Tag: Blackcarburning

2023 END OF YEAR REVIEW

Photo by Jori Hulkkonen

Just as it looked like it would be safe to come out to play, there was uncertainty within the music industry again.

What had become the artists’ favourite platform thanks to its low commission and 0% Fridays, Bandcamp was taken over by Epic Games in 2022 but then following a move by employees to unionise, was sold to Songtradr who immediately dismissed half of its staff… in hindsight, despite its proclamation that this platform cared about the music, it looked like this had been yet another start-up by tech venture capitalists. Just as many acts dropped their own websites in favour of Facebook over a decade ago but were then trapped into sponsored posts to reach the majority of their own fanbase, online shops had been dropped for Bandcamp. So, things are back to square one as many consider a rebuild of their web presence.

Meanwhile, Live Nation CEO Michael Rapino made a controversial declaration that concert ticket prices were generally too low and that artists could easily “charge a bit more”. While THE CURE notably refused to do this and capped their face value tickets at $20 for their US tour, the Live Nation sister outlet Ticketmaster applied excessive booking extras of more than $20 per ticket for a “service fee”, “facility charge” and “order processing”! With dynamic pricing in place at a number of high profile events and so-called VIP tickets on the rise (which didn’t actually include a meet ‘n’ greet but only a nearby bar and a lanyard), fans had their “FOMO” anxieties triggered and simply paid up!

Photo by Chi Ming Lai

Another artist who kept ticket prices low was Midge Ure who embarked on the successful ‘Voices & Visions’ tour after a year’s delay due to uncertainties over the Covid situation in 2022. Complimented by a straightforward but very effective light show and material from his second and third long players with ULTRAVOX ‘Rage In Eden’ and ‘Quartet’, it was a triumph. He was rewarded with a 70th birthday show celebrating his career at The Royal Albert Hall, which despite its plush surroundings was also kept affordable.

Who says an artist has no control over retail pricing? But one band who were shamelessly happy to charge more for concert tickets, more for merchandise and more for physical releases were DEPECHE MODE. For their first album and tour since the passing of co-founder Andy Fletcher in 2022, the remaining members played the death card with ‘Momento Bori’ and managed to plonk an even more underwhelming arena show into the stadiums of the world… at least the ‘Global Spirit’ tour featured risers!

With renowned UK venues such as Printworks and Moles closing down, as had already been highlighted by Juls Garat of US goth band PILGRIMS OF YEARNING via social media in 2022: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. However, one seemingly oblivious Devotee said about the inflated ticket prices: “Really don’t know what the issue is. Happily paid £108.00 for a DM ticket. Would have paid more!!”. And therein lays the problem… DEPECHE MODE played a date at Stadion Wankdorf in Bern and that said it all! As the man who Devotees call a genius once wrote: “Some great reward will be coming my way…”

Photo by Chi Ming Lai

As The Devotees wallowed in their collective misery during 2023, the Stockholm Syndrome was stronger than ever. On the Bratislava leg at the National Football Stadium, one of The Black Swarm commented to ELECTRICITYCLUB.CO.UK: “I was there… I must admit, a bit disappointed… but I still love them!!!”. It was business as usual for DEPECHE MODE, with “business” being the operative word. It was reported that so much money had been sucked out of the European alternative music market in particular that a number of acts had to schedule their planned tours to 2024, while others who had made good albums worthy of attention in 2023 got lost in the sea of DM propaganda on the web.

Despite increased ticket prices at all levels, gig etiquette declined to the worst possible standards with the constant chatter and bad manners among some attendees. Surely if you have paid upwards of £30 or more for a show, you might want to pay more attention and enjoy it? ELECTRICITYCLUB.CO.UK has never seen it this bad in the 43 years it has been going to concerts, but this entitled arrogance to talk extremely loudly about total bollocks is a undoubted legacy of Brexit and Covid which in combination has normalised a lack of social graces in gathered environments… and when challenged, these total numbskulls become aggressive, pitifully unaware that they are ruining the evening of those around them.

Meanwhile, there was another undesirable element who only go to gigs to post selfies and badly distorted footage on their socials… these were often the sort of people who actually hated the band back in the day, but after 40+ years realised they like the song on the Vitality or Waitrose advert so are sudddenly giving it the big “I AM” about being a fan… but BECAUSE they are only there for one song, they then treat the rest of the gig like they were out with their mates in the pub! 🤬

Photo by Chi Ming Lai

The best live shows of the year came from PET SHOP BOYS and DURAN DURAN with their arena extravaganzas full of hits, classic fan favourites and great staging. Among the album celebrations, CHINA CRISIS ran through their second long player ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ on tour to celebrate its 40th anniversary and founder bassist Peter Hook took the first NEW ORDER compilation ‘Substance’ out on the road to coincide with its expanded 4CD reissue.

“Sweden’s best kept pop secret” KITE impressed with an imitate headliner for their debut London gig and later at Cologne’s Amphi Festival to a much larger crowd, while the return of Ollie Wride to the London stage at The Scala illustrated why he has potential to be the next synthwave artist to crossover into the mainstream.

Photo by Ed Miles

‘Time’s Arrow’, LADYTRON’s second album since their return from hiatus proved to be something of a disappointment while fairing slightly better with its anti-Brexit sentiments, ‘Bauhaus Staircase’ was touted as the final album from OMD; now kissing the strict machine, having previously been supportive of new electronic pop via ELECTRICITYCLUB.CO.UK championed acts MIRRORS, VILLA NAH, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, their choice of art glam hipsters WALT DISCO as opening act on the UK leg of the 2024 tour was symbolic of the general poor state of modern synthpop ie pop music using synths, particularly within the narrow-mindset of Brexit Britain.

Although the UK was continuing to party like it was 1933, the incendiary language that Cruella Braverman was using was so extreme that she was even dismissed from fronting the Conservative Party new wave covers band A FLOCK OF SIEG HEILS… as a trio of poets from South Yorkshire once said: “BROTHERS! SISTERS! WE DON’T NEED THIS FASCIST GROOVE THANG!”

Reflecting a wider issue, 2023 also saw ELECTRICITYCLUB.CO.UK publish its fewest number of ‘Introducing…’ new artist articles since its inception in 2010 with only Brigitte Bardini and Madeleine Goldstein featured. There were a number of possible reasons…

Photo by Bella Salvatore

“The technology leads the art form and it always has” said veteran producer Steve Lillywhite on a recent Rockonteurs podcast, “if the technology allows you to reference other people’s records… you WILL do that!”. This was summed up by an Apple Mac advert featuring sample-based British pop singer PinkPantheress demonstrating how to have a hit by appropriating a topline from Kelly Rowland and plonking it into GarageBand before processing her voice through AutoTune and nabbing the intro of ‘Gold’ by SPANDAU BALLET… you said it yourself Miss Walker, IT SOUNDS LIKE GARBAGE!

While the accessibility, usability and sound quality of modern tech has totally democratised music making, as another veteran producer Stephen Hague put it to ELECTRICITYCLUB.CO.UK “it’s made it far too easy”, with the end result being familiarity and imitation rather than innovation. Now that an acceptable sound is able to be obtained fairly quickly on software such as GarageBand, the level of songwriting has generally declined in many genres. Artists abstain from putting in the hard work towards the actual songcraft because they think their track is already great, as it sounds like someone they’ve based it on!

However, the misuse of “synth” as a description reached a new nadir in 2023. There were those using “synth” or “synthwave” in their brand identity who proudly revealed via their Spotify Wrapped that their Top Genre was actually rock or made bizarre comments like “What I like most about synthwave is the guitar solos”. Meanwhile one artist declared they were synthpop because they had spent their youth “listening to too much Madonna”! But synth music as an enduring form is ultimately doomed when social media platforms using “Synthpop” in their idents think that guitar-based bands like BIG COUNTRY and COCTEAU TWINS are part of it, or compile acoustic playlists!! 🤦‍♂️

“Synth” has now somehow become is a general term for any retro-flavoured pop with an element of shiny artifice whether synthesizers have been used or not! These artists and “content creators” are now too young to understand what “synth” in music actually once meant and probably think the term is short for “synthetic” as in clothes and hair products, as opposed to “synthesizer”.

That said, 2023 was not all bad and there was a lot of excellent music. The song of the year was by the unlikely synth hero in glum rocker Lloyd Cole; while guitars made a more prominent but limited return on his album ‘On Pain’ following 2019’s electronically-dominated ‘Guesswork’, the standout song ‘The Idiot’ saw him provide a touching narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976.

Swedish veterans PAGE took the Numanisation of their poptronica to its zenith by bringing in former imperial phase Numan band members Chris Payne and RRussell Bell on their new album ‘En Ny Våg’. Across the Öresund Bridge, Danish synthpop couple SOFTWAVE showed the world the ‘things we’ve done’.

Photo by George Tripodakis

Another music veteran Ricky Wilde teamed up with NINA to reveal their ‘Scala Hearts’; full of classic pop references and a modern sheen, this was the record Wilde had wanted to make for a few years but hadn’t been able to with his sister Kim. Its creative drive showed and this was also the best long player that NINA had been part of since she launched her solo career in 2011. In a busy year, NINA also found time to satisfy many a red blooded fantasy by collaborating with Kid Moxie on the ‘Lust’ EP released by Italians Do It Better.

The Finns were strong too, with Jaakko Eino Kalavi and Jori Hulkkonen producing two of the best albums of 2023. The former’s eclectic ‘Chaos Magic’ featured Alma Jodorowsky, Mr Silla and Jimi Tenor as special guests while the latter’s ‘There Is Light Hidden In These Shadows’ brought in John Grant, Ralf Dörper, Jake Shears, Jon Marsh, Juho Paalosmaa and Tiga.

While maintaining his front man role in MESH, Mark Hockings presented his solo project BLACKCARBURNING in long playing form and was ‘Watching Sleepers’. Also going it alone, Alison Goldfrapp squarely hit the dancefloor via ’The Love Invention’ with Kylie Minogue’s similarly glitzy ‘Tension’ as its companion. But with ACTORS still busy touring the world, the planned long playing debut from LEATHERS was yet to emerge but there were two new singles in the interim.

METROLAND and side project 808 DOT POP ambitiously released albums in five different formats with exclusive tracks on each between them simultaneously, in a move that had not been seen since 1978 when all four members of KISS released solo records on the same day. Much more discretely, ITALOCONNECTION came up with ‘Nordisko’ which comprised of Nordic pop disco covers. More ambient experiments were served by John Foxx, Vince Clarke, Patricia Wolf, Johan Agebjörn and the late Ryuichi Sakamoto, while putting those ethereal textures into song was Hinako Omori with her appropriately named second album ‘stillness, softness…’

Germany’s BEBORN BETON offered bleak commentary on the state of the planet with ‘Darkness Falls Again’ but encouraged everyone to be dancers in the dark while Chinese band STOLEN highlighted this ‘Eroded Creation’. Within their ‘Circle Of Doom’, NNHMN had pressing matters closer to home while ZANIAS emerged from her ‘Chrysalis’. FERAL FIVE confronted and worked with AI to declare ‘Truth Is The New Gold’ and Finlay Shakespeare tapped into his ‘Illusion + Memory’.

Photo by Tim Darin

Among the promising emergent acts with debut EPs were NEU-ROMANCER and DIE SEXUAL while German solo artists Jennifer Touch and Laura Dre added to their long playing portfolios, as did OHNOTHING and BUNNY X. Fronted by respectively by John Grant and Neil Arthur, CREEP SHOW and THE REMAINDER outlined the benefits of collaboration while CAUSEWAY joined forces with R. MISSING for the single ‘Wear The Night Out’.

Despite having plied their trade for over 50 years, SPARKS continued to be as eccentric as ever and even had Cate Blanchett appear in the video for ‘The Girl Is Crying In Her Latte’. With ‘*Happiness now completed’ and Dave Ball returning to the live fold after a period of serious illness, SOFT CELL effectively issued another new album featuring a significant number of previously unreleased tracks including covers of Giorgio Moroder and X-RAY SPEX to provide a much more satisfying listening experience than the parent ‘*Happiness not included’ record. Then there was the unexpected recorded return of CLASSIX NOUVEAUX with their ‘Battle Cry’.

Veteran acts who ceased active operations many years ago got worthy boxed set treatments; TELEX provided ELECTRICITYCLUB.CO.UK with the funniest interview of the year in support of their self-titled retrospective on Mute while LANDSCAPE were comprehensively catalogued by Cooking Vinyl. Not to be left out, the trusty Cherry Red via their Lemon imprint showcased how underrated NEW MUSIK and their leader Tony Mansfield were, especially with the latter’s sound clearly audible in today’s pop acts such as THE WEEKND.

Despite the return of Q, the jury was still out on whether music magazines are still desirable aside from their CD and vinyl artefacts. Meanwhile, music-based social media dumbed down its engagement to cut ‘n’ paste Wikipedia snippets accompanying archive photos or artwork, pointless 26th anniversary posts and non-significant birthday celebrations to attract likes. Comments from the public such as “My favourite album… I wish I still had it!” and saying “Happy Birthday” when the platform wasn’t even connected to the artist concerned only highlighted further the continuing inane nature of online interaction. And this was without those irritating “POV” reels and reaction videos on TikTok and Instagram which were unfortunately prevalent!

The less said about the right wing gammon infested sh*t show that Twitter has become, the better but on the new Threads platform intended to take it on, PENDULUM’s El Hornet remarked “omg threads is full of music industry self help w*nkers making lists about things nobody asked abort! ABORT!” 🤣

With such platforms also seemingly centred around the exposure of flesh with photos “just for fun” be the subject a golfer, gamer, painter, baker, comedian, hairdresser, photographer, psychologist, racing driver, book reviewer, poet, dating coach or Lego enthusiast, is it any wonder that several music artists resorted to setting up OnlyFans accounts to sell nude photos!

With pun totally intended, in this challenging climate for exposure, some acts simply got a bit too big for their boots and were unbearably conceited on their socials with their bragging and frivolous chatter to appease a needy flock who hung onto their every word, desperate to be seen to be “friends” of wannabe stars while crowdfunding towards their spa weekenders and vet bills for their cat… it was therefore ironic that one of these acts declared “Music isn’t a competition!” when it appeared that another band might be taking away some of their limelight! Well, stop acting like it’s a 24 hour edition of ‘The Apprentice’ then!!! 🙄

On the other side of the coin, one too cool for school band took a strange attitude to promotion by refusing to accept questions about their influences while trying to come over like total originals. Despite their inspirations being blatant and obvious to hear, they had a misguided self-belief that they were somehow speaking a new language! But everybody knows they started out by purchasing the sheet music to ‘Bizarre Love Triangle’ from a New York thrift store! 😆

A few years ago, a lone British artist was complained about the lack of press attention for their new admittedly good album, but then proceeded not to answer emails containing interview pitches. Artists need to engage, no matter how much they say they hate doing promotion, they can’t have it both ways. The days of RADIOHEAD not doing interviews to promote a new album and letting the music speak for itself are long gone…

With the world now making up for lost time since 2020, it would be fair to say that 2023 has been something of a strange year!


Text by Chi Ming Lai
18 December 2023

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2023

Making up for lost time and revenue since 2020, the music industry really went to town on their various income streams in 2023…

Albums were being released in multiple coloured vinyl editions with the same content, sometimes as many as eight versions… while this helped in inflating physical chart positions for marketing purposes, it also gave an incorrect perception of success. As Stephen Morris from NEW ORDER once remarked to Smash Hits back in 1983: “If you believe in the charts, then you may as well believe in fairies…”

With Live Nation CEO Michael Rapino declaring that concert ticket prices were generally too low and that artists could easily “charge a bit more”, this was exactly what quite a few did and there was a noticeable price hike observed across all levels over the year.

But what about the music? This year’s song listing was quite straightforward to compile, with a smaller shortlist compared to previous years with DURAN DURAN, KITE, PISTON DAMP, LEATHERS, DELERIUM and LADYTRON missing the final 30.

Just a note that ELECTRICITYCLUB.CO.UK has never compiled an albums list, due to long form releases now having a much longer gestation period than in the past. Therefore, songs are a much better representation of the music from a calendar year. If you like the song, then check out the parent album or EP if applicable via your chosen music platform…

Selected from tracks available on the usual online retail platforms with a restriction of one song per artist moniker (so yes NINA, John Grant,  Finlay Shakespeare and Laura Bailey each appear twice but in different combinations), here are the ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2023 listed in alphabetical order…


BRIGITTE BARDINI Start A Fire

Hailing from Melbourne in Australia, Brigitte Bardini is the latest artist to embrace her dark side having begun as an acoustic singer songwriter. Moving away from the dreampop and shoegaze of her earlier material, ‘Start A Fire’ captured an alluring gothique on top of a gritty dance tempo while simultaneously haunting and melodic. The stylised rage was sinister stuff but aurally and visually absorbing.

Available on the BRIGITTE BARDINI single ‘Start A Fire’ via Ruby Valley Records

https://www.facebook.com/BrigitteBardiniMusic


BEBORN BETON Dancer In The Dark

Not a rework of Bruce Springsteen, the brilliant ‘Dancer In The Dark’ saw BEBORN BETON managing to out Camouflage CAMOUFLAGE with an infectious pop sensibility that more than likely came from front man and lyric writer Stefan Netschio’s love of DURAN DURAN. With another Cold War looming as if The Berlin Wall never fell, ‘Dancer In The Dark’ was a message to remain positive in the face of adversity.

Available on the BEBORN BETON album ‘Darkness Falls Again’ via Dependent Records

https://www.bebornbeton.com/


BLACKCARBURNING The Mirror

A product of lockdown, BLACKCARBURNING is the solo vehicle of Mark Hockings with the lead singer of MESH taking on multiple roles including programming and production. The spikey throbbing energy of ‘The Mirror’ provided a dark disco highlight away from the parent band’s template. “I’m just generally a fan of arpeggiated bass lines” he said, “I don’t think you can go far wrong with a repetitive sequence and a Roland drum machine”.

Available on the BLACKCARBURNING album ‘Watching Sleepers’ via COP International

https://blackcarburning.com/


LLOYD COLE The Idiot

With Lloyd Cole “excited to still be finding new methods, new perspectives, new sounds”, the standout song ‘The Idiot’ from his Chris Hughes’ produced album ‘On Pain’ gave a touching synth-laden narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976 in an imagined conversation as the pair escaped their narcotic dependency while cycling to the studio and discothèque.

Available on the LLOYD COLE album ‘On Pain’ via earMUSIC

https://www.lloydcole.com/


CREEP SHOW The Bellows

A supergroup comprising of John Grant and the trio WRANGLER comprising of Stephen Mallinder, Ben Benge Edwards and Phil Winter, CREEP SHOW released their acclaimed debut album ‘Mr Dynamite’ in 2018. Utilising a punchy backing track, ‘The Bellows’ was like a blippy PET SHOP BOYS with layers of treated and vocodered vocals before being countered by enticing Middle Eastern resonances in the synth solo.

Available on the CREEP SHOW album ‘Yawning Abyss’ via Bella Union

http://creepshowmusic.com


DAWN TO DAWN Seventh Floor

Their first new track from DAWN TO DAWN since their 2022 debut album ‘Postcards From The Sun To The Moon’, the Montreal trio of solo artist Tess Roby with THE BEAT ESCAPE’s Adam Ohr and Patrick Lee conjured images of headlights on night drives with the shimmering story of love and lust that was ‘Seventh Floor’. With dreamy synthscapes and hypnotic drum machine, this was a wonderfully understated dance number.

Available on the DAWN TO DAWN digital single ‘Seventh Floor’ via SSURROUNDSS

https://www.facebook.com/dawntodawnmusic


FERAL FIVE Silver Sky

Creating their own “Feraltropolis”, the palette of tools on ‘Truth Is The New Gold’ saw FERAL FIVE use traditional instruments, electronica and AI voicing in a quirky but accessible fashion for a commentary on today’s strangely dystopian post-truth world. Exploring the theme of light pollution, the fine squelch laden ‘Silver Sky’ saw great vocals and backing reminiscent of INTERNATIONAL TEACHERS OF POP and DUBSTAR meeting GOLDFRAPP.

Available on the FERAL FIVE album ‘Truth Is The New Gold’ via Reckless Yes

https://www.feralfive.com/


FRAGRANCE. Much More Like A Wave – M!R!M Remix

Matthieu Roche is the enigmatic Parisian behind FRAGRANCE. whose debut ‘Dust & Disorders’ was expanded in 2023 with five new tracks. The first remix from it came in the shape of an excellent ‘Much More Like A Wave’ rework by London-based Italian producer M!R!M. “I love his take on the song” said Roche, “I always felt that the chorus of this song could work as an anthem and he definitely achieved that with his remix”

Available on the FRAGRANCE. digital single ‘Much More Like A Wave – M!R!M Remix’ via Sugarcane Recordings

https://www.facebook.com/thisisfragrance/


GLÜME Dangerous Blue

Following the acclaim for her debut ‘The Internet’ and her first liev appearences, the second Glüme album ‘Main Character’ with high profile guests such as Sean Ono Lennon and Rufus Wainwright was set to elevate her to the next level. However, things did not quite work out that way with health and financial concerns by the end of the year. ‘Dangerous Blue’ was one of the sparkling highlights despite its cooing melancholy.

Available on the GLÜME album ‘Main Character’ via Italians Do It Better

https://www.instagram.com/babyglume/


MADELINE GOLDSTEIN Seed of Doubt

Formally of synth-tinged Portland band FRINGE CLASS, Madeline Goldstein presented her best single yet in ‘Seed Of Doubt’ to launch her ‘Other World’ EP. With a wider narrative on “the restlessness of alienation and isolation, the longing to move, to feel power, and to flee”, ‘Seed Of Doubt’ was a brooding slice of gothwave in a manner tinged with some ghostly allure thanks to a haunting soprano delivery.

Available on the self-released MADELINE GOLDSTEIN EP ‘Other World’

https://www.instagram.com/madelinegoldstein_/


JORI HULKKONEN featuring JOHN GRANT I’m Going To Hell

“For my 50th birthday I wanted to do something a bit special” said Jori Hulkkonen, “however, the list of realistic projects quickly narrowed down on yet another album. I did manage to invite some friends and heroes to be featured on it, though.” The album assembled an impressive supporting cast; displaying his love of PET SHOP BOYS, hearing John Grant with his rich baritone on a house-driven pop track like ‘I’m Going To Hell’ was pure joy.

Available on the JORI HULKKONEN album ‘There Is Light Hidden In These Shadows’ via Blanco & Tinto Recordings

http://www.jorihulkkonen.com


ITALOCONNECTION featuring JAIA SOWDEN On The Radio

ITALOCONNECTION’s long player ‘Nordisko’ came with a twist by paying tribute to pop from the Nordic region via a collection of cover versions. Written by Jay-Jay Johanson, his marvellous 2002 tune ‘On The Radio’ was given an airy feminine disco makeover featuring Jaia Sowden on vocals. With absorbent sequences and glistening keys, it was a fine disco friendly shapeshift from the artpop original.

Available on the ITALOCONNECTION album ‘Nordisko’ via Mordisco / Blanco Y Negro

https://www.facebook.com/italoconnection


JAAKKO EINO KALEVI The Chamber Of Love

Athens-based Finn Jaakko Eino Kalevi sought to find beauty in the chaotic nature of the everyday on his new double album ‘Chaos Magic’. One of its many highlights ‘The Chamber Of Love’ bore a resemblance to WHAM! “I wrote the song before I ever heard ‘Everything She Wants’ but the arrangement was different” the Finn said, “I love ‘Everything She Wants’ so I arranged this song sounding more like that. It is more electronic now…”

Available on the JAAKKO EINO KALEVI album ‘Chaos Magic’ via Weird World / Domino Recording Co

https://www.jaakkoeinokalevi.com/


KID MOXIE & NINA Lust

When artists are mutual fans, it can lead to collaborative possibilities and even ‘Lust’. KID MOXIE and NINA teamed up via Italians Do It Better to capture a seductive film-noir tension within a fantasy world with the EP launched by a cover of ‘Waiting For The Night’, a song made famous by Jennifer Lopez. With a cool air of enigmatic mystery, the downtempo synthwave treatment on ‘Lust’ exuded a sensual anticipation of consummation in their duet.

Available on the KID MOXIE & NINA EP ‘Lust’ via Italians Do It Better

http://www.facebook.com/kidmoxie

https://www.iloveninamusic.com/


KNIGHT$ What Planet Did You Come From?

The first new music from KNIGHT$ since 2021, the vibrant hook-laden Eurobeat of ‘What Planet Did You Come From? (Baby)’ threw in the kitchen sink with synth, sax and vocoder. With shades of Patrick Cowley’s work for Sylvester and Bobby Orlando’s Divine productions, it affirmed that James Knights’ Britalo was just the tonic in these difficult times despite highlighting existential issues closer to home.

Available on the KNIGHT$ EP ‘$auna Mu$ik’ via Specchio Uomo

http://knights101.com/


NATION OF LANGUAGE I Will Never Learn

From their third album ‘Strange Disciple’ themed around “toxic infatuation”, the fittingly titled ‘I Will Never Learn’ summed up life’s trials and tribulations in a wonderful example of why NATION OF LANGUAGE appeal so much in their glorious mix of synths, live bass, sequencers and electronic percussion. A haunting girly falsetto howl provided a beautiful touch alongside their usual NEW ORDER, OMD and ULTRAVOX influences.

Available on the NATION OF LANGUAGE album ‘Strange Disciple’ via PIAS

https://www.nationoflanguage.com/


NEU-ROMANCER Burning Eyes

Having impressed with her first NEU-ROMANCER EP ‘Neue Romantika’ earlier in 2023 while touring the world with ZANIAS, Berlin-based Australian Laura Bailey ended the year with the cowbell heavy Hi-NRG romp ‘Burning Eyes’ on CURSES’ enjoyable album ‘Next Wave Acid Punx DEUX’ compilation. It made use of both her vocal and bass prowess which were less prominent on her largely instrumental debut release.

Available on the compilation album ‘Next Wave Acid Punx DEUX’ (V/A) via Eskimo Recordings

https://www.facebook.com/neu.romacer.music/


NNHMN Soldier of Beauty

As NNHMN, wife and husband “non-humans” Lee Margot and Michal Laudarg have been encapsulating these unsettling times in music. Adapting their dark electronic body style with more varied dance elements on their appropriately titled ‘Circle of Doom’ album, courtesy of a particularly hypnotic bassline, the wonderful serene glory of ‘Soldier of Beauty’ gave the viewpoint that the only honest thing to fight for is peace.

Available on the NNHMN album ‘Circle of Doom’ via Young and Cold Records

https://www.nnhmn.com


OMD Look At You Now

Derived from a Paul Humphreys demo with the working title of ‘Zimmer Frame for Andy’, this came bursting with the usual OMD hooks and was perhaps only missing a Paul Humphreys lead vocal. Lyrics such as “When the energy is gone and the feeling is just wrong” and “The power in your hand is pouring out like sand” pointed towards the ‘Bauhaus Staircase’ album’s political themes on the blind stupidity of Brexit.

Available on the OMD album ‘Bauhaus Staircase’ via 100% Records

https://omd.uk.com/


PAGE Det Här Är Mitt Sätt

Although the ‘En Ny Våg’ album title song took the PAGE “Numanisation” process to its zenith by featuring Chris Payne, outstripping it was the excellent jaunty robopop of ‘Det Här Är Mitt Sätt’. Within its four chord progression, there were catchy riffs and some fabulous vintage Moog soloing in what was originally conceived as a homage to ‘Fade To Grey’, song which Payne co-wrote.

Available on the PAGE album ‘En Ny Våg’ via Energy Rekords

https://www.facebook.com/PageElektroniskPop


THE REMAINDER Broken Manhole Cover

As well as Neil Arthur, THE REMAINDER also comprises Liam Hutton and Finlay Shakespeare, both members of the live BLANCMANGE family. The excellent dance friendly ‘Broken Manhole Cover’ recalled LCD SOUNDSYSTEM and it was all intentional as Neil Arthur told ELECTRICITYCLUB.CO.UK “you’ll hear me singing via a gated tremolo FX the words ‘LCD SOUNDSYSTEM’ most of the way through the song.”

Available on THE REMAINDER album ‘Evensong’ via by Blanc Check Ltd

http://www.blancmange.co.uk/

https://www.liamhutton.co.uk/

http://finlayshakespeare.com/


R. MISSING All Alone With Seas

Fronted by enigmatic Sharon Shy, having released enough singles this year to make up an album, R. MISSING are in danger of falling under the radar with the bubbly electronic pop noir of ‘All Alone With Seas’ almost passing by unnoticed despite being one of their best songs of late. A long playing release, while old fashioned and not playing the modern streaming algorithms, may provide the focal point that the New York-based duo deserve.

Available on the R. MISSING single ‘All Alone With Seas’ via Terminal Echo

https://rmissing.com/


SALLY SHAPIRO Rent

Covered by acts as diverse CARTER THE UNSTOBBALE SEX MACHINE and Liza Minnelli, the latest interpretation of PET SHOP BOYS stark narrative of a kept woman came via this wispy account by Swedish duo SALLY SHAPIRO. Keeping the original theme of relationship dependency close to its heart but offering an icier Nordic vision from a female perspective, Neil Tennant said “We’ve heard it! The chorus in particular sounds good”.

Available on the SALLY SHAPIRO single ‘Rent’ via Italians Do It Better

https://www.facebook.com/shapirosally


DIE SEXUAL Bound, I Rise

From out of the shadows to under the strobe lights, DIE SEXUAL are the Los Angeles-based wife-and-husband duo of Rosselinni and Anton Floriano, the latter part of BLACK LIGHT ODYSSEY who remixed the DEPECHE MODE bonus track ‘Oh Well’. Their dark electronic influences examine themes of domination and submission with the seductive ‘Bound, I Rise’ seeing the bottom switch to the top in a hypnotic EBM friendly stomper.

Available on DIE SEXUAL EP ‘Bound’ via A System Exclusive / Hush Ltd.

https://www.facebook.com/diesex


FINLAY SHAKESPEARE Ready Ready

“It’s an absolute rip off of OMD’s ‘2nd Thought’!” admitted Finlay Shakespeare of his glorious ‘Illusion + Memory’ album highlight ‘Ready Ready’. Almost Motorik in presence with a wonderfully pulsing drive and gorgeous synth tones, our hero doesn’t refrain from thoughts about “feeling at home through just a voice on the shortwave, when in fact you don’t know where you are and you could be in the crosshairs at any time and place.”

Available on the FINLAY SHAKESPEARE album ‘Illusion + Memory’ via Alter

http://finlayshakespeare.com/


SIERRA Stronger

Parisian producer Annelise Morel has been quietly impressing audiences over the past few years as SIERRA with her brand of intriguing darkwave. After several EP releases, her debut album ‘A Story Of Anger’ was a major artistic leap forward. Including collaborations with Carpenter Brut and HEALTH, the standout track was her autobiographical statement ‘Stronger’.

Available on the SIERRA album ‘A Story Of Anger’ via Universal Music

https://www.facebook.com/sierra.synthmusic


SOFT CELL The Day The World Turned Day-Glo

Always adept at doing covers having had hits with ‘Tainted Love’ and ‘What’, SOFT CELL presented a brilliant electro tribute to Poly Styrene with ‘The Day The World Turned Day-Glo’. Taking a musical leaf out of ‘Sex Dwarf’ with Dave Ball making his syndrums and synths sound so menacing yet accessible, while Marc Almond delivers a vocal recalling the anguish of ‘Martin’ with sleazy sax passages resonating with the dystopian lyrics.

Available on the SOFT CELL album ‘*Happiness now completed’ via BMG

http://www.softcell.co.uk


SOFTWAVE Taking Life For Granted

Despite its positive pop sound, the reflective lyrics on the second SOFTWAVE album ‘things we’ve done’ highlighted the challenges of living in a modern world full of dualities. ‘Taking Life For Granted’ saw the Danish duo of Catrine Christensen and Jerry Olsen go all ABBA-esque with someone “lacking gratitude” under attack, although the rousing chorus and a particularly joyous instrumental break gave the infinite hope.

Available on the SOFTWAVE album ‘things we’ve done’ via Electro Shock Records

http://www.softwavemusic.com/


RICKY WILDE X NINA Lovers On A Beach

A fabulous cover of the Italo flavoured Kim Wilde B-side to ‘The Second Time’ from 1984, the throbbing ‘Lovers On A Beach’ is NINA sounding sexier than ever before. Ricky Wilde said “I just thought there was a little bit more that it needed that I maybe wanted to add back in the day”. With sharp spikey edges boosting the trancey template, he provided a superb extended end section that paid homage to Giorgio Moroder in the best way possible.

Available on the RICKY WILDE X NINA album ‘Scala Hearts’ via New Retro Wave

https://twitter.com/Wildericky

https://www.iloveninamusic.com/


ZANIAS Lovelife

Following one of the most traumatic periods of her life, Alison Lewis returned as her solo alter-ego Zoe Zanias to present ‘Chrysalis’.  As the title suggests, it was a rebirth. With glorious arpeggios and lush synth strings, ‘Lovelife’ was bolstered with bass guitar by live bandmate Laura Bailey aka NEU-ROMANCER while an array of pitch-shifted voice samples acted as an abstract lead vocal before the actual one kicked in.

Available on the ZANIAS album ‘Chrysalis’ via Fleisch

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


A selection of ELECTRICITYCLUB.CO.UK’s favourite music of 2023 featuring 230+ tracks has been compiled for its ‘Initial After Brilliance’ playlist


Text by Chi Ming Lai
7 December 2023

BLACKCARBURNING Interview

A thoughtful electronic pop record, ‘Watching Sleepers’ is the debut long form release by BLACKCARBURNING.

Although the solo vehicle of Mark Hockings, lead singer of Bristol band MESH, BLACKCARBURNING features guests Mari Kattman, Neil Francis and Janne Marvannen of LAKESIDE X who take the lead vocals on a number of songs.

With the multiple roles of singer, songwriter, programmer and producer, Hockings addressed the existential crisis than emerged following the pandemic. While a number of tracks could easily have fitted onto any MESH album of the past 15 years, there are different paths taken, including songs in a more classic pop vein such as ‘Watch Me Die’ and ‘Love In Control’.

A man who has rarely given interviews as a member of MESH, usually leaving media duties to bandmate Richard Silverthorn, it was a pleasure to have Mark Hockings speak to ELECTRICITYCLUB.CO.UK about the collective ethos behind BLACKCARBURNING and the making of ‘Watching Sleepers’.

What was the seed that planted BLACKCARBURNING?

I guess this is starting to become a bit of a cliché, but this whole project started during the pandemic when I had a lot of quality time on my hands. I’ve always made music and worked a full-time job, but the amount of useable free time that opened up was unexpected, even though I continued to work throughout that time. I’m someone who has to fill free time productively, and this seemed to present an opportunity to do something different. Initially I just planned to write a few instrumentals and put them on Bandcamp. I even toyed with ringtones for phones.

The start of this whole project however was my work with Mari Kattman which went in a direction that I really didn’t expect. I’d done an instrumental and had used some vocal samples. I’d already done some work with Mari on a (so far unreleased) track MESH track called ‘Bury Me Again’ which turned out unbelievable well. I asked her to replace the samples I’d used to just give it a more natural and original feel, but it ultimately ended up as a full blown song.

That song became ‘Divide Us’, the title track from the third EP. Once I had that track, and endlessly gone over the possibilities in my head, I made the decision to try and write an EP. The EP became an album plus several EPs. That was essentially how it all started. It was the result of a number of gambles, text messages, blind leaps and of course, a global health emergency.

Is BLACKCARBURNING a solo project or is it more a collective with you as the musical director, a bit like how ELECTRONIC with Bernard Sumner and Johnny Marr was?

Mark: If I reluctantly had to classify it, I would say it’s a new band. I would not have been able to do this without the help of my collaborators, so I also wouldn’t say it’s a solo endeavour. I might even disagree with the term ‘project’. That implies that it’s something temporary, and it isn’t. As the band moves forward, I’m hoping to create something that feels more permanent and structured.

You began tentatively with some EPs, but was a full-length album always the intention?

By the time ‘The Mirror’ was (self) released, I already had the bones of an album. The intention was to release that album fairly soon after the EP. However, I was lucky enough to be introduced to Christian Petke and COP International and a record deal was signed. This changed the trajectory significantly and essentially gave me more focus and breathing space to get more album material together and release three more EPs. This all sounds very organised and structured, but it really wasn’t to start with. I was in unknown territory and really didn’t have a plan as such. It all worked out because of COP and Christian’s support, vision and direction.

Had any of this material been written originally for MESH like ‘All About You’ or ‘Reset’ for example?

Mark: Actually, not really. The only track that I considered as a MESH track was ‘Echo Chamber’. I’ve kept this work separate from MESH. I’d written a number of songs for the next MESH album before I started BLACKCARBURNING and those songs are still waiting to be worked on. The MESH work is very much a collaborative effort so it’s been easy to keep the two things apart.

What tools and hardware were you using in composition and pre-production?

Mark: I’ve got a fairly hardware based setup. I’ve used a lot of modular and semi-modular on this album, but also workhorses like the Moog Sub 37, Sequential REV2, Moog Grandmother, OP-Six. The Stylophone GEN-R8 is also used a lot as it’s so dirty sounding. Roland’s ACB machines SH-01 and the TR-6s are also very useful and sound great.

I’ve used a more hands on approach to the electronics, the modular being a part of that process. But also I’ve been using a lot of SOMA gear like the Pulsar 23 drum machine, Lyra 8 (drone synth), Enner (difficult to describe – you play it my bridging electronic circuits with your hands), The Pipe (again – difficult to describe – you play it with your voice), and Ether (detects and amplifies electrical interference in the environment). I’d like to get the new Terra but it’s expensive. That will have to wait for now.

Are you quite into modulars?

I use a lot of Noise Engineering and Make Noise modular gear. I particularly like Morphagene, X-Pan and Q-PAS from Make Noise. But things like Voltage Blocks and Quad LFO from Malekko – these signal processors are so flexible and can be routed to any CV input, modular or not (like the S37). I’m a real fan of Behringer to be honest. The Pro-One and the 2600, and I’ve just bought the Pro-800. I pretty much own all their guitar pedals because they are robust enough for the studio and cost about £20 each. Behringer have changed the game for a lot of musicians wanting the sound of rare and expensive analogue gear, but can’t afford the entry price. They take a lot of criticism, but personally I’m on board.

I’m a big fan of loop stations and use the RC-505 and RC-3 to build up large vocal lines or make some big toplines with guitar or synth. The results are unpredictable and interesting and very useable in most cases. Software wise, the most used stuff is XFER Serum, XFER LFO Tool, XFER Nerve (drum machine), XFER Cthulu. I’ve got a couple of cloud accounts with UVI and Roland. The UVI stuff is amazing and I use it on every track somewhere. The ACB Roland cloud stuff is also excellent and gets used a lot.

Guitar wise, I just use a Line6 Variax (James Tyner) which is a modelling guitar so you can use it like a Fender, or an acoustic, whatever you want. I really love it. Everything is sequenced with Cubase Pro. The album was written with a combination of v11 and v12. Remote vocal sessions were done with VST Connect / Performer – an incredible piece of software which allows me to run proper singer / producer sessions in real time.

‘Watching Sleepers’ is a very diverse record, what influences were you able to bring into the pot that maybe you hadn’t been able to before?

Certainly with ‘Watching Sleepers’, I felt a little more free to explore avenues that maybe wouldn’t feel like they fitted with my work in MESH. I’ve never felt restricted in MESH, but at the same time there are certain boundaries or a corridor that you need to be mindful of. Most of the songs on the album probably wouldn’t sit comfortably on a MESH album as such, but there is obviously a familiarity there that I think still appeals to MESH fans.

I’ve been able to be a bit more into the weeds with the writing, programming and sound design knowing that the buck essentially stops with me – nobody was going to step in and rescue the songs if I messed them up. I’ve also felt a little more free to try new directions and just see where they lead – I could take my time and wasn’t under any particular pressure – that helps a lot.

Working with Neil, Mari and Janne also opened up somewhat of a can of worms. It was something I’d not considered really. Particularly with the live VST sessions with Neil, I realised I had control over a voice that far exceeded what I could do myself, and this presented a raft of possibilities that would not have been possible before.

Having Mari Kattman singing ‘Divide Us’ is something of an outlier for the album, was it written for a female lead from the off?

The general direction of the album was to try not to get too much into any kind of blueprint. I want to be able to use this as an outlet for some experimentation and musical exploration. From my perspective I think everything ties together nicely, and Mari’s track is a typical example of where I wanted to go with this, not unlike Neil’s ‘Love in Control’ or ‘You Do What You Want’ from ‘The Mirror’ single, or ‘The Ghost of Being Alone’ from the ‘Reset’ single, or Janne’s ‘You Heart is Like An Island’ etc. I see them all as having something “off- kilter” but at the same time, they are a coherent body of work. But then I’ve lived with many of these tracks for a long time, so I’m maybe not the best person to judge.

Was a throbbing Moroder-esque electronic disco tune like ‘The Mirror’ something you had always wanted to do?

Yeah, love that kind of stuff. I’m just generally a fan of arpeggiated bass lines. I don’t think you can go far wrong with a repetitive sequence and a Roland drum machine. Not so much of a fan of disco, but certainly Moroder. I’ve always loved the way bands like DAF, NITZER EBB and PORTION CONTROL used the technique, but I always longed to hear something like that with a little more melody. These influences still play a big part in what I try to do and they raise their head periodically.

‘Echo Chamber’ brings in vocoder and throughout ‘Watching Sleepers’, you use a variety of vocal processing and tuning techniques, what do you say to those who feel that technology should not be used on the voice as it is cheating?

Vocal manipulation is pretty much a mainstay of every record now. If you have the tools to fix vocal issues, then most people will choose to use them. It doesn’t make any sense to release something that contains fixable mistakes. That said, I did all the vocals on ‘Watching Sleepers’ with little to no tuning work, instead opting to re-sing them where pitching was a noticeable problem. I had the time to do this, so it wasn’t an issue. I think it made the album a lot more ‘organic’ sounding and opened up the dynamics in general.

HOWEVER – I’ve got no problem in taking backing vocals and tuning them until they are unrecognisable, completely changing the melody and timing. Creating artificial vocal lines using the DAW, or tape recorders, loop stations, vocoders – whatever – all fair game. I don’t know about cheating – I find excessively tuned vocals obvious and annoying. I like the natural sound of untuned or ‘minimally’ tuned vocals, but I certainly wouldn’t leave obvious flaws unfixed if I thought it made the record worse for it.

How did the idea of using other vocalists for certain songs come about? How much of the album had been completed before this happened?

As I said, it initially started with ‘Divide Us’ and Mari Kattman. She also later contributed to the track ‘Watching Sleepers’ and ‘The Grace of Heavy Lifting’. I then asked Neil Francis to do the vocals for ‘Love in Control’, which again was somewhat of a revelation. Neil subsequently sung on ‘Happiness’, ‘Get Ready’, ‘Hive’, ‘Have You Seen Them Fight?’ and ‘Watch Me Die’. He also did backing for ‘Losing Our Way’ and ‘Echo Chamber’. With Janne, the process was slightly different. With all the other collaborations I’d done to that point, I’d recorded the songs with my vocals and we worked from there. With Janne I wrote the track specifically for him, taking into account his work with his band LAKESIDE X.

You did a combination of joint and remote collaborations, an example of the former being with Janne?

All the collaborations were done using VST Connect apart from Mari, where we just swapped files. The same was true with Howie Venton and his piano contribution to ‘The Sound of Running’. That worked well with Mari and Howie, but I did find the VST Connect experience so much more productive and flexible with Neil and Janne. What was great is that we could work together in real time, trying ideas, making up new harmonies, talking about arrangement, adding new musical parts etc. without having to wait for files to be sent. I could do as many takes as I thought we needed and at the same time I could keep an eye on background noise, levels, popping, mic presence and so on. It’s a game changer for me and has opened up a world of possibilities.

Were you pleasantly surprised when Neil Francis presented this Gene Pitney vibe to ‘Love In Control’?

‘Love in Control’ is a track that both myself and Neil are very proud of. He definitely brought something special to that recording and it remains one of my favourite tracks on the album, if not of my writing career. I was always looking for a kind of 50s feel to that track, and he delivered something that was both vintage and contemporary. We’re both very proud of the results.

Do you have any particular favourite tracks on ‘Watching Sleepers’?

I love all of the tracks to be honest. It’s difficult to single anything out as they all have their stories and they all mean different things to me. I just love the album as a complete body of work. To me, it would be like naming your favourite part of a new car – sure, it’s possible, but it’s all about how it works as a whole.

You also recently did a cover of ‘The Other Side Of Life’ for the JAPAN tribute album ‘Still Life In Polaroids’, what inspired you to record a version of the ‘Quiet Life’ album closer?

I was asked to contribute to the Coitus Interruptus Productions’ album ‘Still Life in Polaroids’. I actually chose a different track, but someone was already working on it, so I went with ‘The Other Side of Life’ although I hadn’t heard the track for some time. When I finally got around to listening to it again, I’d forgotten that much of the track is instrumental and it’s pretty long. So I kind of arranged it like a single and tried to get to the meat of the song without making it too meandering. It was pointless trying to emulate the musicianship as I’m not that skilled. To me it has a great hook, but it’s somewhat buried on the original. It was fun and thanks go to Yvette Winkler for making it happen.

Where have you gained the most satisfaction in doing BLACKCARBURNING?

My main satisfaction with music is twofold. I love the programming and working with electronic instruments – it was the reason I started writing music in the first place and remains my passion.

Secondly, I love the moment when something is finished. Many musicians struggle with this part of the process and for those people, nothing is ever really finished. I’ve got very good at drawing a line under something and moving on, so that moment when that decision is made and I can listen to the track as a finished piece of work is very special to me.

What is next for you?

My primary focus over the next year is going to be new MESH material and new BLACKCARBURNING material. I’m setting myself up for a lot of work, but I’ve learnt to manage my time and my priorities better (work and people) over the last couple of years, removed a lot of time-wasting and general distractions that were stopping me from being as productive as I like.

I’m also going to take some holiday…


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Mark Hockings

Additional thanks to Christian Petke at COP International

‘Watching Sleepers’ is available now via COP International as a CD, deluxe 2CD + download from https://blackcarburning.bandcamp.com/

https://blackcarburning.com/

https://www.facebook.com/blackcarburning

https://www.instagram.com/blackcarburning/

https://linktr.ee/blackcarburning


Text and Interview by Chi Ming Lai
15 July 2023

BLACKCARBURNING Watching Sleepers

A product of lockdown, BLACKCARBURNING is the solo vehicle of Mark Hockings, lead singer of MESH.

While MESH have been on numerous concert outings with a live document ‘Touring Skyward – A Tour Movie’ in 2022, there has been no new material with bandmate Richard Silverthorn since 2016’s ‘Looking Skyward’ album.

Addressing the existential crisis than emerged following the pandemic, Hockings took on the challenge of multiple roles including programming and production, a legacy of him almost accidentally falling into the role of MESH’s vocalist. So far, there have been three EPs plus a JAPAN cover ‘The Other Side Of Life’ for the tribute collection ‘Still Life In Polaroids’.

Although a solo project, Hockings does not hog the limelight on BLACKCARBURNING’s debut long player ‘Watching Sleepers’ as special guests Mari Kattman, Neil Francis and Janne Marvannen of LAKESIDE X take turns as featured artists on a number of songs. As far as the material contained on ‘Watching Sleepers’ goes, there is no carry over from the previously released ‘Divide Us’, ‘Reset’ and ‘All About You’ EPs, save the title songs, albeit in different versions.

The opening salvo of ‘All About You’ is MESH in all but name with a suitably angst-ridden delivery and feisty backing that will keep the faithful happy. The spikey throbbing energy of ‘The Mirror’ provides a dark disco highlight away from the parent band’s template but with a rockier edge, ‘Reset’ ramps up the pace to MESH-like proportions. Something of a banger and very immediate with ominous orchestrated lines to boot towards the end, ‘Losing Our Way’ will also please Meshheads.

But taking different paths, ‘Echo Chamber’ brings vocoder into the vocal aesthetic for some emotive electronic pop while the sparse structure of the ‘Watching Sleepers’ title track brings in an unusual mix of acoustic guitar lines and dominant synth arpeggios.

‘The Sound of Running’ is archetypical MESH with female vox humana phrases and cut from a similar cloth, ‘Breaking Bones’ brings a moderate bounce and plays with interesting pitched voice manipulations for its intro hook.

With the four guest lead vocalled works, ‘Divide Us’ featuring the beautiful voice of Mari Kattman compliments the song’s varying tempos in utilising her range of understated and aggressive modes. Fronted by Janne Marvannen, ‘Your Heart Is Like An Island’ springs an aesthetic surprise and does something a bit different with its downtempo rhythmic stutter.

On the two numbers featuring Neil Francis, the mid-paced but rousing ‘Watch Me Die’ enters into crooner territory and his smoother timbre will surprise MESH fans. But another unexpected turn comes with ‘Love In Control’ which recalls the forgotten Romo duo ORLANDO in its acoustic six string assisted synthpop with Francis at the point of almost sounding like Gene Pitney. MESH fans will probably be scratching their heads but this is a classic pop ditty shows the songwriter aspect of Mark Hockings. A song that Hockings himself had troubling nailing, with Francis realising its potential vocally, a future as a songwriter for other singers may beckon.

Those who might have been disappointed with the BLACKCARBURNING EPs will be pleased with how ‘Watching Sleepers’ has turned out. Although there are perhaps are too many songs on it, this can be seen as a positive in that Hockings is clearing the decks to proceed with Richard Silverthorn to work on a new MESH album.

A thoughtful electronic pop record, ‘Watching Sleepers’ makes a fitting and largely enjoyable stop-gap before the follow-up to ‘Looking Skyward’ eventually emerges.


‘Watching Sleepers’ is released by COP International as a CD, deluxe 2CD + download on 23 June 2023 available from https://linktr.ee/blackcarburning

https://blackcarburning.com/

https://www.facebook.com/blackcarburning

https://www.instagram.com/blackcarburning/


Text by Chi Ming Lai
20 June 2023