“So, what’s so special about Sweden then?” one clueless onlooker once asked ELECTRICITYCLUB.CO.UK… just use your ears mate!
That Svenske sense of melody and melancholy is second to none, running from ABBA right through to the present day with ROBYN, IAMAMIWHOAMI and KITE.
And those qualities come in abundance with DAYBEHAVIOR, a veteran trio who released their first album ‘:Adored’ back in 1996. A second long player ‘Have You Ever Touched A Dream?’ was issued in 2003, but the band went into hiatus until their return in 2012 with ‘Follow That Car!’, an album with quality songs such as ‘City Lights’, ‘Silent Dawn’ and ‘It’s A Game’.
And now with the shortest gap between albums in their history, Paulinda Crescentini, Carl Hammar and Tommy Arell have been preparing their fourth opus ‘Based on a true story’. As a precursor to the album, the happy synthpop of ‘Change’ was unleashed as single in May. But the single’s B-side ‘Cambiare’ has now been presented as a lyric video. Linguaphone was never this much fun 😉
An authentic Italian language version of ‘Change’ thanks to the heritage of Paulinda Crescentini, ‘Cambiare’ oozes with a special, seductive allure while attached to a more danceable electronic backbone. The elegiac yet joyous quality of a female fronted PET SHOP BOYS permeates throughout this wonderful slice of continental disco.
Describing their upcoming album, DAYBEHAVIOR say they “will keep all the thrills, all the chills and the beauty and the sorrow and happiness from the last album. Still keeping eyes on the sound of today, with one or two nods to the past”
The single ‘Change’ b/w ‘Cambiare’ is released as a download by Graplur, available via the usual digital outlets
The Swedes seem to rule the roost these days, as far as turning out the best electronic gems is concerned, with the most decent tunes coming out of this cold, Nordic land.
The starting point of the Swedish Invasion may as well have been with the birth of ASHBURY HEIGHTS in Sundsvall, Sweden in 2005. The rather talented songwriter Anders Hagström, who also produces, programmes and sings, joined forces with Yasmine Uhlin on vocals, releasing a few demos prior to turning out an album, which rocked the electronic genre in 2007.
‘Three Cheers For The Newlydeads’ was hailed as the best thing since sliced bread (or DEPECHE MODE) and the band enjoyed a brief period of popularity all over Europe, gigging at festivals and such like, until Yasmine decided to depart the AH camp. Hagström replaced Yasmine with opera singer Kari Berg, who recorded ‘Take Cair Paramour’, the duo’s second album, in 2010.
Due to ongoing disputes with the band’s label Out Of Line, ASHBURY HEIGHTS disbanded the same year, until a settlement in 2011. The work on the third album did not start however until 2013, when Kari was replaced by alternative model Tea Thimé.
Tea, having a degree in English Literature, co-wrote the lyrical content of ‘The Looking Glass Society’, the name of which was taken from the works of the pair’s beloved Lewis Carroll’s ‘Through The Looking-Glass And What Alice Found There’.
The attraction with the weird, unusual and twisted seems to continue throughout the album, with elements of the bizarre re-surfacing from time to time, punctuating the record periodically.
The opening ‘Masque’ is essential ASHBURY HEIGHTS in a tin, Hagström’s recognisable vocals over interesting synth rhythms resemble both previous releases, promising a decent listening sensation. This feeling continues with the über compelling ‘Heart Of Darkness’, stimulating a combination of sounds, textured beats and striking concoction of vibrations.
The superb drum and bass laced ‘Glow’ sits over clever synth combos and is spelt out with Hagström’s evocative vocal techniques in a perfect manner, while ‘Hollow’ opens with ‘Alice In Wonderland’-type weirdness, progressing into a magnificent electronic extravaganza of excellence, with the pair’s voices interwoven within catchy sounds, just to be wrapped up with more oddness of Carroll-like utopia.
‘Phantasmagoria’ and its perfect strings is what it says on the tin; describing life as “phantasmagoria”, imagining ever-changing, moving, full of illusion, shifting of the scenes in some extraordinary fashion. ‘Piano’ is characterised by the loud pop production, it’s larger than life, while ‘Leave Off At Seven’ shows off the vocal skills of Tea, who had never performed as a singer before, yet here shows off as a fast learner from her partner-in-crime. The predictable production accents the track, similarly with ‘The Number 22’, which strikes as a desperate shot to hit the charts, while still being a formidable tune. Hagström’s vocals at times resemble DE/VISION’s Steffen Keth.
‘Gravitational Man’ features Melodine enhanced vocals from both Hagström and Thimé rushed by speedy, heavy synth that comes over like a Goth paradise. ‘Ghost Spirit Mother’ comes in with a Eurovision worthy sequence, marked with, yet again, rather predictable production, somehow unimaginable, while ‘Starlight’ improves with excellently marked musicality. ‘November Corrosion’ closes the record providing a heavy dose of the “good stuff”, the type of which one grew to expect from ASHBURY HEIGHTS. LADY GAGA’s style vocals, as utilised on her 2013 ‘Artpop’ can be distinguished and seem to suit Tea marvellously. With the additional weight from Hagström, this is a perfect track to close the production.
It’s fair to say that any self-respecting synth pop, industrial and new wave music fan will appreciate this latest offering by the Swedish duo.
Tea brings certain freshness into the mix and all the previous elements of greatness are preserved. The songs are well written and certainly top anything else ASHBURY HEIGHTS have turned out to date.
The production however, comes across as rather foreseeable and given; clearly wanting to appeal to wider audiences and aimed at chart success. One wonders what the album would sound like, if it had been produced more imaginatively and less predictably. The songs amalgamate into one, continuous, indistinguishable mass, which surely could have been avoided.
The charm of ‘Three Cheers For The Newlydeads’ might not be repeated. However, ‘The Looking Glass Society’ provides an ample amount of fantastic songs. They easily pass the club test due to their danceability factor, and have enough electronica to satisfy synth lovers too.
Sweden does it once again!
‘The Looking Glass Society’ is released by Out of Line Music on CD and download
The beginning of 2014 saw a new American duo emerge onto the synthpop scene from Utah’s capital Salt Lake City.
Singer, songwriter and producer Tom Cella joined forces with David Burdick, a producer and tune maker. In July that same year, the curiously named first single ‘Nothing Matters’ was released. The track enjoyed airplay in the United States, Australia and the UK, and was followed that September by ‘This Broken Resolution’.
‘Light in the Dark’ has been described in the press release as “a blend of synthpop, trance and futurepop” and the band are aiming to restore the power of electronic music with a new perspective. Both guys could easily pass as lookalikes of Tom Shear from Seattle’s celebrated and rather superb ASSEMBLAGE 23; their music however, couldn’t be further in direction from the masters of the likes of ‘Compass’ or ‘Defiance’.
The album and track eight’s title cunningly resembles the latest achievement by new German band SYNTHDECADE, ‘Lighten Up The Darkness’. Quoting the likes of Erasure, M83 and ABOVE & BEYOND as their influences, here are ten songs rounded up in a lattice of melodic and pleasant dance friendly tunes, with perhaps a scarse dose of melancholy.
Opening song ‘Say Something’ certainly opens with a catchy, semi-trancey dance sequence and the first thing that comes to mind, as a rather burning reference, is German / Greek duo FROZEN PLASMA. Vasi Vallis and Felix Marc have been creating similar sounding tunes on Infacted Recordings, starting with the marvellous ‘Artificial’ all through to their latest release ‘Dekadenz’, in March 2015. However, Tom Cella’s vocals are not comparable; soft and almost female in feel, they add a certain airy aspect to the song, which in itself is an accomplished dance tune.
‘Perception’ follows with gentle piano and an interesting synth pattern, creating a canvas for a heavily reverbed voice, somehow resembling the sound of PRIEST. A pleasant, yet non-descript production, it is suitable for an easy listening pleasure. ‘Oxygen’ continues with the gentle feel of the Germany’s MINERVE, while ‘Nothing Matters’ carries on a simple love message lyrically, over a combination of engaging and satisfying electronic combos.
‘Metaphysical’ opens with sampled wind effects over some gentle and quite enchanting synth; calmer in texture, but it still resembles FROZEN PLASMA. This feel very much continues with ‘This Broken Resolution’ which is so similar, it could nearly be the same tune. The tempo picks up, yet the quality of the tune is maintained. ‘A Million Words’ pretty much carries on from the previous couple, while ‘Light In The Dark’ and ‘High Above’ are quintessential FROZEN PLASMA, with the only differentiating element being the vocals.
What the duo have produced is pretty much what they wanted to achieve; catchy, synthpop tunes, heavily influenced by trance and melodious enough for a good, old boogie. Are the songs hook driven? Yes, they are. Have they got the emotional notes of synthpop? Yes, they have. Are they varying “from euphoria to broken hearted sorrow”? Perhaps they are.
What one cannot escape from, though, is that the original claim for the “need of fresh perspective” is as far from reality as the claims of the likes of German trio SYNTHDECADE who promise a new direction in electronic music, but then follow with songs sounding like CAMOUFLAGE.
Of course, this sort of music may be fresh and original for the audiences over the pond; but the European crowd will undoubtedly hear FROZEN PLASMA in this production, a long standing electronic German band, with dozen of tunes sounding exactly like RARE FACTURE minus the gentler, more feminine quality of voice.
As delightful and pleasing as the songs on this album are, there is no escape from the fact that one has heard this sort of thing before, and nothing can beat the good old ‘Tanz Die Revolution’. All this said, ‘Light In The Dark’ is a satisfying album, which no doubt will find many a listener on both sides of the Atlantic.
‘Light in the Dark’ is available as a CD or download via RARE FACTURE website
MARSHEAUX first revealed they were covering the entire of DEPECHE MODE’s ‘A Broken Frame’ in an interview with ELECTRICTYCLUB.CO.UK in January 2014.
They had previously covered ‘New Life’ for the ‘Around The World & Back: A Greek Tribute To Depeche Mode’ album released on Undo Records and met through the local Hysterika DM fan club, so the project was not entirely a surprise. Very much a transitional record, ‘A Broken Frame’ contained a number of songs that were to become fan favourites such as ‘My Secret Garden’, ‘The Sun & The Rainfall’, and ‘Shouldn’t Have Done That’.
The album’s opening gambit ‘Leave In Silence’ even made a return to the DEPECHE MODE live set during 2006’s ‘Touring The Angel’, albeit in stripped down piano form with Martin Gore on lead vocals. A worthy re-assessment of ‘A Broken Frame’ has been long overdue and as the DM album closest to the MARSHEAUX aesthetic, Marianthi Melitsi and Sophie Sarigiannidou have certainly given its songs some interesting arrangements. ‘See You’ in particular has had a radical rhythmical overhaul yet still retains its teenage innocence, while a beefed up ‘Nothing To Fear’ comes over as an optimistic Hellectro statement.
The reworking’s pivotal track ‘Monument’ takes on a starker twist though, with a bassline borrowed from latter day DEPECHE MODE B-side ‘Painkiller’. It adds a sombre sonic undercurrent that compliments the girls’ wispily resigned vocals. Even the lyrics have now taken on a new resonance and could be viewed as a passing commentary on the economic situation in Greece. A new cinematic visual accompaniment for ‘Monument’ has just been unveiled. Filmed on the outskirts of Athens, the video enigmatically conveys the emotional tension of the new arrangement.
The original 1982 long player was the first recorded by DEPECHE MODE without their then main songwriter Vince Clarke, who had left to form YAZOO with Alison Moyet. Martin Gore took over writing duties but while several of the songs such as ‘Meaning Of Love’ and ‘A Photograph Of You’ were naïve, a dark realism started to permeate in the music. MARSHEAUX’s respectful and intuitive approach towards reimagining DEPECHE MODE’s most under rated album has been well received among electronic music fans and Devotees alike.
Writing for ELECTRICITYCLUB.CO.UK, Monika Izabela Goss said: “Expressive, innovative and full of character, they denote exactly what this cover album is”. Meanwhile, Numan friendly blog I Die: You Die said: “…if even a doubter like myself can get excited by the new life Marsheaux breathe into these tunes, then the devout for whom all things DM are sacred should find even more to love”.
‘A Broken Frame’ is now available as a double CD set with bonus B-sides ‘Oberkorn’ and ‘Now This Is Fun’ featuring MIRRORS’ James New, plus a special extended version of ‘A Broken Frame’.
It truly is amazing when one producer can cut his teeth into so many projects at the same time and turn out superb gems at the highest level.
John Fryer has gone and done just that.
If it wasn’t enough that earlier this year we were treated to his first EP under the MURICIDAE umbrella with LA based Louise Fraser, floatingly titled ‘Tales From A Silent Ocean’, which has been highly critically acclaimed upon its release in April; Fryer comes back and provides the hungry listener with a production easily knocking anything else back from the pedestal.
Having treated his audiences to the ‘Soft Landing’ LP with Pinky Turzo as SILVER GHOST SHIMMER not that long ago and which has easily topped any recent release, the genius plates up ‘Tears Are Stronger Than Waves’ only three months after its predecessor.
Well known for having worked with the likes of COCTEAU TWINS, FAD GADGET, DEPECHE MODE and NINE INCH NAILS, Fryer isn’t a stranger to great sounding tunes, his own projects however, are as proficient as they get. His production techniques are right up with the Alan Wilders of this world, and paired with a competent vocalist, he brings the listener measured gifts of “oceanic auralgasms” in abundance.
Track one, ‘Strange’ opens with scarce synth elements providing the perfect canvas for the most angelic voice of Fraser, evolving into a glass-like shimmering sunshine reflection on the ocean waves. With Fryer’s production mirroring RECOIL’s ‘Drifting’, it gives the impression of an unknown threat and mystery, something Wilder used to excel in on DEPECHE MODE creations.
The mood is sharply changed with the harsh guitar riffs announcing the introduction of ‘Morphine’, like pure grunge meets glam electro. Sweet, yet menacing and in your face, drugging up the receiver into begging for a shot of some more! Oh how soothing the addiction is!
‘Home’ brings back the soft, synth droplets of perfection. With OMD inspired elements eloquently performed with JULEE CRUISE-like vocals, it is the kind of tune which Badalamenti would beg for. With a further dose of uncertain melody, it is chillingly calming and fearfully relaxing. Fryer is a self-confessed ‘Twin Peaks’ fan and that fact truly shows in this magnificent tune.
The familiar notes of ‘Should I Stay’ form the fourth number. Having appeared in a slightly different format on the first EP, this superb production shows off the sweetly haunting vocal intertwined within the remarkable concoction of orchestral sounds skilfully assembled by Fryer. ‘Going Under’ concludes the production with its unusually irregular structure. An admirably gentle start with scarce strings and gentle vocal elements, bursting into an immense case of serious guitar, synth and drum mixture, twinkling over the waves of the ocean, which is “calling to me”.
John Fryer has to stop this… the overload of the good stuff is surely not healthy, or is it just what the doctor ordered? Another slinky, über elegant, yet atomic piece, bursting out at the seams of greatness, a must have for all top drawer music lovers, irrespective of the genre. John, a well-deserved holiday for you perhaps?
‘Tears Are Stronger Than Waves’ is available now as a download EP
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Due to ongoing disputes with the band’s label Out Of Line, ASHBURY HEIGHTS disbanded the same year, until a settlement in 2011. The work on the third album did not start however until 2013, when Kari was replaced by alternative model Tea Thimé.
It’s fair to say that any self-respecting synth pop, industrial and new wave music fan will appreciate this latest offering by the Swedish duo.
Opening song ‘Say Something’ certainly opens with a catchy, semi-trancey dance sequence and the first thing that comes to mind, as a rather burning reference, is German / Greek duo 
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