roll call has hopefully piqued your musical attention…
The new JOHN GRANT album takes elements from each and throws it all into a melting pot with a topping of mordant / sardonic lyrics which at points, either shock or genuinely make the listener laugh out loud.
On what is his third long player, Grant has added another layer to the modus operandi which he developed on ‘Queen Of Denmark’ and ‘Pale Green Ghosts’.
Number one – monophonic / dark synthpop and number two – downtempo soft-rock AIR / PINK FLOYD styled songs remain present and correct, but the contributions of keyboardist Bobby Sparks have meant that there is a more playful, funkier edge to many of the pieces here. Ever present throughout though are the confessional and acidic lyrics which help to keep a cohesive feel, even when styles lurch wildly from one song to next without much in the way of warning.
Bookended at either end of the album are spoken word quotations from the First Epistle of Saint Paul to the Corinthians: “Love is patient, love is kind. It does not envy, it does not boast, it is not proud”. ‘Intro’ recalls YAZOO’s experimental ‘I Before E After C’ with its layers of vocals and the choice of text (deliberately) contrasts sharply with that of Grant’s own lyrical approach.
First full song and title track ‘Grey Tickles, Black Pressure’ takes no prisoners with Grant (who is HIV positive) wishing he was around in the promiscuous 70s so that he could have “got a head start in the world of disease”; additionally he discusses whether haemorrhoid creams are targeted at him and the fact that although his illness is serious, there are “children who have cancer” and “I can’t compete with that”.
Now if you can get past that lyrical whammy of an opener, a cornucopia of musical riches await… ‘Snug Slacks’ features funky synths and classic clavinets, Kaoss Pad-style effected vocals and an overall dry production style which is quite different to the lush sound which was present through much of ‘Pale Green Ghosts’. Most casual teenage listeners will be frantically reaching for Wikipedia when they’re confronted with a list of names including Joan Baez, Charlene Tilton and shock performance artist GG Allin which all get a name check in the song.
‘Guess How I Know’ is very NINE INCH NAILS in its conception, a quiet-loud dynamic with a filthy distorted guitar and vocal combo punching through on the chorus. A delightfully unhinged synth solo is featured in the middle 8 before Grant bids farewell in several languages during the outro to the song.
The intro of ‘You and Him’ sounds like UNDERWORLD’s Karl Hyde jamming with THROBBING GRISTLE before a Garage Punk Rock-style chorus takes the song to another level. Again the lyrics (especially in chorus) are particularly unhinged: “You and Hitler ought to get together, learn how to knit and make matching sweaters”. This track follows the character assassination route which was present on ‘Pale Green Ghosts’, where Grant bear his feelings about an ex-lover in an all-too public arena.
‘Down Here’ with its acoustic guitars brings a respite from the more in-your-face elements present at the start to the album. A meandering bass synth lifts the chorus for a song that at initial face value is pretty traditional until a woodwind solo pops up unexpectedly in the middle and during the outro. Grant is blatantly unafraid to experiment with unconventional sonic textures and that is one of the joys of this album.
‘Black Blizzard’ is the most electronic and genuinely dark track here, starting with a cut-off filtered sequencer part and programmed drums, and peaking with a chorus with fast, skittering hi-hats. Were it not for the synthetic nature of the song, lyrically it could easily soundtrack a ‘Game of Thrones’ episode, but mentally picture the added bonus of GARY NUMAN doing a walk on part towards the end with a Polymoog Vox Humana solo.
The lead single ‘Disappointing’ is a wonderful 21st Century Love Song with a shopping list of things / places / objects which pale in comparison with Grant’s love interest in the song. Based around a cheeky rework of YAZOO’s ‘Situation’ bassline, the song also features Tracey Thorn from EVERYTHING BUT THE GIRL on guest vocals, whilst channelling the spirit of Bowie’s ‘Ashes To Ashes’ in its pay-off chorus. Grant’s baritone verse vocals again recall Karl Hyde in a track which is the clear highlight here.
Towards the end of the album, ‘No More Tangles’, a wish for a simple life, cribs its concept and some of its lyrics from a shampoo, whilst ‘Geraldine’ recounts the story of Broadway actor Geraldine Paige who often had the reputation of being underused, despite being a consummate professional in her field. The closing piece is ‘Outro’ which brings the work full circle, this time with a solo child voice reading another piece from Corinthians.
If there’s a criticism of the album, it’s that some of the ideas are stretched a little thin and too many tracks follow the woozy downtempo soft-rock template which AIR used on ‘The Virgin Suicides’ album. The overall production style also feels a lot drier and abrasive sounding than the expansive feel cultivated on ‘Pale Green Ghosts’, but this is probably nitpicking in the overall context of the work.
In an age of music where the life is often all but squeezed out of it, Grey Tickles, Black Pressure’ is full of personality and the sound of someone actually PLAYING a synth, and in many tracks actually taking a solo, is very refreshing.
For fact fans, the album title combines the Turkish for “nightmare” with the Icelandic for “midlife crisis” and although that sounds like a doomy proposal, the end result is far more up than it should be, resulting in a body of songs that require repeated consumption before fully taking hold of the listener.
Newcomers to Grant’s work who wish to explore more of his electronic side are also recommended to dip into much of ‘Pale Green Ghosts’ to sample a truly maverick artist who provides a welcome alternative to the sheer volume of vacuous pop around at the moment.
‘Grey Tickles, Black Pressure’ is released by Bella Union
JOHN GRANT 2015-2016 live dates include:
Dublin Vicar Street (9th November), Dublin Vicar Street (10th November), London Hammersmith Eventim Apollo (12th November), Brighton Dome (13th November), Glasgow Royal Concert Hall (26th January), Belfast Mandela House (27th January), Cork Opera House (28th January),Coventry Warwick Arts Centre (1st February),Cambridge, Corn Exchange (3rd February), Southampton Guildhall (4th February), Leeds Town Hall (5th February), Liverpool Philharmonic Hall (7th February), Manchester Hall (8th February), Gateshead Sage (10th February), Sheffield Octagon Centre (11th February)
For anyone that has followed the post-KRAFTWERK career of Wolfgang Flür, it is apparent that on the surface, the man himself isn’t overly concerned about how his music and his persona is perceived.
An individual in his or her position is rightly able to rest on their laurels knowing that their place in musical history is comfortably assured.
This attitude was clearly in evidence for those who in January witnessed Flür at a sold out London show and were treated to an hour DJ set comprised mainly of faceless techno tracks, including only a single KRAFTWERK remix and the surreal spectacle of Herr Flür marching up and down the stage wearing a WWI Pickelhaube helmet.
‘Eloquence – Complete Works’ is a compilation that rounds up the pick of solo tracks, collaborations and remixes recorded since 2002. It neatly complements Flür’s live persona in that it is unpredictable and throws in several curveballs for those expecting re-treads of the classic KRAFTWERK sound.
Anybody that has read ‘I Was A Robot’ will be acutely aware of Flür’s experience and struggles of being part of the KRAFTWERK maschine and this album catalogues a variety of styles, some electronic and some not, as he strived to find his own musical identity after leaving the group. From the perspective of Ralf Hütter, Flür was (certainly in latter interviews and after the publication of the controversial ‘I Was A Robot’) referred to as a session musician / drummer rather than an integral part of the group, surely an opinion which would give any individual the impetus and drive to prove musically otherwise!
The album opens with the autobiographical ‘I Was A Robot’ which, using a selection of none-too-subtle KRAFTWERK references, tells the story of Flür’s time in the band. The song is the most KRAFTWERK-sounding track on the compilation, and mix-wise not that dissimilar to those that appeared on ‘Tour De France Soundtracks’, but also owing a debt to early UNDERWORLD due to the hypnotic, single chord groove used throughout the piece. A selection of vocoder and speech synthesised vocals overlay the musical elements with the hook “Robot, what did they do to you?” clearly signifying that Flür’s time spent in his former band was not always a happy one.
The second track, ‘Cover Girl’, is the much mooted sequel to ‘The Model’, this version (The Ninjaneer Mix) shares a certain musical DNA with YELLOW MAGIC ORCHESTRA and some of the work of GIORGIO MORODER. Musically melancholic and varied throughout with a high pitched gliding melody synth providing the main hook, the track’s 5 minutes and 42 seconds flash past effortlessly and is certainly the strongest piece here. The only bugbear would be that some of the early vocoder work in the piece is a little indistinct and lacks the vocal clarity to completely understand all of the lyrics.
In a little nod to his former employers, a single note riff which featured in ‘Pocket Calculator’ is deployed half way through the piece and an acoustic guitar strum is even introduced to reinforce the musicality of the song. Interestingly, an early version of the song appeared in a more lounge music / AIR-like incarnation as ‘Luscious Lady’ on the 2005 HOMME BEIGE album where Flür collaborated with Manfred Hermann and Jon Kaiser. A very similar version to the aforementioned mix features as the ‘English Version’ as a bonus track on the album. ‘Staying In The Shadow’ is the first track on ‘Eloquence – Complete Works’ that really brings Flür’s baritone vocals to the forefront in a spoken word format – the track is a collaboration with MEAT BEAT MANIFESTO’s Jack Dangers.
Incorporating what sounds like a vocal sound-a-like sample from ‘Tour De France’, ‘Staying In The Shadow’ has a more underground sound with Flür and Dangers collaborating by exchanging audio files between Düsseldorf and San Francisco before finalising the piece. The track is also notable for featuring an EMS 3000, one of the vintage vocoders that were also used by KRAFTWERK for their signature robotic voice effect.
‘Moda Makina (Fashion Machine)’ introduces some Latino-style influences with live horns and accordion interwoven into the mix. Using similar lyrical themes as ‘Cover Girl’, it features Flür intoning the “did he really say that?” line “tits blown up, vinyl injected” in its assessment of a “former chic” and fading supermodel’s “assets”. The track itself is again VERY quirky, but does feature a killer horn riff that is crying out to be remixed into a huge dance track… whether that will ever happen remains to be seen though…
‘Axis Of Envy’ brings some welcome EBM-style menace and a harder edge to the album, a joint venture with NITZER EBB’s Bon Harris, and incorporating the much sampled / imitated drum loop from the beginning of LED ZEPPELIN’s ‘When The Levee Breaks’. Previously released under the pseudonym THE SHADOW BUREAU, the song was originally a collaboration between Harris and Jeehun Hwang featuring Flür’s vocals and appeared in the martial arts film ‘True Legend’. The song’s verses again feature Flür’s spoken word work, which (depending on whether you’re a fan) could prove a deal breaker as to whether the listener will fully embrace the piece or not.
To round off the album, in true KRAFTWERK-style, there are some alternate language versions of ‘On The Beam’ and ‘Cover Girl’ which expand the running order to an excellent value for money 18 tracks.
Tracking down the musical exploits of Wolfgang Flür since the YAMO album would definitely require a considerable amount of detective work and from that perspective, ‘Eloquence – Complete Works’ is a valuable and convenient resource which compiles songs that in many cases were named differently and not obviously the work of the man himself.
However musically, ‘Eloquence – Complete Works’ is a real mixed bag. Kraftheads really won’t warm to much of the material here as it’s too far removed from the sound that Flür is inextricably linked with. However, one has to admire the sheer musical bravado on show here which showcases the work of an artist who is comfortable in attempting styles which stray considerably from those he is most well known for.
‘Eloquence – Complete Works’ is released by Cherry Red on 16th October 2015 in CD, vinyl LP and download formats
Artists express themselves using music all the time. However, only a true embodiment of a genuine performer can shock, move, enlighten and create consternation.
Chris Corner’s “public therapy” and “an excuse to play with who he is, exploring certain parts of his personality, which he doesn’t get to explore in everyday life” is what IAMX materialises. The name of the project, I am X, was a continuation of SNEAKER PIMPS’ album ‘Becoming X’.
Notwithstanding, this time he had become the X. The X, who changes, evolves and becomes emancipated. Since his solo debut in 2004, Corner has produced and performed his eccentric act, enriched with artistic visuals, costumes and sets, gaining vast popularity in alternative electronic music circles.
‘Metanoia’ is the sixth studio album by IAMX, and one that proved the most difficult to turn out. The artist suffered a streak of depression, deepened by cold winters of his seven year base, Berlin. The isolation led him to consider leaving the music altogether, but Corner quickly 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”.
Freshly regained enthusiasm saw Corner moving to Los Angeles to create a laid back, no rush, no pressure record, very unlike ‘Kiss + Swallow’, ‘The Alternative’, ‘Kingdom of Welcome Addiction’, ‘Volatile Times’ and finally ‘The Unified Field’. This time, he wasn’t trying to make an album because he felt it was expected, or create a meaningless pop record, which always made him feel dirty. He realised that, by addressing his issues and stripping down to show his true self, with the mental challenges and emotional problems, he could create something special, which underlines the fundamental change in himself.
‘No Maker Made Me’ creates a religious controversy in the chorus from the onset, a powerful opener to this enriching production; “You f***ing sinner” being proudly executed over the uncaring, gritty synth. The mood changes, however, with the oh-so-musical ‘Happiness’. A longing synth ballad, chasing the one, elusive element of human existence that’s worth living for. It fluctuates between the soft, harsh, loud and melodious.
‘North Star’ entices with excellent, gentle synth, which slowly becomes harsher, stronger and dirtier, bursting into a trance inspired dance of insanity. ‘Say Hello Melancholia’ tempts seductively, entraps into a powerful love affair of “paranoid dreams waiting in line”, a softer, slower tune; poignant lyrically and subdued mellifluously.
‘The Background Noise’ skilfully portraits the uneasiness of mind, where everything seems well on surface, in a normal life, but something bubbles underneath: something sinister, which “isn’t sitting right, something keeps me up at night… the background noise”. It’s a definitive IAMX tune, describing the thorny nature of Corner’s troubled mind. The theme continues with piano based ‘Insomnia’, a cry for healing to “save me from myself”.
‘Look Outside’ with its touching strings, ethereal melody and gentle drums cushions the blows of life. Corner raises the glass to his new Los Angeles home, which has embraced his madness to bathe him in the tranquility he’s been searching for.
‘Oh Cruel Darkness Embrace Me’ shifts the mood into a synth laden utopia, covering the subject of hypocrisy in the middle classes in the “f***ed up world”, while ‘Aphrodisiac’ bursts out with a high pitched vocal over uneasy electronica; it’s classic, arty IAMX. This heavy dance track requires serious head bopping and floor stomping, before it sharply cuts off into ‘Surrender’. This distinctive, lethargic and leisurely track, like a waltz, winds itself around the ballroom dance floor, lit with a million glass lights, sharply shining their luminous glow and calling to “surrender”.
The production is culminated with the piano laced ‘Wildest Wind’, an extravaganza of everything that’s best in a well written electronic song. This pining, yearning desire, excellently labelled with intricate sounds, is at times reminiscent of DEPECHE MODE’s ‘Sibeling’.
Since Corner is “seeing things very clearly now”, seeing “the music nourishes me”, his musical purpose is stamped all over ‘Metanoia’, the regained purpose, which he had lost for a while, and what a comeback it is. Turmoiled, lost, then reclaimed and strong, that’s what IAMX is, a different take of the X perhaps?
‘Metanoia’ is released by Caroline International in CD, vinyl LP and download formats
IAMX play London’s Koko on Monday 9th November 2015 as part of an extensive world tour
Band break-ups, although always problematic, can have a polarising, but often surprisingly positive musical effect on those involved.
The well-documented HUMAN LEAGUE Mark I split, where Martyn Ware was effectively fired from his own band, motivated him, Ian Craig Marsh and new vocalist Glenn Gregory to strive to make an album which was better than the one Philip Oakey’s new version of the band was creating. Although arguably in terms of sales and critical acclaim they didn’t, it still set HEAVEN 17 on their way and certainly didn’t harm their future success.
The troubles in the NEW ORDER camp and the acrimony between Peter Hook and his ex-bandmates have managed to rack up plenty of column inches, reaching a nadir with Hook describing returning keyboard player Gillian Gilbert as a “wonky table leg”, to which she rather more subtly and rightly retorted “I’m on all the best records aren’t I?”. What the split has done though, is allow Hook to tour pretty constantly for the last five years, showcasing a mixture of JOY DIVISION and NEW ORDER material which to his frustration, the band (when he was in it) seldom played.
So now with a new record deal with Mute, it’s an ideal opportunity for Bernard Sumner and his colleagues (old and new) to prove that after a couple of “so-so” albums, that they still have some creative fire left in them and are able to function without their founder member and bassist.
The lead-off single and album opener ‘Restless’ certainly didn’t bode too optimistically for ‘Music Complete’, although in the context of the album is certainly more of a grower and takes a few listens to appreciate its charms. Next up is THE CHEMICAL BROTHERS’ Tom Rowlands produced ‘Singularity’, whose sequencers recall ‘Temptation’ and also features some welcome KRAFTWERK-ian percussion sounds and unhinged resonant synth squeals throughout. The melodic synths and half-time drum patterns used are refreshing for a track which doesn’t try to pander to any particular genre.
‘Plastic’, which features Elly Jackson aka LA ROUX, revolves around some even more prominent Moroder-ish sequencing with the sort of girly backing vocals which first made an appearance on ‘Crystal’. A Hooky soundalike bassline by replacement Tom Chapman makes an appearance midway which is sure to wind up the ex-bassist and an extended electronic middle section showcases the first significant programmed drum machine work on the album.
‘Tutti Frutti’, with its pitched down Italian vocal, initially recalls ‘Fine Time’ from ‘Technique’ and once the song skips past its jaunty ‘Relax’-style intro, proves itself to be a classic NEW ORDER song. This time, Elly Jackson’s guest vocals compliment Sumner’s perfectly, whose own phrasing during the song’s verse sections showcases a previously unheard lazy vocal delivery from the frontman and includes the classic line “where every scholar means a dollar”. The song’s middle section and ending features a wonderfully orchestrated string section, throws in an acid house drum pattern for good measure and at its climax, some more additional low pitched vocals (sampled from a very suspect Italian game show) which unfortunately could prove the deal breaker for some.
Photo by Nick Wilson
‘People On The High Line’ with its ultra-funky bass and guitar combination, starts rather worryingly like ‘Club Tropicana’ by WHAM! before descending into a rather forgettable ‘dad house’ piano track – Elly Jackson again guests here. ‘Stray Dog’ is one long IGGY POP monologue which is based upon a poem that Sumner constructed and is surely a wasted opportunity – a sung vocal performance would certainly have proved more intriguing.
‘Academic’ showcases the band-style NEW ORDER sound and is a highlight of ‘Music Complete’; it effortlessly glides past and features some classically direct Sumner guitar which is missed elsewhere on the album. ‘Music Complete’ closer, ‘Superheated’ is a Stuart Price production and features Brandon Flowers from THE KILLERS on vocals – it’s a rather lightweight uptempo conclusion and features more string orchestration. Yet again, like other songs here, it seems to miss Sumner’s trademark guitar.
What this album DOES have in its favour is that it doesn’t try overly hard to win you over. Whereas the recent DURAN DURAN album (with its myriad of guest vocalists and producers) was the musical equivalent of a tired old dog trying to hump your leg to get your attention, ‘Music Complete’ is a far more subtle proposition and is far better for it.
Although very electronic in places, there is still a real band dynamic here, especially with the use of Stephen Morris‘ drumming and the implementation of producers, which has generally helped rather than hinder the creative process. Though not a classic in comparison with ‘Low-Life’ or ‘Power, Corruption & Lies’, ‘Music Complete’ does in places provide some compelling listening and in many respects is a revitalised, if flawed piece of work.
At the end of the day, what proves ultimately enlightening, is that by the end of the album, Peter Hook’s presence isn’t overly missed. Tom Chapman ably replicates his sound (albeit mixed slightly lower in the songs here) and although hardcore fans will perpetually scream “No Hooky, no New Order!”, ‘Music Complete’ is a complete and musically coherent enough product without him.
‘Music Complete’ is released by Mute Artists in CD, clear vinyl LP, vinyl box set and download formats
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‘Black Dog’ is can be downloaded from iTunes or listened to on Spotify
First full song and title track ‘Grey Tickles, Black Pressure’ takes no prisoners with Grant (who is HIV positive) wishing he was around in the promiscuous 70s so that he could have “got a head start in the world of disease”; additionally he discusses whether haemorrhoid creams are targeted at him and the fact that although his illness is serious, there are “children who have cancer” and “I can’t compete with that”.
The intro of ‘You and Him’ sounds like UNDERWORLD’s Karl Hyde jamming with THROBBING GRISTLE before a Garage Punk Rock-style chorus takes the song to another level. Again the lyrics (especially in chorus) are particularly unhinged: “You and Hitler ought to get together, learn how to knit and make matching sweaters”. This track follows the character assassination route which was present on ‘Pale Green Ghosts’, where Grant bear his feelings about an ex-lover in an all-too public arena.
is released by Mute Artists in CD, clear vinyl LP, vinyl box set and download formats
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