Category: Reviews (Page 70 of 201)

FIAT LUX (How Will We Ever) Work This Way

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

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


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


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

PAGE Under Mitt Skinn EP

PAGE, the Swedish poptronica trailblazers are back with a new EP entitled ‘Under Mitt Skinn’.

Releasing their first single in 1983, the duo of Eddie Bengtsson and Marina Schiptjenko is seen as the classic incarnation despite the line-up variations over the decades. In between her stints, Marina Schiptjenko joined Alexander Bard from ARMY OF LOVERS in VACUUM and then BWO, while front man Eddie Bengtsson had his ongoing solo mission SISTA MANNEN PÅ JORDEN but initially found fame with S.P.O.C.K.

Often been considered as Sweden’s answer to Vince Clarke, in 2017 Eddie Bengtsson publically expressed his despair at the state of new electronic music and how it was not enough to have just a single good song on a full length album. So for his end of year listing, he celebrated his influences which he considered to have stood the test time such as TUBEWAY ARMY, ULTRAVOX, THE HUMAN LEAGUE and the lesser known Anglo-Irish combo CUDDLY TOYS.

PAGE’s album from that year ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ featured a musically faithful cover of Gary Numan’s ‘Tracks’ in Swedish as ‘Spår’; it planted the seed for a more Numanesque sound but it was 2018’s ‘Start’ EP and the 2019 album ‘Fakta För Alla’ that saw PAGE totally get in the Moog.

‘Under Mitt Skinn’ includes ‘Tracks’ but also five new songs, three remixes and a cover curio. The opening ‘Saint Anastase’ acts as a mighty instrumental prelude in the vein of Vox ‘N’ Foxx, with hints of ‘All Stood Still’, ‘I Remember (Death In The Afternoon)’ and ‘Swimmer’ driven by a frantic neo-motorik beat. Having adapted ‘Alles Klar’ as ‘Allt Är Klart’ with SISTA MANNEN PÅ JORDEN in 2007, Bengtsson does another fine tribute in acknowledgement of Synth Britannia.

‘Under Mitt Skinn’ and ‘Hoppet’ both continue the Numan fixation which PAGE have explored on ‘Fakta För Alla’ and ‘Start’ with propulsive monosynth riffs, immersive vox humana and precise uptempo structures. But ‘Ta Det Som En Man’ plays with the ivory motif of ‘The Damned Don’t Cry’ and amalgamates it with ‘Fade To Grey’ for the ultimate VISAGE homage på Svenska.

Held together by a metronomic Compurhythm backbone, the clean simplicity of ‘Panik’ is its key, with some simple piano derived melodies and uncluttered strings, but alien distortion counterpoints to add tension. Less derivative and more like classic PAGE, this is the best of the new songs on this collection, although a sneaky ULTRAVOX warble odyssey at the end just cannot be resisted.

Eddie Bengtsson has often remarked that ‘Fakta För Alla’ is possibly the best work of his career and two of its tracks are reworked by others. ‘Blöder Du’ is percussively remixed by Svein Welde but remains moody and doesn’t lose its mystery.

Meanwhile the Hacienda redux by Pierre of ‘Ljuden I Ditt Rum’ adds a baggy wah-wah feel which parties like it’s 1991 and even threatens to turn into the final section of THE STONE ROSES ‘I Am The Resurrection’!

The Side Order family redux of ‘Som Ett Skal’ from ‘Hemma’ however could have done without its irritating glitch stutters and this effect spoils an otherwise acceptable remix of what is now considered modern day PAGE’s signature song.

As a novelty bonus, Swedish industrial band INDEPENDENT STATE featuring John Westlund and Den Där Killen offer a synth punk cover version of ‘Lägger Av’ from ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’; it could be mistaken for a Nordic Plastic Bertrand and that more or less sums up its playfully enjoyable nature.

‘Under Mitt Skinn’ will more than satisfy PAGE fans and enthusiasts of elektronisk pop who have enjoyed the run of enjoyable releases since ‘Nu’ in 2010. But while the dynamic vintage overtures of Billy Currie, Gary Numan and John Foxx are still very much omnipresent on this EP, there are signs through the five new tracks that this influence may be steadily evolving into another phase for Marina Schiptjenko and Eddie Bengtsson.


‘Under Mitt Skinn’ is released by Energy Rekords as a CD, available from https://hotstuff.se/butik/cd-page-under-mitt-skinn-ep-foldout-digipack-cd-limited-edition-300-copies/76383

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/

https://open.spotify.com/album/6joc62sEjHePUv0ZRncgN1


Text by Chi Ming Lai
Photos by Jonas Karlsson
6th June 2020

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