Category: Reviews (Page 69 of 200)

APOPTYGMA BERZERK Nein Danke!

20 June 2020 /

APOPTYGMA BERZERK goes Deutsch with the ‘Nein Danke!’ EP.

The prominent NEWWAVESYNTHPOP legend emblazoned on the front of its striking yellow artwork more than gives away its contents. Throughout his electronic love affair, Norwegian Stephan Groth embraced all shades of synth, from the stomping EBM, through future pop to instrumental wonders like his 2016 offering ‘Exit Popularity Contest’ which was one of the best wordless electronic albums ever written.

Dabbling in alternative rock and lighter shades of goth, the artist became an icon for a wide variety of electronica listeners, gaining fans all over the globe and lending his production skills on other artists’ outings. Groth is a clever chameleon, whose input into the world of synthpopia is invaluable. But he is not a one man band on stage, but he certainly knows his stuff when working in the studio, from writing, performing and producing the tracks, having been solo at APOP for pretty much ever.

Having been around for 26 years, the man doesn’t stop experimenting. Of course when he started, he had to use much more of his own creativity than the kids of today do. In an interview last year, Groth mused about his beginnings: “Back in the day we had to use our imagination way more and be more creative than today”, but he surely uses it now, even with the vast advances in music technology. After a few years of waiting and teasing via live premieres, the ‘Nein Danke’ EP presents a comeback to harsher side of synthpop.

‘Soma Coma’ is a timeless piece, now and again nodding towards quintessential PET SHOP BOYS, but the following ‘Atom & Eve’ with its superbly mechanical rhythm sounds vintage enough to mesmerise the hardcore lovers of the classic synth. Hitting hard, ‘A Battle For The Crown’ rolls out the good old drum machine, old style DEPECHE MODE on steroids-like.

Somehow APOPTYGMA BERZERK manage to bring in the old with the new and make it sound luscious. The melody is there, the texture is there and the feeling is there too, what’s not to love.

‘Nearest’ sees Stephan’s brother Jonas step into the limelight on a very cute electronic ballad, which utilises sounds reminiscent of ‘Exit Popularity Contest’ mingled with chosen tracks from ‘Welcome To Earth’. A proper chill out song, ‘Nearest’ has the same ethereal qualities as the best known track from APOP, ‘Kathy’s Song’.

Having toured with VILE ELECTRODES last year, Groth expressed his appreciation towards the Hastings duo’s works by joining forces on a superb version of ‘Deep Red’. Jane Caley and Martin Swan’s “long cut” remix version is sublime, dark and deliciously dirty. ‘Battle Of The Crown’ gets its remix by DRUGWAR, and what remix that is! Tribal, minimalistic, gritty and sleek all in one go, followed by a quaint rework of ‘Atom & Eve’ from ZONE TRIPPER. Arcade games anyone? The C-64 version has those in spades.

The closing ‘Jennifer Corvino’ invites in with hauntingly beautiful classical piano, interjected with synthesised inclusions that create a second to none soundtrack soundscape. Indeed the fictional character taken from the 1985 movie ‘Phenomena’, Jennifer is a student in Swiss boarding school stalked by a serial killer.

The character played by Jennifer Connelly uses her powers to communicate with insects to catch the killer. The piece is superb, and a great way to wrap up the newest ordering from APOP.

Yet again, the big character in a small package, Groth proves that he does what he likes, when he likes, as ‘Nein Danke!’ is an exhilarating experience of various tempos, mixing the current with the old, so instead of “nein, danke!”, we say “Ja, bitte!”

‘Nein Danke!’ is released by Pitch Black Drive in CD and digital formats, available direct from https://pitchblackdrive.bandcamp.com/album/nein-danke

Chrystal clear 12 inch vinyl EP available from a number of online retailers including POPoNAUT at http://www.poponaut.de/apoptygma-berzerk-nein-danke-limited-chrystal-clear-edition-vinyl-p-19437.html

http://www.theapboffice.com/

https://www.facebook.com/ApoptygmaBerzerk/

https://twitter.com/apoplovesyou

https://www.instagram.com/apop/

https://apoptygmaberzerk.bandcamp.com/

Text by Monika Izabela Trigwell
20th June 2020

FIAT LUX (How Will We Ever) Work This Way

19 June 2020 /

With their 2019 album ‘Saved Symmetry’ capturing an understated depth and musicality that made it very much a grower with its mix of emotions and colours, FIAT LUX have surprised with their new single ‘(How Will We Ever) Work This Way’.

A very direct new wave disco number with a prominent funk-laden bass, ‘(How Will We Ever) Work This Way’ had almost been completely recorded at David P Crickmore’s Splid Studios during their now stalled sessions for the follow-up to ‘Saved Symmetry’.

Steve Wright had managed to lay down his voice before the lockdown came into action. However, saxophonist Will Howard made his slinky contribution remotely which Crickmore said “came c/o his back bedroom with mic under the sheets.”

The lockdown has inspired many acts to get creative with solutions for producing promotional videos and FIAT LUX have been no different. In their case, they have filmed their parts in isolation while in complete darkness, save what appears to be an LED rotating disco ball for lighting effects. As well as featuring Wright, Crickmore and Howard, a Roland Jupiter 8 and Minimoog make cameo appearances.

“It’s a toe tapper” said Wright about the more uptempo nature of ‘(How Will We Ever) Work This Way’, “My daughter says it’s wiggle bop!”; but despite the spacey dance feel and an uplifting middle eight, the lyrics point to something much darker, highlighting that what was considered normal in the past is no longer acceptable.

FIAT LUX have been particularly enjoying their renaissance following their tentative return in 2017, with their triumphant comeback concert at Bradford’s St Clements C of E Church in Autumn 2019 as well as more recently, opening for CHINA CRISIS at the Brudenell Social Club in Leeds.

While things are very much up in the air as with everyone, a new album and more gigs are planned.

‘(How Will We Ever) Work This Way’ is released by Splid Records through Proper Music Distribution via the usual digital platforms

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

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

http://www.splidrecords.co.uk

Text and photo by Chi Ming Lai
19th June 2020

KITE Teenage Bliss

15 June 2020 /

After the moody introspection of ‘Tranås/Stenslanda’ and the dark widescreen overtones of ‘Demons & Shame’, KITE explore the innocence of ‘Teenage Bliss’ for their latest singular offering.

Recalling the enigmatic duo of Nicklas Stenemo and Christian Berg’s earlier songs like ‘Ways To Dance’ from their self-titled debut EP and ‘Jonny Boy’ from their ‘III’ EP, ‘Teenage Bliss’ features a strong stabbing riff that could easily be mistaken for OMD. But perhaps the biggest surprise about ‘Teenage Bliss’ is that it is co-produced by Benjamin John Power.

Best known as Scared Bones Records artist BLANCK MASS and as a founder member of experimental electronic duo F*CK BUTTONS, Power is usually associated with a much more heavier aggressive instrumental sound as exemplified by his own ‘D7-D5’ and ‘Death Drop’. However, he appears to have relished pushing a couple of his own pop buttons by applying his edgy template to this rousing anthemic number.

The dynamic combination of KITE and BLANCK MASS is wonderfully hymn-like, with Stenemo telling his congregation that “Teenage bliss, there ain’t no consequences in your life and you don’t know what tragedy is” before the bittersweet revelation that “In the end, no-one wins!” as “life is not like your first kiss…”

Accompanied by a video capturing a young crowd at a club back in the day to compliment the celebratory pop rave of ‘Teenage Bliss’, KITE are on the cusp of a wider breakthrough having been “Sweden’s best kept pop-secret” since their self-titled debut EP was issued in 2008. Having confined all six of their longer-form releases to this mini-album format, are KITE about to release their first ever full-length album?

Back in 2015 on ELECTRICITYCLUB.CO.UK, Nicklas Stenemo said of his creative chemistry with KITE bandmate Christian Berg: “Christian is really great making suggestive drone landscapes. I’m more a traditional songwriter. So we send music to each other all the time, add stuff and change chords etc. Sometimes we just jam over a beat… but we’ve learned that there is no certain way we can make music… we just mess around with it in every way possible and wait for the magic to happen. Pure luck I guess 🙂”

‘Teenage Bliss’ is released by Astronaut Recordings via the usual digital platforms

KITE’s back catalogue is available digitally direct from https://kitehq.bandcamp.com/

https://www.facebook.com/KiteHQ

https://www.instagram.com/kitehq/

https://open.spotify.com/playlist/7GmTgBzZ8ZLILtRuvnqlpe

Text by Chi Ming Lai
Photo by MilkDrop Studio
15th June 2020

TWICE A MAN On The Other Side Of The Mirror

13 June 2020 /


Having released 21 albums since 1982, Swedish veterans TWICE A MAN have never been ones to shy away from serious issues.

The trio’s superb 2015 song ‘High in The Clouds’ confronted the prospect of environmental armageddon aided by the eerily beautiful voice of Karin My.

Having ventured down the ambient route with ‘Cocoon’ as a kind of interim solace following the release of the ‘Presence’ album from which ‘High In The Clouds’ came, TWICE A MAN have literally come out of the woods and found the world in a state of corrupt turmoil.

Like a delayed ‘1984′ with misinformation and paranoia everywhere and eugenics being pushed through the backdoor by right wing governments using the current pandemic crisis as a smokescreen and capitalism as its reasoning, TWICE A MAN highlight this increasingly dystopian situation emerging in front of everyone’s eyes on ‘On The Other Side Of The Mirror’.

Led by Dan Söderqvist with Karl Gasleben and Jocke Söderqvist providing the dark gentle storm of sound, the opening ’Breath’ exudes brooding industrial moods and sombre vocals, with chilling string machines enhancing the melancholic alienation.

But ‘Fireflies’ utilises ethnic percussive flavours and the return of Karin My to feed the claustrophobic air with Lampyridae acting as deadly symbolism for the end of future dreams.

The sinister gothic militarism that accompanies ’Rain of Shame’ is deeply fitting; fuelling a combustive atmosphere, Söderqvist realises “this is not my world, this is not my time”.

However, a variation in tempo and construction time again makes a highlight of ‘Naked’ with its penetrating basslines and swirling dramatic overtures that echo imperial phase DEPECHE MODE.

The shortest track on the album at four minutes, ’Growing’ sees TWICE A MAN emulating Gary Numan but in a more abstract psychedelic fashion with a sound that also recalls ‘New Head’, OMD’s unusual collaboration with Simon Fung of CHINA BLACK from 1996.

Closing with ’Modern World’, this is another warning in the vein of ‘High In The Clouds’, an orchestrated epic featuring another heavenly Karin My vocal as a dense cacophony of textural guitars, haunting high register synths and thunderous drumming points towards a deadly apocalyptic darkness.

Perhaps more organic and even heavier in tone than ‘Presence’, ‘On The Other Side Of The Mirror’ however reflects a world “where fear is the face of reality”; it is not an easy listen, offering observations and ambiguity rather than answers.

Is there light at the end of the tunnel? Maybe there is, but that light could actually be an oncoming train! “Your future dreams are fireflies, you see them through your children’s eyes.”

‘On The Other Side Of The Mirror’ is released as a CD, vinyl LP, cassette and download by Ad Inexplorata, available from https://twiceaman.bandcamp.com/album/on-the-other-side-of-the-mirror

http://www.twiceaman.com/

https://www.facebook.com/twiceaman/

http://www.explorata.net/shop/index_eng.php

http://www.explorata.net/shop/index_eng.php

Text by Chi Ming Lai
13th June 2020

DISCOVERY ZONE Remote Control

8 June 2020 /


DISCOVERY ZONE is the new electronically focussed solo project of Berlin based New Yorker JJ Weihl who is also a member of psychedelic rockers FENSTER.

‘Remote Control’ as a title concept examines the wonder and terror of technology; are we in control of the machines or are the machines now controlling us?

Pointing towards a cerebral approach, there are sound collages like the dialogue laden ‘Sophia Again’ and conceptual introduction ‘Nu Moon’. In some respects, the album is laid out like ‘Dazzle Ships’ by OMD and there is even a speech collage called ‘Time Zone’.

But one of the album’s most accessible features is ‘Dance II’ which is wonderfully catchy, exuding an esoteric funk. Expressing a touch of ‘La Dolce Vita’ with its bright scaling synth hook and New York disco vibes, a mood of elation is captured that expresses optimism and hope as well as the joy of second chances.

The laid back mood of ‘Come True’ is more conventional, utilising jazzy six string in an almost AIR-like fashion, with Weihl’s delivery recalling Beth Hirsch’s vocal contributions to ‘Moon Safari’ while processed choral samples and bubbling synths sweeten proceedings even further. ‘Fall Apart’ is cut from a similar cloth but adds in a distorted guitar solo.

Held down by pulsating synths and incessant reverbed drum machine, ‘Blissful Morning Dream Interpretation Melody’ does exactly as the title suggests as the treated vocal sonics bolster the spacey avant pop to present a surreal out of mind experience for that otherworldly feeling.

Enjoyably sinister is the ‘Remote Control’ title track with its vocoder laden aesthetics competing with pentatonic melodies, subtle dub and the Doppler effect of ‘Trans Europa Express’ but from inside a Spiegelsaal to symbolise a robot takeover.

Taking a different turn with its forlorn reverbed drum machine, ‘Come Slow’ sets up a ‘Twin Peaks’ atmosphere as an interlude but as it disappointingly fades, there are no doubts that this segment could have been developed much further.

The closing instrumental ‘Tru Nature’ reflects on the late Andrew Weatherall’s rework of THE GRID’s ‘Floatation’ and chills around a conga backbone while the pitched up voice samples of THE ART OF NOISE gently immerse themselves into surrounding water.

‘Remote Control’ hits the spot on many occasions and as DISCOVERY ZONE, JJ Weihl has relished the opportunity for some solo artistic expression.

This is a good debut, the musical equivalent of a hologram, hazy and shimmering but with a clear field of depth and different listening experiences felt depending on the time of day.

But while there are plenty of accessible melodic moments, some may find the spoken word sections quite challenging to absorb and unnecessarily interrupting the flow.

‘Remote Control’ is released by Mansions & Millions, in vinyl LP and digital formats available from https://discoveryzone1.bandcamp.com/releases

http://www.a-okay-mgmt.com/discoveryzone.htm

https://www.facebook.com/discoveryzzzone/

https://www.instagram.com/discoveryz0ne/

Text by Chi Ming Lai
Photo by Colette Pomerleau
8th June 2020

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