Category: Reviews (Page 175 of 200)

ANALOG ANGEL Trinity

3 June 2014 /

Analog Angel trinity

The transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling.

Eschewing the more industrial template of their previous album ‘The Thin Line’, 2013’s ‘We Won’t Walk Away’ moved towards a rich but motorik sound reminiscent of classic OMD. The palette of the accompanying interim ‘Pride’ EP on Carbon 12 Records signalled the trio’s broader intentions. For the new album ‘Trinity’, the current line-up of main vocalist John Brown and instrumentalists Derek MacDonald and Ian Ferguson have freed themselves from the shackles of darkness and explored influences as diverse as synthpop, classical music and even progressive rock!

Those used to ANALOG ANGEL’s industrial roots may think it is all business as usual when opening number ‘Lose Control’ makes its presence felt. However, what then follows is a fine exploration of electronic music forms. The splendid new single ‘Drive’ is a grand futurepop number about escaping domestic violence; it comes with the twist of a haunting vocal by Tracy Cox within its closing reel. This ultimately sets ‘Drive’ apart and anyone that says a female vocal cannot emote within the field of electronic music is very wrong.

Ms Cox makes another appearance with Ian Ferguson on the sweeping ballad ‘No Goodbyes’. Now ANALOG ANGEL’s very own big blokey does a reasonable Midge Ure impression and the end result even recalls the ULTRAVOX frontman’s Claudia Uhle duet on the European hit ‘Personal Heaven’ with X-PERIENCE.

Analog Angel drive

‘Trinity’ also features the catchy ‘Shout’ which could be considered to be a chant laden second cousin to ‘We Won’t Walk Away’. Meanwhile the refined synthetic atmospheres of ‘Inner Voice’ cross the unlikely borders of German trio CAMOUFLAGE and Greek pioneer VANGELIS. The title of 2014 though has to go to the instrumental ‘Vince Clarke Stole Ralf Hutter’s Hamster’ and it does what it says on the tin! Despite the brooding and occasionally sombre battle cry of songs such as ‘Anthems’, it proves there is plenty of humour lurking behind the scenes at AA Towers.

The frantic pace of ‘The Chase’ fuses a Moroder-esque dance stance with a toughened take on ERASURE, courtesy of a lead vocal by Derek MacDonald which comes over like Andy Bell on Stella Artois. Any hardened industrialists remaining will probably be packing their bags when they hear the gloriously rousing schaffel stomp of ‘Round Again’ with Brown and Ferguson doing what could only be described as a bit of electro-goth bromance. With brassy synth riffs ahoy, they contemplate a positive future together in a gesture of solidarity 😉

But the biggest surprise is ‘The Last Time’; featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards, John Brown launches into emotive resignation as the cacophony of virtual symphonic strings and gothic choirs recalls THE SISTERS OF MERCY’s ‘This Corrosion’. It’s an indication of what OMD might have sounded like if Jim Steinman had been producing! Every band is capable of that one number which transcends genres and crosses over… ‘The Last Time’ is that song for ANALOG ANGEL.

With their powerfully resonant edge now absorbed into strong tunes and emotive energies, ‘Trinity’ is an adventure well worth pursuing.

‘Trinity’ is released as a download album

http://www.analog-angel.com/

https://www.facebook.com/pages/Analog-Angel/78071440078

Text by Chi Ming Lai
3rd June 2014

RÖYKSOPP & ROBYN Do It Again

24 May 2014 /

The dream team of RÖYKSOPP & ROBYN have worked together before with ROBYN guesting on the 2009 single ‘The Girl & The Robot’ and then the Norwegian duo produced ‘None Of Dem’ for her 2010 ‘Body Talk’ project.

This time around there are five new tracks to appreciate which range from the more adventurous/experimental (‘Monument’) through to out-and-out dancefloor electronica (‘Do It Again’) and with two tracks clocking in at nearly ten minutes, you are given value for money with the music on offer here.

The mini-album opener ‘Monument’ is an epic and lush introduction, the track starts in a fairly traditional electronic song format, a two chord pattern building hypnotically with ROBYN imploring a lover to “make a cast of my body”, and then seven minutes in, like a film with a major plot twist, the track takes an unexpected detour – rolling live drums and a live saxophone (which recall French act AIR) come centre-stage and take the track to an atmospheric conclusion.

‘Say It’ starts more like a traditional dance-floor electronica track, based around a rising, almost Kraftwerkian bassline with sharp as a knife 909 hi-hats driving the track along. Nowhere near as song-based as ‘Monument’, ‘Say It’ comes across more like a remix, at its heart an intriguing conversation set up between ROBYN and what sounds like a vintage Speak and Spell unit. This dialogue transforms what could have been a pretty standard electronic dance track into something which has a much greater depth and substance.

Standout track and new single is ‘Do It Again, this is the sort of electronic dance pop track that MADONNA would give her muscular right arm for, the MADONNA comparison goes a bit deeper with lyrics suggesting an almost updated ‘Into the Groove’ concept with ROBYN intoning “Wait for the build-up” before we “Do it again”, lyrically suggesting the scenario of a typical club track. The song also sees the welcome return of a retro-vibed gated synth chord stab which recalls the classic Jam and Spoon remix of ‘The Age Of Love’.

‘Every Little Thing’ and ‘Inside The Idle Hour Club’ slow the tempo down after the more energetic earlier numbers. The latter is an entirely instrumental piece with almost classical MICHAEL NYMAN-style textures on top of an extended ambient piece.

In a climate jammed full of identikit female-fronted electro-pop, ROBYN still has an instantly recognisable vocal and the link-up with RÖYKSOPP really makes this an irresistible combination. Both the music and vocal production are faultless throughout and the only real shame is that this just a mini-album rather than a full-length one.

Those left wanting more can console themselves with the possibility of seeing both acts on their upcoming co-headline tour which the official RÖYKSOPP website promises will give each act a separate spot and then join each other on stage for their collaborative works.

‘Do It Again’ is released by Dog Triumph through Wall Of Sound and Cooking Vinyl in CD, vinyl and download formats.

http://robyn.com/

http://royksopp.com/

Text by Paul Boddy
24th May 2014

MARK REEDER Collaborator

19 May 2014 /

Mark Reeder has carved out an impressive reputation for his catalogue of fine remixes since the success of his electronic dance music record label MFS which launched the careers of internationally renowned DJs such as Paul Van Dyk and Cosmic Baby.

He had moved to Berlin in 1978 having become fascinated by the artistic diversity of the city and was Factory Records’ representative in Germany between 1978 to 1982. He also worked with bands such MALARIA! and DIE TOTEN HOSEN while simultaneously being part of cult duo DIE UNBEKANNTEN who later morphed into SHARK VEGAS and toured Europe with NEW ORDER.

His passionate attention to detail gained many notable admirers within the music industry. So when Reeder focused on remixing at the start of the new century with his studio partner Micha Adam, he was given the opportunity to work with major artists such as John Foxx, PET SHOP BOYS, DEPECHE MODE and BLANK & JONES.

As the man credited for introducing NEW ORDER to electronically propelled dance music, when Mark Reeder spoke to ELECTRICITYCLUB.CO.UK in 2011, he said: “I’m old school. I like to still be able to hear the song, but give it my own signature and atmosphere, while at the same time use as many of the original elements as possible”.

Reeder’s visceral approach provided a developmental enhancement to the music while retaining an all important degree of familiarity and accessibility. A number of these results ended up on his lush surround sound compilation package ‘Five Point One’ in 2011.To follow-up ‘Five Point One’, the revived Factory Benelux label have issued ‘Collaborator’, a new compendium of remixes and collaborations by the still Berlin-based Reeder.

A significant number of tracks feature his long-time friend Bernard Sumner who appears vocally in four guises with the songs reworked in a classic electronic style not really heard since NEW ORDER’s ‘Here To Stay’ in 2002 and ELECTRONIC with Johnny Marr. First, there are Reeder’s versions of BAD LIEUTENANT singles ‘Sink Or Swim’ and ‘Twist of Fate’ which are without doubt, more enjoyable that the guitar driven originals.

Meanwhile, the wonderful ‘Miracle Cure’ helmed by dance merchants BLANK & JONES could easily be mistaken for a NEW ORDER dance track in its Reeder interpretation. Best of all though is ‘She Wants’, Sumner’s most recent collaboration with WESTBAM – given an Old School Remix by Reeder, it does what its says on the tin.

However, the previously unreleased demo of ‘Crystal’ which Sumner first recorded with Reeder and Corvin Dalek is perhaps less essential but welcome, giving as it does, a very different Deep House view of the song from its ‘Get Ready’ rock out. But how marvellous it is to hear Sumner being given a synth driven backbone again? Now while his guitar has always been an essential ingredient to NEW ORDER, his tracks on ‘Collaborator’ are evidence if any that should the Manchester brand ever record new material again, not only should the direction be electronic but also, Mark Reeder should be behind the mixing desk as well.

‘Collaborator’ also highlights Reeder’s love of female fronted synthpop. Reeder’s So Close Remix of MARSHEAUX’s ‘So Far’ and a smooth Euro styled Sweet & Sticky rework of MARNIE’s ‘Sugarland’ display an affinity with ELECTRICITYCLUB.CO.UK’s own tastes.

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But things are then taken to the next level with his remix of QUEEN OF HEARTS’ ‘Neon’; ELECTRICITYCLUB.CO.UK is pleased to say it assisted in bringing the two parties together and the resultant Electrically Excited Remix is a rich slice of euphoric electro schaffel that has been well worth the creative intervention.

The remaining collaborations are an interestingly eclectic bunch it has to be said. How many compilations can claim to bring together post-punk veteran Anne Clark, DURAN DURAN bassist John Taylor AND artist Sam Taylor-Wood?

Clark cuts her stern poetry on ‘The Hardest Heart’, a track originally reconfigured for Reeder’s ‘Reordered’ project with BLANK & JONES while Sam Taylor-Wood teams up with old pals PET SHOP BOYS for an extended retro restyling of THE PASSIONS’ I’m In Love With A German Film Star’.

John Taylor’s ‘C’est Tout Est Noir’ however is more intriguing being a recent offering with KOISHII & HUSH and the first lead vocal from the David Beckham of New Romantic since his solo single ‘I Do What I Do’ from the ‘9 ½ Weeks’ soundtrack in 1986. Reeder’s Black Night Remix improves on the original, bringing with it a body of stark musicality as well as bringing out the moodier aspects of the song.

The conclusion of the album completes the circle of Reeder’s musical journey and goes back to DIE UNBEKANNTEN’s ‘Radio War’ from 1982 and SHARK VEGAS’ 1986 Factory Records release ‘You Hurt Me’. This pair of archive recordings actually shows how Reeder’s own musical journey has to an extent, mirrored that of Sumner’s.

‘Radio War’ is more like JOY DIVISION, all doom laden, bass heavy and claustrophobic while ‘You Hurt Me’ produced by Bernard Sumner is characterised by the sort of New York disco sequence programming that made NEW ORDER famous. Both are interesting curios in the story of how Reeder has arrived here today.

In the excellent interview by John Cooper featured within the booklet liner notes, Reeder says: “I always want my remixes to be as recognisable as their original song. This is always my concern when making a remix”.

This CD only package (please take note record labels – vinyl is NOT everything!) is a fine catalogue of MARK REEDER’s career to date covering key aspects of classic and contemporary electronic pop. ‘Collaborator’ proves that the modern day club remix doesn’t have to be death by four-to-the-floor and can be a song oriented art form in itself.

With thanks to James Nice at Factory Benelux

‘Collaborator’ is available now on CD only via Factory Benelux from Amazon and other retail outlets

http://factorybenelux.com/mark_reeder_collaborator_fbn111cd.html

http://www.5point1.org/

https://www.facebook.com/markreedermusic

Text by Chi Ming Lai
Album Cover Photo by Katja Ruge
19th May 2014

WRANGLER LA Spark

5 May 2014 /

At this point in time, WRANGLER are probably the nearest we have to an electronic supergroup.

It’s hard to think of a similar set-up since either ELECTRONIC or VISAGE before them, although this line-up featuring Benge (JOHN FOXX’s sideman in THE MATHS), Stephen Mallinder (one half of CABARET VOLTAIRE) and Phil Winter (from folktronica group TUUNG) is a far more experimental proposition than the two aforementioned outfits.

‘LA Spark’ is the first collection of tracks from the trio and is an analogue synthesizer tour de force, putting to good use the enviable collection of vintage equipment housed at MemeTune studios in Hoxton Square.

It is not a pristine piece of work, because of its source material, there is a lot of analogue hiss and distortion here, but this is part of the album’s charm. Every good band deserves to have their own theme and ‘LA Spark’ bursts into life with ‘Theme From Wrangler’, its ‘Astradyne’ style hi-hats introducing a gliding synth lead and speaker quaking bassline which eventually give way to a ghostly vocal which (because of its low mix level) becomes another texture in the track – this song pretty much sets the template for the rest of the album.

The spring-reverbed kicks from ‘Theme from…’ then lead into ‘Lava Land’, a track which shares distant DNA with KRAFTWERK’s ‘Autobahn’ and JOHN FOXX’s ‘Metamatic’, the accelerated electronics overlayed with Mallinder’s pitch-shifted vocals and a wonderfully retro Logan String Melody part, a keyboard which was a favourite with such luminaries as JOY DIVISION, NEW MUSIK and YELLO. The expertly placed percussion hits are eventually joined by another warped vocal, Mallinder in places sounding like one of Clive Barker’s demonic Cenobites from ‘Hellraiser’, especially on the “Burn, Babylon burn line!”

‘LA Spark’ introduces a lighter, more melodic and 4/4 sound to the proceedings with hypnotic interwoven monosynth lines and another flanged string synth wash joining the proceedings.

This track features probably the nearest thing to a sung vocal hook and provides some light relief from the darker textures which permeates through most of the work on show here.

‘Music IIC’ is probably the most experimental track on ‘LA Spark’, reminiscent of YAZOO’s ‘I Before E (Except After C)’ with its cut-up vocal parts, the track itself being inspired by the work of Jean-Claude Risset and Max Matthews, both pioneers of computer generated music and employees of Bell Laboratories.

‘Harder’ showcases a huge range of interlocking / synthetically produced percussion sounds and melodic string shift which recalls KRAFTWERK’s ‘Spacelab’, this track has arguably the most upfront vocal too with Mallinder’s chanting vocal drenched in reverse reverb.

Throughout the album, the warmth of the analogue synthesizers and drum machines are counterpointed by a harsh vocal sound which unlike most contemporary productions, sound deliberately un-de-essed, the sibilants being preserved, making Mallinder’s words cut through the mix with ease, but also making them sound dark and disturbing at the same time.

The other thing which resonates about ‘LA Spark’ is that it doesn’t pander one iota to any particular musical fad or fashion, and with the exception of the sampled/cut-up vocals on ‘Music IIC’, there is little here to suggest that this album couldn’t have been recorded 35 years ago… and for many potential listeners, this should be seen as a positive.

Very often, there can be nothing worse than established artists trying to “get down with the kids” by flirting with Trap or Dubstep or [insert your own flavour of the month genre here] and potentially coming off like an embarrassing relative twerking at a wedding…

This is an album that isn’t instant ear candy, it takes a few listens for its riches to be revealed and for the listener to be drawn into its world. However, once ushered in, ‘LA Spark’ shows that today’s electronic music doesn’t necessarily have to be saccharine and hook filled to be listenable and enjoyable.

With thanks to Steve Malins at Random PR

‘LA Spark’ is released by MemeTune in vinyl, CD and download formats

WRANGLER plays as part of the COM TRUISE all nighter at Shapes in Hackney, London on Saturday 31st May 2014. They also play The Hare & Hounds in Birmingham on Saturday 23rd August 2014

https://www.facebook.com/pages/We-Are-Wrangler/1389558817973207

https://twitter.com/wearewrangler

http://memetune.net

Text by Paul Boddy
5th May 2014

MACHINISTA Xenoglossy

29 April 2014 /

Sweden’s MACHINISTA’s debut album ‘Xenoglossy’ delivers on the promise the duo have already shown with their first EP ‘Arizona Lights’ and appearance at ‘An Evening With The Swedish Synth’ earlier this year.

While the pairing of John Lindqwister (ex-CAT RAPES DOG) and Richard Flow (ex-VISION TALK) have a rock’n’roll edge with in particular, Lindqwister’s fly-kicks and sub-Idol sneers a key part of their energetic stage act, MACHINISTA are synthpop with a capital ‘S’. Like THE CURE gone electronic, or ALPHAVILLE crossed with SUICIDE, ‘Xenoglossy’ is both catchy and danceable.

The ‘Arizona Lights’ EP acted as a fine taster before this main course and while three of its four original songs also appear on ‘Xenoglossy’, the eight new songs have much to offer. ‘Take Comfort In Being Sad’ is a great opener that sets the tone for the album.

The standard is highly consistent with the marvellously uptempo trio of ‘Arizona Lights’, ‘Molecules and Carbon’ and ‘Salvation’ combining the best elements of both ALPHAVILLE and THE CURE into an enjoyably well produced template of anthemic electro. One key highlight is the brilliant ‘Wasted’, a boy / girl duet featuring Toril Lindqvist of ALICE IN VIDEOLAND that combines the best of darkwave and Scandipop.

Despite this being pop music, this is not fluffy stuff. The haunting ‘Love And Hate Song’ for example takes on the spectre of THE CURE’s ‘Love Song’ under the guise of KRAFTWERK but steered by The Brothers Grimm. Then, there’s ‘The Blues And The Reds’ which exposes some ghostly overtones.

But best of all is the schaffel propelled ‘Pushing The Angels Astray’, supreme synthpop that discusses the spectre of immortality with a marvellous melodic line and fabulous chorus. Once again, the Nordic region is showing how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.

‘Xenoglossy’ is not all uptempo and in-yer-face either; ‘Crash’ takes the pace down while ‘Summersault’ is a superb electronic Brechtian drama that could soundtrack a modern day adaptation of ‘Baal’. Of course David Bowie played the title role in ‘Baal’ for the BBC’s 1982 dramatisation and MACHINISTA’s cover of ‘Heroes’ will have tongues wagging.

Recorded originally as the duo’s calling card when they first formed, the synth pads recall those used on FURNITURE’s ‘Brilliant Mind’ while the electronic pulses combined with assorted textures amalgamate with Lindqwister’s spirited vocal for a respectable and yes, good reinterpretation to close the album.

In all, MACHINISTA’s ‘Xenoglossy’ is certainly a very impressive collection and could stand up as one of the best electronic debut albums of 2014. It’s funny to think after the outstanding nature of 2013, ELECTRICITYCLUB.CO.UK thought it was going to have a quiet year!

‘Xenoglossy’ is released on 20th May 2014

http://www.machinistamusic.com/

https://www.facebook.com/machinistamusic

https://twitter.com/machinistamusic

Text by Chi Ming Lai
29th April 2014

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