After the release of CHVRCHES’ third album ‘Love Is Dead’, some of their followers were showing signs of dissatisfaction with their sound now seemingly aiming at the heart of America.
Using the ubiquitous Greg Kurstin to produce after sessions with EURYTHMICS’ David A Stewart were abandoned, songs such as ‘Get Out’ and ‘Graffiti’ expanded on their Taylor Swift gone electro template but ‘My Enemy’, the stoner indie duet with Matt Berninger of THE NATIONAL confused listeners. Three years later, it’s the haunting synth ballad ‘Really Gone’ that remains the standout and that was a track that CHVRCHES self-produced.
Meanwhile, the trio were showing signs of disillusionment with the synth, with Lauren Mayberry doing interviews with Kerrang magazine and the band being referred to as “alt-pop”. Having acquired a live drummer, were CHVRCHES about to go down the slope that DEPECHE MODE slid down in recent years?
Self-produced and recorded remotely with band members scattered across two continents, ‘Screen Violence’ is certainly grittier than any of its predecessors in line with the album’s title, reflecting on how modern lives are lived on social media. Dealing with the spectre of crippling depression and anxiety, the goth indie of ‘How Not To Drown’ with Robert Smith is a highlight, the shrill vocalisation of Mayberry strangely complimenting the sombre demeanour of THE CURE mainman.
Taking a leaf out of ‘How Not To Drown’, dominated by Iain Cook’s guitar and Martin Doherty’s bass, ‘Final Girl’ heads into personal disintegration with an intense number that could be as far from ‘The Mother We Share’ as it is possible. West Coast political commentary is offered on ‘California’ but the album’s closer ‘Better If You Don’t’ although electric is practically an acoustic hipster ballad.
Elsewhere, ‘Asking for a Friend’ and ‘He Said She Said’ are business as usual, both coming over like a fearful Carly Rae Jepsen while the expletive laden ‘Good Girls’ could have easily come from the second album ‘Every Open Eye’ save the guitar solo. ‘Lullabies’ offers some shinier pop but at the opposite end of the spectrum, ‘Nightmares’ presents something heavier in the vein of John Carpenter who provided a remix of ‘Good Girls’ and ‘Violent Delights’ utilises frantic dance beats as an impressionistic backdrop.
Those who like the idea of CHRVCHES becoming more alternative (but paradoxically more conventional and contemporary) will appreciate ‘Screen Violence’ but while there are synthpop moments, enthusiasts of the Moog and her sisters may choose to bow out after cherry picking for their playlists.
As Mayberry herself sings by way of a parting shot for the very last line on ‘Screen Violence’, “I won’t follow you again…”
Filmic dreamwave duo POLYCHROME are back with a new single ‘UltraViolet’ that comes with a force of aggression not heard before compared to their 2018 self-titled debut album.
Several songs found favour with TV producers and advertising agencies around the world. But with ‘Ultraviolet’, an overdriven digital rimshot, as used by the likes of Prince in the past, makes a dynamic rhythmic statement. Meanwhile the rich haze of a malfuctioning Yamaha DX7 and understated bass warbles from multi-instrumentalist Olly Price provide the backdrop for the angelic treated vocals of Vicky Harrison.
A blend of ELECTRIC YOUTH, CHROMATICS and CHVRCHES, Vicky Harrison said of ‘UltraViolet’: “It’s quite driving with a faster tempo and I think it leans more towards synthpop, but there was no particular conscious choice. We made a series of electronic vibes and picked what we liked and started sculpting those. We might do that in a few sessions on one song, but the main body is there by the time we get to the end.”
While the computer animated video does feature an abundance of clichéd synthwave imagery including grids, sunsets, palm trees, sports cars and shades of magenta, there is a twist with Harrison’s lips making an eerie appearance…
The dystopian resonance of ‘UltraViolet’ reflects the darkness of a year where many have suffered and lost. It was no different for POLYCHROME and what began as a song about relationship break-up mutated into a narrative comprising of a post-Covid world where that last few people alive on a dying earth struggle to survive and are forced to live in a computer simulation! Despite the subject matter, there is a strange beauty to ‘UltraViolet’.
Olly Price caught Covid hard at the start of the pandemic and its effects still loom; “This Virus is a f*cker…” he said, “So many people have had it way worse than us so this is our tribute to everyone who has had a crap year”
There is nothing like the other side of life. As a companion to its favourite 25 Classic Synth B-sides, ELECTRICITYCLUB.CO.UK presents a listing looking at the 21st Century equivalent.
B-sides often take on a cult following, provoking discussions among fans about why they might have missed inclusion on the parent album.
On why artists occasionally overlook a track when it is clearly good enough, Richard Silverthorn of MESH said “Sometimes you can’t see the wood for the trees”.
Then there are the occasional abstract studio experiments which often fail but occasionally work and the occasional cover versions which don’t always find favour with some listeners but are infinitely more preferable over pointless remixes of the A-side!
But how is a modern B-side been defined? There is a wider definition now due to digital and streaming formats, so they can include flipsides of vinyl, bonus tracks on CD singles and non-album tracks released as part of a download single or EP bundle. Despite all this, the term “B-side”, like “album” and “video”, still remains.
So for the purposes of this listing as before with the 25 Classic Synth B-sides, B-sides featured on the original issue of a full length album, or subsequently included on a new one are NOT included. However, those added as bonus tracks on later reissues, deluxe editions or compilations are permitted. Rules are good, rules help control the fun! 😉
So with a restriction of one track per artist moniker, presented in date and then alphabetical order within, these are ELECTRICITYCLUB.CO.UK’s 25 Synth B-Sides Of The 21st Century…
LADYTRON Oops Oh My (2003)
LADYTRON surprised their audiences during live shows in support of the ‘Light & Magic’ album by closing with a feisty synthpunk cover of TWEET’s ‘Oops Oh My’. Co-written by Missy Elliot, the Timbaland produced original with a DEVO sample had been a hip-hop favourite but the aggressive Riot Grrrl styled take on this risqué song about self-love with lyrics like “There goes my skirt, droppin at my feet” added a rockier edge to their sound.
Available on the LADYTRON single ‘Evil’ via Telstar Records
“This was written in response to the Iraq War” said Sarah Blackwood aka Client B, “I remember endless discussions with Toast Hawaii boss Fletch about whether it was the right decision and with heavy hearts, watching endless shelling and firefighting, from the 24 hour news coverage on far flung European hotel TVs. It was the first time I had felt that disconnection and frustration with my home country, the ‘not in my name’ ringing loudly in my ears. Bit late to the party but that’s the story of my life.”
Available on the CLIENT single ‘Here & Now’ via Toast Hawaii / Mute Records
The eloquence and surreal atmospheres of the first GOLDFRAPP album ‘Felt Mountain’ may have taken a back seat on its follow-up ‘Black Cherry’ but the experimentation continued on the B-sides of the album’s singles. ‘White Soft Rope’ combined the unsettling imagery of bondage with a chorus sung a school choir, but ‘Gone To Earth’ was even more otherworldly. The reverberating bassline combined with swirling synths and dreamy glides while Alison’s alternate cosmic language startled with a spacey hypnotism.
Nathan Cooper who was in THE MODERN said: “The inspiration came from ROXY MUSIC’s ‘In Every Dream Home A Heartache’ which was about a blow up doll, we took that a step further and Model# 426 is about some kind of sex droid!! ‘Model #426’ was always the song that would get the audience talking because singer Emma would open a trunk on stage and lead a gimp out on a collar into the bemused looking audience!! I think it was actually that stunt that got us signed to Universal!”.
Interpolating KC & THE SUNSHINE BAND’s ‘That’s The Way (I Like It), the self-produced ‘Party Song’ was naturally a throbbing disco driven affair outshone the horrendous Diane Warren penned ballad ‘Numb’ which comprised the main act. Lyrically inspired by the classic Joan Collins and Leonard Rossiter fronted Campari adverts that, it began life as a dance cover of NIRVANA’s ‘Smells Like Teen Spirit’ suggested by Elton John and intended as a single for a new PET SHOP BOYS ‘Greatest Hits’!!
Originally the B-side of ‘Numb’, now available on the PET SHOP BOYS album ‘Format’ via EMI Music
‘Japanese Kiss’ was from the debut release on Happy Robots from Alice Hubley and Adam Cresswell. “This was the first track I wrote for ARTHUR & MARTHA” he recalled, “mostly recorded in the bedsit I’d moved into after splitting up with my girlfriend. I was absorbed in self-pity, comforting myself with Japanese-horror movies and the company of my ARP Quartet, Moog Rogue and the DR-55. Living my best life!”; 11 years later as Rodney Cromwell, Cresswell did a NEW ORDER inspired ‘KW1’ remix.
Available on the ARTHUR & MARTHA single ‘Autovia’ via Happy Robots
Basing its title on the well-known NEW ORDER tune, as with a number of the B-sides listed here, ‘Bizarre Love Duo’ outshone the main act ‘Ghost’. It all began with a pitch shifted groan sample repeated with hypnotic effect over some squelchy backing. But during the second half, the track built itself to a fabulous but abstract electrodisco number with a marvellously catchy refrain. While not quite a song and not quite an experiment, ‘Bizarre Love Duo’ was enjoyable tune in the MARSHEAUX canon.
Originally the B-side of ‘Ghost’, now available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records
A cover of a cover, namely SHOCK’s take on THE GLITTER BAND’s 1974 Top5 hit; playing the role of the Latin lothario in response to the Annie song ‘Anthonio’, Sebastian Muravchik of HEARTBREAK and now SNS SENSATION remembered: “Richard X produced this version of ‘Angel Face’ as a side B in his single ‘Annie’. I sang both sides, which kind of shows two sides of Anthonio’s personality in a way. It was a fantastic experience – Richard is a great guy and über pro, so really a win-win.”
Available on the ANTHONIO single ‘Annie’ via Pleasure Masters
“Positive and negative can only attract” sang Victoria Hesketh on the bouncy ‘Catch 22’, a lesser known LITTLE BOOTS track which initially only appeared on the 7 inch single of ‘Earthquake’ in the UK. Gloriously synthpoppy, in hindsight along with other songs that did not make it onto the final tracklisting of her debut album ‘Hands’, it highlighted a possible direction that could have been taken, but which was ultimately watered down for wider acceptance after she was named BBC Sound Of 2009.
Originally the B-side of the single ‘Earthquake’, now available on the LITTLE BOOTS deluxe album ‘Hands’ via On Repeat Records
Continuing a great tradition among the synthpop acts of the past, VILLA NAH had ‘Benny’s Burning’ and ‘Daylight’ as part of their B-side armoury as well as the brilliant debut album ‘Origin’. Highlighting the inherent talent of Juho Paolosmaa and Tomi Hyyppä, ‘Benny’s Burning’ was a smoother and more atmospheric side of VILLA NAH compared with the uptempo technopop impressions of its A-side ‘Rainmaker’. The Helsinki duo later opened for OMD during the UK leg of 2010’s ‘History Of Modern’ tour.
Available on the VILLA NAH single ‘Rainmaker’ via Keys Of Life
Produced by Vince Clarke, ‘Never Let You Down’ was free of the many autotune treatments that Frankmusik had applied when helming the disappointing ‘Tomorrow’s World’ album in his attempts to make ERASURE sound more modern and contemporary. As a result, that heartfelt soul often associated with Andy Bell made its presence felt over a glorious galloping synthpop tune in the classic ERASURE vein, especially during the middle eight section in Spanish.
In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Any number of them are worthy of mention but the nod goes to ‘Fall By Another Name’ as it was accessible enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir hence its likely relegation to flipside, the bright pulsing melodies and James New’s Dave Gahan impression made this sound rather like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’.
While the A-side was a faithful cover version of Peter Schilling’s anthemic ‘Major Tom’, ‘Dead Air Einz’ was a self-composed song by APOPTYGMA BERZERK mainman Stephan Groth that was eagerly welcomed at the time, thanks to it being his first original new track for four years. Utilising distorted radio broadcasts in its backdrop, it also featured some Korg MS20 from Jon Erik Martinsen and was something of a grower with its steadfast drum machine shuffle.
Available on the APOPTYGMA BERZERK single ‘Major Tom’ via Pitch Black Drive Productions
Making their initial impression with the mighty ‘Lies’ in 2012, Glasgow trio CHVRCHES actually became the mainstream saviours of synthpop that LITTLE BOOTS and LA ROUX had promised but ultimately failed to deliver on. ‘Now Is Not The Time’ was a fantastic midtempo tune with a great chorus that like ‘The Mother We Share’ sounded like Taylor Swift gone electro. However, it got relegated to B-side status despite being superior to several songs on their debut long player ‘The Bones Of What You Believe’.
Available on the CHVRCHES single ‘Recover’ via Virgin Records
In a pattern similar to the ‘Sounds Of The Universe’ boxed set only track ‘Oh Well’, the best song from ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy Eurocentric austere, all the perfect ingredients for a classic DM tune! While it was no doubt rejected for not fitting into the faux blues aspirations of modern DEPECHE MODE, it made up for the dreary notions of the A-side ‘Heaven’ which were more like hell…
Originally the B-side of the single ‘Heaven’, now available on the DEPECHE MODE deluxe album ‘Delta Machine’ via Columbia Records
OMD’s twelfth album ‘English Electric’ was notable for combining conceptual art pieces alongside supreme electronic pop in a manner reminiscent of their fourth long player ‘Dazzle Ships’ and KRAFTWERK’s ‘Radio-Activity’. Although four of these concepts made it onto the final running order of the album, one that didn’t was ‘Time Burns’, a intriguing sound collage comprising of clock movements, chimes and digital watch alarms over rumbles of sub-bass and profound computer generated speech.
Originally the B-side of the single ‘The Future Will Be Silent’, now available on the OMD EP ‘Night Café’ via BMG
A stomping electro disco number produced by Mark Reeder and Micha Adam, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provided the heat! However, ‘United’ has ended up as the B-side. Reeder said ”I saw a piece posted on ELECTRICITYCLUB.CO.UK about QUEEN OF HEARTS and I was curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.”
Originally the B-side of ‘Secret’, now available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves
With an alluringly haunting vocal from Anais Neon, the eerily stark ‘Little Death Capsule’ saw VILE ELECTRODES tell the story of early space travel when these primitive craft were sent out of the earth’s atmosphere effectively sitting on inter-continental ballistic missiles, with burning up also a possibility on return. With pulsing instrumentation from Martin Swan, it featured the sort of sterling analogue treatments that would make KRAFTWERK and YELLOW MAGIC ORCHESTRA proud.
A touching tribute to Messrs Clarke, Gore, Hütter and Schneider with hints of YAZOO’s ‘In My Room’, Johan Baeckström said of ‘Synth Is Not Dead’: “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.
Available on the JOHAN BAECKSTRÖM single ‘Come With Me via Progress Productions
METROLAND (We Need) Machines Without Romance (2015)
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.
Originally the B-side of ‘Zeppelin’, now available on the METROLAND boxed set ’12×12′ via Alfa Matrix
Of the superbly rousing ‘Paper Thin’, Richard Silverthorn of MESH recalled: “Mark Hockings presented me with a demo at the time we were writing material for ‘Looking Skyward’. On first listen, I wasn’t too sure about the track as I thought it didn’t really fit with the overall feeling of the album so it kind of got shelved. The record company asked ‘what about the B-side?’ so Mark suggested ‘Paper Thin’ again. The bassline, drums and many other lines were changed and the new version came to life.”
After SCARLET SOHO, James Knights busied himself with a new Britalo inspired solo project. With hints of NEW ORDER’s ‘Subculture’ and found on KNIGHT$ debut EP ‘What’s Your Poison?’, he said “’So Cold’ is the second or third song I wrote as KNIGHT$. It’s a little darker than my other material, and the only song I’ve recorded using a marxophone (a fretless zither which I borrowed from my friend Alun Davies). It didn’t make it onto my debut album, but it’s still a song the audience enjoy, as do I.”
PSYCHE co-founder Darrin Huss said of ‘Truth Or Consequence’: “It started out under the title ‘Life On Trial’ and was about the Bradley Manning (now Chelsea) situation. It’s about the NSA surveillance, whistleblowers, etc. It’s also about the confusion between what is Truth, and what are the consequences of telling it, living it? Do we have safety in numbers? etc. It’s all in the lyrics. It’s a very PSYCHE song with even a nod to ‘The Brain Collapses’ with our use of that song’s drum machine the Oberheim DMX.”
That Marc Almond and Dave Ball reunited for a farewell gig and new material was a pleasant surprise. The frustration and anger expressed in ‘Guilty (Cos I Say You Are)’ with the lines “I can denounce you just because I can, I didn’t have the life I wanted, I didn’t do the things I dreamed” saw SOFT CELL continue where they left of in 2003. With dark resonances like ‘The Omen’ gone disco, its eerie gothique countered the celebratory electro-soul of A-side ‘Northern Lights’
INTERNATIONAL TEACHERS OF POP Another Brick In The Wall – Remoaner mix (2019)
Inheriting the mantle of THE HUMAN LEAGUE in the modern synthpop stakes, INTERNATIONAL TEACHERS OF POP impressed with their self-titled debut album. With the single release of ‘The Ballad Of Remedy Wilson’ was a timely Remoaner mix of PINK FLOYD’s ‘Another Brick In The Wall’ sung in German that made a bold musical and political statement. Headteacher Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.
If CHVRCHES are like PURITY RING then PURITY RING are like CHVRCHES, except that PURITY RING were here first!
The duo consisting of Megan James on vocals and Corin Roddick in charge of synths, programming and multiple instruments, have been around since 2010, when their simplistic sparse sound heralded the arrival of special type of synthpopia.
Craftily, within couple of years, the Canadian pair were signed to the legendary 4AD and put out their first long player ‘Shrines’.
A true musical melting pot packed with inclusions of such wonders as 808 drums, monosynths and extravaganza of sampled vocals, the album was recorded in separate studios miles apart, one in Halifax and the other all the way in Vancouver, a fact rarely exercised back then, yet quite common nowadays, being enabled by various file sharing platforms.
The follower to ‘Shrines’, ‘Another Eternity’ saw the group honing on their sound, polishing it and refining the production, as well as audibly improving the vocal masterdom. The album was more commercially minded and one could say that is what CHVRCHES sound is all about.
Being far more ‘underground’ to CHVRCHES, who hit the commercial bubble beautifully, PURITY RING enjoy cult audiences, who often prefer “the real thing” to the newcomers. With that, this peculiar time introduces a peculiar album number three…
‘Womb’ is the intensification of its predecessor, it’s wholesome and polished, wavering the “music for the masses” aspect (no pun intended) for the more niche particulars, and the opening ‘Rubyinsides’ is a perfect example. Lyrically it is bizarre and worrisome, like listening to an audio horror show, juxtaposed with the sweetest of voices over gentle melody.
‘Pink Lighting’ with its coagulated male voice during opening, transferring to James’ delicate vocal floats over minimal base of dreamy electronica, while ‘Peacefall’ rings out with velvety qualities of a music box.
‘I Like The Devil’ rolls in with punctuated twisty synth, exposing further delicacies of the duo’s sound, transforming into minimal ‘Femia’, which nods towards their first album. The song was written after the tragic passing of the vocalist’s aunt, it’s a tale of passing life and the realisation that the fate leaves nobody standing. ‘Sinew’ continues with the nostalgic thoughtfulness, calmly melancholic and weirdly uplifting at the same time.
With ‘Vehemence’, the hope comes back, floating between gracefulness and luminosity, to ebb away on ‘Silkspun’, with its heavier synth qualities. Of course James’ voice softens it all, calming the angriest of seas, which is the case on ‘Almanac’ as well, with further vocal manipulations to suit any modern palate. The closing ‘Stardew’ recalls CHVRCHES the most, beautifully arpeggiated and very commercial, it’s just a perfect chill song.
If you like CHVRCHES and have never heard of the parents of the Scottish band’s sound, then give PURITY RING a go. Somehow the duo could appeal to you more so than the one who made it commercially.
More niche, much more experimental and far more endearing, Megan James and Corin Roddick created something greatly more extraordinary than CHVRCHES. Check for yourself.
‘Womb’ released as a CD, violet or black vinyl LP and download by 4AD Records
Signed to Domino Records, home of FRANZ FERDINAND, ARCTIC MONKEYS and AUSTRA, over the last year, GEORGIA has been the artist that everyone is talking about.
Comparisons with LITTLE BOOTS are hard to avoid though; both got a profile boost on ‘Later With Jools Holland’ thanks to unusual live presentation.
In LITTLE BOOTS’ case, it was her use of a Stylophone alongside a Yamaha Tenorion while with GEORGIA, it was her standing drum ‘n’ synth. And that all without mentioning the BBC Sound nominations.
Gaining mainstream radio airplay in 2019, her singles ‘About Work The Dancefloor’ and ‘Never Let You Go’ were great, mining ROBYN and CHVRCHES respectively in the process, the former stating “I have no material gifts for you”. Here were the signs of a promising breakthrough artist.
But before that, there was ‘Started Out’ with its much groovier vibe with soulful influences and neo-ragga inflections going over the electronics, while the quirky R ‘n’ B pop of ‘Feel It’ was not that far from the urban DIY austere heard on her self-titled debut.
All four songs appear on ‘Seeking Thrills’, the second album by GEORGIA, the daughter of LEFTFIELD’s Neil Barnes who first found her musical feet drumming for Kate Tempest among others. So unsurprisingly, ‘Seeking Thrills’ is a showcase for rhythm, twelve tracks of exuberance with a bittersweet tinge.
With a definite move into more accessible pop territory, the new single ‘24 Hours’ does as the album title suggests, celebrating the thrill of night life and finding love with a bass rumble and a hint of PURITY RING. With throbbing synths and a drum machine backbone, our heroine declares with excitement that “If two hearts ever beat the same, we could be it”.
However, ‘Mellow’ with rapper SHYGIRL goes the opposite direction with some deadpan art school hip-hop while ‘Ray Guns’ explores similar territory although for ELECTRICITYCLUB.CO.UK at least, neither quite hit the spot.
Back to avant electro, ‘The Thrill’ with its hypnotic shuffling beats, vocal layers, glistening arpeggios and gorgeous synths sees GEORGIA trying to stop herself “feeling so blue”, but a sudden switch to techno brings with it an extra lift for a terrific album highlight.
The remaining songs get more reflective as GEORGIA enters ballad territory. As with any hedonistic adventure however exhilarating, its inherent Ying and Yang leads to the inevitable and never welcome comedown. ‘Till I Own It’ is quite sorrowful and while ‘I Can’t Wait’ sparkles in places, it is tinged with melancholy.
Providing another of the album’s highlights, the gently crystalline ‘Ultimate Sailor’ delightfully comes over like a cosmic collaboration between VANGELIS and ROBYN. But appropriately closing the eclectic range of ‘Seeking Thrills’, the nocturnal cinematic soundscape of ‘Honey Dripping Sky’ is interrupted by an unexpected reggae-flavoured end section.
Yes, half of this album has already been issued as singles of some sort, but with an opportunity to potentially catapult her music to a wider audience, then why not? To have an interesting and varied body of work in one place helps an artist build a bond with their fanbase.
The mainstream audience are NOT hipsters (who are notoriously fickle anyway), so time must be allowed for them to catch up and savour. While some of these songs were released in 2017, this should not spoil things for the listener because good songs will last.
With a three year gestation period, ‘Seeking Thrills’ is a solid and varied pop statement. But for the next record, will she go the full pop hog like CHVRCHES or retreat to the underground? It’s going to be an interesting year for the Londoner.
‘Seeking Thrills’ is released by Domino Records in vinyl LP, CD, cassette and digital formats
GEORGIA 2020 UK + Ireland live dates include:
Cardiff Clwb Ifor Bach (3rd March), Glasgow King Tuts (4th March), Manchester Yes (5th March), Liverpool Phase 1 (6th March), Dublin The Workman’s Club (7th March), Leeds Brudenell Community Room (9th March), Birmingham Mama Roux’s (10th March), Bristol Thekla (11th March), London Heaven (12th March)