Falun in Sweden is the hometown to yet another superb electronic act from this Nordic land.
Gabriella Åström (vocals synths), Tobias Andresson (synths / guitars) and Jonas Martinsson (drums / programming) are the trio who comprise ME THE TIGER. Given the fact that the band set out on their journey only in 2012, they can boast about such achievements as playing alongside none other than VINCE CLARKE, PANDA DA PANDA, KITE and many others. Their hometown awarded the band a diversity scholarship and their work has been nominated for a number of awards.
Having recently played at Electronic Summer 2015 in Gothenburg with great success, the band are already well established and popular with the synth fanatics. ‘Vitriolic’ opens with ‘As We Really Are’; delicate girly vocals gently ease the audience into a massive bridge and chorus, which is larger than life, with heavy drums and a powerful guitar. ‘Never Said I’ classifies as a perfect dance tune, depicting a complicated love story, while ‘What Promises Are Worth’, the first single from the production, hits with synthy scenery, another powerful chorus, instantly making the tune a dance anthem of the new era.
‘Control’ is a short, semi-instrumental track but lyrically full however. ‘Myheroine’ steps in with fast tempo, MESH-like synths and controversial lyrics, another larger than life but rounded tune. Starting with a Eurovision-esque sequence, ‘Heartbeats’ is a riven, energetic and spirited panorama of sound with a perfect danceability factor.
‘Headlines’ opens with a dirty, interesting synth, instantly making it the best song on the album. Gritty vocal over simple, yet sophisticated melody, resembling solo outings from Melanie Chisholm. The following ‘Apart’ sounds like a fresh take on the dance floor anthems of the gone by years, fully twinkling with fresh electronica and persevering drums, it is big and bold.
‘We Sell For Free’ is marked by calmer synergy of gentle vocal and subdued resonance, while ‘Like Feathers’ comes back with faster, quirkier tonality. ‘Dreams’ calms the senses again for a short while, leading to ‘2013, It’s Finally Over’, which is the closing track of the album. Keeping it harmonious in unison of slower and gentler tone, the song perfectly rounds up the production.
ME THE TIGER have been described as “the next generation of electronic music”, and the “vitriolic wind of change in the deadlocked electronic music scene”. With strong lyrics, powerful choruses and anthemic tunes, they are likely to succeed in what they are aiming for, to “contaminate your ears and the dance floors”.
Driven and forward thinking, they represent a fresh approach to modern electronica, which is gutsy and in-your-face, yet melancholic and subdued at the same time. Best observed live, the band surely have many successes to come their way.
‘Vitriolic’ is released on CD and digital formats by Repo Records
“We are not getting back to stay together. We’ve agreed to come back for a set period: one album, one tour. It’s a great opportunity and allows us to write another chapter”: MORTEN HARKET
A-HA’s ‘Cast In Steel’ is the Norwegian trio’s tenth studio album, and the first new material since the group disbanded after the success of their ‘Foot Of The Mountain’ long player in 2009. The album was a triumph with the title track being one of the highlights on the subsequent tour while ‘Nothing Is Keeping You Here’ captured the combination of heartfelt melancholy and emotive melodies that A-HA have always done best.
Having played what appeared to be their farewell concert at the Oslo Spektrum in December 2010, Morten Harket, Paul Waaktaar-Savoy and Magne Furuholmen embarked on a variety of separate activities. Harket’s own solo career, while moderately successful, had the identifiable ingredients of A-HA but lacked the unique songwriting panache of Waaktaar-Savoy and Furuholmen. Like many groups, the sum proved to be greater than the individual parts.
With no record deal in place, no pressures and no touring commitments, A-HA reunited in a relaxed manner that recalled their days as a fledgling band seeking fame and fortune. The new album sees trio reunited on a number of songs with Alan Tarney, the noted producer who produced many of their biggest hits including ‘Take On Me’, ‘The Sun Always Shines on TV’, ‘Cry Wolf’ and ‘Stay On These Roads’. Meanwhile, the ‘Foot Of The Mountain’ production team of Steve Osborne and Erik Ljunggren also return.
Set in stone, the ‘Cast In Steel’ title track is a classic string laden midtempo ballad written by Paul Waaktaar-Savoy, a fine example of the sort of songs that have allowed A-HA to continue their career into the 21st Century. Following on, ‘Under The Makeup’ features those characteristic Bond Theme elements that have sat in A-HA’s work since ‘The Living Daylights’. It’s another soaring offering from Waaktaar-Savoy that signals the album’s artistic intentions; a maturer but still melodic A-HA playing to their strengths as an adult pop combo.
Morten Harket’s solo career has had mixed reactions and his songs on A-HA albums have sometimes gone down the way that a certain Richard Starkey’s used to. But ‘The Wake’ takes a leaf out of Waaktaar-Savoy’s songbook with a wonderful chorus supported by cinematic overtones and muted guitar. Meanwhile the faster paced pop of ‘Forest Fire’ will remind those who left behind A-HA after ‘Stay On The Roads’ why they should return to the fold and not to be left out, Magne Furuholmen’s ‘Objects In The Mirror’ is something of a beauty.
The first of the Alan Tarney productions comes with ‘Door Ajar’, buzzing with sequenced synths and driven by a drum machine while syncopated with choppy guitar. ‘Living At The End Of The World’ sees lighters (or rather smart phones) aloft; this is a swaying anthem with gently pulsing synths, sparring guitar and those Barry-esque orchestrations. It’s one of Morten Harket’s too, confirming his development as a songwriter.
But ‘Mythomania’ misfires and is a bit of a let-down, but it had to happen at some point. Predictably, this one is of a rockier disposition… ‘She’s Humming A Tune’ has hints of ‘Scoundrel Days’ in a lower key with sweeping synths, bottle neck six string and live drums moulding the chilling soundscape with that exquisite Nordic allure. A slight offbeat provides the backbone to ‘Shadow Endeavors’ while the catchy beat laden ‘Giving Up The Ghost’ soars with dramatic strings and synths as with many of the key tracks on this enjoyable album. The loose drum driven ‘Goodbye Thompson’ closes ‘Cast In Steel’ with subtle snatches of RADIOHEAD’s ‘No Surprises’ creeping in.
As is standard now with the modern album format, there are a number of bonus tracks which are interesting rather than essential, although the crystalline ‘The End Of The Affair’ should have been part of the main act of ‘Cast In Steel’ instead of ‘Mythomania’.
The other tracks have been culled from the early ‘Foot Of The Mountain’ sessions circa 2008-2009 and give an insight into how A-HA’s songs develop. Although often almost fully formed, they go up a level once rearrangements and synthetic enhancements away from conventional traditions are allowed to be nurtured. So ‘Mother Nature Goes To Heaven’ is merely a plodding rock ballad in its original form compared to a thumping DEPECHE MODE styled number it became.
Meanwhile the acoustic demo of ‘Nothing Is Keeping You Here’ here was turned into a pièce de résistance by Steve Osborne’s electronic reworking for the UK Radio Edit. A not particularly good Mark Saunders remix of ‘Foot Of The Mountain’ does the deluxe package few favours, but the customer has their choice at the end of the day.
‘Cast In Steel’, like ‘Foot Of The Mountain’ before it, is classic A-HA and not the threesome trying to be CROSBY, STILLS & NASH like on 2005’s Marmite offering ‘Analogue’. It balances between synthpop and filmic orchestrations, with Morten Harket’s trademark vocal taking centre stage. The only person who perhaps ever exceeded his capabilities is the late Billy Mackenzie and Harket’s crying falsetto makes its presence felt throughout ‘Cast In Steel’.
But while A-HA are inherently melancholic, like with all good Nordic pop, there’s that contrasting glorious optimism which gives the songs that vital all-embracing lift. If this is to be the last A-HA album, then ‘Cast In Steel’ is a worthy one.
‘Cast In Steel’ is released in CD, deluxe 2CD, metal fan box 2CD, vinyl and download formats by Universal Music
Xan Tyler is perhaps best known as the vocalist of cult synthpop duo TECHNIQUE.
Together with multi-instrumentalist Kate Holmes, their concept was a female PET SHOP BOYS crossed with NEW ORDER. The pair had two minor hit singles ‘Sun Is Shining’ and ‘You & Me’ in 1999, both under the auspices of acclaimed producer Stephen Hague. Having worked on a variety of projects since then, Tyler released an electro-acoustic hybrid EP ‘Into The Blue’ at the end of 2014.
Produced by Stuart Crossland,Xan Tyler told ELECTRICITYCLUB.CO.UK “I’ve always listened to wide mix of different music and I wanted to make something that reflected my varied tastes”. One of the key songs ‘Stop The Clock’ has just had a brand new video created by Alice Emily Baird to accompany its sublime beats and beautiful dreamy vocals.
Recalling the more recent synth tinged work of HANNAH PEEL’s ‘Fabricstate’ EP, ‘Stop The Clock’ is perfect listening for the onset of Autumn. “I’m aware that the tracks are all quite different from each other” said Tyler about the songs on her recent EP, “but I think there is a thread running through them that ties them together. My voice and writing style alongside Stuart’s incredible production… I think it works, hopefully others will too”.
The second album from Brighton based pop combo KOVAK, ‘Modern Lovers’ has been a long time coming.
‘Killer Boots’, the first single from the revamped KOVAK line-up emerged in 2012 and coincided with some well received support slots with TOYAH. Other singles ‘Living The Dream’ and ‘Radiate’ came along and got BBC Radio2 airplay.
But a combination of record company politics and the birth of singer Annelies Van de Velde’s first child put things on hold, until now.
Finishing the album with noted studio hand Andy Gray contributing synths, the Bray brothers Karl and Darran have crafted an immediate new wave disco record that recalls BLONDIE and GIORGIO MORODER. Released independently, titles like ‘I Love The Dance Floor’ and ‘International Dance Party’ only go to signify the uptempo escapist intent of ‘Modern Lovers’.
Produced by Dom Beken, it all begins with the pleasant steadfast title track with Annelies’ rich optimistic vocal over choppy rhythm guitar and pulsing synth. But the bouncy Eurodisco of their past few singles makes its presence felt on the effervescent ‘Catchy Monkey’, a fine tune that nicely crosses over into the New Romantic tradition.
Beginning with sequencers, ‘I Love The Dancefloor’ turns slightly into FRANZ FERDINAND while Annelies waxes lyrical about the joys of a good old fashioned night out. ‘International Dance Party’ amusingly features a rap by Karl Bray over a syncopated backing track that would make DURAN DURAN proud with some rock inflected disco. Continuing the rock disco fusion, with the thumping drums and and whirring synth on ‘Just Another Man’, Annelies’ sexy allure comes over like Debbie Harry with a nod towards ‘Atomic’ as a fitting in-joke reference.
On ‘Who Is She?’, Annelies’ jealously runs deep but conversely, the following ‘Radiate’ is more celebratory. Driven by a tingling metallic sequence and sweetened by her angelic vocals, ‘Radiate’ does what it says on the tin. It’s very SAINT ETIENNE Goes To Munich and still stand-outs as a classic song that blends a dreamy hook with crisp production and a danceable beat.
A bit of glitterball stomp enters the equation with ‘Swing Song’ coming over like Chrissie Hynde fronting DEEP PURPLE, while the funkier ‘Little Bit Of Luck’ takes on the album’s most soulful stance. The neo-acoustic ballad ‘Tower Blocks’ makes an apt closer, and provides some sonic variation to showcase KOVAK’s diversity that covers many bases without losing the band’s core ident.
Missing from the album though are the previous singles ‘Killer Boots’ and ‘Living The Dream’. While this is a shame, it doesn’t detract from the fact that this collection is a good pop record. While ‘Modern Lovers’ may party like it’s 1979, the modern discothèque sheen only enhances the album’s fun and classic approach.
With thanks to Andy Hollis at 74 Promotions
‘Modern Lovers’is released by 74 Music on 7th September 2015 as a download and numbered CD. Please visit https://www.kovak.co.uk for more information
The rusting hulk of a vehicle on the album cover of ‘V – Metal Machine Music’ is set against a desolate/post-apocalyptic ‘Mad Max’ style wasteland
It gives an idea as to what one might expect from the new DIE KRUPPS long player. Following the more electronic-based ‘Machinists of Joy’, it’s a return to a sound which indelibly influenced RAMMSTEIN and several other metal / electronic hybrid bands. The crunching twin guitar riffs are back up in the mix and in most cases, Ralf Dörper‘s synth/sequencer programming (regrettably) takes more of a back seat in the musical proceedings.
The shift back to a more guitar-oriented sound is possibly an attempt to reclaim the throne of a genre that DIE KRUPPS undeniably pioneered, especially as RAMMSTEIN are currently on a hiatus to allow lead vocalist TIL LINDEMANN to promote his solo album. With ex-drummer Volker Borchert returning to the fold and the addition of guitarist Steve Roemhild, the overall concept of ‘Metal Machine Music’ is a far more live and rocky sounding one.
The prelude ‘Die Verdammten’ is a doomy and Teutonic sounding introduction to the album with filtered gothic foreboding strings and hard hitting guitars heralding bad things looming on the horizon… ’Kaltes Herz’, the first proper song on the album, is a high octane thrash with driving synth bass at its heart, its delayed Koto intro lulling the listener into a false sense of security. Double A-sided single ‘Battle Extreme’ (vocalled in English) is another competent / fast BPM industrial metal track with very little to distinguish it from the previous one, although some later high pitched synth squeals provide a bit of welcome respite from the angry guitars.
‘Fly Martyrs Fly’ (the other side of the single) is the most electronic sounding track so far, LFO-filtered synths mixed with an EBM bassline contrast with guitars which are a little further back in the mix this time. There is also the addition of some welcome electronic drum textures mixed in with the live percussion. Lyrically, halfway through the track, it becomes apparent that the song is based around the Germanwings Flight 9525 air disaster where the co-pilot of the plane locked his captain out of the cockpit before setting it on a fatal trajectory into a nearby French Alps mountain. News reports of the event are recreated using speech synthesis in the middle section of the song, before the crunching guitars and sequencers return.
‘Road Rage Warrior’ musically and sonically reinforces the album cover’s ‘Mad Max’ theme and is probably the most original sounding track on the album in that it doesn’t steadfastly stick to the generic Industrial Metal template. Sounding more like THE PRODIGY gone metal in places, it weirdly includes the frantic / trippy sequencer part from PINK FLOYD’s ‘On The Run’ early on in the piece. Although a brave attempt, the sung title hook in the middle eight doesn’t quite cut it against the more antagonistic / shouty vocals.
‘Alive in a Glass Cage’ is the standout melodic cut on ‘V – Metal Machine Music’ – with a properly sung lyric throughout, it introduces a softer sound to the album and with the exception of its middle eight guitar riff, relies more on melody than aggression. Also present are echoes of NEW ORDER’s ‘This Time of Night’ in the bass synth and the vocals of Andy LaPlegua from COMBICHRIST’s side project ICON OF COIL – it would have been fruitful for this sound to have been explored more on this album, if only to provide respite from some of the less subtle in-your-face guitar-oriented songs. The appropriately named ‘Kaos Reigns’ ups the tempo even further, with frantic double-kick drums and guitars to match. When eventually joined by several cross-panned synths, the track leaves you exhausted and breathless by the end…
In a way, one could feel aggrieved for DIE KRUPPS in the way in which RAMMSTEIN took their sound, ramped it up several notches (with added pyrotechnics), ran with it and became a global, multi-million-selling act. But as in many cases, sadly often the musical innovators don’t always get their just rewards and recognition.
If you are fan of big metal guitars and live drums mixed with bass synths you will ADORE this album, it certainly reinforces DIE KRUPPS (alongside MINISTRY and NINE INCH NAILS) as THE pioneers of the Industrial genre. But those seduced by the electronic textures that ‘Machinists of Joy’ offered may come away feeling disappointed with the emphasis on metal rather than machine in ‘V – Metal Machine Music’.
‘V – Metal Machine Music’ is released as a CD, deluxe 2CD and download via Oblivion on 28th August 2015
DIE KRUPPS play The Garage in London on Wednesday 16th September 2015, please check the website for other dates
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