Category: Reviews (Page 81 of 206)

FINLAY SHAKESPEARE Solemnities

24 April 2020 /


For Bristol-based Finlay Shakespeare, his interest in synthesizers came from his parents’ record collection, with iconic music from the likes of JEAN-MICHEL JARRE, KRAFTWERK, THE HUMAN LEAGUE and JAPAN.

An independent musical device manufacturer, he founded Future Sound Systems, building modular synthesizer components, predominantly for the Eurorack format. But with his own music, his complex modular construction and anxious theatrics were inspired by Warp Records stalwarts AUTECHRE.

With a crystal clear modular synth sound coupled to claustrophobic vocals like they were buried in a box in the manner of FAD GADGET, among those impressed was Neil Arthur who invited Shakespeare to tour with BLANCMANGE in 2019. Live, he possessed the persona of a restless IT technician, delivering a hybrid of THE FAINT, THE KILLERS and THE BRAVERY dreaming of wires rather than guitars.

The material on his debut album ‘Domestic Economy’ was initiated by improvisation whilst being recorded live, with one of its highlights ‘Amsterdam’ being an example in modern Motorik. But ‘Solemnities’ is a definite progression, offering more shape and structure than its predecessor, but maintaining a distinct post-punk anguish.

Finlay Shakespeare said on Twitter: “Many of these tracks are becoming weirdly prescient with the current situation. I hope it’ll bring some degree of comfort, but simultaneously bring about some kind of call to arms. Things have to change and soon.”

The opening track ‘Occupation’ is superb, a metronomic squelch fest about social injustice which sees an angry and impassioned Shakespeare conduct a raucous avant noise experiment in song with penetrating noise percussion and icy retro-futuristic string machines.

The following ‘Fortune’ sounds almost synthpop in comparison; rather like Daniel Miller, Eric Random, Chris Carter, Thomas Leer and Robert Rental morphed into one, it is cold enough to be credible but melodic enough to have been in the charts back in the day alongside John Foxx, Gary Numan and Dindisc-era OMD.

‘The Information’ recalls THE HUMAN LEAGUE when Martyn Ware and Ian Craig Marsh were helming the instrumentation, particularly ‘The Path Of Least Resistance’ although with more of a percussive groove. However, as the synths starting ringing, it steadily mutates into Da League MkII with echoes of ‘Love Action’. Moving at a more energetic pace and with Shakespeare’s honest vocals complimenting the backdrop, ‘Second Try’ makes good use of a tight pulsating bassline and synth generated rhythms like THROBBING GRISTLE reworking KRAFTWERK’s ‘The Robots’.

The banging techno punk of ‘Crisis’ is hypnotic and poignant to the current world health emergency, embroiled in a wall of thrusting energy, electronic voice approximations and screeching synths for something oddly euphoric. Its urgent on-message vocal charge isn’t far off from being an electronic take on THE JAM; an odd comment maybe but what’s not widely known is that Paul Weller was a fan of the John Foxx-led ULTRAVOX!

‘Fantasy’ is less shouty and more haunted vocally for what could only be described as an industrial ballad. The eerie electronic texturing and a multi-tracked choir of himself then mutates into a crystalline passage driven by heavy militaristic drum samples and ending with the blast of a deep synthetic kazoo section!

The metallic shiver of the frantic ‘She Says / Nothing Ends’ closes with a sub-eight minute epic. At times, it does sound like a range of crockery is being bashed in the manner of DEPECHE MODE’s ‘Shout’, but as the track builds with layers of sequenced electronics and Shakespeare’s snarling voices, it verges on being almost trippy like a banging trance version of THE FAINT.

Wrapped in a marvellous dynamic tension with a balance of melody and freaky angst, Finlay Shakespeare delivers a fresh take on the experimental side of Synth Britannia that is strangely pop, but will satisfy those seeking more of a colder mechanised edge.

‘Solemnities’ contains a captivating mixture of flavours that work well together, capturing the intense spirit of his live performances. There are a number of acts being hailed as the new saviours of electronic pop, but Finlay Shakespeare is the real deal, a gloriously wayward soul who simultaneously is also intriguingly disciplined.

‘Solemnities’ is released by Editions Mego in vinyl LP and digital formats, available now from https://editionsmego.bandcamp.com/album/solemnities

http://finlayshakespeare.com/

https://www.facebook.com/FinlayShakespeareUK/

https://twitter.com/FinShakespeare

https://www.instagram.com/finlayshakespeare/

https://www.futuresoundsystems.co.uk/

https://open.spotify.com/album/6ULuwiMRH1q4lm5scs6KHb

Text by Chi Ming Lai
Photos by Rob Davison and Chi Ming Lai
24th April 2020

CHROMATICS Teacher

22 April 2020 /

In Autumn 2019, CHROMATICS broke a seven year silence between albums with the release of ‘Closer To Grey’.

However, scrutiny revealed ‘Closer To Grey’ to have a ‘VII’ subtitle in blood red on the artwork, despite it being their sixth long player. That was because an album called ‘Dear Tommy’ had been announced in 2015 and yet to be released as album number six.

Legend has it that producer and Italians Do It Better head honcho Johnny Jewel decided he wasn’t happy with the record, so destroyed all 15,000 CDs and 10,000 vinyl copies that had already been pressed.

One record that suffered a similar fate was ‘Techno Pop’ by KRAFTWERK which was actually advertised in the German press in 1983 before being delayed and reworked. It was then released as the disappointing ‘Electric Café’ in 1986 with some additional new tracks, while its original lead single ‘Tour De France’ was omitted. Then in a bizarre revisionist twist, it was remastered and renamed ‘Techno Pop’ with a slightly amended tracklist in 2009!

The ‘Dear Tommy’ saga has become much talked about by observers and fans with speculation rife that it had been shelved. But in the interim, the quartet of Johnny Jewel, Ruth Radelet, Adam Miller and Nat Walker have continued to release singles while also touring the world.

The ‘Dear Tommy’ announcement has been trailed by a purple hazed video for a great new airy synth driven song entitled ‘Teacher’, of which Johnny Jewel says “The apple obscured in fog is enigmatic & open to the interpretation of the viewer. Are we sinking into the unknown or rising from beyond the grave?”

As with KRAFTWERK, the original ‘Dear Tommy’ lead single ‘Shadow’ has now been dropped from the revised tracklist having become ubiquitous, thanks to its inclusion’ in ‘Twin Peaks: Revisited’; also missing are ‘Cherry’, ‘Camera’, ‘In Films’ and ‘I Can Never Be Myself When You’re Around’ which have all now been previously released in one form or another.

But included are the previous singles ‘Time Rider’ and ‘Just Like You’, while many of the eighteen tracks announced appear to be completely new with only a few like ‘Fresh Blood’, ‘She Says’, ‘Endless Sleep’ and the title track remaining from the original ‘Dear Tommy’.

A release date for ‘Dear Tommy’ has yet to be confirmed so this saga could go on. However with so much expectation, this album is in danger of underwhelming audiences like ‘Electric Café’ did. With that in mind, it therefore something of a strange coincidence that CHROMATICS and KRAFTWERK had both been due to perform on the same bill at London’s All Points East festival in May.

‘Teacher’ is released by Italians Do It Better via the usual digital outlets

https://italiansdoitbetter.com/chromatics/

https://www.facebook.com/CHROMATICSBAND/

https://twitter.com/chromatics

https://www.instagram.com/chromaticsmusic/

https://twitter.com/idib

https://www.instagram.com/italiansdoitbetter/

Text by Chi Ming Lai
22nd April 2020

ZANIAS Extinction + Harmaline EPs

18 April 2020 /


Zoe Zanias, the solo alter-ego of Alison Lewis has released two EPs ‘Extinction’ and ‘Harmaline’, both written and produced in Berlin.

With influences as diverse as MADONNA and DEAD CAN DANCE, her solo work has been in more abstract territory compared to the minimal synth of LINEA ASPERA with which she made her name.

While LINEA ASPERA have reunited following a seven year hiatus, in between Lewis was a member of KELUAR and running her label Fleisch Records. But more recently, Zanias has been her main focus with the debut album ‘Into The All’ coming out in 2018.

Generally working alone from her home studio and only collaborating via Dropbox, Alison Lewis is very much an independent artist, deeply immersed in her thought and creative process, driven by her interest and studies in anthropology and archaeology. And with these two particular EPs, Lewis has undoubtedly stepped up a gear.

The proximity of their release appears to make ‘Extinction’ and ‘Harmaline’ companion EPs, but both differ considerably in concept as bodies of work. While ‘Harmaline’ comprises of introspective songs focussing on personal relationships, the dystopian ‘Extinction’ looks at the scary prospect of environmental catastrophe caused by climate change.

Composed in Berlin but mixed in Queensland, Australia as the bushfires were burning, ‘Extinction’ is a dark, hard hitting statement capturing Lewis’ anxiety and anger at the human race’s arrogance towards life on earth.

“I channeled in ‘Extinction’ this ambivalent mixture of hope and despair that I feel towards our species that is growing day by day.” she said on her Facebook page.

The thundering title track does not mask Lewis’ pain and despair, in a bout of atmospheric body music which is both highly emotive and thought provoking.

Telling home truths and using sections of Greta Thunberg’s notable “How dare you?” speech, ‘Carbon’ is a ferocious techno attack on billionaires and corporations selfishly putting greed first, while bursts of screeching frogs act as aural symbolism that surely the survival of the earth is more important than capitalism.

‘Endling’ carries a mighty EBM flavour, capturing a hypnotic gothique and Lewis in a forlorn anguish that is simultaneously unsettling and beautiful, the shattering percussion in the company of piercing processed samples of an Eastern Whipbird, an insectivorous passerine native of Australia.

Beginning with a spacey rumbling squelch and countered by eerie angelic falsettos over a four-to-the-floor beat, ‘(There Is No) Mothership’ is a dense instrumental statement which Lewis says is “a wordless reflection on our vulnerability as inhabitants of a single planet with no current means of escape”; the message is certainly in the music, uncomfortable but strangely captivating.

After the haunting spectre of ‘Extinction’, ‘Harmaline’ is no more cheery, inspired by a psychedelic-induced ego death and painful personal relationships; but what the two EPs have in common is existential uncertainty. Using more minimal instrumentation in a manner more akin to LINEA ASPERA, it sees Lewis using her music as her own therapy.

The melodic darkwave of the ‘Harmaline’ title song sweeps over danceable metronomic beats, while the solemn ‘Limerence’ sees the howl of a chopping violin penetrating the house derived rhythms in a song about unrequited love.

Pained in the aura of Lisa Gerrard, ‘Excision’ recalls elements of THE XX and plays with analogue drum machine snaps and the harsh graphic viewpoint that failed love can be compared to a tumour that needs removing.

A drowning drone acts as an unconventional intro to ‘Ameliorate’ which then unexpectedly morphs into Vangelis with its sweeping overtones. But as the noise percussion kicks in unison with a pulsating synthetic bassline, it moves round in a three chord structure like THE STOOGES ‘I Wanna Be Your Dog’ while Lewis admits “I can’t resist it. This is going to hurt”.

Equalling her work with LINEA ASPERA, ‘Extinction’ captures the world’s looming catastrophe if warnings are not heeded, while ‘Harmaline’ highlights the tensions of isolation and deterioration within what is supposed to be the confines of a loving union.

This is all heavy stuff but it makes for outstanding thought-provoking art. With Lewis’ two cathartic creations, her own conscience is now clear.

‘Extinction’ + ‘Harmaline’ are both available as downloads direct from https://zanias.bandcamp.com/

http://www.zanias-music.com/

https://www.facebook.com/zoe.zanias/

https://www.instagram.com/zoe_zanias/

https://www.patreon.com/zanias

https://open.spotify.com/artist/6ouPbOWchZ9U2ojCpMF9Vv

Text by Chi Ming Lai
Photos by Simon Helm
18th April 2020

DANA JEAN PHOENIX & POWERNERD Megawave

17 April 2020 /


The Canadian princess of slinky synthwave Dana Jean Phoenix has grabbed the attention of not just her homegrown fans, having established herself as the top retro female artist.

She toured extensively throughout Europe last annum after the release of her superb long player ‘Pixeldust’. The tiny powerhouse is a rocket on stage and her live performances have you dancing from the onset, thanks to Phoenix’s fabulous persona and her ability to get the audiences moving, nurtured over the years on the musical theatre stage.

Having collaborated with many artists within the genre, the slinky pursuer of endless possibilities joins forces with Vienna-based POWERNERD. The POWERNERD guys are rather elusive, describing their product as “synthwave with heavy metal vocals”, which sounds hard to fathom and whets the appetite even more.

‘Megawave’ is the baby of this unlikely collaboration, seeing the Toronto princess lend her sweet vocal to create something uniquely enchanting. The title track establishes the tone of this sunny record, with a classic easy listening tune, good enough to fall in love to, with the retro offerings the dainty singer is well known for.

Next she’s fighting robots, oh yes, but she doesn’t want to do it by herself. ‘Fight These Robots’ is a classic funky number with a dose of girly cheekiness, while ‘Living Rent Free’ introduces more electronica, still holding on to the retro themes, blossoming into a perfect summer’s day song. ‘Sunrise Stance’ gets one up and dancing, Dana style, it’s bouncy, cool and glossy; leg warmers off, hair down and neon lycra mini dress on.

Thanks to the wonders of ‘New Technology’, Phoenix and co create an extraordinary synth ballad. But it’s ‘Moves Moves Moves’ that lures you back into the arcade and out again to the disco. The electrifying twister beams with musicality and craziness of the long gone era, creating nostalgic nod to the bygones.

‘Figure Me Out’ presents itself twice, first as a grand synthylicious piece, then remixed by NEW ARCADES. The latter is deliciously current, being scrumptiously old worldly, no cloud in the sky, sun beaming high and Dana’s in her element. However, it’s the glorious arpeggios of ‘Fight These Robots’, this time remixed by STRAPLOCKED that shines most brightly on the new offering. This version is punchy, straight to the point and very wholesome.

Phoenix has previously worked with POWERNERD who produced ‘Only One For One Night’, as well as STRAPLOCKED who helped her with ‘Iron Fist’. Collaborations are plenty in the world of synthwave, which the Toronto artist fully appreciates.

She’s also glad for the fact of not having been born in the midst of the synthpop era, as she feels she’s got more musical freedom in the world of today. “I’m actually so glad to be here and now. as awesome as the 80s were” she said, “there were huge barriers of entry for artists who weren’t willing to have record companies dictate their sound and image.”

Nobody dictates what Dana Jean Pheonix does, she’s her own boss and does extremely well for it.

‘Megawave’ is released on 24th April 2020 by Outland Recordings as a CD, transparent violet vinyl LP or download, available from https://danajeanphoenix.bandcamp.com/album/megawave

https://danajphoenix.com/

http://www.facebook.com/danajeanphoenix

http://twitter.com/danajeanphoenix

http://instagram.com/danajeanphoenix

https://www.facebook.com/pwrnrdmusic/

https://twitter.com/powernerdband

https://www.instagram.com/powernerd_official/

https://open.spotify.com/album/3ft0lmyttvgoCrja0jAI0Q

Text by Monika Izabela Trigwell
17th April 2020

WHITE DOOR The Great Awakening

15 April 2020 /


If there is one person who has probably sparked the realisation of a long-awaited second WHITE DOOR album, then it has to be the synth Superswede Johan Baeckström.

A solo artist in his own right but also a member of synth duo DAILY PLANET, the young Johan Baeckström was a fan of the first WHITE DOOR album ’Windows’ released in 1983.

When he needed B-sides for the singles from his own 2015 solo debut ’Like Before, he covered ’Jerusalem’ and ’School Days’.

Although Baeckström has been unashamedly candid about the influence of Vince Clarke on his music, his musicality was also been shaped by the small catalogue of songs by Mac Austin, Harry Davies and John Davies.

While Mac Austin and Harry Davies have continued to perform in their prog combo GRACE over the years, Baeckström sowed the seeds of a WHITE DOOR reunion when he and DAILY PLANET bandmate Jarmo Olilia invited Austin to provide lead vocals on ‘Heaven Opened’ on their 2017 album ‘Play Rewind Repeat’.

That sparked a WHITE DOOR reunion and as a newly confugured quartet, Mac Austin, John Davies, Harry Davies and Johan Baeckström now present ’The Great Awakening’. Baeckström gives the pulsing Vince Clarke-isms a breather and swaps it for the more polyphonically formed keyboard interventions of his other heroes like Howard Jones.

A joyous tune that sets the scene, the exotic sophistication of ’Among The Mountains’ possesses the soaring windscreen poise of A-HA with a flawless vocal from Mac Austin while the soundscape is sweetened by flute, providing an interesting timbral contrast.

Acknowledging the theme of ’Get Carter’ but with a more brassy flair, ’Resurrection’ surprises with a bouncy Giorgio Moroder inspired stomp and the lift of a rousing chorus. Meanwhile Mac Austin manages to sound like a cross between Morten Harket and Chris De Burgh over some beautifully symphonic synth and subtle slapped bass in a guest appearance from Baeckström’s son Simon.

’Soundtrack Of Our Lives’ captures the joys of spring, with the English folk austere that was very much part of WHITE DOOR’s make-up playing a key role with the harmonious vocal arrangement.

A sparkling production with space for all the elements to shine, there’s even a few classic Linn Drum sounds thrown in too. Yes, they are more recollections of A-HA although of course, the ’Windows’ album came out a year before ’Hunting High & Low’.

Holding down the steadier mood with a synth arpeggio, the richly layered ’Lullaby’ makes what appears to be a simple arrangement sound grand and complex in a cleverly configured traditional tune that steadily builds and surprises with a burst of saxophone in the final third which also glistens ivory-wise in the manner of Howard Jones.

Beginning with a slightly stuttering rhythm, ’Angel Of Tomorrow’ bursts into life with a spacey buoyant pomp that captures an air of Vangelis.

An elated majestic tone ensues as staring mortality in the face, ’The Great Awakening’ celebrates an embracment of life and second chances with a range of complex synth motifs. All wondefully complimenting one another, it is akin to a casade of church bells ringing on a Sunday morning.

The spritely ’Simply Magnificent’ does as the title suggests and is pure sequenced synthpop in the vein of early ALPHAVILLE, the distant transistor radio ending acting a nice tribute to bygone listening experiences.

Ending the album, ’Beautiful Girl’ is classic WHITE DOOR and a song which Harry Davies describes as ”a wonderful song for making babies to”. Vocally like a modern hymn with patterns of hooky chimes, there’s even a surprising lilt of sax that suits the electronic backdrop, with a gorgeous sweeping polysynth conclusion that CHINA CRISIS would be proud of, recalling the feel of their appropriately titled tune ‘The Soul Awakening’.

Hopeful, mature and joyous, ’The Great Awakening’ grandly blows away the attempted sensitive synth overtures of the young pretenders almost half their age. It is twilight magic provided by the sorcerers and their apprenctice. Nearly four decades on, WHITE DOOR have again passed the test with commendation.

Of his role in ’The Great Awakening’, Johan Baeckström said to ELECTRICITYCLUB.CO.UK: ”I really wanted to do my best to maintain the WHITE DOOR sound and spirit in the production on this album”.

Mission accomplished ?

’The Great Awakening’ uses the following synthesizers: Roland Jupiter 6, Roland Juno 106, Akai AX73, Minimoog, Korg Mono/Poly and ARP Odyssey

’The Great Awakening’ is released by Progress Productions on 17th April 2020, pre-order download from https://whitedoor.bandcamp.com/album/the-great-awakening

Pre-order CD or white vinyl LP from Progress Productions at https://mailchi.mp/9e7025e1bf26/whitedoor

https://www.facebook.com/whitedoorband/

https://twitter.com/Bstrommusic

https://open.spotify.com/album/3bU49HHzLHxEDQAeVpEROJ?si=ZwnqbshNQ-CB6C2P85HH9Q

Text and Photos by Chi Ming Lai
15th April 2020, updated 17th April 2020

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