Tag: Camouflage (Page 3 of 4)

2015 END OF YEAR REVIEW

There are no illegal connections…

System100 CakeThe user manual for the Roland System 100 semi-modular synthesizer profoundly stated “there are no illegal connections…”

And in modern electronic music, that is still the case with the accomplished artists of today very much connected to the synth pioneers of yesteryear like KRAFTWERK, OMD, ULTRAVOX, JAPAN, DEPECHE MODE and THE HUMAN LEAGUE.

Belgian duo METROLAND would not exist without the tradition established at Klingklang, while EAST INDIA YOUTH’s interest in BRIAN ENO and Motorik beats curated a sound that has enabled parallels to be drawn with the artful template of the similarly influenced Paul Humphreys and Andy McCluskey.

And although SUSANNE SUNDFØR was already an established singer / songwriter in her homeland of Norway, attention was not fully drawn on her new synth based direction until she performed a sympathetic cover of ‘Ice Machine’ with RÖYKSOPP in late 2012.

GWENNO by Jacek Davis PhotographyEven the exquisite lo-fi Welsh language electronica of GWENNO can be traced to Sheffield, thanks to the songstress’ previous pop excursions which involved working on an album with the late Martin Rushent.

As JEAN-MICHEL JARRE said: “Electronic music has a family, a legacy and a future…” so to deny the glorious heritage of electronic music when assessing new acts would be futile.

Indeed, acknowledging history is very much part of ELECTRICITYCLUB.CO.UK’s style and it appears to have been appreciated, especially in regard to the feature ‘30 Favourite Albums 2010 – 2014’, one of a quintet of special articles to celebrate the site’s fifth birthday in March…

“Huge thanks to ELECTRICITYCLUB.CO.UK” said avid reader Hugh David, “A victory for well-written, artfully conveyed content curation once again… you knew exactly what to say to sell me on one artist or another. That rare ability of a reviewer to pinpoint the precise comparisons that enable me to decide to seek something out based on my own tastes is something lacking in so many other outlets; love that you’ve got that in spades”

Another reader David Sims added: “ELECTRICITYCLUB.CO.UK is a great way of discovering artists you might not otherwise be aware of. A bit like when a friend used to come round your house clutching an LP or C90 saying ‘I really love this, have a listen’, introducing you to new music that makes your neck hairs stand up in ovation”

2014 was a comparatively lean 12 months, but this year found many veterans returning to the fold. NEW ORDER released ‘Music Complete’, a much discussed comeback that was not only the Mancunians’ first album for Mute, but also without estranged bassist Peter Hook.

MARC ALMOND released ‘The Velvet Trail’, his first pop album for many years while ANDY BELL embarked on further solo adventures in support of ‘Torsten The Bareback Saint’.

SPARKS joined forces with FRANZ FERDINAND as FFS while telling everyone to ‘P*ss Off’ and proved that collaborations do work. Electronic music legend JEAN-MICHEL JARRE also went the collaborative root. His first album for several years ‘Electronica 1 – The Time Machine’ featured the likes of LITTLE BOOTS, JOHN CARPENTER, TANGERINE DREAM, AIR, ARMIN VAN BUUREN, GESAFFELSTEIN, MOBY, MASSIVE ATTACK and VINCE CLARKE.

Another legend GIORGIO MORODER made his statement of intent with ‘74 Is The New 24’ and released ‘Déjà Vu’, a disco pop record featuring the likes of SIA, BRITNEY SPEARS, FOXES and KYLIE MINOGUE.

Meanwhile, his artier counterpart ZEUS B HELD gave us some ‘Logic of Coincidence’ and WOLFGANG FLÜR made his solo debut with ‘Eloquence’, his first length album project since 1997.

Liverpool duo CHINA CRISIS delivered ‘Autumn In The Neighbourhood’, their first original material since 1994’s ‘Warped By Success’ while HOWARD JONES showed he could still innovate at 60 years of age when he launched ‘Engage’, “a highly interactive live experience designed to immerse audiences in an audio / visual feast”. A-HA came back after disbanding in 2010 with ‘Cast In Steel’ and DURAN DURAN recruited an all-star cast that included Nile Rodgers, John Frusciante, Kiesza and Lindsay Lohan for the rather disappointing EDM blow-out ‘Paper Gods’.

BLANCMANGE’s ‘Semi Detached’ was Neil Arthur’s first without long-time partner Stephen Luscombe and he even found time to release a wonderful instrumental collection entitled ‘Nil By Mouth’. Indeed, there were quite a few instrumental opuses in 2015, with GHOST HARMONIC’s wonderful ‘Codex’ featuring JOHN FOXX and the electronic pioneer’s own glorious ‘London Overgrown’. TUXEDOMOON joined forces with CULT WITH NO NAME for ‘Blue Velvet Revisited’ while not wishing to be left out, DEPECHE MODE’s Martin Gore released the tutorial for his new Eurorack modular system as the simply titled ‘MG’.

2015 saw the 25th anniversary of DEPECHE MODE’s ‘Violator’ and to ignore its significance, as some DM fan related platforms did, would have been incredibly short sighted. However, there was none of that from premier DM tribute band SPEAK & SPELL who played their biggest UK gig yet with a splendid boutique showcase of that landmark album at London’s Islington Academy.

CAMOUFLAGE, a band who started off very much under the influence of the Basildon boys, issued the mature statement of ‘Greyscale’ while continuing the DEPECHE MODE album theme, Athens based synth maidens MARSHEAUX gave a worthy of re-assessment of ‘A Broken Frame’ and procured a number of interesting arrangements for some under rated songs. DIE KRUPPS got more metal than machine on their fifth opus ‘V – Metal Machine Music’.

Fellow Germans BEBORN BETON made up for a ten year absence with ‘A Worthy Compensation’ while SOLAR FAKE and SYNTHDECADE also got in on the action too.

CHVRCHES continued their quest for world domination with something that LITTLE BOOTS, LA ROUX, LADYHAWKE and HURTS never managed… a decent second album. But PURITY RING, the Canadian act whose template CHVRCHES borrowed, must have looked over with a touch of envy at the Glaswegian’s success so responded with ‘Another Eternity’.

HANNAH PEEL released an interim mini-album ‘Rebox 2’ which blended centuries of music technology while VILE ELECTRODES came up with the gorgeous ‘Captive In Symmetry’, possibly one of the songs of 2015. EURASIANEYES heeded all the guidance available to them to produce their most accomplished song yet in ‘Call Your God’ and ANALOG ANGEL went on a well-received tour supporting Swedish veterans COVENANT with a message to listeners of ‘Don’t Forget To Love’.

Elsewhere in the British Isles, CIRCUIT3RODNEY CROMWELL and SUDDEN CREATION made their first excursions into the long player format just as KID KASIO and KOVAK each delivered album number two while Berlin based Brit EMIKA helpfully titled her third opus ‘Drei’.

“So, what’s so special about Sweden then?” someone once rather cluelessly asked TEC. Well, it is the modern hub of inventive, electronic pop. KARIN PARK offered her profanity laden fifth album ‘Apocalypse Pop’.

Meanwhile SAY LOU LOU finally gave the world their ‘Lucid Dreaming’. SISTA MANNEN PÅ JORDEN offered to ‘Translate’ while TRAIN TO SPAIN told the world ‘What It’s All About’. And this was without feisty youngsters like ME THE TIGER and comparatively experienced hands such as PRESENCE OF MIND, DESTIN FRAGILE, CLUB 8, 047 and HILTIPOP all entering the equation too.

Still in Sweden, DAYBEHAVIOR went all female PET SHOP BOYS with the Italo flavoured ‘Cambiare’ and MACHINISTA followed up their debut ‘Xenoglossy’ with ‘Garmonbozia’. while there was also the unexpected return of alternative synthpopsters ASHBURY HEIGHTS.

But best of all were the mighty KITE; their ‘VI’ EP was a masterclass in epic, majestic electronic pop. In the rest of Europe, there was an influx of darker female fronted acts such as Hungary’s BLACK NAIL CABARET, Italy’s ELECTROGENIC, Greece’s SARAH P. and Germany’s NINA; the latter’s ‘My Mistake’ even ended up on a Mercedes TV advert. The male contingent did their bit too with Slovenia’s TORUL unleashing their second offering ‘The Measure’ while the prolific Finnish duo SIN COS TAN took things a little bit easier in their fourth year with just an EP ‘Smile, Tomorrow Will Be Worse’, having already released three albums since 2012.

Oslo based studio legend John Fryer returned with two new projects, SILVER GHOST SHIMMER and MURICIDAE featuring vocalists Pinky Turzo and Louise Fraser respectively. Both reminded listeners of his work with COCTEAU TWINS and THIS MORTAL COIL, but with an Americanised twist. The Icelandic domiciled Denver singer / songwriter JOHN GRANT added some funkier vibes to his continuing electronic direction while IAMX moved from Berlin to Los Angeles, and did no harm to his art with the brooding ‘Metanoia’ album.

On the brighter side of North America, PRIEST’s self-titled debut long player became reality following their dreamy ‘Samurai’ EP, while HYPERBUBBLE made available their wacky award winning soundtrack to the short film ‘Dee Dee Rocks The Galaxy’ and joyous 2014 London show. And GRIMES caught the music biz on the hop when she released a new album ‘Art Angels’, having scrapped an album’s worth of material in 2014.

But despite North America itself being one of the territories flying the flag for the synth with acts like NIGHT CLUB, BATTLE TAPESAESTHETIC PERFECTION and RARE FACTURE all figuring, the worst single of 2015 actually came from the USA!

Literally decades of synth heritage were eminently obliterated in five soul destroying minutes… was this really what the Electronic Revolution was fought for? This is cultural history and it needs to be protected.

Although the year had flashes of brilliance, it was generally less impressive overall for fledgling electronic artists, with a number forgetting that all important factor of a good tune! Eddie Bengtsson of SISTA MANNEN PÅ JORDEN remarked last year that synthpop was becoming a dying art.

And in 2015, synthpop’s credibility was further tarnished with lazy use of the term by the mainstream press for acts like YEARS & YEARS; one could argue that TAYLOR SWIFT and her ‘1989’ opus is possibly more synthpop than YEARS & YEARS have ever been! In a market where EDM appears to be king and clubbers are happy to witness DJs miming their two hour sets, there is clearly something wrong.

Things were not helped by certain media outlets insisting that dance music was the only way; it was as if electronic music had somehow managed to jump from KRAFTWERK to Detroit techno with nothing happening in between.

jarre clarkeAnd then, there were those who had never particularly enjoyed music from that key Synth Britannia period, who were trying to dictate how modern electronic music was being presented and pretending it had popped out of thin air!

Some bands were not doing themselves any favours either, showing little empathetic connection to the history of electronic music in their deluded optimism that they were crafting something completely new!

As JEAN-MICHEL JARRE amusingly quipped to Sound-On-Sound magazine: “Lots of people in America think that electronic music started with AVICII and it’s not exactly the truth…”

The lack of accuracy in a number of publications over the last 18 months was also shocking, particularly within magazines and online media that continued to employ writers with a history of not knowing their tape recorders from their drum machines. This simply proved the old adage that just because someone is employed as a professional writer, it doesn’t actually mean they are a good writer!

MYSADCAT2015

Photo @MYSADCAT

The domestic live scene had its challenges too with slow ticket sales and a number of events cancelled.

But even when some true legends in electronic music were booked, ticket sales could not be guaranteed and efficient promotion was needed to maximise potential.

Some observers were bemoaning a lack of support for the scene, but if line-ups are not particularly appealing, then audiences cannot be expected to invest time and money to attend.

A number of organisational infrastructures also lacked credibility; if a promoter doesn’t have at least some idea if they’re going to sell fifty tickets or five thousand, then they really shouldn’t be in the business!

The question that has to be asked then is, has anybody actually learnt from the Alt-Fest debacle of 2014? It really would appear not!

ES2015-Marsheaux+TrainToSpainWhile ‘A Secret Wish’ and SOS#2 were a couple of the year’s better UK events, Europe showed once again how things should be done. Electronic Summer in Gothenburg and the Electri_City_Conference in Düsseldorf were two of the most notable electronic music events of 2015.

The inherent knowledge and sense of understanding in both differed immensely to some British promoters. This perhaps could explain why electronic pop has generally flourished more in territories across the North Sea.

Electronic pop needs to continue to develop, but quality control must be maintained to ensure the genre is not publically misrepresented. SOFT CELL once sang about ‘Monoculture’ while KID MOXIE declared how everyone was just content with ‘Medium Pleasure’.

If all that’s heard is the best of a bad bunch, then younger listeners (and therefore potential future synth oriented musicians) will not be inspired. That is why it is important that CHVRCHES and EAST INDIA YOUTH consolidate their positions as modern electronic pop’s representatives in the mainstream.

It is not good practice to support mediocre music just because it happens to be electronic.

The finest examples need to be set so as to show what can be achieved; now if that means possibly referencing back to the golden age of synthpop, then so be it.

Only then will the synth baton be able to taken up by a new generation who can then truly reinvigorate it.


ELECTRICITYCLUB.CO.UK Contributor Listings 2015

PAUL BODDY

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Restless
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: BATTLE TAPES Valkyrie
Most Promising New Act: BATTLE TAPES


DEB DANAHAY

Best Album: IAMX Metanoia
Best Song: KITE Up For Life
Best Gig: NODE at The Royal College of Music
Best Video: IAMX Oh Cruel Darkness Embrace Me
Most Promising New Act: KITE


IAN FERGUSON

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: KITE Count The Days
Best Gig: ASSEMBLAGE 23 at SOS#2 Festival
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL


MONIKA IZABELA GOSS

Best Album: SILVER GHOST SHIMMER Soft Landing
Best Song: IAMX Happiness
Best Gig: IAMX at London Koko
Best Video: TORUL The Balance
Most Promising New Act: SYNTHDECADE


SIMON HELM

Best Album: LAU NAU Hem Någonstans
Best Song: ME THE TIGER As We Really Are
Best Gig: SISTA MANNEN PÅ JORDEN at A Secret Wish
Best Video: JUNO Same To Me
Most Promising New Act: REIN


CHI MING LAI

Best Album: SUSANNE SUNDFØR Ten Love Songs
Best Song: KITE Up For Life
Best Gig: FFS at The Troxy
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL


RICHARD PRICE

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Plastic
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: KITE


Text by Chi Ming Lai
16th December 2015

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2015

Loudness Contour Modifiers

In a far more productive year than 2014, many electronic music veterans returned to the fold in 2015 with their first new albums for many years. There were plenty of releases from independent acts too, with Nordic Europe being a particularly strong territory once again.

45 quality songs made the shortlist and were eventually whittled down to 30. So mention must be made of ALICE IN VIDEOLAND, ANALOG ANGEL, BEBORN BETON, BECKY BECKY, CAMOUFLAGE, CLUB 8, ELECTROGENIC, EURASIANEYES, ME THE TIGER, HANNAH PEEL and SIN COS TAN who all released recordings in 2015 that would have easily made the listing in less competitive years such as 2012 and 2014. Even DURAN DURAN’s disappointing ‘Paper Gods’ yielded one decent track in ‘Face For Today’, but one swallow doesn’t make a summer.

So the decision has been made; with a restriction of one song per artist moniker, this alphabetical list comprises tracks released in physical formats, or digitally as purchasable or free downloads during the calendar year. Here are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2015…


A-HA She’s Humming A Tune

A-HA Cast In SteelHaving played what appeared to be their farewell concert at the Oslo Spektrum in December 2010, A-HA reunited in a relaxed manner that recalled their days as a fledgling band. On ‘She’s Humming A Tune’, there were hints of 1986’s ‘Scoundrel Days’ in a lower key with sweeping synths, bottle neck six string and live drums moulding the chilling soundscape with that exquisite Nordic allure. ‘Cast In Steel’ was the antithesis of the misguided EDM blow-out that DURAN DURAN attempted on ‘Paper Gods’

Available on the album ‘Cast In Steel’ via Universal Music

http://a-ha.com/


BLACK NAIL CABARET Satisfaction

Feeling gloomy? Then take heed of the advice from BLACK NAIL CABARET and “Don’t be sad! Don’t be whiney!” – this brooding slice of Gothtronica was the lead single from the Hungarian duo’s second album ‘Harry Me, Marry Me, Bury Me’. Laden with a delicious synth bassline like DEPECHE MODE reimagined for a Weimar Cabaret set piece and topped with eerie string machine, ‘Satisfaction’ was the duo’s best individual offering to date. The pair also made a worthy impression opening for CAMOUFLAGE.

Available on the album ‘Harry Me, Marry Me, Bury Me’ via Basic Unit Productions

http://www.blacknailcabaret.net/


BLANCMANGE Useless

From Neil Arthur’s first BLANCMANGE album without long time bandmate Stephen Luscombe, ‘Useless’ was a brilliant hybrid of BRIAN ENO circa ‘Here Come The Warm Jets’ with LCD SOUNDSYSTEM. “It’s about anyone who thinks they might be useless” said Arthur, “This song is about that whole idea that we’re all flawed and you’re ‘useless as you are’… there are just times when you think ‘f*cking hell, I couldn’t organise a p*ss up in a brewery’ or that whole thing about confidence”.

Available on the album ‘Semi Detached’ via Cherry Red Records

https://www.blancmange.co.uk


CAMOUFLAGE Count On Me

Although launch single ‘Shine’ indicated it was business as usual, as hinted at with the title, CAMOUFLAGE’s long awaited long player ‘Greyscale’ was their most mature artistic statement yet. The mellow and warm ‘Count On Me’ saw Marcus Meyn duet with Peter Heppner of WOLFSHEIM fame. The lush blend of vocals and atmospherics showcased two of Germany’s most highly regarded electronic acts at their best.

Available on the album ‘Greyscale’ via Bureau B

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


CHVRCHES Clearest Blue

CHVRCHES stuck to the synthpop template of their debut and delivered what LITTLE BOOTS, LA ROUX, and LADYHAWKE and HURTS all failed to do… a decent second album! The propulsive four-to-the-floor action of ‘Clearest Blue’ shows how far CHVRCHES developed. Although not unlike an amalgam of ‘Gun’ and ‘Science / Visions’, ‘Clearest Blue’ is even more accomplished, wonderfully held in a state of tension before WHACK, there’s a dynamic surprise that recalls the classic overtures of Vince Clarke.

Available on the album ‘Every Open Eye’ via Virgin Records

http://chvrch.es/


RODNEY CROMWELL Black Dog

RODNEY CROMWELL is Adam Cresswell, formally of ARTHUR & MARTHA. ‘Black Dog’ recalled the pulsing post-punk miserablism of SECTION 25 and was embellished some Hooky styled bass. Cresswell said: “It’s all broadly linked to experiences in my life over the last ten years; themes of love, loss, depression, redemption”. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there was light at the end of the tunnel that made ‘Black Dog’ a most joyous listening experience.

Available on the album ‘Age Of Anxiety’ via Happy Robots

http://www.happyrobots.co.uk/


DAYBEHAVIOR Cambiare

daybehavior-change-front-small-2000Utilising her Italian heritage, DAYBEHAVIOR’s lead singer Paulinda Crescentini gave a suitably alluring performance on ‘Cambiare’, the B-side of the Swedish trio’s single ‘Change’. Remixed to poptastic effect, the joyous yet melancholic tune took the best elements of Italo disco with an expression of sorrow and happiness that recalled imperial phase PET SHOP BOYS. With a catchy chorus and seductive topline, Linguaphone language lessons were never this much fun…

Available on the single ‘Change’ via Graplur

http://www.daybehavior.com


DESTIN FRAGILE Run Away

DESTIN FRAGILE Halfway To NowhereAn offshoot of Swedish EBM veterans SPETSNAZ, DESTIN FRAGILE are a very different animal with hints of CAMOUFLAGE and DEPECHE MODE in their sound. ‘Run Away’ opened their ‘Halfway To Nowhere’ opus, an album which some observers have hailed as one of the best of 2015. Featuring a fine vocal from Pontus Stålberg resembling MESH’s Mark Hockings, this is what modern synthpop should be like; pop music with synths and melody as well as dynamic synth solos.

Available on the album ‘Halfway To Nowhere’ via Dark Dimensions

https://www.facebook.com/destin.fragile.pop


EAST INDIA YOUTH Carousel

EAST INDIA YOUTH’s debut ‘Total Strife’ pointed towards William Doyle’s potential to pen sublime pop, and with the follow-up ‘Culture Of Volume’, this was more than realised. But the album’s centrepiece was ‘Carousel’. Imagine the start of OMD’s ‘Stanlow’ reworked during BRIAN ENO’s sessions for ‘Apollo: Soundtracks & Atmospheres’. With no percussive elements and over six minutes in length, Doyle gave a dramatic vocal performance resonating in beautifully crystalline melancholy.

Available on the album ‘Culture of Volume’ via XL Recordings

http://eastindiayouth.co.uk/


EMIKA My Heart Bleeds Melody

Berlin-based EMIKA is one of the dark horses of the UK electronic scene. A combination of her classical training, Czech heritage and use of modern technology has made for a provoking, brooding sound that has attained critical acclaim over the last few years. From her third album, helpfully named ‘Drei’, ‘My Heart Bleeds Melody’ was its highlight, a concoction of intricate pulsing layers and solemn detachment that provided a captivating listening experience.

Available on the album ‘Drei’ via Emika Records

http://emikarecords.com/


FFS P*ss Off

FFS proved collaborations do work. A total triumph, ‘P*ss Off’ was possibly the album’s most outstanding number. With the vibrancy of ‘Kimono My House’ and ‘Propaganda’ era SPARKS, there were plenty of jaunty ivories and camp vocal theatrics in the vein of classics like ‘Something For The Girl With Everything’ and ‘BC’. “It’s inexplicable” they all growled as the multi-track phrase of “HARMONISE” kicked in! A total joy, ‘P*ss Off’ was the ultimate two fingered art school pop anthem.

Available on the album ‘FFS’ via Domino Records

http://www.ffsmusic.com/


WOLFGANG FLÜR Cover Girl – The Ninjaneer Mix

One of the highlights in Herr Flür’s DJ sets has been The Ninjaneer Mix of ‘Cover Girl’, a swirling synthpop track that the former KRAFTWERK percussionist has described as ‘The Model MkII’. He said: “Her story goes on and unfortunately shows her going downhill. She had bad experiences with drugs, alcohol and other things so had to dance in night clubs for earning money at least. A true story, a bad life… that’s sometimes the way how super models are knitting their career”

Available on the album ‘Eloquence’ via Cherry Red Records

http://www.musiksoldat.de


JOHN GRANT featuring TRACEY THORN Disappointing

JOHN GRANT Grey Tickles, Black PressureJOHN GRANT’s adventure into a solemn electronic template on ‘Pale Green Ghosts’ not only won him a BRIT Award nomination too. Meanwhile his collaboration with HERCULES & LOVE AFFAIR showed he understood the disco as well. ‘Disappointing’ combined the two approaches and added some funk for an enjoyable Bowie meets YAZOO styled workout. In a song full of surprises, not only was there the presence of slap bass, but there was the dulcet tones of EVERYTHING BUT THE GIRL’s Tracey Thorn too.

Available on the album ‘Grey Tickles, Black Pressure’ via Bella Union

http://johngrantmusic.com


GWENNO Calon Peiriant

Gwenno_Y_DYDD_OLAFGWENNO’s Welsh and Cornish heritage has allowed her to develop a unique brand of lo-fi electronica. Her full-length Welsh language debut ‘Y Dydd Olaf’ came out on Peski Records in October 2014. Now reissued in 2015 by Heavenly Recordings, GWENNO has deservedly gained an increased profile for her music. With beautiful, traditionally derived melodies placed in a spacey yesterday’s tomorrow setting, the spacey ‘Calon Peiriant’ was one of the more immediate delights on offer from a wonderful album.

Available on the album ‘Y Dydd Olaf’ via Heavenly Recordings

http://www.gwenno.info/


IAMX Happiness

Depression despite apparent material success has been an ongoing lyrical theme for Chris Corner as IAMX. And with ‘Happiness’, his craving for a mind to be free of bad news, negative influences and jealousy was countered with his line of “Everywhere hypocrisy!” as pulsing arpeggios kicked in for the final third’s gentle but drama laden climax. Highly poignant in the current economic and political climate, Corner’s move from Berlin to Los Angeles certainly did his music no harm.

Available on the album ‘Metanoia’ via Caroline International

http://iamxmusic.com/


JEAN-MICHEL JARRE & VINCE CLARKE Automatic Parts 1 + 2

Jarre-electronica-coverThe French synth maestro’s first album for since ‘Teo & Tea’ in 2007 was an opus entitled ‘Electronica 1 – The Time Machine’ featuring collaborations with TANGERINE DREAM, JOHN CARPENTER, LITTLE BOOTS, MASSIVE ATTACK among many. But the two part ‘Automatic’ with VINCE CLARKE was the highlight, taking in the best of the tune based elements of both artists while not letting one party dominate. VCJMJ was certainly a more artistically realised proposition than the polarising techno of VCMG!

Available on the album ‘Electronica 1: The Time Machine’ via Columbia Records

http://jeanmicheljarre.com/


KID KASIO Full Moon Blue

“Whether I release it in 2013 or 2016, it’s still going to sound like 1985!” said KID KASIO main man Nathan Cooper. A man whose is plainly honest about where his influences lie, his love of classic synthpop permeates throughout his work. Now imagine if DEPECHE MODE was fronted by Nik Kershaw instead of Dave Gahan? With ‘Full Moon Blue’, that musical fantasy became fully realised with a clever interpolation of ‘Two Minute Warning’, one of Alan Wilder’s songwriting contributions from ‘Construction Time Again’.

Available on the album ‘Sit & Wait’ via Kid Kasio

http://www.kidkasio.com


KITE Up For Life

Despite having been around since 2008, Swedish synth duo KITE have tended to be overlooked internationally. But Nicklas Stenemo and Christian Berg’s wonderfully exuberant array of sounds and rugged, majestic vocals deserve a much larger audience. Issuing only EPs and never albums, KITE’s most recent release ‘VI’ opened with the magnificent progressive electronic epic ‘Up For Life’. The passionate and sublime first half mutated into a beautifully surreal journey of VANGELIS-like proportions for the second.

Available on the EP ‘VI’ via Progress Productions

https://www.facebook.com/KiteHQ


MACHINISTA The Bombs

The syncopated electro disco feel of ‘The Bombs’, one of the highlights from MACHINISTA’s second album came almost by accident. Instrumentalist Richard Flow remembered: “Actually the first version of ‘The Bombs’ had a completely different rhythm in the drums. I actually did get stuck with this song and I wasn’t happy at all about the music. Once I did change the bass drum to a simple 4/4, I was back on track again. Most of the sounds from the original version I did keep, so perhaps a simple 4/4 bass drum mixed with the sounds for this original rhythm created this ‘disco’ feel…”

Available on the album ‘Garmonbozia’ via Analogue Trash Records

http://www.machinistamusic.com/


MARSHEAUX Monument

marsheaux_a_broken_frame_LPA worthy of re-assessment of DEPECHE MODE ‘A Broken Frame’ has been long overdue and MARSHEAUX have certainly given a number of its songs some interesting arrangements. Their version of ‘Monument’ borrowed its bassline from latter day DM B-side ‘Painkiller’. Combined with some wispily resigned vocals, it provided a tense soundtrack that could be seen as metaphoric commentary on the economic situation in Greece. It’s not often that cover versions are better than the originals, but this is one of them.

Available on the album ‘A Broken Frame’ via Undo Records

http://marsheaux.com/


METROLAND (We Need) Machines Without Romance

METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius. Gropius theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked towards the 21st Century interpretation of that goal. Now imagine if GARY NUMAN had actually joined KRAFTWERK in 1979? Then the brilliantly uptempo ‘(We Need) Machines Without Romance’ would have surely been the result.

Available on the EP ‘Zeppelin’ via Alfa Matrix

http://www.metrolandmusic.com/


MURICIDAE Away

Studio legend John Fryer has been busy and the project that perhaps harks closest to THIS MORTAL COIL is MURICIDAE. Featuring the exquisite vocals of Louise Fraser, she and Fryer apparently “met on the beach searching for mermaids”… the sea is very much the visual theme for their music, with Fryer cultivating “sonic sculptures to musically embody the exquisite Muricidae Shell itself”. The tranquil beauty of ‘Away’ captures a shimmering soundscape that compliments Fraser’s plaintive lament.

Available on the EP ‘Tales From A Silent Ocean’ via Muricidae Music

https://www.facebook.com/muricidaemusic


NEW ORDER Plastic

After the guitar dominated proceedings of the last few NEW ORDER albums, Bernard Sumner promised a return to electronic music for the Mancunians’ first album of new material without estranged founder member and bassist Peter Hook. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number mixed by Richard X with blippy echoes of ‘Mr Disco’. Dealing with the issue of superficiality, it declares “this love is poison, but it’s like gold”… yes, beware of anything plastic and artificial!

Available on the album ‘Music Complete’ via Mute Artists

http://www.neworder.com/


KARIN PARK Stick To The Lie

In 2015, the Norge domiciled Swedish songstress’ KARIN PARK finally released her fifth album, the profanity laden fifth ‘Apocalypse Pop’. While less harsh in sound to some of the other tracks on the long player, ‘Stick To The Lie’ was no less angry. The most overtly synthpop track on the collection, this accessible yet emotive song was one of the highlights on a collection that affirmed KARIN PARK’s place in modern electronic pop.

Available on the album ‘Apocalypse Pop’ via State Of The Eye

http://www.karinpark.com/


PURITY RING Begin Again

With CHVRCHES having borrowed PURITY RING’s electro template and pushed it into the mainstream, the direction taken on the Edmonton duo’s sophomore album ‘Another Eternity’ was going to be watched with interest. Certainly it was more focussed than its predecessor ‘Shrines’. Still utilising glitch techniques, booming bass drops and Corin Roddick’s rattling drum machine programming, the album’s best song ‘Begin Again’ made the most of Megan James’ sweet and dreamy voice.

Available on the album ‘Another Eternity’ via 4AD Records

http://purityringthing.com/


SISTA MANNEN PÅ JORDEN All The City Lights

Sweden’s SISTA MANNEN PÅ JORDEN (translated as “The Last Man on Earth”) are led by Eddie Bengtsson, best known for his work with S.P.O.C.K and PAGE. The themes of space travel and Sci-Fi are regular lyrical gists and while all of SMPJ’s songs are voiced i Svenska, Bengtsson opened up his Vince Clarke influenced synthpop to the English language in 2015 with the ‘Translate’ EP. Brilliantly produced, ‘All The City Lights’ (a version of his 2014 single ‘Stadens Alla Ljus’) was its highly enjoyable opening gambit.

Available on the CD EP ‘Translate’ via SMPJ

http://www.moonbasealpha.space/


SUSANNE SUNDFØR Delirious

SUSANNE SUNDFØR and her acclaimed ‘Ten Love Songs’ album developed on the electronic focus of its predecessor ‘The Silicone Veil’. With an eerie, droning intro with echoes of THE WALKERS BROTHERS’ ‘The Electrician’, ‘Delirious’ thundered with some fierce electronics bolstered by dynamic orchestrations like THE KNIFE meeting DEPECHE MODE. It captured love as a reluctant battle of the emotions while our heroine announced with emotive resignation “I’m not the one holding the gun”.

Available on the album ‘Ten Love Songs’ via Sonnet Sound

http://susannesundfor.com/


TRAIN TO SPAIN Passion – Machinista Club mix

TRAIN TO SPAIN Keep On RunningTRAIN TO SPAIN’s developing brand of uptempo, energetic pop utilises classic synthesizer sounds in the vein of Vince Clarke coupled to a metronomic rhythm structure akin to the 1985 ‘Philip Oakey & Giorgio Moroder’ album. Coming over like LANA DEL REY fronting YAZOO, Wigeborg’s cooingly vulnerable vocals on ‘Passion’ let rip over a suitably complimentary electronic backbone from Rasmusson, while a superb remix by MACHINISTA added some beefy gothic disco goodness.

Available on the download single ‘Keep On Running’ via Sub Culture Records

http://www.traintospain.se/


TREGENZA The Partisan

Manchester based Ross Tregenza is an experienced hand having co-written ‘Diaries Of A Madman’ with Dave Formula and Steve Strange when he was a member of VISAGE II in 2007. He surprised electronic music audiences with a Spartan cover of ‘The Partisan’, a song made famous by LEONARD COHEN. While many may despair at the very mention of the droll Canadian, his work has strong parallels with many Gothic veined musical forms, especially with this harrowing tale of fighting for La Résistance.

Originally from the EP ‘Stolen Thunder’, alternate version available on the album ‘Into The Void’ via Tregenza Music

https://www.facebook.com/tregenzamusic


VILE ELECTRODES Captive In Symmetry

On VILE ELECTRODES’ mesmerising ‘Captive in Symmetry’, “Filmic” is indeed a very apt description with the booming synth bass motif possessing echoes of the ‘Twin Peaks’ theme tune ‘Falling’. As beautiful sequences, eerie strings and Anais Neon’s hauntingly alluring vocals take hold, it all comes over like a dreamboat collaboration between JULEE CRUISE and OMD that could easily be considered for use in the proposed revamp of the surreal North American drama.

Available on the EP ‘Captive In Symmetry’ via Vile Electrodes

http://www.vileelectrodesco.uk/


Text by Chi Ming Lai
9th December 2015

SYNTHDECADE Syndicator

SYNTHDECADE SyndicatorBack in May 2015, ELECTRICITYCLUB.CO.UK’s radar pointed to a German band from Frankfurt, which formed in 2012 and promised to “revolutionise the Electronic Pop music sector”, SYNTHDECADE.

Self-proclaimed as “the next generation of synth”, which always invites interest and curiosity; the band, who already seem to have lost a member in Marc Renard on keyboards (perhaps he got tired of waiting!) is now consisting of the vocalist Rick Pleasant and programmer/keyboardist Sean Dexter.

Three years is a fair amount of time to write a decent album, especially one that has been heavily pushed on social media, with the accompanying photographs of immaculately groomed band members, pouting away at the camera, as if advertising a new aftershave.

Both tracks, which have been released with accompanying videos for the enjoyment of hungry electronica fanatics, ‘Lighten Up The Darkness’ and ‘Facing My Fears’ enjoyed more than moderate success, establishing the direction in which SYNTHDECADE had been heading. Heavily influenced by DEPECHE MODE, CAMOUFLAGE and DE/VISION, with these guidances clearly palpable on both songs, the hope was for ‘Syndicator’ to sound more original and fresh, and, indeed, to usher “the next generation of synth”.

‘Warm Welcome’ creates an interesting intro to the production, with steady, authentic beats, promising a dose of “the good stuff”, but is immediately followed with the, by now, familiar, ‘Lighten Up The Darkness’, totally CAMOUFLAGE-d up. The clean sounding ‘Perfect Day’ is an apt attempt at immaculate production, as is the following ‘Love & Understanding’. The latter, an electronic ballad, is skilfully executed, both musically and vocally, leads into the second previously issued track, ‘Facing My Fears’.

FRONT 242 meets PET SHOP BOYS on ‘Your Soul’, whereas ‘Back Again’ floats seamlessly over the sound of the harp, interwoven within magnificent synth. ‘Change Your Life’ is ultimately synthpop in a bottle. Melodious and dancey, it is much like its follower, ‘Open Your Mind’. The guitar is introduced on ‘Sons Of The Broken Bottle’ with some more or less harsh, trashy sounds. The track comes across as an eclectic mix of many genres and is messy at times, creating confusion and a departure from the otherwise electronic feel of this record.

SYNTHDECADE 01 by Carsten Riedel‘Angels Are Calling Me’ opens with an über interesting sequence, returning to the elegant synth dominated template. It’s possibly the most interesting track on the album, with DE/VISION, CAMOUFLAGE and DM influences audible. This time, however, the song is as original as it gets; nothing is pushed to sound like something else and French horns wrap up the track, adding to the deepened mood magnificently.

The twelfth track, ‘Home’ brings back the uptempo feel, perfect for dancing, punctuated with a clever drum pattern and gentle piano. The closing ‘Facing My Fears’, this time in the ‘Hypnotic Mix’, concludes the production, thanks to a magnificent synth and cleverly enhanced vocal, at times sounding as if DE/VISION’s Steffen Keth bumped into the boys from Italy’s EIFFEL 65.

Anyone claiming that they’re reinventing the electronic music is perhaps dreaming, and maybe “all men are dreamers”. The claim that “the new generation of synth” is ushered is also a far-fetched fantasy.

All this said, SYNTHDECADE have pleasantly surprised; while one expected a blueprint of CAMOUFLAGE with added elements of DEPECHE MODE, shamelessly delivered with a ‘Syndicator’ sticker on it; one has got a grown-up, well produced and excellently balanced album, which is worthy of recognition of, clearly, hard work and proficient studio skills.

Well done SYNTHDECADE, you’ve obviously done your homework.


‘Syndicator’ is released by 15c Avenue via the usual digital outlets

http://www.synthdecade.de/

https://www.facebook.com/Synthdecade


Text by Monika Izabela Goss
30th November 2015

BEBORN BETON A Worthy Compensation

BebornBeton-AWorthyCompensationAmidst the flood of superb electronic music from Sweden, which has become the “new Germany” in the realms of synthpopia, few German bands are fighting on to keep their pedestals standing erect, or doing a great job of it.

BEBORN BETON formed in 1989 in Essen, and to date Stefan Tillman, Michael B Wagner and Stefan Netschio have enjoyed great success with numerous studio releases as well as remixes for DE/VISION, CLAN OF XYMOX, CAMOUFLAGE, IN STRICT CONFIDENCE, WOLFSHEIM and many others.

The band have kept everyone waiting since 1999 for the release of their latest album ‘A Worthy Compensation’, carefully planning, writing, engineering and producing the tracks with the help of celebrated producer Olaf Wollschläger, the very man behind the creations of MESH, YELLO, SEABOUND and IN STRICT CONFIDENCE. BEBORN BETON have immodestly hailed the production as “the best album we will probably ever make”, which raises the bar of expectations to the maximum for the “concrete” boys from urban Essen and promises to deliver a hearing experience like no other.

In such a fashion, the release is kicked off with ‘Daisy Cutter’ with its beefy synth and CAMOUFLAGE-like vocals of Netschio. Haunting and deep, monumental and marked, it is all laced with the “carousel of life” mark that the band want to portray in this production. ‘I Believe’ bears the stamp of the good old German electronica; untainted, magnificently programmed and produced, it is above all, musical and full of the melancholy so loved by the followers of the genre.

’24-7 Mystery’ speeds up into a dance track of the future, while ‘Anorexic World’ hits with poignant lyrics (“what if Jesus doesn’t care”, “we don’t mind at all this anorexic world is going down”) sung Steffen Keth style across the extravaganza of synth.

Taking its lead from CAMOUFLAGE, the title track emerges with futuristic images of a floaty world of tomorrow with an added dose of guitar and perfectly programmed drum patterns. A modern ballad of “the highs and lows, the happy moments”, the “carousel” has certainly now begun. ‘Last Day On Earth’ enters, grooming the listener with sensual male vocals painted on the canvas of consistently ingenious digital action.

A truly perfect electronic dance tune, ‘She Cried’ follows with a sharp club track feel. But a slightly predictable production can be fully excused, especially when there’s no time to stop dancing and getting lost in this uplifting harmony.

The first and only track performed in their native German, ‘Was Immer’ due to the choice of tongue, sounds as inviting as WOLFSHEIM’s gems. The track itself bears strong resemblance to Steve Naghavi’s performances on AND ONE’s ‘Virgin Superstar’; with wonderfully layered vocals, it embraces sensational synths and a skilfully constructed melody.

‘Terribly Wrong’ opens with the ominous “there’s something wrong with the world, I don’t know what it is, but it’s there, like a splinter in your mind”, but although something is “terribly wrong”, the track has a positive feel and brings a projection of hope while “standing at the edge of the world”.

Beborn BetonThe closing ‘Who Watches The Watchman’, while bearing a twisted title, promises some eerie content, which it indeed features on the track in bunches.

It has an eloquent musical substance covering a wide symphony of strings, drums, piano and elements of obscure synth interspersed with slight drum and bass. It is definitely a suitable track to round up the production.

There’s something earthy in German synth music, something which has been present since bands like CAMOUFLAGE, NEUROTICFISH, DE/VISION and WOLFSHEIM. This elusive element, when used by certain artists, makes them sound timeless and proves that Germany remains “über alles” in the electronic field. It may sound pompous and arrogant to call your creation ‘A Worthy Compensation’ and risk the obvious critique; however, the trio have hit the spot with this long awaited album.

The production bridges the pause between 1999 and now beautifully, with the songs having been written over many years and perfected to the point, where no more improvements could be made.

So, all in all, it is indeed “a worthy compensation” for the break in the Beton trade.


‘A Worthy Compensation’ is released by Dependent Records as a CD and download

http://www.bebornbeton.de/

https://www.facebook.com/bebornbeton


Text by Monika Izabela Goss
16th September 2015

Introducing SYNTHDECADE


SYNTHDECADE formed in Frankfurt in October 2012, going straight into the studio with an idea to produce an album which would revolutionise the “Electronic Pop music sector”.

Bred on the likes of DEPECHE MODE, CAMOUFLAGE and DE/VISION, and quoting those as their main influences, the trio promise to turn out pieces that will be difficult to resist, if what you like is the darker electronica.

They like to describe themselves as the Next Generation of Synth and define their production as modern, creative and melancholic, yet danceable. The band consists of Sean Dexter, who is in charge of programming and keyboards, Rick Pleasant on vocals and Marc Renard on keyboards. Signed up by 15c Avenue, two songs have been issued already with corresponding videos.

‘Lighten Up The Darkness’ was out on 12th January this year, featuring elements borrowed from DEPECHE MODE’s ‘Dream On’ video, presenting the band clad in dark leather and looking beyond cool, as well as incorporating a beautiful, mysterious blonde. Musically, elements of CAMOUFLAGE’s influence are clearly palpable, making this a rather engaging and striking tune.

The latest single ‘Facing My Fears’ was released on 24th April, and, again, opens with an elegant synth sequence and vocals resembling those of CAMOUFLAGE’s Marcus Meyn. Like a quasi ‘Enjoy The Silence’, the stark video features a blackened background with marching soldiers in a scene reminiscent of ‘People Are People’ and creates a perfect background to this highly competent song.

The impressive production on both numbers stresses the studio skills of Sean Dexter and promises a rather inviting proposition to those who love the likes of DEPECHE MODE and CAMOUFLAGE. Hopefully the upcoming album ‘Syndicator’ will have innovative elements of its own, something which SYNTHDECADE are surely capable of.


‘Facing My Fears’ is released as a digital single by 15c Avenue

http://www.synthdecade.de/

https://www.facebook.com/Synthdecade


Text by Monika Izabela Goss
9th May 2015

« Older posts Newer posts »