Tag: A-Ha (Page 1 of 4)

Introducing NATION OF LANGUAGE

Brooklyn-based duo NATION OF LANGUAGE are singer / songwriter Ian Devaney and his wife Aidan Noell on keyboards.

Gifted with a voice of anguish, Devaney had fronted New Jersey alternative rock band THE STATIC JACKS who released their only album ‘In Blue’ in 2013.

Legend has it that NATION OF LANGUAGE came into being when Devaney heard OMD’s ‘Electricity’ in his father’s car for the first time in years, having grown up with it as part of his domestic soundtrack. This led to Devaney adopting what he termed the “beginner’s mind” of those pioneering synth acts.

So he began writing songs with monophonic synths like the Behringer MS-1, Korg MS20 and Moog Sub37 while like OMD, also using bass guitar. Issuing a series of singles since 2016 including an electronic cover of PIXIES’ ‘Gouge Away’, NATION OF LANGUAGE finally released their debut album ‘Introduction, Presence’ in Spring 2020.

Now if Rodney Cromwell had joined MIRRORS or if MIRRORS had more of a Factory Records fixation as opposed to looking up to OMD, then that would be the sound of NATION OF LANGUAGE. So despite having dense production aesthetics in common, the more inherent gloominess means that NATION OF LANGUAGE are perhaps less obviously immediate than MIRRORS. NATION OF LANGUAGE have also made more use of NEW ORDER style melodic lead bass provided by Michael Sui-Poi from THE STATIC JACKS, while Fabrizio Moretti from THE STROKES occasionally guested on drums.

‘On Division St’ is a close relative to ‘Bizarre Love Triangle’ with its sharp synth lines and programmed bass triplets, while ‘Rush & Fever’ plays with sequencers and electronic effects to reinforce the NEW ORDER influence but perhaps more unexpectedly, Devaney starts to sound like Morten Harket of A-HA.

The spectre of the Norwegian pop trio looms on the superb synth driven album highlight ‘Friend Machine’ which examines society’s addiction to technology and the standalone synthpop flavoured single ‘A Different Kind Of Life’. However, the shadier tones of  CHVRCHES collaborator Matt Berninger of THE NATIONAL is who Devaney mostly emulates vocally.

Album opener ‘Tournament’ imagines an artistic union of A-HA and LCD SOUNDSYSTEM while ‘Automobile’ adds full chords via some Roland Strings; continuing the driving theme, there’s the partly spoken robopop of ‘The Motorist’.

While the album closer ‘The Wall & I’ exhibits more of a post-punk feel like FM ATTACK meets SECTION 25, the glorious brand new single ‘Deliver Me From Wondering Why’ uses a more blippy construction and takes a leaf out of the more experimental phase of early OMD while eschewing bass guitar following the departure of Michael Sui-Poi.

‘A Different Kind Of Life’ and ‘Deliver Me From Wondering Why’ both signal the next phase of NATION OF LANGUAGE and unlike MIRRORS who many are comparing them to, a second long player is a likely realisation.

It will be very interesting to see where the duo head next and whether the machines become not just friends but family…


‘Deliver Me From Wondering Why’ is available as a digital single, along with their back catalogue to date from https://nationoflanguage.bandcamp.com/

‘Introduction, Presence’ can be purchased as a vinyl LP from https://www.nationoflanguage.com/

https://www.facebook.com/nationoflanguage

https://twitter.com/notionofanguish

https://www.instagram.com/nationoflanguage/

https://open.spotify.com/artist/5JWBow4ywgKNQ5HBxY8hcz


Text by Chi Ming Lai
3rd March 2021

WHITE DOOR The Great Awakening

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 by Chi Ming Lai
15th April 2020, updated 17th April 2020

THE WEEKND Blinding Lights

Canada does it again, using a bit of help from Sweden, with THE WEEKND’s new single ‘Blinding Lights’ owing more than a small debt to the supreme Nordic synthpop of A-HA and in particular ‘Take On Me’.

Noted for his dark wave R ‘n’ B and already a veteran of three albums, THE WEEKND is the musical vehicle of Abel Makkonen Tesfaye.

The Toronto-born soulful pop exponent has also won three Grammy Awards Grammy including two in the ‘Best Urban Contemporary Album’ category for ‘Beauty Behind the Madness’ and ‘Starboy’.

Not shy about collaborating with the electronic dance world, the ‘Starboy’ title song was co-written and co-produced with DAFT PUNK, giving the French duo their first chart topping single, while later there was ‘I Feel It Coming’ which recalled Michael Jackson. There have also been three collaborations ‘I Was Never There’, ‘Hurt You’ and ‘Lost In The Fire’ with the French techno DJ GESAFFELSTEIN.

However, ‘Blinding Lights’ sees THE WEEKND working with noted Swedish pop supremo Max Martin, best known for his work with Britney Spears, Katy Perry and Taylor Swift. The song itself premiered as part of a Mercedes-Benz commercial aired on German TV, resulting in yet another No1 for Tesfaye in a number of European territories.

Directed by Anton Tammi, the ‘Fear & Loathing in Las Vegas’ inspired video to ‘Blinding Lights’ adds a strong visual dimension that channels Tesfaye’s lyrical urgency about rekindling a broken relationship, but sees him confused by the dazzling temptations of fast cars and fast women.

Following where the story left off in the video for the previous single ‘Heartless’ and with product placement by Mercedes-Benz, Tesfaye looks positively relieved that his hallucinated misadventure has just left him bloodied and bruised.


‘Blinding Lights’’ is released as a digital single by XO

https://www.theweeknd.com

https://www.facebook.com/theweeknd

https://twitter.com/theweeknd

https://www.instagram.com/theweeknd


Text by Chi Ming Lai
27th January 2020

DAYBEHAVIOR Based On A True Story

It would be fair to say that Swedish trio DAYBEHAVIOR take their time when it comes to making records.

Although their debut album ‘:Adored’ came out in 1996, a follow-up ‘Have You Ever Touched a Dream?’ didn’t emerge until 2003.

Then in 2012, ‘Follow That Car!’ re-established their presence in a in the more synthpop friendly environment, with anticipation created for their next long playing offering.

A single ‘Change’ trailed ‘Based On A True Story’ in 2015 but fast forward to four years later, and their self-produced fourth album is finally here.

With a range of tempo variation contained within, ‘Based On A True Story’ is the undoubtedly the best album of DAYBEHAVIOR’s long if sporadic career. Always an act known for their for moody cinematics and lush dreamy vocals, Paulinda Crescentini, Carl Hammar and Tommy Arell have on this occasion included a number of more danceable numbers to counterpoint the more laid back aspects of their sound without losing any of their exquisite aesthetics.

Good examples of this can be heard in the fabulous Europop number ‘Driving In My Car’ and the opening ‘Burning Slowly’ with its classic emotive synthpop feel reminiscent of OMD combined with a swirling sweeping solo. The Italo flavoured ‘Change’ is all present and correct in extended 12 inch form amusingly threatening to break into ‘Axel F’, while the melodically bouncy but rigid ‘Tears That Dry’ could be mistaken for MARSHEAUX.

Frantic by DAYBEHAVIOR standards, ‘It All Started With A Train’ has a techno backbone offset by Paulinda Crescentini’s alluring whispers but it all works marvellously and when the synth solos kick it, another zone is duly entered.

For those who do prefer the more filmic side of DAYBEHAVIOR, ‘A Boy A Girl’ comes over like a Nouvelle Vague film theme.

Then there’s the Nordic melancholy of ‘There’s Nothing Else’ which ventures into A-HA territory with subtle guitars giving the feel of a Cold War spy drama.

The midtempo melancholy of ‘Serge’s Kiss’ makes the most of its chilling Jarre-like string machine, Simmons drums and unexpected vocoder but a major surprise is sprung with the solemn cello-laden ballad ‘Solitude’.

As ‘Based On A True Story’ heads towards the home straight, ‘A Perfect Day’ offers some angelic respite before ‘The Whispering Garden’ does what its title suggests and ‘Washed Away’ provides a dramatic orchestrated conclusion.

So Tommy Arell’s assertion that “The new album will have many of the classic DAYBEHAVIOR elements, but it will not sound like the previous albums” was more than wholly accurate.

A collection of quality Scandipop, ‘Based On A True Story’ has been worth the wait and is the ideal starting point to check out the wonderful widescreen music of DAYBEHAVIOR.


‘Based On A True Story’ is released by Graplur on 4th November 2019 as a download album from the usual digital outlets

http://www.daybehavior.com

https://www.facebook.com/DayBehavior

https://twitter.com/DaybehaviorBand

https://www.instagram.com/daybehavior_band/


Text by Chi Ming Lai
3rd November 2019, updated 4th November 2019

DAYBEHAVIOR There’s Nothing Else

Swedish synth trio DAYBEHAVIOR finally follow-up their previous single ‘Change’ with the airy moods of ‘There’s Nothing Else’.

From Carl Hammar, Tommy Arell and Paulinda Crescentini’s long awaited fourth album ‘Based on a true story’, the Nordic melancholy of ‘There’s Nothing Else’ at times,  ventures into A-HA territory.

However, this is offset by Crescentini’s coolly alluring Nouvelle Vague vocals, affirming that “There is nothing else to do but walk away, I could drown this very moment if I stay…”

‘There’s Nothing Else’ exploits their cinematic sound to the max with a glorious dramatic solo while subtle guitars adding the tone of a spy drama soundtrack.

The accompanying visual presentation follows the lyric video format, with series of stark monochromatic images illustrating the widescreen backdrop counterpointed by moving colour images.

In an interview with ELECTRICITYCLUB.CO.UK in 2017, Tommy Arell said “The new album will have many of the classic DAYBEHAVIOR elements, but it will not sound like the previous albums. Some songs are harder to finish than others, but we will only include songs we all are happy with.”

DAYBEHAVIOR were invited to open for OMD on selected Scandinavian dates in 2018 and it was a shame that the trio were unable to fulfil those commitments, as their sound would have fitted in nicely with the aesthetic of previous openers like TINY MAGNETIC PETS, VILE ELECTRODES, MIRRORS and VILLA NAH.


‘There’s Nothing Else’ is available now as a download and is from the forthcoming album ‘Based on a true story’ released by Graplur

http://www.daybehavior.com

https://www.facebook.com/DayBehavior

https://twitter.com/DaybehaviorBand

https://www.instagram.com/daybehavior_band/


Text by Chi Ming Lai
12th September 2019

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