Category: Reviews (Page 66 of 200)

REIN Reincarnated


Feisty and ambitious, REIN’s debut self-titled EP saw the launch of a new face for ‘Rebel Girls’ and modern EBM.

The appropriately titled second EP ‘Freedoom’ dealt with more socio-political concerns with the highly danceable ‘Misfit’ channelling aggression to a good beat while broadening her electro-punk sound.

Inspired by films such as ‘Blade Runner’, ‘The Matrix’ and ‘Ghost in The Shell’, ‘Reincarnated’ is a collection of electronic dystopia that at its best, excels with the title summing up the mission statement of this long player.

While REIN prefers to let her music do the talking, she did tell ELECTRICITYCLUB.CO.UK: “It’s a psychological, sci-fi, thriller masterpiece that I have been working on for 2-3 years. I have surpassed myself. It’s going to be iconic. It’s more personal this time, and I have developed myself musically. It is more dynamic, melodic, with more analogue synthesizers then before; but, at the same time, it’s darker than before.”

The first thing that stands out about ‘Reincarnated’ compared with other REIN works is the huge sonic leap thanks to the partnership with co-producer Carli Löf whose credits have included ROBYN and BOYS NOIZE.

Opening with ‘Reincarnate’, it naturally comes over as a cathartic manifesto while previous single ‘Off The Grid’ sees REIN believing in her own strength and taking back control which is exactly the sentiment expressed in the equally assertive ‘Closer To Reality’.

Additionally, the full-faced punch of ‘Bodyhammer’ and ‘Accelerate’ possess the loudness and attitude that will satisfy those of a more industrial bent, although the latter grabs a few hints off the PET SHOP BOYS B-side ‘Euroboy’.

But the best songs on ‘Reincarnated’ such as ‘Release Me’, ‘Reactivity’ and ‘Limitless’ are like an edgy KRAFTWERK meeting DAF and NITZER EBB with snappy synthetic rhythms providing the punch and REIN taking a more prominent deeply sung vocal approach alongside her trademark screams.

Meanwhile ‘Puppetmaster’ attacks the powers that be with a great pulsating groove and ‘Dystopia’ takes down the tempo to capture our heroine in a distinctly Ballardian world.

At 31 minutes, this is not a long debut but less can mean more. ‘Reincarnated’ is not a cheerful affair but provides hope and inspiration in the spirit of new adventure. It works best when REIN shows more restraint and if she can get the balance right on future releases between singing and shouting with a bias on the former, she could become like the female AESTHETIC PERFECTION in the next phase of industrial pop.


‘Reincarnated’ is released by REIN Recordings as a transparent acid green vinyl LP and download, available direct from https://reinofficial.bandcamp.com/album/reincarnated

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Text by Chi Ming Lai
24th August 2020

RADIO WOLF & PARALLELS Proximity

“A young NASA JPL scientist is abducted by extra-terrestrials, but when no one believes his story, he becomes obsessed with finding proof, which leads him on a journey of discovery.”

That is the tagline for Sci-Fi thriller ‘Proximity’, the directorial debut of Emmy Award-winning visual effects artist Eric Demeusy, best known for his work on ‘Stranger Things’, ‘Tron Legacy’ and ‘Game Of Thrones’.

The film stars Ryan Masson who was in another Sci-Fi thriller ‘Involution’ and its cast also includes Highdee Kuan, Shaw Jones, Christian Prentice and Don Scribner. While the main orchestral soundtrack is scored by Jermaine Stegall, the songs have been provided by RADIO WOLF and PARALLELS, respectively the musical vehicles of Canadians Oliver Blair and Holly Dodson.

While Dodson has already released three albums as PARALLELS, Blair’s CV has included a stint with British New Wave trio HOTEL MOTEL (Italians Do It better signing Jorja Chalmers was a bandmate), guesting as a guitarist with CLIENT under his KINDLE moniker and playing keyboards with PARALLELS.

The debut RADIO WOLF EP ‘Rock N Roll Forever’ came out in 2017 and featured an illustrious cast of vocalists including Sarah Blackwood, Kelli Ali and HOTEL MOTEL singer Marika Gauci as well as Dodson herself. So developing the creative union between them was only natural.

Commissioned by Demeusy to come up with some sinister otherworldly songs counterpointed by a romantic celestial air for ‘Proximity’, Blair looked to Dodson to be their voice. “We fused celestial sounding electronica with the intimacy of the human voice and organic live guitar, having faith that our music would cohere to the film’s dual sense of otherworldliness and humanity” said Blair.

With both musicians heavily influenced by classic synthpop and new wave, it is perhaps not surprising that the resultant seven songs are being released by Lakeshore Records, home to the ‘Stranger Things’ soundtrack and the recent offering by KID MOXIE for the Greek film ‘Not To Be Unpleasant, But We Need To Have A Serious Talk’.

Opener ‘Break The Silence’ does what it says on the tin and comes over like ELECTRIC YOUTH but with much more bite thanks to its use of Holly Dodson’s more power diva capabilities and Oliver Blair’s guitar; it all stays on the right side of an AOR electronica hybrid if very close to its border.

Meanwhile ‘Pure Lies’ adopts the atmospheres of the ‘Twin Peaks’ theme ‘Falling’ and makes good use of lush vocal samples for its eerie dream-like state while reimagining it being covered by CHVRCHES. Speaking of the Glaswegian trio, ‘Let Me In’ could be Lauren Mayberry, Iain Cook and Martin Doherty with a sense of gothic foreboding rather than their usual Taylor Swift gone electro approach.

“Scored to picture”, the mini-album’s lead single ‘Lost Angel’ tells of a “Dark vision of Paradise” and lyrically captures the spirit of the ‘Proximity’ story while accompanied by some beautifully ringing synthetic chimes doubled with bursts of pitch shifted vocals. Hauntingly compelling, ‘Contact’ is a superbly widescreen ballad and if it wasn’t in a Sci-Fi film, it could so easily have been in chosen for a love scene in a Brat Pack movie from back in the day.

‘Journeys End’ is a rather fine tribute to ‘Space Oddity’ with Dodson sounding particularly angelic while fabulous synth melodies and complimentary live drumming by Nick Dodson enhance what is probably the mini-album’s highlight. Concluding Proximity’, ‘Homecoming’ adds some scratchy funk with a new wave twist to proceedings to provide a sparkly optimistic ending.

More than happy with these seven songs, Eric Demeusy said: “Oliver and Holly were a joy to work with; totally fresh and collaborative in spirit. Their songcraft talents and sophisticated production values created just the right sonic emotion for various sequences of the movie. I’d work with them again in a minute.”

‘Proximity’ will be embraced by the synthwave fraternity thanks to its association with Lakeshore Records, but its pop sensibilities and accompanying narratives will appeal to a wider audience. These are heartfelt songs possessing musicality and atmosphere that will certainly appeal to anyone who has enjoyed the previous releases by PARALLELS or RADIO WOLF.


‘Proximity (Music from the Original Motion Picture)’ is released by Lakeshore Records, available direct from https://radiowolfandparallels.bandcamp.com/

https://www.radiowolfmusic.com/

https://www.facebook.com/radiowolfofficial

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http://www.iloveparallels.com/

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Text by Chi Ming Lai
22nd August 2020

ERASURE The Neon

While ‘World Be Gone’ brought a somewhat sombre mood to the ERASURE stable, the expectations for the opus number 18 were mixed.

To the hardcore fans of the Bell / Clarke combo, ‘The Violet Flame’ remained the best contemporary production from the twosome with many not too appreciative of the more reflective offerings contained on the 2017 album.

The newest studio long player ‘The Neon’ comes about at the right moment to celebrate the achievements of Vince Clarke who received the Special Recognition Award from the Association of Independent Music.

Recorded in Brooklyn and Atlanta and mixed in London, ‘The Neon’ refreshes the pair’s love for great pop, which is what they have relentlessly been offering for decades, never letting down, never disappointing. With 2020 certainly being the year that will go down in history, it needs a strong pick me up and that’s where the shiny sparkler comes in.

The album is heralded by ‘Hey Now (Think I Got A Feeling)’ which, while not being the strongest ever single, does a great job introducing the newest material, harking back to the quintessential ERASURE sounds. ‘Hey Now’ has enough passion and positivity to lift the moods and set the stage for more colourful offerings and the following song ‘Nerves Of Steel’ does not disappoint.

Accompanied by superb video featuring 20 LGBTQIA+ stars, some known for their appearance on ‘RuPaul’s Drag Race’, the song oozes positivity and love. Andy Bell claims this to be his favourite track on ‘The Neon’ and it is plain to see why.

Beautifully composed and expertly written, with a superbly executed bridge which slides seamlessly into the catchy chorus, the songwriting genius shines through, reminiscent of some chosen gems from the ‘Cowboy’ era. ‘Fallen Angel’ ushers in an urgent, bumpy synth, rhythmically canvassing the beauty of Bell’s vocals, who’s trying “all of the things that give (him) love”. 

Faster and fuller, ‘No Point In Tripping’ is a positivity pill necessary to survive the bizarre times we live in, while ‘Shot A Satellite’ is a memory lane journey through the years of ERASURE. Bell sounds as fresh as ever, proving his singing prowess once again.

The more demure, slow paced ‘Tower of Love’ layers haunting vocals over magnificent synth lines brooding to explode into big chorus. A faster tempo returns on the analogue driven ‘Diamond Lies’.

This is a stance that is continued on ‘Careful What I Try To Do’ with its melodic bass and magical synth play; Clarke is at his best here for sure. Some haunting piano on ‘New Horizons’ paints the picture of hope and positivity in love, a ballad that Bell sings to a lover and not that dissimilar to their massive ‘Home’ from ‘Chorus’, but stripped down and adapted to the new reality.

The opus closes with poignant synth gem of ‘Kid You’re Not Alone’ which sees Bell playing with his vocals over a gentle melody, enveloping the listener into a warm summer embrace of hope, love and freedom from judgement.

With Clarke finally recognised for his genius and Bell continually proving to be one of the best vocalists and songwriters, 35 years later, the duo still provide the magnificent sonics and sparkling electricity laced with the voice of an angel.

If you need a pick me up entwined with a trip down memory lane, look no further; ERASURE have got you.


‘The Neon’ is released by Mute Artists in a variety of formats

http://www.erasureinfo.com/

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Text by Monika Izabela Trigwell
Photos by Phil Sharp
22nd August 2020

HYPERBUBBLE Love & Bionics

Bionic Bubblepunk duo HYPERBUBBLE feel “the world needs some love and good vibrations… and free stuff”, so have presented ‘Love & Bionics’.

Not content with having delivered a cosmic country covers album three years ago inspired by ‘Switched On Nashville’ called ‘Western Ware’ that put the “MOO” into Moog, the duo of Jess and Jeff DeCuir have turned their attention to a wider range of standards and obscurities arranged in their own style of Texan electro artpunk. They succeed in their adventure by their choice of less obvious songs getting the electronic treatment.

After all, does the world really need any more modern synth reinterpretations of DEPECHE MODE, YAZOO and ULTRAVOX? But even when HYPERBUBBLE cover songs readily accepted as being of a more synthpop bent, they give them their own twist. Album opener ‘Pop Goes the World’ which was originally by MEN WITHOUT HATS gets new lyrics to introduce the duo by way of a musical manifesto. Meanwhile DEAD OR ALIVE’s ‘You Spin Me Round (Like A Record)’ is given a sombre minimal synth and vocoder treatment at half the speed which surprisingly works!

‘Theme from Shaft’ is an unexpected delight with the tune’s familiar wah-wah guitar motif transferred to bleepy sequences while the orchestrated parts are brilliantly reconfigured with synths. Then there’s a hilarious robopop take on VAN HALEN’s ‘Jamie’s Cryin’ with spoken word segments and yes, synth solos!

‘Tiny Alice’ by lesser known Michigan singer / songwriter Paul Parrish is given an acapella arrangement which sounds like the beginning of DARTS’ cover of ‘Boy From New York City’ while ‘Starship 109’ which was originally a single by the obscure Dutch fusion combo MISTRAL acts as a suitably spacey interlude between the two halves of the album.

The enjoyment factor of ‘You’re the One That I Want’ will be down to individual taste, but this lively post-modern take sums up the light-hearted irreverent nature of HYPERBUBBLE. But best of all though is a charming instrumental version of ‘Sugar Sugar’, which in some ways recalls the style of Gil Trythall’s ‘Switched On Nashville’ album.

Covering music from new wave, heavy rock, exotica, soul, folk and film, ‘Love & Bionics’ is fun and free. Love or loathe, it’s a lesson to others as to how to think outside of the box when it comes to doing cover versions using synths.


‘Love & Bionics’ is available now as a free download album direct from https://hyperbubble.bandcamp.com/album/love-and-bionics

http://www.hyperbubble.net/

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Text by Chi Ming Lai
21st August 2020

ULTRAFLEX Work Out Tonight

If Soviet Chic inspired fashionista Lotta Volkova had designed a pop group, then she surely would have come up with ULTRAFLEX.

The Norwegian Icelandic duo of Kari Jahnsen and Katrín Helga Andrésdóttir, better known by their solo monikers of FARAO and SPECIAL-K respectively, released their fabulous debut single ‘Olympic Sweat’ with a video that acted as visual tour guide of their adopted home of Berlin.

Now ULTRAFLEX unleash the suggestively saucy ‘Work Out Tonight’ with an ambiguously alluring visual presentation directed by American artist Okay Kaya which sees our two heroines sensually bathing, sunbathing and eating choc ice in a local park before the girls indulge in a cheeky face-to-face windmill routine… a strangely comparable reference from the past is THE STYLE COUNCIL’s homo-erotic ‘Long Hot Summer’ video.

With a funky energetic synthbass and those trusty electro-disco rhythms with lashings of cowbell, ‘Work Out Tonight’ climaxes with a provocative dialogue between a man who wanders into the women’s dressing room and the person he encounters there.

Lyrically playful, some naughty exercise double entendres and breathy exclamations that “I’m gonna make you work it tonight, gonna make you work out tonight” only go on to raise temperatures off the scale. Of their creative chemistry, the pair have stated that this has been down to having “mutual artistic crushes on each other”.

ULTRAFLEX have described their debut album ‘Visions Of’ as “an ode to exercise, loaded with sex metaphors badly disguised as sports descriptions”; it is due out on 30th October 2020.

“1-2-3-BREATHE!”


‘Work Out Tonight’ is released by Street Pulse Records and available on the usual online platforms

https://www.facebook.com/ultraflexband

https://www.instagram.com/ultraflexband

https://soundcloud.com/ultraflexband

http://www.farao.biz/

https://www.facebook.com/faraomusic/

https://www.instagram.com/faraomusic/

https://www.special-k-special-k.com/

https://www.facebook.com/specialkspecialkspecialk/

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Text by Chi Ming Lai
Photos by Margrét Unnur Guðmundsdóttir
18th August 2020

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