Category: Reviews (Page 39 of 200)

FRAGRANCE. Salt Water

18 November 2021 /

Matthieu Roche is the enigmatic Parisian behind FRAGRANCE.

A purveyor of dreamy synthpop in the vein of PET SHOP BOYS, he released his debut EP as FRAGRANCE. in 2017 before presenting his first full length release ‘Now That I’m Real’ in 2019 on Synth Religion. From it, ‘So Typical’ was a particular highlight while there were also collaborations with Maya Postepski of AUSTRA, TR/ST and PRINCESS CENTURY fame plus Hélène de Thoury, best known for her solo project HANTE. and as a member of MINUIT MACHINE. Singing primarily in English and often leaving vocals en Français to his female collaborations, Roche exudes a classic elegance, musically recalling TR/ST but using a far less polarising singing style than that of Robert Alfons.

As a result, those who might be put off vocally by TR/ST might find FRAGRANCE. much more accessible. A modest man, Roche lets his music do the talking and with his second FRAGRANCE. album ‘Salt Water’, he continues his production partnership with Sophia Hamadi from the French duo OPALE, while a new artistic relationship comes in the shape of New York-based Venezuelan singer and photographer Lulannie.

Developing on the mood and dance template of its predecessor, ‘Salt Water’ opens with the boisterous ‘Forevermore’ where body mechanics sit within the trancey backdrop. The squelchy French house of ‘Attiré Par Le Chaos’ is suitably vibrant and hypnotic while dreamy yet danceable, the wonderful electro-disco of ‘Covered In Gold’ comes over like a Gallic PET SHOP BOYS, smoothed by Merlot and additional ethereal voices from Sophia Hamadi.

While ‘Twisted Way’ doesn’t quite hit the heights of what came before, it is enjoyable in a drifting atmospheric kind of way, but returning to something rhythmically harder, the arpeggio-laden ‘Tears’ offers a tone of resignation yet sparkles.

The energetic ‘Bind Me Up With Your Flesh’ throws in some sinister shade to the spacey club friendly vibes but with a beautiful piano intro, ‘The Cure’ eases itself in before reverberant synthbass and metronomic beats kick in to do what FRAGRANCE. do best with the alluring middle eight prose from Lulannie only adding to the pleasure.

‘Love Bites’ bubbles as Roche sings of something “dead in the water” as it rings with a number of understated electronic hooks, while the propulsive ‘Crisis’ brings a dark anxiety into proceedings although things are never too intense or doom laden, always giving hope to a possible solution. ‘A Million Replays’ ends ‘Salt Water’ with a contemplative night drive soundtrack building into a percussive coda and then ocean waves in a reflection of the album title.

Exquisite and melodic, ‘Salt Water’ utilises prominent rhythms that are never overbearing. Swathed in an absorbing melancholy for a superbly produced collection of appealing music, its ten tracks sit as comfortably at home as they do on the dancefloor, not an easy feat to pull off. Mais oui!

‘Salt Water’ is released by Synth Religion, available as a CD, baby pink or black marble transparent vinyl LP and download from https://fragrancemusic.bandcamp.com/album/salt-water

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Text by Chi Ming Lai
Portrait Photo by Jennifer Medina, Artwork Photography by Anne-Fleur Sire
18th November 2021

KID MOXIE & MAPS Better Than Electric

9 November 2021 /

Long distance relationships are never the easiest, even at the best of times.

But the new KID MOXIE single ‘Better Than Electric’ encapsulates the melancholically longing and the ultimate joy with an arrangement like the Roy Orbison song ‘A Love So Beautiful’ (itself based on Puccini’s ‘Nessun Dorma’) reimagined for ‘Twin Peaks’ soundtrack.

Fittingly written by Elena Charbila as a remote collaboration with James Chapman of MAPS who also provides chorus harmonies, the lyrics reflect on a distance that keeps two lovers apart. Charbila said “Is there anything more powerful than Electricity? It has the power to instantly connect things and people and it is a force so powerful yet it’s something you don’t see, you only feel it.”

Directed by Joe Rubinstein and embroiled in an exquisite sexual tension, the ‘Better Than Electric’ video stars Charbila and Russian dancer Olka Sokolova. “This is a very emotionally raw and honest love song and video, about longing for someone who is far away” added Charbila, “the video, this otherworldly girl and I become one. We improvised a lot of the movement and choreography which really worked in terms of producing a very natural and real connection between us.”

“Tonight this city breathes with me, she makes me dream big” Charbila sings in a gorgeously haunting soprano, before declaring with love that “you and I, are better than electric”. After all, electricity cannot exist unless there is a connection.

Following up the previous KID MOXIE single, a cover of ALPHAVILLE’s ‘Big In Japan’ and the dance flavoured ‘Love & Unity’ EP with LUXXURY, ‘Better Than Electric’ comes from the new KID MOXIE album out in 2022.

‘Better Than Electric’ is released by Pasadena Records and available via the usual digital platforms

https://kidmoxie.bandcamp.com/

http://www.facebook.com/kidmoxie

https://twitter.com/KIDMOXIEMUSIC

https://www.instagram.com/kid.moxie/

https://thisismaps.com/

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Text by Chi Ming Lai
9th November 2021

NATION OF LANGUAGE A Way Forward

7 November 2021 /

NATION OF LANGUAGE released their debut album ‘Introduction, Presence’ in Spring 2020 just as the worldwide pandemic took hold.

Starting out as a post-punk act, lead singer and songwriter Ian Devaney became interested in using synths after hearing OMD’s ‘Electricity’ in his father’s car for the first time in years. Also featuring his wife Aidan Noell on keyboards and bassist Michael Sui-Poi, the Brooklyn-based trio adopted a “beginner’s mind” to electronic pop with songs such as ‘On Division St’ and ‘Friend Machine’ capturing a sharp synthy spirit alongside a notion of anguish.

A following standalone single ‘Deliver Me From Wondering Why’ explored the more experimental phase of OMD, but issued as a trailer for their appropriately titled second album ‘A Way Forward’, the catchy Motorik drive of ‘This Fractured Mind’ breathed new life into its retrospective references with sprightly synth tones and a danceable ethereal shudder. Dealing with the spectre of unrealised dreams and jealousy, any inferiority complex was countered with a hopeful and optimistic acceptance to move on.

That frantic Motorik beat reappears a few more times during ‘A Way Forward’, with a more direct NEU! approach on ‘Across That Fine Line’ using textural guitar with occasional pulses of synth before a chorus that bursts into an anxious post-punk thrash.

But on several occasions, NATION OF LANGUAGE eschew prominent percussion as on the album opener ‘In Manhattan’ which utilises a pulsing sequenced backdrop that recalls MIRRORS ‘Fear Of Drowning’, reflecting the tense anxieties of young manhood. Meanwhile, the sparse arpeggios of the haunting ‘Former Self’ conjure the feel of a lost East European folk song reimagined with an electronic treatment, although this perhaps is not surprising as it was composed on a nylon string guitar.

With the tick of a clock, ‘They’re Beckoning’ looks as though it will follow a similar route with minimal sweeping synths but a minute and a half in, it kicks with thumping electronic drums, sparking trancey blips and moody bass guitar to recall NEW ORDER like ‘Your Silent Face’ meeting ‘Temptation’ for an infectious brooding closer.

The influence of early OMD makes its presence felt on the atmospheric ‘Wounds of Love’ while the forlorn longing of ‘Miranda’ presents a slow waltz and a closing ivory segment that sounds as if it is about to morph into ‘Souvenir’. Meanwhile, like a drifting train ride, ‘A Word & A Wave’ throws in fits of white noise à la ‘Almost’ and DEPECHE MODE’s ‘Any Second Now’.

But exuding a KRAFTWERK inspired octave shifting template, ‘The Grey Commute’ ponders the daily routine of many with backing that could be MIRRORS with more guitar. And although it is less immediate the some of the other tracks, it carries depth and echoes the John Foxx fronted ULTRAVOX! with ‘Hiroshima Mon Amour’ in its hypnotic mechanised rhythms.

‘Whatever You Want’ labours a little but overall, ‘A Way Forward’ does as its title suggests. Showing growth from the seed planted during ‘Introduction, Presence’, there is potential for even more and ‘A Way Forward’ confidently showcases to some of the more hipster factions in the music world that synths and drum machines are not dirty words and can be applied with a post-punk influence to an independent pop sound.

Dancing while a little down can be uplifting and the shifting emotions of ‘A Way Forward’ show that while it’s ok to not be ok, it’s also ok to take time to escape as well.

‘A Way Forward’ is available in CD and vinyl LP formats from https://www.nationoflanguage.com/

Download available from https://nationoflanguage.bandcamp.com/album/a-way-forward

NATION OF LANGUAGE EU + UK 2022 tour includes:

Copenhagen Ideal Bar (15th January), Stockholm Obaren (16th January), Oslo Bla (17th January), Berlin Kantine Am Berghain (19th January), Zurich Kater (20th January), Barcelona Laut (22nd January), Madrid Sala El Sol (23rd January), Paris Supersonic (25th January), Leeds Hyde Park Book Club (27th January), Glasgow Broadcast (28th January), Dublin Grand Social (29th January), Manchester YES Pink Room (30th January), London Lafayette (31st January)

https://www.facebook.com/nationoflanguage

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https://open.spotify.com/album/2hPnsq6HZHcgkFlLclKrvv

Text by Chi Ming Lai
8th November 2021

HELIX Bad Dream

5 November 2021 /

Shakespeare posed the question “If music be the food of love…” and over the course of popular music numerous couples have released work. From Ike & Tina Turner to Chris & Cosey through EURYTHMICS and more recently our own VILE ELECTRODES and WITCH OF THE VALE, all have shown what can be achieved if partners do more than spend their evenings watching ‘Love Island’ (let’s not mention John and Yoko though…)

Another romantic pairing who have released music are Tom and Mari Shear under the name of HELIX. Their 2018 debut ‘Twin’ was one of the highlights of the year and they have now returned with a new EP, ‘Bad Dream’.

Tom of course is well known from his band ASSEMBLAGE 23 who have been leading lights on the EBM / Industrial scene for some 20 plus years and he brings the muscular instrumentation and production from that project to HELIX but with a number of twists that will raise a few eyebrows.

All of this underpins the new Mrs Shear’s frankly spectacular voice which has been heard across numerous collaborations from her new husband’s SURVEILLANCE release to guest vocals with, to name a few, COMADUSTER and IVARDENSPHERE. More on those vocal skills in a moment…

Opening with the energetic ‘Run’, which picks up from where the ‘Twin’ album left off, this acts as an excellent appetiser for what’s to come. A fine danceable pop infused number, this will no doubt go down a storm not only in a club setting but also in the set at the, currently, infrequent HELIX live outings. Mari easily harmonises with herself in the layered vocals on the chorus to wonderful effect.

One of the great things about any side project is it gives the opportunity to try new things musically and this is evidently the approach taken on the next few tracks by Tom himself. ‘Slip’ opens with a laid-back percussion track underpinning effected samples leading into verse which sensibly allows the vocal to carry the thrust of the track.

As previously stated, I think Mari has one of the best female voices on the scene and this is proven on this track which allows her to be heard without swamping with unnecessary processing.

‘Kill The Unknown’ further allows Mr Shear the scope to do new things musically. This moves into almost ‘indie’ territory with live drums and, gasp, guitars courtesy of multi-instrumentalist Elias Black. These add an expected texture and bite to the track and shifts HELIX in another direction entirely.

Closer ‘Bad Dream’ is a brooding slice of electronica with an almost metal chorus which drops in and out of the arrangement that hinges around a frantic drum track. The accompanying remix included on the EP by MESH frontman Mark Hockings is actually my preferred version, again the ‘dancier’ mix will go down a storm in a club and the mix further highlights Mari’s great vocal take.

Closing the tracklist out is a mix of ‘Run’ by ex-IRIS member Andrew Sega under his HALLOWED HEARTS moniker. This is an almost goth interpretation with chiming guitars and a straightforward 4/4 drum track. Again, this version underlines how well this song will go down in a club set.

In the second part of Shakespeare quote at the top of this article he asks that we “play on”. On the strength of both the earlier album and this all too short EP, we can but hope that Mr and Mrs Shear do just that, there is much here to feed even the hungriest of souls.

‘Bad Dream’ is available as a digital EP from https://helix.bandcamp.com/album/bad-dream

https://www.facebook.com/HelixElectronic

https://open.spotify.com/album/6Qth7TB3nPqWlvPIxgrnne

Text by Ian Ferguson
5th November 2021

DLINA VOLNY Dazed

3 November 2021 /

The political tensions in the former Soviet republic of Belarus have created a climate where artistic expression exudes a more prominent dystopian austere than in many other places.

Leading this are Minsk post-punk trio MOLCHAT DOMA but following not far behind are DLINA VOLNY; comprising of singer Masha Zinevitch, bass guitarist Vad Mikutski and Ales Shishlo on keyboards, unlike their bilingual debut ‘Mechty’ from 2018, their second album ‘Dazed’ is entirely in English. Released by their second album ‘Dazed’ and Italians Do It Better, it is a cinematic Autumnal statement that sounds as if The Cold War never ended.

The songs deal with the fragile reality of life and ‘Dazed’ opens with the title track, its icy cascading mood, served with the resigned contralto delivery of Zinevitch, possessing a sparkling textural quality worthy of the Italians Do It Better house sound. ‘I’m Not Allowed’ sounds bouncy in comparison, the bright synth arpeggio sounding odd but effective within a musical backdrop resembling WHITE LIES, while ‘Do It’ features an infectious swirl of electronics as well as a simple chanty chorus.

DLINA VOLNY’s reinterpretation of Madonna’s ‘Hollywood’, which appeared on their label’s recently issued tribute collection, alternates a detached deepness with an unexpected pop register that presents the song as a harsher warning to those seeking stardom.

Closer to home, the chilling darkwave of ‘Whatever Happens Next’ acts as protest song calling for solidarity and freedom. Exploring that haunting Eastern Bloc resilience further with a dance beat, ‘Bipolar’ is outstanding and asks “what is it like being on the border?”.

Despite its sinister overtones, the partly spoken ‘Redrum’ embraces a deviant sexiness like a song for the soundtrack of ‘Atomic Blonde’ where “the end is just another beginning… goodbye!”. The call for ‘Freedom’ sees stark bass guitar lines marked by harsh strums to shape a cavernous gothic grandeur.

Not a cover of their labelmate’s CHROMATICS best known song, ‘Shadow’ embraces THE CURE like a funereal paced ‘Fascination Street’ and certainly there is that air of disintegration. ‘Slowly’ is cut from a similar black cloth while the grim perspective presented on ‘Matte’ is only offset by shiny synths. Recalling ACTORS, ‘Tomorrow’ ends with the Minsk threesome’s own take on dysfunctional post-post-punk disco.

Mixed by David Lynch associate Dean Hurley, ‘Dazed’ is bleak and tense but most of the tracks have a cool appealing air of mystery. The murky atmosphere does not forsake melody or hooks and the second language expression provides a seductive allure as the anxious suffocation of the system is countered by a profound breath of hope.

Despite the collected feelings and situations, DLINA VOLNY are less jarring than MOLCHAT DOMA so may have a broader crossover potential… yes, maybe these Belarusians do it better.

‘Dazed’ is released by Italians Do It Better on 5th November 2021, available from https://dlinavolny.bandcamp.com/ or pre-save at https://idib.ffm.to/dazed

https://italiansdoitbetter.com/dlina-volny/

https://www.facebook.com/dlinavolny

https://twitter.com/volny_dlina

https://www.instagram.com/dlina_volny/

Text by Chi Ming Lai
3rd November 2021

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