Tag: Chvrches (Page 4 of 9)

PARALLELS Interview

19 January 2018 /

Photo by Lolly Orbell

Canadian synthpop trio PARALLELS rode on some well-deserved international momentum in 2017 following the release of their third album ‘Metropolis’.

Championed by the likes of Rusty Egan, the Toronto combo formed in 2008 and released the 2010 debut long player ‘Visionaries’.

However, PARALLELS went through some personnel changes prior to the recording of their sophomore offering ‘XII’.

In 2018, the line-up comprises of Holly Dodson, her brother Nick and one-time CLIENT collaborator Oliver Blair. With their catchy sweetly flavoured songs like the ‘Metropolis’ title song, ‘Catch’ and ‘Heart Of The Wild’, PARALLELS’ third long player was an audio document of how “we travelled… fell in and out of love… rediscovered the places we call home…”, with the end result sitting down well alongside the likes of PURITY RING, CHVRCHES and AVEC SANS.

Singer, songwriter and synthesist Holly Dodson took time out from rehearsals to chat about the continuing progression of PARALLELS and their first live appearance in London which is happening alongside German songstress NINA in March…

Canada appears to have become a centre for modern electronic pop with the likes of PURITY RING, ELECTRIC YOUTH, GRIMES, AUSTRA and TR/ST. What inspired you to head in this direction as PARALLELS?

Starting out, we were very inspired by Italo disco and synthpop from the 80s. Piano was my first instrument, so synthesizers were sort of the next step for me when I got more into production. I love the colour that synths add. And we wanted to make upbeat dance music with pop vocals… plus we didn’t know how to play guitar so it was partly a matter of circumstance 🙂

Your third album ‘Metropolis’ appears to have been your breakthrough internationally, how has the reception looked from your end?

I’m really truly grateful for the reaction it’s gotten so far! I’m usually most nervous to find out what our long-time fans think of new stuff… I really just want them to be happy and excited from the getgo. Thankfully it *seems* like it was well received. It’s been an introduction for new fans as well, which is wonderful. As long as it’s connecting on some level… any level… I’m thrilled.

How have you viewed the band’s progression over the years since your 2010 debut ‘Visionaries’?

Seems like yesterday! I’ve sort of ended up being the thread that’s tying it together – which I didn’t anticipate. We went through some line-up changes that at the time were pretty emotionally challenging, but so many bands do. For me, it’s always been about making music and playing shows… so I wanted to keep focus on that. The seeds were planted so let’s grow the garden. It’s been truly rewarding on many levels, creatively, and I’m really looking forward to going deeper.

Your lovely version of ‘Moonlight Desires’ on your second long player ‘XII’ points to perhaps a youth possibly spent watching John Hughes and Brat Pack movies?

So happy you like it! I’m a child of the 80s, so naturally, yeah… plus GOWAN is Canadian. We hear the original version it all the time in Canada. It’s always fulfilled all the necessary criteria – incredible hooks, the moon, magic melodies, nostalgia 🙂

I just recently learned that GOWAN’s actually heard the cover… and approves!! Which is SUCH a relief haha… you never know.

Do you feel any affinity with North America’s current interest in the Synthwave sub-genre?

It definitely seems to be having a moment right now – it feels very buzzy and grassroots which is wonderful. It also seems like a bit of a gateway for new listeners to get into synth music and an excuse for long-time listeners to get re-excited. I love knowing these communities are forming and have some dear friends involved in the scene – so it’s inspiring to see it coming together.

Photo by Sarah Llewylen

The ‘Metropolis’ title track does have a CHVRCHES vibe, has the success of Glaswegians been an indicator that a potential worldwide audience is out there?

I’m definitely a big fan of CHVRCHES – it’s so cool to see synthpop rise to that level! I’d love to write with them one day. Yes, I’m a firm believer that synthpop is for everyone whether or not they know it 😉

In 2016 – the year everyone wants to forget – I had a big binge on PRINCE’s music, which inspired ‘Metropolis’.

Actually, until the last minute, it didn’t have bass on it because ‘When Doves Cry’ doesn’t, but I realized I was just grieving and so recorded the bass… it brought a bit closure 🙂

There’s a hint of ‘Running Up That Hill’ in ‘Catch’, how important has KATE BUSH been in shaping your take on music?

‘Running Up That Hill’ is one of my absolute favourite songs of all time – KATE BUSH is my home for inspiration. If I have insecurities or self-doubt, I put on her records. When I first played my demos to a family friend of ours, when I was 17 or so, he said my voice reminded him of KATE BUSH… and at that time I had no idea who she was. So I went and listened to the ‘Hounds Of Love’ album and, I’m not joking, everything made sense.

She changed how I understood creativity and represents freedom of expression in its truest form. Some people spend so much time trying to fit in that they forget to find their own voice. With KATE BUSH, it seems like she knew – and wasn’t afraid to experiment and take risks, push boundaries with grace. And I love and admire that so much. I could talk about this for hours… obviously.

You’re releasing a great new RADIO WOLF remix of ‘The Last Man’ as the new PARALLELS single. It’s quite different from the album version, what was the thinking behind having the track reworked?

Our good friend (turned band mate) Oliver Blair had wanted to do a remix – he said he wanted to speed it up and “paint it red”. I love what he did with the remix. He really brought out the edge in that song. The song is about holding ourselves accountable for our actions toward the earth and each other… which is becoming more and more urgent. So I think he really picked up on that with his interpretation.

So which have been your own favourite songs on ‘Metropolis’ and why?

Well in case the songs are listening, I love them all equally. But… Isadora’ is one of my favourites – it’s sort of a séance song. I’ve never been a part of one but would love to at some point.

‘Tell The World’ and ‘Metropolis’ are ones that mean a lot to me. They remind me of home, my family and friends. ‘Tell The World’ is about story-telling, learning from the past and how stories connect us. It makes me emotional when I hear it, but I’m really happy with how it turned out.

Photo by Sarah Llewylen

PARALLELS covered NEW ORDER’s ‘Age Of Consent’ for the ‘Civilisation’ EP in 2015, what made you choose that and do you have any other songs you would be interested in reinterpreting?

There’s a list! I’m working on one now but want to keep it a surprise. We used to jam to ‘Age Of Consent’ during practises and it’s one of my favourite NEW ORDER songs… it reminds me of being a teenager and not having the words to express my emotions. I’d just say… listen to this song… this is how I feel.

Electronic music appears to have more sister / brother combinations eg THE KNIFE, XYLO, FAKE TEAK than say in rock, why do you think that might be and how is your creative relationship with your sibling Nick?

True, I never realized that. Nick joined in 2011… I said “I’m looking for a drummer… want to join PARALLELS?” and he said “well, I play metal but I guess I could play your stuff” 🙂

He’s a true talent and one of my best friends – always there for a critical critique, and I trust his opinion.

PARALLELS are coming to London in March 2018; as well as the gig with NINA, what else are you hoping to do while you’re here?

We are! It’s our UK debut – we’re so thrilled to be playing with NINA. Would love to see Abbey Road, Soho… our band mate Oliver lived in London for years, so we’re hoping he will be our tour guide. Any insider advice?

ELECTRICITYCLUB.CO.UK gives its warmest thanks to PARALLELS

The RADIO WOLF remix of ‘The Last Man’ is released on the usual digital platforms, available as a download from https://parallels.bandcamp.com/track/the-last-man-radio-wolf-remix

‘Metropolis’ is available as a CD or download from https://parallels.bandcamp.com/album/metropolis

PARALLELS play Zigfrid von Underbelly, 11 Hoxton Square, London N1 6NU with NINA on SATURDAY 31ST MARCH 2018

http://www.iloveparallels.com/

https://www.facebook.com/Parallels/

https://twitter.com/iloveparallels

https://www.instagram.com/iloveparallels/

https://soundcloud.com/parallels

Text and Interview by Chi Ming Lai
19th January 2018, updated 7th February 2018

AVEC SANS Live in London

1 October 2017 /

Electropop duo AVEC SANS gave a wonderfully assured performance on the final night of their UK tour in London’s Hoxton Square Bar & Kitchen with a dazzling combination of sound, colour and passion.

Since the release of their well-received debut album ‘Heartbreak Hi’ in June 2016, Alice Fox and Jack St James have been very much in demand for live shows where AVEC SANS have made the biggest impression.

While the pair have been compared to CHVRCHES and PURITY RING, Fox’s bittersweet vocal expression has a deeper resonance compared to the occasionally shrill voices of Lauren Mayberry or Megan James. Meanwhile in a concert setting, St James’ use of three back flipped Novation Launchpads alongside a Nord keyboard and electronic drums has solved that age old authenticity conundrum in electronic music to clarify what is live and what is Memorex…

Beginning with the moody synthwave of ‘When You Go’, cheers greeted the familiar blips of ‘Perth’, AVEC SANS’ electro cover of BON IVER’s folkie lament inspired by the late Australian actor Heath Ledger.

With its gliding arpeggios and spacey vocal manipulations, ‘The Answer’ proved equal to ‘My Mistake’ Mercedes-Benz favourite NINA, while the driving pop of album highlight ‘Hold On’ ensured the enthused dancing in the first few rows was maintained.

‘Resonate’ and ‘History’ both explored the offbeat sub-bass whips of PURITY RING before a catchy synthpop tune with an essence of CHVRCHES was offered in the marvellous ‘We Are’.

AVEC SANS pay close attention to detail in their live presentation from Fox’s glowing mic lead to the effective use of St James’ flashing controllers as both visual and connective tools; the platinum blonde singer punched the air with aplomb while the baseball capped instrumentalist multi-tasked with a joyful demeanour.

The swirly ‘Shiver’ and the R’n’B tinged fervour of ‘Heartbreak Hi’ title track concluded an energetic set but now established as a fan favourite, there was the bonus of an enjoyable cover of the Kate Bush classic ‘Running Up That Hill’ as an encore.

Having impressed with their crisp debut album, AVEC SANS now move onto their follow-up long player. With all the experience acquired since their formation in 2012, Fox and St James have the potential to deliver an opus to take them to the level of their lauded Scottish and Canadian contemporaries.

Professional, organised and hardworking, many acts could learn from AVEC SANS’ approach to live presentation, visual image, media engagement and audience networking. It may seem obvious to have a range of photos for press into organised folders but quite a few bands don’t even manage that!

With these basics sorted, AVEC SANS have climbed the first steps of the ladder.

The album ‘Heartbreak Hi’ is released by Beverly Martel, available via the usual digital outlets as well as CD and vinyl LP

http://avecsans.com/

https://www.facebook.com/avecsansband/

https://twitter.com/avecsans

Text and Photos by Chi Ming Lai
1st October 2017

Introducing SOL FLARE

19 August 2017 /

SOL FLARE are the up-and-coming London based trio comprising of Jenny Jones (vocals), Dominic Wood (synths + programming) and Matt Marlow (guitars) who recently unleashed their first ever single ‘Easy Line’.

While Wood’s lush electronics and drum machine beats provide the vital musical backbone to SOL FLARE, it is Jones’ magnificent voice, ranging from a piercing high soprano down to a powerful contralto growl reminiscent of Rindy Ross from Portland soft rockers QUATERFLASH, which gives them their USP.

Indeed, if QUARTERFLASH had been a synth wave act, they would probably sound a bit like SOL FLARE. Evoking images of widescreen sunsets and neon lights, SOL FLARE began their account with the impressive ‘Not Holding On’, offered as a free download via their Soundcloud. Inevitably, the ‘Drive’ soundtrack sprang to mind although ‘Not Holding On’ was far more direct and uptempo.

‘Easy Line’ develops on this introductory template with a pulsing four-to-the-floor bassline and Jones’ haunting vocals punching to the heart, embellished by Marlow’s subtle scratchy rhythmic six string and Wood’s cascading synths.

The visual  accompaniment created by Jesse Dvorak captures carefree youth in Reagan-era LA with echoes of the late Eric Watson’s video for PET SHOP BOYS ‘Domino Dancing’, as a love triangle and homo-erotic ruck in the sea provide the key moments of the storyline.

An engaging live act, particularly with Jones’ charismatic stage presence, there is more to come from SOL FLARE with the stomping ‘Find You’ and stuttering dance oriented essence of ‘The Hunter’ both highlights in their current set.

Sitting comfortably alongside acts such as NINA, AVEC SANS, PRIEST and FEATHERS, if they maintain the upward artistic trajectory that has seen them cross synth wave and classic synth pop with AOR and melodic new wave, then SOL FLARE might overtake them all and join CHVRCHES.

Having already impressed at gigs in London, SOL FLARE possess an attractive style blend that could see them appeal to many more.

‘Easy Line’ b/w ‘Hide’ is available as a download single from https://solflare.bandcamp.com/

http://solflare.co.uk/

https://www.facebook.com/Solflaremusic/

https://twitter.com/SolFlareMusic

https://soundcloud.com/solflare/

Text by Chi Ming Lai
19th August 2017

Introducing AGE

19 July 2017 /


Gavin Dwight and Jen Cosgrave are the new Irish / Australian electronic pop duo AGE.

Their debut single ‘Peaks’ is a wonderfully atmospheric dance tune that’s perfect for those who prefer things to not be quite so bangin’.

Indeed as Dwight explains with the lyrics; “We wrote ‘Peaks’ at a time when we could see a lot of people around us crossing over the line of what’s safe and not taking care of themselves. We live in a place and a city where it’s too easy to do. It’s a love song to those people.”

With its piercing layers of synths and bursts of live percussion during its climax, ‘Peaks’ comes with a great video accompaniment with expansive earth shots and enigmatic slow-mo of the duetting duo that more than compliments the panoramic Nordic nature of ‘Peaks’. Certainly the audio / visual aspects of AGE seem suitably synchronised with ‘Peaks’.

It’s a great first salvo but what else do AGE have on offer? Their upcoming single ‘Dislocate’ is a variation on the theme set laid down by ‘Peaks’ and adds some enticing pitch bent synth. AGE are currently in the studio working on their debut EP so hopefully, they will have plenty more up their sleeves.

It is always difficult to judge the true potential of an act after only one song. But then in the Summer of 2012, ELECTRICITYCLUB.CO.UK took a punt on a trio of Glaswegians named CHVRCHES after just one song and that turned out alright…

‘Peaks’ is released as a download single on 14th July 2017

https://www.facebook.com/AGEismusic/

https://twitter.com/AGE_ismusic

https://www.instagram.com/ageismusic/

Text by Chi Ming Lai
19th July 2017

MARNIE Live at Hackney Oslo

11 June 2017 /

It was almost six years to the day that LADYTRON last played London when their lead singer MARNIE made her debut performance as a solo artist at Hackney’s spacious but intimate Nordic themed venue Oslo.

Releasing her first solo album ‘Crystal World’ on the prestigious Belgian label Les Disques Du Crépuscule in 2013, the collection illustrated the pop credentials of the classically trained Glaswegian, whose tastes were always a bit more ABBA and TAYLOR SWIFT than THROBBING GRISTLE. Her second long player ‘Strange Words & Weird Wars’ recently issued by the London based Disco Piñata is a natural successor to ‘Crystal World’, adding even more big choruses and prominent guitar into the mix.

Opening the evening with ‘The Hunter’, this marvellous Scandi-tinged widescreen concoction could be considered the prime synthpop single that LADYTRON never quite got round to making. Meanwhile the dreamily driven ‘Alphabet Block’ maintained the initial momentum.

Augmented by Sarah Stanley on keyboards, computers and guitars plus drummer Peter Kelly with possibly the LOUDEST snare in London, if not the world, MARNIE herself had a new Korg Minilogue with its distinctive wooden-look base for company.

The glorious ‘We Are The Sea’ recalled CHVRCHES and along with the bouncy ‘G.I.R.L.S.’, they affirmed MARNIE’s importance as a role model to aspiring female musicians; at times during the set one could imagine her as Lauren Mayberry’s big sister.

While earlier songs such as ‘Sugarland’ from ‘Crystal World’ possessed more surreal lyrical imagery, the newer ones like ‘Lost Maps’, ‘Invisible Girl’ and ‘Heartbreak Kid’ are far more direct and personal.

Trying not to burst into total laughter whenever her uncle in the audience started heckling her, MARNIE exuded a down-to-earth demeanour than may not have always been apparent as a member of LADYTRON.

Accompanied by gorgeous synth lines, ‘Summer Boys’ was all about unrequited love and holiday romances, while the punchy rallying cry of ‘Electric Youth’ rounded off the main part of the show to highlight the optimistic ethos of MARNIE’s solo work.

Unfortunately ‘Bloom’, one of the best songs on the new ‘Strange Words & Weird Wars’ album, was dropped from the encore, but there was the expansive nautical adventure of ‘Submariner’ to compensate.

All-in-all, it was an entertaining and engaging performance from MARNIE that delighted the enthusiastic crowd. Bearing in mind some of the epic LADYTRON sets of the past, it could have done with being a bit longer. But it’s perhaps always best to leave people to want more.

And tonight they did…

With thanks to Paul McCallum at A Badge of Friendship

‘Strange Words & Weird Wars’ is released on 2nd June 2017 by Disco Piñata in vinyl LP, CD and digital formats, available from https://helenmarnie.bandcamp.com/

http://www.helenmarnie.com/

https://www.facebook.com/helen.marnie.official/

https://twitter.com/marnieofficial

http://discopinata.com/artist/marnie/

Text by Chi Ming Lai
Photos by Richard Price
13th June 2017

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