Between April and October this year, sees the vinyl reissues of eight EURYTHMICS albums ‘In The Garden’, ‘Sweet Dreams (Are Made of This)’, ‘Touch’, ‘Be Yourself Tonight’, ‘Revenge’, ‘We Too Are One’, ‘Savage’ and ‘Peace’ and gives a welcome chance to look back retrospectively over the duo’s musical output.
Although it didn’t trouble the charts, the debut 1981 album ‘In The Garden’ provided a necessary bridging point between Annie Lennox and David A Stewart’s output as New Wave act THE TOURISTS and their newly convened status as a duo.
Co-produced by the legendary Conny Plank in his Cologne studio and featuring BLONDIE drummer Clem Burke, Robert Görl from DAF, and CAN’s Holger Czukay and Jaki Liebezeit, the album swings between the guitar-driven post-punk sound of ‘English Summer’ and the more rocky ‘Belinda’ which would foreshadow some the band’s more rockist leanings latterly in their career.
Due to Plank’s top notch production and Lennox’s effortlessly beautiful vocals throughout, the album hasn’t dated too badly and if never listened to before certainly doesn’t hint at the stellar jump with their subsequent offering ‘Sweet Dreams (Are Made Of This)’.
Recorded in their newly fitted out 8 track home studio in Chalk Farm London purchased using a £5,000 bank loan, ‘Sweet Dreams (Are Made of This)’ would have come as a complete curveball if as a fan you’d latched onto the more pastoral guitar-based sound of ‘In The Garden’; almost purely electronic in conception and with the backbeat of Stewart’s Movement Drum Computer (which puts in a cameo appearance in the iconic ‘Sweet Dreams’ promo video).
Also significant for the album was the use of Dave Stewart’s EDP Wasp synth which (according to Synth Guru Paul Wiffen) was often recorded using a microphone placed over the in-built speaker in order to capture the sound of the resonating body of the synth’s case alongside its source sound.
With YAZOO’s debut ‘Upstairs at Eric’s’ opening the public’s perception to cold electronics with an accompaniment of soulful vocals, the timing of ‘Sweet Dreams’ couldn’t have been better. There are obvious echoes of Clarke and Moyet in tracks such as ‘Wrap it Up’, but the addition of Stewart’s guitar and the bigger multi-layered vocal production meant that they don’t come across as mere pastiches.
Musically one of the things that becomes apparent on ‘Sweet Dreams’ is Stewart’s knack at creating some truly wonderful synth basslines, often using a Roland SH09. From ‘I Could Give You (A Mirror)’ to the ‘The Walk’, these perfectly counterpointed Lennox’s glacial vocals and set a template for what was to follow with album number three ‘Touch’.
‘Touch’ is often overlooked when it comes to people’s go-to classic electronic albums; this could possibly be down to the huge success of the Calypso-themed ‘Right By Your Side’ which at the end of the day really wasn’t representative of the album as a whole. This is a shame, because ‘Touch’ is arguably the band’s finest hour, tracks such as the singles ‘Who’s That Girl?’ and ‘Here Comes The Rain Again’ are matched by album cuts ‘Regrets’ and ‘No Fear, No Hate, No Pain (No Broken Hearts).
‘The First Cut’ echoes YAZOO’s ‘Sweet Thing’ but brings in some live guitar and fretless/slapped bass to the party; whilst the epic 7 and a half minute closing ‘Paint A Rumour’ takes the listener on a spellbinding musical journey incorporating blippy Kraftwerkian electro pop, dub brass and BLANCMANGE-like Middle Eastern synth elements along the way. Unfortunately the band were never truly this electronic again, with the remix/mini-LP ‘Touch Dance’ eventually giving way to 1985’s ‘Be Yourself Tonight’…….
The next two albums ‘Be Yourself Tonight’ and ‘Revenge’ continued to give the band some huge chart hits; ‘There Must Be An Angel’ was the band’s only UK No1 single from the former, but tracks which had the potential to echo EURYTHMICS earlier electronic work (including the Linn Drum-driven ‘I Love You Like A Ball & Chain’) seemed to become an excuse for Stewart to wig-out with a show-off guitar solo.
Songs such as ‘Thorn in My Side’ started to showcase EURYTHMICS steady mutation (and some would say decline) into a US radio-friendly guitar act with most of their electronic elements gradually being exorcised from the bands’ production. In some ways EURYTHMICS followed a similar career trajectory to SIMPLE MINDS with stadium rock leanings starting to filter into their recorded output and before you knew it, songs appeared to be written specifically for large arenas.
With the next couple of albums there were still a few glimmers of experimentation, THE ART OF NOISE-aping, Fairlight-driven ‘Beethoven (I Love To Listen)’ from ‘Savage’ was an unexpected single choice, but stalled at number 25 in the UK charts.
The highlight of 1989’s ‘We Too Are One’ (with its striking cover photo by Jean Baptiste Mondino) was the melancholic break-up single ‘Don’t Ask Me Why’ which in many ways echoed ‘Here Comes The Rain Again’, especially with its use of pizzicato strings.
After a ten year hiatus, ‘Peace’ saw Lennox and Stewart reconvene with the understated ‘I Saved the World Today’ giving them some chart success, only narrowly missing the UK top 10. With its almost PORTISHEAD retro-style textures, it went some way in distancing the band from its more bombastic productions.
By overviewing the band’s output, the listener could cynically surmise that EURYTHMICS jumped on the Synth Britannia bandwagon; riding on YAZOO’s coat tails by adopting an electronic aesthetic and then slowly revealing themselves as the rock band that they actually were all along (underneath all of the production surface). That would however do a huge disservice to their early work, which includes some of the VERY best electronic pop tracks from that era.
Interestingly, Dave Stewart confirmed the spiritual link with YAZOO by eventually going on to work with Alison Moyet, co-writing / co-producing ‘Is This Love?’ under the pseudonym Jean Guiot (used to avoid problems with his music publishers).
The mid-period and latter albums (although in many places giving the band deserved huge commercial success) do however chart EURYTHMICS slow transformation into an entirely different musical beast altogether. For those that bemoan the way DEPECHE MODE now deliver their songs live, should take some solace in that Lennox and Stewart committed far worse musical crimes to some of their iconic synth pop hits than Gahan and co are doing now…
So in terms of influence, what is there left to say about EURYTHMICS legacy? Their nearest contemporaries now would be GOLDFRAPP and PURITY RING; acts that use that male synth / female vocal dynamic.
Completists could possibly complain that the soundtrack to the motion picture ‘1984 (For The Love Of Big Brother)’ and ‘Touch Dance’ albums should have made the set up to a round 10, but for most, ‘Sweet Dreams’ and ‘Touch’ still remain the essential albums to own, with ‘In The Garden’ being seen as more of an interesting curio in the band’s back catalogue.
EURYTHMICS’ back catalogue is reissued by Sony Music in three stages through 2018
The world found itself in a rather antagonistic and divisive state this year, as if none of the lessons from the 20th Century’s noted conflicts and stand-offs had been learnt.
Subtle political messages came with several releases; honorary Berliner Mark Reeder used the former divided city as symbolism to warn of the dangers of isolationism on his collaborative album ‘Mauerstadt’. Meanwhile noted Francophile Chris Payne issued the ELECTRONIC CIRCUS EP ‘Direct Lines’ with its poignant warning of nuclear apocalypse in its title song. The message was to unite and through music as one of the best platforms.
After a slow start to 2017, there was a bumper crop of new music from a number of established artists. NINE INCH NAILS and Gary Numan refound their mojo with their respective ‘Add Violence’ and ‘Savage (Songs From A Broken World)’ releases, with the latter recording his best body of work since his imperial heyday.
But the first quarter of the year was hamstrung by the anticipation for the 14th DEPECHE MODE long player ‘Spirit’, with other labels and artists aware that much of their potential audience’s hard earned disposable income was being directed towards the Basildon combo’s impending album and world tour.
Yet again, reaction levels seemed strangely muted as ‘Spirit’ was another creative disappointment, despite its angry politicised demeanour.
Rumours abounded that the band cut the album’s scheduled recording sessions by 4 weeks. This inherent “that’ll do” attitude continued on the ‘Global Spirit’ jaunt when the band insulted their loyal audience by doing nothing more than plonking an arena show into a stadium for the summer outdoor leg.
Despite protestations from some Devotees of their dissatisfaction with this open-air presentation, they were content to be short-changed again as they excitedly flocked to the second set of European arena dates with the generally expressed excuse that “it will be so much better indoors”.
By this Autumn sojourn, only three songs from ‘Spirit’ were left in the set, thus indicating that the dire record had no longevity and was something of a lemon.
Suspicions were finally confirmed at the ‘Mute: A Visual Document’ Q&A featuring Daniel Miller and Anton Corbijn, when the esteemed photographer and visual director confessed he did not like the album which he did the artwork for… see, it’s not just ELECTRICITYCLUB.CO.UK 😉
Devotees are quick to say all criticism of DEPECHE MODE is unfair, but the band can’t help but make themselves easy targets time and time again. But why should the band care? The cash is coming, the cash is coming…
Luckily, veteran acts such as OMD and Alison Moyet saved the day.
The Wirral lads demonstrated what the word spirit actually meant on their opus ‘The Punishment Of Luxury’, while the former class mate of Messrs Gore and Fletcher demonstrated what a soulful, blues-influenced electronic record should sound like with ‘Other’.
As Tony Hadley departed SPANDAU BALLET and Midge Ure got all ‘Orchestrated’ in the wake of ULTRAVOX’s demise, the ‘Welcome To The Dancefloor’ album directed by Rusty Egan, to which they contributed, became a physical reality in 2017.
Now if DM plonked an arena show into the world’s stadiums, KRAFTWERK put a huge show into a theatre. The publicity stunt of 2012, when Tate Modern’s online ticket system broke down due to demand for their eight album live residency, did its job when the Kling Klang Quartett sold out an extensive UK tour for their 3D concert spectacular.
No less impressive, SOULWAX wowed audiences with their spectacular percussion heavy ‘From Deewee’ show and gave a big lesson to DEPECHE MODE as to how to actually use live drums correctly within an electronic context.
Mute Artists were busy with releases from ERASURE, LAIBACH and ADULT. but it was GOLDFRAPP’s ‘Silver Eye’ that stole the show from that stable. LCD SOUNDSYSTEM returned after seven years with their ‘American Dream’ and it was worth the wait, with the most consistent and electronic record that James Murphy’s ensemble has delivered in their career.
To say Neil Arthur was prolific in 2017 would be an understatement as he released albums with BLANCMANGE and FADER while Benge, a co-conspirator on both records, worked with I SPEAK MACHINE to produce ‘Zombies 1985’ which was one of the best electronic albums of the year; and that was without the JOHN FOXX & THE MATHS stage play soundtrack ‘The Machines’.
Despite JAPAN having disbanded in 1982, solo instrumental releases from Steve Jansen and Richard Barbieri were particularly well-received, while David Sylvian made a return of sorts, guesting on ‘Life Life’ for ‘async’, the first album from Ryuichi Sakamoto since recovering from his illness. On the more esoteric front, Brian Eno presented the thoughtful ambience of ‘Reflection’, while THE RADIOPHONIC WORKSHOP had ‘Burials In Several Earths’.
2017 was a year that saw acts who were part of the sine wave of Synth Britannia but unable to sustain or attain mainstream success like BLUE ZOO, B-MOVIE, FIAT LUX and WHITE DOOR welcomed back as heroes, with their talent belatedly recognised.
Germany had something of a renaissance as veterans Zeus B Held and ex-TANGERINE DREAM member Steve Schroyder came together in DREAM CONTROL as another TD offshoot QUAESCHNING & SCHNAUSS offered up some impressive ‘Synthwaves’, while there actually was a new TANGERINE DREAM album, their first without late founder member Edgar Froese.
The Swedish synth community again delivered with DAILY PLANET, PAGE, REIN, VANBOT, ANNA ÖBERG, 047 and LIZETTE LIZETTE all delivering fine bodies of work, although KITE were missed, with their German tour cancelled and release of their ‘VII’ EP postponed due to vocalist Nicklas Stenemo’s illness; ELECTRICITYCLUB.CO.UK wishes him all the best in his recovery.
Across the Baltic Sea, Finnish producer Jori Hulkkonen released his 20th album ‘Don’t Believe In Happiness’ while nearby in Russia, a duo named VEiiLA showcased an unusual hybrid of techno, opera and synthpop and ROSEMARY LOVES A BLACKBERRY offered a ‘❤’.
One of the year’s discussion points was whether Synthwave was just synthpop dressed with sunglasses and neon signs but whatever, Stateside based Scots but Michael Oakley and FM-84 made a good impression with their retro-flavoured electronic tunes.
Canada’s PURITY RING infuriated some of their fanbase by working with KATY PERRY on three tracks for her album ‘Witness’. AESTHETIC PERFECTION’s new singles only policy was paying dividends and the Electro Mix of ‘Rhythm + Control’, which featured the promising newcomer NYXX, was one of the best tracks of 2017.
Female solo artists had strong presence in 2017 as FEVER RAY made an unexpected return, ZOLA JESUS produced her best work to date in ‘Okovi’ and Hannah Peel embarked on an ambitious synth / brass ‘Journey to Cassiopeia’. Meanwhile, SARAH P. asked ‘Who Am I’ and MARNIE found ‘Strange Words & Weird Wars’ as ANI GLASS and NINA both continued on their promising developmental path.
Respectively, Ireland and Scotland did their bit, with TINY MAGNETIC PETS and their aural mix of SAINT ETIENNE and KRAFTWERK successfully touring with OMD in support of their excellent second album ‘Deluxe/Debris’, while formed out of the ashes of ANALOG ANGEL, RAINLAND wowed audiences opening for ASSEMBLAGE 23.
Despite getting a positive response, both iEUROPEAN and SOL FLARE parted ways while on the opposite side of the coin, Belgian passengers METROLAND celebrated five years in the business with the lavish ‘12×12’ boxed set
Overall in 2017, it was artists of a more mature disposition who held their heads high and delivered, as some newer acts went out of their way to test the patience of audiences by drowning them in sleep while coming over like TRAVIS on VSTs.
With dominance of media by the three major labels, recognition was tricky with new quality traditional synthpop not generally be championed by the mainstream press. With Spotify now 20% owned by those three majors, casual listeners to the Swedish streaming platform were literally told what to like, as with commercial radio playlists.
It is without doubt that streaming and downloading has created a far less knowledgeable music audience than in previous eras, so Rusty Egan’s recent online petition to request platforms to display songwriting and production credits was timely; credit where credit is due as they say…
While ELECTRICITYCLUB.CO.UK does not dismiss Spotify totally and sees it as another tool, it should not be considered the be all and end all, in the same way vinyl is not the saviour of the music industry and in physics terms, cannot handle the same dynamic range as CD.
Music is not as emotionally valued as it was before… that’s not being old and nostalgic, that is reality. It can still be enjoyed with or without a physical purchase, but for artists to be motivated to produce work that can connect and be treasured, that is another matter entirely.
However, many acts proved that with Bandcamp, the record company middle man can be eliminated. It is therefore up to the listener to be more astute, to make more effort and to make informed choices. And maybe that listener has to seek out reliable independent media for guidance.
However, as with the shake-up within the music industry over the last ten years, that can only be a good thing for the true synthpop enthusiast. And as it comes close to completing its 8th year on the web, ELECTRICITYCLUB.CO.UK maintains its position of not actually promoting new acts or supporting any scene, but merely to write about the music it likes and occasionally stuff it doesn’t… people can make their own mind up about whether to invest money or time in albums or gigs.
Yes, things ARE harder for the listener and the musician, but the effort is worthwhile 😉
It was a year when the veterans re-established their standing within electronic pop.
That was not to that comparatively newer acts weren’t making a good impression, it was just that a fair number of established acts gave their all and were producing some of their best work since their imperial heyday.
Great tracks by SPARKS, OUTERNATIONALE, SPACEPRODIGI, iEUROPEAN, PARALLELS, FEVER RAY, SOL FLARE, SOFTWAVE, KNIGHT$, 2RAUMWHONUNG, JORI HULKKONEN, FIFI RONG and KITE BASE made it onto the shortlist, but despite their quality, they did not make the final listing.
Also not included are songs from ‘Welcome To The Dancefloor’, the debut album from Rusty Egan; although gaining a physical release this year, it was reviewed by ELECTRICITYCLUB.CO.UK in the Autumn of last year when download versions of the long player were distributed to those who had purchased it in advance via Pledge Music. Meanwhile, its closing track ‘Thank You’ was included in our 30 Songs Of 2016.
So restricted to purchasable releases only and one song per artist moniker, here are ELECTRICITYCLUB.CO.UK’s 30 Songs Of 2017 in alphabetical order…
AESTHETIC PERFECTION Rhythm + Control – Electro Mix
Additionally featuring NYXX and WILLIAM CONTROL on vocals, ‘Rhythm + Control’ saw Daniel Graves take AESTHETIC PERFECTION’s industrial pop to the next level via his new singles only policy. The magnificent Electro Mix successfully realised this oddball blend of Darren Hayes, Britney Spears and Marilyn Manson. With a mightily elastic bassline, when asked whether The Electricity Club had gone crazy coming up with the comparison, Daniel Graves replied “God no. Spot on, guys!”
From only the third solo album in the long career of Richard Barbieri, ‘Solar Sea’ was a sleazy rhythmic excursion into another world. With the one-time JAPAN sound designer using a Roland System 700 for its bassline, the track’s atonal jazz feel was augmented by the haunting voice manipulations of Lisen Rylander Löve through a vintage Soviet submarine microphone and warping noises offset by soothing brass inflections and live drums.
The American electronic rock quartet BATTLE TAPES continued to develop from their 2015 debut album ‘Polygon’ via their ‘Form’ EP. The best track ‘Control’ hinged around a syncopated filtered synth bass and a brilliantly catchy chorus sung by Josh Boardman, with enough guitars for power and texture without distracting from the overall electronic aesthetic, and even coming over like a heavier Stateside version of SIN COS TAN.
“International in flavour, cosmopolitan in style” and sounding like a long lunch followed by a round of cocktails, Australian duo CLIENT LIAISON roped in one-time TV talent show star Tina Arena to duet on a lush slice of romantic pop that also rode on the current fashion for Synthwave. ‘A Foreign Affair’ could have easily been a Rat Pack movie song.
Johan Baeckström made positive waves with his debut solo album ‘Like Before’ in 2015 but reunited with his musical partner Jarmo Ollila, producing an excellent third album with more tempo variation than their 2014 offering ‘Two’. Featuring the guest vocals of Mac Austin from cult synth trio WHITE DOOR who were one of the inspirations for DAILY PLANET, ‘Heaven Opened’ was an uncomplicated but wonderfully poignant slice of classic synthpop.
ELECTRONIC CIRCUS is the musical vehicle of Chris Payne, the one-time Numan band member who also co-wrote ‘Fade To Grey’. With a symphonic theme bursting with melody and musicality like ULTRAVOX galloping across the plains of Normandy, the brilliant neo-instrumental ’The Trapeze’ was given a wondrous tone of humanistic unity when Payne’s wife and daughter joined in on the final straight in Latin.
FADER are the synth superduo featuring BLANCMANGE’s Neil Arthur and Benge; ‘3D Carpets’ captured an independent post-punk intensity, like JOY DIVISION or THE CURE but realised with analogue electronics rather than guitars. While the pair worked on their parts separately, their creative dynamic produced a great debut album in ‘First Light’.
Available on the ‘First Light’ via Blanc Check Records
From the Welsh synth songstress’ first EP, the fabulous ‘Geiriau’ was a driving sequential drama that had more than a passing resemblance to the first part of SPARKS’ ‘No1 Song In Heaven’. Revolving around ANI GLASS’ experience of flying the nest and returning years later to reconnect with her Welsh and Cornish heritage, it was a spacey and futuristic soundtrack for a wonderfully uplifting homecoming.
‘Volupsa’, the promising Nordic flavoured debut album from THE GOLDEN FILTER came out in 2010, but the Aussie American duo of vocalist Penelope Trappes and synth programmer Stephen Hindman took their time with the follow-up ‘Still//Alone’, having relocated to London after spending several years based in New York. The hypnotic pulse of ‘Rivers’ with its precise drum machine pointed to a female fronted OMD, complete with a catchy riff and synthy jabbing bassline.
The immensely catchy ‘Systemagic’ was a prize electronic gem from the seventh GOLDFRAPP album ‘Silver Eye’, reminiscent of the lusty and beat laden electronic material from ‘Black Cherry’. But its riff asked the question as to whether you will always find Alison Goldfrapp in the kitchen at parties? In the event of Jona Lewie filing a lawsuit, the lucrative income from the song’s use in a BMW advert may ease any potential net payout.
Available on the album ‘Silver Eye’ via Mute Artists
After three acclaimed albums as IAMAMIWHOAMI with producer Claes Björklund, Jonna Lee went solo in 2017 although it was actually difficult to hear the join on the glorious ‘Not Human’, so seamless was the transition; there were still the icy electronic soundscapes, spacey dance beats and uplifting Scandipop vocals while the delightfully odd visuals were all present and correct.
Available on the download single ‘Not Human’ via To Whom It May Concern
I SPEAK MACHINE is the audio / visual collaboration between musician Tara Busch and filmmaker Maf Lewis. Soundtracking their film ‘Zombies 1985’, the story was one of greed and self-obsession in Thatcher’s Britain as a businessman drives home, oblivious to the zombie apocalypse going on around him. Co-written and co-produced with Benge, the brilliant ‘Shame’ with its cascading synths and noise percussion was a wonderful hybrid of THROBBING GRISTLE, THE HUMAN LEAGUE and GOLDFRAPP.
After a number of years gigging around London, KATJA VON KASSEL finally unleashed released her electro Weimer Cabaret to the world. The pulsating ‘In Little Rooms (Show Me Love)’ captured an aesthetic which closely resembled that of RONNY, a former protégé of Rusty Egan. Attached to Alex Gray’s intricate filmic electronics, Fraulein von Kassel’s deep vocal detachment was art cool sexy.
Swedish duo KITE unleashed their darkest offering yet in ‘Demons & Shame’. Shaped by a ritualistic drum mantra and brooding bass drones, as the title suggested, the song confronted the despair that life occasionally throws up while pursuing visions and dreams. If Ennio Morricone composed music for Nordic Noir dramas, it would sound a bit like this. Vocalist Nicklas Stenemo literally screamed his frustration over an epic synthetic soundscape from Christian Berg, laced with nocturnal Arctic overtones and the spectre of THE KNIFE.
Available on the single ‘Demons & Shame’ is released by Progress Productions
James Murphy returned as LCD SOUNDSYSTEM after seven years with this widescreen musical statement reflecting on the political situation in the US. Glancing across the Atlantic and back to the Winter Of Discontent, this 3/4 synth laden tune that had more than a passing resemblance to THE HUMAN LEAGUE’s ‘Circus Of Death’. So did “The Clown” referred to in that song remind Murphy of someone in particular?
Having started out in a more rave inclined environment, Lizette Nordahl ventured into more synthy climes and her debut mini-album had the air of KITE is all over it, which was not entirely surprising as its co-producers were Nicklas Stenemo and Christian Berg from the acclaimed duo. ‘Rest’ with its swirling synth sounds and widescreen Nordic atmosphere had an optimistic air of acceptance despite the melancholic tone and majestic growls.
Led by British born musician Dylan Willoughby, LOST IN STARS is a floating ensemble which also includes Elena Charbila aka KID MOXIE and producer/songwriter Darren Burgos. The latter takes the lead vocal on the spirited electronic pop of ‘Sky’; now if NEW ORDER were from Los Angeles instead of Manchester, they would have sounded like this.
After releasing her first solo album ‘Crystal World’ in 2013, Helen Marnie added more prominent choruses and guitar onto her second, resulting in a catchy Scandipop style. ‘Bloom’ was an optimistic burst of synth laden pleasure and while not totally dissimilar to LADYTRON, it was without their usual hardness or gothic gloom.
Having worked successfully in 2013 with Guy Sigsworth on ‘the minutes’, an acclaimed album which saw ALISON MOYET return to the synthesized music forms to compliment her powerful and self-assured voice, the follow-up ‘Other’ was a natural progression. The startling orchestrated electro-dub drama of ‘Alive’ gave Moyet’s two former classmates in DEPECHE MODE a stark lesson in how to actually fully realise electronic blues. Indeed, it was ‘In Chains’, the lame opener from ‘Sounds Of The Universe’ gone right…
With the narrative of ‘Savage’ provoked by Donald Trump’s withdrawal of the United States of America from the Paris Climate Accord, the mighty apocalyptic rock of ‘When The World Comes Apart’ was something of a revelation for GARY NUMAN. Using synths as the dominant instrument and having guitars less obviously prominent in the mix, with its richly anthemic chorus, this was the magnificent crossover song that both old and new Numanoids had been waiting for.
MICHAEL OAKLEY is a talented Glaswegian who describes his music as “Melancholic postcards from my heart wrapped up in synthesisers and drum machines”. The melodic ‘Rabbit In The Headlights’ came complete with Italo “woah-oh” chants and whether it was Synthwave, synthpop, electropop, Italo or whatever, it showcased Oakley’s fine songwriting abilities, regardless of genre.
The excellent ‘One More Time’ was a classic bittersweet OMD stomper, where “everything you gave me didn’t last”. Using electronic percussion as opposed to drum machines, the enticing verse and uplifting bridge were set to a plethora of gorgeous textures and distorted synth to add a touch of enigmatic weirdness. While Andy McCluskey cried “you can break my heart just one more time”, the track’s star was Paul Humphreys with his crystalline synth sounds laced with some portamento bounce.
As well as keyboards and violin, HANNAH PEEL can also play the trombone. Featuring an array of analogue synthesizers and a 29-piece colliery brass band, ‘Mary Casio: Journey to Cassiopeia’ was her instrumental story about a fictional elderly musical stargazer. Beginning with the lift-off of ‘Goodbye Earth’, Miss Peel’s electronic arpeggios and synthetic noise built up to a crescendo of brass and timpani for a quite unusual combination of two very different musical worlds.
Available on the album ‘Mary Casio: Journey to Cassiopeia’ via My Own Pleasure
From the ashes of ANALOG ANGEL came forth RAINLAND. Their self-titled calling card was a vibrant synthpop statement, embroiled in a musicality that provided a journey through the Grampian Mountains. Ian Ferguson had already proved himself a worthy vocalist in his previous combo with dulcet tones not dissimilar to a certain Midge Ure and this was allowed to reign free on ‘Rainland’. Meanwhile, the ivories of Derek MacDonald stylistically aped the symphonic overtones of ULTRAVOX’s Billy Currie.
Between 1980 to 1984, RHEINGOLD were at the forefront of Die Neue Deutsche Welle, releasing three albums and achieving their first domestic hit ‘3klangsdimensionen’ in 1981. Led by Bodo Staiger, ‘Im Lauf Der Zeit’ was their first album of new material for many years. The melodic synth of ‘Paradieshafen’ drove along a beautiful instrumental that came over like a dream collaboration between OMD and Michael Rother.
Available on the album ‘Im Lauf Der Zeit’ via Lucky Bob Records / Soulfood
With hypnotising hints of Kate Bush and percolating Ryuichi Sakamoto style textures, ‘Who Am I’ by electropop goddess SARAH P. was an ode to “humanity, the world we live in and our importance (or unimportance) as individuals and/or as a whole”. And as the Greek-born songstress announced that “I don’t know where I come from… do you know my name?”, a metronomic beat kicked in to lead a dramatic house-laden climax.
Available on the album ‘Who Am I’ via EraseRestart Records
The normally flamboyant Welsh duo SHELTER surprised all with their darkest and most accomplished song yet in ‘Karma’. “What you want is what you’ll get…” sang Mark Bebb, “…you will get a lot more that you planned”. A vibrant but edgy production from Rob Bradley complimented the sentiment as the message was relayed loud and clear…
Available on the single ‘Karma’ via Ministry Of Pop
From ‘From Deewee’, the first new SOULWAX album since 2004’s ‘Any Minute Now’, ‘Conditions Of A Shared Belief’ was a modular synth lover’s wet dream from the Dewaele brothers. With a retro-futuristic collage of detuned blippy sounds and a backbone of smashing white noise percussion recalling THE HUMAN LEAGUE in their Martyn Ware and Ian Craig Marsh phase, it was complimented by some suitably abstractly pitched TALKING HEADS inspired vocals.
TINY MAGNETIC PETS had their best year yet with a UK tour opening for OMD and to accompany it was their second album ‘Deluxe/Debris’. Featuring Wolfgang Flür, the album’s best song ‘Never Alone’ sounded appropriately like SAINT ETIENNE fronting KRAFTWERK. Paula Gilmer has one of the best voices in modern synthpop and her alluring tone no doubt added to the song’s breezy dreamlike state.
Available on the album ‘Deluxe/Debris’ via Happy Robots Records
The adventurous third VANBOT album ‘Siberia’ was composed and recorded during a 17 day journey on the Trans-Siberian railway. The crystalline ‘Collide (Krasnoyarsk)’ though captured a more Nordic vibe with its gorgeous melodies, while the surrounding rhythmic pace of a train ride made its presence felt. An aural exploration of the relationship between time, location and emotion, ‘Siberia’ was a bold musical experiment.
On the eve of the release of her new album ‘Other’, Alison Moyet delivered a stupendous performance at Hackney’s Grade II listed Round Chapel in East London as part of Amazon Prime’s series of filmed intimate concerts.
The evening started with Ms Moyet as her own support act, courtesy of a Q&A moderated by journalist Pete Paphides. They discussed a wide variety of subjects including her current college course in figurative sculpture, the observational nature of her new record and setting fire to her old leather jackets as part of a decluttering process before moving to her new home of Brighton. She discussed how her daughter was particularly upset that these weren’t passed on to her; “GET YOUR OWN” was her mother’s reply!
The musical proceedings began with ‘I Germinate’, the dramatic opening salvo from ‘Other’ inspired by one of her Mythology sculpture studies. Accompanied by band members John Garden and Sean McGhee within a primarily electronic backdrop, an updated but largely unaltered ‘Nobody’s Diary’ quickly burst forth to the delight of the crowd.
Looking particularly radiant, Ms Moyet took time to address her audience with some down-to-earth banter. Remarking about how difficult some songs were to sing live, she amusingly introduced the marvellous synthy drama of ‘Reassuring Pinches’ as “A COMPLETE BASTARD”! As well as songs from ‘Other’, Ms Moyet delved into her solo back catalogue. ‘Falling’ perhaps surprisingly got one of the biggest cheers and prompted several members of the audience to dance. Meanwhile, there were some interesting new arrangements of songs from ‘Alf’ and ‘Raindancing’. With their productions respectively by Swain & Jolley and Jimmy Iovine, the recorded originals now sound very much of their time.
A song co-written with EURYTHMICS’ David A Stewart under the pseudonym of Jean Guiot, ‘Is This Love?’ got a blippy new waltz arrangement, while a very sparse percussion free ‘Ordinary Girl’ gave the song a resonance that hadn’t been previously present. ‘All Cried Out’ though changed time signatures between verse and chorus which added a new tension to proceedings.
With an added growly presence, Ms Moyet was in fine voice but mention must be made of Sean McGhee who was a particularly good backing vocalist, complimenting her distinctive tones throughout the evening.
It wasn’t all about ballads though, as the gritty dubstep pop of ‘Changeling’ from ‘the minutes’ added some feisty energy to the set, while the cinematic orchestrated grandeur of ‘The Rarest Birds’ celebrated Ms Moyet’s revitalised life in Brighton.
Later on in the show, McGee took to bass guitar and Garden strapped on a six string for the NRA baiting ‘Beautiful Gun’. Here, Ms Moyet also showed her former school classmates from Nicholas Comprehensive how a bluesy electro romp should be done. Indeed, the new material from ‘Other’ confirmed how weak the most recent offering from DEPECHE MODE actually is in comparison…
There was another return to her YAZOO days with a synth noir take on ‘Only You’ that appeared to have been transposed into a minor key reboot before the bouncy ‘Right As Rain’ provided an uptempo spark into the final straight.
A spirited semi-acoustic rendition of Jules Shear’s ‘Whispering Your Name’, which incidentally was also a minor Australian synthpop hit for Ignatius Jones back in 1983, got another positive audience response before an untouched and untouchable ‘Situation’ had the whole of the Round Chapel onto their feet as a conclusion to the main act.
Returning for a passionate ‘Love Resurrection’ and a rapturous crowd singalong for ‘Don’t Go’, the evening was an outstanding launch for Ms Moyet’s upcoming world tour to support ‘Other’. It was triumphant performance from Alison Moyet with interesting facelifts of her solo hits, a welcome airing of YAZOO evergreens and best of all, excellent new material. Now if only another act from Basildon could still be this vital, inventive and entertaining…
Special thanks to Duncan Clark at 9PR
‘Other’ is released as a CD, vinyl LP and download by Cooking Vinyl on 16th June 2017
Alison Moyet’s ‘The Other Tour’ 2017
UK and Ireland dates include:
Cork Opera House (27th October), Dublin Olympia Theatre (28th October), Belfast Ulster Hall (29th October), Gateshead Sage (31st October), Glasgow Royal Concert Hall (1st November), Edinburgh Usher Hall (2nd November), Ipswich Regent Theatre (4th November), Reading Hexagon (5th November), Oxford New Theatre (7th November), Brighton Dome (8th November), Birmingham Symphony Hall (9th November), Southend Cliffs Pavilion (11th November), Cambridge Corn Exchange (12th November), London Palladium (14th November), London Palladium (15th November), Bournemouth Pavilion Theatre (16th November), Cardiff St David’s Hall (18th November), York Barbican (19th November), Liverpool Royal Philharmonic Hall (20th November), Manchester Bridgewater Hall (22nd November), Bristol Colston Hall (23rd November), Warwick Arts Centre (24th November), Nottingham Royal Concert Hall (26th November), Aylesbury Waterside Theatre (27th November), Southampton 02 Guildhall (28th November)
European dates include:
Oslo Rockefeller (3rd December), Odense Odeon (4th December), Stockholm Berns (5th December), Antwerp De Roma (7th December), Amsterdam Paradiso (8th December), Cologne Kantine (9th December), Berlin Huxleys Neue Welt (11th December), Hamburg Gruenspan (12th December), Aschaffenburg Colos-Saal (13th December), Karlsruhe Substage (15th December), Vienna SIMM City (16th December), Milan Fabrique (17th December), Zürich X-tra (19th December), Paris L’Alhambra (20th December)
Please visit http://alisonmoyet.com/ for details on tour dates in North America, Australia and New Zealand
The release of 2013’s ‘the minutes’ sparked a real creative renaissance for Alison Moyet.
It kickstarted a relationship with Madonnaproducer Guy Sigsworth and has now been perpetuated with 2017’s ‘Other’. ‘the minutes’ saw a welcome full-on return to electronics for Moyet, something which fans of YAZOO had long wished for. With the opening salvo of tracks, the ghost of Bristol’s MASSIVE ATTACK looms large; subtle sonic elements of ‘Teardrop’ and ‘Better Things’ and the dominant sparse beat programming mean that ‘Other’ initially creeps slowly into the consciousness with ‘I Germinate’ and ‘Lover, Go’.
‘Lover, Go’ showcases a beautifully softer side to Moyet’s vocal range, subtly understated and suiting the electronic backing perfectly, the track is an early highlight of the album with a piano coda bringing the song to its conclusion.
Alison Moyet has never been shy of using suggestively sexual lyrics… ‘Love Resurrection’ caused a certain amount of controversy with some of its wordplay like “I want you to grow in my hand”. ‘Beautiful Gun’ continues this, but melded to a track which sounds like an inventive electronic re-imagining of Boston’s THE PIXIES gene-spliced with GARBAGE.
It’s hard to listen to lead off single ‘Reassuring Pinches’ without thinking of the Netflix series ‘Stranger Things’, the opening filtered analogue synth that ushers the track in is sonically and musically very similar.
One of the refreshing things about ‘Other’ and its predecessor ‘the minutes’ are that neither resort to lyrical cliché, for an artist which has been this established it would be very easy to rest on their laurels, but it is a testament to Moyet and Sigsworth that ‘Other’ is not afraid to take risks. This is most evident in the spoken word vocal on ‘April 10th’; arguably the most experimental track that Moyet has been present on since ‘I Before E Except After C’; musically the song is built on a thundering low bass synth and military-style electro snare roll.
‘Happy Giddy’ provides a welcome injection of tempo as seven out of the first eight tracks steadfastly adhere to a sub-100 bpm template; the song itself being the most YAZOO-like here. The intro is based around a skittery drum machine and a synth riff cut from the same cloth as the Thomas Dolby-produced ‘Magic’s Wand’ by WHODINI. Halfway through the song goes on a downtempo detour before coming full circle with its electronic conclusion.
The album climaxes on another downtempo track ‘Alive’ and in a strange twist of fate, one can imagine DEPECHE MODE’s Dave Gahan vocalling the song, with it following a similar melodic scale to ‘Going Backwards’ from ‘Spirit’.
When viewed as a whole, ‘Other’ takes a not insignificant sidestep away from the more commercial-sounding ‘the minutes’; the success of that album has obviously given Moyet the confidence to be more experimental here in the knowledge that her fanbase will surely follow her every move.
‘Other’ is a very reflective and beautifully produced work; arguably it could possibly have benefitted from one more uptempo track, but this may have detracted from the overall reflective nature of the album. One thing that can’t be argued is that with Sigsworth on board now as an established muse, Moyet’s musical partnership is undeniably the best that she’s had since the one she shared with Vince Clarke and ‘Other’ is another superb addition to her musical canon.
‘Other’ is released as a CD, vinyl LP and download by Cooking Vinyl on 16th June 2017
Alison Moyet’s ‘The Other Tour’ 2017
UK and Ireland dates include:
Cork Opera House (27th October), Dublin Olympia Theatre (28th October), Belfast Ulster Hall (29th October), Gateshead Sage (31st October), Glasgow Royal Concert Hall (1st November), Edinburgh Usher Hall (2nd November), Ipswich Regent Theatre (4th November), Reading Hexagon (5th November), Oxford New Theatre (7th November), Brighton Dome (8th November), Birmingham Symphony Hall (9th November), Southend Cliffs Pavilion (11th November), Cambridge Corn Exchange (12th November), London Palladium (14th November), London Palladium (15th November), Bournemouth Pavilion Theatre (16th November), Cardiff St David’s Hall (18th November), York Barbican (19th November), Liverpool Royal Philharmonic Hall (20th November), Manchester Bridgewater Hall (22nd November), Bristol Colston Hall (23rd November), Warwick Arts Centre (24th November), Nottingham Royal Concert Hall (26th November), Aylesbury Waterside Theatre (27th November), Southampton 02 Guildhall (28th November)
European dates include:
Oslo Rockefeller (3rd December), Odense Odeon (4th December), Stockholm Berns (5th December), Antwerp De Roma (7th December), Amsterdam Paradiso (8th December), Cologne Kantine (9th December), Berlin Huxleys Neue Welt (11th December), Hamburg Gruenspan (12th December), Aschaffenburg Colos-Saal (13th December), Karlsruhe Substage (15th December), Vienna SIMM City (16th December), Milan Fabrique (17th December), Zürich X-tra (19th December), Paris L’Alhambra (20th December)
Please visit http://alisonmoyet.com/ for details on tour dates in North America, Australia and New Zealand
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added some feisty energy to the set, while the cinematic orchestrated grandeur of ‘The Rarest Birds’ celebrated Ms Moyet’s revitalised life in Brighton.
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