Category: Reviews (Page 66 of 201)

NIGHT CLUB Miss Negativity

29 August 2020 /

Don’t watch that, watch this… this is the heavy heavy sound of NIGHT CLUB!

While Emily Kavanaugh’s voice may playfully echo that of Britney Spears, lyrically she comes over like a vengeful angel of doom. Meanwhile, Mark Brooks’ exploration of rock and metal using only synthesizers gives NIGHT CLUB their rather unique sound as they resist pressure to use drummers and guitars.

Having reflected on the ‘Scary World’ of 2018, the duo of Emily Kavanaugh and Mark Brooks go on the attack in 2020 with their new album ‘Die Die Lullaby’. With song titles like ‘Die In The Disco’, ‘Misery Go Round’, ‘California Killed Me’ and ‘Civil War’, the NIGHT CLUB motto of “Keep your friends close and your enemies in your songs” is undoubtedly being maintained.

But in a slight twist, the superb first single ‘Miss Negativity’ returns to the uptempo danceable synthpop of their third EP ‘Black Leather Heart’ despite its dark austere. Poignantly capturing the zeitgeist, Kavanaugh sings: “No, I don’t want to go out cos I won’t have any fun, I am sick and infected with pure pessimism…”

NIGHT CLUB describe the video to ‘Miss Negativity’ as being “trapped in your own personal hell. Struggling to find positivity in a world gone wrong” and when Kavanaugh is creepily pitched shifted to announce “Who’s gonna save me from myself? I’m no good for my health, I’m cryin’ out for help, I’m beggin’ you”, she is eerily covered in blood in a flaming homage to ‘Carrie’…

Opening for alternative rock supergroup A PERFECT CIRCLE for their 2018 North American arena tour and significantly expanding their audience, NIGHT CLUB were able to embark on their own headlining jaunt the following year. On the cusp of a wider breakthrough, NIGHT CLUB have been riding on an upward momentum since they were commissioned to provide the soundtrack to the Comedy Central animated series ‘Moonbeam City’ starring the voice of Rob Lowe in 2017.

‘Miss Negativity’ is from the new album ‘Die Die Lullaby’ released by Gato Blanco on 9th October 2020 as a CD, purple vinyl LP and download, pre-order direct from http://nightclubband.com/

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Text by Chi Ming Lai
29th August 2020

INTERNATIONAL TEACHERS OF POP Pop Gossip

28 August 2020 /

After an excellent debut album featuring great songs such as ‘Age Of The Train’, ‘After Dark’ and ‘The Ballad Of Remedy Nilsson’, INTERNATIONAL TEACHERS OF POP bring more of their danceable synthy togetherness to the safety of your own home with some ‘Pop Gossip’.

Sheffield veterans Adrian Flanagan and Dean Honer of THE MOONLANDINGZ, along with vocalist Leonore Wheatley have added her primary school mate Katie Mason to take up the space vacated by THE HUMAN LEAGUE since Oakey, Catherall and Sulley opted for the lucrative if not artistically challenging nostalgia circuit.

Having co-produced THE HUMAN LEAGUE’s ‘Credo’, Dean Honer has steered the staff room to put into realisation the kind of album Oakey and Co should have been making in the first place. In celebration of the local Ritzy, opening tune ‘Don’t Diss The Disco’ squiggles in the bass department and wonderfully recalls handbags piled on the dancefloor with a few more energetic hooks than can be found on the latest ERASURE album.

Taking in the serious subject of misogyny and #MeToo, ‘Gaslight’ utilises a prominent offbeat and a chorus out of THE HUMAN LEAGUE songbook. With a more ironic approach on a similar gist “cos you’re an arseh*le”, the bouncy dancehall of ‘I Stole Yer Plimoles’ featuring Jason Williamson of SLEAFORD MODS may not be for everyone, but its sardonic nature encapsulates the departed spirit of YOUNGER YOUNGER 28s, a Northern English band from before the turn of the century who also owed a small debt to THE HUMAN LEAGUE.

But the moodier synth excursions of ‘Flood The Club’ recall the early avant pop phase of THE HUMAN LEAGUE set to a more metronomic beat and there’s even a subtle air of Eastern Promise attempting to break through amongst the cleverly chopped-up and manipulated vocals.

Meanwhile, the laid back approach of ‘A Change’ isn’t far off being an R n B soul ballad in the vein of ROSE ROYCE (or for younger listeners BRANDY) and it adds a new string to the bow of INTERNATIONAL TEACHERS OF POP.

Recalling the topline phrasing of ‘I Feel Love’, Katie Mason makes her lead vocal debut on ‘Prince (The Final Wheelie)’, a wonderful electronic disco tribute to The Purple One rather than Harry although HRH and his missus are the subject of the album’s closer ‘The Tower’; that provides the brilliant uptempo album closer and amusingly imagines Queen Elizabeth II telling her Beefeaters to “Take them to The Tower, it’s a beautiful day, take them away!” like a future scene from series 6 of ‘The Crown’.

On ‘The Red Dots (Dirty Mind)’ , the verse of comes over like Joanne Catherall singing lead for THE HUMAN LEAGUE for the first time, while the sub-two minute ‘Beats Working For A Living (For Martin)’ is more experimental with pulses in portamento and glitchy voices all in unison.

If you got an ‘A’ grade in German O level, then you will know ‘Ein Weiterer Stein In Der Wand’ is PINK FLOYD’s ‘Another Brick In The Wall’ sung in Deutsch before even playing it. A bold statement on the state of the nation and Brexit, Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.

Brilliantly sparkling and thumping in keeping with its title, ‘Femenenergy’ is a younger cousin of ‘After Dark’ but there’s nowt wrong with that! A tribute to Patrick Cowley and Sylvester James via a female empowerment take on ‘Menergy’, this is a fine example of INTERNATIONAL TEACHERS OF POP continuing the fine tradition of Northern English synth.

A natural progression, if you loved the ‘International Teachers Of Pop’ debut, you will love ‘Pop Gossip’. No complaints, no issues, this record is a reminder that the halcyon days everyone has missed over the last few months will return and in the interim, acts as an aural cuddle for the masses.

‘Pop Gossip’ is released via Desolate Spools in CD, vinyl LP and download formats

INTERNATIONAL TEACHERS OF POP’s 2021 UK tour includes:

Manchester Yes (12th February) Edinburgh Sneaky Pete’s (13th February), Glasgow Broadcast (14th February), Leeds Headrow House (15th February), Birmingham Hare & Hounds (16th February), London Moth Club (17th February), Bristol Rough Trade (18th February), Sheffield The Leadmill (19th February)

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Text by Chi Ming Lai
28th August 2020

DUBSTAR Hygiene Strip

27 August 2020 /

As a gesture of solidarity with fellow humans, DUBSTAR present ‘Hygiene Strip’.

“’Hygiene Strip’ was created at the height of the 2020 UK lockdown” said Sarah Blackwood to ELECTRICITYCLUB.CO.UK, “The writing, recording and video had to be done remotely, and it is the first collaboration with Stephen Hague and DUBSTAR to be released since the ’90s.”

Written by Sarah Blackwood, Chris Wilkie and Stephen Hague, the song itself is classic DUBSTAR and characterised by Blackwood’s distinctively forlorn vocal presence. But there is also the subtle lifting air of PET SHOP BOYS looming to offer some hope in the haze of melancholy.

Hygiene strips of course have become common place now to remind the population of social distancing but of course, they could also be metaphorically referring to the removal of personal protective clothing for sterilisation or the role of face coverings, actions that ultimately affect life.

The self-made lyric video is a striking monochromatic affair highlighting the emotional tension and psychological effects of the worldwide lockdown; it concludes with Miss Blackwood starkly masking up…

Stephen Hague produced DUBSTAR’s first two albums ‘Disgraceful’ and ‘Goodbye’ as well as their biggest hit singles ‘Stars’ and ‘Not So Manic Now’. Now domiciled on the South Coast of England, the American became best known for working with OMD, PET SHOP BOYS, NEW ORDER and ERASURE.

While Hague has not worked with DUBSTAR since 1997, he and Sarah Blackwood have remained in contact over the years, so a recording reunion was almost inevitable. The 2018 comeback ‘One’ was produced by Youth but while new DUBSTAR material is being written and recorded, the release schedule has yet to be confirmed.

‘Hygiene Strip’ is released as a digital single by Northern Writes and also available as a three track yellow vinyl 12 inch featuring extended and dub mixes direct from  https://dubstar.tmstor.es/cart/product.php?id=71377

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Text by Chi Ming Lai
27th August 2020, 27th October 2020

TIM BOWNESS Late Night Laments

26 August 2020 /

The current global pandemic has highlighted across the board differences between many modern recording artists.

For some this has meant not sticking their head above the parapet and beyond what was already on the release schedule, they haven’t done anything to support their fan base through lockdowns and social distancing.

Others have given swathes of material away on platforms like YouTube in the form of remastered concert footage, acoustic lockdown sessions and unexpected collaborations.

This has been the approach of the likes of PINK FLOYD and GENESIS who have also no doubt picked up a few more sales along the way. A third group have used the lockdown to produce. From this, we will have a new CABARET VOLTAIRE release by year end which irrespective of the circumstances is a good thing and, amazing as it may seem, we have more from the non-stop musical mind of Tim Bowness.

With ‘Late Night Laments’, we are presented with what is his second solo album in just over a year. This is in conjunction with the release of the excellent NO-MAN album ‘Love You To Bits’ at the tail end of last year, running the eclectic Burning Shed AND producing hours and hours of entertaining podcast material with bandmate and fellow music polymath Steven Wilson, who hasn’t been sitting at home himself watching re-runs of ‘The Professionals’ on Netflix during this time. And it’s ‘The Album Years’ podcast that points to the content of ‘…Laments’. Anyone who has listened will be taken by the variety and depth of both Bowness and Wilson’s influences and many of them are on show here.

If you are coming to this solo work from the ‘Love You To Bits’ album, be aware this is more like the organic work on NO-MAN releases such as ‘Schoolyard Ghosts’ than the driving electronica of last year’s gem. Not that this should put you off as there is much to love with this album. Performed and co-produced alongside long-time collaborator Brian Hulse, opener ‘Northern Rain’ sets out the stall clearly.

This work wears its influences on its sleeve and when those influences are the likes of THE BLUE NILE, that isn’t a bad thing. The atmosphere created by the interplay between electronic instrumentation and the more traditional vibraphone and acoustic drums counterpoint the main reason you should give this album “ear time” and that is Bowness’s vocals.

Simply put, he is in possession of one of the best voices in the UK at the moment. It foregoes the modern bombast of gymnastics and over production and goes down the more downbeat route favoured by the likes of the late Mark Hollis (TALK TALK are another clear influence here). What this means is we have a set of performances that are dripping with intimacy and allow the frequently dark lyrics to come through. This is a voice you listen to.

The laidback ‘I’m Better Now’ is as darker as anything you would get from a modern DEPECHE MODE album and musically more rounded too. Next track ‘Darkline’ is a personal highlight. Again Bowness delivers a staggeringly effective vocal against instrumentation that features a keyboard solo from Richard Barbieri who also provides additional synths on this and later cut ‘The Last Gateway’.

What is notable is none of the tracks outstay their welcome, which from someone that is associated with the dreaded Prog word is commendable. There are progressive elements on many of the cuts here, but they are restrained so as not to frighten the horses.

The vocal arrangement on ‘The Hitman That Missed’ tips the hat to Bowness favourite Donovan. ‘Never a Place’ is another highlight, building, as many Bowness songs do, on a repeating and falling motif this features more of that most rock and roll instrument, the vibraphone played by Tom Atherton. His work across the album has brought a new and unexpected appreciation of the instrument only previously associated with a certain Mr Hitler and his guest appearance with the BONZO DOG DOO DAH BAND. ‘Hidden Life’ is infused with the same sadness that made the best ASSOCIATES tracks so memorable and features some of the best playing on the album.

Closer ‘One Last Call’ is equal to anything Bowness has released either solo or across his collaborative work. The sparse instrumentation allows everything to breathe and highlights the excellence of the production from Bowness and Hulse and the mastering work of Calum Malcolm. It’s no surprise that Steven Wilson is involved on mixing duties which he probably fitted in between the forthcoming ‘Vienna’ remaster and his lunchtime Pot Noodle…

This is an album in the old school sense of the word. It is crafted by musicians and following Bowness’ own mantra, doesn’t go on longer than is required to get the point across. Though billed as a late night release, this is one that deserves to be heard irrespective of the time of day. It is heartening we still have artists like Tim Bowness, more power to his elbow.

Oh and if you love music do yourself a favour and sub to ‘The Album Years’; as a grumpy old man, it’s the most fun you can have listening to grumpy old men out with Waldorf and Statler.

‘Late Night Laments’ is released by InsideOutMusic as a transparent blue vinyl LP edition with signed art print direct from https://burningshed.com/store/timbowness

‘The Album Years’ podcast series by Steven Wilson and Tim Bowness can be heard at https://anchor.fm/the-album-years

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Text by Ian Ferguson
Photos by Mark Wood
26th August 2020

REIN Reincarnated

24 August 2020 /


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

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