Category: Reviews (Page 48 of 206)

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

https://twitter.com/notionofanguish

https://www.instagram.com/nationoflanguage/

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://dlinavolny.com/

https://www.facebook.com/dlinavolny

https://twitter.com/volny_dlina

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

Text by Chi Ming Lai
3rd November 2021

FIAT LUX Twisted Culture

1 November 2021 /

Lost but found, before 2019, there were no FIAT LUX albums but there is now a third.

Reflecting the weightier matters of the world, ‘Twisted Culture’ is about “living life as best you can, no matter what is thrown at you” according to the nucleus of Steve Wright and David P Crickmore. Their only previously released body of work had been the six song ‘Hired History’ EP in 1984 on Polydor Records. The lack of a hit single saw their intended debut album ‘Ark Of Embers’ short-sightedly shelved by the label in 1985. However, Cherry Red came to the rescue and issued a double CD package containing both works in 2019.

This coincided with the release of ‘Saved Symmetry’, an album of completely new 21st Century material recorded after FIAT LUX reformed to celebrate the 35th anniversary of their formation. Despite the worldwide pandemic, FIAT LUX kept busy recording the follow-up, with Will Howard taking over as the third FIAT LUX member on sax and woodwinds from the sadly missed Ian Nelson who passed away in 2006.

The bittersweet ‘(How Will We Ever) Work This Way’ opens ‘Twisted Culture’ with some catchy grown-up new wave disco although lyrically, it captures the zeitgeist. Building towards a burst of slinky sax from Will Howard, ‘Cul De Sac’ uses a sparse arrangement for its colourful backdrop.

Unusually for FIAT LUX, ‘Basement City Living’ is something of a frantic avant dance adventure which swirls, wobbles and even features a drop! There’s unsettling pitch shifted voices lingering too but when Crickmore’s bass signature kicks in, despite the unorthodox backing and Wright’s spoken and screamed contribution, this can only be FIAT LUX.

As a possible relative of ‘Basement City Living’, ‘Tighter’ uses similar pacey electronic qualities although is more fully formed as a song, possessing both rock accents and trancey gothic moods. It’s odd but enjoyable for those who “only came here for fun”. At the other end of the spectrum with predominantly piano and clarinet, ‘The Night We Should Have Met’ is a classic Olde English FIAT LUX ballad with a wonderful Barber shop quartet round to finish.

With its pulsing bass, synth sweeps and E-Bow in the vein of one-time FIAT LUX producer Bill Nelson, ‘Hope’ is a glorious set-piece over seven minutes. Bubbling with vintage synth, ‘It Wasn’t Supposed To Be Now’ is another number in the classic FIAT LUX vein, all uptempo with a chorus reminiscent of Marc Almond and Frippish guitar solos, although all that tension is offset by bursts of slinky sax.

Sax led and adopting a steadfast drum machine backbone, ‘Breathe You In’ offers a sensitive love ballad before continuing at a similar pace, ‘This Is Your Lifetime’ sees acoustic guitar and Bansitar combine for a muzakal song of hope. With a warm harmony of voices, it ends the album on an encouraging note despite the ‘Twisted Culture’ of the past few years.

Those who enjoyed ‘Saved Symmetry’ will appreciate ‘Twisted Culture’. Meanwhile those who were less enticed by its emphasis on mood may find the more uptempo and experimental numbers that feature on its successor appealing enough to return to the distinctly different path of FIAT LUX. In many ways, ‘Twisted Culture’ is the stronger and more varied collection.

‘Twisted Culture’ is released by Splid Records through Proper Music Distribution on 5th November 2021 in CD and digital formats, pre-order from https://www.propermusic.com/

http://www.fiat-lux.co.uk

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

http://www.splidrecords.co.uk

Text by Chi Ming Lai
Photo by Andy Hollingworth
1st November 2021

ALI RENAULT Nawce Blizzard

29 October 2021 /

Margate-based producer and DJ Ali Renault has been releasing music since 2003, but he is perhaps best known as being a member of the Italo-flavoured electronic pop duo HEARTBREAK with Sebastian Muravchik.

After HEARTBREAK went into hiatus in 2011, Ali Renault released his debut self-titled album and has since followed up with a variety of dance 12” singles and EPs including on his own Cyber Dance Records and Vivod imprint. With HEARTBREAK having reformed and set to release a second album in 2022, he releases ‘Nawce Blizzard’ in memory of the late Chester DJ Pete Mangalore with whom he co-founded the Human Shield Record Company.

On the opener ‘Northdown Acid’, a sinister bass pattern penetrates in sync with dirty phat beats within a grey-stoked backdrop. While faster paced, ‘Imminent Salad’ is less intense and exhibits more of a club groove with spacey strings providing atmosphere and texture. But with an elegiac ambience, ‘Peter Summoning’ is Ali Renault’s musical tribute to his late friend.

Deeper in mood, the lengthy ‘Forbidden Mind’ moves in slower motion but having played this 33RPM release at 45RPM by accident, it actually kicks quite well at the faster tempo like Lil’ Louis!!! Reverberating with a pulsing hypnotism, ‘Nawce Blizzard’ presents an electronic chill as the title suggests over stuttering rhythms, but the infinite motorbike engine in the run-off groove will catch listeners out… only it’s not a motorbike but a pitch shifted cat purr!!

Ali Renault said “It’s been an emotional ride getting this together and feels right to be drawing a line under it finally…”

An absorbing mini-album of IDM, ‘Nawce Blizzard’ is adorned with charming foggy windswept imagery that illustrates its contents, a respectful beat-driven reflection and remembrance of a departed friend.

‘Nawce Blizzard’ is released by Vivod as a 12” vinyl EP and download, available from https://www.phonicarecords.com/product/ali-renault-nawce-blizzard-ep-vivod/176708

Digital variant available at https://alirenault.bandcamp.com/album/nawce-blizzard

https://www.facebook.com/Ali-Renault-134906283231577

https://twitter.com/VivodAli

https://www.instagram.com/ali_renault/

Text by Chi Ming Lai
29th October 2021

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