Category: Reviews (Page 86 of 206)

BETAMAXX featuring VANDAL MOON Never Sleep Again

6 January 2020 /

Founded in 2012, BETAMAXX is the musical vehicle of Pittsburgh based Nick Morey, a vintage synthesizer enthusiast who released his debut album ‘Lost Formats’ that same year.

Among his armoury are a Roland Juno 106, Roland Juno 60, Minimoog, Korg Poly6, Korg Mono/Poly, Oberheim OBXa and Sequential Prophet 6.

Despite four albums acclaimed by the synthwave community, as seems to be common among its exponents, a retirement of the BETAMAXX name was announced by Morey in 2015. But sure enough, a return came with 2017’s ‘Archaic Science’.

The most recent BETAMAXX album ‘Lost In A Dreamworld’ was a more confident affair, with Morey bringing in wider influences such as goth and new wave, perhaps taking a leaf from Shawn Ward, best known of course as FM ATTACK and now his label boss.

One of those songs is ‘Never Sleep Again’, a collaboration with post-punk Santa Cruz duo VANDAL MOON. Entering darker territories, courtesy of some great Robert Smith-tinged vocals by Blake Voss, ‘Never Sleep Again’ breaks away from the definitions of synthwave by offering a propulsive electronic take on THE CURE, although the Keith Forsey-era of THE PSYCHEDELIC FURS would be another reference, if slightly more distant.

Reflecting its tale of love and disaffection, ‘Never Sleep Again’ comes with a superb video directed by Dan Przygoda and shot by Brad A Kinnan. It’s kind of a tribute to ‘The Lost Boys’ that not surprisingly exudes a sinister air of foreboding while our heroes perform as the house band in a vampire nightclub. Blink and you will miss Holly Dodson of PARALLELS in the audience.

‘Lost In A Dreamworld’ has perhaps been a slow burner outside the confines of synthwave but extends beyond its expectations and is well worthy of investigation. Living up to the album’s title and with an angelic feminine air, the sparking synthpop of ‘Skyhigh’ featuring GLITBITER (who also makes a cameo in the ‘Never Sleep Again’ video) was another appealing facet to ‘Lost In A Dreamworld’, with the song’s vibrato treated vocal stabs on the coda being a particular delight.

One of the other guest vocalists was the delectable MECHA MAIKO whose girly avant pop stylings on ‘No Fun’ added an eclectic twist to proceedings, its bass sequencing looking more towards European electronic acts like VISAGE and SIN COS TAN.

But ‘Lost in a Dreamworld’ isn’t just about its songs; the glitterball energy of ‘Disco Dreamgirl’ is a brilliant instrumental that blips gloriously, while the ringing hypnotic overtures of ‘Vacation’ in collaboration with Swedish producer Robert Parker decorate another great club-friendly instrumental.

Then there was ‘Opaque Fog’ which glistened via its crisp production and fabulously rigid rhythms in a pacier take on Hollywood-era TANGERINE DREAM. And with a churning arpeggio sweetened by actual synth playing, the delightful ‘Stargazer’ did exactly what it said on the tin.

Taking a more open-minded approach, BETAMAXX has an album in ‘Lost in a Dreamworld’ that could appeal to those who might see themselves as synthwave synics. Throw in the inherent Giorgio Moroder vocoder influences on ‘Getaway’ and ‘I’ll Walk You Home’ as well and maturer listeners may have a further point of reference to appeal.

‘Never Sleep Again’ is from the album ‘Lost In A Dreamworld’ released by Starfield Music in vinyl LP, cassette and digital formats, available from https://betamaxxmusic.bandcamp.com/

BETAMAXX + FM ATTACK appear with special guests MECHA MAIKO + VANDAL MOON at Vancouver’s Rickshaw Theatre on Saturday 25th April 2020 – tickets from http://www.theinvisibleorange.com/

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Text by Chi Ming Lai
6th January 2020

MORGAN WILLIS Dreamer

4 January 2020 /


French musician Morgan Willis is something of a synthwave veteran.

He’s been extremely prolific since his 2012 debut long playing release ‘Science Fiction’ and the 2015 electro-funk flavoured ‘Night Rider’ to become a respected exponent of the sub-genre.

His latest offering ‘Dreamer’ has been called a “synthpop fairy-tale” and certainly this primarily instrumental set has been bolstered by the sweet feminine magic of PARALLELS, NINA and KEL to continue a tradition that has been a key part of Morgan Willis releases since 2016 with JJ Mist on ‘Behind The Mask’.

One of the not undeserved criticisms of instrumental synthwave is that its hazy soundscapes emphasise texture and feel, rather than tunes and dynamics. So when ELECTRICITYCLUB.CO.UK’s idea of a synth instrumental is ‘Theme For Great Cities’ by SIMPLE MINDS and ‘Astradyne’ by ULTRAVOX, then the comparison bar is always going to be set quite high.

‘Dreamer’ contains songs and these prove to be the highlights of the album. Best of all is ‘Rabbit Hole Chasing You’ featuring regular collaborator KEL who compliments the throbbing electronics with an airy lift, while a number of more sparkling upper octave sounds get to gently penetrate through the incumbent aural wash. ‘Back to the Start’ sees NINA making good use of her natural range of vocal capabilities. Her higher notes offset the musical middle ground inhabited by the bed of synths.

And this is why the deep male voiced ‘Invisible’ doesn’t make as much of an impression as it mushes in with the backdrop. However, the syncopated funky stance and whirring synths of the single ‘C.O.M.A’ with a similar deep male vocal is much more satisfying.

Holly Dodson of PARALLELS makes another of her synthwave guest vocal appearances on ‘Dark Before the Dream’ and with guitar-derived arpeggios at the start, the Canadian songstress provides an almost Country & Western demeanour before the electronic drums kick in for some of the classic new wave tinged synthpop that her own band is known for.

However, a couple of the instrumentals do the trick. The lengthy closer ‘Forever’ is a beautifully expanding epic with luscious melodic hooks and pulsing arpeggios, while ‘Teenager’ captures the energy and exuberance of youth with a hint of ‘St Elmo’s Fire’. But with slow fades and steady builds, the album and a few of its tracks are maybe too long.

Now while the point of many synthwave concepts is soundtracks for imaginary films, this can be challenging for some listeners to imagine amongst the aural hue without visuals, while also waiting for a vocal.

‘Dreamer’ probably requires an immersion of full relaxation for it to be effective and to that end, the title track and ‘Daydream’ do what they say on the tin. So if you are into the idea of a reconfigured soundtrack for a Brat Pack film coated in magenta pink, then ‘Dreamer’ will be for you.

‘Dreamer’ is released by Outland as a magenta pink double vinyl LP and download, available from https://morganwillisofficial.bandcamp.com/album/dreamer-2

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Text by Chi Ming Lai
4th January 2020

GARY DALY Luna Landings

2 January 2020 /

In 2019, CHINA CRISIS front man Gary Daly released his debut full length solo album ‘Gone From Here’ which harked backed to the Northern English atmospheres of their first two albums ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ and ‘Working With Fire & Steel – Possible Pop Songs Volume 2’.

Just from those titles alone, it was obvious that CHINA CRISIS had an Eno-inspired approach to their work. Daly told ELECTRICITYCLUB.CO.UK: “I’m more about the art of just keeping on, keeping on… and to continue enjoying it.” Although well-known for his distinctive afflicted voice, Gary Daly was also the China’s synth player.

Now while it was the songs of he and Eddie Lundon that were the key, their understated soundscapes and yes, passive rhythms were also part of the appeal. This was apparent in ‘Jean Walks In Fresh Fields’, the closing track on CHINA CRISIS’ debut album and B-sides from the period like ‘Watching Over Burning Fields’, ‘Dockland’, ‘Forever I & I’ and ‘Performing Seals’; these were all evocative instrumentals which demonstrated a love of Brian Eno’s ambient works. Although ‘Performing Seals’ was largely the work of Eddie Lundon, the driving force behind these other pieces was Gary Daly.

Mid-period instrumentals such as ’96.8’, ‘Orange Mutt-Mutt Dance’ and ‘Little Italy’ showed that the esoteric inspiration was still there. But following the success of ‘Flaunt The Imperfection’ with its singles ‘Black Man Ray’ and ‘King In A Catholic Style’, CHINA CRISIS became a band with a more conventional Trans-Atlantic vibe.

As a result, Daly concentrated on vocals in the studio and took a back seat on keyboard duties, deferring to the more technically proficient Brian McNeil.

There were to be no more CHINA CRISIS instrumentals after 1987, but some fans missed them and wondered what an instrumental CHINA CRISIS album might have sounded like. Fast forward to today and ‘Luna Landings’ is the next best thing. It comprises of various instrumentals, demos and sketches that Gary Daly recorded on his TEAC and Tascam Portastudios between 1981 to 1987.

‘Luna Landings’ features iconic equipment such as the Roland Jupiter 8, Korg Poly6, Yamaha CS10, Roland SH9, Roland TR808 and Boss Doctor Rhythm DR55. Daly said it was “a little nod there to Brian Eno’s ‘Apollo: Atmospheres & Soundtracks’”, adding “it’s soooo lovely, all my little recordings from the 80s. I love it sooo much and can’t wait for people to hear it .”

Sweetened by effects such as a WEM Copicat and a Yamaha SPX 90 digital processor, ‘Luna Landings’ is a beautiful work that over 23 tracks is a worthy addition to the tradition. The opener ‘Odysseas Celestial Body’ provides a suitably cosmic lift-off but constructing a sparse spacious aesthetic, ‘Technics Arpeggio’ makes use of the mighty PX1 digital piano, an instrument that found its way into the keyboard armoury of PET SHOP BOYS and ULTRAVOX.

With a bouncy octave shifting bass sequence, the comparatively uptempo ‘Luna Bop’ is very pretty and bursting with melody while ‘Dummkopf’ has a dominant percussive snap within the windswept lo-fi ambience. The lilting sweep of ‘And When Did You Give Up… And Why ?’ is given further life by a hypnotic sequencer pattern and a claustrophobic series of voices.

The short inscrutable soundscape of ‘Yellow Magic’ doesn’t hide its inspiration and then there’s the Jupiter suite of ‘JP8’ and ‘JP82’; both feature the sort of ringing bell-like textures that were so characteristic of CHINA CRISIS. Expressing potential as beds for possible pop songs, the second of the pieces makes the most of the pipe and string capabilities of the big Roland. The delightful ‘80’s Electro 2’ does exactly what it says on the tin whereas despite its provocative title, ‘Space Bastard’ is very demure and atmospheric.

The synths take a small breather as Daly borrows Eddie Lundon’s Yamaha SG1000 guitar for the appropriately titled ‘Guitar Instrumental 1’ and ‘Guitar Instrumental 3’, both close relatives to ‘Forever I & I’ and reminiscent of THE DURUTTI COLUMN.

Meanwhile, the sprightly ‘Pipes Of Man Ray Times’ probably had the development potential to become a snappy pop song like its near namesake ‘Black Man Ray’. The elegiac ‘Evángelos’ is glorious and every bit as good as anything on ‘Apollo: Atmospheres & Soundtracks’ with its weightless, drifting thought-provoking feel. ‘Magnifique Lune’ is minimal and vibey, following on a similar “Apollo Luna” theme.

‘The Highest Heist’ is a play on the title of the opening track from ‘Flaunt The Imperfection’ and presents a variation on its melodic presence while the ivory laced sunny side up nostalgia of ’78’ is as good as any CHINA CRISIS B-side.

But as CHINA CRISIS evolved, so were Daly’s instrumental ideas and the way he was constructing them. ‘Very Nice Barbara’ has an almost jazz feel with a synth taking the pace of a sax while ‘Shopping For Excuses’ sees the start of a more Trans-Atlantic approach away from Brian Eno and towards STEELY DAN with a subtle groove.

And as ‘Luna Landings’ heads for re-entry and splashdown, the appropriately titled ‘Swimming With Kevin’ provides a rhythmic tribute to the late and much missed CHINA CRISIS drummer Kevin Wilkinson, before a subtle drum machine pulse heralds the conclusion of the mission with the cascading wintery runs of ‘Festivus’.

At 23 tracks, this is a hefty collection and only one track doesn’t work in context; ‘Jody You’re On Dope, So Just Shut The F**K Up’ features an expletive filled dialogue between an aggressively arguing couple which acts as an overlong distraction from the eventual melodies which are actually quite pleasant.

But in all, ‘Luna Landings’ is a highly enjoyable record that channels a laid back demeanour to aid relaxation and escape. Despite the age of the recordings, the air and hiss from the incumbent machinery adds an endearingly earthy evocative quality to proceedings.

With its striking Valentina Tereshkova adorned artwork, ‘Luna Landings’ gathers an affectionate memory of yesterday’s tomorrow and is a must for synth instrumental enthusiasts.

‘Luna Landings’ is released on 20th February 2020 as a CD, pre-order direct from https://www.musicglue.com/gary-daly/products/luna-landings-cd

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Text by Chi Ming Lai
2nd January 2020

KATJA VON KASSEL & herrB featuring ANNE CLARK Strangers Eyes

27 December 2019 /

Working under the stage name of herrB, Stefan Bernauer began his music career as a guitarist and songwriter in a number of rock, blues and jazz bands.

But deep inside Bernauer’s heart was a love for electronic dance music. 2011 saw his first release as herrB, a vibey deep house offering called ‘Dragonfly On Dope’. But in 2013, he met the artist and post-punk poet Anne Clark, collaborating on the joint EP ‘Fairytales From The Underground’. A longer form release ‘Life Wires’ came in 2014 while further new material is work-in-progress.

Since they came together in the studio, herrB has often accompanied Anne Clark at many of her live performances. And it was at once such performance at the Electri_City_Conference 2017 in Düsseldorf that ‘Strangers Eyes’ featuring Katja von Kassel on lead vocals came about.

“It all started in Düsseldorf when the sound engineer from Anne Clark saw my performance” said Katja, “Anne and herrB were already at their own soundcheck in another room so they missed it. But herrB and me started talking after Anne’s performance and he said the sound engineer mentioned me to him, saying he saw an appearance that illuminated the room. I am a huge fan of his sounds and Anne Clark. So, herrB and me started working together and wrote ‘Strangers Eyes’.”

The cosmopolitan result sees three sets of seemingly incongruous styles in Eurodance, Weimar Cabaret and stark English poetry coming together in refined unison with a haunting dose of European melancholy added to the mix.

“Anne heard it when she was working with in the studio and added spontaneously her vocals because she really liked the track”, remembered Katja about how Anne Clark unexpectedly came to be involved, “At this time I was on holiday in Corsica and got an mp3 from herrB with Anne’s vox on it. I totally fell in love with it. I really liked it and she invited me to try it out live with her when she appeared at ‘Gothic Meets Klassik’ in Leipzig.”

While Katja von Kassel’s chanson flavoured take on the tragedies of life remains firmly intact, the dancier slant of ‘Strangers Eyes’ with its beat laden backbone will surprise listeners, especially the single’s accompanying four-to-the-floor remix.

‘Strangers Eyes’ is available via the usual digital platforms or direct from https://katjavonkassel.bandcamp.com/album/strangers-eyes-feat-anne-clark

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Text by Chi Ming Lai
Photo by www.hr-pictures.de
27th December 2019

NINA Automatic Call

19 December 2019 /


While it appears to have been a comparatively quiet 2019 for NINA, she has been busy touring the US and Canada with PARALLELS as well as recording.

At the start of the year, there was a brand new song called ‘The Calm Before The Storm’ which was coincidentally released during one of the coldest wettest spells in England. Then in the Autumn, she teamed up with FUTURECOP! for a collaboration entitled ‘Against The Tide’. But with the year almost up, the London-based Berliner has unleashed the vibrantly appealing magenta splash of ‘Automatic Call’.

Developing further her bridge between synthpop and synthwave, NINA said of her new creation: “’Automatic Call’ is about the challenges we encounter when going through a break up and how hard it is to let go and finally move on”. Uplifting but melancholic, the song is the result of another collaboration with Oscillian who produced seven songs on NINA’s 2018 debut long player ‘Sleepwalking’. The producer was also responsible for the song’s ‘Grand Theft Auto’ inspired cityscape video.

“Oscillian filmed, directed and edited the video as well as producing the music” NINA said, “We were inspired by synthwave aesthetics, late night driving, highways, LED lights, and we used a vintage Dodge Challenger car in the video. As soon as we started to film, torrential rain started and didn’t stop all night. Luckily we did have cover and in the end, it all played in our favour, as the light reflecting on the puddles on the ground tied in really well with the overall feel of the video”. But getting intimate with her romantic leading man provoked some unintended amusement as “there was a scene where I had to get really close to Tommy, the other actor in the video, and we just kept giggling. It was very hard to keep a straight face.”

While it appears to have been filmed is Los Angeles, the location of the video was actually a bit closer to home. “We filmed ‘Automatic Call’ in Sweden over 2 days. We discovered Tommy, the actor in a club in Malmö when we played a show there and he looked like he just came out of an 80s movie” NINA remembered, “so we approached him there and then and asked him if he wanted to be part of my music video. He loved the idea right away, even though he didn’t have any previous acting experience, so he flew from his home in Finland just to do the shoot.”

‘Automatic Call’ comes from NINA’s upcoming second album ‘Synthian’ due sometime in 2020.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to NINA

‘Automatic Call’ is released as a digital single with a bundle of remixes, available now from https://ninasounduk.bandcamp.com/

NINA’s 2020 Calendar is available from http://www.ninasounduk.com/store/calendar

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Text and Interview by Chi Ming Lai
19th December 2019

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