Category: Reviews (Page 162 of 206)

CHVRCHES Clearest Blue

The world just can’t get enough of CHVRCHES.

CHVRCHES have admirably stuck to the synthpop credentials with which they made their name and last year, delivered what LITTLE BOOTS, LA ROUX, and LADYHAWKE and HURTS all failed to do… a decent second album in ‘Every Open Eye’!

It is an indicator of how far CHVRCHES have developed. Understanding their strengths and taking a less complex approach to their effervescent synthpop, one key move was employing the more electronically tuned Mark ‘Spike’ Stent on the mixing desk, rather than more rock inclined Rich Costey who had looked after the debut ‘The Bones Of What You Believe’. It’s a lesson that a veteran band like DEPECHE MODE could learn from.

Speaking of whom, during the propulsive four-to-the-floor action of ‘Clearest Blue’, the song is wonderfully held in a state of tension before a dynamic surprise in the final third that recalls the classic overtures of Vince Clarke.

Anyone not noticing the aesthetic similarities to The Basildon Boys’ first UK Top 10 hit has stubbornly got their heads in the sands. But does it matter? Well, no! As the highly respected Factory Records biographer James Nice put it in an interview with The Ransom Note recently “I have no problem at all with something new being imitative as long as it’s good”; and ELECTRICITYCLUB.CO.UK totally agrees!

One of the 30 Songs of 2015, the new surreal video for ‘Clearest Blue’, directed by Warren Fu, appears to have a number of symbolic connotations, with front woman Lauren Mayberry looking forlorn in the woods, suited in armour, before eventually shedding that very coat of arms to face her public. It reflects the general feisty mood of the ‘Every Open Eye’ album, with Mayberry emerging as a fighter following playing the victim on CHVRCHES’ debut.

What Iain Cook, Martin Doherty and Lauren Mayberry have managed to do is get teenagers listening to classic synthpop. Hopefully these youngsters will research electronic music’s legacy, which is why historical referencing is so important, to preserve the genre’s roots.

And from that, they will attempt to create their own music. Now that can only be a good thing for the future.


‘Clearest Blue’ is from the album ‘Every Open Eye’ via Virgin Records, available as a CD, deluxe CD with three bonus tracks, vinyl LP and download

CHVRCHES play London’s Royal Albert Hall on Thursday 31st March and Glasgow’s SEE Hydro on Saturday 2nd April 2016

http://chvrch.es/

https://www.facebook.com/CHVRCHES

https://twitter.com/CHVRCHES

https://www.facebook.com/chvrchesfans/


Text by Chi Ming Lai
24th February 2016

SCANNER & ANNI HOGAN Scanni

SCANNI


Electronic producer SCANNER (aka Robin Rimbaud) and pianist / arranger Anni Hogan are individually known for their experimental works sampling radio / mobile phone transmissions and being a part of MARC & THE MAMBAS respectively.

Unsettling the listener can often be a no-brainer, anything too far musically or sonically removed from the standard song format can feel alien and unnerving.

While the low frequency, extended drones of doom rockers SUNN O))) and the noise / frequency experiments of PAN SONIC are calculated to challenge, the opening track on ‘Scanni’ feels disturbing but in a FAR more subversive way. ‘A Life Well Lived’ feels like a mash-up of two different songs in two different keys, yet playfully welded together to test the listener, creating a tension which is not entirely pleasurable. Initially the song is the musical equivalent having nails dragged down a blackboard, but after repeated listens the track eventually sinks in and makes sense in a twisted way.

anni hogan2016

Thankfully the rest of the album follows a more musical path and the use of different vocalists gives ‘Scanni’ an organic / electro-acoustic MASSIVE ATTACK feel. ‘Future’ has a house vibe to it, with a hypnotic drum machine and live bass groove with piano / horns overlaid with soulful vocals provided by Jennifer John.

‘Mine Was Full of Tears’ with its moody piano initially recalls Thomas Dolby’s cover of ‘I Scare Myself’, whilst ‘Carelessly’ featuring ex-SWANS vocalist Jarboe evokes the latter work of TALK TALK, all suggested space and atmospherics.

By track number five ‘Glorious’, the musical manifesto of ‘Scanni’ is well and truly laid bare… this is a late-night listening album, and it is one for quiet retrospection. The use of electronics is sparing throughout, a few well-chosen loops and textures here and there…

scanner2016‘Cinecittà (Feel Everything)’ (again featuring Jarboe) is a sensual percussion free piece, with ethereal VANGELIS style synthetics.

The track ‘Golden Light’ featuring the spoken words of Wolfgang Flür feels far more at home here than it did on the former Kling Klang resident’s recent compilation and only the toe-curling lyrics of final track ‘With You in My Life’ feel out of place (sample lyric “babies don’t cry anymore with you in my life”) in the context of the overall work.

This is a brave and beautifully produced album that despite its opening curveball, does something that many works fail to achieve these days… it sucks you in and transports you to another time and space entirely.

Whether the album will be high profile enough to gain a nod in this year’s Mercury Music Prize awards is debatable, but regardless, ‘Scanni’ deserves recognition as a triumph of creative / artistic freedom over the desire for commercial success and will undoubtedly become a firm favourite with followers of both artists.


‘Scanni’ is released by Cherry Red Records on 26th February 2016 as a CD and download

http://scanni.co.uk/

http://www.scannerdot.com/

https://www.facebook.com/AnniHoganOfficial/

http://www.cherryred.co.uk/


Text by Paul Boddy
22nd February 2016

SARAH P. I’d Go

Greek electropop goddess SARAH P. started her music career in 2010 as the frontwoman of KEEP SHELLY IN ATHENS who had a number of acclaimed releases including the ‘In Love With Dusk’ EP and the album ‘At Home’.

After she parted company with KEEP SHELLY IN ATHENS in early 2014, SARAH P. relocated to Berlin to explore more pop oriented climes. There had been signs of her wanting to pursue a more accessible direction on her final KEEP SHELLY IN ATHENS track ‘Old Time Glory’.

So it was no great surprise when her debut mini-album ‘Free’ turned out to be her most direct work yet. ‘I’d Go was possibly its standout track and with an afflicted demeanour of optimism, she announced “I’m not afraid, why should I be? Now I’m free…”

Showing her making faces at the camera and finding solace in a giant cuddly rabbit, the video also features paradoxical footage of SARAH P. as the forlorn figure she is sometimes assumed to be. In her own words she confesses: “I’m a childish woman and nobody can stop me from being one” and adds “If there’s anything I stand for with all my heart is the ‘Go be you’ motto!”

Slowly but surely, the real SARAH P. is being revealed.


SARAH P Free‘I’d Go’ features on the mini-album ‘Free’ released by EraseRestart via the usual digital outlets

The 12 inch vinyl EP can be obtained from
http://eraserestart.bigcartel.com/product/sarah-p-free-vinyl

http://sarahpofficial.com/

https://www.facebook.com/sarahpofficial/

https://twitter.com/sarah_anna_p


Text by Chi Ming Lai
Photo by Christoph Neumann
20th February 2016

TRAIN TO SPAIN Believe In Love

TRAIN TO SPAIN 2016

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!


TRAIN TO SPAIN Believe In Love‘Believe In Love’ is released as a download single, available from
http://subculturerecords.bandcamp.com/album/believe-in-love

http://www.traintospain.se/

https://www.facebook.com/pages/Train-To-Spain/252355014792419

https://twitter.com/TrainToSpain


Text by Chi Ming Lai
14th February 2016

ANNUAL GENERAL MEETING RECORD – VOLUME 1

Annual General Meeting Vol 1 - Cassette

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.

Annual General Meeting Record - cassettes

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.


‘Annual General Meeting Record – Volume 1’ is available now as a download or cassette from
https://antighostmoonray.bandcamp.com/album/annual-general-meeting-record-vol-1

All profits are in aid of Médecins Sans Frontières – Doctors without Borders (MSF)

http://www.antighostmoonray.com/

https://www.facebook.com/antighostmoonray/

http://www.msf.org.uk/


Text by Chi Ming Lai
9th February 2016

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