Category: Reviews (Page 167 of 206)

WOLFGANG FLÜR Eloquence

10 October 2015 /


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

http://www.musiksoldat.de

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https://twitter.com/iwasarobot

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

Text by Paul Boddy
10th October 2015

IAMX Metanoia

3 October 2015 /


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

https://iamxmusic.com/

http://www.facebook.com/IAMXOFFICIAL

https://twitter.com/IAMX

https://www.instagram.com/iamx/

Text by Monika Izabela Goss
3rd October 2015

NEW ORDER Music Complete

28 September 2015 /

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

http://www.neworder.com/

https://www.facebook.com/NewOrderOfficial

http://mute.com/artists/new-order

https://newordertracks.wordpress.com

Text by Paul Boddy
28th September 2015

JOHN FOXX London Overgrown

26 September 2015 /

In many respects, John Foxx’s musical career has had many parallels with Brian Eno.

Both were members of innovative bands, both departed before their respective bands went global and both explored ambient music as part of their subsequent and varied solo careers.

At the start of his solo endeavours, John Foxx had ventured into instrumental territory with ‘Film One’, Mr No’ and Swimmer’, but only the ‘No-One Driving’ B-side ‘Glimmer’ got close to the ambient tradition.

Retiring from music in 1986, when the former Dennis Leigh returned in 1997, he made an artistic statement by releasing the first volume of his ‘Cathedral Oceans’ trilogy alongside ‘Shifting City’, his more conventional song based offering with Louis Gordon.

‘Cathedral Oceans’ saw Foxx immersing himself in religious choral musical forms like Gregorian Chants alongside gravitating electronic textures. While there were to be other instrumental soundtrack works like ‘Tiny Colour Movies’, ‘DNA’, ‘B-Movie (Ballardian Video Neuronica)’ and ‘Evidence Of Time Travel’ which recalled the Sci-Fi nature of his early B-sides, eventually Foxx’s ambient work was to become his most dominant platform of expression; noted collaborators over the years have included Theo Travis, Robin Guthrie, Steve Jansen and Steve D’Agostino.

It was ‘Translucence’, ‘Drift Music’ and ‘Nighthawks’, his three albums with pianist Harold Budd in the period between 2003-2011 that took Foxx’s ambient work to another level. Wonderfully placed in shimmering settings that entered a whole otherworldly sphere, the partnership recalled Budd’s two collaborations with Eno, ‘Plateaux Of Mirror’ and ‘The Pearl’. On this year’s magnificent ‘Codex’ with Diana Yuka and Benge as GHOST HARMONIC, the tradition has been continued and points to Foxx’s musical future as he approaches the twilight of his seventh decade.

‘London Overgrown’ is Foxx’s first wholly solo ambient release since the ‘Cathedral Oceans’ trilogy. With the visual narrative of a derelict London where vines and shrubbery are allowed to grow unhindered throughout the city, the conceptual opus is a glorious ethereal synthesizer soundtrack.

‘Through Gardens Overgrown’ from the third instalment of ‘Cathedral Oceans’ appears to be a pivotal inspiration. But how ‘London Overgrown’ differs is the complete absence of vocals of any kind. This nullavox template is a crucial aspect of the work, as it then totally disconnects the listener from environmental human intervention.

Effectively a synthony in ten movements, the ambient caveat of no vocals and no rhythms has provided interesting compositional challenges. References to Foxx’s previous ambient works with ‘London Overgrown’ are inevitable. It begins with ‘Oceanic II’, a more minimal progression of the ‘Cathedral Oceans III’ track and ‘A Man, A Woman & A City’, a pastoral cousin of the GHOST HARMONIC project.

With ‘The Beautiful Ghost’, as with William Orbit’s take on ‘Opus 132’ from ‘Pieces In A Modern Style’, this is Beethoven reimagined for the 23rd Century with beautiful string synths placed in a cavernous reverb. Meanwhile, the deeper resonances of the title track and spacey overtones in ‘Everything Is Illuminated’ provide a number of spectrum variations.

‘A Small Revolving World’ acts as a churchy interlude before continuing the lingering mood constructed in the first half. The flowing sweeps of ‘Often Now, I Wake’ recall the atmospheres of ‘Drift Music’ while ‘Persistence Of Vision’ is the most abstract of the album, with Eno’s ‘Neroli’ being the most obvious reference point. Concluding ‘London Overgrown’, ‘City Of Mirage’ and ‘Imaginary Music’ both do what they say on the tin in a haze of aural sculptures and blurred soundscapes.

Brian Eno said that ambient music had to be interesting enough to be listened to, yet simultaneously unobtrusive enough to be ignored. A difficult feat to pull off, ‘London Overgrown’ achieves this is the best understated manner. Ambient is not for everyone and very much a cognoscenti pursuit. But like Eno’s own ‘Apollo – Soundtracks & Atmospheres’, this is a fine entry point to begin an appreciation of a much under rated music form.

With thanks to Steve Malins at Random PR

‘London Overgrown’ is released on CD by Metamatic Records on 16th October 2015 and available through the usual outlets or the JOHN FOXX online shop at http://johnfoxx.tmstor.es/cart/product.php?id=24458

http://www.metamatic.com

https://www.facebook.com/johnfoxxmetamatic

Text by Chi Ming Lai
London Overgrown Images by John Foxx
26th September 2015

CHVRCHES Every Open Eye

22 September 2015 /

CHVRCHES have actually achieved what LITTLE BOOTS, LA ROUX, LADYHAWKE or HURTS never managed; a decent second album!

And the best bit is, it’s a logical development of the first. None of this going house, disowning synths, rocking out or turning into SIMPLE MINDS nonsense! Hallelujah! Here’s a synthpop band actually using synths and proud of it!

Recorded in their basement studio in Glasgow and again self-produced, Iain Cook, Martin Doherty and Lauren Mayberry have taken a less complex approach to their effervescent synthpop on ‘Every Open Eye’. On mixing duties, the more electronically tuned Mark ‘Spike’ Stent works his magic behind the desk rather than MUSE producer Rich Costey who looked after the debut ‘The Bones Of What You Believe’. The end result is more varied and possibly, even better than its predecessor.

The album sees Mayberry in particularly feisty mood, emerging as a fighter following playing the victim on CHVRCHES’ debut. The apparent sweetness of her voice is again countered by vintage electronic backing, maintaining the light / shade demeanour that has made CHVRCHES so appealing throughout the world, especially in territories like South East Asia and the US which had all but forgotten synthpop.

The opening salvo of ‘Never Ending Circles’ is a statement of intent, a darker cousin of ‘Recover’ with a fight back manifesto. Mayberry is certainly biting at her detractors and while she’s not quite turned into a riot-grrrl, from a CHVRCHES perspective, this is a fair turn of assertiveness and aggression.

‘Leave A Trace’ is tougher still, “You took far too much” exclaims Lauren, on the attack. But what must not be forgotten is that this is an exemplarily pop song. Indeed, it could be a megahit if covered by Taylor Swift, who it has to be said, has mined CHVRCHES’ sound for her enjoyable ‘1989’ opus. Mayberry may be the anti-Taylor, but she has a few things in common with the starlet. With the horrid barrage of online misogyny she’s had to endure, Mayberry has had to shake it off too. Putting her energy into her art, with its booming backing, ‘Leave A Trace’ is a very personal song that acts as an inspiration to all.

‘Every Open Eye’ contains a delicious trio of uptempo electropop numbers that have been clearly influenced by the band’s success in America, possibly from watching Jerry Bruckheimer movies on the tour bus. With ‘Keep You On My Side’, the threesome deliver a pounding triplet stomper complimented by responsive synth phrases.

On the even more frantic ‘Make Them Gold’, Mayberry needs a hero with pounding electronic drums and widescreen chords dominating proceedings. Yes, this could easily be a song from a montage scene in a Rob Lowe / Demi Moore film but despite these explicit Americanised overtones, they’re perhaps not as overt as GOLDFRAPP’s AOR flirtations were on ‘Head First’.

Just when you thought it couldn’t get any more epic, there’s ‘Empty Threat’ which takes its lead from Oscar winning era Moroder, with a rock disco arrangement held down by a solid rhythm section. Despite this, there’s space within the dynamics. Some may consider it retro, but this is classic songwriting that is a pleasure to the ears, especially compared to DURAN DURAN’s painful EDM blow-out on ‘Paper Gods’.

The propulsive four-to-the-floor action of ‘Clearest Blue’ shows how far CHVRCHES have developed. Although not unlike an amalgam of ‘Gun’ and ‘Science/Visions’ from ‘The Bones Of What You Believe’ , ‘Clearest Blue’ is more accomplished. CHVRCHES’ productions are now less gimmicky and proof that the team of Mayberry / Doherty / Cook are comfortable in their own skins. Not needing to overtry, ‘Clearest Blue’ is wonderfully held in a state of tension before WHACK, there’s a potent surprise in the final third that recalls the distinctive overtures of Vince Clarke. The song is indeed, magnificence embroiled.

But it’s not all four-to-the floor. The template that CHVRCHES borrowed from PURITY RING is still omnipresent, and while their Canadian contemporaries have made themselves more accessible with this year’s ‘Another Eternity’ album, the Glaswegians have been more adept at using it within a pop context. A crunchy off-kilter percussion sequence provides the backbone for the pretty ‘Down Side Of Me’, but the proof is most obvious when Mayberry’s Trans-Atlantic lilt closely resembles Megan James during the middle eight. ‘Playing Dead’ is closest to the previous sound of ‘The Bones Of What You Believe’ but with a rockier slant. A belting chorus sees Mayberry going into battle again, with her announcing “you can tell me to jump, but I won’t go!”.

The two Martin Doherty vocalled tracks on ‘The Bones Of What You Believe’ polarised opinion and his voice makes an appearance again on the Oberheim driven funk of ‘High Enough To Carry You Over’. Is The Dok as technically accomplished a singer as Mayberry? Well, the factual answer is no… but taking on a more Americanised drawl in the vein of MISTER MISTER, this is a big improvement on his auditions for THE XX on the last long player.

Rugged machine synths burst into action for the wonderful ‘Bury It’; “I never promised you anything I couldn’t do” Mayberry exclaims, “we try to bury it and rise above”. With a barrage of stabs that haven’t been heard this side of NEW ORDER’s ‘Round & Round’, this is a determined anthem for female solidarity… and it WILL get covered!

To finish, ‘Afterglow’ is another Canadian inspired twist that takes CHVRCHES closer to ELECTRIC YOUTH instead of PURITY RING. With just some Eno-esque ambience providing the backing and no drums or sequences, it is a beautiful song that makes for a perfect ending. Recalling EAST INDIA YOUTH’s ‘Carousel’, it also showcases a developing musical maturity. “I’ll find my own way back…” declares Mayberry, all exposed and vulnerable before in a state of heartfelt resignation, she cries out “I’ve given up all I can…”

A track originally from Zane Lowe’s bizarre 2014 ‘Drive: Rescore’ collection, ‘Get Away’ is the first of the deluxe bonus tracks and although excellent, it’s easy to see why it has been relegated to this status. It shows CHVRCHES in a state of transition, continuing the glitch vocal processing techniques characteristic to the trio’s earlier signature sound while finding its feet in a more assured direction.

For those who don’t get the popularity of CHVRCHES, ‘Every Open Eye’ is supreme pop music. The repetitive eight minute blips of FACTORY FLOOR, this is most certainly not. What the Glaswegian trio have managed to do is get teenagers listening to classic synthpop, people who don’t necessarily know or even care what a Jupiter 8 is. And that can only be a good thing for the future of the genre.

As for CHVRCHES, they have proved themselves more than adept as songwriters and producers… a career in Hollywood and Taylor Swift collaborations beckon.

‘Every Open Eye’ uses the following synthesizers: Moog Voyager, DSI Prophet 08, Roland Juno 106, Korg MS20 Mini, DSI Prophet 12, Roland Jupiter 8, Oberheim OBXa, Korg Polysix, Moog Sonic Six and Korg ARP Odyssey

‘Every Open Eye’ is released by Virgin Records on 25th September 2015. It is available as a CD, deluxe CD with three bonus tracks, vinyl LP and download

CHVRCHES UK Tour includes:

Brighton Dome (16 November), Bristol O2 Academy (17 November), Manchester Albert Hall (19 November), Newcastle, O2 Academy (21 November), Aberdeen Music Hall (23 November), Dundee Fat Sam’s (24 November), Birmingham O2 Academy (25 November), London Alexandra Palace (27 November)

http://chvrch.es/

https://www.facebook.com/CHVRCHES

Text by Chi Ming Lai
22nd September 2015

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