Tag: Bronski Beat (Page 1 of 2)

25 BBC RADIO1 SESSION TRACKS

The origin of the BBC radio session came about due to restrictions imposed on the corporation by the Musicians Union and Phonographic Performance Limited with regards the airing of recorded music.

The thinking behind this was to create employment, as well as force people to buy records and not listen to them free of charge on the air. As a result, the BBC had to hire bands and orchestras to perform cover versions of recorded music to make up for the shortfall.

When the policy evolved with the advent of the more pop and rock oriented station Radio1, bands ventured into BBC’s Maida Vale studios to lay down between 3 to 5 tracks, with in-house personnel such as John Walters, Dale Griffin, Jeff Griffin, Chris Lycett, Mike Robinson, John Owen Williams and (not that) Tony Wilson helming the sessions.

The most celebrated of these BBC sessions were recorded for John Peel, but equally of merit and perhaps more of an indicator to potential breakthroughs into the mainstream were those produced for Richard Skinner and Kid Jensen.

Sessions were usually recorded and mixed in a single day, so had a rougher feel that lay somewhere between a live performance and a studio recording, sounding almost like a polished demo.

While acts would often use the opportunity to promote their latest single or album, others would premiere recently written compositions, try out different arrangements on established songs or perform cover versions. A number of these session recordings were even superior to their eventual officially released versions.

So ELECTRICITYCLUB.CO.UK presents its favourite 25 BBC Radio1 session tracks with other selection criteria including rare songs or tracks capturing the zeitgeist and signalling a change in the course of music. Presented in chronological and then alphabetical order within each year with a restriction of one track per artist moniker, here are some special moments from our beloved Auntie Beeb.


THE HUMAN LEAGUE Blind Youth (John Peel 1978)

In Summer 1978, THE HUMAN LEAGUE perhaps surprisingly recorded their only session for the BBC which included ‘Being Boiled’, ‘No Time’ (which became ‘The Word Before Last’), a cover of ‘You’ve Lost That Lovin’ Feeling’ and ‘Blind Youth’. The latter was the frantic percussive highlight of the four, a wonderfully shambolic slice of synth punk with bum bleeps and avant waves of white noise, all held together by the metallic rhythmic bed of a sequenced Roland System 100.

Not officially released

http://www.thehumanleague.co.uk/


TUBEWAY ARMY I Nearly Married A Human (John Peel 1979)

Although only comprising of three tracks, Gary Numan’s session as TUBEWAY ARMY for John Peel in early 1979 captured an artist in transition. From the comparatively punky ‘Me! I Disconnect From You’ to the dystopian synthpop of ‘Down In The Park’, the electronics were gaining more prominence to suit his increasingly unsettling lyrical themes. And on the mostly instrumental ‘I Nearly Married A Human’, the machines launched a coup d’etat and took over like an army of replicants with the murmurs of the title being the only sign of flesh and blood.

Available on the GARY NUMAN ‎// TUBEWAY ARMY album ‘Replicas – The First Recordings’ via Beggars Banquet

http://garynuman.com/


OMD Pretending To See The Future (John Peel 1980)

Several months after the release of their self-titled debut long player, OMD returned for their second of their four John Peel sessions with Paul Humphreys and Andy McCluskey accompanied by drummer Malcolm Holmes and keyboardist Dave Hughes. By now, their live sound had expanded and this change was captured on this session with the version of ‘Pretending To See The Future’ having more presence and a looser percussive edge compared with the underwhelming drum machine-led album version.

Available on the OMD album ‘Peel Sessions 1979-1983’ via Virgin Records

https://www.omd.uk.com/


B-MOVIE Polar Opposites (John Peel 1981)

One of the bands alongside SOFT CELL, DEPECHE MODE and BLANCMANGE who got a profile boost from their inclusion on the ‘Some Bizzare Album’, although they were signed by Phonogram to take on DURAN DURAN, B-MOVIE had more of a psychedelic vibe as reflected by songs like ‘Welcome To The Shrink’ and ‘All Fall Down’ on their first John Peel session in March 1981. But the highlight was ‘Polar Opposites’ with its mighty ‘2001: A Space Odyssey’ synth line. It would have made a great single, but never properly was!

Available on the B-MOVIE ‎album ‘BBC Radio Sessions 1981-1984’ via Cherry Red Records

http://www.b-movie.co.uk/


DEPECHE MODE Boys Say Go (Richard Skinner 1981)

Broadcast in Summer 1981, this session captured the original DEPECHE MODE line-up of Dave Gahan, Martin Gore, Andy Fletcher and Vince Clarke several months before the release of debut album ‘Speak & Spell’. Refining into a pop band but still retaining much of the synthetic rawness that linked them artistically to acts like FAD GADGET, the session was characterised by use of the Korg Rhythm KR55 drum machine with its charming klanky metallics. This version of ‘Boys Say Go’ possessed an aggression that was lost on the eventual album cut.

Available on the compilation ‎album ‘1 & Only – 25 Years of BBC Radio 1’ (V/A) via BBC Enterprises / Band Of Joy

http://www.depechemode.com/


DURAN DURAN Like An Angel (Peter Powell 1981)

Like THE HUMAN LEAGUE, DURAN DURAN only did the one BBC session for their biggest champion Peter Powell. Broadcast in June 1981 to coincide with the release of their self-titled debut, they recorded near-facsimile versions of ‘Girls On Film’, ‘Anyone Out There’ and ‘Night Boat’. But a surprise came with ‘Like An Angel’, a sprightly love song unreleased at the time which pointed away from the New Romantics to the more mainstream pop ambition of the ‘Rio’ opus that was to come just a year later.

Available on the DURAN DURAN boxed set ‘Duran Duran’ via EMI Records

http://www.duranduran.com


SOFT CELL Seedy Films (Richard Skinner 1981)

Contributing five songs to their first BBC session as ‘Tainted Love’ was rising up the UK chart, brilliant songs like ‘Bedsitter’, ‘Entertain Me’, ‘Chips On My Shoulder’ and ‘Youth’ demonstrated the potential of Marc Almond and Dave Ball, even in basic form. While ‘Seedy Films’ was faster paced and a bit “snap, crackle and pop” compared to the more sophisticated and laid-back clarinet-laden ‘Non-Stop Erotic Cabaret’ album version, it outlined why at the time, SOFT CELL were rated higher than DEPECHE MODE.

Available on the SOFT CELL boxed set ‘Keychains & Snowstorms’ via Universal Music

https://www.softcell.co.uk/


SPANDAU BALLET Mandolin (Studio B15 1981)

‘Studio B15’ was a short-lived Sunday afternoon magazine show presented by the late Adrian Love that often invited their guests to perform live. SPANDAU BALLET had just released their debut album ‘Journeys To Glory’ and as a band that didn’t tour and rarely played live, this was an opportunity to demonstrate their abilities. ‘Mandolin’ featured a prominent Yamaha CS10 synth line while this version featured Simmons drums and a much clearer vocal with a more pronounced diction from Tony Hadley compared to the oddly smothered album version.

Available on the SPANDAU BALLET deluxe album ‘Journeys to Glory’ via EMI Records

http://www.spandauballet.com/


BLANCMANGE Running Thin (John Peel 1982)

Aired in February 1982, BLANCMANGE were captured in their only John Peel session as a much darker proposition than was later perceived by their UK chart success. It included an early take on ‘Living On The Ceiling’ without its Indian embellishments but the session was notable for ‘I Would’ and ‘Running Thin’, two songs that would not make it onto the ‘Happily Families’ tracklisting. ‘Running Thin’ in particular saw Neil Arthur and Stephen Luscombe trapped in a stark state of gloomy resignation.

Available on the BLANCMANGE album ‘The Very Best Of’ via Demon Music

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


CHINA CRISIS This Occupation (John Peel 1982)

Recorded nearly six months before the release of their debut album, CHINA CRISIS’ first John Peel session saw the duo exploring territory that sat between electronic and traditional pop. ‘Seven Sports For All’ and ‘Some People I Know To Lead Fantastic Lives’ ended up on the album while the more moody ‘Be Suspicious’ was already a B-side. But this version of ‘This Occupation’ was pure machine-propelled synthpop complete with sequencing and strong lead lines; later recordings that appeared on the B-sides of ‘Wishful Thinking’ were never as good.

Available on the CHINA CRISIS deluxe album ‘Difficult Shapes & Passive Rhythms’ via Caroline Records

https://www.facebook.com/chinacrisisofficial


EURYTHMICS I’ve Got An Angel (Kid Jensen 1982)

After their 1981 German-inspired debut ‘In The Garden’, Annie Lennox and David A Stewart explored the possibilities of the synthesizer and acquired a Movement Drum Computer to live up to their moniker. In a BBC session that also included ‘Love Is A Stranger’ which was soon to be issued as a single , ‘I’ve Got An Angel’ was an unusual hybrid of synths, electronic drums and wah-wah guitar, with flute by the front woman alongside her particularly intense and raw vocal. By comparison, the released version on the ‘Sweet Dreams (Are Made Of This)’ album was more restrained.

Not officially released

https://www.eurythmics.com/


NEW ORDER Too Late (John Peel 1982)

Not actually recorded at the BBC, NEW ORDER’s second self-produced John Peel session was a fascinating document of the Mancunian’s transitioning sound with the throbbing sequences of ‘586’ highlighting a future proto-dance direction. Meanwhile ‘Turn The Heater On’ was a cover of the Keith Hudson reggae song in tribute to Ian Curtis and ‘We All Stand’ had avant jazz overtones. But ‘Too Late’ was significant, sounding like it could have come off debut album ‘Movement’ with its lingering gothic doom but also remaining unreleased, discarded as if a relic from another era.

Available on the NEW ORDER boxed set ‘Power, Corruption & Lies’ via Rhino

http://www.neworder.com/


TEARS FOR FEARS Memories Fade (Kid Jensen 1982)

Featuring ‘The Prisoner’, ‘The Hurting’, ‘Start Of The Breakdown’ and ‘Memories Fade’, the arrangements for this BBC session aired after TEARS FOR FEARS’ success with ‘Mad World’ differed significantly from the versions on their debut album. Featuring Linn Drum programming and Banshees-like guitar instead of sax, this version of ‘Memories Fade’ was far superior, utilising a much more powerful mechanised rhythmic tension that reflected the fraught paranoia and resignation of Roland Orzabal’s lyrical angst.

Available on the TEARS FOR FEARS boxed set ‘The Hurting’ via Mercury Records

https://tearsforfears.com/


YAZOO In My Room (Kid Jensen 1982)

Reshaped with a Fairlight and Linn Drum Computer, this version of ‘In My Room’ recorded in session for Kid Jensen was far superior to the irritating album version on ‘Upstairs At Eric’s’. Forming the basis for the live interpretation, it was now free of Vince Clarke’s “Our Father” tape loop monologue and allowed Alison Moyet space to express her emotive frustration to reveal a fantastic song free of distractions. Other songs in the session included beefed up takes on ‘Bring Your Love Down (Didn’t I)’, ‘Situation’ and ‘Too Pieces’.

Available on the YAZOO boxed set ‘Three Pieces’ via Mute Records

http://yazooinfo.com/


DEAD OR ALIVE Give It To Me (Kid Jensen 1983)

Co-written with Wayne Hussey, ‘Give It To Me’ was Pete Burns at his filthy lyrical best, declaring that “Apart from all your obvious attractions, I’ve got the bullets, you’ve got the gun, bang me into action, let’s make this obvious distraction, physically you are just what I wanted!”. Although this slice of  Middle Eastern favoured HI-NRG later surfaced as a bonus track on the 12 inch single of ‘I’d Do Anything’, it seems almost unbelievable now that this potential hit single was never developed further in the studio.

Available on the DEAD OR ALIVE boxed set ‘Sophisticated Boom Box MMXVI’ via Edsel Records

https://dead-or-alive-band.fandom.com/wiki/Dead_or_Alive


JOHN FOXX Hiroshima Mon Amour (Saturday Live 1983)

‘Saturday Live’ was a show that featured interviews and live sessions. Having ventured out touring for the first time since his ULTRAVOX days in support of his third solo album ‘The Golden Section’, John Foxx eschewed material from ‘Metamatic’ but perhaps more surprisingly, mined his former band’s catalogue. Backed by Robin Simon, Peter Oxdendale, David Levy and Barry Watts, Foxx performed an interesting arrangement of ‘Hiroshima Mon Amour’ sans rhythm machine but with guitars, ARP Odyssey and the ubiquitous thud of Simmons drums.

Available on the JOHN FOXX album ‘Metadelic’ via Edsel Records

http://www.metamatic.com/


HOWARD JONES Don’t Put These Curses On Me (Kid Jensen 1983)

Having triumphed opening for CHINA CRISIS in Spring 1983, Howard Jones impressed with his first BBC session featuring songs like ‘New Song’ and ‘Natural’ which would be included on his debut album ‘Human’s Lib’. The album title track also featured on the session with its original love triangle monologue intro. But ‘Don’t Put These Curses On Me’ would not be released until 2003, thanks to Jones considering the song unlucky following an equipment breakdown while attempting to perform it on the live Channel 4 TV show ‘Loose Talk’.

Available on the HOWARD JONES boxed set ‘Human’s Lib’ via Cherry Red Records

http://www.howardjones.com/


SIMPLE MINDS The Kick Inside Of Me (Kid Jensen 1983)

By the end of 1983, SIMPLE MINDS were leaning heavily towards more rockist climes with songs like ‘Waterfront’. But for a three song BBC session which also featured a reprise of ‘New Gold Dream’, there was the debut of ‘The Kick Inside Of Me’, a lively track with catchy synth riffs, an infectious bassline and minimal guitar. But come the released version for the Steve Lillywhite produced ‘Sparkle In The Rain’, it had totally been ruined with distorted guitar, overblown drums and yobbish shouting in a pointless attempt to emulate THE SEX PISTOLS!

Available on the SIMPLE MINDS boxed set ‘Sparkle In The Rain’ via Universal Music

https://www.simpleminds.com/


TALK TALK Why Is It So Hard? (Kid Jensen 1983)

This session captured TALK TALK after the departure of keyboardist Simon Brenner but before producer Tim Friese-Greene came on board as Mark Hollis’ writing partner. Showcasing at the time four brand new songs, only ‘Call In The Night Boy’ ended up on the next album ‘It’s My Life’ while ‘For What It’s Worth’ and ‘Again A Game Again’ became B-sides. But most interesting was ‘Why Is It So Hard?’ which was only released in Canada on the ‘It’s My Mix’ EP as an Extended Version and didn’t get a UK release until 1998 on the ‘Asides Bsides’ collection.

Not officially released

https://www.facebook.com/Talk-Talk-Mark-Hollis-12307963901/


VISAGE Questions (Kid Jensen 1983)

With only Steve Strange and Rusty Egan now remaining, VISAGE surprised all by recording a BBC session with new members Steve Barnacle and Andy Barnett, featuring previously unheard songs ‘Can You Hear Me?’, ‘Only The Good Die Young’, ‘The Promise’ and the funky standout ‘Questions’. With a more live feel, there was hope that VISAGE would be able to sustain some creative momentum despite the departure of Midge Ure, Billy Currie and Dave Formula but the eventual over-produced ‘Beat Boy’ album was rotten, marred by heavy metal guitar and hopelessly off-key singing!

Not officially released

http://www.therealvisage.com/


HARD CORPS Metal + Flesh (John Peel 1984)

Despite the patronage of Rusty Egan, Daniel Miller and Martin Rushent as well as a tour opening for DEPECHE MODE, the industrial pop of HARD CORPS did not breakthrough and by the time their only album ‘Metal + Flesh’ was released in 1990, all momentum had been lost. But the gothic tension and edgy energy of their music was perhaps best represented by their BBC sessions for John Peel and Richard Skinner, with ‘Metal + Flesh’ from the 1984 Peel session far outstripping the eventual album title track studio incarnation.

Available on the HARD CORPS album ‘Radio Sessions’ directly via https://hardcorps.bandcamp.com/album/radio-sessions

https://www.facebook.com/hard-CORPS-217860235015406


BRONSKI BEAT The Potato Fields (John Peel 1984)

For an Autumn session before the release of their debut album ‘The Age Of Consent’, BRONSKI BEAT took the unusual step of recording three solo tracks, with the only band offering being a take on ‘Why?’ B-side ‘Close To the Edge’. Larry Steinbachek presented a HI-NRG instrumental ‘Ultraclone’ while Jimmy Somerville offered the acapella ‘Puit D’amour’. But Steve Bronski contributed the most unusual track, a beautifully new age piece called ‘The Potato Fields’ which took its lead from the Japanese composer Kitaro, a version of which ended up as a bonus on the ‘I Feel Love’ 12 inch.

Not officially available

http://www.bronskibeat.co.uk/


FIAT LUX Breaking The Boundary (Kid Jensen 1984)

From Spring 1984 to coincide with the release of their new single ‘Blue Emotion’, FIAT LUX stepped into BBC Maida Vale for a session to demonstrate their diversity and musicality as more than just a synth act. As well as ‘Blue Emotion’, there was its Brechtean B-side ‘Sleepless Nightmare’ and an acoustic version of ‘Secrets’. But best of all was ‘Breaking The Boundary’, a glorious burst of uptempo North European melancholy that did not officially see the light of day until the shelved FIAT LUX album ‘Ark Of Embers was finally released by Cherry Red Records in 2019.

Not officially available

http://www.fiat-lux.co.uk/


ERASURE Who Needs Love Like That? (Bruno Brookes 1985)

With ERASURE, Vince Clarke had found himself back to square one after YAZOO and THE ASSEMBLY. Recruiting Andy Bell as the flamboyant front man capable of falsetto and creating the vocal tones of Alison Moyet, ‘Who Needs Love Like That?’ did sound like a YAZOO outtake and in this BBC session recording, was busier and more percussive than the already released single version. While ERASURE were not an instant success, the song did eventually chart on its remixed re-release in 1992.

Available on the ERASURE deluxe album ‘Wonderland’ via Mute Records

https://www.erasureinfo.com/


PET SHOP BOYS A Powerful Friend (John Peel 2002)

John Peel was not a fan of PET SHOP BOYS or much synthpop for that matter, so it was a surprise when Neil Tennant and Chris Love did a session for him using the back to basics approach that they had adopted for the ‘Release’ tour with guitars, bass and percussion in the line-up. But the bonus for fans was that two of the songs recorded ‘If Looks Could Kill’ and ‘A Powerful Friend’, which had been written in 1983 and shelved, were specially revived for the occasion. Both numbers were particularly energetic with the latter even featuring very loud rock guitars!

Available on the PET SHOP BOYS deluxe album ‘Release: Further Listening 2001 – 2004’ via EMI Records

https://www.petshopboys.co.uk/


Text by Chi Ming Lai
2nd January 2021

The Electronic Legacy of GREATEST HITS

Despite his lukewarm review of NEW ORDER’s ‘Power, Corruption & Lies’ for ‘Smash Hits’, as a fan of their singles, Neil Tennant wrote: “I’m still looking forward to their ‘Greatest Hits’”.

Not appreciating a greatest hits of an artist who you admire is the ultimate in fan snobbery; that they are in a position of being able to release one is often a symbol of wider acclaim and success.

Despite what those too cool for school hipster types would have you believe, when you are 15 years old with just £4 in your hand, if you are choosing a record of an artist who you only know the singles of, you tend to opt for a compilation where possible, that is a fact.

The greatest hits compilation has its place in documenting the immediate appeal of an artist. It can often be the only release that most casual listeners need, especially if the albums were disappointing and featured all the wrong versions of their best songs as was the case with FRANKIE GOES TO HOLLYWOOD.

But then, duos like PET SHOP BOYS and ERASURE were just supreme in the singular format while conversely, there are those like HEAVEN 17 and VISAGE whose best work can be found on their first two albums. However, bands such as NEW ORDER could often be better represented by their singles rather than their albums, as many of them were standalone releases that were not included on their long players which were often quite different in musical style.

Now while something as “commercial” as releasing a greatest hits would have been an anathema to NEW ORDER’s label Factory Records in 1983, flush with unexpected success and cash, Tony Wilson wanted to play their singles using the CD player that came with his brand new Jaguar car.

Thus, the ‘Substance’ compilation was born in 1987; issued in a variety of formats including double vinyl, cassette, DAT and CD, the latter three variants made use of the extra playing time available and included bonuses such as B-sides, tracks only previously issued in Belgium, instrumental versions and those rarely essential dub experiments.

Perhaps not unsurprisingly despite its flaws with re-recordings, edits and omissions, ‘Substance’ has gone on to sell around twelve million copies worldwide and was many fans’ entry point into NEW ORDER.

A good compilation does the job of attracting new fans while providing something extra for long standing fans and completists where possible. New versions or up-to-the-minute remixes of established standards were the fashion for a period but thankfully, this marketing strategy is today generally considered passé and previously unreleased songs are now considered the main draw.

But ultimately, what makes a great greatest hits package is a seamless listening experience, although this is something which even the best acts don’t always get right despite the quality of their best output.

So here is a personal look at the electronic legacy of greatest hits via twenty notable artist compilation albums, each with valid reasons for their inclusion, presented in yearly and then alphabetical order within. And as one great Northern English philosopher once wrote: “some are here and some are missing…”


ULTRAVOX The Collection (1984)

At the time of release, ‘The Collection’ was novel. Not only did it feature all thirteen Midge Ure-fronted ULTRAVOX singles to date, but in ‘Love’s Great Adventure’, it also included a brand new one too. Yes, 2009’s ‘The Very Best Of’ features four more tracks including the cancelled 1984 single ‘White China’, but honestly who really needs the singles from ‘U-Vox’? ‘The Collection’ was a perfect package that could be played from start to finish, from ‘Dancing With Tears in My Eyes’ to ‘Lament’ via ‘Vienna’.

‘The Collection’ was released by Chrysalis Records

http://www.ultravox.org.uk/


DEPECHE MODE The Singles 81-85 (1985)

The ideal DEPECHE MODE greatest hits package would be CD1 of ‘The Singles 86-98’ which ends with the ‘Violator’ 45s coupled with the innocent synthpop period gathered on ‘The Singles 81-85’. But as that doesn’t exist, the very first DM singles compilation wins over thanks to its inclusion of candid photos from the band’s history and some amusing negative review quotes, highlighting that once upon a time, DEPECHE MODE actually had a sense of humour. Oh! Those were the days!

‘The Singles 81-85’ was released by Mute Records

http://www.depechemode.com/


GARY NUMAN Exhibition (1987)

The first compilation ‘New Man Numan’ was a 1982 singles collection that sold poorly as his star turn was on the wane. But by 1987, there was renewed interest in trailblazing exploits of Gary Numan; the ‘Exhibition’ double CD package featured not only his singles up to 1983 but choice album tracks from his imperial Beggars Banquet phase like ‘Metal’ and ‘Remind Me To Smile’ which should have been singles plus rarities like ‘On Broadway’ and B-sides such as ‘Do You Need The Service?’.

‘Exhibition’ was released by Beggars Banquet

http://garynuman.com/


CHINA CRISIS Collection (1990)

CHINA CRISIS had their fourteen track ‘Collection’ of primarily singles released in a wonderful limited edition double CD package with fourteen of their B-sides. Gary Daly and Eddie Lundon were better than their four Top20 hits suggested, with songs like ‘African & White’ and ‘Arizona Sky’ in particular deserving of much higher chart placings. Add in B-sides like ‘No Ordinary Lover’, ‘A Golden Handshake For Every Daughter’ and ‘Dockland’, and you have a near perfect document of their career.

‘Collection’ was released by Virgin Records

https://www.facebook.com/chinacrisisofficial


JIMMY SOMERVILLE The Singles Collection (1990)

The diminutive Glaswegian never stuck around in his bands for long but he had one of the most recognisable voices in pop, thanks to in his glorious falsetto. So what better than compiling his BRONSKI BEAT and COMMUNARDS singles alongside his solo work? From the poignant commentary on gay rights in songs like ‘Smalltown Boy’ and ‘Why?’ to the HI-NRG covers of disco standards ‘Don’t Leave Me This Way’, ‘Never Can Say Goodbye’ and ‘Mighty Real’, this was a fine collection.

‘The Singles Collection’was released by London Records

https://www.jimmysomerville.co.uk/


TALK TALK Natural History (1990)

After 1988’s financially disastrous ‘Spirit Of Eden’, EMI were keen to recoup their investment on the now departed TALK TALK and what better than with a compilation. While primarily based around their hit singles, ‘Natural History’ actually pulled off an accidental masterstroke by including the full-length album versions of songs like ‘Such A Shame’ and ‘Living In Another World’ which had sounded terrible as single edits. This all made for a better listening experience for those new to Mark Hollis and friends.

‘Natural History’ was released by EMI Records

https://spiritoftalktalk.com/


PET SHOP BOYS Discography (1991)

‘Discography’ gathered all of PET SHOP BOYS singles during what Neil Tennant has always describe as their imperial phase and could rightly be called one of the best greatest hits albums ever. Featuring four UK No1s, there were others like ‘Left To My Own Devices’, Being Boring’ and the Dusty Springfield duet ‘What Have I Done To Deserve This? that were equally as worthy. Later compilations like ‘PopArt’ mighty have ‘Go West’ and more, but ‘Discography’ captures the duo at their most consistent best.

‘Discography’ was released by EMI Records

https://www.petshopboys.co.uk/


ERASURE Pop! The First 20 Hits (1992)

Coming not long after ‘Discography’, ‘Pop! The First 20 Hits’ saw ERASURE take on PET SHOP BOYS at their own game. Andy Bell and Vince Clarke may have only had three less UK No1s than Neil Tennant and Chris Lowe but that’s a bit like saying Nigel Mansell wasn’t a good as Nelson Piquet on stats alone. ERASURE have always been a better singles act than they are an album one, but while a second volume was added in 2009, this initial volume is the more essential purchase.

‘Pop! The First 20 Hits’ was released by Mute Records

https://www.erasureinfo.com/


KRAFTWERK The Model (1992)

Los Angeles goth industrial specialists Cleopatra Records pulled off a major coup by licencing the music of KRAFTWERK from their then-US label Capitol Records for a compilation album. Covering the period 1975-1978, the main point of interest for Kling Klang enthusiasts was the first time on CD release of ‘Radio-Activity’, ‘Trans Europe Express’, ‘The Robots’ and ‘Neon Lights’ in their single edits! ‘The Model’ retrospective was a good introduction to KRAFTWERK for the more cautious consumer.

‘The Model’ was released by Cleopatra Records

http://www.kraftwerk.com/


FRANKIE GOES TO HOLLYWOOD Bang!… (1993)

Liverpool’s FRANKIE GOES TO HOLLYWOOD are probably the epitome of hype over substance, but in their name came some magnificent ground-breaking singles. For a band who released only two albums, they have been documented more than most already with six greatest hits collections and a plethora of remix packages. The very first one ‘Bang!…’ was undoubtedly the best, serving the Frankie phenomenon in mostly bite size single edit portions with album highlights and perfect for the casual but interested observer.

‘Bang!…’ was released by Warner Music

http://www.ztt.com/artists/frankie_goes_to_hollywood.html


JOHN FOXX Modern Art (2001)

The first John Foxx compilation ‘Assembly’ in 1992 while welcome, suffered from being selected by the man himself, as artists are not often the best judges of their own work. Much better and more comprehensive was ‘Modern Art’ which gathered all his singles into one place in their correct versions, while also adding a remastered version of the ‘Smash Hits’ flexi-disc ‘My Face’ as a bonus for Foxx aficionados as well as new material from ‘The Pleasures Of Electricity’.

‘Modern Art’ was released by Music Club

http://www.metamatic.com/


SIMPLE MINDS Early Gold (2003)

Before Jim Kerr hectored audiences to show them his hands, SIMPLE MINDS were one of the best art rock bands in the UK, swathed in Eurocentric synths and rhythms. ‘Early Gold’ satisfied those who always felt the Glaswegians lost it after ‘New Gold Dream’ by including The Blitz Club anthem ‘Changeling’, the Moroderesque ‘I Travel’ and the glory of ‘Someone Somewhere in Summertime’. However, the magnificent ‘Theme For Great Cities’ is missing but you can’t have it all…

‘Early Gold’ was released by Virgin Records

https://www.simpleminds.com/


NEW ORDER Singles (2005)

With its hotch-potch of wrong mixes and ordering, the first edition of ‘Singles’ is historically incorrect. But unlike ‘Substance’, it has the correct takes of ‘Ceremony’ and ‘Temptation’. Yes, there’s the album cut of ‘Bizarre Love Triangle’ and an edited B-side version of 1963 as well, BUT as a listening experience, CD1 of ‘Singles’ does a better job of capturing NEW ORDER up to the end of 1987. ‘Blue Monday’ remains intact, and while the edit of ‘Thieves Like Us’ is annoying, ‘Confusion’ is more tolerable in abridged form.

‘Singles’ was released by London Records

http://www.neworder.com/


JAPAN The Very Best Of (2006)

First up, there is no ideal JAPAN compilation. But ‘The Very Best Of’ wins over because it was the only one that had the key Ariola Hansa era singles ‘Life In Tokyo’, ‘I Second That Emotion’ and ‘Quiet Life’ alongside the Virgin period that produced ‘Ghosts’ and ‘Nightporter’. However, the clumsy 1980 early fade of ‘Quiet Life’ was included rather than the sharper 1981 hit single edit. Also, were two versions of ‘Ghosts’ necessary when ‘Swing’ could have been dropped in? It all spoilt what potential this compendium had.

‘The Very Best Of’ was released by Virgin Records

http://www.nightporter.co.uk/


DURAN DURAN The Singles 81-85 (2009)

DURAN DURAN were described by The Guardian in 2015 as “an electronic band with a heavy rock guitarist bolted on” and that era of the classic Le Bon / Rhodes / Taylor / Taylor / Taylor line-up is captured in this 3CD package largely firing on all cylinders. Originally issued in 2003 as a lavish 13CD boxed set and featuring all their singles, extended versions and B-sides from that period, ‘The Singles 81-85’ is superior to the both the preceding ‘Decade’ and ‘Greatest’ compendiums.

‘The Singles 81-85’ was released by EMI Records

http://www.duranduran.com/


LADYTRON Best Of 00-10 (2011)

“They only want you when you’re seventeen” sang LADYTRON on their single satirising modern day audition culture and perhaps not coincidently, their ‘Best Of 00–10’ featured that number of tracks. A fine introduction to the quartet via their more immediate songs like ‘Discotraxx’, ‘Playgirl’, ‘Runaway’ and the mighty ‘Destroy Everything You Touch’. Extra points were awarded for the right wing baiting revisionist cover of Nazi folkies DEATH IN JUNE’s ‘Little Black Angel’ in a defiant act of artistic and ideological subversion.

‘Best of 00-10’ was released by Nettwerk Records

http://www.ladytron.com/


CAMOUFLAGE The Singles (2014)

Often seen as Germany’s answer to DEPECHE MODE, CAMOUFLAGE added in elements of YELLOW MAGIC ORCHESTRA and have a marvellous back catalogue that is well worth investigating. ‘The Singles’ is a fine introduction, containing their signature song ‘The Great Commandment’ as well as ‘Stranger’s Thoughts’, ‘Love Is A Shield’, ‘Suspicious Love’, ‘Me & You’ plus a great cover of Moon Martin’s ‘Bad News’. With liner notes by ELECTRICITYCLUB.CO.UK, what more could you want? 😉

‘The Singles’ was released by Polydor Records

http://www.camouflage-music.com/en/News


JEAN MICHEL JARRE Essential Recollection (2015)

Jean-Michel Jarre has several greatest hits albums but they all have been frustrating listens. This has largely been due to his synthesizer symphonies not being suited to sub-three minute edits, a flaw heavily exposed on the ‘Images’ compilation. But ‘Essential Recollection’ collected the French Maestro’s most accessible moments with sympathetic fades that captured the essence of his electronic wizardry. However, 2000’s ‘The Bells’ was odd inclusion in a collection that focussed on his earlier imperial phase.

‘Essential Recollection’ was released by Sony Music

https://jeanmicheljarre.com/


SOFT CELL Keychains & Snowstorms – The Singles (2018)

No-one expected Marc Almond and Dave Ball to reunite as SOFT CELL for a final show in 2018, but a bigger surprise was a brand new single ‘Northern Lights’ b/w ‘Guilty (Cos I Say You Are)’. Both tracks were included on a new singles compilation which reminded people that SOFT CELL had five UK Top5 singles in just over thirteen months between 1981 and 1982. However, a minus mark gets awarded for using the inferior album mix of ‘Tainted Love’ instead of the chart topping single version!

‘Keychains & Snowstorms – The Singles’ was released by Universal Music

https://www.softcell.co.uk/


OMD Souvenir (2019)

As with JAPAN, there is no perfect OMD compilation. The brand has had some quite different phases, so means different things to different people. ‘The Best Of’ is still their biggest selling album but the comprehensive ‘Souvenir’ gathers all their singles, from the exemplarly ‘Messages’, ‘Enola Gay’ and ‘Maid Of Orleans’ to the more recent ‘Dresden’ and ‘Don’t Go’. But while there’s duffers like ‘Stand Above Me’ and ‘If You Want It’, maybe it’s the ideal time to put those CD programmers and playlists to work!

‘Souvenir’ was released by Virgin Records

http://www.omd.uk.com/


Text by Chi Ming Lai
25th July 2020, updated 27th July 2020

30 TRACKS THAT SHAPED ELECTRICITYCLUB.CO.UK

So how did ELECTRICITYCLUB.CO.UK arrive at its discerning musical ethos?

It probably all began with a very liberal and Bohemian junior school teacher named Miss Nielsen who played KRAFTWERK’s ‘Autobahn’, PINK FLOYD’s ‘Echoes’ and the soundtrack of ‘A Clockwork Orange’ to the class, with the unusual sound of all three providing an otherworldly, yet captivating listen.

Later on, various parts of the 22 minute ‘Autobahn’ track appeared on the end credits of BBC children’s drama ‘Out Of Bounds’ and opened ‘Newsround Extra’, but 1977 was to become the true Year Zero in electronic pop. With ‘Oxygène’, ‘Sound & Vision’, ‘Magic Fly’ and ‘I Feel Love’ all hitting the UK Top 3 within months of each other, this was effectively the beginning of synths designing the future.

To celebrate the 10th birthday of the site, here is a very personal list of 30 tracks that shaped the site. These are primarily songs that solidified and expanded the interest in synth or later provided hope in the face of real music snobbery and the return of the guitar in the wake of Britpop.

There will be grumbles that the likes of YELLOW MAGIC ORCHESTRA, HEAVEN 17, YAZOO, DURAN DURAN, TALK TALK, PROPAGANDA, CLIENT, RÖYKSOPP and others are not featured, and certainly if this list was a 40, they would all be included. But this list is an impulsive snapshot of ELECTRICITYCLUB.CO.UK’s own journey in music, as opposed to being a history of electronic pop or a best of.

What? No industrial, acid house, techno or dubstep you ask? Well, that’s because ELECTRICITYCLUB.CO.UK disliked the majority of it. While this is not always the case, the site has generally about synthpop ie pop music using synthesizers, as can be seen from this rather esteemed electronic roll of honour 😉

This is the history that the too cool for school media, who think everything jumped from KRAFTWERK to Detroit Techno in one fell swoop, don’t like to mention…

With a restriction of one track per artist moniker and presented in yearly and then alphabetical order featuring music from before the site came into being, here is why is it how it is…


JEAN-MICHEL JARRE Oxygène (1976)

For many including Jean-Michel Jarre, ‘Popcorn’ for their first experience of a synthpop hit and he released his own version under the moniker of THE POPCORN ORCHESTRA in 1972. But while working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from the late Gershon Kingsley’s composition as the main theme of what was to become the project’s lead single. That composition was ‘Oxygène IV’ and the rest is history.

Available on the album ‘Oxygène’ via Sony Music

https://jeanmicheljarre.com/


DAVID BOWIE Sound & Vision (1977)

Exploring a “whole new school of pretension” with his new creative muse Brian Eno, ‘Sound & Vision’ saw David Bowie capture a tense European aesthetic. Utilising an uplifting rhythm guitar hook and an ARP Solina string machine, the most distinctive feature was the pitch shifted percussion, produced by Tony Visconti feeding the snare drum though an Eventide H910 Harmonizer. The half instrumental track was a taster of the approach that was to come with the half instrumental parent album ‘Low’.

Available on the album ‘Low’ via EMI Music

https://www.davidbowie.com/


SPACE Magic Fly (1977)

SPACE was the brainchild of Didier Marouani who went under the pseudonym of Ecama and formed the collective in 1977 with Roland Romanelli and Jannick Top. Together with compatriot Jean-Michel Jarre and a certain Giorgio Moroder also in the charts, the space disco of the iconic ‘Magic Fly’ heralded the start of a new European electronic sound within the mainstream. With its catchy melody and lush accessible futurism, ‘Magic Fly’ sold millions all over the world.

Available on the album ‘Magic Fly’ via Virgin France

https://marouani.space/


DONNA SUMMER I Feel Love (1977)

Working with Donna Summer on an album called ‘I Remember Yesterday’, producer Giorgio Moroder wanted to feature a track that represented “the sound of the future”. Employing the Moog Modular system with an 8-step analogue sequencer plus a triplet delay to create the pulsing synthesizer lines and metronomic beat, ‘I Feel Love’ changed the course of music. Summer’s hypnotic Middle Eastern falsetto was an accident, coming as a result of the track being laid down outside of her usual vocal range.

Available on the album ‘I Feel Love: The Collection’ via Spectrum

http://donnasummer.com/


KRAFTWERK The Model (1978)

Using a Micromoog for its iconic hook, ‘The Model’ was inspired by KRAFTWERK’s visits to night clubs in the more vibrant city of Cologne 30km down the road from Düsseldorf where their iconic Kling Klang studio was based. There, they would observe beautiful models drinking champagne and seek their company. It was quite the antithesis of the robot image that the quartet were portraying. Sonically ahead of its time, it became a UK No1 four years after its initial release in 1982.

Available on the album ‘The Man Machine’ via EMI Music

http://www.kraftwerk.com/


SPARKS No1 Song In Heaven (1979)

In a creative rut following their massive UK success in the glam-era, the Mael Brothers had found ‘I Feel Love’ awe inspiring. A journalist friend put SPARKS into contact with Giorgio Moroder who had aspirations to work with a band and set to work with them immediately. The first result was the tremendous ‘No1 Song In Heaven’ where Russell Mael’s flamboyant falsetto fitted well with the electro-disco sound, while the programmed backing meant Ron Mael could maintain his image of doing nothing.

Available on the SPARKS album ‘No1 In Heaven’ via Repertoire Records

http://allsparks.com/


TUBEWAY ARMY Are Friends Electric? (1979)

Still using the group name of TUBEWAY ARMY at the behest of Beggars Banquet, the astoundingly long ‘Are Friends Electric?’ with its diabolus in musica structure became the entry point for many into electronic music. It was Synth Britannia’s ‘Starman’ moment when it was featured on ‘Top Of The Pops’ and Old Grey Whistle Test’ during the same week. When it reached No1 in the UK, life was never the same for Gary Numan, the pale-faced front man of what turned out to be a phantom band.

Available on the album ‘Replicas’ via Beggars Banquet

http://garynuman.com/


JOHN FOXX Underpass (1980)

Departing ULTRAVOX after the ‘Systems Of Romance’ album and now making music along with an ARP Odyssey, Elka Rhapsody and a Roland CR78 Compurhythm, John Foxx realised his own starker vision of electronic music. Engineered by Gareth Jones who was to later notably work with DEPECHE MODE, ‘Underpass’ channelled the dystopian writings of JG Ballard in his lyrical imagery, with Foxx added that the English novelist was “addressing what I’d come to call ‘the unrecognised present’.”

Available on the album ‘Metamatic’ via Metamatic Records

http://metamatic.com/


THE HUMAN LEAGUE The Black Hit Of Space (1980)

A track that “weighed more than Saturn”, ‘The Black Hit Of Space’ sounded extraordinary when it opened the second album by THE HUMAN LEAGUE. The Sci-Fi lyrics about an infinite pop hit were strangely out there while harsh screeching frequencies from overdriving the mixing desk; “We were also experimenting with guitar pedals” Martyn Ware told The Electricity Club, “All that was a reaction to the cleanness of the previous album so we overcompensated.”

Available on the album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk/


JAPAN Quiet Life (1980)

The resonant heart of ‘Quiet Life’ was a Roland System 700 driven by Richard Barbieri’s snappy eight step Oberheim Mini-sequencer. Complimented by Mick Karn’s distinctively fluid fretless bass, Rob Dean’s clean guitar lines and David Sylvian’s lyrical conclusion that the band were outsiders in the environment they were born into, it was a sure-fire hit… but not yet as Ariola Hansa release it as a single in the UK until 1981. But meanwhile, JAPAN had invented DURAN DURAN!

Available on the album ‘Quiet Life’ via Sony Music

http://www.nightporter.co.uk/


OMD Messages (1980)

Within the environment of colder electronic pioneers such as Gary Numan and John Foxx, OMD were perhaps the first of the warmer synthesizer bands. ‘Messages’ utilised a pulsing ‘Repeat’ function on a Korg Micro-Preset shaped by hand twisting the octave knob. Re-recorded from the original album version under the helm of producer Mike Howlett, he harnessed a template of basic primary chord structures and one fingered melodies, netting a No13 UK chart hit.

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Virgin Records

http://www.omd.uk.com


ULTRAVOX Astradyne (1980)

Of ‘Astradyne’, Billy Currie told The Electricity Club: “Midge started with that strong melody, Chris’ bass was also a very strong feature. I played a piano counter melody behind. The track was so strong that we felt at ease to lengthen it with a long textural piano bit that is sort of bell-like with the metronomic bass drum beats and the violin tremolo solo… Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is very celebratory at the end…”

Available on the album ‘Vienna’ via Chrysalis/EMI Records

http://www.ultravox.org.uk/


VISAGE Fade To Grey (1980)

Conceived during soundchecks under the working title of ‘Toot City’ while they were playing on Gary Numan’s first concert tour, Chris Payne, Billy Currie and Ced Sharpley had recorded the track at Genetic Studios as a souvenir keepsake. Midge Ure later came up lyrics and a melody when the track was added to the debut VISAGE album and the rest was history. Capturing the cinematic pomp of the New Romantic movement in all its glory, ‘Fade To Grey’ became a No1 hit in West Germany.

Available on the album ‘Visage’ via Polydor Records

http://www.therealvisage.com/


DEPECHE MODE New Life (1981)

Written by Vince Clarke and produced by Daniel Miller, DEPECHE MODE fulfilled the Mute label founder’s vision of a teenage pop group with synthesizers that he had imagined and conceived for SILICON TEENS. Despite its danceable bubblegum appeal and catchy synthesizer hooks, ‘New Life’ also featured some intricate folk vocal harmonies which made it quite distinct from the chanty nature of THE HUMAN LEAGUE’s ‘The Sound Of The Crowd’ which was also out at the same time.

Available on the album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/


SIMPLE MINDS Theme For Great Cities (1981)

The expansive instrumental ‘Theme for Great Cities’ was initially been given away as a freebie having initially been part of ‘Sister Feelings Call’, a seven track EP given gratis to early purchasers of SIMPLE MINDS’ breakthrough fourth album ‘Sons & Fascination’. Starting with some haunting vox humana before a combination of CAN and TANGERINE DREAM takes hold, the rhythm section covered in dub echo drove what is possibly one of the greatest synth signatures ever!

Available on the album ‘Sons & Fascination / Sister Feelings Call’ via Virgin/EMI Records

http://www.simpleminds.com


SOFT CELL Tainted Love (1981)

SOFT CELL’s cover of ‘Tainted Love’ became ubiquitous as Synth Britannia’s first true crossover record, reaching No1 in UK, Germany, Australia and Canada while also breaking the US Top 10 a year later. Written by Ed Cobb, ‘Tainted Love’ was recorded by Gloria Jones and became a Wigan Casino favourite on the Northern Soul scene. As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory, while Marc Almond added an honestly spirited vocal.

Available on the album ‘Non-Stop Erotic Cabaret’ via Mercury Records

https://www.softcell.co.uk/


ASSOCIATES Party Fears Two (1982)

With its iconic honky tonk piano line and sophisticated arrangement, ‘Party Fears Two’ was a magnificent song about dealing with the perils of schizophrenia, made all the more resonant by Billy Mackenzie’s operatic prowess. It also kick started a brief period when ASSOCIATES subverted the UK charts with an avant pop approach that fitted in with the Synth Britannia template of the times. A Top10 hit and emotive to the nth degree, the original single version is still the best and total perfection.

Available on the album ‘The Very Best Of’ via Union Square

https://www.facebook.com/theassociatesofficial/


BLANCMANGE I’ve Seen The Word (1982)

Harrow College of Art students Neil Arthur and Stephen Luscombe were unlikely pop stars, but an appearance on the ‘Some Bizzare Album’ led to a deal with London Records as well as support slots with DEPECHE MODE and JAPAN. Using a Korg MS20 synched to a Linn Drum Computer as its rhythmic backbone, the haunting melancholy of ‘I’ve Seen The Word’ fused the sombre lyricism of JOY DIVISION with the melodies and textures of OMD via a Roland Jupiter 8.

Available on the album ‘Happy Families’ via Edsel Records

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


CHINA CRISIS Christian (1982)

Merseyside duo CHINA CRISIS are probably the most under rated band of their generation. The haunting ‘Christian’ was a song about the fate of soldiers in the trenches during World War One. Slow and melancholic, ‘Christian’ was as unlikely a hit single as ‘Ghosts’ by JAPAN was, but in a far more open-minded and diverse period in pop music than today, acts with a less obvious rock ‘n’ roll outlook were generally in with a chance; it reached No12 in the UK singles charts.

Available on the album ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ via Caroline International

https://www.facebook.com/chinacrisisofficial/


NEW ORDER Temptation (1982)

‘Temptation’ was NEW ORDER’s self-produced electronic breakthrough away from the haunting legacy of JOY DIVISION. The recording itself was marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while band members could also be heard calling instructions and tutting. The pulsing hypnotism of the triggered ARP Quadra and the iconic “oooh-oo-ooh” vocal refrain made ‘Temptation’ rather joyous and magical.

Available on the album ‘Singles’ via WEA Records

http://www.neworder.com/


BRONSKI BEAT Smalltown Boy (1984)

When Jimmy Somerville, Steve Bronski and the late Larry Steinbachek made their first ever TV appearance performing on BBC2’s ‘ORS’, BRONSKI BEAT were nothing short of startling, thanks to their look, their minimal synth sound and Somerville’s lonely earth shattering falsetto. The trio had sought to be more outspoken and political in their position as openly gay performers and the tale of ‘Smalltown Boy’ about a gay teenager leaving his family and fleeing his hometown made an important statement.

Available on the album ‘The Age Of Consent’ via London Records

http://www.bronskibeat.co.uk/


PET SHOP BOYS West End Girls (1985)

It was with the re-recorded Stephen Hague version of ‘West End Girls’ that PET SHOP BOYS hit No1 in both the UK and US in 1986. Interestingly, the character of its distinctive bass synth was achieved by Hague coercing a reluctant Chris Lowe into hand playing the riff. Meanwhile, the track fulfilled Neil Tennant’s concept of the duo sounding “like an English rap group” with a dour demeanour that was the antithesis of WHAM! It started an imperial phase for PET SHOP BOYS which included three more No1s.

Available on the album ‘PopArt’ via EMI Music

https://www.petshopboys.co.uk/


CAMOUFLAGE The Great Commandment (1988)

In today’s world, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which the Basildon boys had all but abandoned from ‘Black Celebration’ onwards. Probably the best single DM never recorded. while ‘The Great Commandment’ was a hit in Europe and the US, it made no impression in Britain.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

http://www.camouflage-music.com/


ERASURE A Little Respect (1988)

Produced by Stephen Hague, ‘A Little Respect’ was perfection from the off with its lively combination of Vince Clarke’s pulsing programming and strummed acoustic guitar. As the busy rhythmical engine kicked in, Andy Bell went from a tenor to a piercing falsetto to provide the dynamic highs and lows that are always omnipresent in all the great pop songs like ‘Dancing Queen’ and ‘Careless Whisper’. Something of a crossover record for ERASURE, ‘A Little Respect’ was covered by WHEATUS in 2000.

Available on the album ‘Total Pop! – The First 40 Hits’ via Mute Records

http://www.erasureinfo.com/


DUBSTAR Not So Manic Now (1995)

DUBSTAR straddled Britpop with a twist of Synth Britannia. ‘Not So Manic Now’ was a song by Wakefield indie band BRICK SUPPLY, but the trio made it their own with the Northern lass earthiness of Sarah Blackwood providing the chilling commentary of an attack on a helpless pensioner. Stephen Hague’s wonderful production fused programmed electronics with guitars and cello in fine fashion, while the incessant programmed rhythms drove the song along without being obtrusive to the horrifying story.

Available on the album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/


GOLDFRAPP Lovely Head (2000)

It is interesting to think that GOLDFRAPP were initially labelled as a trip-hop act. Their superb stratospheric debut ‘Felt Mountain’ had Ennio Morricone’s widescreen inflections but to accompany an ascent to the Matterhorn rather than a trek through a Sergio Leone Spaghetti Western. The opening song ‘Lovely Head’ was laced with deviant sexual tension. Will Gregory’s mad Korg MS20 treatments on Alison Goldfrapp’s operatic screaming produced some thrilling musical moments.

Available on the album ‘Felt Mountain’ via Mute Records

https://www.goldfrapp.com/


MISS KITTIN & THE HACKER You & Us (2001)

Describing the relationship between artist and fan, this was another throbbing Moroder-inspired cacophony of electronic dance from Michel Amato with a dirty clanking Korg KR55 Rhythm used to great effect. Deliciously hypnotic, the swimmy ARP synths drowned any sorrows as the pulsing euphoria took a hold. Miss Kittin didn’t sing as much as deadpan her thoughts, but her sexy Grenoble charm carried off what was a rather superb Electroclash anthem.

Available on the album ‘The First Album’ via Nobodys Bizzness

http://www.misskittin.com/


LADYTRON Seventeen (2002)

LADYTRON became one of the first bands for many years to primarily use synthesizers as their tools of expression and attain critical acclaim. Their debut ‘604’showed electro potential in their initial quest to find ‘yesterday’s tomorrow’. With octave shifts galore to satirical lyrics about the X-Factor/Next Year’s Top Model generation, ‘Seventeen’ demonstrated the tactile nature of analogue synthesis that was key to a revival in fortunes for electronic pop in the 21st Century.

Available on the album ‘Light & Magic’ via Nettwerk

http://www.ladytron.com/


THE KNIFE Silent Shout (2006)

Probably the most influential electronic act to come out of Sweden are THE KNIFE. Those long winter nights certainly had their effect on siblings Karin and Olof Dreijer. ‘Silent Shout’ was hypnotic understated rave with the a quota of creepy Nordic eccentricity. The sharp appregiator and ambient percussion melted with Karin Dreijer’s heavily pitch-shifted low register vocals providing a menacing counterpoint to her younger brother’s vibrant electronic lattice.

Available on the album ‘Silent Shout’ via Brille Records

https://theknife.net/


MARSHEAUX Dream Of A Disco (2007)

Is a cover or is it Memorex? This interpolation of ‘Space Age Love Song’ by A FLOCK OF SEAGULLS provided MARSHEAUX with their most immediate number yet. Borrowing the uniformed look of CLIENT but applying a pure synthpop template, Marianthi Melitsi and Sophie Sarigiannidou became notable for their marketing masterstrokes. The parent ‘Peek-A-Boo’ CD included a paper bag ghost mask. Fans wore it, took pictures and sent them to the duo… around 3,500 pictures were gathered!

Available on the album ‘Peek-A-Boo’ via Undo Records

https://www.marsheaux.com/


Text by Chi Ming Lai
13th March 2020

BOYTRONIC The Robot Treatment

Holger Wobker, the man who many consider to be the original BOYTRONIC is back after 10 years with a new album ‘The Robot Treatment’.

Interestingly to assist his recorded return, Wobker has partnered up with BOYTRONIC’s former vocalist James Knights.

Never before in the history of pop music has a predecessor collaborated with their replacement to make a new album, try to imagine John Foxx and Midge Ure working on a new ULTRAVOX album together?

Vintage flavoured HI-NRG and Italo reigns supreme on ‘The Robot Treatment’. Best known for the German Top10 hit ‘You’ in 1983, Wobker’s aim was to return with a record that was as BOYTRONIC as possible and when he met Knights in 2018, they found a common bond both personally and musically.

‘Under The Red’ exudes Wobker’s enthusiasm, but the album really takes off with ‘All You Can Eat’, a spirited falsetto duet by Wobker and Knights that doesn’t sound unlike members of NEW ORDER jamming along to BRONSKI BEAT’s ‘Hit That Perfect Beat’!

Also particularly good is ‘You Can’t Get Fooled By Love’, a great tune with more than a nod to PET SHOP BOYS ‘West End Girls’, while the bubbling ‘She Gave Me Money’ is authentic Eurodisco for the cassette player of any Opel Manta owner; both are classic BOYTRONIC.

‘Smell Of Fire’ takes on a moodier Italo stance with a digital slap bass, but ‘No Sad Songs’ is singalong Europop, laced with synth brass stabs which could easily mutate into a KNIGHT$ solo tune. The spacier ‘Venus Covers Mars’ has a good verse although the chorus is not quite as appealing. Bright and breezy with simulated guitars, ‘Wayward Sister’ perhaps needs more of a bass drum kick but the synthetic choirs and bells are pretty.

Closing with ‘Can’t Wait A Second’, the track’s immediate bounce might have benefitted being placed earlier in the sequence.

But as with the arpeggio laden ‘Bark’, Wobker’s vocals are a bit raw and wayward at times, which might be off-putting for listeners not previously into the charms of BOYTRONIC.

However, the objective of making a BOYTRONIC album that sounds like BOYTRONIC has been achieved. And with live shows coming up, the big speaker environment of a club and the vibrant extrovert personality of a front man with something to prove may well see ‘The Robot Treatment’ really come into its own.


‘The Robot Treatment’ is released by Wuff Records on 6th September 2019 in CD, vinyl LP and digital formats, pre-ordered direct from https://boytronic01.bandcamp.com/album/the-robot-treatment-album

BOYTRONIC play Berlin ORWOhaus on Saturday 7th September 2019 with support from !DISTAIN

http://www.boytronic.eu

https://www.facebook.com/BoytronicOriginal/

https://twitter.com/boytronicorigi1

https://www.instagram.com/boytronicoriginal/


Text by Chi Ming Lai
2nd September 2019

BOYTRONIC All You Can Eat

Now imagine John Foxx and Midge Ure teaming up to do a brand new ULTRAVOX album…

While not sounding like the synthesizer pioneers who named themselves after the Latin phrase meaning “extreme voice”, Holger Wobker and James Knights have done the equivalent and got together to make a brand new album as BOYTRONIC.

Having gained the rights to the name, Wobker was highly motivated and appropriately, their first fruit of collaboration was called ‘Proving A Point’. Having appeared earlier in the year on the debut KNIGHT$ album ‘Dollars & Cents’, Knights said: “I had a demo of this for many years but the idea to do this with Holger obviously came later. We’ve both had similar experiences and difficulties so we thought with this track, let’s tell it as it is, we needed to let something out.”

But the first BOYTRONIC track to emerge from the Anglo-German pair is ‘All You Can Eat’, a spirited Eurobeat duet in which both Wobker and Knights hit those high notes with aplomb. Meanwhile musically, ‘All You Can Eat’ doesn’t sound unlike members of NEW ORDER jamming along to BRONSKI BEAT’s ‘Hit That Perfect Beat’!

Of his new partnership with Knights, Wobker said: “James understands exactly what BOYTRONIC is about. I don’t have to say much when we’re communicating ideas, it all comes naturally. Even when I’m drifting away, he puts me on the right track. We both have a vision how it’s got to be, and that’s great.”

Crossing HI-NRG with Britalo, the new BOYTRONIC album ‘The Robot Treatment’ promises to be an authentic analogue journey to create a full and groovy electronic sound.

BOYTRONIC had the misfortune to get embroiled in the Pledge Music debacle, resulting in loss of money for both the band and fans. However, Holger Wobker and James Knights have made a joint statement announcing: “If you are a fan who took part in our crowdfunding campaign, we are truly sorry for the inconvenience Pledge Music’s bankruptcy has caused. We are aware some people have received refunds direct from their bank. Others have not. Despite countless attempts to contact Pledge Music for information on where the money went, we have been kept in the dark now since February 2019. If you are a Pledger who wants to buy direct from the band, we are offering a 10% discount in our Bandcamp store. You can contact mirrormanagency@gmail.com for your discount code!”


‘All You Can Eat’ is released by Wuff Records as a download single

The limited edition signed CD or vinyl LP of ‘The Robot Treatment’ is released on 6th September 2019 and can be pre-ordered direct from https://boytronic01.bandcamp.com

BOYTRONIC play Berlin ORWOhaus on Saturday 7th September 2019 with support from !DISTAIN

https://www.facebook.com/BoytronicOriginal/

https://twitter.com/boytronicorigi1

https://www.instagram.com/boytronicoriginal/


Text by Chi Ming Lai
2nd July 2019

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