Flashback to 1991 and the British BBC TV topical sketch comedy show ‘The Mary Whitehouse Experience’.
Featuring young comedians David Baddiel, Rob Newman, Steve Punt and Hugh Dennis, one of the regular skits was a parody of THE CURE, with Rob Newman playing Robert Smith, performing a cheerful song or nursery rhyme in a forboding gothic rock style.
In the amusing video for ‘Ich Fürchte Nein’, the new single from German electronic duo NORTHERN LITE, it looks like Hugh Dennis is in the role of Robert Smith. Translating as “I don‘t think so…”, vocalist Andreas Kubat amusingly sends up THE CURE frontman to a tee, embracing the enforced isolation while exercising and marginally staying sane.
In a chorus that can be roughly interpreted: “You can‘t be happy and by liked by everyone at the same time”, ‘Ich Fürchte Nein’ itself is a delightfully catchy synthpop tune that has a bright and jolly melodic section contrasted by a vocal of a more anxious disposition.
The project of Andreas Kubat and Sebastian Bohn, NORTHERN LITE’s 2001 single ‘Treat Me Better’ was a cult favourite on the electroclash scene, as was their remix of LADYTRON’s ‘Playgirl’. There has always been a guitar-driven goth techno hybrid aspect to NORTHERN LITE as exemplified by 2005’s ‘Go With The Flow’.
However, a more purely electronic template existed on songs such as ‘Right Now’ off the ‘Hollywood Girl’ EP from 2017 which also included a cover of DEPECHE MODE’s ‘Enjoy The Silence’. After the ‘Piano Sessions’ reworks of 2020 and following up the recent melancholic single ‘Bin Ich Nun’, ‘Ich Fürchte Nein’ is possibly their most pop-oriented offering yet of their two decade career.
While Karin My has been providing backing vocals or playing cello for acts such as TWICE A MAN, CARBON BASED LIFEFORMS, FAKE MOSS and MACHINISTA over the last ten years, it was only in 2019 that she stepped out to the front to showcase her traditionally derived electronic songs with the haunting spectre of ‘The Silence’.
Although coming from a more traditional music background, her first experience of electronic music came when a friend of her mother gave her the five imperial phase KRAFTWERK albums.
The Swedish chanteuse and self-taught musician’s interest in electronic music broadened as the snowball effect rolled on and she met a variety of personalities from the Swedish scene. As a result, her own folk-laden compositions slowly evolved as beautiful synth sounds and technologically modelled approximations of more organic textures like harp and flute complimented their inherent melancholy.
There’s a forlorn abandonment in the captivating voice of Karin My and it is not difficult to imagine her singing alone out in the habit of the Scandinavian landscape. ‘Silence Amygdala’ is her debut solo long player, a part concept album with a narrative based on a long-forgotten diary and poems contained within it. While reading the diary re-exposes the pains of the past, it soon becomes time to burn it and move on.
Assisting Karin My realise her story in music is D. Kaufeldt, a producer from a more surprising industrial metal background, but who shared with her, a common love of folk and dark synthpop. While machines such as the Korg Mono/Poly, Roland SH09, Roland RS09 and Korg PS3200 form the backbone, the stark presence of a kantele from the Baltic box zither family provides an authentic twist.
Harking back to the days when writing on paper was the norm rather than using Messenger via smart phone, opening song ‘Letter’ is heartfelt and lonesome, although subtle backing vocals are provided by Dan Söderqvist of TWICE A MAN. But the track takes an unexpected diversion when a prominent four-to-the-floor rhythm enters the room and while this is not EBM by any imagination, this is quite boisterous for anyone familiar with Karin My’s recent run of solo singles. Despite the uptempo template, the construction is not incongruous but it is a slight red herring for the rest of the album.
Despite the melancholic chill, ‘Winter Tree’ has a gorgeous sparkle with glimmers of hope, although Karin My’s eerie delivery is reinforced with an extra ghostly atmosphere courtesy of D. Kaufeldt’s profound responses.
Despite dealing with imminent loss, the previously released ‘Time To Go’ has many melodic points of access in the tradition of ABBA and a heartfelt middle eight vocal ad-lib. Touching on the aftermath, the ‘Games Of Thrones’ fantasy drama air of ‘Autumn’ sees Karin My emotively “disappearing on a cold empty floor” while looking for the sun in layers with orchestration and subtle metallic percussion.
A steadfast drum machine propels ‘Loop’ while sweeping symphonic melodies in the vein of ULTRAVOX accompany the despairing resignation. The addition of a sombre computer generated female speech at its close with exclamations such as “identification- procedure – quote – hyphen – perform – display – go to – loop – full stop – execute” adds to the unsettlement.
Beginning with a music box and kantele, ‘The Silence’ remains beautifully sad, evoking abandonment as a cold spectre of darkness looms. Meanwhile, the dramatic waltz of ‘Stray From The Path’ shows an affinity with Scotland’s WITCH OF THE VALE in its use of traditional pagan modes and melodies, accentuated by drones.
On the Olympian ‘World From Orbit’, the Vangelis-inspired overtures soundtrack Karin My’s silent wishes to exist far from the harsh realities of life. Indeed, it is a number that floats like heaven in the manner of a Nordic Enya.
A sprightly piece compared with the other tracks on the album, the appropriately titled ‘Coming Up For Air’ surprises with a heavier if steadfast beat while there are synthetic choir stabs to back up the crystalline pulses and sweeping moods.
But a surprise comes with a largely acoustic cover of VNV NATION’s ‘Homeward’ which completely flips its original futurepop vision on its head. Although it sees Karin My return to folkie busker roots, it somehow fits in with the album’s aesthetic and narrative like an interlude before the finale. And that comes with the building tension of the ‘Silence Amygdala’ title song. Captured as a funereal waltz, strings, synths and percussion blend for a solemn but cathartic conclusion with reflections of space, heaven and a last breath…
‘Silence Amygdala’ is a melancholic affair embroiled in sadness that also uses silence as a tool to penetrate the noise. An unusual sound in synth with the nearest comparison possibly being Susanne Sundfør, there is also a Vangelis meets Stina Nordenstam quality reminiscent of when that esteemed pair worked together on ‘Ask The Mountains’.
These eleven songs are like dark fairy tales yet manage to be immensely accessible and enjoyable. ‘Silence Amygdala’ may require a certain mood and mindset to appreciate, but as a body of work, it is ultimately timeless.
Formed in 2017, MARVA VON THEO are two classically trained musicians Marva Voulgari and Theo Foinidis based in Athens.
Their self-released debut long player ‘Dream Within A Dream’ came out in 2018 and while there was promise in its dark introspective concept, it was not fully realised. Introducing some more uptempo rhythm structures, MARVA VON THEO have taken more time to produce the follow-up album ‘Afterglow’ to express those darker bittersweet feelings that often come after the end of something beautiful, a situation that is wholly relatable with current world events.
‘Afterglow’ is certainly more varied than ‘Dream Within A Dream’, with jazz and experimental dance genres making their presence felt alongside more classic synth sounds for an intelligent musical statement with passionate vocals and considered arrangements.
The four chapter ‘Love’ offers a brooding start but ultimately builds from its moody gothique into a dynamic crescendo over its seven minutes with sparkling arpeggios, gliding synthbass and boisterous live drums. The marvellously frantic ‘Forever’ is an immediate slice of avant pop that recalls ‘River In Me’, the TRENTEMØLLER collaboration with Jenny Vee of SAVAGES, in its determined vocals and punchy beats.
The moodiness returns for ‘Ruins’ which sees Voulgari take on a piercing higher register to counterpoint her usual contralto, while the misty ballad ‘Embrace This Madness’ reflects a feeling that many have had to adopt as a coping mechanism of late.
Awash with shimmering synths, the staccato post-punk of ‘Dissolve’ conjures a sinister chromatic atmosphere that allows space for skippy electro beats, but ‘Older’ is more minimal, with the odd synthetic guitar texture and sub-bass creeping in before Voulgari pours her heart out.
With the human voice eerily harmonised by a vocoder, ‘Room Of Doubt’ is possibly the most unorthodox song on ‘Afterglow’, with trip-hop and jazz elements entering the experimental playroom before a blast of breakbeat from Foinidis!
‘Somewhere Safe’ is almost as unorthodox and smothered in agitation; utilising screaming vocals and a growling synthbass sequence, it provides a dramatic setting for another album highlight.
The weary ‘Bittersweet Sunday’ is another brooding ballad that places Voulgari within a spacious platform to work within. But starkly structured at its start, ‘Forgotten’ adopts several faces to achieve its low-high tonal effect, one of those being operatic soprano!
Ending with the percussive ‘My Moon’, the widescreen cinematics combine well with the emotive histrionics to outline its inherent unsettling torment.
A significant artistic progression from ‘Dream Within A Dream’, ‘Afterglow’ is an ambitious but an intense work to consume. The variation in styles and pace keeps it interesting, so will find favour with those who prefer a more esoteric approach to their electronic pop.
‘Blitzed’ is the forthcoming Sky Arts documentary about The Blitz Club in London.
Directed by Bruce Ashley, it will feature contributions from Boy George, Steve Dagger, Rusty Egan, Gary Kemp and Midge Ure.
That flamboyant scene has been deserving of a credible retrospective for quite some time, having more or less given the world the Midge Ure-fronted ULTRAVOX, VISAGE, SPANDAU BALLET and CULTURE CLUB. So it is quite fitting that the programme premiers around the 40th Anniversary of The Blitz Club’s closure
Rusty Egan was the DJ who provided the backdrop for the colourful clientele to pose and dance to between 1978-1981 and the ‘BLITZED’ soundtrack comprises of new and reworked music produced by him, as well as a selection of rare period pieces. A four track sampler of the forthcoming soundtrack album curated by Egan is released ahead of broadcast and gives a good idea of what’s in store.
Previously issued in 2019, ‘When We Were Young’ pays homage to GINA X PERFROMANCE’s ‘No GDM’ and reimagines it being reworked by Giorgio Moroder. With a catchy vocodered topline going “It’s 1979-it’s 1980-it’s 1981-it’s 1982… it’s Tuesday night and I’m ready for some fun, oh yeah!”, it delightfully sets the scene for the now well documented story of how the Blitz Kids danced to Bowie, Ferry and the synthesizer!
Boy George guests with Egan on ‘Turn To Dust’, a slice of electro-reggae in the vein of LEFTFIELD with the expected dub screening, although listeners may need time to get used to the cut-up treatments on George O’Dowd’s processed voice; this track certainly has more bite than the “Radio 2 Lovers Rock” of CULTURE CLUB as Phil Oakey of THE HUMAN LEAGUE once put it…
Meanwhile, a new Blitzed Extended Mix of ‘Fade To Grey’ featuring Chris Payne sees a classical rework with piano and violin over approximations of the iconic string synths and drum machine pattern of the 1981 West German No1 single. There are authentic French language voices featuring on this makeover, although the timings of those and Egan’s own baritone could have been much tighter in the mix. While Payne’s exquisite ivory runs cannot be faulted, the extended mix labours and does not have the punch or intrigue of the original 12 inch version that appeared on the first VISAGE singles collection.
Egan’s former protégée Ronny makes an appearance with ‘Blue Cabaret’ as the sampler’s period piece. It’s the 1930 meets the future as recently adapted by Katja von Kassel in her electro Weimer style, but it was the androgynous contralto voiced Parisian who did it first back in the day with songs like ‘To Have & To Have Not’ and ‘Compare Me With The Rest’, the latter produced by Vangelis.
Co-produced by Georg Kajanus of SAILOR and Peter Godwin, ‘Blue Cabaret’ originally surfaced in 1981 on the flip of ‘To Have & Have Not’ and despite being 40 years old, it has aged well as many of the songs that Rusty Egan played at The Blitz Club have.
As has been indicated by the huge 40th Anniversary tours pencilled in by the likes of THE HUMAN LEAGUE, OMD and SIMPLE MINDS (all acts which who were spun regularly at The Blitz Club), these songs that emerged from this European influenced music movement have been proven to possess a timeless quality that has lasted for generations. The comparatively recent Midge Ure ‘1980’ live shows of ULTRAVOX and VISAGE material are indicators of its longevity and box office draw.
It is now time for ‘Blitzed’ to tell the story of how that era was not actually about leg warmers, deely boppers, fluffy dice, yuppies and bloody Pat Sharp but aspirational young people driven to escape, express and create. They may not have realised it at the time but they shaped not just the eighth decade of the 20th Century but popular culture itself.
The ‘Blitzed OST Sampler’ is available now via digital outlets, the soundtrack album is released by Future Music on 19th March 2021
‘Blitzed’ will be broadcast by Sky Arts at 2100 GMT on 13th March 2021
Laura Fares aka LAU is an Argentinian songwriter, drummer and producer, who has been living and working in London for a couple of decades.
Having studied music and musical performance, the talented instrumentalist toured with Ricky Martin as a session drummer, before opening for the likes of Adele and Robyn. As a creative director of Aztec Records, LAU released the music of BRIGHT LIGHT BRIGHT LIGHT and NINA. Indeed her work with NINA on ‘Sleepwalking’ and ‘Synthian’ took them onto several tours with ERASURE, with the duo duetting with Kim Wilde on her brother Ricky’s remix of ‘The Wire’.
Any self-respecting synthwave artist aspires to be associated with the big projects of the scene, and not surprisingly LAU lent her talents on ‘The Rise Of The Synths’ film. Now, having gone solo, she releases her debut long player ‘Believer’.
The ten track opus suggests a step into the world of independence, both personally and musically, hoping to bring the much needed cheer factor during these unprecedented times.
Opener ‘Stunning’ could indeed be stunning with its fast tempo, but it’s somehow lacking the intensity. When one chapter ends, LAU is eager to move on with heartfelt lyrics and a palpable nostalgia, leading onto ‘We Had Magic’, which continues the story of a broken heart. Musically light hearted, the depth of emotions is felt throughout the track, leading onto ‘True’. Accusing the lost lover of never reciprocating her devotion, but playing with fragile emotions, LAU wraps the story in clever rhythms and vintage synthesis.
‘Believer’ hopes for a better tomorrow while ‘The Cards’ charms with a gorgeous melody, longing for the lost soulmate and unrequited love. ‘Recognise’ bursts the feels bubble with a hope for a new chapter and a fresh beginning.
The light-hearted synthy rhythms weave in and out of the drum extravaganza of ‘Always On My Mind’, utilising Fares’ many talents as a drummer, producer and vocalist. She continues the ‘Emotional’ journey with a slower paced airy ballad, gently enveloping her sentimental trip over the lost relationship, being ‘Unable’ to forget the good times and the love she felt.
The closing number ‘What It Takes’ wraps up the wistful expedition into the artist’s mind and emotional state with a plea to get her lover back.
While the expected comparisons with NINA’s recent albums, sitting neatly on the top shelf of the synthwave establishment, will inevitably happen, one can surely say that LAU’s first solo offering is a promising example what the multi-talented artist can achieve.
Although at times lacking the depth, ‘Believer’ is a strong debut, proving that irrevocable love is always a subject worthy of depiction. The capability clearly shines through this one.
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came out in 2018 and while there was promise in its dark introspective concept, it was not fully realised. Introducing some more uptempo rhythm structures, MARVA VON THEO have taken more time to produce the follow-up album ‘Afterglow’ to express those darker bittersweet feelings that often come after the end of something beautiful, a situation that is wholly relatable with current world events.
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