Category: Reviews (Page 193 of 200)

Machine Music: The Best of GARY NUMAN DVD


We’re In The Building Where They Make Us Grow…

When Gary Numan broke through in 1979 as the world’s first ever synthesizer pop star, it was not only musically that he made an impressive impact.

The unsmiling, pale faced ‘Machman’ cast a striking visual figure.

In the age of post-punk paranoia, he unwittingly represented the fears of an alienated youth facing minimal prospects and unemployment under the spectre of ‘Mutually Assured Destruction’ while the government gave out booklets on how to ‘Protect & Survive!

Now a newly released DVD entitled ‘Machine Music: The Best of Gary Numan’ captures the one-time Mr Webb throughout his career from his early innovative promo videos right up to the present day, plus the added bonus of TV appearances and live highlights which have helped shaped the myth and occasional ridicule of Gary Numan.

Numan’s first promo ‘Cars’ is still truly iconic. Having phased out the band moniker TUBEWAY ARMY, he was out on his own but the video featured close-ups of the Polymoog and his 1979 backing band RRussell Bell, Billy Currie, Paul Gardiner, Chris Payne and Cedric Sharpley.

All dressed in uniform black suits but subtly wearing their own unique colour of tie, the significantly importance of this video was it conjured a communal tribal mentality… the message was “do you want to be in my gang?”

In fact, many people did as ‘Cars’ went to No1 and his magnificent ‘Touring Principle’ became the hottest ticket in town. The accompanying video of that show beat BLONDIE’s ‘Eat To The Beat’ into the shops as the first album length video costing around £40 in 1980!

The ‘Complex’ promo featured the band again but this time, sans Currie who was now back with ULTRAVOX but this video hasn’t aged as well, all Dr Who fuzzy effects and Thames TV lighting. These early productions were directed by the pioneering husband and wife team of Derek and Kate Burbidge.

Considering how today’s technology allows pop promos to be made on an iPhone, they did very well with the equipment available which at the time was prohibitively expensive. But this was a forward thinking period where you learnt as you went along. So everything got back on track with ‘We Are Glass’ featuring another iconic image, this time the ‘Telekon’ jump suit. Numan felt the wrath of the all important Children’s TV shows though due to producers considering his smashing up of television sets with a silver truncheon just too violent for the kiddies!

‘I Die: You Die’ featured Numan’s beloved Corvette Stingray but after that, the promos became a bit more ham as poor Gary tried to be James Cagney. The Julien Temple directed ‘She’s Got Claws’ from 1981 is a case in point, while the gangster storyline of ‘Music For Chameleons’ is unintentionally comedic.

The rare ‘Love Needs No Disguise video’ with his now solo band going under the name of DRAMATIS gets away with this St Valentine’s Day Massacre look by being a live performance piece but by this time, Numan was starting to struggle musically. His hobby of flying inevitably started creeping in his videos such as ‘Warriors’ and ‘I Can’t Stop’ (absent from this collection) as he lost interest in his music.

Photo by Ed Fielding

This coincided with a downturn in his financial fortunes so there simply wasn’t the budget for promo videos anymore, hence a huge gap in the time frame of this compendium. But with critical reappraisal in the 21st Century and the huge advances in technology, promo videos such as ‘Dominion Day’ and ‘Rip’ have been forthcoming with ‘The Fall’ in particular being a fine filmic representation of the music with equal measures of unsettlement and paranoid gothic metal atmosphere.

‘The Fall’ brings the Numan visual story up-to-date, but the best thing about ‘Machine Music’ is the collection of treasures to be found on the second DVD of rare and live TV appearances from around the world.

That memorable performance of Are ‘Friends’ Electric? with the young Numan swathed in white light on Top Of The Pops is all present and correct, while there is also the influential ‘Saturday Night Live’ appearance (featuring then new band member Denis Haines “bricking it”) which sold electronic music to America …everyone from Trent Reznor to Afrika Bambaataa was watching that night and thus industrial rock and electro hip-hop genres were effectively born.

Of course, the music of Gary Numan was often best experienced live so the 1980 ‘Teletour’ has been captured on this set with ‘This Wreckage’ and ‘Remind Me To Smile’, while the even bigger Wembley show as captured on ‘Micromusic’ is represented by ‘Down In The Park’, complete with sinister robot car!

The special ITV clip of ‘Metal’ is the prize of ‘Machine Music’. A brilliant promo video in its own right with Numan’s sneering dystopia appropriately set in an electricity sub-station, ‘Metal’ is indeed the great Numan track that really should have been a single.

The version of ‘I Die: You Die’ from The Kenny Everett video show in 1980 is the one David Bowie controversially had removed from the original 1979 Christmas edition, so threatened The Dame felt about the rising young upstart from Wraysbury. It was shameful diva-ish behaviour which Bowie has since nominally retracted by saying “Gary Numan has written some of the finest things in British pop” in Q Magazine some years later.

‘Machine Music’ is a wonderful visual document which to his credit, Numan has allowed to be an almost warts and all visual assessment of his career. The Top Of The Pops specials of ‘We Take Mystery’ and ‘White Boys & Heroes’ filmed in New York and Los Angeles respectively are a bit cringey to watch now, while Numan’s own views about ‘The Man Who Lost It All In Monte Carlo’ red bow tie look in ‘Your Fascination’ and ‘Call Out The Dogs’ are well documented.

But this is what Numanoids love about their hero and why they’ve stuck with him through all his highs and lows. Now, if only more artists were able to be as frank and honest…


‘Machine Music: The Best of Gary Numan’ DVD set is released as a limited edition of 3000 and will be available during his forthcoming UK concert tour. Any remaining copies will be on sale via the Official Gary Numan online shop at Townsend Records.

DVD Tracklisting:

Disc 1 – PROMO VIDEOS

1 Cars
2 Complex
3 We Are Glass
4 I Die: You Die
5 This Wreckage
6 She’s Got Claws
7 Love Needs No Disguise (with DRAMATIS)
8 Music For Chameleons
9 We Take Mystery
10 Warriors
11 Berserker
12 Your Fascination
13 Call Out The Dogs
14 Dominion Day
15 Cars (with FEAR FACTORY)
16 Rip
17 Crazier (with RICO)
18 In A Dark Place
19 Healing (with ADE FENTON)
20 The Fall
21 My Machines (with BATTLES)

Disc 2 – TV, LIVE AND RARITIES

1 Down In The Park (Micromusic)
2 Are ‘Friends’ Electric (Top Of The Pops, 1979)
3 Cars (Saturday Night Live, 1980)
4 Praying To The Aliens (Saturday Night Live, 1980)
5 Metal (ITV, 1979)
6 I Die: You Die (Kenny Everett, 1980)
7 Remind Me To Smile (Live Teletour 1980)
8 We Take Mystery (Top Of The Pops promo film, 1982)
9 White Boys And Heroes (Top Of The Pops promo film, 1982)

GARY NUMAN plays his first ever singles tour featuring everything from the punk debut ‘That’s Too Bad’ to his first electronic release ‘Down In The Park’ and the hits including ‘Are ‘Friends’ Electric?’, ‘Cars’, ‘Complex’, ‘We Are Glass’, ‘I Die: You Die’, ‘This Wreckage’ and ‘Berserker’ plus later Top 30 successes ‘Rip’ and ‘Crazier’.

The ‘Machine Music’ Tour includes:
Leicester O2 Academy (22nd May), Glasgow O2 ABC (23rd May), Newcastle O2 Academy (24th May), Sheffield O2 Academy (25th May), Dublin Button Factory (26th May) Bournemouth O2 Academy (28th May), Bristol O2 Academy (29th May), Cambridge Junction (30th May), Birmingham HMV Institute (31st May), London HMV Forum (2nd June), Cardiff Coal Exchange (2nd June), Brighton Dome (3rd June)

For more details on the DVD and tour, please visit the official website at www.numan.co.uk


Text by Chi Ming Lai
15th May 2012

ULTRAVOX Brilliant

No tomorrow, just today… 

In 2009, the impossible happened and the classic line-up of ULTRAVOX reunited for the ‘Return To Eden’ tour. Things went well enough for a new album to be recorded and writing took place at Ure’s retreat in Canada. One of the main talking points about ULTRAVOX’s new single ‘Brilliant’ has been Midge Ure’s voice. As one of British music’s most respected elder statesman, his almost whispered tones now possess a fragility and honesty that can only come from battle-hardened life experience.

Ironically, ULTRAVOX never reached No 1 themselves in the UK or Germany and while ‘Brilliant’ is unlikely to reach such heights, the song contains all the ULTRAVOX hallmarks of Billy Currie’s Eurocentric piano and synth embellishments, Chris Cross’ motorik bass arrangement, Warren Cann’s rhythmical syncopation and of course Midge Ure’s layering guitar for a classic track that choruses a cautious optimism.

“No Tomorrow, just today…” Ure sings. Let’s face it; none of us are getting any younger. The message of ‘Brilliant’ could be interpreted as: ‘life is precious…embrace it!’ but Ure says the song is actually “a bittersweet comment on pop culture”.

Continuing ULTRAVOX’s optimistic message of intent, album opener ‘Live’ is ‘Dancing With Tears In My Eyes’ without the imminent nuclear holocaust. The instrumental breakdown, which drops to a magnificent pulsing sequence, piano and lone bass drum before the climax, is pure LA DÜSSELDORF and really is something to be savoured.

Meanwhile, ‘Satellite’ could potentially be sitting up there with the electronic rock of ‘I Remember (Death In The Afternoon)’ and ‘We Stand Alone’ from ‘Rage In Eden’, while the precolating sequences and rhythmic snap of ‘Rise’ could be a 21st Century answer to ‘Western Promise’.

For those youngsters who love MUSE or HURTS, ‘One’ and ‘Remembering’ will respectively inform their aural palettes as to where all that chromatic romanticism originally came from, but quite what long standing fans will make of the soaring stadium pandering to the landfill masses on ‘Flow’ can only be guessed at.

Thankfully, this minor blip is countered by the whirring ARP Odyssey lines on ‘Change’. This also features some majestic widescreen inflections glossed with beautiful ivory runs as the machine led percussive pattern builds, coloured by incessant synth bass and shuffling schlagzeug. At times, it even sounds like a more sedate second cousin to MUSE’s ‘Undisclosed Desires’ but considering how many times the Teignmouth trio have borrowed ‘Vienna’, maybe it’s now time to take some back!


The album ‘Brilliant’ is released by EMI Records on 28th May 2012

ULTRAVOX tour the UK in Autumn 2012. Dates include:

Bristol Colston Hall (21st September), Oxford New Theatre (22nd September), Portsmouth Guildhall (23rd September), Nottingham Royal Concert Hall (25th September), Birmingham Symphony Hall (26th September), London Hammersmith Apollo (27th September), Guildford G-Live (29th September), Manchester Palace Theatre (30th September), Southend Cliffs Pavillion (2nd October), Ipswich Regent (3rd October), Sheffield City Hall (4th October), Blackpool Opera House (6th October), Glasgow Clyde Audiotorium (7th October), Gateshead The Sage (8th October)

http://www.ultravox.org.uk

https://www.facebook.com/UltravoxUK/


Text and Photo by Chi Ming Lai
15th May 2012

QUEEN OF HEARTS Neon

Following her Arrival in 2011, QUEEN OF HEARTS graces the music world with a glitzy slice of electro schaffel appropriately entitled ‘Neon’.

On first hearing this live, ELECTRICITYCLUB.CO.UK gleefully pronounced that this managed to “out Goldfrapp GOLDFRAPP”. While this has the obvious hallmarks of Lady Alison’s glam stomp, Queenie adds her own cooing poptastic flavour, recalling RACHEL STEVENS’ under rated lost album ‘Come & Get It’. The video for ‘Neon’ is directed by fashion gurus Between Man & Beast and comes with a healthy slice of gothic vampishness.

Meanwhile, the flipside is ‘Tears In The Rain’ produced by Stefan Storm of THE SOUND OF ARROWS who co-contributed the brilliant ‘Shoot The Bullet’ on her debut ‘The Arrival’ EP. ‘Tears In The Rain’ is a gorgeously atmospheric piece, crisply Nordic and simply spine tingling.

Also doing the rounds is the magnificently epic MARK REEDER Electrically Excited Remix plus its Electrically Charged Radio counterpart. His portfolio consists of PET SHOP BOYS, DEPECHE MODE, JOHN FOXX and MARSHEAUX courtesy of his ‘Five Point One’ collection and of his crafted restyle, QUEEN OF HEARTS herself says: “This one is just a little bit special…♥” And she’s right!

Other remixes are available by LIGHTWAVES and GOLD BEACH. All this and there’s the excellent Stuart Price produced ‘Feel’ still to come…


‘Neon’ b/w ‘Tears In The Rain’ is unleashed as a vinyl and download by All Things Go Records on 14th May 2012. The download features bonus tracks Forgive Me and No More while the 7″ is available to pre-order now at http://shop.atgrecords.com/product/neon-tears-in-the-rain-7

http://iamqueenofhearts.com/

https://www.facebook.com/QOHofficial

https://twitter.com/iamqueenofheart

http://soundcloud.com/queen-of-hearts/sets/queen-of-hearts-neon-tears-in


Text by Chi Ming Lai
9th May 2012

GAZELLE TWIN The Entire City Remixed

GAZELLE TWIN is the moniker of Elizabeth Walling, the Brighton based songstress whose brooding, unsettling Hauntronica has won favour with many critics and notable musicians in 2011.

One in particular was JOHN FOXX who named her debut album ‘The Entire City’ as his album of the year. The appreciation resulted in GAZELLE TWIN supporting JOHN FOXX & THE MATHS in London and her hometown as well as several reciprocal remixes. Stark and mysterious, the living art of GAZELLE TWIN first came to the attention of ELECTRICITYCLUB.CO.UK via a cover of JOY DIVISION’s ‘The Eternal’.

The original on ‘Closer’ was one of the most fragile, funereal collages of beauty ever committed to vinyl but Elizabeth Walling made it even more haunting with the piano motif replaced by some eerily chilling synth. Held together within an echoing sonic cathedral, Walling paid due respect while adding her own understated operatic stylings.

‘The Entire City’ album continued the challenge, using the incumbent technology available to manipulate all manner of abstract vocals, off-kilter Paganesque percussion and heavy synth drones. With the menacing combination of FEVER RAY and BJORK as obvious reference points plus ‘Felt Mountain’-era GOLDFRAPP as imagined by The Brothers Grimm, Walling’s artful sophistication may even be worthy of comparison with DAVID SYLVIAN despite her tender years.

Her first single ‘I Am Shell I Am Bone’ recalled the former David Batt’s collaborations with JON HASSELL on ‘Brilliant Trees’ and ‘Words With The Shaman’, while on this remix version of ‘The Entire City’, ERAS’ take on ‘I Am Shell I Am Bone’ statically echoes Sylvian’s uncompromising 21st century work such as ‘Blemish’.

With a compositional template that keeps instrumental clutter down to a minimum, GAZELLE TWIN is a remix collaborator’s dream, open to aural expansion. The standouts are GHOST EYES’ neo-tribal reworking of ‘Men Of Gods’ which boosts the effect of Walling’s banshee wailing and JOHN FOXX & THE MATHS’ version of ‘Changelings’ where Mr Foxx adds his own ‘Cathedral Oceans’ to Benge’s Mathematical solutions.

Elsewhere, NEDRY’s interpretation of Men Like Gods has a subtle ENNIO MORRICONE soundtrack makeover while Bell Tower’s stark minimal dystopia is given added disturbance by BERNHOLZ. With the Possible Musics soundscapes of The Entire City kept largely intact, the reinterpretations take all sorts of directions; some are successful, a number are not but all are inventive. Whatever, an adventure in sound is guaranteed whichever route to The Entire City is taken.


GAZELLE TWIN ‘The Entire City Remixed’ is available now as a download album direct from Anti-Ghost Moon Ray Records prior to general release on 4th June 2012 via the usual digital outlets. The Entire City is still available on CD, LP and download.

www.gazelletwin.com

http://soundcloud.com/gazelletwin


Text by Chi Ming Lai
2nd May 2012

MARINA & THE DIAMONDS Electra Heart


Dear diary, we fell apart…

‘The Family Jewels’ by the delectable MARINA & THE DIAMONDS was a great, quirkily tuneful debut with barking mad lyrics and staccato melodies fuelled by plenty of SPARKS inspired Fe-Mael Intuition.

It also happened to be the first album ever reviewed by ELECTRICITYCLUB.CO.UK on its launch in March 2010. But the Greco-Welsh songstress has since shed her wholesome brunette locks for what appears to be an ironic exploration into the world of the archetypal All-American blonde starlet with ‘Electra Heart’.

“It’s an Ode to dysfunctional love”, Marina Diamandis said in her press release, “I based the project around character types commonly found in love stories, film and theatre, usually ones associated with power and control in love, as opposed to weakness or defeat. I guess it was a way of dealing with the embarrassment that, for the first time in my life, I got ‘played’. Rejection is a universally embarrassing topic and ‘Electra Heart’ is my response to that. It is a frank album”.

Musically, the interim single and deluxe bonus track ‘Radioactive’ featured rave stabs and dance beats; it was a long way from the excellent unreleased sub-PET SHOP BOYS meets KATE BUSH ditty ‘Jealousy’ which had been revived for her ‘Burger Queen’ tour and was slated for inclusion on her second album.

A number of high profile producers and writers such as Dr Luke who has worked with Katy Perry and SWEDISH HOUSE MAFIA have been drafted in. ‘The Family Jewels’ main producer Liam Howe has been relegated to just two tracks on the main feature. Meanwhile Rick Nowells, whose credits include BELINDA CARLISLE, takes his place on four songs and the ubiquitous Greg Kurstin makes his presence known on three.

‘Bubblegum Bitch’ is a good start though, spiky new wave pop like Lene Lovich covering THE ADVERTS ‘Gary Gilmore’s Eyes’, Marina says it’s her favourite track on the collection which is telling! But it’s immediately followed by a full force jump into KATY PERRY territory with ‘Primadonna’ and ‘Homewrecker’. Less subtle and less inspiring, these hyper pop tunes are perhaps not what some were expecting.

‘Starring Role’ is much better, perhaps more in ‘The Family Jewels’ vein; less bombastic and free of Perry-isms. ‘The State Of Dreaming’ is another excellent track, gently electro assisted but layered with strings and rousing in a way that made MARINA & THE DIAMONDS such an inspired listen back in 2010.

The Euro-thud of ‘Power & Control’, courtesy of Steve Angello from SWEDISH HOUSE MAFIA,  is slightly more pedestrian but the similarly influenced ‘Living Dead’ is proof that when Marina does synthpop, she can do it very well. The Greg Kurstin steered song is spoiled though by the over driving four-on-the-floor beats in the choruses. Producers please take note; syncopated rhythms and 6/8 Schaffel can make people dance too.

The brilliantly titled ‘Teen Idle’ is ‘Numb’ meets ‘Guilty’, full of contemporary backing but classic Marina. Bubbling electronics compliment the epic ‘Valley Of The Dolls’, its additional orchestration worthy of John Barry as Marina’s contralto voice, free of effects, totally resonates.

The ambient synth intro of ‘Fear Of Loathing’ launches into mental breakdown for a terrifically emotive closer.

But an album’s bonus tracks are always a good indication of what could have been. Thus the Greg Kurstin co-write ‘Sex Yeah’ is brilliant, a perfect electronically assisted pop tune with subtle guitar lines and complimentary rhythms.  And ‘Buy The Stars’ could easily have come off ‘The Family Jewels’, proof that if Liam Howell had been behind the desk, MARINA & THE DIAMONDS’ second album would have been very different.

Overall, ‘Electra Heart’ is a better album that the preview snippets have perhaps suggested.

And despite the more obvious in-yer-face tracks being used to launch the album, there is still much of Marina Diamandis here, if a little too artificially assisted and wearing clothes that are far more suited to more provocatively obvious, if less interesting female artists.

There are some great moments on ‘Electra Heart’, but she can do better than this. Marina isn’t Katy Perry and shouldn’t feel the need to be!


‘Electra Heart’ is released by 679/Atlantic Records

www.marinaandthediamonds.com

https://www.facebook.com/marinaandthediamonds/


Text by Chi Ming Lai
1st May 2012

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