Category: Reviews (Page 99 of 200)

GARY NUMAN The Fallen EP

9 November 2018 /

Mister Webb, there is no way out…

Gary Numan has had a rather busy few years, what with the successful releases of the highly personal ‘Splinter (Songs From A Broken Mind)’, as well as it’s not so identical twin ‘Savage (Songs from A Broken World)’, becoming his twentieth opus. From the more intimate and close to home to that of a much wider environmental reach, Numan covered all the bases proving that being the veteran of vintage electronica, one can achieve exceptional albums this far in their career… so yes DEPECHE MODE, it can be done after all those years!

Having portrayed the terrifying dystopian future on ‘Savage’, the world’s first synth pop star, is carrying on the forward momentum into 2018 with this Autumn seeing in the fresh EP entitled ‘The Fallen’.

For his most recent long player, Numan decided to crowdfund via Pledge, taking advice from none other than his (now) LA pal Chris Corner aka IAMX, thoroughly enjoying the idea of getting fans involved in the processes surrounding the making of the album and ‘The Fallen’ continues the themes from ‘Savage’, sharing the barren landscape of broken world and seeing Mr Webb still clad in protective clothing.

And following the uncertain view into the things to come, now we are told with some certainty that ‘It Will End Here’. The apocalypse is looming, as the anthemic chorus enters, progressing from the classic vocal wizardry Numan is well known for, rising steadily to smooth over the gothic crack which provide a vampiric quality to the tune.

‘The Promise’ offers gritty guitars alongside a very haunting vintage Numan-esque synth, filling the void between his most accomplished imperial work and the present eastern inspirations. The theme continues with a further dose of Persian connotations in a very mature, if slightly demure electronic ballad ‘If We Had Known’. Almost with a feeling of dread, the listener is transported into unknown lands and presented with, what ultimately is a stunning love song, but also a “goodbye to all my friends”.

Short and sweet as it is, ‘The Fallen’ bridges the gap between ‘Savage (Songs from a Broken World)’, continuing along the same musical path of inspirations from afar mixed with an enormous talent and synth know how, and what hopefully will be a new opus. Soon?

‘The Fallen’ EP is released in CD, tricolour 12 inch vinyl and digital formats by BMG

‘Savage (Live at Brixton Academy)’ is also available as a CD+DVD set

Gary Numan 2018 live dates include:

Cardiff St Davids Hall (12th November)*, Birmingham Symphony Hall (13th November)*, Newcastle City Hall (15th November)*, Manchester Bridgewater Hall (17th November)*, London O2 Shepherds Bush Empire (18th November)*, London Royal Albert Hall (19th November)*, Glasgow Royal Concert Hall (20th November)*, Prague Lucerna Music Bar (22nd November), Krefeld Kulturfabrik (24th November), Warsaw Progresja Music Zone (25th November), Berlin Huxleys (26th November), Roskilde Gimle (27th November), Odense Posten (29th November), Aarhus Train (1st December), Gothenburg Pustervik (2nd December), Oslo Rockefeller Music Hal (3rd December), Helsinki The Circus (5th December)

*with THE SKAPARIS ORCHESTRA + special guest Chris Payne

http://www.garynuman.co.uk/

https://www.facebook.com/GaryNumanOfficial/

https://twitter.com/numanofficial

https://www.instagram.com/garynuman/

Text by Monika Izabela Trigwell
9th November2018

FAKE TEAK Fake Teak

5 November 2018 /


FAKE TEAK were actually first name checked by VILE ELECTRODES back in 2011.

With diverse influences such as Krautrock, Afrobeat, funk, rock and electronica, the band has since evolved and it would be fair to say they have a unusual hybrid sound that falls neither into exclusively synth or alternative music circles. After a long gestation period, the London-based quartet of Andrew Wyld (bass, synthesizer + vocals), Alastair Nicholls (guitar, synthesizer, bass + vocals), Joanna Wyld (synthesizer, flute + vocals) and Andrea Adriano (drums, production + vocals) finally get to release their self-titled debut long player.

As an opening statement of intent with hand-driven organic synth sounds galore, the spectre of LCD SOUNDSYSTEM looms heavily on ‘Dance Like Nobody’s Watching’ while on the frantic seize the day mantra of ‘Bears Always Party The Exact Right Amount’, early TALKING HEADS enter the mix via a groovy rhythmic backbone. Meanwhile, ‘Post Office Tower’ is a quirky ode to that London monument with the revolving restaurant, traditional yet slightly off-the-wall.

The new wave flavour of ‘Solid-State’ makes good use of an ARP Odyssey Mk1 as FAKE TEAK sing of “going electronic again” while the unwavering art funk of ‘Recall A Thought’ explores an inner Byrne.

‘Whole Lot O’ Grief’ throws offbeats and flute into the equation alongside a bassy synth rumble, but ‘Lagos 82’ takes on a great energetic FRANZ FERDINAND feel and codas with a wonderfully glorious chant. Meanwhile, ‘101’ is not a tribute to DEPECHE MODE but actually comes over bizarrely like DR HOOK backed by AZTEC CAMERA and when the Roland Juno 60 strings kick in, it sounds even weirder!

But the best is saved until almost last; an affectionate parody of HOT CHIP’s ‘Ready For The Floor’, ‘No Shame’ is a delightfully odd but catchy disco tune about that strange moment when people with nothing in common come together on the dancefloor.

With plenty of synth action, there’s a rousing church-like middle section in which each band member contributes vocals to provide a rather fabulous harmonious effect, recalling the Alex Kapranos produced CITIZENS! Closing with the eerily filmic ‘Breathless’, the syncopated rhythmics are offset by layers of synths and eccentric vocals.

What stands out about FAKE TEAK is how they don’t stylistically pander to any musical fashions.

And despite their use of vintage synthesizers, the synths are not the excuse for the song, but neither are they for pose or just part of the background to fill out the odd chord here or there.

If you like the idea of a distinctly English take on LCD SOUNDSYSTEM and TALKING HEADS, topped with a dash of HOT CHIP and FRANZ FERDINAND too, FAKE TEAK may be right up your country lane.

‘Fake Teak’ is available on the usual digital platforms

https://www.facebook.com/faketeak/

https://twitter.com/faketeak

https://www.instagram.com/faketeak/

https://soundcloud.com/faketeak

Text by Chi Ming Lai
5th November 2018

PETER HEPPNER Confessions & Doubts

3 November 2018 /

PETER HEPPNER requires no introduction; his voice is recognisable worldwide, even to those who didn’t know or remember WOLFSHEIM.

It all started in Hamburg, a city known for many an accomplished act, but it was and still is WOLFSHEIM that brings the notion of melancholic nostalgia to minds. After a few successful albums and having established die-hard fans, Heppner left the coop and went solo. And expectedly so, his own provisions continued to feed the lovers of his deep, unusual and classy vocal over ‘Solo’, ‘My Heart Of Stone’ and various collaborations with CAMOUFLAGE as well as many others like NENA, PAUL VAN DYK and SCHILLER.

‘Confessions & Doubts’ and its ‘TanzZwang’ companion collection eases the burden of the long wait since his last offering, providing enough material for four albums. The original material gets the first airing in album versions, then instrumentals, followed by the ‘TanzZwang’ portion with further tracks plus remixes of those by some notable German bods. If that’s not enough, Heppner will be touring the offering throughout Germany this winter.

‘Confessions & Doubts’ opens with demurely ‘Unlovable’, where the listener is transported into the Heppner parallel universe, full of minimal instrumentation, familiar abandonment notions in the lyrical content and that haunting voice, which could be recognised anywhere in the universe.

Joachim Witt, an artist celebrated in Germany something chronic, joins Heppner on ‘Was bleibt?’ Performed in his mother tongue, it’s a modern semi-electronic ballad, coming into its own thanks to WOLFSHEIM-like connotations.

Heppner returns to English on ‘Nothing Ends’, where the tempo speeds up like ‘Once In A Lifetime’ with a modern twist. Thanks to this album, the listeners are truly enjoying ‘Viele Schöne Stunden’, yet another beautiful easy listening ballad, while the reminder that ‘Good Things Break’, as they “tend to change… always end”, brings Heppner into a monologue, where he translates his childhood toys into the pain of adulthood.

German domiciled American Kim Sanders joins the Königsstimme on ‘You Don’t Love Me’, while the most synth content can be found on ‘Chance’, which is stompingly bubbly and super electronic.

The vocal numbers are followed by their stunning instrumental renditions before ‘TanzZwang’ rolls out its red club carpets with delicious dance tracks.

‘Und Ich Tanz’ is wonderfully fast and pointed, leading into superb ‘All Is Shadow’ with its magically executed dance sparkles.

‘Herman Hesse: Im Nebel’ musically nods towards modern day DEPECHE MODE and could be easily performed by Martin Gore and the listener is yet again reminded of the classic WOLFSHEIM on ‘Just One Word’ with its classic hooks and perfect vocal transitions.

‘Once Again’ Heppner waves his magical vocal wand, where the sound blossoms into a mini Love Parade. No chance to ‘Sedate Yourself’ here, the best thing is to continue dancing till the end with ‘Standing Tall’ and he is! But that’s not everything; to top it all, there are further remixes to enjoy…

Heppner can do no wrong, because the moment he opens his mouth, the magic starts to flow, only to cease with the quiet. Nevertheless, with the vast offering of forty tracks, it is easy to lose sight and interest very quickly. The first part is a beautiful standalone piece and the original dance part should have been provided as a separate offering.

A worthy body of work, but only if you allow yourself four independent listenings, pretending those parts don’t form a whole. “Never too much of a good thing” could have been proven very wrong here.

Still, it’s Heppner, and it’s more than good…

‘Confessions & Doubts’ is released by RCA Deutschland as a single CD and vinyl LP while a 4CD boxed set and digital formats are also available, along with a separate edition of the ‘TanzZwang’ remixes

Hamburg Markthalle (15th November), Rostock MAU Club (16th November), Berlin Huxleys Neue Welt (17th November), Hannover Musikzentrum (29th November), Haus Leipzig (30th November), Glauchau Alte Spinnerei (1st December), Magdeburg Factory (8th December), Nuremberg Hirsch (9th December), Stuttgart Im Wizemann (11th December), Zürich X-TRA (12th December), Oberhausen Kulttempel (14th December), Langen Neue Stadt Halle (15th December), Cologne Live Music Hall (16th December)

http://www.peter-heppner.com/

https://www.facebook.com/peterheppneroffiziell/

Text by Monika Izabela Trigwell
3rd November 2018

SARAH P. Mneme

1 November 2018 /

SARAH P. has been described as “an electropop goddess” and the video to her new single ‘Mneme’ more than reinforces that very image.

It is inspired by the three original ancient Greek muses, Aoide (the muse of voice and song), Melete (the muse of thought and meditation) and Mneme (the muse of memory).

The exquisite video filmed by George Geranios and conceived by SARAH P. herself sees the daughters of Zeus and Mnemosyne  come together as the inspiration for poetic and musical creation.

Starring the Berlin-based songstress as Mneme, the visual accompaniment also features dancer Clio ‘Lil Cli’ Arvaniti as Aoide and actress Dora Pantazopoulou as Melete; the key themes explored are playfulness and sisterhood in commemoration of more carefree times, all under the glorious Athenian sun.

Meanwhile, the ‘Mneme’ song itself is laced with a wispy angelic quality, afflicted but endearing as both atmospheric guitars and synthesized strings linger.

With the muse giving her name to the word meaning “the ability to retain memory” and also a retrograde irregular moon orbiting Jupiter, Mneme in its plural context also represents “units of knowledge gained by repetition”.

‘Mneme’ is the first single from the new SARAH P. EP ‘Maenads’ and her first new material since the acclaimed 2017 debut long player ‘Who Am I’, the CD of which was released by Amour Records earlier this year.

‘Mneme’ is from the upcoming EP ‘Maenads’ released on 14th December 2018 by EraseRestart Records

http://sarahpofficial.com/

https://www.facebook.com/sarahpofficial/

https://twitter.com/sarahpofficial

https://www.instagram.com/sarahpofficial/

https://sarahpofficial.bandcamp.com/

https://www.amour-records.com/sarah-p

Text by Chi Ming Lai with thanks to Robert Helbig
Photos by George Geranios
1st November 2018

ANI GLASS Peirianwaith Perffaith

31 October 2018 /

ANI GLASS is back with a new single ‘Peirianwaith Perffaith’, an enticing trailer for her forthcoming as-yet-untitled debut album.

Translated as ‘Perfect Machinery’, with the vibe of Autumnal discontent, the haunting detuned backdrop is perfect for her socially conscious Welsh expressionism. With a wonderfully swirling leadline and a suitably penetrating bass pulse, the Cardiff-based synth songstress says the song is about how the “search for identity in a moving city and society insists on a sense of stillness often found in the shadows of progress”.

The still image visual accompaniment filmed and directed by Jon Pountney with artistic direction by ANI GLASS begins with stark industrial views before drifting into suburbia and a journey into the countryside in time for twilight.

An experienced hand who has previously worked with Andy McCluskey and the late Martin Rushent, ANI GLASS released her acclaimed first EP ‘Ffrwydrad Tawel’ in Spring 2017. Having recently completed a Masters Degree, the songstress is now fully focussed on finishing her self-produced debut long player.

She said to ELECTRICITYCLUB.CO.UK in January: “I’m really excited about curating the presentation of this album; conceptually and visually. I have a lot of ideas about how I might involve and engage with people who may not be instinctively interested in Welsh electronic music. It’s quite an exciting time to be making music in Wales – something is afoot; I couldn’t tell you what it is but I think it’s going to be exciting and I really want to be a part of it.”

‘Peirianwaith Perffaith’ is released by Recordiau Neb, available on iTunes and Spotify

ANI GLASS’ previous releases are available direct from https://aniglass.bandcamp.com/

https://www.facebook.com/aniglasscymru/

https://twitter.com/Ani_Glass

https://www.instagram.com/ani_glass/

https://soundcloud.com/aniglass

Text by Chi Ming Lai
31st October 2018

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